Free Jazz : A Research and Information Guide 2017051499, 9781138232679, 9781315311777

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FREE JAZZ Free Jazz: A Research and Information Guide offers carefully selected and annotated sources on free jazz, with comprehensive coverage of English-language academic books, journal articles, and dissertations, and selective coverage of trade books, popular periodicals, documentary films, scores, Masters’ theses, online texts, and materials in other languages. Free Jazz will be a major reference tool for students, faculty, librarians, artists, scholars, critics, and serious fans navigating this literature. Jeff Schwartz is a reference librarian at the Santa Monica Public Library and a working bassist.

ROUTLEDGE MUSIC BIBLIOGRAPHIES RECENT TITLES COMPOSERS Isaac Albéniz, 2nd Edition (2015) Walter A. Clark William Alwyn (2013) John C. Dressler Samuel Barber, 2nd Edition (2012) Wayne C. Wentzel

Paul Hindemith, 2nd Edition (2009) Stephen Luttmann

GENRES

Gustav Holst (2011) Mary Christison Huismann

Blues, Funk, R&B, Soul, Hip Hop, and Rap (2010) Eddie S. Meadows

Charles Ives, 2nd Edition (2010) Gayle Sherwood Magee Quincy Jones (2014) Clarence Bernard Henry

Béla Bartók, 3rd Edition (2011) Elliott Antokoletz and Paolo Susanni

Franz Liszt, 3rd Edition (2009) Michael Saffle

Vincenzo Bellini, 2nd Edition (2009) Stephen A. Willier

Alma Mahler and Her Contemporaries (2017) Susan M. Filler

Alban Berg, 2nd Edition (2009) Bryan R. Simms Leonard Bernstein, 2nd Edition (2015) Paul R. Laird and Hsun Lin Johannes Brahms, 2nd Edition (2011) Heather Platt William Byrd, 3rd Edition (2012) Richard Turbet John Cage (2017) Sara Haefeli Frédéric Chopin, 2nd Edition (2015) William Smialek and Maja Trochimczyk

Bohuslav Martinů (2014) Robert Simon Felix Mendelssohn Bartholdy, 2nd Edition (2011) John Michael Cooper with Angela R. Mace Olivier Messiaen, 2nd Edition (2017) Vincent P. Benitez Claudio Monteverdi (2018) Susan Lewis and Maria Virginia Acuña Nikolay Andreevich RimskyKorsakov, 2nd Edition (2015) Gerald R. Seaman

Miles Davis (2017) Clarence Henry

Gioachino Rossini, 2nd Edition (2010) Denise P. Gallo

Edward Elgar, 2nd Edition (2013) Christopher Kent

Ralph Vaughan Williams (2016) Ryan Ross

Gabriel Fauré, 2nd Edition (2011) Edward R. Phillips

Giuseppe Verdi, 2nd Edition (2012) Gregory W. Harwood

Alberto Ginastera (2011) Deborah Schwartz-Kates

Richard Wagner, 2nd Edition (2010) Michael Saffle

Fanny Hensel (2018) Laura K.T. Stokes

Anton Webern (2017) Darin Hoskisson

Chamber Music, 3rd Edition (2010) John H. Baron Choral Music, 2nd Edition (2011) Avery T. Sharp and James Michael Floyd Church and Worship Music in the United States, 2nd Edition (2017) Avery T. Sharp and James Michael Floyd Ethnomusicology, 2nd Edition (2013) Jennifer C. Post Free Jazz (2018) Jeff Schwartz The Madrigal (2012) Susan Lewis Hammond The Musical, 2nd Edition (2011) William A. Everett North American Fiddle Music (2011) Drew Beisswenger Piano Pedagogy (2009) Gilles Comeau Popular Music Theory and Analysis (2017) Thomas Robinson The Recorder, 3rd Edition (2012) Richard Griscom and David Lasocki String Quartets, 2nd Edition (2011) Mara E. Parker Women in Music, 2nd Edition (2011) Karin Pendle and Melinda Boyd

FREE JAZZ A Research and Information Guide

Jeff Schwartz

ROUTLEDGE MUSIC BIBLIOGRAPHIES

First published 2018 by Routledge 711 Third Avenue, New York, NY 10017 and by Routledge 2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business © 2018 Taylor & Francis The right of Jeff Schwartz to be identified as author of this work has been asserted by him in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging-in-Publication Data Names: Schwartz, Jeff, author. Title: Free jazz: a research and information guide/Jeff Schwartz. Other titles: Routledge music bibliographies. Description: New York ; London: Routledge, 2018. | Series: Routledge music bibliographies Identifiers: LCCN 2017051499 | ISBN 9781138232679 (hardback) Subjects: LCSH: Free jazz—Bibliography. Classification: LCC ML128.J3 S39 2018 | DDC 016.78165/5—dc23 LC record available at https://lccn.loc.gov/2017051499 ISBN: 978-1-138-23267-9 (hbk) ISBN: 978-1-315-31177-7(ebk) Typeset in Minion by Apex CoVantage, LLC

Contents Acknowledgments

xvi

Introduction

xvii

Working Towards a Working Definition xvii Organization and Scope xix 1

General and Topical Works

1

General Works 1 Bibliographies 7 Discographies 7 Interviews 7 Photography 11 Essay Collections 12 Topical Works 13 Composition 13 Business and Economics 16 Gender and Sexuality 18 Historiography and Metacriticism 20 Improvisation 22 Instruments and Instrumental Technique 25 Literature 28 Musical Analysis 29 Pedagogy 31 Philosophy, Religion, and Critical/Cultural/Literary Theory 32 Race and Politics 34 Rock 38 Science 38 Visual Arts 38 World Music 39 2

Pioneers and Predecessors

41

General Works 41 Artists 44 Bley, Paul 44 Coleman, Ornette 46 Coltrane, John 59 v

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Contents

Giuffre, Jimmy 68 Harriott, Joe 69 Mingus, Charles 70 Monk, Thelonious 70 Ra, Sun, and the Members of the Arkestra 71 Taylor, Cecil 79 Tristano, Lennie, Lee Konitz, and Warne Marsh 85 3

New York 1—the New Thing General Works 86 The October Revolution and Jazz Composers Guild Labels 96 Blue Note 96 ESP-Disk 97 Impulse 98 Artists 98 Ali, Rashied 98 Allen, Byron 99 Altschul, Barry 99 Ayler, Albert 100 Baraka, Amiri [LeRoi Jones] 103 Barbieri, Gato 104 Berger, Karl 104 Blackwell, Ed 105 Bley, Carla 106 Brown, Marion 108 Burrell, Dave 110 Charles, Denis [Dennis] 110 Cherry, Don 111 Coltrane, Alice 113 Cyrille, Andrew 114 Dixon, Bill 115 Dolphy, Eric 120 Donald, Barbara 122 Doyle, Arthur 122 Gale [Stevens], Eddie 123 Graves, Milford 123 Greene, Burton 125 Grimes, Henry 125 Haden, Charlie 127 Harris, Beaver 130 Howard, Noah 131 Kenyatta, Robin 131

86 95

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Lacy, Steve 131 Lancaster, Byard 135 Lasha, Prince [Lawsha] 135 Lee, Jeanne 135 Logan, Giuseppi 136 Lowe, Frank 136 Lyons, Jimmy 137 Maupin, Bennie 137 McBee, Cecil 137 McPhee, Joe 137 Moffett, Charles 139 Moncur, Grachan, III 139 Murray, Sunny 139 Neidlinger, Buell 140 The New York Art Quartet 141 Peacock, Annette 142 Peacock, Gary 142 Phillips, Barre 143 Pozar, Cleve [Robert] 143 Pullen, Don 143 Redman, Dewey 144 Rivers, Sam 144 Robinson, Perry 147 Rudd, Roswell 147 Sanders, Pharoah 149 Sharrock, Linda 151 Sharrock, Sonny 151 Shepp, Archie 152 Silva, Alan 156 Simmons, Sonny 157 Smith, Frank 157 Tchicai, John 158 Thornton, Clifford 159 Tyler, Charles 159 Waters, Patty 159 Watts, Marzette 159 Wilson, Bert 160 4

Chicago, St. Louis, Los Angeles, and Other US Scenes Boston 161 General Works 161 Artists 161 Fewell, Garrison 161

161

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Contents

Kohlhase, Charlie 162 Maneri, Joe 162 Maneri, Mat 162 Morris, Joe 162 Chicago 163 General Works 163 The AACM 164 Labels 167 Artists 168 Abrams, Muhal Richard 168 Air 168 Anderson, Fred 168 Anderson, Ray 170 Aoki, Tatsu 170 The Art Ensemble of Chicago 170 Barker, Thurman 173 Bishop, Jeb 173 Bowie, Lester 174 Braxton, Anthony 175 DeJohnette, Jack 183 Drake, Hamid 183 Ewart, Douglas 183 Favors, Malachi 184 Hopkins, Fred 184 Jarman, Joseph 184 Jenkins, Leroy 185 Lewis, George 186 Mazurek, Rob 190 McCall, Steve 190 McIntyre, Kalaparusha Maurice 190 Mitchell, Nicole 191 Mitchell, Roscoe 192 Moye, Don 194 Parker, Jeff 194 Reed, Mike 194 Reid, Tomeka 195 Roebke, Jason 195 Rudolph, Adam 195 Russell, Hal 197 Sirota, Ted 197 Smith, Wadada Leo 197 Taylor, Chad 201

Contents

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Threadgill, Henry 201 Vandermark, Ken 204 Zerang, Michael 205 Colorado 205 Detroit 205 Los Angeles and Southern California 206 General Works 206 Venues 207 Artists 208 Blythe, Arthur 208 Bradford, Bobby 208 Carter, John 209 Cline, Nels 210 Golia, Vinny 211 Kaiser, Jeff 213 Miranda, Roberto 213 Newton, James 213 Preston, Don 215 Tapscott, Horace 215 Vlatkovich, Michael 217 New Haven 217 General Works 217 Artists 218 akLaff, Pheeroan 218 Bynum, Taylor Ho 218 Davis, Anthony 218 Fonda, Joe 219 Helias, Mark 220 Hemingway, Gerry 220 Jackson, Michael Gregory 221 Pavone, Mario 221 New Orleans 221 Fiedler, Alvin 221 Jordan, Kidd 222 Pacific Northwest 222 Philadelphia 222 Dickerson, Walt 223 Ellerbee, Charles 223 Jamal, Khan 223 Tacuma, Jamaaladeen 223 Weston, Grant Calvin 224 Wright, Jack 224

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Contents

Zankel, Bobby 224 San Francisco Bay Area 224 General Works 224 AsianImprov 225 Artists 227 Ackamoor, Idris, and the Pyramids 227 Ackley, Bruce 227 Apfelbaum, Peter 227 Brown, Anthony 227 Cooke, India 227 Eneidi, Marco 228 Goldberg, Ben 228 Jang, Jon 229 Kavee, Elliot Humberto 229 Ochs, Larry 229 Raskin, Jon 229 Robair, Gino 229 ROVA Saxophone Quartet 230 Spearman, Glenn 231 Wong, Francis 232 St. Louis 232 General Works 232 Artists 232 Bluiett, Hamiet 232 Bowie, Joseph 233 Carroll, Baikida 233 Emery, James 233 Hemphill, Julius 233 Lake, Oliver 235 Leflore, Floyd 236 Lindberg, John 236 Wadad, Abdul 237 Texas 237 5

International General Works 238 Argentina 241 Australia 241 Austria 242 Belgium 242 Canada 243 General and Topical Works

238

243

Contents

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Artists 244 Cooke, Coat 244 Grdina, Gordon 244 Greenwich, Sonny 245 Heward, John 245 Houle, François 245 Jackson, D. D. 245 Lee, Peggy 245 Plimley, Paul 246 Samworth, Ron 246 van der Schyff, Dylan 246 Eastern Europe 246 England 247 General Works 247 Artists 251 Bailey, Derek 251 Bevan, Tony 254 Butcher, John 254 Coxhill, Lol 254 Dean, Elton 255 Dunmall, Paul 255 Fell, Simon H. 255 Guy, Barry 256 Lytton, Paul 257 Oxley, Tony 257 Parker, Evan 258 Riley, Howard 261 Rutherford, Paul 262 Stevens, John 262 Tippett, Julie 263 Tippett, Keith 263 Turner, Roger 263 Watts, Trevor 263 Wheeler, Kenny 264 Windo, Gary 264 France 265 General Works 265 Artists 267 Boni, Raymond 267 Coursil, Jacques 267 Jaume, André 267 Johnson, Oliver 267

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Contents

Léandre, Joëlle 268 Ninh, Lê Quan 269 Germany 269 General Works 269 Free Music Productions 271 Artists 272 Brötzmann, Peter 272 Dörner, Axel 274 Fuchs, Wolfgang 274 Graewe, Georg 274 Hampel, Gunter 274 Koch, Hans 275 Kowald, Peter 275 Kühn, Joachim 276 Lovens, Paul 276 Mangelsdorff, Albert 277 Petrowsky, Ernst-Ludwig 278 Schlippenbach, Alexander von 278 Schweizer, Irène 279 Italy 280 General Works 280 Artists 280 Centazzo, Andrea 280 Gaslini, Giorgio 281 Italian Instabile Orchestra 282 Schiaffini, Giancarlo 282 Schiano, Mario 282 Trovesi, Gianluigi 282 Japan 282 General Works 282 Artists 283 Fujii, Satoko 283 Kondo, Toshinori 283 Sakata, Akira 283 Takayanagi, Masayuka 284 Yoshihide, Otomo 284 The Netherlands 284 General Works 284 Artists 285 Baars, Ab 285 Bennink, Han 286 Breuker, Willem 286

Contents

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Delius, Tobias 287 Gortner, Arjen 287 Hazevoet, Kees 287 Honsinger, Tristan 287 Mengelberg, Misha, and the ICP Orchestra 288 Moore, Michael 291 Oliver, Mary 291 Reijseger, Ernst 291 Wierbos, Wolter 291 Russia/The Soviet Union 291 Scandinavia 292 General Works 292 Artists 292 Gjerstad, Frode 292 Gustafsson, Mats 293 Nilssen-Love, Paal 293 Nordeson, Kjell 293 Vinkeloe, Biggi 293 South Africa 294 General Works 294 McGregor, Chris, the Blue Notes, and the Brotherhood of Breath 294 Moholo, Louis 295 6

New York 2—Loft Jazz, Downtown, and Beyond General Works 296 The Creative Music Studio 303 The New York Musicians Organization 304 Radical Jewish Culture 304 The Vision Festival and Sound Unity Festival 305 Venues 306 Artists 307 Abdullah, Ahmed 307 Bang, Billy 307 Baron, Joey 307 Bendian, Gregg 308 Bergman, Borah 308 Berne, Tim 309 Bisio, Michael 311 Brackeen, Charles 311 Brown, Rob 311 Campbell, Roy 311 Carter, Daniel 312

296

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Contents

Chadbourne, Eugene 312 Chancey, Vincent 312 Christi, Ellen 313 Cole, Bill 313 Cooper, Jerome 313 Cooper-Moore 314 Cortez, Jayne 314 Crispell, Marilyn 314 Cross, Earl 316 Dara, Olu 316 Douglas, Dave 317 Dresser, Mark 318 Duval, Dominic 320 Ehrlich, Marty 320 Eisenbeil, Bruce 321 Fasteau, Kali Z. 321 Fefer, Avram 321 Finn, James 322 Frisell, Bill 322 Futterman, Joel 322 Gayle, Charles 323 Giardullo, Joe 324 Grassi, Lou 324 Greene, Hilliard 324 Halvorson, Mary 324 Harris, Craig 325 Haynes, Phil 326 Ho, Fred 326 Holland, Dave 328 Horvitz, Wayne 328 Hwang, Jason Kao 328 Ibarra, Susie 329 Jackson, Ronald Shannon 329 Kelsey, Chris 330 Knuffke, Kirk 330 Last Exit 331 Lavelle, Matt 331 Malaby, Tony 331 Malik, Raphé 331 Maroney, Denman 332 Mateen, Sabir 332 Melford, Myra 332

Contents

xv

Moondoc, Jemeel 333 Morris, Lawrence “Butch” 333 Morris, Wilber 335 Muñoz, Tisziji 335 Murray, David 336 Murray, Diedre 338 Nix, Bern 339 Norton, Kevin 339 Old and New Dreams 339 Parker, William 339 Ragin, Hugh 343 Revis, Eric 343 The Revolutionary Ensemble 343 Ribot, Marc 343 Robertson, Herb 345 Rosen, Jay 346 Rothenberg, Ned 346 Schlicht, Ursel 347 Shipp, Matthew 347 Smith, Michael 349 Smith, Warren 349 Smoker, Paul 349 Stewart, Bob 349 The String Trio of New York 349 Swell, Steve 350 Test 350 Trio 3 350 Ulmer, James “Blood” 350 Ware, David S. 351 Whitecage, Mark 353 The World Saxophone Quartet 353 Zorn, John 354 Author Index

359

Subject Index

373

Acknowledgments Christopher Brennan at UCLA, Alex Post at Mills College, Elizabeth Parang at Pepperdine, Andrea Centazzo, Matthew Duerstein, Jim Fox, Jonathon Grasse, Sara Haefeli, Charles Sharp, and Sean Sonderegger all assisted with this project. I thank them and am especially grateful to my mother-in-law Roberta Pressman for her hospitality on my Bay Area visits, my brother Jay Schwartz for his notes on the introduction, and my wife Leah Pressman for everything.

xvi

Introduction

WORKING TOWARDS A WORKING DEFINITION Free Jazz is the title of an Ornette Coleman album recorded in late 1960. Beyond this fact, the meaning of the phrase is unclear. Coleman did not intend it to describe the type of music he played. It acquired that meaning only gradually. For example, the New York Times did not use it to describe a musical style or genre until 1968. However, as part of Coleman’s series of albums with manifesto-like titles including The Shape of Jazz to Come, Tomorrow is the Question, Change of the Century, and This is Our Music—released in a decade which included the Freedom Riders, Free Speech Movement, free love, free Huey, free Angela, decolonization, women’s liberation, Black Power, Chicano Power, the American Indian Movement, gay liberation, and others—it seems an appropriate label for music which took an open approach to harmony, rhythm, and other structural elements and which often aligned creative and political freedom and self-determination. The principal innovation of Coleman’s music on these albums could be described as “free jazz” as a parallel to “free verse.” Nearly all previous jazz had been based on cyclic song forms, whether the 12 bar blues, the 32 bar AABA of “I’ve Got Rhythm,” or the similar forms of other American Songbook tunes and original compositions. In all these cases, the improvisations are played over a repeating harmonic sequence, usually that of the opening melody. In Coleman’s groups, however, the soloists could improvise in any direction they wished, with bass and drums in support and dialogue while not following a composed form. They often developed motifs or moods from the themes and referred to conventional models such as blues and “Rhythm” changes without being bound by them. Rhythmically, Coleman’s groups more often than not used the 4/4 swing of previous jazz, with walking bass and a time pattern on the ride cymbal, but took license to slow down, speed up, move the bar line, drop beats, and play independently of one another, all serious transgressions in mainstream jazz.

xvii

xviii

Introduction

Coleman’s music had such a strong impact at the dawn of the 1960s that he became the axis of free jazz: other free form playing was understood in relation to his. Preceding work by Lennie Tristano, Jimmy Giuffre, Shelly Manne, Chico Hamilton, Sun Ra, and others was characterized as anticipating Coleman, while contemporaries such as Joe Harriott were seen as cases of parallel evolution and subsequent free improvisation as the result of his influence. While artists in many genres find categorization inaccurate or limiting, the term “free jazz” is particularly problematic. This has made defining the scope of this volume challenging. While Coleman represented a liberation of musical form, there is also music identified with free jazz which contains extensive composed material or which is improvised based on elaborate new methods and structures. Freedom per se is not the defining quality or aesthetic ideal of free jazz, although there are certainly artists committed to totally improvised music. There are also significant bodies of freely improvised music which are not free jazz. David Toop’s recent Into the Maelstrom (27) gathers many of them into its narrative, including those growing from composed music, live electronics, visual and performance art, and rock. Artists from these categories often collaborate with those more identified with jazz, thus Pauline Oliveros, Fred Frith, Christian Marclay, and others will make passing appearances in these pages. Defining musical freedom presents its own problems. Approaching it as freedom from established practices risks creating a linear Modernist narrative of progress towards increasing complexity or abstraction, parallel to the standard history of Western classical music from Gregorian chant to atonality. In the context of free jazz, this can risk devaluing elements of the music associated with its identity as jazz and its accompanying African-American roots—swing, blues, individual solos, etc.—in favor of an non-referential collectivism indistinguishable from non-jazz experimental music. Conceiving of musical freedom instead as a postmodernist “freedom to,” as Joe Morris describes in Perpetual Frontier: The Properties of Free Music (17), authorizes free jazz artists from Archie Shepp and the Art Ensemble of Chicago to Alexander von Schlippenbach and John Zorn to employ any material they wish, from non-Western instrumentation to pastiches of earlier jazz styles to elements of Modernist composition to original invented systems, as well as open improvisation. The term “jazz” has its own issues. Every new style in jazz, whether Louis Armstrong’s introduction of the soloist and rhythm section format in place of ensemble polyphony or the rise of smooth jazz, has been denounced as a betrayal of the genre. Free jazz musicians have dealt with this critique in a variety of ways, including insisting that their music was legitimately jazz; asserting that jazz had always incorporated experimentation; criticizing the “jazz” label as vulgar, commercial, and racially loaded; identifying with other categories such as “experimental music;” inventing their own such as “Great Black Music” or “creative music;” citing Duke Ellington’s claim to be “beyond category” to argue that the “jazz tradition” had no boundaries or may have never really existed; and so on. For the purposes of this book, I am approaching free jazz as a set of communities, networks, and institutions, including clubs, concert series, festivals and other venues, magazines, websites and other publications, record labels, stores, distributors, and social, business, and creative relationships among musicians—in short, all the elements which define a scene. Howard Becker dubbed this configuration an “art world” in his sociology of contemporary visual art, an idea applied to jazz by Paul Lopes in his aptly titled The Jazz Art World. Whether or not all the performers at the Vision Festival or the members of the AACM describe their work as “free jazz” and whether or not it has obvious free jazz musical elements, they are part of the scenes which I will call “free jazz.” The expression “making the scene” captures the performativity of scenes: the participants create, define, and maintain individual and collective identities by their practices of artistic community. These affiliations are more significant than

Introduction

xix

specific musical characteristics. For example, although Archie Shepp has recorded far more common practice interpretations of jazz standards than original pieces or open improvisations and Wayne Shorter often performs set-length improvisations that refer to his compositions only briefly and obliquely, Shepp’s career and creative identity have been defined and maintained through the free jazz art world while Shorter’s have not. Gluck makes a similar argument regarding Miles Davis’ late 1960s band and the music of the AACM and Musica Elettronica Viva in his recent The Miles Davis Lost Quintet and Other Revolutionary Ensembles (1941). As Alexander Hawkins has observed (68) we are now farther in time from Coleman’s Free Jazz and other key documents of this music than those sessions were from the very first recorded jazz. There is no set of unambiguous musical or social criteria to limit this study. The innovations of free jazz have spread widely over the last 50 years, affecting both non-jazz musics, such as Captain Beefheart and Flying Lotus, the jazz mainstream, such as Wayne Shorter and Joe Lovano, and “freedom to,” after several generations of influence and reinterpretation has yielded an impossibly large and diverse assortment of work.

ORGANIZATION AND SCOPE After the first section, which includes general works grouped by form (discographies, interview collections, photography, etc.) and topics, this book is organized essentially by scenes, moving chronologically from Coleman’s precursors to the present. Artists appear where they made their first major work. For example, David Murray is listed in 1970s New York even though he is from California. This arrangement, combined with the collaborative nature of this music and the unruliness of its literature, will make using the indexes essential. After chapter one’s general and topical works, chapter two is centered on Coleman and the artists who experimented with free playing before him or in parallel. Chapter three covers the New York-based musicians who emulated and expanded Coleman’s innovations in the 1960s. Chapter four deals with developments in other US cities, chapter five those in other countries. Chapter six returns to New York for the loft and Downtown movements, which, as a synthesis, constitute the current core of the music. I have concentrated on books, journal articles, and dissertations in English. Coverage of Master’s theses, commercial periodicals, videos, websites, and non-English language items is more selective. Materials not available in libraries or shops in the United States or online have generally not been included. Sound recordings are listed only when accompanied by very substantial liner notes or other documentary materials; this is not a discography. Album and concert reviews are included only when they are by artists or have been exceptionally influential. I have chosen to prioritize materials incorporating artists’ voices, following the argument by Eric Porter (21, 22) and others that musicians, particularly African-American musicians, have been underrepresented as authorities on this music. I am almost certain that the reader of this book will be sitting in a research library, probably an academic one, likely a dedicated music library. Thus, you will have ready access to your library’s catalog, WorldCat, multiple academic and popular periodicals databases, and hopefully also ProQuest’s Dissertations and Theses Database or a similar product, but I have also included URLs for materials which are open access online. John Gray’s Fire Music: A Bibliography of the New Jazz, 1959–1990 (31) has excellent coverage of periodicals before the era of widespread digitization, so many items listed there will elude database searches. In the interest of completeness, titles of particular importance in

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Introduction

Gray also appear here, but I have not attempted to continue his comprehensive coverage of popular magazines and newspapers. I have also been more selective for materials included in Fire Music than newer ones. For example, I have perused every issue of Downbeat, The Wire, and Coda published since 1990 but have relied on citations in Fire Music and other works to select articles to examine from earlier years. This book is more of a sequel to Fire Music than a replacement. Fire Music predates the rise of the World Wide Web and of academic institutions such as the International Institute for Critical Studies in Improvisation at Guelph University, the Center for Jazz Studies at Columbia, the International Society for Improvised Music, and the journals Critical Studies in Improvisation, Jazz Perspectives, Current Research in Jazz, Epistrophy, and Jazz Research Journal, so it represents different modes of discourse than this book, as well as a different era. Since 1990 distinctions between scholars, performers, and critics have blurred, as many more musicians now have academic backgrounds incorporating theoretical, historical, and critical writing and commercial media have cut back arts coverage. In addition to consulting Fire Music, I encourage you to supplement my work with the Jazzinstitut Darmstadt’s Jazz Index (32), which includes thorough listings of album and concert reviews and European publications, unlike this book. The Jazz Index is not directly accessible, but sections will be sent free on request. See www.jazzinstitut.de/jazz-index/While an increasing number of free jazz musicians have found academic employment, bringing free jazz into jazz studies, musicology, and other disciplines, for most of its existence it has been at the margins and interstices of the academy. Thus, a significant amount of the serious writing on free jazz has appeared in non-academic or interdisciplinary sources. A major purpose of this book is to make these materials more accessible. Because free jazz has had limited academic recognition and even more limited commercial success but strong DIY and self-publishing aspects, there are many fan and artist-produced texts which may not be covered in the reviewing sources and selection workflows of most libraries. I also hope this research guide will be useful to music librarians for retrospective collection development and will draw attention to the need for preservation and digitization. Despite living in a major city with multiple research universities, I have found it challenging to access complete runs of many magazines. Marion Brown’s Master’s thesis (645) exists in a single copy which was not eligible for Interlibrary Loan, which was disappointing, while the sole existing library copy of Geri Allen’s thesis (733) was sent to me via Interlibrary Loan, which made me very anxious. There is also only one copy of Bill Dixon’s L’Opera (712) in a library, and there were only four of Wadada Leo Smith’s Notes (8 Pieces) (1288) before its 2015 reprinting. These people are among the great artists of our time; we can care for their work better.

1 General and Topical Works

GENERAL WORKS 1.

Anderson, Iain. This is Our Music: Free Jazz, the Sixties, and American Culture. Philadelphia: U of PA P, 2007. 254 p. Critical history of the superstructure of free jazz, tracing the formation of a jazz establishment in the 1950s, then the challenges that Cecil Taylor, Ornette Coleman, John Coltrane, and their advocates presented to its musical postulates, those Archie Shepp, Albert Ayler, Sun Ra, Pharaoh Sanders, and their advocates presented to its organizational ones, and intersections of these challenges with Civil Rights and Black liberation movements. Subsequent chapters discuss Black nationalism and the music, centered on LeRoi Jones and the Black Arts theater, attempts to organize alternative performance situations, particularly by the Jazz Composers Guild and AACM, and to remove the music from market pressures through academic and nonprofit support.

2.

Backus, Rob. Fire Music: A Political History of Jazz. Chicago: Vanguard, 1976. vii, 104  p. Primarily quotations, largely drawn from Downbeat, presenting a narrative of Black music as radical critique, culminating in free jazz. Archie Shepp is the dominant voice, with Cecil Taylor, Bill Dixon, Ornette Coleman, and Horace Tapscott also prominent. Particular attention is given to exploitation by club owners and record companies and to musicians’ collectives and independent labels as responses. While each musician has their own experience and analysis, Backus’ general framework is Marxist, understanding African-America and the Black Belt of the South in particular as internal colonies.

3.

Bakriges, Christopher G. African American Musical Avant-Gardism. Ph.D. dissertation. North York, Ontario: York U, 2001. xiii, 421 p. www.collectionscanada.gc.ca/ obj/s4/f2/dsk4/etd/NQ67904.PDF 1

2

General and Topical Works

Discusses the coding of the bebop-era vanguard as “hot” and “cool,” then applies Poggioli’s theory of the avant-garde to African-American creative music, before considering specific examples: the October Revolution and Jazz Composers’ Guild, then the music and texts of George Russell, Yusef Lateef, Leo Smith, Marion Brown, Glenn Spearman, and William Parker. Bill Dixon runs through both sets of examples and his collaboration with Judith Dunn receives its own chapter. Bakriges concludes with the European reception of the music, African-American artists becoming expatriates, European independent labels becoming the major recording outlet for African-American creative music, and European musicians developing their own improvisational art music, with the Dutch his example. Original interviews were conducted in person and by mail with Brown, Dixon, Lateef, Parker, Russell, and Spearmann, as well as with Roswell Rudd, Archie Shepp, Cecil Taylor, and John Tchicai. 4.

Borgo, David. “Negotiating Freedom: Values and Practices in Contemporary Improvised Music.” Black Music Research Journal. 22:2 (2002). 165–88. The concurrent emergence of free jazz and of open forms in European composed music are traced in parallel for assumptions about freedom. George Lewis’ Afrological/Eurological division is applied and tested, and a number of major issues, including the value of recordings of free improvisations, the relevance of criticism, and the role of gender, are presented in what is, in large part, a literature review of theoretical work.

5.

Carles, Philippe, and Alexandre Pierrepont, eds. Polyfree: La Jazzosphère, et Ailleurs (1970–2015). Paris: Éditions Outre Mesure, 2016. 352 p. Steve Lacy’s description of his work as “polyfree” frames an anthology on the expansion and decentering of jazz after the 1960s. There are four groups of articles. The first explores jazz’s intersections with “traditional musics” (meaning non-Western) “contemporary musics” (extensions of the European notated tradition), electronics, rap, and rock. The second focuses on various American scenes and artists, and the third scenes outside the US. Items from these two sections are listed separately (702, 1063, 1333, 1740, 1743, 1832, 1850). The final group of essays is topical: collective improvisation, photography, genre, nonidiomatic improvisation, silence, percussion, vocalists, the status of women in the music, and jazz education in France. A timeline and selected bibliography and discography are included. All texts are in French.

6.

Cerchiari, Luca, ed. Il Jazz Degli Anni Settanta. Milano: Gammalibri, 1980. 260 p. Italian-langauge survey of 1970s jazz, with articles surveying the 1970s recordings of Anthony Braxton, “The American Avant-Garde,” which includes Ornette Coleman, Don Cherry, Sam Rivers, Gato Barbieri, Steve Lacy, Archie Shepp,—the members of the AACM and BAG, and David Murray and Arthur Blythe, and European free improvisers. There is also an article on Italy, consisting of interviews with Giorgio Gaslini and Black Saint/Soul Note Records head Giovanni Bonandrini and several chapters not dealing with free jazz.

7.

Corbett, John. A Listener’s Guide to Free Improvisation. Chicago: U of Chicago P, 2016. xvii, 172 p. Advice for newcomers, organized in part as a field guide, such as birders might use, this text can also challenge fans and artists to approach the music differently and serves as a statement of Corbett’s aesthetics. He addresses interaction, form, duration,

General and Topical Works

3

musical vocabulary, and the social experience of venues, and includes lists of recommended albums, books, and performers. 8.

Delcourt, Maxime. Free Jazz. Marseille: Le Mot et le Reste, 2016. 279 p. An introduction focused on the French and American scenes, with an introductory essay followed by artist entries arranged chronologically from Charles Mingus and Cecil Taylor to Colin Stetson and Kamasi Washington. Each includes a career overview and lists of recommended recordings. In French.

9.

Giddins, Gary, and Scott DeVeaux. Jazz. New York: Norton, 2009. xx, 553 p. Jazz history textbook featuring play-by-play accounts of selected pieces, with descriptions of musical events with timing and structural markers to guide listeners, such as “0:30, first solo chorus, bass begins walking.” For free jazz, it discusses the first section of Coltrane’s “A Love Supreme,” Coleman’s “Lonely Woman,” Cecil Taylor’s “Bulbs” and “Willisau Concert, Part 3,” Albert Ayler’s “Ghosts,” David Murray’s “El Matador,” Anthony Braxton’s “Composition 58,” and Ronald Shannon Jackson’s version of “Now’s the Time.”

10.

Heister, Hanns-Werner. Musik Aktuell: Analysen, Beispele, Kommentare. Vol. 5: Jazz. Basel: Bärenreiter Kassel, 1983. 120 p. Jazz survey text with musical examples, concluding with Ornette Coleman’s Free Jazz (the analysis here is largely drawn from 162) and Charlie Haden’s Liberation Music Orchestra (with two of the source themes provided in their original versions). In German.

11.

Hodier, André. “Free Jazz.” The World of Music. 10:3 (1968). 20–29. Hodier sees free jazz as defined by the break with standard repertoire: popular songs or original compositions which emulated their forms. He looks in vain for an artist who can transcend the negation of old structures and values.

12.

Jarrett, Michael. Pressed for All Time: Producing the Great Jazz Albums from Louis Armstrong and Billie Holiday to Miles Davis and Diana Krall. Chapel Hill: U of NC P, 2016. xxiv, 303 p. Primarily based on interviews with recording engineers, producers, and other industry figures, as well as artists, this selective survey of jazz recordings includes a significant number of free jazz albums by Ornette Coleman, Cecil Taylor, Eric Dolphy, Pharoah Sanders, Archie Shepp, Albert Ayler, the Art Ensemble of Chicago, Sam Rivers, Sun Ra, Dave Holland, Anthony Braxton, Alice Coltrane, Charlie Haden, James “Blood” Ulmer, Henry Threadgill, Wayne Horvitz, Lawrence “Butch” Morris, Bobby Previte, Ronald Shannon Jackson, Hal Russell, Bern Nix, Evan Parker, Paul Bley, Barre Phillips, Marilyn Crispell, the Italian Instabile Orchestra, the Ganelin Trio, and Arcana (a Bill Laswell project including Sanders and Byard Lancaster, among many others). Anecdotes range from a paragraph to several pages per album.

13.

Jenkins, Todd S. Free Jazz and Free Improvisation: An Encyclopedia. 2 vols. Westport, CT: Greenwood P, 2004. lxxxv, 468 p. Composed primarily of biographical entries ranging from a few sentences to a dozen pages, also covering ensembles, record labels, collectives, festivals, venues, and concepts. Entries are unsourced and are primarily commentary on selected recordings.

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General and Topical Works

An introduction, two prefatory essays, and a chronology provide historical and musicological context for the encyclopedic portion. 14.

Klopotek, Felix. How They Do It: Free Jazz, Improvisation und Niemandsmusik. Mainz: Ventil, 2002. 221 p. The free jazz section includes a brief theoretical preface and essays on Cecil Taylor, Fred Anderson, Hamid Drake, Milford Graves, Charles Gayle, Peter Brötzmann, and Franz Hautzinger; the postserialism one pieces on AMM and Keith Rowe, and one entitled “Guitar Renaissance” an interview of Derek Bailey plus profiles of Eugene Chadbourne and Olaf Rupp. In German.

15.

Litweiler, John. The Freedom Principle: Jazz After 1958. New York: Quill, 1984. 324 p. History of free jazz with chapters on Ornette Coleman, Eric Dolphy, John Coltrane, Miles Davis, Sun Ra, Albert Ayler, the AACM, Cecil Taylor, fusion, and European improvisation. Each primarily describes selected albums, framed by biographical and historical material from journalistic sources and original interviews.

16.

Martin, Henry. Enjoying Jazz. New York: Schirmer, 1986. xv. 302 p. Introductory textbook with historical and music theory chapters prefacing annotations of key recordings, from Louis Armstrong to Herbie Hancock’s Headhunters. Free jazz is represented by Ornette Coleman’s “Lonely Woman” and Cecil Taylor’s “Enter Evening,” with an excerpt from the leader’s solo on each transcribed and briefly analyzed.

17.

Morris, Joe. Perpetual Frontier: The Properties of Free Music. Stony Creek, CT: Riti, 2012. 180 p. Partially a manifesto and partially selections from the lecture notes/syllabus/outline for Morris’ courses on the history, theory, and practice of free music, it moves from the general to the specific: an abstract introduction, then a map of issues addressed in free musics (pulse, interaction, form, etc.); followed by studies of four major approaches: Unit Structures (Cecil Taylor), Harmolodics (Ornette Coleman), TriAxiom Theory (Anthony Braxton), and European Free Improvisation; and concluding with answers to a questionnaire from fifteen improvisers, including Marilyn Crispell, Charles Downs, Simon H. Fell, Mary Halvorson, Joe McPhee, Nicole Mitchell, William Parker, Jamie Saft, Matthew Shipp, Ken Vandermark, and others.

18.

Nicholson, Stuart. Jazz: The 1980s Resurgence. New York: Da Capo, 1995. ix, 402 p. A record guide organized by subgenre. The chapter “Wither Freedom?” groups artists around their mentors: Ornette Coleman’s cluster includes Don Cherry, Dewey Redman, Bobby Bradford and John Carter, James “Blood” Ulmer, and Ronald Shannon Jackson, Cecil Taylor’s Marilyn Crispell and Steve Lacy, and Coltrane’s Archie Shepp and Pharoah Sanders. The AACM and BAG share a category, incorporating Henry Threadgill with and without Air, Anthony Braxton, Chico Freeman, the Art Ensemble of Chicago, and Lester Bowie solo. Arthur Blythe fits into this group through his association with Horace Tapscott’s UGMAA collective, and Bob Stewart because of his work with Blythe. David Murray is his own category, as is the World Saxophone Quartet, which subsumes listings for the other members’ solo work. Finally, “Compositional Experiments” heads entries for Anthony Davis, James Newton, Billy Bang, and others. A later chapter, “Village Voices and Downtown Sounds,” includes Tim

General and Topical Works

5

Berne, Herb Robertson, Wayne Horvitz, Bobby Previte, Bill Frisell, and John Zorn under the heading “Freebop and Beyond.” Each entry describes the artist’s major 1980s albums and other projects. 19.

Nisenson, Eric. Blue: The Murder of Jazz. New York: St. Martin’s, 1997. x, 262 p. A narrative of the rise and fall of jazz, with the latter attributed to the racial exclusivity of ’60s radicals, the rise of rock, pop, and R & B, jazz artists selling out to those genres, and primarily the racial essentialism and cultural conservatism of Wynton Marsalis, Stanley Crouch, and Albert Murray, institutionalized in Jazz at Lincoln Center. In this story, John Coltrane is the apex of the music’s power, integrity, and appeal, but, since Nisenson has already devoted a book to him (370), here Sun Ra and Miles Davis’ Bitches Brew represent the omnivorous and innovative music stifled by the neoconservatives.

20.

Pierrepont, Alexandre. Le Champ Jazzistique. Marseille: Parenthèses, 2002. 184 p. Formally experimental history of jazz in which a historical narrative is interrupted by catalogs of artists, record labels, musicians’ collectives, and other lists of names, clusters of quotations from musicians and philosophers, and meditations inspired by particular albums, mostly in the avant-garde/free jazz continuum, including David S. Ware’s Earthquation, Bill Dixon’s Intents and Purposes, William Parker’s Anast in Crisis Mouth Full of Fresh Cut Flowers, and others. In French.

21.

Porter, Eric. “Out of the Blue”: Black Creative Musicians and the Challenge of Jazz, 1940–1995. Ph.D. dissertation. Ann Arbor: U of MI, 1997. x, 333 p. Argues that jazz musicians have been unacknowledged as critical theorists of the music via a series of examples. The fourth chapter, on the Black Arts movement, looks at intellectual exchanges between writers and musicians, particularly Amiri Baraka and Archie Shepp, and the roles of collectives including the AACM, UGMAA, CBA, and BAG, while his fifth examines Marion Brown (640), Leo Smith (1288), and Anthony Braxton’s (1129) self-published books as interventions into critical discourse on their work and as part of their creative practice, including interpreting their albums Afternoon of a Georgia Faun, Geechee Recollections, and Sweet Earth Flying (Brown), Creative Music-1, Reflectativity, Ahkreanvention, and Divine Love (Smith), and Creative Orchestra Music 1976 (Braxton) in light of their contemporaneous writing.

22.

Porter, Eric. What is This Thing Called Jazz? African American Musicians as Artists, Critics, and Activists. Berkeley: U of CA P, 2002. xxi, 440 p. Revision of 21, retaining the same organization, focus, and examples, with the most significant additions in the concluding chapter on Wynton Marsalis.

23.

Roth, Alan, dir. Inside Out in the Open: An Expressionist Journey into the Music Known as Free Jazz. DVD video. 60 min. New York: ESP-Disk, 2008 Documentary combining excerpts from interviews with Marion Brown, Baikida Carroll, Daniel Carter, Burton Greene, Susie Ibarra, Joseph Jarman, William Parker, Roswell Rudd, Matthew Shipp, Alan Silva, and John Tchicai with performance footage from the 1997 and 1998 Vision Festivals and other shows by the interview subjects in ensembles with Peter Brötzmann, Thomas Borgmann, Denis Charles, Roy Campbell Jr., Assif Tsahar, Rashied Bakr, and others.

6

24.

General and Topical Works

Sportis, Yves. Free Jazz. Paris: Editions de l’Instant, 1990. 121 p. Short, generously illustrated French introduction, consisting half of a narrative placing the music in the context of bebop, African-American politics, and New York City, and tracing its development from Mingus, Coltrane, and Coleman through Ayler, Shepp, Sanders, the AACM, and BAG to the present, and half of a selected discography, bibliography, and videography.

25.

Surgal, Tom, dir. Fire Music: A History of the Free Jazz Revolution. Video. New York: Submarine Films, forthcoming. Combining archival and new performance and interview footage. A crowdfunding campaign was completed in 2015 but completion has been delayed, with 15 minutes of a rough cut released to backers in Sept. 2017.

26.

Toop, David. Ocean of Sound: Aether Talk, Ambient Sound, and Imaginary Worlds. London: Serpent’s Tail, 1995. 256 p. Impressionistic and peripatetic exploration of the ambient, atmospheric, exotic, and immersive in music. Includes a chapter on Sun Ra and shorter appearances by AMM, Don Cherry, Ornette Coleman, Alice Coltrane, Lennie Tristano, and Wadada Leo Smith, among many other non-free jazz artists.

27.

Toop, David. Into the Maelstrom: Music, Improvisation and the Dream of Freedom, Before 1970. New York: Bloomsbury, 2016. 330 p. Quirky personal account of some of the musical streams which arrived at free improvisation in the mid-20th century and crossed to generate current scenes. As a secondgeneration British free player himself, Toop features his countrymen AMM, Evan Parker, Derek Bailey, John Stevens, Steve Beresford, John Butcher, and Joe Harriott, but Lennie Tristano, Sun Ra, Jimmy Giuffre, Ornette Coleman, Eric Dolphy, Albert Ayler, Paul Bley, Don Ellis, the NYAQ, AACM, MEV, Dada, Fluxus, Yoko Ono, Edgard Varèse’s 1957 experiments with jazz musicians, Pauline Oliveros, Group Ongaku, Jean Dubuffet, and many others weave through this multidirectional narrative.

28.

Vandermark, Ken. “Free Jazz, Genre and Style.” In Arcana VIII: Musicians on Music. ed. John Zorn. New York: Hip’s Road, 2017. 323–338. The Art Ensemble of Chicago’s 1970 album Les Stances a Sophie, which includes material stretching from R&B to free improvisation to adaptations of Monteverdi, is discussed as representing a second generation of free jazz. The first is from Ornette Coleman’s New York debut to John Coltrane’s death, while the second was no longer centered in New York, defined by Coleman’s break with song form, or dominated by Coltrane’s example, but instead included the eclecticism and experimentalism of the AACM, SME, ICP, etc. This lasted through the 1970s, before the rise of Neoconservatism (Marsalis/Crouch/Burns) and postmodernism (John Zorn).

29.

Wilson, Peter Niklas. “Klänge Wie Ein Maschinengewehr: Free Jazz—Vom Skandalon Zum Historischen Stil.” Neue Zeitschrift Für Musik . 161:3 (2000). 42–49. Starts with the “scandal” of Ornette Coleman’s Atlantic recordings, quoting classic negative reviews, then traces free jazz’s development into a “historical style” through convergences with avant-garde composition such as Penderecki’s “Actions,” written for the Globe Unity Orchestra, Bernd Alois Zimmerman’s collaboration with Manfred Schoof, improviser-friendly work by Earle Brown, and the emergence of groups

General and Topical Works

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such as AMM and MEV, and performers including Anthony Braxton, Evan Parker, Alexander von Schlippenbach, and Peter Kowald, whose work was post-free jazz. He also briefly acknowledges that free jazz works such as Ascension have become objects of re-creation. In German. 30.

Wolbert, Klaus, ed. That’s Jazz, Der Sound Des 20. Jahrhunderts: Eine Ausstellung Der Stadt Darmstadt. Darmstadt: Die Stadt, 1988. xv, 720 p. Ekkehard Jost represents free jazz in this large illustrated German-language jazz history survey, writing both an article on US free jazz in the general section and one on the European jazz “emancipation.” Free jazz is also a significant presence in the sections on British jazz and “world music,” and the Downtown group of John Zorn, Bill Laswell, et al, appear under “fusion.”

Bibliographies 31.

Gray, John. Fire Music: A Bibliography of the New Jazz, 1959–1990. New York: Greenwood P, 1991. xviii, 515 p. Over 7000 listings, with a foreword by Val Wilmer, an introduction by Gray, a chronology connecting free jazz to world events, and indexes by artist, author, and topic. There are sections for general works, nations and regions, collectives, and the loft scene, then the majority is entries for individual artists.

32.

Jazzinstitut Darmstadt. Jazz Index. Database. www.jazzinstitut.de/jazz-index/ The Jazzinsitut has one of the world’s largest and most thorough collections of publications on jazz. As of 2014 it was 60% indexed. While their database is not on the Internet, they will provide search results on request via email at no charge.

Discographies 33.

Rød, Johannes. Free Jazz and Improvisation on Vinyl 1965–1985: A Guide to 60 Independent Labels. Oslo: Rune Grammofon, 2014. 109 p. Checklists with catalog number, artist, title, and year of release for the relevant titles on each label, with label histories ranging from one paragraph to two pages and color plates of selected cover images. There is an epilogue on important albums not on the 60 listed labels, a forward by Mats Gustafsson on record collecting, and a concluding conversation between Rob Young and Rune Kristoffersen on larger trends in DIY jazz recording.

Interviews 34.

Belhomme, Guillaume, et al. Le Son du Grisli 12: 10 Years a Grisli. 2015. n.p. Special anniversary issue, including interviews with Ab Baars, Jacques Demierre, Axel Dörner, Peter Evans, Mats Gustafsson, Gunter Hampel, Fritz Hauser, Joëlle Léandre, Joe McPhee, Larry Ochs, Barre Phillips, Alexander von Schlippenbach, Ken Vandermark, Nate Wooley, and others, as well as an essay by Evan Parker on

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General and Topical Works

machines, notation, and improvisation (also at www.efi.group.shef.ac.uk/fulltext/ demotu.html). In French, English, and German. Download only. 35.

Broecking, Christian. Respekt! Die Geschichte der Fire Music. Berlin: Verberecher, 2011. 475 p. Compilation of interviews conducted for various magazines between 1994 and 2007 in three sections, each with an introductory essay. The first, “The Deconstruction of the Black Aesthetic,” concentrates on the innovations of the 1960s, including talks with Bill Dixon, Ornette Coleman, Archie Shepp, Roswell Rudd, Sam Rivers, William Parker, and others. The second, “After Slavery: Black Thought, White Strategy,” includes vocalists, poets, and critics: Amiri Baraka, Stanley Crouch, and Jayne Cortez among them. Finally, “Every Sound a Rescue Station,” has artists from the 1970s to the present: Marshall Allen, Fred Anderson, Billy Bang, Leroy Jenkins, George Lewis, Nicole Mitchell, Roscoe Mitchell, Butch Morris, David Murray, Dewey Redman, Sirone, Wadada Leo Smith, Tyshawn Sorey, and David S. Ware. Interviews average ten pages in length. All are in German.

36.

Crane, Jason. The Jazz Session. Podcast. 2007–present. http://thejazzsession.com Over 400 interviews with jazz musicians, usually progressive to avant-garde, including Barry Altschul, Ray Anderson, Peter Apfelbaum, Tim Berne, Anthony Brown, Taylor Ho Bynum, Marco Cappelli, Gerald Cleaver, Nels Cline, Cooper-Moore, Marilyn Crispell, Andrew Cyrille, and many more. Length ranges from 15 to 90 minutes but most are between 40 and 60.

37.

Cymerman, Jeremiah. The 5049 Podcast. Podcast. 2013–present. www.5049records. com/podcast/ Weekly interviews, mostly with musicians, mostly around the current Brooklyn scene and John Zorn’s venue, the Stone. Episodes are usually between 60 and 90 minutes and often focus on subjects’ experiences growing up and their emotional lives. Recent guests include Dave Douglas, Carl Testa, Tyshawn Sorey, and Fay Victor.

38.

Douglas, Dave. A Noise from the Deep: The Greenleaf Music Podcast. 2013–present. www.greenleafmusic.com/podcasts/ Conversations with musicians, often colleagues of Douglas’, usually with recorded musical examples, sometimes co-hosted by Michael Bates. Early episodes were close to 30 minutes and included multiple segments; more recent ones are longer with single in-depth interviews. Guests have included John Zorn, Henry Threadgill, Steve Swallow and Carla Bley, Mark Dresser, and many others.

39.

Fewell, Garrison. Outside Music, Inside Voices: Dialogues on Improvisation and the Spirit of Creative Music. Sommerville, MA: Saturn UP, 2014. 329 p. Fewell interviews musicians on spirituality and creativity, with some biographical material and digressions. His own practice of Soka Gakki International Buddhism, which is shared by some of his subjects, is a frequent theme, as is his battle with cancer. His interviewees include Ahmed Abdullah, Han Bennink, Dave Burrell, Roy Campbell Jr., Baikida Carroll, Marilyn Crispell, Steve Dalachinsky, Liberty Ellman, Milford Graves, Henry Grimes, Rosemarie Hertlein, Oliver Lake, Joëlle Léandre, Sabir Mateen, Joe McPhee, Myra Melford, Nicole Mitchell, William Parker, Irène Schweizer, Matthew Shipp, Wadada Leo Smith, Steve Swell, John Tchicai, and Henry Threadgill. Carroll, Dalachinsky, Grimes, and Swell also contribute poems.

General and Topical Works

40.

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Lock, Graham. Chasing the Vibration: Meetings with Creative Musicians. Devon, UK: Stride, 1994. 192 p. A collection of feature interviews, most conducted for The Wire in the late 1980s– early 1990s, including Marilyn Crispell, John Gilmore, Jimmy Giuffre, Steve Lacy, Chris McGregor, Sunny Murray, Evan Parker, Sun Ra, and Cecil Taylor.

41.

Mandel, Howard. Jazz Beyond Jazz: Miles, Ornette, Cecil. New York: Routledge, 2007. 292 p. Compiles decades of interviews into portraits of the three subjects. Mandel first meets Coleman in 1978, rehearsing the first edition of Prime Time, then they reunite to promote almost every subsequent album up to his final Sound Grammar, also speaking to his collaborators including Charlie Haden, Don Cherry, Dewey Redman, Bern Nix, Jamaaladeen Tacuma, and others. Mandel interviewed Taylor in 1984 and 1994 and, in 2000, had dinner with him and his sidemen Dominic Duval and Jackson Krall.

42.

Miessgang, Thomas. Semantics: Neue Musik Im Gespräch. Hofheim: Wolke, 1991. 220 p. German-language interview collection including conversations, most around five pages, with Maarten Altena, Derek Bailey, Steve Beresford, Peter Brötzmann, Lol Coxhill, Bill Dixon, Fred Frith, Steve Lacy, Arto Lindsay, Cecil Taylor, and John Zorn.

43.

Parker, William. Conversations II: Dialogues and Monologues. Book with CD. Paris: Rogue Art, 2015. xxxiii, 503 p. Long informal talks with Marshall Allen, Muhammad Ali, Tim Berne, Nathan Breedlove, Rob Brown, Andrew Cyrille, On Davis, Mark Dresser, Douglas Ewart, Mark Helias, Kidd Jordan, Kalaparusha, Jackson Krall, Giuseppi Logan, Jemeel Moondoc, Roswell Rudd, and Wadada Leo Smith, while Daniel Carter, Bill Cole, Jerome Cooper, Ernest Dawkins, Henry Grimes, William Hooker, Sabir Mateen, Lawrence “Butch” Morris, Steve Swell, and David S. Ware contribute texts ranging from poetry to memoir. Portfolios of musician photographs by Jacques Bisceglia and paintings by Jeff Schlanger are included, as is a CD of interview excerpts alternating with duo improvisations by Jordan and Parker.

44.

Peterson, Lloyd. Music and the Creative Spirit: Innovators in Jazz, Improvisation, and the Avant-Garde. Lanham, MD: Scarecrow, 2006. xvii, 333 p. Conversations with Fred Anderson, Derek Bailey, Joey Baron, Tim Berne, Peter Brötzmann, Marilyn Crispell, Dave Douglas, Hamid Drake, Mats Gustafsson, Barry Guy, Susie Ibarra, Steve Lacy, George Lewis, Myra Melford, David Murray, Paal Nilssen-Love, Evan Parker, William Parker, Wadada Leo Smith, Ken Vandermark, David S. Ware, and others, including a roundtable with members of the Brötzmann Tentet. They average ten pages and most are based on a consistent set of questions on creativity, improvisation, and spirituality.

45.

Philip, Radhika. Being Here: Conversations on Creating Music. New York: Radhio.org, 2013. xvi, 461 p. In-depth original interviews with progressive jazz musicians on their artistic process. Subjects most associated with free jazz and free improvisation include Dave Douglas, Bill Frisell, Vijay Iyer, Lawrence “Butch” Morris, William Parker, Henry Threadgill, and Kenny Wolleson.

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46.

Ratliff, Ben. The Jazz Ear: Conversations Over Music. New York: Henry Holt, 2008. xvii, 235 p. For a New York Times series, Ratliff inverted the “Blindfold Test” form, asking musicians to play him recordings of their choice and discuss them. Ornette Coleman chose cantor Josef Rosenblatt and Charlie Parker, then digressed, allowing Ratliff to DJ.

47.

Rusch, Bob. Jazz Talk: The Cadence Interviews. Secaucus, NJ: Lyle Stuart, 1984. 190 p. This selection of interviews from Cadence magazine includes long conversations with Cecil Taylor (501) and Sun Ra (451) and an especially extensive one with Bill Dixon. The Ra and Taylor interviews are wide-ranging but their early years and influences are covered best. Dixon, speaking in 1981 for his first interview since 1967, gives a thorough account of the Jazz Composers Guild, his collaborations with Archie Shepp, and his career as a whole.

48.

Sidran, Ben. Talking Jazz: An Oral History. New York: Da Capo, 1995. 508 p. Archie Shepp, Don Cherry, Carla Bley, and David Murray represent free jazz in this collection of interviews conducted for NPR in the 1980s. Shepp talks about growing up in Philadelphia, his friendships with Lee Morgan and John Coltrane, and developments in jazz from the 1950s on. Cherry covers his early years in Los Angeles and New York, mentioning Coltrane, Ornette Coleman, Steve Lacy, Scott LaFaro, Sonny Rollins, and Albert Ayler, as well as his own work in Sweden and Morocco. Bley also covers her background then talks primarily about her 1980s work as a composer and bandleader, while Murray focuses on his early influences and the World Saxophone Quartet.

49.

Taylor, Arthur. Notes and Tones: Musician-to-Musician Interviews. New York: Da Capo, 1993. 300 p. Bebop drummer Taylor interviews other musicians, eliciting more candid responses than journalists and other outsiders. Free jazz is represented by Ornette Coleman, interviewed in 1969, who discusses his early years in music, working with his son Denardo on drums, the music business, and sexuality, and by Don Cherry, interviewed in 1971. Leon Thomas only briefly mentions his collaborations with Pharoah Sanders, emphasizing his more recent, more mainstream work. Taylor asks many of his other subjects about free music, as well as about rock, drugs, Black nationalism, and other controversial topics in the jazz community.

50.

Vuijsje, Bert. De Nieuwe Jazz. Baarn: Bosch en Keuning, 1978. 224 p. Dutch interview collection, with sections dedicated to pioneers (Sonny Rollins, Max Roach, and Charles Mingus), the October Revolution (Cecil Taylor, Archie Shepp, Sun Ra, Milford Graves, Charlie Haden, and Sunny Murray), the heirs of John Coltrane (Pharoah Sanders, McCoy Tyner, Jimmy Lyons, and Sonny Sharrock), the Dutch scene (Willem Breuker, Misha Mengelberg, Han Bennink, and Leo Cuypers), and the “New New Yorkers” (Sam Rivers, Muhal Richard Abrams, Julius Hemphill, and David Murray). Each interview is approximately ten pages.

51.

Vuijsje, Bert. Jazzportretten. Amsterdam: Van Gennep, 1983. 143 p. Collection of interviews, in Dutch, including conversations with Maarten Altena, Phillip Wilson, and George Lewis.

General and Topical Works

52.

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Wilmer, Valerie. Jazz People. Indianapolis: Bobbs-Merrill, 1970. 167 p. Collection of late 1960s interview-based profiles including Cecil Taylor, Billy Higgins, and Archie Shepp. Each explains aspects of their music and speaks with some anger about the lack of artistic recognition and social progress they have observed over the decade.

53.

Wooley, Nate, ed. Sound American. 8. [n.d.]. http://soundamerican.org/sa_archive/ sa8/index.html The “What is Jazz?” issue includes conversations between Joe Morris and Ken Vandermark, Fred Frith and Kyle Bruckmann, Evan Parker and Dominic Lash, and Marilyn Crispell and Kris Davis, and attempted answers to the title question from Ab Baars, Tim Berne, John Butcher, Roy Campbell, Jr., Gerald Cleaver, Chris Corsano, Sylvie Courvoisier, Marty Ehrlich, Harris Eisenstadt, Satoko Fujii and Natsuki Tamura, Tomas Fujiwara, Mary Halvorson, Darius Jones, Ingrid Laubrock, Nicole Mitchell, Jeff Parker, Matana Roberts, Ned Rothenberg, Matthew Shipp, Josh Sinton, Ches Smith, and others.

Photography 54.

Baker, Stuart. Black Fire! New Spirits: Images of a Revolution. Radical Jazz in the USA 1960–75. London: Soul Jazz Records, 2014. 187 p. The scope of this photo book is defined by jazz’s relationship to the Civil Rights and Black Power movements of the 1950s–1970s, so free jazz artists appear alongside players in many styles. Large black and white and color photos are accompanied by short biographical and musical descriptions. Most of the artists associated with Impulse Records, the AACM, and BAG appear. There are no photo credits.

55.

Pinson, K. Heather. The Jazz Image: Seeing Music through Herman Leonard’s Photography. Jackson, MS: UP of MS, 2010. xii, 240 p. Uses Herman Leonard’s photographs to discuss the image of jazz: concepts of the music presented and negotiated visually on stage and on album covers, as well as verbally and musically. Includes dueling chapters on neoclassicism and the avant-garde, with the later featuring Ornette Coleman, Sun Ra, and the AACM.

56.

Smith, Bill. Imagine the Sound No. 5: The Book. Toronto: Nightwood, 1985. 196 p. Black and white photographs of musicians and personal and musical anecdotes from the editor of Coda magazine. One story features Albert Ayler, his 1966 London performances, and his music’s role in bringing together Smith, Stuart Broomer, and other Toronto free jazz fans. Another revolves around Anthony Braxton, who Smith brought to Toronto several times to perform. Through Braxton Smith meets Leo Smith and Dave Holland and visits the Creative Music Studio.

57.

Wild, David. Jazzpaths: An American Photomemento. London: Hyphen Press, 2011. 112 p. A jazz travelogue from 1966–1967, with Wild taking photos as he travels across the US. He documents notable free jazz performances by Archie Shepp (with Roswell Rudd), John Coltrane’s last quintet, the Roscoe Mitchell Quartet that made Lester

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Bowie’s Numbers 1 & 2, and a house show by Philip Wilson, Oliver Lake, and Julius Hemphill. 58.

Wilmer, Valerie. The Face of Black Music. New York: Da Capo, 1976. 118 p. Archie Shepp’s introduction argues for the unity of Black music, and Wilmer’s photographs include New Orleans, blues, pop, and mainstream jazz artists as well as the avant-garde. Those in the last category include Rashied Ali, Denis Charles, Andrew Cyrille, Milford Graves, Billy Higgins, Hakim Jami, Frank Lowe, Dudu Pukuwana, the Revolutionary Ensemble, Shepp, Cecil Taylor, Kenneth Terroade, and Ornette Coleman’s quartet with Dewey Redman, Charlie Haden, and Ed Blackwell. Comments from musicians accompany some photos; Blackwell’s are among the most substantial.

Essay Collections 59.

Berendt, Joachim Ernst. Ein Fenster Aus Jazz: Essays, Portraits, Reflexionen. Frankfurt am Main: Fischer Taschenbuch Verlag, 1978. 431 p. This German language collection includes an essay on “Sun Ra and his Black Cosmos,” a group of pieces on German jazz and the “Emanzipation” of European improvised music from jazz, with particular attention to Manfred Schoof ’s Heartplants, one on “Jazz and Modern Concert Music,” which covers work by Carla Bley, Barry Guy, and other composers associated with free jazz, and a concluding prediction: “What is Going On? Jazz of the Eighties and the End of the Avant-Garde.”

60.

Corbett, John. Extended Play: Sounding Off from John Cage to Dr. Funkenstein. Durham, NC: Duke UP, 1994. xii, 342 p. Selected popular and academic writing, most previously published, including “Brothers from Another Planet,” an Afro-Futurist text linking Lee “Scratch” Perry, Sun Ra, and George Clinton, and “Ex Uno Plura,” on Milford Graves and Evan Parker becoming-multiple in performance. There are also profiles of Hal Russell, Ed Wilkerson Jr., Franz Koglmann, Ra, Barry Guy and the London Jazz Composers Orchestra, Fred Anderson, and Von Freeman, and interviews of Ra, Steve Beresford, Evan Parker, Anthony Braxton, Derek Bailey, Peter Brötzmann, Han Bennink, and others.

61.

Corbett, John. Microgroove: Forays into Other Music. Durham, NC: Duke UP, 2015. xxi, 468 p. A sequel to 60. Free jazz content includes profiles of Fred Anderson, Anthony Braxton, Milford Graves, Guillermo Gregorio, Mats Gustafsson, Joe Harriott, Steve Lacy, George Lewis, Paul Lovens, Bernie McGann, Roscoe Mitchell, Sun Ra, John Stevens, Ken Vandermark, a road diary of the Brötzmann Tentet, a Deleuzian reading of Georg Gräwe, interviews with Fred Anderson and Von Freeman, Han Bennink, Carla Bley and Steve Swallow, Peter Brötzmann and Evan Parker, Ornette Coleman, Misha Mengelberg, Vandermark with Joe McPhee, and a conversation between Corbett and Gustafsson on record collecting. Most texts are previously published.

62.

Rivelli, Pauline and Robert Levin, eds. The Black Giants. New York: World Pub, 1970. 126 p. This selection of articles from Jazz & Pop includes Frank Kofsky on John Coltrane, John Carter and Bobby Bradford, and Horace Tapscott, David Hunt on the challenges

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of the new music for the jazz audience, Levin on Sunny Murray, Rivelli on Alice Coltrane, John Szwed on Byard Lancaster, Will Smith on the AACM, Nat Hentoff on Leon Thomas and Archie Shepp, and an unattributed interview of Pharoah Sanders. 63.

Tate, Greg. Flyboy in the Buttermilk: Essays on Contemporary America. New York: Simon and Schuster, 1992. 285 p. Selected cultural criticism, mostly from the Village Voice, including short poetic pieces on James “Blood” Ulmer and Cecil Taylor and an interview-based fashioncentered one on Ornette Coleman.

64.

Tate, Greg. Flyboy 2: The Greg Tate Reader. Durham, NC: Duke UP, 2017. 356 p. Collection of cultural criticism, including short pieces on John Coltrane, Lester Bowie, the Black Artists Group, Lawrence “Butch” Morris, Marion Brown, and many non-free jazz topics. The Bowie piece is a memorial, collecting tributes from Morris, Oliver Lake, Henry Threadgill, Don Moye, and others, while the one on Brown consists of short statements from him and his son Djinji.

65.

Taylor, Yuval, ed. The Future of Jazz. Chicago: A Cappella Books, 2002. ix, 241 p. Taylor assigned ten critics to write short essays on aspects of the music’s future then respond to each other’s. Free jazz is a recurring topic, first appearing in the responses to Peter Watrous’ opening essay on “the mainstream,” where K. Leander Williams, Greg Tate, John Szwed, Jim Macnie, Ben Ratliff, and Peter Margasak invoke artists from John Coltrane to Dave Douglas to Ken Vandermark to question what constitutes the mainstream jazz audience or musical common practice. Artists including Henry Threadgill and the Instant Composers Pool appear in the discussions of improvisation and composition and jazz repertory, while several critics invoke free jazz bandleaders including Peter Apfelbaum, James “Blood” Ulmer, and Pharoah Sanders to expand the scope of the fusion chapter. Greg Tate’s essay launches the free jazz chapter, summarizing the music’s roots and celebrating its richness and variety in a list of albums from Albert Ayler’s Spiritual Unity to Power Tools’ Strange Meeting. He concludes with the wish that this music could percolate further into the mainstream, fantasizing about its potential effects on young virtuosi.

66.

Wilson, Peter Niklas. Hear and Now: Gedanken Zur Improvisierten Musik. Hofheim: Wolke, 1999. 237 p. Includes essays on electronics, notation, education, reductionism, and the voice, as well as interviews and profiles of Derek Bailey, Evan Parker, AMM, Tony Oxley, Alexander von Schlippenbach, Misha Mengelberg, Paul Bley, Joe and Mat Maneri, and Ernst Reijseger. In German.

TOPICAL WORKS Composition 67.

Golinski, Krzysztof. Invented Languages: Composition for Improvising Musicians. M.F.A. thesis. Oakland: Mills College, 2012. 65 p. Peter Brötzmann’s Tentet, Ken Vandermark’s Territory Band, and various groups led by Fred Lonberg-Holm and Fred Frith are used as examples of organizing large group

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improvisation to contextualize Golinski’s own work. He also discusses his lessons with Roscoe Mitchell and includes excerpts from Mitchell’s scores of “The Maze” and “L.R.G.” 68.

Hawkins, Alexander. “Between the Lines.” The Wire. 400 (June 2017). 47–50. A fast-moving survey arguing that composition, of various sorts, has been essential to “free jazz,” citing Anthony Braxton, Cecil Taylor, Henry Threadgill, Nate Wooley, Steve Lehman, Matana Roberts, Roscoe Mitchell, Wadada Leo Smith, and many others, as well as Hawkins’ own experiences working with Louis Moholo. He also notes the significant academic careers of Braxton, Mitchell, Smith, and others such as George Lewis and Anthony Davis, and their students’ taking similar paths, such as Lehman, Nicole Mitchell, and Tyshawn Sorey.

69.

Hellhund, Herbert. “Third Stream: Zum Verhältnis eines Strittigen Begriffs un einer Missverständlichen Sache.” In Jazz Op. 3: Die Heimliche Liebe Des Jazz Zur Europäischen Moderne. ed. Ingrid Karl. Wien: Löcker, 1986. 37–61. Argues that the “third stream” idea of jazz/classical hybridity has been misunderstood because it has been too narrowly defined, looking only at music explicitly dubbed “third stream.” Casting a wider net, he brings in free jazz artists including Ornette Coleman, Cecil Taylor, and Anthony Braxton, and European free players including Georg Gräwe and Andrea Centazzo.

70.

Jost, Ekkehard. “Grenzgänger. Komposition und Improvisation im Niemandsland zwischen Jazz und Neur Musik.” Veröffentlichen des Instituts für Neue Musik und Musikerziehung, Darmstadt. Vol. 25. Musik Zwischen E Und U: Ein Prolog Und Sieben Kongressbeiträge. ed. Ekkehard Jost. Mainz: Schott, 1984. 54–69. Jost’s survey of the “frontier workers” in the “no man’s land” between jazz and new music includes composers Bernd Alois Zimmerman, Hans Joachim Hespos, Mauricio Kagel, Krzysztof Penderecki, and Hans Werner Henze, who all wrote pieces in the late 1960s using European free players Gunter Hampel, Manfred Schoof, Peter Brötzmann, and the Globe Unity Orchestra. He also covers jazz musicians crossing in the other direction: notably members of the AACM and Barry Guy, and concludes with a nod to the free improvisation scenes exemplified by Company and the Feminist Improvising Group as a new generation, less indebted to either category.

71.

Jost, Ekkehard. “Typen Jazzmusikalischer Komposition.” in Jazz und Komposition. ed. Wolfram Knauer. Darmstädter Beiträge zur Jazzforschung. 2 (1992). 127–140. Notes toward a taxonomy of jazz compositions after free jazz, including collective improvisation (with or without planned solos or subgroup sections, such as Coleman’s Free Jazz and Coltrane’s Ascension), riff-based pieces, music about music (including homage, parody, and pastiche), Cecil Taylor’s use of dictation and letter notation, graphic notation (exemplified by Alexander von Schlippenbach’s “Sun”), and Wolfgang Dauner’s “New Action Shot,” which includes passages of pitches in free rhythm and of rhythms notated without set pitches. In German.

72.

Kumpf, Hans. Postserielle Musik und Free Jazz: Wechselwirkungen und Parallelen: Berichte, Analysen, Werkstattgespräche. Herrenberg: Musikverlag G.F. Döring, 1976. 186 p. Surveys numerous intersections of the jazz and classical avant-gardes, from the third stream to free jazz musicians’ use of large ensembles, string sections, and

General and Topical Works

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electronics to classical composers’ use of walking bass, indeterminacy, and improvisation. Examples of text and graphic notation across genres are also explored. The Globe Unity Orchestra, Anthony Braxton, and Michel Portal are discussed at length. Score excerpts from Misha Mengelberg, Steve Lacy, Alexander von Schlippenbach, and Manfred Schoof are appended. 73.

Mandel, Howard. “Chasing Their Muse.” Downbeat. Apr. 2005. 44–49. Matthew Shipp, Vijay Iyer, Ben Allison, and Stefon Harris discuss composition. Iyer first thinks of composing as organizing time, while Shipp considers the psychology of the ensemble members. Both express their debt to Monk. Iyer is the only one to answer a question about John Cage and conceptualism, arguing that the “classical” tradition has been influenced by jazz and improvised music at the same time that improvisers were looking at Cage et al. Shipp stresses the economic aspects of composition: writing for airplay, writing music for publication, the influence of the Real Book, etc.

74.

Noglik, Bert. “Improvisierte Musik in der Folge des Free Jazz: Kontinuum - Beliebigkeit - Stilpluralismus.” Darmstädter Jazzforum 89. ed. Ekkehard Jost. Beiträge zur Jazzforschung eine Veröffentlichung des Jazz-Instituts Darmstadt. Hofheim: Wolke, 1990. 14–22. Surveys free jazz musicians working in hybrid forms, such as Barry Guy, Radu Malfatti, and Franz Koglmann, and the emergence of Downtown non-jazz improvisers such as Elliot Sharp and David Moss, and sees improvised music after free jazz as increasingly pluralistic.

75.

Peterson, Daniel Thomas. A Chronology of Recorded Long-Form Compositions in Jazz. M.A. thesis. Newark: Rutgers, the State U of NJ, 2015. iv. 530 p. https://rucore.libraries.rutgers.edu/rutgers-lib/47687/ A survey of extended composition, from Duke Ellington’s suites to Cecil Taylor and Henry Threadgill, touching briefly on works including Charlie Haden’s Liberation Music Orchestra and Wadada Leo Smith’s Ten Freedom Summers, augmented with substantial interviews with Marty Ehrlich on performing with Anthony Braxton, John Carter, Julius Hemphill, and Muhal Richard Abrams, and with Bobby Zankel on his piece “Spirit Breaks to Freedom.”

76.

Sauer, Theresa. Notations 21. New York: Mark Batty, 2009. 318 p. Coffee table book of graphic score samples and other examples of unusual notation with contributions from several artists associated with free jazz: Ellen Burr, Bruce Friedman, Guillermo Gregorio, Barry Guy, Rajesh Mehta, Jon Raskin, and John Tchicai. Each except Tchicai’s includes a short explanatory text.

77.

Steckler, Matthew. The Play Space in Embodied Composition: The Study of Social Process in the Creation of Music for Improvisers. Ph.D. dissertation. New York: NYU, 2013. 455 p. A composition project informed by philosophy, in which Steckler writes a piece for the ensemble Dead Cat Bounce, describes the conditions of its composition, rehearsal, and performance, and interviews the members of the group, including Michael Bates and Charlie Kohlhase, as well as composer/performers Wadada Leo Smith and Mark Taylor. In the composition and research, he balances collaboration and improvisation with authorial control.

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78.

Wagner. Christophe. “Heimliche Liebe? Über die Beziehungen Zwischen Freiem Jazz und Neuer Musik.” Neue Zeitschrift für Musik. 154:5 (Sept. 1993). 14–19. Improvisers including Derek Bailey, Borah Bergman, John Butcher, Lol Coxhill, Gerry Hemingway, Joëlle Léandre, Larry Ochs, and Ned Rothenberg describe their relationships with contemporary composed music. In German.

Business and Economics 79.

Attali, Jacques. Noise: The Political Economy of Music. Minneapolis: U of MN P, 1985. Postmodernist post-Marxist study of music as an object of exchange, arguing that, because music is a time-based art with roots in ritual, its social and economic organization anticipates broad systemic changes. Free jazz appears in his last chapter, where he discusses the Jazz Composers Guild and other collectives as a failed attempt to establish a new mode of musical production outside of the industry and its paradigms, connected to African-American liberation movements. Clifford Thornton, Archie Shepp, and Malcolm X are quoted from published sources.

80.

Bakriges, Christopher G. “Cultural Displacement, Cultural Creation: AfricanAmerican Jazz Musicians in Europe from Bechet to Braxton.” in Cross the Water Blues: African American Music in Europe. ed. Neil A. Wynn, Jackson, MS: UP of MS, 2007. 250–265. Based on 3, argues that musicians who transgress the “jazz” genre, such as Cecil Taylor and the members of the AACM, have found important support in Europe, becoming transnational artists. He lists European creative music labels and chronicles Taylor’s releases, showing the increased significance of Europe for the American jazz avant-garde.

81.

Bakriges, Christopher G. “Musical Transculturation: From African American AvantGarde Jazz to European Creative Improvisation, 1962–1981.” in Jazz Planet. ed. E. Taylor Atkins. Jackson: UP of MS, 2003. 99–114. Revised section from 3. Because of neglect from the American jazz establishment, many free jazz artists, while continuing to live in the US, recorded for European labels and earned most of their income performing in Europe. Bakriges describes this as a type of diaspora and attempts to catalog its effects on European and American musicians.

82.

Barzel, Tamar. “Subsidy, Advocacy, Theory: Experimental Music in the Academy, in New York City, and Beyond.” in People Get Ready: The Future of Jazz is Now! eds. Ajay Heble and Rob Wallace. Durham, NC: Duke UP, 2013. 153–165. Responding to Marc Ribot’s efforts to save the club Tonic from closing and to secure a subsidized venue for creative music (2286), she explores the rhetoric of his manifesto and of the Guelph University program on Improvisation, Community, and Social Practice, arguing that they present creative music as driving social understanding or economic growth, rather than inherently valuable. She also considers the role of scholars, grants, and Jazz at Lincoln Center in shaping discourse and allocating cultural and financial capital.

83.

Brackett, John. “Subsidizing the Experimental Muse: Rereading Ribot.” in People Get Ready: The Future of Jazz is Now! eds. Ajay Heble and Rob Wallace. Durham, NC: Duke UP, 2013. 166–174.

General and Topical Works

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Revisiting Marc Ribot’s attempts to organize musicians and lobby for a subsidized venue after Tonic closed in 2007 (2286), Brackett claims he and other musicians are failing to adequately exploit new paradigms, including traveling farther to perform and selling online downloads and live streams. 84.

Corbett, John. “Notes on Creative Music and Collective Action.” Nka Journal of Contemporary African Art. 34 (Spring 2014). 48–51. The AACM and Sun Ra’s Arkestra are considered as new types of organizations, drawing on the historical forms of the working band, pickup band, and musicians’ union.

85.

Ertug, Gokhan. The Costs and Moderators of Affiliation-Based Status Transfer. Ph.D. dissertation. Fontainebleau: INSEAD, 2008. 100 p. Quantitative business study of the benefits of connections between moderate and high-status members of a community. Examples are Formula One auto racing and free jazz. Over 3300 CDs released since 1989 were analyzed, with 155 musicians studied and coded as leader, so—co-leader, or sideman, with status also determined by how frequently reviews appeared in The Wire, Cadence, Coda, and Signal to Noise. Qualitative judgments were checked by interviews with prominent unnamed critics and musicians.

86.

Johnston, Peter David. “Creativity, Labour, and the Politics of Profit in the Improvised Music Field.” Critical Studies in Improvisation. 9:1 (2013). n.p. www.criticalimprov. com/article/view/1823/2973 Based on his dissertation fieldwork with London free improvisers (1621), this essay disputes the progressive, utopian, and resistant claims made for improvisation by Ajay Heble and others, pointing out its compatibility with capitalism’s ever-growing need for content and neoliberal management theory’s embrace of agility and contingency, and that much of what is valorized about improvisation in theory contributes to improvised music’s economic and cultural marginalization.

87.

Müller, Markus. “There is No Place Like Home: Improvisation und ihre Dokumentation auf Tonträgern.” Neue Zeitschrift für Musik. 160:4 (July/Aug. 1999). 29–32. A quick survey of the role of record labels in the history of free jazz and free improvisation, particularly ESP-Disk, Milford Graves and Don Pullen’s SRP, FMP, ECM, and Leo, claiming that records not only document the music but help shape it by disseminating ideas about performance and creating networks. In German.

88.

Shoemaker, Bill. “What’s New? The PoD Roundtable.” Point of Departure. 11 (May 2007). n.p. www.pointofdeparture.org/archives/PoD-11/PoD11WhatsNew.html Lewis Barnes, Joe Morris, and others exchange emails on the state of institutional support for jazz. Morris criticizes the complexity of funding systems rather than their modest size, calling for direct travel grants to artists, as several European countries provide, and praises the dedication of DIY artists and presenters, while noting their marginality.

89.

Shoemaker, Bill. “What’s New? The PoD Roundtable.” Point of Departure. 20 (Dec. 2008). n.p. http://pointofdeparture.org/archives/PoD-20/PoD20WhatsNew.html Ellery Eskelin and Steve Swell, representing New York, and Mike Reed and Ken Vandermark, of Chicago, exchange emails on their experiences as bandleaders and

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concert presenters. Eskelin also discusses Baltimore, and he and Vandermark comment on touring in Europe, all framed by the question of the economic situation of the music and the potential consequences of the 2008 financial crash. 90.

Shoemaker, Bill. “What’s New? The PoD Roundtable.” Point of Departure. 21 (Feb. 2009). n.p. http://pointofdeparture.org/archives/PoD-21/PoD21WhatsNew.html Jen Baker, Jon Raskin (of ROVA), and Reuben Radding discuss how they earn a living outside of music and their vision of the economic and social role of creative music. Baker also contrasts levels of alienation and burnout among classical and experimental musicians.

91.

Wilson, Peter Niklas. “Von der Sozialen Irrelevanz Improvisierter Musik.” in Jazz und Gesellschaft. ed. Wolfram Knauer. Darmstädter Beiträge zur Jazzforschung 7. Wolke, Hofheim 2002: 269–280. The title of this informal talk is used ironically, Wilson arguing that the lack of institutional support for improvised music such as that of Theo Jörgensmann, Derek Bailey, and AMM compels its makers and listeners to be more intensely social, to create and sustain networks and scenes on their own. In German.

Gender and Sexuality 92.

Gill, John. “Miles in the Sky: Dismantling the Glass Closet in Jazz.” in Jazz Debates/ Jazzdebatten. ed. Wolfram Knauer. Darmstädter Beiträge zur Jazzforschung. 13 (2014). 149–161. Updates 93, revealing much of the background to it, including new details regarding his discussion of Sun Ra and Cecil Taylor.

93.

Gill, John. Queer Noises: Male and Female Homosexuality in Twentieth-Century Music. Minneapolis: U of MN P, 1995. 184 p. The chapter “Miles in the Sky” discusses Sun Ra and Cecil Taylor’s homosexuality, particularly the ways in which each was “out” and, more so, how the music press handled this aspect of their identities, from widespread denial that Ra’s flamboyant presence had any connection to earthly sexuality to Stanley Crouch’s pejorative linking of Taylor’s sexual and musical nonconformity.

94.

Léandre, Joëlle, Maggie Nichols, and Irène Schweizer. “Epiphanies.” The Wire. 393 (Nov. 2016). 104–105. The members of Les Diaboliques remember the formation of the group. Their anecdotes involve John Stevens, Keith Tippett, and the Feminist Improvising Group.

95.

Oliveros, Pauline. “Harmonic Anatomy: Women in Improvisation.” in The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue. eds. Daniel Fischlin and Ajay Heble. Middletown, CT: Wesleyan UP, 2004. 50–70. Beginning with her own experiences discovering improvisation alone, Oliveros discusses gendered assumptions, then introduces notable women improvisers she has worked with, including Dana Reason, Susie Ibarra, India Cooke, and others. The remainder of the essay alternates their voices with Oliveros’.

General and Topical Works

96.

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Reason, Dana [as Dana L. Reason Myers]. The Myth of Absence: Representation, Reception, and the Music of Experimental Women Improvisors. Ph.D. dissertation. San Diego: U of CA, 2002. xii, 202 p. http://jazzstudiesonline.org/resource/mythabsence-representation-reception-and-music-experimental-women-improvisors The under-representation of women in experimental music is confronted from several directions: media critique, quantitative analysis of women on the programs of major festivals, interviews of performers including Joëlle Léandre, Ikue Mori, Irène Schweizer, Miya Masaoka, Susie Ibarra, Amina Claudine Myers, Mariyln Crispell, and others, and biographies of Myers, Crispell, Ibarra, Masaoka, Léandre, Maggie Nichols, and Pauline Oliveros. The text begins with a literature review and ends with more general philosophical and theoretical reflections on improvised and experimental music, drawing on Reason’s own experience as a performer.

97.

Rin, Renate Da, and William Parker, eds. Giving Birth to Sound: Women in Creative Music. Köln, Germany: Buddy’s Knife Jazzedition, 2015. 299 p. Responses to a questionnaire by artists including Lotte Anker, Renée Baker, Karen Borca, Marilyn Crispell, Kali Z. Fasteau, Alexandra Grimal, Rosi Hertlein, Terry Jenroue, Ingrid Laubrock, Joëlle Léandre, Nicole Mitchell, Maggie Nichols, Angelika Niescier, Stephanie Richards, Jen Shyu, Ijeoma Thomas, and Fay Victor, plus a foreword by Amini Claudine Myers and a collage of unattributed comments on the maternal/essentialist connotations of the title.

98.

Schlicht, Ursel. “Jazzinstrumentalistinnen - Individualistinnen in Einer Marginalisierten Musik. Handlungsstrategien zur Gestaltung und Bewältigung ihres Professionellen Alltags.” in Frauentöne—Beiträge zu einer ungeschriebenen Musikgeschichte. eds. Alenka Barber-Kersovan, Annettee Kreutziger-Herr, and Melanie Unseld. Karben: Coda, 2000. 217–241. Schlicht talks to female jazz musicians about gender and their careers, including Diedre Murray, Geri Allen, Karen Borca, and Myra Melford. Text in German, most interview excerpts in English.

99.

Schlicht, Ursel. “Wege zur Professionellen Jazzmusikerin. Die Bedeutung von Musikalischer Ausbildung, Vorbildern, und Unterstützung für die Professionelle Entwicklung am Beispiel von Sechs Jazzmusikerinnen.” in Frauen-Körper-Kunst, Band III, eds. Sybille Gienger, Martina Peter-Bolaender. Frankfurt: Furore, 2001. 138–155. Interview subjects include Karen Borca, Diedre Murray, Geri Allen, and Connie Crothers, among others. Each speaks briefly on how they became working creative musicians. Interviews in English, body text in German.

100.

Smith, Julie Dawn. Diva-Dogs: Sounding Women Improvising. Ph.D. dissertation. Vancouver: U of British Columbia, 2001. vii, 227 p. https://open.library.ubc.ca/ cIRcle/collections/ubctheses/831/items/1.0076916 Original interviews with Lindsay Cooper, Joëlle Léandre, Maggie Nichols, and Irène Schweizer are the core of this study. Chapters on Les Diaboliques and the Feminist Improvising Group have been revised and published separately (101, 102). Additional chapters include substantial discussion of feminist, psychoanalytic, and queer theory, and longer interview extracts.

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101.

General and Topical Works

Smith, Julie Dawn. “Perverse Hysterics: The Noisy Cri of Les Diaboliques.” in Big Ears: Listening for Gender in Jazz Studies. eds. Nichole T. Rustin and Sherrie Tucker. Durham, NC: Duke UP, 2008. 180–209. Describes the formation of Les Diaboliques by Maggie Nichols, Irene Schweizer, and Joëlle Léandre and their onstage play with images of the madwoman and the hysteric as they use speech and theatrics in free improvisation. Draws on published sources and original interviews with the members.

102.

Smith, Julie Dawn. “Playing Like a Girl: The Queer Laughter of the Feminist Improvising Group.” in The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue. eds. Daniel Fischlin and Ajay Heble Middletown, CT: Wesleyan U P, 2004. 224–243. Also in The Improvisation Studies Reader: Spontaneous Acts. eds. Rebecca Caines and Ajay Heble. New York: Routledge, 2015. 261–277. Describes the formation of the FIG, their social critique through humor and theatrics on stage, and the challenge their performance practices and organizational structure presented to gendered ideas of musicianship and authority. Draws on original interviews with Lindsay Cooper, Maggie Nichols, Irène Schweizer, and Eugene Chadbourne.

Historiography and Metacriticism 103.

Bakriges, Christopher G. “African-American Avant-Gardism and New Jazz Criticism.” Jazz Research Proceedings Yearbook 2004. Manhattan, KS: IAJE, 2004. 31–38. This article drawn from 554 sorts critical readings of free jazz into three categories: the music seen as nihilism: the intentional destruction of the values of jazz, as secessionism: an abandonment of those values, or as Black revolutionary nationalism. Bakriges quotes critics and musicians exemplifying these categories and concludes these readings represent the difficulty of conceiving of Black music as avant-garde.

104.

Brown, Lee B. “Postmodernist Jazz Theory: Afrocentrism, Old and New.” The Journal of Aesthetics and Art Criticism. 57:2. Aesthetics and Popular Culture. (Spring 1999). 235–246. A critique of the new jazz studies, represented by Krin Gabbard’s edited books Jazz Among the Discourses and Representing Jazz, arguing that it relies on the racial essentialism of Amiri Baraka and other Black Arts/Afrocentric writers. Free jazz provides the clearest example of this theoretical problem, because it is seen as liberation rather than transgression. Brown argues that Albert Ayler’s music is not meaningful as a reassertion of a repressed Blackness, as Baraka has claimed, but only as a violation of rules of harmony, saxophone technique, etc.

105.

Gennari, John. Blowin’ Hot and Cool: Jazz and its Critics. Chicago: U of Chicago P, 2006. 480 p. A critical history of US jazz criticism, including a chapter on the role of the Newport Jazz Festival and Lenox School of Jazz in defining jazz’s history, canon, and avant-garde, including Jimmy Giuffre and Ornette Coleman, and one on the critical reaction to the intersection of musicians’ political engagement (from Sonny Rollins’ Freedom Suite on) and the emergence of free jazz, looking in particular at the writing of Frank Kofsky, Amiri Baraka, and Ralph J. Gleason.

General and Topical Works

106.

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Kodat, Catherine Gunther. “Conversing with Ourselves: Canon, Freedom, Jazz.” American Quarterly. 55:1 (Mar. 2003). 1–28. Free jazz plays several roles in this intervention in the “jazz wars,” which revisits Theodor Adorno’s much-criticized writing on jazz, Ken Burns’ Jazz, and the curatorial policies of Jazz at Lincoln Center. It is considered as a potential parallel to the Modernist atonal music Adorno admired, but in Jazz and JALC, free jazz and smooth jazz are both marginalized. JALC’s exclusion of free jazz as a dated relic of the Black Power 1960s complicates criticism of JALC’s racial essentialism. Additionally, parallels in neoconservative criticism of Cecil Taylor and Bill Evans are observed: both are dismissed as not masculine enough to be “real” jazz musicians, Taylor as gay and Evans as white, and, Henry Louis Gates’ references to John Coltrane’s “My Favorite Things” signifying on Julie Andrews’ version are corrected: The Sound of Music had not been filmed when Coltrane made his record.

107.

Lipsitz, George. “Jazz: The Hidden History of Nationalist Multiculturalism,” Footsteps in the Dark: Hidden Histories of Popular Music. Minneapolis: U of MN P, 2007. 79–106. In this negative critique of Ken Burns’ Jazz, Lipsitz argues that Burns sees the music as uniquely American and African-American, a matter of national and racial triumph, and determined by a series of individual geniuses (Armstrong, Ellington, Parker, et al). In contrast, while not disputing the American and African-American basis of the music, he sees it as more international and diverse, but also local: a constellation of scenes rather than a solar system ruled by a great star. Horace Tapscott and Sun Ra are two of his main examples.

108.

Maclean, Robert R. After Modern Jazz: The Avant-Garde and Jazz Historiography. Ph.D. dissertation. Ann Arbor: U of MI, 2011. 381 p. https://deepblue.lib.umich.edu/ handle/2027.42/89753 Highly theoretical work on the construction of jazz history as historical narrative, incorporating many readings of free jazz. His introduction discusses Gary Giddins’ writing on Henry Threadgill in order to consider Threadgill’s historical references and his music’s place in “jazz history,” proposes the wider neglect of 1970s creative music in most writing on jazz, including work centered on the avant-garde, is part of a cultural need to periodize the radicalism and conflicts of the 1960s, then reads the series of notorious public panel discussions of jazz and race with Max Roach, Abbey Lincoln, LeRoi Jones, Archie Shepp, Cecil Taylor, and others as part of broader debates on the production and ownership of African-American culture, exploring Shepp’s writing in detail, also discussing the internationalism of Don Cherry, Shepp’s performance at the 1969 Pan-African Festival in Algeirs, and the subsequent Paris recording marathon mixing Shepp’s band with members of the Art Ensemble of Chicago, Creative Construction Company, and others for a series of BYG-Actuel LPs. Finally, the popularity of duos in the 1970s is analyzed as both a neoliberal austerity measure and an affirmation of musicians’ solidarity through intimate communication.

109.

Shoemaker, Bill. “What’s New? The PoD Roundtable.” Point of Departure. 25 (Oct. 2009). n.p. http://pointofdeparture.org/archives/PoD-25/PoD25WhatsNew.html Musician/critics Chris Kelsey, Bill Smith, and Dan Warburton share an email conversation about their dual roles, the functions of criticism and, for Warburton, the “European Free Improvisation”/”Electro-Acoustic Improvisation” schism.

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110.

General and Topical Works

Steinbeck, Paul. “Improvisation, Identity, Analysis, and Performance.” American Music Review. 44:1 (2014). 16–19. Based on George Lewis’ theoretical writing and his memories of sitting in with the Art Ensemble of Chicago (1092), Steinbeck argues that all musical analysis, but particularly that of improvisation, should move towards ethnographic thick description, that listeners’ and performers’ experiences, personae, and relationships are essential to understanding works’ production and reception.

Improvisation 111.

Bailey, Derek. Improvisation: Its Nature and Practice in Music. New York: Da Capo, 1993. xiii, 146 p. Combines treatise, history, theory, and memoir, as Bailey speaks to players in styles from Baroque and Indian music to rock and jazz, to argue that improvisation is fundamental to music making and that its marginalization in European art music is an anomaly. From the worlds of jazz and free music, he interviews Han Bennink, Steve Lacy, Misha Mengelberg, Evan Parker, Eddie Prévost, John Stevens, John Zorn, and others, also reviewing his own career: introducing aesthetic and theoretical ideas including non-idiomatic improvisation, the advantages and disadvantages of virtuosity and multi-instrumentalism, solo vs. group free playing, recording free improvisation, and regular vs. ad hoc groups, and conversing with associates including the members of Joseph Holbrooke, the Music Improvisation Company, and participants in his Company events.

112.

Childs, Barney, and Christopher Hobbs, eds. “Forum: Improvisation.” Perspectives of New Music. 21:1/2 (Autumn 1982/Summer 1983). 26–111. A collection of statements and interviews with contributions from Eddie Prévost, Keith Rowe, Derek Bailey, Vinny Golia, and others. Prévost and Rowe are interviewed together on the formation and development of AMM, including their relationship to jazz and the effect of Cornelius Cardew on the group. Bailey speaks on the organization and musical content of Company, and Golia and Lee Kaplan comment on their collaboration and the Los Angeles scene.

113.

Corbett, John. “Ephemera Underscored: Writing Around Free Improvisation.” in Jazz Among the Discourses. ed. Krin Gabbard. Durham: Duke UP, 1994. 217–240. How non-idiomatic improvised music can signify without a text or system is explored through literary theory and statements from musicians, including Evan Parker, Derek Bailey, and Günter Christmann. Gesture, extended technique and other unusual approaches to instruments are discussed.

114.

Corbett, John. “Out of Nowhere: Meditations on Deleuzian Music, Anti-Cadential Strategies, and Endpoints in Improvisation.” in The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue. eds. Daniel Fischlin and Ajay Heble. Middletown, CT: Wesleyan U P, 2004. 387–395. Theoretical essay on how improvisers conceive of ending pieces with no established formal limitations. Includes anecdotes and conversations with Torsten Müller, Peter Brötzmann, Evan Parker, Barry Guy, AMM, and Georg Gräwe.

General and Topical Works

115.

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Figueroa-Dreher, Sylvana. Improviseren: Material, Interaktion, Haltung, un Musik aus Soziologischer Perspektive. Wiesbaden: Springer, 2016. vii, 398 p. German language study of action, interaction, and knowledge-production in improvisation. Sessions with three free jazz trios, including the Alexander von Schlippenbach, Evan Parker, Paul Lovens group and one with Michael Thieke and Christian Weber were filmed, then each group discussed their interaction while watching the playback. Similar recordings and discussions were done with three flamenco groups. Discourse patterns were identified and compared.

116.

Fischlin, Daniel, Ajay Heble, and George Lipsitz. The Fierce Urgency of Now: Improvisation, Rights, and the Ethics of Cocreation. Durham, NC: Duke UP, 2013. xxxiv, 292 p. The authors invoke improvisation as a model of society, a practice of existing with others in recognition of their rights, autonomy, codependence, and difference. While the book is informed and inspired by music, especially free jazz and free improvisation, discussions focus on either social practices around music, such as models of collective organization provided by the AACM and Horace Tapscott’s UGMAA or the corporate sponsorship of Jazz at Lincoln Center, or social meanings attached to music by titles, lyrics, and anecdotes, such as John Coltrane’s “Alabama” and Wadada Leo Smith’s Human Rights.

117.

Knauer, Wolfram. “Noodlin’ and Doodlin’ and Playin’ Around: Zum Sich Wandelnden Selbstverständnis de Jazz als Improvisierter Musik.” Improvisieren . .  . ed. Wolfram Knauer. Darmstädter Beträige zur Jazzforschung. 8 (2004). 19–40. Exploring improvisers’ concepts of the role of improvisation in their work, beginning with a survey of jazz by decade then proceeding to three case studies: Coleman Hawkins’ mastery of the solo-plus-rhythm section format and introduction of unaccompanied playing, Peter Kowald’s vision of free improvisation as a cross-cultural meta-language, and Butch Morris’ real-time shaping of ensemble improvisation via Conduction. In German.

118.

Marr, Jeremy, dir. On the Edge: Improvisation in Music. Video. London: BBC, 1992. Four one-hour episodes based on 111, presenting improvisation as an ubiquitous and unrecognized element of world music, from Mozart to flamenco. Bailey appears occasionally on camera, voicing arguments from the book, as do musicians associated with free jazz or free improvisation including Douglas Ewart (playing with an elementary school class) and John Zorn (rehearsing Cobra) in episode 1, Lawrence “Butch” Morris (rehearsing a Conduction in New York) and Eugene Chadbourne, in episode 3, and George Lewis (playing with his computer and Ewart) in episode 4. Never released on VHS or DVD, episodes 2–4 are currently on ubu.com, and all four can usually be found on YouTube.

119.

Pelz-Sherman, Michael. A Framework for the Analysis of Performer Interactions in Western Improvised Contemporary Art Music. Ph.D. dissertation. San Diego: U of CA, 1998. xii, 201 p. Theorizes improvisation at intersections of free jazz and European experimental music, with models from linguistics, narratology, psychology, and game theory, and

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General and Topical Works

examples from Ornette Coleman, the Art Ensemble of Chicago, George Lewis and Roscoe Mitchell, and a UCSD student ensemble. 120.

Pras, Amandine, and Grégoire Lavergne. “L’Échantillonnage dans l’Improvisation: Recontre de deux Instigateurs du Free Jazz avec un Jeune Artiste de la Scène Noise à New York.” Musicae Scientiae. 19:4 (2015). 433–451. Free jazz players Daniel Carter and Todd Capp are brought in for separate duo improvisation sessions with electronics performer Mikey Holmes, then all three are interviewed on the aesthetic, social, and political aspects of their work, developing a thesis that sampling represents a new paradigm in making and hearing music.

121.

Pras, Amandine, Michael F. Schober, and Neta Spiro. “What about their Performance Do Free Jazz Improvisers Agree Upon? A Case Study.” Frontiers in Psychology. 8 (June 2017). 1–19. www.ncbi.nlm.nih.gov/pmc/articles/PMC5483471/ Matthew Shipp and an anonymous saxophonist met for the first time and recorded some improvised duets. They were interviewed after performing, and again while listening to the playback. These comments were analyzed for shared ideas and perceptions. The recording was also played back for drummer Todd Capp and a different anonymous saxophonist and the same techniques applied to their responses. The results find substantial disagreement in perception and evaluation among all four listeners.

122.

Reason, Dana. “‘Navigable Structures and Transforming Mirrors:’ Improvisation and Interactivity.” in The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue. eds. Daniel Fischlin and Ajay Heble. Middletown, CT: Wesleyan UP, 2004. 71–83. Largely theoretical article drawing on statements by numerous musicians to embrace the instability of improvisation as a transformative creative space for performers and audiences. Reason uses examples of ad hoc ensembles, unpredictable audiences, and performers’ freedom to draw on and alter their personal vocabularies.

123.

Shoemaker, Bill. “What’s New? The PoD Roundtable.” Point of Departure. 10 (Mar. 2007). n.p. www.pointofdeparture.org/archives/PoD-10/PoD10WhatsNew.html Lotte Anker, Ned Rothenberg, and Pat Thomas discuss the problems of playing free improvisation with musicians who do not interact, imitate too much, or do not bring in enough of their own ideas, and their experiences with structured improvisations under Barry Guy, Eugene Chadbourne, Tony Oxley, and others. Rothenberg shares a story about his first tour, with Anthony Braxton’s Creative Music Orchestra in 1978.

124.

Smith, Hazel, and Roger T. Dean. Improvisation, Hypermedia, and the Arts Since 1945. Amsterdam, The Netherlands: Harwood Academic Publishers, 1997. xiii, 334 p. Smith and Dean attempt a historical and theoretical survey of improvisation in visual and performing arts, including theater, painting, film, dance, music, and multimedia forms such as performance art. They pay special attention to potential roles for interactive technologies. Free jazz and free improvisation are prominent in their genealogy of improvisation, and issues of race, gender, and genre are addressed. Artists used as examples include John Coltrane, Anthony Braxton, Derek Bailey and Evan Parker, AMM, and John Zorn, a page of whose Cobra appears as an illustration.

125.

Stockdale, Jonty. “Reading around Free Improvisation.” Jazz Research Journal. (2004). 102–114.

General and Topical Works

25

Responding to Corbett (113), on performers’ impressions and theories of what happens in performance, Stockdale catalogs and compares assumptions musicians and listeners bring to an improvised performance, also referring to texts by Derek Bailey and Evan Parker.

Instruments and Instrumental Technique 126.

Bettine, Michael. “Studer & Lytton: A European Perspective.” Modern Drummer. Aug. 1996. 132–133. Paul Lytton and Freddy Studer contribute exercises for coordination and independence, explaining how they apply traditional drumming technique in free music.

127.

Bettine, Michael, and Trevor Taylor. Percussion Profiles: Interviews, Articles and Discographies of 25 of the World’s Most Creative Percussionists. Book with CD. Chelmsford, UK: Soundworld, 2001. 386 p. Drummers profiled include Gregg Bendian, Alex Cline, Pierre Favre, Fritz Hauser, Gerry Hemingway, Ronald Shannon Jackson, Le Quan Ninh, Paul Lytton, Paul Motian, Tony Oxley, Frank Perry, Gino Robair, Günter Sommer, Freddy Studer, and others. For each there is a magazine feature-style entry, surveying their recorded work with comments from the artist, a discography, and several pages of black and white images, including publicity portraits, performance photos, album covers, and photos of unique instruments or unusual setups. Includes an audio CD with solo pieces from some of the subjects, some otherwise unavailable.

128.

Bley, Paul, Burton Greene, Earl Hines, Horace Silver, and Billy Taylor. “Piano Forum.” Jazz. Apr. 1966. 20. Each pianist comments on whether classical training is useful to an aspiring jazz player. Bley and Greene both defer the question, explaining that an improviser needs to find out what they want to do then learn the appropriate techniques.

129.

Bynum, Taylor Ho. “Solo: Beauty in the Journey.” JazzTimes. Oct. 2014. 10. Tribute to trumpeters Mongezi Feza and Barbara Donald, known for their respective work with the Blue Notes and Brotherhood of Breath and with Sonny Simmons.

130.

Chapin, Gary Parker. “A String-Driven Thing.” Option. May/June 1991. 42–46. Triple profile of cellists Diedre Murray, Tom Cora, and Abdul Wadud, with comments from all three.

131.

Fiofori, Tam. “Moog Modulations: A Symposium.” Downbeat. July 23, 1970. 14–16, 34, 39. An interview with Robert Moog is accompanied by shorter ones with jazz players using his instruments, including Paul Bley, Annette Peacock, and Sun Ra.

132.

Guralnick, Tom. Contemporary Improvised Solo Saxophone Performance and Recording Activity. M.A. thesis with 2 VHS tapes. Middletown, CT: Wesleyan U, 1987. 402 p. A history of solo saxophone music in jazz, including Coleman Hawkins, Sonny Rollins, and other pioneers but focused on the free music of the 1960s and after: Eric Dolphy, Anthony Braxton, Roscoe Mitchell, Steve Lacy, Evan Parker, et al. Musical

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General and Topical Works

materials and instrumental techniques, changes in musical styles, and the emergence of independent and artist-run labels are all discussed. Long interviews with Mitchell, Parker, Joe McPhee, John Zorn, and the author himself, as well as shorter phone and mail exchanges with Oliver Lake, Hamiet Bluiett, Jane Ira Bloom, Ned Rothenberg, and John Oswald are transcribed in full. Guralnick also made two films on solo playing as part of this thesis: a 70 minute one on John Zorn and a 50 minute one on himself, each including interviews, solo performances, and demonstrations of extended techniques and modified or unusual instruments. 133.

Hartigan, Royal J. The Drum: Concepts of Time and No-Time: From African, LatinAmerican, and African-American Origins (Parts I–III). M.A. thesis. Middletown, CT: Wesleyan U, 1983. xi, 381 p. A collection of exercises, examples, and compositions for percussion, illustrating jazz approaches from Baby Dodds to Billy Cobham and transcriptions, variations, and expansions of African and Latin-American rhythmic ideas.

134.

Hoff, Devin. “Woodshed: 21st Century Upright—Raw Sound.” Bass Player. July 2010. 64, 66. Hoff introduces the timbral and overtone exploration he discovered through Joëlle Léandre, Barre Phillips, Mark Dresser, and William Parker, with descriptions of improvisational exercises for bassists.

135.

Irabagon, Jon. “Celestial Energy.” Downbeat. May 2016. 72–76. Beginning with the importance of transcription to his practice, Irabagon describes his favorite Sonny Rollins moments, all from Rollins’ most avant-garde mid-1960s period, then asks Rollins himself about them. He moves more quickly though John Coltrane, Roscoe Mitchell, Steve Lacy, and Wayne Shorter recordings, identifying riffs, techniques, and structures he used as inspiration for his own work.

136.

Knauer, Wolfram. “Blowin’ Up a (European) Storm: Eine Annäherung an die Personalstile von Harry Beckett, Tomasz Stańko, und Enrico Rava.” In Begegnungen: The World Meets Jazz. ed. Wolfram Knauer Darmstädter Beträige zur Jazzforschung. 10 (2008). 113–130. An informal appreciation of the three trumpeters, the influence of their ethnic/ national background (Barbados, Poland, Italy), their movement between multiple and varied types of jazz and improvised music, and their development of personal styles. In German.

137.

Lockett, Mark Peter Wyatt. Improvising Pianists: Aspects of Keyboard Technique and Musical Structure in Free Jazz—1955–1980. Ph.D. dissertation. London: The City U, 1988. 334 p. http://openaccess.city.ac.uk/8259/ After a succinct survey of the musical sources and historical context of free jazz, several pianists’ work is subject to musical analysis, with numerous transcribed excerpts from Cecil Taylor, Alexander von Schlippenbach, Howard Riley, Fred Van Hove, Irène Schweizer, Ran Blake, Paul Bley, and Karl Berger. The work of Marilyn Crispell and Don Pullen is also discussed. Questions of structure, instrumental technique, aesthetics, and audience response are considered in separate chapters.

138.

Mandel, Howard. “Give the Drummer Some!” Downbeat. Nov. 2005. 50–55.

General and Topical Works

27

Nasheet Waits, Guillermo E. Brown, Eric Harland, and Dafnis Prieto gather for a drummers’ roundtable touching on their work with artists including David S. Ware, Peter Brötzmann, Henry Threadgill, and others. Brown also comments on how his mother’s career as an ethnomusicologist and his work as a DJ have influenced his playing. 139.

McCowen, John. Solo Breath. M.A. thesis. Oakland: Mills College, 2016. 61 p. Original interviews with improvisers who use circular breathing, including Nate Wooley, Evan Parker, Roscoe Mitchell, Axel Dörner, and others on how they develop, maintain, and apply this technique.

140.

Micalef, Ken. “Way Beyond Swing: The Future of Jazz Drumming.” Modern Drummer. Jan. 2000. 92–94, 96, 98, 100–102, 104, 106, 108, 110. A collection of short statements from leading drummers on jazz at the turn of the millennium, including players associated with free jazz such as Joey Baron, Jim Black, Milford Graves, and Susie Ibarra.

141.

Milkowski, Bill. “Masters of the Free Universe.” Modern Drummer. Dec. 1992. 32–35, 114–125. Interview-based profiles of Ed Blackwell, Andrew Cyrille, Milford Graves, and Rashied Ali, surveying each’s career and contributions.

142.

Mulhern, Tom. “Improvisational Avant-Garde Guitar: Its History, Its Proponents, Its Future.” Guitar Player. Apr. 1979. 36–38, 118, 120–122. Survey introducing Derek Bailey, Eugene Chadbourne, Fred Frith, Henry Kaiser, and others. Includes a page of notation, with an etude by Bailey to practice mixing open strings, harmonics, and stopped notes.

143.

Panken, Ted. “Experimental Attitudes.” Downbeat. July 2008. 28–35. Roundtable discussion with pianists Matthew Shipp, Vijay Iyer, and Jason Moran. Topics include race, influences, Thelonious Monk, Cecil Taylor, jazz education, digital music distribution, and popular music, especially hip-hop.

144.

Rader, Abbey. “Playing ‘Free.’” Modern Drummer. Mar. 2000. 93–94. Advice to drummers interested in free jazz, with a list of suggested listening.

145.

Rigby, Lauren Riley. From the Perspective of Critical Theories: Classically Trained Cellists Who Improvise. Ph.D. dissertation. New York: NYU, 2010. 353 p. Daniel Levin and Tomas Ulrich are among the interview subjects for this study of cello improvisation in relation to established systems of music education and professional development.

146.

Shoemaker, Bill. “Solo Flights.” JazzTimes. June 2000. 46–51. A short history of unaccompanied saxophone music introduces statements from Anthony Braxton, John Butcher, Steve Lacy, and Jackie McLean. Braxton describes his solo music as the testing ground for concepts that generate larger compositions and systems, while Lacy talks about the challenges of playing Duke Ellington tunes solo for his Ten of Dukes album and Butcher deals with larger issues of space, noise, and physicality.

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147.

General and Topical Works

Shoemaker, Bill. “What’s New? The PoD Roundtable.” Point of Departure . 24 (Aug. 2009). n.p. http://pointofdeparture.org/archives/PoD-24/PoD24WhatsNew. html Bassists Lisle Ellis and Adam Linson discuss their use of electronics, the role of the bass in an ensemble, the idea of searching for a personal musical voice, and “jazz” vs. “improv” as traditions.

148.

Smith, Arnold Jay, and Bob Henschen. “Bass Lines: Crystal Gazing with a Bonanza of Experts.” Downbeat. Jan. 27, 1977. 14–16, 42–44. Top bassists, including Richard Davis, Charlie Haden, Dave Holland, Stafford James, and Sirone, from the free jazz world, comment on the future of the instrument, particularly its ensemble role and the growing use of amplification, steel strings, and the bass guitar.

149.

Turetzky, Bertram. The Contemporary Contrabass. Berkeley: U of CA P, 1989. xiv, 178 p. A treatise on extended bass technique centered on contemporary composed music, which also includes several composer/performer/improvisers such as Mel Graves and Joëlle Léandre, acknowledges the contributions of jazz players, and has influenced free jazz and free improvisation via Turetzky’s students such as Mark Dresser and Ken Filiano.

150.

Welch, Jane. “Different Drummers: A Composite Profile.” Downbeat. Mar. 19, 1970. 18–19, 37. Interview-based capsule profiles of Andrew Cyrille, Milford Graves, Beaver Harris, and Clifford Jarvis.

151.

Wilson, Matt. “Chops: Fun with Freedom.” JazzTimes. Nov. 2014. 50–51. Advice for drummers in all styles on employing ideas from free jazz and free improvisation.

152.

Ziefel, Jenny. A Living Instrument: The Clarinet in Jazz in the 1950s and 1960s. D.M.A. dissertation. Seattle: U of WA, 2002. vi, 348 p. Refuting the belief that the clarinet went out of style in the bebop era, Ziefel catalogs numerous postwar players, including many associated with free jazz: Perry Robinson, Gunter Hampel, John Carter, Jimmy Giuffre, Anthony Braxton, Roscoe Mitchell, Joseph Jarman, Muhal Richard Abrams, Willem Breuker, Giuseppi Logan, Michel Pilz, Michel Portal, and members of Sun Ra’s Arkestra. Entries range from a paragraph to a dozen pages, covering each artist’s life and work based largely on British and American jazz magazines. Notable clarinet performances are singled out in each entry. Bass, contrabass, and other clarinet family instruments are covered, as well as the standard Bb soprano.

Literature 153.

Moten, Fred. In the Break: The Aesthetics of the Black Radical Tradition. Minneapolis: U of MN P, 2003. xii, 315 p. Cecil Taylor’s voice and percussion album Chinampas and Amiri Baraka’s “Black Dada Nihilismus” and “The Burton Greene Affair” are among the texts visited in this work of poststructuralist theory/criticism.

General and Topical Works

154.

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Nielsen, Aldon Lynn. Black Chant: Languages of African-American Postmodernism. New York: Cambridge UP, 1997. xiii, 288 p. Jazz and free jazz appear often in this recovery of post-WWII African-American experimental writing, coming to the fore in chapter four “‘Out There a Minute:’ The Omniverse of Jazz and Text,” which discusses jazz and poetry recordings including Ornette Coleman’s “Science Fiction” with David Henderson, the New York Art Quartet’s “Black Dada Nihilismus” and Sunny Murray’s “Black Art” with LeRoi Jones, Jones’ New Music—New Poetry with David Murray and Steve McCall, Andrew Cyrille’s “Hatian Heritage” with Elaine Lofton and Jeanne Lee, Marion Brown’s settings of Jean Toomer, Archie Shepp’s work with his own poetry, and Jayne Cortez’s recordings, as well as work outside of free jazz. Chapter five, “‘Other Planes of There,’” looks in more detail at the poetry and jazz work of Ronald Shannon Jackson, Joseph Jarman, and Cecil Taylor.

155.

Nielsen, Aldon Lynn. “‘Now is the Time:’ Voicing Against the Grain of Orality.” in People Get Ready: The Future of Jazz is Now! eds. Ajay Heble and Rob Wallace. Durham, NC: Duke UP, 2013. 31–43. Readings of Joe McPhee’s “Nation Time” and Cecil Taylor’s “Second Act of A” to deconstruct assumed relationships between jazz and poetry, tracing McPhee’s “Nation Time” to Amiri Baraka’s “It’s Nation Time,” and attempting to see Taylor’s poetry, piano, and vocalizations as a unified practice.

156.

Rin, Renate Da, ed. Silent Solos: Improvisers Speak. Köln, Germany: Buddy’s Knife Jazzedition, 2010. 176 p. Creative writing by musicians with an introduction by George Lewis, poems by Harrison Bankhead, Lewis Barnes, Jay Clayton, Leena Conquest, Cooper Moore, Marc Edwards, Bruce Eisenbeil, Floros Floridos, Joel Futterman, Charles Gayle, Alan Glover, Doug Hammond, Jason Kao Hwang, Joseph Jarman, Terry Jenoure, Peter Kowald, Oliver Lake, Joëlle Léandré, Elliot Levin, Joe Maneri, Sabir Mateen, Nicole Mitchell, Ras Moshe, Roy Nathanson, Bern Nix, William Parker, Matana Roberts, Matthew Shipp, Warren Smith, Steve Swell, John Tchicai, Ijeoma Thomas, Oluyemi Thomas, Assif Tsahar, and David S. Ware, and prose by Connie Crothers, Avram Fefer, Gunter Hampel, and Catherine Sikora, almost all music-themed.

Musical Analysis 157.

Bakkum, Nathan C. Don’t Push, Don’t Pull: Jazz Rhythm Section Interaction and Musical Change. Ph.D. dissertation. Chicago: U of Chicago, 2009. 192 p. The metaphor of a rhythm section negotiating the time feel is used to analyze how jazz musicians relate to tradition and innovation, pushing ahead and pulling back stylistically as well as rhythmically. Examples from free jazz include the Jimmy Giuffre 3 with Paul Bley and Steve Swallow, Tom Rainey’s various collaborations, and the work of Richard Davis and Tony Williams on Eric Dolphy’s Out to Lunch and Andrew Hill’s Point of Departure. Excerpts of Rainey’s playing with Tim Berne’s Science Fiction group and Mark Helias’ Open Loose, and Davis’ with Oliver Nelson are transcribed, and original interviews were conducted with Rainey and Davis.

158.

Block, Steven. “Pitch-Class Transformations in Free Jazz.” Music Theory Spectrum. 12:2 (Autumn 1990). 181–202.

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Argues that set theory can describe the handling of pitches in free jazz, applying it to stylistically diverse transcribed excerpts from Cecil Taylor’s Air above Mountains (Buildings Within) and “Tales (8 Whisps),” John Coltrane’s solo on Ascension, Anthony Braxton’s Composition 23E, and Ornette Coleman’s “Lonely Woman.” 159.

Dean, Roger T. New Structures in Jazz and Improvised Music Since 1960. Philadelphia: Open UP, 1992. xxvi, 230 p. Catalogs and analyzes formal innovations with chapters on rhythm and pitch with examples from Ornette Coleman, Tony Oxley, Cecil Taylor, Evan Parker, and others, a section comparing five keyboardists: Paul Bley, Andrew Hill, Wolfgang Dauner, Joachim Kuhn, and the author, and one on composition, which focuses on large ensembles, discussing Anthony Davis, Kenny Wheeler, Alexander von Schlippenbach, Willem Breuker, Michael Mantler, and Anthony Braxton.

160.

Dean, Roger T, and Freya Bailes. “The Control of Acoustic Intensity During Jazz and Free Improvisation Performance: Possible Transcultural Implications for Social Discourse and Community.” Critical Studies in Improvisation. 6:2 (2010). 1–22. www. criticalimprov.com/article/view/1193/1889 Quantitative analysis of recorded dynamic range and frequency and speed of performed dynamic change in recordings from Charlie Parker to Merzbow, including pieces by Ornette Coleman, Sun Ra, the Spontaneous Music Ensemble, Globe Unity Orchestra, Cecil Taylor, Derek Bailey, and Evan Parker, both solo and with the Electro-Acoustic Ensemble, working toward a theory of dynamic change and collective interaction in free improvised music compared to improvisations on compositions and among performances which are solo, collective, or with a leader.

161.

Folio, Cynthia. “An Analysis of Polyrhythm is Selected Improvised Jazz Solos.” in Concert Music, Rock, and Jazz Since 1945: Essays and Analytical Studies. eds. Elizabeth West Marvin and Richard Hermann. Rochester, NY: U of Rochester P, 1995. 103–134. Folio argues that the devices jazz musicians think of as irregular phrase lengths and over-the-barline playing are polyrhythms superimposed over the basic meter of the piece. She looks at transcribed passages from Thelonious Monk then, closer to free jazz, Ornette Coleman on “Lonely Woman” and Eric Dolphy on “Rally” (from Ron Cater’s Where?) and “You Don’t Know What Love is” (from his own Last Date).

162.

Jost, Ekkehard. Free Jazz. New York: Da Capo, 1994 [1974]. 214 p. Musical analysis of the emergence of free jazz, with many transcribed excerpts. There are two chapters on John Coltrane: the first on modal jazz, which also discusses the formal innovations of Miles Davis’ “Milestones” and Kind of Blue, the second on his music after A Love Supreme, and one each on Charles Mingus, Ornette Coleman, Cecil Taylor, Archie Shepp, Albert Ayler, and Sun Ra, as well as a survey of the early recordings of the AACM. The Taylor chapter includes a timeline description of “Unit Structures” with notated phrases, clarifying the role of composition in Taylor’s music and connecting its form to the poetic liner notes to the Unit Structures LP. Cherry’s work with Ornette Coleman is discussed in his chapter, as well as the albums Complete Communion, Eternal Rhythm, and Mu.

163.

Reynolds, Jane Martha. Improvisation Analysis of Selected Works of Albert Ayler, Roscoe Mitchell, and Cecil Taylor. Ph.D. thesis. Madison: U of WI, 1993. ix, 240 p.

General and Topical Works

31

Attempting to add musicological clarity to the existing journalistic literature on free jazz, Reynolds transcribes and analyzes elements from the themes and saxophone solos on Ayler’s “Ghosts,” “Holy Holy,” “The Wizard,” “Truth is Marching In,” “Our Prayer,” “Love Flower,” and “Dancing Flower,” and collective improvisation on “ITT” Multiple versions of Mitchell’s “Nonaah” are discussed, with excerpts reprinted from his scores and transcribed from recordings. The structures of Taylor’s works, from early pieces on blues chord changes to the development of his own language, is also explored, with numerous transcriptions, including the introduction to “With (Exit)” from Conquistador, sections from Taylor, Bill Dixon, and Jimmy Lyons’ solos, and passages from Air Above Mountains (Buildings Within) and Looking (Berlin Version). She explicates each artist’s compositional and improvisational techniques based on these samples.

Pedagogy 164.

Borgo, David. “Free Jazz in the Classroom: An Ecological Approach to Music Education.” Jazz Perspectives. 1:1 (2007). 61–88. Drawing on interviews with Bertram Turetzky, Mark Dresser, Anthony Davis, and Lisle Ellis, as well as a panel with Ed Sarath, Graham Collier, and Allan Chase, Borgo argues that free jazz and free improvisation can re-center improvisation pedagogy to a more ear-based than theory-based model which encourages musicians to think of themselves as part of a collective, a distributed system in which all players are mutually creatively responsible. He cites the AACM and Creative Music Studio as precedents.

165.

Schlicht, Ursel. “‘I Feel My True Colors Begin to Show:’ Designing and Teaching a Course on Improvisation.” Critical Studies in Improvisation. 3:2 (2008). n.p. www. criticalimprov.com/article/view/371 Describing creating and presenting an interdisciplinary improvisation course at Ramapo College in New Jersey, she discusses the role of gender, ethnicity, and musical background in the syllabus and participants, differentiates leading an improvisation workshop from teaching jazz, and gives a week-by-week account of the course, including attendance at Butch Morris’ Black February performances, a guest presentation by Pauline Oliveros, and student projects.

166.

Shoemaker, Bill. “Into the Out: Connecting with the Internal Ear.” JazzTimes 1998/1999 Jazz Education Guide. 36–38, 40. Robert Dick, Dave Douglas, Vinny Golia, Gerry Hemingway, Steve Lacy, and Wadada Leo Smith comment on the skills required for free playing and how they acquired them.

167.

Tinkle, Adam. The Expanding Universal: Participation and Pedagogy in Experimental Music. Ph.D. dissertation. San Diego: U of CA, 2015. xi, 290 p. https://escholarship. org/uc/item/31z6d8vs Looks at attempts to open access to new music composition and performance by “de-skilling” and “re-skilling” in text and conceptual pieces by John Cage and Pauline Oliveros and in the workshop techniques of the AACM, BAG/Human Arts Ensemble, UGMAA, and Creative Music Studio. Free jazz-related work discussed in detail

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includes the Human Arts Ensemble’s Whisper of Dharma album and Anthony Braxton’s compositions 37, 42, and 78.

Philosophy, Religion, and Critical/Cultural/Literary Theory 168.

Barham, Jeremy. “Rhizomes and Plateaus: Rethinking Jazz Historiography and the Jazz-’Classical’ Relationship.” Jazz Research Journal. 3:2 (2010). 171–202. Genre is considered as a historical network rather than a set of definitions. After a substantial theoretical section, two case studies are explored: Bill Evans’ use of harmonic material and rhythmic feel similar to and Olivier Messiaen, and Cecil Taylor, Anthony Braxton, and Leo Smith’s, compositions “Enter Evening,” “The Bell,” and “Silence,” which are sonically and structurally closer to John Cage and Luigi Nono than to jazz. The opening phrase of “The Bell” is transcribed and there is a formal diagram of “Silence.”

169.

Batel, Günther. “Free Jazz als Intensive Form Soziomusikalischer Kommunikation.” Melos/NZ. Nov–Dec. 1978. 507–511. In jazz using composed forms, the form is the center of communication. Each musician is focused on it, while the listeners direct their primary attention to each soloist in turn. In free jazz, Batel argues, all players ideally focus equally on each other and the audience equally on each player. He also maps the flows of communication in the free jazz art world, from players to listeners via recordings and various performance venues, and back through criticism and conversation. In German.

170.

Bilek, Robert. “Endspiel oder Zukunftsmusik? Neun Selbstgespräche.” in Jazz Op. 3: Die Heimliche Liebe Des Jazz Zur Europäischen Moderne. ed. Ingrid Karl. Wien: Löcker, 1986. 171–189. A “self-dialogue” about whether postmodernism offers new syntheses or the end of meaning. Examples include Derek Bailey, Andrea Centazzo, Georg Gräwe, Franz Koglmann, and George Lewis. In German.

171.

Bivins, Jason C. Spirits Rejoice! Jazz and American Religion. New York: Oxford UP, 2015. xvi, 369 p. After considering jazz’s relationship to established traditions of religious music and its representations of American religious history, this book then turns to the major themes of communitarianism, ritual and healing, and the surrender of the self to channel spirits. It concludes by discussing cosmology and metaphysics. Free jazz is generously represented, not only the clearly religious work of John and Alice Coltrane, Sun Ra, Albert Ayler, Pharoah Sanders, and Charles Gayle, but also David Murray, Archie Shepp, Don Cherry, Milford Graves, Cecil Taylor, Charlie Haden, John Carter, Horace Tapscott, Lester Bowie, Henry Threadgill, Sam Rivers, John Zorn, Anthony Braxton, Wadada Leo Smith, Steve Lacy, David S. Ware, and others whose work has church roots and/or cosmic aspirations.

172.

Eshun, Kodwo. More Brilliant Than the Sun: Adventures in Sonic Fiction. London: Quartet Books, 1998. 240 p.

General and Topical Works

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Afro-Futurist cultural critique moving quickly through a variety of music, from hip hop to fusion to techno, propelled by poststructuralism and science fiction and guided by the spirit of Sun Ra, concluding with the spiritual free jazz of John Coltrane, Alice Coltrane, and Pharoah Sanders. 173.

Green, Roger Kurt. Toward an Ethical Aesthetics: A Study of Levinas, Mid TwentiethCentury Avant-Garde Jazz and Poetry. M.H. thesis. Denver: U of CO, 2004. xii, 138 p. The development, critical reception, and politics of free jazz are considered as a network of ethical relationships between audiences, artists, and critics, as individuals and as members of various communities.

174.

Harvey, Mark S. “Jazz and Modernism: Changing Conceptions of Innovation and Tradition.” in Jazz in Mind: Essays on the History and Meanings of Jazz. eds. Reginald T. Buckner and Steven Weiland. Detroit: Wayne State U P, 1991. 128–147. Free jazz plays a key role in this discussion of modernism and postmodernism in jazz. Because of the diversity of approaches in free jazz, it represents an apex of modernism, both radically progressive and self-consciously retrospective in ways new to jazz. He also points to artists such as Don Cherry, Sun Ra, the Ganelin Trio, Anthony Braxton, and the Art Ensemble of Chicago as leading towards postmodernism in their use of appropriation, quotation, pastiche, etc.

175.

Heble, Ajay. “The Poetics of Jazz: From Symbolic to Semiotic.” Textual Practice. 2:1 (1988). 51–68. Argues that as jazz has historically moved away from tonality, through the chromaticism of bebop to the atonality of free jazz, and as it has likewise weakened and abandoned structural markers such as chord changes, song forms, and bar lines which gave musical gestures meaning within a known system, leaving signs to only develop meaning through their relations to each other, the music’s politics became more overtly radical, with reference to the use of music in LeRoi Jones’ play The Dutchman.

176.

Hegarty, Paul. Noise/Music: A History. New York: Continuum, 2007. x, 221 p. The chapter “Free” summarizes and historicizes Theodor Adorno’s negative social and aesthetic interpretations of jazz, then asks if free jazz and free improvisation are still subject to those critiques. Examples include Ornette Coleman’s Free Jazz, John Coltrane’s Ascension, and the work of Derek Bailey and AMM. Ben Watson’s application of Adorno to Bailey and AMM (1650) is also discussed.

177.

Iyer, Vijay. “On Improvisation, Temporality, and Embodied Experience.” in Sound Unbound: Sampling Digital Music and Culture. ed. Paul D. Miller aka. DJ Spooky that Subliminal Kid. Cambridge, MA: MIT P, 2008. 273–292. Explores scientific and philosophical theories of musical time, form, and movement, then attempts to apply them to Iyer’s experiences playing with Cecil Taylor (483, 487) and Roscoe Mitchell (on the album Song for My Sister) and to extrapolate them to sampling and scratching in hip-hop.

178.

Richter, Stephan. Zu Einer Ästhetik Des Jazz. Frankfurt am Main: Lang, 1995. 339 p. German-language attempt to define the aesthetics of jazz. Free jazz appears in the section on the relationship between the work and the composer when performance

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is collective and substantially improvised, with “A Love Supreme” one key example, and in the chapter on tradition, which contrasts Wynton Marsalis’ conception to the AACM, citing Anthony Braxton’s idea of restructuralism but primarily looking at Great Black Music and the work of the Art Ensemble of Chicago. 179.

Rose, Simon. The Lived Experience of Improvisation: In Music, Learning, and Life. Chicago: Intellect, Ltd, 2017. viii, 257 p. Exploration of concepts of knowledge, embodiment, and subjectivity in free improvised music and how improvisation can inform other human activities, particularly education. Also discusses the origins of free improvisation in jazz, classical, and experimental music and the institutionalization of improvisation education at Mills College, the Guelph Institute for Critical Studies in Improvisation, and elsewhere. Includes interviews with Mick Beck, John Butcher, Tristan Honsinger, Sven-Åke Johansson, George Lewis, Roscoe Mitchell, Maggie Nichols, Alan Tomlinson, and others.

180.

Székely, Michael David. “Thresholds: Jazz, Improvisation, Heterogeneity, and Politics in Postmodernity.” Jazz Perspectives. 2:1 (May 2008). 29–50. Starting by examining the presentation of free jazz as an example of Jamesonian postmodernity by Corbett (60) and as a failed prophetic utopia by Attali (79), then asking how it can contain both John Zorn’s pastiche and Derek Bailey’s non-idiomaticism, the article resolves by looking to Derrida and Lyotard to describe the blurring of composer/improviser, consumer/creator, and active/passive in listening to improvisation.

181.

Wallmark, Zachary Thomas. Appraising Timbre: Embodiment and Affect at the Threshold of Music and Noise. Ph.D. dissertation. Los Angeles: UCLA, 2014. xx, 407 p. https://escholarship.org/uc/item/99t2t939 Combines critical theory and neuroscience to investigate timbre, a topic often neglected in musicology. Examples are from the extremes: death metal guitar and screaming free jazz saxophone, exemplified by John Coltrane and Pharoah Sanders on “The Father, The Son, and The Holy Ghost.” The physical production of these sounds is probed in depth, as is their physical and aesthetic reception. Issues of anger, violence, and identity in sound are explored semiotically and somatically.

182.

Wallmark, Zachary. “Theorizing the Saxophonic Scream in Free Jazz Improvisation.” in Negotiated Moments: Improvisation, Sound, and Subjectivity. eds. Gillian Siddal and Ellen Waterman. Durham, NC: Duke UP, 2016. 233–244. Revised excerpt from 181, using cultural studies theories of embodiment and neuroscience on mirror neurons to discuss responses to extreme saxophone sounds.

Race and Politics 183.

Baskerville, John D. “Free Jazz: A Reflection of Black Power Ideology.” Journal of Black Studies. 24:4 (1994). 484–497. Summarizes arguments about free jazz as an assertion of creative and economic selfdetermination from LeRoi Jones, Archie Shepp, Frank Kofsky, and Val Wilmer, then claims that this music’s lack of popularity among ordinary African-Americans is due to false consciousness.

General and Topical Works

184.

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Baskerville, John D. The Impact of Modern Black Nationalist Ideology and Cultural Revitalization on American Jazz Music of the 1960s and 1970s. Ph.D. dissertation. Iowa City: U of IO, 1997. viii, 231 p. Primarily a history of 20th century US Black nationalism, incorporating an account of free jazz as its musical manifestation. Based on published sources, mainly Archie Shepp and Frank Kofsky.

185.

de Jong, Nanette. “‘You Can’t Kill an Organization:’ Musicians’ Collectives and the Black Power Paradigm.” Jazzforschung/Jazz Research. 37 (2005). 133–144. Surveys musicians’ attempts at organizing for self-determination, including Horace Tapscott and Sun Ra’s Arkestras, the Jazz Composers’ Guild, Black Artists Group, and others, situating them in the context of the rise of the Civil Rights Movement and transition to Black Power.

186.

Francesconi, Robert. “Free Jazz and Black Nationalism: A Rhetoric of Musical Style.” Critical Studies in Mass Communication. 3:1 (1986). 36–49. Musical elements typical of free jazz are described as signifying African-ness and freedom compared to mainstream jazz, and the implicit narratives of free jazz performance and discourse are considered as parallels to the arguments of the Black Power movement.

187.

Gerard, Charley. Jazz in Black and White: Race, Culture, and Identity in the Jazz Community. Westport, CT: Praeger, 1998. xx, 202 p. An attempt to untangle race and jazz, reacting particularly against the proprietary claims of Black nationalist writers of the 1960s, as well as the essentialism of many of Wynton Marsalis’ arguments. There is a section on musicians’ collectives which is dominated by free jazz organizations: the Jazz Composers Guild, AACM, and BAG, and Jimmy Giuffre’s version of “Blue Monk” features in a concluding chapter alongside Aretha Franklin’s version of “You are My Sunshine” as successful cross-racial interpretations.

188.

Gridley, Mark. “Misconceptions in Linking Free Jazz with the Civil Rights Movement: Illusory Correlations Between Politics and the Origination of Jazz Styles.” College Music Symposium. 47 (2008). 139–155. Argues that most connections made by historians and critics between musical and political freedom are unsound, because much of the overtly political jazz of the Civil Rights and Black Power era was not strictly free form, free jazz had a significant apolitical and mostly white pre-history in the early 1950s, many free jazz artists cited religious or formal inspirations rather than political ones, and there is free music expressing a range of attitudes. Gridley also claims that perceptions of meaning in instrumental music are entirely personal and therefore social and political interpretations of jazz have no place in jazz education, which should concentrate on developing listening skills.

189.

Jost, Ekkehard. Sozialgeschichte des Jazz in den USA. Frankfurt am Main: Fischer Taschenbuch Verlag, 1982. 420 p. The free jazz chapter of this study of the social context of jazz genres opens with a multi-page chronology of the turmoil of the 1960s, featuring the Civil Rights and Black Power movements. It continues with a catalog of critical vitriol directed at the

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music, then turns to musicians’ attempts at self-determination, from the Jazz Composers Guild to the AACM, the Jazz and People’s Movement, and self-production in lofts. In German. 190.

Jost, Ekkehard. “Zum Problem des Politischen Engagements im Jazz.” Jazzforschung/ Jazz Research. 5 (1973). 33–43. Jost takes stock of jazz artists’ attempts to directly comment on political issues in their work, from Mingus’ “Fables of Faubus” to Charlie Haden’s Liberation Music Orchestra. Besides Haden’s LP, “Money Blues,” from Archie Shepp’s Things Have Got to Change is the major free jazz piece discussed, though Clifford Thornton, the Art Ensemble of Chicago, and the New York Art Quartet’s work with LeRoi Jones are also mentioned. He notes the challenges of conveying a specific critique without text and of setting text without musical compromise, considering the Shepp piece a failed attempt. Selected passages from angry letters to Downbeat from right-wing readers objecting to coverage of Shepp, Haden, et al are also discussed.

191.

Lère, Pierre. “Free Jazz: Évolution ou Revolution.” Revue d’Esthetique. 23:3/4 (1970). 313–325. French Marxist reading of African-American free jazz, concluding that the Black nationalism it represents is an antithesis to white supremacist capitalism, with the revolutionary socialist synthesis yet to come.

192.

McClure, Daniel R. New Black Music or Anti-Jazz: Free Jazz and America’s Cultural De-Colonization in the 1960s. M.A. thesis. Fullerton: CA State U, 2006. iii, 144 p. The free jazz of the 1960s is considered as part of a global anti-colonial movement, in relation to the Civil Rights, Black nationalist, and Black Arts movements, and as an artistic avant-garde. Postcolonal theory and art historical theories of the avant-garde are surveyed and applied.

193.

McMichael, Robert K. Consuming Jazz: Black Music and Whiteness. Ph.D. dissertation. Providence: Brown U, 1996. vii, 303 p. Considers the racial politics of jazz listening through a historical survey, a close reading of several 1950s–1960s moments when Black artists, including Dizzy Gillespie, Cannonball Adderley, Charles Mingus, Ornette Coleman, and John Coltrane, challenged racism, participant observation of a 1990s performance at Yoshi’s in Oakland by Sam Rivers, and interviews with jazz fans.

194.

McMichael, Robert K. “‘We Insist—Freedom Now:’ Black Moral Authority, Jazz, and the Changeable Shape of Whiteness.” American Music. 16:4 (1998). 375–416. Revised chapter from 193 on 1950s–1960s anti-racist mass media interventions by jazz musicians and the critical framing, by Frank Kofsky and Amiri Baraka in particular, of jazz as African-American protest.

195.

Polaschegg, Nina. “Emanzipation im Jazz—Emanzipation vom Jazz: Ist der Free Jazz eine Kulturelle Revolution oder eine Emanzipation?” in Rebellische Musik: Gesellschaft Protest und Kulturel Wandel um 1968. eds. Arnold Jacobshagen and Markus Leniger. Köln: Dorr, 2007. 245–262. German-language exploration of free jazz’s complicated relationship to ideas of political, economic, and creative freedom of freedom from rules or forms and

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alliances with actual liberation movements, including the Civil Rights and Black Power movements in the US and Leftist and anarchist movements in Europe. Albert Ayler, Bill Dixon, and Amiri Baraka in the US, John Stevens in England, and Peter Brötzmann in Germany are the central figures. 196.

Sandke, Randall. Where the Dark and the Light Folks Meet: Race and the Mythology, Politics, and Business of Jazz. Studies in Jazz No. 60. Lanham, MD: Scarecrow P, 2010. x, 277 p. Argues that jazz history and criticism have been distorted by racialized interpretations, whether those of radicals like Amiri Baraka and Archie Shepp or of traditionalists such as Wynton Marsalis and Stanley Crouch, which impose an external agenda on the music’s formal and historical hybridity, diminishing its creative autonomy and utopian vision.

197.

Shoemaker, Bill. “What’s New? The PoD Roundtable.” Point of Departure. 5 (May 2006). n.p. http://pointofdeparture.org/PoD5WhatsNew.html http://pointofdepar ture.org/PoD5WhatsNew2.html http://pointofdeparture.org/PoD5WhatsNew3.html Email discussion between Ajay Heble, Fred Ho, Caroline Kraabel, George Lewis, and George McKay, starting with the question of eclecticism and postmodernity, then expanding to discuss connections between genre and race and location and community, as well as the roles of collectives, academics, and activism.

198.

Spellman, A. B. “Not Just Whistling Dixie.” In Black Fire: An Anthology of AfroAmerican Writing. eds. LeRoi Jones and Larry Neal. New York: Morrow, 1968. 159–168. Spellman compares white misunderstandings of Black music to pre-Civil War texts on slave music and counters them by underlining revolutionary and Pan-Africanist references in free jazz song titles and texts and mocking critical attempts to claim jazz as universal or proudly American. For him, the major problems facing the new music are its economic control by white men (even bohemians and sincere admirers) and its alienation from a Black audience. Like Jones in “The Changing Same” (522), he looks towards a synthesis of Otis Redding and Albert Ayler.

199.

Thomas, Pat. Listen, Whitey! The Sights and Sounds of Black Power, 1965–1975. Seattle: Fantagraphics, 2012. x, 193 p. A survey of the Black Power movement’s presence in popular music incorporating free jazz through coverage of the work of Amiri Baraka, Archie Shepp, Clifford Thornton, the Art Ensemble of Chicago, Marzette Watts, Sonny Sharrock, Pharoah Sanders, and Elaine Brown with Horace Tapscott. Generously illustrated, with graphic design, hairstyles, and fashion discussed alongside music and texts.

200.

Townsend, Peter. “Free Jazz: Musical Style and Liberationist Ethic, 1956–1965.” in Media, Culture, and the Modern African-American Freedom Struggle. ed. Brian Ward. Gainesville: U of FL P, 2001. 145–160. Argues that free jazz did not emerge from jazz recapitulating classical music’s progressive incorporation of noise, complexity, and dissonance, but instead was a musical response to political situations, citing song titles and texts such as “Fables of Faubus” and Africa/Brass and the timing of these works and Ascension in relation to

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events in the African decolonization, Civil Rights, and Black Power movements, concluding with a discussion of the emergence of collectives such as the Jazz Composers Guild and AACM as steps towards self-determination. 201.

Ward, Brian. “Jazz and Soul, Race and Class, Cultural Nationalists and Black Panthers: A Black Power Debate Revisited.” in Media, Culture, and the Modern AfricanAmerican Freedom Struggle. ed. Brian Ward. Gainesville: U of FL P, 2001. 161–196. Compares the roles of jazz and soul music in the Black Panther Party and in Amiri Baraka’s cultural nationalist work, from the Black Arts through his involvement with Ron Karenga’s US. Baraka began by pushing free jazz as a music whose revolutionary aesthetics matched his revolutionary politics, moving away from this elitist/ vanguardist concept to promote a synthesis of free jazz and R&B in “The Changing Same” (522) and then to reject the spirituality and abstraction of free music as a counter-revolutionary distraction. Meanwhile, the Panthers were very comfortable with popular culture, organizing their own funk band The Lumpen, but Panther leader Elaine Brown also composed and recorded revolutionary songs with Horace Tapscott.

Rock 202.

Wallace, Rob. “Kick out the Jazz.” in People Get Ready: The Future of Jazz is Now! eds. Ajay Heble and Rob Wallace. Durham, NC: Duke UP, 2013. 111–137. A fast-moving survey of intersections of free jazz and punk rock, including John Zorn’s Spy vs. Spy album, AMM and Pink Floyd sharing bills (and both listening to Sun Ra), Jerry Dammers of the Specials starting a Sun Ra tribute band, the MC5’s use of free improvisation, and an overlapping DIY, anarchic, anti-technique sensibility.

Science 203.

