Free jazz

Free jazz is an approach to jazz music that was first developed in the 1950s and 60s
as musicians attempted to alter, extend, or break down jazz convention, often by
Free jazz
discarding fixed chord changes or tempos. Though the music of free jazz composers Stylistic Jazz · experimental ·
varied widely, a common feature was dissatisfaction with the limitations of bebop, origins avant-garde ·
hard bop, and modal jazz that had developed in the 1940s and 50s. Often described avant-garde jazz
as avant-garde, free jazz has also been described as an attempt to return jazz to its Cultural 1950s, United States
primitive, often religious, roots and emphasis on collective improvisation. origins

As its name implies, free jazz cannot be defined more than loosely, as many Derivative No wave · loft jazz ·
musicians draw on free jazz concepts and idioms, and it was never completely forms post-rock
distinct as a genre. Many free jazz musicians, notably Pharoah Sanders and John Fusion genres
Coltrane, used harsh overblowing or other techniques to elicit unconventional
Punk jazz
sounds from their instruments, or played unusual instruments. Free jazz musicians
Regional scenes
created a progressive musical language which drew on earlier styles of jazz such as
Dixieland jazz and African music. Typically this kind of music is played by small Europe
groups of musicians. The music often swings but without regular meter, and there Other topics
are frequent accelerandi and ritardandi. Avant-garde jazz · free improvisation
· experimental rock
Free jazz is strongly associated with the 1950s innovations of Ornette Coleman and
Cecil Taylor and the later works of John Coltrane. Other important pioneers include
Charles Mingus, Eric Dolphy, Albert Ayler, Archie Shepp, Joe Maneri and Sun Ra. Coleman pioneered many techniques typical of
free jazz, most notably his rejection of pre-written chord changes, believing instead that freely improvised melodic lines should serve
as the basis for harmonic progression in his compositions. Some of bassist Charles Mingus's work was also important in establishing
free jazz. Of particular note are his early Atlantic albums, such as The Clown, Tijuana Moods, and most notably Pithecanthropus
Erectus, the title song of which contained one section that was freely improvised in a style unrelated to the song's melody or chordal
structure. Although today "free jazz" is the generally used term, many other terms were used to describe the loosely defined
movement, including "avant-garde", "energy music" and "The New Thing". During its early and mid-1960s heyday, much free jazz
was released by established labels such as Prestige, Blue Note, and Impulse, as well as independents such as ESP Disk and BYG
Actuel.

Keith Johnson of AllMusic describes a "Modern Creative" genre, in which "musicians may incorporate free playing into structured
modes -- or play just about anything."[1] Johnson includes John Zorn, Henry Kaiser, Eugene Chadbourne, Tim Berne, Bill Frisell,
Steve Lacy, Cecil Taylor, Ornette Coleman, and Ray Anderson in this genre, which continues "the tradition of the '50s to '60s free-
jazz mode".[1]

Contents
Characteristics
History
Legacy
Other media
In the world
Notes
References
External links

Characteristics
Defining the essence of free jazz is complicated; many musicians draw on free jazz
concepts and idioms, and free jazz was never entirely distinct from other genres.
Many individual musicians reject efforts at classification, regarding them as useless
or unduly limiting. Free jazz uses jazz idioms, and like jazz it places an aesthetic
premium on expressing the "voice" or "sound" of the musician, as opposed to the
classical tradition in which the performer is seen more as expressing the thoughts of
the composer.