Borgo, David. Sync or Swarm: Improvising Music in a Complex Age. Book with CD. New York: Continuum, 2005. xvii, 236 p. Theories of chaos and complexity are applied to examples including Sam Rivers’ “Hues of Melanin,” solo pieces by Evan Parker and Derek Bailey, Parker’s Electroacoustic Ensemble, Peter Brötzmann’s “Machine Gun,” and the Art Ensemble of Chicago’s “Ancestral Meditation” and “People in Sorrow.” Issues of community, consciousness, and embodiment are also addressed. Borgo draws on original interviews with Adam Rudolph, George Lewis, Anthony Davis, and other artists.

Visual Arts 204.

Brown, David P. Noise Orders: Jazz, Improvisation and Architecture. Minneapolis: U of MN P, 2006. xxxii, 159 p. Parallel techniques of organizing time and space in music and art, architecture, and design are traced through examples including Cecil Taylor, Lawrence “Butch” Morris, and AACM artists including Roscoe Mitchell, Wadada Leo Smith, Henry Threadgill,

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Anthony Braxton, and the Art Ensemble of Chicago, as well as non-free jazz musicians from John Cage to Louis Armstrong. 205.

Tobias, James S. Music, Image, Gesture: The Graphical Score and the Visual Representation of Music in Cinema and Digital Media. Ph.D. dissertation. Los Angeles: USC. 2001. v, 339 p. http://cdm15799.contentdm.oclc.org/cdm/ref/collection/ p15799coll16/id/167499 Engaging the multimedia graphic representation of music from Eisenstein to Madonna, this dissertation includes a chapter on experimental African-American music of the 1970s and 1980s, which discusses Anthony Braxton’s graphic composition titles, his use of Kandinsky’s paintings on album covers, and Larry Clark’s 1977 film Passing Thru, which featured Horace Tapscott.

World Music 206.

Cohen, Aaron. “Goin’ Global.” Downbeat. Mar. 1998. 28–32. Focused on projects by Arthur Blythe, Fred Ho, Horace Tapscott, and Jason Hwang, this survey of “world music”-influenced jazz also includes comments from Jin Hi Kim, a sidebar listing the four main artists’ instruments, and another sidebar of other suggested recordings, including work by Dave Douglas, Jon Jang, Trevor Watts, and John Zorn.

207.

Heining, Duncan. From Jazz to the World, from the World to Jazz. Sheffield, UK: Equinox, 2019. [forthcoming]. 288 p. Argues that jazz is “the original world music,” reading media and marketing discourse and the lives and works of artists from Jelly Roll Morton to Steve Coleman, including free jazz musicians including Peter Apfelbaum, Don Cherry, Colin Walcott, and the Brotherhood of Breath.

208.

Onori, Luigi. Il Jazz e L’Africa: Radici, Miti, Suoni. Viterbo: Stampa Alternativa/Nuovi Equilibri, 2004. 315 p. An Italian analogue to Weinstein’s A Night in Tunisia (211), looking at examples of jazz in Africa and of Africa in jazz, including various works by Archie Shepp and Randy Weston, John Coltrane’s “Africa,” Max Roach’s Freedom Now Suite, John Carter’s Roots and Folklore series, and the work of the Blue Notes. The approach is social, historical, and journalistic.

209.

Pfleiderer, Martin. Zwischen Exotismus und Weltmusik: Zur Rezeption Asiatischer und Afrikanischer Musik im Jazz der 60er und 70er Jahre. Karben, Germany: Coda, 1998. 302 p. The first section explores the cultural weight carried by appropriations of Asian and African music by Western artists, from spirituality to anti-colonial radicalism to the humanist universalism of fusion projects. The second looks at particular examples from jazz, including Shakti, John Mayer and Joe Harriott’s Indo-Jazz Suite, and the work of Ahmed Abdul-Malik. Transcribed phrases from Archie Shepp’s “The Magic of Ju-Ju” and the Art Ensemble of Chicago’s “Chi-Congo” represent free jazz artists simulating African drumming. The third chapter focuses on Don Cherry, with a biography and numerous transcriptions showing his adaptations of Indian, Turkish, Balinese, and other musics. In German.

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210.

General and Topical Works

Toop, David. Exotica: Fabricated Soundscapes in a Real World. London: Serpent’s Tail, 1999. 271 p. Based in the 1950s–1960s phenomenon of faux-exotic easy listening albums, but ranging from Debussy to the present, incorporating travelogues and dreams as well as history and music journalism. Free jazz artists Sun Ra, Alice Coltrane, and Pharoah Sanders are invoked, and a 1995 interview with Ornette Coleman receives its own chapter.

211.

Weinstein, Norman C. A Night in Tunisia: Imaginings of Africa in Jazz. New York: Limelight, 1992. xii, 244 p. Collecting artist profiles, record reviews, and other texts, some previously published, around the theme of Africa, covering free jazz works such as John Coltrane’s “Africa,” John Carter’s Roots and Folklore series, Archie Shepp’s The Magic of Ju-Ju, Live at the Pan-African Festival, and The Cry of My People, Sunny Murray’s Homage to Africa and African Magic, and Ronald Shannon Jackson’s When Colors Play.

2 Pioneers and Predecessors

GENERAL WORKS 212.

Brubeck, Darius. “1959: The Beginning of Beyond.” The Cambridge Companion to Jazz. eds. Mervyn Cooke and David Horne. Cambridge, UK: Cambridge UP, 2002. 177–201. Looking at a set of jazz albums recorded in 1959 which expanded, challenged, or redefined common practice: Miles Davis’ Kind of Blue, Dave Brubeck’s Time Out, John Coltrane’s Giant Steps, and Ornette Coleman’s The Shape of Jazz to Come, in combination with the emergence of jazz theory and education through the Lenox School of Jazz, George Russell’s Lydian Chromatic Concept (223), other texts, and historical compilations and reissues on LP, Brubeck argues that 1959 represented jazz’s development of an avant-garde and of theoretical and historical self-consciousness, all of which were resisted by critics defending the universality of common practice.

213.

Gioia, Ted. West Coast Jazz: Modern Jazz in California 1945–1960. Berkeley: U of CA P, 1998. xii, 418 p. History including early experimental work by Teddy Charles, Shelly Manne, and other Los Angeles players, as well as a full chapter on Jimmy Giuffre. Sections of the final chapter cover Eric Dolphy and Ornette Coleman’s time in Los Angeles.

214.

Henry, Lucas Aaron. Freedom Now! Four Hard Bop and Avant-Garde Jazz Musicians’ Musical Commentary on the Civil Rights Movement, 1958–1964. M.A. thesis. Johnson City, TN: East TN State U, 2004. 115 p. https://dc.etsu.edu/etd/962/ The works read, each the focus of a chapter, are Sonny Rollins’ Freedom Suite, Charles Mingus’s “Fables of Faubus,” Ornette Coleman’s Free Jazz, and John Coltrane’s A Love Supreme. The Coleman piece is seen as a structural parallel to the pluralistic coalition of the Movement, while Henry notes A Love Supreme was recorded soon after 41

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the signing of the 1964 Civil Rights Act and interprets it as a positive counterpart to the tragic “Alabama,” which was Coltrane’s memorial for the victims of the September 1963 Birmingham church bombing. 215.

Hersch, Charles Benjamin. Liberating Forms: Politics and the Arts from the New York Intellectuals to the Counterculture. Ph.D. dissertation. Berkeley: UC Berkeley, 1987. iii, 227 p. Free jazz is one of Hersch’s examples of the transformation of radical culture from the 1950s to 1960s. In his chapter “Let Freedom Ring,” he compares Mingus’ free jazz recordings “Pithecanthropus Erectus” and “Folk Forms #1” to Ornette Coleman’s Free Jazz and John Coltrane’s Ascension, arguing they show a movement from community to collectivism, and from liberation to transcendence parallel to the changes between the Old and New Lefts and from Dr. King’s pluralistic “redemptive community” to the “collective catharsis” of late Coltrane, which Hersch compares to the Watts Riots.

216.

Hersch, Charles Benjamin. “‘Let Freedom Ring!’ Free Jazz and African-American Politics.” Cultural Critique. 32 (Winter 1995). 97–123. Slightly revised version of the free jazz section from 215.

217.

Hodson, Robert. Interaction, Improvisation, and Interplay in Jazz. New York: Routledge, 2007. ix, 197 p. The concluding chapter considers Bill Evans’ performance of “Autumn Leaves,” Miles Davis’s “Flamenco Sketches,” and Ornette Coleman’s “Congeniality,” all recorded in 1959, as moves away from song form and towards free playing, using transcribed excerpts, and ends with discussion of Coleman’s Free Jazz and Coltrane’s Ascension.

218.

Hudson, Trevor E. From Dadaism to Free Jazz: The Cultural Developments of a New Aesthetic. M.A. thesis. Newark: Rutgers U, 2013. vi, 155 p. https://rucore.libraries. rutgers.edu/rutgers-lib/40408/ Tracing the development of the idea of an avant-garde from Paris between the wars to the New York School painters and poets, he argues that free jazz, represented by the late 1950s work of Ornette Coleman, Cecil Taylor, and John Coltrane, manifests this same impulse. Includes close readings of the structure of Coleman’s Free Jazz and Coltrane’s “Giant Steps,” plus an original interview with Daniel Carter.

219.

Jones, LeRoi [Amiri Baraka]. Blues People: The Negro Experience in White America and the Music that Developed from It. New York: Morrow, 1963. xii, 244 p. This critical/social history of African-American music concludes by pointing to John Coltrane and Sonny Rollins’ respective deconstructions of song form on My Favorite Things and with the band that would make Our Man in Jazz, and to Cecil Taylor and Ornette Coleman in general, as showing ways ahead.

220.

Magee, Michael. “Tribes of New York: Frank O’Hara, Amiri Baraka, and the Poetics of the Five Spot.” Contemporary Literature. 42:4 (Winter 2001). 694–726. Organized around O’Hara’s “The Day Lady Died” and “Personal Poem,” this exploration of the Five Spot as a creative nexus ties in musicians associated with the club and with free jazz: principally Ornette Coleman and Mal Waldron, but also Steve Lacy and John Coltrane.

Pioneers and Predecessors

221.

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Panken, Ted. “When Giants Walked the Village.” Downbeat. June 2005. 52–57. An account of jazz clubs in Greenwich Village, centered on the Village Vanguard but also including the Five Spot and Cafe Bohemia. With anecdotes concerning Ornette Coleman, Cecil Taylor, and John Coltrane, and comments from Roswell Rudd and Paul Bley.

222.

Rinne, Henry Q. Concepts of Time and Space in Selected Works of Jazz Improvisation and Painting. Ph.D. dissertation. Athens, OH: Ohio U, 1991. x, 219 p. Ornette Coleman’s Free Jazz and John Coltrane’s Sun Ship are read as major examples of works whose relatively constant density undermines perception of narrative or time, analogous to Jackson Pollock’s all-over paintings.

223.

Russell, George. The Lydian Chromatic Concept of Tonal Organization. Volume One: The Art and Science of Tonal Gravity. Brookline, MA: Concept Pub, 2001. xiv, 252 p. Primarily a work of music theory for improvisers, presenting a systematic palette of scale options, this text was highly influential in the 1950s and 1960s. Includes a section on the differences between how Coleman Hawkins, Lester Young, John Coltrane, and Ornette Coleman approach playing over chord changes.

224.

Saul, Scott. Freedom is, Freedom Ain’t: Jazz and the Making of the Sixties. Cambridge, MA: Harvard UP, 2003. xiv, 394 p. Combining musical, historical, and cultural studies approaches, Saul traces how connections between musical, political, and personal freedom developed around jazz in the late 1950s to mid-1960s. Most of his examples are on a cusp between experimental hard bop and free jazz, such as Charles Mingus’ recordings, the Newport Rebels festival, and Max Roach’s collaborations with Abbey Lincoln. John Coltrane’s significance to the Black Arts Movement is also a major topic.

225.

Sidran, Ben. Black Talk. New York: Holt, Rinehart, and Winston, 1971. xxv, 201 p. A history of African-American culture, primarily music, in relation to anthropological generalizations about orality in African cultures. Free jazz appears in his final chapter, with John Coltrane, Ornette Coleman, and Cecil Taylor his primary subjects. His focus is on the music’s relationship to the oral cultures of jazz, spirituality, and politics, including discussion of its reception in the white counterculture. Sidran and Archie Shepp added new introductions to the reprint (New York: Da Capo, 1981).

226.

Spellman, A. B. Four Lives in the Bebop Business. New York: Limelight, 1985 [1966]. Also published as Four Jazz Lives. Ann Arbor: U of MI P, 2004. and as Black Music: Four Lives. xiv, 241 p. Biographies of two post-bop musicians: Herbie Nichols and Jackie McLean, and two from free jazz: Ornette Coleman and Cecil Taylor. Nichols’ struggle for work and recognition runs parallel to McLean’s battles with heroin addiction and Taylor and Coleman’s respective routes to the avant-garde from the urban middle class and conservatory and as a Southern autodidact. The Taylor and Coleman sections are based on detailed interviews, providing biographical and career information and the state of their lives and work in the mid-1960s. All four sections include criticism of the jazz business from Spellman and his subjects, specifically the poor fit between existing clubs, record labels, music writers, etc. and the creative music of African-Americans.

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227.

Pioneers and Predecessors

Westendorf, Lynette. Analyzing Free Jazz. D.M.A. dissertation. Seattle: U of WA, 1994. v, 252 p. After an overview of the musical and historical development of free jazz, Westendorf dissects three works and their accompanying theories: Ornette Coleman’s “Lonely Woman” and harmolodics, John Coltrane’s “India” and its debt to Indian classical music, and Cecil Taylor’s “Indent (Second Layer)” and his poem in the liner notes to the album Indent. Extensive transcriptions of the melodies and Coleman and Coltrane’s solos are used in detailed formal analyses, along with diagrams and graphic notation.

228.

Yudkin, Jeremy. The Lenox School of Jazz: A Vital Chapter in the History of American Music and Race Relations. S. Egremont, MA: Farshaw, 2006. 157 p. From 1957 to 1960 the Lenox School of Jazz was a private summer workshop for student and professional musicians. Jimmy Giuffre was on the faculty and students included Ornette Coleman, Don Cherry, and Perry Robinson. Coleman and Cherry’s participation in the 1959 session was key in their introduction to the New York scene, and Giuffre’s music was transformed by his encounter with Coleman. This account draws on published sources, archives, and new interviews.

ARTISTS Bley, Paul 229.

Bley, Paul, with David Lee. Stopping Time: Paul Bley and the Transformation of Jazz. Montreal: Véhicule P, 1999. 179 p. Memoir, assembled from taped interviews by Lee, recounting work with Ornette Coleman, Albert Ayler, Jimmy Giuffre, the Jazz Composers Guild, Carla Bley, and Annette Peacock, among others, explaining some of the sources and forms of Coleman, Giuffre, and Carla Bley’s music in particular.

230.

Cappelletti, Arrigo. Paul Bley: The Logic of Chance. trans. Gregory Burk. Montréal, Quebec: Véhicule, 2010. 171 p. Biographical discussion of notable recordings, with philosophical ruminations. Analysis of the Carla Bley compositions which appear in the unauthorized Real Book (“Batterie,” “Ictus,” “Olhos de Gato,” “And Now the Queen,” and “Ida Lupino”) is included, as is a 2002 email interview with Paul Bley.

231.

Cuscuna, Michael. “Paul Bley: Being Together.” Downbeat. Oct. 17, 1968. 20–21. Interview-based profile largely discussing his various trios as recorded on Footloose, Closer, Touching, Blood, and Mister Joy, and his preferences in bassists and drummers.

232.

Gluck, Bob. “Paul Bley and Live Synthesizer Performance.” Jazz Perspectives. 7:3 (2013). 303–322. An outtake from Miles Davis’ Lost Quintet and Other Revolutionary Ensembles (1941) surveying Bley’s late 1960s/early 1970s work with electronic keyboards, fact-checking his own unreliable accounts, connecting his work with other early Moog performances and uses of electric keyboards in jazz, and looking closely at the albums The Paul Bley Synthesizer Show, Improvisie, and Paul Bley and Scorpio.

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233.

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Heckman, Don. “Paul Bley.” Downbeat. Mar. 12, 1964. 16–17. Interview-based profile on the boundaries between free improvisation and free jazz, leadership, authority, and style in groups, and altering his style when he works as a sideman.

234.

Klee, Joe, and Will Smith. “Focus on Paul Bley.” Downbeat. Jan. 14, 1974. 12–13. Interview-based profile in which Bley proposes that musicians such as Albert Ayler and Cecil Taylor have exhausted the capabilities of conventional instruments, leaving electronics as the next frontier.

235.

Krieger, Franz. “‘All the Things You Are’—As Played by Paul Bley and Bob Cranshaw.” Jazz Research Notes. 7 (2002). 346–352. Bley’s solo on this piece from Sonny Rollins’ Sonny Meets Hawk is frequently cited for its free approach to rhythm and form. Krieger transcribes the first two choruses along with the bass line.

236.

Krieger, Franz. “‘When Will the Blues Leave’—As Played by Paul Bley.” Jazz Research Notes. 7 (2002). 353–356. Twelve choruses of right-hand-only piano improvising from Bley’s performance of this Ornette Coleman composition on the album Paul Bley Trio with Gary Peacock are presented in parallel to illustrate Bley’s use of variation and development from chorus to chorus.

237.

Lange, Art. “Bley in, Bley Out.” Downbeat. Aug. 1992. 34–36. On the release of the album Memoirs with Charlie Haden and Paul Motian, Bley looks back on his career, including his work with Ornette Coleman, Jimmy Giuffre, Sonny Rollins, and Annette Peacock.

238.

Lyons, Len. “Perspective: IAI—Paul Bley’s Bold Experiment.” Downbeat. May 19, 1977. 50–52. Interview on Bley’s independent label, including his approach to new artists, recording vs. live performance, and electronic vs. acoustic music, mentioning some unreleased duets with Sam Rivers.

239.

Mandel, Howard. “‘I Can’t Play Any Other Way.’” Downbeat. Jan. 2008. 40–43. Interview-based feature spanning his entire career but focused on solo playing and an upcoming reunion with Gary Peacock and Paul Motian.

240.

Meehan, Norman. “After the Melody: Paul Bley and Jazz Piano After Ornette Coleman.” Annual Review of Jazz Studies. 12 (2004). 85–116. Analyzes Coleman’s influence on Bley’s improvising style through transcription of selected solo passages. First, he identifies development techniques in Coleman’s solo on “Chronology,” then shows Bley using them in versions of “Long Ago and Far Away” and “Willow Weep for Me,” and his “All the Things You Are” solo from Sonny Rollins’ Sonny Meets Hawk album, which is transcribed in full, demonstrating the incorporation of Coleman’s harmonic freedom, motivic association, use of “erasure phrases,” and conversational ensemble concept into the performance of traditional material.

241.

Meehan, Norman. “Paul Bley: Building on the Innovations of Ornette Coleman.” Jazz Research Proceedings Yearbook. 29 (2001). 67–73.

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Meehan briefly recaps Bley’s career, then identifies techniques he took from Coleman: motivic chain-association, pivoting to new keys, and “erasure phrases” which break an established tonality. He transcribes exemplary phrases from Coleman’s solo on “Chronology,” and Bley’s performances of “Santa Claus is Coming to Town,” “Long Ago and Far Away,” and “At MacKies” and “All the Things You Are” with Sonny Rollins. 242.

Meehan, Norman. “Paul Bley’s High-Variety Piano Solo on ‘Long Ago and Far Away.’” Downbeat. Mar. 2009. 98–99. Two choruses of piano right-hand transcribed from this 1963 performance released on Paul Bley with Gary Peacock. Includes brief analytic notes.

243.

Meehan, Norman. “Paul Bley’s Piano Solo on ‘All the Things You Are.’” Downbeat. Feb. 2002. 78–79. The right hand of the first two choruses of this improvisation from Sonny Rollins’ Sonny Meets Hawk is transcribed with analytic notes.

244.

Meehan, Norman. Time Will Tell: Conversations with Paul Bley. Albany, CA: Berkeley Hills, 2003. viii, 153 p. Biography including original interviews, reviews of key albums, and musical analysis. The interview segments begin with biographical material in sequence but range freely through topics such as Ornette Coleman, Sonny Rollins, the Jazz Composers Guild, Bley’s use of serialism, and his approach to standards.

245.

Panken, Ted. “Blindfold Test: Paul Bley.” Downbeat. Sept. 2004. 90. Bley comments provocatively on recordings by Ahmad Jamal, Keith Jarrett, Kenny Barron, Vijay Iyer, Sonny Clark, and Cecil Taylor.

246.

Scalia, Phil. Collecting Scalps with Paul Bley. Cherry Valley, NY: Cherry Valley Editions, 2016. 23 p. Artist’s book of a 2007 interview, with an afterword by Bley’s neighbor Charles Plymell, a drawing by David Greenberger, and photos by Scalia.

247.

Schmidt, Andreas. Paul Bley: Stylistiche Entwicklungen und Bedeutung für die Geschichte des Jazz. thesis. Berlin: Der Huchschule der Künste Berlin. 1998. 63 p. Includes a biography, a career survey, a style analysis, an account of his significance in jazz history, and an interview. In German, except for the interview, which is in English.

248.

Weinberg, Bob. “Solitary Man.” Jazziz. Nov. 2007. 44–47. Interview-based profile promoting the CD Solo in Mondsee. Bley also comments on his first solo album Open, to Love and his work with synthesizers.

249.

Yanow, Scott. “Paul Bley: The IAI Story.” Coda. 251 (Sept/Oct. 1993). 11–15. Bley and Yanow both comment on each release on Bley’s Improvising Artists record label. Bley also explains his decisions to launch and close the label.

Coleman, Ornette 250.

Aboucaya, Jacques, and Jean-Pierre Peyrebelle. Du Be-bop au Free Jazz: Formes et Techniques d’Improvisation chez C. Parker, M. Davis et O. Coleman. Toulouse: Presses Universitaires du Mirail, 2001. 229 p.

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Each musician discussed represents a decade, Coleman the 1960s. After an overview of the social climate in the US, his Free Jazz LP is musically analyzed, with a timeline, transcribed solo, theme, and accompaniment excerpts, and discussion of how conflicting ideas are presented and negotiated through improvisation. In French. 251.

Adderley, Julian. “Cannonball Looks at Ornette Coleman.” Downbeat. May 26, 1960. 20–21. Adderley describes being gradually won over by Coleman and Don Cherry, after being initially put off by their disregard of musical norms. He begins to grapple with Coleman’s theories about clefs and transposition, and warns against the excessive hype projected on to his music.

252.

Ake, David. “Regendering Jazz: Ornette Coleman and the New York Scene in the Late 1950s.” in Ake, David. Jazz Cultures. Berkeley: U of CA P, 2002. 62–82. Argues that, in contrast to the aggressive, competitive virtuosity of bebop, the emotional detachment associated with heroin, many boppers’ drug of choice, and the objectification of women in many song titles and album covers, Coleman presented an alternative version of masculinity. His music’s structure did not lend itself to cutting contests, his playing eschewed virtuosity, he presented a gentle persona, seemed baffled by groupies, and his best-known composition was called “Lonely Woman,” not “Juicy Lucy” or “The Rumproller.”

253.

Alexander, Stephon. The Jazz of Physics: The Secret Link between Music and the Structure of the Universe. New York: Basic Books, 2016. vii, 254 p. Metaphor-driven explanation of cosmology with a brief consideration of connections between John Coltrane’s Interstellar Space and the celestial objects its tracks are named for and an account of the author’s meetings and lessons with Ornette Coleman.

254.

Block, Steven. “Organized Sound: Pitch-Class Relations in the Music of Ornette Coleman.” Annual Review of Jazz Studies. 6 (1993). 229–252. Argues Coleman’s music is organized by neither free association nor vertical harmony but through processes of variation and the use of pitch-class sets. Set theory is applied to transcribed themes and saxophone solo excerpts from “Street Woman” and “Lonely Woman,” usually including Charlie Haden’s bass parts, to explain Coleman’s use of what Block calls “non-functional diatonic elements” and to map Coleman and Haden’s real-time compositional process.

255.

Bourne, Michael. “Ornette’s Interview.” Downbeat. Nov. 22, 1973. 16–17. Conversation on differences between his work and song-form improvisation and connections between race, genre, money, and prestige. He compares his music with John Coltrane, Eric Dolphy, and Cecil Taylor’s and expresses bitterness and frustration over his experience making and promoting his orchestra LP Skies of America

256.

Bresnick, Adam, and Russell Fine. “Ornette Coleman: Interview.” Cadence. Sept. 1982. 5–7, 51. Coleman rejects the description of his music as “free” or as a refutation of bebop, instead claiming that he always played what he heard and later devised the label “harmolodics.” He also mentions several unreleased projects, including Fashion Faces with Prime Time, a duet album with James “Blood” Ulmer, and “The Oldest Language,” and describes recording Of Human Feelings direct to disk, all first takes.

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257.

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Brown, Marion. “Ornette Revisited.” Revolution. 1:8 (Dec. 1963). 137–140. A look back at the initial reception of Coleman’s music, then a review of its strengths, arguing that his Atlantic albums since his New York debut have proved much of the negative commentary false or irrelevant.

258.

Brubeck, Darius. “Shaping Jazz: An Ornette Coleman Debate.” Jazz Research Proceedings Yearbook 2006. Manhattan, KS: 2006. 149–154. Brubeck recaps Coleman anecdotes and comments about him by other musicians that define his work as “not jazz,” which framed the debate over his work as about its legitimacy rather than quality.

259.

Butler, James D. “Tomorrow is the Question: Ideas about the Early Years of Ornette Coleman’s Career.” Jazz Research Papers 1995. Manhattan, KS: NAJE, 1995. 10–23. A summary of the early 1960s debates over Coleman’s music, followed by a transcription of the melody and alto solo from “Congeniality.”

260.

Bynum, Taylor Ho. “Seeing Ornette Coleman.” The New Yorker. Online only. June 12, 2015. n.p. www.newyorker.com/culture/culture-desk/seeing-ornette-coleman Memorial tribute surveying Coleman’s career and Bynum’s experiences seeing Coleman perform with the last version of Prime Time, his quartet with Geri Allen, and his final three-bass band.

261.

Calhoun, Fraser C. Blues Signifying and the Trickster Figure: The Improvisations of Johnny Hodges, Charlie Parker, and Ornette Coleman. M.M. thesis. Wayne, NJ: William Paterson U, 2015. 118 p. https://pqdtopen.proquest.com/doc/1761628044. html?FMT=ABS Each artist’s life and work is linked to the blues, Signifying, and the Yoruban spirit Esu-Elegba, as retained in African diasporic culture. Coleman’s solos on “Lonely Woman” (from The Shape of Jazz to Come), “The Garden of Souls” (from New York is Now), and “Street Blues” (from Tone Dialing) are transcribed, then analyzed using this theory.

262.

Charry, Eric. “Freedom and Form in Ornette Coleman’s Early Atlantic Recordings.” Annual Review of Jazz Studies. 9 (1997–1998). 261–294. Argues that Coleman’s break with song form was not as complete as assumed, that the improvisations on his first two Atlantic albums: The Shape of Jazz to Come and Change of the Century actually follow regular forms, although Coleman himself plays freely over them. He presents a table showing the forms of the compositions recorded on Coleman’s Contemporary and Atlantic albums, then transcribes Charlie Haden’s bass lines from “Congeniality” and “Peace” to show he maintains the form during the improvisations on “Peace” and moves in and out of it on “Congeniality.” Charry notes that forms become increasingly obscure or absent, with the December 1960 recording of Free Jazz a possible turning point.

263.

Chinen, Nate. “Free: For All.” JazzTimes. Sept. 2015. 26–29. Memorial tribute with comments from Paul Bley, Joe Lovano, Charnett Moffett, and David Murray.

264.

Chinen, Nate. “In His Own Language.” JazzTimes. Nov. 2006. 46–51, 130.

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49

Feature visiting Coleman at home and at rehearsal with Tony Falanga, Al MacDowell, and Denardo Coleman, discussing harmolodics and the Sound Grammar album. Falanga and Greg Cohen also comment. 265.

Clark, Shirley, dir. Ornette: Made in America. DVD. New York: Oscilloscope, 2014 [1985]. Eighty minute documentary based around a performance of Skies of America by Prime Time and the Fort Worth Symphony, with additional performance excerpts of Prime Time, Ornette Coleman with Charlie Haden and Denardo Coleman, and Denardo with a string quartet, as well as interviews with Ornette, Denardo, the other members of Prime Time, William S. Burroughs, James Clay, George Russell, Robert Palmer, Martin Williams, and John Rockwell.

266.

Cogswell, Michael B. Melodic Organization in Four Solos by Ornette Coleman. M.M. thesis. Denton, TX: U of North TX, 1989. viii, 146 p. https://digital.library.unt.edu/ ark:/67531/metadc501207/ Cogswell’s thesis adds “Rambin’” and “Congeniality” to the solos analyzed in 267, as well as a short biography and annotated bibliography and discography. Each solo represents Coleman’s version of an aspect of jazz: blues, ballad, and fast swing, plus open playing, including both collective and unaccompanied improvisation.

267.

Cogswell, Michael. “Melodic Organization in Two Solos by Ornette Coleman.” Annual Review of Jazz Studies. 7 (1994–1995). 101–144. Cogswell argues that free jazz has internal logic without formal structure. He transcribes Coleman’s solos on “Lonely Woman” and “Free” and annotates them with their implied harmonic content and use of motivic chain association techniques, the repetition of rhythmic patterns, pitch arrangements, melodic contours, etc. In “Free” several figures drawn from Charlie Parker’s vocabulary are identified in relation to Thomas Owens’ work on Parker. He also attempts to define “harmolodics” and provides a brief biography of Coleman.

268.

Coleman, Ornette. A Collection of 26 Ornette Coleman Compositions. New York: MJQ Music, 1968. 32 p. Lead sheets for every piece on The Shape of Jazz to Come, Change of the Century, Ornette! and Ornette on Tenor, plus “Beauty is a Rare Thing,” “Blues Connotation,” “Kaleidoscope,” and “Folk Tale” from This is Our Music and Margo Guryan’s vocal adaptation of “Lonely Woman.”

269.

Coleman, Ornette. “Ornette Coleman: Harmolodics and the Oldest Language.” Musician: Player and Listener. May 1978. 8–10. Describes his goals in Skies of America, the unrecorded “The Oldest Language,” and his work with Prime Time, theories about transposition and temperament, and the influence of Moroccan music on Prime Time.

270.

Coleman, Ornette. “Prime Time for Harmolodics.” Downbeat. July 1983. 54–55. Idiosyncratic exposition of his musical theories and their application in Prime Time.

271.

Coleman, Ornette. “Something to Think about.” in Free Spirits: Annals of the Insurgent Imagination. eds. Paul Buhle, Jayne Cortez, Philip Lamantia, et al. San Francisco: City Lights Books, 1982. 117–120.

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A typically eccentric text largely about race, identity, and genre. He also briefly discusses the use of clefs in harmolodics and notably asserts that he never called his music “free jazz.” 272.

Coleman, Ornette. “To Whom It May Concern.” Downbeat. June 1, 1967. 19. An open letter denouncing the non-musical aspects of the music business and pleading for a society in which each member can realize their creative potential.

273.

Coleman, Ornette, Pete Welding, Shelly Manne, and Cannonball Adderley. “Round the Empty Foxhole.” Downbeat. Nov. 2, 1967. 16–17. Four perspectives on Coleman’s The Empty Foxhole album: Manne and Adderley’s “Blindfold Test” comments, Welding’s review, and Coleman’s typically cryptic explanation for using his ten-year-old son on drums.

274.

Coleman, Ornette, with unknown interviewer. Ornette Coleman. Oral History of American Music: Major Figures in American Music. New Haven: Yale University Library, n.d. The finding aid for this interview is not yet online.

275.

Day, Steve. Ornette Coleman: Music Always. Chelmsford, Essex: Soundworld, 2000. ix, 251 p. An informal appreciation of Coleman’s recorded work, largely chronological, up to his late 1990s duets with Geri Allen and Joachim Kühn, concluding with a discussion of tributes, disciples, and other strands of his influence, including Roscoe Mitchell, Trevor Watts, John Zorn, and many others.

276.

Derrida, Jacques. “The Other’s Language: Jacques Derrida Interviews Ornette Coleman.” trans. Timothy S. Murphy. Genre. 37:2 (2004). 319–329. http://jazzstudiesonline. org/files/jso/resources/pdf/TheOthersLanguage.pdf The two discuss improvisation vs. notation, whether improvisation is truly spontaneous creation from nothing, repetition, globalization, and racism in France vs. the US. Coleman also describes producing his 1962 Town Hall concert and composing “Lonely Woman.”

277.

Dollar, Steve. “The Lightning Rod.” Downbeat. Feb. 1996. 22–24. Interview-based profile on the release of Tone Dialing and his upcoming quartet  albums with Geri Allen. With comments on his influence from Allen, Dewey Redman, Wynton Marsalis, James “Blood” Ulmer, and others.

278.

Dorsey, James. “‘Free’ Jazz? Control in Three Solos by Ornette Coleman.” Jazz Research Proceedings Yearbook 2000. Manhattan, KS: IAJE, 2000. 23–30. Statistical analysis of pitch occurrence is used to determine whether Coleman’s improvising is random or responds in a disciplined way to the material of his compositions.

279.

Dorsey, James. “Theme and Improvisation in a Composition by Ornette Coleman.” Jazz Research Papers 1996. Manhattan, KS: IAJE, 1996. 48–54. Dorsey statistically analyzes the pitches of the theme of “Congeniality” and Coleman’s solo to determine their tonalities and the degree to which the solo is based on the theme, judging from similar rates of pitch use. Transcribed phrases representing various tonal moments are appended. However, the majority of the article consists of a negative review of a 1994 performance by Coleman and Prime Time.

Pioneers and Predecessors

280.

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Durso, Jimi. “Ornette Coleman’s ‘Free’-Leaning Alto Solo on ‘Ramblin’.’” Downbeat. Oct. 2013. 166–167. Transcription at concert pitch of this iconic solo from Coleman’s Change of the Century LP, with analytic commentary.

281.

Edwards, Brett Hayes, and Katherine Whatley. “Ornette at Prince Street: A Glimpse from the Archives.” Point of Departure. 53 (Dec. 2015). n.p. www.pointofdeparture. org/PoD53/PoD53Ornette.html An account of Coleman’s life and work at the loft where he lived between 1968 and 1974. A 1969 article by Kiyosi Koyama, originally published in Swing Journal is here translated into English for the first time, framed with more context, subsequent events, and a narrative of Coleman and Koyama’s friendship. Illustrations include black and white and color photos of Coleman with Don Cherry, Dewey Redman, Charlie Haden, and Ed Blackwell, and of the Revolutionary Ensemble, as well as ephemera including a flyer for a performance by the Melodic Art-tet. Coleman’s live/ work situation is seen as a precursor of the loft movement and his Impulse single “Man in the Moon/Growing Up” is also discussed.

282.

Feather, Leonard. “Blindfold Test: Ornette Coleman.” Downbeat. Jan. 7, 1960. 39–40. Coleman comments on records by Zoot Sims and Al Cohn, Miles Davis, Bud Shank and Bob Cooper, Mercer Ellington, Yusef Lateef, Charles Mingus, George Russell, and others.

283.

Feather, Leonard. “Ornette Coleman Interview.” Downbeat. July 1981. 16–19, 62–63. Long interview primarily on Coleman’s time in Los Angeles in the 1950s, the role of Red Mitchell in his career, his friendships with Eric Dolphy and John Coltrane, and two works in progress, apparently abandoned: an album for Prime Time with Cecil Taylor and a harmolodic symphony: The Oldest Language.

284.

Fontaine, Dick, dir. David, Moffett, & Ornette. Videotape. New York: Rhapsody Films, 1988 [1966]. Thirty-minute documentary of Coleman, David Izenzon, and Charles Moffett recording the soundtrack to Who’s Crazy, including interviews with all three musicians.

285.

Foster, Scott. “Ornette Coleman’s Solo on ‘Love Words’—An Alto Saxophone Transcription.” Downbeat. June 1986. 56–57. Fifty bars of improvisation, from the LP Of Human Feelings, notated at concert pitch, with brief comments on the apparent lack of form.

286.

Freeman, Phil. “Faith Healer.” The Wire. 304 (June 2009). 40–46. A visit and conversation with Coleman, supplemented with a survey of his albums from Dancing in Your Head on, and Freeman’s post-interview attempts to link some of Coleman’s opaque statements to elements of albums including Free Jazz and In All Languages.

287.

Frink, Nathan A. An Analysis of the Compositional Practices of Ornette Coleman as Demonstrated in His Small Group Recordings During the 1970s. M.A. thesis. Pittsburgh: U of Pittsburgh, 2012. ix, 111 p. http://d-scholarship.pitt.edu/11849/1/Frink_ Thesis_ETD_%285%29.pdf Centering on the albums Science Fiction and Broken Shadows, this study updates the classifications of Coleman’s compositions by Jost (162) and Wilson (338) based

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on his 1970s music. Coleman’s experiments with vocals, electric instruments, and the influence of the Master Musicians of Jajouka are also discussed. With numerous transcriptions. 288.

Frink, Nathan A. Dancing in His Head The Evolution of Ornette Coleman’s Music and Compositional Philosophy. Ph.D. dissertation. Pittsburgh: U of Pittsburgh, 2016. x, 218 p. http://d-scholarship.pitt.edu/27686/1/NFdissfullPittrev2.pdf Expands 287 with more substantial coverage before and after the 1970s, particularly Coleman’s compositions for Prime Time, and includes a sustained attempt to describe harmolodics, as well as material from original interviews with Matthew Shipp, David Murray, Bern Nix, Jamaladeen Tacuma, Bob Weir, and others.

289.

Gebhardt, Nicholas. Going for Jazz: Musical Practices and American Ideology. Chicago: University of Chicago Press, 2001. 231 p. Based around the concept of the performative “jazz act,” which is the creation of both jazz music and of jazz as an identity. He looks as the practice of being in the world as a jazz artist in the lives and works of three saxophonists: Sidney Bechet, Charlie Parker, and Ornette Coleman. In the case of Coleman, his themes are freedom, Coleman as folk artist, and relationships of bodies to sound-making. His sources are mainly texts produced around the music: interviews, liner notes, reviews, etc.

290.

Grow, Kory. “Lost in Translation.” Signal to Noise. 44 (Winter 2007). 52. Interview-based profile in which Coleman provides harmolodic aphorisms and Grow reviews his influence on artists from John Zorn and Tim Berne to Yoko Ono and Sonic Youth.

291.

Haden, Charlie, John McDonough, and John Litweiler. “30 Years of Free.” Downbeat. Jan. 1992. 29–31. Marking the 30th anniversary of Ornette Coleman’s Free Jazz LP, Haden writes a memoir of the session, while McDonough and Litweiler face off on the lasting value of post-Coleman music: McDonough dismissing free jazz as a counterculture fad and Litweiler citing it as the source of a wide range of current music from the AACM to Keith Jarrett to Evan Parker to John Zorn.

292.

Hamilton, Andy. “A Question of Scale.” The Wire. 257 (July 2005). 22–25. Interview attempting to untangle Coleman’s idiosyncratic uses of the terms “transposition,” “modulation,” and “unison,” working towards a definition of harmolodics.

293.

Hartman, Charles O. Jazz Text: Voice and Improvisation in Poetry, Jazz, and Song. Princeton, NJ: Princeton UP, 1991. x, 193 p. One chapter considers Ornette Coleman’s “Lonely Woman,” using the rhythmic variations in different notated and recorded versions and the difficulty of representing the nonsynchronized melody and rhythm section parts to present the complex relationship between orality and literacy in jazz.

294.

Heckman, Don. “Inside Ornette Coleman.” Downbeat. Sept. 9, 1965. 13–15. Transcription and analysis of the first four choruses of Coleman’s solo on “Ramblin’,” highlighting the use of form, motifs, and the blues.

295.

Heckman, Don. “Inside Ornette, Part 2.” Downbeat. Dec. 16, 1965. 20–21.

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Illustrates Coleman’s use of swinging 4/4 phrases separated by irregular rests with transcribed passages from “Tomorrow is the Question,” “Tears Inside,” and “C & D,” pitch bending with excerpts from “Compassion” and “Lorraine,” and the tendency to float over the beat at fast tempos as on “Folk Tale” and “Poise.” 296.

Heckman, Don. “Ornette and the Sixties.” Downbeat. July 2, 1964. 58–62, 99–100. In the final installment of a decade-by-decade survey of jazz, Coleman represents jazz’s potential transition from entertainment to art, with Cecil Taylor and Jimmy Giuffre’s recent work as other examples, the Third Stream a mostly unsuccessful precursor, and the open form composition of John Cage, Karlheinz Stockhausen, et al a parallel with great potential for convergence.

297.

Iverson, Ethan. “The Mind of a Revolutionary.” Downbeat. Feb. 2008. 36–41. and at https://ethaniverson.com/interviews/interview-with-charlie-haden/ An interview of Charlie Haden, dominated by discussion of Coleman’s music, including specifics of how Haden, Billy Higgins, and Ed Blackwell approached Coleman’s compositions formally.

298.

Iverson, Ethan. “Ornette 1: Forms and Sounds: Speculations about Harmolodics.” “Ornette 2: This is Our Mystic: Early Ornette Coleman.” Do the Math. n.d. n.p. https://ethaniverson.com/rhythm- and- blues/ornette- 1- forms- and- sounds/ https://ethaniverson.com/rhythm-and-blues/this-is-our-mystic/ Part one addresses Coleman’s unusual use of transposition and notation, drawing on Iverson’s interview with Gunther Schuller. Part two combines materials from his conversations with Coleman and Charlie Haden with close listening to Coleman’s Contemporary and Atlantic albums, as well as Science Fiction, to see how harmolodics works in practice.

299.

James, Robin. “Personal Grammar.” Downbeat. Dec. 2005. 40–45. Cover interview of Ornette Coleman in which he discusses genre, race, gender, sexuality, and the music business in relation to his own life and harmolodic theory.

300.

Jarrett, Michael. “Ornette Coleman Interview.” Cadence. Oct. 1995. 5–9. Centered around his drummers Billy Higgins, Ed Blackwell, and Denardo Coleman, this interview stretches into the theory and pedagogy of harmolodics, with Coleman claiming that people have unique intrinsic musical voices without training: “No one has to learn to spell to talk, right?”

301.

Jarrett, Michael. Sound Tracks: A Musical ABC, Volumes 1–3. Philadelphia: Temple UP, 1998. 294 p. Fragmentary musical dictionary, expanded from the “Definitions of Sound” column the author wrote for Tower Records’ free magazine Pulse. His entry for “harmolodics” includes a short critical meditation, bibliography, discography, a 1987 interview with Ornette Coleman, and an excerpt from a feature on James “Blood” Ulmer.

302.

Lange, Art. “Ornette Coleman & Pat Metheny: Songs of Innocence and Experience.” Downbeat. June 1986. 16–19, 53. Dual interview on the making of Song X, with Metheny discussing his long interest in Coleman’s music and Coleman talking about harmolodic relationships between guitar and alto saxophone.

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Lee, David. The Battle of the Five Spot: Ornette Coleman and the New York Jazz Field. Toronto: Mercury P, 2006. 151 p. The controversy over Coleman’s 1959 New York debut at the Five Spot is analyzed using Pierre Bourdieu’s theories of the sociology of culture: how a discursive field is established and cultural capital distributed, and how challenges occur. Lee provides an account of Coleman’s early career and reads Norman Mailer and James Baldwin on the meanings of jazz clubs. He works through the critical reception of Coleman’s debut in detail then moves more quickly through the challenge that free jazz presented to the conventions of nightclubs, concluding with a description of a 2005 Coleman concert.

304.

Litweiler, John. Ornette Coleman: A Harmolodic Life. New York: Da Capo, 1994. 258 p. Biography concluding with Coleman’s Virgin Beauty and Naked Lunch CDs, also including a transcription and analysis of Coleman’s solo on “Free” by David Wild, and a discography. Based primarily on published sources, with some original interviews with Coleman and his collaborators and associates.

305.

Masuno, Sandy. “Backtalk with Ornette Coleman.” Option. Jan/Feb. 1996. 130. Short interview with Coleman commenting on rap, Jerry Garcia, culture, identity, and civilization.

306.

Maxwell, Clara Gibson. “Ornette Coleman Conversation.” Cadence. Nov. 1999. 5–13. Long abstract conversation on friendship, collaboration, and jealousy. Maxwell and Coleman were working together on a dance/music piece entitled “Choros.”

307.

McRae, Barry. Ornette Coleman. London: Apollo, 1988. 96 p. Biography, primarily through album and concert reviews. It concludes with Coleman’s double LP In All Languages, split between Prime Time and a reunion of his original quartet, and includes an afterword on Coleman’s influence.

308.

Meehan, Norman. “Ornette Coleman’s Alto Sax Solo on ‘The Garden of Souls.’” Downbeat. Dec. 2002. 92–93. The first 100 measures of this solo, from Coleman’s 1968 New York is Now album, are transcribed with analytic notes.

309.

Metheny, Pat, with Gregg Bendian. Pat Metheny. Four audio cassettes and transcript. Oral History of American Music: Major Figures in American Music. New Haven: Yale Music Library, 2013. Includes discussion of his collaborations with Ornette Coleman, Charlie Haden, John Zorn, and Derek Bailey, the last of which also included Bendian.

310.

Miedema, Harry. “Coleman, Ornette.” in Jazz Styles & Analysis: Alto Sax: A History of the Jazz Alto Saxophone via Recorded Solos. Chicago: Maher Pub, 1975. 20–25. Transcriptions of Coleman’s solos from “Dee Dee” (Live at the Golden Circle) and “Round Trip” (New York is Now), with a prefatory essay.

311.

Miessgang, Thomas. “Die Kunst des Spontanen: Kann ein Bild Improvisiert Werden? Über Free Jazz, Automatische Saxophone, Jack the Dripper, Materialaktionen und Letze Lockerungen.” Improvisieren . . . ed. Wolfram Knauer. Darmstädter Beträige zur Jazzforschung. 8 (2004). 101–111.

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Exploration of the role of improvisation and spontaneity in American avant-gardes of the late 1950s/early 1960s, including the New York School composers, action painters, Beats, and Coleman’s Free Jazz. In German. 312.

Mingus, Charles. “Another View of Coleman.” Downbeat. May 26, 1960. 21. An addendum to Mingus’ April 28, 1960 Downbeat Blindfold Test, endorsing Coleman while observing his limitations.

313.

Mongomery, Michael R. Studies in Jazz Style for the Double Bassist: Twelve Original Etudies Derived from Twenty-Two Transcribed Solos. D.M.A. essay. Miami, FL: U of Miami, 1984. iii, 116 p. Intended to acquaint bassists with a wide variety of styles and techniques they may be asked to perform, solos span from Dixieland to progressive rock. Free jazz is represented by a transcription of David Izenzon’s bowed solo from Ornette Coleman’s “Dawn,” recorded on At the Golden Circle, Stockholm, Volume One. Eddie Khan’s solo on “Jitterbug Waltz” with Eric Dolphy and two examples of Jimmy Garrison’s work with Elvin Jones are also relevant.

314.

Murphy, Timothy. “Composition, Improvisation, Constitution: Forms of Life in the Music of Pierre Boulez and Ornette Coleman.” Angelaki. 3:2 (1998). 75–102. Murphy works through Antonio Negri’s reading of Ludwig Wittgenstein to interpret Coleman and Boulez’ music as “political ontology” or “forms of life.” In other words, what ways of being a person in the world among others are modeled by the way sounds, performers, and ideas are put into coexistence by these two musicians? He focuses on Boulez’ use of mobile form and mentions a recording on which clarinetist Michel Portal added a free improvised section to Boulez’ Domaines. This eruption of individual consciousness beyond the composer’s authority is what Murphy finds in Coleman’s music, even in his works for classical ensembles.

315.

Osby, Greg. “‘If You Don’t Create It, It Won’t Exist:’ Ornette Coleman’s Live Verbal Improvisation.” Downbeat. May 2007. 34–36. Excerpts from an hour-long conversation in front of an audience at the International Association of Jazz Educators conference. Coleman verbally riffs around death, freedom, race, sex, and gender.

316.

Parsonage, Catherine. “Contextual Understanding of the Pre- and Post-War AvantGardes in Jazz.” Jazz Research Proceedings Yearbook 2006. Manhattan, KS: 2006. 133–138. Critical responses to Louis Armstrong and Ornette Coleman are compared to argue that jazz is cyclically avant-garde, not permanently, that the music should be read in the context of ongoing transgression and recuperation.

317.

Perkiömäki, Jari. Lennie and Ornette: Searching for Freedom in Improvisation: Observations on the Music of Lennie Tristano and Ornette Coleman. D.M.A. thesis. Helsinki: Sibelius Academy, 2002. 86 p. http://ethesis.siba.fi/ethesis/files/nbnfife20031086.pdf The themes to Coleman’s “The Invisible,” “Lonely Woman,” “Ramblin’,” and “Joy of a Toy” are transcribed and their influence on the structure of the improvisations diagrammed. This study is contrasted to a biography of Tristano and analysis of his solo on “Line Up.”

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Porter, Lewis. “The ‘Blues Connotation’ in Ornette Coleman’s Music—and Some General Thoughts on the Relation of Blues to Jazz.” Annual Review of Jazz Studies. 7 (1994–1995). 75–99. Porter argues that blues and jazz have developed together, with the form and sounds of the blues fundamental to jazz. With examples from Lester Young and Charlie Parker, he demonstrates jazz moving to more harmonically complex, less “downhome” versions of the blues through the 1940s, then Coleman arriving from a rural Texas background to reassert its folk qualities. Porter traces blues pieces on Coleman’s recordings from “When Will the Blues Leave” in 1958 to “Feet Music” in 1987, transcribing the themes to “Turnaround,” “Ramblin’,” “Blues Connotation,” “Broadway Blues,” and “Feet Music,” as well as solo excerpts from “Ramblin’” and “Lonely Woman.”

319.

Rush, Stephen. Free Jazz, Harmolodics, and Ornette Coleman. New York: Routledge, 2017. xvi, 302 p. The mystery of harmolodics is approached in two ways. A long conversation with Coleman from January 2011, broken up by Rush’s attempts to explicate his elusive discourse, is followed by transcriptions of Coleman’s “Family Reunion,” “Giggin’” (as performed by Branford Marsalis), “When Will the Blues Leave” (as performed by Paul Bley), “Mob Job,” “Peace,” “Theme from a Symphony Variation 1,” “Peace Warriors,” “Humpty Dumpty” (as performed by Pat Metheny), and “Doughnut,” and Keith Jarrett’s “Shades of Jazz.” Excerpts from the transcriptions also appear throughout the text to show specific musical applications of the abstractions Coleman presents in his interview.

320.

Russell, Charlie E. “Ornette Coleman Sounds Off.” Liberator. July 1965. 12–15. Interview-based profile on Coleman’s return from two years away from recording and performing. He recounts his experiences of exploitation and misunderstanding by record companies, critics, fans, and other musicians, which the author connects to the more militant analysis of LeRoi Jones, Archie Shepp, Cecil Taylor, and others.

321.

Russell, George, and Martin Williams. “Ornette Coleman and Tonality.” The Jazz Review. 3:5 (June 1960). 6–10. http://jazzstudiesonline.org/resource/jazz-reviewvol-3-no-5-june-1960 Williams interviews Russell on Coleman. They compare Coleman’s piano-less quartet to Gerry Mulligan’s, then differentiate between “horizontal” and “vertical” players, invoking Lester Young, Coleman Hawkins, and John Coltrane as examples. Russell proposes that in fully chromatic improvisation “vertical” and “horizontal” merge in a state where there is no right or wrong but a range of different tonal colors and predicts that Coltrane is on the verge of breaking tonality by chromatically saturating his improvisations on songs with chord changes.

322.

Schuller, Gunther, ed. A Collection of the Compositions of Ornette Coleman. New York: MJQ Music, 1961. 32 p. Quartet scores for ten themes from The Shape of Jazz to Come and Change of the Century, transcribed by Schuller, with saxophone, trumpet, bass, and drum parts. Bass and drums are often represented by slashes and/or chord symbols. Coleman’s solo from “Congeniality” is also included, with an analysis.

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323.

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Schuller, Gunther, with Steve Schwartz. Gunther Schuller: NEA Jazz Master. Interview transcript. Smithsonian Jazz Oral History Program, Archives Center, National Museum of American History, Washington, DC, 2008. 87 p. http://americanhistory. si.edu/smithsonian-jazz/collections-and-archives/smithsonian-jazz-oral-historyprogram#Schuller Career-spanning conversation with two major discussions of Ornette Coleman: first, a set of stories about the Lenox School of Jazz, including Jimmy Giuffre’s struggles to understand Coleman’s music, then comments on Coleman’s eccentric understanding of music theory and notation. Schuller speculates that Coleman was dyslexic, recounts his experience giving Coleman lessons in the mid-1960s, and reveals that Coleman used an uncredited transcriber/copyist when not working with his own bands.

324.

Shadduck, Anthony. Charlie Haden, Scott LaFaro, and Harmolodics: Bass Styles in Ornette Coleman’s Free Jazz. M.M. thesis. Long Beach: CA State U, 2006. vii, 53 p. Drawing on musical analysis and a master class with Haden, Shadduck describes the styles of both bassists, their relationship to Coleman’s theory of harmolodics, and their contributions to Free Jazz.

325.

Smith, Frank. “Music and Internal Activities: Contacting Greatness in Art and in the Music of Ornette Coleman, Part One.” Jazz. Apr. 1966. 13–15. Smith, a free jazz saxophonist and psychologist, theorizes the reception of music: that it is experienced as an inner object which encodes the inner physical and emotional activities of the artist.

326.

Smith, Frank. “Music and Internal Activities: Contacting Greatness in Art and in the Music of Ornette Coleman, Part Two.” Jazz. May 1966. 22–23, 30. Argues that critics of Coleman’s work have had a different emotional experience of the world which prevents them from identifying with him, that technical imperfections are irrelevant to the quality of his music, as a rough-edged line would be in visual art, and that criticism which attacks him as incompetent or a fraud is cruel, because he is struggling to find work and survive.

327.

Smith, Frank. “Music and Internal Activities: Contacting Greatness in Art and in the Music of Ornette Coleman, Part Three.” Jazz. June 1966. 18–20. Turning from aesthetic theory to Coleman’s music, to explain his timbral and formal innovations and compare his rhythm teams (Charlie Haden and Billy Higgins vs. Scott LaFaro and Ed Blackwell) and the moods of his albums, concluding that it is not possible to persuade the reader of the music’s greatness, but only to testify to its impact.

328.

Smith, Frank. “Record Reviews: Ornette Coleman: The Ornette Coleman Trio Live at the Golden Circle.” Jazz. June 1966. 22. An addendum to 325–327, revealing that text was four years old but noting that there had been almost no new Coleman music during that period, then praising this new album and Coleman as an artist and person.

329.

Spellman, A. B. “Ornette Coleman, 9 March 1930–11 June 2015.” The Wire. 378 (Aug. 2015). 20–21.

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Memories of talking with Coleman and seeing him play in New York in the 1960s. 330.

Stephans, Michael. Experiencing Ornette Coleman: A Listener’s Companion. Lanham, MD: Rowman and Littlefield, 2017. xxii, 189 p. A nontechnical guide to Coleman’s life and work, with additional chapters focused on Don Cherry and Charlie Haden and an interview with Sonny Rollins.

331.

Thomas, Matthew Alan. Dynamic Canons: How the Pulitzer Prize, Documentary Film, and the U.S. Department of State are Changing the Way We Think about Jazz. Ph.D. dissertation. Los Angeles: USC. 2011. vii, 166 p. http://cdm15799.contentdm. oclc.org/cdm/ref/collection/p15799coll127/id/613799 A description of Ornette Coleman’s 2010 concert at UCLA establishes the premise that one important source of interest in jazz is performers’ interaction with tradition. His 2007 Pulitzer Prize for Sound Grammar is compared to Wynton Marsalis’ 1997 prize for Blood on the Fields, Marsalis’ particular reading of Coleman as part of a tradition and the use of free improvisation in Blood on the Fields are explicated, as are Coleman’s uses of quotation and pop rhythms. The treatment of the Art Ensemble of Chicago and Cecil Taylor in Ken Burns’ PBS Jazz miniseries is also critiqued.

332.

Tirro, Frank. “Constructive Elements in Jazz Improvisation.” Journal of the American Musicological Society. 27: 2 (1974). 285–305. The theme of Coleman’s “Bird Food” appears alongside bebop examples to demonstrate interactions between motivic development and musical form.

333.

Titlebaum, Michael. “‘Ramblin’:’ A Gateway to the Music of Ornette Coleman.” Jazz Research Proceedings Yearbook 1997. Manhattan, KS: IAJE, 1997. 165–174. Presents “Ramblin’” (from Change of the Century) as an ideal entry point to Coleman for the skeptical. A full transcription of the theme and solos is used to demonstrate that it follows a form of alternating 12 and 16 bar choruses.

334.

Troupe, Quincy. “Ornette Coleman: Going Beyond Outside.” Musician: Player and Listener. Nov. 1981. 72–77, 80. Long lucid interview with Coleman describing his relationship to bebop, meeting Charlie Parker, why John Coltrane’s music was heard as music but Albert Ayler’s as protest, giving all musicians equal authority over time in his music, players vs. improvisers, the inherent qualities of instruments, and whether or not his music is connected to punk rock.

335.

Vickery, Lindsay, and Stuart James. “The Enduring Temporal Mystery of Ornette Coleman’s ‘Lonely Woman.’” 2016. n.p. www.lindsayvickery.com/research-2017.html Vickery and Smith investigate the difficulty of notating “Lonely Woman” as an example of how musical synchronization is perceived in works that use multiple simultaneous tempos. Software is used to precisely time the bass, drum, and melody tempi, then phrases are notated in multiple ways, representing the group’s metric relations from the different perspectives of the drums and the melody.

336.

Watson, Ben. “Mixed Messages.” The Wire. 205 (Mar. 2001). 34–40. Interview-based feature summarizing a conversation with Coleman on Dancing in Your Head, Naked Lunch, his childhood, Captain Beefheart, and harmolodics.

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337.

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Wilmer, Valerie. “David Izenzon and the Hazards of Virtuosity.” Downbeat. June 2, 1966. 18–19. Interview-based profile on the bassist’s training, philosophy, and work with Ornette Coleman, including comments from Coleman.

338.

Wilson, Peter Niklas. Ornette Coleman: His Life and Music. Berkeley: Berkeley Hills, 1999. 288 p. In three sections: first, a biography based on published sources, then an attempt to translate Coleman’s harmolodic theory into standard musical terminology, and finally a guide to his recorded work, with sideman appearances and selected bootlegs. The central part includes examples of Coleman’s practice of having musicians read the same notation in multiple simultaneous clefs and transpositions, transcriptions of several themes expanding Ekkehard Jost’s typology of Coleman compositions (162), and passages from the unrecorded chamber orchestra piece “The Country That Gave the Freedom Symbol to America,” showing how Coleman worked with classical musicians. Also features an introduction by Pat Metheny, with anecdotes about his and Coleman’s Song X album and tour.

339.

Wingate, Tim. “An Analysis and Transcription of ‘Peace’ by Ornette Coleman.” Jazz Research Proceedings Yearbook 2005. Manhattan, KS: IAJE, 2005. 165–178. A transcription of the saxophone and bass parts from the melody and saxophone solo is used to demonstrate the coherence of Coleman’s work and how this is created through interplay with Charlie Haden.

340.

Zlabinger, Tom. “Dymaxion Jazz: Ornette Coleman’s Use of Buckminster Fuller’s Theories for Inspiration and Validation.” Jazz Research Proceedings Yearbook 2003. Manhattan, KS: IAJE, 2003. 175–178. Coleman’s references to Fuller and parallels between their work are briefly surveyed.

Coltrane, John 341.

Ake, David. “Being (and Becoming) John Coltrane: Listening for Jazz ‘Subjectivity.’” in Ake, David. Jazz Matters: Sound, Place, and Time Since Bebop. Berkeley: U of CA P, 2010. 17–36. Divides Coltrane’s work into three stages: “Being,” epitomized by “Giant Steps,” in which his performance is largely static in density, dissonance, dynamics, rhythmic variety, and ensemble interplay, “Becoming,” epitomized by “Afro-Blue” from Live at Birdland, which uses all those variables to build to a series of climaxes, and “Transcendent,” from Ascension onwards, where he seeks to move past his own virtuosity to collective improvisation.

342.

Ake, David. “Jazz Training: John Coltrane and the Conservatory.” in Ake, David. Jazz Cultures. Berkeley: U of CA P, 2002. 112–145. Coltrane’s iconic status in jazz education is dissected, noting that his “sheets of sound,” “Giant Steps,” and modal periods have been canonized as epitomes of pattern and chord scale playing, easily teachable, gradable, and notable forms based on

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the individual soloist, but his more abstract and collective work of 1965 and after has been marginalized. 343.

Bair, Jeff. Cyclic Patterns in John Coltrane’s Melodic Vocabulary as Influenced by Nicholas Slonimsky’s Thesaurus of Scales and Melodic Patterns: An Analysis of Selected Improvisations. D.M.A. dissertation. Denton, TX: U of North TX, 2003. ix, 115 p. https://digital.library.unt.edu/ark:/67531/metadc4348/ Traces Coltrane’s use of patterns from Slominsky in his music after 1965, including the final sessions of the Classic Quartet such as Transition through his last albums Expression and Interstellar Space to argue that, after chordal and modal systems, Coltrane organized his music around interval patterns and that this structural integrity should earn this late work greater respect.

344.

Brown, Leonard L, ed. John Coltrane and Black America’s Quest for Freedom: Spirituality and the Music. New York City: Oxford UP, 2010. xiv, 235 p. Links between political and musical freedom are a common theme of these essays, as is the role of religion and spirituality, particularly the Black church, in Coltrane’s identity, ideology, and art. Pieces specifically addressing his later music include Anthony Brown’s “John Coltrane as the Personification of Spirituality in Black Music,” which looks closely at Ascension, First Meditations, and Meditations drawing on Brown’s interview of Elvin Jones for the Yale oral history project, Tammy L. Kernodle’s biographical essay on Alice Coltrane, and Salim Washington’s exegesis of “Joy,” from First Meditations.

345.

Bruckner-Haring, Christa. “John Coltrane as a Composer” Jazz Research Journal. 2:2 (2008). 2–15. Coltrane’s compositions are sorted into three categories: blues, harmonic forms, and modal pieces. Examples are transcribed, and two pieces from the last phases of his career, closest to free jazz, are presented in the modal category: “Love” from Meditations and First Meditations, and “Venus,” from Interstellar Space. “Welcome,” from Kulu Se Mama, straddles the harmonic and modal categories.

346.

Clements, Carl. “John Coltrane and the Integration of Indian Concepts in Jazz Improvisation.” Jazz Research Journal. 2:2 (2008). 155–175. Surveys the application of Indian concepts of raga, rasa, and alap in compositions including “Song of Praise,” “India,” and the “Psalm” movement of A Love Supreme, and the influence of this work on artists such as Alice Coltrane, Jan Garbarek, Dave Liebman, John McLaughlin, Rajesh Mehta, Pharaoh Sanders, and others. Passages from Coltrane and Jimmy Garrison’s solos on “Song of Praise” are transcribed and compared to material and logics used by Ravi Shankar.

347.

Cole, Bill. John Coltrane. New York: Da Capo, [1976] 2001. vi, 272 p. Looks primarily at Coltrane’s recording career, discussing major albums and selected concerts, with transcribed solo phrases and his personal memories of meeting and hearing Coltrane. The interpretive framework comes from Nigerian folklorist Fela Sowande, who is cited extensively.

348.

Coltrane, John, and Alice Coltrane. The Music of John Coltrane. Milwaukee, WI: Hal Leonard, 1991. 125 p. Lead sheets for over 100 compositions, edited and with an introduction by Alice Coltrane.

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349.

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Coltrane, John, and Andrew White. The Works of John Coltrane. 13 vols. unbound. Washington, DC: Andrew’s Music, 1973. n.p. White has notated almost every available recorded Coltrane performance. Handwritten, they include Coltrane’s parts during the theme statements and his improvisations, in saxophone transposition. The form and harmonies are included separately, at the end of each transcription. A few passages and compositions, such as the title piece from Kulu Se Mama and the entire Ascension and Om albums, are omitted as untranscribable.

350.

Daverat, Xavier. Tombeau de John Coltrane. Marseille: Éd. Parenthèses, 2012. 443 p. French-language biography which transitions via a chapter on Archie Shepp’s “One for the Trane,” Marilyn Crispell’s For Coltrane, and less overt homages in Miles Davis’ “Circle in the Round” and Art Pepper’s The Trip, into an encyclopedia of Coltraneinfluenced saxophonists from George Adams to Michael Zilber.

351.

DeMichael, Don. “John Coltrane and Eric Dolphy Answer the Jazz Critics.” Downbeat. Apr. 12, 1962. 19–23. A response to negative reviews, addressing the length of their solos, the static harmonies of many of their pieces, Dolphy’s use of quarter tones and other techniques to imitate birdsong, whether or not their group swings, musical progress and experimentation, and the ideal relationship between artists and critics.

352.

DeVito, Chris, ed. Coltrane on Coltrane: The John Coltrane Interviews. Chicago: Chicago Review P, 2010. xix, 396 p. Compiles every known Coltrane interview, including some unpublished material, liner notes, transcribed audio from bootlegged radio broadcasts, and excerpts from memoirs describing conversations with Coltrane, with contributions from Nat Hentoff, Ralph J. Gleason, Frank Kofsky, Gene Lees, Val Wilmer, Leonard Feather, and others. Some texts originally appeared in Downbeat, Melody Maker, and Newsweek, as well as other sources. Most are from Coltrane’s Impulse Records period, 1961–1967.

353.

DeVito, Chris, Yasuhiro Fujioka, Wolf Schmaler, and David Wild. The John Coltrane Reference. ed. Lewis Porter. 2nd ed. New York: Routledge, 2013. xxii, 821 p. Chronology and discography, with substantial notes on most entries, including quotations from reviews and other historical texts, discussion of corroborating or contradictory sources, photographs, reproductions of ephemera, etc.

354.

Gehring, Steven Wayne. Religion and Spirituality in Late 20th Century Music: Arvo Pärt, Jonathon Harvey, and John Coltrane. Ph.D. dissertation. Stony Brook, NY: Stony Brook U, 2011. 188 p. https://dspace.sunyconnect.suny.edu/handle/1951/59659 Analysis of titles and musical elements of Coltrane’s compositions is used to argue that he presented a universalist spirituality in his work. “Spiritual” and “Alabama” are discussed in brief, then A Love Supreme at length, extending Porter (375, 376).

355.

Gerber, Alain. Le Cas Coltrane. Marseille: Parenthèses, 1985. 143 p. A look at Coltrane’s myth and image, informed by critical theory (Lacan, Deleuze, etc.), and focused on the making of his identity as a solo artist through his Atlantic LPs. His mutual influence with his peers Ornette Coleman and Sonny Rollins and role as patriarch to free jazz musicians, particularly Archie Shepp as represented

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on the Four for Trane LP and other tributes, are considered psychoanalytically. In French. 356.

Grey, De Sayles R. John Coltrane and the “Avant-Garde” Movement in Jazz History. Ph.D. dissertation. Pittsburgh: U of Pittsburgh, 1986. vi, 168 p. Grey criticizes existing Coltrane biographies (347, 385, 386) for significant musical errors, Coltrane’s contemporary critics for evaluating his work with inappropriate standards, and quotes original interviews with Paul Jeffrey, Slide Hampton, Billy Hart, and Reggie Workman to argue that the term “avant-garde” is alien and inappropriate to describe Coltrane and Black music in general, that the music is spiritual transmission, not individualistic innovation. Based on an interview with Odean Pope, he identifies an “inverted fourths” formula underlying many compositions of Coltrane’s later period, which he learned from Philadelphia pianist Hassan Ibn Ali. Excerpts from the themes of “Cosmos,” “Offering,” “Expression,” “Ascension,” “The Father, the Son, and the Holy Ghost,” “Peace on Earth,” “Jupiter,” and “Evolution,” are transcribed, and the “Acknowledgement” section of A Love Supreme is analyzed in detail.

357.

Hale, James. “John Coltrane: Relentless Urgency.” Downbeat. Sept. 2014. 30–35. Cover feature revisiting Coltrane’s last two years on the release of Offering: Live at Temple University, from 1966. Includes a sidebar by Thomas Staudter on the studios and recording engineers behind Coltrane’s albums.

358.

Hester, Karlton Edward. The Melodic and Polyrhythmic Development of John Coltrane’s Spontaneous Composition in a Racist Society. Ph.D. dissertation. New York: CUNY, 1990. xxix, 252 p. Coltrane’s career is presented as an assertion of individuality, Blackness, and spirituality in the context of the legal, economic, and aesthetic disrespect of Black art. Hester divides the oeuvre into four periods; the third is the Classic Quartet and the fourth Ascension and after. Interstellar Space receives its own chapter. The narrative and analysis are based on published sources.

359.

Irabagon, Jon. “Adaptable Conviction: A Glimpse into John Coltrane’s Creative Process Through His ‘Nature Boy’ Studio Sessions.” in Arcana VIII: Musicians on Music. ed. John Zorn. New York: Hip’s Road, 2017. 177–193. A close reading of two takes of “Nature Boy,” one from The John Coltrane Quartet Plays . .  . the other an outtake recorded a day before, arguing that the quartet’s performances involved significant planning. Irabagon transcribes the drum and piano rhythms from the second to illustrate the quartet’s unusual use of 5/4, as well as Coltrane’s solos from both versions.

360.

Kahn, Ashley. A Love Supreme: The Story of John Coltrane’s Signature Album. New York: Viking, 2002. xxiii, 260 p. Opening with chapters on Coltrane’s life up to 1960, then the classic quartet, including its influence on the emerging avant-garde, before giving a detailed account of the recording process and a non-technical narrative description of the piece, and of the unsuccessful second version recorded with Art Davis and Archie Shepp added to the quartet, the cover design process, the album’s reception, and the piece’s sole full live performance. Chapters on Coltrane’s later work and influence, then his passing

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and posthumous reputation, conclude the book. Kahn interviewed Rudy Van Gelder, Bob Thiele, Alice Coltrane, Elvin Jones, Archie Shepp, and others involved. 361.

Kashmere, Brett. Freedom of Expression: John Coltrane, Stan Brakhage, and the American Avant-Garde, 1957–67. M.A. thesis. Montreal: Concordia U, 2004. v, 140 p. https://spectrum.library.concordia.ca/8007/1/MQ94776.pdf Free jazz and experimental film are placed historically in the development of a postwar American avant-garde, then themes of speed, repetition, and spirituality are explored in parallel readings of Coltrane’s “Chasin’ the Trane,” “My Favorite Things,” and A Love Supreme with selected Brakhage films.

362.

Knauer, Wolfgang. “Black Beauty—Black Power: Tradition und Revolution in der Musik John Coltranes, Dargestellt an Verschiedenen Interpretationen von ‘My Favorite Things’.” in — und Der Jazz Ist Nicht Von Dauer: Aspekte Afro-Amerikanischer Musik: Festschrift Für Alfons Michael Dauer. eds. A. M. Dauer, Bernd Hoffmann, and Helmut Rösing. Karben: Coda, 1998. 309–332. Compares four performances of “My Favorite Things” from 1960s My Favorite Things to 1967’s Live in Japan in light of LeRoi Jones’ claim that Coltrane’s reinvention of this standard is a revolt against whiteness.

363.

Levy, Brian A. Harmonic and Rhythmic Interaction in the Music of John Coltrane. Ph.D. dissertation. 2 vols. Waltham, MA: Brandeis U, 2012. 477 p. An analysis of the music of the classic quartet, emphasizing the ensemble playing, with many transcriptions in full score or incorporating the contributions of McCoy Tyner, Jimmy Garrison, and Elvin Jones. Compositions studied include “Impressions,” “Miles’ Mode,” “Tunji,” “Take the Coltrane,” “Crescent,” “Pursuance,” and “Transition.”

364.

Liebman, David. “John Coltrane’s Meditations Suite: A Study in Symmetry.” Annual Review of Jazz Studies. 8 (1996). 167–180. As a supplement to his own recording of Meditations, Liebman discusses the themes, improvisations, and accompaniment techniques of Coltrane and his ensemble. Formally, he identifies each section of the suite as dominated by a particular group of intervals and the entire suite as governed by the tonal center moving by a fifth between each movement. He also discusses disjunction within the group: the different styles of drummers Elvin Jones and Rashied Ali and Coltrane’s practice of backing simple diatonic melodies with harmonically distant or ambiguous chords. Liebman also describes Coltrane’s role as a personal and musical inspiration.

365.

Medwin, Marc. “Attaining Unity: Self-Reference in the Music of John Coltrane.” Jazz Research Journal. 2:2 (2009). 119–131. Argues that Coltrane repeatedly used a group of phrases, such as the opening gesture of A Love Supreme, throughout his 1960s music, increasingly conceptualizing it as a unified work, parallel to his ecumenical spirituality.

366.

Medwin, Marc. Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965–67. Ph.D. dissertation. Chapel Hill: U of NC at  Chapel Hill, 2008. vi, 192 p. https://cdr.lib.unc.edu/record/uuid:333212c0-aecd42b1-bc10-db1958af690d

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Finding the traditional language of harmonic and rhythmic analysis inadequate to Coltrane’s last music, Medwin instead bases his work on ideas of atomism and laminarity proposed by Evan Parker and supported by the more formal work of Jonathan Kramer. Chapters address the development of Coltrane’s soloing approach over his career and the changing role of the rhythm section, concluding with a discussion of Anthony Braxton (particularly the Charlie Parker Project 1993 and Nine Compositions (Iridium) 2006 recordings) and Paul Dunmall (Spiritual Empathy and I Wish You Peace) as developing aspects of Coltrane’s legacy. Draws original interviews with Rashied Ali, Bill Dixon, Dunmall, and others. 367.

Monson, Ingrid. “Oh Freedom: George Russell, John Coltrane, and Modal Jazz.” in In the Course of Performance: Studies in the World of Musical Improvisation. ed. Bruno Nettl with Melinda Russell. Chicago: U of Chicago P, 1998. 149–168. A standalone version of chapter 7 of Freedom Sounds (535), arguing that the modal jazz of Russell and Coltrane was an alternate intellectual framework for jazz which intersected with interests in spirituality and the music of non-Western cultures, which then harmonized with the Civil Rights Movement’s spirituality and connections to India (via Gandhi) and African liberation. Musical examples include Coltrane’s “Africa” and “India.”

368.

Neel, Eric Scott. Reading the Impossible: Articulations of Postwar Idealism and the Interrogation of American Identity. PhD dissertation. Iowa City: U of IO, 2000. iii, 235 p. James Baldwin, Allen Ginsberg, and John Coltrane are considered as artists who presented alternative visions of America in the 1950s and 1960s. Each of their bodies of work is read in detail and connected. For Coltrane, the examples are “Alabama,” “My Favorite Things,” “Chasin’ the Trane,” “Acknowledgement” (from A Love Supreme), “All Blues” (with Miles Davis), Ascension, and Meditations. Links are made between all three artists’ works, worldviews, and iconic status.

369.

Nicholl, Tracey. “Dominant Positions: John Coltrane, Michel Foucault, and the Politics of Representation.” Critical Studies in Improvisation. 2:1 (2006). n.p. www. criticalimprov.com/article/view/87/186 Foucault’s theories of power are applied to Coltrane’s discussions with critics John Tynan, who dismissed his modal music as “anti-jazz,” and Frank Kofsky, who attempted to claim his work for a revolutionary African-American Marxism (524, 526). While Kofsky attacked the jazz critical establishment of Tynan and Ira Gitler, he did so based on their ideology, not their authority, while Coltrane in all situations asserted his authority regarding his own work.

370.

Nisenson, Eric. Ascension: John Coltrane and His Quest. New York: Da Capo, 1993. xix, 278 p. A chronological appreciation of his recordings, approximately two-thirds devoted to the Impulse period in chapters entitled: “The Quartet,” “World Music,” “A Love Supreme,” “Ascension,” “Meditations,” and “Out of this World.” Each deals with more than its eponymous piece, using them as to represent periods. The last of these covers all the work after the classic quartet, particularly the 1966 Japanese tour, then one entitled “After the Trane” maps his influence.

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371.

65

Orsmond, Gareth. “Eric Dolphy’s ‘Africa:’ Avoiding the Exoticism of Jazz in the 1960s.” Music Research Forum. 13 (1998). 22–35. Orsmond analyzes Dolphy’s use of programmatic and exotic materials in his orchestration of Coltrane’s “Africa” on the Africa/Brass album, arguing that, while Dolphy employs polyrhythms and pentatonic scales associated with African music in general, he does not imitate any particular African musical style or sounds and that critics’ perceptions of animal cries and pygmy chants are not supported by specific musical elements.

372.

Palmer, Robert, dir. The World According to John Coltrane. DVD video. New York: BMG Video, 2002 [1990]. One hour documentary with performance footage of Coltrane and interviews with Wayne Shorter, Jimmy Heath, Tommy Flanagan, LaMonte Young, Rashied Ali, and Alice Coltrane. It also includes a segment of Roscoe Mitchell improvising with Moroccan musicians.

373.

Parent, Emmanuel and Grégoire Tosser. “The Dilemmas of African-American Orientalism: Coltrane and the Hispanic Imaginary in ‘Olé’.” Jazz Research Journal. 3:1 (2010). 63–85. Musical/historical analysis of this composition, identifying its source as a Spanish folk song repurposed by Leftists in the Spanish Civil War, discussing Coltrane’s modal reduction of its harmony to bring it closer to flamenco, and considering Coltrane’s exoticism in the context of both Orientalism and Pan-Africanism. “Olé” is contrasted to Charlie Haden’s version of the same folk song on Liberation Music Orchestra.

374.

Parker, Evan. “Coltrane: A Talk.” Point of Departure. 9 (Jan. 2007). n.p. www. pointofdeparture.org/PoD9/PoD9EvanParker.html www.pointofdeparture.org/PoD9/ PoD9EvanParker2.html Parker begins with memories of seeing Coltrane in 1961, on his only British tour, and moves from there to discuss the Village Vanguard recordings made shortly before the tour, particularly “Chasin’ the Trane” in relation to other trio blues in Coltrane’s oeuvre. He notes Coltrane’s exceptional tone in late 1961 and describes in great technical detail some ideas about mouthpieces and reeds, including Steve Lacy and Rudi Mahall’s setups, and also considers the relevance of bootleg albums and astrology.

375.

Porter, Lewis. John Coltrane: His Life and Music. Ann Arbor: U MI P, 1998. xvii, 409 p. Based on 376, but also incorporating a full-scale biography, with the musical analysis coming to the fore and the details of his personal life receding as Coltrane’s career progresses. Porter includes transcriptions and pages from Coltrane’s notebooks, identifying sources of Coltrane melodies including “Impressions” and “Spiritual” and giving close readings of A Love Supreme and “Venus,” from Interstellar Space, among other works.

376.

Porter, Lewis. John Coltrane’s Music of 1960 to 1965: Jazz Improvisation as Composition. Ph.D. dissertation. Waltham, MA: Brandeis U, 1983. ix, 341 p. After a detailed explanation of Coltrane’s improvisational approach up to 1960, including analyses of several solos, Porter discusses the influence of Ornette Coleman

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and Eric Dolphy, then examines structural techniques in his solos on “Equinox,” “Impressions,” A Love Supreme, and “Venus.” Extensive musical examples. 377.

Powell, Elliott Hunter. Kindred Sounds: Afro-South Asian Musical Intersections in Jazz and Hip Hop. Ph.D. dissertation. New York: NYU, 2014. xvi, 374 p. The first chapter is on Coltrane’s “My Favorite Things,” “Africa,” and A Love Supreme, using musical analysis and critical theory to argue that his interests in Indian spirituality and Pan-African consciousness were connected and mutually constitutive. Additionally he links the poem from A Love Supreme and the Twelve Steps of Alcoholics Anonymous.

378.

Pressing, Jeff. “Pitch Class Set Structures in Contemporary Jazz.” Jazzforschung/Jazz Research. 14 (1982). 133–172. Set theory is applied to a wide range of jazz, from Thad Jones’ big band to the Mahavishnu Orchestra. The Coltrane example is “Offering,” from his final album Expression. His solo is analyzed as navigation through a series of small groups of pitches, then streams of these groups and intersections of these streams.

379.

Putschögl, Gerhard. “John Coltrane und die AfroAmerikanische Oraltradition.” Jazzforschung/Jazz Research. 25 (1993). 344 p. German-language study of Coltrane’s tenor saxophone improvising in relation to the oral traditions of the Black church. Putschögl transcribes several recorded sermons and gospel songs, including performances by Mahalia Jackson and Aretha Franklin, then identifies similar techniques in Coltrane’s music, particularly “Out of This World,” “Transition,” “Brazilia,” “Song of Praise,” and 1963 and 1965 live performances of “Impressions,” “Mr. P.C,” “Traneing In,” and “Psalm” (from A Love Supreme). An eight-page English summary is included.

380.

Putschögl, Gerhard. “John Coltrane: Strukturelle Organisation als Orale Komposition.” in Jazz und Komposition. ed. Wolfram Knauer. Darmstädter Beiträge zur Jazzforschung. 2 (1992). 59–77.

381.

Putschögl, Gerhard. “Zu den Rhythisch Freien Gestaltungsformen der AfroAmerikanischen Musik am Beispeil von John Coltrane.” in—und Der Jazz Ist Nicht Von Dauer: Aspekte Afro-Amerikanischer Musik: Festschrift Für Alfons Michael Dauer. eds. A. M. Dauer, Bernd Hoffmann, and Helmut Rösing. Karben: Coda, 1998. 333–369.

Condensed presentation of material from 379.

Condensed and excerpted from 379. 382.

Ratliff, Ben. Coltrane: The Story of a Sound. New York: Farrar, Strauss and Giroux, 2007. xxi, 250 p. Narrative of Coltrane’s career using selected recordings, looking to identify the elements which shaped contemporary jazz. Free jazz enters around 1960, when Ratliff claims Coltrane drew on the influences of Ornette Coleman and Ravi Shankar to find a way past the harmonic intricacies of “Giant Steps” and its successors. Work after A Love Supreme and Ascension receives significant coverage, with a section on Albert Ayler’s relationship with Coltrane. In the second half of the book, Ratliff traces Coltrane’s reception in the press and in several musical directions: free jazz, psychedelic

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rock, overtly Coltrane-styled players near the jazz mainstream such as Charles Lloyd, and the formalization of some of Coltrane’s harmonic strategies in jazz education. 383.

Schienfield, John, dir. Chasing Trane: The John Coltrane Documentary. DVD. Santa Monica, UMe, 2017. Ninety-nine minute feature documentary. Produced with his family and estate’s cooperation, it includes previously unseen footage. Denzel Washington reads Coltrane’s own words in voiceover, and there are appearances by Reggie Workman, Wayne Shorter, Sonny Rollins, McCoy Tyner, Bill Clinton, Wynton Marsalis, and others who knew Coltrane or were inspired by him.

384.

Schott, John. “‘We Are Revealing a Hand That Will Later Reveal Us:’ Notes on Form and Harmony in Coltrane’s Later Work.” in Arcana: Musicians on Music. ed. John Zorn. Granary Books: New York, 2000. 345–366. A close look at harmony in Coltrane from the late 1950s onwards, arguing that, whether he was playing “sheets of sound” over conventional jazz harmonies, devising the elaborate symmetrical chord progression of his “Giant Steps” period, weaving around a static tonality in his modal work, or transposing motifs in his last music, he was seeking systems of pitch organization beyond tonality. Numerous themes and solo excerpts are transcribed, including “One Down, One Up,” “Miles Mode,” “Acknowledgement,” “Offering,” “Number One,” and several themes from Meditations.

385.

Simpkins, C. O. Coltrane: A Biography. Baltimore: Black Classic P, 1975. 287 p. Narrative of his childhood and music career, combining published sources and original interviews with poetry and other literary flourishes. Includes several manuscripts of 1959–1960 compositions and musical exercises, as well as reproductions of articles and reviews.

386.

Thomas, J. C. Chasin’ the Trane: The Music and Mystique of John Coltrane. New York: Da Capo, 1975. 252 p. Incorporates anecdotes and memories in block quotations for an oral history-like effect. Discussion of Coltrane’s 1960s music centers on A Love Supreme, with a variety of fans and musicians testifying to its impact. Coltrane’s 1966 Japan tour is also a focus among his late work.

387.

Washington, Michael Spence. Beautiful Nightmare: Coltrane, Jazz, and American Culture. Ph.D. dissertation. Cambridge, MA: Harvard U, 2001. vi, 434 p. Washington sets up his study of the work of the Classic Quartet with discussion of the jazz/blues aesthetic in Amiri Baraka and Ralph Ellison, then a historiography of the many Coltrane biographies. Turning to Coltrane’s work itself, he chooses to look intensely at a few exemplary tracks (“Chasin’ the Trane,” “Joy,” “A Love Supreme,” and “Ascension”) in depth, discussing them musicologically, in relation to theories of the jazz/blues aesthetic, historically, and in terms of the perception of Coltrane as a celebrity/icon. Interviews with Yusef Lateef and Bishop Franzo King of the Church of John Coltrane are included as appendices.

388.

Wernick, Forrest. John Coltrane’s Gateway to Musical Freedom: Harmonic Superimposition Techniques in Selected Modal Improvisations between 1960–1965. M.M. thesis, Wayne, NJ: William Paterson U, 2009. x, 69 p.

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By analyzing a dozen performances of “Impressions,” Wernick demonstrates Coltrane’s route to his later harmonically free playing via the use of superimpositions on this almost static two chord form and classifies and labels these techniques so they can be more readily understood and, if desired, applied. 389.

Whyton, Tony. Beyond A Love Supreme: John Coltrane and the Legacy of an Album. New York: Oxford UP, 2013. xii, 160 p. Taking Porter’s analysis (375, 376) and Kahn’s history of the album (360) as his starting points, Whyton focuses on its role in forming historical and biographical narratives, its effect on the reception of subsequent work (particularly Ascension, Interstellar Space, and The Olatunji Concert), and it and Coltrane’s (sometimes literal) canonization.

390.

Whyton, Tony. “Four for Trane: Jazz and the Disembodied Voice.” Jazz Perspectives. 1:2 (2007). 115–132. Also in Whyton, Tony. Jazz Icons: Heroes, Myths, and the Jazz Tradition. Cambridge, UK: Cambridge UP, 2010. 38–56. Coltrane’s status as an icon is considered through the presentation of the album A Love Supreme, the packaging of the Complete Impulse! Studio Recordings CD box set, the documentary The World According to John Coltrane (372), the Jamey Abersold play-along recording Countdown to Giant Steps, and Branford Marsalis’ cover version of “A Love Supreme.”

Giuffre, Jimmy 391.

Giuffre, Jimmy. Jazz Phrasing and Interpretation: Aspects of Jazz Performance, Analyzed for the Player . . . A Personal Approach. New York: Associated Music Pub, 1969. 61 p. Advice, with exercises, on feeling time and using articulations, dynamics, and swung rhythms. Applicable to all jazz styles but also reflecting his personal aesthetic.

392.

Giuffre, Jimmy. Sketch-Orks Designed for Small Groups. New York: Criterion Music, 1957. 32 p. Lead sheets with chord changes and counter-lines for 27 compositions recorded on Jimmy Giuffre and Tangents in Jazz, as well as with Shorty Rogers, the Lighthouse All-Stars, and other groups.

393.

Johnston, Peter. “From Mainstream to Downstream: Jimmy Giuffre and the Deconstruction of the Jazz Art World.” http://seethroughmusic.com/resources/Writing/ Peter-Johnston-IASPM-Paper-2009.pdf Unpublished paper presented at the International Association for the Study of Popular Music (IASPM) Canada conference at Dalhousie U, June 13, 2009. 10 p. Argues that the early 1960s edition of the Jimmy Giuffre 3, with Paul Bley and Steve Swallow, represented a step outside the existing jazz art world, that they were among the first artists to identify as free improvisers, a role not supported by the existing economic or intellectual apparatus of jazz.

394.

Johnston, Peter. “Teaching Improvisation and the Pedagogical History of the Jimmy Giuffre 3.” International Journal of Music Education. 31:4 (2013). 383–393.

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Drawing on interviews with Paul Bley and Steve Swallow, as well as published sources, the rehearsal techniques of their trio with Giuffre are reconstructed and considered as a resource for teaching jazz and free improvisation performance. 395.

Shoemaker, Bill. “What’s New? The PoD Roundtable.” Point of Departure. 18 (Aug. 2008). n.p. http://pointofdeparture.org/archives/PoD-18/PoD18WhatsNew.html François Houle, Franz Koglmann, and Michael Moore discuss Giuffre’s legacy and influence.

396.

Stephens, Lorin. “The Passionate Conviction: An Interview with Jimmy Giuffre.” The Jazz Review. 3:2 (Feb. 1960). 6–11. http://jazzstudiesonline.org/resource/ jazz-review-vol-3-no-2-feb1960 Discussing the influence of Thelonious Monk and Ornette Coleman, his use of counterpoint, and the experimental writing for bass and drums on his Tangents in Jazz album.

397.

Williams, Martin. “Rehearsing with the Jimmy Giuffre 3.” Downbeat. Mar. 12, 1964. 18–21. Also in Williams, Martin. Jazz Changes. New York: Oxford UP, 1992. 75–83. Williams observes Giuffre, Don Friedman, and Gary Peacock working out a new piece.

Harriott, Joe 398.

Moore, Hilary. British Jazz Voices: Crossing Borders of Race, Nation, and Class. Ph.D. dissertation. Philadelphia: U of PA, 2004. v, 239 p. An earlier version of 399.

399.

Moore, Hilary. Inside British Jazz: Crossing Borders of Race, Nation and Class. Aldershot, Hampshire: Ashgate Pub, 2007. 157 p. The third chapter is devoted to Harriott, with a biographical frame, transcription and analysis of the opening of “Shadows,” from his Free Form LP, then a comparison of Free Form to Ornette Coleman’s Free Jazz in both musical form and social/historical context.

400.

Robertson, Alan. Joe Harriott: Fire in His Soul. London: Northway Publications, 2003. viii, 242 p. Based on numerous original interviews, as well as published sources, and including multiple accounts of Harriott’s development of his “free form” concept independent of Ornette Coleman and simultaneous to his exploration of other areas including the music of Horace Silver, then of the personal and professional problems which led him to abandon it.

401.

Shoemaker, Bill. “Page One.” Point of Departure. 37 (Dec. 2011). n.p. http://point ofdeparture.org/archives/PoD-37/PoD37PageOne.html Career overview, presenting his free jazz albums Free Form and Abstract as the apex of his work and noting the role of John Lewis in legitimating and promoting his experimentation, as Lewis had Ornette Coleman’s shortly before.

402.

Wilmer, Valerie. “Joe Harriott: Jazz Abstractionist.” Downbeat. Sept. 10, 1964. 12, 37.

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Interview-based profile, including biography, explanation of his version of free jazz, and comments on the influence of Charles Mingus and Ornette Coleman on his work.

Mingus, Charles 403.

López-Dabdoub, Eduardo. The Music of Charles Mingus: Compositional Approach, Style, and the Performance of Race and Politics in the “Free Land of Slavery.” D.M.A. dissertation. New York: CUNY, 2013. 205 p. Detailed analyses of Mingus’s music are linked to his biography, aesthetics, and milieu. The first case study is “Folk Forms No. 1,” from 1960, featuring Eric Dolphy and intended as a response to Ornette Coleman. The overall form of the piece is diagrammed and many passages transcribed, illustrating Mingus’ reclamation of aspects of free jazz.

404.

Washington, Salim. “‘All the Things You Could be by Now:’ Charles Mingus Presents Charles Mingus and the Limits of Avant-Garde Jazz.” in Uptown Conversation. eds. Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin. New York: Columbia UP, 2004. 27–49. The Mingus Presents Mingus LP embodies his conflicted relationship to the emergence of free jazz, a music which often was indebted to his own but whose frequent disdain for conventional musicianship offended him. “Fables of Faubus,” “All the Things . . . ,” and “What Love” from this album are read as signifying on the Civil Rights Movement and Ornette Coleman.

Monk, Thelonious 405.

Arndt, Jürgen. Thelonious Monk und der Free Jazz. Graz: Akademische Druck-und Verlaganstalt, 2002. 276 p. While he did not play free jazz himself, Monk was a significant influence on and remains a revered figure among many of its practitioners. This German-language study begins by considering John Coltrane’s time in Monk’s band, then looks at interpretations of Monk’s music by pioneers of free jazz including Cecil Tayor, Steve Lacy, Don Cherry, and Misha Mengelberg, and its influence on compositions by Taylor, Lacy, Mengelberg, Eric Dolphy, Dollar Brand, Irène Schweizer, and Alexander von Schlippenbach. Specific characteristics of Monk’s style are traced through these various artists, with numerous transcribed excerpts.

406.

Kelley, Robin D. G. “New Monastery: Monk and the Jazz Avant- Garde.” Black Music Research Journal. 19:2 (1999). 135–168. Connects Monk’s 1960s success to bohemia becoming pop culture via the Beats and describes how Monk was seen as both an important influence on free jazz and a genius of bebop whose success proved the enduring value of that form. Tributes to and interpretations of Monk by free jazz artists, particularly Steve Lacy, Cecil Taylor, Eric Dolphy, and Andrew Hill are discussed, as well as specific elements of Monk’s work which anticipated or inspired free jazz techniques.

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407.

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Solis, Gabriel. Monk’s Music: Thelonious Monk and Jazz History in the Making. Berkeley: U of CA P, 2008. xi, 239 p. Includes a chapter on Monk and the avant-garde which discusses Amiri Baraka and Robin D. G. Kelley’s (406) writing on his influence on free jazz, claims on Monk’s legacy by radical musicians, and the Art Ensemble of Chicago’s performance of “‘Round Midnight,” with diagrams and transcribed excerpts. Steve Lacy and Roswell Rudd’s work with Monk’s music is considered separately, as an early example of jazz repertory performance and in the context of postmodernism.

Ra, Sun, and the Members of the Arkestra 408.

Abraham, Alton. Collection of Sun Ra. Archive. 146 boxes. U of Chicago Library. 1822–2008. The archives of Sun Ra’s Arkestra and other projects from the 1950s through 1980s, accumulated by his business partner. Includes press clippings, flyers, posters, concert programs, and other ephemera, working documents including set lists, contracts, original album art and texts, correspondence, music manuscripts, both compositional drafts and performing scores, and original and published versions of Ra’s creative and spiritual writing. Detailed finding aid at www.lib.uchicago.edu/e/scrc/ findingaids/view.php?eadid=ICU.SPCL.ABRAHAMA

409.

Alexander, Larry, and Thomas Stanley. “The House that Ra Built.” Signal to Noise. 14 (Nov/Dec. 1999). n.p. With Marshall Allen confirmed as the new leader of Sun Ra’s Arkestra, he, Noel Scott, and Tyrone Hill sit for an interview on Ra’s legacy. They touch on conflicts with Ahmed Abdullah over using Ra’s name, playing for Black and white audiences, and the appeal of Ra’s music.

410.

Banfield, William C. Pat Patrick: American Musician and Cultural Visionary. Rowman and Littlefield, 2016. xiv, 143 p. Biography of the saxophonist, primarily known for his work with Sun Ra, told largely through interviews with his family members and reproduced archival materials, including correspondence, sheet music, press clippings, photographs, flyers, posters, resumes, etc. Amiri Baraka assisted in some of the interviews and in developing the project.

411.

Campbell, Robert and Chris Trent. The Earthly Recordings of Sun Ra. 2nd ed. Redwood, NY: Cadence Jazz Books, 2000. 847 p. Each known performance or recording session is listed chronologically, with personnel, instrumentation, compositions, releases, and other details, as well as notes on any uncertainties or complications and the provenance of recordings. Indexes by album title, film or video title, musician name, Saturn Records catalog and matrix number, and song titles are included.

412.

Carroll, James G. Composing the African Atlantic: Sun Ra, Fela Anikulapo-Kuti, and the Poetics of African Diasporic Composition. Ph.D. dissertation. Amherst: U of MA, 2013. xiii, 367 p. http://scholarworks.umass.edu/open_access_dissertations/738/

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Ra and Fela’s works are discussed as ritual reconfigurations of the African diaspora through texts, theatrical personae, and music, particularly immersive performance. 413.

Carson, Charles Daniel. Broad and Market: At the Crossroads of Race and Class in Philadelphia Jazz, 1956–1980. Ph.D. dissertation. Philadelphia: U of Philadelphia, 2008. ix, 179 p. Various jazz styles, including hard bop and smooth jazz, are considered as performing different versions of African-American identity, representing different historical periods, class identities, and political stances. The last chapter centers on Sun Ra’s 1970s residence in Philadelphia and his connections to the Black Arts movement and includes musical analysis of “Space is the Place.”

414.

Cassenti, Frank, dir. Mystery, Mister Ra. DVD. New York: Rhapsody Films, [1984]. Fifty-two minute documentary of the Arkestra rehearsing and performing in Paris in 1984, with interviews of Ra and Archie Shepp.

415.

Corbett, John. “From the Windy City to the Omniverse.” Downbeat. Dec. 2006. 34–39. Oral history-style account of Sun Ra’s mid-to-late 1950s Chicago period, drawing on archival material collected by Corbett for the exhibition “Pathways to Unknown Worlds.” Musicians Robert Barry, Art Hoyle, Hattie Randolph, Ricky Murray, and Von Freeman contribute narratives, as does Adam Abraham, the son of Ra’s business partner Alton Abraham. Also in 442.

416.

Corbett, John. “Inherit the Sun: Sun Ra.” Downbeat. Sept. 1993. 26–29. An account of Sun Ra’s last shows, funeral, and memorial concert, and of the state of his estate: what is likely to happen to his scores, costumes, copyrights, and the Arkestra itself. Ra’s sister, his former business partner Alton Abraham, and John Gilmore all stake their claims on the legacy.

417.

Corbett, John, Anthony Elms and Terri Kapsalis, eds. Traveling the Spaceways: Sun-Ra, The Astro Black and Other Solar Myths. Chicago: WhiteWalls, Inc, 2010. 91 p. Conference proceedings accompanying the exhibition “Pathways to Unknown Worlds: Sun Ra, El Saturn & Chicago’s Afro-Futurist Underground, 1954–68” (442). Includes images of flyers, album covers, sketches, advertisements, and other graphics from the show, as well as texts by music scholars, art historians, and visual artists including Corbett, Robert Campbell, Kevin Whitehead, Graham Lock, Phil Cohran, Kerry James Marshall, Glen Ligon, and others.

418.

Cutler, Chris. File Under Popular: Theoretical and Critical Writings on Music. Brooklyn, N.Y: Autonomedia, 1993. 184 p. Includes a long chapter on Ra that does not mention him until halfway through. Cutler is interested in outsider recording artists and sets up a theory of commercial and folk music before bringing in Sun Ra’s parallel or alternate musical, racial, and business universe.

419.

Diliberto, John. “John Gilmore: Three Decades in the Sun’s Shadow.” Downbeat. May. 1984. 26–28, 62.

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Interview-based feature reviewing Gilmore’s career, primarily with Sun Ra, but also mentioning his work outside the Arkestra, and highlighting the range of his playing, from free jazz screaming to recreating early jazz on clarinet. A sidebar includes a gear list and discography. 420.

Diliberto, John. “Orbiting with Sun: Sun Ra.” Downbeat. Feb. 1993. 22–25. This profile finds Ra in failing health and the Arkestra struggling after the deaths of June Tyson and Pat Patrick, with John Gilmore also seriously ill. It notes that Ra tours with only Gilmore, Marshall Allen, James Jacson, and Tyrone Hill, picking up the remainder of his ad hoc group in various towns. The article reviews Ra’s historic contributions and argues that his current mix of swing tunes, free jazz, electronics, and theatrics alienates audiences: those drawn to one element are likely to be put off by others.

421.

Drury, Meghan. Sonic Affinities: The Middle East in the American Popular Music Imaginary, 1955–2014. Ph.D. dissertation. Washington, DC: George Washington U, 2016. xi, 191 p. https://scholarspace-etds.library.gwu.edu/concern/gw_etds/sf268521w? locale=en Includes a chapter on Ra’s 1971 trip to Egypt and his 1983 return to collaborate with Salah Ragab, considering his work as a version of Afro-Orientalism (2143) which references both white exotica and Afrocentric history.

422.

Edwards, Brent Haynes. “The Race for Space: Sun Ra’s Poetry.” in Epistrophies: Jazz and the Literary Imagination. Cambridge, MA: Harvard UP, 2017. 120–153. Ra’s work is read through the various contexts in which it was published: in an issue of Esquire collecting messages from celebrities for Neil Armstrong to declare when first stepping on the moon, the Umbra Anthology (443), The Cricket, and the broadsheets collected as The Wisdom of Sun Ra (448). There is some discussion of his poetics and philosophy, but the focus is on the meanings and effects of his presence as a writer and thinker in these settings.

423.

Fiofori, Tam. “The Illusion of Sun Ra.” Liberator. Dec. 1967. 12–15. An appreciation from a Black Arts perspective, celebrating Ra’s rituals and cosmology as a way to break through mainstream fictions of Africa, America, history, and race to authentic personal understanding.

424.

Fiofori, Tam. “Sun Ra’s Space Odyssey.” Downbeat. May 14, 1970. 14–17. Long interview on jazz, Blackness, and space music, with Ra unusually specific and direct about his connections to Miles Davis, John Coltrane, Pharoah Sanders, Marion Brown, and the Jazz Composers Guild.

425.

Gagne, Cole. “Sun Ra.” in Soundpieces 2: Interviews With American Composers. Metuchen: The Scarecrow P, 1993. 365–388. Conducted shortly before illness required Ra to use a wheelchair. He focused on his contrarian vision of religion but also touched on musical issues, including his strategies for releasing music on Saturn Records and other labels. A discography and a note in memoriam are appended.

426.

Geerken, Hartmut, and Bernhard Hefele. Omniverse Sun Ra: Comprehensive Pictorial and Annotated Discography, Including Record Title Index, Composition Index,

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Personnel Index, Instrument Index, Saturn Record Label and Vinyl Number Index, Record Label Index and Essays, Photo Documents, Tapeography, Filmography, Bibliography. Wartaweil: Waitawhile, 1994. 250 p. Listing of released recordings and videos, print publications, and privately made live tapes. Also features black and white photographs by Val Wilmer, color album cover images, and essays by Amiri Baraka, Robert L. Campbell, Chris Cutler, Salah Ragab, Geerken, Hefele, and others. 427.

Gershon, Pete. “21st Century Music.” Signal to Noise. 55 (Fall 2009). 12–23. Interview-based profile of Marshall Allen and the management of Sun Ra’s legacy. Also includes John Corbett describing his acquisition of the El Saturn archive, Bernard Stollman on Ra’s relationship with ESP-Disk, Michael D. Anderson on Ra’s audio archive, Michael Sheppard on Transparency Records’ Ra releases, and Chris Cutler on ReR/Recommended Records’ Cosmo Sun Connection.

428.

Ghosn, Joseph. Sun Ra: Palmiers et Pyramides. Marseille: Le Mot et le Reste, 2014. 128 p. French introduction to Ra, with an essay tracing his sources and influence from The Egyptian Book of the Dead to Lady Gaga, then an annotated selected discography. The film Space is the Place and Ra’s traces in current rock and pop music are prominent.

429.

Keenan, David. “The Ark & the Covenant.” The Wire. 380 (Oct. 2015). 40–44. Interview-based profile on Marshall Allen, on the changing names of Sun Ra’s Arkestra and the challenges of keeping the band going after Ra’s death, particularly of initiating new players.

430.

Kreiss, Daniel. “Appropriating the Master’s Tools: Sun Ra, the Black Panthers, and Black Consciousness, 1952–1973.” Black Music Research Journal. 28:1 (Spring 2008). 57–81. Uses the brief period when the Oakland Black Panthers housed Sun Ra and his Arkestra as the starting point to discuss of how Ra and the Panthers both appropriated technology, whether musical instruments or guns, to develop and express new versions of Black identity. He complicates definitions of Afrofuturism by describing utopian and dystopian visions of automation and space travel in both Panther texts and Ra’s work.

431.

Lore, Adam. “June Tyson: Sometimes I’m Happy.” 50 Miles of Elbow Room. 2 (2002). 58–69. http://www.50milesofelbowroom.com/articles/353-june-tyson.html Tribute compiling a 1987 interview of Tyson and her husband, Arkestra stage manager Richard Wilkinson, by Phil Schaap with memories of her from bandmates Marshall Allen, Tyrone Hill, Art Jenkins, and Wisteria el Moondew (Judith Holten), as well as friends Rudy Collins and Susan Pearlstine.

432.

Meehan, Norman. “Sun Ra’s Piano Solo on ‘El is a Sound of Joy.’” Downbeat. Aug. 2007. 84–85. Transcription of the right hand from Ra’s two improvisations on his composition from the 1956 Sound of Joy LP, with analytic notes.

433.

Monk, Vanita, and Johanna Monk. “Marshall Allen: Vibrations of the Day.” Monastery Bulletin. Mar. 18, 2011. n.p. www.monastery.nl/bulletin/allen/allen.html

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Interview on aging, why he doesn’t play outside of the Arkestra more often, and Sun Ra as a spiritual leader. 434.

Mugge, Robert, dir. Sun Ra: A Joyful Noise. DVD. Pottstown, PA: MVD Visual, 2015. One hour documentary from 1980, with performance, interview, and spoken-word footage from various locations in Philadelphia (including the band’s communal house), Baltimore, and Washington, DC. Ra’s voice dominates, but John Gilmore, James Jacson, Danny Thompson, and Elo Omoe are also heard from.

435.

Murph, John. “Exploring Queer Notions Inside Sun Ra’s Outer Space Ways.” in Gender and Identity in Jazz. ed. Wolfram Knauer. Darmstädter Beiträge zur Jazzforschung. 14 (2016). 263–275. Navigating between Szwed (458), Stanley (456), and Stüttgen (457) to argue that whatever Ra’s sexuality, he performed a queer aesthetic. He looks at the nightclub scenes in the film Space is the Place as Ra’s statement on the commodification of music and sexuality and Ra’s costuming and disco-influenced records of the late 1970s in connection with David Bowie, P-Funk, and particularly Sylvester.

436.

Panken, Ted. “Tommy Hunter on Sun Ra and John Gilmore: John Gilmore Memorial Broadcast, WKCR-FM, New York.” Ted Panken’s Chicago Transcripts. jazzhouse.org. 1999. www.jazzhouse.org/library/?read=panken7 Ra’s drummer and recording engineer Hunter describes his musical education, and meeting and working with Ra and Gilmore, with brief discussion of Ra’s rehearsal and recording approach.

437.

Parhizkar, Maryam Ivette. “The Planet is the Way it is Because of the Scheme of Words:” Sun Ra and the Performance of Reckoning. M.A. thesis. New York: CUNY, 2015. 53 p. https://academicworks.cuny.edu/gc_etds/1086/ An extended reading of Ra’s life and work as an interdisciplinary performance centered on declaring the end of the world to force a reckoning, a day of judgment. She looks particularly at images from Alton Abraham’s archive, the film Space is the Place, and the song of the same title, using literary and art historical approaches.

438.

Peters, Michael. Sound Environment Programming the Post-1945 Moment: Charles Olson, Sun Ra, John Cage, and the Way Back In. Ph.D. dissertation. Albany: SUNY, 2014. vi, 470 p. Ecopoetic interpretation of Ra’s persona, poems, interviews, and use of text and lyrics in performance. The author’s premise is that the atomic bomb represents a new stage of human alienation from nature and that each multimedia artist discussed presents a unique response to this condition.

439.

Pouncey, Edwin. “Invisible Jukebox: Marshall Allen.” The Wire. 250 (Dec. 2004). 20–22, 24. Blind listening test with records by Brother Ah, the Art Ensemble of Chicago, Albert Ayler, John Coltrane, Eric Dolphy, Duke Ellington, Johnny Hodges, Clifford Jordan and John Gilmore, the Last Poets, the MC5, and Charlie Parker, each cueing Allen to discuss an aspect of his career or style.

440.

Primack, Bret. “Captain Angelic: Sun Ra.” Downbeat. May 4, 1978. 14–16, 40–41.

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Unusually straightforward biographical interview on his youth in Birmingham, forming the Arkestra in Chicago, moving to New York, his influence on John Coltrane, and his collection of electronic keyboards, as well as some more abstract discussion. 441.

Ra, Sun. The Immeasurable Equation: The Collected Poetry and Prose. eds. James L. Wolf and Harmut Geerken. Noderstadt, Germany: Waitawhile, 2005. ix, 530 p. Ra’s creative writing compiled from various journals, chapbooks, liner notes, and other sources. Includes a list of these sources, first line index, several prefaces, and an appendix listing the contents of Ra’s personal library and other books he is known to have read.

442.

Ra, Sun. Pathways to Unknown Worlds: Sun Ra, El Saturn and Chicago’s Afro-Futurist Underground, 1954–68. Catalog for an exhibition at the Hyde Park Art Center, Chicago. October 1, 2006—January 14, 2007. Chicago: WhiteWalls, Inc, 2006. 144 p. This catalog of drawings, album cover designs, correspondence, business cards, flyers, and other visual art and graphic design from Ra’s archive is accompanied by essays by John Corbett, Glenn Ligon, Adam Abraham, who is the son of Ra’s business partner Alton Abraham, and Camille Norment, as well as the oral history from 415.

443.

Ra, Sun. “The Poetry of Sun Ra.” Umbra Anthology 1967-1968. New York: Society of Umbra, 1967. 3–7. Ra’s poems “The Disguised Aim,” “The Garden of Eatend,” “The Invented Memory,” “Of the Cosmic Blueprints,” “Primary Lesson: The Second Class Citizens,” “The Myth of Me,” “The Plane: Earth,” and “Precision Fate” appear in this collection, along with work by Langston Hughes, Calvin Hernton, LeRoi Jones, Henry Dumas, Bob Kaufman, Lorenzo Thomas, Alice Walker, and Allen Ginsberg. His themes are largely religious and ethical, with few references to outer space. Ra is also mentioned in Jones’ short story “Answers in Progress,” and in Yusuf Rahman’s contribution.

444.

Ra, Sun. Prophetika: Book One. New York: Kicks Books, 2014. xxii, 106 p. The first of three promised volumes of poetry, accompanied by a foreword by Charles Plymell and an interview of Ra by Phast Phreddie Patterson. Described as “a lost trove of unpublished end-times poetry,” it does not include dates or any notes on the sources of these texts.

445.

Ra, Sun. Space is the Place: 40th Anniversary Edition. Book with DVD and CD. San Francisco: Harte Recordings, 2014. 120 p. DVD reissue of the 1974 film starring Sun Ra includes a soundtrack CD and a book with photos, archival documents, essays, interviews, and other texts on the production.

446.

Ra, Sun. This Planet is Doomed: The Science Fiction Poetry of Sun Ra. New York: Kicks Books, 2011. xix, 124 p. With the permission of the Sun Ra Music Archive, this volume collects Ra’s spoken poetry transcribed from various recordings. Texts are undated and appear without any source notes. Introductions by Amiri Baraka and Bhob Stewart are included.

447.

Ra, Sun. Untitled bootleg sheet music collection. In the early 1990s an unauthorized compilation of lead sheets and sketch scores originally submitted to the Library of Congress for copyright registration was distributed

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among members of the SATURN-L email list for Sun Ra fans. Scans can be found online. Over 100 compositions from the 1950s to 1970s appear, most by Ra, but there are also pieces by Pat Patrick, Ronnie Boykins (including everything from his ESPDisk solo album), Julian Priester, and other Arkestra members. 448.

Ra, Sun. The Wisdom of Sun Ra: Sun Ra’s Polemical Broadsides and Streetcorner Leaflets. ed. John Corbett. Chicago: WhiteWalls, 2006. 141 p. Collects typed and mimeographed messages on religion, race, and philosophy produced and distributed by Ra and his associates in Chicago in the 1950s. They appear both in facsimile and transcribed. Corbett notes in his introduction that Ra had not yet adopted his cosmic rhetoric and wrote in the tradition of the Moorish Science Temple and the Nation of Islam.

449.

Reid, John C. “It’s After the End of the World: Sun Ra Interviewed.” Coda. 231 (Apr/ May 1990). 30–32. Asked about the differences between free albums like Heliocentric Worlds and more swing-oriented ones, Ra replies with a mixture of space philosophy, memories of Fletcher Henderson, and observations on different kinds of blues.

450.

Rollefson, J. Griffith. “The ‘Robot Voodoo Power’ Thesis: Afrofuturism and AntiAnti-Essentialism from Sun Ra to Kool Keith.” Black Music Research Journal. 28:1 (Spring 2008). 83–109. A history and intellectual genealogy of Afrofuturism, citing Sun Ra’s non-binary pairings of myth/science, history/mystery, and parallel/opposite as part of a continuum from double consciousness to strategic essentialism and beyond.

451.

Rusch, Bob. “Sun Ra: Interview.” Cadence. 4:4 (1978). 3–8, 24. Ra describes his youth, early career, and dealings with record companies including Impulse, Inner City, and Improvising Artists.

452.

Rusch, Bob. “Tyrone Hill & Marshall Allen Interview.” Cadence. Dec. 1998. 5–13. Double interview on their musical backgrounds, how each met Sun Ra, and life in the Arkestra’s collective house.

453.

Shanley, Mike. “The Marshall Plan.” JazzTimes. Dec. 2002. 64–69. A review of Marshall Allen’s career and a look at his role running the Sun Ra Arkestra, with comments from Allen, bandmates Noel Scott and Rey Scott, and Ra biographer John Szwed.

454.

Shore, Michael. “Sun Ra.” Musician, Player, and Listener. Apr. 1980. 48–51, 66. Interview-based career-spanning profile, with additional comments from John Gilmore and Stanley Crouch and a detailed concert review, catching the band playing a Fletcher Henderson-heavy program.

455.

Sinclair, John, ed. Sun Ra: Interviews and Essays. Headpress: London, 2010. viii, 201 p. Sinclair’s writing related to Sun Ra, from 1966 to 2009, is supplemented with pieces by Amiri Baraka, Wayne Kramer, David Henderson, and others.

456.

Stanley, Thomas T. The Execution of Sun Ra Volume II: The Mysterious Tale of a Dark Body Sent to Earth to Usher in an Unprecedented Era of Cosmic Regeneration and Happiness. Shelbyville, KY: Wasteland, 2014. xvii, 240 p.

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Rather than explicate Ra, Stanley has created a personal narrative journey through his music, texts, and philosophy. Includes a 1990 interview with Ra by Stanley and transcriptions of Ra talking from unreleased tapes in the Experimental Sound Studio/Creative Audio Archive. There is no Volume One. 457.

Stüttgen, Tim. In a Qu*A*re Time and Place: Post-Slavery Temporalities, Blaxploitation, and Sun Ra’s Afrofuturism between Intersectionality and Heterogeneity. Berlin: b_books, 2014. 188 p. Synthesizing queer (or qu*a*re) theory, intersectional feminism, Fanon, and Deleuze, this study is approximately one quarter pure theory, one quarter application of that theory to Blaxpliotation films, one quarter application to Ra’s persona and mythology, and one quarter application to the film Space is the Place, which brings Ra and Blaxploitation together.

458.

Szwed, John. Space is the Place: The Lives and Times of Sun Ra. New York: Pantheon, 1997. xviii, 476 p. This exhaustively researched and documented biography attempts to reckon with his literary and philosophical work, as a well as his mysterious life and copious musical oeuvre. He is quoted at length, and several poems are included.

459.

Tchiemessom, Aurélien. Sun Ra: Un Noir dans le Cosmos. Paris: L’Harmattan, 2004. 270 p. Concise French-language biography and appreciation of Sun Ra, placing his life and work in the context of Black history, politics, and esoteric thought, and of American popular music, Ra’s time on Earth stretching from Booker T. Washington to Wu Tang and from wax cylinders to MP3s.

460.

Townley, Ray. “Sun Ra: ‘Behold My House of Light is Said to be a House of Darkness Because it is Invisible. Yea . . . ’.” Downbeat. Dec. 20, 1973. 18, 38. Interview with long statements on space, ancient Egypt, and humans as musical instruments, and from John Gilmore on Ra’s global influence and John Coltrane’s connections to Ra.

461.

Wilmer, Val. “Days and Nights in the Interzone.” The Wire. 363 (May 2014). 26–33. After serving in the US Army in Europe during WWII, Marshall Allen stayed in Paris to play music and study on the GI Bill. Wilmer assembles Allen’s story before he joined Sun Ra.

462.

Wilmer, Val. “In the House of Ra.” The Wire. 163 (Sept. 1997). 40–45. Recollections of her several visits with Sun Ra, between 1965 and 1979, remembering how he lived and quoting her conversations with him, John Gilmore, Clifford Jarvis, and other musicians.

463.

Youngquist, Paul. A Pure Solar World: Sun Ra and the Birth of Afrofuturism. Austin: U of TX P, 2016. xviii, 346 p. Moving chronologically and thematically through Ra’s career, this biography relies on the precedent of Szwed’s Space is the Place (458) in order to dig more deeply into selected moments and themes rather than attempting to be comprehensive. It includes some fictionalized passages.

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464.

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Zuberi, Nabeel. “The Transmolecularization of [Black] Folk: Space is the Place, Sun Ra, and Afrofuturism.” in Off the Planet: Music, Sound and Science Fiction Cinema. ed. Philip Hayward. London: John Libbey, 2004. 77–95. The film Space is the Place is discussed in various contexts: as a key text in discussions of Afrofuturism, part of Ra’s career, free jazz, the Moog synthesizer as an instrument and symbol in popular and film music, particularly science fiction, and the expansion or deconstruction of the film musical genre. Themes of music, money, sexuality, and communication within the film are drawn out, as is the ambiguous status of Ra’s music within it (score or source? both, neither, or other?).

465.

Zürner, Christian. “‘Pictures of Infinity:’ Sun Ra’s Klangliche Umrahmungen der Grenzenlosgkeit.” in Diskordanzen: Studien zur Neueren Musikgeschichte. “Was Du Nicht Hören Kannst, Musik.” eds. Werner Keil and Jürgen Arndt. 7 (1999). 205–238. German-language study of Ra’s music and ideas, arguing that his persona and theatrics should not be seen as a distraction from the music but that his work is a conceptual whole.

Taylor, Cecil 466.

Bartlett, Andrew W. “Cecil Taylor, Identity Energy, and the Avant-Garde African American Body.” Perspectives of New Music. 33 (Winter/Summer 1995). 274–293. The liner notes to 1966’s Unit Structures (507) are the closest Taylor has come to a musical/aesthetic manifesto. Bartlett reads this text with the critical/theoretical work of Nathaniel Mackey, Paul Gilroy, Ingrid Monson, Sally Banes, and Deleuze and Guattari and expands and complicates Jost’s use of these liner notes to map the structure of Taylor’s ensemble work (162) to also discuss his music as text, event, and movement. Revised chapter from 467.

467.

Bartlett, Andrew W. The Free Place: Literary, Visual, and Jazz Creations of Space in the 1960s. Ph.D. dissertation. Seattle: U of WA, 1999. iii, 225 p. Interdisciplinary investigation incorporating the literary work of James Baldwin and Thulani Davis, the paintings of Romare Bearden, and Taylor’s music. He reads new expressions of time and space in reaction to the Civil Rights movement and postwar technological change in each.

468.

Block, Steven. “‘Bemsha Swing:’ The Transformation of a Bebop Classic to Free Jazz.” Music Theory Spectrum. 19:2 (1997). 206–231. Analyzing Taylor’s performance of Thelonious Monk’s “Bemsha Swing” to show how processes of pitch-class transformation, textural, and motivic variation in free jazz are extensions of established improvisational techniques, and thus argue that free jazz is an extension of bebop rather than its negation.

469.

Bobak, Mark J. The Music of Cecil Taylor: An Analysis of Selected Piano Solos 1973–89. D.M.A. dissertation. Urbana-Champaign: U of IL, 1994. 314 p. Musicological study, with coverage of Taylor’s biography, poetics, and ensemble working methods preceding detailed analysis of the form, content, and logics of his

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solo pieces, with abundant transcribed excerpts from For Olim, Air Above Mountains, Silent Tongues, Indent, and Solo, as well as solo, trio, and quintet performances of “Looking.” Bobak demonstrates the consistency and coherence of Taylor’s music and argues that improvised music should be interpreted differently from composition. 470.

Brasz, Marc. “Cecil Taylor at Town Hall.” Liberator. Aug. 1966. 20–21. Taylor played in New York July 10 performing the music from his Unit Structures album with the same band. Brasz describes the show glowingly and poetically, as an assertion of Black revolutionary vision.

471.

Buholzer, Meinrad. “Cecil Taylor: Interview.” Cadence. Dec. 1984. 5–9. Taylor discusses a recent Willisau performance, the integration of poetry and dance into his work, his impending move from Manhattan to Brooklyn, and his comparative success in Europe and the USA.

472.

Buholzer, Meinrad, Abi S. Rosenthal, and Valerie Wilmer. Auf Der Suche Nach Cecil Taylor. Hofheim: Wolke Verlag, 1990. 166 p. A collection of personal memories and impressions of Taylor and his work. In German.

473.

Caulkins, Anthony. “Musical Gesture” in Analysis: Gesture-Class as a Formal Structure. M.A. thesis. Irvine: U of CA, 2016. 27 p. https://escholarship.org/uc/item/1c43n5wj Taylor’s Indent is one of three works used to develop a theory of gesture, discussed primarily to introduce ideas of flow and movement.

474.

Caulkins, Anthony. “A New Stream of Discourse: Case Studies into Critical Analyses of Cecil Taylor’s Music.” Unpublished: 2016. 23 p. http://anthonycaulkins.com/wpcontent/uploads/2016/06/ANewStreamAnthonyCaulkins.pdf Compares texts on Taylor by Spellman (226), Jost (162), and Draksler (477) criticizing the lack of attention to the particulars of the music in journalistic writing but also the impenetrability of musicological work.

475.

Coss, Bill. “Cecil Taylor’s Struggle for Existence: Portrait of the Artist as a Coiled Spring.” Downbeat. Oct. 26, 1961. 19–21. Interview-based feature on Taylor’s life at the end of his Five Spot residency and in the middle of his Candid recordings. Taylor sorts through his influences: Duke Ellington, Thelonious Monk, and some elements of Dave Brubeck and Lennie Tristano, discusses connections between jazz, personal style, and African-American identity, and declares his affiliation with the new movement represented by Ornette Coleman, Jaki Byard, John Coltrane, and Eric Dolphy, mentioning playing with the last two to great success. With comments from Buell Neidlinger.

476.

Dahl, Linda. “Embraceable You? Mary Lou Williams/Cecil Taylor.” JazzTimes. Mar. 2000. 44–47, 110. Excerpt from Dahl’s biography of Williams, Morning Glory, concerning the 1977 Williams/Taylor Carnegie Hall concert later released on LP as Embraced, which most, including Dahl, saw as a musical battle which did not flatter either artist. A sidebar includes comments from the rhythm section: Bob Cranshaw and Mickey Roker.

477.

Draksler, Kaja. Cecil Taylor: “Life As . . .”: Structure within a Free Improvisation. M.A. thesis. Conservatorium van Amsterdam, 2013. 74 p. www.kajadraksler.com/Taylor.pdf

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Analysis of Taylor’s solo “Life As . . . ” from Momentum Space. Motifs are transcribed and improvisational and instrumental techniques explained, then the spontaneous form of the entire piece narrated, with additional notated excerpts. A full transcription is appended. 478.

Felver, Christopher, dir. Cecil Taylor: All the Notes. DVD. Oaks, PA: Distributed by MVD Visual, 2010. Based around a series of interviews of Taylor at home, on his family background, aesthetics, practice techniques, notational system, and inspirations, with additional interviews of Derek Bailey, Elvin Jones, Amiri Baraka, Nathaniel Mackey, Stephen Haynes, and Thurston Moore, performance footage featuring Bailey, Marco Eneidi, Positive Knowledge, Dominic Duval, Jackson Krall, and others, and a rehearsal and performance sequence with his Orchestra Humane New York big band. Seventy-two minutes.

479.

Figi, J. B. “Cecil Taylor: African Code, Black Methodology.” Downbeat. Apr. 10, 1975. 12–14, 31. Taylor’s own words, from poetry and new interviews, alternate with Figi’s account of his career and a recent performance with Jimmy Lyons and Andrew Cyrille. Race, rhythm, and identity are major topics.

480.

Freeman, Phil. “The Man Who Would be Duke.” The Wire. 386 (Apr. 2016). 30–37. Profile of Taylor on his Whitney Museum residency, with a long interview and comments from former sideman Ramsey Ameen on Taylor’s notation.

481.

Gebers, Jost, ed. Cecil Taylor in Berlin ’88. 11 CDs and book, also available as downloads. Berlin: FMP, 1989. Recordings of Taylor’s meetings with numerous European improvisers are accompanied by a 100 page bilingual (English/German) book with abundant performance photos, comments from participants Gunter Sommer, Wolter Wierbos, Evan Parker, and Tomasz Stanko, and essays by Ekkehard Jost (489), Steve Lake, and Bert Noglik. Taylor’s dictation of “Legba Crossing,” played by a workshop ensemble on the first CD of the set, is transcribed by H. Lukas Lindenmaier and rendered into standard notation by Daniel Werts, who also provides a detailed analysis.

482.

Givan, Ben. “Cecil Taylor’s Piano Solo on ‘Olim.’” Downbeat. Mar. 2002. 76–77. The opening of this unaccompanied piece from Taylor’s For Olim album is transcribed with analytic notes.

483.

Goodheart, Matthew. Freedom and Individuality in the Music of Cecil Taylor. M.A. thesis. Oakland: Mills College, 1996. ii, 82 p. http://www.matthewgoodheart.com/ TaylorThesis/Cecil_Taylor_Thesis-Goodheart.pdf After an overview of his work to the mid-1960s and an attempt to derive a theory of his music from the liner notes to Unit Structures (507), Goodheart gives a detailed critical account of Taylor’s appearance at the 1995 San Francisco Jazz Festival with a 42 member orchestra, primarily of Bay Area musicians, including Goodheart, Peter Apfelbaum, India Cooke, Marco Eneidi, Dana Reason, and others. His rehearsal techniques, use of dictation, letter notation, and incorporation of spoken word and movement are all discussed, and the experience contrasted to a subsequent Pauline Oliveros workshop ensemble with many of the same participants.

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484.

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Gross, Jason. “Cecil Taylor Interview.” Perfect Sound Forever. Jan. 2001. n.p. www. furious.com/perfect/ceciltaylor.html Taylor discusses his recent duets with Max Roach, Elvin Jones, Andrew Cyrille, Tony Oxley, and Derek Bailey, his preparations for a performance, and his early influences. This appears to be based on the same conversation as 485.

485.

Gross, Jason. “Cecil Taylor: The Signal to Noise Interview.” Signal to Noise. 19 (Fall 2000). 30–34. Taylor speaks enthusiastically about his recent duos, as well as various large ensembles, then analogizes his work to architecture, dance, and singing. This appears to be based on the same conversation as 484.

486.

Hentoff, Nat. “The Persistent Challenge of Cecil Taylor.” Downbeat. Feb. 25, 1965. 17–18, 40. Interview-based feature with Taylor commenting on discipline, song form, tradition, Duke Ellington, the October Revolution and Jazz Composers Guild, notation, and the progress of his career.

487.

Iyer, Vijay. “Epiphanies.” The Wire. 293 (July 2008). 98. An appreciation of a particular piano chord from Taylor’s “Pemmican,” from Garden, leads into memories of participating in the notorious 1995 San Francisco Taylor Orchestra performance written about by Goodheart (483) and others.

488.

Jeske, Lee. “Max & Cecil: Percussive Pianist Meets Melodic Drummer.” Downbeat. Apr. 1980. 16–19, 60, 71. Coverage of Taylor and Roach’s Dec. 15, 1979 concerts at Columbia University, including accounts of the preparation and a description of the performance, which was released as Historic Concerts. Both men are quoted.

489.

Jost, Ekkehard. “Cecil Taylor: Solo.” Darmstädter Jazzforum 89. ed. Ekkehard Jost. Beiträge zur Jazzforschung eine Veröffentlichung des Jazz-Instituts Darmstadt. Hofheim: Wolke, 1990. 100–114. An appreciation and analysis of Taylor’s solo recordings from Praxis to For Olim, identifying characteristic structures, gestures, and forms and relating them to Taylor’s Unit Structures liner notes (507). Also in 481.

490.

Kiroff, Matthew. “‘Caseworks’ as Performed by Cecil Taylor and the Art Ensemble of Chicago: A Musical Analysis.” Jazzforschung/Jazz Research. 33 (2001). 9–130. Briefly describes Taylor’s use of dictation in place of notation and the author’s choices for notation and nomenclature. A detailed analysis of the development of pitch cells throughout the composition follows, then a similar treatment of rhythm and a transcribed full score and spectrographic display.

491.

Kiroff, Matthew.“Caseworks” as Performed by Cecil Taylor and the Art Ensemble of Chicago: A Musical Analysis and Sociopolitical History. D.M.A. dissertation. Ithaca, NY: Cornell U, 1997. 194 p. Prefaces the musical analysis presented in 490 with an overview of the history of free jazz, its relationship to Black Power and other countercultural movements, and its marginalization from the entertainment, art music, and academic systems.

Pioneers and Predecessors

492.

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Koenig, Frederick, Louis Calabro, Hall Overton, and Cecil Taylor. “Cecil Taylor Panel Discussion: ‘The Shape of Jazz to Come.’” transcribed by Matt Weston. www. mattweston.com/cecilpanel.html From an incomplete tape of a contentious panel held April 6, 1964 at Bennington College, chaired by Koenig and dominated by Taylor, who speaks on notation, improvisation, form in music, Lennie Tristano and Ornette Coleman’s work, and AfricanAmerican history. LeRoi Jones comments from the audience, and there is significant Black/Jewish conflict over oppression, responsibility, and moral authority.

493.

Krasnow, David. “Bang on the Jazz: When New Music & Jazz Collide.” JazzTimes. Sept. 2002. 52–56, 58. An account of the Bang on a Can All-Stars’ ill-fated commission of a piece from Taylor. Matthew Shipp, who has also written for the All-Stars, comments, and Krasnow maps some of the conceptual and institutional issues between improvisers and new music ensembles.

494.

Litweiler, John. “Needs and Acts: Cecil Taylor in Wisconsin.” Downbeat. Oct. 14, 1971. 16–17, 40. An account of Taylor’s brief academic appointment, including excerpts from lecture notes from his Principles of Black Esthetics course, descriptions of his Black Music Ensemble’s rehearsals, comments from Taylor and his students, and explanations of the events motivating him to take the Madison job after a major European tour and the circumstances of his resignation.

495.

Lynch, Kevin. “Cecil Taylor and the Poetics of Living.” Downbeat. Nov. 1986. 22–24, 67. A visit with Taylor shortly after the death of his collaborator Jimmy Lyons and a week of concerts in Berlin. He discusses Lyons, the opportunities in Europe compared to the US, and his compulsion to practice and grow.

496.

Moten, Fred. Black and Blur. Durham, NC: Duke UP, 2017. 360 p. [forthcoming]. Cecil Taylor is among the artists, activists, and intellectuals discussed in this collection of linked essays on Blackness and modernity.

497.

Patris, Gérard, Luc Ferrari, and Pierre Schaffer, dirs. Les Grandes Répétitions. 2 DVDs. Paris: K-Films, 2010. Five forty-five minute documentaries of avant-garde musicians at work in Paris between 1965 and 1967. One episode is devoted to Taylor, filmed with Jimmy Lyons, Alan Silva, and Andrew Cyrille during their 1966 European tour. Taylor discusses segregation, notation, and other topics. There is extensive footage of the quartet playing.

498.

Peters, Jason. Classical Influences on the Jazz Styles of Bill Evans, Herbie Hancock, Cecil Taylor, and Dave Brubeck. M.M. thesis. DeKalb: N IL U, 2013. iv, 77 p. Taylor’s versions of “Bemsha Swing” and “Azure” from Jazz Advance and his original music on Unit Structures and Conquistador are discussed in terms of the influence of Stravinsky and Bartok. His critical relationship to European composed music is acknowledged, as are parallels between his work and Henry Cowell and John Cage’s piano music.

499.

Priestley, Brian. “Florescent Stripper.” The Wire. 82/83 (Dec. 1990/Jan 1991). 24–26, 74.

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Short interview-based profile of Taylor, who discusses the late Jimmy Lyons and his recent trios with William Parker and Rashied Bakr, Gregg Bendian, or Tony Oxley, as well as the Berlin 1988 recordings (481), which introduced him to many European free players. 500.

Rothbart, Peter. “Cecil Taylor Unit at the Creative Music Studio: Orchestrating the Collective Consciousness.” Downbeat. Apr. 1980. 16–17, 20–21. An account of a ten-day intensive workshop, including descriptions of Taylor’s pedagogy, notation, and the resulting musical, dance, and poetry performances. With comments from CMS students, Unit members Ramsey Ameen, Alan Silva, and Jimmy Lyons, and Taylor’s manager Jim Silverman.

501.

Rusch, Bob. “Cecil Taylor: Interview.” Cadence. 4:1 (1978). 3–6, 11. Topics include his duo concert with Mary Lou Williams, his early influences, record companies, and basketball.

502.

Russell, Charlie L. “Has Jazz Lost its Roots?” Liberator. Aug. 1964. 4–7. Russell begins by discussing his father’s deep connection to the Black music he experienced at rural bars in Louisiana, then tracing the music’s gradual estrangement from social life and ordinary people as it became a recorded art music. He then turns the article over to Taylor, who seems to represent this alienation but also longs to play in Harlem. Both men consider the distance between Black vanguard artists and the Black mass audience a product of a racist system rather than of flaws in the music or audience. Taylor also discusses his experiences working with white musicians and attending the ballet, in both cases noting that whites’ assumptions about him create obstacles to mutual understanding.

503.

Schuller, Gunther. “Cecil Taylor: Two Early Recordings.” Musings: The Musical Worlds of Gunther Schuller. New York: Oxford UP, 1986. 65–75. Also published as “Cecil Taylor.” The Jazz Review. 2:1 (Jan. 1959). 28–31. Looking at Taylor’s first two LPs, Jazz Advance and Live at Newport, Schuller argues that his music is structurally tonal while his improvising is atonal but not serial. Excerpts from “Azure,” and “Tune 2” are transcribed.

504.

Shoemaker, Bill. “Page One.” Point of Departure. 45 (Dec. 2013). n.p. http://point ofdeparture.org/archives/PoD-45/PoD45PageOne.html Beginning with an account of Jimmy Carter’s White House jazz concert, which included Dizzy Gillespie, Max Roach, Cecil Taylor, and others, then focusing on Taylor to discuss his approach to composition and rhythm from his first recordings to the 1980s, and his work’s recognition as high art, culminating in being awarded a MacArthur grant, Kyoto Prize, and NEA Jazz Master title.

505.

Spicker, Volker. “Cecil Taylors Abstraktmotiv. Eine Unterschung zu neuen Formen der Klavierimprovisation im Free Jazz.” MusikText: Zeitschrift für neue Musik. 73–4 (Mar. 1998). 13–22. This German-language article considers Taylor’s use of rhythm, energy, and clusters in creating motifs in his improvising. Brief transcriptions, in standard and graphic notation, are included.

Pioneers and Predecessors

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85

Summers, Russ. “Poetry ‘n’ Motion: The Verse and Vision of Cecil Taylor.” Option. July/Aug. 1989. 70–73. Interview on Taylor’s 1988 Berlin concerts, his poetry, meeting Iannis Xenakis, his collaborations with Tony Oxley and Ronald Shannon Jackson, and his unsuccessful session with Ornette Coleman and Prime Time. A sidebar includes comments from Dennis Gonzalez, Anthony Davis, and Andrew Cyrille.

507.

Taylor, Cecil. “Sound Structure of Subculture Becoming Major Breath/Naked Fire Gesture.” Liner note for Unit Structures. LP. New York: Blue Note, 1966. Prose poem describing the formal, rhythmic, and artistic ideas behind the music.

508.

Westendorf, Lynette. “Cecil Taylor: Indent—‘Second Layer.’” Perspectives of New Music. 33:1/2 (1995). 294–326. Revised excerpt from 227 on the middle section of his 1973 solo album, describing its spontaneously created form through a detailed timeline, with a few main themes notated. Some passages are presented in graphic notation, and a bar graph represents the proportions of the various musical episodes. She demonstrates that, even at its densest, Taylor’s music has structural unity, formal coherence, and references to traditional jazz and blues content and concludes by reading the poem Taylor wrote as the album’s liner notes as specifically describing aspects of the music it contains.

Tristano, Lennie, Lee Konitz, and Warne Marsh 509.

Hamilton, Andy. Lee Konitz: Conversations on the Improviser’s Art. Ann Arbor: U of MI P, 2007. xxv, 284 p. The Tristano free improvisations are discussed, as well as Konitz’ participation in Company Week 1987. Several musicians associated with free jazz comment on their associations with Konitz and his work: John Zorn, Paul Bley, Kenny Wheeler, Evan Parker, Bill Frisell, Ornette Coleman, and John Tchicai, plus Konitz reacts to recordings by Bley, Steve Lacy, and Coleman, and attacks Anthony Braxton’s recording of Tristano’s “April.”

510.

Hellhund, Herbert. Cool Jazz: Grundzüge seiner Entstehung und Entwicklung. New York: Schott, 1985. 302 p. Includes extensive transcriptions and analysis of “Intuition” and “Digression,” the 1949 free improvisations by Tristano’s sextet which are often considered the first recordings of free jazz. In German.

511.

Shim, Eunmi. Lennie Tristano: His Life in Music. Ann Arbor: U of MI P, 2007. viii, 316 p. Biography, with detailed discussion of his recordings and pedagogy. Includes coverage of Tristano’s 1949 recordings of free improvisation, his live free playing with Konitz, Marsh, and others, and his low opinion of the musicianship and politics of 1960s free jazz.

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GENERAL WORKS 512.

Baggenæs, Roland. Jazz Greats Speak: Interviews with Master Musicians. Lanham, MD: Scarecrow, 2008. 139 p. Originally published in Coda, these interviews span the history of modern jazz. For free jazz, Marc Levin discusses his studies and collaborations with Bill Dixon and his memories of Albert Ayler and Sun Ra, while John Tchicai also mentions Ayler in his account of his career, as well as his time in New York, the New York Contemporary Five, and his work with John Coltrane.

513.

Benston, Kimberly W. Performing Blackness: Enactments of African-American Modernism. New York: Routledge, 2000. 405 p. Essays centered on Black Arts movement literature, including a chapter on John Coltrane’s music after 1962, one on “the Coltrane poem” as a subgenre of Black Arts writing, and one on Amiri Baraka’s writing as musical performance: in print (particularly in his liner notes to Coltrane’s Live at Birdland—reprinted in 522), on stage, and on record with the New York Art Quartet and others.

514.

Breckenridge, Mark A. “Sounds for Adventurous Listeners:” Willis Conover, The Voice of America and the International Reception of Avant-Garde Jazz in the 1960s. Ph.D. dissertation. Denton: U of N TX, 2012. vii, 315 p. https://digital.library.unt.edu/ ark:/67531/metadc149564/ Working with Conover’s archive at UNT and VOA program recordings at the National Archives to trace how debates about the musical merit and racial politics of free jazz were handled by the official American radio station abroad, with particular attention to Conover’s interest in Sun Ra.

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515.

87

Cane, Giampiero. Canto Nero. Bologna: CLUEB, 1982. 269 p. An Italian analogue to Kofsky’s Black Nationalism and the Revolution in Music (524) and Carles and Comolli’s Free Jazz/Black Power (516), linking free jazz to AfricanAmerican liberation as understood by the European Left. Largely historical, aesthetic, and political, with some musical analysis. The major subjects are Charles Mingus, Lennie Tristano, Ornette Coleman, John Coltrane, Cecil Taylor, Archie Shepp, Albert Ayler, Sun Ra, Milford Graves, and Don Cherry, with Giorgio Gaslini the only Italian.

516.

Carles, Philippe, and Jean-Louis Comolli. Free Jazz/Black Power. trans. Grégory Pierrot. Jackson, MS: UP of MS, 2015 [1971]. xix, 256 p. “Free” may be intended as more of a verb than an adjective, as this is largely a cultural/ economic history of African-American music: Blues People (219) retold through a more overt and specifically post-May 1968 Marxism. The authors claim free jazz has created a crisis in the institutions around the music, exposing its ideological and historical underpinnings. The two last chapters turn to free jazz per se, arguing that its revolts against technique, harmony, timekeeping, etc. are Third World-inspired challenges to Europe and the US. New material by the authors and translators contextualizes the book and insists on its continued relevance.

517.

Caylor, Garth W. Nineteen+ Conversations with Jazz Musicians, New York City, 1964– 1965. Charleston, SC: Createspace, 2014. vi, 248 p. Interviews were conducted at the artists’ homes, describing their lifestyles as well as giving them space to discuss their work and worldviews. Free jazz musicians include Paul and Carla Bley (in which Carla reveals the unrecorded lyrics to her piece “Ida Lupino), Ornette Coleman (who has just returned from a two year sabbatical), Jimmy Giuffre (who describes his move into free playing and his post-Free Fall music), Milford Graves, Steve Lacy (who speaks the day after participating in one of the last Jazz Composers Guild concerts, having also just ended his quartet with Roswell Rudd and made plans to move to Europe), Sunny Murray, Archie Shepp. Steve Swallow, and John Tchicai. Illustrated with Caylor’s photos of musicians, as well as album covers, and artwork either mentioned in or complimenting the interviews.

518.

Dongala, E. Boundzéki. “Le ‘New Jazz:’ Une Interprétation.” Présence Africaine. nouvelle série 68 (4th quarter 1968). 141–148. Free jazz is presented as a manifestation of Black radicalism, following the interpretations of LeRoi Jones, and the work of four leading figures is described and their personas encapsulated: John Coltrane representing spirituality, Ornette Coleman freedom, Archie Shepp political engagement, and Sun Ra collective liberation. In French.

519.