Many free jazz musicians,

notably Pharoah Sanders and
John Coltrane, use harsh
overblowing or other extended
techniques to elicit
unconventional sounds from
their instruments.
Earlier jazz styles typically were
built on a framework of song
forms (e.g.: the twelve-bar blues
or the 32-bar AABA popular
Ornette Coleman song form) with a set framework
of chord changes. In free jazz,
the dependence on a fixed and
pre-established form is eliminated, and the role ofimprovisation is
correspondingly increased. As guitaristMarc Ribot has remarked, free
jazz musicians like Ornette Coleman and Albert Ayler, "although they
were freeing up certain strictures of bebop, were in fact each developing
new structures of composition."[2]
Free jazz, especially during its inception, contains themes of both
progressive musical language and gathering inspiration from the past.
The rejection of the bop aesthetic was combined with an increased Pharoah Sanders
fascination with earlier styles of jazz such as Dixieland jazz with its
collective improvisation, as well as African music. This interest in older
and more culturally authentic forms of music resulted in the
incorporation of instruments from a variety of global cultures by many free jazz musicians. This includes Ed
Blackwell's use of the West African talking drum, and Leon Thomas's interpretation of pygmy yodeling.[3]
Typically this kind of music is played by smallgroups of musicians, although some examples use larger numbers.
For example, Ornette Coleman's 1960 albumFree Jazz: A Collective Improvisationuses eight musicians, and John
Coltrane's 1965 albumAscension, uses eleven musicians.
Other forms of jazz use clear regularmeters and strongly pulsed rhythms, usually in 4/4 or (less often) 3/4. Free jazz
normally retains a general pulsation and oftenswings but without regular meter, and we encounter frequent
accelerando and ritardando, giving an impression of the rhythm moving inwaves.[4] Despite all of this, it is still very
often possible to tap one's foot to a free jazzperformance; meter is more freely variable but has not disappeared
entirely.
Previous jazz forms usedharmonic structures (usually cycles ofdiatonic chords), and even when improvisation
occurred it was founded on the notes in the chords. Free jazz almost by definition is free of such structures, but also
by definition (it is, after all, "jazz" as much as it is "free") it retains much of the language of earlier jazz playing. It is
therefore very common to heardiatonic, altered dominant and blues phrases in this music.
The practitioners of free jazz were serious about pursuing this approach, and their music employed concurrent
developments in 20th Century art-music theory and practice also used by John Cage, Musica Elettronica Viva, and
the Fluxus movement.[5]
Finally, some forms use composed melodiesas the basis for group performance and improvisation. Free jazz
practitioners sometimes use such material, and sometimes do not. In some music which is called "free jazz" (or
avant-garde jazz) other compositional structures are employed, some of them very detailed and complex; recordings
of Clifford Thornton and Anthony Braxton furnish many examples.[6]
Many critics, particularly at the music's inception, suspected that the abandonment of familiar elements of jazz pointed to a lack of
technique on the part of the musicians. Today such views are more marginal, and the music has built up a tradition and a body of
accompanying critical writing.[7][8] It remains less commerciallypopular than most other forms of jazz.

This breakdown of form and rhythmic structure has been seen by some critics to coincide with jazz musicians’ exposure to and use of
elements from non-Western music, especially African, Arabic, and Indian. The atonality of free jazz is often credited by historians
and jazz performers to a return to non-tonal music of the nineteenth century, including field hollers, street cries, and jubilees (part of
the “return to the roots” element of free jazz). This suggests that perhaps the movement away from tonality was not a conscious effort
to devise a formal atonal system, but rather a reflection of the concepts surrounding free jazz. Eventually, jazz became totally “free”
by removing all dependence on chord progressions and instead usingpolytempic and polyrhythmic structures.[9]

History
Many critics have drawn connections between the term "free jazz" and the American social setting during the late 1950s and 1960s,
especially the emerging social tensions of racial integration and the civil rights movement. Many argue those recent phenomena such
as the landmark Brown v. Board of Education decision in 1954, the emergence of the "Freedom Riders" in 1961, the 1963 Freedom
Summer of activist-supported black voter registration, and the free alternative black Freedom Schools demonstrate the political
implications of the word "free" in context of free jazz. Thus many consider free jazz to be not only a rejection of certain musical
black Americans.[10]
credos and ideas, but a musical reaction to the oppression and experience of

While free jazz is widely considered to begin in the late 1950s, there are compositions that precede this era that have notable
connections to the free jazz aesthetic. Some of the works of Lennie Tristano in the late 1940s, particularly "Intuition", "Digression",
and "Descent into the Maelstrom" exhibit the use of techniques associated with free jazz, such as atonal collective improvisation and
lack of discrete chord changes. Other notable examples proto-free jazz include City of Glass written in 1948 by Bob Graettinger for
the Stan Kenton band and Jimmy Giuffre's 1953 "Fugue". It can be argued, however, that these works are more representative of third
stream jazz with its references tocontemporary classical musictechniques such as serialism.[11]