Gavin, James. “Gates of the Underworld.” JazzTimes. Sept. 2014. 32–38. The history of Slugs’ Saloon, a late 1960s dive bar which presented Sun Ra and Albert Ayler, among others.

520.

Gendron, Bernard. “After the October Revolution: The Jazz Avant-Garde in New York, 1964–65.” in Sound Commitments: Avant-Garde Music and the Sixties. ed. Robert Adlington. New York: Oxford UP, 2009: 211–231. Gendron briefly describes the circumstances leading up to Bill Dixon’s October Revolution concerts and the concerts themselves, then explores their aftermath in more

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detail and in relation to other major 1965 events in free jazz: the formation of the Jazz Composers Guild, Ornette Coleman’s return after a three year break, John Coltrane’s recording of Ascension, and Impulse and ESP-Disk’s releases. Press coverage of these performances and recordings is discussed. The February 1965 assassination of Malcolm X inspired greater alienation and militancy from many African-American radical artists, particularly LeRoi Jones (Amiri Baraka), who was a major critical advocate for the new music. As his politics changed, so did his analysis and aesthetics. Gendron concludes with Archie Shepp, who was a major beneficiary of this advocacy, arguing that Baraka and Shepp’s work of 1965 defined and secured free jazz’s place in the jazz canon. 521.

Hardin, Christopher L. Black Professional Musicians in Higher Education: A Study Based on In-Depth Interviews. Ed.D. dissertation, U of MA, Amherst, 1987. vii, 327 p. Archie Shepp, Bill Dixon, and Marion Brown are among the interview subjects from various genres. Each interview is in three sections: life before teaching, teaching experiences, and interpretations of their experiences. They are substantial, around ten single-spaced pages each, with reflections on their personal combinations of academic and informal artistic training and what it is like working at largely white institutions.

522.

Jones, LeRoi. Black Music. New York: Morrow, 1970. 221 p. Compiles work originally published in Downbeat, The Jazz Review, Negro Digest, Kulchur, Metronome, and as liner notes, discussing Sonny Rollins’ Our Man in Jazz, John Coltrane’s Live at Birdland and Ascension, Gil Evans’ Into the Hot (actually a showcase for Cecil Taylor’s group), The World of Cecil Taylor, Don Pullen and Milford Graves’ Live at Yale University, Archie Shepp’s Four for Trane, Sunny Murray’s Sunny’s Time Now, and the compilation The New Wave in Jazz. Also includes interview-based profiles of Bobby Bradford, Dennis Charles, Don Cherry, and Archie Shepp, a 1961 survey of “The Jazz Avant Garde,” 1963’s “New York Loft and Coffee Shop Jazz,” which gave alternative venues early mainstream exposure, and the series of “Apple Cores” Downbeat columns which documented the mid-1960s New York scene, describing and interpreting performances by Albert Ayler, Sun Ra, and others. Among these is “The Burton Greene Affair,” an aggressive critique. New in 1966 for this book was “The Changing Same (R & B and New Black Music),” which calls for a revolutionary synthesis of the grooves and lyrical content of James Brown, Stevie Wonder, et  al, with the energy and spirituality of free jazz.

523.

Kofsky, Frank. Black Music, White Business: Illuminating the History and Political Economy of Jazz. New York: Pathfinder, 1998. 172 p. Expanded and updated version of the critique of the jazz business in 524, with comments from Ornette Coleman, among others, and an extensive dissection of Columbia Records and John Hammond’s brief engagement with free jazz.

524.

Kofsky, Frank. Black Nationalism and the Revolution in Music. New York: Pathfinder, 1970. 280 p. Marxist critique of the jazz establishment, including clubs, magazines, and record labels, which then maps a potentially revolutionary alternative vision from the postNation of Islam speeches of Malcolm X through John Coltrane’s embrace of free jazz, Coltrane’s influence on Albert Ayler in particular, and the effects of his music on

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counterculture rock bands such as the Jefferson Airplane. Includes interviews with Coltrane and McCoy Tyner. 525.

Kofsky, Frank. Frank Kofsky Audio & Photo Collection of the Jazz and Rock Movement, 1966–1968. Archive. 11 boxes. UC Santa Cruz Library Special Collections. Unprocessed. Includes audio recordings of Kofsky’s 1960s interviews with Rashied Ali, Bobby Bradford and John Carter, Marion Brown, Don Cherry, Ric Colbeck and Mark Levin, Alice Coltrane, John Coltrane, David Izenzon, Giuseppi Logan, Grachan Moncur III, Sun Ra, Roswell Rudd, Pharoah Sanders, Archie Shepp, Frank Smith, Horace Tapscott, Cecil Taylor, and others, as well as photographs of the Coltranes, Shepp, Rudd, Ra, Brown, Izenzon with Ornette Coleman, Albert Ayler, Bennie Maupin, and other musicians, and an audio cassette letter to Kofsky from Bill Dixon. The photos can be seen at digitalcollections.ucsc.edu

526.

Kofsky, Frank. John Coltrane and the Jazz Revolution of the 1960s. New York: Pathfinder, 1998. 500 p. Expanded and updated edition of 524, with the chapters on record labels and jazz clubs published separately as 523. The chapter on Coltrane and Albert Ayler has been expanded with readings of “Chasin’ the Trane” and A Love Supreme, discussion of Pharoah Sanders, and a look back on all three saxophonists from thirty years later. A chapter formally analyzing Elvin Jones’ playing with Coltrane and an interview with Jones are added.

527.

Levin, Robert. “Some Observations on the State of the Scene.” Sounds & Fury. July/ Aug. 1965. 4–6. Denounces racism in the reception of free jazz, calling out Downbeat and The Village Voice for their objections to the tone of an article Levin submitted on Cecil Taylor and the Jazz Composers Guild, Bernard Stollman for exploiting and condescending to the new music, and concert presenters for marginalizing artists such as Taylor and Archie Shepp. Levin links the new music to African-American radical politics and warns of the fire next time.

528.

Levin, Robert, Joe Pinelli, Burton Greene, Mort Mazlish, and Ralph Berton. “The New Thing: Those in Favor.” Sounds & Fury. Apr. 1966. 39–47. A set of enthusiastic pieces on free jazz, with hostile framing texts by Berton. Levin sees the new music as a manifestation of the sort of liberation which is Western civilization’s last hope to redeem itself, in a high 1960s apocalyptic/utopian tone (reprinted in 544). Pinelli’s “Joy in the New Music” centers on an account of Burton Greene’s group at Slugs’, with Frank Smith and Albert Ayler dueting on saxophones, a show also written up by LeRoi Jones/Amiri Baraka (522) and Bill Smith (604), and eventually released on Holy Ghost (584). Greene describes jazz as a constantly progressing music and complains that his detractors are applying standards a decade out-of-date, then Maizlish gives a rave review to Ayler’s Spiritual Unity, before Berton returns to mock them all.

529.

Lott, Tommy Lee. “The 1960s Avant-Garde Movement in Jazz.” Social Identities. 7:2 (2001). 165–177. Lott traces free jazz musicians’ work towards creative and economic selfdetermination back to Harlem Renaissance writing by Alain Locke and others,

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probing the tension between autonomy and integration. He also contrasts free jazz to Third Stream music, arguing that the Third Stream relied on a racialized opposition of Modernism and primitivism, and identifies studio work as a professional and aesthetic ideal used to constrict the creativity of Black musicians, particularly in Los Angeles, with anecdotes about Eric Dolphy. 530.

Mann, Ron, dir. Imagine the Sound. DVD video. Toronto: Sphinx Productions, 2007 [1981]. Ninety minute film intercutting interviews with Archie Shepp, Bill Dixon, Paul Bley, and Cecil Taylor with performances (Bley and Taylor solo, Dixon with Art Davis and Freddie Waits, Shepp with a quartet). Each subject reflects on the legacy of the 1960s’ musical and political movements. Taylor also reads poetry.

531.

Mathes, Carter. Imagine the Sound: Experimental African-American Literature After Civil Rights. Minneapolis: U of MN P, 2015. 252 p. Free jazz provides a theoretical frame for the literary criticism which is the core of this work. The first chapter discusses John Coltrane’s The Olatunji Concert and Ascension, various works by Marion Brown, and Amiri Baraka’s reading of “Black Art” on Sunny Murray’s Sonny’s Time Now LP to set up discussions of Henry Dumas, Larry Neal, Toni Cade Bambara, and James Baldwin.

532.

Mazman, Alper. Jazz Talks: Representations & Self-Representations of African American Music and its Musicians from Bebop to Free Jazz. Ph.D. dissertation. Nottingham: U of Nottingham, 2010. ii, 319 p. http://eprints.nottingham.ac.uk/12890/ Chapter IV, “Freedom Now: The Making and the Meaning of Jazz in the 1960s,” addresses ideas of freedom in the music of Max Roach, Abbey Lincoln, Charles Mingus, and others, then connections between discourse about free jazz, the Civil Rights and Black Arts movements, and individual and collective liberation. John Coltrane, Ornette Coleman, Cecil Taylor, and Amiri Baraka are central.

533.

McRae, Barry. The Jazz Cataclysm. South Brunswick: AS Barnes, 1967. ix, 184 p. McRae recounts the “cataclysmic” emergence of what he calls “expressionism” in jazz after bebop, with a paragraph or two on most artists or albums, his final chapter on “free form” touching on Prince Lasha, Sonny Simmons, Archie Shepp, Bill Dixon, Jimmy Giuffre, Cecil Taylor, Sun Ra, and Albert Ayler, among others.

534.

Miller, Lloyd, and James K. Skipper Jr. “Sounds of Protest: Jazz and the Militant AvantGarde.” in Approaches to Deviance: Theories, Concepts, and Research Findings. eds. Mark Lefton, James K. Skipper Jr., and Charles H. McCaghy. New York: AppletonCentury-Crofts, 1968. 129–140. Also published as “Sounds of Black Protest in AvantGarde Jazz.” The Sounds of Social Change: Studies in Popular Culture. eds. R. Serge Denisoff and Richard A. Peterson. Chicago: Rand McNalley, 1972. 26–37. Sociologists Miller and Skipper give a history of the marginality of jazz, referring to pluralistic (classic blues as a distinct genre of popular music), assimilationist (swing entering the mainstream), secessionist (bebop and after as art musics), and militant (free jazz as explicit protest) phases, a narrative which parallels Blues People (219). They cite John Coltrane, Ornette Coleman, Archie Shepp, Donald and Albert Ayler, and Sun Ra as representatives of this last category and quote Shepp, LeRoi Jones, and A. B. Spellman on its revolutionary intentions. Free jazz musicians are presented as

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a socially deviant group based on the sound of the music and the tone of the critical discourse; the authors did not do interviews, fieldwork, or attend concerts. They conclude by warning readers to go past the strange, angry, and anti-white surface to hear the protest the music represents. 535.

Monson, Ingrid. Freedom Sounds: Civil Rights Call Out to Jazz and Africa. New York: Oxford UP, 2007. xi, 402 p. A multi-disciplinary approach to jazz musicians’ connections to the Civil Rights Movement, including participation in benefit concerts, musical invocations of Africa by artists including Art Blakey, Max Roach, and Randy Weston, and works with political titles or texts by Roach, Sonny Rollins, and Charles Mingus. Free jazz is featured in the last two chapters. First, there is an analysis of a discussion published in Downbeat’s Music ’66 yearbook between free players Sunny Murray, Archie Shepp, Cecil Taylor, more mainstream artists Cannonball Adderley and Roland Kirk, and Village Gate club owner Art D’Lugoff, in which Shepp and Taylor echo the Jazz Composers’ Guild’s call for a boycott of the jazz business as it exists and Adderley and Kirk argue that the free players haven’t paid their dues and aren’t playing what people want to hear. Then, Monson uses John Coltrane’s “Wise One,” along with George Russell’s Lydian Chromatic Concept (223), Miles Davis’ interpretation of “My Funny Valentine,” and the work of Sun Ra, as examples of creative work that combined spirituality, a sort of organic modernism, and an engagement with nonWestern material.

536.

O’Connor, Norman J, Nat Hentoff, LeRoi Jones, Frank Kofsky, Steve Kuhn, Archie Shepp, Robert Farris Thompson, and George Wein. “Jazz and Revolutionary Black Nationalism: A Panel Discussion.” Jazz. Apr. 1966: 28–30; May 1966: 27–29; June 1966: 28–30; July 1966: 34–35; Aug. 1966: 28–29; Sept. 1966: 29–30; Oct. 1966: 39–41; Nov. 1966: 37–38; Dec. 1966: 43–44; Jan. 1967: 38; Apr. 1967: 30; May 1967: 38; June 1967: 30; July 1967: 37–38. Serialized transcript of a long, wide-ranging, and highly contentious discussion held Dec. 29, 1965 in New York, chaired by O’Connor. Jones and Shepp represent aspects of Black radicalism, with Hentoff, Kofsky, and Thompson white allies, Kuhn a white jazz performer who feels newly cut off from the music he loves, and Wein the business side of the jazz world. Dan Watts and Larry Neal of Liberator magazine ask questions in the Nov. 1966 segment, and New York jazz DJ Mort Fega explains why he did not play the Shepp/Bill Dixon quartet LP on his show. Dixon himself speaks from the audience in the May and June 1967 installments, asserting that the Jazz Composers Guild proposed solutions to many of the issues identified by the panelists and was ignored or worse.

537.

Polillo, Arrigo. Jazz: La Vicenda e i Protagonisti della Musica Afro-Americana. Milano: A. Mondadori, 1983. 867 p. Comprehensive jazz history, in Italian, with the first half covering styles, the second individual artists. The chapter on free jazz is entitled “Revolt,” linking it to the “Black revolution” and the New Left. The Jazz Composers’ Guild is featured, as are Ornette Coleman, John Coltrane, and Cecil Taylor.

538.

Price, Emmett George III. Free Jazz and the Black Arts Movement 1958–1967. Ph.D. dissertation. Pittsburgh: U of Pittsburgh, 2000. x, 234 p.

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Stressing the titular connection, with a list of musicians who adopted Muslim, African, or other new names, rosters of the various literary groups in early to mid-1960s New York, and analyses of Ornette Coleman’s “Congeniality,” Eric Dolphy’s “Out to Lunch,” and other pieces, all supporting claims that the music is from, about, and for the African-American community. 539.

Quinn, Richard Allen. Playing Together: Improvisation in Postwar American Literature and Culture. Ph. D. dissertation. Iowa City: U of IO, 2000. v, 274 p. Reading jazz and African-American politics in parallel, Quinn considers improvisation both as a musical technique and as a counterhegemonic cultural practice. His cases include bebop and the Beats, free jazz and the Black Arts Movement, and the contemporary work of Nathaniel Mackey, Clark Coolidge, and Lyn Hejinian. For free jazz, John Coltrane’s “My Favorite Things” and Ascension, Albert Ayler’s “Ghosts,” Archie Shepp’s “The Girl from Ipanema,” and Cecil Taylor’s “Unit Structures” are linked to poetry by Amiri Baraka and Sonia Sanchez.

540.

Radano, Ronald. “The Jazz Avant-Garde and the Jazz Community: Action and Reaction.” Annual Review of Jazz Studies. 3 (1985). 71–79. Brief overview, describing the initial curious-to-positive critical reception of Ornette Coleman and Cecil Taylor, followed by the “anti-jazz” attacks of the early 1960s, then racially and politically charged defenses of the music by Archie Shepp, LeRoi Jones, and Frank Kofsky. Radano concludes that underlying this discourse is the mismatch between the experimental high-art agendas of the jazz avant-garde and the “vernacular” entertainment orientation of the jazz milieu.

541.

Robinson, Jason. “The Challenge of the Changing Same.” Critical Studies in Improvisation. 1:2 (2005). 20–37. www.criticalimprov.com/article/view/17 On free jazz and the Black Arts/Black Aesthetic movement, in four parts: first, a sampling of literary representations of the new jazz by Black Arts poets including LeRoi Jones/Amiri Baraka, Michael Harper, and Larry Neal, then a brief account of the emergence of free jazz, discussing Ornette Coleman, Cecil Taylor, Sun Ra, John Coltrane, and Albert Ayler, followed by the intersection of these discourses and communities in criticism and advocacy for the music, and concluding with a call to “de-essentialize the avant-garde” by discarding limiting definitions of “Black music” and “experimental music.”

542.

Roggeman, Willy. Free en Andere Jazz: Essays. Rotterdam: Nijgh & Van Ditmar, 1969. 216 p. In Dutch, beginning with essays on the musical and ideological elements of free jazz, then a series of profiles, most with a discography. Subjects include Albert Ayler, Paul Bley, Marion Brown, Don Cherry, Ornette Coleman, Jimmy Giuffre, Pharoah Sanders, Archie Shepp, Cecil Taylor, John Tchicai, and others.

543.

Schwartz, Jeff. New Black Music: Amiri Baraka (LeRoi Jones) and Jazz, 1959–1965. Ph.D. dissertation. Bowling Green, OH: Bowling Green State U, 2004. v, 547 p. Drawing on published sources and combining biography, literary criticism, political history, and musical analysis, I attempted to trace the origins of free jazz and the construction of its interpretative framework, from critics comparing Ornette Coleman’s first recordings to Arnold Schoenberg and Jackson Pollock to their discussion

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of John Coltrane’s Ascension in the context of the murder of Malcolm X and the Watts Riots. My story centered on Amiri Baraka’s Black Arts Theater and Bill Dixon’s Jazz Composers Guild as attempts to institutionalize particular aesthetic and political conceptions of the new music, ending in 1966 with both organizations defunct and diverse versions of the music appearing worldwide. 544.

Sinclair, John, and Robert Levin. Music & Politics. New York: World Pub. Co, 1971. vii, 133 p. This selection of essays and reviews originally published in Jazz & Pop between 1965 and 1970 opens with four pieces by White Panther Party founder and MC5 manager Sinclair, each using the music at hand to denounce the American cultural and political establishment which has marginalized this music, suppressed African-Americans and hippies, and jailed Sinclair on marijuana charges. His “Self-Determination Music” connects Sun Ra, the AACM, the Jazz Composers Guild, Charlie Haden’s Liberation Music Orchestra, and Horace Tapscott’s group as alternative collectives, and mentions Tapscott’s collaboration with Elaine Brown and the Black Panther Party, as well as Cal Massey and Archie Shepp’s benefit concerts for the Panthers. Levin’s section includes interviews with Sunny Murray, Jimmy Lyons, Booker Little, and Anthony Braxton, as well as “The New Jazz and the Nature of Its Enemy” from 1965 (also in 528), which recognizes the new music’s connections to Black nationalism while also arguing that it offers all listeners liberation and authenticity.

545.

Smith, Barry T. Blue Notes Until Dawn: The New York Jazz Community, 1940–1967. Ph.D. dissertation. New Haven: Yale, 2002. 662 p. Musical style appears as one of many internal and external factors forming and altering the musician subculture, from club economics, urban geography, and musicians’ union policies, to recreational drug use. Free jazz appears in the contexts of musicians’ self-determination via self-produced shows and albums and collectives such as the Jazz Composers Guild and AACM, of some music and musicians’ connections to radical Black politics, and linked to the rise of rock and soul music as threats to the commercial position of mainstream jazz.

546.

Stephenson, Sam. The Jazz Loft Project: Photographs and Tapes of W. Eugene Smith from 821 Sixth Avenue 1957–1965. New York: Knopf, 2009. xv, 268 p. Photographer Smith hosted and documented jam sessions at his New York loft. Although centered on the post-bop mainstream, this sampling of his archive includes appearances by Paul Bley, Don Cherry, Ornette Coleman, Eric Dolphy, Jimmy Giuffre, Henry Grimes, Steve Lacy, Alice McLeod (later Alice Coltrane), and Steve Swallow.

547.

Szwed, John. “The Antiquity of the Avant-Garde: A Meditation on a Comment by Duke Ellington.” in People Get Ready: The Future of Jazz is Now! eds. Ajay Heble and Rob Wallace. Durham, NC: Duke UP, 2013. 44–58. Unpacking Ellington’s retort to Charles Mingus’ invitation to “make an avant-garde record” that they shouldn’t “take music back that far,” Szwed argues that it was not, as Mingus assumed, an insult to free jazz musicians’ lack of harmonic and technical sophistication but rather an acknowledgement of that music’s deep folk roots. He sorts the 1960s avant-garde into experimental/academic, spiritual/religious, nationalist/political, and bebop revisionist schools, also identifying folk, neotraditionalist,

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and world music directions, but argues they are united by their freedom from existing criteria, with tonality, swing, song form, etc. becoming optional. 548.

Thomas, Lorenzo. “Ascension: Music and the Black Arts Movement.” Jazz Among the Discourses. ed. Krin Gabbard. Durham, NC: Duke UP, 1995. 256–274. Also in Thomas, Lorenzo. Don’t Deny My Name: Words and Music and the Black Intellectual Tradition. Ann Arbor: U of MI P, 2008. 116–133. A survey of the origins of the Black Arts Movement in early 1960s Greenwich Village and the work of LeRoi Jones/Amiri Baraka, Archie Shepp, and Marion Brown connecting the new music to poetry and African-American identity.

549.

Tinson, Christopher Matthew. The Fight for Freedom Must be Fought on All Fronts: Liberator Magazine and Black Radicalism, 1960–1971. Ph.D. dissertation. Amherst: U of MA, 2010. vii, 400 p. Includes a section on Liberator‘s music criticism, including its engagement with free jazz, specifically interviews with Ornette Coleman, Archie Shepp, Jimmy Garrison, and Sunny Murray, and several essays on Cecil Taylor, representing debates within Black Arts and cultural nationalist circles about the music’s elitist or revolutionary directions.

550.

Tkweme, W. S. Vindicating Karma: Jazz and the Black Arts Movement. Ph.D. dissertation. Amherst: U of MA, 2007. ix, 247 p. http://scholarworks.umass.edu/ dissertations_1/924/ Oriented around Pharoah Sanders’ album Karma, and studying jazz in the Black Arts Movement and the Black Arts Movement in jazz, but not limited to free jazz, Tkweme combines historical work on community jazz organizations with literary and political interpretation of song titles and lyrics, poems invoking music and musicians, and Black Arts Movement music criticism.

551.

Willener, Alfred. The Action-Image of Society: On Cultural Politicization. New York: Random House, 1970. xv, 336 p. Free jazz appears after Dada and surrealism in the “precedents and parallels” section of this study of the May 1968 Paris student/worker revolt. Music as a metaphor is considered first: freedom from musical constraint as freedom from social norms, then connections between free jazz artists such as Archie Shepp and Cecil Taylor and Black Power spokesmen including Amiri Baraka and Stokley Carmichael are traced, as are the aspirations of John Coltrane, Sun Ra, and others for transcendence through music.

552.

Wilmer, Valerie. As Serious As Your Life: The Story of the New Jazz. London: Serpent’s Tail, 1992. 296 p. First published in 1977, based on original journalism and heavily focused on the New York scene through the early 1970s. The first section profiles John Coltrane, Cecil Taylor, Ornette Coleman, Sun Ra, Albert Ayler, and the AACM, the last based primarily on an interview of Wadada Leo Smith. Subsequent sections cover drummers, sexism, and the hostility facing African-American creative music, among other topics. There is a brief chapter on the Jazz Composers Guild and other collectives, as well as record labels and nightclubs and some artists’ moves into academic positions or to Europe. An appendix of capsule biographies of free jazz performers is included, likely intended to supplement Leonard Feather’s Encyclopedia of Jazz.

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553.

95

Wilmer, Val. Mama Said There’d be Days Like This: My Life in the Jazz World. London: The Women’s P, 1989. xiv, 337 p. Archie Shepp, Milford Graves, Cecil Taylor, Albert Ayler, Sun Ra, Marion Brown, Fontella Bass, Ornette Coleman, and other free jazz musicians appear in Wilmer’s memoir. She encounters them as a fan, photographer, and journalist in London and New York. While primarily her personal story, it also represents the lives of these artists and adds background to 552 and Jazz People (52).

THE OCTOBER REVOLUTION AND JAZZ COMPOSERS GUILD 554.

Bakriges, Chris. The October Revolution in Jazz: Critical Reception of the New Thing. M.A. thesis. Middletown, CT: Wesleyan U, 1995. n.p. Based on published sources and new interviews with Archie Shepp and Bill Dixon. Includes a critical taxonomy of the reception of free jazz as “nihilism,” “secessionism,” and “Black Revolutionary Nationalism” and musical analysis of Guiseppi Logan’s “Tabla Suite” and “Satan’s Dance,” the New York Art Quartet’s “No. 6,” and pieces from Paul Bley’s Batterie LP. Full transcripts of the Shepp and Dixon interviews are appended. Reproductions of advertisements, programs, and other ephemera also appear.

555.

Levin, Robert. “The Jazz Composers Guild: An Assertion of Dignity.” Downbeat. May 6, 1965. 17–18. Bill Dixon discusses the marginalization of innovative music, particularly AfricanAmerican creative music, and the formation of the Guild as an attempt to present the music through alternate channels and to negotiate collectively with established venues and record companies.

556.

Morgenstern, Dan, and Martin Williams. “The October Revolution: Two Views of the Avant Garde in Action.” Downbeat. Nov. 19, 1964. 15, 33. Side-by-side reviews of the festival organized by Bill Dixon, listing performers and presenters, as well as notable attendees, and describing the overall scene. Both see the success of the shows as marking the emergence of a new wave of post-Ornette Coleman players, and both look forward to Coleman’s return to regular performance.

557.

Piekut, Benjamin. “Actor-Networks in Music History: Clarifications and Critiques.” Twentieth-Century Music. 11:2 (2014). 191–215. Further developing material from 561 to focus on refining actor network theory, arguing that it is not simply tracing networks: who knew whom, who played or was published where, etc., but studying the interaction of systems. The Jazz Composers Guild’s influence on the AACM is the central example. Rather than simply asserting that the Guild influenced the AACM, Piekut identifies particular decisions, trends, and structures which determined what information about the Guild was available to the AACM’s founders. He draws similar examples from other scenes, such as John Cage’s influence on the band Henry Cow and the influence of specific Indian music recordings on the Velvet Underground via LaMonte Young and Tony Conrad.

558.

Piekut, Benjamin. Experimentalism Otherwise: The New York Avant-Garde and its Limits. Berkeley: U of CA P, 2011. x, 283 p.

96

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Revision of 561, omitting the Ornette Coleman score and adding a conclusion on the influence of Robert Ashley’s “The Wolfman” on Iggy Pop, linking the future rock avant-garde to the experimental networks treated in the body of the work. 559.

Piekut, Benjamin. “New Thing? Gender and Sexuality in the Jazz Composers Guild.” American Quarterly. 62:1 (Mar. 2010). 25–48. Drawn from 561, looking at personal, ideological, and aesthetic conflicts between Bill Dixon and LeRoi Jones (Amiri Baraka) and providing an intersectional analysis of gender, race, and sexuality in the mid-1960s New York free jazz scene, including Carla Bley’s position as the sole woman in many situations, Sun Ra and Cecil Taylor’s queerness, Jones, Archie Shepp, and Marzette Watts’ marriages to white women, associations of whiteness and Jewishness with effeminacy, and the perceived negative influence of Alice Coltrane and Mary Parks on John Coltrane and Albert Ayler’s work.

560.

Piekut, Benjamin. “Race, Community, and Conflict in the Jazz Composers Guild.” Jazz Perspectives. 3:3 (2009). 191–231. Standalone presentation of the history of the Guild from 561, with that work’s intersectional analysis here centered on race and theories of white people’s roles in struggles for racial justice.

561.

Piekut, Benjamin. Testing, Testing . . .: New York Experimentalism 1964. Ph.D. dissertation. New York: Columbia U, 2008. x, 428 p. The political and institutional limitations of various partially overlapping avantgardes are examined through four examples from 1964: John Cage’s work with the New York Philharmonic, Henry Flynt’s protests of Karlheinz Stockhausen’s performances, Charlotte Moorman’s career, and the Jazz Composers’ Guild. For the Guild, Piekut draws on archives and original interviews with Bill Dixon, Carla Bley, Burton Greene, Roswell Rudd, and others to probe the group’s divisions by race, gender, and sexuality, which he puts at the center of his thorough history and analysis. Moorman links the other chapters: she performed work by Cage, was in the Stockhausen piece Flynt picketed, performed with Guild artists including the New York Art Quartet, booked Dixon and other Guild members on her Fluxus Festival, and also commissioned a piece from Ornette Coleman, “City Minds and Country Hearts,” whose score appears as an appendix.

562.

Spellman, A. B. “Jazz at the Judson.” The Nation. Feb. 6, 1965. 149–151. Description of the October Revolution and the formation of the Jazz Composers Guild, with comments from Bill Dixon, followed by a review of the Four Days in December concerts by Dixon, Cecil Taylor, the Guild Orchestra led by Carla Bley and Michael Mantler, Paul Bley, Archie Shepp with Marion Brown, the Free Form Improvisation Ensemble, Sun Ra, and the John Tchicai/Roswell Rudd quartet.

LABELS Blue Note 563.

Bakkum, Nathan C. “Point of Departure: Recording and the Jazz Event.” Jazz Perspectives. 8:1 (2014). 73–91.

New York 1—the New Thing

97

Revised material from 157 on Tony Williams and Richard Davis’ collaborations on Eric Dolphy’s Out to Lunch and Andrew Hill’s Point of Departure, also noting the contributions of Blue Note Records and recording engineer Rudy Van Gelder. 564.

Coleman, Kwami Tain. The “Second Quintet:” Miles Davis, the Jazz Avant-Garde, and Change, 1959–68. Ph.D. dissertation. Palo Alto, CA: Stanford U, 2014. x, 174 p. https://purl.stanford.edu/vw492fh1838 The development of Miles Davis’ music in the 1960s is considered in the contexts of changes in the urban space of New York and of the critical reception of free jazz. As Gluck wrote about Davis’ next band (1941), Coleman argues that Davis’ “Second Quintet” played avant-garde music without being judged as part of that movement. He looks in part at Davis’ sidemen’s work outside the quintet: Ron Carter with Eric Dolphy, Herbie Hancock with Jackie McLean, and Tony Williams’ album Lifetime with Hancock and Carter, projects more overtly connected to free jazz which all appeared on Blue Note. Several live recordings of the quintet’s continuous sets are compared structurally to Cecil Taylor’s Unit Structures and Conquistador. Transcriptions include Dolphy’s “Out There,” Williams’ “Barb’s Song to the Wizard,” McLean’s “Vertigo,” and Taylor’s solo on “Like Someone in Love” from 1958.

565.

White, Alisa. “No Room for Squares:” The Hip and Modern Image of Blue Note Records, 1954–1967. PhD dissertation. Bloomington: IN U, 2011. xiii, 312 p. Exploring how Blue Note presented a consistent style across jazz subgenres, White analyzes album art, liner notes, and musical elements from hard bop, soul jazz, free bop, and “New Thing” releases. New Thing examples include Jackie McLean’s “Blue Rondo” and “Riff Raff,” Ornette Coleman’s “Good Old Days,” Grachan Moncur III’s Evolution, Don Cherry’s Complete Communion, and Cecil Taylor’s Unit Structures.

ESP-Disk 566.

Berton, Ralph. “Conversations with Bernard Stollman.” Sounds & Fury. Apr. 1966. 36–38. Stollman rebuts Robert Levin’s charges regarding his business practices (527).

567.

Mandel, Howard. “In All Languages.” The Wire. 157 (Mar. 1997). 42–47. Label history told by head Bernard Stollman and artists Milford Graves, Frank Lowe, and Marzette Watts. Graves also describes Giuseppi Logan introducing him to Don Pullen and to Steve Lacy and Roswell Rudd, with whom he’d form the New York Art Quartet. Watts claims to have invented loft concerts at the 27 Cooper Square building he shared with Archie Shepp and LeRoi Jones.

568.

Weiss, Jason. Always in Trouble: An Oral History of ESP-DISK, the Most Outrageous Record Label in America. Middletown, CT: Wesleyan UP, 2012. xix, 290 p. New interviews with label founder Bernard Stollman and musicians including Gunter Hampel, John Tchicai, James Zitro, Sonny Simmons, Gary Peacock, Milford Graves, Warren Smith, Roscoe Mitchell, Marion Brown, Roswell Rudd, Alan Silva, Giuseppi Logan, Burton Greene, William Parker, Gato Barbieri, Sunny Murray, Sirone, Jacques Coursil. Marc Levin, Evan Parker, Joe Morris, and Ken Vandermark are presented separately, rather than woven into a chronological narrative.

98

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Impulse 569.

Kahn, Ashley. The House that Trane Built: The Story of Impulse Records. New York: Norton, 2006. viii, 338 p. Dominated by John Coltrane, but also including other free jazz artists, many of whom he brought to the label. Relevant featured LPs include Archie Shepp’s Four for Trane and Attica Blues, Charlie Haden’s Liberation Music Orchestra, Albert Ayler’s Music is the Healing Force of the Universe, Pharoah Sanders’ Karma, and Alice Coltrane’s Universal Consciousness and Translinear Light, with discussion of their recording and marketing, as well as the business relationships surrounding them. With a complete label discography.

ARTISTS Ali, Rashied 570.

Howland, Harold. “Rashied Ali: The Will to Survive.” Modern Drummer. July 1984. 28–31, 94–98. Interview reviewing Ali’s career, with particular attention to his work after John Coltrane’s death and his technical and sonic approach to the drums.

571.

Kelsey, Chris. “Overdue Ovation: Rashied Ali.” JazzTimes. Nov. 2006. 42–43. Interview-based profile, promoting Ali’s Judgement Day Vol. 1 & 2 albums and the reunion of By Any Means (with William Parker and Charles Gayle), and referring back to his work with John Coltrane and Frank Lowe.

572.

Mandel, Howard. “Interstellar Overdrive.” The Wire. 193 (Mar. 2000). 18–22. Considering free jazz as repertory music, Mandel plays Nels Cline and Gregg Bendian’s Interstellar Space Revisited for Ali, then talks to Bendian about the project and to Louis Belogenis about his and Ali’s reinterpretations of music by John Coltrane and Albert Ayler.

573.

Mandel, Howard. “Into Stellar Space.” The Wire. 98 (Apr. 1992). 34–36. Short conversation with Ali on his musical background and the development of the particular drumming vocabulary he used with John Coltrane.

574.

Milkowski, Bill. “Before & After: Rashied Ali.” JazzTimes. Nov. 2000. 56–58, 118. Blindfold test in which Ali endorses Nels Cline and Gregg Bendian’s reinterpretation of Interstellar Space (which Ali originally recorded with John Coltrane), and comments on several other drummer-led records, including work by Joey Baron, Franklin Kiermeyer, Thurman Barker with Warren Smith, and others.

575.

Moses, Bob. “Rashied Ali: Mastery and Mystery.” Modern Drummer. Jan. 2003. 90–95, 99–100, 102, 104. Interview on his musical background, the early 1960s New York free jazz scene, his work with John Coltrane, and returning to that music with Prima Materia. Includes a gear list and selected discography.

New York 1—the New Thing

576.

99

Murph, John. “Drumming with the Zen of Trane.” Downbeat. Nov. 1999. 48–49. Short interview-based profile on his work with John Coltrane, Louie Belogenis, and the revival of interest in free jazz.

Allen, Byron 577.

Rusch, Bob. “Byron Allen Interview.” Cadence. 4:2/3 (1978). 8–10, 13. Allen made one album for ESP-Disk in the mid-1960s and left the scene. He fills in the gaps in his career and provides some insight into the business practices of ESPDisk and the internal politics of the 1960s New York scene.

Altschul, Barry 578.

Cuscuna, Michael. “Barry Altschul: Mister Joy.” Jazz & Pop. 7:4 (Apr. 1968). 16–17. Interview covering his background, opinions about freedom and technique, and work with Paul Bley, with anecdotes involving Gary Peacock, Sam Rivers, and Karl Berger.

579.

Jeske, Lee. “Barry Altschul’s Drum Role.” Downbeat. Feb. 1982. 17–19, 64. Interview-based profile as he pushes for a comeback with his trio with Ray Anderson and Mark Helias, a few years after leaving Sam Rivers’ group. He discusses the role of the free jazz movement in expanding musical options and his conflicts between earning a living as a musician and maintaining his aesthetics.

580.

Keepnews, Peter. “Barry Altschul: Traps in the South Bronx.” Downbeat. Feb. 13, 1975. 14–15, 31–32. Interview-based biographical feature, including youth, training, and work with Paul Bley, Circle, Dave Holland, and Sam Rivers.

581.

Lindenmaier, H Lukas. “Barry Altschul: Interview.” Cadence. June 1980. 5–7, 28. Moves quickly though his work with Carla Bley, Paul Bley, Circle, Dave Holland, Sam Rivers, and Anthony Braxton, landing on his trio with Ray Anderson and Mark Helias to discuss their performance and rehearsal practices in detail, as well as his approach to the drum set.

582.

Mattingly, Rick. “Barry Altschul.” Modern Drummer. Nov. 2011. 62–67. Interview on approaching free jazz as an extension of bebop, his work with Paul Bley, Anthony Braxton, and Sam Rivers, and how he teaches drum students.

583.

Rusch, Bob. “Barry Altschul Interview.” Cadence. 31:2 (Feb. 2005). 5–14. Long, oral history-style conversation on childhood, education, early work with Valdo Williams, playing the first shows at Slugs’ with Paul Bley and David Izenzon, keeping a swinging feeling in free rhythm, being a white sideman to outspoken Black leaders including Sam Rivers, the formation of Circle, his time with Anthony Braxton, his own groups, his long heroin addiction, and his comeback with Adam Lane’s quartet (including Paul Smoker and John Tchicai).

100

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Ayler, Albert 584.

Ayler, Albert. Holy Ghost. 10 CDs, book, and ephemera in plastic box. Austin, TX: Revenant Records, 2004. 207 p. Includes 8 CDs of mostly unreleased recordings by Ayler, including appearances with Cecil Taylor, Jimmy Lyons, Gary Peacock, Sunny Murray, Don Cherry, Burton Greene, Donald Ayler, Frank Wright, Milford Graves, Pharoah Sanders, Sam Rivers, and others, and two discs of interviews with Ayler and with Cherry on Ayler. The accompanying book contains essays by Val Wilmer, Amiri Baraka, and others, as well as a complete sessionography, biographies of all known Ayler sidemen, a collection of anecdotal memories, and detailed notes on the music in the set, all by Ben Young. Also includes small reproductions of Paul Haines’ poetry booklet which came in in the first pressing of Spiritual Unity and a partial version of the issue of The Cricket containing Ayler’s text “To Mr. Jones—I Had a Vision,” Larry Neal’s reviews of Ayler’s New Grass and Pharoah Sanders’ Karma, and Sun Ra’s poem “There.”

585.

Ayler, Albert. “To Mr. Jones—I Had a Vision.” The Cricket. 4 (n.d.). 27–30. Apocalyptic religious message, drawing on Isaiah, Revelations, and the Nation of Islam. Facsimile reprint in 584.

586.

Ayler, Albert. “Tsi Kisum Ueen Xarp Siht Tse Taw?” International Times. Mar. 13, 1967. 9. Ayler describes his music as a prayer of thanks and a revealed divine message of peace and love. His creative practice is both communion with God and an offering to Him. Published on a facing page with Marion Brown’s “Wat Est This Prax Neuu Musik Ist?” (650).

587.

Broomer, Stuart. “Albert Ayler: Breakfast in Montreal.” Coda. Mar/Apr. 1997. 32–33. Memoir of seeing Ayler play in Montreal in 1967, being the only audience member left at the end of the night, having breakfast with the band, and talking to Ayler about the role of the bass in his music.

588.

Caux, Daniel. “The Road to Freedom.” The Wire. 227 (Jan. 2003): 38–41. First English publication of a 1970 interview with Ayler, who describes his childhood musical education, life in Sweden, 1964 European tour with Don Cherry, Gary Peacock, and Sunny Murray, playing at John Coltrane’s funeral, deciding with Mary Parks to record New Grass with vocals and R&B grooves, and the financial stability his Impulse Records contract has brought.

589.

Collin, Kaspar, dir. My Name is Albert Ayler. Video. Luleå, Sweden: Filmpool Nord, 2006. Eighty minute biographical documentary, with audio excerpts from Ayler’s interviews (largely from 584) edited together so he narrates his own story. His father and brother speak on camera, as do Gary Peacock, Sunny Murray, and other musicians. This film is occasionally screened and unauthorized uploads can often be found online, but the DVD release has been delayed indefinitely, likely over rights issues.

590.

Corbett, John. “Flowers for Albert.” Downbeat. Oct. 2004. 50–53. Preview of Holy Ghost (584), considering Ayler’s legacy and his lost potential. With comments from Peter Brötzmann and Mats Gustfsson.

New York 1—the New Thing

591.

101

Guibert, Simon. Tous les Blues d’Albert Ayler. E-Dite, France, 2005. 133 p. In the form of a screenplay, composed largely of published quotations from musicians and writers about Ayler, excerpts from news articles, poetry, and letters from his parents, with music and sound cues, broken up by solid black pages and drawings of Ayler and other musicians. In French.

592.

Hames, Mike. Untitled, The Wire. 6 (Mar. 1984). 27–28. Hames rebuts Case and Smith’s claims (604) about Ayler’s late work and death, defending the albums after New Grass, describes several otherwise undocumented projects, including an opera, and relays Mary Parks’ account of Ayler’s death: that it was suicide, not murder, as Smith and others had claimed.

593.

Hentoff, Nat “The Truth is Marching In: An Interview with Albert & Don Ayler.” Downbeat. Nov. 17, 1966. 16–18, 40. Albert tells his story, with Don’s support, then Don his own, and both attempt to explain the spirituality and aesthetics of their music. They celebrate John Coltrane’s Ascension LP as an endorsement of the new music but also worry about their poverty.

594.

Kaler, Michael. “Religious Imperatives, Boogaloo Rhythms: Taking Another Listen to Albert Ayler’s New Grass.” Journal of Religion and Popular Culture. 25:2 (2013). 264–272. A revisionist reading of Ayler’s gospel album, arguing that its detractors have failed to take his religious statements seriously and that shock at how different it was from his previous work has led to its dismissal as a commercial sellout, when there are many odd and raw musical elements which could have easily been polished away had it been substantially financially motivated.

595.

Kofsky, Frank. “An Interview with Albert and Donald Ayler.” Jazz & Pop. 7:9 (Sept. 1968). 21–24. A long conversation on music, spirituality, and John Coltrane, with discussion of the Aylers’ 1966 European tour, Newport Jazz Festival appearance, and performance with Coltrane at the Titans of the Tenor concert.

596.

Kruth, John. “The Healing Force of the Universe.” Signal to Noise. 36 (Winter 2005). 16–21. Biographical appreciation with new comments from Roswell Rudd, Marc Ribot, Bernard Stollman, Gary Lucas, and Mary Maria Parks.

597.

Laurinyecz-Kaspar, Petra. “‘Summertime’—As Played by Albert Ayler.” Jazz Research News. 30 (2008). 1483–1484. Ayler’s rendition of the theme to this Gershwin composition is transcribed for comparison to John Coltrane’s. Numerous grace notes, scoops, and special symbols are used.

598.

Médioni, Franck, ed. Albert Ayler: Témoignages sur un Holy Ghost. Paris: Le Mot et le Reste, 2010. 332 p. French-language collection of short memories and tributes by musicians Noël Akchoté, Peter Brötzmann, Dave Burrell, Roy Campbell, Bobby Few, Charles Gayle, Henry Grimes, Mats Gustafsson, Noah Howard, Ronald Shannon Jackson, Joachim Kühn, Steve Lacy, Joëlle Léandre, Joe McPhee, David Murray, Sunny Murray, William Parker, Annette Peacock, Gary Peacock, Michel Portal, Marc Ribot, Sam Rivers,

102

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Alan Silva, Cecil Taylor, John Tchicai, François Tusques, Ken Vandermark, and David S. Ware, poets Amiri Baraka and Jayne Cortez, and many others. Entries range from one paragraph to several pages and from academic to poetic. The preface is by Archie Shepp. Some material is previously published. 599.

Myers, Mitch. The Boy Who Cried Freebird: Rock & Roll Fables and Sonic Storytelling. New York: Harper Entertainment, 2007. xiii, 321 p. A collection of cultural criticism heavy on rock and pop music pieces influenced by Greil Marcus and Lester Bangs but also including a twenty page biography of Ayler which draws on original interviews with many of his associates, including Roswell Rudd, Carla Bley, Sonny Simmons, Rashied Ali, Alan Silva, and others.

600.

Regan, Partick. Albert Ayler. Website. 2000–present. http://ayler.co.uk A clearinghouse and archive for biographical and discographical information, including scanned articles and ephemera, corrections to my text on Ayler (601), news on publications, etc.

601.

Schwartz, Jeff. Albert Ayler: His Life and Music. Unpublished, 1992. http://www. oocities.org/jeff_l_schwartz/ayler.html In the late 1980s, while an undergraduate, I organized everything I could find on Ayler into a book-length narrative. When the World Wide Web became available, I posted it there. Val Wilmer was publicly critical of my extensive quotation from her work, though footnoted. I kept the site updated for a time, but eventually abandoned it. Ayler.co.uk (600) links to a copy and includes numerous updates and corrections.

602.

Shepp, Archie. “Albert Ayler, 1934–1970.” New York Times. Dec. 20, 1970. D33. Eulogy, noting that Ayler recontextualized the sounds of R&B saxophone and that he was more recognized in Europe, although his influence can be widely heard. Shepp recommends the ESP and earlier albums over his Impulse discs.

603.

Sklower, Jedediah. ”Rebel with the Wrong Cause: Albert Ayler et la Signification de la Free Jazz en France (1959–1971.” Volume! 6:1–2 (2008). 193–219. http://volume. revues.org/334?lang=en Argues that French critics’ initial association of free jazz with the radical movements of the 1960s as they understood them limited and distorted the music’s reception. Ayler in particular has been ill-served by the music’s association with May 1968’s structuralist/situationist/Maoist thought and with French ideas of African-American militancy, producing misreadings of his music’s seriousness, humor, and religious qualities, and missing its openness to multiple interpretations. In French.

604.

Smith, Bill, and Brian Case. “The Truth is Marching In.” The Wire. 3 (Spring 1983). 12–13. Smith recollects seeing Ayler with John Coltrane at the Titans of the Tenor concert, with his 1966 band at the Astor Playhouse, sitting-in with Tony Scott’s quartet at the Dom, at the 1967 Newport Jazz Festival, and at the London School of Economics. He also tells a story of going with Ayler to see Burton Greene’s quartet at Slugs’ and an unnamed musician in the audience pulling out a knife to threaten Frank Smith, who was playing tenor saxophone with Greene, to stop imitating Ayler.

605.

Wilmer, Val. “Albert & Don Ayler: Spirits Rejoice.” Coda. Mar/Apr. 1997. 4–7.

New York 1—the New Thing

103

Nov. 1966 interview on Albert’s musical background, art vs. entertainment music, and why their work hasn’t been more commercially successful. They are financially stressed but creatively confident. 606.

Wilmer, Val. “Roswell Rudd and the Chartreuse Phantasm.” The Wire. 249 (Nov. 2004). 28–31. Rudd shares his memories of Albert Ayler: playing together on New York Eye & Ear Control and discussing their mutual comrades Lewis Worrell, Archie Shepp, and John Tchicai. He also explains what he knows of Worrell’s life after he left music and New York.

607.

Wilson, Peter Niklas. Spirits Rejoice: Albert Ayler und seine Botschaft. Hofheim: Wolke, 1996. 191 p. A three part approach to Ayler’s life and work: first, a biography based on numerous original interviews with family members, musicians, and participants in the 1960s free jazz scene, then musical analysis, with substantial transcriptions of themes and solo excerpts, and finally an album-by-album guide to his recorded work. In German, with black and white photos and a bibliography.

Baraka, Amiri [LeRoi Jones] 608.

Baraka, Amiri. The Autobiography of LeRoi Jones. Chicago: Lawrence Hill, 1997. xxviii, 465 p. Chapters seven “The Black Arts,” and eight “Harlem,” portray the early-to-mid-1960s New York free jazz scene as one of Baraka’s several communities, including several years when he shared a building with Archie Shepp and Marzette Watts. Ornette Coleman, Marion Brown, John Coltrane, Albert Ayler, Sunny Murray, and Sun Ra also make notable appearances.

609.

Baraka, Amiri. Digging: The Afro-American Soul of American Classical Music. Berkeley: U of CA P, 2009. 411 p. A third volume of selected music criticism, following Black Music (522) and The Music (610), with short takes on numerous artists and reconsiderations of 1960s texts including Blues People (219) and “Jazz and the White Critic” (in 522).

610.

Baraka, Amiri, and Amina Baraka. The Music: Reflections on Jazz & Blues. New York: Morrow, 1987. 332 p. Music-themed poetry by both authors and the book to Amiri’s Primitive World: An Anti-Nuclear Jazz Musical, are followed by a group of his essays, record reviews, and liner notes. “Where’s the Music Going and Why?” includes the legacy of 1960s free jazz and 1970s loft jazz, “Greenwich Village and African-American Music” reflects on the 1960s underground, “Masters in Collaboration” is on the Archie Shepp/Max Roach duo, while “Blues, Poetry, and the New Music,” “The Phenomenon of Soul in African-American Music,” and “Class Struggle in Music” denounce what he calls the “Tail Europe” school of insufficiently funky African-American experimentalists.

611.

Jackson, Travis A. “‘Always New and Centuries Old:’ Jazz, Poetry, and Tradition as Creative Adaptation.” in Uptown Conversation. eds. Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin. New York: Columbia UP, 2004. 357–373.

104

New York 1—the New Thing

Explores concepts of the jazz tradition by starting with Baraka’s recording of his poem “In the Tradition” with David Murray and Steve McCall on New Music—New Poetry, then working backwards through Arthur Blythe’s album In the Tradition, which inspired the poem, Baraka’s earlier recorded readings with music, his references in the poem, Murray and McCall’s roles in the late 1970s/early 1980s music scene, and their invocations of various styles and themes behind Baraka. 612.

Keenan, David. “Revolution Blues.” The Wire. 203 (Jan. 2001). 22–26. A talk with Baraka and Hugh Ragin, Baraka recounting the 1960s Black Arts Movement, the role of music in that scene, particularly Sun Ra and Albert Ayler, and announcing his plans to reissue the Jihad Records catalog with some unreleased Ayler material and to reprint the full run of his 1960s music-oriented magazine The Cricket.

613.

Lenz, Günter H. “The Politics of Black Music and the Tradition of Poetry: Amiri Baraka and John Coltrane.” Jazzforschung/Jazz Research. 18 (1986). 193–231. A survey of Coltrane’s appearances in Baraka’s poems, followed by discussion of his 1980 poem “In the Tradition,” dedicated to Arthur Blythe, and moves by free jazz players such as Blythe and Archie Shepp to both incorporate more traditional materials in their work and to situate their innovations in a version of the jazz tradition.

Barbieri, Gato 614.

Karush, Matthew B. Musicians in Transit: Argentina and the Globalization of Popular Music. Durham, NC: Duke UP, 2016. x, 268 p. The third chapter traces the careers of Lalo Schfrin and Gato Barbieri, showing how their professional identities as Argentines, Latin-Americans, and jazz musicians shifted. Barbieri’s work is surveyed from his apprenticeship in Buenos Aires to his 1976 album Caliente! including his work with Don Cherry and Charlie Haden, his solo debut on ESP-Disk, and the shifting mix of free jazz, Argentine music, other Latin elements, mainstream jazz, and pop on his Impulse discs.

615.

Karush, Matthew B. “Reinventing the Latin in Latin Jazz: The Music and Career of Gato Barbieri.” Journal of Latin American Cultural Studies. 25:3 (2016). 379–396. Free-standing version of the Barbieri material from 614.

616.

Nai, Larry. “Gato Barbieri Interview.” Cadence. June 2000. 5–12. Includes discussion of his work with Don Cherry, Gary Burton/Carla Bley, Alan Shorter, the Jazz Composers Orchestra, and his ESP album In Search of the Mystery. He also responds to Dave Liebman citing him as the source of the ’60s screaming tenor sound, instead both crediting Albert Ayler and critiquing his playing.

Berger, Karl 617.

Berger, Karl. “Don Cherry und das Creative Music Studio: Von Entdecken Gemeinsamer Wurzeln.” in Begegnungen: The World Meets Jazz. ed. Wolfram Knauer. Darmstädter Beträige zur Jazzforschung. 10 (2008). 255–270.

New York 1—the New Thing

105

Edited transcript (in German) of his remarks at the Darmstadt Jazzforum. He discusses meeting and working with Don Cherry, aspects of harmolodics, his major collaborations, the role of the Creative Music Studio in cross-cultural work, and the pedagogical and musical theories which facilitated that. 618.

Berger, Karl. Dr. B’s Rhythmic Training: Improve Your Timing and Creative Potential. Booklet and 3 audio CDs. Woodstock, NY: Homespun Tapes, 1990. 12 p. Audio lessons with printed musical examples teaching Berger’s “Gamala Taki” system for counting meters, part of the Creative Music Studio pedagogy.

619.

Berger, Karl. “Music Mind at the Stone and Beyond.” in Arcana VI: Musicians on Music. ed. John Zorn. New York: Hips Road, 2012. 23–31. Reflecting on an eight month large ensemble weekly residency at the Stone, he reviews general concepts of his music: that tone comes from the player, not the instrument, that emotion in music is not the player’s conscious expression, that an infinite variety of dynamic gradation is possible, and that intonation needs to adjust for harmonic function. He also explains the Creative Music Studio’s Basic Practice meditation: “listen to the sounds disappearing.”

620.

Berger, Karl. “Time Goes By/The Smile That You Send Out.” in Scores: An Anthology Of New Music. ed. Roger Johnson. Schirmer Books: New York, 1981. 257–259. Two compositions, with lyrics, for open instrumentation, incorporating phasing, additive processes, and improvisation. “The Smile That You Send Out” was recorded by the Woodstock Workshop Orchestra on Live at the Donaueschingen Music Festival in 1979.

621.

Brady, Shaun. “Overdue Ovation: Karl Berger.” JazzTimes. Nov. 2011. 18–19. Interview-based profile touching on Berger’s work with Don Cherry, the legacy and archive of the Creative Music Studio, and the Stone Workshop Orchestra.

622.

Occhiogrosso, Peter. “Karl Berger: Music Universe c/o Woodstock, NY.” Downbeat. June 3, 1976. 18–19, 44. Mainly in Berger’s own words, covering his training, work with Don Cherry and Roswell Rudd, increased interest in the vibraphone, and the Creative Music Studio.

623.

Weinberg, Bob. “Fire on the Mountain.” Jazziz. Winter 2015. 102–106. Interview-based profile discussing his Tzadik recording debut, work with Don Cherry and Ivo Perelman, the return of the Creative Music Studio, and the preservation of the CMS archives (1961).

Blackwell, Ed 624.

Hartigan, Royal J. Blood Drum Spirit: Drum Languages of West Africa, AfricanAmerica, Native America, Central Java, and South India. Ph.D. dissertation. Middletown, CT: Wesleyan U, 1986. xxxi, 1670 p. Hartigan and Blackwell played in ensembles in the ethnomusicology department, using traditional instruments and drum sets, then Hartigan transcribed, summarized,

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and analyzed these sessions, both the musical performances and the comments of the traditional master musicians, and adapted and expanded the material. A copious resource for creative drummers, as well as a detailed look at both artists’ playing. 625.

Mandel, Howard. “Blindfold Test: Ed Blackwell.” Downbeat. July 1980. 51, 67. Blackwell comments on records by the Meters, Air, Jo Jones, Andrew Cyrille and Milford Graves, Cecil Taylor and Tony Williams, Miles Davis, Max Roach and Anthony Braxton, and Archie Shepp’s “The Magic of Juju,” which he played on.

626.

Palmer, Robert. “Ed Blackwell: Crescent City Thumper.” Downbeat. June 16, 1977. 17–18, 52. Interview discussing connections between New Orleans and Africa and how he brought this into his work with Randy Wetson, Ornette Coleman, Don Cherry, and Eric Dolphy.

627.

Schmalenberger, David. “Ed Blackwell and ‘Free Jazz’.” Jazz Research Proceedings Yearbook 2003. Manhattan, KS: IAJE, 2003. 228–236. Revised excerpt from 628, on his use of bebop figures and second-line street beats in free playing, with transcribed phrases from Blackwell’s recordings with Ornette Coleman and Don Cherry.

628.

Schmalenberger, David. Stylistic Evolution of Drummer Ed Blackwell: The Cultural Intersection of New Orleans and West Africa. D.M.A. thesis. Morgantown: U of W VA, 2000. www.pas.org/docs/default-source/thesisdissertations/schmalenbergerdj_2000. pdf?sfvrsn=0 Combines a biographical approach, based on published sources, with extensive transcriptions to show how Blackwell fused New Orleans, African, and bebop elements. His solos from “Blues Connotation” and “T & T” with Ornette Coleman, “Complete Communion” with Don Cherry, and “The Blessing” with John Coltrane are featured, as well as his polyrhythmic time-keeping on Cherry’s album Mu, Jemeel Moondoc’s Judy’s Bounce, Karl Berger’s Just Play, and Dewey Redman’s Tarik and In Willisau.

629.

Wilmer, Valerie. “Ed Blackwell: Well-Tempered Drummer.” Downbeat. Oct. 3, 1968. 18–19, 38. Interview-based profile on Blackwell’s work with Ornette Coleman, Eric Dolphy, Randy Weston, and others. Includes comments from Coleman and Charles Moffett.

Bley, Carla 630.

Beal, Amy C. Carla Bley. Urbana, IL: U of IL P, 2011. x, 113 p. Biography, with chapters on her early compositions recorded by Paul Bley, Jimmy Giuffre, Art Farmer, and others, and on the Jazz Composers Guild and Jazz Composers Orchestra. Based mainly on published sources, but supplemented with new material from Charlie Haden, Michael Mantler, Roswell Rudd, Steve Swallow, and Bley herself.

631.

Bley, Carla. Vol. 1: Early Short Pieces (1958–1964). New York: Alrac Music, 1976. 16 p. Spiral-bound collection of fifteen lead sheets for compositions recorded by Paul Bley, Jimmy Giuffre, and others, many also available at 632. Titles include: “The Donkey,”

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107

“Ictus,” “Vashkar,” “Floater,” “Around Again,” “And Now the Queen,” “King Korn,” “Flags,” “Walking Woman,” “Batterie,” “Closer,” “Syndrome,” and others. 632.

Bley, Carla. Lead sheets. Website. n.d. www.wattxtrawatt.com/leadsheetsbley.htm Bley has made most of her compositions free to download, including many of those played by Paul Bley, Jimmy Giuffre, Charlie Haden, and others in the 1960s, including “Donkey,” “Drinking Music,” “Ictus,” “Ida Lupino,” “Intermission Music,” “Jesus Maria,” “King Korn,” “Vashkar,” and more.

633.

Bley, Carla, and Gregg Bendian. Carla Bley. Oral History of American Music: Major Figures in American Music. One cassette and transcription. New Haven: Yale University Library, 2012. Oral history interview from Bley’s birth to her work with Ensemble Modern, including the Jazz Composers Guild and Orchestra, the Jazz Realities group with Steve Lacy, Jazz Composers Orchestra albums, New Music Distribution Service, and her other bands and associates.

634.

Bley, Carla, with Ken Kimery. Carla Bley: NEA Jazz Master. Interview transcript. Smithsonian Jazz Oral History Program, Archives Center, National Museum of American History, Washington, DC, 2014. 60 p. http://amhistory.si.edu/jazz/BleyCarla/Carla_Bley_Transcript.pdf Career-spanning talk including her meeting Paul Bley, the Lenox School of Jazz, her development as a composer, the Jazz Composers Guild, her collaborations with Michael Mantler, Steve Swallow, Gary Burton, and Charlie Haden, and the development of her own band.

635.

Bourne, Michael. “Carla Bley and Steve Swallow: Making Sweet Music.” Downbeat. Apr. 1991. 19–21. A double interview to promote the album The Very Big Carla Bley Band, also covering Bley and Swallow’s work with Paul Bley and Gary Burton.

636.

Buhles, Günter. “Die Jazz-Komponisten Carla Bley. Kurzbiographie, Werkanlyse, Würdigung.” Jazzforschung/Jazz Research. 8 (1977). 11–40. A short biography followed by annotated transcriptions of the themes to “Batterie,” “Walking Woman,” “Closer,” “Around Again,” “Syndrome,” and “Doctor,” which are compared to excerpts from Stockhausen, Weill, and Saite. There is also discussion of her larger works: A Genuine Tong Funeral, written and arranged for Gary Burton, the Liberation Music Orchestra collaboration with Charlie Haden, and Escalator over the Hill. In German.

637.

Dahl, Linda. Stormy Weather: The Music and Lives of a Century of Jazzwomen. New York: Pantheon, 1984. xii, 371 p. Bley discusses her career, particularly Escalator over the Hill, in this interview-based profile. She also spends time on Paul Bley, the New Music Distribution Service, and her experiences as a woman in jazz.

638.

Mandel, Howard. “Carla Bley: Independent Ringleader.” Downbeat. June 1, 1978. 18–19, 38–40, 44–45. Interview with Bley, saxophonist Gary Windo, and trumpeter/husband Michael Mantler, focused on her group’s tour but branching out to discuss the New Music

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Distribution Service, her mid-1960s work with Peter Brötzmann and Peter Kowald, which she claims cured her of free jazz, Ornette Coleman’s influence on her writing, and informally recording the early Paul Bley quintet with Coleman. 639.

Porter, Lewis. “‘You Can’t Get up There Timidly:’ Jazzwomen: Part II.” Music Educators Journal. 71:2 (Oct. 1984). 42–51. Carla Bley and Mary Lou Williams are the focus of this article, with Bley’s section concentrated on her composing. Lead sheets for “King Korn” (recorded several times by Paul Bley) and part of “Holiday in Risk” (from Carla Bley and Paul Haines’ Escalator over the Hill) are included, and the pieces’ formal aspects described.

Brown, Marion 640.

Brown, Marion. Afternoon Of A Georgia Faun—Views & Reviews. NIA Music, 1973. 61 p. Collects Brown’s detailed notes on his 1970 ECM album featuring Anthony Braxton, Bennie Maupin, Chick Corea, Jeanne Lee, Andrew Cyrille, and others, as well as reviews reprinted from Jazz Magazine, Jazz Podium, Coda, and Swing Journal, an interview of Brown by John Turner, and a poem by Steven James inspired by the album. Brown attempts to supplement and supplant the role of jazz critics by intervening in the discourse around his work.

641.

Brown, Marion. Evening Song. NIA Music, 1976. 6 p. Composition for solo piano, with performance notes and sections for improvisation.

642.

Brown, Marion. “Hearing is Believing: Improvisation and the Aural Tradition in Afro-American Music.” Black World. Nov. 1973. 14–19. Short essay, arguing that improvisation and aural (or oral) transmission of music are African retentions central to African-American music, particularly jazz, from Louis Armstrong to Ornette Coleman.

643.

Brown, Marion. “Mr. Rockefeller’s Museum of Primitive Art.” Revolution. 1:7 (Nov. 1963). 128–132. A short description of the Museum of Primitive Art in New York, gradually exposing its contents as colonial plunder.

644.

Brown, Marion. November Cotton Flower: For Piano. NIA Music, 1976. 2 p. Score includes performance notes and sections for improvisation. Brown performed this piece with small groups.

645.

Brown, Marion. Faces and Places: The Music and Travels of a Contemporary Jazz Musician. M.A. thesis. Middletown, CT: Wesleyan U, 1976. 289 p. Accessible only at Wesleyan; no abstract available.

646.

Brown, Marion. Recollections: Essays, Drawings, Miscellania. Frankfurt: J. A. Schmitt, 1984. 285 p. A long interview frames essays, including “Notes on The Afternoon of a Georgia Faun,“ pieces on Duke Ellington, John Coltrane, and blues lyrics, a collection of drawings, and piano scores to “Once Upon a Time,” “Sweet Earth Flying,” “Sunday

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109

Come Down,” “And They Danced,” and “La Placita.” Interview topics include his childhood, multi-instrumentalism, ethnomusicology, and his collaborations with Harold Budd, Leo Smith, and Gunter Hampel. 647.

Brown, Marion. “Sunday Come Down.” in Pieces: An Anthology. ed. Michael Byron. A.R.C. Publications: Vancouver, 1976. 55–59. Score for solo piano, including sections for improvisation.

648.

Brown, Marion. “Sweet Earth Flying.” in Pieces: A Second Anthology. ed. Michael Byron. Michael Byron: Maple, Ontario, 1976. 1–2. Also in Soundings. 10 (1976). n.p. Four page piano reduction of this composition, including sections for improvisation. Brown also recorded this piece with various ensembles.

649.

Brown, Marion. “Sunday Come Down/Sweet Earth Flying. Two Compositions for Solo Piano.” in Scores: An Anthology Of New Music. Selection and Commentary by Roger Johnson. Schirmer Books: New York, 1981. Reprint of 647 and 648.

650.

Brown, Marion. “Wat Est This Prax Neeu Musik Ist?” International Times. Mar. 13, 1967. 8–9. Interview, in which Brown credits Sun Ra with creating the new music, describes the inspirations for the music on his album Juba-Lee, and takes an abstract and inclusive approach to the new music, talking about breath, colors, and universal emotions. He also alludes to inspiration from drug experiences but emphasizes that is past and that he and several other musicians, including Archie Shepp, Byron Allen, and John Coltrane, now do yoga to improve their health and creativity. Printed alongside Albert Ayler’s “Tsi Kisum Ueen Xarp Siht Tse Taw?” (586).

651.

Brown, Marion, and Linda Tucci. “The Artist in Maine.” The Black Perspective in Music. 1:1 (Spring 1973). 60–63. Interview of Brown, who was living in Maine and teaching at Bowdoin, on his instrument building/sculpture, which he describes as a creative ethnomusicology, making instruments to reperform sounds from recordings and fantasies on Africa.

652.

Maizlish, Mort. “Marion Brown.” Jazz & Pop. 6:10 (Oct. 1967). 13–16. Interview covering his work with Archie Shepp and Sun Ra, his ESP and Impulse records, his friendships with LeRoi Jones and Ornette Coleman, his childhood, education, and current living situations, and the influence of his background on his music.

653.

Miedema, Harry. “Brown, Marion.” in Jazz Styles & Analysis: Alto Sax: A History of the Jazz Alto Saxophone via Recorded Solos. Chicago: Maher Pub, 1975. 17. Transcription of Brown’s solo on Archie Shepp’s composition “Spooks,” from Brown’s album Three for Shepp.

654.

Palmer, Bob. “Marion Brown: Geechee Recollections in New England.” Downbeat. Feb. 28, 1974. 12–13. Interview on his music’s progression over his European albums Gesprachsfetzen, In Sommerhausen, and Afternoon of a Georgia Faun, which are the missing links between his ESP and Impulse LPs, and also discussing his interest in African music and his work with AACM members.

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655.

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Quinn, Bill. “Marion Brown: Topside Underground.” Downbeat. Feb. 9, 1967. 14–15, 38. 40. Interview-based profile, describing Brown’s biography, his work with Archie Shepp, the Lower East Side scene, and his quartet with Dave Burrell, Norris Jones (aka Sirone), and Bobby Kapp.

656.

Spellman, A. B. “Marion Brown; Growing into Gianthood.” Liberator. Sept. 1966. 20–21. A short biography, commentary on his appearances on Archie Shepp’s Fire Music and John Coltrane’s Ascension, and more detailed discussion of his albums The Marion Brown Quartet and Juba-Lee.

Burrell, Dave 657.

Allen, Clifford. “Dave Burrell Interview.” Paris Transatlantic. July 15, 2004. n.p. www. paristransatlantic.com/magazine/interviews/burrell.html In-depth talk, including Burrell’s studies at Berklee and extracurricular sessions with Sam Rivers, Sonny Sharrock, and Ted Daniel, followed by his move to New York and work with Archie Shepp, Marion Brown, and Pharoah Sanders, forming his trio with Sirone and Bobby Kapp, and his ongoing explorations of ragtime, opera, and energy music.

658.

Brady, Shaun. “Dave Burrell: No Down Time.” Downbeat. Feb. 2007. 24. Interview-based profile on Burrell’s trio CD Momentum, including his comments on writing for improvisers and recording concise tracks for accessibility.

659.

Brady, Shaun. “Overdue Ovation: Dave Burrell.” JazzTimes. Mar. 2012. 20–21. Profile centered on Burrell’s work as artist in residence at the Rosenbach Museum in Philadelphia, where he composes based on archival materials, primarily on the Civil War. With comments from Burrell, librarian Elizabeth Fuller, and violinist Odessa Balan.

660.

Davis, Francis. “Keys on the Highway.” The Wire. 92 (Oct. 1991). 14–16. Interview-based profile on his work with Archie Shepp, Marion Brown, Pharoah Sanders, and David Murray, the transition between generations, and his opera Windward Passages.

661.

Gershon, Pete. “Into the Tradition.” Signal to Noise. 26 (Summer 2002). 36–42. Interview-based profile covering his introduction to the New York free jazz scene by Marion Brown, work with Archie Shepp, BYG albums, and collaborations with Beaver Harris.

662.

Van Trikt, Ludwig. “Dave Burrell.” Cadence. July 1988. 18–26. Career-spanning interview emphasizing his balance of “inside” and “outside” playing, with reference to his work with Archie Shepp, Pharoah Sanders, Marion Brown, and Beaver Harris, and as a leader.

Charles, Denis [Dennis] 663.

Doumbé, Véronique N, dir. Denis A. Charles: An Interrupted Conversation. DVD. New York: Ndolo Films, 2002.

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111

Seventy-five minute documentary on Charles in his last years after a career severely hampered by addiction. Interviewees include Charles and his family, Stanley Crouch, Bobby Few, Joel Forrester, Steve Lacy, Elliot Levin, Frank Lowe, Jemeel Moondoc, Wilbur Morris, Archie Shepp, and others. Performance clips are largely drum solos, with Billy Bang, Borah Bergman, Thomas Borgmann, and Susie Ibarra also featured. 664.

Van Trikt, Ludwig. “Dennis Charles.” Cadence. Oct, 1987. 5–10, 28, 30. Interview on Charles’s 1950s and 1960s work with Steve Lacy and Cecil Taylor, his decades lost to addiction, and his comeback with James Newton and Billy Bang.

Cherry, Don 665.

Clark, Ron. “Don Cherry: Musician. March 17, 1985 Interview” Artists and Influences. 1986. 11–21. Reminiscences of his early years in Los Angeles, meeting Eric Dolphy, Ornette Coleman, Ed Blackwell, and others, ending with his and Coleman’s participation in the Lenox School of Jazz in 1959.

666.

Corbett, John. “Vinyl Freak: Orchestre Régional de Mopti.” Downbeat. Nov. 2007. 16. The source of Cherry’s tune “Mopti” is found on a 1970 LP, there entitled “Boro” and itself an electrified rendition of a traditional melody.

667.

Davis, Francis. “Don Cherry: A Jazz Gypsy Comes Home.” Musician: Player and Listener. Mar. 1983. 52–55, 91. Interview-based feature, on Cherry’s return to New York after years living in Sweden and traveling in Africa and elsewhere. He describes some travels and adventures, how he came to play the pocket trumpet and doussn’gouni, how he met Ornette Coleman, and his work with Old and New Dreams, Codona, and Charlie Haden’s Liberation Music Orchestra.

668.

Haden, Charlie. “For Don Cherry, 1936–1995.” Downbeat. Feb. 1996. 13. A brief eulogy.

669.

Hennessey, Mike. “Cherry’s Catholicity.” Downbeat. July 28, 1966. 14–15. Interview-based profile including his work with Ornette Coleman and Albert Ayler but focused on his move to Europe and his new international quintet with Gato Barbieri, Karl Berger, Jean-Francois Jenny-Clark, and Aldo Romano.

670.

Jeske, Lee. “The Don Cherry Variations.” Downbeat. June 1983. 18–20. Mostly in his own words, on his youth and training, his work with Ornette Coleman and Latif Kahn, the Watts Towers, and Thelonious Monk’s music.

671.

Jones, Andrew. “Global Villager: Don Cherry’s Musical Journey.” Option. Nov/Dec. 1990. 64–67, 161. Interview-based career-spanning profile catching Cherry after his Art Deco album, in the process of making Muktikulti. While focused on his world travels, it also covers his Montreal Tapes with Charlie Haden and Ed Blackwell, his collaborations with Ornette Coleman, Albert Ayler, and the New York Contemporary Five, his Blue Note records, and duos with Blackwell.

112

672.

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Jost, Ekkehard. “Free Jazz und die Musik der Dritten Welt.” Jazzforschung/Jazz Research. 3/4 (1971–1972). 141–154. Discusses Third World or “world music” elements in free jazz, citing John Coltrane’s Africa/Brass, Archie Shepp’s The Magic of Ju-Ju, and Pharoah Sanders’ “Japan” and placing this work in the contexts of bebop and big band evocations of Africa and exotica, and of Pan-Africanism in African-American thought. The majority of the article is devoted to Cherry’s use of world music material on Complete Communion, Symphony for Improvisers, Mu, and Eternal Rhythm: this section also appears in Jost’s Free Jazz (162).

673.

Mandel, Howard. “Don Cherry: The World in his Pocket.” Downbeat. July 13, 1978. 20–22, 54–55. Observed playing live with Colin Walcott and Lou Reed and at a recording session for a rejected follow-up to Hear & Now, Cherry discusses his 1960s European band, travels in Europe with Sonny Rollins, Albert Ayler, and on his own, and his musical friends and inspirations from around the world.

674.

Meehan, Norman. “Don Cherry’s Trumpet Solo on ‘A.I.R. (All India Radio).’” Downbeat. Aug. 2004. 92–93. Complete transcription of Carla Bley’s theme and Cherry’s solo on this piece from Bley’s Escalator Over the Hill.

675.

Occhiogrosso, Peter. “Emissary of the Global Muse: Don Cherry.” Downbeat. Oct. 9, 1975. 14–15, 39. Profile, mostly in Cherry’s own words, on his life in Sweden, ongoing associations with Karl Berger, Ornette Coleman, and Billy Higgins, travel, and connections to blues, Native American culture, acoustic sound, and the earth.

676.

Silsbee, Kirk. “Don Cherry Interview.” Cadence. Apr. 2003. 5–11. Largely on his years in Los Angeles, playing on Central Avenue and knowing Wardell Gray, Sonny Criss, Bobby Bradford, Henry Grimes, and others, as well as Ornette Coleman, then returning to LA on tour with Coleman, Scott LaFaro, and Ed Blackwell.

677.

Solothurnmann, Jürg. “Pluralismus und Neus Denken: Zur Aktuellem Situation des Jazz und der Improvisierten Musik.” Darmstädter Jazzforum 89. ed. Ekkehard Jost. Beiträge zur Jazzforschung eine Veröffentlichung des Jazz-Instituts Darmstadt. Hofheim: Wolke, 1990. 28–48. Responding to Bert Noglik (74), to argue that hybridity and pluralism have always been part of creative music, with Cherry as the main example. In German.

678.

Woodard, Josef. “Don Cherry: Globetrotter in the Mainstream.” Downbeat. Nov. 1989. 23–25. Interview-based profile on Cherry’s US major label comeback album Art Deco, recapping his career from playing hard bop in 1950s Los Angeles to Ornette Coleman to traveling the world, Codona, reuniting with members of Coleman’s group as Old & New Dreams, then reforming the original quartet, and settling in San Francisco to work with Peter Apfelbaum, also discussing his stepdaughter Neneh’s current hit pop album Raw Like Sushi.

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679.

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Wooley, Nate, ed. Sound American 14: The Don Cherry Issue. [2016]. http://soundamerican.org/sa_archive/sa14/index.html Introductory essay by Wooley, excerpts from Jeremiah Cymerman’s 5049 Podcast (37) with William Parker and Hamid Drake talking about Cherry, Wooley interviewing Graham Haynes, a listening session with Taylor Ho Bynum, and appreciations of Cherry’s collaborations with Ornette Coleman by Ralph Alessi, with Steve Lacy by Tomas Fujuwara, with Sonny Rollins by Jon Irabagon, and with John Coltrane by Chad Taylor.

Coltrane, Alice 680.

Berkman, Franya J. “Appropriating Universality: The Coltranes and the 1960s Spirituality.” American Studies. 48 (Spring 2007). 41–62. A concise presentation of material from 681, centered on Coltrane’s 1970 meeting with Swami Satchidananda and subsequent album Universal Consciousness, which combined cultures, genres, and religious traditions to approach the unity of the Absolute.

681.

Berkman. Franya J. Divine Songs: The Music of Alice Coltrane. Ph.D. dissertation. Middletown, CT: Wesleyan U, 2003. vii, 240 p. Biographical and musical study, in four sections: early years (including her work in Terry Gibbs’ band), work with John Coltrane, solo career in the jazz world, and leadership of the Vedantic Center, which also incorporated spiritual music-making. The first three include transcriptions. Several of her associates, including Cecil McBee and Bennie Maupin, spoke with Berkman. Questions of spirituality, exoticism, and universality in music are explored, and the entire project is also a critique of masculinist jazz history, drawing on a variety of feminist theorists.

682.

Berkman. Franya J. Monument Eternal: The Music of Alice Coltrane. Wesleyan UP: Middleton, CT, 2010. xiii, 132 p. Revised and updated version of 681.

683.

Coltrane, Alice. Monument Eternal. Los Angeles, Calif: Vedantic Book Press, 1977. 53 p. On spirituality, including dreams, visions, revelations, rituals, and past lives, with brief mentions of music and of her late husband.

684.

Coltrane, Alice. “Remembering . . . John Coltrane.” Essence. Nov. 1987. 73. A brief personal memory, twenty years after his death.

685.

Kahn, Ashley. “Transcendence.” JazzTimes. Oct. 2004. 50–58. Cover story on her return to public performance with the album Translinear Light. Includes comments from Coltrane and her sons Ravi and Oran, who both play on the album, as well as the rhythm section of Charlie Haden and Jack DeJohnette. Kahn visits them at home and in the studio.

686.

Pouncey, Edwin. “Enduring Love.” The Wire. 218 (Apr. 2002). 36–44. Interview-based cover story reflecting on her musical career, both with John Coltrane and as a leader, and her increasing religious orientation. With comments from her daughter Michelle and Impulse Records producer Ed Michel.

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Cyrille, Andrew 687.

Chapin, Gary Parker. “The Drummer’s Dance: Andrew Cyrille Rides the Rhythm.” Option. July/Aug. 1991. 38–41. Interview-based profile. Centered on his work with Cecil Taylor but also including his musical background and percussion-only work, solo and ensemble.

688.

Cyrille, Andrew, with Gregg Bendian. Andrew Cyrille. Three cassettes and transcript. Oral History of American Music: Major Figures in American Music. New Haven: Yale University Library, 2012. Covers his youth, education, and work with Muhal Richard Abrams, Barry Altschul and Andrea Centazzo, Carla Bley, John Carter, Walt Dickerson, Milford Graves, Charlie Haden, Jimmy Lyons, Horace Tapscott, Cecil Taylor, and Trio 3.

689.

Hamilton, Andy. “Tongue and Groove.” The Wire. 301 (Mar. 2009). 32–37. Interview-based profile, mostly on his work with Cecil Taylor, but also with Muhal Richard Abrams, Anthony Braxton, Jimmy Lyons, Irène Schewizer, Trio 3, the Profound Sound Trio with Paul Dunmall and Henry Grimes, and as a leader. Cyrille argues that, while free jazz represented a transition from jazz as entertainment to jazz as art, it was also a response to the politics of the 1960s and a search for African-ness.

690.

Hanlon, Terri, dir. “Andrew Cyrille.” Online video. New York: Roulette, 2007. https:// vimeo.com/11322195 Performance with Roy Campbell and Bob Stewart, followed by an interview on his musical education and development, the role of time-keeping in his work, and the political aspirations of free jazz. Twenty-eight minutes.

691.

Hicks, Robert. “Pieces of Time: Andrew Cyrille.” Coda. 279. (May/June 1998). 4–6. Interview-based profile, featuring his interest in African and Haitian music and recent duets with Obo Addy and Vladimir Tarasov, both of whom also comment.

692.

Jeske, Lee. “Blindfold Test: Andrew Cyrille.” Downbeat. Mar. 1982. 54. Cyrille reacts to records by the Music Revelation Ensemble, M’Boom, Peter Brötzmann, Eastern Rebellion (with Billy Higgins), and others.

693.

Mandel, Howard. “Andrew Cyrille: Passion for Percussion.” Downbeat. Aug. 1984. 28–30. Interview-based profile on his background, mainstream sessions, work with Cecil Taylor and John Carter, and the new drum quartet album Pieces of Time with Kenny Clarke, Milford Graves, and Don Moye.

694.

Milkowski, Bill. “Overdue Ovation: Andrew Cyrille.” JazzTimes. Nov. 2009. 26–27. Interview-based 70th birthday profile, from his start in drum and bugle corps through his work with Cecil Taylor to recent collaborations with Anthony Braxton, ROVA, and others.

695.

Panken, Ted. “Andrew Cyrille: True Professional.” Downbeat. Nov. 2004. 28–29. Profile tied to Cyrille’s recent reunions with 1960s free jazz veterans Perry Robinson and Henry Grimes, and Archie Shepp, Reggie Workman, and Roswell Rudd,

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as well as his upcoming 65th birthday, reviewing his career with comments from Grimes, Anthony Braxton, Cecil Taylor, and Cyrille himself. 696.

Panken, Ted. “Blindfold Test: Andrew Cyrille.” Downbeat. Nov. 1999. 94. Cyrille discusses recordings by Milford Graves, Tony Williams, Max Roach and Anthony Braxton, Cecil Taylor and Tony Oxley, and Idris Muhammad and George Coleman.

697.

Patmos, Martin. “Andrew Cyrille: Drum Dialogue.” Modern Drummer. Feb. 2014. 54–59. Interview on his use of Haitian musical elements on his albums Celebration and Route des Freres, connections between the Caribbean and Africa, and the continuum of his work from these projects to Cecil Taylor and Trio 3.

698.

Rusch, Bob. “Andrew Cyrille Interview (Part One).” Cadence. Jan. 1995. 5–16. Biographical conversation, covering his childhood, musical education, early work, first recording with Walt Dickerson, up to joining Cecil Taylor in the early 1960s.

699.

Rusch, Bob. “Andrew Cyrille Interview (Part Two).” Cadence. Feb. 1995. 17–28, 107. Centered on his work with Cecil Taylor, but also discussing Horace Tapscott, Henry Grimes, Borah Bergman, Frank Wright, Jimmy Lyons, the Jazz and People’s Movement, and whether European free drummers swing.

700.

Stephenson, Gene. “Conversation with Andrew Cyrille: Dialogue of the Drums.” Black Perspective in Music. 3:1 (Spring 1975). 53–57. Interview on the aesthetics of what both call “blackmusic” in relation to Africa and jazz, and on the problems of economic self-determination for contemporary musicians.

Dixon, Bill 701.

Anderson, Jack. “Judith Dunn and the Endless Quest.” Dance Magazine. 41:11 (Nov. 1967). 48–51, 66–67. Dunn and Dixon are interviewed on their collaboration, other dancers comment on participating in their pieces and classes, and Dixon mentions his forthcoming Intents and Purposes LP. There are several black and white photos of them at work and detailed discussion of their process and aesthetics.

702.

Carles, Philippe. “Trois Outrepasseurs: Bill Dixon, Joe McPhee, Evan Parker.” in Polyfree: La Jazzosphère, et Ailleurs (1970–2015). eds. Philippe Carles and Alexandre Pierrepont. Paris: Éditions Outre Mesure, 2016. 165–174. Traces the careers and intersections of the three “trespassers” from different backgrounds and sensibilities, including an unrecorded 2002 Dixon/Parker quartet, as examples of the “polyfree.” In French.

703.

Castell, Taylor, and Bill Dixon. “Bill Dixon.” Sounds & Fury. July/Aug. 1965. 38–40. An exchange of letters between Dixon and the magazine’s editor, in which Dixon argues about the magazine’s editorial and payment practices and Castell attempts to call his bluff by printing his complaints instead of the 25,000 word text offered.

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704.

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Dewar, Andrew Raffo. “Searching for the Center of a Sound: Bill Dixon’s ‘Webern,’ the Unaccompanied Solo, and Compositional Ontology in Post-Songform Jazz.” Jazz Perspectives. 4:1 (2010). 59–87. Revised and expanded material from 705. Distinguishing his work from musicological or sociological approaches, Dewar takes a more art-historical one, explicating the ideas and practice informing Dixon’s solo piece “Webern,” which exists in several recorded versions. He cites multiple original interviews with Dixon. A history of unaccompanied wind and brass solo improvisations is provided, as is theoretical discussion of the identity of compositions that do not involve written or predetermined content.

705.

Dewar, Andrew Raffo. “This is an American Music:” Aesthetics, Music, and Visual Art of Bill Dixon. M.A. thesis. Middletown, CT: Wesleyan U, 2004. 152 p. Written with Dixon’s cooperation and drawing on numerous original interviews, as well as published and archival sources, with chapters on Dixon’s ideas about the politics and aesthetics of what he chooses to call “Black Music,” tracing their evolution through his interviews and writing, published and unpublished, his painting and drawing, and his work as a composer/performer. Transcriptions and analysis of multiple recordings of the solo piece “Webern” illustrate his musical logic and technique.

706.

Dixon, Bill. “Collaboration: 1965–1972.” Contact Quarterly. Spring/Summer 1985. 7–12. An account of Dixon’s work with dancer/choreographer Judith Dunn, particularly Pomegranate, performed at the 1966 Newport Jazz Festival. The use of improvisation and connections between movement and sound are discussed. Alan Silva frequently also participated in their work.

707.

Dixon, Bill. “Contemporary Jazz: An Assessment.” Jazz & Pop. 6:11 (Nov. 1967). 31–32. Dixon observes several trends in jazz: the admission of a handful of acts to concert halls who have tailored their presentation for that setting, i.e. Duke Ellington and the Modern Jazz Quartet, the jazz vanguard’s break with song forms and show tunes exemplified by Cecil Taylor, George Russell, John Coltrane, and himself, and the failure of the music to be understood on its own terms by both the New York arts establishment (Juilliard, Lincoln Center, etc.) and the music departments of historically Black colleges and universities.

708.

Dixon, Bill. “Dixon Digs at Jones.” Downbeat. Jan. 2, 1964. 8–9. Letter to the editor objecting to LeRoi Jones’ Downbeat piece on Don Cherry (reprinted in 522), complaining that Jones writes poorly, prefers creating controversy to explaining and promoting the music, and failed to credit Dixon for his work as musical director for the New York Contemporary Five.

709.

Dixon, Bill. “For Franz.” in Jazz Op. 3: Die Heimliche Liebe Des Jazz Zur Europäischen Moderne. ed. Ingrid Karl. Wien: Löcker, 1986. 15. The first page of this score, written for Franz Koglmann’s 1977 Opium/For Franz LP, appears as an illustration in this collection of essays in German on jazz and European Modernism.

New York 1—the New Thing

710.

117

Dixon, Bill. “Jazz through Four Innovators.” Freedomways. Third Quarter 1967. 255–257. A mostly positive review of Spellman’s Four Lives in the Bebop Business (226). Dixon’s main critique is that, at the same time that Spellman portrays his subjects struggling to make art within the constraints of the nightclub business, he doesn’t dissect this situation or explore alternatives.

711.

Dixon, Bill. “Life in the Jazz World.” Freedomways. Spring 1963. 239–241. Mostly favorable review of Nat Hentoff ’s The Jazz Life. Dixon praises Hentoff ’s knowledge of the economic and racial issues facing musicians, as well as of the typical characters on the scene: agents, club owners, groupies, etc.

712.

Dixon, Bill. L’Opera: A Collection of Letters, Writings, Musical Scores, Drawings, and Photographs (1967–1986) [Volume One]. North Bennington, VT: Metamorphosis Music, 1986. n.p. Self-published collection of score pages, drawings, photographs, and texts such as program notes, student evaluations, lecture notes, syllabi, liner notes, letters, notebook pages, and excerpts from his unpublished autobiography.

713.

Dixon, Bill. “Paricellseite aus Varient für Tenorsaxophon und Orchester.” in Jazz Op. 3: Die Heimliche Liebe Des Jazz Zur Europäischen Moderne. ed. Ingrid Karl. Wien: Löcker, 1986. 258. A notebook page, representing systems six through nine of an unreleased piece for tenor saxophone and orchestra, appears as an illustration. The saxophone line is accompanied by held dense orchestra chords, which cannot be clearly read in this small reproduction.

714.

Dixon, Bill. “Some Explanations of the Materials Thus Far Used in Contemporary Improvisation.” Silo. Fall 1987. 36–39. Possibly lecture notes, on the expanded definitions and applications of chords, scales, and ensemble formations post-Ornette Coleman and Cecil Taylor, concluding with a link between Africa’s liberation from colonialism, beginning in the late 1950s, and musicians’ efforts towards self-determination.

715.

Dixon, Bill. Untitled. Audio cassette. New York Public Library, Schomburg Center. New York: Duke Ellington Society, 1967. A 65-minute talk by Dixon on his career and the avant-garde musician’s relationship to the audience: he or she is no longer there to serve, impress, or entertain them.

716.

Dixon, Bill. “Valuable but One-Sided Collection.” Freedomways. Third Quarter 1967. 253–255. Mixed review of Leonard Feather’s The Encyclopedia of Jazz in the Sixties, recognizing the achievement of the earlier Encyclopedia of Jazz but noting that this supplement only includes photos of artists who are very commercially successful and whose work Feather likes, and that its coverage of Dixon’s own career, including the Jazz Composers Guild, is limited and inaccurate.

717.

Dixon, Bill. “Winter Song, 1964.” Downbeat. May 24, 1964: 36–42.

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Handwritten full score for this composition recorded on Dixon and Archie Shepp’s split LP. Instrumentation is trumpet, tuba, alto and tenor saxophones, two basses, and drums. Forty bar solo section (with chords). 718.

Dixon, Bill, and Bob Rusch. “Call and Response: Letters.” Cadence. Nov. 1982. 31. Dixon writes in to dispute the details of a negative review of a Swiss concert, noting that it has been released as November 1981 and the curious can hear for themselves, and to challenge the critic’s assumption to have understood Dixon’s intentions. Rusch replies by asserting that the critic, as a listener, has a right to their experience.

719.

Dunn, Judith. “A Letter to Helen.” Dance Perspectives. 38 (Summer 1969). 44–49. Writing in 1967 about her residency at Ohio State University, Dunn refers several times to her regular collaborations with Dixon and describes practical and theoretical aspects of their work together

720.

Erdman, Jean, Trisha Brown, Bill Dixon, et al. “Conversation in Manhattan.” Impulse: Annual of Contemporary Dance. 1967. 57–64. Dixon and his artistic partner, choreographer Judith Dunn, participate in a roundtable on issues in cutting-edge dance. He challenges the assembled dancers’ ideas about relationships between ideas, technique, improvisation, and the making of a work. When Constance Poster describes her work as being about working through problems she has set herself, Dixon insists that he never approaches music that way, that playing an instrument is enough of a problem to occupy and inspire him.

721.

Freeman, Phil. “The Great Learning.” The Wire. 293 (July 2008). 34–40. Interview-based feature reviewing Dixon’s career and discussing his recent large group works: 17 Musicians in Search of a Sound: Darfur, Index, performed in part at the Vision Festival but unrecorded, Tapestries for Small Orchestra, which he is preparing to record, and his collaborations with Rob Mazurek’s Exploding Star Orchestra.

722.

Goldman, Danielle. I Want to be Ready: Improvised Dance as a Practice of Freedom. Ann Arbor: U of MI P, 2010. ix, 174 p. Includes detailed accounts of Judith Dunn’s work with Dixon and Dianne McIntyre’s with Cecil Taylor.

723.

Lock, Graham. “Beyond Abstraction: Bill Dixon on Music and Art.” Point of Departure. 30 (Aug. 2010). n.p. www.pointofdeparture.org/PoD30/PoD30BillDixon.html Interview, conducted in 2003 for Lock’s book The Hearing Eye but not included. Dixon discussed the concept of a Black aesthetic, connections between his painting and music, graphic design for album covers and posters, representation and abstraction, the role of composition in his music since the 1980s, working with dancers and poets, psychoanalysis, and other topics.

724.

Lock, Graham. “Veiled Odyssey: Bill Dixon.” JazzTimes. May 2001. 74–76, 78–79. Overview of Dixon’s career following his 75th birthday and anticipating Odyssey, a six CD retrospective collection of unreleased solo music. Dixon discusses the new music of the 1960s, the Jazz Composers Guild, and his approach to the trumpet. Barry Guy comments on recording the Vade Mecum albums with Dixon. Sidebars include a list of favorite albums and Dixon’s experiences owning and playing various horns.

New York 1—the New Thing

725.

119

Medwin, Marc. “Motivic Transformation in Bill Dixon’s Intents and Purposes.” Current Research in Jazz. 7 (2015). n.p. www.crj-online.org/v7/CRJ-IntentsPurposes.php Musical analysis, demonstrating the use of similar interval combinations across the album’s four tracks and in a bootleg recording of Dixon leading a large group at the University of the Streets in 1967.

726.

O’Haire, Robert, dir. Bill Dixon: Going to the Center. in Bill Dixon. Tapestries for Small Orchestra. Two CDs and DVD. New Haven: Firehouse 12, 2009. Thirty minute documentary of Dixon in the recording studio, with comments from Taylor Ho Bynum, Graham Haynes, Stephen Haynes, Glynis Lomon, and Warren Smith. The DVD also includes complete performance footage of three pieces from the CDs and of one alternate take.

727.

Porter, Eric. “Bill Dixon’s Voice (Letter).” Journal of the Society for American Music. 9:2 (2015). 204–231. Close reading of a seventeen-minute spoken message from Dixon to Frank Kosfky, recorded on cassette in November 1966, expanding into discussion of Dixon’s work immediately after the Jazz Composers Guild, including his essays in various jazz magazines, his Intents and Purposes LP, and his collaboration with Judith Dunn, including their joint appearances at the Fluxus Festival and Newport Jazz Festival.

728.

Riggins, Roger. “Professor Bill Dixon: Intents of an Innovator.” Downbeat. Aug. 1980. 30–32. Overview of Dixon’s career, with comments from him, including a critical account of the recording of Cecil Taylor’s Conquistador.

729.

Rubolino, Frank. “Bill Dixon: The OFN Interview.” One Final Note. Oct. 2002. n.p. www.onefinalnote.com/features/2002/dixon/ Long meeting at Dixon’s home, discussing his large ensemble piece “Index,” performed at the Vision Festival in 2000, the reception of his work in Europe compared to the US, Imagine the Sound (530), conflicts with Bob Rusch over the CD release of his solo recording Collection, his Victoriaville concert with Tony Oxley and Cecil Taylor, work for the Soul Note label, his relationship with the jazz press compared to Taylor and Sun Ra, and work with various bassists, notably Alan Silva. Dixon largely looks back in anger at how his refusal to compromise has led to his work being misunderstood or ignored.

730.

Thompson, Keith G. “The Work of Bill Dixon: Metamorphosis of a Music.” Coda. 288 (Nov/Dec. 1999). 8–11. Excerpts from an interview of Dixon, organized as a survey of his recordings, from the New York Contemporary Five (which he composed and arranged for but did not play in) through Intents and Purposes to his works on Black Saint.

731.

Young, Ben. Dixonia: A Bio-Discography of Bill Dixon. Westport, CT: Greenwood P, 1998. xxii, 418 p. This exhaustive chronology lists every known performance by Dixon up to 1997. Many entries include his comments. There are also listings of his music performed by others, albums he produced, lectures he gave, and the members of his Black Music Ensemble at Bennington College, as well as a bibliography.

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732.

Zinman, Eric. “In Honor of Bill Dixon.” The Improvisor. 2010. n.p. http://the-improvisor. org/New%20ARTICLES/2010/Zinman-In%20Honor%20of%20Bill%20Dixon.htm Edited transcript of Dixon’s instructions and advice to an ensemble in Boston. Includes practical and aesthetic guidance.

Dolphy, Eric 733.

Allen, Geri. Eric Dolphy: A Musical Analysis of Three Pieces with a Brief Biography. M.A. thesis. Pittsburgh: U of Pittsburgh, 1983. i, 76 p. A biographical chapter precedes analyses of Dolphy’s recordings of “Serene,” “You Don’t Know What Love Is,” and “Out to Lunch.” Allen discusses the harmonic form, rhythm section roles, and distinctive elements of Dolphy’s improvising on each piece, which represent his three main instruments: bass clarinet, flute, and alto saxophone, as well as distinct forms: an altered blues original, a standard, and a free piece, respectively. She provides chord charts and transcriptions of Dolphy’s solos for the first two, as well as the theme of “Serene,” and Dolphy’s solo plus the full ensemble’s parts for the theme of “Out to Lunch.”

734.

Branter, David. Melody Retained and Sound Explored: Elements of Structure and Expression in the Unaccompanied Alto Saxophone Performances of Eric Dolphy. D.Mus. dissertation. Bloomington: Indiana U, 2008. iv, 126 p. Harmonic analysis of Dolphy’s three known unaccompanied alto saxophone pieces: “Tenderly,” “Laura,” and “Love Me,” with shorter chapters on his extensions of saxophone technique and his connections to contemporary composed music, particularly via Gunther Schuller and the ONCE Festival. With lead sheets and full transcriptions of all three pieces.

735.

Dolphy, Eric. The Eric Dolphy Collection. Transcribed by Robert Duboff and Travis Sullivan. Milwaukee: Hal Leonard, n.d. 149 p. Fifteen solos notated, with chord changes. The themes to Dolphy’s compositions “245,” “Serene,” and “G.W.” are included. Source recordings are not listed.

736.

Dolphy, Eric. Eric Dolphy Collection. Six boxes. Special Collections, Music Division, Library of Congress, Washington, DC. 2014. Donated by James Newton, this was Dolphy’s personal collection of sheet music, primarily pieces he composed or performed, including some unrecorded originals. Besides Dolphy, relevant composers represented include Jaki Byard, Joe Chambers, John Coltrane, Scott LaFaro, Prince Lasha, Charles Mingus, Thelonious Monk, Sonny Rollins, George Russell, Gunther Schuller, Sonny Simmons, and Randy Weston. Finding aid at www.loc.gov/item/2014565637/

737.

Horricks, Raymond. The Importance of Being Eric Dolphy. Turnbridge Wells, Great Britain: DJ Costello, 1989. 95 p. A short biography and appreciation based on original correspondence with Dolphy’s parents and Richard Davis, as well as published sources. Transcriptions and analysis of Dolphy’s solos on “God Bless the Child,” “Tenderly,” “Stolen Moments,” and Bill Evans’ voicings on the last piece, are appended, as is a discography.

New York 1—the New Thing

738.

121

Hylkema, Hans, dir. Eric Dolphy: Last Date. DVD video. Haarlem, Netherlands: Blowpipe, 2005 [1991]. Ninety minute documentary reuniting Misha Mengelberg, Jacques Scholes, and Han Bennink in the studio where they recorded with Dolphy, then working backwards to fill in his biography, also including footage of his performances with Charles Mingus, a visit to his parents in his childhood home in Los Angeles accompanied by Buddy Collette, and interviews with Jaki Byard, Richard Davis, Karl Berger, and Ted Curson, as well as Gunther Schuller and other writers. In Dutch and English, with English subtitles.

739.

Jannotta, Roger. “‘God Bless the Child:’ An Analysis of an Unaccompanied Bass Clarinet Solo by Eric Dolphy.” Jazzforschung/Jazz Research. 9 (1977). 37–48. A transcription of the performance from Eric Dolphy in Europe Volume 1 is accompanied by three pages of analytic text, diagrams of the dynamic contours and structural divisions of the performance, and a lead sheet.

740.

Kerschbaumer, Franz. “Booker Little: Seine Improvisations und Kompositionstechnik.” Jazzforschung/Jazz Research. 14 (1982). 9–60. Little’s bebop-oriented work with Max Roach dominates, but his later collaborations with Dolphy are also well represented, with discussion of harmonic and formal structures in his compositions, a discography, and a bibliography. Transcriptions include his compositions “Cliff Walk,” “Strength and Sanity,” “Bee Vamp,” and “Booker’s Waltz,” and solos on “Bee Vamp” and Dolphy’s “Miss Ann.”

741.

Kynaston, Trent. “Eric Dolphy’s Solo on ‘Teenie’s Blues’—An Alto Saxophone Transcription.” Downbeat. Dec. 1988. 64–65. The complete improvisation on this Oliver Nelson composition from Nelson’s Blues and the Abstract Truth LP, consisting of three 12-bar choruses.

742.

Lange, Art. “A Fickle Sonance.” Point of Departure. 48 (Sept. 2014). n.p. http://point ofdeparture.org/archives/PoD-48/PoD48FickleSonance.html A look at the last few years of Eric Dolphy’s life, arguing that, in addition to exploring free playing, he was involved in Mingus’ extensions of and revivals of the tradition and in continuations of the Third Stream via Gunther Schuller, Stefan Wolpe, and Edgard Varèse.

743.

Miedema, Harry. “Dolphy, Eric.” in Jazz Styles & Analysis: Alto Sax: A History of the Jazz Alto Saxophone via Recorded Solos. Chicago: Maher Pub, 1975. 30–33. Transcriptions of Dolphy’s solos from Oliver Nelson’s “Alto-itis” (on Nelson’s Screamin’ the Blues) and his own “In the Blues #3” (from In Europe Vol. 3).

744.

Rice, Dieter Wolfgang. Chaos and Organization in the Recordings of Oliver Nelson Featuring Eric Dolphy. D.M.A. thesis. Lexington: U of KY, 2012. viii, 98 p. Transcription and analysis of Nelson and Dolphy’s complete performances on Nelson’s “Straight Ahead,” including introduction, themes, solos, and trading fours, with brief discussion of their other collaborations.

745.

Simosko, Vladimir, and Barry Tepperman. Eric Dolphy: A Musical Biography & Discography. New York: Da Capo, 1979. viii, 180 p.

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Concise biography, focused on his recordings, based on original interviews and published sources. 746.

Thomas, Lorenzo. “Outward Bound: Eric Dolphy’s Migrant Muse.” in Thomas, Lorenzo. Don’t Deny My Name: Words and Music and the Black Intellectual Tradition. Ann Arbor: U of MI P, 2008. 74–84. Thomas interprets Dolphy’s career as a journey from Los Angeles to New York to Europe, places it in the history of African-American migration and expatriation, and emphasizes the influence that racism in symphony hiring had on Dolphy’s life.

747.

Waters, Keith, and David Diamond. “Out Front: The Art of Booker Little.” Annual Review of Jazz Studies. 11 (2002). 1–38. An overview of Little’s life and work, with a short biography, discography, bibliography, list of compositions, analysis of compositional and improvisational techniques, and transcriptions of Little’s solos on “Rounder’s Mood,” “Bee Vamp,” and “Victory and Sorrow.” “Bee Vamp,” from a session co-led with Dolphy, represents Little’s proximity to free jazz.

748.

Williams, Martin. “Introducing Eric Dolphy.” The Jazz Review. 3:5 (June 1960). 16–17. http://jazzstudiesonline.org/resource/jazz-review-vol-3-no-5-june-1960 Brief interview-based profile on Dolphy’s work with Chico Hamilton and Charles Mingus. Asked about connections between his work and Ornette Coleman’s, Dolphy replies that he has known Coleman since 1954 and has always understood and admired his music.

Donald, Barbara 749.

DeBarros, Paul. “Profile: Barbara Donald.” Downbeat. May 1983. 47–48. Interview-based profile, describing her training and apprenticeship, then her tumultuous musical and personal partnership with Sonny Simmons.

750.

Rusch, Bob. “Barbara Donald: Interview.” Cadence. June 1983. 9–12. Biographical interview, including her musical and personal partnership with Sonny Simmons and sitting-in with John Coltrane.

Doyle, Arthur 751.

Morris, Roy. “Arthur Doyle Short Talk.” Cadence. Dec. 1995. 16–19. Biographical conversation, including his work with Milford Graves and the album Alabama Feeling.

752.

Warburton, Dan. “Redemption Songs.” The Wire. 209 (July 2001). 44–47. Interview-based career-spanning feature. Doyle describes his time in the mid-1960s New York free scene with Milford Graves, Noah Howard, Sun Ra, and others, the political and psychological issues which disrupted his career, and his subsequent work with Rudolph Grey, Alan Silva, Sunny Murray, and on his own, including his album Alabama Feeling and recordings as a singer-songwriter.

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Gale [Stevens], Eddie 753.

Bendel, Joseph. “Black Rhythm Happening.” Signal to Noise. 21 (Spring 2001). 24–26. Interview-based profile, with stories about his work with Cecil Taylor, Sun Ra, and sitting-in with John Coltrane.

754.

Rusch, Bob. “Eddie Gale Interview.” Cadence. Oct. 1989. 13–18, 92. Substantial discussion of his work with Sun Ra and Cecil Taylor, as well as mentions of performances with Byron Allen and John Coltrane, as well as his musical development, the album Ghetto Music, and the influence of trumpet players including Kenny Dorham and Don Cherry.

Graves, Milford 755.

Austerliz, Paul. Jazz Consciousness: Music, Race, and Humanity. Middletown, CT: Wesleyan UP, 2005. xxii, 260 p. Austerlitz theorizes jazz as simultaneously American, African, and global, then looks at a wide range of jazz-influenced music, from Finland to the Dominican Republic. His penultimate chapter is dictated by Milford Graves and offers a substantial memoir and manifesto of his music and healing work.

756.

Corbett, John. “Vinyl Freak: Milford Graves & Don Pullen.” Downbeat. May 2008. 16. Interview with Graves on his and Pullen’s self-produced duo album, discussing the practical and political aspects of producing and distributing one of the first DIY free jazz records as an attempt at self-reliance and self-determination.

757.

Gillis, Verna. “Milford Graves: Interview.” Cadence. May 1980. 5–8, 10. On his musical background and general concepts, including Cuban and African drumming, connections between drumming, dance, and martial arts, and heartbeats and biofeedback.

758.

Gillis, Verna. “Milford Graves: Interview, Part 2.” Cadence. June 1980. 9–13. More on heart rhythms, as well as his work with Don Pullen, Giussepi Logan, Andrew Cyrille, and Hugh Glover.

759.

Graves, Milford. “Black Music: New Revolutionary Art.” in Black Arts: An Anthology of Black Creations. ed. Ahmed Alhamisi. Detroit: Black Arts Pub. 1969. 40–41. A short manifesto calling for the union of poetry, painting, dance, theater, and music, citing Graves’ collaborations with LeRoi Jones, Barbara Ann Teer, and Larry Neal. His interest in alternative medicine appears through mentions of bodily vibrations. Both artistic and physical awakening are called for as steps towards Revolution.

760.

Graves, Milford. “Book of Tono-Rhythology.” in Arcana II: Musicians on Music. ed. John Zorn. New York: Hips Road, 2007. 110–117. An overview of vibration in the human body, both as a receiver of vibrations from space, whether sunlight or microwave background radiation, and as a rhythmic generator, including the heartbeat and the process of vitamin E synthesis. Vibrational

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frequencies are charted as color, pitch, and musical pitch, will all oscillations also understood as rhythm. 761.

Graves, Milford. “Music Extensions of Infinite Dimensions.” in Arcana V: Music, Magic, and Mysticism. ed. John Zorn. New York: Hips Road, 2010. 171–186. Further notes on the body as a receptor for vibration, including cosmic radiation through the skin, speech and music through the ear, and solar energy stored via photosynthesis in plants, which we eat and digest.

762.

Graves, Milford. “Music Workshop.” The Cricket. 3 (n.d.). 17–19. Manifesto for Black Art and Black Music to be completely controlled by Black people, not only their own venues, magazines, and record labels, but also their own instrument builders, and most of all their own ideas, coming from the people.

763.

Graves, Milford. Untitled. The Cricket. 1 (1968). 14–17. A block of text in all capital letters on the exploitation and appropriation of Black music and the need for self-determination.

764.

Graves, Milford, and Don Pullen. “Black Music.” Liberator. Jan. 1967. 20. Manifesto announcing the Self-Reliance Program (SRP) record label and the debut release In Concert at Yale University. They intend to pursue complete liberation from Western systems, using the music to free the mind and body, discarding assumptions about musical direction, developing their own instruments (a project not documented on the LP but which they are pursuing with Hugh Glover and Lowell Davidson), and new recording technologies independent of the music industry.

765.

Graves, Milford, with Gregg Bendian. Milford Graves. Oral History of American Music: Major Figures in American Music. Four cassettes and transcript. New Haven: Yale University Library, 2013. Biographical interview, including his work with Paul Bley, Don Pullen, John Zorn, Giuseppi Logan, and especially Albert Ayler. He also discusses teaching at Bennington, Bill Dixon’s role in getting him that job, and his work with music and alternative medicine.

766.

Gross, Jason. “Music Medicine.” Signal to Noise. 11 (May/June 1999). n.p. Interview with Graves on his alternative music therapy.

767.

Johnston, Mike. “Milford Graves: Master Drummer.” Coda. 252 (Nov/Dec. 1993). 4–7. Interview, reviewing Graves’ career from his introduction to the drumset through the ESP recordings with the New York Art Quartet, Giuseppi Logan, and Lowell Davidson, then skipping to his work at Bennington and return to regular playing with David Murray, William Parker, and Charles Gayle. He discusses his use of his voice, his dislike of the snare drum, and other distinctive elements of his gear and technique.

768.

Mathieu, Bill. “Milford Graves Speaks Words.” Downbeat. Nov. 3, 1966. 22–23, 44. Transcribed conversation on music, time, race, and communication.

769.

Meier, Randal. “Grand Unification: Milford Graves.” Coda. 283 (Jan/Feb. 1999). 8–10. Interview-based profile on his return to more frequent performing and recording, particularly a recent Vision Festival set with Charles Gayle, Kidd Jordan, and William Parker.

New York 1—the New Thing

770.

125

Micallef, Ken. “Milford Graves: Drumming Beyond Borders with the Father of Free Jazz.” Modern Drummer. Mar. 2000. 84–88, 90, 94, 96, 98, 100. Interview beginning with his musical background, study of Cuban music, work with Giuseppi Logan, Albert Ayler, and the New York Art Quartet, then his study of heartbeats and natural healing. Sidebars include a list of his recommended listening from his own work and others’, and a gear list.

771.

X, Marvin. “From an Interview of Milford Graves.” Journal of Black Poetry 1:12 (Summer/Fall 1969). 46–55. Graves emphasizes self-determination for Black musicians in this conversation, celebrating Sun Ra’s and his own work in this area, including his duo albums with Sonny Morgan and Don Pullen. He argues that the music industry’s suppression of creativity led to many musicians’ struggles with drugs and the early deaths of Charlie Parker and John Coltrane.

Greene, Burton 772.

Greene, Narada Burton. Memoirs of a Musical “Pesty Mystic”—or—From the Ashcan to the Ashram and Back Again . . . Redwood, NY: Cadence Jazz Books, 2001. 234 p. Autobiography includes accounts of the Free Form Improvisation Ensemble, the Jazz Composers’ Guild, ESP-Disk, BYG Records, and Greene’s collaborations and meetings with Albert Ayler, Henry Grimes, Giuseppi Logan, Sun Ra, Sam Rivers, Alan Silva, Frank Smith, and Patty Waters. He also discusses LeRoi Jones’ 1966 review “The Burton Greene Affair.”

773.

Rusch, Bob. “Burton Greene Interview.” Cadence. Dec. 1999. 5–17. Extensive interview covering his entire career, touching on the Free Form Improvisational Ensemble, the Jazz Composers Guild, recordings on ESP with Patty Waters and as a leader, ESP’s business practices, his relationships with record companies including Circle, Horo, BYG, and Columbia, his use of the early Moog synthesizer, LeRoi Jones’ attack on him in Downbeat, and his life as an expatriate.

774.

Warburton, Dan. “Burton Greene.” Paris Transatlantic. 2003. n.p. www.paristransatlantic. com/magazine/interviews/greene.html Career-spanning interview, starting with Alan Silva and the Free Form Improvisation Ensemble, ESP-Disk, LeRoi Jones, his move to Europe, then his work with Dutch musicians and Klezmer. Cecil Taylor comes up several times. Greene wonders if he or Don Pullen may have played completely free improvisation before Taylor.

Grimes, Henry 775.

Blumenfeld, Larry. “NY: The Ballad of Henry Grimes (and Other Visions).” Jazziz. Nov. 2003. 34–35. Grimes is observed at the Vision Festival, Iridium, and a workshop at the David Gage bass shop. He and Marshall Marotte comment on his disappearance and return.

126

776.

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Cherry, Henry, dir. The Resurrection of Henry Grimes. Online video. 2013. https:// vimeo.com/69922806 Ten minute documentary including interview footage of Kidd Jordan, Marc Ribot, and Marshall Marrotte, on Grimes’ 1960s work, “freedom” in jazz, and his rediscovery and comeback.

777.

Fitzgerald, Mike. “Into Thin Air.” Signal to Noise. 28 (Winter 2003). 40–44. Biography including his work with Albert Ayler, Don Cherry, Cecil Taylor, and Pharaoh Sanders, his ESP-Disk album The Call, and his mysterious disappearance.

778.

Frenz, Barbara. Music to Silence to Music: A Biography of Henry Grimes. trans. J. Bradford Robinson. London: Northway Pub, 2015. xiv, 315 p. Written with Grimes’ cooperation, based on original interviews and access to his unpublished literary notebooks, as well as interviews with Sonny Rollins and Andrew Cyrille and published sources. Also includes selected poems by Grimes and discussion of his creative writing.

779.

Grimes, Henry. Signs Along the Road: Poems. Köln: Buddy’s Knife, 2007. 129 p. Selected poems, some on musical themes. With a forward by Marc Ribot.

780.

Isoardi, Steven L. “The Return of Henry Grimes: A Memoir.” Current Research in Jazz. 2 (2010). n.p. www.crj-online.org/v2/CRJ-HenryGrimes.php Between his rediscovery by Marshall Marrotte and his New York comeback at the 2003 Vision Festival, Grimes played a series of Los Angeles shows assisted by Isoardi’s student Nick Rosen with groups including Rosen, Alex and Nels Cline, Roberto Miranda, Dan Clucas, Vinny Golia, Bennie Maupin, Chris Heenan, and others. Isoardi gives a detailed first-hand account of this period, including rehearsals and performances. Mark Dresser and Kamau Daaoud also appear in the story, which passes through many LA jazz venues, from the Eagle Rock Center for the Arts and Line Space Line to the Jazz Bakery and the World Stage.

781.

Mandel, Howard. “Out of the Woodwork.” The Wire. 290 (Apr. 2008). 26–29. Interview-based feature on Grimes’ return to New York, Mandel and Margaret DavisGrimes filling in spaces left by the diffident subject.

782.

Marrotte, Marshall. “Henry Grimes: The Signal to Noise Interview.” Signal to Noise. 28 (Winter 2003). 45–47. Social worker and jazz fan Marrotte locates Grimes over 30 years after his disappearance. He has not been playing or keeping up with music, but his memories of the 1960s are sound.

783.

Marrotte, Marshall. “Surviving Albert Ayler.” The Wire. 227 (Jan. 2003). 42–43. Short interview, apparently from the same session as 782, one of Marrotte’s first conversations with Grimes, in which he informs him that many of his 1960s colleagues, such as Albert Ayler and Ed Blackwell, have died, shows him CDs for the first time, and asks him about drugs, mental illness, and what he has been doing since 1970.

784.

Parker, Chris. “The Poet Returns.” Double Bassist. 43 (Winter 2007). 10–15. Interview-based profile with comments from Sonny Rollins and William Parker.

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785.

127

Solothurnmann, Jürg. “The Miraculous Return of Henry Grimes.” Bass World. 27:3 (2004). 15–17. A recap of his career, disappearance, and comeback, drawing on published accounts and a new interview.

786.

Weiss, Ken. “Henry Grimes Interview.” Cadence. Sept. 2004. 5–10. Grimes corrects rumors about his lost years, recounts his education and musical development, then discusses some of his 1950s and 1960s work, including with Cecil Taylor and Albert Ayler.

Haden, Charlie 787.

Caduff, Radu, dir. Charlie Haden: Rambing Boy. Video. Zurich: PiXiU Films, 2009. Eighty minute biographical documentary framed with the making of his album of the same title, which revisits his career as a child singing folk and country music, now with his children singing and an all-star band. The core traces his work in jazz, including his work with Ornette Coleman. Interviewees include Kenny Barron, Carla Bley, Ravi Coltrane, Ethan Iverson, Keith Jarrett, Joe Lovano, Howard Mandel, Pat Metheny, Steve Swallow, and Haden himself. Performance footage includes Coleman, Haden, Dewey Redman, and Ed Blackwell in 1971 in Berlin and at a Lisbon show where Haden dedicated “Song for Che” to African anti-colonial movements, creating an international incident.

788.

Coleman, Ornette, and Charlie Haden. Soapsuds, Soapsuds. LP. New York: Artists House, 1979. The liner notes to this album include lead sheets for Haden’s “Human Being” and Coleman’s “Sex Spy,” the later a rare example of his notation.

789.

Cravinho, Pedro. “A Kind of ‘In-Between:’ Jazz and Politics in Portugal (1958-1974).” in Jazz and Totalitarianism. ed. Bruce Johnson. New York: Routledge, 2017. 218–238. Includes a substantial account of Charlie Haden’s arrest for denouncing the Portuguese dictatorship onstage near Lisbon in 1971, with press accounts and a reproduction of the police report.

790.

Durso, Jimi. “Charlie Haden’s Lyrical Bass Solo on ‘Silence.’” Downbeat. June 2013. 88–89. A transcription of Haden’s five 8-bar choruses on his composition, as recorded on The Montreal Tapes: With Gonzalo Rubalcaba and Paul Motian. The theme and comments on Haden’s solo are also included.

791.

Enright, Ed. “Charlie Haden: Making the World a Better Place.” Downbeat. Aug, 2013. 30–35. Interviewed for his induction into Downbeat’s Critics Poll Hall of Fame, an ailing Haden reminisces about other Hall of Famers, including comrades Scott LaFaro, Ornette Coleman, Ed Blackwell, and John Coltrane, and fellow bassists from Jimmy Blanton to Jaco Pastorius.

128

792.

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Enright, Ed. “Like No One Else: Charlie Haden Remembered.” Downbeat. Oct. 2014. 32–37. Memorial including an overview of his career, a tribute by Keith Jarrett, and comments from Carla Bley, Kenny Barron, Joshua Redman, and Ben Allison.

793.

Feather, Leonard. “Blindfold Test: Charlie Haden.” Downbeat. June 2, 1966. 36. Haden responds to records by John Handy, Charles Mingus, Paul Bley, Victor Feldman (with Scott LaFaro), and others.

794.

Gelfland, Alexander. “Beautiful Dreamer.” Jazziz. Mar. 2005. 44–46. Short career-spanning interview-based profile, in which Haden argues that what made Ornette Coleman’s music special was that it was spontaneous and authentic, while later free jazz is too self-conscious, and that sonic beauty can be an expression of power, thus the newer Liberation Music Orchestra music did not need to scream like their first album.

795.

Goldsby, John. “Charlie Haden: Wayfaring Stranger.” Bass Player. Dec. 2014. 32–36, 38, 40, 42, 44, 46. Extensive memorial surveying his career, with comments from Alan Broadbent, Scott Colley, Josh Haden, and Pat Metheny, passages from previously published Haden interviews, a sidebar on the bass he commissioned from Jean Auray, and another with transcribed phrases from his work with Keith Jarrett (from Last Dance) and Ornette Coleman (“The Blessing”), representing key characteristics of his playing.

796.

Haden, Charlie, and Dan Morgenstern. “Echoes of Spain.” Downbeat. Mar. 19, 1970. 8–9. Haden writes to protest the magazine’s coverage of his Liberation Music Orchestra LP, disputing his critics’ interpretations of the Spanish Civil War and of his decision to use songs from that conflict. Editor Morgenstern replies that it is Haden who misunderstands that history and declares the debate closed.

797.

Heckman, Don. “Everything Man.” JazzTimes. May 2011. 38–42. Cover feature promoting his Quartet West album Sophisticated Ladies, also returning to his work with Ornette Coleman and touching on his recent duo album with Keith Jarrett Jasmine. Includes comments from Haden, Quartet West pianist Alan Broadbent and saxophonist Ernie Watts, guest singer Norah Jones, and guest singer and Haden’s wife Ruth Cameron.

798.

Leigh, Bill. “Flea & Haden: A Rock Star and a Jazz Legend Find Common Ground in Music’s Beauty and Depth.” Bass Player. June 2006. 30–33, 35–36, 39–40, 42–43. The two bassists discuss their early musical inspirations, their relationship to their instruments, and being present in the moment to perform.

799.

Lohr, Matt R. “Liberation Music Education.” JazzTimes Education Guide 2014/2015. 18–23. A memorial retrospective on Haden’s work founding the CalArts jazz program, with comments from graduates. administrators, and faculty.

800.

Mandel, Howard. “Charlie Haden’s Search for Freedom.” Downbeat. Sept. 1987. 20–24. Interview-based feature recapping his life and career, including his original work with Ornette Coleman and the recent reunion of the original quartet.

New York 1—the New Thing

801.

129

McElfresh, Dave. “Charlie Haden: The Signal to Noise Interview.” Signal to Noise. 14 (Nov/Dec. 1999). n.p. Haden discusses Quartet West, the Montreal Tapes series, the Liberation Music Orchestra, his work with Ornette Coleman, and his wife and son’s albums.

802.

Morgenstern. Dan. “Charlie Haden—From Hillbilly to Avant-Garde—A Rocky Road.” Downbeat. Mar. 9, 1967. 20–21, 42. Interview-based profile, recapping Haden’s early years and work with Ornette Coleman, but focused on his recovery from heroin addiction at Synanon and return to playing with Archie Shepp, Coleman, and others.

803.

Ouellette, Dan. “Blindfold Test: Charlie Haden.” Downbeat. Dec. 1997. 110. Haden comments on recordings by Charles Mingus, Dave Holland, Paul Chambers, and Milt Hinton.

804.

Ouellette, Dan. “Blindfold Test: Charlie Haden.” Downbeat. May 2005. 130. Interviewed onstage at the International Association for Jazz Education conference in Long Beach, CA, Haden responds to recordings by Ron Carter, Dave Holland, John Patitucci, Avashi Cohen, William Parker, Keith Jarrett, and Carla Bley.

805.

Ouellette, Dan. “‘Maybe We Should Take Machine Guns Out and Shoot Everyone in the Audience.” Donwbeat. Jan. 2006. 42–45. Double interview of Charlie Haden and Carla Bley on the Liberation Music Orchestra’s Not in Our Name album. They take issue with its lukewarm critical reception and reflect back on the first LMO LP.

806.

Palmer, Bob. “Charlie Haden’s Creed.” Downbeat. July 20, 1972. 16–18, 45, 47. Long conversation on Haden’s background, work with Ornette Coleman, the internal politics of the music business and its relationships to national and international politics, rock as a distorted appropriation of Black music, and the sociology and politics of heroin.

807.

Palombi, Phil. “Two Charlie Haden Bass Solos.” Double Bassist. 43 (Winter 2007). 36–39. Haden’s improvisations from his compositions “Waltz for Ruth,” as recorded with Pat Metheny on Beyond the Missouri Sky, and “Blues for Pat,” as recorded with Josh Redman on Wish, are transcribed and his style analyzed.

808.

Richardson, Derk. “Shake the World Gently: Charlie Haden is Still Looking to Inspire Change.” Jazziz. Nov. 1999. 42–46, 62. Interview-based feature promoting Haden’s The Art of the Song with Quartet West, also including comments from Shirley Horn, Bill Henderson, John Scofield, and Pat Metheny. He discusses the value of tenderness and spirituality in music and expresses frustration at being identified only with the avant-garde, but also announces that the “election” of George W. Bush calls for a new Liberation Music Orchestra album and shares memories of working with Ornette Coleman and Archie Shepp.

809.

Shuster, Fred. “Charlie Haden: ‘Risk Your Life for Every Note.’” Downbeat. Aug. 1994. 16–19. Interview promoting Quartet West’s Always Say Goodbye and Ornette Coleman’s Beauty is a Rare Thing box set, but also covering Haden’s teaching at CalArts, the Liberation Music Orchestra, and other topics.

130

810.

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Wesp, Roland. “‘What is this Thing Called Love’—As Played by Brad Mehldau and Charlie Haden.” Jazz Research Notes. 18 (2005). 895–906. From their collaborative 1997 CD with Lee Konitz, Alone Together, Mehldau’s four chorus piano solo and Haden’s accompanying bass line are transcribed.

811.

Woodard, Josef, and Charlie Haden. Conversations with Charlie Haden. Los Angeles: Silman-James P, 2017. Collection of interviews conducted between 1988 and 2008, with forewords by Bill Frisell and Alan Broadbent. There is no bibliography, but all appear to have been published in Downbeat or JazzTimes and focus on Haden’s projects of the moment, with some reflections back on Ornette Coleman and other important collaborations.

812.

Zabor, Rafi. “Charlie Haden.” Musician: Player and Listener. Apr. 1984. 42–46, 48, 50, 52. Extended profile, with Haden speaking at length on his childhood, work with Ornette Coleman, the Liberation Music Orchestra, and the magic of improvising.

813.

Zipkin, Michael. “Charlie Haden: Struggling Idealist.” Downbeat. July 13, 1978. 27–28, 56–57. Interview on Haden’s drug relapse, his duets record The Golden Number, forthcoming duo albums with Ornette Coleman and Hampton Hawes, a pending reunion of the original Coleman quartet, and recaps of his initial meeting and 1960s work with Coleman, his addiction and recovery, work with Keith Jarrett, and his 1971 arrest in Portugal for criticizing the government from a jazz festival stage.

Harris, Beaver 814.

Feehan, Gene. “Black Baseball to Black Music.” Downbeat. Mar. 15, 1973. 18–21. Interview-based profile discussing his background, studies with Kenny Clarke, work with Sonny Rollins and Albert Ayler, collaboration with Archie Shepp on the Attica Blues album, and the formation of his own band, the 360 Degree Music Experience.

815.

Hazell, Ed. “Portraits: Beaver Harris.” Modern Drummer. Nov. 1989. 50–53. Interview on Harris’ band the 360 Degree Music Experience and his work with Archie Shepp, Albert Ayler, and Cecil Taylor, as well as his musical education and practice routine.

816.

Rusch, Bob. “Beaver Harris: Stories Part One.” Cadence. Feb. 1983. 5–9. Harris shares anecdotes about playing with Thelonious Monk, Sonny Rollins, and John Coltrane, and many wild tales from touring Japan and Europe with Archie Shepp.

817.

Rusch, Bob. “Beaver Harris: Stories Part Two.” Cadence. Mar. 1983. 12–16. Almost entirely a series of outrageous stories about working with Sonny Rollins, with Grachan Moncur III, Don Moore, and other passing through the band, concluding with a few words about Albert and Don Ayler to set up part 3.

818.

Rusch, Bob. “Beaver Harris: Stories Part Three.” Cadence. Apr. 1983. 19–21, 46.

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131

Asked about Albert Ayler’s death, Harris claims they were on the verge of major commercial success when he was with Ayler. Rusch then challenges Harris on his lyrics to Shepp’s “Money Blues” and Shepp’s own words for “For Losers,” calling them and the boogaloos they accompanied “lame” and “garbage.” Harris shrugs this off and tells another story about Monk.

Howard, Noah 819.

Freeman, Phil. “Out of Time.” The Wire. 263 (Jan. 2006). 26–32. Interview-based feature, with Howard talking through his ESP-Disk albums, his collaborations with Frank Wright: Uhura Na Umoja, One for John, and Church Number Nine, his own The Black Ark featuring Arhur Doyle, Patterns/Message to South Africa, Live at the Village Vanguard, and Red Star, and his current life in Belgium.

820.

Howard, Noah, and Lieve Fransen. Music in My Soul: The Posthumous Autobiography of Noah Howard. Köln: Buddy’s Knife. 2011. 148 p. Completed from notes by Howard’s widow Fransen, this memoir includes anecdotes about John Coltrane, Dewey Johnson, Sun Ra, Albert Ayler, Frank Wright, and Arthur Doyle, as well as his recordings for ESP-Disk and BYG. Comments from other musicians and excerpts from reviews are included. Black and white photos throughout, and a discography.

821.

Nai, Larry. “Noah Howard Interview.” Cadence. Jan. 1998. 5–8, 138–139. Biographical interview including his musical education, early work with Dewey Johnson, Giuseppi Logan, Byron Allen, Rashied Ali, and Sun Ra, his ESP albums, move to Europe and work with Frank Wright and Archie Shepp, and his subsequent travels and recordings for his own AltSax label.

Kenyatta, Robin 822.

Cuscuna, Michael. “The New Voice of Robin Kenyatta.” Jazz & Pop. 7:8 (Aug. 1968). 44–46. Interview-based profile on the release of Kenyatta’s Until, his work with Bill Dixon and Roswell Rudd, and several otherwise undocumented projects.

Lacy, Steve 823.

Bruce, Ryan D. W. Change of the “Guard:” Charlie Rouse, Steve Lacy, and the Music of Thelonious Monk. Ph.D. dissertation. Toronto: York U, 2013. xiii, 598 p. https:// yorkspace.library.yorku.ca/xmlui/handle/10315/27552 The essential characteristics of each musician’s style are described, along with their relationships to bebop and free jazz. Transcriptions include Lacy’s versions of “Evidence” from Evidence and Only Monk, and “Pannonica” from School Days, the last with Roswell Rudd’s counterpoint.

132

824.

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Bull, Peter, dir. Lift the Bandstand. VHS video. 50 min. New York: Rhapsody Films, 1986. Excerpts from a 1983 New York concert by Lacy’s Sextet frame an autobiographical interview discussing his work with Cecil Taylor, Roswell Rudd, and others.

825.

De Vuyst, Rita, ed. Bone: A Tribute to Steve Lacy. Book with CD. Gent, Belgium: Afkikker, 2003. 136 p. Compiled as a farewell gift on his return to the US after decades in Europe, with short contributions from Fred Van Hove, Mal Waldron, Joëlle Léandre, Mikail Bezverkhny, and Evan Parker, essays from Fernand Tanghe and Olivier Braet, multiple pieces by the editor, and an interview with Lacy. His work with poetry is a particular focus. A CD of a 2001 solo concert is included.

826.

Erickson, Jeff D. Signifying on the Greeks: The Use of Rhetorical Devices in Jazz Improvisation Analysis. D.M.A. dissertation. Urbana-Champaign: U of IL, 2015. www. ideals.illinois.edu/handle/2142/89017 European and African-American theories of rhetoric are applied to jazz solos from Lester Young, Sonny Rollins, Horace Silver, Miles Davis, Jim Hall, and Steve Lacy. Each is fully transcribed and discussed in detail from musicological and rhetorical perspectives. The Lacy piece is “Longing,” from his 1996 trio record Bye-Ya.

827.

“Esteem: Steve Lacy Remembered.” Point of Departure. 17 (May 2008). n.p. www. pointofdeparture.org/PoD17/PoD17Esteem1.html www.pointofdeparture.org/PoD17/ PoD17Esteem2.html www.pointofdeparture.org/PoD17/PoD17Esteem3.html www. pointofdeparture.org/PoD17/PoD17Esteem4.html Memories of Lacy from Jean-Jacques Avenal, Han Bennink, John Betsch, Kent Carter, Bobby Few, Franz Koglmann, George Lewis, Louis Moholo-Moholo, Evan Parker, Steve Potts, Enrico Rava, Roswell Rudd, Frederic Rzewski, Alexander von Schlippenbach, Richard Teitelbaum, and Fred Van Hove.

828.

Griggs, Steve. “Steve Lacy’s Solo on ‘Skippy:’ A Soprano Saxophone Transcription.” Downbeat. Dec. 1987. 60–62. Improvisation consisting of four 32-bar choruses on the Thelonious Monk composition from Lacy’s album Reflections.

829.

Jeske, Lee. “Prolific Steve Lacy and his Poly-Free Bag.” Downbeat. May 1980. 20–23. Interview describing his choice of the soprano saxophone, meeting Cecil Taylor and being challenged by him to play contemporary music, meeting Thelonious Monk and talking his way into his band for a few months, his move to Europe, the rewards and challenges of solo playing, his quintet, his trio with Ronnie Boykins and Dennis Charles, and a recent collaboration with Kenny Davern on the LP Unpredictable.

830.

Johnson, Lucien. The Way of Steve Lacy: Finding Individuality through Musical Genealogy. M.M. thesis. Wellington: New Zealand School of Music, 2012. vi, 223 p. http:// researcharchive.vuw.ac.nz/handle/10063/2109 Career overview, including transcriptions and analysis of Lacy’s solos on “Louise” (by Cecil Taylor), “Evidence” (by Thelonious Monk), “Brilliant Corners” (by Monk), and “Papa’s Midnite Hop” (by Lacy), and Lacy’s scores to his own “Bone,” “Existence,” “Prospectus,” “Worms,” and “Itinerary.”

New York 1—the New Thing

831.

133

Kinsella, Timothy P. A World of Hurt: Art Music and the War in Vietnam. Ph.D. dissertation. Seattle: U of WA, 2005. ix, 642 p. A discussion of Lacy’s suite The Woe is included in this survey, based on published interviews with Lacy and analysis of a recorded version, including transcription of the melody of the concluding section “The Wake” and translation of its French text.

832.

Kruth, John. “Rub Out the Word.” Signal to Noise. 16 (Mar/Apr. 2000). 18–20. Interview of Steve Lacy on Brion Gysin.

833.

Lacy, Steve. Clangs. CD. Switzerland: hatHUT, 1992. Liner notes include the scores to Lacy’s songs “The Owl” and “Torments.”

834.

Lacy, Steve. Findings: My Experience with the Soprano Saxophone. Book with 2 CDs. Éditions Outre Mesure: Paris, 1994. 223 p. Primarily a book of advice and exercises for soprano saxophonists, but much of the technical information is relevant to other saxophonists and the advice on improvisation to any musician. Also includes sheet music for Lacy’s compositions “No Baby,” “Hubris,” “Hallmark,” “Hurtles,” “Hustles,” “Hocus-Pocus,” “The HeebieJeebies,” “Saxovision,” “Loopholes,” “Three Points,” “Flim-Flam,” “Drawls,” “Dewline,” “Dues,” “Art,” “Tips,” “Prospectus,” “Deadline,” and transcribed solos from new versions of “Evidence,” “Art,” “No Baby,” and “Prospectus.” A discography, with notes on selected sessions, bibliography, and biography are also included. Bilingual English/French.

835.

Lacy, Steve. Prospectus. Newton Center, MA: Margun Music, 1987. iii, 56 p. Sheet music collection with lead sheets and small group scores for “The Dumps,” “Prospectus,” Somebody Special,” and “The Way,” lead sheets only for “Art,” “Bone,” “Nowhere Street,” “Postcard,” and “Utah,” scores only for “Note,” “Three Points,” “The Throes,” “Troubles,” “Whiffs,” and “Wickets,” and the lead sheet and large ensemble score for “Worms,” as recorded by the Globe Unity Orchestra on Compositions.

836.

Lacy, Steve. “Remark.” Shuffle Boil. 1 (Winter 2002). 20–21. Piano and vocal score.

837.

Lacy, Steve. Steve Lacy. DAT audio cassette. Jazz Oral History Project, Smithsonian Institution, Washington, DC. 2004. Biographical interview. Finding aid not available.

838.

Lacy, Steve. Steve Lacy Digital Collection. New York: ARChive of Contemporary Music, 2012. Scans of his complete handwritten scores. Over 500 pieces appear, approximately 300 with lyrics. Many include performance instructions, other annotations, and collaged images of their dedicatees. Contact arcmusic.org for access.

839.

Lange, Art. “A Fickle Sonance.” Point of Departure. 17 (May 2008). n.p. www. pointofdeparture.org/archives/PoD-17/PoD17FickleSonance.html A tribute, exploring his musical settings of poetry.

840.

Martinelli, Francesco. “A European Proposal.” Point of Departure. 17 (May 2008). n.p. www.pointofdeparture.org/archives/PoD-17/PoD17EuropeanProposal.html

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A tribute centered on his time in Europe and collaborations with European improvisers including Evan Parker and Lol Coxhill. 841.

Nai, Larry. “Steve Lacy Interview.” Cadence. Nov. 1998. 5–17. Extended biographical interview on his youth, early musical experiences, work with and memories of various traditional jazz players, then his introduction to the avantgarde through Cecil Taylor and Don Cherry. Lacy details his work with both of them, with Ornette Coleman, and his 1966 free improvising group that recorded The Forest and the Zoo. The interview then skips to the present, discussing The Cry and recent reunions with Roswell Rudd and Cecil Taylor.

842.

Parry, Roger. “Steve Lacy’s Beat Suite: Weekend in Paris.” Coda. 311 (Sept/Oct. 2003). 11–13. An in-studio account of the recording sessions for Lacy’s final album before his move back to the US.

843.

Scott, Richard. “The Man with the Straight Horn.” The Wire. 100 (June 1992). 14–16, 18, 20–23. Interview recapping his early work with Cecil Taylor and Jimmy Giuffre, his free improvising band that made The Forest and the Zoo, moving to Europe to work with MEV, the 20th anniversary of his sextet, and what he calls “post-free” music.

844.

Shoemaker, Bill. “Page One.” Point of Departure. 17 (May 2008). n.p. www. pointofdeparture.org/archives/PoD-17/PoD17PageOne.html Interview from 2001, discussing setting words to music, writing for bassist Jean-Jacques Avenal compared to his predecessor Kent Carter, and the extensive use of overdubbing on his album Dreams and its connection to Brion Gysin’s tape experiments.

845.

Shoemaker, Bill. “Steve Lacy’s Relentless Intensity.” Downbeat. May 1992. 16–18. Lacy discusses his big band record Itinerary, as well as his Vespers and Futurities albums. Sidebars include a selected discography, a short conversation with Lacy’s bandmate Steve Potts, and notes on Lacy and Potts’ saxophone setups.

846.

Shoemaker, Bill. “What’s New? The PoD Roundtable.” Point of Departure. 17 (May 2008). n.p. www.pointofdeparture.org/archives/PoD-17/PoD17WhatsNew.html Allan Chase and Benoît Delbecq share their memories of Steve Lacy, including his teaching techniques in individual lessons and at the New England Conservatory, his study of bebop, ambivalence about free improvisation, connections to painting and poetry, and his audition for Miles Davis.

847.

Shoemaker, Bill. “What’s New? The PoD Roundtable.” Point of Departure. 29 (June 2010). n.p. http://pointofdeparture.org/archives/PoD-29/PoD29WhatsNew.html Email exchange with Daniel Blake, Monika Heidemann, Josh Sinton, Dan Tepfer, and Jeremy Udden, on their experiences studying with Lacy at the New England Conservatory in his last years.

848.

Sinton, Josh. “On Steve Lacy’s Ducks.” Sound American. 9 n.d. n.p. http://soundamerican. org/sa_archive/sa9/sa9-steve-lacy.html Analysis of Lacy’s variously titled “Duck” pieces (all versions of the same theme), in the context of his career and as a way to define the unique elements of his compositional/

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improvisational approaches, based on multiple recordings and Sinton’s studies with Lacy at the New England Conservatory. 849.

Weiss, Jason, ed. Steve Lacy: Conversations. Durham, NC: Duke UP, 2006. vii, 289 p. Interviews from 1959 to 2004 are arranged chronologically. Weiss introduces the volume with an overview of Lacy’s life and work and prefaces each interview with a paragraph or two of context and background. Some short writings by Lacy are also included, as are the scores for his art songs: “Dreams,” “Mind’s Heart,” and “3 Haiku.”

Lancaster, Byard 850.

Rusch, Bob. “Byard Lancaster: Interview.” Cadence. March 1980. 5–9. Discusses his education and his work with David Eyges, Sunny Murray, Material, and Sun Ra. Rusch challenges him on his plans to start a big band covering Motown hits, accusing him of abandoning creative music, while Lancaster argues that emulating Ornette Coleman and John Coltrane has become old fashioned and that incorporating R&B is an artistic and economic imperative.

Lasha, Prince [Lawsha] 851.

Romero, Enrico. “Prince Lawsha: A Short Talk.” Cadence. June 1981. 10–11. He describes growing up in Fort Worth with Ornette Coleman, Dewey Redman, and many other musicians, collaborating with Eric Dolphy, and his ongoing inspiration from Dolphy and John Coltrane.

852.

Weiss, Ken. “Prince Lasha Interview.” Cadence. May 2006. 5–12. Career-spanning interview, from his first jump blues band in Fort Worth with Ornette Coleman and Charles Moffett through meeting Sonny Simmons in Oakland, then moving to New York, working with Eric Dolphy, and recording Illumination! with Elvin Jones. The Lasha/Simmons LPs The Cry and Firebirds are also covered, as well as his professional decline in the 1970s and current comeback.

Lee, Jeanne 853.

Büchter-Römer, Ute. New Vocal Jazz: Untersuchungen zur Zietgenössischen Improvisierten Musik mit der Stimme anhand Ausgewählter Beispiele. Frankfurt: Peter Lang, 1991. vi, 524 p. Lee and Lauren Newton are featured in this German-language survey. Intersections of jazz and new music are a major theme, and there are extensive scores and transcriptions appended, including Newton’s “Rice Paper” and “Lexicon of Musical Invective” and Lee’s performances of “Kreislauf,” “Wellspring,” and “Surprise with Thomas,” composed by Gunter Hampel.

854.

Lewis, David. “Jeanne Lee & David Eyges Interview.” Cadence. Apr. 1997. 5–13. Double interview, with Lee describing their meeting in Gunter Hampel’s group, the need for avant-garde players to be grounded in a traditional vocabulary, and her

136

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work on Hampel’s The 8th of July 1969, Archie Shepp’s Blasé, Marion Brown’s Afternoon of a Georgia Faun, Carla Bley and Michael Mantler’s Escalator over the Hill, and with Jimmy Lyons and Andrew Cyrille on Nuba. 855.

Porter, Eric. “Jeanne Lee’s Voice.” in People Get Ready: The Future of Jazz is Now! eds. Ajay Heble and Rob Wallace. Durham, NC: Duke UP, 2013. 88–110. Also in Critical Studies in Improvisation. 2:1 (2006). n.p. www.criticalimprov.com/article/ view/53/184 Opens with an overview of her life and work, including collaborations with Ran Blake, Gunter Hampel, Marion Brown, Jackson MacLow, and her own ensemble, then centers on a reading of “In These Last Days,” recorded with Jimmy Lyons and Andrew Cyrille on Nuba, arguing that it presents a utopian improvisational simultaneous articulation of identity and universality.