The true beginning of free jazz as it is understood today, however, came with the recordings of Ornette Coleman. Coleman pioneered
many techniques typical of free jazz, most notably his rejection of pre-written chord changes, believing instead that freely improvised
melodic lines should serve as the basis for harmonic progression in his compositions. His first notable recordings for Contemporary
Records included Tomorrow Is the Question! and Something Else in 1958, garnering Coleman national recognition.[12] In terms of
free jazz history, these albums revolutionized concepts of musical structure, as many of the compositions on these two early albums
[13]
do not follow typical 32-bar form and often employ abrupt changes in tempo and mood.

The free jazz movement received its biggest impetus when Coleman moved from the West Coast to New York City and was signed to
Atlantic Records: albums such as The Shape of Jazz to Come and Change of the Century marked a radical step beyond his more
conventional early work. On these albums, Coleman strayed from the tonal basis that formed the lines of his earlier albums and began
truly examining the possibilities of atonal improvisation. The most important recording to the free jazz movement from Coleman
during this era, however, came with Free Jazz, recorded in A&R Studios in New York in 1960. It marked an abrupt departure from
the highly structured compositions of his past. Recorded with a double quartet separated into left and right channels, Free Jazz
brought a more aggressive, cacophonous texture to Coleman's work, and the record's title would provide the name for the nascent free
jazz movement.[14]

In conjunction with Coleman's innovations during the early 1960s, contemporary pianist Cecil Taylor was also exploring the
possibilities of avant-garde free jazz. A classically trained pianist, Taylor's main influences included Thelonious Monk and Horace
Silver, who prove key to Taylor's later unconventional uses of the piano.[15] Jazz Advance, his first album released in 1956 under the
Transition label, still showed ties to the more traditional jazz music albeit with a greatly expanded harmonic vocabulary. The
harmonic freedom of these early releases, however, would lead to his transition into free jazz during the early 1960s. Key to this
transformation was the introduction of saxophonist Jimmy Lyons and drummer Sunny Murray in 1962, who encouraged the use of
more progressive musical language such astone clusters and abstracted rhythmic figures.[16]
Taylor's landmark release in the formation of free jazz in the 1960s came in the form of Unit Structures, released via Blue Note
Records in 1966.[17] It was on this recording that Taylor truly marked his transition into free jazz, as his compositions now were
almost completely composed without notated scores, devoid of conventional jazz meter and harmonic progression. This new
direction was especially influenced by drummer Andrew Cyrille, who manages to provide rhythmic dynamism outside the
conventions of bebop and swing.[18] During this time period, Taylor also began exploring some of the techniques of the classical
[19]
avant-garde, especially evident in his use of prepared pianos as was developed by composer John Cage.

Along with Taylor and Coleman, Albert Ayler was one of the essential composers and performers during the beginning period of free
jazz. He began his career as a bebop tenor saxophonist in Scandinavia, and had already begun pushing the boundaries of tonal jazz
and blues to their harmonic limits. He soon began collaborating with notable free jazz musicians, including Cecil Taylor in 1962. He
pushed the jazz idiom to its absolute limits, and many of his compositions bear little resemblance to jazz of the past. Ayler’s musical
language focused on the possibilities of microtonal improvisation and extended saxophone technique, creating squawks and honks
with his instrument to achieve multiphonic effects. Yet amidst Ayler’s progressive techniques, he shows an attachment for simple,
rounded melodies reminiscent of folk music, which he explores via his more avant-garde style.[20] One of the most key of Ayler's
free jazz recordings is Spiritual Unity, including his often recorded and most famous composition, Ghosts, in which a simple
spiritual-like melody is gradually shifted and distorted through Ayler's unique improvisatory interpretation. Ultimately, Ayler serves
as an important example of many ways which free jazz could be interpreted, as he often strays into more tonal areas and melodies
while exploring the timbral and textural possibilities within his melodies. In this way, his free jazz is built upon both a progressive
[21]
attitude towards melody and timbre as well as a desire to examine and recontextualize the music of the past.

The work of Coleman, Taylor and Ayler firmly established the legitimacy of the free jazz movement. While much of the American
audience was reticent to approach this new style of jazz, it was quickly embraced by forward-thinking jazz artists, most notably John
Coltrane. Coltrane was a self-admitted admirer of Ornette Coleman and his innovative approach to improvisation and harmony. In a
1963 interview with Jazz Magazine, Coltrane said of Coleman:

Yeah, well, I feel indebted to him [Coleman], myself. Because actually, when he came along, I was so far in this thing
[the "harmonic structures"], I didn't know where I was going to go next. And, I didn't know if I would have thought
about just abandoning the chord system or not. I probably wouldn't have thought of that at all. And he came along
doing it, and I heard it, I said, "Well, that - that must be the answer."[22]

While Coltrane's desire to explore the limits of solo improvisation and the possibilities of innovative form and structure was evident
in records like A Love Supreme, his work owed more to the tradition of modal jazz and post-bop. But with the recording of Ascension
in 1965, Coltrane demonstrated his appreciation for the new wave of free jazz innovators.[23] Ascension saw Coltrane augmenting his
classic quartet with six additional horn players, including notable free jazz artists Archie Shepp and Pharoah Sanders.[24] Formally,
the composition includes free-form solo improvisation interspersed with sections of collective improvisation reminiscent of
Coleman's Free Jazz. The piece sees Coltrane exploring the timbral possibilities of his instrument, using over-blowing to achieve
multiphonic tones. Coltrane continued to explore the avant-garde in his following compositions, including such albums as Om, Kulu
Se Mama, and Meditations, as well as collaborating with notable free jazz artists such asJohn Tchicai.[25][26]

Much of Sun Ra's music could be classified as free jazz, especially his work from the 1960s, although Sun Ra said repeatedly that his
music was written and boasted that what he wrote sounded more free than what "the freedom boys" played.[27] Music by Sun Ra,
especially The Heliocentric Worlds of Sun Ra (1965), was, in fact, steeped in what could be referred to as a new black mysticism.[9]
But Sun Ra's penchant for nonconformity aside, he was along with Coleman andaylor
T an integral voice to the formation of new jazz
styles during the 1960s. As evidenced by his compositions on the 1956 record Sounds of Joy, Sun Ra's early work employed a typical
bop style. But he soon foreshadowed the free jazz movements with compositions like "A Call for All Demons" off of the 1955-57
record Angels and Demons at Play, which combines atonal improvisation with Latin-inspired mambo percussion. His period of fully
realized free jazz experimentation began in 1965, with the release of The Heliocentric Worlds of Sun Ra and The Magic City. These
records placed a musical emphasis ontimbre and texture over meter and harmony, employing a wide variety of electronic instruments
and innovative percussion instruments, including the electricceleste, Hammond B-3, bass marimba, harp, and timpani. As result, Sun
Ra proved to be one of the first free jazz artists to explore the possibilities of electronic instrumentation, as well as displaying an
interest in timbral possibilities through his use of progressive and unconventional
instrumentation in his compositions.[28]

Some of bassist Charles Mingus' work was also important in establishing free jazz.
Of particular note are his earlyAtlantic Records albums, such as The Clown, Tijuana
Moods, and most notably Pithecanthropus Erectus, the title song of which contained
one section that was freely improvised in a style unrelated to the song's melody or
chordal structure. His contributions were primarily in his efforts to bring back the
importance of collective improvisation in a music scene that had become dominated
by solo improvisation (as a result of the development of the big band). His music did
reflect the ideas of freedom, but also looked back, drawing upon bop and even swing
styles.[9]
Sun Ra in 1992
Since the mid-1950s, saxophonist Jackie McLean had been exploring a concept he
called "The Big Room", where the often strict rules of bebop could be loosened or
abandoned at will. Similarly, Cecil Taylor, the most prominent free jazz pianist,
began stretching the bop boundaries as early as 1956.

The Jimmy Giuffre Trio (with Paul Bley and Steve Swallow) received little attention
during their original incarnation from 1960 to 1962, but afterwards were regarded as
one of the most innovative free jazz ensembles.