Logan, Giuseppi 856.

Fine, Eric. “Saxophonist Giuseppi Logan Returns to Recording After 40-Year Absence.” Downbeat. June 2010. 19. A short account of Logan’s reemergence, featuring Matt Lavelle’s role in his revival, with comments from Logan and Dave Burrell.

857.

Gershon, Pete. “Out from the Shadows.” Signal to Noise. 53 (Spring 2009). 26–33. Profile on his reappearance after over 35 years on the streets, with comments from Bernard Stollman, Dave Burrell, and Matt Lavelle. Includes significant detail about ESP-Disk and the mid-1960s New York free jazz scene.

Lowe, Frank 858.

Palmer, Bob. “Frank Lowe: Chasin’ the Trane out of Memphis.” Downbeat. Oct. 10, 1974. 18, 41. Interview-based profile on his background, including studies at the San Francisco Conservatory, work with Sun Ra, Alice Coltrane, Rashied Ali, Don Cherry, and others, and the influence of John Coltrane, members of the AACM, and the blues.

859.

Ratliff, Ben. “Meandering on a Riff: Frank Lowe for Prez.” Option. May/June 1992. 54–57. Interview-based profile on Lowe’s album Inappropriate Choices and the influences of Stax Records and Lester Young. Lowe also speaks on the dangers of becoming trapped in John Coltrane’s influence and in energy music, highlighting the melodic and humorous aspects of free jazz instead.

860.

Rusch, Bob. “Frank Lowe: Interview.” Cadence. Jan. 1982. 5–8, 90. Topics include growing up in Memphis, his early musical influences, work with Alice Coltrane and Lester Bowie, and studying Thelonious Monk. He also describes his choice to make fewer and more varied albums than many of his peers and cites Cecil Taylor’s guest appearance on Tony Williams’ The Joy of Flying album as a positive sign for free jazz on major labels.

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861.

137

Taylor, Derek. “Frank Lowe: The One Final Note Interview.” One Final Note. Jan. 2001. n.p. www.onefinalnote.com/features/2001/lowe/ Lowe describes serving in Vietnam, playing with Donald Rafael Garrett, Alice Coltrane, and Don Cherry, making his albums Black Beings and Decision in Paradise, and seeking musical catharsis, with or without drugs.

Lyons, Jimmy 862.

Litweiler, John. “Profile: Jimmy Lyons.” Downbeat. Jan. 16, 1975. 34. Mostly in Lyons’ own words, describing his youth, work with Cecil Taylor, and his general musical aesthetic.

863.

Miedema, Harry. “Lyons, Jimmy.” in Jazz Styles & Analysis: Alto Sax: A History of the Jazz Alto Saxophone via Recorded Solos. Chicago: Maher Pub, 1975. 60–61. Transcription of the first third of Lyons’ solo from the title track of Cecil Taylor’s Conquistador.

Maupin, Bennie 864.

Maupin, Bennie, with Gregg Bendian. Bennie Maupin. Two audio cassettes and transcript. Oral History of American Music: Major Figures in American Music. New Haven: Yale Music Library, 2013. Career overview, including stories about being introduced to Ornette Coleman’s music by John Coltrane and recording with Marion Brown, as well as on his more famous work with Miles Davis and Herbie Hancock.

McBee, Cecil 865.

Freeman, Phil. “Upright Citizen.” The Wire. 373 (Mar. 2015). 24–27. Interview-based profile, discussing his work with Alice Coltrane, with Pharoah Sanders, and for the Strata-East label.

McPhee, Joe 866.

Berkowitz, Kenny. “Fading Light: Joe McPhee, the Last Avant-Gardist.” Option. Jan/ Feb. 1996. 74–78. Interview-based feature contrasting McPhee’s life in Poughkeepsie and on the road, then tracing his career from childhood to Nation Time through his concept of Po Music and the difficult making of Sweet Freedom—Now What? with Paul Plimley and Lisle Ellis.

867.

Hamilton, Andy. “Beyond the Fringe.” The Wire. 229 (Mar. 2003). 32–37. Interview-based feature covering his full biography and touching on his album Nation Time, his tributes to Jimmy Giuffre, his series of pieces named for figures in the African-American liberation struggle, Trio X, and many other projects.

138

868.

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Jones, Alan. “Joe McPhee: McPhee on McPhee and Other Matters of Relevancy.” One Final Note. Jan. 2001. n.p. www.onefinalnote.com/features/2001/mcphee/ Largely on his early musical experiences, education, and concepts, with some discussion of the album Nation Time, then largely skipping ahead to the present to his tribute to Albert Ayler with a bass quartet, collaborations with the Nihilist Spasm Band, Michael Bisio, and Hamid Drake, and the influence of Anthony Braxton and Jimmy Giuffre on his work.

869.

McPhee, Joe. “The Inner Sleeve.” The Wire. 358 (Dec. 2013). 70. For a regular monthly column where a guest discusses a favorite album cover, McPhee chose his own Nation Time, explaining the political and institutional circumstances of its recording, including its connections to Vassar College, Amiri Baraka and his poem “It’s Nation Time,” CJR Records, and Hat Hut Records, as well as the iconography of the cover itself. McPhee also promotes the forthcoming box set of the complete Nation Time sessions.

870.

McPhee, Joe, with Taylor Ho Bynum. Joe McPhee. Two audio cassettes and transcript. Oral History of American Music: Major Figures in American Music. New Haven: Yale Music Library, 2012. Career-spanning interview, from his early musical experiences through the albums Underground Railroad, Nation Time, Trinity, and Tenor, his work with Clifford Thornton, Don Cherry, Pauline Oliveros, Peter Brötzmann, and Steve Lacy, and his bands Survival Unit I, II, and III, and Trio X.

871.

Mehlan, Matthew, dir. Joe McPhee//Trio X. Online video. New York: Roulette, 2008. https://vimeo.com/10642244 Edited trio improvisation by McPhee, Dominic Duval, and Jay Rosen, followed by an interview of McPhee. Twenty-eight minutes.

872.

Rusch, Bob. “Rapping with Joe McPhee.” Cadence. 2:3/4 (1977). 3–5, 9. McPhee describes his youth and development, his collaborations with synthesist John Snyder, Don Cherry, and Clifford Thornton, teaching at Vassar, and balancing a creative music career and a full-time job outside of music.

873.

Shoemaker, Bill. “Page One.” Point of Departure. 19 (Oct. 2008). n.p. http://point ofdeparture.org/archives/PoD-19/PoD19PageOne.html Interview on his 1960s experiences with Ornette Coleman and Donald Ayler and recording Freedom and Unity with Clifford Thornton, then on his emergence as a leader, recording Nation Time and working with CJR and hatHut Records, as well as collaborating with Ken Vandermark, Peter Brötzmann, and Trio X.

874.

Shukaitis, Stephen. “Now is the Only Place Where Things Can Actually Happen: An Interview with Joe McPhee.” Cesura-Acceso. 1 (Oct. 2014). 38–51. http://cesuraacceso.org/issues/now- is- the- only- place- where- things- can- actually- happen_ stevphen-shukaitis/ Discusses collaboration, connections between free music and R&B, politics and spirituality in his work, the Brötzmann tentet, and living in Poughkeepsie.

875.

Spencer, Robert. “Joe McPhee Interview.” Cadence. Nov. 2000. 17–28.

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Long career-spanning talk including McPhee’s work with Clifford Thornton, Don Cherry, Michael Bisio, Dominic Duval, Evan Parker, Paul Plimley, and Lisle Ellis, his experiences recording for CJR and hatHut, and his tributes to Jimmy Giuffre and Albert Ayler. Also features questions on the role of composition in his work, particularly The Watermelon Suite. 876.

Svirchev, Laurence M. “Joe McPhee: A Future Retrospective.” Coda. 262 (July/Aug. 1995). 28–30. Interview-based profile, with McPhee discussing “Po” music, his discovery of jazz as a child, meeting Clifford Thornton and Ornette Coleman, his experiences with the CJR and Hat labels, and the apparently small Black audience for his music.

877.

Warburton, Dan. “Invisible Jukebox: Joe McPhee.” The Wire. 294 (Aug. 2008). 20–23. Blind listening test, with records by Ornette Coleman, Dominic Duval, Sunny Murray, Clifford Thornton, the Vandermark 5, and others.

Moffett, Charles 878.

Rusch, Bob. “Charles Moffett Interview.” Cadence. Feb. 1997. 5–17. Detailed biographical interview, including growing up playing in bands with Prince Lasha, Ornette Coleman, Dewey Redman, and John Carter, how the trio with Coleman and David Izenzon formed and how he was fired, moving to Oakland and working there with Lasha and Sonny Simmons, and recording his album The Gift, Lasha’s It is Revealed, Charles Tyler’s self-titled ESP album, Archie Shepp’s Four for Trane, and Frank Lowe’s Decision in Paradise.

879.

Wilmer, Valerie. “Charles Moffett: Gettin’ Out There.” Downbeat. May 4, 1967. 18–19, 43. Interview-based profile on his background, aesthetics, and work with Ornette Coleman.

Moncur, Grachan, III 880.

Moncur, Grachan III. “New Africa.” Downbeat. Oct. 1970. 31–34. Small group score for this suite, recorded on Moncur’s New Africa LP and on Archie Shepp’s The Way Ahead.

881.

Weiss, Ken. “Grachan Moncur III Interview.” Cadence. Oct. 2006. 5–11. Moncur discusses his work with Jackie McLean, Archie Shepp, and Roswell Rudd, largely angry about his lack of success and recognition.

Murray, Sunny 882.

Cashman, Scott M. Nightclub Capitalism and Expatriate Jazz Musicians in Paris. Ph.D. dissertation. Amherst: U of MA, 2001. xvi, 804 p.

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Detailed study of the lives of African-American musicians working in Paris, drawing on interviews with Murray, Glenn Spearman, Sonny Simmons, Archie Shepp, Marion Brown, and Steve Potts, as well as players not associated with free jazz. Substantial interview transcripts from the first three are included, especially Murray. 883.

Prum, Antoine, dir. Sunny’s Time Now: A Portrait of Jazz Drummer Sunny Murray. DVD. Luxembourg: Paul Thitges Distributions, 2008. Footage of Murray rehearsing with a large ensemble frames an appreciation of his career and discussion of the politics of free jazz and its reception in Europe. Interviewees include Tony Bevan, Daniel Caux, Bobby Few, Ekkehard Jost, Grachan Moncur III, Tony Oxley, William Parker, Sonny Simmons, Cecil Taylor, François Tusques, Val Wilmer, Robert Wyatt, Murray’s son, and Murray himself. He is also shown playing duo with Tusques, trio with Bevan and John Edwards, and in a quartet with Few and Simmons. 107 minutes.

884.

Warburton, Dan. “Invisible Jukebox: Sunny Murray.” The Wire. 199 (Sept. 2000). 18–20. Blind listening test with records by Albert Ayler, the New York Art Quartet, Michel Portal, Alan Silva, Cecil Taylor, and others. Murray describes meeting John Tchicai and Han Bennink while on tour in Europe with Taylor in 1962, sitting in with John Coltrane, and being with Amiri Baraka, Allen Ginsberg, and William S. Burroughs when they heard John F. Kennedy was killed. He also discusses his politics relative to Archie Shepp’s.

885.

Warburton, Dan. “Sunny Murray Interview.“ Paris Transatlantic. 2001. n.p. www. paristransatlantic.com/magazine/interviews/murray.html Extensive talk on his work with Cecil Taylor and Albert Ayler, sitting-in with John Coltrane, problems recording for ESP, BYG, and Columbia, and the St. Louis Blues album with Archie Shepp and Richard Davis, as well as his relationship to bebop and his opinion of other free jazz drummers, including Milford Graves, Andrew Cyrille, Steve McCall, Ed Blackwell, and others.

886.

Weston, Spencer. “Sunny Murray: Interview.” Cadence. 5:6 (1979). 14–18. Murray relates a series of colorful stories involving John Coltrane, Cecil Taylor, Albert Ayler, Elvin Jones, Max Roach, and Art Blakey. He also discusses musical freedom, commercialism, the drum set as an African-American invention, and his albums Hommage to Africa and Apple Cores.

887.

Wilmer, Valerie. “Controlled Freedom is the Thing This Year.” Downbeat. Mar. 23, 1967. 16–17. Interview-based profile describing his development, work with Cecil Taylor and Albert Ayler, and his musical goals.

Neidlinger, Buell 888.

Rusch, Bob. “Buell Neidlinger: Interview.” Cadence. June 1986. 5–21, 66. Career-spanning discussion, with detailed accounts of his recordings with Steve Lacy and Cecil Taylor, as well as his own album New York City R ‘n’ B, reissued under Taylor’s name. Neidlinger complains about record producers dictating band lineups,

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claims LeRoi Jones and the October Revolution harmed the new music, compares himself to Taylor’s other bassists (much better than Alan Silva, much worse than Henry Grimes), denounces Alice Coltrane for overdubbing on unreleased John Coltrane recordings, and praises Charles Gayle, whom he met in the 1960s and who had not recorded at the time of this interview. 889.

Stewart, Zan. “Buell Neidlinger.” Downbeat. June 1981. 21–23, 60. Interview-based profile, including his work with Cecil Taylor and in Jimmy Giuffre’s quartet sharing the bill with Ornette Coleman at the Five Spot.

890.

Woodard, Josef. “Digressive Greatness Declared: Buell Niedlinger.” JazzTimes. Apr. 2002. 52–54, 128, 130. Aptly titled interview-based profile, with significant sections on Cecil Taylor and Charles Gayle.

The New York Art Quartet 891.

Allen, Clifford. “Artmosis: The New York Art Quartet.” Point of Departure. 42 (Mar. 2013). n.p. www.pointofdeparture.org/PoD42/PoD42Artmosis.html A review of the Call it Art box set, recapping the group’s career and supplementing the box set’s thorough book (894) with discussions of their innovative uses of composition and non-timekeeping drums and their position between New York and European free music.

892.

Roth, Alan, dir. The Breath Courses Through Us. Digital video. 75 min. Brooklyn: Asymmetric Pictures, 2013. Documentary centered on the NYAQ’s 35th anniversary reunion concerts in 2009, with footage from the shows and interviews with the members: John Tchicai, Roswell Rudd, Reggie Workman, and Milford Graves, and their regular guest poet Amiri Baraka, plus Ben Young, David Murray, Pierre Dørge, and Steve Lacy. Shown at film festivals, it seems to have not gotten further distribution or a DVD release. See http:// www.thebreathcoursesthroughus.com

893.

Shoemaker, Bill. “Page One.” Point of Departure. 27 (Feb. 2010). n.p. http://pointof departure.org/archives/PoD-27/PoD27PageOne.html A recap of the career of the NYAQ, including substantial discussion of the Jazz Composers Guild, on the release of Old Stuff, a CD of previously unissued 1965 recordings of John Tchicai and Roswell Rudd with Finn von Eyben and Louis Moholo. Shoemaker argues that this European version of the NYAQ has been overshadowed by the US version.

894.

Young, Ben. “Calling it Art.” in The New York Art Quartet. Call It Art: The New York Art Quartet 1964–1965. 5 LPs and book. New York: Triple Point Records, 2012. 156 p. Definitive history of the NYAQ, based on published sources, interviews with Tchicai, Rudd, and Graves, and archival materials. Includes numerous photographs, manuscript scores, notebook pages, and other ephemera, plus Duck Baker’s memories of seeing the group live, a list of all their known performances illustrated with posters and advertisements, and detailed commentary on the recordings.

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Peacock, Annette 895.

McElfresh, Dave. “Personal Effects.” Signal to Noise. 20 (Winter 2001). 20–23. Interview-based profile including anecdotes about Paul Bley, David Bowie, and Albert Ayler, as well as her own work.

896.

Morgan, Andrew. “A Dance to the Music of Time.” The Wire. 382 (Dec. 2015). 34–41. Cover story discussing her work as performer and composer with Paul Bley, Han Bennink, and Marilyn Crispell.

897.

Peacock, Annette. “Blood.” Downbeat. Oct. 17, 1968. 36. Voice and piano score for her composition, as recorded by Paul Bley and others. Four systems, unmetered and unbarred.

Peacock, Gary 898.

Buium, Greg. “Gary Peacock Interview Pt. 1.” Cadence. Sept. 2001. 9–15. Centered on his work with Keith Jarrett and Jack DeJohnette, but stretching to also include significant discussion of his collaborations with Paul Bley, Paul Motian, Marilyn Crispell, and Albert Ayler.

899.

Buium, Greg. “Gary Peacock Interview Pt. 2.” Cadence. Oct. 2001. 5–13. Reviews his work in the mid-1960s, including Paul Bley’s Turning Point, the Lowell Davidson Trio, Albert Ayler’s groups, subbing with Miles Davis, and having his life derailed by a bad LSD experience.

900.

Peacock, Gary, and Gregg Bendian. Gary Peacock. Oral History of American Music: Major Figures in American Music. 3 cassettes and transcript. New Haven: Yale University Library, 2013. Among many other topics, Peacock discusses free improvisation, his work with Paul Bley and Albert Ayler, his marriage and collaboration with Annette Peacock, and the effects of his mid-1960s LSD experiences.

901.

Sabin, Robert W. Gary Peacock: Analysis of Progressive Double Bass Improvisation, 1963–1965. PhD dissertation. New York: NYU, 2014. xviii, 553 p. https://pqdtopen. proquest.com/doc/1657429095.html?FMT=ABS Written with Peacock’s cooperation, this study covers his period of greatest engagement with free jazz, including work with Albert Ayler, Paul Bley, Lowell Davidson, and Tony Williams, as well as more mainstream work with Bill Evans and Miles Davis. It opens with a biography and descriptions of the albums he recorded in the mid-1960s including tables of musical structures and bass approaches employed, from walking lines on song forms to interactive harmonically and rhythmically free playing. The core is full transcriptions and analyses of five performances, two with Evans, “Long Ago and Far Away” and “Blues” from Paul Bley with Gary Peacock, and “Ghosts, First Variation” from Ayler’s Spiritual Unity. Bley and Ayler’s parts are also transcribed, as is Paul Motian’s drumming with Bley. A 2011 interview with Peacock is also included.

New York 1—the New Thing

902.

143

Sabin, Robert W. “Revolution in Action: A Motivic Analysis of ‘Ghosts: First Variation’ as Performed by Gary Peacock.” Online Journal of Bass Research. 8 (Jan. 2017). n.p. www.ojbr.com/8-1.asp Standalone presentation of the Albert Ayler material from 901.

Phillips, Barre 903.

Morgan, Jon. “Journal Violone: Barre Phillips.” Coda. 293 (Sept/Oct. 2000). 4–7. Edited in-depth conversation, largely on his approach to free improvising, especially solo.

904.

Pekar, Harvey. “Barre Phillips: Five Decades in the Avant-Garde.” Bass Player. Mar. 2001. 42, 44, 46. Survey of his career in jazz, improvised, and classical music, with comments from Phillips and a selected discography.

Pozar, Cleve [Robert] 905.

Lore, Adam. “Cleve Pozar.” 50 Miles of Elbow Room. Oct. 2008. n.p. www. 50milesofelbowroom.com/articles/73-cleve-pozar.html Long interview, explaining the compositions on his Good Golly Miss Nancy and Solo Percussion albums, and also discussing his work with Cooper-Moore and at the ONCE Festival.

906.

Shteamer, Hank. “Cleve Pozar: Working out of Another Bag.” Perfect Sound Forever. Apr. 2008. n.p. www.furious.com/perfect/clevepozar.html Shteamer tracks down Pozar, who had stopped performing and changed his name, for an interview on his work with Bob James, Bill Dixon, and solo.

Pullen, Don 907.

Mandel, Howard. “Blindfold Test: Don Pullen.” Downbeat. Nov. 1989. 43. Piano-centered listening test, ranging from James P. Johnson to Cecil Taylor, with stops for Duke Ellington, Charles Mingus, Thelonious Monk, McCoy Tyner, and others.

908.

Mandel, Howard. “Don Pullen: Piano Inside & Out.” Downbeat. June 1985. 20–21, 63. Interview-based feature recapping his career. Pullen argues that his first recordings with Giuseppi Logan and Milford Graves gave people the false impression that he could only play free, while he had a simultaneous career playing organ in Harlem clubs. His subsequent work with Nina Simone, Charles Mingus, George Adams, and as a leader has been a synthesis.

909.

Pullen, Don. Don Pullen. Two DAT audio cassettes and transcript. Jazz Oral History Project, Smithsonian Institution, Washington, DC. 1994.

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In-depth biographical interview. Finding aid not available. 910.

Smith, Arnold Jay. “Profiles: Don Pullen.” Downbeat. July 14, 1977. 17–18. Interview-based piece on Pullen’s first American album as a leader, Tomorrow’s Promises, also discussing his work with Giuseppi Logan and Muhal Richard Abrams’ influence on him.

911.

Watson, Philip. “Invisible Jukebox: Don Pullen.” The Wire. 109 (Mar. 1993). 44–45. Blindfold test, with records by Liberace, Charles Mingus, Thelonious Monk, Bud Powell, Cecil Taylor, Larry Young, and others. Pullen comments that Taylor is “profound,” but not a jazz musician.

912.

Whitehead, Kevin. “Don Pullen: Reconciling Opposites.” Downbeat. Nov. 1989. 26–28. Interview-based profile, tracing his career back through the 1960s, when he supported himself playing soul jazz organ while recording free jazz with Giuseppi Logan and Milford Graves, then his work with Charles Mingus, his collaborative band with George Adams, and his trio album with Gary Peacock and Tony Williams. He explains and demonstrates aspects of his cluster technique.

Redman, Dewey 913.

Jackson, Michael. “Dewey Redman: A Journeyman’s Past.” Downbeat. Jan. 2004. 28. Interview-based profile touching on Redman’s work with Ornette Coleman and Cecil Taylor, as well as an anecdote about meeting John Coltrane.

914.

Litweiler, John. “Dewey Redman: Coincidentals.” Downbeat. Nov. 6, 1975. 14–16, 38. Interview on his youth and education, apprenticeship in San Francisco, and work in New York with Ornette Coleman, Charlie Haden, and Keith Jarrett. He comments on the musette, his new LP Coincide, and planned projects including work for orchestra, a saxophone book, and taking up the baritone sax.

915.

Mandel, Howard. “Cringe of the Lone Wolf: Dewey Redman.” Downbeat. Feb. 1992. 22–24. Preparing for a Lincoln Center tribute concert, Redman looks back, commenting on his work with Ornette Coleman, Keith Jarrett, and his own work. Jane Bunnett and his son Josh also contribute.

916.

Mandel, Howard. “Dewey Redman: Nobody’s Foil.” Downbeat. Feb. 1983. 18–20, 46. Interview-based profile, with Redman talking at length about his work with Ornette Coleman, dropping anecdotes about turning down job offers from Donald Ayler and Thelonious Monk, praising his sideman Mark Helias, and expressing unhappiness with the albums he recorded with Keith Jarrett.

Rivers, Sam 917.

Borgo, David, and Joseph Goguen. “Rivers of Consciousness: The Nonlinear Dynamics of Free Jazz.” Jazz Research Proceedings Yearbook 2005. Manhattan, KS: IAJE, 2005. 46–58.

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Adapted excerpt from 203. Chaos theory and categories of interaction developed by Tom Nunn (1463) are used to analyze the form of Sam Rivers’ improvised sets, in particular the 1973 Hues of Melanin performance with Cecil McBee and Barry Altschul, identifying cues and the manipulation of density and tempo to alter the perception of time during the performance. 918.

Brower, W. A. “Sam Rivers: Warlord of the Lofts.” Downbeat. Nov. 16, 1978. 21–22, 39, 47–49. Interview-based profile naming Rivers one of the few major survivors of the 1960s jazz revolution, discussing his large ensemble piece “Evocation,” and narrating the rise and fall of “loft jazz” as a commercial phenomenon, including Rivers’ conflicts with Alan Douglas, Michael Cuscuna, Stanley Crouch, and Newsweek.

919.

Buium, Greg. “Forever Young: Sam Rivers.” Coda. 289 (Jan/Feb. 2000). 6–8. Largely a review of concerts by Rivers’ big band in New York and his trio in Vancouver, but also including comments from Rivers linking his current trio to his ’70s trios featuring Dave Holland and Joe Daley, explaining the organization of his improvised trio sets and big band compositions, and emphasizing his and his sidemen’s versatility, compared to peers and former associates who only play free jazz.

920.

Hamilton, Andy. “Going with the Flow.” The Wire. 217 (Mar. 2002). 28–32. Interview-based career-spanning feature, from his work with Miles Davis and Andrew Hill and his Blue Note albums through the loft era, his album Streams, work with Dave Holland and Cecil Taylor, and his move to Florida.

921.

Lopez, Rick. The Sam Rivers Sessionography. www.bb10k.com/RIVERS.disc.html 1997-present. Detailed list of every known performance or recording by Rivers, prefaced with a biography and supplemented with album covers, scanned posters, flyers, and other ephemera, liner notes, reviews, etc.

922.

Meehan, Norman. “Sam Rivers’ Tenor Sax Solo on ‘Beatrice.’” Downbeat. Nov. 2003. 82–83. Transcription of the three chorus improvisation on Rivers’ best-known composition, from Fuschia Swing Song. With brief analytic notes.

923.

Nai, Larry. “Sam Rivers Interview.” Cadence. Oct. 1999. 5–12, 137. Long, wide-ranging interview, including comments on his extensions of harmony to full chromaticism, unschooled improvisers such as Ornette Coleman, Frank Wright, and Giuseppi Logan, experiences with Blue Note, Impulse, and other labels, and work with Clifford Thornton, T-Bone Walker, Dizzy Gillespie, and Sun Ra.

924.

Palmer, Bob. “Sam Rivers: An Artist on an Empty Stage.” Downbeat. Feb. 13, 1975. 12–13, 33. Interview-based biographical feature, covering Rivers’ youth, education, apprenticeship, Blue Note albums, work with T-Bone Walker, Miles Davis, Cecil Taylor, McCoy Tyner, and Dave Holland, and his Impulse LPs Streams and Crystals.

925.

Panken, Ted. “Sam Rivers: Scene Shaper.” Downbeat. Apr. 2000. 32–36. Interview-based profile, spanning his entire career but highlighting his decisions to settle in Orlando, Florida after touring with Dizzy Gillespie, and to start a big

146

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band there, drawing on the excellent musicians who work at Disneyworld and other resorts. Anthony Cole, Dave Holland, Steve Coleman, and Bob Stewart also discuss their work with Rivers. 926.

Panken, Ted. “Sam Rivers: WKCR-FM, New York, September 25, 1997.” jazzhouse. org. 1999. www.jazzhouse.org/library/?read=panken20 Radio interview transcript, on Rivers’ Florida trio and big band, his childhood, education, and years in Boston working with Tony Williams and becoming interested in free playing, then moving to New York, playing with Miles Davis, and beginning to record as a leader. He also describes in more detail how his trio with Dave Holland and Barry Altschul worked and how his album Fuschia Swing Song and the composition “Beatrice” came together.

927.

Primack, Bret. “Blindfold Test: Sam Rivers.” Downbeat. Mar. 22, 1979. 29. Rivers comments on records by Michael Gregory Jackson, Don Cherry, Keith Jarrett, and others.

928.

Rivers, Sam. “La Musique dans les Greniers de New York.” Musique en Jeu. 32 (Sept. 1978). 105–108. Rivers introduces the loft scene to the French, explaining some of its material and economic context, as well as some predecessors, such as George Braith’s Muse Art. He describes it as continuing the musical and organizational innovations of the 1960s, lists major lofts, and gives the Wildflowers series of LPs a qualified endorsement. In French.

929.

Rivers, Sam. Sam Rivers. Four DAT audio cassettes and transcript. Jazz Oral History Project, Smithsonian Institution, Washington, DC. 2001. In-depth biographical interview. Finding aid not available.

930.

Rodwan, John G. Jr. “Sam Rivers: Jazz’s Forgotten Man.” Jazz Research Journal. 6:1 (2013). 7–25. Analyzes multiple factors leading to Rivers’ lack of recognition relative to his peers: his relationships with bandleaders including Miles Davis and Cecil Taylor and record companies including Blue Note and Impulse, falling in between postbop and free players stylistically and generationally, his selection of sidemen, and his choice to live outside of New York for much of his career.

931.

Shaw, George Washington Jr. Relationships between Experiential Factors and Percepts of Selected Professional Musicians in the United States Who are Adept at Jazz Improvisation. Ph.D. dissertation. Norman: U of OK, 1979. v, 877 p. Rivers is among the interview subjects. Besides his own career, influences, and musical values, he explains Cecil Taylor’s working methods and notation and critiques European and Japanese free jazz.

932.

Shoemaker, Bill. “Page One.” Point of Departure. 56 (Sept. 2016) and 57 (Dec. 2016). n.p. http://pointofdeparture.org/archives/PoD-56/PoD56PageOne.html http://point ofdeparture.org/archives/PoD-57/PoD57PageOne.html A history of loft jazz, from the early 1960s through Ornette Coleman’s Artists House to Rivers’ Studio Rivbea, intertwined with an account of Rivers’ career from his first

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work as a leader in Boston, Blue Note and Impulse albums, and role in the loft scene, ending with the Wildflowers set of compilation LPs and his closing of Studio Rivbea and leaving New York City at the close of the 1970s. The effects of record companies, urban real estate, and other material and institutional circumstances on music are also considered. 933.

Shoemaker, Bill. “Tapping the Creative Process.” Downbeat. Oct. 2005. 96–97. An account of Rivers’ visit to the Peabody Institute of Music to perform his work with their big band, organized by Michael Formanek. Includes many of Rivers’ comments on his compositional and arranging process transcribed from rehearsals and master classes.

Robinson, Perry 934.

Palmer, Bob. “Perry Robinson: Clarinet Energy.” Downbeat. Oct. 12, 1972. 16, 38–39. Interview on his background, meeting Ornette Coleman at the Lenox School of Jazz in 1959 and Archie Shepp and Bill Dixon at the 1962 Helsinki Festival, and the early 1960s Village free jazz scene.

935.

Robinson, Perry, and Florence Wetzel. Perry Robinson: The Traveler. San Jose, CA: Writers Club P, 2002. xxvi, 413 p. Memoir interpolating other voices from published sources and interviews, covering his work with Carla Bley, Paul Bley, Don Cherry, Lou Grassi, Henry Grimes, Charlie Haden, Gunter Hampel, David Izenzon, William Parker, Annette Peacock, Roswell Rudd, and Archie Shepp, and including stories from Burton Greene and Steve Tintweiss and candid discussion connecting the free jazz scene to other aspects of the 1960s counterculture, particularly use of LSD and other hallucinogens.

Rudd, Roswell 936.

Baker, David. “Roswell Rudd’s ‘Wherever June Bugs Go’ Solo.” Down Beat. Feb. 3, 1972. 30–32. Also in Baker, David. Jazz Styles & Analysis: Trombone: A History of the Jazz Trombone via Recorded Solos. Chicago: Downbeat Music Workshop Pub, 1973. 114–117. Transcription of the opening section of the trombone solo from Archie Shepp’s composition as recorded on Shepp’s Live in San Francisco LP. Glissando and trill lines, “x” noteheads, and position numbers are used to represent some unorthodox techniques and sounds.

937.

Dupont, David. “Roswell Rudd Interview Pt. One.” Cadence. Oct. 1992. 9–14. Beginning with his work since the 1980s in Catskills resorts, the conversation moves back to cover his musical education and apprenticeship, then his work with Herbie Nichols, a comparison of Nichols’ music and Thelonious Monk’s, and Rudd’s many interpretations of both through his career.

938.

Dupont, David. “Roswell Rudd Interview Pt. Two.” Cadence. Nov. 1992. 8–19.

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Historical conversation continues with the early 1960s milieu Rudd shared with Herbie Nichols, Cecil Taylor, Archie Shepp, Steve Lacy, and Buell Neidlinger, then into the Jazz Composers Guild, the New York Art Quartet, their ESP-Disk recording with Amiri Baraka, recording New York Eye and Ear Control with Albert Ayler, work with Shepp, and Rudd’s own LP Everywhere for Impulse. He discusses the racial dynamics of 1960s free jazz in the context of the NYAQ recording and his touring with Shepp. 939.

Heckman, Don. “Roswell Rudd.” Downbeat. Jan. 30, 1964. 14–15. Interview-based profile on his background, influences, and his quartet with Steve Lacy specializing in Thelonious Monk’s compositions. He defends the concept of a repertory band by comparing it to artists who have adopted Charlie Parker’s language and to the radicalism of Ornette Coleman.

940.

Himes, Geoffrey. “Song Styles of a Planet.” JazzTimes. Jan./Feb. 2006. 76–80. Interview-based feature promoting his collaboration with Mongolian musicians and using his 70th birthday reunion with his college Dixieland band Eli’s Chosen Six to argue that the free collective playing of early jazz is the key to all his music.

941.

Panken, Ted. “Blindfold Test: Roswell Rudd.” Downbeat. Apr. 2002. 86. Rudd comments on recordings by Woody Herman, George Lewis, Charles Mingus, Julian Priester, Ray Anderson, and Steve Turre.

942.

Primack, Bret. “Roswell Rudd: Transmission from the Soul.” Downbeat. Oct. 5, 1978. 24–25, 58, 61. Almost entirely in his words, discussing his move out of New York to teach ethnomusicology, then rewinding to childhood and working forward through his education, the early Village scene with Herbie Nichols and Steve Lacy, forming the New York Art Quartet, joining Archie Shepp’s group, and his various European and US projects since.

943.

Rudd, Roswell. “The Artist Formerly Known as Avant-Garde.” Shuffle Boil. 5/6 (2006). 12. Rudd asks to no longer be referred to as “avant-garde,” humorously observing that it is impossible that the way he played in the 1960s can still be cutting-edge forty years later, and that the term “avant-garde” is from the 19th century and he is not quite that old.

944.

Rudd, Roswell. “Primordial Music Workbook: A Tonary for Improvisors of the 21st Century.” Shuffle Boil. 2 (Summer 2002). 31–36. Short theoretical essays on elements of music, each with a practical exercise or performance application for improvisers. Topics include meter, rhythm, polyrhythm, pitch, intervals, and transposition. Rudd describes this as a sample from a booklength work and invites publishers to contact him.

945.

Rudd, Roswell. “The Universality of the Blues .  .  . Some Quartertones around the Drone.” Downbeat. Jan. 25, 1968. 22–23, 26. Drawing on his experiences working for Alan Lomax, Rudd makes a case for the natural and cross-cultural qualities of improvised, vocalized, microtonally infected, polyrhythmic, orally transmitted music. He also argues for living more in harmony with God and nature, rather than Western mechanized consumer society. The piece is half conventional prose and half stream-of-consciousness.

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946.

149

Sperber, Martin. Improvisation in the Performing Arts: Music, Dance, and Theatre. Ed. D. thesis. New York: Columbia U, 1974. v, 136 p. Rudd is among the interview subjects for this project, addressing both how improvisation can specifically be taught and how it can be useful in general pedagogy. He entertains a number of questions on the value of unstructured or untrained playing, complicating them with answers invoking context and idiom.

Sanders, Pharoah 947.

Baker, David. “Pharoah Sanders’ Solo ‘Sun in Aquarius, Pt. 2.’” Downbeat. June 22, 1972. 34–36. Complete 172 bar solo over a two-chord, two-bar vamp from Sanders’ Jewels of Thought LP, transcribed for tenor saxophone with analytic notes.

948.

Bierman, Benjamin. “Pharoah Sanders, Straight-Ahead and Avant-Garde.” Jazz Perspectives. 9:1 (2015). 65–93. Argues that Sanders’ work in a range of styles, from high energy free playing to “world music” vamps to standard forms with walking bass, has hindered his critical recognition compared to artists who stay in one subgenre. He analyzes John Coltrane’s “The Father, the Son, and the Holy Ghost” from Meditations, Sanders’ “The Creator Has a Master Plan” (from Karma), and the title track from Thembi to represent the first two types of playing, touches on his smooth jazz Love Will Find a Way, then concentrates on 1981’s Live, an apex of his “inside” playing, and its reception.

949.

Blum, Joe. “Pharoah Sanders: A Free-Jazz Flower Child Blooms in a New Age.” Musician. Dec. 1982. 36, 38, 40, 42, 44–45, 113. Interview-based profile on Sanders’ return after several years off following the unsuccessful pop crossover album Love Will Find a Way, also covering his work with Sun Ra and John Coltrane and the politics of free music.

950.

Coyle, Michael. “Pops, Pygmies, and Pentecostal Fire: Sanders and Thomas’ ‘The Creator Has a Master Plan.’” in Black Music, Black Poetry: Blues and Jazz’s Impact on African American Versification. ed. Gordon E. Thompson. Burlington, VT: Ashgate, 2013. 163–179. Interprets the title piece in the context of Sanders and Thomas’ careers, the theological implications of the lyrics, African and African-American antecedents for the extended saxophone and vocal techniques used, and versions on Thomas’ solo album and Louis Armstrong and His Friends.

951.

Johnson, Martin. “Pharaoh’s Return.” Downbeat. Apr. 1995. 20–23. Interview-based profile in which he expresses ambivalence about his latest CD: the John Coltrane tribute Crescent with Love, and declines to comment on a recent show with Charles Gayle or his collaboration with The Last Poets on the Red Hot + Cool compilation. He prefers to discuss his CD with Maleem Mahmoud Ghania’s group The Trance of Seven Colors, his youth, Sun Ra, and his lifelong search for the right mouthpiece and reeds.

952.

Kahn, Ashley. “Jewels of Thought: The Pharoah Sanders Interview.” JazzTimes. Jan./ Feb. 2008. 92–98.

150

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Sanders discusses his youth and his current work, then gives some details of how the last John Coltrane band learned and prepared material, explains how he got to work with Sun Ra, and compares his vocalized saxophone sounds to those of Dewey Redman and Gato Barbieri. 953.

Ouellette, Dan. “Riffs: Pharoah Sanders.” Downbeat. Aug. 1991. 15. Sanders reflects on his relationship with high-energy free jazz in light of the conventional forms on the album he is promoting, Welcome to Love, and notes that he is investigating Moroccan and Indian music.

954.

Panken, Ted. “Hardcore Hookup.” Downbeat. Mar. 2005. 34–39. Joint interview of Sanders and Kenny Garrett on their collaboration, mutual admiration, constant search for better tone, and early influences. Sanders also tells some stories about John Coltrane.

955.

Solis, Gabriel. “Timbral Virtuosity: Pharoah Sanders, Sonic Heterogeneity, and the Jazz Avant-Garde in the 1960s and 70s.” Jazz Perspectives. 9:1 (2015). 47–63. Analysis centering on Sanders’ solos on John Coltrane’s Ascension and his own “Village of the Pharaohs,” “Hum-Allah-Hum-Allah,” and “Red, Black, and Green,” to argue that the complexity of his music is in the manipulation of timbre, not harmony, rhythm, or melody, all of which are more easily described and notated with Western musicological tools. Solis also argues that this focus on timbre, as well as Sanders’ use of repetitive rhythmic backing, was a version of the merger of free jazz and R&B called for in LeRoi Jones’s essay “The Changing Same” (522) and anticipated the jazz and African-influenced 1970s funk of bands such as War and Earth, Wind, and Fire.

956.

Taylor, Jeffrey. “‘Live from the East:’ Pharoah Sanders in Brooklyn.” American Music Review. 17:2 (2013). 1–4. www.brooklyn.cuny.edu/web/academics/centers/hitchcock/ publications/amr/v42-2/taylor.php The East was a Black Nationalist cultural center in Brooklyn, founded in 1969. Sanders’ Live at the East album was not actually recorded there, but simulated the setting with an invited audience. Taylor uses a 2010 Brooklyn performance by Sanders to frame discussions of the community around The East, Sanders’ LP, and their connections.

957.

Terrell, Tom. “Moonchild: Pharoah Sanders.” JazzTimes. Oct. 2000. 54–57, 118. Interview-based 60th birthday overview, including his 1970s “quiet storm classic” Love Will Find a Way and recent collaborations with Bill Laswell and Kahil El-Zabar.

958.

Welch, Jane. “Pharoah Sanders: ‘I Play for the Creator.’” Downbeat. May 13, 1971. 15, 32. Interview-based profile on the members of Sanders’ band, his upcoming LP Thembi, his previous Impulse discs, and connections between spirituality and energy in his work.

959.

Williams, Martin. “Pharaoh’s Tale.” Downbeat. May 16, 1968. 21–22. Also in Williams, Martin. Jazz Changes. New York: Oxford UP, 1992. 121–126. Interview-based profile covering Sanders’ youth, his introduction to free playing in Oakland with Sonny Simmons, then his move to New York and work with Don Cherry and John Coltrane.

New York 1—the New Thing

151

Sharrock, Linda 960.

Watson, Philip. “Exile’s Song.” The Wire. 130 (Dec. 1994). 18. Short interview-based profile on her meeting Sonny Sharrock in the mid-1960s, living together on the Lower East Side at the height of the free jazz movement, working together with Herbie Mann and on their own, divorcing, moving to Europe, and collaborating with her second husband Wolfgang Puschnig and others.

Sharrock, Sonny 961.

Bourne, Mike. “Sonny Sharrock’s Story.” Downbeat. June 11, 1970. 16–18, 25. Interview on his debut album Black Woman, reviewing back to his work with Herbie Mann and Pharoah Sanders, comparing the rhythmic concepts of Tony Williams and Milford Graves, and criticizing established jazz and rock guitar approaches.

962.

Chapin, Gary Parker. “When Sonny Gets Blue.” Option. Jan/Feb. 1992. 54–57, 118. Interview-based biographical profile. Refusing to comment on the breakup of Last Exit, Sharrock puts forward Ask the Ages and Highlife as examples of the legacy of Pharoah Sanders and Black Woman: free improvisation within structure. He also dismisses Monkey-Pockie-Boo as ruined by his sidemen.

963.

Dery, Mark. “Sonny Sharrock.” Guitar Player. Feb. 1990. 70–76, 78, 81–84. Lengthy profile covering his career through Last Exit’s Iron Path and his own Faith Moves, plus an interview largely on his aesthetics and guitar technique.

964.

Drozdowski, Ted. “Sonny Sharrock: Learning to Win Friends and Alienate People with the Founder of Free Guitar.” Musician. Sept. 1988. 60–62. Interview-based biographical profile, including his work with Herbie Mann (and comments from Mann), Linda Sharrock, Pharoah Sanders, Last Exit, and his own band.

965.

Milkowski, Bill. “Of Guts and Guitars: Vernon Reid and Sonny Sharrock.” Downbeat. July 1993. 24–28. Reid dominates this interview, with generous praise of Sharrock, who gets space to discuss his inspirations from John Coltrane and Blind Willie Johnson and his session for Miles Davis’ Jack Johnson album.

966.

Sharrock, Sonny. “Free Improvisation: An Innovator’s View.” as told to Dannette Hill. Guitar Player. Feb. 1989. 101–102, 104. Sharrock explains the use of arpeggios, modes, and chord scales. He classifies improvisers into creators, who are there to tell a story, jugglers, who are there to display skill, tinkers, who present their inventions, and fools, who make noise.

967.

Sinker, Mark. “New York is Now.” The Wire. 73 (Mar. 1990). 22–23, 26. Brief double profile of Sonny Sharrock and Melvin Gibbs, with Sharrock reminiscing about the mid-1960s Village free scene and Gibbs describes his various bands and working at Tower Records while recording Power Tools’ Strange Meeting.

152

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Shepp, Archie 968.

Baker, David. “Orange, Joseph (Joe).” Jazz Styles & Analysis: Trombone: A History of the Jazz Trombone via Recorded Solos. Chicago: Downbeat Music Workshop Pub, 1973. 102. Transcription of Orange’s solo on “Hambone,” from Shepp’s Fire Music. Two sixteen bar choruses, plus an eight bar tag.

969.

Bouchard, Fred. “Blindfold Test: Archie Shepp.” Downbeat. Sept. 1983. 49. Shepp comments on records by Count Basie (featuring Eddie “Lockjaw” Davis), Ricky Ford, Giuseppi Logan, Sonny Rollins, and Bennie Wallace. The Logan is a repeat from Shepp’s politically confrontational 1966 Blindfold Test (977 and 978). When prompted, he declines to revisit those statements, sounding resigned to the pop music world.

970.

Brady, Shaun. “Deep Blues.” JazzTimes. July/Aug. 2014. 38–43. Shepp describes his embouchure problems, why he tours more in Europe than in the US, reviving the Attica Blues Big Band, the legacy of that album, his use of poetry, and the consequences of the 1960s avant-garde in general.

971.

Calmore, John O. “Critical Race Theory, Archie Shepp, and Fire Music: Living an Authentic Intellectual Life in a Multicultural World.” Southern California Law Review. 65 (1992). 2129–2230. Jazz serves here as a model of both democracy and African-American particularity, while Shepp represents oppositional intellectual and artistic practice. After an overview of Shepp’s life and work and its personal significance to the author, the bulk of the text is a high-level introductory survey of critical race theory and its critics.

972.

Cassenti, Frank, dir. I am Jazz . . . It’s My Life. VHS tape. New York: Rhapsody Films, 1984. One hour documentary of Shepp holding forth and performing in Paris in the 1980s.

973.

Davis, Barry. “Archie Shepp: Jerusalem Journey.” Downbeat. Oct 2005. 30–31. Interview-based profile of Shepp as he plays the Tel Aviv Jazz Festival. The setting inspires him to discuss religion, and he describes his choices to play increasingly mainstream music, while also reminiscing about Cecil Taylor.

974.

Ephland, John. “Archie Shepp: Proud Pioneer.” Downbeat. May 2017. 36–39. Interview on his being named a NEA Jazz Master, touching on many of his collaborators, primarily John Coltrane.

975.

Eshun, Kodo. “Righteous Brother.” The Wire. 122 (Apr. 1994). 12–14. Interview-based profile discussing the theatrical and poetic elements of his 1960s music, Cecil Taylor’s influence on his career, and the popularity of his Attica Blues LP in the new British dance club scene.

976.

Fayenz, Franco. Il Jazz Dal Mito All’Avanguardia. Milano: Sapere, 1970. 509 p. Italian-language history of jazz, with each chapter organized around a key figure, and Shepp the final one, centering the story of the avant-garde from hard bop through Mingus and Coltrane to Shepp’s Impulse albums.

New York 1—the New Thing

977.

153

Feather, Leonard. “Blindfold Test: Archie Shepp, Pt. 1.” Downbeat. May 5, 1966. 35. Shepp comments on records by Gerald Wilson, Bill Evans, and John Coltrane. He praises Wilson but argues Cecil Taylor should have the resources to lead a big band, moderately compliments Evans but uses his record to endorse Cecil Taylor’s criticism of Evans, and states that there is no one besides his father who he respects more than Coltrane.

978.

Feather, Leonard. “Blindfold Test: Archie Shepp, Pt. 2.” Downbeat. May 19, 1966. 40–41. Shepp comments on records by Ben Webster, Zoot Sims, the Sextet of Orchestra USA (with Eric Dolphy), Giuseppi Logan, and Art Blakey.

979.

Freedman, Sam. “Archie Shepp: Embracing the Jazz Ritual.” Downbeat. Apr. 1982. 22–25. Interview-based profile on his recent trilogy of albums for Steeplechase exploring spirituals (Goin’ Home), the blues (Trouble in Mind), and Charlie Parker (Looking at Bird). Anecdotes from his childhood about his parents and neighbors’ musical tastes are interjected.

980.

Giardullo, Joe. “Archie Shepp.” Coda. 254 (Mar/Apr. 1994). 24–25. Excerpts from two conversations with Shepp, including a reminiscence of Albert Ayler, the declaration that “jazz history stopped when Coltrane died,” and Shepp’s story of blowing his chance to sign with John Hammond and Columbia Records in the late 1960s.

981.

Litweiler, John. “Shepp: An Old Schoolmaster in a Brown Suit.” Downbeat. Nov. 7, 1974. 15–17, 44. Interview-based feature focused on the simultaneous disrespect and exploitation of Black music, with an account of Shepp’s musical initiation in Philadelphia in the 1950s.

982.

Neal, Larry. “A Conversation with Archie Shepp.” Liberator. V:11 (Nov. 1965). 24–25. Shepp describes his music as an extension of African-American folk culture, but admits that it would be difficult for him, Cecil Taylor, or Ornette Coleman to play their current music for a Harlem audience. While he, Taylor, and Bill Dixon are stepping forward to explain their work, he says he is also prepared to play more commercial music to communicate and create change.

983.

Pfleiderer, Martin. “Goin’ Home: On Archie Shepp’s Sound Shaping.” Jazzforschung/ Jazz Research. 34 (2002). 133–147. Shepp’s 1977 performance of the spiritual “Goin’ Home” is transcribed into standard notation and subjected to spectral analysis to show his expressive use of varied pitch articulations and timbral colors. This article appears in a festschrift for Ekkehard Jost and develops his spectrographic analysis of Shepp’s playing (162), combining it with more conventional musical analysis and applying it to this later work of Shepp’s. Pflediderer concludes by connecting Shepp’s techniques to African-American oral traditions, following Putschögl (985).

984.

Primack, Bret. “Archie Shepp: Back to Schooldays.” Downbeat. Dec. 21, 1978. 27–28, 59–61.

154

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Largely in Shepp’s own words, on the distinct qualities and richness of AfricanAmerican culture and the shape of his career, particularly his connections to John Coltrane: his appearance on Ascension and his own homage Four for Trane. He also relates the shock of hearing Albert Ayler live for the first time and recalls Roswell Rudd recommending him to Rudd’s cousin Charles Keil, who was staffing SUNY Buffalo’s African-American Studies program, for his first academic job. 985.

Putschögl, Gerhard. “Zur Schlüsselfunktion der Musik in der Afro-Amerikanischen Kultur: Archie Shepp über die Musiktradition der Schwarzen Amerikaner.” Jazzforschung/Jazz Research. 18 (1986). 67–86. in English as “Black Music—Key Force in Afro-American Culture: Archie Shepp on Oral Tradition and Black Culture.” in History and Tradition in Afro-American Culture. ed. Günter H Lenz. Frankfurt: Campus, 1984. 262–276. Traces the role of oral and communal Black musics through Shepp’s work and argues that these aspects of African-American music are in conflict with the commercial music industry, then discusses Shepp’s collaborations with and interpretations of Coltrane, as well as Shepp’s turn to more traditional jazz in the mid-1970s.

986.

Reiser, Melissa D. Music, Negritude, and the “African Renaissance:” Performing Blackness at the World Festivals of Black Arts in Dakar, 1966 and 2010. Ph.D. dissertation. Madison: U of WS, 2014. iv, 392 p. http://depot.library.wisc.edu/repository/ fedora/1711.dl:SAUSN4ZIIBMQ59E/datastreams/REF/content Shepp’s performance at the 1969 Pan-African Festival in Algeria is contrasted to Duke Ellington’s at the 1966 Dakar event. Draws on fieldwork and French and African sources.

987.

Rusch, Bob. “Archie Shepp: Interview.” Cadence. 5:3 (1979). 3–6. Topics include record companies, Cal Massey, Shepp’s early unsuccessful audition for Riverside Records, his album For Losers, the influences of Stan Getz and John Coltrane on his playing, and his incorporation of rock, R&B, and mainstream jazz elements since the 1960s.

988.

Shepp, Archie. “An Artist Speaks Bluntly.” Downbeat. Dec. 16, 1965. 11, 42. Shepp repudiates writers who have criticized his work in Downbeat and elsewhere and white jazz fans who are startled by and resentful of Black anger. He links the jazz establishment to the racist American system as a whole, which he ranks as only possibly better than South Africa, Rhodesia, and South Vietnam, claiming solidarity with Castro and Ho Chi Minh and predicting revolution.

989.

Shepp, Archie. “Black Power and Black Jazz.” New York Times. Nov. 26, 1967. J1, J4. A quick history of the development of African-American music in relation to the condition of African-American life, in the manner of Blues People, leads Shepp to Black power and Baraka’s Black Arts Theatre, then to the New Wave in Jazz LP, recorded at a benefit concert for that school and featuring Albert Ayler, John Coltrane, and Shepp himself. He explains the origins and liberatory agenda of the music, as he understands them.

990.

Shepp, Archie. “Fortunes Unattended: Notes on the History of Black American Music.” Lightworks. 10 (Fall 1978). 47–49.

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155

Traces the material history of African-American music, with particular attention to slaves’ adaptation to the instruments available after the suppression of drums and to the lack of African-American ownership in the music industry. Shepp points out the exploitation of Black music by white performers and of Black performers by a whitecontrolled industry and concludes by rhetorically asking why there aren’t Blackowned entertainment collectives. 991.

Shepp, Archie. “Innovations in Jazz.” in History and Tradition in Afro-American Culture. ed. Günter H Lenz. Frankfurt: Campus, 1984. 256–261. Writing in the 1980s, Shepp dismisses free jazz as an elitist modernist heresy, which cut “so-called ‘jazz’” off from its roots, including recent ones as popular music, older ones in Black Christianity, and even older ones in Afro-Diasporic and ultimately African religions. He argues that the rhythmic, instrumental, and other innovations of “jazz” are essentially African, that African-Americans have a first claim on this music, which they often fail to exercise, and that, while there are notable white interpreters of “jazz,” there are no white innovators and whites who identify with the music are often attempting to address their individual psychological issues through Black heroes.

992.

Shepp, Archie. “Junebug Graduates Tonight: A Jazz Allegory.” in Black Drama Anthology. eds. Woodie King and Ron Milner. New York: Signet, 1971. 33–76. A two-act play featuring characters named Muslim, America, Cowboy, and Uncle Sam, as well as the titular Junebug, a young Black man pulled in many directions. Apparent influences include Jean Genet and A Raisin in the Sun, as well as the work of Amiri Baraka and other Black Arts Movement writers.

993.

Shepp, Archie. “On Pugilism: For Billie, in Memoriam.” Jazz. July 1966. 7. Although Muhammad Ali is not named, this article is likely inspired by his March 1966 refusal to submit to the military draft. Shepp compares jazz and boxing as American entertainments based on the exploitation of Black bodies, notes the phenomenon of the “Great White Hope,” and concludes by quoting one of the pilots who bombed Hiroshima that he was not concerned because the targets were “colored people.”

994.

Shepp, Archie. “A View from the Inside.” Downbeat’s Music’66. 39–42, 44. Shepp attacks the ignorance and racism of critics of the avant-garde (alluding to Leonard Feather by quoting the title of a song he composed: “I Remember Bird”). He gives a genealogy of his influences and of the new jazz, starting by noting that “jazz” is a label put on Black music without its creators’ consent, then decrying the segregation of “jazz” from “modern American music” such as Aaron Copland and John Cage, and hailing Charlie Parker and Thelonious Monk as his Ravel and Debussy, and Sun Ra, George Russell, and Cecil Taylor as his equivalents to Varèse and Ives. He maps the liberation of form through Miles Davis and John Coltrane’s music of the 1950s to Ornette Coleman and Taylor, then catalogs his favorite players on the various horns. He introduces a distinction between melodic/motivic “post-Ornette” players and “energy-sound” players. The article concludes by discussing his musician friends who have died prematurely in obscurity, linking and decrying conditions in Harlem, Watts, and Vietnam.

156

995.

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Smith, Miyoshi. “Archie Shepp Interview.” Cadence. Aug. 1989. 5–12. On the economics and spirituality of African and African-American music, and the legacy of John Coltrane.

996.

Smith, Steve. “Archie Shepp: The Sound and the Fury.” JazzTimes. June 2001. 46–50, 52, 54, 164–5. Interview-based profile, reviewing Shepp’s career and making a case that his 1998 St. Louis Blues, 1999 Conversations with Kahil El-Zabar and the Ritual Trio, and 2000 reunion with Roswell Rudd, Grachan Moncur III, Reggie Workman, and Andrew Cyrille, represent a return to his 1960s music after decades of playing standards. Shepp discusses growing up with Lee Morgan, working with John Coltrane and Cecil Taylor, theater, and his relationships with Impulse Records and the University of Massachusetts at Amherst.

997.

Walden, Daniel. “Black Music and Cultural Nationalism: The Maturation of Archie Shepp.” Negro American Literature Forum. 5:4 (Winter 1971). 150–154. Overview of Shepp’s public career to the late 1960s, drawing on published sources to map his complicated position as a radical critic of American racism and icon of Black rage who is married to a white woman and has white musicians in his band.

998.

Warburton, Dan. “Invisible Jukebox: Archie Shepp.” The Wire. 357 (Nov. 2013). 22–26. Blindfold listening test, with records by John Coltrane, Jacques Coursil, Bill Dixon, Duke Ellington, Vernard Johnson, Fela Kuti, the New York Art Quartet, Matana Roberts, and Frederick Rzewski. Shepp only recognizes Fela and asks if the Coltrane record is one of his own. He tells anecdotes about being fired from Cecil Taylor’s group and playing opposite Miles Davis on a 1967 European tour.

999.

Wild, David. “Archie Shepp/Niels-Henning Ørsted Pedersen Duet on ‘Confirmation:’ A Tenor Sax/Bass Transcription.” Downbeat. July 1982. 62–63. The two chorus saxophone solo and accompanying bass line on Charlie Parker’s composition, as recorded on this duo’s Looking at Bird, with analytic notes.

Silva, Alan 1000.

Monk, Vanita and Johanna. “Alan Silva Wants His MTV.” Monastery Bulletin. Aug. 4, 2001. www.monastery.nl/bulletin/silva/silva.html n.p. Silva discusses moving between keyboard and bass, the role of improvised music in history and in the counterculture, and the power relationships implicit in playing compositions, whether his own, Beethoven, or jazz standards, until a hostile journalist and an even more hostile drunk join the conversation and it becomes unmanageable and untranscribable.

1001.

Nai, Larry. “Alan Silva Interview.” Cadence. July 1999. 5–12, 14–19, 135–136. In-depth career-spanning interview, covering his work with the Free Form Improvisation Ensemble, Cecil Taylor, Bill Dixon, Albert Ayler, Sun Ra, Archie Shepp, Frank Wright, his ESP album Skillfullness, the Celestial Communication Orchestra, and his experiences with record labels including ESP, BYG, and his own Center of the World. He also discusses his decision to switch to performing mostly on synthesizer.

New York 1—the New Thing

1002.

157

Warburton, Dan. “Alan Silva Interview.” Paris Transatlantic. Nov. 8–22, 2002. n.p. www.paristransatlantic.com/magazine/interviews/silva.html Long conversation starting with his first musical experiences and covering the Jazz Composers Guild, the Free Form Improvisation Ensemble, his work with Cecil Taylor, Bill Dixon, Sun Ra, Albert Ayler, Sunny Murray, and Dave Burrell, the Celestial Communication Orchestra, the Center of the World collective with Frank Wright, Bobby Few, and Muhammad Ali, his school the Institut Art Culture Perception, and alternative approaches to releasing recordings.

1003.

Warburton, Dan. “Be True to Your School.” The Wire. 228 (Feb. 2003). 36–43. Interview-based feature tracing his life story from childhood and early musical experiences through the Free Form Improvisation Ensemble with Burton Greene, Bill Dixon and the Jazz Composers Guild, playing on Sunny Murray’s ESP-Disk album, Cecil Taylor’s Unit Structures, and Albert Ayler’s Live in Greenwich Village and Love Cry, going to Algeria in 1969 with Archie Shepp’s group, then continuing to Paris for the BYG-Actuel sessions, including his own The Seasons, and staying in Europe to join Center of the World and start the Instiut Art Culture Perception, concluding with his return to working in the US, leading a large group at the Vision Festival and recording for new independent free jazz labels such as Eremite.

Simmons, Sonny 1004.

Feather, Leonard. “Blindfold Test: Sonny Simmons—Prince Lasha.” Downbeat. May 16, 1968. 33. The two reedmen comment on records by Albert Ayler, Ornette Coleman, Eric Dolphy, Rolf & Joachim Kühn, Hubert Laws, Bud Shank, and Count Basie.

1005.

Fine, Jason. “Spirit in the Sky: The Cosmic Jazz of Sonny Simmons.” Option. Mar/Apr. 1996. 76–79, 81. Interview-based biographical feature on his 1994 comeback album Ancient Ritual, his shows promoting it, and a forthcoming follow-up Magnificent Ruin (released as American Jungle).

1006.

Hamilton, Andy. “The Crying Game.” The Wire. 285 (Nov. 2007). 34–39. Interview-based biographical feature.

1007.

Miedema, Harry. “Simmons, Huey (Sonny).” in Jazz Styles & Analysis: Alto Sax: A History of the Jazz Alto Saxophone via Recorded Solos. Chicago: Maher Pub, 1975. 88–89. Transcribed solo from “A.Y.” as recorded on The Cry with Prince Lasha.

Smith, Frank 1008.

Smith, Frank. “Anti-Semitism in the Black Ghetio.” Liberator. July 1966. 22. Saxophonist Smith, a white free jazz player who appeared with Burton Greene and Albert Ayler, writes a letter to the editor making a case for interracial solidarity against the system, objecting to the attacks on Jews in LeRoi Jones’ poem “Black Art,” published in the January 1966 issue.

158

1009.

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Smith, Frank. “The New Music.” East Village Other. 1:3 (1965). 32. A review of a performance at Slugs’ by Giuseppi Logan with Don Pullen, Henry Grimes, and Milford Graves, as well as a manifesto, arguing that conventional musical aesthetics and considerations of technique are irrelevant in this music, that it is a public liberation of emotion and physicality, which he compares to both rage and sexual intercourse in intensity, spontaneity, and authenticity.

1010.

Smith, Frank. “Record Reviews.” Jazz. July 1966. 23, 26–30. Extravagant praise for Albert Ayler’s Spirits Rejoice, Ornette Coleman’s At the Golden Circle, Stockholm, Volume 2, John Coltrane’s Ascension, and a mixed reaction to Coltrane’s spilt LP with Archie Shepp New Thing at Newport, which he says does not present either at their best.

Tchicai, John 1011.

Buium, Greg. “The Second American Journey of John Tchicai.” Coda. 295 (Jan/Feb. 2001). 8–13. Interview-based cover story on his work since returning to the US to teach at the University of California at Davis. He also describes his compositional approach and looks back on his career, including the New York Art Quartet and work with ICP, FMP, and other European communities.

1012.

Iacono, Christopher. “The Real Quietstorm.” Signal to Noise. 16 (Mar/Apr. 2000). 28–31. Career-spanning profile with comments from Charlie Kohlhase and Roswell Rudd.

1013. Miedema, Harry. “Tchicai, John Martin.” in Jazz Styles & Analysis: Alto Sax: A History of the Jazz Alto Saxophone via Recorded Solos. Chicago: Maher Pub, 1975. 94–95. Transcription of his solo on Archie Shepp’s composition “The Funeral,” from the New York Contemporary Five’s Live in Europe. 1014.

Morgenstern, Dan. “John Tchicai: A Calm Member of the Avant-Garde.” Downbeat. Feb. 10, 1966. 20–21, 49–50. Interview-based cover story on his background in Denmark, meeting American players, moving to New York, the Jazz Composers Guild, his collaboration with Roswell Rudd, and the influence of race in the new music and its reception.

1015.

Tchicai, John. Advice to Improvisers: Compositions and Exercises for All Instruments. Copenhagen: Wilhelm Hansen, 1987. 43 p. Includes a short essay with notes on composition, group ear training, and ensemble free improvisation, scores for sixteen compositions, and eight pages of exercises to develop improvisational vocabulary and saxophone technique, as well as a biography and discography.

1016.

Witherden, Barry. “Soulmining.” The Wire. 142 (Dec. 1995). 18. Short interview-based profile on his new album Love is Touching but also summarizing his career, particularly his work with John Coltrane and the New York Art Quartet.

New York 1—the New Thing

159

Thornton, Clifford 1017.

Palmer, Robert. “Clifford Thornton: Flowers in the Gardens of Harlem.” Downbeat. June 19, 1975. 19–20, 42. Interview-based profile on Thornton’s album The Gardens of Harlem with the Jazz Composers Orchestra, also discussing his youth, education, time with Archie Shepp and Sun Ra, the influence of the 1969 Algerian Pan-African Festival on his, Shepp, and Sunny Murray’s work, and his studies and teaching at Wesleyan.

1018.

Schmickl, Phillip, Hans Falb, Andrea Mutschlechner, a.o, eds. Tell No Lies, Claim No Easy Victories. Nickelsdorf: Verein Impro, 2009. 208 p. Anthology of interviews, poetry, and other texts created for the 30th anniversary of the Nickelsdorf Konfrontationen Festival. Several involve Thornton: Falb interviews Joe McPhee on his memories of Thornton, Falb and D. Y. Ngoy give a short biography, and part of a letter from Thornton to Falb is reproduced. Some other texts are in French and German.

Tyler, Charles 1019.

Litweiler, John. “Profile: Charles Tyler.” Downbeat. May 1984. 56, 59, 62. Interview-based piece on his background, the influence of Ornette Coleman, his association with Albert Ayler, and his new albums Song of the Outlaws and Definite—Vol. 1.

Waters, Patty 1020.

Campbell, Robert L. “Patty Waters Interview.” Cadence. Mar. 1995. 13–23, 107. Biographical talk, including memories of the Lower East Side free jazz scene of the early 1960s, her uncredited appearance on Marzette Watts’ Savoy LP, relationships with Clifford Jarvis and Pat Patrick and friendships with Michael Mantler, Albert Ayler, Warren Smith, and others, leaving New York to raise her child, and considering a comeback. She gives particularly detailed accounts of the making of her ESP albums, the first recorded in a studio with Burton Greene’s trio, the second on the ESP College Tour.

1021.

Gavin, James. “Overdue Ovation: Patty Waters.” JazzTimes. May 2004. 58–60, 62. Interview-based profile opening with her return to free jazz at the Vision Festival, then her ESP-Disk albums, child with Sun Ra drummer Clifford Jarvis, disappearance from the music in the late 1960s, and her gradual comeback in the 1990s singing standards. Includes comments from Burton Greene on their collaboration.

Watts, Marzette 1022.

Nai, Larry. “Marzette Watts Interview.” Cadence. Aug. 1998. 11–18. Biographical interview, centered on his time sharing a building with LeRoi Jones and Archie Shepp in the early-1960s, recording his ESP-Disk album with Clifford

160

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Thornton, Henry Grimes, Sonny Sharrock, and others, his Savoy LP, and connections between his music and painting.

Wilson, Bert 1023.

Bennington, James. “Bert Wilson Interview.” Cadence. Nov. 2006. 5–9. Detailed biographical interview, including his 1960s work with Sonny Simmons, Barbra Donald, and James Zitro.

4 Chicago, St. Louis, Los Angeles, and Other US Scenes

BOSTON General Works 1024.

Harvey, Mark S. The Boston Creative Jazz Scene, 1970–1983. Book with CD or 2 LPs. Boston: Cultures of Soul, 2016. 75 p. Harvey, a scholar and participant in the scene, writes a long historical essay and detailed notes on each track, including work by Phill Musra and Michael Cosmic, Baird Hersey, and others. Lowell Davidson, John Voight, Ran Blake, The Fringe, Syd Smart, Tom Plsek, and Jon Damien also are prominent in the narrative.

Artists Fewell, Garrison 1025.

Brady, Shaun. “Garrison Fewell: Delta-Silk Road Journeys.” Downbeat. June 2009. 26–27. Short interview-based profile promoting the duo CD The Lady of Khartoum (with Eric Hofbauer), also covering Fewell’s international travels, work with John Tchicai, his Variable Density Sound Orchestra, and his journey from straight-ahead jazz to free improvisation.

161

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Kohlhase, Charlie 1026.

Bouchard, Fred. “‘They Liked the Strange Stuff Best.’” Downbeat. Dec. 1997. 65. Short interview-based profile on the challenge of mixing inside and outside material.

1027.

Spencer, Robert. “Charlie Kohlhase Interview.” Cadence. Sept. 2000. 5–15. Extended biographical conversation on his musical education and influences, working in radio, the Boston scene, being a gay man in jazz, humor in music, and playing with his heroes, including John Tchicai and Roswell Rudd.

Maneri, Joe 1028.

Pekar, Harvey. “Lost in the Conservatory: Joe Maneri and the Virtual Pitch Continuum.” JazzTimes. June 2000. 58–62. Interview-based account of Maneri’s underground career, microtonal theories, and 1990s CDs with Joe Morris, Mat Maneri, Barre Phillips, and others.

Maneri, Mat 1029.

Chinen, Nate. “Stringed Chameleon.” Downbeat. Apr. 2001. 54. Brief interview-based profile discussing his background, collaborations with Tony Malaby, his father, and others, as well as his solo album Trinity.

1030.

Clark, Philip. “Stress Fractures.” The Wire. 265 (Mar. 2006). 22–25. Interview-based feature, particularly discussing his albums Pentagon, Going to Church, and Sustain, Algonquin with Cecil Taylor, and his collaborations with his father.

1031.

Cohen, Aaron. “Have Violin, Will Improvise.” Downbeat. Mar. 1998. 43. Short interview-based profile, emphasizing his recent CD Acceptance.

1032.

Hazell, Ed. “Mat Maneri in Conversation.” Coda. 293 (Sept/Oct. 2000). 10–14. On his musical background and his relationship with his father Joe Maneri, their musical collaboration, the use of microtones, his approach to standards, original composing, and working with Cecil Taylor and Matthew Shipp.

1033.

Horn, Walter. “Mat Maneri Interview.” Cadence. May 1999. 12–16. On his various influences and collaborations and the different compositional and improvisational styles and forms he uses with various ensembles.

Morris, Joe 1034.

Applebaum, Larry. “Before & After: Joe Morris.” JazzTimes. July/Aug. 2002. 76–78, 80, 82. Guitar-oriented blindfold test, with records by Noël Akchoté and Eugene Chadbourne, John Coltrane and Kenny Burrell, Marc Ducret, Lee Konitz and Jim Hall, Marc Ribot, Henry Threadgill featuring Brandon Ross, and others.

Chicago, St. Louis, Los Angeles, and Other US Scenes

1035.

163

Freeman, Phil. “Invisible Jukebox: Joe Morris.” The Wire. 301 (Mar. 2009). 22–25. Blindfold test with recordings by Rashied Ali, Derek Bailey, Ornette Coleman, Andrew Cyrille, Lowell Davidson, Bill Dixon, Eric Dolphy, Grant Green, the Grateful Dead, Mat Maneri, Keith Rowe, Matthew Shipp, and others. He identifies most and comments on their personal and musical significance.

1036.

Lo Conte, V. “Joe Morris: A Short Talk.” Cadence. Oct. 2003. 12–15. Discusses the influences of rock and free jazz, particularly Ornette Coleman’s electric music and the outside jazz of the 1970s. He criticizes the current scene as stagnant, defines freedom as the freedom to create his own criteria, and mentions refreshing his interest in music and the guitar by taking up bass.

1037.

Morgan, Jon C. “Dissenting Notes.” The Wire. 181 (Mar. 1999). 40–41. Short interview-based profile, on the legacy of 1960s free jazz, finding his own voice, and avoiding fads.

1038.

Morris, Joe. “Encryption: Scoring My Guitar Music with Symbols.” in Arcana VII: Musicians on Music ed. John Zorn. New York: Hips Road, 2014. 195–200. Reflecting on his work on the music of Anthony Braxton, Ornette Coleman, Cecil Taylor, and others in Perpetual Frontier (17), Morris applies similar analysis to his own solo guitar music, describing inventing icons to represent his assorted techniques and logics.

1039.

Shoemaker, Bill. “Joe Morris: The Roots of the New.” JazzTimes. July/Aug. 1998. 34–37, 136, 138. Interview-based career-spanning profile, including a large batch of recently issued CDs as a leader and collaborator, his work with Lowell Davdison, and ideas about tradition and collaboration.

1040.

Van Trikt, Ludwig. “Breathing: Guitarist Joe Morris.” Coda. 265 (Jan/Feb. 1996). 18–19. Interview on his approach to the guitar and his Riti Records label.

CHICAGO General Works 1041.

Beckwith, Naomi, and Dieter Roelstrate. The Freedom Principle: Experiments in Art and Music 1965 to Now. Chicago: Museum of Contemporary Art Chicago, 2015. 264 p. Catalog of an exhibition of visual art and objects and images associated with creative music, focused on the South Side of Chicago, largely the AACM. Works directly involving free jazz musicians include album covers by Muhal Richard Abrams and Roscoe Mitchell, score pages by Anthony Braxton and Wadada Leo Smith, Stan Douglas’ video installation Hors-champs which features Douglas Ewart, George Lewis, Kent Carter, and Oliver Johnson playing an Albert Ayler song, an interactive sound piece by Ewart and Lewis, and a collage by Matana Roberts, as well as numerous relevant archival documents and photographs. The catalog also includes texts by George Lewis, John Corbett, Tomeka Reid, Fred Moten, and others.

164

1042.

Chicago, St. Louis, Los Angeles, and Other US Scenes

Jazz Institute of Chicago. Oral Histories. Audio cassette recordings and videos, some with transcripts. Chicago: U of Chicago Library. 1977-. Interviews include Muhal Richard Abrams (2014), Fred Anderson (date unknown), Anthony Braxton (1992), Phil Cohran (date unknown), Donald Rafael Garrett (1981), and Joseph Jarman (date unknown). Most are two or three cassettes long. Finding aid at www.lib.uchicago.edu/e/scrc/findingaids/view.php?eadid=ICU.SPCL. JICORALHIST

1043.

Majer, Gerald. The Velvet Lounge: On Late Chicago Jazz. New York: Columbia UP, 2005. 207 p. Personal/literary essays on Malachi Favors, Roscoe Mitchell, Don Moye, Sun Ra, other Chicago musicians, and Fred Anderson’s clubs the Birdhouse and the Velvet Lounge. Most center on memories of notable concerts or impressions of favorite albums.

1044.

Margasak, Peter. “The New Chicago Jazz.” Option. Mar/Apr. 1998. 40–46. Survey, with comments from Kahil El’Zabar, Ken Vandermark, Kent Kessler, Joe McPhee. Jim O’Rourke, Fred Anderson, Jeff Parker, Fred Lonberg-Holm, and John Corbett. The legacies of Hal Russell and the AACM are also discussed.

1045.

Newsome, Thomas A. It’s After the End of the World! Don’t You Know that Yet? Black Creative Musicians in Chicago (1946–1976). Ph.D. dissertation. Chapel Hill: U of NC, 2001. xxvi, 319 p. On Sun Ra and the AACM, primarily from the standpoint of new age/occult philosophy, describing them as “holistic healers” and “cabalists.” Based on published sources, plus original interviews with Fred Anderson, George Lewis, Roscoe Mitchell, and Wadada Leo Smith.

1046.

Remsen, Ben. The Now Is Podcast. Podcast. 2015–present. cast.now-is.org Audio version of the blindfold test/invisible jukebox format, hosting mainly Chicago free jazz musicians, including Hamid Drake, Ken Vandermark, Jason Stein, and many others. Episodes run from one to two hours.

The AACM 1047.

Brady, Shaun. “Sweet Home Chicago.” JazzTimes. May 2015. 42–49. Jack DeJohnette, Henry Threadgill, Roscoe Mitchell, and Muhal Richard Abrams promote their collaborative Made in Chicago album by reminiscing about Chicago in the 1960s and the birth of the AACM.

1048.

Campbell, Gregory Allen. “A Beautiful, Shining Sound Object”: Contextualizing MultiInstrumentalism in the Association for the Advancement of the Creative Musicians. D.M.A. dissertation. Seattle: U of WA, 2006. vii, 416 p. Seattle drummer Campbell traces the focus on multi-instrumentalism in the AACM to ideas of African music, doubling in early jazz bands, particularly by reed and percussion players, and the pedagogy of Walter Dyett, who taught many of the first generation of AACM members. A chapter on the aesthetics of unaccompanied multiinstrumental solo performance includes partial transcriptions of Roscoe Mitchell’s “Solo” and “The Ninth Room.”

Chicago, St. Louis, Los Angeles, and Other US Scenes

1049.

165

Cromwell, Arthur C. Jazz Mecca: An Ethnographic Study of Chicago’s South Side Jazz Community. Ph.D. dissertation. Athens, OH: Ohio U, 1998. vi, 236 p. Concludes with a chapter on the AACM based on published accounts and original interviews with Mwata Bowden, Ajaramu, Fred Anderson, Roscoe Mitchell, Joseph Jarman, Wadada Leo Smith, Malachi Favors, Kahil El’Zabar, and Ed Wilkerson. They describe the organization’s formation, many founders’ moving to Paris and New York, the rise of a new generation of members, and changes in the jazz scene over the late 1960s and early 1970s due to Black nationalism, the rise of rock and R&B, and changes in the economy and demographics of Chicago.

1050.

De Jong, Nanette T. Chosen Identities and Musical Symbols: The Curaçoan Jazz Community and the Association for the Advancement of Creative Musicians. Ph.D. dissertation. Ann Arbor: U of MI, 1997. Compares uses of “imagined Africas” in the Dutch Caribbean and the AACM. She situates each community historically and with regard to the intellectual history of Pan-Africanism, and combines participant observation, interviews with Fred Anderson, Ajaramu, and Harry Hunt, among other AACM members, and musical analysis of Anderson’s “Ballad for Rita.”

1051.

Despont, Catherine and Jake Nussbaum. “Ecstatic Ensemble: Original Music and the Birth of the AACM.” Intercourse. 3 (Winter 2014). 50–57. On the establishment, history, and influence of the AACM, with particular detail on the AACM school.

1052.

Enstice, Wayne, and Paul Rubin. Jazz Spoken Here: Conversations with 22 Musicians. New York: Da Capo, 1994. xi, 316 p. NPR interviews including Anthony Braxton (in 1978) and Henry Threadgill (1979). Braxton discusses his solo music, the AACM, John Cage, and Eric Dolphy. Threadgill does not talk much about his own work but instead speaks about social and media changes which have affected the environment for creative music since the 1960s. He does discuss his early years and the AACM, including descriptions of some unrecorded projects.

1053.

Ewart, Douglas, Nicole Mitchell, Roscoe Mitchell, et  al. “Ancient to the Future: Celebrating Forty Years of the AACM in Guelph.” in People Get Ready: The Future of Jazz is Now! eds. Ajay Heble and Rob Wallace. Durham, NC: Duke UP, 2013. 244–264. Also published as Shoemaker, Bill. “Power Greater than Itself: Celebrating the AACM in Guelph” Point of Departure. 3 (Jan. 2006). n.p. www.pointof departure.org/archives/PoD-3/PoD-3_PowerGreater1.html www.pointofdeparture. org/archives/PoD-3/PoD-3_PowerGreater2.html www.pointofdeparture.org/archives/ PoD-3/PoD-3_PowerGreater3.html Transcript of a 2005 Guelph Jazz Festival Colloquium panel with Ewart, Mitchell, Mitchell, Don Moye, Matana Roberts, Jaribu Shahid, Wadada Leo Smith, and Cory Wilkes, joined by audience member Eugene Chadbourne, on the influence of the AACM on their lives, the politics of Black music, and prospects for the younger generation. The Point of Departure version omits the discussion, but includes an introduction by Shoemaker as well as his reviews of several festival sets.

1054.

Gifford, Barry. “Chicago: The ‘New’ Music.” Jazz & Pop. 8:1 (Jan. 1969). 40–41.

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An introduction to the AACM, with comments from Anthony Braxton and Joseph Jarman, descriptions of some performances, and a list of the first batch of Delmark releases by Braxton, Jarman, Muhal Richard Abrams, and Roscoe Mitchell. 1055.

Lewis, Eric. “What is ‘Great Black Music’? The Social Aesthetics of the AACM in Paris.” in Improvisation and Social Aesthetics. eds. Georgina Born, Eric Lewis, and Will Straw. Durham, NC: Duke UP, 2017. 135–159. Argues that the AACM members living in Paris in 1969 intentionally expanded the organization’s concept of Great Black Music through their music and texts, confounding reductive assumptions about Black art. Examples include Leo Smith’s “Silence” (recorded with Anthony Braxton and Leroy Jenkins), the Art Ensemble of Chicago’s LP Message to Our Folks, Smith’s book Notes (8 Pieces), and Joseph Jarman’s poetry.

1056.

Lewis, George E. “Collaborative Improvisation as Critical Pedagogy.” Nka Journal of Contemporary African Art. 34 (Spring 2014). 40–47. The AACM school, the performance practices of the Art Ensemble of Chicago, and the cooperative intellectual and artistic work of the AACM members are presented as examples of empowering alternative pedagogies.

1057.

Lewis, George E. A Power Stronger Than Itself: The AACM and American Experimental Music. Chicago: U of Chicago P, 2008. xiviii, 676 p. History of the AACM based on his experience as a member and former leader, plus extensive research, particularly interviews with numerous members. Archival recordings and other documents of internal meetings allow him to treat in detail debates about presenting original music vs. standard repertoire and whether the AACM should be exclusively African-American. Lewis looks more at the organization’s development and significance than at the work created by its members. The migrations of AACM members lead to substantial coverage of the reception of free jazz in France in the late 1960s, the New York loft era of the 1970s, and to the different cultural and financial capital available to artists in what he has called “Afrological” and “Eurological” experimental music during the period of greatest public art funding in the US. The role of women in the AACM is also covered, and he reflects on how the AACM has been able to endure while other musical collectives have not.

1058.

Mandel, Howard. “AACM: 50 Years of Freedom.” Downbeat. Sept. 2015. 30–35. A survey of the AACM’s history, with comments from Muhal Richard Abrams, Roscoe Mitchell, Wadada Leo Smith, Mwata Bowden, Ernest Dawkins, and Henry Threadgill. Sidebars on the women of the group, featuring Amina Claudine Myers and Nicole Mitchell, and on George Lewis’ opera Afterword, adapted from 1057.

1059.

Myers, Marc. Why Jazz Happened. Berkeley: University of CA P, 2013. x, 267 p. Includes a chapter, “Alienation and the Avant-Garde,” on the formation of the AACM, drawing on original interviews with Joseph Jarman and several Chicago jazz writers, as well as published sources.

1060.

Pierrepont, Alexandre. La Nuée: l’AACM: Un Jeu de Société Musicale. Marseille: Parenthèses, 2015. 480 p. French-language study of the AACM, which compliments George Lewis’ work and features an afterword by him. Pierrepont spends much less time on members’

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biography or the inner workings of the organization, looking more at recorded work as expressing visions of creative and communal possibility and on tracing the AACM’s symbolic and practical reach across communities and generations. 1061.

Radano, Ronald. “Jazzin’ the Classics: The AACM’s Challenge to Mainstream Aesthetics.” Black Music Research Journal. 12:1 (Spring 1992). 79–95. A history of the AACM’s overall aesthetics and ideology, based on archives, published sources, and interviews with Roscoe Mitchell and Anthony Braxton, arguing that they created an original synthesis of modernism and “Afrocentric” spirituality.

1062.

Rout, Leslie B. “AACM: New Music (!) New Ideas (?).” Journal of Popular Culture. 1:2 (Fall 1967). 128–140. Skeptical/cynical first-hand account of several early AACM performances, plus interviews with Muhal Richard Abrams, Lester Lashley, Roscoe Mitchell, and others.

1063.

Simon, François-René. “L’AACM sue un Air d’Abécéaire.” in Polyfree: La Jazzosphère, et Ailleurs (1970–2015). eds. Philippe Carle and Alexandre Pierrepont. Paris: Éditions Outre Mesure, 2016. 103–112. A short alphabetical introduction to the AACM with entries on musicians including the Art Ensemble of Chicago, Anthony Braxton, Joseph Jarman, Nicole Mitchell, Roscoe Mitchell, Ameen Muhammed. Sun Ra, Henry Threadgill, and Wadada Leo Smith, as well as concepts such as Great Black Music, Creative Music, and Double Consciousness. In French.

1064.

Werner, Craig H. Playing the Changes: From Afro-Modernism to the Jazz Impulse. Urbana, IL: U of IL P, 1994. xxvi, 341 p. Primarily a study of jazz in African-American literature, with chapters on James Baldwin, Toni Morrison, and others, it includes novelist Leon Forrest and the Chicago Renaissance of the mid-20th century, which Werner connects to the subsequent work of the AACM.

1065.

Wilson, Peter Niklas. “Living Time: Ancient to the Future. Concepts and Fantasies of Micro and Macro-Time in Contemporary Jazz.” Amerikastudien/American Studies. 45.4 (2000). 567–574. Considers alternative concepts of time in jazz/creative music, particularly Anthony Braxton and Wadada Leo Smith’s use of simultaneous unrelated material and Sun Ra and the Art Ensemble of Chicago’s use of what he calls “ritual time.”

Labels 1066.

Gershon, Pete. “Music Man.” Signal to Noise. 52 (Winter 2009). 26-33. Interview-based biographical feature on Bob Koester, owner of Delmark Records and the Jazz Record Mart in Chicago. Chuck Nessa explains his contentious relationship with Koester and how the first few AACM records were made.

1067.

Johnston, Mike. “Chuck Nessa: Numbers One and Two.” Coda. 244 (July/Aug 1992). 6–9. Interview on producing the early AACM albums for Delmark Records and his own label, including some details of Roscoe Mitchell’s ensemble techniques.

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ARTISTS Abrams, Muhal Richard 1068.

Abrams, [Muhal] Richard, David Baker, and Charles Ellison. “The Social Role of Jazz.” in Reflections on Afro-American Music. ed. Dominique-René De Lerma. Kent, Ohio: Kent State University Press, 1973. 101–110. Each panelist makes a statement on the positive social impact of Black music: Ellison argues for the influence of John Coltrane’s work after A Love Supreme and artists from Horace Silver to Pharoah Sanders who inspire people, especially African-Americans, to live more righteously, Abrams claims that Black music is something beyond jazz, which can explore alternatives to the current organization of society, and Baker sees emotion and African-American musical creativity as the life force in popular culture, both the spiritual and economic engine. A question period follows.

1069.

Panken, Ted. “Muhal Richard Abrams: The Individual Principle.” Downbeat. Aug. 2010. 34–35. Abrams is welcomed into Downbeat’s Hall of Fame, with comments from George Lewis, Vijay Iyer, Jason Moran, and the man himself.

1070.

Panken, Ted. “Open Session.” Downbeat. Dec. 2006. 40–45. A wide-ranging conversation with Abrams, Roscoe Mitchell, and George Lewis on topics ranging from the origins of jazz, the value of first-time improvisational meetings and long-term musical relationships, their own first collaboration on Mitchell’s 1975 album Quartet, and the AACM.

1071.

Townley, Ray. “Profile: Muhal Richard Abrams.” Downbeat. Aug. 15, 1974. 34. Abrams describes the formation of the AACM, the influence of Ornette Coleman, and his current sextet.

Air 1072.

Litweiler, John. “Air: Impossible to Pigeonhole.” Downbeat. Dec. 16, 1976. 22, 50–51. Compiled from interviews with Henry Threadgill and Steve McCall, this feature roams through their influences, the AACM, and the history of the group.

1073.

Zabor, Rafi. “Air.” Musician, Player, and Listener. Apr. 1981. 54–58, 68. Interviews of the members: Steve McCall alone, discussing how he and Fred Hopkins play in Arthur Blythe’s In the Tradition band compared to Air and how these experiences affect each other, then Hopkins and Henry Threadgill together, on Threadgill’s Sextett and X-75 bands and the ongoing development of Air.

Anderson, Fred 1074.

Anderson, Fred. Timeless: Live at the Velvet Lounge. DVD. Chicago: Delmark, 2006. A 2005 trio concert with Harrison Bankhead and Hamid Drake is accompanied by an 18 minute interview from 2006 on Anderson’s life, the AACM, and the Velvet Lounge.

Chicago, St. Louis, Los Angeles, and Other US Scenes

1075.

169

Anderson, Fred, with Paul Steinbeck. Exercises for the Creative Musician. Chicago: Many Weathers Music, 2002. xiii, 72 p. A collection of scale, arpeggio, and interval patterns in all keys. Also includes a transcription of Anderson’s solo from “December 4th” lead sheets for “Bernice,” The Birdhouse,” and “Ladies in Love,” an introduction by Anderson on the exercises, and an afterword on Anderson’s life and work by Steinbeck.

1076.

Anderson, Fred, Paul Steinbeck, Tatsu Aoki, Douglas Ewart, Tsehaye Geralyn Hébert, George Lewis, and Francis Wong. “Celebrating a Jazz Hero: A Symposium on the Role of Fred Anderson in Chicago’s Jazz Legacy.” Critical Studies in Improvisation. 6:2 (2010). n.p. www.criticalimprov.com/article/view/1019/1858 Transcribed panel discussion, chaired by Steinbeck. First Anderson speaks about the Velvet Lounge, the AACM, and his work as an extension of elements of Charlie Parker, then each of the others comments on their work with him. Lewis dominates, linking Anderson and Steinbeck’s book of exercises (1075) to the AACM tradition of autodidacticism and describing the arrangements of Anderson’s music he and Ed Wilkerson have prepared for an upcoming tribute concert.

1077.

Frantz, Arlee, and Yorke Corbin. “Fred Anderson Interview.” Cadence. July 1992. 5–10, 107. Career-spanning interview, from his education and apprenticeship through the formation of the AACM, his appearance on Joseph Jarman’s Song For, his own LPs, his composing, and mentoring Hank (aka Hamid) Drake.

1078.

Friedman, Sharon, and Larry Birnbaum. “Fred Anderson: AACM’s Biggest Secret.” Downbeat. Mar. 8, 1979. 20–21, 46. Interview covering Anderson’s development, the formation of the AACM, his debut on Joseph Jarman’s Delmark LPs, and his short-lived Chicago jazz club The Birdhouse.

1079.

Hill, Adam. “Having His Own Voice: An Interview with Fred Anderson.” One Final Note. Aug. 2002. n.p. www.onefinalnote.com/features/2002/fanderson/ Short interviews with Anderson and his trio partners Tatsu Aoki and Hamid Drake at their appearance at the All Tomorrow’s Parties festival at UCLA. Anderson describes his preference for recording live and playing his own compositions, as well as the shape of his career, while the rhythm section talk about their collaboration with Anderson and its effect on their own work.

1080.

Jackson, Michael. “Inspirational Motivation.” Downbeat. Sept. 2009. 48–51. Feature on Anderson, centered on an account of his 80th birthday concert, with comments from Wilbert De Joode, Hamid Drake, Kidd Jordan, George Lewis, Nicole Mitchell, Jeff Parker, William Parker, Ken Vandermark, and Anderson himself.

1081.

Litweiler, John. “Overdue Ovation: Fred Anderson.” JazzTimes. Nov. 2001. 44–46, 156. Career overview, with some comments from Anderson, including discussion of the Velvet Lounge, the AACM, and his recordings.

1082.

Morgan, Jon. “Blowin’ in from Chicago.” Signal to Noise. 11 (May/June 1999). n.p. Interview with Anderson discussing his work with the DKV trio and his own groups.

170

1083.

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Steinbeck, Paul. “‘Patience, Sincerity, and Consistency’: Fred Anderson’s Musical and Social Practices.” Critical Studies in Improvisation. 6:2 (2010). n.p. www. criticalimprov.com/article/view/1020/1860 A tribute to Anderson integrating biography and musical analysis and drawing on the author’s collaboration with him as a musician and co-author as well as interviews, archives, and published material. Covers Anderson’s study of Charlie Parker, the AACM, his 1970s band, his jazz clubs the Birdhouse and the Velvet Lounge, his improvisational etudes, his composition “Bernice,” and his move to free playing.

1084.

Vega, Lazaro. “AACM’s Fred Anderson: A Rare Interview.” jazzhouse.org May 15, 2002. n.p. www.jazzhouse.org/library/index.php3?read=vega2 Discusses his shared history and collaborations with Roscoe Mitchell, the influence of the AACM, and his work with Jeff Parker, Hamid Drake, Steve McCall, and others.

Anderson, Ray 1085.

Jones, Andrew. “‘Bone Head: The Slide in Ray Anderson’s Stride.” Option. Sept/Oct. 1991. 28–32. Interview-based biographical profile, touching on his work with Anthony Braxton, Barry Altschul, Slickaphonics, and his records as a leader.

1086.

Shoemaker, Bill. “Ray Anderson: ’Boning Up for the Future.” Downbeat. July 1982. 21–23. Interview-based profile covering his work with Anthony Davis, Anthony Braxton, Gerry Hemingway, and Barry Altschul, as well as his own bands and other projects. Includes anecdotes about Charles Moffett and Charles Mingus.

Aoki, Tatsu 1087.

Wong, Deborah A. ”Asian American Improvisation in Chicago: Tatsu Aoki and the ‘New’ American Taiko.” Critical Studies in Improvisation. 1:3 (2006). n.p. www. criticalimprov.com/article/view/50/91 On two performances from the 2005 Asian-American Jazz Festival in Chicago, one by a sextet led by bassist Aoki, including Francis Wong, Jon Jang, and other avantgarde jazz performers, the other by taiko ensembles under Aoki’s direction. Wong probes the assertions of personal and collective identity in his engagement with taiko, which includes both collaborations with taiko drummers and incorporation of taiko rhythms and techniques into his bass playing.

The Art Ensemble of Chicago 1088.

Beal, Amy. “Musica Elettronica Viva and the Art Ensemble of Chicago: Tradition and Improvisation in Self-Exile, ca. 1970.” Crosscurrents: American and European Music in Interaction, 1900–2000. eds. Felix Meyer, Carol J. Oja, Wolfgang Rathert, and Anne C. Shreffler. Basel: Paul Sacher Foundation, 2014. 364–371.

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171

Beal contrasts the overlapping European residencies of MEV and the AEC, noting that the AEC, though coming from the improvisational tradition of jazz, incorporated composed material of various kinds and often improvised familiarsounding melodies, harmonies, and grooves, while the MEV, though made up of composers, eschewed all prepared or recognizable elements. She also points to the permeability of the free jazz and new music genres, noting the intersections between the two groups: both recorded for BYG, appeared at the same venues, were part of overlapping social and artistic networks, and played together on one informal session. 1089.

Beauchamp, Lincoln T, Jr, ed. Art Ensemble of Chicago: Great Black Music Ancient to The Future. Chicago: Lincoln T. Beauchamp, Jr., & Art Ensemble of Chicago Publishing, 1998. 104 p. Coffee table book including interviews with Lester Bowie, Joseph Jarman, Don Moye, and Bowie’s son Larry Miller, poetry, critical appreciations, Jarman’s poems “Blues for Zazen” and “Odwalla,” and a lead sheet for Roscoe Mitchell’s composition “Odwalla.”

1090.

Birnbaum, Larry. “Art Ensemble of Chicago: 15 Years of Great Black Music.” Downbeat. May 3, 1979. 15–17, 39–40, 42 Career survey from their 1969 Paris recordings to their signing with ECM, with comments from Lester Bowie, Don Moye, and Joseph Jarman.

1091.

Cohen, Aaron. “Acoustic Jazz Group: The Art Ensemble of Chicago.” Downbeat. Aug. 1998. 62–65. The band members comment on their win in the Critics’ Poll, complaining about their lack of recognition in the US compared to Europe and describing their large collaborative projects with orchestras, blues musicians, et al.

1092.

Floyd, Samuel, ed. Lenox Avenue: A Journal of Interarts Inquiry. 3 (1997). vi, 76 p. This special issue on the Art Ensemble includes essays and appreciations by Jason Berry, Michael Budds, Allan Gordon, Robin D. G. Kelly, George Lewis, Bruce Tucker, Norman Weinstein, considering topics from the representation of Africa to the group’s connections to theater and performance art to Lewis’ experiences performing with the group as Lester Bowie’s substitute and the ideas of culture and identity implicit in the band’s slogan “Great Black Music.”

1093.

Harrison, Joel. “10 Days with the Art Ensemble of Chicago.” Downbeat. Oct. 2011. 16. Short memoir of the 1979 Creative Music Studio intensive workshop with the Art Ensemble.

1094.

Kemper, Peter. “Zur Funktion des Mythos im Jazz de 70er Jahre: Soziokulturelle Aspekte eines Musikalischen Phänomens Dargestelit an der Äesthetischen Konzeption des Art Ensemble of Chicago.” Jazzforschung/Jazz Research. 13 (1981). 45–78. Citing a variety of philosophers and cultural theorists, Kember argues that the Art Ensemble, through their performance rituals, manifest a personalized mythology based in their Great Black Music concept but encompassing a wide range of references, from popular music parodies to Jarman’s glossolalic poetry. An Englishlanguage abstract follows the German text.

172

1095.

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Litweiler, John. “The Art Ensemble of Chicago: Adventures in the Urban Bush.” Downbeat. June 1982. 19–22, 60. After a year where all five members pursued other projects, Litweiler speaks to each as the AEC releases Urban Bushmen and returns to action.

1096.

Mandel, Howard. “Resurrected Spirit.” Downbeat. Oct. 2003. 56–61. Profile as Joseph Jarman rejoins the group and they release A Tribute to Lester and The Meeting. With comments from all four members of the group. Moye in particular discusses his relationship, as the band’s drummer, to the other members’ use of percussion.

1097.

Martinelli, Francesco. “A European Proposal.” Point of Departure. 10 (Mar. 2007). n.p. www.pointofdeparture.org/archives/PoD-10/PoD10EuropeanProposal.html A memoir of the Art Ensemble’s visits to Italy during the 1970s, mentioning connections between free jazz and the Italian Communist Party, and recounting the influence of Message to Our Folks, People in Sorrow, Les Stances à Sophie, and Lester Bowie’s “Jazz Death.”

1098.

Panken, Ted. “Lester Bowie & Malachi Favors, November 22, 1994, WKCR-FM, New York.” Ted Panken’s Chicago Transcripts. jazzhouse.org. 1994. www.jazzhouse.org/ library/?read=panken8 Dual interview on the Art Ensemble, Favors’ musical background, their meeting through Muhal Richard Abrams’ Experimental Band, working with Roscoe Mitchell as a trio and on his Sound album, adding Joseph Jarman, then moving to Paris and adding Don Moye. The conversation also discusses the various members’ military service and the group’s collaborations with Cecil Taylor, the South African Amabutho Male Chorus, and the Berlin Chamber Symphony.

1099.

Pfleiderer, Martin. “Das Art Ensemble of Chicago in Paris, Sommer 1969. Annäherungen an den Improvisationsstil eins Musikerkollktivs.” Jazzforschung/Jazz Research. 29 (1997). 87–157. This long German-language study of the AEC’s 1969 Paris recordings gives a short biography of each member and of the group as a whole, then describes individual and collective aesthetics and techniques and the group’s use of speech, poetry, and other vocals, including a transcribed excerpt of Roscoe Mitchell’s poem on “Tutankhamun.” Several compositions are analyzed, with notated theme excerpts from “People in Sorrow,” “The Spiritual,” “Ericka/Song for Charles,” “Tutankhaumn,” “Reese and the Smooth Ones,” and solo phrases and a structural diagram representing “Reese . . . ”

1100.

Shoemaker, Bill. “Page One.” Point of Departure. 46 (Mar. 2014). n.p. http://point ofdeparture.org/archives/PoD-46/PoD46PageOne.html On the 35th anniversary of the AEC’s ECM debut Nice Guys, Shoemaker discusses their major label work of the 1970s, first on Atlantic, then ECM, considering the music, packaging, marketing, and business elements and placing them in the context of Anthony Braxton’s Arista recordings, the Smithsonian Collection of Classic Jazz, and other attempts to admit free jazz to the commercial mainstream, jazz canon, or college curriculum.

1101.

Steinbeck, Paul. “Intermusicality, Humor, and Cultural Critique in the Art Ensemble of Chicago’s ‘A Jackson in Your House.’” Jazz Perspectives. 5:2 (2011). 135–154.

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173

In this revised excerpt from 1103, versions of Roscoe Mitchell’s composition recorded on the 1969 LP of the same title, on a 1979 private tape, and on the 1982 video Live at the Jazz Showcase are compared as a case study of the group’s improvisational intermedia performance practice. Includes transcriptions and draws on original interviews with band members, as well as published sources. 1102.

Steinbeck, Paul. Message to Our Folks: The Art Ensemble of Chicago. Chicago: U of Chicago P, 2017. xi, 346 p. Revised and updated version of 1103, adding a final chapter on the AEC in the 1990s and 2000s and filling in elsewhere to provide a fuller narrative history of the band.

1103.

Steinbeck, Paul. Urban Magic: The Art Ensemble of Chicago’s Great Black Music. Ph.D. dissertation. New York: Columbia U, 2008. xi, 369 p. Historical, musical, and critical study of the AEC in the context of Chicago, the AACM, the Black Arts Movement, and late 1960s Paris, drawing on published sources, archives, and original interviews with Joseph Jarman, Roscoe Mitchell, and Don Moye, among others. The albums A Jackson in Your House and Live at Mandel Hall, and the video cassette Live from the Jazz Showcase are analyzed in detail to represent the band in the 1960s, ’70s, and ’80s respectively, and there are extensive transcriptions.

1104.

Zabor, Rafi. “Profile: The Art Ensemble.” Musician, Player, and Listener. Apr. 1979. 39–44. All five members discuss their individual and collective creative agendas and methods and are observed teaching at the Creative Music Studio.

Barker, Thurman 1105.

Mandel, Howard. “Thurman Barker: Drummer for All Seasons.” Downbeat. Mar. 1986. 26–29. Interview-based feature on Barker’s move to New York, reviewing his career in jazz, experimental, and commercial music, and discussing his work with Anthony Braxton, Sam Rivers, Roscoe Mitchell, Henry Threadgill, and others.

1106.

Panken, Ted. “Thurman Barker, November 18, 1985—WKCR-FM, New York.” Ted Panken’s Chicago Transcripts. jazzhouse.org. 1985. www.jazzhouse.org/ library/?read=panken13 Career-spanning interview including the AACM, Barker’s performances on Joseph Jarman’s Song for and Muhal Richard Abrams’ Levels and Degrees of Light, his brief stint in the Art Ensemble of Chicago, and his work with Anthony Braxton and Sam Rivers.

Bishop, Jeb 1107.

Albert, Jeff. “Jeb Bishop Interview.” Cadence. Jan. 2006. 5–14. Biographical interview including career prospects as a trombonist, affinities between punk rock and improvised music, the effects of the audience and other nonmusical

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factors on performance, hearing and other physical problems with playing in loud groups like the Vandermark 5 and Brötzmann Tentet, recording Chicago Defenders with Sebi Tramontana, and what to call this music.

Bowie, Lester 1108.

Besecker, Bruce. “Lester Bowie: A Brass Fantasy.” Coda. 244 (July/Aug 1992). 4–5. Adapted transcript of a radio show where Bowie chose records, discussing them and his own work, including Brass Fantasy, Roots to the Source, and the Art Ensemble of Chicago. His DJ selections were trumpeters Kenny Dorham and Clifford Brown.

1109.

Bouchard, Fred. “Blindfold Test: Lester Bowie.” Downbeat. Sept. 1984. 41. Trumpet-centered listening session, with tracks featuring Dizzy Gillespie, Bill Brimfield, Wynton Marsalis, Roy Eldridge, Don Cherry, and others.

1110.

Chapin, Gary Parker. “Art, Science, and Industry: Lester Bowie’s Musical Work Ethic.” Option. July 1992. 58–61. Interview-based profile comparing Brass Fantasy and the Art Ensemble of Chicago, discussing the importance of costumes and other theatrical elements in both bands, and the relationship between the trumpet and the voice.

1111.

Corbett, John. “Fanfare for a Warrior: Remembering Lester Bowie.” Downbeat. Mar. 2000. 22–27. A memorial collection of comments from Roscoe Mitchell, George Lewis, Hugh Ragin, Hamiet Bluiett, Amina Claudia Myers, Dave Douglas, Paul Smoker, and others.

1112.

Livingston, Tim. “Lester Bowie Interview.” Cadence. Jan. 2001. 5–10. Conversation from 1998 on composition, recording, and music education, and comments on several younger trumpeters.

1113.

Mandel, Howard. “Lester Bowie M.D: Magical Dimensions.” Downbeat. Mar. 1984. 14–17. Interview-based feature, showing Bowie rehearsing the first incarnation of Brass Fantasy, then recapping his career including the Art Ensemble of Chicago, solo albums, BAG, and Roots to the Source. Bowie argues that he and the Art Ensemble have always explored music and business alternatives.

1114.

Primack, Bret. “Blindfold Test: Lester Bowie.” Downbeat. May 17, 1979. 33. Bowie identities and comments on records by Duke Ellington, Kenny Dorham, Eddie Palmieri, Herbie Hancock, and Frank Lowe. Everything is praised except for Hancock’s “You Bet Your Love” from Feets Don’t Fail Me Now.

1115.

Rendle, Philippa, and Rafi Zabor. “Lester Bowie: Roots, Research, & the Carnival Chef.” Musician: Player and Listener. June 1982. 64–71. Mostly in his own words, featuring adventures living in Jamaica and Nigeria, his background in St. Louis, Muhal Richard Abrams’ Experimental Band, the formation of the Art Ensemble of Chicago, their first trip to Europe, stage clothes, his Roots to the Source gospel group, making the album The Great Pretender, and plans for a 500–800 piece Sho’ Nuff Orchestra.

Chicago, St. Louis, Los Angeles, and Other US Scenes

1116.

175

Rusch, Bob. “Lester Bowie: Interview.” Cadence. 5:12 (1979). 3–6, 14. On his childhood, schooling, and early work in rhythm and blues, the Art Ensemble, AACM, collaborations with Amina Claudia Myers, and assorted record companies. Bowie disavows the album Certain Blacks, claiming that the Art Ensemble were hired as a backing band, then the album was released under their name.

1117.

Self, Wayne K. “Trippin’ the Brass Fantastic: Lester Bowie.” Downbeat. Aug. 1991. 25–27. Interview-based profile focused on Bowie’s Brass Fantasy group.

1118.

Shoemaker, Bill. “Blindfold Test: Lester Bowie.” Downbeat. July 1992. 59. Bowie comments on recordings by Dr. Michael White, George Adams, John Carter & Bobby Bradford, and Wallace Roney. He is extremely critical of Roney and of Wynton Marsalis, who plays on the White track.

1119.

Watson, Philiip. “Invisible Jukebox: Lester Bowie.” The Wire. 113 (July 1993). 46–47, 71. Blind listening test with records by Donald Byrd, Don Cherry, Miles Davis, Bryan Ferry, Wynton Marsalis, King Oliver, Rex Stewart, and Ice T. He is complimentary of Ferry’s cover of his ex-wife Fontella Bass’ hit “Rescue Me” but uses the Davis and Marsalis tracks to attack Marsalis as a good trumpet player but a tool of reactionary forces.

1120.

Whitehead, Kevin. “Jazz Rebels: Lester Bowie and Greg Osby.” Downbeat. Aug. 1993. 16–20. Bowie’s feud with Wynton Marsalis is the focus of this hilariously cranky conversation, with Whitehead and Osby encouraging him and occasionally joining in as he criticizes the neoconservative/Young Lions trend.

1121.

Wilmer, Valerie. “Lester Bowie: Extending the Tradition.” Downbeat. Apr. 29, 1971. 13, 30. Interview-based profile on his background, R & B as Black rock, the AACM, and the strengths and limitations of the New York jazz scene.

Braxton, Anthony 1122.

Adler, David R. “True Mathematics.” JazzTimes. May 2007. 78–82. Feature on Braxton’s return engagement at New York’s Iridium after his box set 9 Compositions (Iridium) 2006 (1127). Taylor Ho Bynum and George Lewis comment on their experiences working with Braxton, the author observes him teaching a class and rehearsing a student ensemble at Wesleyan, and Braxton announces the conclusion of his Ghost Trance Music project.

1123.

Austin, Jesse. Anthony Braxton’s Morphology of Sound. M.F.A. thesis. Oakland: Mills College, 2015. 28 p. Directed by Braxton student James Fei, this thesis analyzes Composition 8G, from Braxton’s For Alto. Because this piece deals with extended technique or noise, Austin works with linguistic theory, largely drawn from Gilles Deleuze, rather than traditional musicological tools.

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1124.

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Braxton, Anthony. Composition Notes. 5 vols. Lebanon, NH: Synthesis Music. 1988. xviii, 483p; xviii, 417 p; xviii, 754 p; xviii, 650 p; xviii, 635 p. Braxton provides several pages of text for each of his compositions, describing his methodology, the form and content of the pieces, suggestions for interpretation, and descriptions of the first performance and any recordings. There are often score excerpts, in some cases complete lead sheets, as well as photographs, flyers, and handwritten notes. Each volume includes a legend to his commonly used graphic notation symbols and abbreviations used in his picture-titles, as well as a glossary, discography, and list of compositions. The five volumes are lettered. A includes Compositions 1–19 (1968–1971), B Compositions 20–33 (1971–1974), C numbers 34A–71 (1975–1977), D 72A–94 (1977–1979), and E 95–116 (1980–1984). Each also appends reprinted interviews and liner notes.

1125.

Braxton, Anthony. “8KN-(J-6)-R10” [Composition 17]. Source: Music of the AvantGarde 1966–1973. Berkeley: U of CA P, 2011. 320–326. This 1971 string quartet in three movements uses proportional and graphic notation for pitch and time. The arrangement of the material within each movement is indeterminate: i.e. each player receives two of the eight pages of the first movement and can start with either one. Brief instructions and a tongue-in-cheek c.v. are included.

1126.

Braxton, Anthony. “Keynote Address at the Guelph Jazz Festival 2007, Stewart Art Center, Guelph, Ontario, Canada.” Critical Studies in Improvisation. 4:1 (2008). 1–13. www.criticalimprov.com/article/view/520/1009 Braxton explains his music’s progress from the failure of his first attempt at a fully improvised solo concert to his development of personal musical languages and logics, the gradual introduction of movement, text, and narrative in his work, connecting musical languages to characters in his opera cycle, treating all his work as a system with infinitely connectible elements, and the Ghost Trance Music. The audience question and answer period is transcribed, and his handouts, listing his musical, archetypal, and narrative languages, are also included.

1127.

Braxton, Anthony. Nine Compositions (Iridium). 9 CDs + 1 DVD. New Haven: Firehouse 12, 2007. Documents a week of shows by the 12+1tet with audio of every set, video of one, and a booklet with texts by ensemble members Taylor Ho Bynum, Mary Halvorson, Steve Lehman, Nicole Mitchell, Aaron Siegel, and Carl Testa, and audience members including Dave Douglas, Henry Grimes, and Walter Thompson. The DVD also features a one-hour documentary based on talks Braxton gave at Columbia University, incorporating performance clips, some with score excerpts and other graphics superimposed to illustrate aspects of the music.

1128.

Braxton, Anthony. Selected scores. Brooklyn, NY: Tri-Centric Foundation, 2015–. Carl Testa is preparing Braxton’s compositions for publication. So far numbers 30, 56, 58, 59, 76, 107, 131, 134, 193, 228, 245, 255, and 358 are available.

1129.

Braxton, Anthony. Tri-Axium Writings. 3 vols. Lebanon, NH: Synthesis Music. 1985. xxii, 533p; xxii, 597 p; xxii, 575 p. Highly theoretical presentation of the intellectual foundation of the first two decades of Braxton’s work. Volume one deals with music in general, passing through

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177

discussions of “Creative Music from the Black Aesthetic,” “The White Improvisor,” and “The Post-Cage Continuum,” among others, leading up to the work of the AACM. Volume two addresses the “social reality” of the music, including aspects of reception and “Creative Music Outside of America.” Topics in the final volume include “Black Notated Music,” “The Teaching of Improvised Music,” “The Reality of the Creative Woman,” and others. A glossary appears at the end of each volume for specialized terms which Braxton employs in conceptual diagrams throughout the text. 1130.

Braxton, Anthony, Benjamin Graves, and Libby Van Cleve. Anthony Braxton. Oral History of American Music: Major Figures in American Music. Two cassettes and transcription. New Haven: Yale University Library, 1993 and 2009. Biographical and theoretical interview, covering his life and work up to and including the Tri-Axium Writings and Trillium operas, particularly the period from his joining the AACM to his being dropped by Arista Records in the early 1980s.

1131.

Broomer, Stuart. Time and Anthony Braxton. Ontario: Mercury, 2009. 176 p. Philosophical survey of Braxton’s work through the role of time, with sections dedicated to the solo alto saxophone and solo piano music, marches, the collage music of his 1990s quartet, works for multiple orchestras or ensembles with multiple conductors, Ghost Trance Music, Diamond Curtain Wall Music, the Sonic Genome, and his interest in low instruments such as the tuba and contrabass clarinet and saxophone. Based on recordings, published texts, and original interviews with Braxton and several of his collaborators.

1132.

Carey, Joe. “Anthony Braxton: Interview.” Cadence. Mar. 1984. 5–10, 21. Braxton describes his recent presentation of Composition 102, for orchestra and puppet theater, and his plans to self-publish the Composition Notes (1124) and TriAxium Writings (1129) in order to retain full control. He also discusses his forthcoming opera cycle, his increasing interest in the theatrical and spiritual aspects of his music, treating his work as a flexible modular system rather than discrete works, his connections to and disagreements with John Cage, and his experiences with Arista and Antilles Records, each of who sought to present him as a jazz artist and to avoid his classical work.

1133.

Corbett, John. “Of Science and Sinatra: Anthony Braxton.” Downbeat. Apr. 1994. 28–31. Typically wide-ranging conversation including discussion of Braxton’s compositions for new music performers, his appreciation of Frank Sinatra, his desire for distance from the “jazz wars,” the potential of CD-ROMs, and the limitations of the construction of Africa-American identity through show business.

1134.

Ford, Alun. Anthony Braxton: Creative Music Continuums. Exeter, Devon: Stride Publ, 1997. 70 p. Three of the four chapters set the context for the discussion of Braxton in the fourth. The first concerns the semiotics of improvised and composed musical works, the second the Western avant-garde of Schoenberg, Cage, and Stockhausen, and the third the jazz scenes of Chicago (the AACM), New York (free jazz), and Sun Ra. Finally, Ford considers Braxton’s Composition 58 (the march from Creative Orchestra Music 1976 ) using Henry Louis Gates’ theory of Signifyin(g) and Composition 113 (for solo

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soprano saxophone and other media) as a recontextualization of improvised music: the solo as a theatrical performance rather than an assertion of self. 1135.

Gagne, Cole. “Anthony Braxton.” in Soundpieces 2: Interviews With American Composers. Metuchen: The Scarecrow P, 1993. 23–52. Topics include multi-instrumentalism, unaccompanied solo playing, his graphic titles, collage structures, multiorchestral work, his relationship with Arista Records, and the Trillium operas. A discography and works list are appended.

1136.

Heffley, Mike. The Music of Anthony Braxton. Westport, CT: Greenwood P, 1996. 493 p. Based on a M.A. thesis written under Braxton’s supervision, this book approximates Braxton’s work in scope, literally tracing the sources of his music back across the land bridge from North America to Asia and to the emergence of patriarchy in the ancient world, drawing on anthropological and mythological sources. Heffley interviewed Braxton extensively and performed in his groups. Topics include influences, notation, reception, musical formats from solo to large ensemble and Braxton’s own texts. Braxton’s frameworks of language types, logics, and identity states are used to analyze his work, and there are numerous short transcriptions and score excerpts.

1137.

Heffley, Mike. “‘O, for a Thousand Tongues to Sing:’ Anthony Braxton’s Speculative Music’s Winning Way with Words.” Journal of the Society for American Music. 2:2 (2008). 203–23. Heffley connects Braxton’s operas’ twelve archetypal characters with his twelve musical language types and to his “12-tet” ensemble. He also identifies elements of Braxton’s work connected to speculative/science fiction themes: Afro-futurism and the use of electronics in particular, then looks closely at ideas of artificial intelligence and the post- or trans-human in the score and libretto of the opera Shala Fears for the Poor.

1138.

Heffley, Mike. “The Tri-Centric Transcripts.” Signal to Noise. 24 (Winter 2002). 38–47. A major interview in which Braxton clarifies the role of the house of the triangle, lists what he considers his pivotal compositions, and expands on the Trillium operas and Ghost Trance Music.

1139.

Henschen, Bob. “Anthony Braxton: Alternate Creativity in This Time Zone.” Downbeat. Feb. 22, 1979. 18–20. Profile, mostly in his own words, presenting his composed music, particularly the four orchestra and two piano recordings on Arista, and arguing against the racialized oppositions of jazz/not jazz, improvisation/composition, Europe/America, etc. which have controlled the reception of music.

1140.

Kostakis, Peter, and Art Lange. “Conversation with Anthony Braxton 3/31/76.” Brilliant Corners: A Magazine of the Arts. 4 (Fall 1976). 53–99. Verbatim transcript starting with Braxton’s influences Pee Wee Russell, Lee Konitz, and Paul Desmond, then moving through his relationship to bebop, ideas of ritual in his music compared to the Art Ensemble of Chicago’s, white new music players imitating the Art Ensemble, Braxton’s use of voice and text, and the Kelvin, Kaufmann, and Cobalt composition systems. Dave Holland drops in and they briefly discuss his Conference of the Birds album.

Chicago, St. Louis, Los Angeles, and Other US Scenes

1141.

179

Levy, Aidan. “An American Visionary.” JazzTimes. June 2014. 38–41. Interview following Braxton’s NEA Jazz Master award, also discussing the TriCentric Foundation’s commissioning program and his work’s connections to politics and science.

1142.

Lock, Graham. Blutopia: Visions of the Future and Revisions of the Past in the Music of Duke Ellington, Sun Ra and Anthony Braxton. Durham, NC: Duke UP, 1999. xi, 314 p. For the three artists considered in this study, music is a way to create alternate histories, realities, and futures. Lock argues that Ellington’s utopianism was encoded in his use of exotica and spirituality, while Ra and Braxton, both of whom he interviewed, did not as easily sublimate their nonconformity. His reading of Sun Ra relies on his poetry, manifestos, song titles, space chants, and other self-mythologizing texts, connecting them to African-American alternative religions and histories. For Braxton, Lock reads the Tri-Axium Writings (1129), Braxton’s operas and other pieces incorporating text, and the critical reception of his work, observing that in the 1990s Braxton began setting his musical narratives in a semi-fictional world whose geography could also organize his musical systems.

1143.

Lock, Graham. Forces in Motion: The Music and Thoughts of Anthony Braxton. New York: Da Capo, 1988. xvi, 412 p. Embedded with Braxton’s quartet (Marilyn Crispell, Mark Dresser, and Gerry Hemingway) on a 1985 English tour, Lock spent considerable time with each band member, particularly Braxton, and saw every show. He captures life on the road, Braxton’s worldview, and the state of his music at this band’s apex.

1144.

Lock, Graham. “‘What I Call a Sound:’ Anthony Braxton’s Synaesthetic Ideal and Notations for Improvisers.” Critical Studies in Improvisation. 4:1 (2006). n.p. www. criticalimprov.com/article/view/462/992 Surveys the schematic, synaesthetic, and mystic roles of graphic notation in Compositions 10, 76, 84, 96, the pulse track 108B, and the Ghost Trance and Falling River Musics, as well as similar functions of imagery and design in his graphic composition titles. Draws on original interviews with Braxton and includes numerous score excerpts and other figures.

1145.

Lock, Graham, ed. Mixtery: A Festschrift for Anthony Braxton. Devon: Stride Publications, 1995. 269 p. Compiled in honor of Braxton’s 50th birthday, this collection includes new essays by Ran Blake, John Corbett, Marty Ehrlich, Mike Heffley, Gerry Hemingway, Joseph Jarman, Steve Lake, Art Lange, Francesco Martinelli, Knule Mwanga, Evan Parker, Ted Reichman, Bill Smith, Wadada Leo Smith, John Szwed, Kevin Whitehead, Val Wilmer, Peter Niklas Wilson, and Lock himself, among others, as well as Braxtonrelated drawings, photographs, scores, and poems. Interviews with Braxton by Nathaniel Mackey and John Corbett are also included.

1146.

Miedema, Harry. “Braxton, Anthony.” in Jazz Styles & Analysis: Alto Sax: A History of the Jazz Alto Saxophone via Recorded Solos. Chicago: Maher Pub, 1975. 15. The first chorus of Braxton’s solo on “There is No Greater Love,” from Circle’s Paris Concert, is transcribed.

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1147.

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Morton, Brian. “Grand Master Flash.” The Wire. 252 (Feb. 2005). 28–34. Cover story drawing on an interview, focused on his large-scale and scenario-based compositions, such as Composition 113 and the Ghost Trance Music. His academic job and connections to the European avant-garde are underlined.

1148.

Moten, Fred. “Jurisgenerative Grammar (for Alto).” The Oxford Handbook of Critical Improvisation Studies. eds. George E. Lewis and Benjamin Piekut. vol. 1. New York: Oxford UP, 2016. 128–142. Beginning by observing that courts do not judge whether law is relevant but rather which law and how, Moten applies this ontology of limits to language, then to Anthony Braxton’s music, specifically Composition 8F, dedicated to Cecil Taylor, as recorded on For Alto.

1149.

Moten, Fred. The Universal Machine. Durham, NC: Duke UP, 2018. [forthcoming] Literary/philosophical work in three sections, on Emanuel Levinas, Hannah Arendt, and Franz Fanon, each discussed in relation to freedom and Blackness, with Braxton appearing in the Arendt chapter.

1150.

Occhiogrosso, Peter. “Anthony Braxton Explains Himself.” Downbeat. Aug. 12, 1976. 15–16, 49. On the making of his In the Tradition albums, the significance of the AACM, whether or not he swings and what swing is, march music, being a saxophonist doubling on flute and clarinet, improvised music vs. the “intuitive” music of Stockhausen and Cage, and why Louis Armstrong’s music is more political than Bob Dylan’s.

1151.

Panken, Ted. “Anthony Braxton, February 5, 1995, WKCR-FM, New York.” Ted Panken’s Chicago Transcripts. jazzhouse.org. 1995. www.jazzhouse.org/library/index. php3?read=panken6 Interview on Braxton’s MacArthur grant and the Tri-Centric Foundation, then backtracking to the early years of the AACM and his relationships with Muhal Richard Abrams and Roscoe Mitchell, then jumping around to his work with Frederick Rzewski, his current jazz quintet where he plays piano and Marty Ehrlich saxophone, and the evolution of his quartet music, including language music, pulse tracks, and repetition systems.

1152.

Panken, Ted. “Who’s Afraid of the Ghost?” Downbeat. Oct. 2007. 42–49. Interview-based feature on Braxton’s Nine Compositions (Iridium) 2006 box set, explaining some of the theory and mechanics of his Ghost Trance Music and looking backwards at the AACM and ahead to the Sonic Genome, Falling River, Diamond Curtain Wall, and Echo Mirror House Musics. With comments from current sidemen Taylor Ho Bynum and Jay Rozen and former bandmates George Lewis, Mark Dresser, and Gerry Hemingway.

1153.

Radano, Ronald. Anthony Braxton and His Two Musical Traditions: The Meeting of Concert Music and Jazz. Ph.D. dissertation. 2 vols. Ann Arbor: U of MI, 1985. xxiv, 525 p. Drawing on recordings, published materials, scores, transcriptions, and original interviews with Braxton, this dissertation approaches his work from four directions: his background and connections to jazz, his small ensemble compositions (with

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numerous themes from the 6, 23, 40, and 69 composition series notated), his compositional techniques, including Language Music, and the philosophy expressed in his Tri-Axium Writings (1129). 1154.

Radano, Ronald. “Braxton’s Reputation.” The Musical Quarterly. 72 (1986). 503–522. A revised chapter from 1153, centered on the effects of Braxton’s Arista albums on his rankings in Downbeat’s critics’ and readers’ polls: aided by major-label exposure, he rises in multiple categories, then falls as he makes less jazz-like albums such as For Trio and For Four Orchestras.

1155.

Radano, Ronald. “Critical Alchemy: Anthony Braxton and the Imagined Tradition.” in Jazz Among the Discourses. ed. Krin Gabbard. Durham: Duke UP, 1994. 189–216. Condensed version of the central argument of 1153 and 1156: that Braxton’s genuine links to both jazz and to contemporary composed music were used by critics to praise and mock him, and by Arista Records to package and market his work. The programming and presentation of his 1970s Arista albums are examined, drawing on published interviews with producer Steve Backer, as is the end of his relationship with the label as he pursued increasingly difficult projects.

1156.

Radano, Ronald. New Musical Figurations: Anthony Braxton’s Cultural Critique. Chicago: U of Chicago P, 1993. xv, 315 p. Revision of 1153, with more cultural history and critical theory for context and less musical analysis.

1157.

Reichman, Ted. “The Insider: Growing Up with Braxton.” Downbeat. Sept. 2006. 19. Celebrating the belated premiere of 1971’s Composition 19 for 100 tubas, Reichman recounts his adventures with Braxton, starting as a college freshman and continuing into major recordings and tours.

1158.

Rothbart, Peter. “‘Play or Die:’ Anthony Braxton Interview.” Downbeat. Feb. 1982. 20–23. Having just completed the Tri-Axium Writings (1129), Braxton recaps some of their key concepts: affinity dynamics, the post-Ayler and post-Webern continuums, conceptual problems with “swing,” “jazz,” and entertainment, etc. He speaks directly on the historical marginalization of free jazz.

1159.

Rowell, David Putnam. Structure and Musical Convergences in Anthony Braxton’s Solo Saxophone Improvisations. M.M. thesis. Louisville: U of Louisville, 2008. v, 62 p. After a short biography, analysis of critical reception, and literature review, Rowell examines form and internal logic in the solo music, looking at the Composition 8 set of pieces, especially 8C and 8H. Transcribed excerpts from multiple recordings are used to identify compositional elements and improvisational strategies.

1160.

Shoemaker, Bill. “Anthony Braxton: The Dynamics of Creativity.” Downbeat. Mar. 1989. 20–22. Interview centered on the publication of the Composition Notes (1124) and TriAxium Writings (1129), but also discussing Braxton’s relationship to “jazz,” including his In the Tradition and Six Monk’s Compositions (1987) albums.

1161.

Shoemaker, Bill. “Turning the Inside Out.” The Wire. 297 (Nov. 2008). 36–39.

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A detailed account of Braxton’s period recording for Arista, describing why he was signed, the music he made for them, how it was marketed, how it was received, why he was dropped, and the effects of his return to independent labels. 1162.

Townley, Ray. “Anthony Braxton.” Downbeat. Feb. 14, 1974. 12–13. Interview-based profile on composition, his titles, Circle, the AACM, and his albums Three Compositions of New Jazz and For Alto.

1163.

Whitehead, Kevin. “Braxton & Jazz: IN the Tradition.” Point of Departure. 37 (Dec. 2011). n.p. www.pointofdeparture.org/PoD37/PoD37Braxton.html A talk given at Braxton’s 60th birthday event at Wesleyan arguing that, against Braxton’s own disavowals of the genre and mostly setting aside his albums of jazz repertoire, Braxton’s original music includes major contributions to jazz per se, finding examples and developments of swinging time in his work and traces of his influence in younger jazz innovators including Greg Osby and Steve Coleman.

1164.

Wilson, Peter Niklas. Anthony Braxton: Sein Leben, Seine Musik, Seine Schallplatten. Waakirchen: Oreos, 1993. 250 p. Includes a short biography, an attempted exposition of the Tri-Axium Writings (1129), then a chronological exploration of his music, including discussions of language music, graphic notation, the quartet music, pulse tracks, his larger scale works, and his titles. Separate chapters cover his duos and work “in the tradition.” Each section includes a discography, and there are numerous diagrams and score samples throughout. In German.

1165.

Wilson, Peter Niklas. “Musikalische Systemphilosophie Nach Ihrem Ende: Anthony Braxton’s Musikalische Metaphysik.” in Jazz und Komposition. ed. Wolfram Knauer. Darmstädter Beiträge zur Jazzforschung. 2 (1992). 101–120. German-language exploration of the metaphysics of Braxton’s mixing improvisation and graphic notation into mostly conventionally scored orchestral pieces and his use of spontaneous collage structures which permit players to draw from any of his works in performance, among other challenges to the conventional Western ontology of the musical work.

1166.

Woodard, Josef. “Anthony Braxton: Music as Spiritual Commitment.” Downbeat. Mar. 2012. 32–37. Interview on opera, the AACM, teaching, the Echo Echo Mirror House Music, and the Tri-Centric Foundation and Orchestra. A sidebar includes comments from Taylor Ho Bynum and Marilyn Crispell.

1167.

Wooley, Nate, ed. Sound American 16: The Anthony Braxton Issue. soundamerican. org [2016]. http://soundamerican.org/phone/index.html Includes appreciations of Braxton by Wooley and Taylor Ho Bynum and introductions to his music by frequent collaborations, with an emphasis on developments after the Marilyn Crispell/Mark Dresser/Gerry Hemingway quartet documented in Graham Lock’s Forces in Motion (1143). Articles include Carl Testa on Echo Echo Mirror House Music, Erika Dicker on Ghost Trance Music, Rachel Bernsen on Pine Top Aerial Music, Kiyoko Kitamura and Anne Rhodes on Syntactical Ghost Trance Music, Katherine Young on the Trillium operas, Wooley on Language Music

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(accompanied by solos exemplifying each type recorded by an all-star cast), and an interview of Braxton by Lock.

DeJohnette, Jack 1168.

DeJohnette, Jack, with Anthony Brown. Jack DeJohnette: NEA Jazz Master. Interview transcript. Smithsonian Jazz Oral History Program, Archives Center, National Museum of American History, Washington, DC, 2011. 107 p. http://amhistory. si.edu/jazz/DeJohnette-Jack/DeJohnette_Jack_Interview_Transcription.pdf Detailed biographical interview with substantial attention to his contacts with free jazz: his early years in Chicago, when he worked with Sun Ra, his various experiences sitting-in with John Coltrane, and playing with Roscoe Mitchell, Joseph Jarman, and Muhal Richard Abrams at the beginning of the AACM.

1169.

DeJohnette, Jack, with Gregg Bendian. Jack DeJohnette. Four audio cassettes and transcript. Oral History of American Music: Major Figures in American Music. New Haven: Yale University Library, 2013. Interview topics include performing with Sun Ra and John Coltrane, recording Afternoon of a Georgia Faun with Marion Brown and Song X with Pat Metheny and Ornette Coleman, and many notable projects less connected to free jazz.

Drake, Hamid 1170.

Cohen, Aaron. “Hamid Drake: Ask the Sun.” Coda. 275 (Sept/Oct. 1997). 27–29. Interview prefaced by compliments for Drake from Borah Bergman and Michael Zerang. Drake talks about Fred Anderson, Don Cherry, Ed Blackwell, and Sufism.

1171.

Cohen, Aaron. “A World of Drums.” Downbeat. July 1997. 41. Short interview-based profile with comments from Drake on style, feel, and genre, and on his appreciation for duos with piano.

1172.

Shoemaker, Bill. “Hamid Drake: Percussion Functions.” JazzTimes. Nov. 2002. 56–60. Interview-based profile, discussing his collaborations with Fred Anderson, Foday Musa Suso, Adam Rudolph, Don Cherry, and William Parker. Sidebars list his instruments and favorite records.

1173.

Stewart, Jesse. “Hamid Drake: Drum Talk.” Cadence. Mar. 2004. 5–11. Drake describes his collaborations with David Murray, William Parker, Peter Brötzmann, Frode Gjerstad, and Georg Graewe, the influence of Fred Anderson and Don Cherry, and connections between music, spirituality, and identity.

Ewart, Douglas 1174.

Litweiler, John. “Profiles: Doug Ewart.” Downbeat. July 14, 1977. 22–23. Interview-based piece covering his background, the influence of Eric Dolphy, the AACM, his instrument-building, and his performances with George Lewis, Fred Anderson, and Muhal Richard Abrams.

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Favors, Malachi 1175.

Cohen, Aaron. “Malachi Favors Maghostut: Natural & Spiritual.” Coda. 256 (July/ Aug. 1994). 4–6. Interview-based profile, mainly in Favors’ own words, weighted towards his pre-Art Enemble years.

1176.

Favors, Malachi. Malachi Favors. Three DAT audio cassettes. Jazz Oral History Project, Smithsonian Institution, Washington, DC. 2001. In-depth biographical interview. Finding aid not available.

1177.

Rusch, Bob. “Malachi Favors.” Cadence. Mar. 1991. 5–14. Career-spanning interview, strongest on his early career, but also including the beginning of the Art Ensemble and the AACM, the Art Ensemble’s time in Paris and work for BYG Records, and the ongoing creative and business situation of the group.

Hopkins, Fred 1178.

Panken, Ted. “Fred Hopkins August 2, 1987, WKCR-FM, New York.” Ted Panken’s Chicago Transcripts. jazzhouse.org. 1987. www.jazzhouse.org/library/?read=panken19 Interview on Hopkins’ musical training, orchestral experience, and the AACM.

1179.

Van Trikt, Ludwig. “Fred Hopkins: A Short Talk.” Cadence. Aug. 1985. 17–19. The major topics are the state of the AACM after many members moved to New York, and of Air after Steve McCall.

Jarman, Joseph 1180.

Cohen, Aaron. “Joseph Jarman.” Coda. 259 (Jan/Feb. 1995). 32–34. Interview-based profile during Jarman’s hiatus from the Art Ensemble of Chicago. He discusses his early years in music, experiments with electronics, challenges performing without the AEC, and his recent participation in an AACM big band.

1181.

Gross, Jason. “Zen and the Art of Improvisation: Joseph Jarman.” Signal to Noise. 13 (Sept/Oct 1999). n.p. Also as Gross, Jason. “Joseph Jarman Interview.” Perfect Sound Forever. Oct. 1999. n.p. www.furious.com/perfect/jarman.html A visit to Jarman’s akido dojo. He has begun to play music again, after leaving the Art Ensemble and not performing for several years. He talks about the AACM, John Cage, the Vision Festival, and The Matrix.

1182.

Jarman, Joseph. Black Case, Volume I & II: Return from Exile. Chicago: Art Ensemble of Chicago Pub. Co, 1977. 113 p. Collection of poetry, prose, photographs, and sheet music. Includes texts recited by Jarman on recordings (“Non-Cognitive Aspects of the City,” “Including Circles,” “Reese and the Smooth Ones,” “Odwalla,” and “Erika”), the unrecorded text to “People in Sorrow,” and lead sheets with words for “As If It Were the Seasons,” “Lonely Child,” and “What’s to Say.”

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1183.

185

Jarman, Joseph. “Odwalla.” Arsenal—Surrealist Subversion. 3 (1976). 35. Poem recited with Roscoe Mitchell’s composition on the Art Ensemble of Chicago’s Bap-Tizum LP.

1184.

Kim, Rebecca Y. In No Uncertain Terms: The Cultural Politics of John Cage’s Indeterminacy. Ph.D. dissertation. New York: Columbia U, 2008. ix, 433 p. Includes a chapter on the distinction between indeterminacy and improvisation, dealing with Cage’s definitions of each, his early connections to jazz scholar/performer William Russell and use of recorded jazz in a realization of “Imaginary Landscape No. 5,” his 1965 collaboration with Jarman, his later series of compositions entitled “Improvisation . . . ,” improvised aspects of his work with Merce Cunningham, statements on improvisation, and George Lewis’ critique of Cage.

1185.

Kim, Rebecca Y. “John Cage in Separate Togetherness with Jazz.” Contemporary Music Review. 31:1 (2012). 63–89. Revised chapter from 1184.

1186.

Kostakis, Peter, and Art Lange. “An Interview with Joseph Jarman 8/19/77.” Brilliant Corners: A Magazine of the Arts. 8 (Winter 1978). 92–115. Jarman recounts his musical history from the formation of the AACM through the Art Ensemble of Chicago’s time in Paris, then discusses various audience responses, his duo album with Anthony Braxton Alone Together, Black Case (1182), and rejects a comparison between Webern and the Art Ensemble’s People in Sorrow. He also mentions a memoir Kix-Plix-Plax-and-Plickers which remains unpublished.

1187.

Miedema, Harry. “Jarman, Joseph.” in Jazz Styles & Analysis: Alto Sax: A History of the Jazz Alto Saxophone via Recorded Solos. Chicago: Maher Pub, 1975. 50. Transcribed solo from the Art Ensemble of Chicago’s version of Charlie Parker’s “Dexterity,” from Message to Our Folks.

Jenkins, Leroy 1188.

Baugher, Carl E. Turning Corners: The Life And Music Of Leroy Jenkins. Redwood, NY: Cadence Jazz Books, 2000. 150 p. A biography based on interviews with Jenkins, with track-by-track critical commentary on his released work as a leader or co-leader, and less detailed discussion of sideman dates and some unofficial live recordings. A discography is appended. Jenkins describes his unrecorded work with Albert Ayler, his friendship with Ornette Coleman, and his experiences as a founding member of the AACM, as well as collaborations with Anthony Braxton, Leo Smith, the Revolutionary Ensemble, Rashied Ali, Muhal Richard Abrams, and others.

1189.

Blumenthal, Bob. “Leroy Jenkins.” Downbeat. Mar. 1982. 20–22, 70. Interview-based profile on his work since the end of the Revolutionary Ensemble, particularly the Mixed Quintet. He discusses working with Black Saint/Soul Note, his ideal touring/recording situation, and a solo concert he played on a Stradivarius in Cremona.

1190.

Buium, Greg. “Leroy Jenkins: Just Say Yes.” Coda. 297 (May/June 2001). 4–8.

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Interview-based cover story surveying his career from the AACM through his recent undocumented large-scale work for theater, dance, and opera and the Equal Interest trio with Joseph Jarman and Myra Melford. 1191.

Jeske, Lee. “Blindfold Test: Leroy Jenkins.” Downbeat. Dec. 1980. 47. Jenkins comments on and attempts to identify records by improvising violinists from Yehudi Menuhin to Ornette Coleman and Billy Bang.

1192.

McAuley, Jim. “An Interview with Leroy Jenkins.” Shuffle Boil. 5/6 (2006). 14–18. McAuley introduces a phone interview by recollecting meeting Jenkins and recording with him for McAuley’s The Ultimate Frog CD. They discuss the CD reissue of the Revolutionary Ensemble’s The Psyche, how that band collaborated, and Jenkins’ works in progress.

1193.

Panken, Ted. “Leroy Jenkins: October 12, 1993, WKCR-FM New York.” Ted Panken’s Chicago Transcripts. jazzhouse.org. 1993. www.jazzhouse.org/library/?read=panken17 Career-spanning interview, including his youth and education, the AACM, the late 1960s Paris recordings with Anthony Braxton, Leo Smith, Archie Shepp, and others, the Revolutionary Ensemble, and his own groups, plus dealing with amplification and using improvisation with classical players.

1194.

Primack, Bret. “Leroy Jenkins: Gut-Plucking Revolutionary.” Downbeat. Nov. 16, 1978. 23–24, 50–51. Interview-based profile covering his education, joining the AACM, participation in the Creative Construction Company with Anthony Braxton and Leo Smith, their move to Paris and adding Steve McCall to the group, then Jenkins and Braxton’s move to New York, meeting other musicians there, and working with the Revolutionary Ensemble and his own projects.

1195.

Van Trikt, Ludwig. “Leroy Jenkins Interview.” Cadence. Nov. 1997. 5–9. Discusses his connections with the AACM, his work with the Revolutionary Ensemble and his band Sting, his album Themes and Variations on the Blues, moving between “jazz” and “new music,” and the recording sessions for Archie Shepp’s Attica Blues and The Cry of My People.

Lewis, George 1196.

Beckwith, Naomi, John Corbett, and George E. Lewis. “George E. Lewis in Conversation with John Corbett.” Nka Journal of Contemporary African Art. 34 (Spring 2014). 52–54. Moderated discussion following Corbett (84) and Lewis’ (1056) talks. Each discusses the relevance of the terms “jazz” and “Afro-futurism” to the AACM and Sun Ra.

1197.

Cohen, Aaron. “Backstage with . . . George Lewis.” Downbeat. July 2006. 16. Short interview touching on Lewis’ contributions to computer music, his AACM book (1057), and why he has made relatively few recordings as a leader.

1198.

Cohen, Aaron. “Changing with the Times: George Lewis.” Coda. 267 (May/June 1996). 6–9.

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Lewis speaks about his Changing with the Times and Homage to Charles Parker albums, as well as the Voyager interactive improvisation project. All three lead to questions of genre and identity. 1199.

Duprat, Maxime. Dialogues des Culture et Esthétiques dans les “Musiques Improvisées.” M.A. thesis. Montréal: Université de Montréal, 2010. Combining musicology and cultural studies to discuss multiculturalism and transculturation in improvised music, looking at the history of free improvisation and the specific example of Lewis and Miya Masaoka’s duet The Usual Turmoil. In French.

1200.

Lewis, George E. “Afterword to ‘Improvised Music after 1950’ The Changing Same,” in The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue. eds. Daniel Fischlin and Ajay Heble. Middletown, CT: Wesleyan UP, 2004. 163–172. This update to 1204 is largely a literature review, criticizing the journalists and scholars who continue to see experimental music as white and European, and “free improvisation” as “free” from connections to Blackness and jazz. He calls for a more inclusive history and conception of experimentalism.

1201.

Lewis, George E. Écoutez votre Siècle 8: George Lewis “Rainbow Family.” Video. Paris: IRCAM, 1984. http://medias.ircam.fr/x015be3 Thirty-minute film, in French, of Lewis developing an interactive electronic system and performing with it alongside Derek Bailey, Douglas Ewart, Steve Lacy, and Joëlle Léandre.

1202.

Lewis, George. “Foreword: Who is Jazz?” in Jazz Worlds/World Jazz. eds. Philip V. Bohlman and Goffredo Plastino. Chicago: U of Chicago P, 2016. ix-xxiv Lewis considers various identities assigned to jazz: popular music, art music, American music, Black music, etc., passing briefly through Max Roach’s 1960s rejection of “jazz” as a racist category, Nicholas Payton’s recent promotion of “Black American Music” as a genre label, criticism of Vijay Iyer’s receiving a MacArthur grant based on his lack of straight-ahead jazz experience, and the meaning of the AACM’s slogan “Great Black Music” to members Pete Cosey, Muhal Richard Abrams, and Lester Bowie.

1203.