Eric Dolphy's work with Charles Mingus, John Coltrane, and Chico Hamilton, along
with his solo work, helped to set the stage for free jazz in the music community
.

In Chicago, many of the musicians in AACM and its ensemble the Art Ensemble of
Chicago worked seriously in the 'free jazz' forms, including Muhal Richard Abrams,
Malachi Favors, and Famoudou Don Moye

In Europe, free jazz first flowered through the experiments of expatriate Jamaican
alto saxophonist Joe Harriott. Beginning in the late 1950s, he worked on his own
distinctive concept of what he termed free form. These explorations were parallel to
Coleman's in many respects but Harriott's work was barely known outside England. Charles Mingus in 1976

Beginning in the mid-1960s, players such as guitarist Derek Bailey, saxophonists

Peter Brötzmann and Evan Parker and drummer John Stevens developed an idiom that came to be called f"ree improvisation". It drew
sustenance from free jazz while moving much further from jazz tradition (often drawing equally on contemporary composers such as
Anton Webern and John Cage for inspiration). Also based in Europe, Steve Lacy worked with free improvisation, but had greater
connections to the New York musical scene.

Free jazz also strove to incorporate the sounds and intents of music from other cultures. Coltrane experimented with the music of
India, while Archie Shepp, Clifford Thornton, and Pharoah Sanders were heavily influenced by musics of North and West Africa.
During the 1960s and 1970s, the musicians were heavily influenced by the political ideas of Malcolm X, Bobby Seale, Angela Davis,
and other black community leaders.

Free jazz has primarily been an instrumental genre. However, Jeanne Lee was a notable free jazz vocalist; others such as Jayne
Cortez, Sheila Jordan, Linda Sharrock, and Patty Waters also made notable contributions to the genre.

Much of the multi-instrumentalist Anthony Braxton's music could be classified as free jazz. His Ghost Trance Music, which
introduces a steady pulse to his music, also allows the simultaneous performance of any piece by the performers. Braxton has
recorded with many of the free jazz musicians, including Ornette Coleman and European free improvisers such as Derek Bailey
, Evan
Parker, and the Globe Unity Orchestra.
The 1960s lay the foundation for free jazz, but by the 1970s, the setting for the jazz avant-garde was shifting. There was a large
migration of avant-garde and free jazz musicians to New York City, seeking new venues and audiences for their music. These new
arrivals, including musicians such as Arthur Blythe, James Newton, and Mark Dresser, marked the beginning of the Loft Era. As the
name may imply, musicians during this time would often perform in private homes and other unconventional spaces. During this
time, the status of free jazz became more complex, as many musicians sought to bring in various different genres into their works.
Free jazz no longer necessarily indicated the rejection of tonal melody, overarching harmonic structure, or metrical divide, as laid out
by Coleman, Coltrane, and Taylor. Instead, the free jazz techniques and aesthetic developed in the 1960s became just one of many
influences, including popular and world music, in this new strain ofloft jazz.[29]

By the 1980s the "downtown" scene replaced the previous decades's loft jazz scene as the center of activity for New York City avant-
garde and free jazz artists (especially as rents increased in what had been largely low-rent or undesirable neighborhoods), being
associated with places such as theKnitting Factory, which opened in 1987. A younger generation of players includingDavid S. Ware,
Matthew Shipp, William Parker and Joe Morris continued to play free jazz inspired by the ground-breaking work of the 1960s "New
Thing" era. Like other styles of jazz, free jazz also adopted elements of contemporary rock, funk, and pop music: Ornette Coleman
was a leader in this vein, embracing electric music with his 1970s band Prime Time, and a number of other players including James
Blood Ulmer, Sonny Sharrock, and Ronald Shannon Jacksonforged styles combining elements of free jazz andfusion.

George Russell, hailed as “the great pathbreaker” for encouraging the use of modes by free jazz composers and performers, was a
faculty member at the New England Conservatory. David Baker received two degrees from and later taught at Indiana University in
Bloomington, and also performed actively.[9] In many cases, musicians with these appointments were able to bring other artists onto
campus as instructors and performers; Thornton secured positions at Wesleyan University for Jimmy Garrison, Sam Rivers, and Ed
Blackwell, and brought Marion Brown to perform and - eventually - to study.