Lewis, George E. “Gittin’ to Know Y’all: Improvised Music, Interculturalism and the Racial Imagination.” Critical Studies in Improvisation. 1:1 (2004). www.criticalimprov. com/article/view/6/15 Also in The Improvisation Studies Reader: Spontaneous Acts. eds. Rebecca Caines and Ajay Heble. New York: Routledge, 2015. 296–320. Revisits his Afrological/Eurological categories, looking particularly at the roughly simultaneous emergence of European free improvisation and the formation of the AACM and the two groups’ encounter at the 1969 Baden-Baden Free Jazz Meeting, performing a large group piece under the direction of Lester Bowie. Lewis complicates the European narrative of “Emancipation” from American models and marks the inspiration the AACM drew from European experimental and avant-garde composers.

1204.

Lewis, George. “Improvised Music After 1950: Afrological and Eurological Perspectives.” Black Music Research Journal. 16.1 (1996). 91–122. Also in The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue. eds. Daniel Fischlin and Ajay Heble. Middletown, CT: Wesleyan UP, 2004. 131–162. And in Audio Culture:

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Readings in Modern Music. eds. Christoph Cox and Daniel Warner. New York: Continuum, 2004. 272–284. Lewis defines “Afrological” “and “Eurological” approaches to creative music with Charlie Parker and John Cage as central examples. While not racially essentialist, they arise from distinct cultural contexts and bear that history, specifically in conceptions of freedom, individuality, and tradition. The essay carries a strong critique of Cage, Stockhausen, and other composers who Lewis argues use improvisation under the labels of chance, indeterminacy, or intuition while ignoring or disrespecting non-European improvisation, particularly African-American music. However, these categories are not inherently positive or negative. Lewis points to the work of the AACM, BAG, European free improvisers such as Derek Bailey and Peter Brötzmann, the AsianImprov movement, and the 1980s Downtown players as Afrological experimentalism and that of AMM and MEV as Eurological. 1205.

Lewis, George E. “Improvisation and the Orchestra: A Composer Reflects.” Contemporary Music Review. 25:5–6 (2006). 429–434. Ethnomusicologist Mantle Hood’s idea of bi-musicality and Gunther Schuller’s of the Third Stream are used to introduce the possibility of orchestral improvisation. While Lewis notes that improvisation was increasingly excluded from Western classical music during the rise of the orchestra, he notes the alternative practices of composers such as Frederic Rzewski, Earle Brown, and Lukas Foss, and more radical projects, such as Lawrence “Butch” Morris’ Conduction and Cornelius Cardew’s Scratch Orchestra.

1206.

Lewis, George E. “Living with Creative Machines: An Improvisor Reflects.” in Afrogeeks: Beyond the Digital Divide. eds. Anna Everett and Amber J. Wallace. Santa Barbara: UCSB Center for Black Studies Research, 2007. 83–99. Lewis briefly traces the streams which converge in his work with live interactive electronics: graphic and indeterminate scores, with their conflicted relationship to improvisation, free jazz and the AACM, the non-jazz free improvisation of AMM and MEV, and studio tape and computer music. He also details African-American creative musicians’ use of live electronics, particularly Muhal Richard Abrams, Eddie Harris, and Miles Davis, as a under-recognized tradition, and finally describes the construction, performance, and reception of his “Rainbow Family” at IRCAM in 1980 (1201) and his work since 1987 with the improvising software Voyager.

1207.

Lewis, George E. “Purposive Patterning: Jeff Donaldson, Muhal Richard Abrams, and the Multidominance of Consciousness.” Lenox Avenue: A Journal of Interarts Inquiry. 5 (1999). 63–69. Explores parallels between painter Donaldson’s use of color, layering, and repetition, and a duet by Abrams and Fred Anderson, identifying aesthetic, formal, and biographical connections between the these contemporary Chicago artists.

1208.

Lewis, George. “Teaching Improvised Music: An Ethnographic Memoir.” in Arcana: Musicians on Music. ed. John Zorn. New York: Granary, 2000. 78–109. An account of a graduate performance course in improvised music he taught at UC San Diego, introduced with surveys of the hazards of academic composition and jazz education, of musician-created alternative educational institutions, including the

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Creative Music Studio, and of his own musical education, particularly apprenticeships with older musicians from Fred Anderson to Count Basie, the AACM, and weekly Chicago jam sessions led by Anderson and Von Freeman. Lewis discusses factors which affected the success of his course, including student assumptions about improvisation, the misrepresentation of improvisation in academic literature, the commercial orientation of music production and distribution, and racism. 1209.

Lewis, George. “Too Many Notes: Computers, Complexity and Culture in Voyager.” Leonardo Music Journal. 10 (2000). 33–39. Describes his Voyager interactive improvisation software, applying ideas from African-American and Black Atlantic aesthetics.

1210.

Lewis, George, with Eva Soltes and Gregg Bendian. George Lewis. Seven audio cassettes and transcript. Oral History of American Music: Major Figures in American Music. New Haven: Yale University Library, 1997 and 2003. The 1997 interview, with Soltes, covers his youth, education, the AACM, Yale and the New Haven creative music scene, working with Count Basie, Anthony Braxton, the Art Ensemble of Chicago, MEV, and ICP, as well as his work in electronic music at IRCAM and STEIM, culminating in the Voyager system and his job at UC San Diego. The second session, with Bendian, discusses his academic writing, AfricanAmericans in classical music, the Jazz Composers Orchestra Institute, and the work of many of his students at UCSD and Columbia.

1211.

Litweiler, John. “Profile: George Lewis.” Downbeat. Aug. 11, 1977. 36–38. Interview-based piece on his work with Count Basie, Fred Anderson, and Anthony Braxton, as well as his solo trombone record and explorations of electronic music.

1212.

Morton, Brian. “Invisible Jukebox: George E. Lewis.” The Wire. 288 (Feb. 2008). 20–23. Blind listening test with recordings of Laurie Anderson, Luciano Berio, Anthony Braxton with Richard Teitelbaum, John Cage, Company, the London Improvisers Orchestra. Kid Ory, Charlie Parker, and Paul Rutherford. The Parker and Cage in particular enable him to revisit his work on the relationship between improvisation and indeterminacy.

1213.

Panken, Ted. “George Lewis: April 30, 1994, WKCR-FM New York.” Ted Panken’s Chicago Transcripts. jazzhouse.org. 1994. www.jazzhouse.org/library/?read=panken16 Radio interview, with Lewis discussing his CDs Changing with the Times and Voyager, as well as the AACM, his musical education, and his work at UC San Diego.

1214.

Panken, Ted. “High Scholar.” Downbeat. Oct. 2004. 104–105. Interview with Lewis on his move from UC San Diego to Columbia University, pedagogy, the AACM, and the “new jazz studies.”

1215. Shoemaker, Bill. “Mobility Agenda: George Lewis.” JazzTimes. Oct. 2001. 58–61, 102, 109. Interview-based profile in which Lewis uses “mobility” to describes his ability to move between Anthony Braxton and Count Basie’s bands in the 1970s and between teaching, writing, playing, composing, and creating interactive electronics now. He argues that this sort of mobility was part of the AACM’s agenda from the beginning,

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that it is a priority in his teaching, and that it represents a mode of cross-cultural communication. 1216.

Smith, Julie Dawn, and Ellen Waterman. “Listening Trust: The Everyday Politics of George Lewis’ ‘Dream Team.” in People Get Ready: The Future of Jazz is Now! eds. Ajay Heble and Rob Wallace. Durham, NC: Duke UP, 2013. 59–87. Dual analysis of Lewis’ ad hoc quartet with Miya Masaoka, Marilyn Crispell, and Hamid Drake. Smith looks at the intersecting histories represented in the group, including the AACM, Creative Music Studio, and shared collaborations with Anthony Braxton, Fred Anderson, and others, as well as its ethnic and gender diversity, and the group’s manifestations of individuality and collectivity on stage, while Waterman attends a second performance and uses psychoanalytic theory to discuss both the ensemble and the question of repeating a spontaneous or improvised event.

Mazurek, Rob 1217.

Meyer, Bill. “Rob Mazurek: Opposing Forces.” Downbeat. Apr. 2015. 42–47. Comments from Jeff Parker and Nicole Mitchell introduce a feature interview promoting the album Return the Tides, which also discusses Mazurek’s work with Bill Dixon and his lessons with Art Farmer.

1218.

Meyer, Bill. “The Spider’s Stratagem.” The Wire. 354 (Aug. 2013). 30–38. Cover story recapping his career, from the Chicago Underground Duo, Tigersmilk, and Mandarin Movie, to the Exploding Star Orchestra and its collaborations with Bill Dixon, Pharaoah Sanders, and Roscoe Mitchell.

McCall, Steve 1219.

Whitehead, Kevin. “Steve McCall: Interview.” Cadence. July 1982. 11–14, 27. On his musical education, influences, and apprenticeship, the Experimental Band and creation of the AACM, moving to Europe, work with Anthony Braxton and Marion Brown, return to the US, and the formation of Air.

McIntyre, Kalaparusha Maurice 1220.

Bynum, Taylor Ho. “Postscript: Kalaparusha Maurice McIntyre, 1936–2013.” The New Yorker. Online. Nov. 14, 2013. www.newyorker.com/culture/culture-desk/ postscript-kalaparusha-maurice-mcintyre-1936-2013 In memorium essay, centered on his work in the early years of the AACM: on Muhal Richard Abrams’ Levels and Degrees of Light, Roscoe Mitchell’s Sound, and his own Humility in Light of the Creator, and candidly but sympathetically addressing his lifelong drug addiction.

1221.

Parra, Danilo, dir. Kalaparusha Maurice McIntyre: “That’s Not a Horn, It’s a Starvation Box.” Online video. The Guardian. Sept. 13, 2010. www.theguardian.com/music/ video/2010/sep/13/kalaparusha-maurice-mcintyre-horn-starvation-box

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Twenty minute documentary showing Kalaparusha rehearsing with his band, playing solo in the subway, and at home with his wife, dealing with poverty and addiction. 1222.

Rusch, Bob. “Kalaparush: Interview.” Cadence. Oct. 1982. 5–8. Topics include his musical education and apprenticeship, the AACM, and struggles with addiction.

Mitchell, Nicole 1223.

Jackson, Michael. “‘I Like it More Rough and Edgy.’” Downbeat. Apr. 2008. 46–49. Feature with comments from Mitchell, Josh Abrams, Rob Mazurek, Taylor Ho Bynum, and James Newton, surveying her numerous ensembles, collaborations, and projects.

1224.

Jackson, Michael. “Nicole Mitchell: Urban Tones.” Downbeat. May 2005. 29. Short interview-based profile, focused on Mitchell’s debut CD Hope, Future, and Dreamtime, with a biography, notes on selected tracks, and the influence of science fiction on her work.

1225.

McNeilly, Kevin, and Julie Dawn Smith. “Extemporaneous Genomics: Nicole Mitchell, Octavia Butler, and Xenogenesis.” in Negotiated Moments: Improvisaton, Sound, and Subjectivity. eds. Gillian Siddal and Ellen Waterman. Durham, NC: Duke UP, 2016. 245–262. Exegesis of Mitchell’s adaptation of Butler’s novel Dawn for her album Xenogensis Suite, primarily discussing the narrative, text, and vocal performances, with musical composition, arrangement, and improvisation also considered.

1226.

Miriello, Ralph A. “Nicole Mitchell Heads West.” Downbeat. Aug, 2013. 16–17. On her move to California to teach at UC Irvine, the effects of this move on her art, the aspects of west coast jazz she identifies with, and her use of voice and electronics with the flute.

1227.

Mitchell, Nicole. “Artist’s Choice: Women in the Avant-Garde.” JazzTimes. Sept. 2012. 64. Mitchell closes this all-female special issue with an annotated playlist including Myra Melford, Matana Roberts, Lauren Newton with Joëlle Léandre, Dee Alexander, and the Mazz Swift/Tomeka Reid/Silvia Bolognesi string trio.

1228.

Mitchell, Nicole. “What was Feared Lost.” in Arcana VIII: Musicians on Music. ed. John Zorn. New York: Hip’s Road, 2017. 221–236. Magical realist text on being part of the continuum of jazzwomen and of the AACM, and living as a spiritual Black artist in contemporary America, with particular reference to her albums Xenogenesis Suite, Key Vibrations, Mandalora Awakening, and Ice Crystals, and the group Samana.

1229.

Mitchell, Nicole, with Taylor Ho Bynum. Nicole Mitchell. Audio cassette and transcript. Oral History of American Music: Major Figures in American Music. New Haven: Yale Music Library, 2012. Describes her musical education, including lessons with James Newton, then her joining the AACM and personal and creative relationships with Fred Anderson,

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David Boykin, and Hamid Drake, meeting Sun Ra, and her various ensembles and artistic plans. 1230.

Spicer, Daniel. “When Worlds Collide.” The Wire. 401 (July 2017). 38–43. Cover story centered on her Mandorla Awakening II: Emerging Worlds album and drawing on multiple conversations and email exchanges. Topics include AfroFuturism, feminism, ecology, the AACM, and her return to teach in Orange County, CA, where she spent part of her childhood.

1231.

West, Michael J. “West by Midwest.” JazzTimes. Sept. 2013. 34–39. Feature covering her work in Chicago and California, with comments from collaborators Jason Adasiewicz, Renee Baker, David Boykin, Michael Dessen, Mark Dresser, Hamid Drake, Douglas Ewart, and Mitchell herself.

Mitchell, Roscoe 1232.

Baker, David. “Lashley, Lester.” Jazz Styles & Analysis: Trombone: A History of the Jazz Trombone via Recorded Solos. Chicago: Downbeat Music Workshop Pub, 1973. 83–84. Transcribed improvisation on “Sound,” from Mitchell’s LP of the same title.

1233.

Davis, Francis. “Roscoe Mitchell.” Musician: Player and Listener. Dec. 1983. 26, 28, 30, 32. Career-spanning interview-based profile, with comments from Mitchell on preparing material for his solo concerts, writing for groups he is not in, Jelly Roll Morton’s influence on his piece “Jo Jar,” and the Art Ensemble of Chicago’s relation to the jazz tradition.

1234.

DeCristo, Jeramy. Blackness and the Writing of Sound in Modernity. Ph.D. dissertation. Santa Cruz: U of CA, 2015. 291 p. https://escholarship.org/uc/item/0t39d9kn Theoretical work on personal and racial identity as mediated by applications of recording technology, with a central chapter on Mitchell’s LP Sound. While Mitchell’s group was completely acoustic, DeCristo argues that their use of layered multiinstrumental cross-genre fragments was a form of musique concrete anticipating sampling, dub mixing, and other Afro-Futurist sonic practices. The album is read closely musically, historically, and in relation to critical theory.

1235.

Maino, Francesco. “Roscoe Mitchell: A Short Talk.” Cadence. Nov. 1982. 11, 30. Mitchell criticizes the neo-conservative movement in jazz, says “creative music” is the best label for his work, and explains why he does not wear face paint on stage with the Art Ensemble of Chicago.

1236.

Mandel, Howard. “The Great Learning.” The Wire. 375 (May 2015). 36–42. Interview-based career-spanning cover story with detailed discussion of his early years, his debut LP Sound, and his composition “Nonaah.”

1237.

Martin, Terry. “Blowing Out in Chicago.” Downbeat. Apr. 6, 1967. 20–21, 47–48. Interview-based profile discussing his development, training, and influences, particularly Ornette Coleman, John Coltrane, and Sun Ra, his album Sound, and associates

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including Muhal Richard Abrams, Joseph Jarman, and Lester Bowie, as well as the aesthetics of the new music and the AACM’s interest in moving it beyond nightclubs to more wholesome and serious settings. 1238.

Miedema, Harry. “Mitchell, Roscoe.” in Jazz Styles & Analysis: Alto Sax: A History of the Jazz Alto Saxophone via Recorded Solos. Chicago: Maher Pub, 1975. 68. Transcribed solo from the Art Ensemble of Chicago’s version of Charlie Parker’s “Dexterity,” from Message to Our Folks.

1239.

Mitchell, Roscoe, and Hans Falb. “Sound and Space Inbetween.” in Tell No Lies, Claim No Easy Victories. eds. Phillip Schmickl, Hans Falb, Andrea Mutschlechner, a.o. Nickelsdorf: Verein Impro, 2009. 56–65. Interview on the AACM, the Art Ensemble of Chicago, the Transatlantic Art Enemble collaboration with Evan Parker, and Mitchell’s work at the Nickelsdorf Festival, which helped facilitate his written music. Mitchell also briefly discusses his and the AACM’s connections to Sun Ra, Cecil Taylor, and Ornette Coleman.

1240.

Panken, Ted. “Roscoe Mitchell and Amina Cladine Myers: June 13, 1995, WKCR-FM New York.” Ted Panken’s Chicago Transcripts. jazzhouse.org. 1995. www.jazzhouse. org/library/?read=panken9 Double radio interview on the history of their collaboration, beginning with preAACM organ groups, also including each of their musical development and current work. Both also speak on their work with Henry Threadgill and the importance of Muhal Richard Abrams.

1241.

Panken, Ted. “Roscoe Mitchell: December 5, 1995, WKCR-FM New York.” Ted Panken’s Chicago Transcripts. jazzhouse.org. 1995. www.jazzhouse.org/library/?read=panken10 Radio interview transcript, on his work with classical players, his various ensembles, the evolution of his piece “Nonaah,” multi-instrumentalism, solo playing, and his musical development, from childhood through the military, the Experimental Band, and the early years of the AACM.

1242.

Panken, Ted. “Roscoe Mitchell: ‘People Don’t Want to be Categorized.” Downbeat. Sept. 2017. 40–43. Interview-based profile on Mitchell’s Bells for the South Side album, also discussing the upcoming Conversations for Orchestra project, with improvisations from his Conversations I & II albums transcribed and expanded.

1243.

Richardson, Derk. Improv21: Improvising with Mr. Mitchell—An Informance with Roscoe Mitchell. Online video. San Francisco: ROVA Arts, 2008. https://archive.org/ details/IMP_2008_02_20 Career-spanning 96 minute interview, largely on his philosophy, aesthetics, and pedagogy of improvisation.

1244.

Steinbeck, Paul. “Talking Back: Performer-Audience Interaction in Roscoe Mitchell’s ‘Nonaah.’” Music Theory Online. 22:3 (Sept. 2016). n.p. http://mtosmt.org/issues/ mto.16.22.3/mto.16.22.3.steinbeck.html Detailed description, with score excerpts and a partial performance transcription, of Mitchell’s solo performance at the 1976 Willisau Jazz Festival, released on the LP Nonaah, emphasizing his interplay with a noisy and somewhat hostile audience.

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Moye, Don 1245.

Kuntz, Henry. “Don Moye: An Interview.” Bells. Mar. 11, 1975. n.p. https://bells.freejazz.net/bells-part-one/don-moye-an-interview/ Moye describes how he joined the Art Ensemble, how they organize their rehearsals and performances, his solo and percussion ensemble music, and the need for musicians to have creative and economic control of their work.

1246.

Milkowski, Bill. “The Art Ensemble of Chicago’s Famoudou Don Moye: MultiDirectional Drummer for All Seasons.” Modern Drummer. May 2007. 86–91, 93–96. Interview covering his musical background, connections between freedom, tradition, and discipline, double-drumming with Philly Joe Jones in Sun Ra’s All-Stars, and his work with the Art Ensemble of Chicago, Steve Lacy, and Marcello Melis.

1247.

Rusch, Bob. “Don Moye: Interview.” Cadence. 5:10 (1979). 14–18. Topics include his career before joining the Art Ensemble of Chicago, how he became a member of the AACM, the music on his solo record, Billy Cobham and disco, Moye’s musical influences and goals, the Art Ensemble’s stage makeup, and their forthcoming ECM debut.

Parker, Jeff 1248.

Margasak, Peter. “Blindfold Test: Jeff Parker.” Downbeat. Mar. 2014. 122. Parker comments on recordings by Matt Bauder, Sonny Sharrock, Marc Ribot, and others.

1249.

Margasak, Peter. “Hearsay: Jeff Parker.” JazzTimes. July/Aug. 2000. 26. Interview-based profile emphasizing his diverse musical activities and the breadth of Chicago’s scenes, from Tortoise to Fred Anderson.

1250.

Shanley, Mike. “Before & After: Jeff Parker.” JazzTimes. July/Aug. 2017. Blindfold test-style listening session with records by Nels Cline, Mary Halvorson, Marc Ribot, Sonny Sharrock, James “Blood” Ulmer (with Ornette Coleman), and others.

1251.

Van Trikt, Ludwig. “Jeff Parker Interview.” Cadence. Jan. 2006. 15–21. Biographical interview, centered on the AACM, which he first entered through his work with Ernest Dawkins. Parker inventories his current bands and regular collaborations: Dawkins, Tricolor, Isotope 217, the Chicago Underground, Ted Sirota, and Scott Fields, as well as his solo guitar work.

Reed, Mike 1252.

Cohen, Aaron. “Mike Reed’s Grand Vision.” Downbeat. Feb. 2016. 36–38. Interview-based profile discussing his bands Loose Assembly and Flesh and Bone, the album A New Kind of Dance by his group People, Places, & Things, his membership in the AACM, the AACM tribute CD Artifacts he recorded with Nicole Mitchell and Tomeka Reid, and his venue Constellation.

Chicago, St. Louis, Los Angeles, and Other US Scenes

1253.

195

Meyer, Bill. “Mike Reed: Communal Composer.” Downbeat. Aug. 2007. 30–31. Short interview-based profile touching on Reed’s band Loose Assembly, his improvised duets album In the Context of, and his work programming the Pitchfork rock festival.

1254.

Pierrepont, Alexandre, and Francis Hofstein. “Parisian Thoroughfare: Mike Reed.” Point of Departure. 30 (Aug. 2010). n.p. www.pointofdeparture.org/PoD30/ PoD30ParisianThoroughfare.html Reed is interviewed on the role of the drums, how he approaches the instrument in relation to improvising, composing, and arranging, and the relevance of rhythm and swing. He also discusses influences, the jazz tradition, free jazz as a style or genre, and his bands Loose Assembly and People, Places, and Things.

1255.

Reed, Mike. “Master Class: Assembling a Team Sound.” Downbeat. Nov. 2008. 62–63. A description of how Reed’s band People, Places, & Things reworked the 1960 MJT+3 piece “Is-It” for their Proliferation album, including a lead sheet for the original introduction and A section and comments from the other members of the band.

Reid, Tomeka 1256.

Cohen, Aaron. “Tomeka Reid: On the Right Path.” Downbeat. Nov. 2015. 22. Short interview-based profile on her work with the AACM, Roscoe Mitchell, and her quartet album featuring Mary Halvorson.

1257.

Collins, Troy. “Tomeka Reid: On the Rise.” Point of Departure. 53 (Dec. 2015). n.p. www.pointofdeparture.org/PoD53/PoD53Reid.html Interview on her background and bands: Hear and Now, the Tomeka Reid Quartet, and Artifacts (with Nicole Mitchell and Mike Reed).

Roebke, Jason 1258.

Buium, Greg. “Jumpin’ In.” Point of Departure. 56 (Sept. 2016). n.p. www. pointofdeparture.org/archives/PoD-56/PoD56JumpinIn.html Interview-based profile focused on his octet CD Cinema Spiral, but also including sections on his work with Mike Reed and Tomeka Reid, a summary of a workshop he gave in Amsterdam, and his experience as part of a post-Ken Vandermark generation of Chicago players.

Rudolph, Adam 1259.

Borgo, David. “Emergent Qualities of Collectively Improvised Performance.” Pacific Review of Ethnomusicology. 8/1 (Winter 1996/1997). 23–40. https://ethnomusicologyreview.ucla.edu/journal/volume/8 Live free improvised performances by the trio of Rudolph, Ralph Jones, and Kevin Eubanks during a 1995–1996 Sunday afternoon residency at the Jazz Bakery are

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approached using the traditional tools of interviews, transcription, and ethnomusicological observation, as well as Borgo’s innovative application of chaos theory to improvisers’ group dynamics. 1260.

Brady, Shaun. “Adam Rudolph: Framing the World.” Downbeat. Nov. 2008. 30–31. Short interview-based profile on his early inspiration from hearing Howlin’ Wolf and the Art Ensemble of Chicago growing up, the spiritual framework of his music, and the ensembles Hu Vibrational, Moving Pictures, and the Go: Organic Orchestra.

1261.

De Bièvre, Guy. Open, Mobile, and Indeterminate Forms. Ph.D. dissertation. London: Brunel U, 2012. vi, 217 p. http://bura.brunel.ac.uk/bitstream/2438/6361/17/ FulltextThesis.pdf A portfolio of original compositions is attached to an analytic study of work by Earle Brown, Miles Davis, Peter Zummo, Anne La Berge and, closest to free jazz, Adam Rudolph, who is interviewed and observed at work with the Go: Organic Orchestra in New York. Many samples of Rudolph’s scores and instructions are reproduced, and the questions of individual freedom, genre, and “world music” in his work are explored.

1262.

Panken, Ted. “Blindfold Test: Adam Rudolph.” Downbeat. Feb. 2014. 114. Rudolph comments on recordings by the Jazz at Lincoln Center Orchestra, Trilok Gurtu, the AACM Great Black Music Ensemble, Rudresh Mahanthappa, Nicole Mitchell’s Indigo Trio, and Milford Graves.

1263.

Rudolph, Adam. “Artist’s Choice: Yusef Lateef.” JazzTimes. Mar. 2012. 72. Rudolph presents his favorite Lateef tracks.

1264.

Rudolph, Adam. “Music and Mysticism, Rhythm and Form: A Blues Romance in 12 Parts.” in Arcana V: Music, Magic, and Mysticism. ed. John Zorn. New York: Hips Road, 2010. 327–335. Notes on some of the metaphysical ideas informing his music, including connections between language and rhythm, the correspondence of duple and triple rhythms to female and male in the Dogon culture, the 3/2 polyrhythm as a perfect fifth, a pitch diagram John Coltrane gave Yusef Lateef compared to one of Indian rhythmic cycles, layered ostinatos as weaving, and more.

1265.

Rudolph, Adam. Pure Rhythm: Rhythm Cycles and Polymetric Patterns for Instrumentalists, Percussionists, Composers and Music Educators. Book with 2 audio CDs. Rottenburg, Germany: Advance Music, 2005. xviii, 86 p. An introduction to “cyclic verticalism:” layered rhythms from 3 against 2 to sixty beat forms in various combinations of groupings, with a theoretical and pedagogical introduction. He also deals briefly with Yusef Lateef ’s double and triple-diminished scales. The majority of the book is rhythm diagrams with notes on their mathematical forms and cultural provenance. Rudolph demonstrates these patterns on the enclosed CDs.

1266.

Sonderegger, Sean. “It’s More Personal than We Think:” Conducted Improvisation Systems and Community in NYC. M.A. thesis. Middletown, CT: Wesleyan U, 2014. iv, 207 p. http://wesscholar.wesleyan.edu/etd_mas_theses/73/ Sonderegger compares the systems for conducting improvising ensembles developed by Anthony Braxton, Lawrence “Butch” Morris, and Adam Rudolph. Besides

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performing in all three of these artists’ ensembles, he also interviews Braxton and Rudolph, as well as Graham Haynes and Jason Hwang, and transcribes passages from Rudolph’s work. Notated materials by Braxton and Rudolph also appear. Sonderegger places improvising orchestras in the context of musicians’ organizations such as the AACM, UGMAA, and the Creative Music Studio and describes their role in the current New York scene. 1267.

Sonderegger, Sean. “Navigating the Musical World of Adam Rudolph: Towards an Analysis of Individual and Group Interpretations in Conducted Improvisation Performance.” Jazz Perspectives. 10:1 (2016). 1–38. Revised material from 1266, explaining Rudolph’s musical system, which uses notated rhythm patterns and pitch matrices as the basis of conducted improvisation. Sonderegger plays in Rudolph’s New York orchestra, interviewed him extensively, and provides score samples. He also transcribes improvisations by Graham Haynes and Ken Wessel and interviews them on adapting their personal voices to Rudolph’s system.

Russell, Hal 1268.

Lewis, David. “Beyond Hal Russell: The Legacy of the NRG.” Coda. 275 (Sept/Oct. 1997). 4–7. An interview of Kent Kessler on his work with Russell, followed by a short biographical essay and a survey of recent albums by members of his ensemble, including Ken Vandermark. Kessler maps out connections between various AACM members, Russell, and Vandermark and his generation.

Sirota, Ted 1269.

Van Trikt, Ludwig. “Ted Sirota Interview.” Cadence. Oct. 2004. 12–25. The lack of respect for free jazz at his alma mater, Berklee School of Music, is a major theme in this conversation. Sirota describes gradually finding a group of sympathetic peers, such as Jeff Parker, and connecting with the Boston underground, including the Fully Celebrated Orchestra. He also discusses the possibilities of putting political themes in his music, his move to Chicago, and the racial dynamics of that scene.

Smith, Wadada Leo 1270.

Adler, David. “Wadada Leo Smith: Golden Dreams.” Downbeat. May 2004. 28. Interview-based profile surveying Smith’s recent releases The Golden Quartet, Year of the Elephant, Reflectativity, Red Sulphur Sky, the reissue of The Kabell Years 1971– 1979 (1285), the forthcoming Organic Resonance, and marking the passing of the Golden Quartet’s bassist Malachi Favors.

1271.

Broomer, Stuart. “Ezz-thetics.” Point of Departure. 39 (May 2012). n.p. http://point ofdeparture.org/archives/PoD-39/PoD39Ezz-thetics.html Smith’s Ten Freedom Summers is approached three ways: on CD, on stage at the Victoriaville Festival, and in a dialogue between Broomer and Smith at a press conference

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at that festival. Their conversation centers on Smith’s composing and orchestrating process, using his personal notation system while combining classical musicians with the Golden Quartet. 1272.

Fischlin, Daniel. “Improvocracy, or Improvising the Civil Rights Movement in Wadada Leo Smith’s Ten Freedom Summers.” Critical Studies in Improvisation. 8:1 (2012). www.criticalimprov.com/article/view/1965 After an extensive introduction on Smith’s career-long political engagement, particularly the album Human Rights, Fischlin interviews him about the Ten Freedom Summers project and related issues: Islam, Martin Luther King, and utopian visions of improvisation as a social and creative force.

1273.

Freeman, Phil. “In Quest of Space.” The Wire. 312 (Feb. 2010). 40–47. Interview-based career-spanning cover story featuring the Yo Miles project and the albums Divine Love, Spirit Catcher, Brooklyn Duos, Abbey Road Quartet, and Spiritual Dimensions.

1274.

Goldstein, Jacques, dir. Wadada Leo Smith Golden Quartet: Eclipse. DVD. Paris: La Huit, 2007. Performance footage of Smith with Vijay Iyer, John Lindberg, and Ronald Shannon Jackson is intercut with interview excerpts.

1275.

Hazell, Ed, Bill Smith, and James Hale. “Wadada Leo Smith: Then & Now.” Coda. 317 (Sept/Oct. 2004). 6–9. The simultaneous release of The Kabell Years: 1971–1979 (1285), Sky Garden (with Yo Miles), and The Sweetness of the Water (with Spring Heel Jack) is marked with an interview-based piece on Smith’s composing by Hazell, recollections of the 1970s and a review of the Kabell set by Bill Smith, and a review of Sky Garden by Hale.

1276.

Jackson, Michael. “Ishmael Wadada Leo Smith: Looking for the Diamond Fields.” Downbeat. Apr. 2012. 38–43. Feature interview on his retrospective at Roulette and the premiere of Ten Freedom Summers at REDCAT, emphasizing Smith’s musical and spiritual influences and use of graphic notation. A sidebar includes comments from Henry Threadgill, Anthony Davis, Susie Ibarra, Pheeroan akLaff, John Lindberg, John Zorn, and others.

1277.

Lutz, Phillip. “Wadada Leo Smith: National Treasure.” Downbeat. Nov. 2016. 30–35. Interview-based cover story on Smith’s America’s National Parks album, also reaching back to when he first joined the AACM and ahead to the forthcoming albums Alone: Reflections and Meditations on Monk and Nagwa.

1278.

Mandel, Howard. “Elephant’s Memory.” Signal to Noise. 29 (Spring 2003). 20-25. Interview-based profile reviewing his career and featuring the current Yo Miles! and Golden Quartet projects.

1279.

Ness, Bob. “Profile: Leo Smith.” Downbeat. Oct. 7, 1976. 36–37. Interview-based profile reviewing Smith’s youth, education, the AACM, work with Anthony Braxton and Leroy Jenkins, move to New Haven, and the development of his New Dalta Ahkri group. Smith also comments on the history of the trumpet and the proper functions of criticism.

Chicago, St. Louis, Los Angeles, and Other US Scenes

1280.

199

Panken, Ted. “George Lewis and Leo Smith: September 12th 1995, WKCR-FM New York.” Ted Panken’s Chicago Transcripts. jazzhouse.org. 1995. www.jazzhouse.org/ library/?read=panken18 Double interview, with each discussing his musical education, blues, and the AACM. Smith also comments on his piece “Silence,” recorded with Anthony Braxton and Leroy Jenkins, as a response to John Cage, and on his approach to solo playing. Lewis talks about his Voyager interactive performance software.

1281.

Panken, Ted. “Wadada Leo Smith: Rising Up in Purity.” Downbeat. Aug. 2017. 22–24, 26, 28. Cover feature on Smith’s winning Album, Artist, and Trumpeter of the Year in the Critics’ Poll, also recapping the CREATE Festival of his music in New Haven and previewing his upcoming CDs with Bill Laswell, Milford Graves, and solo. Includes comments from John Lindberg, Pherroan akLaff, Anthony Davis, and Smith himself.

1282.

Pierrepont, Alexandre, et al. “Parisian Thoroughfare: Creativity, Reflection and the Greater Antenna.” Point of Departure. 38 (Mar. 2012). n.p. www.pointofdeparture. org/PoD38/PoD38ParisianThoroughfare.html Five writers interview Smith, primarily on the ontology of creative music. Is creative music a cross-cultural metalanguage? What is its relationship to notation? To idiom and genre? To spirituality, nature, and politics? Smith compares “Silence,” which he recorded with Anthony Braxton and Leroy Jenkins, to John Cage’s “4’33’” and discusses Kandinsky’s On the Spiritual in Art.

1283.

Richardson, Derk. Improv21: The Systematic Language of Music & the Spirituality of Art: An Informance with Wadada Leo Smith. Online video. San Francisco: ROVA Arts, 2007. https://archive.org/details/IMP_2007_03_12 Solo performance and talk by Smith, primarily on his notation system and theory of rhythm-units. Ninety-seven minutes.

1284.

Smith, Wadada Leo. “Dreamtime: The Music Culture of Communal Played Multiunit Musical Instruments.” in Arcana III: Musicians on Music. ed. John Zorn. New York: Hips Road, 2008. 215–219. A poem describing a dream of a ritualistic large-scale site-specific musical performance.

1285.

Smith, Wadada Leo. The Kabell Years: 1971–1979. Four CDs and booklet. New York: Tzadik Records, 2004. Liner notes include reproduced pages from several scores and statements from Anthony Davis, Leroy Jenkins, Henry Kaiser, George Lewis, Bobby Naughton, Larry Ochs, and others on Smith’s music and their collaborations.

1286.

Smith, Wadada Leo. “Luminous Axis—Blade-form Panel (Graphic Score).” in The Improvisation Studies Reader: Spontaneous Acts. eds. Rebecca Caines and Ajay Heble. New York: Routledge, 2015. 142-143. An excerpt from a color graphic score, recorded on the 2002 CD of the same title, appears in black and white with an accompanying explanatory paragraph.

1287.

Smith, Leo. “(M1) American Music.” The Black Perspective in Music. 2:2 (1974). 111–116.

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Smith posits two traditions in American music: creative music, fundamentally improvisational, represented by Scott Joplin, and classical music, fundamentally written, represented by Charles Ives. He traces a line of creative music through Joe Oliver and Duke Ellington, and one of American classical music incorporating experimental (John Cage, Harry Partch), avant-garde (Milton Babbit), and more traditionalist (William Grant Still) composers, then argues that a synthesis of creative and classical music will be required by the international and interplanetary music of the future, which will be governed by nature rather than culture. 1288.

Smith, Wadada Leo. Notes (8 Pieces) Source a New World Music: Creative Music. New Haven, 1973. n.p. Reprinted with additional material by Smith and John Corbett. Chicago: Corbett vs. Dempsey, 2015. n.p. This manifesto declares his independence from jazz, song form, and the European avant-garde, explaining the personal aesthetic of creative music which he has developed out of the AACM, based on improvisation and multi-instrumentalism. Track-by-track notes to his solo album Creative Music-1 are included. The new edition adds several recent short essays by Smith and his and Corbett’s reflections on the original book.

1289.

Smith, Leo. Rhythm: A Study in Rhythm-Units in Creative Music. New Haven: Leo Smith Pub, 1976. 20 p. Five pages of explanatory text and twelve compositions demonstrating Smith’s concept of the rhythm-unit.

1290.

Smith, Wadada Leo, with Taylor Ho Bynum. Ishmael Wadada Leo Smith. Audio cassette and transcript. Oral History of American Music: Major Figures in American Music. New Haven: Yale University Library, 2011. Detailed review of Smith’s life and career, including his work with Anthony Braxton, Leroy Jenkins, and Steve McCall, Marion Brown, Peter Kowald and Gunter “Baby” Somner, the AACM and the Creative Music Improvisers Forum in New Haven, solo performance, his New Dalta Akhri band, recording for ECM, teaching at Bard, the Creative Music Studio, and CalArts, his collaborators in California including Sunship Theus, Glenn Horiuchi, and William Roper, the groups Organic, Yo Miles, and the Golden Quartet, his many duos with drummers, and the Ten Freedom Summers project.

1291.

Sumera, Matthew. “Wadada Leo Smith: The OFN Interview.” One Final Note. Apr. 2005. n.p. www.onefinalnote.com/features/2005/wadada/ www.onefinalnote.com/ features/2005/wadada/index2.html Conversation centered on issues of teaching and evaluating improvisation, also incorporating the Yo Miles project, how Smith began playing the trumpet, and connecting instrumental music to history and politics.

1292.

Walker, Hamza. “Ankhrasmation: Wadada Leo Smith’s Language Scores.” in Made in L.A. 2016: A, The, Though, Only. eds. Aram Moshayedi and Hamza Walker. Los Angeles: Hammer Museum, 2016. 236–245. Written to accompany the display of Smith’s graphic scores in a visual art biennial, Walker’s essay provides clear brief accounts of the development and techniques of Smith’s notation. It is accompanied by reproductions of the scores themselves, including “The Bell,” from Anthony Braxton’s Three Compositions of New Jazz, which

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uses conventional staff notation, and several increasingly graphic pieces. Also reproduced is the “Ankhrasmation Symbolic Language Key,” which decodes many of his personal symbols. 1293.

Woodard, Josef. “Dreaming on the Outskirts.” JazzTimes. July/Aug. 2003. 82–86, 88, 90. Interview-based profile discussing his youth and education, the Golden Quartet, the influence of Miles Davis, teaching, and the hajj.

1294.

Woodard, Josef. “Onward & Upward: The Astounding Creative Trajectory of AvantGarde Veteran Wadada Leo Smith.” JazzTimes. Dec. 2008. 62–66. Interview-based feature centered on Smith’s Golden Quartet, the AACM, and several still unreleased works in progress, including Cosmic Music and a large multimedia piece on migration and borders.

Taylor, Chad 1295.

Parillo, Michael. “Chad Taylor: Freedom in Diversity.” Modern Drummer. Oct. 2005. 68–70, 72–73, 75, 77, 79–80. Interview on Chicago vs. New York in musical style, the lives of musicians, and his work with Marc Ribot, Rob Mazurek, and Fred Anderson.

Threadgill, Henry 1296.

Adler, David. “Be Ever Out.” JazzTimes. Mar. 2011. 22–27. Cover feature discussing his Mosaic and Black Saint CD box sets, the new Zooid album This Brings Us To, Volume II, and several pending classical commissions. Sidemen Liberty Ellman and Elliot Humberto Kavee show Adler their scores and attempt to explain the Zooid system.

1297.

Birnbaum, Larry. “Outside Moves In: Henry Threadgill Inks a Major-Label Deal.” Downbeat. Mar. 1995. 16–19. Interview-based profile tied to his Columbia debut Carry the Day, also discussing jazz repertory, the neoconservative movement, and the aesthetics of the AACM.

1298.

Bouchard, Fred. “Blindfold Test: Henry Threadgill.” Downbeat. Mar. 1986. 52. Threadgill comments on recordings by Duke Ellington, Coleman Hawkins, Sonny Rollins, George Russell, James “Blood” Ulmer with Ornette Coleman, and others.

1299.

Edwards, Brent Haynes. “Let’s Call This: Henry Threadgill and the Micropoetics of the Song Title.” in Epistrophies: Jazz and the Literary Imagination. Cambridge, MA: Harvard UP, 2017. 181–196. Largely a general discussion of how arbitrary titles may be in instrumental music, how much they are intended to influence interpretation, and related issues, followed by consideration of Threadgill’s own statements on the topic and readings of a few provocative examples of his wordplay, suggesting a connection to his compositional processes.

202

1300.

Chicago, St. Louis, Los Angeles, and Other US Scenes

Fischlin, Daniel. “‘A Door to Other Doors:’ Improvisation and Creation Sound.” Critical Studies in Improvisation. 7:2 (2011). n.p. www.criticalimprov.com/article/ view/1675/2383 Public interview of Threadgill at the 2011 Guelph Jazz Festival, discussing his training, the AACM, Sun Ra, the limitations of the term “jazz,” and musical education in the US compared to Cuba and India.

1301. Harrison, Joel. “Episode 1: Henry Threadgill Part 1.” Alternative Guitar Summit Podcast. Digital audio. 25 minutes + PDF score. Dec. 1, 2014. https:// alternativeguitarsummit.com/episode-1-henry-threadgill-part-one/ Threadgill explains his interval system, his work with guitarists, and his set of concerti for the members of Zooid on the album In for a Penny, In for a Pound. Notes on the interval system and a full score for “Unoepic,” the guitar concerto, are linked. 1302.

Holtje, Steve. “Ringmaster General.” The Wire. 137 (July 1995). 24. Short interview-based profile on his new Carry the Day album, genre as a marketing concept, whether jazz is a genre, whether he is a jazz artist, and thinking of himself as a composer more than a performer.

1303.

Iverson, Ethan. “Interview with Henry Threadgill.” Do the Math. [2011]. n.p. https:// ethaniverson.com/interview-with-henry-threadgill-part-1/ https://ethaniverson. com/interview-with-henry-threadgill-part-2/ https://ethaniverson.com/interview-withhenry-threadgill-part-3/ https://ethaniverson.com/four-hits-and-the-ultramodern-blues/ In three parts: the first discusses his various bands, the interval system he uses to write for Zooid, and African-American music from Reconstruction through Scott Joplin to William Grant Still. The second is on his experience in Vietnam and is presented as audio, not a transcript. The third is on Threadgill’s early experiences of live jazz and classical music and his frustration with jazz education’s focus on skill and imitation rather than developing a personal vision through exposure to a wide range of art, music, and literature. Iverson appends appreciations of his favorite Threadgill Sextett pieces.

1304.

Jones, Andrew. “Spiritual to Swing . . . and Way Beyond: Henry Threadgill’s Roots Run Deep.” Option. Mar/Apr. 1991. 66–73. An interview-based career survey from his youth to his band Very Very Circus, arguing that he is carrying on the legacies of the Third Stream and of free jazz, both seemingly dormant or defunct. A sidebar features the ongoing work of the AACM, particularly Mwata Bowden and Ameen Muhammad, and another spotlights Kahil El’Zabar, with comments from all three.

1305.

Lynch, Kevin. “Henry Threadgill: Composer, Bandleader, Alchemist.” Downbeat. Feb. 1989. 20–22. Interview-based feature on his Sextett album Easily Slip into Another World, discussing his composing, his use of female vocals, his composition titles, and ideas about artistic progress. Also includes comments from Muhal Richard Abrams.

1306.

Mandel, Howard. “Henry Threadgill: Boundless Curiosity.” Downbeat. July 2010. 46–49. Feature presenting the band Zooid and recapping his career. Threadgill and Liberty Ellman each attempt to explain the intervallic system behind the Zooid music.

Chicago, St. Louis, Los Angeles, and Other US Scenes

1307.

203

Mandel, Howard. “Henry Threadgill: Music to Make the Sun Come up.” Downbeat. July 1985. 26–28, 47. Interview-based feature on the new Sextett album Subject to Change, reviewing his musical education and apprenticeship, including the AACM. Short passages from When Life is Cheap and Death Taken for Granite (Imaginary Film) an undocumented opera by Threadgill, interrupt the article.

1308.

Panken, Ted. “Henry Threadgill: Influences.” jazzhouse.org. 1996. www.jazzhouse. org/library/?read=panken3 Transcript of a July 24, 1996 radio show, with Threadgill narrating his musical education and development by commenting on records representing his influences, including Howlin’ Wolf, Muddy Waters, Reverend James Cleveland, Wilbur Ware, Andrew Hill, Gene Ammons, Ahmad Jamal, Sun Ra, Von Freeman, Ornette Coleman, Eddie “Lockjaw” Davis, and Edgard Varèse, as well as his own. This account ends in the late 1960s, when Threadgill returned from Vietnam and began working with the AACM and Phil Cohran.

1309.

Robinson, Greg. “Henry Threadgill Interview.” Cadence. Dec. 2002. 5–10. Topics include the clarinet, bebop, original music, leaders mentoring sidemen, the importance of Black WWII veterans in the civil rights movement, and how he composes for his band Very Very Circus.

1310.

Schmidt, Dan. “Henry Threadgill ‘To Undertake My Corners Open.’” Blog posts. 2012, 2014. http://dfan.org/blog/2012/12/30/henry-threadgill-to-undertake-my-cornersopen-part-1/ http://dfan.org/blog/2014/01/08/henry-threadgill-to-undertake-mycorners-open-part-2/ http://dfan.org/blog/2014/01/16/henry-threadgill-to-undertakemy-corners-open-part-3/ Transcription (full score, including solos, no drum part) and analysis of this piece from Zooid’s This Brings Us To, Vol. 1. Drawing on published interviews with Threadgill and Liberty Ellman, Schmidt reconstructs the solo forms and pitch logic.

1311.

Shteamer, Hank. “Language Barrier.” The Wire. 309 (Nov. 2009). 34–39. Interview-based career-spanning profile introducing his intervallic language and the album This Brings Us To, Volume One.

1312.

Smith, Miyoshi. “Henry Threadgill.” Cadence. Oct. 1988. 25–28. Interview on his RCA Records contract and his orchestra piece “Sun Silent, Run Deep, Run Loud, Run High,” recently premiered at the Brooklyn Academy of Music.

1313.

Smith, Steve. “Conceptual Continuity.” Signal to Noise. 57 (Spring 2010). 38-45. Talk on the release of Zooid’s This Brings Us to, Volume One and the announcement of Threadgill’s Mosaic box set. He describes the early years of the AACM, the formation of Air, his move to New York, and his groups X-75 and the Sextett. Zooid guitarist Liberty Ellman attempts to explain the system of intervallic organization used in that band.

1314.

Taylor, Chad E. Henry Threadgill’s Zooid: An Examination of Form and Process. M.A. thesis. Newark: Rutgers, the State U of NJ. 2015. vii, 196 p. https://rucore.libraries. rutgers.edu/rutgers-lib/47713/

204

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Taylor, himself a prominent drummer, analyzes Threadgill’s work with Zooid, explaining its unique intervallic system and other distinctive compositional, improvisational, and performance elements through a close study of the piece “See the Blackbird Now” (as recorded on Tomorrow Sunny/The Revelry, Spp), based on the score, transcribed solo passages, and conversations with all the members of the band except Threadgill himself. These interviews, as well as one with Brandon Ross, guitarist in Threadgill’s previous band Make a Move, are included. 1315.

Van Trikt, Ludwig. “Henry Threadgill: Interview.” Cadence. Sept. 1985. 5–7, 28. Threadgill describes being dropped by Arista Records, his undocumented work, the end of the loft era, and rejecting “jazz” as a label.

1316.

Yee, Paul, dir. Henry Threadgill//Zooid. Online video. New York: Roulette, 2010. https://vimeo.com/10933418 A performance of “All the Way Light Touch,” approximately 45 minutes, followed by a fifteen minute interview of Threadgill on the modular form of the piece, the intervallic system he uses to organize pitch, and the AACM.

Vandermark, Ken 1317.

Barnes, Mike. “Invisible Jukebox: Ken Vandermark.” The Wire. 253 (Mar. 2005). 20–22, 24. Blind listening test with records by Joe Harriott, Oliver Lake, Evan Parker, Parliament, The Thing, and others.

1318.

Drouot, Alain. “Ken Vandermark: Defeating Expectations.” Downbeat. Sept. 2012. 44–47. Interview on his relationship to Chicago, his MacArthur Fellowship, his many bands and collaborations, including the end of the Vandermark 5, solo playing, travel, and social media.

1319.

Kraus, Daniel, dir. Musician. DVD. Chicago: Facets Video, 2008. One hour documentary of Vandermark at work, at home and on the road, composing, performing, rehearsing, booking shows, etc. Includes performance footage with the Vandermark Five, Powerhouse Sound, and others. The DVD includes substantial additional material.

1320.

Margasak, Peter. “Refreshing Initiative.” Downbeat. June 2009. 46–51. Feature with comments from Joe McPhee, Paal Nilssen-Love, and Vandermark himself. His intense work ethic is the central theme, encompassing topics including the ensembles Powerhouse Sound, Resonance Project, Territory Band, and the Vandermark Five, as well as balancing work between Europe and Chicago.

1321.

Morgan, Jon C. “Vandermark Generator.” The Wire. 173 (July 1998). 26–28. Interview-based profile discussing the Chicago scene, the Vandermark Five and DKV Trio, and challenging himself creatively.

1322.

Myers, Mitch. “Blindfold Test: Ken Vandermark.” Downbeat. Apr. 2000. 86.

Chicago, St. Louis, Los Angeles, and Other US Scenes

205

Vandermark comments on recordings by Ornette Coleman, Paul Bley with Evan Parker and Barre Phillips, Eric Dolphy, Fred Anderson, Gene Ammons, the Art Ensemble of Chicago, and Dexter Gordon. 1323.

Peterson, Lloyd. “Ken Vandermark: A Humble Pursuit.” Downbeat. Dec. 2005. 32–33. Interview on general concepts of jazz and its future, his work ethic, MacArthur grant, and collaborations with European improvisers.

1324.

Porter, Christopher. “Busy V: Ken Vandermark Can’t Stop, Won’t Stop.” JazzTimes. Nov. 2005. 42. Short interview-based profile primarily on the Vandermark 5, discussing Jeb Bishop leaving the group and being replaced by Fred Lonberg-Holm. Vandermark also explains his compositions for the FME trio.

Zerang, Michael 1325.

Monk, Vanita, and Johanna Monk. “Michael Zerang: A Little Point in Time and Space.” Monastery Bulletin. Nov. 9, 2002. n.p. www.monastery.nl/bulletin/zerang/ zerang.html Interview on coming to creative music through hearing Fred Anderson and other AACM artists, Sun Ra, and Rahsaan Roland Kirk, playing in bands vs. improvisational first meetings, and life on the road.

COLORADO 1326.

Van Trikt, Ludwig. “Fred Hess Interview.” Cadence. Apr. 2005. 11–17. Biographical interview, including studying with Roscoe Mitchell at the Creative Music Studio, forming the Boulder Creative Music Ensemble, and working with Ron Miles, Paul Smoker, Ken Filiano, and others.

DETROIT 1327.

Birnbaum, Larry. “Wynton & Lester Agree .  .  . on James Carter.” Downbeat. Nov. 1994. 34–37. Interview-based profile promoting Carter’s debut CD J.C. on the Set, emphasizing that, at the height of the “jazz wars,” rivals Marsalis and Bowie have both endorsed and hired Carter. His work with the Creative Artists Collective in Detroit, Julius Hemphill, and Frank Lowe is also discussed.

1328.

Brennan, Gerald E. “Faruq Z. Bey Interview.” Cadence. Aug. 2004. 16–27. Beginning with his musical background, the conversation goes deeply into his theories about music, poetry, and performance, and the influence of John Coltrane and Sun Ra, then returns to the narrative to cover Griot Galaxy, the Creative Arts Collective in Detroit, and Roscoe Mitchell’s work with the rhythm section of Griot Galaxy.

206

1329.

Chicago, St. Louis, Los Angeles, and Other US Scenes

Brennan, Gerald. “Faruq Z. Bey: Wave Form Engineer.” Signal to Noise. 30 (Summer 2003). 10. Brief interview-based profile of the saxophonist, promoting his new CD with the Northwoods Improvisers and an archival release from Griot Galaxy.

1330.

Johnston, Mike. “Jaribu Shahid: The Bassist Interviewed.” Coda. 270 (Nov/Dec. 1996). 22–24. Detailed discussion of his work with Griot Galaxy and Sun Ra, and more general discussion of Detroit and his experiences playing free music vs. standard forms.

LOS ANGELES AND SOUTHERN CALIFORNIA General Works 1331.

Briggs, Nancy Louise. Creative Improvisation: A Musical Dialogue. Ph.D. dissertation. San Diego: U of CA, 1986. xii, 97 p. Experimental project consisting of improvised duets with established performers including James Newton and Vinny Golia from free jazz, and others from the contemporary classical world. Briggs provides stream of consciousness text reconstructing her thoughts while improvising, narratives of the circumstances around the sessions, her relationships with and impressions of her collaborators, then interview excerpts, mostly on general philosophies of improvisation.

1332.

Duerstein, Matthew. Midnight Pacific Airwaves: How Jazz Survived in Los Angeles, 1965–1970. Los Angeles: Asahina & Wallace, 2018. [forthcoming] Traces the lives and careers of Horace Tapscott, John Carter, and Bobby Bradford, drawing on published sources, archival recordings, and extensive original interviews.

1333.

Gastaut, Bernard. “Figures et Ensembles Remarquables de la West Coast.” in Polyfree: La Jazzosphère, et Ailleurs (1970–2015). eds. Philippe Carles and Alexandre Pierrepont. Paris: Éditions Outre Mesure, 2016. 89–101. Overviews of the work of California artists John Carter, Bobby Bradford, Horace Tapscott, Jon Jang, and the ROVA Saxophone Quartet, with bibliography and discography. In French.

1334.

Robinson, Jason. Improvising California: Community and Creative Music in Los Angeles and San Francisco. Ph.D. dissertation. San Diego: U of CA, 2005. xx, 340 p. Largely ethnographic participant observation at the turn of the millennium, preceded by substantial background including the emergence of musicians’ self-determination projects based in free jazz such as the AACM, BAG, and UGMAA, and the history of jazz on the west coast and of “West Coast Jazz” as an idea. Drawing on interviews with LA and San Francisco musicians, many of whom also run labels and concert series, such as Bruce Ackley, Alex Cline, Nels Cline, Vinny Golia, Emily Hay, Jeff Kaiser, Gino Robair, Rent Romus, William Roper, Damon Smith, Oluyemi Thomas, Francis Wong, and others, as well as online discussion groups and personal experience as a player, Robinson maps the institutional, economic, and ideological configurations of the intersecting scenes, concluding by making a case for California as a major underacknowledged center of creative music.

Chicago, St. Louis, Los Angeles, and Other US Scenes

1335.

207

Sharp, Charles. Improvisation, Identity and Tradition: Experimental Music Communities in Los Angeles. Ph.D. dissertation. Los Angeles: UCLA, 2008. xi, 487 p. Centered on free jazz, this study begins with chapters devoted to Ornette Coleman, Horace Tapscott, and Bobby Bradford and John Carter, then discusses the institutions of the LA scene since the 1980s: The Century Playhouse, SST Records, the Independent Composers Association, LA Free Music Society, California Outside Music Association, New Music Mondays, line space line, the Los Angeles Festivals which grew out of the 1984 Olympics, the revitalization of Leimert Park, Option Magazine, public and college radio, and Charlie Haden’s establishing a jazz program at CalArts. Draws on published sources, participant observation, and original interviews with Bradford, Alex and Nels Cline, Vinny Golia, Emily Hay, Lynn Johnston, William Roper, and many others. Transcriptions and analyses of Tapscott’s “Niger’s Theme,” Carter’s “Sticks and Stones” and “Abstractions for Three Lovers,” Bradford’s “Song for the Unsung,” and Golia’s “Anger (The Transmutation of Negative Energy to Positive)” are appended.

1336.

Shoemaker, Bill. “What’s New? The PoD Roundtable.” Point of Departure. 23 (June 2009). n.p. http://pointofdeparture.org/archives/PoD-23/PoD23WhatsNew.html Coat Cooke, Vinny Golia, and Michael Vlatkovich discuss the rich and interdisciplinary west coast scene and its neglect by the music press.

1337.

Vargas, João H. Costa. Catching Hell in the City of Angels: Life and Meanings of Blackness in South Central Los Angeles. Minneapolis: U of MN P, 2006. xii, 305 p. Chapter 5, “Blackness as Artistry and Affirmation: Leimert Park and the Idioms of Jazz,” deals with the same material as 1339, but takes a wider and more conventionally ethnographic perspective on the Leimert Park scene, with space devoted to the Fifth Street Dick’s coffee house and jazz club, more discussion of Islam and Kamau Daaood, consideration of Leimert Park’s relationships to the rest of Los Angeles, and less attention specifically to gender.

Venues 1338.

Kaplan, Aaron. Success, Failure, and Improvisation: Tactics of the Los Angeles Experimental Jazz Community. M.A. thesis. Riverside: U of CA, 2013. viii, 79 p. https:// escholarship.org/uc/item/9xt1885r Ethnographic study of the 2012 Angel City Jazz Festival and the Blue Whale jazz club, drawing on original interviews with Nicole Mitchell and Angel City organizers Rocco Somazzi and Jeff Gauthier (also an improvising violinist and head of the Cryptogramophone CD label), as well as participant-observation as a volunteer at the Festival and as an audience member at the Blue Whale. Issues of community development, ethnic and musical diversity, and economic sustainability are addressed.

1339.

Vargas, João H. Costa. “Exclusion, Openness, and Utopia in Black Male Performance at the World Stage Jazz Jam Sessions.” in Big Ears: Listening for Gender in Jazz Studies. eds. Nichole T. Rustin and Sherrie Tucker. Durham, NC: Duke UP, 2008. 320–347. Ethnographic study of the open sessions in the late 1990s at this south Los Angeles performance space founded by Billy Higgins and poet Kamau Daaood, looking at ideas of masculinity and Blackness in performance and the iconic role of John Coltrane.

208

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ARTISTS Blythe, Arthur 1340.

Blumenthal, Bob. “Arthur Blythe: Refreshing Traditions.” Downbeat. Apr. 1980. 25–26, 64. Profile, mostly in his own words, promoting In the Tradition but covering his entire career, including work with Horace Tapscott, his bands using tuba, and revisiting standards on the new album.

1341.

Davis, Francis. “Blindfold Test: Arthur Blythe.” Downbeat. Aug. 1982. 51. Blythe comments on records by Benny Carter, Eddie “Cleanhead” Vinson, Paul Desmond, David Sanborn, Ornette Coleman, David Egyes with Byard Lancaster, and the World Saxophone Quartet.

1342.

Levenson, Jeff. “Arthur Blythe’s Creative Challenge.” Downbeat. Oct. 1987. 23–25. Interview-based profile on his Columbia album Arthur, a quartet plus string quartet set of standards, which followed two poorly received crossover attempts, reviewing his output for the label including Lenox Avenue Breakdown, Light Blue, and In the Tradition.

1343.

Mandel, Howard. “Blindfold Test: Arthur Blythe.” Downbeat. Oct. 1988. 42. Blythe identifies and comments on recordings of alto saxophonists Sonny Criss, Johnny Hodges (with Duke Ellington), Jackie McLean (with Ornette Coleman on trumpet), Charlie Parker, Henry Threadgill, and Grover Washington Jr.

1344.

Rusch, Bob. “Arthur Blythe Interview.” Cadence. Jan. 1999. 5–12, 139. Topics include his musical education, playing with Horace Tapscott, sideman work in New York, and experience recording for Columbia. He candidly discusses the commercial motivation of the Put Some Sunshine in It LP, Stanley Crouch’s role in his In the Tradition album, and race issues in his career, including his nickname Black Arthur.

1345.

Stern, Chip. “Arthur Blythe.” Musician, Player, and Listener. Aug. 1979. 44–48. Interview-based profile, on the theme that he synthesizes a range of Black music: gospel, bebop, R&B, free jazz, etc., describing his musical background and work with Horace Tapscott, Gil Evans, and Chico Hamilton, as well as his albums The Grip, Bush Baby, and Lenox Avenue Breakdown.

1346.

Wild, David. “Arthur Blythe’s Solo on ‘In a Sentimental Mood:’ An Alto Sax Transcription.” Downbeat. May 1981. 62–63. One chorus improvisation on the Duke Ellington composition from Blythe’s In the Tradition album, transcribed with analytic notes.

Bradford, Bobby 1347.

Bradford, Bobby, and Taylor Ho Bynum. Bobby Bradford. Oral History of American Music: Major Figures in American Music. Three cassettes and transcription. New Haven: Yale University Library, 2012.

Chicago, St. Louis, Los Angeles, and Other US Scenes

209

Extensive interview on his background and his experiences with Ornette Coleman, John Carter, John Stevens, David Murray, Vinny Golia, and others. 1348.

Isoardi, Steven L. Interview of Bobby Bradford. Twelve audio cassettes and transcript. Beyond Central. Los Angeles: UCLA Library Center for Oral History Research, 2002. 545 p. http://digital2.library.ucla.edu/viewFile.do?contentFileId=2289843 Comprehensive autobiographical talk, including his childhood and musical education, work with Ornette Coleman, John Carter, Horace Tapscott, Stanley Crouch, Ed Blackwell, Charlie Haden, Mark Dresser, and David Murray, other aspects of the Los Angeles music scene, recording for Flying Dutchman and Revelation Records, his teaching career, and family life. Transcript online.

1349.

Newton, James. “Bobby Bradford @ 75.” Point of Departure. 24 (Aug. 2009). n.p. www.pointofdeparture.org/PoD24/PoD24BobbyBradford.html Short tribute, with unique reminiscences of the 1970s LA scene, including Stanley Crouch’s band Black Music Infinity and Bradford’s jazz club the Little Big Horn.

1350.

Silsbee, Kirk. “Bobby Bradford Interview.” Cadence. Jan. 1996. 5–18. Topics include connections between Ornette Coleman’s music and bebop and between jazz and R&B, growing up in Texas, turning down Coleman’s invitation to play on Free Jazz, a lost recording with Coleman, Jimmy Garrison, and Charles Moffett, working in various Coleman bands, his collaborations with John Carter and John Stevens, the formal properties of Coleman’s music, and how his and John Carter’s compositions differ from Coleman’s.

1351.

Silsbee, Kirk. “Bobby Bradford: Taking Action.” Downbeat. Jan. 2004. 30–31. Short profile focused on the new Live at the Los Angeles County Museum of Art CD on Bradford’s Waterboy label, also discussing David Murray’s Death of a Sideman, which featured Bradford and his compositions. With comments from Bradford and his frequent bandmembers Vinny Golia and Roberto Miranda.

Carter, John 1352.

Bull, Peter, and Alex Gibney, dirs. The New Music: Bobby Bradford & John Carter. Videocassette. New York: Rhapsody Films, 1986. Thirty minute film from 1980 with duet performances of Carter’s “And She Speaks” and “Circle,” rehearsal footage, and interviews. Bradford discusses the economics of the LA music scene, the relationship between the new music and the blues, and audiences in Europe compared to the US.

1353.

Dailey, Raleigh Kenneth. Folklore, Composition, and Free Jazz: The Life and Music of John Carter. Ph.D. dissertation, 2 vols. Lexington: U of KY, 2007. xiv, 779 p. A substantial biography precedes a very detailed musical analysis of the Roots and Folklore suite, with particular attention to the album Castles of Ghana. The second volume includes transcripts of interviews with Carter, Bobby Bradford, Marty Ehrlich, Vinny Golia, Charles Owens, and Terry Jenoure on their work on the suite. Dailey also draws on manuscripts, archives, published sources, and other interviews.

1354.

Feather, Leonard. “Blindfold Test: John Carter.” Downbeat. Nov. 1984. 47.

210

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Carter comments on records featuring clarinetists Anthony Braxton, Eddie Daniels, Buddy De Franco. Benny Goodman, Jimmy Hamilton (with Duke Ellington), and Perry Robinson. 1355.

Jeske, Lee. “John Carter.” Downbeat. Nov. 1982. 18–20. Interview-based profile marking his retirement from teaching and move to full-time playing. He recounts his youth in Texas, friendship with Ornette Coleman, move to LA, meeting Bobby Bradford, and their east coast tour to reintroduce themselves to the jazz establishment. Sidebars include an equipment list and selected discography.

1356.

Lindenmaier, H. Lukas. “John Carter Interview.” Cadence. Feb. 1980. 11–12, 43. On growing up with Ornette Coleman in Fort Worth, choosing to concentrate on the clarinet, earning a living by teaching, playing with Bobby Bradford, and how he notates his music.

1357.

Sharp, Charles. “Seeking John Carter and Bobby Bradford: Free Jazz and Community in Los Angeles.” Black Music Research Journal. 31:1 (Spring, 2011). 65–83. Revised chapter from 1335, centered on their 1960s collaborative albums Seeking, Flight for Four, and Self-Determination Music, with musical analysis of “Stick and Stones,” “Abstractions for Three Lovers,” and “Song for the Unsung” from those LPs, then moving more quickly to the present. Based on published and archival sources, as well as original interviews with Bradford and Lee Kaplan.

Cline, Nels 1358.

Chinen, Nate. “Guitar Anti-Hero.” JazzTimes. Oct. 2009. 32–37. Interview-based cover story, observing Cline performing with Wilco, BBC (with Tim Berne and Jim Black), and Jenny Scheinman. She, Berne, Black, Scott Amendola, Mike Watt, and Bill Frisell are quoted.

1359.

Cleveland, Barry. “Steadfast Inclinations: Nels Cline Sidesteps the Consequences of Conformity.” Guitar Player. Mar. 2005. 52–58, 62, 64. Cover story, based around an interview on his choice of a career in music, the Interstellar Space Revisited album with Gregg Bendian, and Wilco. A sidebar describes his gear, and there are testimonials from Bill Frisell, Rickie Lee Jones, Lee Ranaldo, Jeff Tweedy, and Mike Watt.

1360.

Cline, Nels. “Artist’s Choice: Jim Hall.” JazzTimes. Aug. 2011. 72. Ten song annotated playlist.

1361.

Cline, Nels. “Focused: An Appreciation of the Genre-Bending Guitar Work of Ralph Towner.” Fretboard Journal. 39 (Aug. 2017). Semi-autobiographical tribute, including Towner’s work with the Paul Winter Consort, Oregon, Weather Report, and solo. Cline particularly highlights the influence of Towner’s 12-string guitar playing on his own.

1362.

Cline, Nels. “John Abercrombie (1944–2017).” Premier Guitar. Nov. 2017. Personal memorial essay, recounting Cline’s encounters with Abercrombie and the influence of his music.

Chicago, St. Louis, Los Angeles, and Other US Scenes

1363.

211

Cline, Nels. “A Weakness for Sound: Random Thoughts on Life as a Secret Servant.” in Arcana IV: Musicians on Music. ed. John Zorn. New York: Hips Road, 2009. 17–23. Traces his search for the sonic sublime from first hearing a friend play snare drum and Jimi Hendrix and the Rolling Stones on the radio through holding his adolescent musical fantasies close and tapping into them to drive performances.

1364.

Cline, Nels, and Steven L. Isoardi. Beyond Central. Los Angeles: Center for Oral History Research at UCLA, 2007. Extensive biographical interview, including substantial material on his personal musical relationships with Vinny Golia, Eric von Essen, Julius Hemphill, Tim Berne, and Gregg Bendian, as well as on the Century City Playhouse and New Music Mondays concert series and the LA scene in general from the 1970s–2000s.

1365.

Davis, Michael. “Jazz the Hard Way: Nels Cline Makes it up as He Goes Along.” Option. Sept/Oct. 1993. 48–51. Interview-based profile on Cline’s New Music Mondays concert series and Chest, the upcoming debut album by his trio.

1366.

Milkowski, Bill. “Have Guitar, Will Destroy: Nels Cline.” JazzTimes. July/Aug. 2001. 76–78, 80, 82–83, 154–155. Interview-based profile, starting with Cline and Gregg Bendian’s cover album of John Coltrane’s Interstellar Space, then surveying his career from work with Julius Hemphill and Tim Berne to his own trio, the Destroy All Nels Cline album, and other current projects, including Yo Miles with Henry Kaiser and Wadada Leo Smith.

1367.

Richardson, Derk. Improv21: Derk Richardson Interviews Nels Cline. Online video. San Francisco: ROVA Arts, 2005. https://archive.org/details/IMP_2005_03_26 Conversation centered on John Coltrane, Cline having recently released Interstellar Space Revisited with Gregg Bendian. Cline discusses his early influences and demonstrates concepts he learned from listening to Coltrane, solo and in duo with Larry Ochs. One hour and 53 minutes.

1368.

Underwood, Lee. “Profile: Nels & Alex Cline.” Downbeat. July 1981. 52–53. Interview-based piece on the brothers’ work with Quartet Music, Vinny Golia, Tim Berne, and in other situations. Both discuss their influences, aesthetics, and equipment.

1369.

Woodard, Josef. “Confluence of Divergence.” Downbeat. June 2009. 40–45. Double interview of Nels and Alex Cline, on their respective CDs Coward and Convergence, and their musical influences and projects, notably their work together with Julius Hemphill.

Golia, Vinny 1370.

Barton, Bill. “Vinny Golia.” Coda. 313 (Jan/Feb. 2004). 12–13. Interview-based profile discussing his approach to multi-instrumentalism, his limited formal music study, connections between music and visual art, and the history of Nine Winds records.

212

1371.

Chicago, St. Louis, Los Angeles, and Other US Scenes

Chénard, Marc. “More Winds than One: A Portrait of Vinny Golia.” Coda. 279 (May/ June 1998). 20–22. Interview on the Los Angeles and west coast scenes, maintaining his skills on multiple instruments, selecting the right instruments for each setting, composing for and touring with his large ensemble, working with Bertram Turetzky, and teaching at CalArts.

1372.

Davis, Michael. “Vinny Golia: Suburban Renewal.” Option. Jan/Feb. 1995. 62–63. Short interview-based profile on his move from painting to music, his relationship with Bobby Bradford and John Carter, and his role at the center of the LA scene.

1373.

Golia, Vinny. The Vinny Golia Large Ensemble 20th Anniversary Concert. DVD. Beverly Hills: Nine Winds, 2003. A two-set performance is accompanied by footage of Golia and conductor Marc Lowenstein rehearsing the group and almost an hour of interviews with ensemble members including Eric Barber, Alex Cline, Jeff Kaiser, Jason Mears, Wayne Peet, William Roper, Sara Schoenbeck, Michael Vlatkovich, and Golia himself, who give a partial history of the LA scene since the 1980s, and of Golia’s career and work.

1374.

Golia, Vinny, with Gregg Bendian. Vinny Golia. Oral History of American Music: Major Figures in American Music. Three cassettes and transcript. New Haven: Yale University Library, 2013. Largely about his early years in New York and his move from painting to music, with significant attention to connections between visual and music theory and their accompanying spirituality, also discussing his relationships with Julius Hemphill, Anthony Braxton, Clyde Reed, Ken Filiano, and Leo Smith, and their influence on his playing.

1375.

Isoardi, Steven. Interview of Vinny Golia. Audio recording and transcript. Beyond Central. Los Angeles: UCLA Library Center for Oral History Research, 2008. Finding aid unavailable.

1376.

Levi, Titus. “Profile: Vinny Golia.” Downbeat. May 1987. 45–46. Short interview-based piece on Golia’s trio, quintet, and large ensemble work, discussing Wayne Peet’s role in the later two groups as well as their duo album, plus Golia’s techniques for maintaining his chops on his dozens of horns.

1377.

Lock, Graham. “An Eye for Rhythm, An Ear for Colour.” The Wire. 78 (Aug. 1990). 16–18. Interview-based profile of Golia with a detailed account of his transition from painting to music, as well as discussion of the LA scene, multi-instrumentalism, and the first dozen Nine Winds LPs.

1378.

Richardson, Derk. Improv21: Vinny Golia: The Large Ensemble Experience. Online video. San Francisco: ROVA Arts, 2009. https://archive.org/details/IMP_2009_03_18 Ninety-four minute conversation, primarily on the development of his large group music, including composing, arranging, and conducting/cuing techniques.

1379.

Rusch, Bob. “Vinny Golia: Interview.” Cadence. Mar. 1983. 17–19, 22. On his background in music and painting, creative goals, and the state of the LA scene, with Wayne Peet also commenting.

Chicago, St. Louis, Los Angeles, and Other US Scenes

1380.

213

Smith, Will. “West Coast Recognition.” Downbeat. Apr. 2000. 54. Golia speaks on the scope and mission of the Nine Winds label and the challenges of balancing it with his own performing and composing.

1381.

Underwood, Lee. “Profile: Vinny Golia.” Downbeat. Feb. 1981. 48–49. Mostly in his own words, covering his time as a painter in New York, ascent as a musician aided by Chick Corea, Anthony Braxton, and Lee Kaplan, and starting the Nine Winds label. He explains several of the pieces on his recent Vinny Golia Trio and Solo LPs.

1382.

Woodard, Josef. “Overdue Ovation: Vinny Golia.” JazzTimes. Dec. 2003. 51–53. Career overview, from painting album covers for Dave Holland and Chick Corea to teaching at CalArts, emphasizing his central role in the LA scene, his interest in combining contemporary composition and free music, and his multi-instrumentalism. A sidebar lists his many horns.

1383.

Young, Zoe. “Golia’s West Coast Label Throws Caution to the Wind.” Downbeat. Apr. 2012. 17. Golia describes the history of his Nine Winds label, founded in 1977. New artists and Golia sidemen Alex Noice and Daniel Rosenboom also comment.

Kaiser, Jeff 1384.

Kaiser, Jeff. Improvising Technology: Configuring Identities and Interfaces in Contemporary Electro-Acoustic Music. Ph.D. dissertation. San Diego: U of CA, 2013. x, 157 p. https://escholarship.org/uc/item/6bg2c417 The trumpet player, composer, and Pfmentum label head interviews twenty other electro-acoustic improvisers, including Nels Cline, Wadada Leo Smith, Anne Le Berge, and Joel Ryan, combining their responses with critical theory and personal experience.

Miranda, Roberto 1385.

Gilbert, Andrew. “Roberto Miguel Miranda Interview.” Cadence. Apr. 1993. 5–8, 109. Centered on his work with Horace Tapscott, he also talks about his early musical education and apprenticeship, working with Bobby Bradford and Cecil Taylor, and his own music.

1386.

Isoardi, Steven. Interview of Roberto Miranda. Audio recording and transcript. Beyond Central. Los Angeles: UCLA Library Center for Oral History Research, 2008. Finding aid unavailable.

Newton, James 1387.

Blum, Joe, and Jock Baird. “James Newton: Mystery Roots and the Solo Flute.” Musician: Player and Listener. Aug. 1982. 65–66, 68

214

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Interview-based profile promoting Newton’s solo album Axum, discussing his inspirations from Africa, Egypt, African-American church music and blues, and Duke Ellington’s trumpet players, as well as his flute quartet, work with Anthony Davis, and woodwind quintet album The Mystery School. 1388.

Cohen, Aaron. “Mystery School: James Newton.” Coda. 263 (Sept/Oct. 1995). 13–15. Interview-based profile, centered on Newton’s Suite for Frida Kahlo album but also reviewing his influences, discography, and instrumental techniques.

1389.

Ham, Char. “James Newton: Interview.” Cadence. Aug. 1980. 5–7, 18. Topics include his work with Anthony Davis and Arthur Blythe, his album Paseo del Mar, the state of the LA scene, and the influence of blues and Jimi Hendrix on his playing.

1390.

Iverson, Ethan. “Interview with James Newton.” Do the Math. ethaniverson.com. 2017. n.p. https://ethaniverson.com/interview-with-james-newton/ Extensive biographical discussion, with particular attention to the LA scene of the late 1970s–early 1980s with Arthur Blythe, Bobby Bradford, John Carter, Mark Dresser, and Stanley Crouch, and the New York “Young Lions” era when Crouch allied with Wynton Marsalis and argued for a more traditional direction. Newton also discusses the intersection of jazz, film music, and classical music in LA and his studies with Buddy Collette, as well as his trio with Anthony Davis and Abdul Wadud and his own work as a classical composer and performer.

1391.

Jeske, Lee. “James Newton.” Downbeat. Apr. 1983. 24–26. Interview-based profile, recapping Newton’s influences and training, his musical partnerships with Anthony Davis and David Murray, his various ensembles, and his recent work in a Cecil Taylor large ensemble.

1392.

Newton, James. The Improvising Flute. Milwaukee: Hal Leonard, 1989. Seventeen original compositions and his interpretation of Duke Ellington’s “Heaven” are represented as scores, lead sheets, or solo transcriptions. For most Newton gives a description of his improvising approach, whether chordal, modal, or free, and suggests ways to practice and develop that approach.

1393.

Rona, Jeffrey. “James Newton’s Flute Solo on ‘Feeling:’ A Flute Transcription.” Downbeat. Apr. 1983. 56–57. Complete transcription of this unaccompanied piece from Newton’s Axum album, with analytic notes and diagrams for special fingerings used.

1394.

Zaken, Michael. “Fragmented Literal Similarity in the Ninth Circuit: Dealing with Fragmented Takings of Jazz and Experimental Music.” Columbia Journal of Law & the Arts. 37 (2013). 283–326. Newton sued the Beastie Boys for using a sample from his solo piece “Choir” in their song “Pass the Mic.” He ultimately lost, with the court rejecting his claim that a flute multiphonic was a copyrightable musical work. Zaken argues that new musical forms require revisions of legal concepts derived from assumptions about European classical music.

Chicago, St. Louis, Los Angeles, and Other US Scenes

215

Preston, Don 1395.

Isoardi, Steven L. Interview of Don Preston. Six audio cassettes and transcript. Beyond Central. Los Angeles: UCLA Library Center for Oral History Research, 2002. 197 p. http://digital2.library.ucla.edu/viewFile.do?contentFileId=2388733 Topics include his friendship with Paul and Carla Bley in Los Angeles in the 1950s, meeting Ornette Coleman, working with Charlie Haden, Art Davis, John Carter and Bobby Bradford, and his own trio, participating in the L.A. free jazz scene at the Century Playhouse in the 1980s and presenting shows at his Downtown Playhouse in the 1990s. Transcript available online.

Tapscott, Horace 1396.

Cohen, Aaron. “Horace Tapscott: Papa’s Optimism: The Final Interview.” Downbeat. May 1999. 28-31. A look back on his career, with Cohen filling in the narrative.

1397.

Cohen, Elaine. “Horace Tapscott Talking: ‘A Legacy to Pass On.’ Part One.” Cadence. July 1984. 8–10, 18. Oral history-style interview, with this first part covering his musical education, apprenticeship, and military service.

1398.

Cohen, Elaine. “Horace Tapscott Talking: ‘A Legacy to Pass On.’ Part Two.” Cadence. Aug. 1984. 12–14. Continuation of 1397, on the origins and mission of UGMAA and the Pan-African Peoples’ Arkestra, and on the ongoing development of his piano playing.

1399.

Crouch, Stanley. “Black Song West: Horace Tapscott and the Community Cultural Orchestra.” The Cricket. 3 (n.d.). 21–27. An introduction to Tapscott, his band, and some of its key members, including Arthur Blythe. Crouch celebrates them as radical alternative Black culture and details Tapscott’s struggles with the musicians’ union, record companies, and nightclubs.

1400.

Isoardi, Steven L. The Dark Tree: Jazz and the Community Arts in Los Angeles. Book with CD. Berkeley: U of CA P, 2006. xxi, 356 p. History of Tapscott, the UGMAA collective, and the Pan-African Peoples’ Arkestra, drawing on published sources, original interviews, and Tapscott’s archive. Tapscott’s frequent collaborator, bassist Roberto Miranda, provides an appendix with some technical musical details, and a CD of unreleased performances from the archive is included.

1401.

Isoardi, Steven L. Interview of Horace Tapscott. Twelve audio cassettes and transcript. Beyond Central. Los Angeles: UCLA Library Center for Oral History Research, 1996. xv, 539 p. https://oac.cdlib.org/ark:/13030/hb4j49p32g/?brand=oac4 These 1993 conversations formed the core of 1409. They cover from his earliest memories onwards. Transcript available online.

216

1402.

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Isoardi, Steven L. and Michael Dett Wilcots. “Black Experience in the Fine Arts: An African-American Community Arts Movement in a University Setting.” Current Research in Jazz. 6 (2014). n.p. www.crj-online.org/v6/CRJ-BlackExperience.php In 1971–1972 Tapscott taught classes and workshops entitled “Black Experience in the Fine Arts” at Riverside City College and the University of California Riverside, usually featuring performances by his Arkestra or associated artists including Arthur Blythe, Lawrence “Butch” Morris, Will Connell, Roberto Miranda, and others. Tapes of many of these classes are in his archive (1408). This article surveys their musical and spoken content.

1403.

Khan, Atiyyah. Jazz in South Los Angeles and its Connection to the Community Arts. M.A. thesis. USC, 2011. iii, 25 p. http://cdm15799.contentdm.oclc.org/cdm/ref/ collection/p15799coll127/id/656478 Narrative of Tapscott’s Pan-African Peoples’ Arkestra and the Leimert Park revival of the 1980s, based primarily on interviews with Steve Isoardi, PAPA member Fuasi Abdul Khaliq, and Alex Cline.

1404.

McCullough, Barbara, dir. Horace Tapscott: Musical Griot. Video. 72 minutes. Unreleased, 2016. Feature documentary using performance and interview material shot between 1976 and 1991. Tapscott tells his own story, with additional comments from Don Cherry, Arthur Blythe, Greg Tate, and others. This film was shown at the 2017 New Orleans Film Festival and has screened in Los Angeles.

1405.

Ratliff, Ben. “Horace Tapscott: Staring No in the Face.” Coda. 242 (Mar/Apr 1992). 7–11. Interview-based biography, with an overview of his recorded work, featuring the recent The Dark Tree CDs.

1406.

Smith, Miyoshi. “Horace Tapscott Interview.” Cadence. Aug. 1995. 5–18. Detailed conversation on his military experience, racism in the Musicians’ Union, playing jazz on Central Avenue, his pedal technique, the composition “The Dark Tree,” and links between the Pan-African Peoples’ Arkestra and liberation movements including the Black Panthers.

1407.

Stewart, Zan. “Horace Tapscott.” Musician, Player, and Listener. Nov. 1979. 54–57. Biographical interview, largely on his musical education and apprenticeship, but also discussing UGMAA, the Ark, and his solo work.

1408.

Tapscott, Horace. The Horace Tapscott Jazz Collection 1960–2002. Archive. 77 boxes. Performing Arts Special Collections. UCLA. Includes numerous unreleased audio recordings, and scores and parts for compositions by Tapscott and other artists affiliated with UGMAA and the Pan-African People’s Arkestra, including Arthur Blythe, Roberto Miranda, Linda Hill, Michael Session, and others. Finding aid at www.oac.cdlib.org/findaid/ark:/13030/kt187019m6/

1409.

Tapscott, Horace. Songs of the Unsung: The Musical and Social Journey of Horace Tapscott. ed. Steven Isoardi. Durham, NC: Duke UP, 2001. xvi, 253 p.

Chicago, St. Louis, Los Angeles, and Other US Scenes

217

Memoir completed posthumously from 1401, supplemented with twenty-five pages of black and white photos, a poem written for his memorial by Kamau Daáood, a roster of Pan-Afrikan Peoples’ Arkestra members, and a discography. 1410.

Widener, Daniel. Black Arts West: Culture and Struggle in Postwar Los Angeles. Durham, NC: Duke UP, 2010. xiv, 368 p. Revision of 1411, on the African-American arts in Los Angeles between 1945 and 1992, particularly work coming out of South Central after the 1965 Watts Riots. Tapscott is the musical focus, highlighting his debut album The Giant Has Awakened, work with the Black Panthers, including his collaboration with Elaine Brown on her Seize the Time LP, resulting police harassment, the film Passing Through, compositional techniques, and musical connections in the community, from multimedia collaborations and free concerts to the women who supported Tapscott financially. Bobby Bradford and John Carter appear on the periphery of this account.

1411.

Widener, Daniel. Something Else: Creative Community and Black Liberation in Postwar Los Angeles. Ph.D. dissertation. New York: NYU, 2003. xii, 358 p. In order to broaden the common understanding of the Black Arts movement, Widener looks at a wider time range, works across media, and focuses on Los Angeles, a less-recognized city. He also insists on the multiplicity of the movement, that there were numerous artists in interlocking personal and institutional networks. Free jazz dominates his second chapter, relying on Tapscott’s memoir (1409) and placing his story in the context of the rise and fall of the Central Avenue jazz scene, the desegregation of the musicians’ union, changes in African-American neighborhood spaces, and the LAPD’s treatment of musicians, venues, and Black Angelenos in general. Bobby Bradford and John Carter are also featured.

Vlatkovich, Michael 1412. Silsbee, Kirk. “Michael Vlatkovich: Spontaneous Multitasking.” Downbeat. Apr. 2008. 27. Brief interview-based profile promoting his CD Alivebuquerque and mentioning his work with Dottie Grossman, Vinny Golia, Bobby Bradford, and William Roper.

NEW HAVEN General Works 1413.

Sonderegger, Sean. New World, New Music: Creative Music Communities in New Haven and Woodstock in the 1970s and Their Legacies. Ph.D. dissertation. Middletown, CT: Wesleyan U, 2017. [forthcoming]. A comparative history of the New Haven scene and the Creative Music Studio in the late 1970s and early 1980s, tracing these communities/networks to the present, drawing on published sources, archives, and original interviews with Wadada Leo Smith, Anthony Davis, Pheeroan akLaff, Gerry Hemingway, Abraham Adzenyah, Karl Berger, Marilyn Crispell, and Peter Apfelbaum.

218

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ARTISTS akLaff, Pheeroan 1414.

Drozdowski, Ted. “Pheeroan akLaff: Cosmic Consciousness from the Sparkplug of New Jazz.” Musician. June 1989. 56, 83, 86–87. Interview-based profile on his album Sonogram, playing with another drummer in Sonny Sharrock and Henry Threadgill’s bands, time and presence in music, and his conception of the role of drums.

1415.

D’Souza, Jerry. “Master Drummer Pheeroan akLaff: A Conversation.” Coda. 274 (July/Aug. 1997). 6–7. Short conversation including akLaff ’s use of voice and texts and his work with Wadada Leo Smith.

1416.

Rusch, Bob. “Pheeroan akLaff Part 1.” Cadence. July 1988. 5–17, 26. Biographical interview, from his early musical education to moving to New Haven with Dwight Andrews, meeting Leo Smith, and making his recording debut with Oliver Lake. Rusch challenges him on his Fits Like a Glove album, accusing him of selling out. akLaff also discusses joining New Air.

1417.

Rusch, Bob. “Pheeroan akLaff Part 2.” Cadence. Aug. 1988. 27–33, 92. The second half is abstract, on spirituality, power, and economics in music.

Bynum, Taylor Ho 1418.

Bynum, Taylor Ho, and Anne Rhodes. Taylor Ho Bynum. Oral History of American Music: Major Figures in American Music. Three cassettes and transcription. New Haven: Yale University Library, 2012. Detailed biographical interview, including his work with Anthony Braxton, Bill Dixon, Mary Halvorson, Bill Lowe, and Cecil Taylor, and as a leader, his role in the Firehouse 12 label and Tri-Centric Foundation, and the economics of creative music.

Davis, Anthony 1419.

Davis, Anthony. Still Waters III. New York: Schirmer, 1982. 11 p. Composition for flute, cello, and piano, incorporating improvisation, as recorded by Davis with Abdul Wadud and James Newton on I’ve Known Rivers.

1420.

Davis, Anthony, with Raelinda Brown and Libby Van Cleve. Anthony Davis. Two cassettes and transcript. Oral History of American Music: Major Figures in American Music. New Haven: Yale University Library, 1982 and 1993. Davis describes his early musical influences, experiencing racism from classical teachers, studying philosophy in college, working with Wadada Leo Smith, and his albums Episteme, Lady of the Mirror, Under the Double Moon, Hemispheres, X, Middle Passage, and Wayang No. 5.

Chicago, St. Louis, Los Angeles, and Other US Scenes

1421.

219

Davis, Francis. “Anthony Davis: New Music Traditionalist.” Downbeat. Jan. 1982. 21–23, 68. Interview-based profile in which Davis rejects the term “jazz,” arguing that, while influenced by the piano tradition from Ellington to Monk to Cecil Taylor, his music, like Taylor’s, is not focused on improvising on chord changes, and that he is primarily a composer who sometimes uses improvisation. He emphasizes the importance of his work with Wadada Leo Smith, identifying with the post-Ornette Coleman AfricanAmerican school of Smith and Braxton.

1422.

Mandel, Howard. “Blindfold Test: Anthony Davis.” Downbeat. June 1984. 56. Davis comments on recordings by Chick Corea (with Anthony Braxton), Herbie Hancock, Thelonious Monk, Cecil Taylor, and Fats Waller.

1423.

Norman, Liesa Karen. The Respective Influence of Jazz and Classical Music on Each Other, the Evolution of Third Stream and Fusion and the Effects thereof into the 21st Century. D.M.A. dissertation. Vancouver: U of British Columbia, 2002. iv, 81 p. https://open.library.ubc.ca/cIRcle/collections/ubctheses/831/items/1.0099668 Free jazz is read a countercurrent to composition-centered Third Stream music. However, she notes that some free jazz artists were influenced by classical music, albeit from a later generation: the AACM checked out John Cage and Karlheinz Stockhausen, while Third Stream composers looked at Schoenberg, Bartok, et al. Davis’ “Still Waters” (1419) is read as an avant-garde piece which updates the work of the Third Stream; she briefly discusses its timbres and tonality.

1424.

Tinder, Cliff. “Anthony Davis: Formal Freedom in the New Jazz.” Musician: Player and Listener. Aug. 1982. 64, 68, 70, 72. Davis argues that the “post-Ornette Coleman” form of theme-open solos-theme is exhausted and that he does not believe in atonality, explaining that he is interested in expanding ideas of structure and tonality rather than eliminating them. He suggests Balinese music as a source for sophisticated grooving pentatonic music, and insists that the work he, James Newton, Anthony Braxton, and others are doing is an essential part of “new music” and “art music,” as serious as Stockhausen et al.

1425.

Van Trikt, Ludwig. “Anthony Davis: Interview.” Cadence. Oct. 1986. 15–19. Centered on Davis’ opera X in relation to classical music, the Black Arts Movement, and ideas about political art, this talk also addresses Amiri Baraka’s critique of Davis and others as a bourgeois “Tail Europe” school (610). Davis also describes his years at Yale playing with Leo Smith, George Lewis, and Gerry Hemingway, being a post-Cecil Taylor pianist, his series of “Wayang” compositions, and the limitations of nightclubs for music.

Fonda, Joe 1426.

Spencer, Robert. “Joe Fonda Interview.” Cadence. Nov. 2000. 5–16. Long biographical talk, including his appearance on Leo Smith’s Procession of the Great Ancestry, the New Haven Creative Musicians Improvisers Forum collective and record label, the Fonda/Stevens Group, and playing with Anthony Braxton and Bill Dixon.

220

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Helias, Mark 1427.

Helias, Mark. Songbook. 3 vols. New York: Radio Legs Music, 1998. Self-published spiral-bound compilations of compositions for various ensembles, recorded and not. Scores vary from lead sheets to including parts for multiple horns, piano, and a composed bass line.

1428. Morgan, Jon. “The Sound in Silence: Mark Helias.” Coda. 285 (May/June 1999). 2–5. Interview-based profile on his work with Wadada Leo Smith and Ed Blackwell, his duo with Mark Dresser, his own bands, and his career and recording philosophy. 1429.

Rusch, Bob. “Mark Helias.” Cadence. Aug. 1988. 5–26, 72, 92. Biographical interview, from his early musical education and apprenticeship to meeting Leo Smith and Anthony Davis at Yale, through his work with Anthony Braxton, Ray Anderson, Gerry Hemingway, Barry Altschul, Dewey Redman, Ed Blackwell, and others. Rusch picks a fight over Helias’ work in the funk band Slickaphonics, while Helias attempts to explain both economic realities and his genuine appreciation of funk.

1430.

Whitehead, Kevin. “Profile: Mark Helias.” Downbeat. Sept. 1988. 48, 53. Interview-based piece, covering his training and background, his albums Split Image and The Current Set, and his work with BassDrumBone, Barry Altschul, Wadada Leo Smith, Anthony Braxton, Anthony Davis, and Dewey Redman.

Hemingway, Gerry 1431.

Harms, Ted. “An Interview with Gerry Hemingway.” Critical Studies in Improvisation. 7:2 (2011). n.p. www.criticalimprov.com/article/view/1677/2382 Discussion centers on his academic position in Switzerland, encompassing the challenges of part-time teaching, departmental politics, whether improvised music benefits from identifying as avant-garde rather than popular music, and how much creative music can be taught. He also mentions his archive of the New Haven scene and his interest in producing a book or website about it.

1432.

Hemingway, Gerry. “Awake at the Wheel: Observations in Overdrive.” in Arcana: Musicians on Music. ed. John Zorn. New York: Granary, 2000. 269–279. Hemingway describes coming to composition through listening and playing, studying the rhythmic approaches of Jimmy Garrison and Elvin Jones with John Coltrane, Indian music, and working with Anthony Davis. He illustrates his results with excerpts from the score to his solo drum piece “Trance Tracks” and from the bass part to his quintet composition “Perfect World.”

1433.

Nai, Larry. “Gerry Hemingway Interview.” Cadence. Feb. 1998. 10–19. Topics include his solo percussion music, cataloging his personal sounds and the relationship of this work to Anthony Braxton’s Language Music, the influence of Sunny Murray, Han Bennink, and Alan Dawson on his drumming, and his collaborations with Braxton, Barry Guy, Marilyn Crispell, and Derek Bailey.

Chicago, St. Louis, Los Angeles, and Other US Scenes

1434.

221

Panken, Ted. “Gerry Hemingway: Pluralistic Attitude.” Downbeat. July 2011. 38–41. Interview-based feature promoting Hôtel du Nord, Riptide by his quintet, and The Other Parade by BassDrumBone, also touching on his work with Anthony Davis and Anthony Braxton, and his decision to live in Switzerland.

1435.

Svirchev, Lawrence. “An Appetite for the Unimaginable.” Signal to Noise. 15 (Jan/Feb. 2000). 20–23. Interview-based profile, with particular attention to his Perfect World and Chamber Works albums.

1436.

Vickery, Stephen. “Gerry Hemingway: Special Detail, A Conversation.” Coda. 247 (Jan/Feb 1993). 21–24. On his work in Anthony Braxton’s quartet, Tambastics, his cooperative trios BassDrumBone and with Georg Graewe and Ernst Reijseger, and his quintet, linked by the issue of balancing the leader’s and bandmembers’ personalities in the compositions and improvisations.

Jackson, Michael Gregory 1437.

Mulhern, Tom. “Michael Gregory Jackson: A Jazz-Rock Career with an Avant-Garde Foundation.” Guitar Player. Oct. 1980. 30, 32–34. Interview-based career-spanning profile, including his work with Oliver Lake and Leo Smith, as well as his albums as a leader Clarity, Gifts, and Heart & Center. His equipment and use of alternate tunings are also covered.

Pavone, Mario 1438.

Collins, Jay. “Mario Pavone: The OFN Interview.” One Final Note. May 2005. n.p. www.onefinalnote.com/features/2005/pavone/ Career-spanning talk, including his work with Bill Dixon, Anthony Braxton, Marty Ehrlich, and Paul Bley, Leo Smith and the New Haven scene, and his own bands.

NEW ORLEANS Fiedler, Alvin 1439.

Litweiler, John. “Overdue Ovation: Alvin Fielder.” JazzTimes. Nov. 2001. 40–42. Interview-based career overview covering Fielder’s Chicago work, including Roscoe Mitchell’s Sound, and his long collaboration with Kidd Jordan in New Orleans.

1440.

Panken, Ted. “Alvin Fielder Interview Pt. 1.” Cadence. Apr. 2004. 5–13. Detailed biographical interview, including some memories of a young Ed Blackwell in New Orleans and Sun Ra in Chicago in the 1950s, as well as the prehistory of the AACM: joining Muhal Richard Abrams’ trio with Donald Raphael Garrett and Roscoe Mitchell’s first quartet, as well as working with Anthony Braxton, Kalaparusha, and others in the mid-1960s.

222

1441.

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Panken, Ted. “Alvin Fielder Interview Pt. 2.” Cadence. May 2004. 9–14. Topics include Kidd Jordan, their trio with Joel Futterman, and practicing drum technique.

Jordan, Kidd 1442.

Jordan, Kidd. Kidd Jordan. Three DAT audio cassettes. Jazz Oral History Project, Smithsonian Institution, Washington, DC. 2001. In-depth biographical interview. Finding aid not available.

1443.

Panken, Ted. “Kidd Jordan Interview.” Cadence. Dec. 2003. 5–16, 132–133. Long biographical interview including his youth, musical education, the influence of Ornette Coleman, his musical partnership with Alvin Batiste, bringing together the World Saxophone Quartet, and connections to New York and Chicago improvisers.

1444.

Wyckoff, Geraldine. “The Last Free Man in New Orleans.” Jazziz. Dec. 1998. 74–75. Brief interview-based profile featuring his collaborations with Fred Anderson, Joel Futterman, and Clyde Kerr Jr. and including comments from all three.

1445.

Wyckoff, Geraldine. “Overdue Ovation: Kidd Jordan.” JazzTimes. Mar. 2001. 28–30. Interview-based profile, centered on the collective CD 2 Days in April, with Jordan, Fred Anderson, William Parker, Alan Silva, and Hamid Drake. Jordan also discusses the importance of Ornette Coleman in the 1960s and of the Vision Festival in the 2000s.

PACIFIC NORTHWEST 1446.

Collins, Troy. “Rich Halley: The Outsider.” Point of Departure. 48 (Sept. 2014). n.p. www.pointofdeparture.org/PoD48/PoD48Halley.html Interview on the changing lineup of his quartet, with Michael Vlatkovich replacing Bobby Bradford, mixing composition and free improvisation, and settling in Portland after living in Chicago and San Francisco.

1447.

Gold-Molina, Jack. “Wally Shoup: Music as Adventure.” Perfect Sound Forever. Oct. 2012. n.p. www.furious.com/perfect/wallyshoup.html Career-spanning interview, including his work with Davey Williams and Ladonna Smith, Thurston Moore, and others, and the development of the Seattle improvising scene.

1448.

Vin Trikt, Ludwig. “Rich Halley Interview.” Cadence. July 2006. 5–10. Biographical interview covering his various bands, balancing composing and free improvising, the advantages and disadvantages of having a day job, and the Pacific Northwest scene.

PHILADELPHIA 1449.

Wooley, Nate, ed. Sound American 5: The Philadelphia Issue. [2012]. http://sound american.org/sa_archive/sa5/sa5-elliott-levin-jazz-in-philadelphia-bobby-zankel.html

Chicago, St. Louis, Los Angeles, and Other US Scenes

223

Features an introduction by Wooley, autobiographical essays by Elliott Levin and Bobby Zankel, who both studied and performed with Cecil Taylor, and an assessment of the state of the scene by Shaun Brady.

Dickerson, Walt 1450.

Shteamer, Hank. “Overdue Ovation: Walt Dickerson.” JazzTimes. Jan/Feb. 2004. 54–56. Interview-based profile reviewing his life and career, including collaborations with Andrew Cyrille, Sun Ra, Henry Grimes, Sirone, and others.

Ellerbee, Charles 1451.

Weiss, Ken. “Charles Ellerbee Interview.” Cadence. Nov. 2005. 5–11. Long talk on his musical background, work with Charles Earland and Trammps, and 15 years with Ornette Coleman’s Prime Time. After Coleman broke up that band, Ellerbee worked with Sun Ra and tried unsuccessfully to launch a solo career.

Jamal, Khan 1452.

Nai, Larry. “Khan Jamal Interview.” Cadence. Nov. 1998. 18–26. Extended conversation, starting with his musical education and influences, then touching on work with Frank Wright, Sunny Murray, Sun Ra, and others.

1453.

Van Trikt, Ludwig. “Khan Jamal.” Cadence. Mar. 1987. 5–10, 69. Interview on the Philadelphia scene, from John Coltrane to Gamble & Huff to Sunny Murray, his own music, and his work with Charles Tyler, Johnny Dyani, Ronald Shannon Jackson, Billy Bang, Lawrence “Butch” Morris, and others.

Tacuma, Jamaaladeen 1454.

Jisi, Chris. “‘Rhythm of Your Mind:’ Jamaaladeen Tacuma’s Complete Bass Line.” Bass Player. Mar. 2014. 72–76. Full transcription, with analysis, of this bass guitar and drums duet from Tacuma’s Jukebox album, including the theme statements and improvised solo.

1455.

Milkowski, Bill, and Chip Stern. “Jamaaladeen Tacuma: Breaking Bass Barriers.” Guitar Player. May 1983. 76, 78, 81–82, 84–85. Interview-based profile on harmolodics, the release of Ornette Coleman’s Of Human Feelings and Tacuma’s Showstopper, his musical background, and his Rickenbacker and Steinberger basses.

1456.

Tate, Greg. “The Sons of Ornette: Jamaaladeen Tacuma, Blood Ulmer, and the Future of Harmolodics.” Musician. Jan. 1983. 62–64, 66. Conjoined interview-based profiles, Tacuma’s on his debut on Ornette Coleman’s Dancing in Your Head and pending projects, including the Golden Palominos, Cosmetic, and a solo album; Ulmer’s on his second Columbia LP Black Rock.

224

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Chicago, St. Louis, Los Angeles, and Other US Scenes

Tinder, Cliff. “Jamaaladeen Tacuma: Electric Bass in the Harmolodic Pocket.” Downbeat. Apr. 1982. 19–21, 71. Interview on Tacuma’s background, instruments, and work with Ornette Coleman, with some details on how Prime Time arranges their music.

Weston, Grant Calvin 1458.

Brady, Shaun. “Known Unknown.” JazzTimes. Nov. 2012. 34–39. Interview-based profile on his work with Ornette Coleman, James “Blood” Ulmer, John Lurie, and Jamaaladeen Tacuma. Tacuma, Ulmer, and John Medeski are also quoted.

Wright, Jack 1459.

Warburton, Dan. “The Wright Stuff.” Signal to Noise. 27 (Fall 2002). 36–42. Interview-based profile, discussing his nationwide underground network of collaborators, the influence of Peter Brötzmann, Evan Parker, and Bhob Rainey on his playing, the Boston and Bay Area scenes, anarchism, and free music’s potential to challenge the culture industry.

1460.

Wright, Jack. The Free Musics. Philadelphia: Spring Garden Music, 2017. 307 p. Traces free playing from jazz through free jazz, European free improvisation, and lower case music to the present, arguing that it presents an alternative to music as an object, commodity, or spectacle.

Zankel, Bobby 1461.

Brady, Shaun. “Overdue Ovation: Bobby Zankel.” JazzTimes. Dec. 2009. 24–25. Interview-based profile, including his studies and performances with Cecil Taylor.

1462.

Van Trikt, Ludwig. “Bobby Zankel Interview.” Cadence. Aug. 1997. 5–9. Topics include studying with Cecil Taylor at the University of Wisconsin and Antioch, the loft era, grant support, and the Philadelphia music scene.

SAN FRANCISCO BAY AREA General Works 1463.

Nunn, Tom. Wisdom of the Impulse: On the Nature of Musical Free Improvisation. San Francisco: Thomas E. Nunn, 1998. vi, 311 p. Self-published dissertation-like book reviewing the practice of free improvisation in Western music, in other media, and its pedagogy, then attempting to catalog types of communication in performance and their perception. Sets of solo and group exercises are appended, as is a 1994 survey of 20 Bay Area improvisers.

Chicago, St. Louis, Los Angeles, and Other US Scenes

1464.

225

Ouellette, Dan. “San Fran’s New Brew.” Downbeat. July 1995. 10–11. Spotlight on the Bay Area free scene, with comments from Glenn Spearman, Larry Ochs, Gino Robair, Myles Boisen, and Lisle Ellis, plus discussion of Cecil Taylor, Anthony Braxton, and John Zorn’s influential visits.

AsianImprov 1465.

Asai, Susan M. “Cultural Politics: The African American Connection in Asian American Jazz-based Music.” Asian Music. 36:1 (Winter-Spring 2005). 87–108. Asai reads the work of Fred Ho, Mark Izu, and Glenn Horiuchi in the context of the history of exchanges between African-American and Asian-American radical art and politics nationally and in the Bay Area. She discusses the influence of free jazz and the AACM on AsianImprov and on these three artists in particular, giving a short biography of each. Specific compositions briefly analyzed are Ho’s “Uproar in Heaven,” Horiuchi’s “Issei Spirit,” and Izu’s “Hibakusha! (Survivors).”

1466.

Asai, Susan M. “Transformations of Tradition: Three Generations of Japanese American Music Making.” The Musical Quarterly. 79.3 (1995). 429–53. The contemporary section of this survey includes a close reading of an excerpt from Glenn Horiuchi’s “Poston Sonata” and paragraphs on Gerald Oshita, Mark Izu, Miya Masaoka, Russell Baba, and the AsianImprov collective in general.

1467.

Dessen, Michael. “Asian Americans and Creative Music Legacies.” Critical Studies in Improvisation. 1:3 (2006). n.p. www.criticalimprov.com/article/view/56 A profile of the AsianImprov group, excerpted and updated from 1936, situated in relation to the rise of “creative music” as a category, the AACM, attempts by musicians such as Wadada Leo Smith to take control of the discourse around their work, and the international Non-Aligned Movement. Artists featured include Jon Jang, Francis Wong, Fred Ho, and Vijay Iyer, all also interviewed.

1468.

Fellezs, Kevin. “Silenced but Not Silent: Asian-Americans and Jazz.” in Alien Encounters: Popular Culture in Asian America. eds. Mimi T. Nguyen and Thuy L. N. Tu. Durham: Duke UP, 2007. 69–108. Discusses stereotypes of Asian-Americans and of jazz which block the recognition of Asian-American jazz musicians, then presents a series of examples, beginning with bebop pianist Toshiko Akiyoshi and ending with Vijay Iyer, Susie Ibarra, and Miya Masaoka. The core of the article is devoted to a comparison of AsianImprov artists Francis Wong, Jon Jang, Anthony Brown, and Fred Ho with the fusion band Hiroshima.

1469.

Kajikawa, Loren. Centering the Margins: Black Music and American Culture, 1980– 2000. Ph.D. dissertation. Los Angeles: UCLA, 2009. xii, 212 p. Four case studies of the transformation of popular music as hip-hop became the mainstream: Dr. Dre and NWA, D’Angelo, Eminem, and the AsianImprov movement. The last of these stands out in not being about commercial popular music and by drawing on original interviews with its subjects. Jon Jang’s Are You Chinese or Charlie Chan? and Glenn Horiuchi’s “Terminal Island Sweep” are discussed in particular detail.

226

1470.

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Kajikawa, Loren. “The Sound of Struggle: Black Revolutionary Nationalism and Asian American Jazz.” in Jazz/Not Jazz: The Music and Its Boundaries. eds. David A. Ake, Charles H. Garrett, and Daniel Goldmark, Berkeley: U of CA P, 2012. 190–216. Revised chapter from 1469, tracing the influence of 1960s African-American musicians such as John Coltrane, McCoy Tyner, and Archie Shepp on Asian-American musicians of the 1980s and 1990s, in particular Jon Jang, Francis Wong, Glenn Horiuchi, and Miya Masaoka, who describe being inspired by the older artists’ political statements, assertions of African-American pride, and incorporation of Asian musical elements. He looks closely at Jang’s Are You Chinese or Charlie Chan? album and Horiuchi’s piece “Terminal Island Sweep,” discusses issues of multi-ethnic collaboration and solidarity, and contrasts these artists’ work with the simultaneous neoconservative movement in jazz.

1471.

Ouellette, Dan. “Asian American Jazz Crusade.” Downbeat. Aug. 1996. 10–11. Reporting on the 15th annual Asian American Jazz Festival in San Francisco, with comments from Jon Jang, Mark Izu, Anthony Brown, Frances Wong, and Miya Masaoka on the political and musical sources of their work.

1472.

Richardson, Derk. “Label Watch: Way Out East: Asian Improv Records.” JazzTimes. Apr. 2000. 61–62. A history of the label describing highlights of their catalog and forthcoming titles, with comments from founders Jon Jang and Francis Wong.

1473.

Shoemaker, Bill. “East Meets Left: Politics, Culture, and Asian-American Jazz.” JazzTimes. Sept. 2003. 82–87. An introduction to AsianImprov with sections on first-generation players Fred Ho, Jon Jang, and Anthony Brown and the younger Vijay Iyer and Miya Masaoka. Each artist is quoted and their work surveyed.

1474.

Wong, Deborah A. Speak It Louder: Asian Americans Making Music. New York: Routledge, 2004. 388 p. AsianImprov artists are a recurring presence in this study of Asian-American musical culture from Taiko to karaoke to hip-hop. Wong discusses Jon Jang’s Island: The Immigrant Suite No. 1 in her second chapter, including score excerpts, her experience presenting Miya Masaoka’s performance piece Ritual at UC Riverside in chapter 7, and the work of Jang, Francis Wong, Glenn Horiuchi, Mark Izu, and Anthony Brown in chapters 8, 10, 12, and 13, drawing on original interviews with all these musicians.

1475.

Zhang, Wei-hua. The Musical Activities of the Chinese-American Communities in the San Francisco Bay Area: A Social and Cultural Study. Ph.D. dissertation. Berkeley: U of CA, 1994. xi, 408 p. Chinese-American jazz appears in two chapters. Case studies of Fred Ho and Jon Jang. Jang’s includes a biography, centered on his founding the AsianImprov record label with Francis Wong, then a section on his music, particularly the suites “Tiananmen” and “Reparations Now!” and the piano solo “Butterfly Lovers’ Song.” Zhang also compares the reception of Ho and Jang’s work.

1476.

Zheng, Su. Claiming Diaspora: Music, Transnationalism, and Cultural Politics in Asian/Chinese America. London: Oxford UP, 2006. xxiii, 422 p. Devotes several pages to the AsianImprov label, looking at Fred Ho in particular as an example of a Chinese-American musician presenting Chinese-American-thematic material in a new stylistic synthesis to a largely non-Asian-American audience.

Chicago, St. Louis, Los Angeles, and Other US Scenes

227

ARTISTS Ackamoor, Idris, and the Pyramids 1477.

Dayal, Geeta. “Rites of Passage.” The Wire. 389 (July 2016). 26–31. Profile with comments from Ackmoor and bandmembers Kimathi Asante, Margaux Simmons, and Heshima Mark Williams, describing the group’s origins in Cecil Taylor’s 1970s Black Music Ensemble at Antioch College, and their career, lineup changes, breakup, and reformation, promoting their new album We Be All Africans.

1478.

Van Trikt, Ludwig. “Idris Ackamoor Interview.” Cadence. June 2003. 12–14. Topics include the influence of John Coltrane and Pharoah Sanders, travel and study in Japan and Africa, studying with Cecil Taylor at Antioch, and combining tap dancing and saxophone playing.

Ackley, Bruce 1479.

Szigeti, Peter. “Bruce Ackely: Interview.” Cadence. June 1984. 19–21. Talk centered on ROVA, the members’ backgrounds in jazz and classical music, and the economics of ROVA and the Metalanguage record label.

Apfelbaum, Peter 1480.

Norris, Chris. “Boy Wonder: Peter Apfelbaum’s Jazz Crusade.” Option. May/June 1993. 44–48. Interview-based feature on the Hieroglyphics Ensemble, Don Cherry, the Grateful Dead, and focusing on the folkloric aspects of avant-garde jazz.

1481.

Ouellette, Dan. “Multiculturalism that Grooves: Peter Apfelbaum and the Hieroglyphics Ensemble.” Downbeat. July 1992. 30–32. Conversation on his new album Jodoji Brightness, Karl Berger, and Don Cherry.

Brown, Anthony 1482.

Van Trikt, Ludwig. “Anthony Brown Interview.” Cadence. May 2006. 13–23. Detailed biographical interview, centered on his work with United Front and the Asian American Jazz Orchestra, and including discussion of the Orchestra’s collaboration with Steve Lacy on Monk’s Moods.

Cooke, India 1483.

Ouellette, Dan. “Redhanded: India Cooke.” Coda. 276 (Nov/Dec. 1997). 20–21. Interview-based profile on her education and development, work with Sun Ra, and the background to several pieces on her Redhanded album.

228

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Eneidi, Marco 1484.

Crépon, Pierre. “Contrary Motion: Marco Eneidi, 1956–2016.” Point of Departure. 57 (Dec. 2016). n.p. www.pointofdeparture.org/PoD57/PoD57Eneidi.html Memorial biography and survey, including his time in New York, San Francisco, Austria, and at Bennington and Mills Colleges, working with Raphé Malik, Cecil Taylor, Bill Dixon, Glenn Spearman, and others.

1485.

Eneidi, Marco. Aeneidio Phonics. M.F.A. thesis. Oakland: Mills College, 2000. v, 39 p. Composition thesis on his large ensemble work and use of alternative notation systems and conducted improvisation. He describes Cecil Taylor’s introduction of his letter system during his residency at Madison and its subsequent dissemination, quoting from original phone interviews with Taylor. Eneidi also uses a system where rhythms are represented numerically and pitches are indeterminate. Scores for an untilled piece in letter notation, “Lakota” in standard notation, and “Ghost Dance” and “Last Flight of the Nez Pierce,” in the number/rhythm system, are appended.

1486.

Eneidi, Marco. “August 1981/November 2004.” The Oral. 1 (Mar. 2011). n.p. https:// theoral.files.wordpress.com/2016/07/hpmarcoeneidi1.pdf Transcribed account of his move to New York to study with Jimmy Lyons, his experiences in the Lower East Side free jazz scene with Roy Campbell, William Parker, Luther Thomas, and others, then relocations to Austria and Oakland. He describes meeting Cecil Taylor, becoming part of a circle of musicians including Raphe Malik and Glenn Spearman who were working with some of Taylor’s ideas, then getting to perform with Taylor himself.

1487.

Van Trikt, Ludwig. “Marco Eneidi Interview.” Cadence. June 2003. 5–11. Discussing his influences, moving to New York in 1981 to study with Jimmy Lyons, meeting William Parker and the other Lower East Side free players, returning to the Bay Area, working with Glenn Spearman, making his own recordings, Mills College, and survival.

Goldberg, Ben 1488.

Baker, Duck. “Ben Goldberg: Junk Genius.” Coda. 287 (Sept/Oct. 1999). 18–21. Interview-based profile, discussing the New Klezmer Trio, Steve Lacy, John Zorn, Anthony Braxton, Marty Ehrlich, Graham Connah, and John Schott.

1489.

Goldberg, Ben. “Twelve Minor.” in Arcana VII: Musicians on Music ed. John Zorn. New York: Hips Road, 2014. 88–93. Dense exposition of an idea Goldberg developed in the New Klezmer Trio: that any minor third implies five different minor scales, but adding a third adjacent pitch eliminates three of those. This allows him pivot in and out of other keys within the harmonic minor sound of klezmer. Several transformations of a phrase are notated, as is the lead sheet to his piece “Palindromic” (aka “January 6”), which employs this technique.

1490.

Richardson, Derk. Improv21: The Chair the Fact—An Informance with Ben Goldberg. Online video. San Francisco: ROVA Arts, 2006. https://archive.org/details/ IMP_2006_10_30 Ninety-three minute career-spanning conversation, particularly emphasizing Goldberg’s study with and tribute to Steve Lacy. Includes solo performances.

Chicago, St. Louis, Los Angeles, and Other US Scenes

229

Jang, Jon 1491.

Baxter, Nicky. “The Orient Expressed: Jon Jang’s Asian-American Jazz.” Option. Mar/ Apr. 1995. 44–46, 48–49. Interview-based biographical feature, including the AsianImprov Records label and Jang’s collaborations with David Murray, James Newton, Max Roach, and others.

Kavee, Elliot Humberto 1492.

Micallef, Ken. “Elliot Humberto Kavee.” Modern Drummer. May 2010. 58–62. Interview on his work with Henry Threadgill, Fieldwork (with Vijay Iyer and Steve Lehman), and Myra Melford, and how he applies his studies of jazz, African music, and rudiments to their compositions. A major topic, illustrated with notation in a sidebar, is “tripletizing” compound meters (so that a 2–2–1 pattern could be played as 3–3–2 in the same space).

Ochs, Larry 1493.

Harley, Luke. “Larry Ochs Interview.” Paris Transatlantic. May 27, 2008. n.p. www. paristransatlantic.com/magazine/interviews/ochs.html Long conversation, beginning by discussing abstraction in music compared to other art forms, “magic” in performance, and representing that on a recording. Other topics include ROVA’s Electric Ascension project, his work with Glenn Spearman, distinctions between free jazz and structured improvisation, and connections between sound and spirituality.

1494.

Van Trikt, Ludwig. “Larry Ochs Interview.” Cadence. Oct. 2001. 14–17. On his musical roots, the origins of ROVA, the advantages and disadvantages of running the Metalanguage label and of ROVA being a nonprofit corporation, improvising with similar instruments rather than a mixed ensemble, and his trio What We Live.

Raskin, Jon 1495.

Lo Conte, V. “Jon Raskin Interview.” Cadence. Aug. 2001. 10–13. Topics include ROVA’s collaborations with Andrea Centazzo, Anthony Braxton, and the Ganelin Trio, his appearance on Braxton’s Eight (+3) Tristano Compositions 1989, Roscoe Mitchell’s influence, ROVA’s Russian tours, their album The Crowd, and the status of the Metalanguage record label.

Robair, Gino 1496.

Morgan, Jon. “A Different Drummer.” Signal to Noise. 10 (Mar/Apr. 1999). 18–23. Interview-based profile discussing his studies with Eddie Prévost, his duo record with Anthony Braxton, his Rastascan label, the Wavelength Infinity Sun Ra tribute compilation, the Splatter Trio and their Jump or Die album, and other projects.

230

1497.

Chicago, St. Louis, Los Angeles, and Other US Scenes

Nai, Larry. “Gino Robair Interview.” Cadence. Nov. 1999. 14–22. Long biographical interview, including his studies with Eddie Prévost, work with Anthony Braxton and ROVA, and sonic and contextual differences between free jazz and free improvisation.

ROVA Saxophone Quartet 1498.

Cosentino, Larry. “Any Way the Winds Blow.” Signal to Noise. 30 (Summer 2003). 24–29. Twenty-fifth anniversary profile, reviewing the history and musical development of the group with comments from all four current members.

1499.

Goldberg, Michael. “ROVA Saxophone Quartet Wants You to Wake Up.” Downbeat. Jan. 1981. 23–25. The members describe their backgrounds, how their music is composed or organized, and the economics of the ensemble and of the Metalanguage record label, run by Larry Ochs and Henry Kaiser.

1500.

Ochs, Larry. “Devices and Strategies for Structured Improvisation.” in Arcana: Musicians on Music. ed. John Zorn. New York: Granary, 2000. 325–335. An introduction to compositional and structural devices used by ROVA including solos over vamps, simultaneous solos, double duos, cue phrases, hand signs, nonsynchronized use of written parts, and subgroups reconfiguring by moving on stage. Notated excerpts from “When the Nation was Sound” are featured, and numerous other pieces are discussed in the text.

1501.

Ochs, Larry. “Radar and ROVA’s Development of Language for Structured Improvisation.” 1999. www.rova.org/foodforthought/radar.html Describes the pieces “Trobar Clus,” “Maintaining the Web Under Less than Ideal Circumstances,” “Cage,” and “Radar,” which constitute an evolving set of signals and systems for shaping spontaneous performances, influenced by their work with John Zorn, among other sources. Includes lists and definitions of cues, games, and events.

1502.

Richardson, Derk. Improv21 with ROVA Saxophone Quartet. Online video. San Francisco: ROVA Arts, 2005. https://archive.org/details/IMP_2005_06_05 Ninety-minute conversation with the four members of ROVA on connections between visual imagery and music, particularly their use of graphic notation and Larry Ochs’ pieces based on films by Stan Brakhage.

1503.

Rogers, John, dir. Cleaning the Mirror. in ROVA Channeling Coltrane. Electric Ascension. CD, DVD, and Blu-Ray. Paris: Rogue Art, 2016. Forty-five minute documentary on John Coltrane’s Ascension and ROVA’s reinterpretations, including footage from multiple performances by ROVA with guests, and interviews with Nels Cline, Andrew Cyrille, Art Davis, Trevor Dunn, Peter Evans, Jason Kao Hwang, Eyvind Kang, Marina Rosenfeld, Jenny Scheinman, Elliott Sharp, and the members of ROVA. The package also includes a complete 2012 performance on audio and video.

Chicago, St. Louis, Los Angeles, and Other US Scenes

1504.

231

Romero, Enrico, and Lorenzo Pallini. “ROVA Interview.” Cadence. Feb. 1982. 5–7, 20. Interview with Larry Ochs, Bruce Ackley, and Andrew Voigt on their use of composition, structured improvisation, and free playing, precedents for the group, and the Metalanguage record label.

1505.

Shoemaker, Bill. “Electric Ascension: ROVA and the Coltrane Classic.” Point of Departure. 7 (Sept. 2006). n.p. www.pointofdeparture.org/PoD7/PoD7Ascension.html E-mail interview with the members of ROVA on their 1995 performance of John Coltrane’s “Ascension” and their “Electric Ascension” revision ten years later, discussing them as musical projects and as reinterpretations of both Coltrane’s career and of free jazz.

1506.

Shoemaker, Bill. “Riffs: ROVA.” Downbeat. Jan. 1992. 12. Larry Ochs and Steve Adams look back on ROVA’s first decade and ahead to premiering a John Carter piece.

1507.

Voight, Andrew. “Sound on Silence.” Poetics Journal. 5 (May 1985). 100–104. Description of the ideas and techniques used in his “Campi Conceptuale,” written for the ROVA and Kronos Quartets, with a two page score excerpt.

1508.

Wilson, Jerome. “Four Play: ROVA’s Stimulating Sax Techniques.” Option. Mar/Apr. 1991. 30–34. History of the group, with comments from all four current members and a survey of their recordings, as well as an amazing story about the San Francisco Chronicle not reviewing their collaborative concert with the Kronos Quartet because they couldn’t decide which of their music critics to send.

Spearman, Glenn 1509.

Lopez, Rick. The Glenn Spearman Sessionography. 2000–present. www.bb10k.com/ SPEARMAN.disc.html Complete listing of performances and recordings, with illustrations, comments from participants, and other supporting materials when available.

1510.

Spearman, Glenn. The Double Trio Book: 16 Compositions for Improvising Musicians. Collected and with an introduction by Chris Brown. Oakland: Mills College Music Dept, 2000. 20 p. Memorial score anthology, all in Cecil Taylor’s letter notation except “Blues for Falasha,” which combines that with a poetic description of the music.

1511.

Spearman, Glenn. Glenn Spearman Papers. Archives. 25 linear feet. Oakland: Mills College, 2009. www.oac.cdlib.org/findaid/ark:/13030/c8db86x9/entire_text/ Includes notebooks, teaching materials, flyers, and other ephemera and manuscripts. Also features scores for pieces by Marco Eneidi, John Tchicai, Jimmy Lyons, Cecil Taylor, Larry Ochs, Raphe Malik, Albert Ayler, Frank Wright, Lisle Ellis, Garth Powell, Zusaan Kali Fasteau, Matthew Goodheart, and William Parker, some in the composers’ hands, some copied into Cecil Taylor’s letter notation by Spearman. The arrangement of John Coltrane’s “Ascension” used on ROVA’s first reinterpretation is included, because Spearman was the featured soloist on that performance.

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Spearman, Glenn. The Musa-Physics: Myth, Science, Poetics. Albany, CA.: Ascension Publications, 1996. 40 p. Self-published collection of poetry, drawings, and scores using graphic and letter notation.

Wong, Francis 1513.

Wong, Francis. Exploring Asian Improv. M.A. thesis. San Francisco: San Francisco State U, 2017. viii, 150 p. https://sfsu-dspace.calstate.edu/bitstream/handle/ 10211.3/197272/AS362017AASW66.pdf?sequence=1 History and evaluation of the work of the AsianImprov collective, of which Wong has been a key member.

ST. LOUIS General Works 1514.

Looker, Benjamin. Point from Which Creation Begins: The Black Artists’ Group of Saint Louis. St. Louis: MO Historical Society P, 2004. xxvii, 316 p. History of BAG drawing on published sources, archives, and original interviews with Joseph Bowie, Baikida Carroll, Marty Ehrlich, James Emery, John Lindberg, J. D. Parran, and others. The narrative follows the BAG members to Paris and into the New York loft scene, also covering the related Human Arts Ensemble and World Saxophone Quartet. The theater, poetry, and dance elements of BAG are given equal weight and the effects of St. Louis’ history and politics on the African-American community and the arts are discussed.

ARTISTS Bluiett, Hamiet 1515.

Bluiett, Hamiet. Hamiet Bluiett. Four DAT audio cassettes. Jazz Oral History Project, Smithsonian Institution, Washington, DC. 2002. In-depth biographical interview. Finding aid not available.

1516.

Shoemaker, Bill. “Blindfold Test: Hamiet Bluiett.” Downbeat. Jan. 1993. 51. Bluiett opines on recordings by Duke Ellington, Gerry Mulligan, The 29th Street Saxophone Quartet, and Anthony Braxton interpreting Lennie Tristano with Jon Raskin of ROVA on baritone sax.

1517.

Van Trikt, Ludwig. “Hamiet Bluiett: A Short Talk.” Cadence. May 1986. 5–7. Topics include his big band, which David Murray took over, the compositional contributions of the members of the World Saxophone Quartet, his Clarinet Family group, incorporating standards and African materials into his work, and the challenges of getting club bookings and recognition playing original music.

Chicago, St. Louis, Los Angeles, and Other US Scenes

233

Bowie, Joseph 1518.

Van Trikt, Ludwig. “Joseph Bowie Short Talk.” Cadence. Sept. 2003. 5–6. Short talk on growing up as Lester Bowie’s brother, the Black Artists Group, Ethnic Heritage Ensemble, and Defunkt.

Carroll, Baikida 1519.

Murph, John. “Dramatic Dare.” Downbeat. July 2001. 50. Brief interview-based profile on his Marionette on a High Wire album, Don Cherry, and the Black Artists Group.

Emery, James 1520.

Jeske, Lee. “Profile: James Emery.” Downbeat. May 1983. 46. Short interview-based piece from his training to the Human Arts Ensemble, String Trio of New York, and work as a leader.

1521.

Macnie, Jim. “Distinction Sustained.” Downbeat. May 1999. 37. Interview-based profile on his septet album Spectral Domains, with brief discussion of the String Trio of New York.

1522.

Shoemaker, Bill. “Orchestrated Practice: James Emery.” JazzTimes. July/Aug. 2001. 66–68, 154. Interview-based profile centered on his composing and arranging for the album Luminous Cycles and a chamber orchestra piece in progress.

1523.

Van Trikt, Ludwig. “James Emery Interview.” Cadence. Aug. 1999. 21–24, 136. Conversation focused on his early years: musical education and guitar influences, work with the Human Arts Ensemble and Leroy Jenkins, then the formation of the String Trio of New York with Billy Bang and John Lindberg.

Hemphill, Julius 1524.

Giardullo, Joe. “Julius Hemphill: Five Chord Stud.” Coda. 259 (Jan/Feb. 1995). 19–21. Hemphill addresses his firing from the World Saxophone Quartet, the development of his Sextet, the Black Artists Group, and his relationship to the jazz tradition. The interview is framed with accounts of Hemphill’s failing health and a benefit concert, and additional comments from Baikida Carroll.

1525.

Hemphill, Julius. Saxophone Quartets, Book 1. ed. Marty Ehrlich. Verona, NJ: Subito Music, 2016. Concert scores and transposed parts for “Revue,” “Slide,” Pillars Latino,” “Touchic’,” “One/Waltz/Time,” and “Cool Red,” recorded by the World Saxophone Quartet, and “JiJi Tune,” “Another Feeling,” and “Bumpkin,” recorded by the Julius Hemphill Saxophone Sextet. Ehrlich provides notes on interpretation, including how to open the pieces for improvisation and how non-improvisers can perform this material.

234

1526.

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Hemphill, Julius. The Sextet Collection. New York: Subito Music, 1992. Set of parts for six saxophones for seventeen compositions, no score. Most have been recorded by Hemphill’s sextet, some also by the World Saxophone Quartet or Hemphill’s other groups, including “The Hard Blues,” “Revue,” “Sweet D,” “Georgia Blue,” “Mirrors,” “Spiritual Chairs,” “Floppy,” and others.

1527.

Hemphill, Julius, with Katea Stitt. Julius Hemphill Interview. Four DAT audio cassettes and transcript. Jazz Oral History Project, Smithsonian Institution, Washington, DC. 1995. Detailed biographical interview, from his childhood, earliest musical influences and teachers, playing in R&B bands, and military experience, to encountering the AACM and starting the Black Artists Group, then the rise and fall of BAG and the making of Dogon AD, time in Paris, then moving to New York, the loft era, World Saxophone Quartet, his work with choreographer Bill T. Jones, developing his saxophone opera Long Tongues, the JAH Band, and finally his Sextet.

1528.

Lipsitz, George. “Weeds in a Vacant Lot: The Hidden History of Urban Renewal.” Footsteps in the Dark: Hidden Histories of Popular Music. Minneapolis: U of MN P, 2007. 107–132. Lipsitz combines an interview with Julius Hemphill on his career in St. Louis with a review of Ry Cooder’s album Chávez Ravine, which is about the Chicano neighborhood in Los Angeles displaced for the construction of Dodger Stadium. In both texts musicians bear witness to the cultural impact of urban renewal. Via Hemphill, Lipsitz gives an account of BAG and the World Saxophone Quartet, with discussion of Oliver Lake and Hamiet Bluiett, fellow members of both.

1529.

Miedema, Harry. “Hemphill, Julius.” in Jazz Styles & Analysis: Alto Sax: A History of the Jazz Alto Saxophone via Recorded Solos. Chicago: Maher Pub, 1975. 44–45. Transcription of the first quarter of Hemphill’s solo on “Dogon AD” from his album of the same title. Although the rhythm section plays an ostinato behind him, this transcription is unmetered.

1530.

Ratliff, Ben. “Under the Weather: Is there a Dark Cloud over Julius Hemphill?” Option. May/June 1994. 40–43. A visit with Hemphill as he is recovering from multiple surgeries and unable to play, then a review of his career and comments from Oliver Lake, Tim Berne, and Marty Ehrlich.

1531.

Shoemaker, Bill. “Blindfold Test: Julius Hemphill.” Downbeat. June 1989. 43. Hemphill reacts to recordings featuring alto saxophonists John Carter, Ornette Coleman, Steve Coleman (with Dave Holland), Andrew Voight (with ROVA), Bobby Watson (with the 29th Street Saxophone Quartet), and John Zorn.

1532.

Shoemaker, Bill. “Julius Hemphill and the Theater of Sound.” Downbeat. Feb. 1986. 20–22. Interview-based feature on his residency with Washington, D.C’s Jazz Workshop Orchestra, debuting the multimedia Ralph Ellison’s Long Tongue and performing with the Orchestra and the JAH Band. A sidebar gives a gear list and selected discography.

1533.

Smith, Miyoshi. “Julius Hemphill Interview.” Cadence. June 1988. 10–17, 32. Topics include the originality of his compositional and instrumental approach, his opera Long Tongues, early influences, the Black Artists Group, and the general health of jazz.

Chicago, St. Louis, Los Angeles, and Other US Scenes

1534.

235

Stern, Chip. “The Hard Blues of Julius Hemphill.” Musician, Player, and Listener. June 1, 1980. 44–49. Interview-based feature, with Hemphill commenting on the influence of Charlie Parker and Lennie Tristano, his apprenticeship in blues bands, and the Black Artists Group. Stern marks highlights of albums including Blue Boyé, Roi Boyé & the Gotham Minstrels, Dogon AD, Coon Bidness, Raw Materials and Residuals, Steppin’ with the World Saxophone Quartet, and Lester Bowie’s Fast Last, and describes several live performances, including an undocumented collaboration with Jack DeJohnette and an unrecorded electric band called Magic, with Philip Wilson. A sidebar on gear with the members of Magic includes a conversation between Hemphill and Frank Lowe on saxophone setups.

1535.

Van Trikt, Ludwig. “Julius Hemphill Interview.” Cadence. June 1995. 5–8. Career-spanning interview including the Texas saxophone sound, the Black Artists Group, composing “Dogon AD” and “The Hard Blues,” the JAH band, the transition from the World Saxophone Quartet to his Sextet, his big band album, and what happened to Abdul Wadud.

Lake, Oliver 1536.

Blum, Joe. “Oliver Lake.” Musician. Nov. 1982. 27–28, 30, 32, 34, 36. Interview-based profile on a recent tour of Africa with his electric band Jump Up, then retracing his career from BAG through the World Saxophone Quartet and his albums Shine, Life Dance of is, The Prophet, and Clevon Fitzhuber.

1537.

Bouchard, Fred. “Blindfold Test: Oliver Lake.” Downbeat. Mar. 1983. 45. Lake comments on records by Cannonball Adderley, King Sunny Ade, Louis Jordan, Lee Konitz, Roscoe Mitchell, Paul Motian, Igor Stravinsky, and others.

1538.

Lake, Oliver. Violin Trio Score. New York: Africa Pub. Co. n.d. 8 p. Score and parts for three violins for the compositions “Alto Violin,” “Movement Equals Creation,” and “Intensity,” from 1975’s Heavy Spirits album.

1539.

Lewis, Alex, and Jake Nussbaum. “Interview with Oliver Lake.” Do the Math. 2013. n.p. https://ethaniverson.com/interviews/interview-with-oliver-lake-by-alex-lewis-andjake-nussbaum/ Substantial discussion of his early years, the Black Artists Group, moving to Paris, and then New York, discussing his long record of DIY and collective projects and his many long-lasting groups, especially the World Saxophone Quartet and Trio 3.

1540.

Mehlan, Matt, dir. “Oliver Lake.” Online video. New York: Roulette, 2007. https:// vimeo.com/11144849 and https://vimeo.com/11147702 One hour video, in two parts. A forty-five minute set by Lake with Michael Gregory and Pheeroan akLaff is followed by a fifteen minute interview of Lake on the Black Artists Group and his connection to jazz. Lake also reads his poem “Separation.”

1541.

Milkowski, Bill. “Oliver Lake: Sax in the Hip Pocket.” Downbeat. May 1983. 22–24. Interview-based profile half devoted to his reggae-influenced dance band Jump Up and half reviewing his career from the Black Artists Group, his Heavy Spirits LP, and the World Saxophone Quartet.

236

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Chicago, St. Louis, Los Angeles, and Other US Scenes

Richardson, Derk. Improv21: Informance with Oliver Lake = Passin Thru. Online video. San Francisco: ROVA Arts, 2005. https://archive.org/details/IMP_2005_10_14 Career-spanning 109 minute interview.

1543.

Rusch, Bob. “Speaking with Oliver Lake.” Cadence. 2:5 (1977). 3–6, 12. Topics include his early discography: the Black Artists’ Group, Human Arts Ensemble, his sideman and leader appearances, solo performance, and white players’ contributions to jazz.

1544.

Russonello, Giovanni. “Arts Organization.” JazzTimes. June 2015. 48–53. Interview-based feature recapping his career with emphasis on his current work with Trio 3 and past work with the World Saxophone Quartet.

1545.

Smith, Bill. “Oliver Lake: Passin’ Thru, An Article from a Conversation.” Coda. 233 (Aug/Sept 1990). 10–12. Edited interview, featuring passages on BAG, experience and music education, the neoconservative phenomenon in jazz, and the World Saxophone Quartet.

1546.

Zipkin, Michael. “Blindfold Test: Oliver Lake.” Downbeat. Aug. 9, 1979. 45. Lake identifies and comments on recordings by Wilson Pickett, Otis Redding, Jackie McLean, Eric Dolphy, James Newton, Anthony Braxton, and Ornette Coleman.

Leflore, Floyd 1547.

Rusch, Bob. “Floyd Leflore Interview.” Cadence. June 1992. 11–17. Describes growing up with Lester Bowie and the rise and fall of the Black Artists Group, including the making of the BAG in Paris and NTU LPs.

Lindberg, John 1548.

Collins, Troy. “John Lindberg: Exciting Adventures.” Point of Departure. 57 (Dec. 2016). n.p. www.pointofdeparture.org/archives/PoD-57/PoD57Lindberg.html Interview promoting his albums Born in an Urban Ruin and Western Edges, also including stories of his early years in the New York loft scene playing with the Human Arts Ensemble and Frank Lowe, studying with David Izenzon, then joining Anthony Braxton’s Creative Music Orchestra, meeting Wadada Leo Smith, and forming the String Trio of New York.

1549.

Richardson, Derk. Improv21: John Lindberg: Bass Walk. Online video. San Francisco: ROVA Arts, 2009. https://archive.org/details/IMP_2009_11_14 Interview, largely on the psychology of improvisation, beginning and ending with solo bass performances. Seventy minutes.

1550.

Rusch, Bob. “John Lindberg Interview.” Cadence. Apr. 1992. 5–10, 32, 92. Topics include his musical education, especially studying with David Izenzon, and his work with Frank Lowe, Anthony Braxton, the Human Arts Ensemble, Jimmy Lyons and Sunny Murray, and the String Trio of New York.

Chicago, St. Louis, Los Angeles, and Other US Scenes

237

Wadad, Abdul 1551.

Jeske, Lee. “Profile: Abdul Wadud.” Downbeat. Nov. 1982. 52–53. Interview-based piece on his background, paying work with the New Jersey Symphony and in Broadway pit bands, and pending creative work with Arthur Blythe, James Newton, and Anthony Davis.

1552.

Wanek, Joel, and Tomeka Reid. “By Myself: An Interview with Abdul Wadud.” Point of Departure. 57 (Dec. 2016). n.p. www.pointofdeparture.org/PoD57/PoD57Wadud. html He recaps his training and career, and explains why he quit playing. AACM cellist Reid asks several instrument-specific questions.

TEXAS 1553.

Goin, Jesse. “Dennis Gonzalez: The OFN Interview.” One Final Note. Oct. 2005. n.p. www.onefinalnote.com/features/2005/gonzalez/ www.onefinalnote.com/features/ 2005/gonzalez/index2.html A somewhat more linear sequel to 1554, talking through his recorded work, including the series of “Hymn for . . .” pieces, his health issues, work with Henry Grimes, Michael TA Thompson, Oliver Lake, Rodrigo Amado, and Charles Brackeen, and experiences performing at the Vision Festival and Festival of New Trumpet Music.

1554.

Milazzo, Joe. “Dennis Gonzalez: The OFN Interview.” One Final Note. Apr. 2001. n.p. www.onefinalnote.com/features/2001/gonzalez/ Email conversation on his current work, including the trio Yells at Eels with his sons, the spiritual foundation of his music, the lasting relevance of open improvisation, growing up in Texas and its musical traditions, the Dallas Association for AvantGarde and Neo-Impressionistic Music (DAAGNIM), and his connections with Scandinavian, Los Angeles, and South African players.

1555.

Smith, Miyoshi. “Dennis Gonzalez.” Cadence. Aug. 1992. 11–18. Biographical interview, including his childhood and education, day job, the Kings in Exile album, working with musicians from England, New York, and Los Angeles, trying to bring Charles Brackeen back into music, and the DAAGNIM Dallas arts collective.

1556.

Van Trikt, Ludwig. “Tina Marsh Interview.” Cadence. Dec. 2005. 12–19. Career-spanning biographical interview, marking 25 years of her Creative Opportunity Orchestra. She describes her musical education, introduction to free jazz and first experiences as a singer, studying with Roscoe Mitchell at the Creative Music Studio, forming her groups in Austin, and running the CO2.

5 International

GENERAL WORKS 1557.

Allen, Clifford. Living Music: Free Improvisation As Process Art. M.A. thesis. Chicago: School of the Art Institute of Chicago, 2003. 131 p. Ideas from art history about the art work as a document of its making, particularly action painting, Richard Serra’s splash pieces, and Michael Snow’s Wavelength, are applied to free improvisation, particularly the work of Derek Bailey, Barry Guy, Peter Brötzmann, Howard Riley, and Tony Oxley.

1558.

Arndt. Jürgen. “European Jazz Developments in Cross-Cultural Dialogue with the United States and their Relationship to the Counterculture of the 1960s.” in Euro Jazz Land: Jazz and European Sources, Dynamics, and Contexts. eds. Luca Cerchiari, Laurent Cugny, and Franz Kerschbaumer. Boston: Northeastern UP, 2012. 342–365. Complicating Jost’s theory of the “emancipation” of European free music from American models (1560, 1562) by considering the Trans-Atlantic connections of the British blues revival and Fluxus in conjunction with European improvised music, using Jack Bruce (with Cream) and John McLaughlin as examples of the former, Peter Brötzmann, Misha Mengelberg, and Han Bennink the later, and Brötzmann’s work with Last Exit as a fusion.

1559.

Hellhund, Herbert. “Roots and Collage: Contemporary European Jazz in Postmodern Times.” in Euro Jazz Land: Jazz and European Sources, Dynamics, and Contexts. eds. Luca Cerchiari, Laurent Cugny, and Franz Kerschbaumer. Boston: Northeastern UP, 2012. 431–446. The lineage of “contemporary European jazz” here begins with the mid-1960s free jazz of Gunter Hampel’s Heartplants and Manfred Schoof ’s Voices, then proceeds through the eclectic approaches of Barry Guy and Franz Koglmann’s large groups to the current range of artists recording for ECM.

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1560.

239

Jost, Ekkehard. “Europäische Jazz-Avantgarde: Emanzipazion Wohin?” Jazzforschung/Jazz Research. 11 (1979). 165–195. Arguing the emergence of free jazz “emancipated” Europeans from simply imitating American music, he describes the unique schools of English, German, and Dutch free music, noting their shared distinctions from American free jazz: more emphasis on sound exploration than melodic improvising, less rhythmic groove, and more collective playing and organization than solo/accompaniment and leader/sidemen. He traces the rise and fall of the “kaputtspiel-phase” of maximum energy and density playing; this term, and “emancipation,” have become widely used. An Englishlanguage abstract follows the German text.