The 1981 documentary film Imagine the Sound explores free jazz through interviews with and performances by Archie Shepp, Paul
Bley, Cecil Taylor and Bill Dixon.

Many musicians are keeping the free jazz style alive in the 21st century. Two major scenes are based in New York and Chicago. In
New York, players include Charles Gayle, William Parker, Matana Roberts, Chad Taylor, John Zorn, Assif Tsahar, Tom Abbs, Kenny
Werner, and Chris Speed. In Chicago, notable performers are Fred Anderson (deceased 2010), Nicole Mitchell, Ernest Dawkins, Ken
Vandermark, and Hamid Drake. There are also many free-jazz musicians in Europe.

Legacy
Writers Paul Tanner, Maurice Gerow, and David Megill have suggested that

the freer aspects of jazz, at least, have reduced the freedom acquired in the sixties. Most successful recording artists
today construct their works in this way: beginning with a strain with which listeners can relate, following with an
entirely free portion, and then returning to the recognizable strain. The pattern may occur several times in a long
selection, giving listeners pivotal points to cling to. At this time, listeners accept this – they can recognize the
selection while also appreciating the freedom of the player in other portions. Players, meanwhile, are tending toward
retaining a key center for the seemingly free parts. It is as if the musician has learned that entire freedom is not an
[30]
answer to expression, that the player needs boundaries, bases, from which to explore.

Tanner, Gerow and Megill name Miles Davis, Cecil Taylor, John Klemmer, Keith Jarrett, Chick Corea, Pharoah Sanders, McCoy
Tyner, Alice Coltrane, Wayne Shorter, Anthony Braxton, Don Cherry, and Sun Ra as musicians who have employed this
approach.[30]

Keith Johnson of AllMusic describes a "Modern Creative" genre, in which "musicians may incorporate free playing into structured
modes -- or play just about anything."[1] Johnson includes John Zorn, Henry Kaiser, Eugene Chadbourne, Tim Berne, Bill Frisell,
Steve Lacy, Cecil Taylor, Ornette Coleman, and Ray Anderson in this genre, which continues "the tradition of the '50s to '60s free-
jazz mode".[1]
Other media
Canadian artist Stan Douglas uses free jazz as a direct response to complex attitudes
towards African-American music. Exhibited at documenta 9 in 1992, his video
installation Hors-champs (meaning "off-screen") addresses the political context of
free jazz in the 1960s, as an extension of black consciousness[31] and is one of his
few works to directly address race.[32] Four American musicians, George Lewis
(trombone), Douglas Ewart (saxophone), Kent Carter (bass) and Oliver Johnson
(drums) who lived in France during the free jazz period in the 1960s, improvise
Miles Davis
Albert Ayler's 1965 composition "Spirits Rejoice."[33]

New York Eye and Ear Control is Canadian artist Michael Snow's 1964 film with a
soundtrack of group improvisations recorded by an augmented version of Albert Ayler's group and released as the album New York
Eye and Ear Control.[34] Critics have compared the album with the key free jazz recordings: Ornette Coleman's Free Jazz: A
Collective Improvisation and John Coltrane's Ascension. John Litweiler regards it favourably in comparison because of its "free
motion of tempo (often slow, usually fast); of ensemble density (players enter and depart at will); of linear movement".[35] Ekkehard
Jost places it in the same company and comments on "extraordinarily intensive give-and-take by the musicians" and "a breadth of
variation and differentiation on all musical levels".[36]

French artist Jean-Max Albert, as trumpet player[37][38] of Henri Texier’s first quintet, participated in the 60s in one of the very first
expressions of free jazz in France. As a painter, he then experimented plastic transpositions of Ornette Coleman’s approach. Free
jazz, painted in 1973, used architectural structures in correspondence to the classical chords of standard harmonies
confronted with an
unrestrained all over painted improvisation.[39] Jean-Max Albert still explores the free jazz lessons, collaborating with pianist
François Tusques in experimental films : Birth of Free Jazz, Don Cherry… these topics considered through a pleasant and poetic
way.[40]