1561.

Jost, Ekkehard. Europas Jazz 1960–1980. Frankfurt am Main: Fischer Taschenbuch Verlag, 1987. 470 p. German-language history of European free jazz, from Joe Harriott to 1980. After introductory chapters covering most of the 1960s, the bulk of the book is divided into chapters on France, England, the Netherlands, and the two Germanys, each with sections on major artists, reviewing their recorded work and often analyzing exemplary pieces.

1562.

Jost, Ekkehard. “The European Jazz Avant-Garde of the Late 1960s and Early 1970s: Where Did Emancipation Lead?” in Euro Jazz Land: Jazz and European Sources, Dynamics, and Contexts. eds. Luca Cerchiari, Laurent Cugny, and Franz Kerschbaumer. Boston: Northeastern UP, 2012. 275–297. Starting by acknowledging the limitations of recordings, memories, and documentation, Jost marks the “emancipation” of European free music from American models somewhere between the recordings of Gunter Hampel’s Heartplants in January 1965 and Alexander von Schlippenbach’s Globe Unity in December 1966, then provides a stylistic genealogy of German free music and a taxonomy of the British, Dutch, and French national styles, each in a complex relation to (African-) American influences.

1563.

Jost, Ekkehard. Jazzgeschichten Aus Europa. Hofheim: Wolke Verlag, 2012. 334 p. A broad historical survey of jazz in Europe, with a chapter introducing free jazz, another surveying the national scenes of the 1960s: Germany, England, France, and the Netherlands, and the growth of a European creative music scene in the 1970s, and a third on East Germany, the Soviet Union, and east/west collaborations.

1564.

Jost, Ekkehard. “Über das Europäische im Europäischen Jazz.” in Jazz in Europa. Darmstädter Beiträge zur Jazzforschung 3. ed. Wolfram Knauer. Darmstadt: JazzInstitut Darmstadt, 1994. 233-249. Speaking as the respondent at a German conference on “Jazz in Europe,” he revisits 1560 to ask what is European about European jazz. He uses Lars Gullin as an example of a European player working within an American style, then discusses the German “powerplay” or “kaputtspiel” style of Brötzmann, Schlippenbach, and Kowald and the contrasting English styles of Bailey, Parker, Guy, and Stevens, arguing that both were distinctly European responses to American free jazz. He identifies three distinguishing influences on European creative music: avant-garde academic composing, folklore, and popular music, and gives examples of each in music ranging from Django Reinhardt to his own work.

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Lothwesen, Kai. Klang—Struktur—Konzept: Die Bedeutung der Neuen Musik für Free Jazz und Improvisationsmusik. Bielefeld: Transcript-Verlag, 2015. 250 p. www. degruyter.com/viewbooktoc/product/467249 German-language study of connections between new music and free jazz, starting with the narrative of the “emancipation” of European free music from American models, then surveying relationships between new music and jazz and free jazz and improvised music, addressing parallel developments in new music and free jazz, and quantitatively analyzing the press coverage of each genre. The large ensemble works of Georg Gräwe, Alexander von Schlippenbach, and Barry Guy are considered as crossover case studies, with numerous score excerpts, diagrams, tables, and other figures.

1566.

Martinelli, Francesco, ed. The History of European Jazz: The Music, Musicians and Audience in Context. Sheffield, UK: Equinox, 2018. [forthcoming] Thirty-two essays on jazz in individual European countries by scholars including Alyn Shipton, Martin Pfleiderer, and Duncan Heining, plus six topical essays including “The Avant Gardes” by Michael Heffley and “European Jazz Festivals” by George McKay.

1567.

“Neuer Jazz: USA Contra Europa?” NZ: Neue Zeitschrift für Musik. May-June 1979. 225-263. A special issue on the state of European jazz features German-language texts by Joachim-Ernst Berndt, Ekkehard Jost, Peter Brötzmann, Alexander von Schlippenbach, Jost Gebers of FMP, Willem Breuker, Misha Mengelberg, and Gunter Hampel.

1568.

Noglik, Bert. Jazz-Werkstatt International. Berlin: Verlag Neue Musik, 1983. 513 p. German-language interview collection of European improvisers: Willem Breuker, Peter Brötzmann, Andrea Centazzo, Günter Christmann, the Ganelin Trio, Gunter Hampel, Fred van Hove, Sven-Åke Johansson, Peter Kowald, Radu Malfatti, Albert Manglesdorff, Tony Oxley, Evan Parker, Ernst-Ludwig Petrowsky, Paul Rutherford, Alexander von Schlippenbach, Detlef Schöenberg, Irène Schweizer, Günter Sommer, John Tchicai, and others.

1569.

Noglik, Bert. Klangspuren: Wege Improvisierter Musik. Berlin: Verlag Neue Musik, 1990. 360 p. Opens with a group of artist profiles, including György Szabados, Jeanne Lee, Harry Miller, and Yosuke Yamashita, each 30–50 pages long, including black and white photos, a discography, and a bibliography. The second half is topical essays centering on the expression of European identity in improvised music and the development of distinctly European styles. Examples span the British, East and West German, Italian, French, and Dutch scenes. In German.

1570.

Schmickl, Philipp. Das Scape Jazzistique: Improvisationen in Einem Globalen Feld. M.A. thesis. Vienna: Universität Wien, 2010. 101 p. www.konfrontationen.at/scapejazzistique.pdf Draws on original interviews with Paul Lovens, Mats Gustafsson, Radu Malfatti, Marco Eneidi, and others to map the current “jazz scape,” the creative and practical worlds of improvisers, particularly in Europe, describing life within it as an Afrological improvisation, borrowing George Lewis’ terminology. Some interviews are in English, but most and the body text are in German.

International

1571.

241

Stubley, Peter. European Free Improvisation Pages. Website. 1995–present. http://efi. group.shef.ac.uk Discography, organized by label and artist, with tracks, personnel, and cover art on album pages, short histories for most labels, and biographies, photos, bibliographies, and lists of online links for most artists. Some American artists, such as Bill Dixon and Cecil Taylor, appear, and quite a few notable Europeans, such as Andrea Centazzo and Manfred Schoof, do not.

1572.

Sutherland, Roger. New Perspectives in Music. London: Sun Tavern Fields, 1994. 287 p. While focused on non-jazz or jazz-adjacent groups such as AMM, MEV, and New Phonic Art, the chapter on improvisation also discusses the Howard Riley Trio, Iskra 1903, and Tony Oxley’s groups.

ARGENTINA 1573.

Dewar, Andrew Raffo. “Hot and Cool from Buenos Aires to Chicago.: Guillermo Gregorio’s Jazz Cosmopolitanism.” Jazz Research Journal. 6: 2 (2012). 151–169. Overview of the career of composer/woodwind player Gregorio, including his work in free jazz and free improvisation, based on original interviews.

1574.

Meyer, Bill, and Angeline Evans. “Residuals and Raw Materials.” Signal to Noise. 31 (Fall 2003). 24–29. Interview-based profile of Guillermo Gregorio, following his career from Buenos Aires to Vienna, Los Angeles, Boston, and Chicago.

1575.

Weiss, Jason. “In Search of Spaces.” The Wire. 399 (May 2017). 24–29. A visit to Buenos Aires, meeting leading members of the free improvisation scene, describing their international collaborations, the local labels, venues, and other institutions, and the lasting traces of Steve Lacy’s 1966 stay.

AUSTRALIA 1576.

Shand, John. Jazz: The Australian Accent. Sydney: U of New S Wales P, 2009. ix, 228 p. A survey through profiles of key figures, with free jazz most prominent in a section on The Necks, including sections on each member of the trio, their backgrounds, and their other projects and collaborations.

1577.

Shoemaker, Bill. “What’s New? The PoD Roundtable.” Point of Departure. 12 (July 2007). n.p. www.pointofdeparture.org/archives/PoD-12/PoD12WhatsNew.html Tony Buck, Jim Denley, Anthony Pateras, and Clayton Thomas discuss the development and current state of the Australian scene.

1578.

Whiteoak, John. Playing Ad Lib: Improvisatory Music in Australia 1836–1970. Sydney: Currency Press, 1998. xxii, 345 p. The last chapter, “Beyond Jazz Improvisation,” describes the convergence, in the 1960s and after, of exploratory jazz with classical music after Schoenberg and Cage, world music elements, psychedelic and progressive rock, and influences from other media.

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AUSTRIA 1579.

Felber, Andreas. Die Wiener Free-Jazz-Avantgarde: Revolution im Hinterzimmer. Vienna: Böhlau. 2005. 519 p. http://www.oapen.org/search?identifier=474230 German-language historical study of the Viennese free jazz scene, centered on the groups The Masters of Unorthodox Jazz and the Reform Art Unit.

1580.

Gregorio, Guillermo. “Zwei Aussenseiter: Bob Graettinger und Franz Koglmann.” in Jazz Op. 3: Die Heimliche Liebe Des Jazz Zur Europäischen Moderne. ed. Ingrid Karl. Wien: Löcker, 1986. 151–169. Juxtaposes eccentric composer/arranger Graettinger, known for his 1951 “City of Glass” for the Stan Kenton Orchestra, with contemporary Austrian flugelhornist Koglmann, with an intervening digression on Lennie Tristano to link cool jazz and free improvisation. Koglmann has followed Graettinger in moving the big band closer to an orchestra, but in a cooler style also informed by his collaborations with Steve Lacy and Bill Dixon.

1581.

Zlabinger, Thomas. Free from Jazz: The Jazz and Improvised Music Scene in Vienna after Ossiach (1971–2011). Ph.D. dissertation. New York: CUNY, 2013. 314 p. https:// academicworks.cuny.edu/gc_etds/1684/ Surveys the unique Viennese creative music scene which, he argues, lacks both the break between jazz and free improvisation characteristic of most European scenes and a racialized discourse around the music. He discusses venues, funding sources, music education, histories of American and African-American presences, and concepts of genre, then looks closely at the work of six artists: Mathias Rüegg, Franz Koglmann, Wolfgang Mitterer, Clemens Salesny, Franz Hautzinger, and the group ctrl. Zlabinger conducted interviews, attended concerts, studied recordings, and played with Austrian musicians in Vienna and New York. Extensive discographies and filmographies are included.

BELGIUM 1582.

Brennan, Gerald E. “Fred Van Hove Interview.” Cadence. Mar. 2002. 13–19. Topics include his early musical education, introduction to free jazz, approach to practice and technique, arts funding in Belgium, and audience resistance to improvised music.

1583.

Chénard, Marc. “Tearing Down Walls: Fred Van Hove.” Coda. 284 (Mar/Apr. 1999). 18–21. Interview-based profile, looking back at three generations of free improvisers. Van Hove discusses his work on accordion and pipe organ in addition to piano and his collaboration with Peter Brötzmann.

1584.

Shoemaker, Bill. “Page One.” Point of Departure. 31 (Oct. 2010). n.p. http://point ofdeparture.org/archives/PoD-31/PoD31PageOne.html Interview with Fred van Hove, conducted in 1980 and originally published in Coda issue 180 in 1981, reprinted here with a new preface on how this conversation led Shoemaker to see European free music as not only an adaptation of US free jazz but also a parallel evolution drawing on different history, ideology, and musical sources.

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CANADA General and Topical Work 1585.

Aldcroft, Ken, Rob Clutton, Nick Fraser, et al. “Roundtable Discussion: The Association of Improvising Musicians Toronto.” Critical Studies in Improvisation. 2:1 (2006). n.p. www.criticalimprov.com/article/view/85/189 Panel discussion with all the founding and current board members of Toronto’s Association of Improvising Musicians, a collective formed to promote the members’ work and to bring in prominent players for collaborations. Topics include: its founding, connections to other Canadian institutions such as the New Orchestra Workshop, Guelph Jazz Festival, and Banff Institute for Creative Music, funding, issues with presenting experimental music in bars and clubs, marketing, and how to define and maintain a scene while also being welcoming and inclusive.

1586.

Heble, Ajay. Landing on the Wrong Note: Jazz, Dissonance, and Critical Practice. New York: Routledge, 2000. xiv, 258 p. Draws on his experience curating the Guelph Jazz Festival to discuss representation in and around creative music, using the music as a context and set of metaphors to explore issues in politics and literary theory: Ornette Coleman to discuss signification, the Art Ensemble of Chicago identity, Sun Ra resistance, and John Zorn the culture industry. His work with the Guelph Festival is featured most in the final chapter, on conflicts associated with booking the saxophonist Charles Gayle, prone to denounce homosexuality, abortion, and premarital sex from the stage.

1587.

Jones, Andrew. Plunderphonics, Pataphysics & Pop Mechanics: An Introduction to Musique Actuelle. Wembley: S.A.F, 1995. 256 p. The music of the Victoriaville Festival is considered as an emergent genre in this collection of interview-based profiles, many originally written for Option magazine. Free jazz artists include Willem Breuker, Henry Threadgill, ROVA, and John Zorn.

1588.

Lee, David. Outside the Empire: Improvised Music in Toronto, 1960–1985. Ph.D. dissertation. Guelph: U of Guelph, 2017. Drawing on interviews, critical theory, and personal experience, this account includes free jazz and free improvisation, particularly the Artists’ Jazz Band, Bill Smith, CCMC, the Music Gallery venue, and Coda magazine. A chapter specifically features women improvisers.

1589.

Miller, Mark. Boogie, Pete, and the Senator: Canadian Musician in Jazz: The Eighties. Toronto: Nightwood Editions, 1987. 312 p. Miller’s interview-based portraits of forty Canadian artists include free jazz players Paul Bley, Jean Derome, Paul Plimley, Bill Smith (also the founding editor of Coda magazine), and Kenny Wheeler.

1590.

Robineau, Anne. Étude Sociologique de la Musique Actuelle au Québec: Le Cas des Productions Supermusique et du Festival International de Musique Actuelle de Victoriaville. Ph.D. dissertation. Montréal: Université de Montréal. 2004. xv. 236 p. https:// papyrus.bib.umontreal.ca/xmlui/handle/1866/17546

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A sociological study of the Quebec scene from the 1970s to 2000s, centered on the Victoriaville festival and the Ambiances Magnétiques and Victo labels, looking at the construction of cultural capital in alternative networks. In French. 1591.

Stanbridge, Alan. “Somewhere There: Contemporary Music, Performance Spaces, and Public Policy.” in People Get Ready: The Future of Jazz is Now! eds. Ajay Heble and Rob Wallace. Durham, NC: Duke UP, 2013. 184–196. Compares Toronto’s public arts funding and “Creative City” programs with the DIY scene represented by Scott Thomson’s venue Somewhere There (1594).

1592.

Stévance, Sophie. “La Construction du Champ Identitaire de la Musique Actuelle en Amérique du Nord: Enquête sur la Filiation avec la Semaine Internationale de Musique Actuelle.” Circuit: Musiques Contemporaines. 21:3. 75–86. Survey of the emergence of musique actuelle as a category and the roles of the Victoriaville festival, the Ambiances Magnétiques label, and other institutions in shaping improvised music in Francophone Canada. In French.

1593.

Svirchev, Laurence, and Bill Smith. “Hear it NOW: A Profile of the New Orchestra Workshop.” Coda. 256 (July/Aug. 1994). 32–34. A history of the Vancouver workshop and ensemble, which began with Lisle Ellis bringing his Creative Music Studio experiences back home, then expanded to include several ensembles, concert series, and guest leaders including Sam Rivers, Muhal Richard Abrams, Charlie Haden, Vinny Golia, Barry Guy, and others.

1594.

Thomson, Scott. “One Musician Writes about Creative-Music Venues in Toronto.” in People Get Ready: The Future of Jazz is Now! eds. Ajay Heble and Rob Wallace. Durham, NC: Duke UP, 2013. 175–183. A brief response to Marc Ribot’s arguments for government support of creative music (2282), making a case that the increasing economic precarity of the music in New York has long been the established situation in most other cities and that musicians’ collectives and DIY spaces such as his Toronto venue Somewhere There are necessary practices of community and independence rather than cases of “musicians exploiting each other” as Ribot claims.

ARTISTS Cooke, Coat 1595.

Vickery, Steve. “Hear it NOW: An Interview & Article.” Coda. 278 (Mar/Apr. 1998). 26–28. Cooke describes his interest in free jazz and the formation and history of the New Orchestra Workshop. A review of their 20th anniversary concerts, with guests George Lewis and Vinny Golia, follows.

Grdina, Gordon 1596.

Hale, James. “Gordon Grdina: Friendly Pressure.” Downbeat. Apr. 2007. 26–27. Brief interview-based profile on his trio CD Think Like the Waves, with Gary Peacock and Paul Motian, also mentioning his studies with Peacock, his interest in the oud, and his bands Sangha, East Van Strings, Boxcutter, and Loose Acoustic.

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Greenwich, Sonny 1597.

Scott, Andrew. “Sonny Greenwich’s Guitar Solo on ‘Sonics II’.” Downbeat. May 2004. 80–81. Complete transcription of this free improvisation from his duo record with Paul Bley Outside In.

Heward, John 1598.

Chamberlain, Mike. “John Heward: Drumming in Time and Space.” Coda. 318 (Nov/ Dec. 2004). 14–15. Profile with comments from Heward, Joe McPhee, and Dominic Duval on their collaboration and connections between music and painting.

Houle, FranÇois 1599.

Morgan, Jon. “François Houle.” Coda. 287 (Sept/Oct. 1999). 26–29. Interview-based career overview from his first interest in improvisation through his collaborations with Benoît Delbecq and Joëlle Léandre to his albums In the Vernacular and Pieces of Time.

Jackson, D. D. 1600.

Jackson, D. D. “Living Jazz: The Art of Comping.” Downbeat. Aug. 2008. 19. Advice on accompanying soloists, drawing on Jackson’s experiences playing behind James Carter, David Murray, and Dewey Redman.

1601.

Jackson, D. D. “Living Jazz: The ‘Category 2’ Pianist.” Downbeat. Dec. 2005. 19. Jackson relates that Don Pullen defined “category one” as musicians who always play their own concept, regardless of the situation, and “category two” as those who adapt to different ensembles and audiences, and encouraged him to be the second, with all due respect to those in the former, like Cecil Taylor. Anecdotes from three of Jackson’s recent gigs are used to argue this can be more creatively satisfying, as well as financially rewarding.

1602.

Jackson, D. D. “Riding the Wave: My Major Label Journey.” Downbeat. Sept. 2001. 30–33. Jackson recounts his signing to RCA Victor/BMG, the recording of his albums . . . so far and Anthem, and the series of creative and business decisions behind his choice to return to the independent label world.

1603.

Rabey, Brian, and Ed Enright. “Sitting in for Success.” Downbeat. Nov. 1996. 43. Interview-based profile promoting his Rhythm-Dance CD but also discussing Don Pullen and David Murray.

Lee, Peggy 1604.

Buium, Greg. “Community Duo.” Downbeat. July 2001. 52. Joint profile of Lee and Dylan van der Schyff discussing their These are Our Shoes album and the Vancouver scene.

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Hammett-Vaughn, Kate. “Peggy Lee: Just the Beginning.” Coda. 276 (Nov/Dec. 1997). 26–27. Interview on her background, approach to the cello, and a tour with Vinny Golia’s large ensemble.

Plimley, Paul 1606.

Lewis, Scott. “Paul Plimley: Out into the World.” Coda. 231 (Apr/May 1990). 10–11. Interview-based profile on his association with Lisle Ellis, the New Orchestra Workshop, the Vancouver scene, and pending recordings.

1607.

Svirchev, Laurence M. “Kaleidoscopes: The Music of Paul Plimley & Lisle Ellis.” Coda. 255 (May/June 1994). 4–7. Dual interview on their Kaleidoscopes album of Ornette Coleman compositions, discussing their process of transcription, arrangement, and interpretation, and on their ongoing work of becoming more secure and creative as musicians.

Samworth, Ron 1608.

Svirchev, Laurence. “The Mirror with a Memory: Ron Samworth.” Coda. 291 (May/ June 2000). 5–8. Interview-based profile of the Vancouver guitarist and co-leader of the New Orchestra Workshop.

van der Schyff, Dylan 1609.

Morgan, Jon. “Dylan van der Schyff: Pieces of Time.” Coda. 294 (Nov/Dec. 2000). 14–17. Interview-based profile on his background, move to Vancouver, approach to ad hoc playing, production work, and his trio disc Pieces of Time with François Houle and Eyvind Kang.

1610.

Warburton, Dan. “Dylan van der Schyff: Back Seat Driver.” The Wire. 292 (June 2008). 12. Short interview-based profile on his many collaborations and the state of the Vancouver scene.

EASTERN EUROPE 1611.

Mihaiu, Virgil. “Entwicken un Probleme des Jazz in Rumänien.” in Jazz in Europa. Darmstädter Beiträge zur Jazzforschung 3. ed. Wolfram Knauer. Darmstadt: JazzInstitut Darmstadt, 1994. 107–128. This German-language overview of jazz in Romania discusses the free jazz scene there, which began in the 1980s, sparked by Leo Records’ documentation of Soviet free jazz and ROVA’s Soviet tour.

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Noglik, Bert. “Osteurpäischer Jazz im Umbruch der Verhältnisse: Vom Wandel der Sinne im Prozess Gesselschaftlicher Veränderungen.” in Jazz in Europa. Darmstädter Beiträge zur Jazzforschung 3. ed. Wolfram Knauer. Darmstadt: Jazz-Institut Darmstadt, 1994. 147–162. Free jazz and free improvisation appear in this German-language survey of musical styles and political change in Eastern Europe, with brief discussion of the association of radical music and left politics. Polish, East German, and Czech improvisers are mentioned.

ENGLAND General Works 1613.

Banks, Mark, and Jason Toynbee. “Race, Consecration, and the ‘Music Outside?’ The Making of the British Jazz Avant-Garde: 1968–1973.” in Black British Jazz: Routes, Ownership, and Performance. eds. Jason Toynbee, Catherine Tackley, and Mark Dorfman. Burlington, VT: Ashgate, 2014. 91–110. Argues that the late 1960s recognition of British jazz as original and serious art came at the expense of narrowing its stylistic and racial definition to white experimentalism, largely the Little Theatre Club/Spontaneous Music Ensemble group, looking at the Arts Council of Great Britain’s original guidelines for jazz grant proposals, Melody Maker magazine, and Ian Carr’s Music Outside (1617). A counter-history of British outside jazz is proposed, centered on players of African and Caribbean backgrounds, including Joe Harriott, Harold McNair, Harry Beckett, and the members of the Blue Notes.

1614.

Barre, Trevor. Beyond Jazz: Plink, Plonk, & Scratch: The Golden Age of Free Music in London, 1966–1972. UK: Compass Pub, 2014. 350 p. A self-published guide, structured around commentary on selected recordings by the Spontaneous Music Ensemble, AMM, and the many projects featuring the founders of Incus Records: Derek Bailey, Evan Parker, and Tony Oxley, based on original interviews and published journalism.

1615.

Barre, Trevor. Convergences, Divergences, & Affinities: The Second Wave of Free Improvisation in England, 1973–1979. UK: Compass Pub, 2017. 303 p. The sequel to 1614, continuing coverage of the first generation of British free improvisers: Derek Bailey, Evan Parker, Barry Guy, Howard Riley, Paul Rutherford, AMM, and the Spontaneous Music Ensemble, and introducing the second, in particular David Toop, Steve Beresford, Terry Day, and Lol Coxhill. A chapter also summarizes the rise and fall of the journal Musics (1624) and the disputes it hosted.

1616.

Callingham, Andrew E. Spontaneous Music: The First Generation British Free Improvisers. Ph.D. dissertation. Huddersfield: University of Huddersfield, 2007. vi, 410 p. http://eprints.hud.ac.uk/id/eprint/4659/ Attempts to identify the musical and aesthetic approaches of the Spontaneous Music Ensemble, AMM, the Evan Parker/Paul Lytton duo, Iskra 1903, Joseph Holbrooke, and the Music Improvisation Company, trace some of their precedents and origins, and deconstruct “free,” “improvised,” and “music.”

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Carr, Ian. Music Outside: Contemporary Jazz in Britain. London: Latimer New Dimensions Ltd., 1973. 210 p. Late 1972 interviews with seven musicians representing significant and varied directions in the English scene, including John Stevens, Trevor Watts, Evan Parker, and Chris McGregor from free jazz and free improvisation. Stevens and Watts’s shared chapter covers the Spontaneous Music Ensemble, the Little Theatre Club, and Watts’ band Amalgam. Parker intersects this narrative as a regular performer at the Little Theatre Club and a sometime member of the SME. His collaborations with Derek Bailey, including the Music Improvisation Company, and with Peter Kowald are also discussed, as is the formation of the London Musicians Cooperative and Incus Records. McGregor’s chapter is focused on his youth in South Africa and his choices to play jazz, join a mixed-race band, incorporate free playing, and expatriate.

1618.

Grubbs, David. Records Ruin the Landscape: John Cage, the Sixties, and Sound Recording. Durham, NC: Duke UP, 2014. xxv, 220 p. Reaching beyond Cage, the complex relationships between several 1960s avant-garde musicians and records are explored. Chapter four deals with free improvisation, specifically Derek Bailey and AMM, placing these artists alongside his other subjects, Cage and Henry Flynt, as considering records an undesirable supplement to performance while simultaneously having deep and lasting creative engagements with recording, including the Incus and Matchless labels.

1619.

Heining, Duncan. Trad Dads, Dirty Boppers, and Free Fusioneers: British Jazz, 1960– 1975. Sheffield, UK: Equinox, 2012. vii, 486 p. Structured around themes of class, education, substance abuse, race, rock and pop music, etc., this history weaves free jazz and free improvisation throughout, with performers such as Joe Harriott, Derek Bailey, Keith Tippett, Louis Moholo, and Tony Oxley making numerous appearances.

1620.

Hopkins, Phil, dir. Amplified Gesture: An Introduction to Free Improvisation, Practitioners, and Their Philosophy. DVD. [no location]: Samadhisound, 2012. Documentary on non-jazz or post-jazz free playing, assembled from interviews with Keith Rowe, Eddie Prévost, Evan Parker, John Tilbury, John Butcher, Otomo Yoshihide, and others. A one hour version was issued as a bonus disc to David Sylvain’s Manafon CD in 2009, then a standalone DVD with 15 minutes of additional footage, including a chapter on politics and the music, was published in 2012.

1621.

Johnston, Peter David. Fields of Production and Streams of Consciousness: Negotiating the Musical and Social Practice of Improvised Music. Ph.D. dissertation. Toronto: York U, 2009. ix, 329 p. www.collectionscanada.gc.ca/obj/thesescanada/vol2/002/ NR64922.PDF Participant observation of the London improvised music scene in 2006–2007, applying the sociological theory of Pierre Bourdieu. Interview subjects include Steve Beresford, Paul Bley, Martin Davidson, John Edwards, Alexander Hawkins, Wilbert de Joode, Dominic Lash, Evan Parker, Barre Phillips, Eddie Prévost, Howard Riley, Steve Swallow, and others. Prévost’s weekly improvisation workshop is central. Johnston explores contradictions between ideas of individuality and rebellion associated with avantgardes and the need for musicians to form communities to make and present work, European free improvisation’s debts to and distinction from free jazz, and the contrasting ensemble approaches and legacies of AMM and the Spontaneous Music Ensemble.

International

1622.

249

Johnston, Peter David. “Improvising Identity: Jazz, Experimental Music, and the Politics of Musical Migration.” Presented at the International Association for the Study of Popular Music Canada Conference, June 2012. 10 p. http://seethroughmusic.com/ resources/Writing/IASPMPaper2012.pdf A genealogy of “improviser” as a primary identity among European musicians, attempting to complicate George Lewis’ Afrological/Eurological distinction by describing how ideas from African-American free jazz generated new musical and political syntheses among British players including Derek Bailey, Eddie Prévost, and John Stevens, which were then themselves disseminated internationally.

1623.

Lee, Stewart. “Conversation Pieces.” Point of Departure. 43 (June 2013). n.p. http:// pointofdeparture.org/archives/PoD-43/PoD43Conversation.html Comedian Lee interviews Trevor Watts, Steve Beresford, Rhodri Davies, Eddie Prévost, Gail Brand, Orphy Robinson, Matthew Bourne, John Edwards, Lol Coxhill, Alex Ward, Tom Arthurs, Phil Minton, Shabaka Hutchings, Tony Bevan, and Dominic Lash on the development of free improvisation in Britain. Genre, national identity, originality, community, and the positive or negative connections of free improvisation to jazz are recurring themes. Video excerpts appear in 1629.

1624.

Musics: A British Magazine of Improvised Music and Art 1975–79. London: Ecstatic Peace Library, 2016. 750 p. Large-format book reproducing the full run of this DIY typed and mimeographed magazine, with contributions from Maarten Altena, Han Bennink, Steve Beresford, Anthony Braxton, Andrea Centazzo, Martin Davidson, Barry Guy, Steve Lacy, Paul Lytton, Misha Mengelberg, Charles K. Noyes, John Oswald, Evan Parker, Frank Perry, Eddie Prévost, John Russell, David Toop, and Fred van Hove, among others. Many appear as both authors and subjects, there are numerous roundtables and forums, and artists frequently write letters to the editor to dispute reviews of their work. Beginning with English free improvisation, the scope widens to include free jazz and noise, while continuing to center on the post-jazz free improvisation growing out of Company, the Spontaneous Music Ensemble, AMM, etc.

1625.

Noglik, Bert. “Substreams: Die Verborgene Moderne in der Improvisierten Musik Europas.” in Jazz Op. 3: Die Heimliche Liebe Des Jazz Zur Europäischen Moderne. ed. Ingrid Karl. Wien: Löcker, 1986. 115–137. Noglik begins with a notorious incident when Paul Rutherford, hired to perform Luciano Berio’s “Sequenza” for trombone, improvised most of the performance. While many interpreted this as a subversive stand of improvisation against composition and workers against bosses, others saw it as artistic vandalism. Noglik uses it as a launching point to discuss the convergence of experimental improvised and composed musics, their sonic similarities rather than their institutional or philosophical antagonisms. While clear about these profound differences, he also demonstrates Webern’s influence on Derek Bailey and AMM’s many intersections with postserial composition.

1626.

Pearson, Mike. Conversations in British Jazz. Essex, UK: Soundworld, 2004. 287 p. Interview subjects include Evan Parker, Trevor Watts, Louis Moholo, and Chris McGregor, as well as mainstream and fusion players. Interviews are 10–20 pages, with black and white photos.

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Peters, Gary. Improvising Improvisation: From Out of Philosophy, Music, Dance, and Literature. Chicago: U of Chicago P, 2017. xii, 271 p. Based in the Continental metaphysical lineage of Kant, Heidegger, and Deleuze, as well as the author’s experience as a guitarist collaborating with Veryan Weston and others, this text moves freely between the most abstract discourse and personal anecdotes. Lol Coxhill and Derek Bailey are the core musical references, with additional discussion of Miles Davis, Bernard Purdie, and others.

1628.

Piekut, Benjamin. “Indeterminacy, Free Improvisation, and the Mixed Avant-Garde: Experimental Music in London, 1965–1975.” Journal of the American Musicological Society. 67:3 (2014). 769–823. Concert organizer Victor Schonfield is the center of this article, which deconstructs the racialized category of experimental music by documenting Schonfield’s concert presentations of Sun Ra, MEV, AMM, the Scratch Orchestra, Music Improvisation Company, Spontaneous Music Ensemble, Amalgam, John Cage, and others, based on published sources, archives, and original interviews with Schonfield. Piekut charges Michael Nyman’s book Experimental Music: Cage and Beyond with codifying a canon that marginalized improvisation and excluded Black artists.

1629.

Prum, Antoine, dir. Taking the Dog for a Walk: Conversations with British Improvisers. Two DVDs and CD. Luxembourg: Paul Thiltges Distributions, 2014. Two hour and twenty minute documentary with Prum, Tony Bevan, and comedian Stewart Lee interviewing musicians from Trevor Watts, Eddie Prévost, and Maggie Nichols through John Russell, Phil Minton, and Lol Coxhill, Steve Beresford, Veryan Weston, John Butcher, John Edwards, Alex Ward, and others. There is a visit to Derek Bailey’s widow Karen Brookman, who continues to run Incus Records, and many interviewees discuss his legacy. Specially filmed performance excerpts are included throughout. A second DVD includes uncut interviews with Butcher, Edwards, Minton, Nichols, Weston, and others, and a live set by Ward, Edwards, and Steve Noble is on the CD.

1630.

Saladin, Matthieu. Esthétique de L’improvisation Libre: Expérimentation Musicale et Politique. Dijon: Les Presses du Réel, 2014. 391 p. French study of post-jazz free improvisation, with chapters on MEV, AMM, and the SME, then considerations of the aesthetics and politics of the music, looking at issues of process, (non-)idiom, collectivity, experimentalism, and the ethics of freedom. Derek Bailey’s Company ad hoc groups are also discussed at length. Saladin is interested in the groups’ practices in general and in discourse about the music, not particular works.

1631.

Scott, Richard. Noises: Free Music, Improvisation, and the Avant-Garde: London 1965 to 1990 . Ph.D. dissertation. London: London School of Economics, 1991. 481 p. http://etheses.lse.ac.uk/1134/ In three major sections: first, a genealogy of the musical problems and techniques of the English free music community, connecting them to visual and performance art, free jazz, experimental composition, and to the Black power and May 1968 student/ worker movements, then working through theories of the avant-garde in music and art, including Theodor Adorno and Peter Bürger, and finally substantial interviews with Derek Bailey, Steve Beresford, Louis Moholo, Evan Parker, Eddie Prévost, Paul Rutherford, John Stevens, and other English improvisers.

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1632. Shoemaker, Bill. “Page One.” Point of Departure. 53 (Dec. 2015) and 54 (Mar. 2016). n.p. http://pointofdeparture.org/archives/PoD- 53/PoD53PageOne.html http://pointofdeparture.org/archives/PoD-54/PoD54PageOne.html Derek Bailey’s increasing preference for ad hoc meetings, represented by Company, is contrasted with the long-running Spontaneous Music Ensemble and AMM. Bailey’s sporadic work with the SME and its leader John Stevens, and his membership in the Music Improvisation Company and Iskra 1903 are counter-threads, as are the meetings of English improvisers with Han Bennink (Machine Gun and Topography of the Lungs) and Misha Mengelberg (Groupcomposing) of the Instant Composers Pool. The second part suggests that the ICP aesthetic influenced the second generation of British free improvisers (Steve Beresford, David Toop, et al), represented on the LP Teatime, at the same time that Bailey turned from set groups to solo playing and Company. 1633.

Wickes, John. Innovations in British Jazz: Volume One 1960–1980. Chelmsford, UK: Soundworld, 1999. iii, 325 p. Extremely detailed but fast-moving account including coverage of the often overlapping/interlocking free, progressive, and fusion scenes of the 1960s and 1970s, including the Little Theatre Club, the Spontaneous Music Ensemble, AMM, Ronnie Scott’s, the Blue Notes/Brotherhood of Breath, Incus Records, London Jazz Composers Orchestra, etc. Based largely on journalistic sources, with some original interviews, and including descriptions of numerous performances and albums.

1634.

Williams, Katherine Ann. “Post-World War II Jazz in Britain: Venues and Values 1945–1970.” Jazz Research Journal. 7:1 (2013). 113–131. Surveys and classifies jazz clubs in Britain post-WWII, discussing how venues influenced the music. Free jazz appears near the end, which addresses the distinct roles of the Little Theatre Club and Ronnie Scott’s in forming English styles of free jazz/free improvisation and communities of players.

ARTISTS Bailey, Derek 1635.

Bailey, Derek. “Rants.” in Arcana IV: Musicians on Music. ed. John Zorn. New York: Hips Road, 2009. 11–16. Grievances about aspects of life as an improviser, including grant applications, travel time, dealing with stage managers, booking shows, and mixing recordings.

1636.

Brooks, Aaron. A Radical Idiom: Style and Meaning in the Guitar Music of Derek Bailey and Richard Barrett and “Energy Shapes,” an Original Composition for Electric Guitar and Electronic Sounds. Ph.D. dissertation. Pittsburgh: U of Pittsburgh, 2014. ix, 84 p. http://d-scholarship.pitt.edu/21260/4/A_Radical_Idiom_-_Style_and_Meaning_ in_the_Guitar_Music_of_Derek_Bailey_and_Richard_Barrett.pdf In the course of developing and explaining his own guitar music, Brooks grapples with Bailey’s ideas and music through close reading of his texts and transcription and analysis of his solo “G” from the CD-R This Guitar. He also discusses Bailey with Barrett, as well as Barrett’s own solo music.

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Corbett. John. “Bailey’s Clamor Gives Way to Timbre, Tone.” Downbeat. Apr. 1994. 11. Short profile, with comments from Bailey on guitar technique, aesthetics, and his recent CDs: Tony Oxley Quartet, Moment Précieux (with Anthony Braxton), and the three volumes of Company ’91.

1638.

Dallaire, Carol. The Lost Chord: Derek Bailey. eBook. London: Incus Records, 2008. 1716 p. www.incusrecords.force9.co.uk/features/writings.html A large compilation, mostly copied from websites and arranged in discographical order, including record reviews, liner notes, blog posts, label and record store webpages for his albums, tributes, playlists, etc.

1639.

Dery, Mark. “Improvisation Pioneer Derek Bailey.” Guitar Player. Apr. 1988. 70–74, 76, 78, 147. Interview with Bailey. Elliott Sharp is present and also contributes. Discussion is focused on equipment and technique, with Bailey describing several exercises he has created to develop his unique sound with conventional gear, picking, and fingering.

1640.

Gaudynski, Thomas. “Derek Bailey: Interview.” Cadence. July 1984. 11–14. He describes his approach to the guitar as driven by sound and play rather than by theory or direct emulation of specific influences and contrasts ad hoc groups, established partnerships, and solo performance as distinct types of improvising.

1641.

Kaiser, Henry. Eclectic Electric: Exploring New Approaches to Guitar and Improvisation. VHS tape and booklet. Chatsworth, CA: Music Video Products, 1990. Instructional video demonstrating unusual instrumental techniques, uses of electronics, and improvisational forms, including analysis and demonstration of elements of Bailey’s playing with etudes and fingering diagrams.

1642.

Keenan, David. “The Holy Goof.” The Wire. 257 (Sept. 2004). 42–48. Cover story on Bailey after his move to Barcelona. Provocatively, he says that jazz died in 1955, free improvisation has probably run its course as a movement, and the only credible free jazz players he knows are Peter Brötzmann, Milford Graves, and William Parker. He also discusses his Tzadik album, nonidiomaticism, harmolodics, his split with Evan Parker, and his recent playing partners.

1643.

Lash, Dominic. “Derek Bailey: Syntactics.” Force of Circumstance. Sept. 18, 2015. n.p. http://forceofcircumstance.blogspot.com/2015/09/derek-bailey-syntactics.html His recordings, writing, and interviews are used to examine the use of language as a metaphor for improvisation. The relevance of vocabulary, syntax, narrative, speech, and idiom are closely considered, with references to Evan Parker, Eddie Prévost, and John Corbett’s writing.

1644.

Lash, Dominic. “Derek Bailey’s Guitar Notes: A Glimpse of the Incus Archive.” London: Incus Records, 2008. 6 p. www.incusrecords.force9.co.uk/pdf/Incus-DB-guitar-notes. pdf A brief account of his music notebooks with a general description of the collection, details of a few highlights, two pages of guitar exercises reproduced, and lists of “timbral devices” and “time experiences” copied out. Lash describes the relevance of these materials to Bailey’s music but warns against relying on these texts to legitimate the music, which must stand on its own.

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Lash, Dominic. “Derek Bailey’s Practice/Practise.” Perspectives of New Music. 49:1 (2011). 143–171. Materials from Bailey’s archive are used to describe his creative practice and day-today technical practice on his instrument. Early compositions and guitar exercises from throughout Bailey’s life deal with pitch and sound organization, including material specific to the guitar and more theoretical writing applicable to any sound source. Quotations from Bailey’s Improvisation (111) and various interviews elucidate the archival notes.

1646.

Lash, Dominic. “Intransigent Play: Detail, Form, and Interpretation in the Music of Derek Bailey.” in Against Value in the Arts and Education. eds. Sam Ladkin, Robert McKay, and Emile Bojesen. New York: Rowman and Littlefield, 2016. 231–252. A critical examination of “the value of Bailey’s work and the role of value within his work,” including close looks at the nature and function of his technique, his interest in play rather than ideas, and his ambivalence towards recordings (see 1618).

1647.

Lash, Dominic. Metonymy as a Creative Structural Principle in the Work of J. H. Prynne, Derek Bailey, and Helmut Lachenmann. Ph.D. thesis. London: Brunel U, 2010. 193 p. http://bura.brunel.ac.uk/handle/2438/4668 After working through theories of metonymy in language, then art, they are applied to poet Prynne, composer Lachenmann, and Bailey. Lash uses Bailey’s archive of notes and manuscript scores, a transcribed section from the Playing for Friends on 5th St. solo performance DVD, and published interviews to argue he worked to remove systems such as tonality, atonality, compositional form, regular time, and consistency of timbre and register from his music to keep his playing from representing anything other than itself.

1648.

O’Driscoll, Declan. “Derek Bailey Interview.” Cadence. Nov. 2004. 14–21. Beginning with his early professional work, he shifts to discussing his current home recordings, made with various musicians who drop by to casually improvise, then continues reviewing his career, from Joseph Holbrooke to the Little Theater Club, connections with German and Dutch players, the brief period of major label interest in free music, the founding of Incus Records, and finally his work on Tzadik.

1649.

Toop, David. “Live and Invent.” The Wire. 264 (Feb. 2006). 28–34. A memorial essay for Bailey, followed by shorter memories from Han Bennink, John Butcher, Martin Davidson, Susie Ibarra, Joëlle Léandre, and others.

1650.

Watson, Ben. Derek Bailey and the Story of Free Improvisation. New York: Verso, 2004. xi, 459 p. Draws on selected publications, original interviews with Bailey, and his own published record and concert reviews, as well as personal recollections, to compile an episodic biography. Discographies of Bailey and his Incus label are appended, as is the unedited transcript of 1651.

1651.

Watson, Ben. “Invisible Jukebox: Derek Bailey.” The Wire. 178 (Dec. 1998). 22–25. Blind listening test in which Bailey mostly rejects the premise, expressing deep disinterest in recorded or composed music.

1652.

Yang, Justin. “Free Improvisation and the Uncertainty Principle.” in Soundweaving: Writings on Improvisation. eds. Franziska Schroeder and Mícheál Ó hAodha. Newcastle upon Tyne: Cambridge Scholars Pub, 2014. 79–93.

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Moving from Cy Twombly to Bailey and Evan Parker’s The London Concert album to consider gesture as a form of provisional play rather than of definite inscription.

Bevan, Tony 1653.

Cowley, Julian. “Foghorn Legwork.” The Wire. 257 (July 2005). 14–15. Brief interview-based profile on taking up the bass sax, his CD Bruised, and the influences of cool jazz, Captain Beefheart, and English free improvisation.

Butcher, John 1654.

Bell, Clive. “Invisible Jukebox: John Butcher.” The Wire. 344 (Oct. 2012). 28–31. Blind listening session, with records by the Soft Machine, Chris Burn, Roger Smith, and others.

1655.

Butcher, John. “Freedom in Sound: This Time it’s Personal.” Point of Departure. 35 (June 2011). n.p. www.pointofdeparture.org/PoD35/PoD35Butcher.html Discusses the challenge of applying a personal sonic vocabulary and syntax in different contexts, referring to his own work with Toshimaru Nakamura, Matthew Shipp, John Russell, Derek Bailey, John Stevens, and others, as well as performances he has observed by Bailey, Sachiko M, Alexander von Schlippenbach with Evan Parker and Paul Lovens, and the Sealed Knot.

1656.

Clark, Philip. “Between Thought and Expression.” The Wire. 289 (Mar. 2008). 28–33. Interview-based cover story surveying his career from the trio with John Russell and Phil Durrant to News from the Shed, Chris Burn’s Ensemble, the Spontaneous Music Ensemble, and his solo albums, tracing his connections to the second wave of English free improvisation and lower-case/reductionist music.

1657.

Morgan, Jon. “News from the Shed: John Butcher.” Coda. 278 (Mar/Apr. 1998). 18–20. An overview of his recent recordings, introduced with an interview-based profile including comments on the London improvisation scene of the 1970s and his work with the Spontaneous Music Ensemble.

1658.

Rusch, Bob. “John Butcher Interview.” Cadence. May 1998. 13–19. Biographical interview, with particular discussion of his work with Chris Burn, John Stevens, and Derek Bailey, as well as the British free music scene of the 1970s and after, including distinctions between the first and second generation free players and between jazz and improvised music.

Coxhill, Lol 1659.

Beresford, Steve. “Lol Coxhill, 1932–2012.” The Wire. 343 (Sept. 2012). 14. Anecdote-filled eulogy from a regular collaborator.

1660.

Watson, Ben. “Invisible Jukebox: Lol Coxhill.” The Wire. 213 (Nov. 2001). 20–22. Blind listening test with records by Derek Bailey and John Butcher, Anthony Braxton, Joe Harriott, Archie Shepp, and others.

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Whitehead, Kevin. “Two Blokes (Backwards).” Downbeat. Mar. 2003. 56–61. Tour diary with Coxhill and Paul Rutherford, as they play several nights in Chicago and one in Milwaukee, solo, duo, and with a group of Chicagoans. They review their careers, also commenting on socialism, the Spontaneous Music Ensemble, and various influences and performing situations.

Dean, Elton 1662.

Lewis, David. “Improvising in the Front Room: Elton Dean.” Coda. 291 (May/June 2000). 14–16. Interview on Dean’s work in Centipede, Ninesense, with Carla Bley, Roswell Rudd, and in a quartet with Keith Tippett, Harry Miller, and Louis Moholo.

Dunmall, Paul 1663.

Chénard, Marc. “Paul Dunmall for the Record.” Coda. 310 (July/Aug. 2003). 12–14. Interview-based profile, discussing his Duns Limited Edition CD label, followed by reviews of four albums, with his response to each review.

1664.

Dunmall, Paul. Deep. DVD video. Essex, UK: FMR, 2009. Biographical documentary, including performance footage with Evan Parker, Keith Tippett, Andrew Cyrille, and Henry Grimes.

1665.

Dunmall, Paul, Ben Williams, and Philip Gibbs. “The Book Cooks: Excerpts from Paul Dunmall: The FMR Years.” Point of Departure. 42 (Mar. 2013). n.p. www. pointofdeparture.org/PoD42/PoD42BookCooks_Dunmall.html Excerpts from the liner notes to a 50-CD anthology of his work on the FMR label, introducing his improvisational concept of “The Big Key,” with the tonic at the center encircled by rings of increasingly more dissonant notes, then microtones, then nonpitched sounds. An introduction by Williams is followed by an interview of Dunmall by Gibbs, which also ranges to cover more general aesthetic and practical considerations in free improvisation.

1666.

Jones, Alan. “Paul Dunmall Interview.” Cadence. May 2004. 5–8. Topics include his background and education, work in Mujician and the London Jazz Composers Orchestra, taking up the bagpipes, and whether his music would be different if he lived in New York or Chicago.

Fell, Simon H. 1667.

Cowley, Julian. “Perverse Couplings.” The Wire. 198 (Aug. 2000). 22–25. Interview-based feature recapping his career, describing his use of collage to combine the textures and techniques of his favorite music, and his work with the Hession/ Wilkinson/Fell trio, Joe Morris, Keith Tippett, and the London Improvisers Orchestra.

1668.

Thompson, Keith G. “Simon H. Fell and Thirteen Rectangles.” Coda. 309 (May/June 2003). 14–16.

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Interview on composition and improvisation, their relationship in his Thirteen Rectangles and Composition 30, and the connection between Thirteen Rectanges and Kandinsky’s painting of the same title.

Guy, Barry 1669.

Broomer, Stuart. “Ezz-thetics.” Point of Departure. 50 (Mar. 2015). n.p. http://point ofdeparture.org/archives/PoD-50/PoD50Ezz-thetics.html Behind-the-scenes account of the composition and rehearsal of Guy’s The Blue Shroud.

1670.

Buium, Greg. “Behind Barry Guy’s New Orchestra.” Coda. 302 (Mar/Apr. 2002). 7–10. Interview-based cover story on the BGNO’s appearance at the Vancouver Jazz Festival, which included solo and small group sets by many group members. Guy describes the personal and musical connections which enabled him to form the BGNO as a more portable alternative to the London Jazz Composers Orchestra and how he uses those connections when composing for the band.

1671.

Clark, Philip. “Space Time Continuing.” Double Bassist. 41 (Summer 2007). 8–15. Interview-based profile discussing the influence of Charles Mingus’ composing and Gary Peacock’s playing with Albert Ayler, and reflecting on his work with the Spontaneous Music Ensemble, London Jazz Composers Orchestra, and Iskra 1903. The graphic score to his bass duo “Anaklasis” is included, with notes on its interpretation.

1672.

Davis-Van Atta, Taylor, and Daniel Medin, eds. Music & Literature. 4 (2014). 288 p. A cluster of texts on Guy and Maya Homburger includes interviews with both, a portfolio of Guy’s graphic scores, poems, a piece by Mats Gustafsson, an appreciation of Guy’s Fizzles solos, and more.

1673.

Guy, Barry. “Graphic Scores.” Point of Departure. 38 (Mar. 2012). n.p. www. pointofdeparture.org/PoD38/PoD38Guy.html Essay on the development of his notation and conducting, illustrated with excerpts from “Bird Gong Game,” “Witch Gong Game,” “Ceremony,” and “Un Coup de Dès.”

1674.

Guy, Barry. Statements II for Solo Double Bass with Amplification. London: Novello, 1988. 16 p. Score mixing standard, alternative, graphic, and text notation, with three pages of explanatory text. Some improvisation is called for. Composed in 1972, this piece demonstrates many techniques characteristic of his free playing.

1675.

Kimberley, Nick. “Free Agent.” The Wire. 131 (Jan. 1995). 20. Short interview-based profile discussing the changing relationship between composition and improvisation in his work, particularly his recent use of graphic notation in pieces for ROVA and the NOW Orchestra to incorporate multiple options for players and to include musicians who do not read conventional notation.

1676.

MacSweeney, Alix. “Barry Guy.” The Strad. 89:1060 (Aug. 1978). 311–315. This early profile describes him moving between classical work, improvisation, and composing. It includes a diagram of his solo bass notation showing bow placement and volume pedal position on lines parallel to a conventional staff.

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Shoemaker, Bill. “Improvising the Score: Barry Guy.” JazzTimes. Apr. 2001. 56–59, 166–167. Interview-based profile addressing the politics of composition, improvisation, and conduction, differences between the London Jazz Composers Orchestra and the smaller Barry Guy New Orchestra, and his trio with Mariyln Crispell and Paul Lytton.

1678.

Shoemaker, Bill. “Page One.” Point of Departure. 18 (Aug. 2008). n.p. www. pointofdeparture.org/PoD18/PoD18PageOne.html An interview on reconvening the London Jazz Composers Orchestra for the first time in ten years. The piece “Radio Rondo” is discussed in detail, with Guy explaining its balance of composition, planned improvisations, and onstage decision-making, his composing for the large group in general, and what he learned from working with Iannis Xenakis on “Theraps” and studying his music.

1679.

Smith, Bill. “Barry Guy and the London Jazz Composers Orchestra.” Coda. 248 (Mar/ Apr 1993). 6–10. Interview on the history of the LJCO, his relationships with various members, the development of the group’s music, neo-conservatism in music and politics, cuts in arts funding in the US, UK, and Canada, and the ensemble as a long-term noncommercial elective project.

Lytton, Paul 1680.

Rusch, Bob. “Paul Lytton Interview.” Cadence. May 1996. 15–24. Topics include his first exposure to free music at a Evan Parker/John Stevens duo show, studying with Tony Oxley, then beginning to play with Parker, joining the London Musicians’ Co-op and London Jazz Composers Orchestra and becoming integrated into the London free scene, then connecting with other Europeans, notably Wolfgang Fuchs, and Paul Lovens, with whom he started the Po Torch record label.

Oxley, Tony 1681.

Eisenstadt, Harris. “Tony Oxley: The Medicine Man Turns 60.” Coda. 286 (July/Aug. 1999). 2–5. The two drummers speak briefly on Oxley’s development in free improvisation, his unique instrumental setup, the founding of Incus Records, and his work with Cecil Taylor and Bill Dixon. Eisenstadt surveys Oxley’s career and discography.

1682.

Goodwin, Simon. “Tony Oxley: Playing Free.” Modern Drummer. Apr. 1990. 28–31, 84–87. Interview on free playing, the role of composition in his quartet and the Celebration Orchestra, his expanded drum set, playing with mainstream artists such as Sonny Rollins and Bill Evans, ride cymbal-based vs. four-limbed jazz drumming styles, and his recent collaborations with Anthony Braxton and Cecil Taylor.

1683.

Kurth, Ulrich. The 4th Quarter of the Triad: Tony Oxley: Fünf Jahrzehnte Improvisierter Musik. Hofheim am Taunus: Wolke, 2011. 256 p.

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German-language biography, moving quickly through his youth and apprenticeship to the formation of Joseph Holbrooke with Gavin Bryars and Derek Bailey, the London free improvising scene around the Little Theatre Club, his own albums, and his work with John McLaughlin, Howard Riley, and the London Jazz Composers Orchestra. His 18-beat approach to 4/4 is explained. Later chapters cover collaborations with German and American players: Johannes Bauer, Peter Kowald, Peter Brötzmann, Cecil Taylor, Anthony Braxton, Bill Dixon, Paul Bley, and others. 1684.

Watson, Ben. “Exiled in Time.” The Wire. 186 (Aug. 1999). 18–23. Interview-based feature describes his technique of thinking of a four-beat bar as two quarter note triplets, then dividing each of those into three eighth notes, creating eighteen subdivisions, a formalization of the three-against-two swing of Elvin Jones. He also recounts the Joseph Holbrooke group with Derek Bailey and Gavin Bryars and the early days of English free improvisation.

Parker, Evan 1685.

Arndt, Jürgen. “Evan Parker und Alfred North Whitehead: Free Improvisation in Philosophischem Licht.” in Diskordanzen: Studien zur Neueren Musikgeschichte. “Was Du Nicht Hören Kannst, Musik” eds. Werner Keil and Jürgen Arndt. 7 (1999). 239–257. Parker’s recordings are considered as interrogations of the idea of the work: are improvisations works? Is an overdubbed improvisation still an improvisation? How does live electronic manipulation alter the ontology of a performance or work?

1686.

Baker, Thomas J. Integritas: Modern Relationships between Music and Architecture. D.M.A. dissertation. Seattle: U of WA, 1996. v, 241 p. Parker’s 1989 solo album Conic Sections is the only nonclassical work considered. Baker argues his loop-like material and circular breathing create simultaneous motion and stasis, and a conical musical space which contracts through acceleration and increased density.

1687.

Barnes, Mike. “Invisible Jukebox: Evan Parker.” The Wire. 195 (May 2000). 42–45. Blindfold listening test, with records by Captain Beefheart, Polwechsel, Terry Riley, Sonic Youth, John Surman, David S. Ware, John Zorn and Fred Frith, and others.

1688.

Borgo, David. “The Ghost in the Music, or the Perspective of an Improvising Ant.” The Oxford Handbook of Critical Improvisation Studies. eds. George E. Lewis and Benjamin Piekut. vol. 1. New York: Oxford UP, 2016. 91–111. The pun of ANT (for actor-network theory) also being the name of an insect which engages in spontaneous collective behavior allows Borgo to return to his use of chaos theory to analyze improvised interactions in 203. Looking particularly at Evan Parker’s Electroacoustic Ensemble, MEV, and AMM, which employ unpredictable analog machines or semi-autonomous computers, Borgo then feeds this analysis back into ANT to expand and deconstruct ideas of agency.

1689.

Broomer, Stuart. “Ezz-thetics.” Point of Departure. 31 (Oct. 2010). n.p. www. pointofdeparture.org/archives/PoD-31/PoD31Ezz-thetics.html Drawing on conversations with Parker and Paul Lytton and a 2010 performance by Parker’s Electro-Acoustic Ensemble, Broomer surveys the Ensemble’s recordings,

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their connections to other aspects of Parker’s oeuvre, and the state of large group free improvisation 50 years after Ornette Coleman’s Free Jazz. 1690.

Carnevale, Bruce. “Evan Parker and Himself.” Jazziz. May 1999. 38–40. Recounts the expansion of the Parker/Paul Lytton duo to a trio with Barry Guy, then to the Electro-Acoustic Ensemble, with comments from Parker, Guy, and Lytton on the creative dynamics of each configuration and the challenge to subjectivity of having one’s sound freely recorded, transformed, and replayed by others in performance.

1691.

Clark, Philip. “Full Circle.” The Wire. 279 (May 2007). 34–41. Interview-based feature promoting the Free Noise tour, which mixed Parker with various underground electronics performers, and surveying his relationship with electronics from Hugh Davies’ homemade instruments through George Lewis’ interactive software, Spring Heel Jack’s projects with improvisers, and the development of the Electro-Acoustic Ensemble and their relationship with ECM Records. Parker also speaks directly about his and Derek Bailey’s spilt.

1692.

Davis, Barry. “Backstage with . . . Evan Parker.” Downbeat. Dec. 2008. 14. Short interview on the future of the music, technique, practicing, inspirations, notation, collaborations, and the essential role of the German free music scene in his career.

1693.

Hytönen-Ng, Elina. Experiencing “Flow” in Jazz Performance. Burlington, VT: Ashgate, 2013. Parker and Raoul Björkenheim are among the interviewees in this attempt to apply Mihaly Csikszentmihalyi’s idea of “flow” to improvisation.

1694.

Keegan, Paul. “Evan Parker: The Breath and Breadth of the Saxophone.” Downbeat. Apr. 1987. 26–28. Interview-based introduction for a US audience, with comments from Arjen Gorter and others. Parker discusses circular breathing, solo playing, Incus Records, the influence of John Coltrane, bagpipes, and other traditional music, and his collaborations with Anthony Braxton and George Lewis.

1695.

Mehlan, Matthew, dir. Evan Parker. Online video. New York: Roulette, 2013. https:// vimeo.com/83893846 Fourteen minute film mixing excerpts from a performance by Parker’s ElectroAcoustic Septet with an interview on the techniques, aesthetics, and practical aspects of the group.

1696.

Monk, Johanna, and Vanita Monk. “Shopping with Evan Parker.” Monastery: The Birth Cry of a New Flute. Jan. 4, 2002. n.p. www.monastery.nl/bulletin/parker/parker. html Long casual conversation on studio vs. live recording, CDs vs. LPs, concerts vs. recordings, electric Miles Davis, religion, shopping, and trends.

1697.

Panken, Ted. “Extraordinary Encounters.” Downbeat. May 2010. 38–40. Feature profile centered on his late 2009 residency at the Stone, based on a conversation discussing Monk, Coltrane, his early collaborators and influences, recording, and the supernatural, with additional comments from George Lewis contrasting Parker and Derek Bailey’s approaches to organizing performances.

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Parker, Evan. “Introduction. “ in Soundweaving: Writings on Improvisation. eds. Franziska Schroeder and Mícheál Ó hAodha. Newcastle upon Tyne: Cambridge Scholars Pub, 2014. 1–7. Briefly reviews his changing relationships with composition and electronics, with notable anecdotes involving the Spontaneous Music Ensemble, MEV, Music Improvisation Company, Yoko Ono, AMM, and George Lewis.

1699.

Parker, Evan. “Why 211?” in Arcana II: Musicians on Music. ed. John Zorn. New York: Hips Road, 2007. 191–203. Wide-ranging essay, including thoughts on arcana and traditional musics, saxophone repairmen, John Coltrane and astrology, and recording Machine Gun with Peter Brötzmann.

1700.

Parker, Evan, and Hans Falb. “Chasing ‘The Pale Fox.’” in Tell No Lies, Claim No Easy Victories. eds. Phillip Schmickl, Hans Falb, Andrea Mutschlechner, a.o. Nickelsdorf: Verein Impro, 2009. 114–129. Interview centered on Parker’s Foxes Fox quartet, but also touching on Dudu Pukwana, Joe Harriott, Chris Marker, Globe Unity, The Wire, and other topics.

1701.

Rusch, Bob. “Evan Parker: Interview.” Cadence. 5:4 (1979). 8–11. Topics include how abstract free music can be judged, whether it is jazz, if it has a connection to anarchism, his work with Derek Bailey in Company and as a partner in Incus Records, and his ability to earn a living as a musician.

1702.

Saunders, James. “Evan Parker.” in The Ashgate Research Companion to Experimental Music. ed. James Saunders. Farnham, England: Ashgate, 2009. 331–336. Email conversation on aspects of his creative and instrumental practice including finding and learning material and techniques, forming musical relationships, and the real-time application of aesthetics and techniques in improvised performance.

1703.

Schonfield, Victor. “Total Improvisation.” IT: International Times. Mar. 28, 1969. 15. A short conversation on Parker’s work with the Spontaneous Music Ensemble, Peter Brötzmann, and in a trio with Derek Bailey and Jamie Muir, as well as the state of the Dutch and US scenes and differences between free jazz and the new collective music of the SME and others.

1704.

Shiruba, John. “Evan Parker Interview.” Cadence. Sept. 1996. 5–12, 121. Topics include whether he considers his music jazz, how he organizes pitch, layering sound vs. interaction, set groups vs. ad hoc encounters, how he approaches the tenor vs. the soprano saxophone, the new CD reissues of his 1960s and 1970s work, and why he stopped working with Derek Bailey and Incus Records.

1705.

Shoemaker, Bill. “Before & After: Evan Parker.” JazzTimes. Nov. 2001. 88–89, 156. Saxophone-centered blindfold test, with recordings by Jane Ira Bloom, Anthony Brown’s Asian American Orchestra featuring Steve Lacy, John Butcher, Joe Lovano, Joe McPhee, Sam Rivers, Archie Shepp, and Don Weller.

1706.

Shoemaker, Bill. “A Qualified Freedom: Evan Parker.” JazzTimes. May 2000. 76–79, 240–241. Interview-based introduction to his oeuvre, with comments on the nature of freedom and solo vs. group playing.

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Summers, Russ. “Sax Obsessed: Evan Parker’s ‘Obscure Hobby.’” Option. May/June 1990. 58–61. Interview-based profile recapping his career, summarizing his approach, describing the Parker/Guy/Lytton trio, presenting his perspective on the Globe Unity Orchestra’s controversial 1987 Chicago concert, and celebrating his contributions to both Cecil Taylor and Charlie Watts’ large ensembles.

1708.

Svirchev, Laurence M. “Evan Parker: An Intensity of Purpose.” Coda. 250 (July/Aug. 1993). 4–7. Interview on the international improvising scene, the need for an improviser to have a strong personality and be open to others, and plans for what became the London Improvisers Orchestra.

1709.

Uitti, Frances-Marie. “Evan Parker.” Contemporary Music Review. 25:5–6. 411–416. Interview on his work with electronics, practice routines, and playing with Derek Bailey.

1710.

Warburton, Dan. “Evan Parker Interview.” Paris Transatlantic. Jan. 30, 2010. n.p. www.paristransatlantic.com/magazine/interviews/parker.html Warburton revisits some controversies: Parker’s past rejection of composition, Jim O’Rourke’s claim that the trio with Barry Guy and Paul Lytton had developed such a clear group language that they were no longer freely improvising, his split with Derek Bailey, Radu Malfatti’s charge that Parker and Peter Brötzmann had become artistically “stagnant,” and whether Parker considers his music “jazz.” Parker also describes the formation of the Music Improvisation Company, how it and his Electro-Acoustic Ensemble ended up recording on ECM, and a recent week at the Stone where he played with Milford Graves for the first time.

1711.

Wright, Seymour. “The Primer: Evan Parker.” The Wire. 401 (July 2017). 30–37. Annotated selected discography from 1970 to the present, with sections devoted to Parker’s work with Paul Lytton (which expands into the trio with Barry Guy and the Electro-Acoustic Ensemble), with Derek Bailey, the Schlippenbach Trio, horn duos, Cecil Taylor, members of AMM, solo, multitracking, and other aspects of his career.

1712.

Young, Rob. “Tabling the Elements.” The Wire. 144 (Feb. 1996). 28–31. Parker comments on CD reissues of his 1960s and 1970s work, Miles Davis’ reaction to Dave Holland playing Karyobin for him, the slim possibilities for communicating a political message to an audience, and his growing interest in collaborating with electronic musicians.

Riley, Howard 1713.

Cowley, Julian. “Another Part of the Story.” Signal to Noise. 51 (Fall 2008). 20–25. Dual profile of Riley and Keith Tippett, with comments from both, who sometimes work as a duo. They describe the English scene of the late 1960s and early 1970s, the Little Theater Club, the Blue Notes, and many related ensembles.

1714.

Cowley, Julian. “A Safe Pair of Hands.” The Wire. 318 (Aug. 2010). 45–49. Interview-based profile promoting his album Solo in Vilnius and working back to discuss collaborations with Elton Dean, Jaki Byard, and Keith Tippett, his 1970s trios

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with Barry Guy and Alan Jackson, Tony Oxley, or Philipp Wachsmann, his training and influences, and his work in the London Jazz Composers Orchestra. 1715.

Riley, Howard. “Contemporary Improvised Music: Technical and Aesthetic Features.” The Music Review. 33:3 (Aug. 1972). 218–221. Riley explains the new music, citing Ornette Coleman and Cecil Taylor as major sources, linking the emergence of free jazz to the African-American experience, and arguing that the free but centered approach to tonality and rhythm in improvised music based in jazz is a significant alternative to European indeterminacy.

Rutherford, Paul 1716.

Beresford, Steve. “Paul Rutherford: An Appreciation.” Point of Departure. 13 (Sept. 2007). n.p. www.pointofdeparture.org/PoD13/PoD13PaulRutherford.html A short memorial, on Rutherford’s personality and musical style.

Stevens, John 1717.

Bailey, Derek. “John Stevens 1940–1994.” Coda. 261 (May/June 1995). 11. Memorial with an account of an ill-fated early-1970s festival set by the Spontaneous Music Ensemble.

1718.

Cowley, Julian. “Spontaneous Combustion.” The Wire. 224 (Oct. 2002). 30–35. Feature on Stevens and the Spontaneous Music Ensemble, drawing on interviews with Steve Beresford, John Butcher, Bruce Cale, Barry Guy, Maggie Nichols, David Toop, Trevor Watts, and others, to describe the group’s formation and development, along with Stevens’ personality, philosophy, and musical interests. Selected albums are discussed, as well as the making of Search and Reflect (1720).

1719.

Scott, Richard. “The Molecular Imagination: John Stevens, The Spontaneous Music Ensemble, and Free Group Improvisation.” in Soundweaving: Writings on Improvisation. eds. Franziska Schroeder and Mícheál Ó hAodha. Newcastle upon Tyne: Cambridge Scholars Pub, 2014. 95–109. Considers Search and Reflect (1720), the SME albums Face to Face and Quintessence, and his Corner to Corner duo with Evan Parker, as approaching what Deleuze and Guattari call the molecular, a fragmentation of sound, meaning, and subjectivity.

1720.

Stevens, John, Julia Doyle, and Ollie Crook. Search and Reflect: Concepts and Pieces by John Stevens. London: Community Music, 1985. 122 p. A collection of exercises for musicians of all levels, emphasizing timing and listening, with notes for group leaders. They are presented in prose and diagrams, with musical notation used in a few. While primarily pedagogical, Stevens performed and recorded several of these pieces with the Spontaneous Music Ensemble and Spontaneous Music Orchestra, including “Mouth Piece” and “Face to Face.”

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Tippett, Julie 1721.

Cowley, Julian. “Songs of Experience.” The Wire. 307 (Sept. 2009). 30–35. Interview-based feature including her work with the Spontaneous Music Ensemble, Ovary Lodge, Centipede, Maggie Nichols, Keith Tippett, solo, and in other groupings.

Tippett, Keith 1722.

Chenard, Marc. “Keith Tippett: Now & Then.” Coda. 258 (Nov-Dec. 1994). 12–15. Interview discussing solo playing, prepared piano, the continuum of improvising and composing, the Mujician quartet, Tippet’s relationship to Ogun Records, and his collaborations with Robert Fripp, including Centipede.

1723.

Cowley, Julian. “That Essence Rare.” The Wire. 207 (May 2001). 32–37. Interview-based career-spanning feature including his large groups Tapestry and Centipede, solo playing, synesthesia, Mujician, honoring the memory of the Blue Notes in the Dedication Orchestra, and his musical collaboration with Julie Tippett.

Turner, Roger 1724.

Watson, Ben. “Roger Turner: Per-cus-sion-ist.” Coda. 299 (Sept/Oct. 2001). 8–10. Interview-based cover story discussing his influences and criticizing the austerity of British “insect music” improvisation, arguing for the return of energy and timeplaying without their associated clichés.

Watts, Trevor 1725.

Cowley, Julian. “Free Your Mind and Your Ass Will Follow.” The Wire. 295 (Sept. 2008). 34–40. Interview-based feature working through his solo discography, including his albums with Amalgam, Prayer for Peace, Cynosure, his Drum Orchestra, Moiré Music, duos with Veryan Weston, and the Celebration Band. He discusses the Spontaneous Music Ensemble, criticizing John Stevens’ control of that group and the theory of the “emancipation” of European free music from American models, noting his and his comrades’ overt debts to the African-American history of jazz, from Armstrong to Ayler.

1726.

French, Mark, dir. Hear Now. DVD. Essex, England: FMR, 2014. Forty-three minute documentary on Watts, intercutting interviews with a duet performance with Veryan Weston and a quartet where they are joined by John Edwards and Mark Sanders. He describes growing up, discovering jazz and improvisation on records, meeting John Stevens and Paul Rutherford in the military, joining Stevens’ Spontaneous Music Ensemble and exploring that specific improvisational language, the influence of Ornette Coleman, his bands with African drums, and the roles of form and listening in free improvisation.

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Johnston, Mike. “Trevor Watts: Moire Music, A Wider Embrace.” Coda. 257 (Sept/ Oct. 1994). 30–32. Interview describing the development of his Moiré Music Orchestra and moving from free jazz and the music of the Spontaneous Music Ensemble to more groove and tune-based settings.

1728.

Rusch, Bob. “Trevor Watts Interview.” Cadence. Dec. 1991. 5–10. Discusses his Moiré Music band, musical education, military service with Paul Rutherford and John Stevens, then playing with them at the Little Theatre Club and the emergence of the Spontaneous Music Ensemble, leaving that group, and forming Amalgam.

1729.

Shoemaker, Bill. “A Wider Embrace: Trevor Watts in Tampere.” Point of Departure. 4 (Mar. 2006). n.p. http://pointofdeparture.org/archives/PoD-4/AWiderEmbracePart1. html www.pointofdeparture.org/AWiderEmbracePart2.html www.pointofdeparture. org/AWiderEmbracePart3.html In three parts: a detailed descriptive review of a duo performance by Watts and hand drummer Jamie Harris, an interview surveying his career from the Spontaneous Music Ensemble to Amalgam to Moire Music, and an annotated selected discography.

Wheeler, Kenny 1730.

Hale, James. “Kenny Wheeler: In a Melancholy Tone.” Downbeat. Aug. 1997. 34–36. Wheeler’s work with the Spontaneous Music Ensemble, Globe Unity Orchestra, and Anthony Braxton’s groups is briefly discussed in this interview-based profile promoting his Angel Song CD.

1731.

Husby, Per. “Kenny Wheeler: Interview.” Cadence. May 1981. 12–16, 18, 86–87. Biographical talk, including his work with the Spontaneous Music Ensemble, Globe Unity, and Anthony Braxton.

1732.

Shaw, Brian, and Nick Smart. Song for Someone: The Musical Life of Kenny Wheeler. Sheffield, UK: Equinox, 2019. [forthcoming]. Biography drawing on published sources and original interviews, emphasizing the breadth of his career, from commercial studio work to Anthony Braxton and the Spontaneous Music Ensemble.

1733.

Vogel, Andrew. Angel Song: The Suite Life and Music of Kenny Wheeler. M.A. thesis. Newark: Rutgers U, 2016. viii, 223 p. https://rucore.libraries.rutgers.edu/rutgers-lib/50572/ Biography based largely on published sources but also drawing on new interviews with Wheeler and Evan Parker. Centered on his own music, with some analysis, but also covering his work with Anthony Braxton, the Spontaneous Music Ensemble, and the Globe Unity Orchestra, as well as other ensembles.

Windo, Gary 1734.

Whitehead, Kevin. “Gary Windo: Interview.” Cadence. July 1980. 9–14, 24. Focused on his work with Carla Bley, but also including recordings with Keith Tippet’s Centipede, Chris McGregor’s Brotherhood of Breath, and Alan Shorter.

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FRANCE General Works 1735.

Brierre, Jean-Dominique. Le Jazz Franç ais, de 1900 à Aujourd’hui. Paris: Hors Collection, 2000. 171 p. Glossy jazz history with a chapter on free jazz featuring French and American performers and the music’s connections to 1960s political and social movements, one on the “unclassifiable” Michel Portal, and others including Marc Ducret, Didier Levallet, and other outside players. In French.

1736.

Cotro, Vincent. Chants Libres: Le Free Jazz En France, 1960–1975. Paris: Outre Mesure, 1999. 288 p. Beginning with a chapter on the development of free jazz in the US, continuing with one focused on jazz in France, then proceeding through American free jazz artists present in France and the politics of the music in France and America, this study profiles Jef Gilson, François Tusques, Michel Portal, Jean-Louis Chautemps, Barney Wilen, and Joachim Kühn, then covers collectives, large ensembles (including Alan Silva’s Celestial Communication Orchestra), and concludes with a brief look at developments after 1975. There are numerous short musical examples. French text.

1737.

Cotro, Vincent. “Perspectives and Recent Tendencies in French Jazz: An Overview.” Jazzforschung/Jazz Research. 42 (2010). 19–31. A brief survey of French jazz, divided into three periods: 1965–1975, 1975–1995, and 1995 to the present. The first was dominated by imitations of and collaborations with American artists, the second by the development of uniquely French styles through syntheses of free music with folk, gypsy jazz, and rock, and by the emergence of jazz education and large ensembles. The third incorporates continuations of the first two, with increasing hybridity and internationalism. Louis Sclavis and Marc Ducret are presented as outstanding representatives of this third wave.

1738.

Drott, Eric. “Free Jazz and the French Critic.” Journal of the American Musicological Society. 61:3 (Fall 2008). 541–581. Overlapping significantly with 1739, on the reception of American free jazz in France in the late 1960s, including its association with the May ’68 revolts, the Black Power movement, and decolonization, and the problem of African-American artists in Paris whose work did not fit critical expectations of revolutionary fire music, such as Anthony Braxton and Leo Smith.

1739.

Drott, Eric. Music and the Elusive Revolution: Cultural Politics and Political Culture in France, 1968–1981. Berkeley: U of CA P, 2011. xiii, 347 p. The third chapter, “Free Jazz in France,” covers the association of free jazz with the May ’68 student/worker revolts, Black nationalism, and the far left, the migration of many American musicians to Paris, the BYG recordings of summer 1969, the Actuel Festival of free jazz and psychedelic rock in October 1969, and the careers of French free players including François Tusques, Michel Portal, and others, with musical analysis of excerpts from Tusques’ Intercommunal Music LP.

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Hofstein, Francis. “L’Europe Free de 1970.” in Polyfree: La Jazzosphère, et Ailleurs (1970–2015). eds. Philippe Carles and Alexandre Pierrepont. Paris: Éditions Outre Mesure, 2016. 177–182. Overview, in French, of the conditions which brought many American free players, including the Art Ensemble of Chicago, Anthony Braxton’s group with Leo Smith and Leroy Jenkins, Archie Shepp, Frank Wright, Alan Silva, Sun Ra, Steve Lacy, et al, to Europe, particularly Paris, for long periods at the end of the 1960s, the music they made there, and its influence on their European contemporaries and the generation to follow.

1741.

Lehman, Stephen H. “I Love You with an Asterisk: African-American Experimental Music and the French Jazz Press, 1970–1980.” Critical Studies in Improvisation. 1:2 (2005). 38–53. www.criticalimprov.com/article/view/18/49 Intersecting assumptions about race, politics, and musical style, as well as the ideologies associated with the May 1968 student/worker uprising, shaped the early 1970s French reception of the Art Ensemble of Chicago, the Creative Construction Company (Anthony Braxton, Leroy Jenkins, Steve McCall, and Leo Smith), and British free players such as Derek Bailey and Evan Parker.

1742.

Margasak, Peter. “French Freedom: Free America in Avant Paris.” JazzTimes. July/ Aug. 2005. 31–33. Presenting a set of 15 CDs reissuing free jazz albums made in Paris for the America label, this article recaps the 1968–1972 expatriate scene, with comments from Leroy Jenkins, Joseph Jarman, and George Lewis.

1743.

Prévost, Xavier. “Tendances Hexagonales, à L’Orée de Nouveaux Écarts.” in Polyfree: La Jazzosphère, et Ailleurs (1970–2015). eds. Philippe Carles and Alexandre Pierrepont, Paris: Éditions Outre Mesure, 2016. 201–210. Brief survey, in French, of French free jazz, including recordings by Martial Solal, Barney Wilen, Jef Gilson, Marc Ducret, Alan Silva, Joëlle Léandre, Raymond Boni, Michel Doneda, Daunik Lazaro, Claude Tchamitchian, Benoît Delbecq, and others.

1744.

Shull, Tad. “East Meets West at Jazz Hot: Maoism, Race, and Revolution in French Jazz Criticism.” Jazz Perspectives. 8:1 (2014). 25–44. Detailed account of the rise of Maoist ideas in the late 1960s French left and how they influenced the interpretation of African-American music, particularly free jazz, at the magazine Jazz Hot.

1745.

Sklower, Jedediah. Free Jazz, La Catastrophe Féconde: Une Histoire Du Monde Éclaté Du Jazz En France, 1960–1982. Paris: L’Harmattan, 2006. 334 p. While free jazz has been seen as the end of jazz history by both conservatives, who consider it an apocalyptic dead end, and radicals, such as Carles and Comolli (516), who identify it with revolution, Sklower argues that it is more productive than destructive, the “fecund catastrophe” of his title. He surveys the history of jazz in France, the reception of American free jazz, looking particularly at journalism and the formation of schools, venues, and other institutions, French free jazz, featuring Jef Gilson, Aldo Romano, Jean-François Jenny-Clark, François Tusques, Bernard Vitiet, Michel Portal, and Jacques Thollot, their work with Americans, particularly

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Don Cherry, and the key role of presenter Jacques Bisceglia. The massive FrancoAmerican collaborations around the 1969 Algerian Pan-African Arts Festival, Actuel magazine, and BYG Records are also covered, as is the work of Alan Silva, who became a Paris-based expatriate in the 1970s. In each case, the music is considered in relation to the jazz media and to various left-wing and Black liberation movements. In French.

ARTISTS Boni, Raymond 1746.

Drouot, Alain. “Raymond Boni Interview.” Cadence. Feb. 2003. 13–18. Discusses free improvisation, his relationship to the Gypsy guitar tradition, and the French scene.

1747.

Rusch, Bob. “Raymond Boni Interview.” Cadence. July 1986. 16–20, 28. Boni annoys Rusch by refusing to commit to any particular musical or national identity, respectfully acknowledging Gypsy guitar, classical guitar, free jazz, and free improvisation as inspirations.

Coursil, Jacques 1748.

Coursil, Jacques. “Hidden Principles of Improvisation.” in Arcana III: Musicians on Music. ed. John Zorn. New York: Hips Road, 2008. 58–65. The trumpeter/linguist investigates parallels between improvised music and spoken language, arguing both are unpremeditated and are immediately simultaneously comprehended by all within range but also acquire additional significance from past and future statements.

Jaume, André 1749.

Chénard, Marc. “André Jaume Short Talk.” Cadence. Nov. 1990. 21–25, 91. Biographical interview, including his work with Jef Gilson, Raymond Boni, Joe McPhee, and Jimmy Giuffre, as well as reflections on the French scene.

1750.

Drouot, Alain. “André Jaume Interview.” Cadence. Nov. 2001. 9–12. Biographical interview including the influence of the AACM’s late 1960s presence in Paris and his work with Joe McPhee and Jimmy Giuffre.

Johnson, Oliver 1751.

Silsbee, Kirk. “Oliver Johnson Interview.” Cadence. Jan. 2004. 12–19. Biographical interview, from his education through his introduction to free music in San Francisco with Donald Raphael Garrett and Dewey Redman, then moving to Europe in 1970 and meeting Anthony Braxton and Steve Lacy in Paris.

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Léandre, Joëlle 1752.

Baudillon, Christine, dir. Joëlle Léandre Basse Continue. DVD. Montpellier, France: Hors Oeil Editions, 2008. Documentary, in French with optional English subtitles, showing Léandre at home and performing with Anthony Braxton, Fred Frith, George Lewis, Barre Phillips, and others. Voiceover by Léandre, as she discusses the bass, conservatory, working with John Cage and Merce Cunningham, improvisation, travel, etc.

1753.

Clark, Philip. “Agent Provocateur.” Double Bassist. 37 (Summer 2006). 10–15. Interview-based profile spanning her entire career but with particular mention of her work with John Cage and Derek Bailey and the models they provided her.

1754.

Léandre, Joëlle. “Octobre.” in A Family Album. ed. Frank Proto. Cincinnati: Liben Music, 1989. 22–25. Solo bass composition in three movements, dated October 1989. In standard notation with some extended techniques and indeterminate features.

1755.

Léandre, Joëlle. Solo: Conversations with Franck Médioni. trans. Jeffrey Grice. with CD and DVD. Jerusalem: Kadima Collective, 2011. 161 p. Memoir compiled from interviews, focused on her relationship with the bass, its history and repertoire, improvisation and composition, her many collaborations, and her life on the road. The DVD and CD document solo performances.

1756.

Martinelli, Francesco. Joë lle Léandre Discography: A Complete Sourcebook About the Extraordinary French Doublebass Player and Composer. Pontedera: Bandecchi & Vivaldi, 2002. 157 p. Generously illustrated list of official recordings, with review excerpts accompanying most, as well as occasional annotations and interview segments. A bibliography of work on Léandre is appended, as are a list of pieces dedicated to her and her texts: “Grandma’s Grammar” (a performance piece for three bassists), “Taxi,” “Dog Piece,” and “Cat Studies.”

1757.

Uitti, Frances-Marie. “Joëlle Léandre.” Contemporary Music Review. 25:5–6. 559–565. Interview on the influences of classical music training, new music experiences, and autodidacticism on her improvising on bass and voice.

1758.

Vickery, Steven. “Joëlle Léandre: Musique Actuelle.” Coda. 243 (May/June 1992). 16–19. Interview largely discussing relationships between composition, improvisation, and jazz, with attention also to women in music, including the Feminist Improvising Group and Les Diaboliques.

1759.

Warburton, Dan. “Invisible Jukebox: Joëlle Léandre.” The Wire. 216 (Jan. 2002). 20–22. Blind listening session with records by Pierre Boulez, John Cage, Arthur Doyle, George Lewis, Radu Malfatti, Giacinto Scelsi, and others.

1760.

Warburton, Dan. “Joëlle Léandre Interview.” Paris Transatlantic. Summer 2002. www.paristransatlantic.com/magazine/interviews/leandre.html

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On her recent performance with Steve Lacy (released as One More Time) and her impending appointment at Mills College, with accompanying plans to work with Fred Frith and George Lewis, as well as what she hopes to teach, looking back on her work with composers such as Cage and Scelsi.

Ninh, Lê Quan 1761.

Ninh, Lê Quan. Improvising Freely: The ABCs of an Experience. trans. Karen Houle. Guelph: PS Guelph, 2014. 85 p. Alphabetically arranged meditations on topics related to his musical practice, from “Abandon” to “Zero.” Peter Kowald is the only person to receive an entry, although John Cage appears briefly under “Silence” and “Zero.” Originally published in French in 2010.

GERMANY General Works 1762.

Arthurs, Tom. “Improvised Music in Berlin 2012–13: A Brief Ethnographic Portrait.” Critical Studies in Improvisation. 10:2. www.criticalimprov.com/article/view/3584 Quantitative portrait, charting artists by instrument, gender, time in Berlin, country of origin, and other variables, graphically mapping the network as a whole and the groups interested in jazz or electronics, and literally mapping the distribution of venues around the city. These infographics are augmented with anecdotes from musicians, including free jazz artists Tristan Honsinger, Rudi Mahall, and Jan Roder.

1763.

Bratfisch, Rainer, ed. Freie Töne: Die Jazzszene in Der DDR. Berlin: Links, 2005. 320 p. Anthology on East German jazz with interviews of Ernst-Ludwig Petrowsky, Joachim Kühn, Konrad Bauer, and Jost Gerbers (of Free Music Productions), as well as an essay by concert presenter Ulli Blobel. Free jazz also appears in many of the other contributions. In German.

1764.

Fränzel, E Dieter, and Rainer Widmann, eds. Sounds Like Whoopataal: Wuppertal in der Welt des Jazz. with audio CD. Essen: Klartext, 2006. 328 p. Generously illustrated German-language history of jazz in Wuppertal, with chapters dedicated to Peter Brötzmann, Peter Kowald, Hans Reichel, and Detlef Schöenberg, as well as to collaborations with artists from East Germany, the Soviet Union, and in dance, theater, and other media.

1765.

Heffley, Mike Northern Sun, Southern Moon: Europe’s Reinvention of Jazz. New Haven: Yale UP, 2005. 392 p. Reduced by 80% from 1766, but retaining much of its structure: an account of European free music developing and possibly separating from free jazz, with Heffley’s experiences as performer, listener, and scholar interwoven with interviews, music analysis, references to pre-Modern theories of art and identity, and literature reviews of French and German work on free jazz. Peter Kowald, Gunter Sommer, Conrad Bauer, and Alexander von Schlippenbach are featured subjects/interviewees.

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Heffley, Mike. Northern Sun, Southern Moon: Identity, Improvisation and Idiom in Freie Musik Produktion. Ph.D. dissertation. 6 vols. Middletown, CT: Wesleyan U, 2000. 1757 p. Mammoth study of the German free jazz scene centered on the FMP label and associated festivals including the Total Music Meeting, also incorporating book-length histories of music in German culture and of jazz in Germany, as well as major literature reviews/historiographies of free jazz scholarship in English and German and theoretical/biographical interviews/immersive participant observations with Peter Kowald, Günter Sommer, and Wolfgang Fuchs, as well as briefer encounters with many other East and West German FMP artists and with label heads Jost and Dagmar Gebers.

1767.

Hurley, Andrew W. The Return of Jazz: Joachim-Ernst Berendt and West German Cultural Change. New York: Berghahn Books, 2009. xxiii, 296 p. Free jazz plays several key roles in this biography. As a curator of the Berlin Jazz Festival, Berendt helped bring American artists to Europe. As European artists explored their own folk cultures and national identities to transcend imitating Americans and German artists found their heritage tainted by its association with the Nazis, he steered them towards the classical avant-garde and programmed the results, notably the controversial 1966 debut of Globe Unity. There are also significant discussions of Peter Brötzmann, the Total Music Meeting, and various collaborations between jazz and “world” musicians which Berendt promoted.

1768.

Jost, Ekkehard. “Tendenzen des Europäischen Free Jazz der 70er Jahre.” Bericht über den Internationalen Musikwissenschaftlichen Kongress Bayreuth 1981. Kassel: Bärenreiter, 1984. 207–209. Jost looks briefly at trends in free jazz during the 1970s, primarily in Germany. Coming out of the “kaputtspeil-phase” of all-out blowing, he identifies three new overlapping phenomena: the return of structure, whether from the jazz tradition or new music, reconciliation with popular and folk musics, and the recognition of Europe as a jazz center.

1769.

Kisiedu, Harald. European Echoes: Jazz Experimentalism in Germany, 1950–1975. Ph.D. dissertation. New York: Columbia U, 2014. iv, 271 p. https://academiccommons.columbia.edu/catalog/ac:202305 Disputing the narrative of European free music’s “emancipation” from US free jazz, Kisiedu presents three case studies, drawing on original interviews, archival work, and published sources, providing detailed historical narratives to argue that engagement with African-American music and thought remained essential to these artists and their milieu. Chapter one deals with Peter Brötzmann in the 1960s, noting his connections to American musicians such as Carla Bley and Don Cherry and the extent to which the Black Power movement influenced the German New Left. Chapter two turns to Manfred Schoof and Alexander von Schlippenbach, their connections to the Darmstadt workshop and Bernd Alois Zimmerman, as well as a crucial encounter with Don Cherry and ongoing references to Ornette Coleman. Finally, he turns to Ernst-Ludwig Petrowsky in East Germany, noting his regular references to Coleman and direct emulation of aspects of George Russell’s band. Discussion of the FMP label as a dominant force in German free music and its conscious debts to American precedents concludes the study.

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Knauer, Wolfram. “Emanzipation Woven? Zum Verhältnis des Amerikanischen und des Deutschemark Jazz in den 50er und 60er Ahrens.” in Jazz in Deutschland. ed. Wolfram Knauer. Darmstädter Beiträge zur Jazzforschung. 4 (1996). 141–157. Argues that Jost’s claim of a 1960s “Emancipation” of European jazz from American models is overstated, that European artists were making unique contributions at least a decade earlier and that the music Jost uses to represent the Emancipation, the early German free jazz of Brötzmann, Schoof, and Manglesdorff, is actually quite connected to American models.

1771.

Lothwesen, Kai Stefan. “Emanzipation, Jazz-Dissidence und Paradigmenwechsel. Anmerkungen zur Diversität des Europäischen Jazz.” in Albert Mangelsdorff: Tension, Spannung. ed. Wolfram Knauer. Darmstädter Beträige zur Jazzforschung. 11 (2010). 119–139. The “emancipation” of European jazz is considered as a paradigm change, and its stylistic diversity discussed, both of these contrasted to the parallel new music/contemporary composed music scene. Three approaches are used: a quantitative one, evaluating mentions of specific composers and works in articles on new music and on improvised music, a technical one, considering applications and transformations of new music elements such as tone rows in compositions for improvisers by Alexander von Schlippenbach, Dieter Glawisching, and Georg Gräwe, and less formal critiques of pieces by the Reform Art Unit, Globe Unity, and others. In German.

1772.

Noglik, Bert, and Heinz-Jürgen Lindner. Jazz im Gespräch. Berlin: Verlag Neue Musik, 1978. 184 p. German-language collection of interviews, conducted in 1976 and 1977, with Conrad Bauer, Ulrich Gumpert, Klaus Koch, Ernst-Ludwig Petrowsky, Günter Sommer, and other East German artists.

1773.

Noll, Dietrich J. Zur Improvisation im Deutschen Free Jazz: Unters. Zur Ästhetik Frei Improvisierter Klangflächen. Hamburg: Verlag der Musikalienhandlung Wagner, 1977. 151 p. Analysis of methods of composition, improvisation, and ensemble organization used by Gunter Hampel and Albert Mangelsdorff, with numerous score excerpts and solo transcriptions, including material from Hampel’s albums Gunter Hampel Group+Jeanne Lee, The 8th of July 1969, Out of New York, and others, plus a piece he wrote for Marion Brown’s Gesprächsfetzen and many Mangelsdorff compositions representing his work from 1963 to 1972. Excerpts from Alexander von Schlippenbach’s Globe Unity and Manfred Schoof ’s Page Two also appear.

1774.

von Zahn, Robert. Jazz in Köln seit 1945: Konzertkultur und Kellerkunst. Köln: Emons Verlag, 1997. 264 p. Drawing on official photo archives, this German-language coffee table book includes material on Manfred Schoof and Gunter Hampel’s mid-1960s groups, the Globe Unity Orchestra, and Schoof ’s New Jazz Trio.

Free Music Productions 1775.

FMP Publishing. Kompositionen/Noten. www.fmp-publishing.de/fmplabel/verlag/ komponisten-noten.html

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Score samples from FMP artists including Peter Brötzmann, Wolfgang Fuchs, Ulrich Gumpert, Tristan Honsinger, Alexander von Schlippenbach, and others. 1776.

Gebers, Jost, et al. FMP im Rückblick: FMP in Retrospect: 1969–2010. Twelve CDs and book. Berlin: FMP-Publishing, 2010. 218 p. Box set marking the 40th anniversary and termination of Free Music Productions, with most of the music new to CD or entirely unreleased. The book includes essays on the history, aesthetics, and influence of FMP’s recordings and concert presentations by Wolf Kampmann, Felix Klopotek, Wolfram Knauer, Bernd Mehlitz, Bert Noglik, Bill Shoemaker, and Ken Vandermark, plus photos by Dagmar Gebers and art by Peter Brötzmann. The texts are online at www.fmp-label.de/freemusicproduction/ labelscatalog/xfmpse2010_en.html

1777.

Gebers, Jost, et  al. For Example: Workshop Freie Musik 1969–1978: Records Photographs Documents Statements Analyses. 3 LPs and book. Berlin: FMP, 1978. 138 p. Box set with one disc each of solo, small group, and large ensemble performances, and a book, which includes short texts by Peter Brötzmann, Steve Lacy, and Misha Mengelberg, and longer, more critical/historical ones on European free music by Wolfgang Burde, Ekkehard Jost, Wilhelm Liefland, and others. Most are online at www.fmp-label.de/freemusicproduction/labelscatalog/xfmpse1978_en.html

ARTISTS Brötzmann, Peter 1778. Arndt, Jürgen. “Misha Mengelberg und Peter Brötzmann in Improvisatorischen Dialogen zwischen Europa un den USA.” Jazzforschung/Jazz Research. 42 (2010). 33–58. Arndt sees Brötzmann and Mengelberg’s work as in dialogue with ideas of European and American jazz, as well as with American musicians themselves. Both artists’ relationships to new music and to Fluxus are described, but Brötzmann dominates the article, with sections devoted to his groups Alarm, Die Like a Dog, the Chicago Tentet, and the cooperative quartet Last Exit. In German. 1779.

Barnes, Mike. “Invisible Jukebox: Peter Brötzmann and Heather Leigh.” The Wire. 395 (Jan. 2017). 22–26. Brötzmann and his collaborator, pedal steel guitarist Leigh, comment on recordings by Derek Bailey & Evan Parker, Sonny Sharrock, Mats Gustafsson & Paal NilssenLove, Borbetomagus, and others.

1780.

Bauer, Christoph. J. Brötzmann: Gesprache. Berlin, Posth, 2012. 174 p. Four conversations in 2011 and 2012 are edited into a single career-spanning interview, with a biographical foreword and theoretical afterword by Bauer and a name index. In German.

1781.

Brötzmann, Peter. Brötzmann Graphic Works 1969–2016. Hofheim: Wolke Verlag, 2016. 368 p. Compiles posters, album covers, and other visuals with short texts by Jost Gebers, John Corbett, and others on his career. The ephemera document the history of the

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Total Music Meetings and Free Music Workshop, among other events, and most of his and FMP’s discographies. 1782.

Brötzmann, Peter, and Gérard Rouy. We Thought We Could Change the World. Hofheim: Wolke Verlag, 2014. 191 p. Interviews from the French magazine Jazz and Soldier of the Road (1783) are assembled into a memoir, including unpublished material. Brötzmann traces the evolution of his bands, particularly the trios with Peter Kowald and Sven-Åke Johansson, Han Bennink and Fred Van Hove, and Harry Miller and Louis Moholo, but also Last Exit and larger projects including Machine Gun, Alarm, Marz Combo, and the Chicago Tentet. He also discusses the political and personal significance of his work and its connection to his visual art. There are substantial portfolios of photos from his musical career and reproductions of his artwork.

1783.

Josse, Bernard, dir. Soldier of the Road: A Portrait of Peter Brötzmann. DVD video. [France?}: Cinésolo, 2011. Ninety minute documentary based on an autobiographical interview with Brötzmann, intercut with performances by Full Blast, Sonore, the Chicago Tentet, and The Damage is Done (with Joe McPhee), plus interviews with Evan Parker, Fred Van Hove, Han Bennink, and Mats Gustafsson. In English, French, and German.

1784.

Keenan, David. “Last Man Standing.” The Wire. 345 (Nov. 2012). 38–44. Cover story career survey, including an interview on predictability and risk in improvisation, particularly the music of the Tentet, and quitting drinking.

1785.

Keenan, David. “Last Man Still Standing.” The Wire. 346 (Dec. 2012). 32–36. Additional interview material from 1784, including thoughts on his role in defining European free music, his relation to the left, “world music” collaborations, early hostility to his work from free jazz players with conventional jazz backgrounds, and Sonny Sharrock vs. Derek Bailey as guitarists.

1786.

Loewy, Steven A. “Peter Brötzmann: Leader of the Pack Unmasked.” Coda. 284 (Mar/ Apr. 1999). 8–12. Career-spanning interview-based profile, with particular attention to his early years in Wuppertal with Peter Kowald, Machine Gun, Last Exit, and the recent Chicago Tentet and Die Like a Dog bands.

1787.

Morgan, Jon C. “Iron Lungs.” The Wire. 188 (Oct. 1999). 26–29. Interview-based feature recapping his career and describing the development of his Die Like a Dog quartet from a duo with Hamid Drake. He also compliments Borah Bergman as one of the few American pianists he likes, criticizes musicians who do jazz or improvised music as a sideline while supporting themselves with academic jobs or commercial music, and rejects the idea of European free music becoming “emancipated” from American models, arguing that the energy of African-American jazz has been central to the free music he respects.

1788.

Rusch, Bob. “Peter Brötzmann Interview.” Cadence. Feb. 1999. 5–7. Asked if there is a particular European style of free playing, he pivots to discuss his work with American musicians such as Hamid Drake, Andrew Cyrille, and William Parker, and asserts that early recognition from Don Cherry and Carla Bley raised his status among German players.

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Shoemaker, Bill. “Han Bennink/Peter Brötzmann: First Entrances and Last Exits.” Downbeat. Jan. 1987. 24–26. Double interview on their respective careers, the parallel FMP and ICP organizations, free music in the US vs. Europe, and their experiences of government support.

1790.

Witherden, Barry. “Low Life Giant.” The Wire. 73 (Mar. 1990). 38–39, 41. Interview-based profile on Last Exit, FMP, solo playing, and his use of the tarogato and bass sax.

1791.

Woodard, Josef. “Peter Brötzmann: Perpetually Seeking Freedom.” Downbeat. Jan. 2012. 40–45. Retrospective feature interview including his periodic encounters with Evan Parker, collaborations with Dutch, English, and American musicians, and his relationship to the tenor saxophone and other horns. A sidebar includes comments from Parker, Ken Vandermark, and Paal-Nilssen Love.

Dörner, Axel 1792.

Chénard, Marc. “The Other Trumpet of Axel Dörner.” Coda. 302 (Mar/Apr. 2002). 11–13. Interview-based feature on his background, microtonality and the slide trumpet, the Monk’s Casino project, and other ensembles.

Fuchs, Wolfgang 1793.

Corbett, John. “Wolfgang Fuchs Interview.” Cadence. Mar. 1990. 5–8. 88–89. Topics include his musical education, his trio with Fred van Hove and Paul Lytton, the King Ubu Orchestra, ideological and aesthetic aspects of his music, and improvisers’ habit of playing more varied or commercial music as they age.

Graewe, Georg 1794.

Buium, Greg. “Jumpin’ In.” Point of Departure. 57 (Dec. 2016). n.p. http://pointof departure.org/archives/PoD-57/PoD57JumpinIn.html Conversation on the 40th anniversary of his debut album New Movements. He discusses his early development, the making of the album, his GrubenKlang Orchestra, and the trio with Ernst Reijseger and Gerry Hemingway.

1795.

Morgan, Jon C. “Continental Drift.” Signal to Noise. 17 (May/June 2000). 18–20. Interview-based profile discussing his regular quartet, numerous ad hoc collaborations, solo playing, and his Random Acoustics label.

Hampel, Gunter 1796.

Hentoff, Nat. “Gunter Hampel: An Introduction.” Jazz & Pop. 9:7 (July 1970). 25–27.

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Interview-based profile promoting the US release of The 8th of July, 1969, discussing his background, work with Willem Breuker and Marion Brown, and the music on the LP. 1797.

Hicks, Robert H. “Galaxie Dream Bands: The World of Gunter Hampel.” Coda. 237 (May/June 1991). 14–15. Interview-based profile discussing balancing writing for specific musicians with giving them freedom to interpret the material, and European and African musical systems.

1798.

Hicks, Robert. “Riffs: Gunter Hampel.” Downbeat. Feb. 1992. 14. Promoting his album Celestial Glory, Hampel briefly discusses his ensemble concept.

1799.

Lange, Art. “Interview with Gunter Hampel.” Brilliant Corners: A Magazine of the Arts. 9 (Summer 1978). 83–95. Topics include his childhood musical experiences, working with Hans Werner Henze and Krzysztof Penderecki, issues with European composers incorporating improvisation, solo vs. group playing, Europe vs. the US, working with different genres and traditions, and his music’s connections to dance.

1800.

Lo Conte, V. “Gunter Hampel Interview.” Cadence. Aug. 2002. 5–12. Long biographical interview including his collaborations with Anthony Braxton, Marion Brown, Perry Robinson, Manfred Schoof, and the state of the scene.

Koch, Hans 1801.

O’Driscoll, Declan. “Hans Koch Interview.” Cadence. June 2001. 5–7. Discusses his musical background, the influence of Evan Parker, playing solo, with various New York improvisers, and forming a trio with Martin Schutz and Freddy Studer.

Kowald, Peter 1802.

Brennan, Gerald E. “Peter Kowald Interview.” Cadence. Mar. 2005. 5–19. Extended conversation, from his childhood to his 2000 US tour, touching on Carla Bley’s Jazz Realities quintet, Peter Brötzmann’s For Adolphe Sax and Machine Gun, the Spontaneous Music Ensemble, Globe Unity, his trio with Leo Smith and Gunter “Baby” Sommer, solo playing, his Duos records, the Sound Unity Festival, and his year at home project (1805).

1803.

Gray, Larissa. “Doublebass Ambassador.” Signal to Noise. 19 (Fall 2000). 18–23. Gray joins the Atlanta to New Orleans leg of Kowald’s Off the Road tour, witnessing a workshop, a solo set, a concert of duets with the workshop participants, and a trio performance with Kidd Jordan and Alvin Fielder. Rob Cambre is their host; they also visit John Sinclair.

1804.

Kowald, Peter. “Was da ist: Gedanken über Freie Improvisation in der Musik und ihre Strukturierung.” Neue Zeitschrift für Musik. 160:4 (July/August 1999). 10–13.

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Poetic and practical thoughts on the conscious and unconscious organization of improvised music, including collaborations with musicians trained in non-Western improvisational systems. In German. 1805.

Kowald, Peter, ed. Almanach der “365 Tage am Ort:” Luisenstraße Wuppertal. Köln: Walther König, 1998. 235 p. Between May 1, 1994 and April 1995 Kowald stayed home in a studio apartment, performing weekly in solo, collaborative, and workshop situations, as well as hosting public lectures and interviews. This book collects his and others’ accounts, numerous black and white photos, transcripts of interviews with Misha Mengelberg, Butch Morris, Evan Parker, Joëlle Léandre, Jeanne Lee, and other visiting artists, and a copy of Morris’ notes on the Conduction he organized at Kowald’s studio. All but the last are in German.

1806.

Kowald, Peter, and Laurence Petit-Jouvet. Off the Road. CD + 2DVDs. Paris: Rogue Art, 2007. Two documentary films on his 2000 US tour. Off the Road is a road movie with excerpts from performances with artists including Eddie Gale, Kidd Jordan, George Lewis, Miya Masaoka, William Parker, Dana Reason, Gino Robair, and others. Concert organizers Rob Cambre and Pedro Moreno appear, as does John Sinclair. Kowald grapples with issues of race in the music and in American cities, and the film gives a snapshot of the US creative music underground. Chicago Improvisations focuses on his appearances at the Empty Bottle Festival with Fred Anderson and Hamid Drake and with Floros Floridis and Gunter “Baby” Sommer, as well as a recording session with Ken Vandermark and interviews with all. A CD of selected performances is also included.

1807.

Monk, Vanita and Johanna. “Peter Kowald: Musical Refugee.” Monastery Bulletin. Aug. 4, 2001. n.p. www.monastery.nl/bulletin/kowald/kowald.html Interview, contrasting the approaches of John Cage and Peter Brötzmann and arguing for the relevance of both, making a case for cross-cultural improvisation, describing his generation’s alienation from German identity post-WWII, and discussing how the bass and other European instruments have been adapted by African-American players and musicians from other traditions.

Kühn, Joachim 1808.

Kühn, Joachim, and Bert Noglik. “Improvisation und Musikalische Realität.” Improvisieren . .  . ed. Wolfram Knauer. Darmstädter Beträige zur Jazzforschung. 8 (2004). 167–181. Conversation (in German) covering Kühn’s trio with Jean-François Jenny-Clark and Daniel Humair, his influences on piano, the clarinetists he absorbed through his brother, his studies and collaboration with Ornette Coleman, and other projects.

Lovens, Paul 1809.

Carnevale, Bruce. “Paul Lovens: Becoming Drum and Saw.” Coda. 309 (May/June 2003). 11–13.

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Career-spanning interview, particularly discussing his physical approach to the drums and his collaborations with Eugene Chadbourne, Peter Brötzmann, and the trio with Evan Parker and Alexander von Schlippenbach. 1810.

Schmickl, Philipp, and Paul Lovens. “Gespräche mit Paul Lovens.” The Oral. 3 (2011). 1–43. https://theoral.files.wordpress.com/2016/07/theoralno3lovenshp1.pdf Three interviews, in German, covering his everyday life and his work with Maarten van Altena, Eugene Chadbourne, Peter Kowald, Buschi Niebergall, Cecil Taylor, and the Globe Unity Orchestra.

Mangelsdorff, Albert 1811.

Knauer, Wolfram. “‘Three Angels:’ Albert Mangelsdorff ’s and Other Jazz Musicians’ Reworking of the German Folk Music Tradition.” Current Research in Jazz. 4 (2012). n.p. www.crj-online.org/v4/CRJ-ThreeAngels.php The use of folk music to express roots is considered in pieces including Mangelsdorff ’s 1964 Now Jazz Ramwong LP, which employed Asian, German, and AfricanAmerican folk themes and forms around modal and free improvisations. Knauer looks at meanings of “roots” in American jazz and of “volk” in German musical discourse and compares Mangelsdorff to other West and East German artists working with similar material.

1812.

Knauer, Wolfram, ed. Albert Mangelsdorff: Tension, Spannung. Darmstädter Beträige zur Jazzforschung 11. Darmstadt: Jazzinstitut Darmstadt, 2010. 314 p. Special journal issue centered on but not exclusively dedicated to Mangelsdorff, including an article on his early career by Wolfgang Sandner, a study of major themes in his work, such as folklore, international collaborations, and politics, by Knauer, a piece on Mangelsdorff ’s autobiographical statements by Harald Justin, another by Michael Rieth tracing German identity, Black music, and anarchism as themes in his work, a history of his long-running small group by Jürgen Schwab, and a collection of comments by other musicians on his unique virtuosity, assembled by Michael Rüsenberg. There are also several essays on German and European jazz in which Mangelsdorff appears in passing, which are listed separately. In German.

1813.

Paulot, Bruno. Albert Mangelsdorff: Gespräche. Waakirchen: Oreos, 1993. 275 p. Chronologically and topically arranged oral history-style biography, with contributions from Manfred Schoof, Gunter Lenz, Hans Sauer, Attila Zoller, and others. Includes a chapter on free jazz. In German.

1814.

Shoemaker, Bill. “Page One.” Point of Departure. 58 (Mar. 2017). n.p. http://point ofdeparture.org/archives/PoD-58/PoD58PageOne.html An appreciation of the 1971 collaboration between Mangelsdorff and the Brötzmann/ Van Hove/Bennink trio (released on 3 FMP LPs and a CD box set), prefaced with accounts of Mangelsdorff and Brötzmann’s preceding work, the formation of German identity in jazz, their previous meetings in Alexander von Schlippenbach’s Globe Unity Orchestra, and critics’ perception of them as opposites: the versatile, well-behaved virtuoso and the brute.

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Petrowsky, Ernst-Ludwig 1815.

Corbett, John. “Ernst-Ludwig Petrowsky: Interview.” Cadence. Sept. 1989. 16–18, 20. On his musical background, jazz and improvised music in East Germany, and the role of FMP and the Globe Unity Orchestra.

1816.

Kisiedu, Harald. “Sounding Like a Mad Hatter: Ernst-Ludwig Petrowsky and the Beginnings of Jazz Experimentalism in East Germany.” Critical Studies in Improvisation. 11:1–2 (2017). n.p. www.criticalimprov.com/article/view/3718 Drawing on original interviews as well as publications in German and English, this revised version of the third chapter of 1769 presents Petrowsky’s early life and work, which significantly intersect Joachim Kühn’s, as well as the changing social context for jazz after the German partition.

Schlippenbach, Alexander von 1817.

Henkin, Andrey. “Alexander von Schlippenbach Interview.” Cadence. July 2004. 18–21. Topics include his early recordings with Manfred Schoof and Gunter Hampel, their greater grounding in classical music compared to Americans, government arts funding, the origins and history of the Globe Unity Orchestra, his series of duo recordings with drummers, his ongoing work with Evan Parker, and his interest in elements of the jazz tradition, such as Teddy Wilson and Thelonious Monk.

1818.

Jeske, Lee. “Free Players from Many Lands Form Globe Unity Orchestra.” Downbeat. Sept. 1980. 28, 31–33. Interview with Schlippenbach, Albert Mangelsdorff, and Enrico Rava on the group’s formation, the structure of their performances, audience response, and comparing the aesthetics and economics of improvised music in Europe and the US.

1819.

Keenan, David. “The Gambler.” The Wire. 255 (May 2005). 36–41. Interview-based feature discussing the new Monk’s Casino album, which reinterprets Thelonious Monk’s entire catalog, his musical development, the Manfred Schoof quintet, Globe Unity, and his trio with Evan Parker and Paul Lovens.

1820.

Panken, Ted. “Alexander von Schlippenbach: Driving Force.” Downbeat. May 2013. 38–41. Comments by Evan Parker and George Lewis introduce an interview which touches on Monk, Dolphy, serial music, and his trio with Parker and Paul Lovens.

1821.

Schlippenbach, Alexander von. “Partiturseite aus Player’s Finery.“ in Jazz Op. 3: Die Heimliche Liebe Des Jazz Zur Europäischen Moderne. ed. Ingrid Karl. Wien: Löcker, 1986. 300. A page from a relatively conventional-looking unrecorded big band score, possibly for the Berlin Jazz Composers’ Orchestra, appears as an illustration. It is dated 1980 and contains nine bars of what seems to be a shout chorus.

1822.

Schoch, Bernd, dir. Aber das Wort Hund Belt Ja Nicht. DVD. Aachen, Germany: Po Torch Records, 2015. Documentary intercutting a performance by Schlippenbach’s trio with Evan Parker and Paul Lovens with interviews of the three musicians and abstract footage. The

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interviews are available in full as bonus features. In German and English, with English subtitles. 1823.

Shoemaker, Bill. “Global Unity.” JazzTimes. May 2004. 84–87. Career overview, with Schlippenbach’s comments. The Globe Unity Orchestra, Berlin Jazz Composers Orchestra, and his trio with Evan Parker and Paul Lovens are featured, as are his collaborations with 1960s free jazz veterans Sunny Murray and Sam Rivers.

1824.

Shoemaker, Bill. “The Living Music: Alexander von Schlippenbach and Globe Unity Orchestra in Lisbon.” Point of Departure. 2 (Nov. 2005). n.p. www.pointofdeparture. org/archives/PoD-2/PoD-2_the_living_music.html www.pointofdeparture.org/archives/ PoD-2/PoD-2_the_living_music-2.html In three parts: a profile presenting his recent Globe Unity 2002, Monk’s Casino, and Twelve Tone Tales CDs, as well as a reissue of Pakistani Pomade with Evan Parker and Paul Lovens, followed by an interview on the same topics, particularly the critical responses to Globe Unity and his varying relationship to composition and the jazz tradition, which led to the establishment of the Berlin Jazz Composers Orchestra, and a review of a concert by the trio and Globe Unity.

1825.

Svirchev, Laurence. “‘If You Start from Point-Zero, You Have to Imagine Something:’ An Interview with Alexander von Schlippenbach.” jazzhouse.org 2006. n.p. www. jazzhouse.org/library/?read=svirchev11 Conversation covering details of the Globe Unity Orchestra, Monk’s Casino, Schlippenbach’s use of the 12-tone system, and his work with Gunter Hampel and Steve Lacy.

Schweizer, Irène 1826.

Broecking, Christian. “‘Authentic Lesbian as I am:’ Aspects of Gender, Marginalization, and Political Protest in the Life and Work of Irène Schweizer.” in Gender and Identity in Jazz. ed. Wolfram Knauer. Darmstädter Beiträge zur Jazzforschung. 14 (2016). 277–290. An overview of material on gender and sexuality from 1827, including comments from George Lewis, Evan Parker, Hamid Drake, Joëlle Léandre, Barre Phillips, Louis Moholo, Marilyn Crispell, Reggie Workman, and others.

1827.

Broecking, Christian. Dises Unbändige Gefühl der Freiheit: Irène Schweizer—Jazz, Avantgarde, Politik: Die Autorisierte Biografie. Berlin: Broecking, 2016. 479 p. Authorized biography, based on interviews with Schweizer, her family, and her musical collaborators. Organized chronologically, highlighting major performances and recordings, and also addressing her involvement with feminist and LGBT issues. A transcription and analysis of her solo piece “Jungle Beats II” and a discography are appended. In German.

1828.

Gsell, Gitta, dir. Irène Schweizer. DVD video. Zurich: Reck-Filmproduktion, 2006. Seventy-five minute documentary profile mixing interviews and new and old performance footage. Fred Anderson, Hamid Drake, Louis Moholo, Pierre Favre, Joëlle Léandre, Maggie Nichols, and Han Bennink perform, and a segment on Les Diaboliques addresses gender and sexuality. In German with English subtitles.

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Hale, James. “Irène Schweizer: Many & One Direction.” Coda. 276 (Nov/Dec. 1997). 14–15. Interview-based profile reviewing her career from her FMP albums through the Feminist Improvising Group to her co-founding Intakt Records and recording a series of duet albums with drummers.

1830.

Rusch, Bob. “Irene Schweizer Interview.” Cadence. Jan. 1991. 5–12, 23, 27. Topics include Intakt Records and FMP, the Feminist Improvising Group, identifying as a jazz musician but often playing with improvisers who do not, and the influence on her music and career of being a woman, a feminist, and a lesbian.

ITALY General Works 1831. Roncaglia, Gian Carlo. Il Jazz e il Suo Mondo. Torino: Giulio Einaudi, 2006. vi, 623 p. General jazz history, in Italian, presenting American free jazz in detail and largely in relation to the Black Power movement. The chapter on Italian jazz highlights free players Giorgio Gaslini, Mario Schiano, and Andrea Centazzo, with attention to the political affiliations of the music. 1832.

Soutif, Daniel. “‘O Vero Free: Le Nouveau Village sur la Gauche.” in Polyfree: La Jazzosphère, et Ailleurs (1970–2015). eds. Philippe Carles and Alexandre Pierrepont. Paris: Éditions Outre Mesure, 2016. 191–200. A story of Italian free jazz, centered on Enrico Rava, Mario Schiano, and Marcello Melis, all founding members of the Gruppo Romano di Free Jazz. Melis’ 1974 LP New Village on the Left gives the article its subtitle. Franco D’Andrea, Steve Lacy, Giorgio Gaslini, Andrea Centazzo, Roswell Rudd, and Giancarlo Schiaffini all appear through collaborations with the original three. In French.

ARTISTS Centazzo, Andrea 1833.

Centazzo, Andrea. Andrea Centazzo. Five vols. Milan: Warner Chappel, 1994. n.p. Selected scores. Volume one is works for orchestra, two large ensembles, three chamber groups and solo performers, four percussion and strings, and five opera and other vocal music. Includes pieces recorded by improvising ensembles such as the Mitteleuropa Orchestra and the West Coast Chamber Jazz Trio.

1834.

Centazzo, Andrea. La Percussion: Nuove Techniche/Percussion: New Techniques. Milan: Ricordi, 1983. 84 p. A guide for players and composers to new members of the percussion family, new ways of playing the established ones, and the use of electronics to alter sound. With score examples from a wide range of 20th century repertoire, including Stravinsky,

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Stockhuasen, Nono, Berio, and Cage, and Centazzo’s own work. Bilingual English/ Italian text. 1835.

De Salvador, Stefania. Andrea Centazzo: Musician without Boundaries. trans. Maureen Lisi. Los Angeles: Index Audiovideo Productions, 1993. 128 p. Bilingual Italian/English authorized biography, with his participation. Covers his work with Giorgio Gaslini and Steve Lacy, his own music, and the Ictus Records label.

Gaslini, Giorgio 1836.

Bassi, Adriano. Giorgio Gaslini: Non Solo Jazz. Monza: Casa Musicale Eco, 2016. 227 p. Update of 1840, incorporating the last three decades of his life, testimonials and memories from collaborators, and analyses of additional pieces.

1837. Cresti, Renzo. Linguaggio Musicale di Giorgio Gaslini . Milano: G. Miano, 1995. 93 p. Career overview, discussing his concept of “musica totale” using social and psychoanalytic theory, with particular reference to his piece “Skies of Europe,” written for the Italian Instabile Orchestra in the 1990s. In Italian. 1838.

Gaslini, Giorgio. Tecnica e Arte del Jazz: Il Ritmo, Le Scale, Gli Accordi, La Composizione, L’improvvisazione, Le Nuove Strade. Milano: Ricordi, 1982. 216 p. An Italian-language introduction to the materials of jazz: rhythm, scales, harmony, composition, and improvisation, based in his aesthetics and including his compositions “Sharing” and “Tempo e Realzione” alongside excerpts from Jelly Roll Morton, Duke Ellington, and John Coltrane.

1839.

Gaslini, Giorgio. Il Tempo del Musicista Totale: Il Nuovo Testo Dell’autore del Manifesto di Musica Totale (1964) e del Libro Cult Musica Totale (1975) Qui Inclusi. Un’idea Innovativa Che Ha Precorso IiTempi e Li Ha Attraversati Sino Agli Anni Duemila. Milano: Baldini & Castoldi, 2002. 155 p.

1840.

Gaslini, Giorgio, and Adriano Bassi. Giorgio Gaslini: Vita, Lotte, Opere di un Protagonista della Musica Contemporanea. Padova: F. Muzzio, 1986. v, 207 p.

His manifesto of “Total Music,” revisited in two essays. In Italian.

Interview-based decade-by-decade overview of his life and work, in Italian. Formal analyses of his pieces “New Feelings” and “Murales,” recorded with groups featuring Steve Lacy, Gato Barbieri, Don Cherry, Enrico Rava, Jean-François Jenny-Clark, Kent Carter, and Aldo Romano, and Bruno Tomasso and Andrea Centazzo, respectively, are central to the 1960s and 1970s chapters. 1841.

Ielmini, Davide. “Orchestra Thoughts: Jazz Composition in Europe and America. An Interview with Composer-Director Giorgio Gaslini.” in Euro Jazz Land: Jazz and European Sources, Dynamics, and Contexts. eds. Luca Cerchiari, Laurent Cugny, and Franz Kerschbaumer. Boston: Northeastern UP, 2012. 235–252. Career review, featuring the piece “Tempo e Relazione,” the album Oltre, his idea of “total music,” and a detailed account of the recording of New Feelings in 1966 with Don Cherry, Steve Lacy, and others.

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Italian Instabile Orchestra 1842.

Corbett, John. “Band with a Mission.” Downbeat. June 1998. 38–40. An overview of the Italian Instabile Orchestra and a review of their three-night festival, with comments from members Giancarlo Schiaffini, Sebi Tramontana, Guido Mazzon, and others.

Schiaffini, Giancarlo 1843.

Loewy, Steven A. “Exploring New Ground: Giancarlo Schiaffini.” Coda. 282 (Nov/ Dec. 1998). 32–34. Interview-based introduction to his career, with additional comments on the Italian free music scene compared to the US and other European countries and on Mario Schiano and Giorgio Gaslini in particular.

Schiano, Mario 1844.

Martinelli, Francesco. “A European Proposal.” Point of Departure. 12 (July 2007). n.p. www.pointofdeparture.org/archives/PoD-12/PoD12EuropeanProposal.html Career overview, with particular attention to his collaborations with Franco Guaccero.

Trovesi, Gianluigi 1845.

Ouellette, Dan. “Musician at Play.” Downbeat. June 1998. 44. Short interview-based profile, focused on his Soul Note albums From G to G and Les Hommes Armes.

1846.

Zenni, Stefano. “Gianluigi Trovesi’s Music: A Historical and Geographical ShortCircuit.” in Jazz Planet. ed. E. Taylor Atkins. Jackson: UP of MS, 2003. 115–125. After a brief biographical introduction, his pieces “Hercab,” “Now I Can,” “C’era una Strega, C’era una Fata,” Round a Midsummer Night’s Dream, and “Dance for a King” are analyzed to show his combination of European folk sources with the influences of George Russell and Eric Dolphy.

JAPAN General Works 1847.

Atkins, E. Taylor. Blue Nippon: Authenticating Jazz in Japan. Durham: Duke UP, 2001. 408 p. Update and revision of 1848.

1848.

Atkins, Everett Taylor. This is Our Music: Authenticating Japanese Jazz, 1920–1980. Ph.D. dissertation. Urbana-Champaign: U of IL, 1997. vii, 268 p. The final chapter of this work discusses Japanese musicians’ attempts to go beyond imitation of American jazz styles and the accompanying aesthetic and ideological debates. Free jazz players including Masayuki Takayanagi, Masahiko Sato, Masabumi

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Kikuchi, Yosuke Yamashita, and Masahiko Togashi worked to develop unique identities as Japanese artists while simultaneously taking inspiration from American free jazz and its accompanying radical politics. Because many of these players also worked in more mainstream settings and Japanese mainstream players faced similar issues, their stories are mixed with those of postbop artists including Sadao Watanabe, Terumasa Hino, and Toshiko Akiyoshi. Discography and bibliography, with many Japanese-language sources, are included. 1849.

Bell, Clive, ed. Resonance. 4:2 (1996). Special Japanese Issue. The London Musicians Collective’s journal looks at experimental music in Japan. Includes a memoir and survey by Otomo Yoshihide, which discusses Masayuki Takayanagi and Kaoru Abe, among others, a survey of Japanese jazz by Ekhart Derschmidt, and an interview by Stefan Jaworzyn of Derek Bailey on his work in Japan, as well as other texts on non-jazz experimental music.

1850.

Henritzi, Michel. “We Now Create: Une Histoire du Free Jazz au Japon.” in Polyfree: La Jazzosphère, et Ailleurs (1970–2015). eds. Philippe Carles and Alexandre Pierrepont. Paris: Éditions Outre Mesure, 2016. 219–229. French-language survey from Masahiko Togashi’s namesake 1969 LP through work by Yosuke Yamashita, Kaoru Abe, Masayuki Takayangi, Akira Sakata, Toshinori Kondo, and others.

1851.

Soejima, Teruto. Nihon Furī Jazu-Shi: The History of Japanese Free Jazz. Tōkyō: Seidosha, 2002. xii, 400 p. In Japanese, including sections on Masahiko Sato, Yosuke Yamashita, Masahiko Togashi, Masayuki Takayanagi, Kazutoki Umezu, and others, plus discussions of major festivals and other performances.

ARTISTS Fujii, Satoko 1852.

Drouot, Alain. “Satoko Fujii: Tokyo Dissonance.” Downbeat. Aug. 2006. 24. Interview-based career-spanning profile, discussing her many influences and projects, including work with Mark Dresser, Jim Black, Tatsuya Yoshida of The Ruins, John Hollenbeck, and others, as well as the financial complications of producing CDs in Japan for an international market.

Kondo, Toshinori 1853.

Hale, James. “Toshinori Kondo Japan.” Coda. 292 (July/Aug. 2000). 16–17. Kondo explains his musical background, his electronics setup, and how he plays in Peter Brötzmann’s Die Like a Dog.

Sakata, Akira 1854.

Hadfield, James. “Cellular Life Forms.” The Wire. 362 (Apr. 2014). 36–41.

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Interview-based feature from the Yosuke Yamashita Trio through collaborations with Peter Brötzmann and Bill Laswell (in Last Exit and individually), to his current bands with Jim O’Rourke, Darin Grey, and Chris Corsano, also discussing his work in commercial music and television comedy.

Takayanagi, Masayuka 1855.

Cummings, Alan. “Follow the Leader.” The Wire. 370 (Dec. 2014). 34. Short essay on Masayuki Takayanagi, particularly his confrontational 1971 Gen-ya Festival performance and Mass Projection concept, exploring links between his personality, politics, and music.

Yoshihide, Otomo 1856.

Shoemaker, Bill. “Otomo Yoshihide: Onkyo Master.” Downbeat. Dec. 2004. 37. Short interview-based profile starting with his New Jazz Quartet’s CD Tails Out but encompassing his solo work on guitar and turntable, John Zorn, and the Japanese improvisation scene of the 1970s.

THE NETHERLANDS General Works 1857.

Adlington, Robert. Composing Dissent: Avant-Garde Music in 1960s Amsterdam. New York: Oxford UP, 2013. xiii, 366 p. Focused on concert music, this study features Willem Breuker’s “Litany for the 14th June” and Misha Mengelberg’s “Hello Windyboys” among Dutch works which attempted to incorporate institutional critique and anarchist theory. Adlington weaves musical analysis and accounts of reception into a historical narrative and includes a detailed history of the early years of the ICP.

1858.

Adlington, Robert. “Forms of Opposition at the ‘Politiek Demonstratief Experimenteel’ Concert.” in Sound Commitments: Avant-Garde Music and the Sixties. ed. Robert Adlington. New York: Oxford UP, 2009. 56–77. The “Politiek .  .  . ” concert May 30, 1968 in Amsterdam was saturated with the countercultural energy of Amsterdam’s anarchist movement and the May ’68 Paris student/worker riots. It featured work by Peter Schat, Louis Andriessen, and Misha Mengelberg. Adlington describes the local institutional context of the concert: its relationship to various ensembles and organizations, then narrates the concert itself, which included political speeches between pieces and a rowdy audience who disrupted Mengelberg’s game piece for two wind quintets, “Hello Windboys,” analyzes the Schat and Andriessen pieces, and concludes by discussing the concert as a prototype for subsequent new music and politics events.

1859.

Rusch, Loes. “Our Subcultural Shit-Music:” Dutch Jazz, Representation, and Cultural Politics. Ph.D. dissertation. Amsterdam: U of Amsterdam, 2016. 223 p.

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Historical and sociological approach to the institutions of Dutch creative music: community, education, funding, and criticism, with chapters specifically looking at Downbeat’s coverage of Dutch jazz and the funding, production and reception of Leo Cuypers’ “Zeeland Suite.” Based on published sources, many Dutch, original interviews, and archival work. 1860.

Rusch, Loes. “Pitched Battles: Dutch Improvised Music, Authorities and Strategies.” in The Cultural Politics of Jazz Collectives: This is Our Music. eds. Nicholas Gebhardt and Tony Whyton. New York: Routledge, 2015. 42–60. Expands 1889 to give an overview of the institutional development of Dutch improvised music, from the mid-1960s visits by Ornette Coleman, Albert Ayler, and Eric Dolphy, through the formation of ICP and the establishment of other collectives, venues, and ensembles which transformed the Dutch art music scene.

1861.

van de Leur, Walter, Maarten van der Grinten, and Michael Moore, eds. NL Real Book Vol. 1. Amsterdam: Stichting Muziek Centrum Nederland, 2011. 51 p. This collection of lead sheets by Dutch jazz composers includes several artists associated with free jazz, the ICP, and other groups: Ab Baars, Sean Bergin, Michiel Braam, Willem Breuker, Leo Cuypers, Frankie Douglas, Ernst Glerum, Guus Janssen, and Misha Mengelberg, as well as more mainstream contemporary jazz. A second volume and an iPad app are forthcoming.

1862.

van Eyle, Wim. ed. Jazz en Geïmproviseerde Muziek in Nederland: Handboek voor de Nederlandse Jazzwereld. Utrecht/Antwerpen: Het Spectrum, 1978. 199 p. Dutch-language reference book, with black and white photos throughout. There are topical essays, including “Jazz and Free Improvised Music 1965–1978” by Rudy Koopmans, a one-page exchange between Willem Breuker and Misha Mengelberg, and a short survey of Dutch labels by Koopmans. A detailed chronology and biographical dictionary compose the bulk of the volume, including artists who were part of the scene but not necessarily Dutch or improvisers, such as Fred van Hove, Glenn Spearman, and Louis Andriessen.

1863.

Whitehead, Kevin. New Dutch Swing: Jazz+Classical Music+Absurdism. New York: Billboard Books, 1998. 337 p. A history and tour of the Dutch scene in the 1990s through linked in-depth interviewbased profiles of Han Bennink, Misha Mengelberg, Theo Loevendie, Willem Breuker, Arjen Gorter, Leo Cuypers, Hans Dulfer, Ernst Reijseger, Maurice Horsthuis, Ernst Glerum, Ig Hennman, Curtis Clark, Tristan Honsinger, Sean Bergin, Michael Moore, Tobias Delius, Michael Vatcher, Franky Douglas, Wolter Wierbos, Ab Baars, Maarten Altena, Cor Fuhler, and others. Steve Lacy, Peter Brötzmann, Evan Parker, and George Lewis also comment on their work with the Dutch. Descriptions of many recordings and performances are included, as are a discography and bibliography.

ARTISTS Baars, Ab 1864.

Chénard, Marc. “Ab Baars: Painting in Thousands of Colors.” Coda. 298 (July/Aug. 2001). 13–14.

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Interview-based profile, centered on his studies with John Carter, also discussing his work with ICP and his own trio.

Bennink, Han 1865.

Shoemaker, Bill. “Before & After: Han Bennink.” JazzTimes. Nov. 2002. 68–70. Blindfold test including recordings by Gene Krupa, Boy Edgar, Elvin Jones, Buddy Rich and Max Roach, Gerry Hemingway, Eric Dolphy, and Misha Mengelberg (with Joey Baron).

1866.

Uitti, Frances-Marie. “Han Bennink.” Contemporary Music Review. 25:5–6 (2006). 461–465. Interview on practicing technique and its relationship to improvising, his art training and painting, its influence on his music, Fluxus, reading music, and switching from a large percussion setup to working with found objects.

1867.

Warburton, Dan. “Invisible Jukebox: Han Bennink.” The Wire. 284 (Oct. 2007). 26–28, 30. Blind listening test, with records by Bennink’s associates Derek Bailey, Peter Brötzmann, Marion Brown, Eric Dolphy, Misha Mengelberg, and others.

1868.

Weinberg, Bob. “Traditions: The Wild Stickman of Amsterdam.” Jazziz. Spring 2010. 36–37. Short interview-based profile, touching on the formation of ICP, his work with Misha Mengeberg and Peter Brötzmann, and performing on a drum set made out of cheese. With comments from saxophonist Kenny Millions and accordionist Wil Holshouser.

Breuker, Willem 1869.

Buzelin, Jean, and Françoise Fauconnet-Buzelin. Willem Breuker. Paris: Éd. du Limon, 1992. 262 p. French monograph divided between a biography, with substantial coverage of ICP during Breuker’s membership, and a study of his work, both sociologically and musicologically. Each section goes album-by-album, with the second including analysis of his 1981 “To Remain” with score excerpts. Discography, bibliography, and listings of Breuker’s music for films, theater, television, and prizes are appended.

1870.

Koopmans, Rudy. “The Retarded Clockmaker.” Key Notes: Musical Life in the Netherlands. 1 (1975). 19–31. An appreciation of the music theatre works of Willem Breuker and Misha Mengelberg, with numerous black and white photographs. In Breuker’s Litanie, Kain en Abel, Oltre Tomba, and De Achterlijke Klokkenmaker, and Mengelberg’s Met Welbeleefde Groet van het Kameel and He He He Waar is de Marchausse? the often-humorous theatrics of ICP and the Breuker Kollektief are used in full-length scenarios with costumes, actors, and other trappings. Artuad, Brecht, Sun Ra, and Fluxus are all cited as influences.

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Rusch, Bob. “Willem Breuker Interview Part One.” Cadence. Mar. 1994. 5–10, 32. On his musical development and the Willem Breuker Kollektief, also discussing Globe Unity, ICP, the influence of Albert Ayler, and Dutch and German musical identities.

1872.

Rusch, Bob. “Willem Breuker Interview Part Two.” Cadence. Apr. 1994. 16–26. Topics include the founding of ICP and his conflicts with the other partners: Misha Mengelberg and Han Bennink, touring with the Kollektief, recording with Gunter Hampel for ESP, and the whereabouts of some of his more obscure collaborators, including Nedley Elstak and Leo Cuypers.

Delius, Tobias 1873.

Buium, Greg. “Tobias Delius: Reading Cues.” Downbeat. Apr. 2003. 28. Briefly describes the working methods of his quartet, who spontaneously move through their book of compositions, cuing sections in performance.

1874.

Morgan, Jon. “Powerful Voices: Tobias Delius.” Coda. 289 (Jan/Feb. 2000). 16–18. Interview-based profile, centered on his quartet with Tristan Honsinger, Joe Williamson, and Han Bennink, also discussing his musical education, the band Available Jelly, his sideman work with Louis Moholo and Sean Bergin, and other projects.

Gortner, Arjen 1875.

Rusch, Bob. “Arjen Gortner Interview.” Cadence. March 1981. 10–13. The Willem Breuker Kollektief dominates this conversation, particularly their use of musical and theatrical humor. His work with Leo Cuypers and Gunter Hampel is also briefly discussed.

Hazevoet, Kees 1876.

Allen, Clifford. “Kees Hazevoet Interview.” Paris Transatlantic. Autumn 2009. n.p. www.paristransatlantic.com/magazine/interviews/hazevoet.html Career retrospective, from his first exposure to jazz and improvised music to his work with Willem Breuker, handful of self-produced albums with Han Bennink and others, and the decision to leave music and Europe.

Honsinger, Tristan 1877.

Buium, Greg. “Tristan Honsinger: The Process and the Dilemmas.” Coda. 300/301 (Nov. 2001–Feb. 2002). 26–28. Interview-based feature, reviewing his career but tied to his recent appearances with multiple groups at the Vancouver Jazz festival and the premiere of his opera Il Profumo del Diavolo, also discussing the cuing system developed for his Map of Moods album, which is also used in Tobias Delius’ quartet.

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Scott, Richard. “Cello Fever.” The Wire. 96 (Feb. 1992). 18–21. Interview with Tristan Honsinger, largely on the philosophy of improvisation, with some discussion of his musical background.

1879.

Uitti, Frances-Marie. “Tristan Honsinger.” Contemporary Music Review. 25:5–6 (2006). 475–479. Uitti interviews her fellow cellist on his relationship with the instrument, the audience, and formal music study.

Mengelberg, Misha, and the ICP Orchestra 1880.

Applebaum, Larry. “Before & After: Misha Mengelberg.” JazzTimes. June 2005. 40–44, 131. Blindfold test including recordings by the Art Ensemble of Chicago, Eric Dolphy, Dave Douglas, Duke Ellington, Dave Holland, Joe Lovano, Grachan Moncur III, Yosuke Yamashita, and others.

1881.

Dekker, Jellie, dir. Afijn. DVD video. 77 min. Amsterdam: ICP, 2006. Biographical documentary with interviews of Mengelberg, Dave Douglas, Louis Andriessen, and the members of ICP. DVD includes complete performances by ICP, Mengelberg dueting with Douglas and Han Bennink, and ICP with Anthony Braxton. In Dutch, with English subtitles.

1882.

Duyns, Cherry, dir. Misha Enzovoort. DVD and CD. Amsterdam: ICP, 2015. Sixty-five minute documentary on Mengelberg, his family, and the members of ICP dealing with the progress of his Alzheimer’s. In Dutch, with interview passages in English and German.

1883.

Gottschalk, Kurt. “What’s So Funny about Reeds, Brass, and Syncopation?” Signal to Noise. 62 (Summer 2011). 12–22. The author spent three days in Philadelphia with the ICP, speaking with most of the members and watching them rehearse and plan their performances.

1884.

Jackson, Michael. “In for Life: The 40-Year Coincidental Saga of the Instant Composers Pool.” Downbeat. Apr. 2007. 38–43. Anniversary profile with comments from all current members plus Dave Douglas and manager Susana von Canon. Also includes trading card-style images of each musician, listing their birthplace, length of service, instruments, musical philosophy, most and least favorite improvisational devices, and shoe size. Discussions cover Mengelberg’s uses of Thelonious Monk’s music, the management of the ICP Records catalog, and Mengelberg and Bennink’s work with Derek Bailey, as well as the performance practices and collective culture of the ensemble.

1885.

Koopmans, Rudy. “On Music and Politics: Activism of Five Dutch Composers.” trans. Gary Schwartz. Key Notes. 4 (1976/2). 19–35. Koopmans revisits the radical 1968 work of the composers who collaborated on the experimental opera Reconstruction and on disruptions of public musical life, including Mengelberg and Louis Andriessen. Includes a chronology, passages from documents in Andriessen’s archive, and new interviews.

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Mengelberg, Misha. Goeden Dagjes: Misha’s Moments Musicaux. Transcribed by Michael Moore. Amsterdam: Stichting Muziek Centrum Nederland, 2009. www. icporchestra.com/misha/2016/1/6/music Lead sheets for 26 Mengelberg compositions, recorded with his quartets, trios, the ICP Orchestra, and with Eric Dolphy. In standard notation with chord changes, including some bass lines and countermelodies.

1887.

Mengelberg, Misha. “Partiturseite aus Met Welbeleffde Groet van de Kameel.” in Jazz Op. 3: Die Heimliche Liebe Des Jazz Zur Europäischen Moderne. ed. Ingrid Karl. Wien: Löcker, 1986. 289. A page from this composition for ICP, during which a guest soloist improvises at extreme length over a vamp while stagehands using power tools cut a wooden chair into the outline of a camel, appears as an illustration.

1888.

Mengelberg, Misha, et  al. “Misha Mengelberg Spricht über Seine Musik: Von Fahrrädern, Hausen, und Provokationen: Transkritpion eniner Kollektivimprovisation.” in Jazz in Europa. Darmstädter Beiträge zur Jazzforschung 3. ed. Wolfram Knauer. Darmstadt: Jazz-Institut Darmstadt, 1994. 169–181. Critics including Knauer and Ekkehard Jost, as well as members of the public, ask Mengelberg about topics ranging from his various ensembles and collaborations to political and practical aspects of composing for improvisers. His answers are unusually long and forthcoming. In German.

1889.

Rusch, Loes. “Common Ground: 1970s Improvised Music as Part of a Cross-Genre Dutch Ensemble Culture.” Jazz Research Journal. 2012. 123–141. In the late 1960s politically engaged new music advocates were able to form a number of ensembles, gain state support, and establish a new musical establishment. Rusch revisits this history to demonstrate that improvisers were an essential part, particularly the founders of ICP.

1890.

Schuiling, Floris. “Animals, Viruses, and Instant Composition: Misha Mengelberg’s Philosophy of Music.” Lecture given at “Misha’s Middag” symposium, Amsterdam, June 6, 2015. Video at www.youtube.com/watch?v=w8IFozkoqgI Twenty-minute presentation on composition in the ICP, both Mengelberg’s use of fragmented compositions and games and the band’s playful approach to scores, identifying roots and inspirations for these techniques in Fluxus, late 1960s critiques of the power relationships of composer, conductor, and performer, and animal behavior.

1891.

Schuiling, Floris. Animate Structures: The Compositions and Improvisations of the Instant Composers Pool Orchestra. Ph.D. dissertation. Cambridge, UK: Cambridge U, 2015. xii, 295 p. https://www.repository.cam.ac.uk/handle/1810/273767 Combining interviews with band members and analysis of multiple performances to document the ICP from the formation of a stable core lineup in 1980 through Mengelberg’s retirement and to analyze their performance practice, which includes free use of composed materials, cuing systems, and musical games.

1892.

Schuiling, Floris. “Compositions in Improvisation: The Instant Composers Pool Orchestra.” ACT: Zeitschrift für Musik & Performance. 2014–15. 1–23. Revisiting material from 1893, but emphasizing the incomplete nature of Mengelberg’s compositions and the spontaneous and disruptive ways they are used in

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performance. Scores of his “Paardenbloem,” “Tijd Voor de Quadrille,” and “Niet Zus, Maarzo” and of a page of his arrangement of Monk’s “Criss Cross” are provided, illustrating the different onstage social dynamics created by each. The first is a musical “virus,” which can be introduced by any player at any time and potentially take over the performance; the second and third happen to be printed on the same page, which has led to both tunes being accidentally played at once by different parts of the band, a situation embraced rather than corrected, and the Monk arrangement incorporates a negotiation between the viola and soloists over the length of each solo. 1893.

Schuiling, Floris. Improvised Music as Social Interaction: The Performance Practice of the Instant Composers Pool. M.A. thesis. Utrecht: Universiteit Utrecht, 2011. 90 p. The music of ICP is approached through relational musicology, understanding music as a complex of human interactions, not an idealized autonomous text. The group’s history, Mengelberg and Bennnk’s uses of humor and irony, and the influence of Fluxus are discussed. Appendices include lead sheets for “Brozziman,” “HypoXmastreefuzz,” “Der Sprong, O Romaniek der Hazen,” “Japon, Japon,” and “Driekusman Total Loss” from 1886, and transcribed scores for “Carnaval” and ICP’s arrangement of Monk’s “Four in One.”

1894.

Schuiling, Floris. “The Instant Composers Pool: Music Notation and the Meditation of Improvising Agency.” Cadernos de Arts e Antropologia. 5:1 (2016). 39–58. https:// cadernosaa.revues.org/1028 On ICP’s plastic use of scores as a literal manifestation of the theory of relational musicology, which approaches music as a set of social relationships, drawing on original interviews with members Tobias Delius, Thomas Heberer, Michael Moore, and Wolter Wierbos.

1895.