In the world
Outside of North America, free jazz scenes have become established in Europe and Japan. Alongside the aforementioned Joe
Harriott, saxophonists Peter Brötzmann, Evan Parker, trombonist Conny Bauer, guitarist Derek Bailey, pianist Fred Van Hove,
drummer Han Bennink, saxophonist and bass clarinetist Willem Breuker, and pianist Misha Mengelberg were among the most well-
known early European free jazz performers. European free jazz can generally be seen as approaching free improvisation, with an ever
more distant relationship to jazz tradition. Specifically Brötzmann has had a significant impact on the free jazz players of the United
States.

A relatively active free jazz scene behind the iron curtain produced musicians like
Janusz Muniak, Tomasz Stańko, Zbigniew Seifert, Vladimir Chekasin, Vyacheslav
Ganelin and Vladimir Tarasov. Japanese guitarist Masayuki Takayanagi and
saxophonist Kaoru Abe, among others, took free jazz in another direction,
approaching the energy levels of noise. Some international jazz musicians have
come to North America and become immersed in free jazz, most notably Ivo
Perelman from Brazil and Gato Barbieri of Argentina (this influence is more evident
Tomasz Stańko
in Barbieri's early work).

South African artists, including early Dollar Brand, Zim Ngqawana, Carlo
Mombelli, Chris McGregor, Louis Moholo, and Dudu Pukwana experimented with a form of free jazz (and often big-band free jazz)
that fused experimental improvisation with African rhythms and melodies. American musicians like Don Cherry, John Coltrane,
Milford Graves, and Pharoah Sanders integrated elements of the music of Africa, India, and the Middle East for a sort of World
music-influenced free jazz.

Notes
 1. Johnson, Keith. "Modern Creative" (https://www.allmusic.com/explore/st
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2. "A Fireside Chat with Marc Ribot"(http://www.allaboutjazz.com/php/articl
e.php?id=1165). All About Jazz. Accessed 2013-01-28.
3. Robinson, J. Bradford (2002).978-1561592845, ed. "Free Jazz" in The
New Grove Dictionary of Jazz(2nd ed.). New York: Grove's Dictionaries
Inc. pp. 848–849. ISBN 978-1561592845.
4. Litweiler (1984) page 158 Dollar Brand
5. The Cambridge Companion to Jazz(2002) ed. David Horne and Mervyn
Cooke, page 207
6. Litweiler (1984), pages 276-7
7. Jost, Ekkehard (1974).Studies in Jazz Research 4: Free Jazz.
Universal Edition.
8. Litweiler, John (1984). The Freedom Principle: Jazz After 1958. Da
Capo. ISBN 0-306-80377-1.
9. Southern, Eileen (1997). The Music of Black Americans: A History
, Third
Edition. New York, New York: W.W. Norton & Company, Inc. pp. 494–
497. ISBN 0-393-97141-4.
10. Gioia, Ted (2011). The History of Jazz. Oxford: Oxford University Press.
pp. 309–310.
11. Gioia (2011) pp. 310-311
12. Anderson, Iain (2007).This is Our Music: Free Jazz, the Sixties, and
American Culture. Philadelphia: University of Pennsylvania Press. p. 62.
13. Shipton, Alyn (2001). A New History of Jazz. London: Continuum
International Publishing Group. p. 780.
14. Gioia, (2011), pp. 314-315
15. Shipton, (2001), p. 792
16. Allen, Jim. "Encyclopedia of Jazz Musicians"(https://web.archive.org/we
b/20140701141201/http://www.jazz.com/encyclopedia/taylor-cecil).
Taylor, Cecil. Jazz.com. Archived fromthe original (http://www.jazz.com/
encyclopedia/taylor-cecil)on 2014-07-01. Retrieved 2014-04-22.
17. Allen, "Cecil Taylor."
18. Gioia, (2011), pp. 319-320.
19. Shipton, (2001), p. 794.
20. Shipton, (2001), pp. 795-796
21. Kernfeld, Barry. "Ayler, Albert" (http://0-www.oxfordmusiconline.com.dew
ey2.library.denison.edu/subscriber/article/grove/music/J019600). The
New Grove Dictionary of Jazz. Oxford University Press. Retrieved
20 April 2014.
22. Quersin, Benoit (1998). "La Passe Dangereuse (1963)".In Carl
Woideck. The John Coltrane Companion: Five Decades of Commentary
.
New York: Schirmer Books. p. 123.ISBN 978-0028647906.
23. Anderson, (2007), p. 114.
24. Gioia, (2011), p. 322
25. Gioia, (2011), 322.
26. Shipton, (2001), 797.
27. Berendt, Joachim-Ernst; Huesmann, Günther (2009).The Jazz Book:
From Ragtime to the 21st Century. Lawrence Hill Books,Chicago
Review Press. p. 28.
28. Kernfield, Barry. "Sun Ra" (http://0-www.oxfordmusiconline.com.dewey2.
library.denison.edu/subscriber/article/grove/music/J434800). Grove
Music Online. Oxford University Press. Retrieved 21 April 2014.
29. DeVeaux, Scott (2009). Jazz. New York: W.W. Norton & Company.
pp. 431–432. ISBN 978-0-393-97880-3.
30. Tanner, Paul O. W.; Maurice Gerow; David W. Megill (1988) [1964].
"Free Form — Avant Garde". Jazz (6th ed.). Dubuque, IA: William C.
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32. Milroy, "These artists know how to rock", p. R7
33. Gale, "Stan Douglas: Evening and others", p. 363
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Capo.
36. Jost, Ekkehard (1975).Free Jazz (Studies in Jazz Research 4).
Universal Edition.
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Comolli et André Clergeat. Éditions Robert Laf font, coll. "Bouquins",
1994
38. Sklower, Jedediah (2006). Free Jazz, la catastrophe féconde.Page 147
Une histoire du monde éclaté du jazz en France (1960-1982). Collection
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39. Jean-Max Albert, Peinture, ACAPA, Angoulême, 1982
40. Clifford Allen, The New York City Jazz Record p10, June 2011