Uitti, Frances-Marie. “Misha Mengelberg.” Contemporary Music Review. 25:5–6 (2006). 467–474. Interview on improvisation in general, also covering his favorite playing partners, Surrealism, boredom, John Cage, Louis Andriessen, and Giacinto Scelsi.

1896.

Warburton, Dan. “Misha Mengelberg Interview.” Paris Transatlantic. Apr. 29, 1996. n.p. www.paristransatlantic.com/magazine/interviews/mengelberg.html Topics include his musical background, work with Eric Dolphy, composing for improvisers, the formation of ICP, his relationship to Dada, Fluxus, John Cage, and Maoism, and meeting and playing for Thelonious Monk.

1897.

Whitehead, Kevin. “Digested Lessons of the Master.” Lecture given at “Misha’s Middag” symposium, Amsterdam, June 6, 2015. Video at www.youtube.com/ watch?v=xevgFYcvm_0&t=353s Half-hour talk on Mengelberg’s compositional and ensemble techniques, using bovine digestion as an extended metaphor (inspired by his opera Cows [1898]).

1898.

Whitehead, Kevin. “Misha’s Cows Comes Home.” Point of Departure. 52 (Sept. 2015). n.p. www.pointofdeparture.org/PoD52/PoD52Cows.html Describes the production of Mengelberg’s opera Koeien (Cows) and other performances of his work by ICP and associates at the June 2015 Holland Festival, celebrating Mengelberg’s 80th birthday.

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Moore, Michael 1899.

Whitehead, Kevin. “Inside/Outside Amsterdam with Michael Moore.” Downbeat. Mar. 2010. 36–39. Interview-based feature surveying his solo career, many collaborations, and membership in the ICP Orchestra. Includes comments from Fred Hersch and Achim Kaufmann.

Oliver, Mary 1900.

Oliver, Mary. Constellations in Play: A Model of Improvisation. Ph.D. dissertation. San Diego: U of CA, 1993. Organized as a self-interview, explaining her personal approach to improvisation, coming from “Western Art Music,” and culminating in a recital, with comments on her preparation and a post-show analysis.

1901.

Oliver, Mary. “On Improvisation.” Contemporary Music Review. 25:5/6 (Oct/Dec. 2006). 457–459. Artist’s statement on practicing, drawing on composed music for ideas to improvise with, and the importance of working in a variety of places and formats.

Reijseger, Ernst 1902.

Rusch, Bob. “Ernst Reijseger Interview.” Cadence. Jan. 1998. 9–12. On free music, classical music, and jazz, his musical background, national styles and identities in music, and his work with ICP, the Arcado String Trio, Willem Breuker, and other groups.

Wierbos, Wolter 1903.

Whitehead, Kevin. “The Edgar Winter of Wolter Wierbos.” Coda. 267 (May/June 1996). 22–25. Interview-based profile covering his work with ICP, Maarten Altena’s ensemble, and Gerry Hemingway, and his recent receipt of the Boy Edgar prize.

RUSSIA/THE SOVIET UNION 1904.

Feigin, Leo, ed. Russian Jazz: New Identity. London: Quartet, 1985. 217 p. Anthology on the “third wave” of Soviet jazz: a group of eclectic free players who emerged in the 1970s and 1980s, many of whom recorded for Feigin’s Leo Records. The Ganelin Trio are the focus of several essays, with considerable attention also paid to Sergey Kuryokhin and Boris Grebenschikov, and an interview with Larry Ochs, of the ROVA Saxophone Quartet, on their 1983 Soviet tour.

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Gaut, Greg. “Soviet Jazz: Transforming American Music.” in Jazz in Mind: Essays on the History and Meanings of Jazz. eds. Reginald T. Buckner and Steven Weiland. Detroit: Wayne State UP, 1991. 60–82. The Soviet free jazz released on Leo Records is featured in this overview, with a brief discussion of Sergey Kuryokhin and a longer one of the Ganelin Trio, including comparison of their reception at home and in the West in light of their perceived relationships to Russian-ness and the jazz tradition.

1906.

Kumpf, Hans. “Sowjetischer Jazz: Erlebnisse und Bestandsaufnahme.” Darmstädter Jazzforum 89. ed. Ekkehard Jost. Beiträge zur Jazzforschung eine Veröffentlichung des Jazz-Instituts Darmstadt. Hofheim: Wolke, 1990. 49–66. The Ganelin Trio are prominent in this survey of Soviet jazz. In German.

1907.

Mandel, Howard. “The Ganelin Trio: Jazz Detente.” Downbeat. Sept. 1986. 26–28. Profile on their first visit to the US, drawing on interviews with all three members and Leo Records head Leo Feigin.

SCANDINAVIA General Works 1908.

Lake, Steve, and Paul Griffiths. Horizons Touched: The Music of ECM. London: Granta, 2007. v, 439 p. Free jazz is frequently in the margins of this coffee table book of memories by artists and others associated with the ECM label, from Jan Garbarek’s early work with Don Cherry and Enrico Rava’s with Steve Lacy, to label head Manfred Eicher’s comparisons of ECM to ESP and FMP.

1909.

Vitali, Luca. The Sound of the North: Norway and the European Jazz Scene. trans. Fiona Talkington. Milan: Auditorium International, 2016. 253 p. A history beginning with George Russell’s five year residency in Norway and centered on the growth and influence of the ECM label. A subchapter on free jazz features Frode Gjerstad, Paal Nilssen-Love, Ingelbright Håker Flaten, and Håvard Wilk, including the later three’s collaborations with Ken Vandermark and Mats Gustafsson. There is also a sidebar on Ivar Grydeland, Ingar Zach, and their Sofa Records label.

ARTISTS Gjerstad, Frode 1910.

Lo Conte, V. “Frode Gjerstad Interview.” Cadence. Dec. 2004. 5–13. Biographical interview, including his musical development, work with John Stevens, Bobby Bradford, Johnny Dyani, Peter Brötzmann, his Circulasione Totale Orchestra, and others. He also comments on recording for CIMP.

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Gustafsson, Mats 1911.

Carnevale, Bruce. “Profile: Mats Gustafsson—In a Silent (Roaring) Way.” Jazziz. Jan. 1999: 58–59. Interview-based survey of his current projects and influences, Albert Ayler and Peter Brötzmann in particular. With comments from Barry Guy and Paul Lovens.

1912.

Margasak, Peter. “Blindfold Test: Mats Gustafsson.” Downbeat. June 2012. 122. Gustafsson comments on recordings by Julius Hemphill, Yosuke Yamashita, Lars Gullin, Peter Evans, Steve Lacy, and Magnus Broo.

1913.

O’Driscoll, Declain. “Mats Gustafsson Interview.” Cadence. Feb. 2002. 5–9. Covers his early work with Kjell Nordenson, Raymond Strid, and Paul Lovens, his connections to the Chicago scene and Sonic Youth, and his developing writing for large groups.

1914.

Spicer, Daniel. “Feel the Burn.” The Wire. 349 (Mar. 2013). 38–44. Cover interview reviewing his career and discussing recent work with Fire! the Fire! Orchestra, the Thing, solo, and in various duos. He describes playing alongside Peter Brötzmann and his connection to the Chicago scene, with additional comments from Ken Vandermark.

1915.

Young, Rob. “Fire Starter.” The Wire. 248 (Oct. 2004). 30–35. Interview-based feature describing his musical background, his connections to the Chicago scene and to Sonic Youth, centered on The Thing but also discussing the groups and projects Sonore, Hidros 3, Diskoholics Anonymous, and the Brötzmann Tentet.

Nilssen-Love, Paal 1916.

Micallef, Ken. “Paal Nilssen-Love.” Modern Drummer. Sept. 2016. 50–54. Interview on his technique, equipment, and inspirations, with a sidebar on the specifics of his setup.

Nordeson, Kjell 1917.

Nordeson, Kjell Gunnar. Improvisation and Identity. M.A. thesis. San Diego: U of CA, 2013. xi, 67 p. https://escholarship.org/uc/item/7735j8tp Theoretical and autobiographical text, accompanying a set of solo percussion improvisations. Major topics include subjectivity, originality, and communication in free improvisation.

Vinkeloe, Biggi 1918.

Lo Conte, V. “Biggi Vinkeloe: A Short Talk.” Cadence. Dec. 2002. 14–16. Interview covers her musical background and influences, work with Cecil Taylor’s 1988 workshop ensemble, collaborations with Barre Phillips, Donald Robinson, and others, and being a woman in the jazz scene.

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SOUTH AFRICA General Works 1919.

Ansell, Gwen. Soweto Blues: Jazz, Popular Music, and Politics in South Africa. New York: Continuum, 2004. viii, 350 p. Reaching back to the early 20th century, this study includes the South African expatriates who contributed to the European free music scene: Chris McGregor, Dudu Pukuwana, Johnny Dyani, Louis Moholo, and Mongezi Feza, as well as Dollar Brand, who moved to the US, and the influence of American free players such as John Coltrane, Ornette Coleman, Archie Shepp, and Albert Ayler on musicians who remained in South Africa.

1920.

Gooding, Francis. Thunder in their Hearts: South African Jazz in Britain. Sheffield, UK: Equinox, 2020. [forthcoming] Narrative history of South African musical expatriates, from the late 1950s to the end of apartheid, with two chapters dedicated to the Blue Notes.

1921.

Muller, Carol. “Spontaneity and Black Consciousness: South Africans Imagining Musical and Political Freedom in 1960s Europe.” in Music and Protest in 1968. eds. Beate Kutschke and Barley Norton. New York: Cambridge UP, 2013. 64–80. Includes a section on the development of the South African jazz scene in the late 1950s, Dollar Brand and the Blue Notes’ international touring in 1964 and subsequent expatriation, and concepts of freedom in the first music they made away from home, including Chris McGregor’s LP Very Urgent.

McGregor, Chris, the Blue Notes, and the Brotherhood of Breath 1922.

McGregor, Maxine. Chris McGregor and the Brotherhood of Breath: My Life with a South African Jazz Pioneer. Flint, MI: Bamberger Books, 1995. xi, 242 p. Maxine and Chris McGregor met and married near the beginning of his career. She worked closely with him and has first-hand accounts stretching from the formation of the Blue Notes and the harrowing and absurd conditions of working as a mixed-race band under apartheid onwards, with numerous anecdotes involving the other members of the Blue Notes: Louis Moholo, Johnny Dyani, Mongezi Feza, and Dudu Pukuwana. Includes excerpts from concert reviews and other press coverage, black and white photos, reproductions of ephemera, and the trumpet part to Chris McGregor’s composition “Maxine.”

1923.

Shoemaker, Bill. “Page One.” Point of Departure. 52 (Sept. 2015). n.p. http://point ofdeparture.org/archives/PoD-52/PoD52PageOne.html An account of the formation and first recordings of the Brotherhood of Breath, clarifying their musical and personal connections to the Blue Notes and musical and business details of the making of the LPs Very Urgent, Up to Earth, Chris McGregor’s Brotherhood of Breath, and Brotherhood.

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Moholo, Louis 1924.

Barnes, Mike. “Invisible Jukebox: Louis Moholo-Moholo.” The Wire. 400 (June 2017). 20–23. Moholo comments on recordings by the Spontaneous Music Ensemble, Kamasi Washington, Don Cherry and Ed Blackwell, Frank Zappa, The Special AKA, and others, including anecdotes about South Africa, the 1969 Amougies Festival, and other memoires.

1925.

Buium, Greg. “Jumpin’ In.” Point of Departure. 52 (Sept. 2015). n.p. www.pointof departure.org/archives/PoD-52/PoD52JumpinIn.html Interview-based profile on his quartet’s visit to Vancouver, with comments from members Jason Yarde and Alexander Hawkins and descriptions of a workshop by Hawkins and Moholo and of the quartet’s performance.

1926.

Scott, Richard. “Call Me Mr. Drums.” The Wire. 85 (Mar. 1991). 34–37, 64. Biographical interview on the early days of the Blue Notes in South Africa, exile in England, beginning to play completely free music with Steve Lacy and Evan Parker, the album Very Urgent, and his memories of his deceased comrades from the Blue Notes.

1927.

Shoemaker, Bill. “Spirits Rejoice: Louis Moholo-Moholo and the Dedication Orchestra in Vancouver.” Point of Departure. 1 (Sept. 2005). n.p. http://pointofdeparture. org/archives/PoD-1/PoD-1_spirits_rejoice.html http://pointofdeparture.org/archives/ PoD-1/PoD-1_spirits_rejoice_2.html In two parts, first an onstage blindfold test with Moholo responding to records by Charlie Parker, Max Roach, Chris McGregor, Mike Osborne, Johnny Dyani, the Spontaneous Music Ensemble, Charlie Haden, and others, and relating memories from his career, including stories about the Blue Notes and his trip to Argentina with Steve Lacy, then a detailed review of performances by the Dedication Orchestra, a sextet from that group, and a free improvisation session mixing members of the orchestra with Vancouver musicians.

1928.

Vickery, Steve. “In Exile: Louis Moholo.” Coda. 254 (Mar/Apr. 1994). 17–19. Short interview expressing anger about the situation in South Africa and sadness as the last surviving member of the Blue Notes, while still looking forward to performances with Evan Parker and Cecil Taylor.

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GENERAL WORKS 1929.

Almeida, Paulo J. Organized Improvisation by Three Downtown Composers in 1980s New York. M.M. thesis. Fullerton: CA State U, 2008. v, 245 p. The three composers are Lawrence “Butch” Morris, John Zorn, and Elliott Sharp. “Composition” is interpreted broadly to focus on their original systems for organizing improvised playing: Conduction for Morris, game pieces for Zorn, and Sharp’s modular and rule-based pieces for string quartet. Score excerpts from Zorn’s “Cobra” and “Cat-O-Nine Tails” and several Sharp pieces are included, as are interviews with Morris, Sharp, and performers including Anthony Coleman, Fred Frith, Zeena Parkins, and others.

1930.

Atlas, Charles, dir. Put Blood in the Music. Video, 75 min. 1989. Feature documentary on the Downtown scene, spotlighting Sonic Youth and John Zorn, with talking heads including Glenn Branca, Lydia Lunch, Vernon Reid, Lenny Kaye, John Rockwell, Hal Willner, David Fricke, Karen Finley, Christian Marclay, Ikue Mori, and others. Zorn is shown discussing Spillane, displaying its file card score, and rehearsing and performing with the Spy vs. Spy band. Available from Electronic Arts Intermix and UbuWeb.

1931.

Barzel, Tamar. “The Praxis of Composition—Improvisation and the Poetics of Creative Kinship.” in Jazz/Not Jazz: The Music and Its Boundaries. eds. David A. Ake, Charles H. Garrett, and Daniel Goldmark. Berkeley: U of CA Press, 2012. 171–189. An overview of the context of the 1980s and 1990s New York Downtown scene, situated historically and theoretically between Brackett on Zorn (2359) and Lewis on the AACM (1057). She discusses Downtown composers’ relationships to historical and avant-garde concepts of jazz, the emergence of punk and noise, the work

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of contemporary classical performer/composers, and postmodernist uses of citation and collage. The roles of music education and of the physical space of the Lower East Side are also considered. Incorporates original interviews with Anthony Coleman, Shelly Hirsch, Don Byron, and Marty Ehrlich. 1932.

Blake, Daniel. Performed Identities: Theorizing in New York City’s Improvised Music Scene. Ph.D. dissertation. New York: CUNY, 2013. 124 p. Eighteen musicians including Peter Evans, Mary Halvorson, Jon Irabagon, Darius Jones, Steve Lehman, Josh Stinton, and others less related to free jazz, were interviewed on how they perceive their personal and musical identities, then on how those ideas are manifest in their creative practice. The roles of universities, ethnicity, and gender are addressed, but analysis of the metaphors used for composition and performance is the center of this study.

1933.

Blake, Daniel. “Space is the Place: Composition in New York’s Improvised Music Scene.” American Music Review. 45:2 (2016). 11–16. www.brooklyn.cuny.edu/web/ academics/centers/hitchcock/publications/amr/v45-2/blake.php A concentrated extract from 1932, quoting Josh Sinton, Steve Lehman, Mary Halvorson, Peter Evans, and others on the ethics and aesthetics of composing for improvisers and of spontaneously recomposing or rearranging work in performance. He considers scenes and ensembles as communities in which composers and interpreters have ethical commitments to one another, and he draws three examples of composing from his interviews: a song by Halvorson which the musicians spontaneously reorchestrate, an Evans composition of such impossible density that performers can only execute selected elements of it in a performance, and Lehman’s concept of allocentricity, in which the players collectively maintain landmarks within an ambiguous form.

1934.

Bolelli, Franco. Musica Creativa: Forme, Espressioni e Problematiche del “Nuovo Jazz.” Milano: Squilibri, 1978. 138 p. Italian-language study of the aesthetics of the music of the late ’60s and 1970s, particularly the AACM, BAG, and loft players. Includes topical chapters on solo and collective playing, tradition, women’s voices (literal and metaphorical), and international scenes, as well as a 1977 interview with Anthony Braxton.

1935.

Broecking, Christian. Der Marsalis-Komplex: Studien zur Gesselschaftlichen Relevanz des Afroamerikanischen Jazz zwischen 1992 und 2007. Ph.D. dissertation. Berlin: Technischen Universität Berlin. 2011. 317 p. https://d-nb.info/1014971713/34 Sociological study of the role of the Young Lions phenomenon, Wynton Marsalis’ criticism of free jazz, and his leadership of Jazz at Lincoln Center in defining jazz, community, and identity, based on interviews with many artists and public intellectuals involved in the “jazz wars.” Subjects from the free jazz world include Amiri Baraka, Lester Bowie, Ornette Coleman, Bill Dixon, and David Murray. Interviews in English; body text in German.

1936.

Dessen, Michael. Decolonizing Art Music: Scenes from the Late Twentieth-Century United States. Ph.D. dissertation. San Diego: U of CA, 2003. 274 p. A dual case study of the New York Downtown scene of the late 1970s–1980s and the Bay Area AsianImprov movement as challenges to the implicit definition of “American experimental music” as white and an extension of European composed music, in relation to the precedents offered by African-American free jazz. Downtown is

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approached primarily through critical reading of contemporary coverage in the Village Voice and New York Times, while the AsianImprov chapter incorporates interviews with Francis Wong, Jon Jang, and others. 1937.

Farina, Stephen. Reel History: The Lost Archive of Juma Sultan and the Aboriginal Music Society. eBook. Middletown, CT: Wesleyan UP, 2012. 322 p. Electronic graphic novel on working with Juma Sultan and Michael Heller to preserve and catalog Sultan’s tape, film, video, and paper archives of the loft era, Studio We, and the New York Musicians Organization. Audio clips are embedded in the eBook, and the images are photos of Sultan, his archive, etc., digitally filtered to look like a drawn comic.

1938.

Freeman, Phil. New York is Now! The New Wave of Free Jazz. Brooklyn: The Telegraph Co, 2001. 212 p. Freeman enters the Vision Festival scene attempting to evangelize free jazz to heavy metal fans as something even more aggressive and extreme. After a quick history of the music from Cecil Taylor to the 1976 loft jazz compilation Wildflowers, which includes critiques of Frank Kofsky, Amiri Baraka, and John Zorn as well as of Wynton Marsalis and Stanley Crouch, Freeman interviews and profiles David S. Ware, Matthew Shipp, William Parker, Roy Campbell, Charles Gayle, Joe Morris, and Daniel Carter, concluding in the studio with Ware’s quartet (including Shipp, Parker, and drummer Guillermo Brown) for a fly-on-the-wall account of recording their Corridors and Parallels album.

1939.

Gendron, Bernard. “The Downtown Music Scene.” in The Downtown Book: The New York Art Scene, 1974–1984. ed. Marvin J. Taylor. Princeton, N.J: Princeton UP, 2006. 41–65. Loft jazz appears between minimalism and punk/new wave in this survey. All three scenes met at the Kitchen, under George Lewis’ curation, with some jazz/punk/funk hybrids such as James “Blood” Ulmer’s groups and the expanded edition of Talking Heads a result. Also notes that the success of loft jazz inspired many AACM and BAG musicians to move to New York.

1940.

Gibbs, Bobby Edward II. Personal Havens Beyond the Hall: The Psychology of Intimacy within the Ecology of Experimental Music Venues. Ph.D. dissertation. Troy, NY: Rensselaer, 2011. xvii, 193 p. An architect theorizes how perceptions of intimacy are created through the acoustics and physical arrangement of performance spaces, with case studies from the Stone, Roulette, Issue Project Room, Flywheel, Zebulon, and other East Coast venues for experimental and improvised music in the 2000s. Artists observed and interviewed include Greg Kelley, Nate Wooley, Kyoto Kitamura, Chris Corsano, and others.

1941.

Gluck, Bob. The Miles Davis Lost Quintet and Other Revolutionary Ensembles. Chicago: U of Chicago P, 2016. xii, 264 p. Davis’ late 1960s group with Wayne Shorter, Chick Corea, Dave Holland, and Jack DeJohnette made no studio recordings, earning the nickname “the lost quintet.” Gluck argues that, despite Davis’ criticism of free jazz and the press’ focus on his incorporation of electric instruments and rock and funk rhythms, this group had more significant musical and personal connections to free jazz and free improvisation

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than to rock and pop. Holland had worked with the Spontaneous Music Ensemble, DeJohnette with the proto-AACM Experimental Band in Chicago, and Holland and Corea formed Circle with Barry Altschul and Anthony Braxton after leaving Davis. The stories of Braxton and Circle, the Revolutionary Ensemble (organized by Leroy Jenkins after his work with Braxton), and Musica Elettronica Viva are traced as they parallel and cross the lost quintet. Draws on new interviews and includes some musical analysis. 1942.

Greenland, Thomas H. Jazzing: New York City’s Unseen Scene. Urbana: U of IL P, 2016. 272 p. Revised and streamlined version of 1943, looking at the current New York jazz scene, primarily the Downtown/free jazz community around the Vision Festival, but also some mainstream clubs such as Smoke, interviewing dedicated listeners to analyze activities including going to performances, selecting and listening to albums, participating in online communities, writing about the music, organizing shows, recording shows, and creating their own jazz-inspired art.

1943.

Greenland, Thomas. Pilgrims in the Big Apple: Improvisation, Interaction & Inspiration in the Jazz Village. Ph.D. dissertation. Santa Barbara: U of CA, 2007. xvii, 484 p. Largely ethnographic study of the early 2000s New York scene, combining participantobservation with interviews of musicians, show presenters and label heads, journalists, scholars, retailers, and fans, mapping the settings and characters, from clubs to jam sessions to casual socializing, which constitute community in both mainstream and Downtown music.

1944.

Gutkin, David. American Opera, Jazz, and Historical Consciousness, 1924–1994. Ph.D. dissertation. New York: Columbia U, 2015. viii, 328 p. https://academiccommons.columbia.edu/catalog/ac:208060 Proposes an alternative canon of modern American opera centered on jazz, including an account, based on archival research, of the Harlem Opera Society/Afro-American Singing Therater/Jazz Opera Ensemble who, in the 1970s, collaborated with Sam Rivers, Jacques Coursil, Jerome Cooper, Ronnie Boykins, and others, performing at Studio Rivbea, and a close reading of Anthony Davis’ X: The Life and Times of Malcolm X. Carla Bley and Michael Mantler’s Escalator Over the Hill and Julius Hemphill’s Long Tongues: A Saxophone Opera are also discussed.

1945.

Heller, Michael C. Loft Jazz: Improvising New York in the 1970s. Berkeley: U of CA P, 2016. 272 p. Revised version of 1980, based primarily on the archive of Juma Sultan, a percussionist who ran the Studio We loft, this study interrogates historical narrative and evidence at the same time that it gives an account of the New York scene in the 1970s. Overviews of musicians’ attempts at self-determination and of gentrification on the Lower East Side are included, and topics including race, gender, drugs, freedom, and community explored. Numerous flyers, photographs, and documents are reproduced, historical and new maps of musician lofts are provided, and tapes of Sonny Simmons rehearsing “Zarak’s Symphony” are analyzed, with a lead sheet, these materials all illustrating the strengths and limitations of archival collections, as well as serving as primary sources.

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Igarashi, Kenneth. A Post-modern Analysis of Noise: A Musical Genre Incorporating Improvisation and Eclecticism. Ph.D. dissertation. Los Angeles: UCLA, 1997. x, 240 p. Predating the current understanding of Noise as a genre, an attempt to develop a descriptive aesthetic for creative music of the 1980s and 1990s in New York and the Bay Area based on postmodernist theory, parallel work in dance and architecture, and the legacies of free jazz and experimental composition. New York artists considered are centered around the Kitchen, Roulette, and the Knitting Factory: John Zorn, Joey Baron, Tim Berne, Ned Rothenberg, Wayne Horvitz, and others, while the Bay Area artists include the ROVA Saxophone Quartet, Peter Apfelbaum, Ben Goldberg, Glenn Spearman, Miya Masaoka, and others. Original interviews were conducted, and there are numerous descriptions of performances in an appendix.

1947.

Jost, Ekkehard. Jazzmusiker: Materialien Zur Soziologie Der Afro-Amerikanischen Musik. Frankfurt: Ullstein, 1982. 311 p. German-language interview collection, including talks with Sam Rivers, Steve McCall, Charles Tyler, Oliver Lake, Dave Holland, Karl Berger, Muhal Richard Abrams, and Fred Anderson, as well as many mainstream players, taking stock of the 1970s scenes in New York and Chicago, especially “loft jazz,” the Creative Music Studio, and the AACM.

1948.

Macnie, Jim. “When Downtown Grew Up.” Jazziz. Sept. 1998. 104–106, 108. Argues that the growth of the Knitting Factory brand, as well as Tonic, the Vision Festival, and other phenomena mark the assimilation of Downtown music to the mainstream, with comments from musicians George Cartwright, Gary Lucas, and Bobby Previte and writers/businesspeople Michael Dorf, Yale Evlev, Bruce Gallanter, Steve Smith, and Kevin Whitehead. However, they also note that major labels’ relationship to this music has already peaked: Sony has dropped Henry Threadgill and the Knitting Factory label, and the Los Angeles Knitting Factory has turned into an ordinary rock club.

1949.

Parker, William. Conversations. Book with CD. Paris: RogueArt, 2011. xxxi, 443 p. A collection of informal interviews conducted by Parker, centered on the New York energy music and loft scenes, featuring Alan Silva, Billy Bang, Dave Burrell, Roy Campbell, Charles Gayle, Alan “Juice” Glover, Milford Graves, Frank Lowe, CooperMoore, Sunny Murray, Patricia Nicholson, Pelikan, Walter Perkins, Warren Smith, Henry Warner, and Mark Whitecage, as well as Fred Anderson and Nicole Mitchell from Chicago, Louis Moholo from South Africa, Oluyemi Thomas from Oakland, Joe Morris from Boston, and Europeans Han Bennink, John Edwards, Joëlle Léandre, Wilbert de Joode, and Paul Rogers. An interview with Jacques Bisceglia of BYG Records is also included, along with a portfolio of his photographs. The CD alternates interview excerpts with Parker’s solo bass improvisations.

1950.

Pras, Amandine. “Irréductibles Défenseurs de la Composition Improvisée à New York.” Critical Studies in Improvisation. 10:2 (2015). n.p. www.criticalimprov.com/ article/view/3341 A dozen current New York improvisers, including Jim Black, Mary Halvorson, Ingrid Laubrock, Tony Malaby, Angelica Sanchez, Matthew Shipp, and others were interviewed on their definitions and descriptions of the music they prefer to play. Many find the concepts of “freedom” and “jazz” problematic, so Pras proposes “improvised

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composition” as the most appropriate label and identifies an essential consensus among her subjects on its elements. In French, with links to performance videos. 1951.

Riggins, Roger, ed. New Observations. 65 (Mar. 1989). This special issue on “Jazz Ideology in the ’80s and Beyond” includes short texts by Marilyn Crispell, William Hooker, and Ellen Christi, as well as a conversation between Riggins and William Parker. Each discusses the challenges of surviving as a non-commercial artist in the new context of an art world which has embraced postmodern aesthetics that devalue the spontaneity, sincerity, and spirituality of free jazz.

1952.

Roe, Tom. “Generation Ecstasy: New York’s Free Jazz Continuum.” in Undercurrents: The Hidden Wiring of Modern Music. ed. Rob Young. London: Continuum, 2002. 249–262. “Ecstatic jazz” designates a specific thread of free jazz which he traces from the October Revolution through the loft era to a turn-of-the-millennium revival at Tonic and the Vision Festival and on labels such as Eremite and Aum Fidelity, with the support of indie rock stars such as Henry Rollins, Thurston Moore, and Yo La Tengo. Artists featured include William Parker, Daniel Carter, David S. Ware, Charles Gayle, Cooper-Moore, Matthew Shipp, and Susie Ibarra.

1953.

Scherbenske, Amanda. Multiplicity and Belonging Among New York City ImproviserComposers, 2000–2011. Ph.D. dissertation. Middletown, CT: Wesleyan U, 2014. xi, 254 p. Uses network theory, ethnography, in-depth biographical interviews, and musical analysis to maps the multiple social and creative positions of five creative musicians, including Mary Halvorson, Steve Lehman, and Okkyung Lee. Tyshawn Sorey also frequently appears, as Lehman drummer and Scherbenske’s partner, among other roles. She argues that, while all their work is grounded in an African-American experimental lineage, they disrupt essentialist or unitary versions of genre and identity. Provides a map of the scene around 2010, including venues, labels, and publications, and analysis (with score excerpts) of Lehman’s adaptation of Wu Tang Clan’s “Living in the World Today.”

1954.

Shoemaker, Bill. Jazz in the 1970s: Diverging Streams. Lanham, MD: Rowman and Littlefield, 2017. 264 p. Year-by-year account of institutional and musical change in the 1970s, with particular attention to the avant-garde, including artists such as Anthony Braxton and the Art Ensemble of Chicago working with major labels and festivals parallel to the rise of independent and artist-run labels and venues from lofts to festivals, the canonization of jazz through the Smithsonian Collection of Classic Jazz and foundation support, and the increasing significance of European venues, labels, and artists. Earlier versions of some material published as 504, 932, 1100, 1161, 1632, 1814, and 1923.

1955.

Shoemaker, Bill. “What’s New? The PoD Roundtable.” Point of Departure. 19 (Oct. 2008). n.p. http://pointofdeparture.org/archives/PoD-19/PoD19WhatsNew.html Taylor Ho Bynum, Mary Halvorson, and Barre Phillips discuss generational shifts in the creative music community, including the rise of jazz education, both commercial (Berklee, North Texas, etc.) and avant-garde (Bill Dixon at Bennington, Anthony Braxton at Wesleyan, etc.). All comment on the economics of creative music, crossovers between jazz and new music, and the challenges of balancing developing a unique identity, eclecticism, and the requirements of being a working musician.

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1956.

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Somoroff, Matthew. Listening at the Edges: Aural Experience and Affect in a New York Jazz Scene. Ph.D. dissertation. Durham, NC: Duke U, 2014. xv, 386 p. https://dukespace.lib.duke.edu/dspace/handle/10161/8741 Participant observation of the Lower East Side “avant-jazz” scene in the late 2000s, including musicians, fans, writers, record store owners, label heads, and others. Interview subjects include Roy Campbell, Lisle Ellis, Matthew Shipp, Francois Grillot, Steve Swell, Ingrid Labrock, Bruce Gallanter, Steve Dalachinsky, Steven Joerg, Jeff Schlanger, and others. Listening, to both live and recorded music, is theorized as the central activity forming this community and the heart of the study is Somoroff transcribing and analyzing listening sessions with his subjects. Critical histories of the neighborhood, the music, and “hip” are also included.

1957.

Such, David G. Avant-Garde Jazz Musicians: Performing “Out There.” Iowa City: U of IO P, 1993. ix, 206 p. A history of free jazz and an ethnography of the New York scene in the 1980s, between the loft era and the rise of the Knitting Factory and Vision Festival. It centers on what the author terms “second generation” players including Billy Bang, Daniel Carter, Jemeel Moondoc, and William Parker. Methodologies include transcription and analysis of short passages, participant observation, interviews, and semiotic analysis of musicians’ descriptions of their own and others’ music. Trumpeter Dewey Johnson, who recorded with John Coltrane and Noah Howard in the 1960s, but little afterwards, is also a major subject.

1958.

Such, David G. Music, Metaphors and Values among Avant-Garde Musicians Living in New York City. Ph.D. dissertation. Los Angeles: UCLA, 1985. ix, 307 p. Early version of 1957, with more historical and theoretical framing, extended and attributed interview excerpts, and longer transcriptions of Moondoc’s “Judy’s Bounce” and Bang’s “Outline No. 12.”

1959.

Teal, Kimberly Hannon. Living Traditions: Embodying Heritage in Contemporary Jazz Performance. Ph.D. dissertation. Rochester, NY: Eastman School of Music, U of Rochester, 2012. vi, 334 p. http://hdl.handle.net/1802/23572 Ethnographic study of the institutionalization of jazz at the Village Vanguard, Jazz at Lincoln Center, Eastman School of Music, Flower City Jazz Society (a Dixieland venue), and the Stone. Stone events discussed include a talk by Tyshawn Sorey and performances by Uri Caine, Ben Perkowsky, and Sylvie Courvosier’s bands. Zorn’s relationship to jazz is discussed in parallel to that of the Jazz Composers Guild and the AACM, as well as Wynton Marsalis’ insistence that this work is not jazz.

1960.

Ullman, Michael. Jazz Lives: Portraits in Words and Pictures. Washington, DC: New Republic Books, 1980. x, 244 p. Interview-based profiles including musicians Sam Rivers, Karl Berger, Ran Blake, and Anthony Braxton, and record executives John Snyder (A&M Horizon and Artists’ House) and Steve Backer (Impulse and Arista). He catches Rivers just after he stopped presenting shows at his Studio Rivbea loft, Braxton at the peak of his Arista period, and Blake and Berger in action teaching at the New England Conservatory and Creative Music Studio respectively. Ullman gives Berger space to explain his

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gamalataki rhythmic system and Braxton his Kelvin, Kaufmann, and Cobalt repetition structures. Backer and Snyder are more cautious than the artists but are candid and optimistic about balancing creative and economic concerns in their work.

THE CREATIVE MUSIC STUDIO 1961.

Creative Music Studio. Creative Music Studio Tapes and Files, 1974–1984. 37 boxes of audio and videotapes and papers. New York: Columbia U Library Archives, Rare Book & Manuscript Library Collections, 2014. Primarily recordings of performances by CMS students and faculty, with some workshop recordings and the business archives. Finding aid online at http://findingaids. cul.columbia.edu/ead/nnc-rb/ldpd_10993246/

1962.

Mandel, Howard. “Workshop of the World.” The Wire. 351 (May 2013). 26–33. Feature on the 40th anniversary revival of CMS and the deposit of the archives at Columbia (1961). Karl Berger and Ingrid Sertso talk about their lives, the rise and fall and rise of CMS, and John Cage, Ornette Coleman, and Don Cherry’s roles in its history.

1963.

Mandel, Howard, Karl Berger, Adam Rudolph, and Ben Young. Creative Music Studio. Online videos. New York: Columbia U, 2011. http://jazzstudiesonline.org/content/ creative-music-studio A filmed symposium commemorating Columbia’s acquisition of the CMS archives, with four panels. First, Mandel chairs Berger, Ingrid Sersto, Ilene Marder, and Don Davis on the history of CMS, then Berger chairs Sertso, Marilyn Crispell, James Emery, and Oliver Lake on their pedagogy, Adam Rudolph chairs Sylvain Leroux, Steve Gorn, and Davis and Berger (who appear as substitutes for Peter Apfelbaum) on “world music” at CMS, and finally Young chairs Ted Orr, Bob Sweet, and Rob Saffer on preserving and continuing the legacy of CMS.

1964.

Sweet, Robert E. All Kinds of Time: The Enduring Spirit of the Creative Music Studio. Ann Arbor: Arborville, 2016. 246 p. Follow-up to 1965 tracing Karl Berger’s career since the closing of the original CMS and summarizing his pedagogy, then describing the preservation of the CMS archive (1961), the return of CMS as a semiannual weeklong retreat, and the selection of Steven Bernstein as Berger’s eventual successor, preparing for CMS’s survival.

1965.

Sweet, Robert E. Music Universe, Music Mind: Revisiting the Creative Music Studio, Woodstock, New York. Ann Arbor: Arborville, 1996. 182 p. A history of CMS to 1984, when it shut down for approximately 30 years, written with the cooperation of founders Karl Berger and Ingrid Sertso. Sweet draws on the CMS archives, numerous interviews, and his own memories as a CMS participant. John Lindberg, Marilyn Crispell, Peter Apfelbaum, the Art Ensemble of Chicago, Oliver Lake, Lisle Ellis, Cecil Taylor, Anthony Braxton, Don Cherry, and Adam Rudolph are featured.

1966.

Zabor, Rafi. “Creative Music Studio.” Musician, Player, and Listener. Feb. 1, 1982. 66–68, 71, 90.

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Zabor attended CMS sessions with Don Cherry, Ed Blackwell, Jack DeJohnette, and shaukuhachi master Watazumido Doso Roshi, and interviewed Karl Berger. He endorses CMS as a possible alternative or supplement to the established models of jazz education: the university and the road.

THE NEW YORK MUSICIANS ORGANIZATION 1967.

Heller, Michael C. “‘Complaining Time is Over’: Network and Collective Strategies of the New York Musicians Organization.” Jazz Research Journal. 2012. 21–41. Also in The Cultural Politics of Jazz Collectives: This is Our Music. eds. Nicholas Gebhardt and Tony Whyton. New York: Routledge, 2015. 16–41. Adapted from 1980. A history of the New York Musicians Organization, an early 1970s collective which presented loft shows as an alternative to the 1972 Newport Jazz Festival then allied with the 1973 Newport Festival and subsequently folded into the loft scene, particularly Juma Sultan’s Studio We. The board included Sam Rivers, Noah Howard, Rashied Ali, Milford Graves, Sultan, and others. Based on published sources, interviews, and Sultan’s archive.

RADICAL JEWISH CULTURE 1968.

Barzel, Tamar. New York Noise: Radical Jewish Music and the Downtown Scene. Bloomington: IN UP, 2015. xviii, 302 p. Ethnomusicological study, drawing on interviews, archives, musical analysis, and concert attendance. The Downtown scene and Radical Jewish Culture movement are discussed, then artists from several genres studied in more detail, including John Zorn (the albums Krystallnacht and Zohar, and the Masada project) and Anthony Coleman (particularly his band Selfhaters). Joey Baron, Don Byron. Marty Ehrlich, Ben Goldberg, Roy Nathanson, Marc Ribot, and Elliott Sharp are prominent among her interviewees.

1969.

Hersch, Charles. Jews and Jazz: Improvising Ethnicity. New York: Routledge, 2017. xiii, 195 p. The last chapter discusses musicians’ attempts to assert Jewish identity in jazz, including John Zorn’s promotion of the term Radical Jewish Culture. Musical features and critical reception of selected CDs from the Radical Jewish Culture series on Zorn’s Tzadik Records, including his Masada projects, Steven Bernstein’s Diaspora Soul and Diaspora Blues, and Paul Shapiro’s Midnight Minyan and Essen, are examined.

1970.

Hermann, Claudia, dir. Sabbath in Paradise. DVD video. 85 min. New York: Tzadik, 2007. Documentary on the 1990s Radical Jewish Culture movement, including interviews and performances with Anthony Coleman, Marc Ribot, John Zorn, and others. DVD includes a 30 minute sequel with updates from Coleman and Zorn, plus new content featuring Steven Bernstein, Jamie Saft, and others.

1971.

Janeczko, Jeffrey Matthew. “Beyond Klezmer:” Redefining Jewish Music for the TwentyFirst Century. Ph.D. dissertation. Los Angeles: UCLA, 2009. xiii, 413 p.

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Questions of identity and musical style are investigated through a survey of the CDs released on Tzadik Records’ Radical Jewish Culture series, overseen by John Zorn, as well as musical analysis, participant observation of Jewish music concerts, conferences, and online groups, and interviews with Michael Dorf, Steven Bernstein, Ted Reichman, Ned Rothenberg, and other musicians and scene participants.

THE VISION FESTIVAL AND SOUND UNITY FESTIVAL 1972.

Currie, Scott. “’The Revolution Never Ended:’ The Cultural Politics of a Creative Music Collective in New York City.” Jazz Research Journal. 5:1–2 (Nov. 2011). 43–65. Revised and updated material from 1973 including Arts for Art’s connections to the AACM, FMP, and Knitting Factory, and how it differs from past artists’ collectives.

1973.

Currie, Scott. Sound Visions: An Ethnographic Study of Avant-Garde Jazz in New York City. Ph.D. dissertation. New York: NYU, 2009. 427 p. History of the Vision Festival, beginning with the 1970s loft scene, including oral history interviews and maps representing several generations of venues, then the two Sound Unity festivals organized by Peter Kowald and Patricia Nicholson-Parker’s formation of the Arts for Art non-profit and launch of the Vision Festival in 1997. Draws on participant observation volunteering with Arts for Art, from 1997–2000, interviews with Kowald, Nicholson-Parker, and her partner William Parker, and the festival archives. Issues of community, identity, and musical styles/genres are addressed and pieces by the David S. Ware Quartet, Other Dimensions in Music, and William Parker’s Little Huey Orchestra analyzed with transcriptions, timelines, and narrative descriptions.

1974.

Currie, A. Scott. “Sound Visions and Free Initiatives: The Cultural Politics of Creative Improvised Music Collectives.” in The Cultural Politics of Jazz Collectives: This is Our Music. eds. Nicholas Gebhardt and Tony Whyton. New York: Routledge, 2015. 61–85. Drawing from and extending 1973 to compare Freie Initiative Improvisation Berlin and Arts for Art. FIIB emerged to fill the space left by the decline of Free Music Productions but struggled to negotiate changes in Berlin’s arts scenes resulting from German reunification and the growing presence of non-jazz free improvisation. Arts for Art is covered in more detail, particularly the organizational structures and other strategies which have enabled it to endure.

1975.

Jahn, Ebba, dir. Rising Tones Cross: A Jazz Film by Ebba Jahn. DVD. Berlin: Film Pals, 2005. Documentary centered on the Sound Unity Festival, organized by Peter Kowald and William Parker in 1984 in New York. Kowald is the primary voice, with additional comments from Parker, Patricia Nicholson-Parker, Charles Gayle, and Billy Bang, and excerpts from performances by their groups, John Zorn with Wayne Horvitz, Iréne Schweizer with Rüdiger Carl, the small bands of Charles Tyler, Jemeel Moondoc, and Billy Bang, and large ensembles of Don Cherry and Peter Brötzmann. Kowald speaks extensively on the marginality and poverty of creative musicians in the US compared to Europe and the significance of race.

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1976.

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Littenberg, Susan, dir. Visions. Two DVDs. Brooklyn: Aum Fidelity, 1998. One hour documentary of the second Vision Festival, in 1997, with excerpts from interviews of Daniel Carter, Bill Cole, Cooper-Moore, Patricia Nicholson-Parker, and William Parker, and from performances by their ensembles and those of Joe Maneri, Glenn Spearman, Assif Tsahar, David S. Ware, and Other Dimesions in Music. A second DVD has 35 minutes of clips from sets by Intermission, Prima Materia with Rashied Ali, Susie Ibarra, Mark Dresser’s quartet, Thurston Moore, and a Conduction by Lawrence “Butch” Morris.

VENUES 1977.

Dorf, Michael E. Knitting Music: A Five-Year History of the Knitting Factory. New York: Knitting Factory Works, 1992. 74 p. Glossy commemorative book centered on Dorf ’s first-person account of opening and running the club, with black and white and color photos, reproductions of flyers, menus, notebook pages, and press clippings. The Knitting Factory festivals, package tours, and CD label are also discussed.

1978.

Forman, Mark. “Environ: A Lost Loft Jazz Space in NYC.” Perfect Sound Forever. Dec. 2009. n.p. www.furious.com/perfect/environ.html Short memoir of his time booking Environ, beginning around 1974 when he was a teen.

1979.

Hazell, Ed. “Sunrise Studio: All Music is Greater than the Sum of Our Selves.” Point of Departure. 41 (Dec. 2012). n.p. www.pointofdeparture.org/PoD41/PoD41Sun riseStudio.html www.pointofdeparture.org/PoD41/PoD41SunriseStudio2.html www. pointofdeparture.org/PoD41/PoD41SunriseStudio3.html History of the Sunrise Studio loft and Free Life Communication collective, drawing on interviews with loft owner Mike Mahaffay and other musicians including Perry Robinson, Dave Liebman, Bob Moses, Vinny Golia, and others.

1980.

Heller, Michael C. Reconstructing We: History, Memory and Politics in a Loft Jazz Archive. Ph.D. dissertation. Cambridge, MA: Harvard, 2012. ix, 285 p. Drawing on the archive of percussionist Juma Sultan, who ran the Studio We loft, as well as published sources and dozens of original interviews, this work advocates for greater attention to archives in jazz history while recognizing their selective, personal, and incomplete qualities, and presents a history of loft jazz while mindful of the problems of that label.

1981.

Schwartz, Andy. “Soundscape.” Perfect Sound Forever. Feb. 2009. n.p. www.furious. com/perfect/soundscape.html An interview of Verna Gillis on the rise and fall of the Soundscape loft performance space between 1979 and 1991.

1982.

Schwartz, Andy. “The Tin Palace.” Perfect Sound Forever. Oct. 2008. n.p. www.furious. com/perfect/tinpalace.html Oral history-style interview with Paul Pines, who ran the Tin Palace loft performance space from 1970 to 1978. Pines contrasts his plans for the Tin Palace with his experiences at Slugs’, which he described as “a drug-plagued hellhole.”

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ARTISTS Abdullah, Ahmed 1983.

French, David. “Overdue Ovation: Ahmed Abdullah.” JazzTimes. Oct. 2007. 36–37. Interview-based career-spanning profile, with particular attention to his time with Sun Ra and his current work teaching and performing Ra’s music.

1984.

Rusch, Bob. “Ahmed Abdullah: Interview.” Cadence. Sept. 1981. 5, 7–8, 95. Describes his musical training and influences and briefly discusses the loft scene, Sun Ra, and Cal Massey.

1985.

Van Trikt, Ludwig. “Ahmed Abdullah Interview.” Cadence. Jan. 2004. 5–11. Topics include his albums Life’s Force and Live at Ali’s Alley, the loft movement (which he links back to the Jazz Composers Guild), and his work with the Melodic Art-Tet, The Group, NAM, and Sun Ra.

Bang, Billy 1986.

Conrad, Thomas. “Billy Bang’s Separate Peace: The Vietnam Trilogy.” JazzTimes. Dec. 2005. 66–69, 113. Interview-based feature on Bang’s Vietnam: The Aftermath and Vietnam: Reflections albums, which featured fellow veterans Ted Daniel, Frank Lowe, Lawrence “Butch” Morris, and Henry Threadgill, as well as Vietnamese traditional musicians on the second. Bang describes musically addressing the trauma of his service and his plans to visit Vietnam to make a third album and a documentary film.

1987.

Jeske, Lee. “Billy Bang.” Downbeat. Sept. 1981. 26–28, 71, 74. Interview-based profile discussing the folk qualities in his playing, the roles of Leroy Jenkins and Sam Rivers in his career, his work with Material, and the challenges of playing violin in loud or dense free jazz groups.

1988.

Rusch, Bob. “Billy Bang: Interview.” Cadence. Nov. 1980. 5–9, 81. Covers his youth and musical development through his current work and his general approach to the violin, briefly touching on solo playing, his service in Vietnam, drugs, the String Trio of New York, hazards of becoming known as a sideman to a major leader, and Wilbur Ware.

1989.

Walker, Nancy Mell, dir. “Billy Bang.” Online video. New York: Roulette, 1991. https:// vimeo.com/11569185 Solo performance, dedicated to Denis Charles, followed by an interview on the structure of the performance, his approach to improvisation, and his understanding of jazz history after Ornette Coleman, including his work with Don Cherry and the loft era. A longer version of the interview is at https://vimeo.com/11928440

Baron, Joey 1990.

Cohen, Aaron. “Sweet Melodies, Nasty Grooves.” Downbeat. Nov. 1996. 42. Short interview-based profile tied to his BaronDown trio’s second album Crackshot.

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Mandel, Howard. “Blindfold Test: Joey Baron.” Downbeat. Dec. 1999. 102. Baron comments on recordings by Gene Krupa, Miles Davis (with Philly Joe Jones), Bassdrumbone, Thelonious Monk (with Art Blakey), and Joanne Brackeen.

1992.

Mehlan, Matt, dir. “Joey Baron.” Online video. New York: Roulette, 2009. https:// vimeo.com/11088055 Forty-five minute drum solo, followed by a fifteen minute interview on his background, “swing,” and the avant-garde.

1993.

Micallef, Ken. “Avant-Jazz’s Joey Baron: Inside the Mind of One of Drumming’s Most Creative Thinkers.” Modern Drummer. July 1996. 48–54, 56, 58, 60, 62, 64, 69. Cover interview on his early training and influences, balancing straightahead and avant-garde playing, his band Barondown, and his work with Bill Frisell, John Zorn, and David Bowie.

1994.

Rusch, Bob. “Joey Baron Interview.” Cadence. Nov. 1996. 16–26, 122. Biographical interview, including his extensive experience in straghtahead jazz and transition to the Downtown scene via Tim Berne’s Miniature, John Zorn’s Naked City, and other projects. Baron speaks in depth about the racial dynamics of both scenes and the complex position of Jews in both.

1995.

Vickery, Steve. “Joey Baron: ‘My Approach is Always to Keep Thinking.’” Coda. 274 (July/Aug. 1997). 20–22. A description of the band BaronDown in his own words, expanding to include ideas on leadership, innovation, improvisation, and composition.

Bendian, Gregg 1996.

Eisenstadt, Harris. “Gregg Bendian Interview.” Cadence. June 1999. 18–20. Bendian describes his studies with Andrew Cyrille and Steve McCall, how he combined that material with his interest in rock, funk, and early fusion, and the lasting inspiration of his work with Cecil Taylor.

Bergman, Borah 1997.

Bergman, Borah. “Crossed Hands.” in Arcana II: Musicians on Music. ed. John Zorn. New York: Hips Road, 2007. 38–39. Notes on the development of his ambidextrous piano technique, specifically the different finger and pitch relationships created by playing with the hands crossed over.

1998.

Hamilton, Andy. “Ivory Power.” The Wire. 235 (Sept. 2003). 28–30. Interview-based profile resolving some mysteries (his birthday), perpetuating others (his life before his recording debut in 1978), and taking stock of his series of duets with saxophonists (including Evan Parker and Roscoe Mitchell) and his recent John Zorn-produced albums. Also includes a critique of Cecil Taylor, to clarify the differences between their styles.

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1999.

309

Heffley, Michael. “Fists of Fury!” Signal to Noise. 18 (July/Aug. 2000). 26–30. Interview-based profile discussing his crossed-hand piano technique and relationships between anarchism, freedom, and improvisation.

2000.

Kelsey, Chris. “Overdue Ovation: Borah Bergman.” JazzTimes. Dec. 2004. 50–52. Interview-based profile, covering his musical education and career from the 1970s to his new Acts of Love album with Lol Coxhill and Paul Hession.

Berne, Tim 2001.

Carey, Christian. “Patience is a Virtue.” Signal to Noise. 63 (Spring 2012). 28–34. Interview-based profile on his band Snakeoil’s ECM debut, including comments from the other members of the group.

2002.

Chapin, Gary Parker. “The Tim Berne Piece.” Coda. 245 (Sept/Oct 1992). 17–19. Interview-based profile on his new albums I Can’t Put My Finger on It (with Miniature) and Pace Yourself (with Caos Totale). Berne discusses his studies with Julius Hemphill, as well as the influence of John Zorn, and his desire to challenge himself in the spare trio Miniature.

2003.

Chinen, Nate. “Berne to Shine.” JazzTimes. June 2012. 34–39. Interview-based feature on his ECM debut Snakeoil, with additional remarks from bandmembers Matt Mitchell and Ches Smith.

2004.

Durso, Jimi. “Tim Berne’s Saxophone Solo on ‘Ethiopian Boxer.’” Downbeat. Oct. 2004. 172–173. Transcribed improvisation on Hank Roberts’ composition from the self-titled album by Miniature. With analytic notes.

2005.

Hahn, Steve. “Berne, Baby, Berne: The Trial by Fire of Saxophonist Tim Berne.” Option. Mar/Apr. 1989. 66–69. Interview-based career-spanning profile, on his relationships with Julius Hemphill, Alex Cline, Bill Frisell, and John Zorn, and affiliations with labels from Empire to Soul Note to Columbia to JMT.

2006.

Howard, John. “Tim Berne.” Perfect Sound Forever. Sept. 1998. n.p. www.furious. com/perfect/timberne.html Interview reviewing his career from his connections to Julius Hemphill and Alex Cline through his recordings for Columbia and JMT to his own Screwgun label and current bands Bloodcount, Paraphrase, and Big Satan.

2007.

Iverson, Ethan. “Interview with Tim Berne.” Do the Math. ethaniverson.com. 2009. n.p. https://ethaniverson.com/interviews/interview-with-tim-berne-part-1/ https:// ethaniverson.com/interviews/interview-with-tim-berne-part-2/ In two parts, the first a long, career-spanning conversation, with substantial discussion of Julius Hemphill, Berne’s early musical interests, saxophone and composition studies with Hemphill and others, and his recordings for Empire, Soul Note, JMT, and Screwgun. Second, Iverson plays him a selection of his own tracks, eliciting notes on his progress as a composer and arranger and tributes to collaborators Paul

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Motian, Bill Frisell, Mack Goldsbury, Herb Robertson, Hank Roberts, Joey Baron, Michael Formanek, Craig Taborn, Tom Rainey, and Marc Ducret. 2008.

Mandel, Howard. “The Three Outsketeers: Tim Berne.” Downbeat. Oct. 1993. 30–31. The titular “outsketeers” are Berne, David Sanborn, and Julius Hemphill, the first two of whom play the third’s music on Berne’s Diminutive Mysteries album. Mandel talks to all three about the record and their shared history.

2009.

Milkowski, Bill. “Before & After: Tim Berne’s Blythe Observations.” JazzTimes. June 2000. 74–76, 132. Alto-oriented blindfold test with recordings by Arthur Blythe, Marty Ehrlich, Eric Kloss, Lee Konitz, Oliver Lake, and Greg Osby.

2010.

Montgomery, Will. “Tim Berne: Saxophonic Extremes.” The Wire. 112 (June 1993). 14. Short interview-based profile on the new Diminutive Mysteries album, discussing his collaboration with Julius Hemphill as composer and David Sanborn as guest performer.

2011.

Panken, Ted. “Tim Berne: Predisposition for Change.” Downbeat. Oct. 2010. 32–35. Interview-based feature on his groups Buffalo Collision, BBC, Adobe Probe, and Los Totopos (later renamed Snakeoil). Collaborators Ethan Iverson, Jim Black, and Nels Cline comment, and Berne describes his early lessons with Anthony Braxton and Julius Hemphill.

2012.

Rusch, Bob. “Tim Berne: Interview.” Cadence. Oct. 1983. 5–12. Covers his early influences, lessons with Anthony Braxton and Julius Hemphill, and his self-produced recordings with Nels and Alex Cline, John Carter, Paul Motian, and others.

2013.

Santoro, Gene. “Blindfold Test: Tim Berne.” Downbeat. Sept. 1988. 43, 62. Berne identifies and comments on recordings by alto saxophonists Marshall Allen (with Sun Ra), Ornette Coleman, Eric Dolphy, Julius Hemphill and Oliver Lake (with the World Saxophone Quartet), Greg Osby, Charlie Parker, Maceo Parker, and Henry Threadgill.

2014.

Shoemaker, Bill. “Label Watch: Screwgun: Berne’s Turn.” JazzTimes. Apr. 1998. 64–65. Short interview-based piece on his history with labels, from his own Empire to Soul Note to Columbia to JMT to his own second label Screwgun, discussing independent vs. major vs. DIY and sales at shows vs. stores vs. mail-order and online.

2015.

Whitehead, Kevin. “Tim Berne: Beyond the Five-Year Plan.” Downbeat. July 1987. 23–25. Interview-based feature on his Columbia Records debut Fulton Street Maul, describing its compositions, recording process, and the contributions of sidemen Bill Frisell, Hank Roberts, and Alex Cline, as well as his work with Julius Hemphill and John Zorn.

2016.

Woodard, Josef. “Tim Berne: Electro-Acoustic Innovations.” Downbeat. Dec. 2004. 34. Interview-based profile focused on his recent work with various combinations of electric guitarists David Torn and Marc Ducret and keyboardist Craig Taborn in his bands Science Friction, Big Satan, and Hard Cell, all of which also include Tom Rainey on drums.

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Bisio, Michael 2017.

DeBarros, Paul. “Michael Bisio: Rewarding Relationship.” Downbeat. Dec. 2015. 25. Brief interview-based profile surveying his career while focused on his collaboration with Matthew Shipp.

Brackeen, Charles 2018.

Cuscuna, Michael. “Profile: Charles Brackeen.” Downbeat. Aug. 15, 1974. 34–35. Short interview-based profile on his struggle for work and recognition and his LP Rhythm X.

Brown, Rob 2019.

Hicks, Robert. “New Faces: Rob Brown.” Coda. 259 (Jan/Feb. 1995). 26–27. Interview-based profile on his background, development across the albums Breath Rhyme, Youniverse, and Highwire, and collaborations with Matthew Shipp, William Parker, and choreographers Elaine Shipman and Kay Nishikawa.

2020.

Van Trikt, Ludwig. “Rob Brown Interview.” Cadence. Sept. 2006. 5–10. Career-spanning interview, from his musical education at Berkelee and with Dennis Sandole through his development as a composer and bandleader, with a recap of his discography and specific comments on working with Karen Borca, Henry Grimes, and William Parker.

Campbell, Roy 2021.

Bynum, Taylor Ho. “Postscript: Roy Campbell, Jr.” The New Yorker. Online. Jan. 10, 2014. www.newyorker.com/culture/culture-desk/postscript-roy-campbell-jr Memorial tribute, recounting his biography, music, and personality, particularly in the contexts of the Vision Festival, Festival of New Trumpet Music (FONT), and Bynum’s appreciation of his relaxed but physical mastery of his instrument.

2022.

French, David. “Before & After: Roy Campbell and Dave Douglas.” JazzTimes. Oct. 2006. 28–30. Blindfold test in which the two trumpeters comment on records by their coinstrumentalists Ahmed Abdullah, Don Cherry, Axel Doerner, Kenny Dorham, Ingrid Jensen, Woody Shaw, and Rex Stewart.

2023.

Pierrepont, Alexandre. “Parisian Thoroughfare: A Tribute to Albert Ayler.” Point of Departure . 24 (Aug. 2009). n.p. www. pointofdeparture.org/PoD24/ PoD24ParisianThoroughfare.html Campbell, Joe McPhee, William Parker, and Warren Smith are interviewed by a group of critics on their Ayler tribute project. Each describes Ayler’s influence, their conception of music as a natural or spiritual practice, their relationship to the idea of “free jazz,” and their inspirations outside of music.

312

2024.

New York 2—Loft Jazz, Downtown, and Beyond

Van Trikt, Ludwig. “Roy Campbell Interview.” Cadence. Dec. 1999. 18–22. On his musical background and his work with Jemeel Moondoc and David Murray.

Carter, Daniel 2025.

Spicer, Daniel. “Known and Unknown Pleasures.” The Wire. 315 (May 2010). 28–33. Interview-based feature from the Music Ensemble to Other Dimensions in Music, Test, and his collaborations with William Parker and Matthew Shipp to his current group WAKE UP!

Chadbourne, Eugene 2026.

Chadbourne, Eugene. Dreamory. Greensboro, NC: House of Chadula, 2013. 1186 p. Unique and massive mix of tour diaries and dream journals, blurring the distinction to capture the surreal qualities of life on the road. Musicians, concert promoters, and other characters pass through both, sometimes under aliases: Dave Holland becomes “Dave Belgium,” Evan Parker “Donald Schildkraut,” etc.

2027.

Chadbourne, Eugene. I Hate the Man Who Runs This Bar! The Survival Guide for Real Musicians. Emeryville, CA: Mix Books, 1997. x, 187 p. While addressed to independent musicians in all styles and genres to argue for the indie/DIY approach, this is also a comic memoir, with many characters hybridized and pseudonymous, so it emphasizes the jazz, free improvisation, and experimental rock worlds. Andrea Centazzo, Derek Bailey, Anthony Braxton, and Steve Lacy appear under their own names in anecdotes.

2028.

Chadbourne, Eugene. “The Walks and the Tapes.” in Arcana VII: Musicians on Music ed. John Zorn. New York: Hip’s Road, 2014. 37–42. Memories of his 1970s walks around Manhattan and of a composition entitled “Fake Fight,” realized as a tape collage after ROVA could not decipher his score.

2029.

Whitehead, Kevin. “Eugene Chadbourne Interview.” Cadence. Aug. 1982. 5–8. Describes meeting his current band: Mark Kramer, Tom Cora, and David Licht at the Creative Music Studio, working with Toshnori Kondo, Andrea Centazzo, Misha Mengelberg, and Han Bennink, with John Zorn on “Croquet,” and with Frank Lowe. His collaboration with Lowe leads into an intense discussion of race and musical style, particularly in the New York scene.

Chancey, Vincent 2030.

Van Trikt, Ludwig. “Vincent Chancey.” Cadence. Sept. 1987. 15–20, 24. Interview on the French horn in jazz and his work with Sun Ra, Lester Bowie, Wilber Morris, David Murray, Muhal Richard Abrams, and Carla Bley.

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313

Christi, Ellen 2031.

Iannapollo, Robert. “Ellen Christi Interview.” Cadence. Aug. 2000. 5–10. Biographical interview, including her experience being excluded from the AACM for being white, moving to New York to participate in the loft scene with Jemeel Moondoc and William Parker, including the Sound Unity Festival, and working in Europe.

Cole, Bill 2032.

Cole, Bill. “Improvisation in Music: A Black’s View.” in Free Spirits: Annals of the Insurgent Imagination. eds. Paul Buhle, Jayne Cortez, Philip Lamntia, et al. San Francisco: City Lights Books, 1982. 103-106. A musical autobiography and mission statement, tracing his career through fandom to free improvisation to study of Asian double-reeds to the formation of his trio with Sam Rivers and Warren Smith and the development of an oral compositional and pedagogical practice.

2033.

Ho, Fred. “Bill Cole: African American Musician of the Asian Double Reeds.” in Afro Asia: Revolutionary Political and Cultural Connections between African Americans and Asian Americans. eds. Fred Ho and Bill Mullen. Durham, NC: Duke UP, 2008. 256–264. Interview-based profile, including his choice of instruments, his Coltrane biography, and his career in higher education, concluding with his harassment by the right-wing Dartmouth Review for his activism and pedagogy.

Cooper, Jerome 2034.

Gal-Ed, Uri, dir. “Jerome Cooper.” Online video. New York: Roulette, 1996. https:// vimeo.com/11569846 Solo performance followed by an interview on his musical background, the Revolutionary Ensemble, sound vs. rhythm, and playing with Cecil Taylor. Twentyeight minutes. A longer edit of the interview is at https://vimeo.com/11909795, with additional material on the formation and interpersonal dynamics of the Revolutionary Ensemble, his opinion that drummers are marginalized in the AACM, with percussion trivialized as “little instruments,” his unsuccessful audition for the Art Ensemble of Chicago, his focus on the drumset, solo drumming, and music as ritual.

2035.

Hazell, Ed. “Jerome Cooper: The Music of the Drums.” Modern Drummer. Apr. 1986. 26–29, 70–73. Interview on his use of African instruments, the drumset as a multiple instrument, improvised music and spirituality, duration, originality, practice, solo vs. ensemble playing, and the blues.

314

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Cooper-Moore 2036.

Carsalade, Pierre, Romain Tesler, and Alexandre Pierrepont. “Itutu (‘On How to Appropriately Present Oneself to Others’): Extra-Musical Pedagogical Values in Creative Music.” Critical Studies in Improvisation. 4:1 (2008). n.p. www.criticalimprov. com/article/view/382/996 Observation of workshops conducted in the working class immigrant banlieues neighborhoods of Paris by Cooper-Moore (2005–06) and William Parker (2001), reaching some generalizations about their pedagogy and linking it to utopian and practical aspects of African-American art.

2037.

Hamilton, Andy. “Cooper-Moore: Bang to Rights.” The Wire. 256 (June 2005). 14–15. Brief interview-based profile, on never turning down a gig, playing the piano hard, building his own instruments, and insisting on owning the rights to his recordings.

2038.

Kramer, Michael J. “Refrain: They All Laughed When I Sat Down at the Piano . . . ” Jazziz. Sept. 2000. 76, 80. Review of his solo CD Deep in the Neighborhood of History and Influence and 1999 Vision Festival set, with Cooper-Moore’s comments on humor and spontaneity in music.

2039.

Lore, Adam. “Cooper-Moore.” 50 Miles of Elbow Room. 1 (2000). 6–21. www. 50milesofelbowroom.com/articles/401-cooper-moore.html Lengthy autobiographical interview, including his musical background, the group Apogee with David S. Ware and Marc Edwards, working with William Parker, and building his own instruments.

2040.

Wooley, Nate, and Cooper-Moore. “Introducing Cooper-Moore.” Sound American. 6. n.d. n.p. http://soundamerican.org/sa_archive/sa6/sa6-cooper-moore.html Twenty minute audio interview, introduced with Cooper-Moore’s autobiographical statement written for the Hopscotch Records website, which gives a substantial account of his musical development and of the group Apogee with David S. Ware and Marc Edwards.

Cortez, Jayne 2041.

Kingan, Renee M. “‘Taking it Out!’: Jayne Cortez’s Collaborations with the Firespitters.” in Black Music, Black Poetry: Blues and Jazz’s Impact on African American Versification. ed. Gordon E. Thompson. Burlington, VT: Ashgate, 2013. 149–161. Discussion of her poetry as text and as performed with her band including Bern Nix, Al MacDowell, her son Denardo Coleman, and others. The ensemble’s compositional and improvisational techniques for working with poetry are analyzed, as are several poems.

Crispell, Marilyn 2042.

Buium, Greg. “Marilyn Crispell: Subtle New Space.” Coda. 296 (Mar/Apr. 2001). 14–18.

New York 2—Loft Jazz, Downtown, and Beyond

315

Interview-based profile, reflecting on her turn to more lyrical or introspective music, which is linked to her work with Annette Peacock, Anders Jormin, Gary Peacock, and Paul Motian, and to the end of her time with Anthony Braxton. 2043.

Chapin, Gary Parker. “Spontaneous Combustion: Marilyn Crispell’s Keyboard Epiphanies.” Option. Nov/Dec. 1990. 46–50. Interview-based feature on her musical development, the Creative Music Studio, her work with Anthony Braxton, some of her composing techniques, and the Live in San Francisco solo CD, her first recording of standards.

2044.

Crispell, Marilyn. “Elements of Improvisation: For Cecil Taylor and Anthony Braxton.” in Arcana: Musicians on Music. ed. John Zorn. New York: Granary, 2000. 190–192. Short collection of notes for improvisers, including organizational and aesthetic ideas.

2045.

Crispell, Marilyn. A Pianist’s Guide to Free Improvisation: Keys to Unlocking Your Creativity. DVD. Woodstock, NY: Homespun Tapes, 2002. Eighty minute lesson with Crispell at the piano, explaining everything from major and minor triads to playing inside the piano, demonstrating building free improvisations with simple materials. Bassist John Menegon joins her for duets based on various rules and relationships, as well as performances of his “Soft Spot,” Dewey Redman’s “Walls—Bridges,” and Lotte Anker’s “Saluté.” Lead sheets for these and Andres Jormin’s “Not,” which Crispell plays solo, appear in the booklet.

2046.

Enstice, Wayne, and Janis Stockhouse. Jazzwomen: Conversations with Twenty-One Musicians. Bloomington: IN UP, 2004. xvii, 368 p. Crispell recounts her musical education, including the examples of John Coltrane and Cecil Taylor and the crucial role of the Creative Music Studio in her career, leading to her work with Anthony Braxton and others. She also describes choosing to incorporate more lyrical elements in her music in 1992, after playing with Andres Jormin.

2047.

Hanlon, Terri, dir. “Marilyn Crispell.” Online video. New York: Roulette, 2007. https://vimeo.com/11149682 Duo performance with Lotte Anker followed by an interview on her musical development and the philosophy of improvisation. Twenty-eight minutes.

2048.

Lopez, Rick. The Marilyn Crispell Sessionography. 1995–2015. www.bb10k.com/ CRISPELL.disc.html A detailed listing of performances and recordings, with excerpts from reviews, interviews, and other texts and illustrations accompanying some entries. Begins with the 1978 Anthony Braxton Creative Orchestra tour and trails off in the early 2010s.

2049.

Mandel, Howard. “Profile: Marilyn Crispell.” Downbeat. Sept. 1984. 42–43. Interview-based piece, covering her early musical inspirations and education, the influence of John Coltrane, meeting Cecil Taylor and Anthony Braxton at the Creative Music Studio, and her current work with Braxton and as a leader. She states that she is not interested in free music per se, but in expanded ideas of harmony and rhythm.

316

2050.

New York 2—Loft Jazz, Downtown, and Beyond

Ouelette, Dan. “Blindfold Test: Marilyn Crispell.” Downbeat. Oct. 1993. 48. Crispell comments on records by McCoy Tyner, Geri Allen, Jane Bunnett & Don Pullen, Bud Powell, the Art Ensemble of Chicago with Cecil Taylor, Billy Taylor, and David Murray (with John Hicks on piano).

2051.

Rusch, Bob. “Marilyn Crispell: Interview.” Cadence. Feb. 1984. 9–12. Her stories of discovering free music via John Coltrane’s A Love Supreme, eventually meeting Anthony Braxton at the Creative Music Studio, and winning a spot in his band with their first improvised duo.

2052.

Shoemaker, Bill. “Before & After: Marilyn Crispell.” JazzTimes. Dec. 2000. 64–65. Piano-centered blindfold test, with recordings by Duke Ellington, Bill Evans, Georg Graewe, Andrew Hill, Keith Jarrett, Irène Schweizer, Matthew Shipp, and Cecil Taylor.

2053.

Shoemaker, Bill. “Marilyn Crispell: Open to Collaboration.” JazzTimes. Feb. 1998. 60–62, 144–145. Interview-based profile centered on her ECM debut Nothing Ever was, Anyway, discussing her incorporation of jazz repertory and more open space and collaborations with producer/label head Manfred Eicher and singer/composer Annette Peacock.

2054.

Waldman, Anne. “An Animalized Spirit: A Conversation with Marilyn Crispell.” Shuffle Boil. 2 (Summer 2002). 16–21. On the role of structure on her album Amaryllis, her relationship to the jazz scene, and identifying as an international citizen after 9/11. Waldman is interested in the titles of her pieces.

Cross, Earl 2055.

Knox, Keith. “Earl Cross: Interview.” Cadence. July 1983. 5–7, 28. On his early musical education and apprenticeship, practicing out of Slonimsky’s Thesaurus of Scales and Melodic Patterns with John Coltrane and Pharoah Sanders, recording The Black Ark with Noah Howard and Voyage to Jericho with Charles Tyler, and his choice of horns and mouthpieces.

Dara, Olu 2056.

Panken, Ted. “Blindfold Test: Olu Dara.” Downbeat. May 2002. 78. Dara comments on recordings by Wadada Leo Smith, David Murray, Wynton Marsalis, and others.

2057.

Stern, Chip. “Olu Dara.” Musician: Player and Listener. Jan. 1984. 24, 26, 28, 30. Interview-based profile on his Mississippi background, cornet vs. trumpet, and free jazz as blues.

2058.

Woessner, Russell. “Profile: Olu Dara.” Downbeat. Aug. 1982. 52–53. Interview-based short piece on his background and work with James “Blood” Ulmer, Henry Threadgill, Lester Bowie, and Bill Laswell’s Material.

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Douglas, Dave 2059.

Alkyer, Frank. “Dave Douglas: In His Words.” Downbeat. June 2013. 24–31. On his development and career, with brief discussion of his work with John Zorn and the Downtown scene in general.

2060.

Bartlett, Andrew. “Dave Douglas Interview.” Cadence. July 1997. 9–12. Topics include the Tiny Bell Trio in relation to other Balkan and Klezmer-inspired band, the Knitting Factory scene vs. the neo-bebop scene, postmodernism, his work with John Zorn, and his In Our Lifetime album.

2061.

Baumeister, Jeff. “Dave Douglas’ Trumpet Solo on ‘The Persistence of Memory.’” Downbeat. Nov. 2004. 90–91. Complete transcription of Douglas’ improvisation on his composition from his Booker Little tribute CD In Our Lifetime, plus its accompanying bass vamp, and analytic notes.

2062.

Cox, Christoph. “Scavenging Angel.” The Wire. 200 (Oct. 2000). 26–29. Interview-based feature, presenting Douglas as bridging the Downtown and Jazz at Lincoln Center scenes through his progressive humanist politics and broad aesthetic, repeatedly contrasting his Modernism to John Zorn’s postmodernism and claiming jazz as a universally available and inclusive method.

2063.

Douglas, Dave. “Little Steps.” in Arcana II: Musicians on Music. ed. John Zorn. New York: Hips Road, 2007. 80–85. Douglas investigates Booker Little’s use of minor seconds in his small group arrangements, with examples from “Man of Words,” “Quiet, Please,” and “Forward Flight,” then shows how he employed this on his Little tribute album In Our Lifetime, with score excerpts from “Sappho,” “Persistence of Memory,” and “Three Little Monsters.”

2064.

Douglas, Dave. “Making Composition Central to Your Career.” Downbeat. Jan. 2011. 58–61. Edited transcript of an October 2010 college lecture discussing the arc of his career and the role of original music in it. He touches on form, harmony vs. counterpoint, balancing noise, chord changes, and other materials, cooperative, sideman, and leader projects, his independent label, and the value of regular workshop sessions to meet with other composers and play each other’s new music.

2065.

Douglas, Dave. “Roswell and Relativity.” Downbeat. Mar. 2004. 44–48. Starting with Roswell Rudd’s objections to being called “avant-garde,” Douglas catalogs the musical diversity and hybridity available on a Manhattan night, and constructs an anti-manifesto, arguing for artists to follow their muses and for each work to be judged in its own aesthetic and social context.

2066.

Ephland, John. “Dave Douglas: Tale of Whoa.” Downbeat, Jun. 1999. 32. Short interview-based profile with comments on his sextet, other ensembles, and his interest in the 1970s–‘80s avant-gardes, mentioning AACM, BAG, and Downtown players, as well as Fred Frith and AMM.

2067.

Hale, James. “Parallel Worlds: Dave Douglas.” Coda. 290 (Mar/Apr. 2000). 4–8. Interview-based career-spanning profile, including his musical education, his quartet, sextet, and string group, John Zorn’s Masada, and the challenges of success.

318

2068.

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Kahn, Ashley. “Before & After: Dave Douglas.” JazzTimes. Oct. 2013. 24–27. Blindfold test, with recordings featuring trumpeters Terence Blanchard, Donald Byrd, Ornette Coleman, Ted Curson, Olu Dara, Harry “Sweets” Edison, Wynton Marsalis, Woody Shaw, Clark Terry, and others.

2069.

Ouellette, Dan. “Blindfold Test: Dave Douglas.” Downbeat. Jan. 2001. 90. Tested onstage at the Monterey Jazz Festival with recordings by Clifford Brown, Oscar Noreiga, Gianluigi Trovesi, John Coltrane with Don Cherry, and Lester Bowie.

2070.

Shoemaker, Bill. “Dave Douglas: Parallel Worlds.” JazzTimes. Mar. 1998. 40–43, 130. Interview-based profile highlighting Douglas’ busy and varied career, including his string group, Tiny Bell Trio, Sextet tributes to Booker Little and Wayne Shorter, sideman work with Myra Melford, and participation in the New Music Meeting.

Dresser, Mark 2071.

Borgo, David. “Beyond Performance: Transmusicking in Cyberspace.” in Taking it to the Bridge: Music as Performance. eds. Nicolas Cook and Richard Pettengill. Ann Arbor: U of MI P, 2013. 319–348. Updates Christopher Small’s concept of “musicking,” of music as a social practice rather than a text, for the Internet age, surveying Dresser’s work in telematic performance, as well as remote DJ-ing and distributed sound art installations.

2072.

Collins, Troy. “Mark Dresser: New Sounds, New Platforms.” Point of Departure. 59 (June 2017). n.p. www.pointofdeparture.org/archives/PoD-59/PoD59Dresser.html Interview on his composing for mid-sized bands on his last two CDs Nourishments and Sedimental You, telematic performances, studying with Bertram Turetzky, playing in Black Music Infinity with Stanley Crouch, David Murray, Arthur Blythe, James Newton, and Bobby Bradford, his work with Anthony Braxton, Gerry Hemingway, and Denman Maroney, and his new West Coast musical community of Michael Dessen, Nicole Mitchell, and Joshua White.

2073.

Dresser, Mark. Guts: Bass Explorations, Investigations, Explanations. CD and DVD. Jerusalem: Kadima Collective, 2010. One hour instructional video on bass extended technique, with PDF files of exercises and a score for Dresser’s “Bacachaonne,” as well as additional video of an autobiographical interview and a conversation between Dresser and composer Roger Reynolds on their collaborative piece, which appears on the included solo CD.

2074.

Dresser, Mark. “A Personal Pedagogy.” in Arcana: Musicians on Music. ed. John Zorn. New York: Granary, 2000. 250–261. Concise presentation of his musical background and training introduces explanations and notated examples of bass extended techniques such as pizzicato artificial harmonics, harmonic specific flautando, subharmonics, multiphonics, and twohanded tapping (including bitones and double glissandi).

New York 2—Loft Jazz, Downtown, and Beyond

2075.

319

Dresser, Mark. “Zeppo: for Two Basses.” in A Family Album Book 2. ed. Frank Proto. Cincinnati: Liben Music, 1999. 8–9. Written for The Marks Brothers, his duo with Mark Helias, and recorded on their eponymous album, this composition makes extensive use of odd meters, harmonics, slapping, and three and four note chords combining harmonics and stopped notes, and also includes a section for free improvisation.

2076.

Kurth, Ulrich. “Zur Rolle der Streicher.” in Jazz und Komposition. ed. Wolfram Knauer. Darmstädter Beiträge zur Jazzforschung. 2 (1992). 183–201. A sampling of the expanded roles for strings after free jazz includes substantial excerpts from the score of Dresser’s “For Not the Law,” recorded by the Arcado String Trio, and from Tony Oxley’s graphically notated “Suite for Three Prepared Pianos and Orchestra.” In German.

2077.

Mercer, Michelle. “Remapping through Harmonics.” Downbeat. Mar. 2000. 52. Interview-based profile on his work with extended bass techniques and connections between his playing and composing.

2078.

Richardson, Derk. Improv21: An Informance with Mark Dresser. Online video. San Francisco: ROVA Arts, 2008. https://archive.org/details/IMP_2008_04_15 A solo improvisation, followed by a talk on his artistic development, demonstrating technical and technological innovations and ideas from music theory through further playing. Ninety-six minutes.

2079.

Rosenbaum, Joshua. “Mark Dresser: If Hendrix Played Upright .  .  . ” Bass Player. Sept. 1996. 14, 16. Interview-based profile covering extended bass technique, his studies with Bertram Turetzky, and his apprenticeship in Stanley Crouch’s Black Music Infinity band.

2080.

Shoemaker, Bill. “Before & After: Covering the Basses with Mark Dresser and Mark Helias.” JazzTimes. Apr. 2000. 64–66, 156. Double blindfold test on recordings by Paul Chambers, John Lindberg, Dave Holland, Elvin Jones with Jimmy Garrison, Steve Lacy with Jean-Jacques Avenal, Elvin Jones and Richard Davis, Evan Parker and Barry Guy, Diedre Murray and Fred Hopkins, Joëlle Léandre and William Parker, and Ray Brown, with deep attention to bass tone and how it is recorded.

2081.

Shoemaker, Bill. “What’s New? The PoD Roundtable.” Point of Departure. 15 (Jan. 2008). n.p. www.pointofdeparture.org/archives/PoD-15/PoD15WhatsNew.html Email conversation with UC San Diego faculty Dresser, Ed Harkins, and Steven Schick, who collaborated on an album House of Mirrors. They discuss Dresser’s coming to work at UCSD, changing ideas of musical community, and the use of technology in long-distance and non-real time collaboration.

2082.

Uitti, Frances-Marie. “Mark Dresser.” Contemporary Music Review. 25:5–6 (2006). 451–454. Conversation on studying improvisation, his practice routine, playing solo vs. in a group, and connecting notated and improvised music.

320

2083.

New York 2—Loft Jazz, Downtown, and Beyond

Varga, George. “Overdue Ovation: Mark Dresser.” JazzTimes. Apr. 2014. 22–23. Interview-based profile on his education and ongoing technical and technological expansions of the bass, with additional comments from Rudresh Mahanthappa, Dave Douglas, and Joshua White.

Duval, Dominic 2084.

Gershon, Pete. “Dominic Duval.” Signal to Noise. 11 (May/June 1999). n.p. Short interview-based profile discussing his relationship with the CIMP label and the story behind the CT String Quartet.

2085.

Koenig, Steven. “The Sounds of the Birds: Dominic Duval Interview.” Perfect Sound Forever. Sept. 1999. n.p. www.furious.com/perfect/dominicduval.html On his collaborations with Cecil Taylor, Tomas Ulrich, Jay Rosen, Jason Kao Hwang, Joe McPhee, Glenn Spearman, and Michael Jeffry Stevens, as well as his work with electronics on his solo album Nightbird Inventions.

2086.

Nai, Larry. “Dominic Duval Interview.” Cadence. July 2001. 5–17, 134. Long biographical talk, also covering his idea of the role of the bass in free improvisation, his and Cecil Taylor’s approaches to composing for improvisers, challenges of working with Taylor, and his ongoing relationship with Jay Rosen as the CIMP Records house rhythm section.

Ehrlich, Marty 2087.

Chénard, Marc. “Reeds and Deeds: Marty Ehrlich.” Coda. 259 (Jan/Feb. 1995). 6–7. Interview-based profile on multi-instrumentalism, his work with John Carter, his quartet, and learning to write for a string quartet.

2088.

Dickison, Steve, and David Meltzer. “Marty Ehrlich: An Interview.” Shuffle Boil. 4 (Summer/Fall 2003). 32–39. Long interview on his youth, with stories about the Black Artists Group, the Human Arts Ensemble, and the New England Conservatory, then his early professional work with Chico Hamilton, George Russell, Anthony Braxton, and Julius Hemphill.

2089.

Ehrlich, Marty. “A Polemic.” in Arcana IV: Musicians on Music. ed. John Zorn. New York: Hips Road, 2009. 111–113. Argues that context is more important than genre or style, citing Julius Hemphill as an example of an artist who used bebop, R&B, and other languages without being limited either by tradition or by an avant-garde mandate to transgress.

2090.

Macnie, Jim. “Liberal Expressionists: Marty Ehrlich and Tim Berne.” Downbeat. Jan. 1996. 30–32. Double interview ranging from Julius Hemphill to multi-instrumentalism to playing standards to earning a living.

New York 2—Loft Jazz, Downtown, and Beyond

2091.

321

Macnie, Jim. “Marty Ehrlich’s Delicate Balance.” Musician: Player and Listener. Jan. 1990. 16, 18, 35. Interview-based profile on the combination of versatility and individuality which enables him to work with Muhal Richard Abrams, Anthony Davis, and John Carter, as well as his own quartet.

2092.

Mandel, Howard. “Blindfold Test: Marty Ehrlich.” Downbeat. June 1999. 78. Ehrlich comments on recordings by John Carter, Naked City, Kenny Wheeler, the World Saxophone Quartet, and others.

2093.

Panken, Ted. “Marty Ehrlich: Thematic Unity.” Downbeat. Apr. 2004. 30. Brief interview-based profile, focused on his CDs The Long View and Line on Love, but also mentioning his work with Julius Hemphill’s music and his non-jazz freelancing.

Eisenbeil, Bruce 2094.

Cleveland, Barry. “Bruce Eisenbeil.” Guitar Player. May 2009. 66, 68–70. Short interview, primarily about his compositional techniques and guitar equipment.

2095.

Lo Conte, V. “Bruce Eisenbeil Interview.” Cadence. Feb. 2003. 5–8. Conversation starting with his recent Vision Festival performance with Milford Graves, then discussing the influence of John Coltrane and Cecil Taylor, his guitar inspirations, and recording for CIMP.

2096.

Rubolino, Frank. “Bruce Eisenbeil: On Record and in Conversation.” One Final Note. Nov. 2002. n.p. www.w.onefinalnote.com/features/2002/eisenbeil/ Reviews of the CDs Nine Wings, Mural, and Opium, followed by an interview on his background, studies with Joe Pass and Dennis Sandole, free improvisation vs. composition, work with Cecil Taylor and Milford Graves, and approach to guitar tone.

Fasteau, Kali Z. 2097.

Cowley, Julian. “The Life Aquatic.” The Wire. 255 (May 2005). 26–27. Short interview-based profile including her relationship with Donald Rafael Garrett, use of her voice and homemade instruments, and inspirations including Taoism and LSD.

2098.

Gershon, Pete. “Harmonic Convergence.” Signal to Noise. 31 (Fall 2003). 18–22. Interview-based profile discussing her collaborations with her husband Donald Rafael Garrett as the Sea Ensemble and her new CD Oneness.

Fefer, Avram 2099.

Collins, Jay. “Avram Fefer: The OFN Interview.” One Final Note. July 4, 2005. n.p. www.onefinalnote.com/features/2005/fefer-avram/ Extended conversation on composition and recording, instrumental doubling, career strategy, education, and collaborations with Bobby Few, Michael Bisio, Stephen

322

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Gauci, and others, particularly the album Painting Breath, Stoking Fire with Bisio and Gauci.

Finn, James 2100.

Dorward, Nate. “James Finn Interview.” Paris Transatlantic. June 6, 2005. n.p. www. paristransatlantic.com/magazine/interviews/finn.html Topics include his experiences studying and performing with Arthur Rhames, Roland Hanna, Jimmy Heath, Andrew Cyrille, and J. R. Monterose, his seemingly sudden appearance on the scene with several simultaneous CDs, his approach to the saxophone, and the role of the book A Course in Miracles in his life.

2101.

Hadley, Frank-John. “James Finn: Precipice of Wonder.” Downbeat. Oct. 2005. 34. Interview-based profile explaining his mystical and geometric approach to pitch organization, and discussing his albums Opening the Gates, Faith in a Seed, and Plaza de Toros.

Frisell, Bill 2102.

Dennison, Joe. “Bill Frisell’s Solo on ‘Evidence’—A Guitar Transcription.” Downbeat. May 1989. 56–57. Two chorus improvisation on Thelonious Monk’s composition, from Paul Motian’s album Monk in Motian.

2103.

Diliberto, John. “Bill Frisell: Guitars & Scatterations.” Downbeat. May 1989. 16–19. Interview-based feature centered on his Before We Were Born album, also discussing his work with Paul Bley, Vernon Reid, and John Zorn, with comments from Zorn.

2104.

Frisell, Bill. “An Approach to Guitar Fingering.” in Arcana: Musicians on Music. ed. John Zorn. New York: Granary, 2000. 140–144. Scales and etudes demonstrating a distinctive technique Frisell uses of playing lines across strings, combining fretted notes, open strings, and harmonics, giving the player control of notes ringing over each other, like the sustain pedal on a piano.

2105.

Mandel, Howard. “Bill Frisell: In Search of the Lost Chord and Other Sound Effects.” Downbeat. Apr. 1986. 19–21, 61. Interview-based feature on his studies with Jim Hall, collaborations with John Zorn and Paul Motian, and gradual return to 1960s rock guitar tone and vocabulary after a period of jazz purism.

2106.

Ouellette, Dan. “Blindfold Test: Bill Frisell.” Downbeat. May 1993. 48. Frisell comments on records by Kenny Burrell & John Coltrane, Sonny Sharrock, Jim Hall, Pat Metheny & Ornette Coleman, David Torn, Henry Kaiser, and Bob Mould.

Futterman, Joel 2107.

Niles, Paul. “Joel Futterman: In-Between Positions.” Coda. 244 (July/Aug 1992). 26–29.

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323

Interview-based profile on his development and his choice to keep a distance from the jazz scene and rarely record or perform. 2108.

Rusch, Bob. “Joel Futterman Interview.” Cadence. Mar. 1992. 17–20, 23. Biographical information, how he prepares for a performance, and discussion of his work with Jimmy Lyons.

Gayle, Charles 2109.

Lindbloom, James. “Charles Gayle Interview.” Perfect Sound Forever. Mar. 2000. n.p. www.furious.com/perfect/charlesgayle.html On his history of homelessness, teaching at Bennington, taking up the alto saxophone in addition to the tenor, his persona Streets the Clown, making “pro-life” and homophobic statements on stage as Streets and as himself, working with Cecil Taylor, and recording plans for FMP, 2.13.61, and other labels.

2110.

Mandel, Howard. “Cry Freedom.” The Wire. 121 (Mar. 1994). 12–14. Interview-based profile of Gayle, who is living in a squat and beginning to receive some recognition through the Knitting Factory and through admiring rock musicians such as Henry Rollins and Sonic Youth.

2111.

Pitt, Nick. “Gayle Force.” Coda. 327 (May/June 2006). 16–19. Interview-based cover story on Time Zones, his CD of relatively traditional solo piano, and its relationship to his saxophone music.

2112.

Smith, Miyoshi. “Charles Gayle Interview.” Cadence. Apr. 1991. 17–22. Largely devoted to the psychology of performance: How does he prepare for a show? Does he rehearse or compose? How does he prepare the sidemen? What is going through his mind onstage? etc., with some biographical information.

2113.

Spencer, Robert. “Charles Gayle Interview.” Cadence. Apr. 2001. 12–19. Long biographical interview, including stories of otherwise undocumented 1960s work with Rashied Ali and an unreleased ESP album, then moving ahead to his Silkheart albums, Touchin’ on Trane with Ali and William Parker, his current ad hoc trios, his plans to perform and record on piano, Always a Pleasure with Cecil Taylor, and his controversial onstage speeches.

2114.

Spicer, Daniel. “Busking Loose.” The Wire. 338 (Apr. 2012). 32–35. Interview-based feature reviewing his career, his marginal life, and his increasing commitment to performing in the persona of Streets the Clown.

2115.

Strauss, Neil. “Rich in Spirit: Charles Gayle Gives ‘Street Credibility’ a Whole New Meaning.” Option. Jan/Feb. 1993. 34–37. Interview-based profile, presenting him as the last and most extreme representative of 1960s energy music, and as a homeless street performer.

2116.

Whitehead, Kevin. “Riffs: Charles Gayle.” Downbeat. Jan. 1993. 13. A short interview-based introduction to Gayle.

324

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Giardullo, Joe 2117.

Allen, Clifford. “Joe Giardullo Interview.” Paris Transatlantic. Dec. 2008. n.p. www. paristransatlantic.com/magazine/interviews/giardullo.html Covers his musical development, time off from music, work with Joe McPhee, Bill Dixon, and others, and general concepts of improvisation.

2118.

de Barros, Paul. “Light in Darkness.” Signal to Noise. 25 (Spring 2002). 36–38. Feature on his Shadow and Light album, recorded September 11, 2001, with Joe McPhee, Michael Bisio, and Tani Tabbal. The four discuss their decision to proceed with the session and address their feelings musically.

2119.

Szwed, John. “Zones of Creativity.” Signal to Noise. 48 (Winter 2008). 14-17. Interview-based profile including a visit to a rehearsal for his large ensemble album The Pearl Road.

Grassi, Lou 2120.

Nai, Larry. “Lou Grassi Interview Pt. 1.” Cadence. June 2002. 5–13. Biographical interview, from his childhood to his studies with Beaver Harris and recording debut with Roswell Rudd on Numatik Swing Band.

2121.

Nai, Larry. “Lou Grassi Interview Pt. 2.” Cadence. July 2002. 13–20. Continues with his influences and style, studying with Jimmy Giuffre, and meeting Steve Tintweiss. After some time in Europe, he returned to New York and became part of the nascent Vision Festival scene, forming the Po Band with Herb Robertson, Steve Swell, Perry Robinson, and Wilber Morris, then adding Burton Greene and beginning his relationship with CIMP by selling them the tape of the group’s first concert. He criticizes aspects of CIMP’s recording and promotional practices, which CIMP head and Cadence editor Bob Rusch attempts to rebut parenthetically, and also mentions his work with Ken Filiano, Marshall Allen, Rob Brown, and Charles Gayle.

2122.

Shanley, Mike. “Po’ Life.” JazzTimes. Nov. 2003. 78–83. Interview-based profile discussing his education as a musician, including being mentored by Beaver Harris, his work with the Nu Band, PoBand, and John Tchicai, and numerous other projects.

Greene, Hilliard 2123.

Van Trikt, Ludwig. “Hilliard Greene Interview.” Cadence. Aug. 2006. 11–17. His work with Charles Gayle is among many topics, including bass technique, Little Jimmy Scott, and his musical education.

Halvorson, Mary 2124.

Collins, Troy. “Mary Halvorson: Variety and Contrast.” Point of Departure. 52 (Sept. 2015). n.p. www.pointofdeparture.org/PoD52/PoD52Halvorson.html

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325

Interview reviewing her musical background, including studies with Anthony Braxton and Joe Morris, then covering her new solo album, tours opening for the Melvins, use of effects and approach to guitar tone in general, various ensembles and pending projects, and sexism in the jazz and guitar worlds. 2125.

Durso, Jimi. “Mary Halvorson’s Guitar Solo on ‘Hemorrhaging Smiles.’” Downbeat. Dec. 2014. 104–105. Transcription of a 56 bar improvisation from her Bending Bridges album, with analytic notes.

2126.

Gottschalk, Kurt. “It’s in the Stars.” Signal to Noise. 53 (Spring 2009). 12–17. Dual interview-based profile of Halvorson and Jessica Pavone, focused on their singer-songwriter duo but also covering many other individual and joint projects, their work with Anthony Braxton, and astrology. With comments from Taylor Ho Bynum and Matthew Shipp.

2127.

Halvorson, Mary. “The Invented Horizon is Free.” in Arcana VI: Musicians on Music. ed. John Zorn. New York: Hips Road, 2012. 102–108. Halvorson explains her use of permutations to generate material: taking familiar chord forms and experimenting with changing, adding, or subtracting, one or two pitches at a time, making notes on the results, or writing lyrics by setting a syllable pattern and plugging in words from a found text which fit that formula.

2128.

Lopez, Rick. The Mary Halvorson Sessionography. www.bb10k.com/MH.disc.html 2015–present. A detailed list of performances and recordings, from her 2002 collaborative debut CD with Clayton Thomas and Tatsuya Nakatani to the present. Many entries include photos or album covers, some also have comments from players etc.

2129.

Mandel, Howard. “Invisible Jukebox: Mary Halvorson.” The Wire. 229 (May 2012). 22–25. Blindfold test with recordings by Lennie Tristano, the Art Ensemble of Chicago, Jimi Hendrix, Lawrence “Butch” Morris, Tortoise, Cecil Taylor & Derek Bailey, and Ornette Coleman.

2130.

Milkowski, Bill. “Before & After: Mary Halvorson.” JazzTimes. Sept. 2012. 16–18. Blindfold test with tracks featuring guitarists Nels Cline, Liberty Ellman, Jim Hall, Dom Minasi, Joe Morris, Elliott Sharp, Sonny Sharrock, and others.

2131.

Ouellette, Dan. “Blindfold Test: Mary Halvorson.” Downbeat. July 2017. 90. Halvorson comments on recordings by Derek Bailey, Fred Frith, Joe Morris, Marc Ribot, and others.

Harris, Craig 2132.

Mikowski, Bill. “Craig Harris: Renegade Spirit.” Downbeat Feb. 1991. 24–25. This interview-based profile mentions his work with David Murray and Sun Ra but focuses on his own bands Tailgaters’ Tales and Cold Sweat.

326

2133.

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Rusch, Bob. “Craig Harris Interview Part One.” Cadence. Apr. 1988. 16–26, 74. Primarily on his experiences working with Sun Ra, also covering his musical education and development and sideman work with David Murray, Olu Dara, and others.

2134.

Rusch, Bob. “Craig Harris Interview Part Two.” Cadence. May. 1988. 16–24, 88–89. Harris attempts to explain Cecil Taylor’s large ensemble music, then he and Rusch discuss money, drugs, and power in the music industry.

Haynes, Phil 2135.

Smith, Bill. “Down at the Corner Store: Phil Haynes in Conversation.” Coda. 255 (May/June 1994). 18–20. Interview on his influences, mainstream and avant-garde jazz, and his work with Paul Smoker and Anthony Braxton.

2136.

Whitehead, Kevin. “Riffs: Phil Haynes.” Downbeat. May 1991. 13. Brief interview-based profile on his work with Paul Smoker, Anthony Braxton, Joint Venture, and his own groups.

Ho, Fred 2137.

Buckley, Roger N, and Tamara Roberts, eds. Yellow Power, Yellow Soul: The Radical Art of Fred Ho. Chicago: U of IL P, 2013. x, 271 p. Essays and poems explore his work from multiple disciplinary and often personal perspectives. Jayne Cortez, Salim Washington, and Kalamu Ya Salaam are among the contributors.

2138.

Ho, Fred. “Fred Ho’s Tribute to the Black Arts Movement: Personal and Political Impact and Analysis.” Critical Studies in Improvisation. 1:3 (2006). n.p. www. criticalimprov.com/article/view/57/100 Also in Centennial Review. 6:2 (2006). 141–89. Personal and political memoir of meetings, studies, and collaborations with Archie Shepp, Sonia Sanchez, Amiri Baraka, Robert F. Williams, and Kalamu Ya Salaam, of his participation in the AsianImprov movement, and how he applied what he learned from the Black Arts Movement to AsianImprov, and from both to his own career.

2139.

Ho, Fred. “How Does Music Free Us? ‘Jazz’ as Resistance to Commodification and the Embrace of the Eco-Logic Aesthetic.” Capitalism Nature Socialism. 22: 2 (June 2011). 52–61. Observing that free jazz is primarily a live acoustic music resistant to commodification and often supported by collectives, he argues that it anticipates the modes of revolutionary organizing which will be necessary to overthrow capitalism and European world domination.

2140.

Ho, Fred. “‘Jazz,’ Kreolization and Revolutionary Music for the 21st Century.” Sounding Out! Music as Subversion, Resistance, Revolution. eds. Ron Sakolsky and Fred WeiHan Ho. Brooklyn, N.Y.: Autonomedia, 1995. 133–143.

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Ho rejects the word “jazz” as created and deployed by oppressors and exploiters, using it in scare quotes. He likewise works around questions of cultural ownership and the role of hybridity or “kreolization,” as well as swing, improvisation, the blues, and incorporating feminist themes into his art as a man. 2141.

Ho, Fred. “A Request from Ishmael Reed: Highlights in the History of ‘Jazz’ Not Covered by Ken Burns.” Shuffle Boil. 5/6 (2006). 63–66. A timeline featuring avant-garde, left-wing, and non-Black/white binary events in jazz history, including George Russell’s Lydian Chromatic Concept of Tonal Organization (223), Max Roach’s Freedom Now Suite, John Coltrane’s A Love Supreme, Archie Shepp and Max Roach’s duo records, the first Asian-American Jazz Festival, and others.

2142.

Ho, Fred. Wicked Theory, Naked Practice: A Fred Ho Reader. ed. Diane C. Fujino. Minneapolis: U of MN P, 2009. xii, 427 p. Selected essays and interviews on aesthetics, politics, and his work, with a foreword by Robin D. G. Kelley. Includes an essay on Cal Massey and numerous anecdotes about studying and working with Archie Shepp.

2143.

Mullen, Bill V. Afro-Orientalism. Minneapolis: U of MN P, 2004. xliv, 240 p. Applies Edward Said’s theory of Orientalism as the role of the real and imagined East in Western culture to African-American literature and politics, concluding by discussing Ho’s use of the African-American models of free jazz and Black power to reinterpret Chinese folk music and address contemporary anti-colonial, anticapitalist, and feminist themes.

2144.

Roberts, Tamara. Musicking at the Crossroads of Diaspora: Afro Asian Musical Politics, Ph.D. dissertation, Evanston, IL: Northwestern U, 2009. 242 p. Theoretical and historical chapters on Asian-American uses of African-American music introduce three examples: Chicago’s Jazz Me Blues Band and Japanesque, a blues band and a multiethnic multigenre hybrid, both led by Yoko Noge and including free jazz players Tatsu Aoki and Avryeaal Ra, and Ho’s music theater piece Deadly She-Wolf Assassin at Armageddon and work as artist-in-residence at the University of Wisconsin-Madison.

2145.

Roberts, Tamara. Resounding Afro Asia: Interracial Music and the Politics of Collaboration. New York: Oxford UP, 2016. 248 p. Revision of 2144, adding discussion of Ho’s All Power to the People! The Black Panther Suite album and “Momma’s Song,” his and Christine Stark’s sequel to Archie Shepp and Jeanne Lee’s “Blasé,” to argue his work represents radical interracialism rather than multiculturalism or identity politics.

2146.

Smith, Miyoshi. “Music Guerrilla: An Interview with Fred Wei-Han Ho (Summer, 1992).” in Sounding Out! Music as Subversion, Resistance, Revolution. eds. Ron Sakolsky and Fred Wei-Han Ho. Brooklyn, N.Y.: Autonomedia, 1995. 154–160. On his education and development, including studies with Archie Shepp and Hamiet Bluiett, then his interest in large ensembles, extended forms, and Chinese and Chinese-American materials, specifically mentioning the works “Contradiction Please! The Revenge of Charlie Chan,” and “We Refuse to be Used and Abused.”

328

2147.

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Zhang, Wei-hua. “Fred Wei-han Ho: Case Study of a Chinese-American Creative Musician,” Asian Music. 25.1–2 (1993/1994). 81–114. Traces a tradition of Chinese-Americans working in American popular music, from Chinese immigrants appearing in vaudeville to the 1960s folk and rock musician Charlie Chin to the fusion band Hiroshima and the emergence of the AsianImprov movement in the early 1980s. Ho’s connections to the Black Arts Movement and to musical, political, and ethnic communities in Amherst, Palo Alto, Boston, and New York are mapped. Musical and narrative elements of his ballet “Uproar in Heaven” are closely read as expressions of Asian-American identity and political resistance.

Holland, Dave 2148.

Jisi, Chris. “Mr. Holland’s Opening.” Bass Player. Jan. 2005. 52. Transcription of the improvised solo bass introduction to the title piece of his Conference of the Birds LP, with analytic notes.

Horvitz, Wayne 2149.

Horvitz, Wayne. “The Shape I’m in: A Solo by Garth Hudson.” in Arcana IV: Musicians on Music. ed. John Zorn. New York: Hips Road, 2009. 166–170. The sixteen-bar organ solo on The Band’s song is a vehicle to discuss style, genre, and the significant choices creative musicians have made to embrace or reject popular music, the blues, etc.

2150.

Richardson, Derk. Improv21: Wayne Horvitz: Approaching Training and Musical Heritage in Improvisation and Composition. Online video. San Francisco: ROVA Arts, 2009. https://archive.org/details/IMP_2009_04_15 Wide-ranging two-hour discussion of identity and genre in general and regarding his own work.

2151.

Santoro, Gene. “Profile: Wayne Horvitz.” Downbeat. May 1988. 46–48. Interview-based profile on his trio with Lawrence “Butch” Morris and Bobby Previte, the New York Composers’ Orchestra, The President, and his work with John Zorn.

Hwang, Jason Kao 2152.

Hazell, Ed. “Commitment: The Inclusive Landscape of the Soul.” Point of Departure. 31 (Oct. 2010). n.p. www.pointofdeparture.org/PoD31/PoD31Commitment.html Detailed history of the band Commitment, a pioneering Asian-American/AfricanAmerican free jazz band and a very active loft unit who flourished between 1978 and 1984 with Hwang and Will Connell joined by drummers and bassists including Denis Charles, Zen Matsuura, Jay Oliver, Sirone, and William Parker. The members’ biographies are traced, particularly the core lineup with Parker and Matsuura, and the band’s major recordings and performances surveyed.

New York 2—Loft Jazz, Downtown, and Beyond

2153.

329

Hazell, Ed. “Jason Hwang Interview.” Cadence. Sept. 1999. 21–29, 137. Detailed biographical interview on the band Commitment and the loft era, work with Butch Morris, Anthony Braxton, Vladimir Tarasov, Reggie Workman, and Henry Threadgill, his music for the play M. Butterfly, and his own discography as a leader.

2154.

Staudter, Tom. “Jason Kao Hwang Unleashes the Improvisors.” Downbeat. Feb. 2013. 20. Short interview on his background, work with conducted improvisation, and balancing notation and improvisation.

Ibarra, Susie 2155.

Hale, James. “Susie Ibarra: A Profile/Interview.” Coda. 286 (July/Aug. 1999). 10–11. On her studies with Buster Smith and Milford Graves and her work with David S. Ware.

2156.

Mandl, Dave. “Rhythm and Radiance.” The Wire. 220 (June 2002). 22–24. Interview-based profile covering her background and education, work with William Parker and Assif Tsahar, her own albums Radiance and Songbird Suite, and Black Narcissus by Mephista.

2157.

Micallef, Ken. “Jim Black & Susie Ibarra: Free Jazz Fountainheads.” Modern Drummer. July 1998. 70–74, 76, 79–80, 82–84. Side-by-side interviews, with sidebars on each subject’s favorite current drummers, recommended listening, selected discography, and a diagram of Ibarra’s drumset. Black discusses the group Pachora, his influences, and his use of instruments besides the standard trap kit, while Ibarra talks about form in William Parker’s music, extended technique, being left-handed but playing a right-handed setup, and being a woman free jazz drummer. Both address the perception that unorthodox playing represents a lack of conventional skill.

2158.

Micallef, Ken. “Susie Ibarra: Changing the Game.” Modern Drummer. Dec. 2010. 46–54. Interview on her musical background, extended techniques, time and non-time playing, and work with John Zorn, Pauline Oliveros, William Parker, Yo La Tengo, playing solo, teaching, and mixing other percussion instruments with the drumset.

Jackson, Ronald Shannon 2159.

Mandel, Howard. “Blindfold Test: Ronald Shannon Jackson.” Downbeat. Jan. 1983. 46, 55. Jackson comments on records by John Coltrane (Interstellar Space), Sly Dunbar, James “Blood” Ulmer, Art Tatum with Buddy Rich, Bobby Hutcherson, Tony Williams, Billy Hart, and Ornette Coleman.

2160.

Stern, Chip. “Ronald Shannon Jackson’s Rhythms of Life.” Modern Drummer. Mar. 1984. 14–17, 56–59. Interview-based profile, with detailed discussions of his conception of the sound and function of the drums and his gear.

330

2161.

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Watson, Ben. “Deep South Cypher.” The Wire. 147 (May 1996). 28–31, 66. Interview-based feature promoting his new edition of the Decoding Society, and also discussing his childhood, joining Ornette Coleman’s Prime Time, and hearing live music in Africa. With additional comments from Decoding Society members Jef Lee Johnson and Ramon Pooser.

2162.

Wilmer, Valerie. “Ronald Shannon Jackson: A Shaman for the ’80s.” Downbeat. Aug. 1982. 22–24, 68. Interview on his work with Ornette Coleman, Cecil Taylor, Albert Ayler, and his own band.

2163.

Woodard, Josef. “Jazz & The Abstract Truth: Drummer Ronald Shannon Jackson’s Triumph of the Spirit.” Option. 29 (Nov/Dec. 1989). 46–51. Interview emphasizing the stylistic unity of his work, that he didn’t perceive jazz, blues, R&B, country, etc. as separate when he was learning music and that he brings this holistic approach to his playing and composing. Focused on his own band, the Decoding Society, it also includes comments on the cooperative groups Power Tools and Last Exit, and his sideman work with Ornette Coleman and Albert Ayler.

2164.

Zabor, Rafi, and David Breskin. “Ronald Shannon Jackson: The Future of Jazz Drumming.” Musician, Player and Listener. June 1, 1981. 60–66, 68, 70. Feature profile in his own words on playing with Albert Ayler, Charles Tyler, Ornette Coleman, and Cecil Taylor, and track-by-track commentary on his album Eye on You.

Kelsey, Chris 2165.

Hreha, Scott. “Chris Kelsey: The OFN Interview.” One Final Note. Feb. 2005. n.p. www.onefinalnote.com/features/2005/kelsey/ Conversation on his new CD Renewal, his saxophone inspirations, and balancing being a critic and performer.

2166.

Van Trikt, Ludwig. “Chris Kelsey Interview.” Cadence. Dec. 2006. 5–15. In-depth discussion of his musical background, focus on the soprano saxophone, position as a musician and critic, collaborations with Jay Rosen and Dominic Duval, and recording for CIMP Records.

Knuffke, Kirk 2167.

Collins, Troy. “Kirk Knuffke: No Limits.” Point of Departure. 51 (June 2015). n.p. www.pointofdeparture.org/PoD51/PoD51Knuffke.html Interview on his musical background, aesthetic, and priorities, working with Matt Wilson, Mark Helias, and John Medeski, and studying with Ornette Coleman.

2168.

Levy, Aidan. “Lessons from Ornette.” JazzTimes. Oct. 2015. 16–17. Interview-based profile centered on his album Arms & Hands, but also including anecdotes about visiting Ornette Coleman to play and discuss Coleman’s music.

New York 2—Loft Jazz, Downtown, and Beyond

2169.

331

Micallef, Ken. “Kirk Knuffke: ‘True Individual.’” Downbeat. Jan. 2016. 36–39. Interview-based feature on his numerous recent albums, collaborations, and sideman roles, with discussion of inside and outside playing and being mentored by Ornette Coleman.

Last Exit 2170.

McElfresh, David. “Last Exit & the Noise of Trouble.” Signal to Noise. 11 (May/June 1999). n.p. A review of the career of the all-star quartet, which featured Sonny Sharrock, Peter Brötzmann, Bill Laswell, and Ronald Shannon Jackson, including lurid road stories and a sidebar on their recorded work.

Lavelle, Matt 2171.

Lavelle, Matt. New York City: Subway Drama, and Beyond. Bloomington, IN: I-Universe, 2011. An anthology of blog posts and online writing on trying to survive as a creative musician in New York, his influences and aspirations, studies with Ornette Coleman, and role in Giuseppi Logan’s comeback.

Malaby, Tony 2172.

Collins, Troy. “Tony Malaby: Visualizing the Sound.” Point of Departure. 50 (Mar. 2015). n.p. www.pointofdeparture.org/PoD50/PoD50Malaby.html Interview on his various ensembles and collaborators, his compositional approaches, and relationships between visual art and music.

2173.

Macnie, Jim. “Taking Every Open Path.” Downbeat. Jan. 2000. 65. Brief interview-based profile on his admiration for the inside/outside approaches of Sam Rivers and George Adams.

Malik, Raphé 2174.

Lewis, David. “The Short Form: Raphé Malik.” Coda. 285 (May/June 1999). 22–24. Excerpts from a long conversation on topics including Bill Dixon, Frank Wright, Cecil Taylor, Jimmy Lyons, his performance of “Ascension” with ROVA, and his own composing.

2175.

Rusch, Bob. “Raphé Malik Interview.” Cadence. Nov. 1994. 5–18. In depth interview, beginning with biographical information, then turning to the spirituality of the music, drug addiction, and collaborators including Frank Wright, Jimmy Lyons, and Cecil Taylor. Rusch and Malik spar over Malik’s dismissing European improvisers as derivative and irrelevant.

332

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Maroney, Denman 2176.

Drouot, Alain. “Denman Maroney: Hyperpiano Resonance.” Downbeat. May 2009. 28–29. Interview-based profile on his inside-the-piano approach, its origins as a response to free jazz saxophonists, and his complex use of rhythmic layering.

2177.

Maroney, Denman. “China Diary.” in Arcana VI: Musicians on Music. ed. John Zorn. New York: Hips Road, 2012. 154–167. Journal from a duo tour of China with drummer Rich O’Donnell, explaining their use of polyrhythms based on the harmonic series and describing unusual performance, workshop, and social situations.

2178.

Maroney, Denman. “Pro Session: Hyperpiano Basics.” Downbeat. Mar. 1999. 64. A succinct guide to using objects including steel bars, aluminum bowls, rubber blocks, plastic cassette boxes, plastic bottles, and mallets inside the piano to attack the strings and as temporary/movable preparations.

2179.

Maroney, Denman. “Pulse Fields.” Contemporary Music Review. 25:5/6 (Oct/Dec. 2006). 455–456. Pulse fields are both polymeters and harmonies slowed down so extremely that their pitch ratios are instead audible as rhythms. Maroney explains applying this concept, and his use of objects inside the piano (“hyperpiano”) to alter timbre and pitch.

Mateen, Sabir 2180.

Hreha, Scott. “Sax in the City.” Signal to Noise. 20 (Winter 2001). 32–37. Career-spanning interview-based profile with a large section on Horace Tapscott.

Melford, Myra 2181.

Gottschalk, Kurt. “Melford Presents Myriad Projects.” Downbeat. May 2015. 16. Brief interview on her collaborations with Ben Goldberg, the influence of the AACM on her work, and the multiple groups she is convening for a residency at The Stone.

2182.

Hale, James. “Myra Melford: Passage to India.” Coda. 300/301 (Nov. 2001–Feb. 2002). 16–17. Interview-based profile, reviewing her career up to her winning a Fulbright to study the harmonium in India, then considering that trip’s influence on her subsequent work.

2183.

Holtje, Steve. “Journey to the One.” The Wire. 158 (Apr. 1997). 22. Short interview-based profile explaining her move from a piano trio to the Same River Twice quintet via a duo tour with Han Bennink.

2184.

Kato, Yoshi. “Backstage with . . . Myra Melford.” Downbeat. Mar. 2008. 16. Short interview on her move to Berkeley and teaching at the University of California, her studies in India, and her use of the harmonium.

New York 2—Loft Jazz, Downtown, and Beyond

2185.

333

Mandel, Howard. “Blindfold Test: Myra Melford.” Downbeat. Dec. 2002. 102. Melford responds to recordings by Otis Spann, Muhal Richard Abrams, James P. Johnson, Cecil Taylor, Gonzalo Rubalcaba (with Charlie Haden), and Betty Carter (with Geri Allen).

2186.

Melford, Myra. “Aural Architecture: The Confluence of Freedom.” in Arcana: Musicians on Music. ed. John Zorn. New York: Granary, 2000. 119–135. Describes the influence of Frank Lloyd Wright on her work, as well intervallic permutation techniques she learned from Henry Threadgill and Edgard Varèse. Score excerpts from “Frank Lloyd Wright Goes West to Rest” and “Even the Sounds Shine” illustrate these ideas.

2187.

Melford, Myra, with Taylor Ho Bynum. Myra Melford. Audio cassette and transcript. Oral History of American Music: Major Figures in American Music. New Haven: Yale Music Library, 2012. Career survey, including her recordings for Knitting Factory Works, the groups Equal Interest with Leroy Jenkins and Joseph Jarman and Trio M with Mark Dresser and Matt Wilson, and her overall musical concepts.

2188.

Shoemaker, Bill. “Myra Melford: Hearing the River.” JazzTimes. May 1999. 56–58, 60, 62. Interview-based profile on her CD Above Blue, describing details of some compositions on that disc and discussing her ensembles The Same River Twice, Crush, and Equal Interest.

Moondoc, Jemeel 2189.

Hazell, Ed. “Carved Out of the Hard Dark Ebony of Africa: Jemeel Moondoc and Muntu: A History.” Point of Departure. 27 (Feb. 2010). n.p. www.pointofdeparture. org/PoD27/PoD27Muntu.html Also published as liner notes to Moondoc, Jemeel. Muntu Recordings. Three CDs. Vilnius, Lithuania: No Business Records, 2010. Detailed history, with black and white photos, of the loft era band Muntu, led by Moondoc and including, at various times, Rashied Bakr [Charles Downs], Billy Bang, Anthony Brown, Roy Campbell, Mark Hennen, Jay Oliver, William Parker, Rashied Sinan, Arthur Williams, and others. Covers their major performances, known recordings, and includes biographical information on many of the members.

2190.

Rusch, Bob. “Jemeel Moondoc: Interview.” Cadence. Nov. 1981. 10–13. On his musical background, work with Cecil Taylor and Jimmy Lyons at the University of Wisconsin alongside Michael Cosmic and Phill Musra, Muntu, and not being on the Wildflowers loft jazz anthologies.

Morris, Lawrence “Butch” 2191.

Bynum, Taylor Ho. “Postscript: Butch Morris (1947–2013).” The New Yorker. Jan. 30, 2013. Online. www.newyorker.com/culture/culture-desk/postscript-butch-morris-1947-2013 Memorial tribute, merging a biography with an explanation and appreciation of Conduction.

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2192.

New York 2—Loft Jazz, Downtown, and Beyond

Mandel, Howard. “Butch Morris: Conducting the New Tradition.” Downbeat. Oct. 1986. 26–28, 61. Interview-based profile charting the emergence of conduction from his experiences playing with Horace Tapscott and Charles Moffett and creatively conducting David Murray’s big band to his forthcoming album Current Trends in Racism in Modern America, which documents his first piece created with no precomposed material, only gestures. A sidebar includes a selected discography and gear list, explaining the superiority of the cornet to the trumpet, and some of his extended techniques.

2193.

McElfresh, Suzanne. “Butch Morris’ Conduction: Improvisation with a Wave of the Hand.” Downbeat. Sept. 1992. 64–65. Introduces Conduction and explains several of its core signals, with background on his work as cornetist, composer, and conductor.

2194.

Mercer, Michelle. “Portugal Directions.” Downbeat. Apr. 2002. 50–51. Morris and his ensemble are observed preparing and performing his song cycle “Folding Space.” Includes comments from vocalist Helga Davis and percussionist Lê Quan Ninh.

2195.

Monga, Vipal, dir. Black February: Music is an Open Door. DVD. Black February, 2012. One hour documentary centered on “Black February” in 2005, when Morris presented 44 Conductions and several lectures in spaces around New York, drawing on footage of multiple performances, rehearsals, and interviews with Henry Threadgill, Graham Haynes, Andrea Parkins, Brandon Ross, Howard Mandel, Greg Tate, J. D. Allen, and other musicians and writers, as well as Morris himself.

2196.

Morris, Lawrence “Butch.” The Art of Conduction: A Conduction Workbook. ed. Daniela Veronesi. New York: Karma, 2017. 219 p. Posthumously completed guide to his signaling system for organizing improvisation, with drawings and explanations of dozens of cues, a short biography of Morris, a list of all Conductions with dates, locations, and personnel, and additional texts by Veronesi, J. A. Deane, Allan Graubard, and Howard Mandel.

2197.

Morris, Lawrence “Butch.” “Conduction is.” Contemporary Music Review. 25:5/6 (Oct./Dec. 2006). 533–535. Short essay on Conduction in relation to composition and improvisation, what Conduction requires from its practitioners, and his hopes for its use by others.

2198.

Morris, Lawrence “Butch.” “The Science of Finding.” in Arcana II: Musicians on Music. ed. John Zorn. New York: Hips Road, 2007. 169–173. Artist statement on Conduction, situating it between composition and performance from the perspectives of conductor, player, and listener

2199.

Morris, Lawrence “Butch.” Testament: A Conduction Collection. 10 CD box set with book. New York: New World Records, 1995. www.newworldrecords.org/liner_ notes/80478.pdf Morris’ notes chart the development of Conduction and explain the core signs. An appreciation by poet Allan Graubard, a Conduction Chronology up to #50 (1995), and Morris’ resume are also included.

New York 2—Loft Jazz, Downtown, and Beyond

2200.

335

Panken, Ted. “Blindfold Test: Butch Morris.” Downbeat. May 2003. 90. Morris reacts to tracks by Thad Jones, Jackie McLean, Johnny Coles, Bob Brookmeyer, George Russell, Bill Dixon, and the Italian Instabile Orchestra.

2201.

Ratliff, Ben. “Taking Charge: Conductor Butch Morris’ Structured Chaos.” Option Nov/Dec. 1991. 42–46. Observed and interviewed during a week-long engagement at the Village Vanguard with a large group playing his composed music, while also organizing a festival of women improvisers, Morris attempts to define Conduction independently of written music or jazz.

2202.

Richardson, Derk. Improv21: Understanding Conduction: An Informance with Lawrence “Butch” Morris. Online video. San Francisco: ROVA Arts, 2007. https://archive. org/details/IMP_2007_02_05 Interview, followed by a demonstration of Conduction with a Bay Area string ensemble. Ninety-six minutes.

2203.

Smith, Miyoshi. “Lawrence ‘Butch’ Morris Interview.” Cadence. July 1989. 13–18. From his musical education and military service, this talk moves quickly to his early work on the West Coast with David Murray, Arthur Blythe, Horace Tapscott, James Newton, Charles Moffett, Frank Lowe, and others, then his development of Conduction from observing Tapscott and Moffett.

2204.

Stanley, Thomas T. Butch Morris and the Art of Conduction. Ph.D. dissertation. College Park: U of MD, 2009. xii, 197 p. https://drum.lib.umd.edu/handle/1903/9935 Theoretical, musicological, and historical analysis, including a substantial biography and close readings of several recordings. Stanley observed workshops and rehearsals and interviewed Morris, Greg Tate, J. A. Deane, and others. A glossary of Conduction gestures is appended.

2205.

Watson, Ben. “Lightning Rod.” The Wire. 165 (Nov. 1997). 32–35. Interview-based profile on a pending tour with his London Skyscraper ensemble and Conduction as a technique for linking musicians from different styles and cultures.

Morris, Wilber 2206.

Hazell, Ed. “Wilber Morris.” Cadence. Feb. 1988. 16–20. Biographical interview, primarily on his early years in California with Arthur Blythe, David Murray, and Bobby Bradford, with a very rare 1970s sighting of Henry Grimes, and discussion of his band Wilberforce.

Muñoz, Tisziji 2207.

Faberman, Brad. “Overdue Ovation: Tisziji Muñoz.” JazzTimes. July/Aug. 2015. 28–29. An introduction to the reclusive guitarist, with comments from Muñoz and collaborator John Medeski. His work with Pharoah Sanders, Paul Shaffer, and Bob Moses is also mentioned.

336

2208.

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Muñoz, Tisziji. “Death: The Father of Creation.” in Arcana V: Music, Magic, and Mysticism. ed. John Zorn. New York: Hips Road, 2010. 269–285. Poem and multi-part essay on the spiritual basis of music, arguing that creativity arises from submission to the divine, not conscious development of ideas or imitation of nature.

Murray, David 2209.

Birnbaum, Larry. “The Soul of the Church: David Murray and James Newton.” Downbeat. Nov. 1991. 24–25. In this short double interview during the recording of the David Murray/James Newton Quintet  album, the two discuss gospel music and the recently deceased John Carter.

2210.

Brady, Shaun. “Moving Right Along.” Jazziz. Fall 2013. 106–111. On his collaboration with Macy Gray, his hopes for broader commercial success, the status of the World Saxophone Quartet, and the members of his current quartet, with comments from Gray and sidemen Jaribu Shahid, Nashiet Waits, and Thornton Hudson Jr.

2211.

Davis, Francis. “David Murray: Tenor Energy.” Downbeat. June 1983. 24–26. Interview-based career overview, tracing his move from Ayler-inspired free playing to extending the pre-bop sounds of Coleman Hawkins, Paul Gonsalves, and Ben Webster. He discusses his recent projects: the octet, a quartet with John Hicks, the World Saxophone Quartet, and Clarinet Summit.

2212.

Devlin, Paul. “Interview with David Murray.” Do the Math. 2017. n.p. https://ethaniverson.com/interview-with-david-murray-by-paul-devlin/ On moving back to New York, starting a trio with Geri Allen and Terri Lynne Carrington, attempting to form a new version of Clarinet Family, breaking up the World Saxophone Quartet, his international projects with Cuban, Senegalese, and other groups, Arthur Blythe teaching him how to circular breathe, and growing up in the music.

2213.

Durso, Jimi. “David Murray’s Tenor Sax Solo on ‘Flowers for Albert.’” Downbeat. Feb. 2016. 96–97. Transcription and analysis of this 32 bar improvisation from his guest appearance on the Skatalites’ cover of his composition on their 1994 Hip-Bop CD.

2214.

Goldstein, Jacques, dir. David Murray: Saxophone Man. Two DVDs. Paris: La Huit, 2010. Set of three films: I’m a Jazzman, from 2008, is a one hour documentary drawing on interviews with Murray, Amiri Baraka, Stanley Crouch, and others, as well as performances with funk and gospel groups and a duo with Milford Graves. The additional films present full sets by Murray’s Black Saint Quartet and the Gwo-Ka Masters.

2215.

Griggs, Steve. “David Murray’s Solo on ‘Body and Soul’—A Tenor Saxophone Transcription.” Downbeat. Oct. 1985. 56–57. The full solo, one 32-bar chorus from his quartet album Morning Song.

New York 2—Loft Jazz, Downtown, and Beyond

2216.

337

Hodgett, Trevor, and Robert Hicks. “Two Views of David Murray.” Coda. 273 (May/ June 1997). 6–9. Separate interviews: Hodgett asks about Cecil Taylor, Arthur Blythe, James “Blood” Ulmer, Malcolm X, religion, and the World Saxophone Quartet’s Duke Ellington and R&B albums, while Hicks covers his Grateful Dead tribute album, music for the film W. E. B. DuBois: A Biography in Four Voices, and collaboration with Bob Weir on a musical about Satchel Paige.

2217.

Lange, Art. “A Fickle Sonance.” Point of Departure. 10 (Mar. 2007). n.p. www. pointofdeparture.org/archives/PoD-10/PoD10FickleSonance.html Traces the stairstepping thirds motif from David Murray’s “Murray’s Steps” back to Dizzy Gillespie’s “Bebop,” several Duke Ellington songs, and other compositions.

2218.

Macnie, Jim. “Hit it Hard: David Murray & James Carter.” Downbeat. July 1998. 18–25. Double interview covering saxophone tone, stage presence, marketing, and longevity.

2219.

Mandel, Howard. “Blindfold Test: David Murray.” Downbeat. July 1986. 48. Tenor saxophone-centered listening session, with recordings of Gene Ammons, Ornette Coleman on tenor, Coleman Hawkins, Joe Henderson, and Sam Rivers with Miles Davis, plus a classical saxophone quartet and a music video by Ed Wilkerson.

2220.

Mandel, Howard. “David Murray & James Blood Ulmer: Total Freedom.” Downbeat. Sept. 2012. 32–37. Feature on Ulmer’s guest appearances with Murray’s big band, also reviewing their often intersecting careers, based on interviews with both and including comments from sidemen.

2221.

Mandel, Howard. “David Murray: Searching for the Sound.” Downbeat. Oct. 1985. 26–28. Interview-based feature on his background, approach to chords, the inspirations for his “Flowers for Albert,” “Dewey’s Circle,” and “Morning Song,” his first trio with Fred Hopkins and Stanley Crouch, and forthcoming quartet albums with John Hicks and with James “Blood” Ulmer.

2222.

Mandel, Howard. “The World According to David.” Downbeat. May 2003. 42–46. Interview-based profile focused on his collaborations with Latin-American, African, and Cuban musicians. Murray also comments on European and Asian connections to jazz.

2223.

Milkowski, Bill. “So Much Music, So Little Time: David Murray.” Downbeat. Jan. 1993. 24–27. Discusses his collaborations with James “Blood” Ulmer and Milford Graves, as well as his own quartet, octet, and big band projects and his complicated relationships to the jazz business and tradition.

2224.

Milkowski, Bill. “Three Days in the Life: David Murray.” JazzTimes. June 2000. 38–43, 45, 142. Interview framed by a road story and concert review. Topics include tenor saxophonists, church music, Stanley Crouch, world music, and Sun Ra. Sidebars include a gear list and Murray’s 12 favorites of his own albums.

338

2225.

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Murray, David. David Murray. Three DAT audio cassettes. Jazz Oral History Project, Smithsonian Institution, Washington, DC. 2006. In-depth biographical interview. Finding aid not available.

2226.

Occhiogrosso, Peter. “Profile: Stanley Crouch/David Murray.” Downbeat. Mar. 25, 1976. 38–39. Dual interview-based introduction on their move from Los Angeles to New York. Crouch is presented both as a jazz scholar/theorist following Albert Murray and a drummer inspired by Sunny Murray (no relation). David Murray (also no relation), appears as the protégée, but credits Bobby Bradford for introducing him to Paul Gonsalves’ work, which he found a missing link and untapped resource for free jazz.

2227.

Panken, Ted. “Blindfold Test: David Murray.” Downbeat. May 2000. 82. Murray comments on recordings by Charles Lloyd, Von Freeman, Charles Gayle, Ben Webster, Branford Marsalis, and Ornette Coleman.

2228.

Wall, Tim. “David Murray: The Making of a Progressive Musician.” Jazz Research Journal. 1:2 (2003). 173–203. Traces his career from 1970s loft jazz to his current expatriate status and through numerous musical projects, examining how he has negotiated ideas of progressivism and classicism and built an enduring career. Discusses the frequent critical comparisons of Murray to both Albert Ayler and Coleman Hawkins, and Stanley Crouch appears as a foil, moving from Murray’s drummer and mentor to a critical adversary. The article both interrogates assumptions about progress in jazz and gives a narrative order to Murray’s vast recorded catalog.

2229.

Watrous, Peter. “David Murray.” Musician. Nov. 1985. 23–24, 26, 112. Interview-based biographical profile, with additional comments from Stanley Crouch on their meeting in Los Angeles and early trio with Mark Dresser, and from Lawrence “Butch” Morris on his improvisational conducting of Murray’s big band.

2230.

White, William D. “David Murray.” Cadence. May 1989. 5–8, 10. Interview on his early musical inspirations and his varying emphasis on exploring and expanding forms across his career. Presented with his past statement that the music needed to “start swinging again,” he now is wary of being associated with reactionaries.

2231.

Whitehead, Kevin. “David Murray: Obsessed.” Downbeat. June 1995. 16–20. Interview-based profile on his abundant output, with details of his business relationships with the DIW and Red Baron labels, the personal and economic motivations for his prolificacy, and sidebars detailing his gear and his favorites among his discography.

Murray, Diedre 2232.

Landreville, Annie. “Stringology: Diedre Murray & Fred Hopkins.” Coda. 249 (May/ June 1993). 4–5. Double interview on their work together in Henry Threadgill’s Sextett and their emergence as a duo. Murray also discusses problems she has experienced from male bassists as a woman cellist.

New York 2—Loft Jazz, Downtown, and Beyond

2233.

339

Smith, Miyoshi. “Fred Hopkins—Diedre Murray Interview.” Cadence. Jan. 1992. 5–10, 93. Double interview on their meeting and working together in Henry Threadgill’s Sextett, their quartet, and as a duo.

Nix, Bern 2234.

Nix, Bern. “Guest Editorial: Great Art, Sad Profession.” Guitar Player. Jan. 1988. 8. Describing his musical education, the challenges and opportunities of harmolodics, and the frustrations of the music industry, particularly the strained relationship between jazz and popular music and the distractions of music video.

2235.

Nix, Bern. “Oscar Moore’s Guitar Solo on ‘How High the Moon.’” Downbeat. Sept. 1994. 54–55. Transcription and analysis of Moore’s one-chorus improvisation on Nat “King” Cole’s classic record.

2236.

Williams, K. Leander. “Riffs: Bern Nix.” Downbeat. Sept. 1993. 14. A brief profile on the release of his debut CD Alarms and Excursions.

Norton, Kevin 2237.

Van Trikt, Ludwig. “Kevin Norton Interview.” Cadence. Aug. 2001. 5–9. Interview on his education and background, his work with Fred Frith, Milt Hinton, and Anthony Braxton, and his albums Integrated Variables and For Guy Debord.

Old and New Dreams 2238.

Silvert, Conrad. “Beauty is a Rare Thing: Ed Blackwell, Don Cherry, Charlie Haden and Dewey Redman Make Old and New Dreams.” Downbeat. June 1980. 16–19, 61. Introduction of the new quartet through profiles of the members, each of whom comments. Cherry speaks on harmolodics, Redman on his relationships with John Coltrane and Ornette Coleman, Blackwell on New Orleans, and Haden on his use of extended arco technique to imitate whalesong in his “Song for the Whales” and on his 1977 rehab stay.

Parker, William 2239.

Freeman, Phil. “Invisible Jukebox: William Parker.” The Wire. 267 (May 2006). 18–20, 22. Blind listening session, with records by Fred Anderson, Peter Brötzmann, Don Cherry, Frank Lowe, Charles Mingus, Sonny Rollins, Cecil Taylor, and others.

2240.

French, David. “His Own ‘New Thing.’” Downbeat. Oct. 2008. 40–46. Interview-based feature with additional comments from Matthew Shipp. Attempting to periodize and categorize Parker’s substantial discography, the author highlights his

340

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2001 album O’Neal’s Porch as introducing catchy accessible themes and 2002’s Raining on the Moon for adding vocals. Parker is also quoted on his large ensemble music, including his practice of allowing the sections of his Little Huey Orchestra to conduct themselves and recompose his material onstage. 2241.

Gal-Ed, Uri, dir. “William Parker.” Online video. New York: Roulette, 2001. https:// vimeo.com/11570996 Twenty minute performance of “When You Smile, the Big Orange Mountain Cries” by the Little Huey Creative Music Orchestra, followed by an eight minute interview of Parker. Parker explains his use of the term “creative music” and interprets the text he wrote for the piece, dedicated to Fannie Lou Hamer. A longer version of the interview can be seen at https://vimeo.com/11928440

2242.

Gershon, Pete. “A World that Works.” Soundboard. Sept./Oct. 1997. 6–9. Interview on his spectral and percussive approaches to the bass, the health of the creative music scene, and other topics.

2243.

Hale, Casey. Different Placements of Spirit: African American Musicians Historicizing in Sound. Ph.D. dissertation. New York: CUNY, 2014. 146 p. https://academicworks. cuny.edu/gc_etds/354/ Parker’s reinterpretations of Curtis Mayfield and Marcus Roberts’ of Gershwin are compared. Hale analyzes musical arrangements, lyrics, poetry, and other texts, cultural and institutional contexts, and also spoke with Parker.

2244.

Hale, Casey. “‘Different Placements of Spirit:’ The Unity Music of William Parker’s Curtis Mayfield Project.” Jazz Perspectives. 9:3 (2015). 259–287. A standalone presentation of the Parker material from 2244.

2245.

Hazell, Ed. “Another Great Day.” Signal to Noise. 32 (Winter 2004). 30-37. Reviews the ten-year history of Parker’s Little Huey Creative Orchestra, with comments from members Roy Campbell Jr., Rob Brown, Dave Sewelson, Alex Lodico, and Parker himself. There are substantial quotations from Parker’s writing and detailed explanations of his use of composition and cuing to create and shape pieces.

2246.

Hendrickson, Tad. “The Shaman: William Parker Leads from the Bass Up.” JazzTimes. Apr. 2005. 50–54. Interview-based feature reviewing his career, highlighting the Vision Festival, the quartet album O’Neal’s Porch, the Little Huey Creative Orchestra, and his new piano trio CD Luc’s Lantern.

2247.

Hicks, Robert. “William Parker: In Order to Survive.” Coda. 270 (Nov/Dec. 1996). 10–11. Interview-based profile reviewing his career and explaining the stories behind his albums Sunrise in the Tone World and Compassion Seizes Bed-Stuy.

2248.

Holtje, Steve. “Out of the Shadows.” The Wire. 152 (Oct. 1996). 24. Brief interview-based profile noting his emergence as a band leader after years as an ubiquitous loft sideman and member of Cecil Taylor’s Unit.

2249.

Kennan, David. “Signals from the Tone World.” The Wire. 222 (Aug. 2002). 34–38. Interview-based career-spanning feature discussing Frank Lowe’s Black Beings, The Music Ensemble, Cecil Taylor, Bill Dixon, David. S. Ware, and his own groups.

New York 2—Loft Jazz, Downtown, and Beyond

2250.

341

Lopez, Rick. The William Parker Sessionography: Attempting a Complete Historical Arc. A Work In Progress. New York: Centering, 2014. 482 p. www.bb10k.com/ PARKER.disc.html Lists every known live performance and studio session with titles, personnel, official and unofficial recordings, and in many cases anecdotes, flyers, reviews, album covers, and photographs. Because Parker has been a key player in the loft and downtown scenes since the ’70s and an essential sideman to David S. Ware, Cecil Taylor, Matthew Shipp, Peter Brötzmann, Jemeel Moondoc, Marco Eneidi, and Joe Morris, among others, this work has wide relevance. The print edition covers up to the 2014 Vision Festival; the website continues to be updated.

2251.

Lore, Adam. “William Parker.” 50 Miles of Elbow Room. 2001. n.p. www. 50milesofelbowroom.com/articles/72-william-parker.html Interview edited into a narrative in his own words of underground New York jazz venues from The East and other late 1960s Black Arts Movement spaces through the loft era into the Sound Unity and What is Jazz? Festivals. Flyers from several 1970s shows appear as illustrations.

2252.

Mandel, Howard. “William Parker: Beneath the Underdog.” Downbeat. July 1998. 32–35. Interview-based profile, on his development, philosophy, and the Sound Unity and Vision Festivals. Notes on his bass setup and pizzicato technique, as well as a selected discography, appear as sidebars.

2253.

Ouellette, Dan. “The Navigators.” Downbeat. July 2005. 53–57. Parker joins Ron Carter, Larry Grenadir, and Scott Colley for a bass roundtable. They discuss tone, influences, drummers, and the pros and cons of transcription. The three younger men pay homage to Carter, then Parker startles Carter by describing Cecil Taylor’s marathon rehearsals.

2254.

Panken, Ted. “Blindfold Test: William Parker.” Downbeat. Mar. 2000. 86. Parker comments on recordings by Ray Brown, Alan Silva with Bill Dixon, Barry Guy and Evan Parker, Paul Chambers, Glen Moore, Malachi Favors with Roscoe Mitchell, and Mark Helias.

2255.

Parker, William. “Becoming Music: Building Castles with Sound.” in Improvisation and Music Education: Beyond the Classroom. eds. Ajay Heble and Mark Laver. New York: Routledge, 2016. 176–180. Briefly describes his initiation into the African-American creative music community in New York, including his early work with Don Cherry and Cecil Taylor. He claims he did not hear the music specifically called improvisation until he began working with European free players, describes his connections with the European, Chicago, and Downtown scenes, and concludes by arguing for institutional support to document and teach Black creative music.

2256.

Parker, William. Document Humanum. New York: Centering Music, 1997. 41 p. Chapbook of creative poetry and prose includes a eulogy for Albert Ayler, a manifesto for free spiritual music, literal and emotional descriptions of bass techniques, and other texts.

342

2257.

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Parker, William. The Mayor of Punkville. New York: self-published, n.d. n.p. A collection of related fragments of fiction and poetry or an experimental novella on themes including race, politics, economics, and the role of music and art.

2258.

Parker, William. Music and the Shadow People. New York: Centering Music, 1995. 58 p. Chapbook mixing science fiction and poetry in a multipart story rendered with multiple typefaces and incorporating drawings.

2259.

Parker, William. The Music of William Parker Book One. New York: Centering Music, 1995. 100 p. Self-published spiral-bound compilation of 100 lead sheets and sketch scores.

2260.

Parker, William. “Reflections on Tomorrow.” in Arcana III: Musicians on Music. ed. John Zorn. New York: Hips Road, 2008. 174–179. Starting with Gary McFarland’s album America the Beautiful (An Account of its Disappearance), he recounts his embrace of creative music and pursuit of an individual musical identity, including a story about studying with Wilbur Ware.

2261.

Parker, William. Scrapbook: Notes and Blueprints. New York: William Parker, 2014. 206 p. Collection of liner notes, journal entries, grant proposals, poems, correspondence, recipes, CD reviews, and other texts.

2262.

Parker, William. Who Owns Music? Köln: Buddy’s Knife, 2007. 141 p. Selections from his self-published books (including 2256–2258) are joined by new and unpublished material, plus black and white photos and lead sheets for Parker’s compositions “Anast in Crisis Mouthful of Fresh,” “Goggles,” “Leaf Dance,” and “Prana” (from 2259). Many texts address music directly or metaphorically.

2263.

Rusch, Bob. “William Parker.” Cadence. Dec. 1990. 5–16, 77. Interview on his influences, the New York Musicians’ Organization, the political and economic motivations behind the loft scene, racial division in creative music, the press’s focus on individual stars, whether John Zorn or Wynton Marsalis, working with Zorn, Jemeel Moondoc, Cecil Taylor, and Bill Dixon, the effects of Jimmy Lyons’s passing on Taylor’s music, and the economics of the music.

2264.

Sawyer, R. Dante. “Where I was Standing, It Didn’t Rain. Have You Felt It?” Jazziz. Aug. 2000. 40–46, 55. Feature explaining in detail several of his bass techniques and improvising concepts, with additional comments from Jemeel Moondoc, Roy Campbell Jr., Rob Brown, Hamid Drake, and Michael Ehlers of Eremite Records. Includes descriptions of performances with Die Like a Dog, Peter Kowald, and the Little Huey Creative Orchestra, a Little Huey rehearsal, and a look back at Muntu.

2265.

Stewart, Alex. Making the Scene: Contemporary New York City Big Band Jazz. Berkeley: U of CA P, 2007. xvii, 398 p. Carla Bley’s “On the Stage in Cages,” from her 1993 CD Big Band Theory, is analyzed with a structural outline and score excerpts are provided and Stewart interviews her on practical and theoretical topics. A chapter on avant-garde bands discusses Sun Ra, Andrew Hill, and Parker’s large groups, with comments from Parker and Ron Horton, Hill’s trumpet player and music director.

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343

Ragin, Hugh 2266.

Chamberlain, Mike. “Hugh Ragin: Conversation with a Trumpet Player.” Coda. 297 (May/June 2001). 21–23. Interview covering his career from his childhood and education through his studies with the Art Ensemble of Chicago at the Creative Music Studio and subsequent work with Lester Bowie, Roscoe Mitchell, Anthony Braxton, David Murray, and Sun Ra.

2267.