References
Anderson, Iain (2007).This Is Our Music: Free Jazz, the Sixties, ad American Culture . Philadelphia: University of
Pennsylvania Press. ISBN 978-0812220032.
Gioia, Ted (2011). The History of Jazz. Oxford: Oxford University Press. pp. 309–325.ISBN 978-0195399707.
DeVeaux, Scott and Gary Giddins. (2009)Jazz. New York: W. W. Norton and Company. ISBN 978-0393068610
Jost, Ekkehard (1974).Free Jazz. Studies in Jazz Research 4. Graz: Universal Edition.ISBN 3-7024-0013-3.
Litweiler, John (1984). The Freedom Principle: Jazz After 1958. New York: Da Capo Press. ISBN 0-306-80377-1.
Rivelli, Pauline, and Robert Levin (eds.) (1979).Giants of Black Music. New York: Da Capo Press. Articles from Jazz
& Pop Magazine. Reprint of the 1970 edition, New York: World Publishing Co.
Shipton, Alyn (2001). A New History of Jazz. London: Continuum. pp. 773–802.ISBN 978-0826429728.
Sinclair, John; Robert Levin (1971).Music & Politics. New York: World Publishing Co.
Sklower, Jedediah (2006). Free Jazz, la catastrophe féconde. Une histoire du monde éclaté du jazz en France
(1960-1982). Collection logiques sociales. Paris: Harmattan.ISBN 2-296-01440-2.
Such, David Glen (1993).Avant-Garde Jazz Musicians: Performing "Out There". Iowa City: University Of Iowa Press.
ISBN 0-87745-432-9 (cloth) ISBN 0-87745-435-3 (pbk.).
Szwed, John F. (2000). Jazz 101: A Complete Guide to Learning and Loving Jazz . New York: Hyperion. ISBN 0-
7868-8496-7.
Woideck, Carl, ed. (1998).The John Coltrane Companion: Five Decades of Commentary . New York: Schirmer
Books. ISBN 978-0028647906.

External links
The Real Godfathers of Punkby Billy Bob Hargus (July 1996).

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