Peake, Thomas. “Hugh Ragin Interview.” Cadence. Feb. 2002. 10–15. Biographical interview, including his early musical education, studying with the Art Ensemble of Chicago at the Creative Music Studio, and performing with Roscoe Mitchell, David Murray, Anthony Braxton, and Sun Ra.

Revis, Eric 2268.

Collins, Troy. “Eric Revis: The Specter of Posterity.” Point of Departure. 42 (Mar. 2013). n.p. www.pointofdeparture.org/PoD42/PoD42Revis.html Interview on his quartet CD with Ken Vandermark, Jason Moran, and Nasheet Waits, also discussing his work with Peter Brötzmann, the influence of the AACM, and his opinion that the “jazz wars” are ancient history (he regularly works with Branford Marsalis, as well as Vandermark and Brötzmann).

2269.

Panken, Ted. “Blindfold Test: Eric Revis.” Downbeat. July 2012. 82. The bassist comments on tracks featuring Ron Carter, Joëlle Léandre, Barry Guy, and others.

2270.

Woodard, Josef. “Eric Revis: Endless Possibilities.” Downbeat. Oct. 2017. 50–53. Interview-based profile on his Clean Feed albums with combinations of Kris Davis, Jason Moran, Ken Vandermark, Andrew Cyrille, Chad Taylor, and Nasheet Waits, also discussing his work with Branford Marsalis and Tarbaby.

The Revolutionary Ensemble 2271.

Hazell, Ed. “Band of Brothers.” Signal to Noise. 35 (Fall 2004). 34-37. Hazell speaks with the Revolutionary Ensemble: Leroy Jenkins, Sirone, and Jerome Cooper, as they reunite after 25 years.

Ribot, Marc 2272.

Cohen, Aaron. “Backstage with . . . Marc Ribot.” Downbeat. June 2006. 16. Short interview including discussion of the melody-based improvising strategies of Lennie Tristano and Albert Ayler.

2273.

Cowley, Julian. “Cosmo Chameleon.” The Wire. 178 (Dec. 1998). 45–48. Interview-based profile recapping his musical development and work with Tom Waits, the Lounge Lizards, John Zorn, and Henry Kaiser, leading to the current Los Cubanos Postizos.

344

2274.

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Durso, Jimi. “Marc Ribot’s Solo on ‘El Gaucho Rojo.’” Downbeat. Dec. 2005. 108–109. Complete transcription of this improvisation from Ribot’s Divertido! album with his band Los Cubanos Postizos, with analytic notes.

2275.

Gottschalk, Kurt. “Artists: Marc Ribot.” Guitar Player. May 2011. 62–64, 66, 68. Interview on his solo CD Silent Movies, also discussing his bands Spiritual Unity, Sun Ship, and Los Cubanos Postizos, and his favorite guitars, effects pedals, and string gauges.

2276.

Haga, Evan. “Marc Ribot: New York Stories.” JazzTimes. July/Aug. 2014. 26–31. Interviewed for his 60th birthday on playing on other people’s records, his Village Vanguard debut, the influence of Albert Ayler, his activism for musicians’ rights, and why he plays sitting down.

2277.

Licht, Alan. “Invisible Jukebox: Marc Ribot.” The Wire. 274 (Dec. 2006). 22–24, 26. Blind listening session with recordings of Albert Ayler, Derek Bailey with John Zorn and George Lewis, Charlie Haden, and others.

2278.

Macnie, Jim. “Marc Ribot & Nels Cline: Gargantuan Impact.” Downbeat. July 2011. 24–31. Double interview, with topics including electric vs. acoustic guitar, effects, working as a rock sideman, their influences, and their wildest shows. With comments from Elvis Costello, Tom Waits, and Mary Halvorson on Ribot and Jeff Tweedy and Jenny Scheinman on Cline.

2279.

Milkowski, Bill. “Reconstructed Soul.” Downbeat. Oct. 2016. 38–42. Interview on his Young Philadelphians soul cover band with Jamaaladeen Tacuma, Mary Halvorson, and Grant Calvin Weston. Includes comments from Halvorson and Tacuma. Ribot also discusses the influence of Ornette Coleman’s Prime Time and Arto Lindsay on his work overall and on this project.

2280.

Mirkin, Steve. “Family Entertainment: Guitarist Marc Ribot’s Entertainment for the Masses.” Option. May/June 1994. 72–75. Interview-based feature on the debut album by Shrek, also touching on Jacques Attali (79), Tom Waits, Radical Jewish Culture, and Albert Ayler.

2281.

Prosaïc, Anaïs, dir. Marc Ribot: La Corde Perdu/The Lost String. DVD. Paris: La Huit, 2009. Documentary, with voiceover by Ribot, excerpts from performances with Rootless Cosmopolitans, Shrek, and Los Cubanos Postizos, solo, and interviews with Anthony Coleman and Arto Lindsay.

2282.

Ribot, Marc. “Days of Bread and Roses.” in People Get Ready: The Future of Jazz is Now! eds. Ajay Heble and Rob Wallace. Durham, NC: Duke UP, 2013. 141–152. Responding to the closing of the club Tonic, he attempted to organize musicians to lobby New York to subsidize a creative music venue in Manhattan. Here he looks back at that project, reprinting its manifesto and responses from artists and officials, as well as accounting for its successes and failures.

New York 2—Loft Jazz, Downtown, and Beyond

2283.

345

Ribot, Marc. “Earplugs.” in Arcana: Musicians on Music. ed. John Zorn. New York: Granary, 2000. 233–237. Essay on the practical and symbolic aspects of volume and distortion, specifically for the electric guitar.

2284.

Staudt, Birgit Cassis, and Jörg Söchting, dirs. Marc Ribot: Descent into Baldness. DVD. 30 min. 1996. Unreleased documentary with Ribot reflecting on his career and the Downtown and Radical Jewish Culture scenes. Features performances by Shrek. A transcript can be read and a streaming link purchased at www.marcribot-descentintobaldness.com/

2285.

Steinberg, Aaron. “The Ghost in the Guitar: Marc Ribot & Spiritual Unity Explore the Haunted Music of Albert Ayler.” JazzTimes. July/Aug. 2005. 70–72, 74, 76, 78. Interview on his Ayler tribute band, music as ritual, the formal properties of Ayler’s work, and working with Henry Grimes. Includes comments from Grimes and their bandmates Roy Campbell Jr. and Chad Taylor.

2286.

Szegedi, Márton. “‘Kutiel,’ ‘Sensenya,’ ‘Hazor,’ and ‘Maskil’—As Played by Marc Ribot.” Jazz Research Notes. 40 (2012). 1912–1926. Transcriptions of his performances of four of John Zorn’s Masada compositions: the theme statement and guitar solo for “Kutiel” on The Dreamers’ Ipos: The Book of Angels Volume 14, the theme from “Sensenya” as performed with Trevor Dunn and G. Calvin Weston on Ribot’s Asmodeus: Book of Angels Volume 7, the theme and guitar solo from “Hazor” recorded with the Masada String Trio on Zorn’s The Circle Maker, and the theme and guitar solo from “Maskil,” with Greg Cohen’s bass line included, as recorded on Zorn’s Bar Kokhba.

2287.

Szegedi, Márton. “‘Mufgar’ and ‘Shevet’—As Played by Marc Ribot.” Jazz Research Notes. 41 (2012). 1954–1964. Transcriptions of the complete performance of “Mufgar” from his Asmodeus: Book of Angels Volume 7 with Trevor Dunn and G. Calvin Weston and the opening theme and guitar solo from his unaccompanied version of “Shevet” on Zorn’s Masada Guitars.

2288.

Szegedi, Márton. “Die Stilistik von Marc Ribot am Beispiel der Masada-Projekte John Zorns.” Jazzforschung/Jazz Research. 44 (2012). 125–142. His guitar style is analyzed through transcribed excerpts from performances of several of Zorn’s Masada compositions. A solo version of “Shevet” is compared to the rendition by the Masada acoustic quartet and his use of surf, blues, and extended guitar vocabulary is shown in performances with the Bar Kokhba sextet, Electric Masada, and the Asmodeus trio. In German.

Robertson, Herb 2289.

Milazzo, Joe. “Herb Robertson: The OFN Interview.” One Final Note. Sept. 2002. n.p. www.onefinalnote.com/features/2002/robertson/ Career-spanning interview, largely on his early musical interests and education, then covering his meeting Tim Berne in the late 1970s, their collaborations, recordings as a leader for JMT and CIMP, and numerous sideman gigs.

346

2290.

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Smith, Bill. “Herb Robertson: Certified.” Coda. 253 (Jan/Feb. 1994). 12–14. Interview on doubling in the brass family, his influences (including Ray Anderson and Stockhausen), humor in music, and the Brooklyn and Amsterdam creative music scenes.

Rosen, Jay 2291.

Nai, Larry. “Jay Rosen Interview.” Cadence. Apr. 2002. 5–13. Topics include his musical education (including detailed descriptions of lessons with Barry Altschul), meeting Dominic Duval, their coaxing Joseph Scianni out of retirement, their other collaborations with Paul Smoker, Vinny Golia, and others, adding objects to his drumset, and jazz as entertainment.

Rothenberg, Ned 2292.

Burov, Sasha. “Ned Rothenberg Interview.” Paris Transatlantic. Apr. 23, 2004. n.p. www.paristransatlantic.com/magazine/interviews/rothenberg.html Long career-spanning conversation, including the transition from the loft era to Downtown, his ambivalent connection to the jazz tradition, solo performances, and collaborations with John Zorn, Anthony Braxton, and others.

2293.

Richardson, Derk. Improv21: Solo Performance—The Composer-Performer’s Focal Point: An Informance with Ned Rothenberg. Online video. San Francisco: ROVA Arts, 2006. https://archive.org/details/IMP_2006_02_15 Talk on the role of solo performance in relation to the composer/performer distinction in European music history, as well as his studies of shakuhachi, with some playing. One hundred and two minutes.

2294.

Rothenberg, Ned. “The Challenge of ‘World Music’ for the Creative Musician.” in Arcana II: Musicians on Music. ed. John Zorn. New York: Hips Road, 2007. 224–241. Comparing his disciplined traditional study of shakuhachi music and gradual application of some of its techniques to the saxophone with his self- guided non-systematic emulation of assorted ethnomusicological LPs, then concluding with a brief discussion of his collaborations with Sainkho Namchylak and Samir Chatterjee, offering several routes for balancing the complexity and richness of traditional cultures with the superabundance of information currently available.

2295.

Smith, Bill. “Ned Rothenberg: Inside & Out.” Coda. 257 (Sept/Oct. 1994). 10–12. Detailed conversation, distinguishing his music from the trance-based completely free playing of Cecil Taylor and Evan Parker and from the minimalism of Steve Reich and Philip Glass, arguing that he is very interested in melody and that his use of interlocking patterns comes from R&B. He also mentions playing polyrhythms between his hands on the saxophone.

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Schlicht, Ursel 2296.

Schlicht, Ursel. “Total Risk, Freedom, Discipline.” in Arcana IV: Musicians on Music. ed. John Zorn. New York: Hips Road, 2009. 266–275. Questions of using improvisation to generate compositions and making compositions which include improvisation in new ways are explored through two pieces. Schlicht describes her “Tendrils,” written for her duo with flautist Robert Dick, and “Spring and Swelter,” for a quartet with saxophone, bass, and drums, based on a series of metrically complex vamps, shown in notation.

Shipp, Matthew 2297.

Adler, David. “Song of Himself.” JazzTimes. Jan./Feb. 2010. 44–49. Feature marking his 50th birthday and the end of the David S. Ware Quartet, addressing his work with electronics, solo piano, standards, and free improvisation, and his harsh critiques of Wayne Shorter, Keith Jarrett, Herbie Hancock, and others. With comments from Shipp, Ware, Joe Morris, Steven Dalachinsky, and Ethan Iverson.

2298.

Brady, Shaun. “Getting on the Front Foot.” Signal to Noise. 56 (Winter 2010). 12–21. Interview-based profile promoting his CD 4D but surveying his entire career, with comments from Joe Morris and William Parker.

2299.

Cohen, Aaron. “Backstage with . . . Matthew Shipp.” Downbeat. May 2006. 14. Short interview on the release of the solo piano album One. Topics include the place of solo records in his oeuvre, his song titles, and the influence of electronics and classical composers on his work.

2300.

Dalachinsky, Steven, and Matthew Shipp. Logos and Language: A Post-Jazz Metaphorical Dialogue. Paris: RogueArt, 2008. 97 p. Poems by Dalachinsky, creative texts by Shipp, and a conversation between the two on language, music, and mysticism, with an introduction by Yuko Otomo and photos by Lorna Lentini.

2301.

Freeman, Phil. “The Standard Bearer.” The Wire. Feb. 2011: 24–29. Interview-based feature promoting his album The Art of the Improviser and reviewing his career, particularly collaborations with David S. Ware, William Parker, and Scanner, his curation of Thirsty Ear Records’ Blue Series, and his ongoing engagement with jazz standards.

2302.

Hicks, Robert. “Riffs: Matthew Shipp.” Downbeat. Sept. 1992. 13. Short interview-based profile on his album Points and David S. Ware’s The Flight of I.

2303.

Holley, Eugene, Jr. “Matthew Shipp’s Evolution.” Downbeat. May 2017. 16. Short interview on his influences and training, his provocative criticism of Herbie Hancock, Keith Jarrett, and Chick Corea, his album Piano Song, and his decision to stop making albums.

2304.

Holtje, Steve. “Smooth Sailing.” The Wire. 127 (Sept. 1994). 16.

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Short interview-based profile discussing his work with David S. Ware and Roscoe Mitchell, his own albums, unreleased recordings with Steve McCall, William Parker, Leo Smith, Abdul Wadud, and others, and his study of Scriabin. 2305.

Mandel, Howard. “Heatseeker.” The Wire. 168 (Feb. 1998). 32–35. Interview-based cover story reviewing his background, albums as a leader, work with David S. Ware and Roscoe Mitchell, and coping with the piano legacies of Cecil Taylor and McCoy Tyner.

2306.

Mandel, Howard. “Recording Resurgence.” Downbeat. Sept. 2000. 30–32. Career-spanning interview-based profile emphasizing his work with Thirsty Ear Records as an artist and as curator of their Blue Series. He also comments on his personal and creative relationships with Cecil Taylor and William Parker.

2307.

Nai, Larry. “Matthew Shipp Interview.” Cadence. Dec. 1998. 14–21. Interview on his influences and training, working in the shadow of Cecil Taylor, collaborations with David S. Ware, Joe Morris, Mat Maneri, and his solo album Before the World on FMP.

2308.

Reitzes, Dave. “Matthew Shipp Interview.” Perfect Sound Forever. May 1999. n.p. www.furious.com/perfect/matthewshipp.html www.furious.com/perfect/matthewshipp2.html www.furious.com/perfect/matthewshipp3.html www.furious.com/perfect/matthewshipp4.html Long conversation on the dynamics of the David S. Ware quartet, structural elements of his duet  album with Roscoe Mitchell, being part of the piano tradition including Duke Ellington and Thelonious Monk, and why Jazz at Lincoln Center is “evil.”

2309.

Shipp, Matthew. “Artist’s Choice: Third Stream Piano.” JazzTimes. Jan./Feb. 2013. 72. Annotated playlist featuring Ran Blake, Paul Bley, Jaki Byard, Bill Evans, and Michael Grossman.

2310.

Shipp, Matt. “Tour Diary for my European Piano Sutras Solo Piano Tour.” in Arcana VII: Musicians on Music ed. John Zorn. New York: Hips Road, 2014. 254–256. Brief notes on some performances and fan interactions from his 2013 tour.

2311.

Shoemaker, Bill. “Matthew Shipp.” JazzTimes. Feb. 1998. 32–35. Interview-based profile on his recent CDs with Mat Maneri, William Parker, Roy Campbell and Daniel Carter, Parker and Susie Ibarra, Parker and Maneri, Rob Brown, David. S. Ware’s quartet, and Roscoe Mitchell’s Note Factory, as well as solo.

2312.

Shoemaker, Bill. “What’s New? The PoD Roundtable.” Point of Departure. 30 (Aug. 2010). n.p. http://pointofdeparture.org/archives/PoD-30/PoD30WhatsNew.html Email conversation with Shipp, Morgan Craft, and Mark Lomax, discussing originality, authenticity, and generational change in the African-American avant-garde.

2313.

Taylor, Spike. “The Non-Verbal Act: Matthew Shipp.” Coda. 274 (July/Aug. 1997). 14–16. Interview on his relationship to the piano and his psychology of music: transcending genres, labels, influences, and expectations.

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Smith, Michael 2314.

Fine, Milo. “Michael Smith: Interview.” Cadence. Sept. 1985. 11–28. Extensive interview including his early work with Kent Carter, Lawrence Cook, and John Tchicai, being asked to replace Chick Corea in Circle, and time in Anthony Braxton and Steve Lacy’s bands.

Smith, Warren 2315.

Rusch, Bob. “Warren Smith.” Cadence. Mar. 1988. 5–19, 89–90. Oral history-style interview, including Collective Black Artists and Strata East Records, his Studio WIS loft, and his wide-ranging freelance career, from Aretha Franklin to Broadway to Count Basie.

2316.

Smith, Warren, with Taylor Ho Bynum. Warren Smith. Two audio cassettes and transcript. Oral History of American Music: Major Figures in American Music. New Haven: Yale University Library, 2012. Interview on his work with Kalaparusha, Sam Rivers, Julius Hemphill, Muhal Richard Abrams, Bill Cole, and others, as well as his Studio WIS loft performance/rehearsal space.

Smoker, Paul 2317.

Svirchev, Laurence M. “Paul Smoker: A Product of My Musical Experience.” Coda. 279 (May/June 1998). 28–29. Interview-based profile, with additional comments from Vinny Golia on their collaboration.

2318.

Van Trikt, Ludwig. “Paul Smoker Interview.” Cadence. Dec. 1994. 18–25. Dominated by discussion of trumpet influences and techniques, this conversation also covers his connections to classical music and bebop, his use of 12-tone rows composing and improvising, and racial segregation in music scenes.

Stewart, Bob 2319.

Whitehead, Kevin. “Bob Stewart Interview.” Cadence. Oct. 1990. 9–15. Career-spanning interview, including his work with Arthur Blythe and Globe Unity, among many other groups.

The String Trio of New York 2320.

Whitehead, Kevin. “String Trio of New York: A Decade of Perseverance.” Downbeat. Nov. 1987. 26–28. Overview of the group’s history, with biographies of and comments from all three current members: James Emery, John Lindberg, and Charles Burnham. They discuss

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Billy Bang leaving the group, becoming a non-profit, and tailoring their presentation for educational and new music audiences.

Swell, Steve 2321.

Collins, Jay. “Steve Swell: The OFN Interview.” One Final Note. Mar. 2004. n.p. www. onefinalnote.com/features/2004/swell/ Centered on a recent European tour with Roswell Rudd’s Trombone Shout, this talk also reviews his many projects and ongoing relationship with the CIMP label.

2322.

Drouot, Alain. “Steve Swell: Improvisational Life Lessons.” Downbeat. Apr. 2007. 28. Interview-based profile opening with his day job teaching special needs and at-risk children, then covering his bands Nation of We, Slammin’ the Infinite, and Fire into Music.

2323.

Rusch, Bob. “Steve Swell Interview.” Cadence. Feb. 1998. 5–9. On his musical development, working with Buddy Rich and Lionel Hampton, and distinctions between the free jazz tradition and Downtown postmodernism.

Test 2324.

Hreha, Scott. “Test: Mass Transit Appeal.” Signal to Noise. 13 (Sept/Oct 1999). n.p. Profile of the quartet, who play high energy free music in the New York subways, with comments from members Daniel Carter and Sabir Mateen.

Trio 3 2325.

Panken, Ted. “Trio 3: Survival Syndrome.” Downbeat. Apr. 2017. 34–38. Triple interview of Oliver Lake, Reggie Workman, and Andrew Cyrille, as they record a new album, focusing on their individual and collective history and development. Also includes comments from Vijay Iyer and Geri Allen, who have performed and recorded as guests with the trio.

Ulmer, James “Blood” 2326.

Gross, Jason. “James Blood Ulmer Interview.” Perfect Sound Forever. Apr. 1998. n.p. www.furious.com/perfect/bloodulmer.html Career-spanning interview promoting the reunion of his band Odyssey. Other topics include his work with Ornette Coleman, introducing vocals to his music, opening for rock bands with the group that recorded Freelancing, choosing to feature different aspects of his work in multiple bands rather than a single blend, the influence of Jimi Hendrix, and the group Third Rail with Bernie Worrell.

2327.

Hetfield, Walter. “Rare Blood: The Guitar According to James ‘Blood’ Ulmer.” Guitar Player. May 1990. 90–94. 156. Interview-based profile, with an explanation of his unusual guitar tunings and a transcription of the melody to “Black Sheep” from America, Do You Remember the Love?

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2328.

351

Holtje, Steve. “Odd Man Out.” The Wire. 171 (May 1998). 22–25. Interview-based profile covering his early years in music, details of making his Tales of Captain Black and Are You Glad to be in America? albums, and his period on Columbia Records.

2329.

Mandel, Howard. “Tales of Captain Blood: James Blood Ulmer.” Downbeat. Apr. 1994. 22–25. Interview-based profile promoting his Blues Preacher CD but covering his entire career, with an attempt to describe harmolodics.

2330.

Safane, Clifford Jay. “The Harmolodic Diatonic Funk of James ‘Blood’ Ulmer.” Downbeat. Oct. 1980. 22–23, 64. Told largely in his own words, from his work with Ornette Coleman and Arthur Blythe to his own Tales of Captain Black and Are You Glad to be in America?

2331.

Ulmer, James “Blood.” Tales of Captain Black. LP. New York: Artists’ House, 1978. Includes a booklet with lead sheets for his compositions “Revealing” and “Arena,” plus a diagram of “James Blood’s Harmolodic Guitar Clef.”

2332.

Woodlief, Mark. “James Blood Ulmer’s Got it Bad.” Option. May/June 1990. 38–41. Interview-based profile on harmolodics, rap, the blues, and his plans to present his song-based and free playing separately.

Ware, David S. 2333.

Adler, David. “After the Storm.” JazzTimes. June 2010. 40–45. Interview-based feature recapping his career, including work with Cecil Taylor and his own bands, focusing on his recovery from a kidney transplant, new solo saxophone album Saturnian, and decision to henceforth only play free improvisation. Includes comments from William Parker and Cooper-Moore.

2334.

Brady, Shaun. “Backstage with . . . David S. Ware.” Downbeat. Apr. 2007. 16. Ware discusses his new band, the influence of John Coltrane, practice, and spirituality.

2335.

Cohen, Aaron. “David S. Ware: Third Ear Recitation.” Coda. 260 (Mar/Apr. 1995). 28–30. Career-spanning interview-based profile, including his influences, work with Cecil Taylor and Andrew Cyrille, his quartet, meditation, and his preference for the largestchambered tenor saxophone mouthpiece available.

2336.

Drouot, Alain. “David S. Ware: Deep Statements.” Downbeat. Mar. 2011. 22. Short interview-based profile on his recovery from his 2009 kidney transplant and his new recordings Saturnian (solo) and Onecept (with William Parker and Warren Smith).

2337.

Gulla, Bob. “Burning Desire: David S. Ware Sees the Light.” Option. July/Aug. 1995. 48–51. Interview-based feature with Ware cut off from his day job driving a cab because of a broken leg as his album Cryptology has just been released. He describes his early

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musical experiences, frustration studying at Berklee School of Music, meeting and working with Cecil Taylor, and his hopes to play full-time. 2338.

Hazell, Ed. “Touching on the Transcendental.” Signal to Noise. 37 (Spring 2005). 18–22. A profile of his quartet promoting the Live in the World CD set, with comments from members Matthew Shipp and William Parker, and Ware himself.

2339.

Joerg, Steven, and William Parker. “David S. Ware, 1949–2012.” The Wire. 346 (Dec. 2012). 30–31. Eulogies from his manager and most frequent bassist.

2340.

Keenan, David. “Fast Lane to Ecstasy.” The Wire. 180 (Feb. 1999). 34–37. Interview-based feature surveying his career, including work with Cecil Taylor and Andrew Cyrille’s bands as well as his own, up to the new quartet album Go See the World.

2341.

King, Daniel. “David S. Ware @ Home.” JazzTimes. June 2003. 36–37. On his nonmusical interests, including dogs, guns, boomerangs, archery, fast cars, and yoga.

2342.

Lopez, Rick. The David S. Ware Sessionography. www.bb10k.com/WARE.disc.html 1998–present Detailed list of every known performance or recording, prefaced with a biography and supplemented with album covers, scanned posters, flyers, and other ephemera, liner notes, reviews, etc., including many comments from Marc Edwards on their work with Cecil Taylor.

2343.

Ouellette, Dan. “Saxophone Hang.” Downbeat. Mar. 2000. 30–34. Roundtable with Ware, Greg Osby, Jackie McLean, and Gary Bartz. Ware talks about his early influences, Sonny Rollins, Coleman Hawkins, and the value of instrumental fundamentals even in avant-garde playing.

2344.

Rusch, Bob. “David Ware: Interview.” Cadence. Jan. 1980. 5–7, 15–16. On his early musical influences and education, dropping out of Berklee, forming the bands Third World with Abdul Hannan and Apogee with Cooper-Moore and Marc Edwards, moving to New York, practicing with Sonny Rollins, and joining Cecil Taylor, Beaver Harris, and Andrew Cyrille’s bands.

2345.

Sacks, William. “In Conversation with David S. Ware: Improvisation, Meditation, and the Crystalline Idea.” Perfect Sound Forever. Nov. 1998. n.p. www.furious.com/ perfect/davidsware.html Traces his career from Berklee School of Music and the loft era to his work with Cecil Taylor and Andrew Cyrille’s groups onto his own, and discusses the influence of John Coltrane.

2346.

Shoemaker, Bill. “David S. Ware: Rapturous Sounds.” JazzTimes. Oct. 1998. 52–55. Interview-based profile on his Columbia debut Go See the World.

2347.

Williams, K. Leander. “Tenor Madness: David S. Ware and Charles Gayle.” Downbeat. Jan. 1995. 34–37.

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The two interviewees challenge being grouped together or pitted against each other, then discuss the reception of their work and the influences of Sonny Rollins and John Coltrane. Sidebars include equipment lists and selected discographies. 2348.

Zlabinger, Tom. “Freedom Suite Repeat: A Look at Sonny Rollins’ Original Work in Comparison to Two Recent Reconstructions by Branford Marsalis and David S. Ware. Jazz Research Proceedings Yearbook 2004. Manhattan, KS: IAJE, 2004. 151–154. Zlabinger reviews the history of Rollins’ suite, then diagrams how Marsalis and Ware understand its form differently on their remakes.

Whitecage, Mark 2349.

Rusch, Bob. “Mark Whitecage Interview.” Cadence. Oct. 1997. 5–11. Biographical interview, including meeting Eric Dolphy, the Environ loft and the Improvisers Collective, and working with Bobby Naughton, Gunter Hampel, Anthony Braxton, and his own trio with Dominic Duval and Jay Rosen.

The World Saxophone Quartet 2350.

Boyd, Herb. “The World Saxophone Quartet: New Life After Julius.” Downbeat. Sept. 1996. 22–26. Hamiet Bluiett, Oliver Lake, David Murray, and John Purcell discuss the ensemble’s trajectory after founding member Julius Hemphill’s death and Purcell joining as his permanent replacement. A correction to this piece appeared on page 15 of the December 1996 issue, clarifying that Hemphill had left the WSQ several years before his death, which the other members preferred not to discuss.

2351.

Macnie, Jim. “The World Saxophone Quartet: Ruckus in the Avant Vernacular.” Musician. Dec. 1989. 46–50, 52, 54. Feature promoting the album Rhythm and Blues, incorporating a concert review, survey of their recordings, and conversations with all the members, most prominently David Murray.

2352.

Safane, Clifford Jay. “The World Saxophone Quartet.” Downbeat. Oct. 1979. 26–29, 66. Interview with the four founding members on the history and appeal of the group.

2353.

Santoro, Gene. “The World Saxophone Quartet: Building on a New Tradition.” Downbeat. July 1989. 16–19. Julius Hemphill, Hamiet Bluiett, and Oliver Lake are interviewed on the formation of the group, recording for Black Saint and Nonesuch, their Ellington and R&B tribute albums, the division of labor within the band, and how it enhances their individual work.

2354.

Sturm, Fred. Changes over Time: The Evolution of Jazz Arranging. Book with CD. Mainz: Advance Music, 1995. 222 p. Julius Hemphill’s arrangement of “Take the A Train” for the WSQ is one of several examples of creative arranging options. With score excerpts. A performance by a student ensemble is on the accompanying CD.

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Zorn, John 2355.

Alper, Garth. “Making Sense out of Postmodern Music.” Popular Music and Society. 24:4 (2000). 1–14. Zorn’s “Snagglepuss,” recorded by Naked City, is the final example of postmodernism. He gives a timeline of its first third, points out the use of fragmentation, collage, parody, and pastiche, and argues that, while jazz-influenced, it is not jazz because it lacks “organic unity.”

2356.

Arndt, Jürgen. “Jazz und Avantgarde in der Gegenwart und . . . und . . . und . . . Steve Coleman . . . John Zorn . . . . ” in Jazz und Avantgarde. eds. Jürgen Arndt and Werner Keil. Hildesheimer Musikwissenschaftlichte Arbeiten Band 5. Hildesheim: G. Olms, 1998. 11–46. Looking at Zorn’s “Sheloshim” and Coleman’s “The Tao of Mad Phat,” he finds both representing odd-meter modal funk more than the avant-garde, but also notes Zorn’s work with Yamatsuka Eye as more expectedly transgressive. In German, with transcribed themes and vamps.

2357.

Barton, Scott Donald. Understanding Musical Discontinuity. Ph.D. dissertation. Charlottesville: U of VA, 2012. iv, 204 p. https://libra2.lib.virginia.edu/public_view/cf95jb75s “Snagglepuss,” recorded by Naked City, and “Road Runner,” recorded by Guy Klusevick, are among the main examples in this study of the perception of continuity at structural levels from individual phrases to entire compositions.

2358.

Baumeister, Jeff. “John Zorn’s Alto Sax Solo on ‘Paran.’” Downbeat. June 2007. 94–95. Transcription with analytic notes of the complete solo (two 16-bar choruses) on his composition from Masada’s 1995 album Hei.

2359.

Brackett, John. John Zorn: Tradition and Transgression. Bloomington: Indiana UP, 2008. xii, 215 p. The first chapter addresses debates over Zorn’s use of images of torture, sadomasochism, and Asian women’s bodies in album art and similarly “extreme” song titles. It includes transcriptions and analyses of “Speedfreaks” and “Osaka Bondage” from Naked City’s Torture Garden, and attempts to link the musical and visual aesthetics to the work of George Bataille. Subsequent chapters apply similar critical theory to Zorn’s music for classical performers and the studio collage IAO.

2360.

Brackett, John. “Some Notes on John Zorn’s Cobra.” American Music. 28:1 (2010). 44–75. On the 25th anniversary of “Cobra” with a detailed description, analysis of released recordings, and consideration of it as a vision of community and an artifact of the early 1980s Downtown scene. While the score for “Cobra” has appeared multiple places, this is the first public explanation of how the signs and cues are actually used.

2361.

Duckworth, William. Talking Music: Conversations with John Cage, Philip Glass, Laurie Andreson, and Five Generations of American Experimental Composers. New York: Schirmer, 1995. xii, 489 p. The conversation with Zorn is undated, but most likely from 1988. They begin discussing his massive LP collection, then move through his early influences, game pieces, and file card pieces, as well as his connections to jazz, the saxophone, BAG, the AACM, and favorite free jazz albums.

New York 2—Loft Jazz, Downtown, and Beyond

2362.

355

Durso, Jimi. “John Zorn’s Alto Sax Solo on ‘Sonny’s Crib.’” Downbeat. May 2005. 80–81. Transcription with analytic notes of a two chorus improvisation on Sonny Clark’s blues with a bridge from Voodoo by the Sonny Clark Memorial Quartet.

2363.

Durso, Jimi. “Mark Feldman’s Phrygianish Violin Solo on ‘Meholalot.’” Downbeat. Dec. 2008. 98–99. Ten 8-bar choruses of improvisation on Zorn’s composition from the Masada String Trio’s CD Issachar are transcribed, with analytic notes.

2364.

Gagne, Cole. “John Zorn.” in Soundpieces 2: Interviews With American Composers. Metuchen, NJ: The Scarecrow P, 1993. 507–542. x, 557 p. Topics include his youth, early work as the Theater of Musical Optics and with Eugene Chadbourne, the emergence of the Downtown scene, game pieces, Locus Solus, The Classic Guide to Strategy, The Big Gundown, Spillane, Spy vs. Spy, Elegy, and his compositions for the Kronos Quartet and Brooklyn Philharmonic.

2365.

Gloag, Kenneth. Postmodernism in Music. Cambridge Introductions to Music. New York: Cambridge UP, 2012. xvi, 204 p. “Spillane,” “Forbidden Fruit,” “Aporias,” and the bands Naked City and Masada are examples of a postmodernism which resists modernism and the status quo using deconstruction, considering issues of identity, voice, and appropriation in this undergraduate introduction, using a nontechnical approach and intentionally open-ended questions.

2366.

Gordon, Ted. John Zorn: Autonomy and the Avant-Garde. Senior essay. New Haven: Yale U, 2008. Excerpt in AVANT: III: T (2012). 329–343. http://avant.edu.pl/wpcontent/uploads/T2012_Ted_Gordon.pdf Identity, community, and individuality are explored, drawing on the author’s experience as an intern at the Stone, as well as through the social theory of Pierre Bourdieu and Peter Lamborn Wilson (Hakim Bey) and Kyle Gann and George Lewis’ work on the Downtown scene. “Cobra,” the Tzadik label, and Zorn’s disdain for interviews are all major topics.

2367.

Gottlieb, Lynette Miller. “Musical Postmodernism and the Hard-Boiled World of John Zorn.” Music Research Forum. 16 (2001). 20–33. Surveys ideas of the postmodern in critical theory (Jameson and Baudrillard) and classical music (Berio, Lachenmann, and Kurtág) before turning to Spillane, Spy vs. Spy, and Naked City to argue that Zorn presents a version of postmodernism in which the material is unoriginal, being appropriated, simulated, or pastiched, but that its rearrangement is conducted under traditional compositional authority, leaving performers and listeners in their usual roles.

2368.

Grimes, Ev. John Zorn. Four audio cassettes and transcript. Oral History of American Music: Major Figures in American Music. New Haven: Yale University Library, 1990. Detailed interview on his life in music from childhood through Naked City, including discussion of the game pieces, “Spillane,” and “Cat O’Nine Tails” in particular.

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2369.

New York 2—Loft Jazz, Downtown, and Beyond

Herbert, Claude-Marin. “Contre le Neutre: John Zorn, les Game Pieces et le Moment ‘Postmoderne.’” Epistrophy. Feb. 2017. n.p. www.epistrophy.fr/contre-le-neutre-johnzorn-les.html French-language article on the game pieces as an intersection of indeterminate trends in classical music, such as John Cage, Earle Brown, and Karlheinz Stockhausen, and the improvisational play of the AACM.

2370.

Hermann, Claudia, dir. A Bookshelf on Top of the Sky: 12 Stories about John Zorn. DVD video. 80 min. New York: Tzadik, 2004. Documentary structured as one of Zorn’s file card pieces, cutting abruptly between scenes out of chronological order, but with an overarching narration by Hermann on her discovery of his work, getting to know him, and making the film. Includes interviews and performances and rehearsals with Naked City, the Masada quartet, Cobra, and other projects.

2371.

Hisama, Ellie M. “John Zorn and the Postmodern Condition.” in Locating East Asia in Western Art Music. eds. Yayoi U. Everett and Frederick Lau. Middletown, CT: Wesleyan UP, 2004. 72–84. Argues that the musical imagery deployed in “Spillane,” “Forbidden Fruit,” and “Osaka Bondage,” as well as the cover art for Naked City’s Leng Tch’e and Torture Garden and Painkiller’s Guts of a Virgin albums relies on degrading and violent representations of women and Asians, and Zorn’s use and explanation of these tropes ignores or makes light of the experiences behind them and the effects of their dissemination.

2372.

Huesmann, Günther. “Sanhedrin: John Zorn’s Quartett Masada und die Radical Jewish Culture.” Jazzforschung/Jazz Research. 40 (2008). 99–112. This relatively short German-language article discusses the acoustic Masada quartet in relation to his previous work, theories of postmodernism, debates over Radical Jewish Culture, and Ornette Coleman and Gerry Mulligan’s quartets.

2373.

Kolek, Adam J. “Finding the Proper Sequence:” Form and Narrative in the Collage Music of John Zorn. Ph.D. dissertation. Amherst: U of MA, 2013. xiii, 182 p. http:// scholarworks.umass.edu/open_access_dissertations/733/ Theories of collage in postmodernism are surveyed, then applied, along with Kofi Agawu’s semiotics of music, in close readings of “Cat o’ Nine Tails,” and several compositions for Naked City, including the album Radio. With many charts and diagrams, plus a few score excerpts and transcriptions.

2374.

Mandel, Howard. “Blindfold Test: John Zorn.” Downbeat. Dec. 1985. 45. Zorn identifies recordings by Earl Bostic, Lucia Dlugoszewski, Roscoe Mitchell, Wayne Shorter, and Henry Threadgill and praises everything except the recording quality of the Dlugoszewski and Shorter’s arrangement (“Endangered Species,” from Atlantis).

2375.

Masada. Sanhedrin. Two CDs and booklet. New York: Tzadik Records, 2005. Collection of previously unreleased studio recordings accompanied by facsimile notebook pages, a table of “Jewish” scales, lead sheets for several tunes, and texts by the bandmembers Zorn, Dave Douglas, Greg Cohen, and Joey Baron.

New York 2—Loft Jazz, Downtown, and Beyond

2376.

357

McCutchan, Ann. The Muse That Sings: Composers Speak About the Creative Process. New York: Oxford University Press, 1999. 262 p. In his own words, tracing his development as a composer from childhood through the game pieces, file card pieces, Naked City, Masada, and commissions for classical performers.

2377.

McNeilly, Kevin. “Ugly Beauty: John Zorn and the Politics of Postmodern Music.” Postmodern Culture. 5:2 (Jan. 1995). n.p. http://pmc.iath.virginia.edu/text-only/ issue.195/mcneilly.195 Works backwards from the music to its aesthetics and politics, with Jacques Attali (79) and Delezue and Guattari representing postmodern theory and “Forbidden Fruit,” “Spillane,” and “Cobra” Zorn, who is contrasted to John Cage.

2378.

Milkowski, Bill. “Genius at Work: John Zorn.” Downbeat. Oct. 2013. 38–42. Profile on several high-profile concerts tied to his 60th birthday, with comments from Mark Feldman, Bill Laswell, Joey Baron, Dave Douglas, and Trevor Dunn.

2379.

Milkowski, Bill. “One Future, Two Views.” JazzTimes. Mar. 2000. 28–35, 118–121. Cover story with parallel interviews of Wynton Marsalis and Zorn, on the future of the music. Zorn describes the cycle of musicians such as Arthur Blythe, James “Blood” Ulmer, Tim Berne, and himself being signed and dropped by major labels and asserts the lasting significance of independent labels, independent record stores, and the avant-garde/experimental scene.

2380.

Milkowski, Bill. “Profile: John Zorn.” Downbeat. Feb. 1984. 44–45. Near the end of his game pieces period but before “Cobra,” he discusses game calls, cartoon music, and the influence of Ornette Coleman and Anthony Braxton.

2381.

Milkowski, Bill. “The Working Man.” JazzTimes. May 2009. 44–50, 52, 54. Cover interview on his work ethic, love of the guitar and guitarists, the operations of his Tzadik label, his band The Dreamers and instrumental pop, Masada, and the Arcana books.

2382.

Ochs, Larry. Improv21: = Q & A: An Informance with John Zorn. Online video. San Francisco: ROVA Arts, 2007. https://archive.org/details/IMP_2007_11_15 Zorn takes questions from a room of Bay Area musicians and fans, commenting on musical community, the compositional process and language he uses for Masada, and other topics. Eighty minutes.

2383.

Rovere, Walter, and Carla Chiti, eds. John Zorn. Book with CD. Italy: Materiali Sonori Edizioni Musicali, 1998. 129 p. Bilingual (English and Italian) anthology with interviews on his relationships to rock, jazz, film music, Jewish identity, Japan, violence, postmodernism, visual art, and literature, essays on these aspects of his work plus collage, improvisation, klezmer, Carl Stalling, Jean-Luc Godard, three short texts by Zorn on selected films, a portfolio of photos, and score pages from “Lacrosse,” “Pool,” “Hockey,” “Rugby,” “Roadrunner,” “Hu Die,” “For Your Eyes Only,” “Snagglepuss,” “Punk China Doll,” “Carny,” and “Paran.” A discography is included, and a CD compiled by Eugene Chadbourne of their collaborations.

358

2384.

New York 2—Loft Jazz, Downtown, and Beyond

Santoro, Gene. “John Zorn: Quick-Change Artist Makes Good.” Downbeat. Apr. 1988. 23–25. Interview-based feature on Spillane and The Big Gundown, also discussing Ganryu Island (with Michihiro Sato), Voodoo (the Sonny Clark Memorial Quartet), and News for Lulu.

2385.

Strickland, Edward. “John Zorn.” in American Composers: Dialogues on Contemporary Music. Bloomington: Indiana UP, 1991. 124–140. Interview focused on his Elektra recordings, primarily Spillane, with some discussion of the game pieces, especially the hatHut recording of Cobra, and of Spy vs. Spy, Zorn’s Ornette Coleman tribute band, who had not yet recorded.

2386.

Szegedi, Márton. “‘Nevalah’—As Played by John Zorn, Dave Douglas, and Greg Cohen.” Jazz Research Notes. 39 (2011). 1881–1883. Transcribed alto saxophone, trumpet, and bass parts from the rendition of this theme on Masada 6: Vav.

2387.

Szöllösy, Raphaël. “Godard/Zorn: Montage(s), Réflexions sur Quelques Enjeux Esthétiques de la Modernité.” Epistrophy. 1 (2015). n.p. www.epistrophy.fr/godardzorn-montage-s-reflexions.html After a brief review of the role of montage in theories of Modernity, particularly Walter Benjamin, Zorn’s use of collage in “Speedfreaks” is compared to Jean-Luc Godard’s editing in Les Carabiniers, and the connections between Zorn’s “Godard” and its namesake’s work traced. In French.

2388.

Zorn, John. “The Game Pieces.” in Audio Culture: Readings in Modern Music. eds. Christoph Cox and Daniel Warner. New York: Continuum, 2004. 196–200. An excerpt from the liner notes to the Tzadik Records CD of Cobra, followed by an interview discussing game pieces in relation to lineages of free improvisation and open form composition, specifically contrasting John Cage and Earle Brown’s approaches to open form scores.

2389.

Zorn, John. “Memory and Immorality in Musical Composition.” in A Guide to Poetics Journal: Writing in the Expanded Field, 1982–1998. eds. Lyn Hejinian and Barrett Watten. Middletown, CT: Wesleyan UP, 2013. 414–419. Manifesto from 1991 describing his work as gathering and organizing information, particularly in the game and file-card pieces. He contrasts his music to John Cage’s, arguing that he shares responsibility for the content with the performers, while Cage displaces responsibility from both composer and performer through the use of chance.

Author Index Aboucaya, Jacques 250 Abraham, Adam 442 Abraham, Alton 408 Abrams, Muhal Richard 1068 Adderley, Julian “Cannonball” 251, 273 Adler, David R. 1122, 1270, 1296, 2297, 2333 Adlington, Robert 1857, 1858 Ake, David 252, 341, 342 Albert, Jeff 1107 Aldcroft, Ken 158 Alessi, Ralph 679 Alexander, Larry 409 Alexander, Stephon 253 Alkyer, Frank 2063 Allen, Clifford 657, 891, 1557, 1876, 2117 Allen, Geri 733 Almedia, Paulo J. 1929 Alper, Garth 2359 Altena, Maarten 1624 Anderson, Fred 1074–1076 Anderson, Iain 1 Anderson, Jack 701 Ansell, Gwen 1921 Aoki, Tatsu 1076 Applebaum, Larry 1034, 1880 Arndt, Jürgen405, 1558, 1685, 1778, 2356 Arthurs, Tom 1762 Asai, Susan M. 1465, 1466 Atkins, Everett Taylor 1847, 1848 Atlas, Charles 1930 Attali, Jacques 79 Austerlitz, Paul 755 Austin, Jesse 1123 Ayler, Albert 584–586 Backus, Rob 2 Baggenæs, Roland 512 Bailes, Freya 160 Bailey, Derek 111, 1635, 1717 Bair, Jeff 343 Baird, Jock 1387 Baker, David 936, 947, 968, 1068, 1232

Baker, Duck 894, 1488 Baker, Stuart 54 Baker, Thomas J. 1686 Bakkum, Nathan C. 157, 563 Bakriges, Christopher G. 3, 80, 81, 103, 554 Banfield, William C. 410 Banks, Mark 1613 Baraka, Amina 610 Baraka, Amiri 219, 426, 446, 455, 492, 522, 536, 584, 608–610 Barham, Jeremy 168 Barnes, Mike 1317, 1687, 1779, 1924 Barre, Trevor 1614, 1615 Bartlett, Andrew W. 466, 467, 2060 Barton, Bill 1370 Barton, Scott Donald 2361 Barzel, Tamar 82, 1931, 1968 Baskerville John D. 183, 184 Bassi, Adriano 1836, 1840 Batel, Günther 169 Bates, Michael 38 Baudillon, Christine 1752 Bauer, Christoph J. 1780 Baugher, Carl E. 1188 Baumeister, Jeff 2061, 2358 Baxter, Nicky 1491 Beal, Amy C. 630, 1088 Beauchamp, Lincoln T.Jr 1089 Beckwith, Naomi 1041, 1196 Belhomme, Guillaume 34 Bell, Clive 1654, 1849 Bendel, Joseph 753 Bendian, Gregg 309, 633, 688, 765, 864, 900, 1169, 1210, 1374 Bennington, James 1023 Bennink, Han 1624 Benston, Kimberly W. 513 Berendt, Joachim-Ernst 59, 1567 Beresford, Steve 1621, 1659, 1716 Berger, Karl 617–620, 1963 Bergman, Borah 1997 Berkman, Franya J. 680–682 359

360 Berkowitz, Kenny 866 Bernsen, Rachel 1167 Berry, Jason 1092 Berton, Ralph 528, 566 Besecker, Bruce 1108 Bettine, Michael 126, 127 Bierman, Benjamin 948 Bilek, Robert 170 Birnbaum, Larry 1078, 1090, 1297, 1327, 2209 Bivens, Jason 171 Blake, Daniel 1933, 1934 Blake, Ran 1145 Bley, Carla 631–634 Bley, Paul 128, 229 Block, Steven 158, 254, 468 Bluiett, Hamiet 1515 Blum, Joe 949, 1387, 1536 Blumenfield, Larry 775 Blumenthal, Bob 1189, 1340 Bobak, Mark J. 469 Bolelli, Franco 1937 Borgo, David 4, 164, 203, 917, 1259, 1688, 2071 Bouchard, Fred 969, 1026, 1109, 1298, 1537 Bourne, Michael 255, 635, 961 Boyd, Herb 2350 Brackett, John 83, 2359, 2360 Bradford, Bobby 1347 Brady, Shaun 621, 658, 659, 970, 1025, 1047, 1260, 1458, 1461, 2210, 2298, 2334 Branter, David 734 Brasz, Marc 470 Bratfisch, Rainer 1763 Braxton, Anthony 1124–1130, 1624 Breckenridge, Mark A. 514 Brennan, Gerald E. 1328, 1329, 1582, 1802 Breskin, David 2164 Bresnick, Adam 256 Breuker, Willem 1567, 1862 Brierre, Jean-Dominique 1732 Briggs, Nancy Louise 1331 Broecking, Christian 35, 1826, 1827, 1935 Brooks, Aaron 1636 Broomer, Stuart 587, 1131, 1271, 1669, 1689 Brötzmann, Peter 1567, 1777, 1781, 1782 Brower, W.A. 918 Brown, Anthony 344, 1168 Brown, David P. 204 Brown, Lee B. 104

Author Index Brown, Leonard L. 344 Brown, Marion 257, 640–651 Brown, Raelinda 1420 Brown, Trisha 720 Brubeck, Darius 212, 258 Bruce, Ryan D.W. 823 Bruckner-Haring, Christa 345 Büchter-Römer, Ute 853 Buckley, Roger N. 2137 Budds, Michael 1092 Buhles, Günter 636 Buholzer, Meinrad 471, 472 Buium, Greg 898, 899, 919, 1011, 1190, 1258, 1604, 1670, 1794, 1873, 1877, 1925, 2042 Bull, Peter 824, 1352 Burde, Wolfgang 1777 Burov, Sasha 2292 Butcher, John 1655 Butler, James D. 259 Buzelin, Jean 1869 Bynum, Taylor Ho 129, 260, 870, 1127, 1167, 1220, 1229, 1290, 1347, 1418, 2021, 2187, 2191, 2316 Caduff, Radu 787 Calabro, Louis 492 Calhoun, Fraser C. 261 Callingham, Andrew E. 1616 Calmore, John O 971 Campbell, Gregory Allen 1048 Campbell, Robert L. 411, 417, 426, 1020 Cane, Giampiero 515 Cappelletti, Arrigo 230 Carey, Christian 2001 Carey, Joe 1132 Carles, Phillipe 5, 516, 702 Carnevale, Bruce 1690, 1809, 1911 Carr, Ian 1611 Carroll, James G. 412 Carsalade, Pierre 2036 Carson, Charles Daniel 413 Carter, Daniel 43 Case, Brian 604 Cashman, Scott M. 882 Cassenti, Frank 414, 972 Castell, Taylor 703 Caulkins, Anthony 473, 474 Caux, Daniel 588 Caylor, Garth W. 517

Author Index Centazzo, Andrea 1624, 1833, 1834 Cerchiari, Luca 6 Chadbourne, Eugene 1053, 2026–2028 Chamberlain, Mike 1598, 2266 Chapin, Gary Parker 130, 687, 962, 1110, 2002, 2043 Charry, Eric 262 Chénard, Marc 1371, 1583, 1663, 1722, 1749, 1792, 1864, 2087 Cherry, Henry 776 Childs, Barney 112 Chinen, Nate 263, 264, 1029, 1358, 2003 Chiti, Carla 2383 Christi, Ellen, 1951 Clark, Philip 1030, 1656, 1671, 1691, 1753 Clark, Ron 665 Clark, Shirley 265 Clements, Carl 346 Cleveland, Barry 1359, 2094 Cline, Nels 1360–1364 Clutton, Rob 1585 Cogswell, Michael B. 266, 267 Cohen, Aaron 206, 1031, 1091, 1170, 1171, 1175, 1180, 1197, 1198, 1252, 1256, 1388, 1396, 1990, 2272, 2299, 2335  Cohen, Elaine 1397, 1398 Cohran, Phil 417 Cole, Bill 347, 2032 Coleman, Kwame Tain 564 Coleman, Ornette 268–274, 788 Collin, Kaspar 589 Collins, Jay 1438, 2099, 2322 Collins, Troy 1257, 1446, 1548, 2072, 2124, 2167, 2172, 2268 Coltrane, Alice 348, 683, 684 Coltrane, John 348, 349 Comolli, Jean-Louis 516 Conrad, Thomas 1986 Cooper, Jerome 43 Cooper-Moore 2040 Corbett, John 7, 60, 61, 84, 113, 114, 415–417, 427, 442, 448, 590, 666, 756, 1041, 1111, 1133, 1145, 1196, 1637, 1793, 1815, 1842 Corbin, Yorke 1077 Cosentino, Larry 1498 Coss, Bill 475 Cotro, Vincent 1736, 1737 Coursil, Jacques 1748

361 Cowley, Julian 1653, 1667, 1713, 1714, 1718, 1721, 1723, 1725, 2097, 2273 Cox, Christop 2062 Coyle, Michael 950 Crane, Jason 36 Cravinho, Pedro 789 Crépon, Pierre 1484 Cresti, Renzo 1837 Crispell, Marilyn 1951, 2044, 2045 Cromwell, Arthur C. 1049 Crook, Ollie 1720 Crouch, Stanley 1399 Cummings, Alan 1855 Currie, A.Scott 1972–1974 Cuscuna, Michael 231, 578, 822, 2018 Cutler, Chris 418, 426, 427 Cymerman, Jerimiah 37, 679 Cyrille, Andrew 688 Dahl, Linda 476, 637 Dailey, Raleigh Kenneth 1353 Dalachinsky, Steven 2300 Dallaire, Carol 1638 Daverat, Xavier 350 Davidson, Marton 1624 Davis, Anthony 1419, 1420 Davis, Barry 973, 1692 Davis, Francis 660, 667, 1233, 1341, 1421, 2211 Davis, Michael 1365, 1372 Davis-Van Atta, Taylor 1672 Dawkins, Ernest 43 Day, Steve 275 Dayal, Geeta 1477 De Bièvre, Guy 1261 de Craen, Hugo 1145 De Jong, Nanette T. 185, 1050 De Salvador, Stefania 1835 De Vuyst, Rita 825 Dean, Roger T. 124, 159, 160 Deane, J.A. 2200 DeBarros, Paul 749, 2017 DeCristo, Jeramy 1234 DeJohnette, Jack 1168, 1169 Dekker, Jellie 1881 Delcourt, Maxime 8 DeMichael, Don 351 Dennison, Joe 2102 Derrida, Jacques 276 Derschmidt, Ekhart 1849

362 Dery, Mark 963, 1639 Despont, Catherine 1051 Dessen, Michael 1467, 1936 DeVeaux, Scott 9 DeVito, Chris 352, 353 Devlin, Paul 2212 Dewar, Andrew Raffo 704, 705, 1573 Diamond, David 747 Dicker, Erica 1167 Dickison, Steve 2088 Diliberto, John 419, 420, 2103 Dixon, Bill 536, 703, 706–718, 720 Dollar, Steve 278 Dolphy, Eric 735, 736 Dongala, E.Boundzéki 518 Dorf, Michael E. 1977 Dorsey, James 278, 279 Dorward, Nate 2100 Douglas, Dave 38, 1127, 2063–2065 Doumbé, Véronique N. 663 Doyle, Julia 1720 Draksler, Kaja 477 Dresser, Mark 2073–2075 Drott, Eric 1738, 1739 Drouot, Alain 1318 , 1746 , 1750 , 2176 , 2322 , 2336 Drozdowski, Ted 964, 1414 Drury, Meghan 421 D’Souza, Jerry 1415 Duckworth, William 2361 Duerstein, Matthew 1332 Dunmall, Paul 1664, 1665 Dunn, Judith 719, 720 Dupont, David 937, 938 Duprat, Maxime 1199 Durso, Jimi 280, 790, 2004, 2125, 2213, 2273, 2362, 2363, 2274 Duyns, Cherry 1882 Edwards, Brett Hayes 281, 422, 1299 Ehrlich, Marty 1145, 1525, 2089 Eisenstadt, Harris 1681, 1996 Ellison, Charles 1068 Elms, Anthony 417 Eneidi, Marco 1485, 1486 Enright, Ed 791, 792, 1603 Enstice, Wayne 1052, 2046 Ephland, John 974, 2066 Erdman, Jean 720 Erickson, Jeff D. 826 Ertug, Gokhan 85

Author Index Eshun, Kodwo 172, 974 Evans, Angeline 1574 Ewart, Douglas 1053 Faberman, Brad 2207 Falb, Hans 1018, 1239, 1700 Farina Stephen 1937 Fauconnet-Buzelin, Françoise 1869 Favors, Malachi 1176 Fayenz, Franco 976 Feather, Leonard 282, 283, 352, 793, 977, 978, 1004, 1354 Feehan, Gene 814 Fega, Mort 536 Feigin, Leo 1904 Felber, Andreas 1579 Fellesz, Kevin 1468 Felver, Christopher 478 Ferrari, Luc 497 Fewell, Garrison 39 Figi, J.B. 479 Figueroa-Dreher, Sylvana 115 Fine, Eric 856 Fine, Jason 1005 Fine, Milo 2314 Fine, Russell 256 Fiofori, Tam 131, 423, 424 Fischlin, Daniel 116, 1272, 1300 Fitzgerald, Mike 777 Floyd, Samuel 1092 Folio, Cynthia 161 Fontaine, Dick 284 Ford, Alun 1134 Forman, Mark 1978 Foster, Scott 285 Francesconi, Robert 186 Fransen, Lieve 820 Frantz, Arlee 1077 Fränzel, E.Dieter, 1764 Fraser, Nick 1585 Freedman, Sam 979 Freeman, Phil 286, 480, 721, 819, 865, 1035, 1273, 1938, 2239, 2301 French, David 1987, 2022, 2240 French, Mark 1726 Frenz, Barbara 778 Friedman, Sharon 1078 Frink, Nathan A. 287, 288 Frisell, Bill 2104 Fujioka, Yasuhiro 353 Fujuwara, Tomas 679

Author Index Gagne, Cole 425, 1135, 2364 Gal-Ed, Uri 2034, 2241 Gaslini, Giorgio 1838–1840 Gastaut, Bernard 1333 Gaudynski, Thomas 1640 Gaut, Greg 1907 Gavin, James 519, 1021 Gebers, Jost 481, 1567, 1776, 1777 Gebhart, Nicholas 289 Geerkin, Hartmut 426, 441 Gehring, Steven Wayne 354 Gelfland, Alexander 794 Gendron, Bernard 520, 1939 Gennari, John 105 Gerard, Charley 187 Gerber, Alain 355 Gershon, Pete 427, 661, 857, 1066, 2084, 2098, 2242 Ghosn, Joseph 428 Giardullo, Joe 980, 1524 Gibbs, Bobby Edward II 1940 Gibbs, Philip 1665 Gibney, Alex 1352 Giddins, Gary 9 Gifford, Barry 1054 Gilbert, Andrew 1385 Gill, John 92, 93 Gillis, Verna 757, 758 Gioia, Ted 213 Giuffre, Jimmy 391, 392 Givan, Ben 482 Gleason, Ralph J. 352 Gloag, Kenneth 2365 Gluck, Bob 232, 1940 Goin, Jesse 1553 Goldberg, Ben 1489 Goldberg, Michael 1499 Goldman, Danielle 722 Gold-Molina, Jack 1447 Goldsby, John 795 Goldstein, Jacques 2214 Golia, Vinny 1373, 1374 Golinski, Krzysztof 67 Goodheart, Matthew 483 Gooding, Francis 1920 Goodwin, Simon 1682 Gordon, Allan 1092 Gordon, Ted 2366 Gottlieb, Lynette Miller 2367 Gottschalk, Kurt 1883, 2126, 2181, 2275 Graubard, Allan 2196, 2199

363 Graves, Benjamin 1130 Graves, Milford 759–765 Gray, John 30 Gray, Larissa 1803 Green, Roger Kurt 173 Greene, Narada Burton 128, 528, 772 Greenland, Thomas H. 1942, 1943 Gregorio, Guillermo 1580 Grey, De Sayles R. 356 Gridley, Mark 188 Griffiths, Paul 1908 Griggs, Steve 828, 2215 Grimes, Ev 2372 Grimes, Henry 43, 779, 1127 Gross, Jason 484, 485, 766, 1181, 2326 Grow, Kory 290 Grubbs, David 1618 Gsell, Gitta 1828 Guibert, Simon 591 Gulla, Bob 2337 Guralnick, Tom 132 Gustafsson, Mats 33, 1672 Gutkin, David 1944 Guy, Barry 1624, 1673, 1674 Haden, Charlie 291, 668, 788, 796, 811 Hadfield, James 1953 Hadley, Frank-John 2101 Haga, Evan 2276 Hahn, Steve 2005 Hale, Casey 2243, 2244 Hale, James 357, 1275, 1596, 1730, 1829, 1853, 2067, 2155, 2182 Halvorson, Mary 1127, 2127 Ham, Char 1389 Hames, Mike 592 Hamilton, Andy 292, 509, 689, 867, 920, 1006, 1998, 2037 Hammett-Vaughn, Kate 1605 Hampel Gunter 1567 Hanlon, Terri 690, 2047 Hardin, Christopher L. 521 Harley, Luke 1493 Harms, Ted 1431 Harrison, Joel 1093, 1301 Hartigan, Royal 133, 624 Hartman, Charles O 293 Harvey, Mark S. 174, 1024 Hawkins, Alexander 68 Hazell, Ed 815, 1032, 1275, 1979, 2035, 2152, 2153, 2189, 2206, 2245, 2271, 2338

364 Hébert, Tsehaye Geralyn 1076 Heble, Ajay 116, 175, 1586 Heckman, Don 233, 294–296, 797, 939 Hefele, Bernhard 426 Heffley, Mike 1136–1138, 1145, 1566, 1765, 1766, 1999 Hegarty, Paul 176 Heining, Duncan 207, 1566, 1619 Heister, Hanns-Werner 10 Helias, Mark 1427 Heller, Michael C. 1945, 1967, 1980 Hellhund, Herbert 69, 510, 1559 Hemingway, Gerry 1145, 1432 Hemphill, Julius 1525–1527 Henderson, David 455 Hendrickson, tTd 2246 Henkin, Andrey 1817 Hennessey, Mike 669 Henritzi, Michel 1850 Henry, Lucas Aaron 214 Henschen, Bob 148, 1139 Hentoff, Nat 62, 352, 486, 536, 593, 1796 Herbert, Claude-Marin 2369 Hermann, Claudia 1970, 2370 Hersch, Charles Benjamin 215, 216, 1969 Hester, Karlton Edward 358 Hetfield, Walter 2327 Hicks, Robert H. 691, 1797, 1798, 2019, 2216, 2247, 2302 Hill, Adam 1079 Himes, Geoffrey 940 Hisama, Ellie M. 2371 Ho, Fred 2037, 2138–2142 Hobbs, Christopher 112 Hodgett, Trevor 2216 Hodier, André 11 Hodson, Robert 217 Hoff, Devin 134 Hofstein, Francis 1254, 1740 Holley, Eugene Jr 2303 Holtje, Steve 1302, 2183, 2248, 2304, 2328 Hooker, William 43, 1951 Hopkins, Phil 1620 Horn, Walter 1033 Horricks, Raymond 737 Horvitz, Wayne 2149 Howard, John 2006 Howard, Noah 820 Howland, Harold 570 Hreha, Scott 2165, 2180, 2324 Hudson, Trevor E. 218

Author Index Huesmann, Günther 2372 Hunt, David 62 Hurley, Andrew W. 1767 Husby, Per 1731 Hylkema, Hans 738 Hytönen-Ng, Elina 1693 Iacono, Christopher 1012 Iannapollo, Robert 2031 Ielmini, Davide 1841 Igarashi, Kenneth 1946 Irabagon, Jon 135, 359, 679 Isoardi, Steven L. 780, 1348, 1364, 1375, 1386, 1395, 1400–1402 Iverson, Ethan 297, 1303, 1390, 2007 Iyer, Vijay 177, 487 Jackson, D.D 1600–1602 Jackson, Michael 913, 1080, 1223, 1224, 1276, 1883 Jackson, Travis A. 611 Jahn, Ebba 1975 James, Robin 299 James, Stuart 335 Janeczko, Jeffrey Matthew 1971 Jannotta, Roger 739 Jarman, Joseph 1145, 1182, 1183 Jarrett, Michael 12, 300, 301 Jaworzyn, Stefan 1849 Jenkins, Todd 13 Jeske, Lee 488, 579, 670, 692, 829, 1191, 1355, 1391, 1520, 1551, 1818, 1987 Jisi, Chris 1454, 2148 Joerg, Steven 2339 Johnson, Lucien 830 Johnson, Martin 951 Johnston, Mike 767, 1067, 1330, 1727 Johnston, Peter David 86, 393, 394, 1621, 1622 Jones, Alan 868, 1666 Jones, Andrew 671, 1085, 1304, 1587 Jones, LeRoi see Baraka, Amiri Jordan, Kidd 1442 Josse, Bernard 1783 Jost, Ekkehard 30, 70, 71, 162, 189, 190, 481, 489, 672, 1560–1564, 1567, 1768, 1777, 1888, 1947 Justin, Harald 1812 Kahn, Ashley 360, 569, 685, 952, 2068 Kaiser, Henry 1641

Author Index Kaiser, Jeff 1384 Kajikawa, Loren 1469, 1470 Kaler, Michael 594 Kampmann, Wolf 1776 Kaplan, Aaron 1338 Kapsalis, Terry 417 Karush, Matthew B. 614, 615 Kashmere, Brett 361 Kato, Yoshi 2184 Keegan, Paul 1694 Keenan, David 429, 612, 1642, 1784, 1785, 1819, 2249, 2340 Keepnews, Peter 580 Kelley, Robin D.G 406, 1092 Kelsey, Chris 571, 2000 Kemper, Peter 1094 Kernodle, Tammy 344 Kerschbaumer, Franz 740 Khan, Atiyyah 1403 Kim, Rebecca Y. 1184, 1185 Kimberley, Nick 1675 Kimery, Ken 634 King, Daniel 2341 Kingan, Renee M. 2041 Kinsella, Timothy P. 831 Kiroff, Matthew 490, 491 Kisiedu, Harald 1769, 1816 Kitamura, Kiyoko 1167 Klee, Joe 234 Klopotek, Felix 14, 1776 Knauer, Wolfram 117, 136, 362, 1770, 1776, 1811, 1812, 1888 Knox, Keith 2055 Kodat, Catherine Gunther 106 Koenig, Frederick 492 Koenig, Steven 2085 Kofsky, Frank 62, 352, 523–526, 536, 595 Kolek, Adam J. 2373 Koopmans, Rudy 1862, 1870, 1885 Kostakis, Peter 1140, 1186 Kowald, Peter 1804–1806 Kramer, Michael J. 2038 Kramer, Wayne 455 Krasnow, David 493 Kraus, Daniel 1319 Kreiger, Franz 235, 236 Kreiss, Daniel 430 Kristoffersen, Rune 33 Kruth, John 596, 832 Kühn, Joachim 1808 Kuhn, Steve 536

365 Kumpf, Hans 72, 1906 Kuntz, Henry 1245 Kurth, Ulrich 1683, 2076 Kynaston, Trent 741 Lacy, Steve 833–838, 1624 Lake, Oliver 1538 Lake, Steve 481, 1145, 1777, 1908 Landreville, Annie 2232 Lange, Art 237, 302, 742, 839, 1140, 1145, 1186, 2217 Lash, Dominic 1643–1647 Laurinyecz-Kaspar, Petra 597 Lavelle, Matt 2171 Lavergne, Grégoire 120 Léandre, Joëlle 94, 1754, 1755 Lee, David 229, 303, 1588 Lee, Stewart 1624 Lees, Gene 352 Lehman, Stephen H. 112, 1741 Leigh, Bill 798 Lenz, Günter H. 613 Lère, Pierre 191 Levenson, Jeff 1342 Levi, Titus 1376 Levin, Elliott 1449 Levin, Robert 62, 527, 528, 544, 555 Levy, Aidan 114, 2168 Levy, Brian A. 363 Lewis, Alex 1539 Lewis, David 854, 1268, 1662, 2174 Lewis, Eric 1055 Lewis, George 1041, 1056, 1057, 1076, 1092, 1196, 1200–1210 Lewis, Scott 1606 Licht, Alan 2277 Liebman, David 364 Liefland, Wilhelm 1777 Ligon, Glen 417, 442 Lindbloom, James 2109 Lindenmaier, H.Lukas 481, 581, 1356 Linder, Heinz-Jürgen 1772 Lipsitz, George 107, 116, 1528 Littenberg, Susan 1976 Litweiler, John 15, 291, 304, 494, 862, 914, 981, 1019, 1072, 1081, 1095, 1174, 1211, 1439 Livingston, Tim 1112 Lo Conte, V. 1036, 1495, 1800, 1910, 1918, 2095 Lock, Graham 40, 417, 723, 724, 1142–1145, 1167, 1377 Lockett, Mark Peter Wyatt 137

366 Loewy, Steven A. 1786, 1843 Lohr, Matt R. 799 Looker, Benjamin 1416 Lopez, Rick 921, 1509, 2048, 2128, 2250, 2342 López-Dabdoub, Eduardo 403 Lore, Adam 431, 905, 2043, 2251 Lothwesen, Kai Stefan 1565, 1771 Lott, Tommy Lee 529 Lovens, Paul 1810 Lutz, Philip 1277 Lynch, Kevin 495, 1305 Lyons, Len 238 Lytton, Paul 1625 Mackey, Nathaniel 1145 Maclean, Robert R. 108 Macnie, Jim 65, 1521, 1948, 2090, 2091, 2173, 2218, 2278, 2351 MacSweeney, Alix 1676 Magee, Michael 220 Maino, Francesco 1235 Majer, Gersald 1043 Mandel, Howard 41, 73, 138, 239, 567, 572, 573, 625, 638, 673, 693, 781, 800, 907, 908, 915, 916, 1058, 1096, 1005, 1113, 2096, 1236, 1278, 1306, 1307, 1343, 1422, 1907, 1962, 1963, 1991, 2008, 2049, 2105, 2110, 2129, 2159, 2185, 2192, 2219–2222, 2252, 2305, 2306, 2329, 2374 Mandl, Dave 2156 Mann, Ron 530 Manne, Shelly 273 Margasak, Peter 65, 1044, 1248, 1249, 1320, 1742, 1912 Maroney, Denman 2177–2179 Marr, Jeremy 118 Marrotte, Marshall 782, 783 Marshall, Kerry James 417 Martin, Henry 16 Martin, Terry 1237 Martinelli, Francesco 840, 1097, 1145, 1566, 1756, 1844 Masuno, Sandy 305 Mateen, Sabir 43 Mathes, Carter 531 Mathieu, Bill 768 Mattingly, Rick 582 Maupin, Bennie 864 Maxwell, Clara Gibson 306 Mazlish, Mort 528, 652

Author Index Mazman, Alper 532 McAuley, Jim 1192 McClure, Daniel R. 192 McCowen, John 139 McCullough, Barbara 1404 McCutchan, Ann 2380 McDonough, John 291 McElfresh, Dave 801, 895, 2170 McElfresh, Suzanne 2193 McGregor, Maxine 1922 McKay, George 1566 McMichael, Robert K. 193, 194 McNeilly, Kevin 1225, 2377 McPhee, Joe 869, 870 McRae, Barry 307, 533 Medin, Daniel 1672 Médioni, Franck 598 Medwin, Marc 365, 366, 725 Meehan, Norman 240–244, 308, 432, 674, 922 Mehlan, Matthew 871, 1540, 1695, 1992 Mehlitz, Bernd 1776 Meier, Randall 769 Melford, Myra 2186, 2187 Mengelberg, Misha 1567, 1624, 1777, 1862, 1886–1888 Mercer, Michelle 2077, 2194 Metheny, Pat 309 Meyer, Bill 1217, 1218, 1253, 1574 Micalef, Ken 140, 770, 1492, 1916, 1993, 2158, 2169 Miedema, Harry 310, 653, 743, 863, 1007, 1013, 1146, 1187, 1238, 1529 Miessgang, Thomas 42, 311 Mihaiu, Virgil 1611 Milazzo, Joe 1554, 2289 Milkowski, Bill 141, 574, 694, 965, 1246, 1366, 1455, 1541, 2009, 2130, 2132, 2223, 2224, 2279, 2378–2381 Miller, Lloyd 534 Miller, Mrk 1589 Mingus, Charles 312 Miriello, Ralph A. 1226 Mirkin, Steve 2284 Mitchell, Nicole 1053, 1127, 1227–1229 Mitchell, Roscoe 1053, 1239 Moncur, Grachan III 880 Monga, Vipal 2195 Monk, Vanita and Johanna 433, 1000, 1325, 1696, 1807 Monson, Ingrid 367, 535

Author Index Montgomery, Michael R. 313 Montgomery, Will 2010 Moore, Hilary 398, 399 Moore, Michael 1861, 1886 Morgan, Andrew 896 Morgan, Jon C. 903, 1037, 1082, 1321, 1428, 1496, 1599, 1609, 1657, 1787, 1795, 1874 Morgenstern, Dan 556, 796, 802, 1014 Morris, Joe 17, 1038 Morris, Lawrence “Butch” 43, 2196–2199 Morris, Roy, 751 Morton, Brian 1147, 1212 Moses, Bob 575 Moten, Fred 153, 496, 1041, 1145, 1148, 1149 Moye, Don 1053 Mugge, Robert 434 Mulhern, Tom 142, 1437 Mullen, Bill 2147 Muller, Carol 1921 Müller, Markus 87 Muñoz, Tisziji 2212 Murph, John 435, 576, 1519 Murphy, Timothy 314 Murray, David 2225 Mutschlechner, Anndrea 1018 Mwanga, Knule 1145 Myers, Marc 1059 Myers, Mitch 599, 1322 Nai, Larry 616, 821, 841, 923, 1001, 1022, 1433, 1452, 1497, 2086, 2120, 2121, 2291, 2307 Neal, Larry 536, 584, 982 Neel, Eric Scott 368 Ness, Bob 1279 Newsome Thomas A. 1045 Newton, James 1349, 1392 Ngoy, D.Y 1018 Nicholl, Tracey 369 Nichols, Maggie, 94 Nicholson, Stuart 18 Nielsen, Aldon Lynn 154, 155 Niles, Paul 2111 Ninh, Lê Q.uan 1761 Nisenson, Eric 19, 370 Nix, Bern 2234, 2235 Noglik, Bert 74, 481, 1568, 1569, 1612, 1625, 1772, 1776, 1808 Noll, Dietrich J. 1773 Nordenson, Kjell Gunnar 1917

367 Norman, Liesa Karen 1423 Norment, Camille 442 Norris, Chris 1480 Noyes, Charles K. 1624 Nunn, Tom 1463 Nussbaum, Jake 1051, 1539 Occhiogrosso, Peter 622, 675, 1150, 2226 Ochs, Larry 1500, 1501, 2382 O’Connor, Norman J. 536 O’Driscoll, Declan 1648, 1801, 1913 O’Haire, Robert 726 Oliver, Mary 1900, 1901 Oliveros, Pauline 94 Onori, Luigi 208 Orsmond, Gareth 371 Osby, Greg 315 Oswald, John 1623 Otomo, Yuko 2300 Ouellette, Dan 804, 805, 953, 1464, 1471, 1481, 1483, 1843, 2046, 2065, 2102, 2125, 2247, 2337 Overton, Hall 492 Pallini, Lorenzo 1504 Palmer, Robert 372, 626, 654, 806, 858, 924, 934, 1017 Palombi, Phil 807 Panken, Ted 143, 221, 245, 436, 695, 696 , 925, 926, 941, 954, 1069, 1070, 1098, 1006, 1151, 1152, 1178, 1193, 1213, 1214, 1240–1242, 1262, 1280, 1281, 1308, 1434, 1440, 1441, 1443, 1697, 1820, 2011, 2056, 2093, 2200, 2227, 2254, 2269, 2325 Parent, Emmanuel 373 Parhizkar, Maryam Ivette 437 Parillo, Michael 1295 Parker, Chris 784 Parker, Evan 34, 374, 1145, 1698–1700 Parker, William 43, 97, 1949, 2255–2262, 2339 Parra, Danilo 1221 Parry, Roger 842 Parsonage, Catherine 316 Patmos, Martin 697 Patris, Gérard 497 Patterson, Phast Phreddie 444 Paulot, Bruno 1815 Peacock, Annette 897 Peacock, Gary 900 Peake, Thomas 2267

368 Pearson, Mike 1626 Pekar, Harvey 904, 1028 Pelz, Sherman, Michael 119 Perkiömäki, Jari 317 Perry, Frank 1624 Peters, Gary 1627 Peters, Jason 498 Peters, Michael 438 Peterson, Daviel Thomas 75 Peterson, Lloyd 44, 1323 Petit-Jouvet, Laurence 1806 Peyrebelle, Jean-Pierre 250 Pfleiderer, Martin 209, 983, 1099, 1566 Philip, Radhika 45 Piekut, Benjamin 557–561, 1628 Pierrepont, Alexandre 5, 20, 1060, 1254, 1282, 2023, 2036 Pinelli, Joe 528 Pinson, K.Heather 55 Pitt, Nick 2111 Plymell, Charles 444 Polaschegg, Nina 195 Polillo, Arrigo 537 Porter, Christopher 1324 Porter, Eric 21, 22, 727, 855 Porter, Lewis 318, 353, 375, 376, 639 Poster, Constance 720 Pouncey, Edwin 439, 686 Powell, Elliott Hunter 377 Pras, Amandine 120, 121, 1950 Pressing, Jeff 378 Prévost, Edwin 1624 Prévost, Xavier 1743 Price, Emmett George III 538 Priestly, Brian 499 Primack, Bret 440, 927, 942, 984, 1114, 1194 Prosaïc, Anaïs 2281 Prum, Antoine 883, 1629 Pullen, Don 764, 909 Putschögl, Gerhard 379–381, 985 Quinn, Bill 655 Quinn, Richard Allen 539 Ra, Sun 441–448, 584 Rabey, Brian 1603 Radano, Ronald 540, 1061, 1153–1156 Rader, Abbey 144 Ragab, Salah 426 Ratliff, Ben 46, 65, 382, 859, 1405, 1530, 2201

Author Index Reason, Dana 96, 122 Reed, Mike 1255 Regan, Patrick 600 Reichman, Ted 1145, 1157 Reid, John C. 449 Reid, Tomeka 1041, 1552 Reiser, Melissa D. 986 Reitzes, Dave 2308 Remsen, Ben 1046 Rendle, Philippa 1115 Reynolds, Jane Martha 163 Rhodes, Anne 1167, 1418 Ribot, Marc 779, 2282, 2283 Rice, Dieter Wolfgang 744 Richardson, Derk 808, 1243, 1283, 1367, 1378, 1472, 1490, 1502, 1542, 1549, 2078, 2150, 2202, 2293 Richter, Stephan 178 Rieth, Michael 1812 Rigby, Lauren Riley 145 Riggins, Roger 728, 1951 Riley, Howard 1715 Rin, Reante Da 97, 156 Rinne, Henry Q. 222 Rivelli, Pauline 62 Rivers, Sam 928, 929 Roberts, Matana 1053 Roberts, Tamara 2137, 2144, 2145 Robertson, Alan 400 Robineau, Anne 1590 Robinson, Greg 1309 Robinson, Jason 541, 1334 Robinson, Perry 935 Rød, Johannes 33 Rodwan, John G.Jr 930 Roe, Tom 1952 Roelstrate, Dieter 1041 Rogers, John 1503 Roggeman, Willy 542 Rollefson, J.Griffith 450 Romero, Enrico 851, 1504 Rona, Jeffrey 1393 Roncaglia, Gian Carlo 1833 Rose, Simon, 179 Rosenbaum, Joshua 2079 Rosenthal, Abi S. 472 Roth, Alan 23, 892 Rothbart, Peter 500, 1158 Rothenberg, Ned 2294 Rout, Leslie B. 1062

Author Index Rouy, Gérard 1782 Rovere, Walter 2383 Rowell, David Putnam 1159 Rubin, Paul 1052 Rubolino, Frank 729, 2096 Rudd, Roswell 943–945 Rudolph, Adam 1263–1265, 1962 Rusch, Bob 47, 451, 452, 501, 577, 583, 698, 699, 718, 750, 754, 773, 816–818, 850, 860, 872, 878, 888, 987, 1116, 1177, 1222, 1247, 1344, 1379, 1416, 1417, 1429, 1543, 1547, 1550, 1658, 1680, 1701, 1728, 1747, 1788, 1830, 1871, 1872, 1875, 1902, 1984, 1988, 1994, 2012, 2051, 2108, 2133, 2134, 2175, 2190, 2263, 2315, 2322, 2344, 2349 Rusch, Loes 1859, 1860, 1889 Rüsenberg, Michael 1812 Rush, Stephen 319 Russell, Charles E. 320, 502 Russell, George 223, 321 Russell, John 1624 Russonello, Giovanni 1544 Sabin, Robert W. 901, 902 Sacks, William 2345 Safane, Clifford Jay 2330, 2352 Salaam, Kalamu Ya 2137 Saladin, Matthieu 1630 Sanders, James 1702 Sandke, Randall 196 Sandner, Wolfgang 1812 Santoro, Gene 2013, 2151, 2352, 2384 Sauer, Theresa 76 Saul, Scott 224 Sawyer, R.Dante 2264 Scalia, Phil 246 Schaffer, Pierre 497 Scherbenske, Amanda 1953 Schienfield, John 383 Schlicht, Ursel 98, 99, 165, 2296 Schlippenbach, Alexander von 1567, 1821 Schmalenberger, David 627, 628 Schmaler, Wolf 353 Schmickl, Phillip 1018, 1570, 1810 Schmidt, Andreas 247 Schmidt, Dan 1310 Schober, Michael F. 121 Schoch, Bernd 1822 Schonfeld, Victor 1703 Schott, John 384

369 Schuiling, Floris 1890–1894 Schuller, Gunther 322, 323, 503 Schwab, Jürgen 1812 Schwartz, Andy 1981, 1982 Schwartz, Jeff 543, 601 Schweizer, Irène 94 Scott, Andrew 1597 Scott, Richard 843, 1631, 1719, 1878, 1926 Self, Wayne K. 1117 Shadduck, Anthony 324 Shahid, Jaribu 1053 Shand, John 1576 Shanley, Mike 453, 1250, 2122 Sharp, Charles 1335, 1357 Sharrock, Sonny 966 Shaw, Brian 1732 Shaw, George Washington Jr 931 Shepp, Archie 536, 598, 602, 988–994 Shim, Eunmi 511 Shipp, Matthew 2300, 2309, 2310 Shipton, Alyn 1566 Shiruba, John 1704 Shoemaker, Bill 88–90, 109, 123, 146, 147, 166, 197, 395, 401, 504, 844–847, 873, 893, 932, 933, 1039, 1053, 1086, 1100, 1118, 1160, 1161, 1172, 1215, 1336, 1473, 1505, 1506, 1516, 1522, 1531, 1532, 1577, 1584, 1633\2, 1677, 1678, 1705, 1706, 1729, 1776, 1789, 1814, 1823, 1824, 1856, 1865, 1923, 1927, 1954, 1955, 2014, 2052, 2053, 2071, 2081, 2082, 2188, 2311, 2312, 2346 Shore, Michael 454 Shteamer, Hank 906, 1311, 1450 Shukaitis, Stevphen 874 Shull, Tad 1744 Shuster, Fred 809 Sidran, Ben 48, 225 Siegel, Aaron 1127 Silsbee, Kirk 676, 1350, 1351, 1412, 1751 Silvert, Conrad 2238 Simon, François-René 1063 Simosko, Vladimir 745 Simpkins, C.O 385 Sinclair, John 455, 544 Sinker, Mark 967 Sinton, Josh 848 Skipper, James K. Jr 534 Sklower, Jedediah 603, 1745 Smart, Nick 1732 Smith, Arnold Jay 148, 910

370 Smith, Barry T. 545 Smith, Bill 56, 604, 1145, 1275, 1545, 1593, 1679, 2135, 2290, 2295 Smith, Frank 325–328, 1008–1010 Smith, Hazel 124 Smith, Julie Dawn 100–102, 1216, 1225 Smith, Miyoshi 995, 1312, 1406, 1533, 1555, 2112, 2146, 2203, 2232 Smith, Steve 996, 1313 Smith, Wadada Leo 1053, 1145, 1284–1290 Smith, Warren 2316 Smith, Will 62, 234, 1380 Söchting, Jörg 2284 Soejima, Teruto 1851 Solis, Gabriel 407, 955 Solothurnmann, Jürg 677, 785 Soltes, Eva 1210 Somoroff, Matthew 1956 Sonderegger, Sean 1266, 1267, 1413 Soutif, Daniel 1832 Spearmann, Glenn 1510–1512 Spellman, A.B 198, 226, 329, 562, 656 Spencer, Robert 875, 1027, 1426, 2113 Sperber, Martin 946 Spicer, Daniel 1230, 1914, 2025, 2114 Spicker, Volker 505 Spiro, Neta 121 Sportis, Yves 24 Stanbridge, Alan 1591 Stanley, Thomas 409, 456, 2204 Staudt, Brigit Cassis 2284 Staudter, Thomas 357, 2154 Steckler, Matthew 77 Steinbeck, Paul 110, 1075, 1076, 1083, 1101–1103, 1244 Steinberg, Aaron 2285 Stephans, Michael 330 Stephens, Lorin 396 Stephenson, Gene 700 Stephenson, Sam 546 Stern, Chip 1345, 1455, 1534, 2057, 2160 Stévance, Sophie 1592 Stevens, John 1720 Stewart, Alex 2265 Stewart, Bhob 446 Stewart, Jesse 1173 Stewart, Zan 889, 1407 Stitt, Katea 1527 Stockdale, Jonty 125 Stockhouse, Janis 2046

Author Index Strauss, Neil 2115 Strickland, Edward 2385 Stubley, Peter 1571 Stüttgen, Tim 457 Such, David G. 1957, 1958 Sumera, Matthew 1291 Summers, Russ 506, 1707 Surgal, Tom 25 Sutherland, Roger 1572 Svirchev, Laurence M. 876, 1435, 1593, 1608, 1708, 1825, 2317 Sweet, Robert E. 1965, 1966 Swell, Steve 43 Syurm, Fred 2354 Szegedi, Márton 2286–2288, 2386 Székely, Michael David, 180 Szigeti, Peter 1479 Szöllösy, Raphaël 2387 Szwed, John 62, 65, 458, 547, 1145, 2119 Tapscott, Horace 1408, 1409 Tate, Greg 63–65, 1456 Taylor, Arthur 49 Taylor, Cecil 492, 507 Taylor, Chad E. 679, 1314 Taylor, Derek 861 Taylor, Jeffrey 956 Taylor, Spike 2313 Taylor, Trevor 127 Taylor, Yuval 65 Tchicai, John 1015 Tchiemessom, Aurélien 459 Teal, Kimberly Hannon 1959 Tepperman, Barry 745 Terrell, Tom 957 Tesler, Romain 2032 Testa, Carl 1127, 1167 Thomas, J.C. 386 Thomas, Lorenzo 548, 746 Thomas, Matthew Alan 331 Thomas, Pat 199 Thompson, Keith G. 730, 1666 Thompson, Robert Farris 536 Thompson, Walter 1127 Thomson, 1594 Tinder, Cliff 1424, 1457 Tinkle, Adam 167 Tinson, Christopher Matthew 549 Tirro, Frank 332 Titlebaum, Michael 333

Author Index Tkweme, W.S. 550 Tobias, James S. 205 Toop, David 26, 27, 210, 1623, 1647 Tosser, Grégoire 373 Townley, Ray 460, 1071, 1162 Townsend, Peter 200 Toynbee, Jason 1613 Trent, Chris 411 Troupe, Q.uincy 334 Tucci, Linda 651 Tucker, Bruce 1092 Turetzky, Bertram 149 Turner, John 640 Uitti, Frances-Marie 1709 , 1757, 1866, 1879, 1895, 2082 Ullman, Michael 1960 Ulmer, James “Blood” 2331 Underwood, Lee 1368, 1381 Van Cleve, Libby 1130, 1420 van de Leur, Walter 1861 van der Grinten, 1862 van Eyle, Wim 1862 van Hove, Fred 1624 Van Trikt, Ludwig 662, 664, 1040, 1179, 1195, 1251, 1269, 1315, 1326, 1425, 1448, 1453, 1462, 1478, 1482, 1487, 1494, 1517, 1518, 1523, 1535, 1556, 1985, 2020, 2024, 2030, 2123, 2164, 2237, 2318 Vandermark, Ken 28, 1776 Varga, George 2083 Vargas, João H.Costa 1337, 1339 Vega, Lazaro 1084 Veronesi, Daniela 2196 Vickery, Lindsay 336 Vickery, Stephen 1436, 1595, 1758, 1928, 1995 Vitali, Luca 1909 Vogel, Andrew 1733 Voight, Andrew 1507 von Zhan, Robert 1774 Vuijsje, Bert 50, 51 Wagner, Christophe 78 Walden, Daniel 997 Waldman, Anne 2054 Walker, Hazma 1292 Walker, Nancy Mell 1989 Wall, Tim 2228 Wallace, Rob 202

371 Wallmark, Zachary Thomas 181, 182 Wanek, Joel 1552 Warburton, Dan 752, 774, 877, 884, 885, 998, 1002, 1003, 1459, 1610, 1710, 1759, 1760, 1867, 1896 Ward, Brian 201 Ware, David S. 43 Washington, Salim (formerly Michael Spence Washington) 344, 387, 404, 2137 Waterman, Ellen 1216 Waters, Keith 747 Watrous, Peter 2229 Watson, Ben 336, 1650, 1651, 1660, 1684, 1724, 2161, 2205 Watson, Philip 911, 960, 1119 Watts, Dan 536 Wein, George 536 Weinberg, Bob 248, 623, 1868 Weinstein, Norman C. 211, 1092 Weiss, Jason 568, 849, 1575 Weiss, Ken 786, 852, 881, 1451 Welch, Jane 150, 958 Welding, Pete 273 Werner, Craig H. 1064 Wernick, Forrest 388 Werts, Daniel 481 Wesp, Roland 810 West, Michael J. 1231 Westendorf, Lynette 227, 508 Weston, Matt 492 Weston, Spencer 886 Wetzel, Florence 935 Whatley, Katherine 281 White, Alisa 565 White, Andrew 349 White, William D. 2234 Whitehead, Kevin 417, 912, 1120, 1145, 1163, 1219, 1430, 1661, 1734, 1863, 1897–1899, 1903, 2015, 2029, 2116, 2136, 2231, 2319, 2320 Whiteoak, John 1578 Whyton, Tony 389, 390 Wickes, John 1632 Widener, Daniel 1401, 1411 Widmann, Rainer 1764 Wilcots, Michael Dett 1402 Wild, David 57, 304, 353, 999, 1346 Wilkes, Corey 1053 Willender, Alfred 551 Williams, Ben 1665 Williams, K.Leander 65, 2236, 2347

372 Williams, Katherine Ann 1634 Williams, Martin 321, 397, 556, 748, 959 Wilmer, Valerie 52, 58, 337, 352, 402, 461, 462, 472, 552, 553, 584, 605, 606, 629, 879, 887, 1121, 2162 Wilson, Jerome 1508 Wilson, Matt 151 Wilson, Peter Niklas 29, 66, 91, 338, 607, 1065, 1145, 1164, 1165 Wingate, Tim 339 Witherden, Barry 1016, 1790 Woessner, Russell 2058 Wolbert, Klaus 30 Wolf, James L. 441 Wong, Deborah A. 1087, 1474 Wong, Francis 1076, 1513 Woodard, Josef 678, 811, 890, 1166, 1293, 1294, 1369, 1382, 1791, 2016, 2163, 2271 Woodlief, Mark 2332 Wooley, Nate 53, 679, 1167, 1449, 2041 Wright, Jack 1460 Wright, Seymour 1711 Wyckoff, Geraldine 1444, 1445 X, Marvin 771

Author Index Yang, Justin 1652 Yanow, Scott 249 Yee, Paul 1316 Yoshihide, Otomo 1849 Young, Ben 584, 731, 894, 1963 Young, Catherine 1167 Young, Rob 33, 1714, 1915 Young, Zoe 1383 Youngquist, Paul 463 Yudkin, Jeremy 228 Zabor, Rafi 812, 1073, 1104, 1115 1966, 2164 Zaken, Michael 1394 Zankel, Bobby 1449 Zenni, Stefano 1846 Zhang, Wei-hua 1475, 2147 Zheng, Su 1476 Ziefel, Jenny 152 Zinman, Eric 732 Zipkin, Michael 813, 1546 Zlabinger, Tom 340, 1581, 2348 Zorn, John 2388, 2389 Zuberi, Nabeel 464 Zürner, Christian 465

Subject Index AACM (the Association for the Advancement of Creative Musicians) 1, 6, 15, 18, 21, 22, 24, 27, 28, 55, 62, 70, 73, 80, 84, 116, 162, 164, 167, 178, 187, 189, 200, 204, 291, 544, 545, 552, 557, 654, 858, 1041, 1044, 1045, 1047–1067, 1070–1072, 1074, 1076–1078, 1081, 1083, 1084, 1103, 1106, 1116, 1121, 1130, 1134, 1150–1152, 1162, 1166, 1168, 1174, 1177–1181, 1186, 1188, 1190, 1193–1197, 1202–1204, 1296, 1208, 1210, 1213–1216, 1219, 1220, 1222, 1229, 1230, 1237, 1238–1241, 1247, 1251, 1252, 1256, 1262, 1266, 1268, 1277, 1279, 1280, 1288, 1290, 1294, 1297, 1300, 1304, 1307, 1308, 1313, 1316, 1325, 1334, 1423, 1440, 1465, 1467, 1527, 1750, 1931, 1934, 1939, 1941, 1947, 1959, 1972, 2031, 2034, 2066, 2181, 2268, 2361, 2369 Abdullah, Ahmed 39, 409, 1983–1985, 2022 Abe Kaoru 1849, 1850 Abrams, Josh 1223 Abrams, Muhal Richard 50, 75, 152, 688, 689, 910, 1041, 1042, 1047, 1054, 1058, 1062, 1068–1071, 1098, 1106, 1115, 1151, 1168, 1174, 1188, 1202, 1206, 1207, 1220, 1237, 1240, 1440, 1593, 1947, 2030, 2091, 2185, 2316 Ackamoor, Idris 1477, 1478 Ackley, Bruce 1334, 1479, 1504 See also ROVA Saxophone Quartet Adams, George 908, 912, 1118, 2173 Adams, Steve 1506 See also ROVA Saxophone Quartet Adasiewicz, Jason 1231 Adderley, Cannonball 193, 194, 535 Air 18, 625, 1072, 1073, 1179, 1219, 1313, 1416 See also Hopkins, Fred; McCall, Steve; Threadgill, Henry Ajaramu 1049, 1050 Akchoté, Noël 598, 1034 akLaff, Pheeroan 1276, 1281, 1413–1417 Ali, Muhammad 43, 1002

Ali, Rashied 58, 141, 364, 366, 372, 525, 570–576, 821, 858, 1035, 1188, 1967, 2113 Allen, Byron 577, 650, 754, 821 Allen, Geri 98, 99, 260, 275, 277, 2050, 2185, 2212, 2325 Allen, Marshall 35, 43, 409, 427, 429, 431, 433, 439, 452, 453, 461, 2013, 2121 Altena, Maarten 42, 50, 1624, 1810, 1863, 1903 Altschul, Barry 36, 578–583, 688, 917, 926, 1085, 1086, 1429, 1430, 1941, 2291 See also Circle Amado, Rodrigo 1553 Amalgam 1617, 1628, 1725, 1728, 1729 See also Watts, Trevor Ameen, Ramsey 480, 500 Amendola, Scott 1358 AMM 14, 26, 27, 29, 66, 91, 112, 114, 124, 176, 202, 1204, 1206, 1572, 1614–1616, 1618, 1621, 1624, 1625, 1628, 1630, 1632, 1633, 1688, 1698, 1711, 2066 See also Cardew, Cornelius; Prévost, Eddie; Rowe, Keith Anderson, Fred 14, 35, 44, 60, 61, 1042–1045, 1049, 1050, 1074–1084, 1170, 1172–1174, 1207, 1208, 1211, 1216, 1229, 1249, 1295, 1322, 1325, 1444, 1445, 1806, 1947, 1949, 2239 Anderson, Ray 36, 941, 1085, 1086, 1429, 2290, see also BassDrumBone Anker, Lotte 97, 123 Aoki, Tatsu 1079, 10872144, 2145 Apfelbaum, Peter 36, 65, 207, 483, 678, 1413, 1480, 1481, 1946, 1965 Arcado String Trio 1902, 2076, see also Dresser, Mark; Feldman, Mark, Reijseger, Ernst; Roberts, Hank Arista Records 1100, 1130, 1132, 1135, 1139, 1154, 1155, 1161, 1315, 1963 Art Ensemble of Chicago 12, 18, 28, 108, 110, 119, 174, 178, 190, 199, 203, 204, 209, 331, 407, 439, 1055, 1056, 1063, 1065, 1088–1104, 1106, 1108, 1110, 1113, 1115, 1116, 1140, 1177, 1180, 1181, 1183, 1186, 1187, 1210, 373

374 1233, 1235, 1238, 1239, 1245–1247, 1322, 1586, 1740, 1741, 1880, 1954, 1965, 2034, 2050, 2129, 2266, 2267 See also Bowie, Lester, Favors, Malachi; Jarman, Joseph; Mitchell, Roscoe, Moye, Don AsianImprov 1204, 1465–1476, 1491, 1936, 2138, 2147 Avenal, Jean-Jacques 827, 844, 2080 Ayler, Albert 1, 9, 12, 15, 24, 27, 48, 56, 65, 104, 162, 163, 171, 188, 195, 229, 334, 382, 512, 515, 524–526, 528, 533, 534, 539, 541, 542, 552, 553, 559, 569, 572, 584–608, 612, 616, 669, 671, 673, 765, 772, 777, 783, 786, 814, 815, 817, 818, 820, 868, 875, 884–887, 895, 898–902, 938, 980, 984, 989, 1001–1003, 1004, 1008, 1009, 1019, 1020, 1188, 1671, 1860, 1871, 1911, 1919, 2023, 2162–2164, 2211, 2228, 2256, 2272, 2276, 2277, 2280, 2285 Ayler, Donald 534, 589, 593, 595, 605, 873, 916 Baars, Ab 34, 53, 1861, 1863, 1864 BAG (the Black Artists Group) 6, 18, 21, 22, 24, 64, 167, 185, 187, 1113, 1204, 1334, 1514, 1518, 1519, 1524, 1527, 1528, 1533–1536, 1539–1541, 1543, 1545, 1547, 1934, 1939, 2066, 2361 Bailey, Derek 14, 27, 42, 44, 60, 66, 78, 91, 111–113, 118, 124, 125, 142, 160, 170, 176, 180, 203, 309, 478, 484, 485, 1035, 1201, 1204, 1206, 1433, 1557, 1564, 1614, 1615, 1617–1619, 1622, 1625, 1627, 1629–1632, 1635–1652, 1655, 1658, 1660, 1683–1684, 1691, 1697, 1701, 1703, 1704, 1709–1711, 1741, 1753, 1779, 1785, 1849, 1867, 1884, 2027, 2088, 2131, 2277 see also Company; Iskra 1903; Joseph Holbrooke; Music Improvisation Company; Spontaneous Music Ensemble Baker, Renée 97, 1231 Bakr, Rashied see Downs, Charles Bang, Billy 18, 35, 663–664, 1191, 1453, 1523, 1949, 1957, 1958, 1975, 1986–1989, 2189, 2320 see also String Trio fo New York Bankhead, Harrison 156 Baraka, Amiri 1, 21, 22, 35, 104, 105, 108, 153–155, 175, 183, 184, 190, 193–196, 199, 201, 320, 407, 443, 478, 513, 516, 518, 528, 531, 532, 534, 539–541, 543, 548, 558–561, 567, 598, 608–613, 652, 708, 759, 772–774, 869, 884, 888, 892, 938, 989, 992, 1008, 1022, 1425, 1935, 1938, 2138, 2214 Barbieri, Gato 6, 568, 614–616, 669, 952, 1840

Subject Index Barker, Thurman, 574, 1105, 1106 Barnes, Lewis 88, 156 Baron, Joey 44, 140, 574, 1865, 1946, 1968, 1990–1995, 2007, 2375, 2378 see also Masada Bass, Fontella 553, 1119 BassDrumBone 1430, 1434, 1436, 1991 see also Anderson, Ray; Helias, Mark; Hemingway, Gerry Bauder, Matt 1248 Bauer, Conrad [Konrad] 1763, 1765, 1772 Bauer, Johannes 1683 Beckett, Harry 136, 1613 Belogenis, Louis 572, 575, 576 Bendian, Gregg 127, 309, 499, 572, 574, 1359, 1364, 1366, 1367, 1996 Bennink, Han 39, 50, 60, 61, 111, 738, 827, 884, 896, 1433, 1558 1624, 1632, 1649, 1782, 1783, 1789, 1814, 1863, 1865–1868, 1872, 1874, 1876, 1884, 1949, 2029, 2183 Beresford, Steve 27, 42, 60, 1615, 1621, 1623, 1624, 1629, 1631, 1632, 1718 Berger, Karl 137, 578, 617–623, 628, 669, 675, 738, 1413, 1481, 1947, 1960, 1962–1966 Bergin, Sean 1861, 1863, 1874 Bergman, Borah 78, 699, 1170, 1787, 1997–2000 Berne, Tim 18, 36, 43, 44, 53, 157, 290, 1358, 1364, 1366, 1368, 1530, 1946, 1994, 2001–2016, 2289, 2379 Bernstein, Steven 1964, 1969–1971 Bevan Tony 883, 1623, 1629, 1653 Bey, Faruq Z 1329, 1329 Bishop, Jeb 1107, 1324 Bisio, Michael 868, 875, 2017, 2099, 2118 Black Panther Party 201, 430, 1406, 1410, 1411 Black Saint/Soul Note Records 6, 1189, 1296, 2007, 2014, 2353 Black, Jim 140, 1358, 1852, 1950, 2011, 2157 Blackwell, Ed 58, 141, 297, 300, 327, 624–629, 665, 671, 676, 783, 791, 885, 1170, 1348, 1428, 1429, 1440, 1924, 1966, 2238 Blake, Ran 137, 855, 1024, 1960, 2309 Bley, Carla 38, 48, 59, 61, 229, 230, 517, 558–562, 581, 599, 616, 630–639, 674, 688, 787, 792, 804, 805, 935, 1395, 1662, 1734, 1769, 1788, 1802, 1944, 2030, 2265 Bley, Paul 12, 27, 66, 131, 137, 157, 159, 221, 229–249, 263, 319, 393, 394, 509, 517, 530,

Subject Index 542, 546, 554, 562, 578, 580–583, 630–532, 634, 635, 637–639, 765, 793, 854, 895–901, 935, 1322, 1395, 1438, 1589, 1597, 1621, 1683, 2013, 2309 Blue Note Records 563–565, 920, 924, 930, 932 Blue Notes 129, 208, 1613, 1633, 1713, 1723, 1920–1923, 1926–1928 see also Dyani, Johnny; Feza, Mongezi; McGregor, Chris; Moholo-Moholo, Louis; Pukuwana, Dudu Bluiett, Hamiet 18, 132, 1111, 1515–1517, 1528, 2146, 2350–2353 see also World Saxophone Quartet Blythe, Arthur 6, 18, 206, 611, 613, 1073, 1340–1346, 1389, 1390, 1399, 1402, 1404, 1408, 1551, 2009, 2072, 2203, 2206, 2212, 2216, 2319, 2330, 2379 Boni, Raymond 1743, 1746, 1747, 1749 Borca Karen 97–99, 2020 Boston 1024–1040, 1459 Bowden, Mwata 1049, 1058, 1304 Bowie, Joseph 1514, 1518 Bowie, Lester 18, 57, 64, 171, 860, 1089, 1090, 1092, 1097, 1108–1121, 1202, 1203, 1237, 1327, 1518, 1534, 1547, 1935, 2030, 2058, 2069, 2266 see also Art Ensemble of Chicago Boykin, David 1229, 1231 Boykins, Ronnie 447, 829, 1944 Brackeen, Charles 1553, 1555, 2018 Bradford, Bobby 18, 62, 525, 676, 1118, 1332, 1333, 1335, 1347–1353, 1355–1357, 1372, 1385, 1390, 1395, 1410–1412, 1446, 1910, 2072, 2206, 2226 Brand, Dollar 405, 1919, 1921 Braxton, Anthony 6, 12, 17, 18, 21, 22, 29, 56, 60, 61, 68, 69, 72, 75, 123, 124, 132, 146, 152, 158, 159, 167, 168, 171, 174, 178, 204, 205, 366, 509, 544, 582, 583, 625, 689, 694–696, 868, 1038, 1041, 1042, 1052, 1054, 1055, 1061, 1063, 1065, 1085, 1086, 1100, 1105, 1106, 1122–1167, 1186, 1188, 1193, 1194, 1210–1212, 1215, 1216, 1219, 1266, 1279, 1280, 1282, 1290, 1292, 1354, 1374, 1381, 1418, 1421, 1422, 1424, 1426, 1429, 1430, 1433, 1434, 1438, 1440, 1464, 1488, 1495–1497, 1516, 1546, 1548, 1550, 1624, 1637, 1660, 1682, 1683, 1694, 1730–1733, 1738, 1740, 1741, 1751, 1800, 1934, 1941, 1954, 1955, 1960, 1965, 2027, 2042, 2043, 2046, 2048, 2049, 2051, 2088, 2124, 2126, 2135, 2136, 2153, 2237, 2266, 2267, 2292, 2314, 2349, 2380 see also Circle, Creative Construction Company

375 Breuker, Willem 50, 152, 159, 1568, 1587, 1796, 1857, 1861–1862, 1869–1872, 1875, 1876, 1902 Brotherhood of Breath 129, 207, 1633, 1734, 1922, 1923 see also McGregor, Chris Brötzmann, Peter 14, 23, 42, 44, 60, 61, 67, 70, 114, 138, 195, 203, 590, 598, 638, 692, 870, 873, 874, 1107, 1173, 1204, 1459, 1557, 1558, 1564, 1568, 1583, 1632, 1642, 1683, 1699, 1703, 1710, 1764, 1767, 1769, 1772, 1775–1791, 1802, 1807, 1809, 1814, 1853, 1854, 1863, 1867, 1868, 1910, 1911, 1914, 1915, 2170, 2239, 2250 2264, 2268 see also Last Exit Brown, Anthony 36, 1468, 1471, 1473, 1474, 1482, 1705, 2189 Brown, Earle 29, 1205, 1261, 2369, 2388 Brown, Elaine 199, 201, 1410, 1411 Brown, Guillermo E 138, 1938 Brown, Marion 3, 21–23, 64, 154, 424, 521, 525, 531, 542, 548, 553, 568, 608, 640–657, 660–662, 854, 855, 864, 882, 1169, 1219, 1290, 1773, 1796, 1800, 1867 Brown, Rob 43, 2019, 2020, 2121, 2245, 2264, 2311 Bruckmann, Kyle 53 Bryars, Gavin 1683, 1684 see also Joseph Holbrooke Buck, Tony 1577 Burn, Chris 1654, 1656, 1658 Burns, Ken 28, 106, 107, 331 Burrell, Dave 39, 598, 655, 657–662, 856, 857, 1002, 1949 Butcher, John 27, 53, 78, 146, 179, 1620, 1629, 1649, 1654–1658, 1660, 1705, 1718 Byard, Jaki 475, 736, 738, 1714, 2309 BYG-Actuel 108, 661, 772, 773, 820, 885, 1001, 1003, 1088, 1177, 1739, 1745, 1949 Bynum, Taylor Ho 36, 679, 726, 1122, 1127, 1152, 1166, 1167, 1223, 1418, 1955, 2126 Byron, Don 1931, 1968 Cage, John 73, 167, 168, 296, 498, 994, 1052, 1132, 1134, 1150, 1181, 1184, 1185, 1204, 1212, 1280, 1282, 1287, 1423, 1618, 1628, 1752, 1753, 1759–1761, 1807, 1895, 1896, 1962, 2369, 2377, 2388, 2389 Campbell, Roy Jr. 23, 39, 53, 598, 1486, 1938, 1949, 1956, 2021–2024, 2189, 2245, 2264, 2285, 2311 see also Other Dimensions in Music Cardew, Cornelius 112, 1205 see also AMM Carroll, Baikida 23, 39, 1514, 1519, 1524

376 Carter, Daniel 23, 120, 218, 1938, 1952, 1957, 1958, 1976, 2025, 2311, 2324 see also Other Dimensions in Music; Test Carter, James 1327, 1600, 2218 Carter, John 18, 62, 75, 152, 171, 208, 211, 525, 688, 693, 878, 1118, 1332, 1333, 1335, 1347, 1348, 1350, 1352–1357, 1372, 1390, 1395, 1410, 1411, 1506, 1864, 2012, 2087, 2091, 2092, 2209 Carter, Kent 827, 844, 1840, 2314 Carter, Ron 564, 804, 2253, 2269 Cartwright, George 1948 Centazzo, Andrea 69, 170, 688, 1495, 1568, 1624, 1831–1835, 1840, 2027, 2029 Centipede 1662, 1721–1723, 1734 see also Tippett, Keith Chadbourne, Eugene 14, 102, 118, 123, 142, 1053, 1809, 1810, 2026–2029, 2364, 2383 Chambers, Joe 736 Chancey, Vincent 2030 Charles, Denis 23, 58, 522, 663, 664, 829, 1989, 2152 Chase, Allan 164, 846 Cherry, Don 6, 18, 26, 41, 48, 49, 108, 162, 171, 174, 207, 209, 228, 330, 405, 515, 522, 525, 542, 546, 565, 584, 614–617, 621–623, 626–628, 665–679, 708, 754, 777, 841, 858, 861, 870, 872, 875, 927, 935, 959, 1109, 1119, 1170, 1172, 1173, 1404, 1480, 1481, 1519, 1745, 1769, 1788, 1840, 1841, 1908, 1924, 1962, 1965, 1966, 1989, 2022, 2069, 2238, 2239, 2255 see also New York Contemporary Five Chicago 1041–1325, 1914, 2255 Christi, Ellen 1951, 2031 Christmann, Günther 113, 1568 CIMP (Creative Improvised Music Projects) 1910, 2084, 2086, 2095, 2121, 2166, 2289, 2321 Circle 580, 581, 583, 1146, 1162, 1941, 2314 see also Altschul, Barry; Braxton, Anthony; Corea, Chick, Holland, Dave Cline, Alex 127, 780, 1334, 1335, 1368, 1369, 1373, 1403, 2005, 2006, 2012, 2015 Cline, Nels 36, 572, 574, 780, 1250, 1334, 1335, 1358–1369, 1384, 1503, 2011, 2012, 2130, 2278 Cohen, Greg 264, 2286, 2288, 2375, 2386 see also Masada Cohran, Phil 1042, 1308

Subject Index Colbeck, Ric 525 Cole, Bill 1976, 2032, 2033, 2316 Coleman, Anthony 1929, 1968, 1970, 2281 Coleman, Denardo 264, 265, 273, 300, 2041 Coleman, Ornette 1, 2, 6, 9, 10, 12, 15–18, 24, 26–29, 35, 41, 46, 48, 49, 55, 58, 61, 63, 69, 71, 105, 119, 154, 158–161, 176, 188, 193, 194, 210, 212–223, 225–228, 229, 237, 240, 241, 244, 246, 250–340, 355, 382, 399–404, 475, 492, 506, 509, 515, 517, 518, 520, 523, 532, 534, 537, 538, 540–543, 543, 549, 552, 553, 556, 561, 565, 626–629, 638, 652, 665, 667, 669–671, 675, 676, 678–679, 714, 748, 787, 788, 791, 794, 795, 797, 800–802, 806, 808, 811–813, 841, 851, 852, 864, 873, 876, 877–879, 889, 913–916, 923, 932, 934, 939, 982, 994, 1004, 1010, 1019, 1035, 1036, 1038, 1071, 1169, 1188, 1191, 1237, 1239, 1250, 1298, 1308, 1322, 1335, 1341, 1343, 1347, 1348, 1350, 1355, 1356, 1395, 1443, 1445, 1451, 1455–1458, 1546, 1586, 1607, 1715, 1726, 1769, 1808, 1860, 1919, 1935, 1962, 1989, 2013, 2068, 2106, 2159, 2161–2164, 2167–2169, 2171, 2219, 2227, 2238, 2279, 2326, 2330, 2364, 2367, 2372, 2380, 2385 Coleman, Steve 207, 925, 2356 Collective Black Artists 21, 22, 2315 Coltrane, Alice 12, 26, 62, 171, 172, 210, 344, 346, 360, 372, 525, 546, 559, 569, 680–686, 858, 860, 861, 865, 888 Coltrane, John 1, 9, 15, 19, 24, 28, 29, 48, 57, 62, 64, 65, 71, 106, 116, 124, 135, 158, 162, 171, 172, 176, 178, 181, 193, 194, 200, 208, 211, 212, 214–225, 227, 253, 255, 283, 322, 334, 341–390, 424, 439, 460, 475, 512, 513, 515, 518, 520, 522, 524–526, 531, 532, 534, 535, 537, 539, 541, 543, 546, 551, 552, 559, 569–576, 593, 595, 597, 604, 608, 613, 628, 646, 650, 656, 672, 679–684, 686, 707, 736, 750, 753, 754, 771, 791, 816, 820, 851, 858, 859, 864, 884–886, 913, 948, 949, 952, 954, 955, 959, 974, 976, 977, 980, 984, 985, 987, 989, 994–996, 998, 1010, 1016, 1034, 1068, 1168, 1169, 1237, 1264, 1328, 1367, 1432, 1453, 1470, 1478, 1503, 1505, 1511, 1697, 1699, 1838, 1919, 2046, 2051, 2055, 2069, 2095, 2106, 2141, 2159, 2174, 2238, 2334, 2345, 2347

Subject Index Columbia Records 524, 773, 885, 980, 1297, 1342, 1344, 2006, 2014, 2015, 2328 Company 70, 111, 112, 509, 1212, 1624, 1630, 1632, 1637, 1701 see also Bailey, Derek Connah, Graham 1488 Connell, Will 1402, 2152 Conquest, Leena 156 Cooke, Coat 1336, 1595 Cooke, India 95, 483, 1483 Cooper, Jerome 1944, 2034, 2035, 2271 see also Revolutionary Ensemble Cooper, Lindsay 100, 101 see also Feminist Improvising Group Cooper-Moore 36, 156, 905, 1949, 1952, 1976, 2036–2040, 2333, 2344 Cora, Tom 130, 2029 Corea, Chick 640, 1381, 1382, 1422, 1941, 2303, 2314 see also Circle Corsano, Chris 53, 1854, 1940 Cortez, Jayne 35, 154, 598, 2041 Cosey, Pete 1202 Cosmic, Michael 1024, 2189 Coursil, Jacques 568, 998, 1748, 1944 Courvoisier, Sylvie 53, 1433, 1959 Coxhill, Lol 42, 78, 840, 1615, 1623, 1627, 1629, 1659, 1661, 2000 Creative Construction Company 108, 1194, 1741 see also Braxton, Anthony; Jenkins, Leroy; McCall, Steve; Smith, Wadada Leo Creative Music Studio 56, 164, 167, 500, 617–623, 1093, 1104, 1208, 1266, 1290, 1326, 1413, 1556, 1593, 1947, 1960–1966, 2029, 2043, 2046, 2049, 2051, 2266, 2267 Crispell, Marilyn 12, 17, 18, 36, 39, 40, 44, 53, 96, 97, 137, 350, 896, 898, 1143, 1166, 1216, 1413, 1433, 1677, 1826, 1951, 1963, 1965, 2042–2054 Cross, Earl 2055 Crothers, Connie 99, 156 Crouch, Stanley 19, 28, 35, 93, 196, 454, 663, 918, 1344, 1348, 1349, 1390, 1938, 2072, 2079, 2214, 2221, 2224, 2226, 2228, 2229 Curson, Ted 738, 2068 Cuypers, Leo 50, 1859, 1861, 1863, 1872, 1875 Cyrille, Andrew 36, 43, 58, 141, 150, 154, 484, 485, 506, 625, 687–700, 759, 778, 854, 855, 885, 996, 1035, 1450, 1503, 1664, 1788, 1996, 2100, 2270, 2325, 2335, 2340, 2344, 2345 see also Trio 3

377 Dalachinsky, Steve 39, 1956, 2297, 2300 Daley, Joe 919 Daniel, Ted 657, 1986 Dara, Olu 2056–2058, 2068, 2133 Dauner, Wolfgang 71, 159 Davidson, Lowell 764, 767, 899, 901, 1024, 1035, 1039 Davis, Anthony 18, 68, 159, 164, 203, 506, 1086, 1276, 1281, 1285, 1387, 1389–1391, 1413, 1419–1425, 1429, 1430, 1432, 1434, 1551, 1944, 2091 Davis, Art 530, 1395, 1503 Davis, Kris 53, 2270 Davis, Miles 15, 19, 41, 162, 212, 217, 282, 350, 424, 564, 846, 899, 901, 920, 924, 926, 930, 965, 994, 998, 1119, 1206, 1261, 1293, 1627, 1696, 1712, 1941, 1991, 2219 Davis, On Ka’a 43 Davis, Richard 148, 157, 563, 737, 738, 885, 2080 Dawkins, Ernest 1058, 1251 Day, Terry 1615 De Joode, Wilbert 1080, 1621, 1949 Dean, Elton 1662, 1714 DeJohnette, Jack 685, 898, 1047, 1168, 1169, 1534, 1941, 1966 Delbecq, Benoît 846, 1599, 1743 Delius, Tobias 1863, 1873, 1874, 1877, 1894 Delmark Records 1066, 1067 Derome, Jean 1589 Dessen, Michael 1231, 2072 Dick, Robert 166, 2296 Dickerson, Walt 688, 698, 1450 Dixon, Bill 2, 3, 20, 35, 42, 47, 163, 195, 366, 512, 520, 521, 525, 530, 533, 543, 554–556, 558–562, 701–732, 765, 822, 906, 934, 982, 998, 1001–1003, 1035, 1217, 1218, 1418, 1426, 1438, 1484, 1580, 1681, 1683, 1935, 1955, 2117, 2174, 2200, 2249, 2254, 2263 see also Jazz Composers Guild; October Revolution in Jazz DKV Trio 1082, 1321 see also Drake, Hamid; Kessler, Kent; Vandermark, Ken Dolphy, Eric 12, 15, 27, 132, 157, 161, 213, 255, 283, 313, 351, 371, 403, 406, 439, 475, 529, 538, 546, 563–565, 626, 629, 665, 733–748, 851, 852, 978, 1004, 1035, 1052, 1174, 1322, 1546, 1820, 1846, 1860, 1865, 1867, 1880, 1886, 1896, 2013, 2349 Donald, Barbara 129, 749, 750, 1023

378 Doneda, Michel 1743 Dørge, Pierre 892 Dörner, Axel 33, 139, 1792, 2022 Douglas, Dave 37, 44, 45, 65, 166, 1111, 1880, 1881, 1884, 2022, 2059–2070, 2083, 2375, 2378, 2386 see also Masada Downs, Charles 17, 23, 499, 2189 Doyle, Arthur 751, 752, 819, 820, 1759 Drake, Hamid 14, 44, 679, 868, 1046, 1077, 1079, 1080, 1084, 1170–1173, 1216, 1229, 1231, 1445, 1787, 1788, 1806, 1826, 2264 see also DKV Trio Dresser, Mark 38, 43, 149, 164, 780, 1143, 1152, 1231, 1348, 1390, 1428, 1852, 2071–2083, 2187, 2229 Ducret, Marc 1034, 1735, 1737, 1743, 2007, 2016 Dunmall, Paul 366, 689, 1663–1666 Dunn, Trevor 1503, 2286–2288, 2378 Duval, Dominic 41, 875, 877, 1598, 2084–2086, 2166, 2291, 2349 Dyani, Johnny 1453, 1910, 1919, 1922, 1927 see also Blue Notes ECM 87, 1090, 1100, 1290, 1559, 1691, 1710, 1908, 1909, 2053 Edwards, John 1621, 1623, 1629, 1949 Edwards, Marc 156, 2039, 2040, 2342, 2344 Ehrlich, Marty 53, 75, 1151, 1353, 1438, 1488, 1514, 1530, 1931, 1968, 2009, 2087–2093 Eisenbel, Bruce 156, 2094–2096 Eisenstadt, Harris 53 Ellerbee, Charles 1451 Ellis, Don 27 Ellis, Lisle 147, 164, 866, 875, 1464, 1511, 1593, 1606, 1607, 1956, 1965 Ellman, Liberty 39, 1296, 1306, 1310, 1313, 2130 El’Zabar, Kahil 957, 996, 1044, 1049, 1304 Emery, James 1514, 1520–1523, 1963, 2320 see also String Trio of New York Eneidi, Marco 483, 1484–1487, 1511, 1570, 2250 England 30, 1560–1564, 1569, 1613–1734, 1791 Eskelin, Ellery 89 ESP-Disk 87, 427, 520, 566–568, 577, 614–616, 654, 767, 772–774, 777, 819–821, 857, 885, 938, 1001, 1003, 1020–1022, 1872, 2113 Evans, Bill 106, 168, 217, 737, 901, 977, 1682, 2052, 2309

Subject Index Evans, Peter 33, 1503, 1912, 1932–1933 Ewart, Douglas 43, 118, 1041, 1053, 1174, 1201, 1206, 1231 Eyges, David 850, 854, 1341 Fasteau, Kali Z 97, 1511, 2097, 2098 Favors, Malachi 1043, 1049, 1175–1177, 1270, 2254 see also Art Ensemble of Chicago Favre, Pierre 127 Fefer, Avram 156, 2099 Feldman, Mark 1434, 2363, 2378 see also Arcado String Trio Fell, Simon H 17, 1667, 1668 Feminist Improvising Group 70, 94, 100, 102, 1758, 1829, 1830 see also Cooper, Lindsay; Nichols, Maggie; Schweizer, Irène Few, Bobby 598, 663, 827, 883, 1002, 2099 Fewell, Garrison 1025 Feza, Mongezi 129, 1919, 1922 see also Blue Notes Fielder, Alvin 1439–1441 Filiano, Ken 1326, 1374, 2121 Finn, James 2100, 2101 Five Spot 220, 221, 303, 475, 889 Floridos, Floris 156, 1806 Fluxus 27, 561, 727, 1558, 1778, 1866, 1870, 1890, 1893 Formanek, Michael 933, 2007 France 5, 8, 603, 1561–1563, 1569, 1735–1761 Free Form Improvisation Ensemble 562, 772–774, 1001–1003 see also Greene, Burton; Silva, Alan Free Music Productions (FMP) 87, 1011, 1763, 1765, 1766, 1769, 1775–1777, 1781, 1789, 1815, 1829, 1830, 1972, 1974, 2109 Freeman, Von 60, 61, 415, 1208, 1308, 2227 Friedman, Don 397 Frisell, Bill 18, 45, 509, 811, 1358, 1359, 1993, 2007, 2015, 2102, 2106 Frith, Fred 42, 53, 67, 142, 1687, 1760, 1929, 2066, 2131, 2237 Fuchs, Wolfgang 1680, 1766, 1775, 1793 Fujii, Satako 53, 1852 Fujiwara, Tomas 53 Futterman, Joel 156, 1441, 1444, 2107, 2108 Gale, Eddie [Eddie Gale Stevens] 753, 754 Ganelin Trio 12, 174, 1495, 1568, 1904–1907 see also Tarasov, Vladimir Garbarek, Jan 346, 1908

Subject Index Garrett, Donald Rafael 861, 1042, 1440, 1751, 2097, 2098 Garrison, Jimmy 313, 346, 363, 549, 1350, 1432, 2080 Gaslini, Giorgio 6, 515, 1831–1832, 1835– 1841, 1843 Gauci, Stephen 2099 Gauthier, Jeff 1338 Gayle, Charles 14, 156, 171, 571, 598, 767, 769, 888, 890, 1586, 1938, 1949, 1952, 1976, 2109–2116, 2121, 2123, 2227, 2347 Germany 59, 1560–1564, 1569, 1762–1830, 1871, 1973 Giardullo, Joe 2117–2119 Gibbs, Melvin 967 Gilmore, John 40, 416, 419, 434, 436, 439, 454, 460, 462 Gilson, Jef 1736, 1743, 1745, 1749 Giuffre, Jimmy 27, 40, 105, 152, 157, 187, 213, 228, 229, 237, 296, 323, 391–397, 517, 533, 542, 546, 630–632, 843, 867, 868, 875, 889, 1749, 1750, 2121 Gjerstad, Frode 1173, 1909, 1910 Globe Unity Orchestra 29, 70, 72, 160, 835, 1700, 1707, 1730, 1731, 1733, 1767, 1771, 1773, 1802, 1810, 1814, 1815, 1817–1819, 1823–1825, 1871, 2319 see also Schlippenbach, Alexander von Glover, Alan “Juice” 156, 1949 Glover, Hugh 758, 764 Goldberg, Ben 1488–1490, 1946, 1968, 2181 Golia, Vinny 112, 166, 780, 1331, 1334–1336, 1347, 1351, 1353, 1364, 1368, 1370–1383, 1412, 1593, 1595, 1605, 1979, 2290, 2317 Gonzalez, Dennis 506, 1553–1555 Gortner, Arjen 1694, 1863 Grassi, Lou 935, 2120–2122 Graves, Milford 14, 39, 50, 58, 60, 61, 87, 140, 141, 150, 171, 515, 522, 553, 567, 568, 625, 688, 693, 696, 751, 752, 755–771, 885, 892, 894, 908, 912, 961, 1009, 1262, 1281, 1642, 1710, 1949, 1967, 2095, 2096, 2155, 2214, 2223 see also New York Art Quartet Gräwe, Georg 61, 69, 114, 170, 1173, 1433, 1565, 1771, 1794, 1795, 2052 Grdina, Gordon 1596 Greene, Burton 23, 153, 522, 528, 558–562, 568, 584, 604, 772–774, 1001–1003, 1008, 1020, 1021, 2121 see also Free Form Improvisation Ensemble

379 Greene, Hilliard 2123 Greenwich, Sonny 1597 Gregorio, Guillermo 61, 76, 1573, 1574 Grillot, Francois 1956 Grimes, Henry 39, 546, 598, 676, 689, 695, 699, 772, 775–786, 888, 935, 1009, 1022, 1450, 1553, 1664, 2020, 2206, 2285 Guralnick, Tom 132 Gustafsson, Mats 34, 44, 61, 590, 598, 1317, 1570, 1779, 1783, 1909, 1911–1915 Guy, Barry 44, 59, 60, 70, 74, 76, 114, 123, 724, 1433, 1557, 1559, 1564, 1565, 1593, 1615, 1624, 1669–1679, 1690, 1707, 1710, 1711, 1714, 1718, 1911, 2080, 2254, 2269 see also Iskra 1903; London Jazz Composers Orchestra Haden, Charlie 10, 12, 41, 50, 58, 75, 148, 171, 190, 254, 262, 265, 297, 298, 309, 324, 327, 330, 339, 373, 544, 569, 614, 615, 630, 632, 634, 636, 667, 671, 685, 688, 787–813, 914, 935, 1348, 1395, 1593, 1927, 2185, 2238, 2277 Halley, Rich 1446, 1448 Halvorson, Mary 17, 53, 1250, 1256, 1257, 1418, 1932, 1933, 1950, 1953, 1955, 2124–2131, 2278, 2279 Hamilton, Chico 748, 1345, 2088 Hammond, Doug 156 Hampel, Gunter 34, 70, 152, 156, 568, 646, 853–855, 935, 1559, 1562, 1568, 1773, 1774, 1796–1800, 1817, 1825, 1872, 1875, 2349 Hancock, Herbie 564, 1114, 1422, 2297, 2303 Harland, Eric 138 harmolodics 17, 227, 256, 264, 267, 269–271, 283, 288, 290, 292, 298–302, 304, 319, 324, 336, 338, 617, 1455–1457, 1624, 2234, 2238, 2329–2332 Harriott, Joe 27, 61, 209, 398–402, 1317, 1561, 1613, 1619, 1660, 1700 Harris, Beaver 150, 661, 662, 814–818, 2120, 2122, 2344 Harris, Craig 2132–2134 Hat Hut Records 869, 873, 875, 876 Hauser, Fritz 34, 127 Hautzinger, Franz 14, 1581 Hawkins, Alexander 68, 1621, 1925 Hay, Emily 1334, 1335 Haynes, Graham 679, 726, 1266, 1267, 2195 Haynes, Phil 2135, 2136 Haynes, Stephen 478, 726

380 Hazevoet, Kees 1876 Helias, Mark 43, 157, 579, 581, 916, 1427–1430, 2075, 2080, 2167, 2254 see also BassDrumBone Hemingway, Gerry 78, 127, 166, 1086, 1143, 1152, 1413, 1425, 1429, 1431–1436, 1794, 1865, 1903, 2072 see also BassDrumBone Hemphill, Julius 18, 50, 57, 75, 1327, 1364, 1366, 1369, 1374, 1524–1535, 1912, 1944, 2002, 2005–2008, 2010–2013, 2015, 2088, 2089, 2093, 2316, 2350–2352, 2354 see also World Saxophone Quartet Hersey, Baird 1024 Hertlein, Rosemarie 39, 97 Hess, Fred 1326 Heward, John 1598 Higgins, Billy 52, 58, 297, 300, 327, 675, 692, 1339 Hill, Andrew 157, 406, 563, 920, 1308, 2052, 2265 Hill, Tyrone 409, 431, 452 Hirsch, Shelly 1931 Ho, Fred 197, 206, 1465, 1467, 1468, 1473, 1475, 1476, 2137–2147 Hoff, Devin 134 Holland, Dave 12, 56, 148, 580, 803, 804, 919, 920, 924–926, 1140, 1382, 1712, 1880, 1941, 1947, 2080, 2148 Honsinger, Tristan 179, 1762, 1775, 1863, 1874, 1877–1879 Hooker, William 1951 Hopkins, Fred 1073, 1178, 1179, 2080, 2221, 2232, 2233 see also Air Horiuchi, Glenn 1290, 1465, 1466, 1469, 1470, 1474 Horvitz, Wayne 12, 1946, 2149–2151 Houle, François 395, 1599, 1609 Howard, Noah 598, 752, 819–821, 1967, 2055 Human Arts Ensemble 167, 1514, 1520, 1523, 1543, 1548, 1550, 2088 Hwang, Jason Kao 156, 206, 1266, 1503, 2085, 2152–2154 Ibarra, Susie 23, 44, 95, 96, 140, 1276, 1649, 1952, 2155–2158, 2311 ICP (Instant Composers Pool) 28, 65, 1011, 1210, 1632, 1789, 1857, 1860, 1861, 1864, 1868–1872, 1880–1899, 1902, 1903

Subject Index Improvising Artists (IAI) 238, 239, 451 Impulse Records 451, 520, 569, 654, 686, 923, 924, 930, 932, 938, 976 Incus Records 1614, 1617, 1618, 1632, 1633, 1648, 1650, 1681, 1701, 1704 Irabagon, Jon 135, 1932 Iskra 1903 1572, 1616, 1671 see also Bailey, Derek; Guy, Barry; Rutherford, Paul Italian Instabile Orchestra 12, 1837, 1842, 2200 Italy 6, 1569, 1831–1846 Iverson, Ethan 2011, 2297 Iyer, Vijay 45, 73, 143, 177, 245, 487, 1069, 1202, 1467, 1468, 2325 Jackson, D D 1600–1603 Jackson, Michael Gregory 927, 1437 Jackson, Ronald Shannon 9, 12, 18, 127, 154, 211, 506, 598, 1453, 2159–2164, 2170 see also Last Exit Jang, Jon 1087, 1333, 1467–1475, 1491, 1936 Japan 1847–1856 Jarman, Joseph 23, 152, 154, 156, 1042, 1049, 1054, 1055, 1059, 1063, 1077, 1078, 1089, 1090, 1094, 1096, 1098, 1099, 1103, 1106, 1168, 1180–1187, 1190, 1237, 1742, 2187, 2188 see also Art Ensemble of Chicago Jarrett, Keith 291, 787, 792, 795, 797, 804, 813, 898, 914–916, 927, 2052, 2297, 2303 Jarvis, Clifford 150, 462, 1020, 1021 Jaume, André Jazz and People’s Movement 189, 699 Jazz at Lincoln Center 82, 106, 116, 1935, 2062, 2308 see also Marsalis, Wynton Jazz Composers Guild 1, 3, 47, 79, 185, 187, 189, 200, 229, 244, 424, 486, 517, 520, 527, 537, 543–545, 552, 554–562, 630, 633, 634, 724, 772, 773, 938, 1002, 1003, 1014, 1959, 1985 see also Dixon, Bill Jazz Composers Orchestra 616, 630, 633, 1017 see also Bley, Carla; Mantler, Michael Jenkins, Leroy 35, 1188–1195, 1279, 1280, 1282, 1285, 1290, 1523, 1740–1742, 1987, 2187, 2188, 2271 Jenny-Clark, Jean-François 669, 1745, 1808, 1840 Jenroue, Terry 97, 156, 1353 Johannson, Sven-Åke 179, 1568, 1782 Johnson, Dewey 820, 821, 1957, 1958 Johnson, Oliver 1751 Johnston, Lynn 1335 Jones, Darius 53, 1932

Subject Index Jones, Elvin 313, 344, 360, 363, 364, 478, 484, 485, 526, 852, 886, 1432, 1684, 1865, 2080 Jones, LeRoi: see Baraka, Amiri Jones, Norris: see Sirone Jordan, Kidd 43, 769, 776, 1080, 1439, 1441–1445 Jörgensmann, Theo 91 Joseph Holbrooke 111, 1616, 1648, 1683, 1684 see also Bailey, Derek; Bryars, Gavin; Oxley, Tony Kahn, Eddie 313 Kaiser, Henry 142, 1285, 1366, 1499, 2106, 2273 Kaiser, Jeff 1334, 1373 Kalaparusha: see McIntyre, Kalaparusha Maurice Kang, Eyvind 1503, 1609 Kaplan, Lee 112, 1357, 1381 Kapp, Bobby 655, 657 Kavee, Elliot Humberto 1296, 1492 Kelsey, Chris 109, 2165, 2166 Kenyatta, Robin 822 Kessler, Kent 1044, 1268 see also DKV Trio Knitting Factory 1946, 1948, 1957, 1971, 1977, 2060, 2110, 2187, 2251 Knuffke, Kirk 2167–2169 Koch, Hans 1801 Koglmann, Franz 60, 74, 170, 395, 709, 827, 1559, 1579–1581 Kohlhase, Charlie 77, 1012, 1026–1027 Kondo, Toshinori 1850, 1853, 2029 Konitz, Lee 509, 511, 2009 Kowald, Peter 29, 117, 156, 638, 1290, 1564, 1568, 1617, 1683, 1761, 1764–1766, 1782, 1786, 1802–1807, 1810, 1973, 1975, 2264 Krall, Jackson 41, 43 Kühn, Joachim 159, 275, 598, 1004, 1736, 1763, 1808, 1816 Kühn, Rolf 1004, 1808 Lacy, Steve 6, 18, 40, 42, 44, 48, 61, 72, 111, 132, 135, 146, 166, 171, 220, 374, 405–407, 509, 517, 546, 567, 598, 633, 663, 664, 823–849, 870, 888, 892, 938, 939, 942, 1201, 1206, 1246, 1482, 1488, 1490, 1575, 1580, 1624, 1705, 1740, 1751, 1760, 1825, 1832, 1835, 1840, 1841, 2027, 2080, 2314 LaFaro, Scott 48, 324, 327, 676, 736, 791, 793 Lake, Oliver 18, 39, 57, 64, 132, 156, 1317, 1416, 1437, 1528, 1530, 1536–1546,

381 1553, 1947, 1963, 1965, 2009, 2013, 2325, 2350–2353 see also Trio 3; World Saxophone Quartet Lancaster, Byard 12, 62, 850, 1341 Lash, Dominic 53, 1621, 1623 Lasha, Prince [Lawsha] 533, 736, 851, 852, 878, 1004, 1007 Lashley, Lester 1062, 1232 Last Exit 962–964, 1558, 1778, 1782, 1786, 1790, 2163, 2170 see also Brötzmann, Peter; Jackson, Ronald Shannon; Laswell, Bill; Sharrock, Soony Laswell, Bill 12, 30, 957, 1281, 1854, 1987, 2058, 2170, 2378 see also Last Exit Lateef, Yusef 3, 282, 387, 1263–1265 Laubrock, Ingrid 53, 97, 1950, 1956 Lavelle, Matt 856, 857, 2171 Lazuro, Daunik 1743 Léandre, Joëlle 34, 39, 78, 94, 96, 97, 100, 101, 149, 156, 598, 825, 1201, 1206, 1227, 1599, 1649, 1743, 1752–1760, 1805, 1826, 1949, 2080, 2269 see also Les Diaboliques Lee, Jeanne 154, 853–855, 1569, 1805, 2145 Lee, Peggy 1604, 1605 Lehman, Steve 68, 1492, 1932, 1933, 1953 Lenox School of Jazz 105, 228, 323, 634, 665, 934 Leo Records 87, 1611, 1904, 1905, 1907 Les Diaboliques 94, 100, 101, 1758, 1828 Levin, Daniel 145 Levin, Elliot 156, 663, 1449 Levin, Marc 512, 568 Lewis, George 4, 35, 44, 50, 61, 68, 110, 118, 119, 156, 170, 179, 197, 203, 827, 941, 1041, 1045, 1056–1058, 1060, 1069, 1070, 1080, 1111, 1122, 1152, 1174, 1184, 1185, 1196–1216, 1280, 1285, 1425, 1595, 1691, 1694, 1697, 1698, 1742, 1759, 1760, 1820, 1826, 1863, 1939, 2277, 2366 Liebman, Dave 346, 616, 1979 Lincoln, Abbey 108, 224, 532 Lindberg, John 1276, 1281, 1514, 1523, 1548–1550, 1965, 2080, 2320 see also String Trio of New York Lindsay, Arto 42, 2279, 2281 Little, Booker 544, 740, 747, 2061, 2063, 2070 Logan, Giuseppi 43, 152, 525, 564, 568, 758, 765, 767, 770, 772, 821, 856, 857, 908, 910, 912, 923, 969, 978, 2171 Lonberg-Holm, Fred 67, 1044, 1324

382 London Improvisers Orchestra 1212, 1667, 1708 London Jazz Composers Orchestra 60, 1633, 1666, 1670, 1671, 1677–1680, 1683, 1714 see also Guy, Barry Los Angeles 112, 213, 529, 780, 1331–1412, 2203, 2206, 2226, 2229 Lovano, Joe 263, 787, 1705, 1880 Lovens, Paul 61, 115, 1570, 1655, 1680, 1809, 1810, 1819, 1820, 1822–1824, 1911, 1913 Lowe, Frank 58, 567, 571, 663, 858–861, 878, 1114, 1327, 1534, 1548, 1550, 1949, 1986, 2029, 2203, 2239, 2249 Lucas, Gary 596, 1948 Lyons, Jimmy 50, 163, 495, 499, 500, 544, 688, 689, 699, 854, 855, 862, 863, 1486, 1487, 1511, 1550, 2108, 2174, 2175, 2190, 2263 Lytton, Paul 126, 127, 1616, 1624, 1677, 1680, 1689, 1690, 1707, 1710, 1711, 1793 MacDowell, Al 264, 2041 Mackey, Nathaniel 466, 467, 478 Mahall, Rudi 374, 1762 Malaby, Tony 1029, 1950, 2172, 2173 Malfatti, Radu 74, 1568, 1570, 1710, 1759 Malik, Raphé 1484, 1486, 1511, 2174, 2175 Maneri, Joe 66, 156, 1028–1030, 1032 Maneri, Mat 66, 1028–1033, 1035, 2307, 2311 Manglesdorff, Albert 1568, 1770, 1773, 1811–1814, 1818 Manne, Shelly 213, 273 Mantler, Michael 159, 562, 630, 634, 638, 854, 1020, 1944 see also Jazz Composers Orchestra Maroney, Denman 2072, 2176–2179 Marsalis, Branford 319, 390, 2227, 2268, 2270, 2348 Marsalis, Wynton 19, 21, 22, 28, 178, 187, 196, 277, 331, 383, 1118–1120, 1262, 1327, 1390, 1935, 1938, 1959, 2056, 2068, 2263, 2379 see also Jazz at Lincoln Center Marsh, Tina 1556 Masada 1968, 1969, 2067, 2286–2288, 2356, 2358, 2363, 2365, 2370, 2372, 2375, 2376, 2381–2383, 2386 see also Baron, Joey; Cohen, Greg; Douglas, Dave; Zorn, John Masaoka, Miya 96, 1199, 1216, 1466, 1468, 1470, 1471, 1473, 1474, 1946 Massey, Cal 544, 987, 1984, 2142 Mateen, Sabir 39, 156, 2180, 2324 see also Test Maupin, Bennie 525, 681, 682, 780, 864

Subject Index Mazurek, Rob 721, 1217, 1218, 1223, 1251, 1295 MC5 202, 439 McBee, Cecil 681, 682, 865, 917 McCall, Steve 154, 611, 885, 1072, 1073, 1084, 1179, 1194, 1219, 1290, 1947, 1996, 2304 see also Air; Creative Construction Company McGregor, Chris 40, 1617, 1626, 1734, 1919, 1921–1923, 1927 see also Blue Notes; Brotherhood of Breath McIntyre, Kalaparusha Maurice 43, 1220–1222, 1440, 2316 McLean, Jackie 146, 226, 564, 565, 881, 1343, 1546, 2200, 2343 McPhee, Joe 17, 34, 39, 61, 132, 155, 598, 702, 866–877, 1018, 1044, 1320, 1598, 1705, 1749, 1750, 2023, 2085, 2117, 2118 Melford, Myra 39, 44, 98, 1190, 1227, 1492, 2070, 2181–2188 Melis, Marcello 1246, 1832 Mengelberg, Misha 50, 61, 66, 72, 111, 405, 738, 1558, 1624, 1633, 1778, 1805, 1857, 1858, 1861–1863, 1865, 1867, 1868, 1870, 1872, 1880–1898, 2029 Metheny, Pat 302, 319, 338, 787, 795, 807, 808, 1169, 2106 Miller, Harry 1569, 1662, 1782 Mingus, Charles 24, 50, 162, 190, 193, 194, 200, 214–216, 224, 282, 312, 402–404, 515, 532, 535, 547, 736, 738, 742, 748, 793, 803, 907, 908, 911, 912, 941, 976, 1086, 1671, 2239 Miranda, Roberto 780, 1351, 1385, 1386, 1400, 1402, 1408 Mitchell, Nicole 17, 35, 39, 53, 68, 97, 156, 1053, 1058, 1063, 1080, 1217, 1223–1231, 1252, 1257, 1262, 1338, 1949, 2072 Mitchell, Roscoe 35, 57, 61, 67, 68, 119, 132, 135, 139, 152, 163, 177, 179, 204, 275, 372, 568, 1041, 1043, 1045, 1047–1049, 1053, 1054, 1058, 1061–1063, 1067, 1070, 1084, 1089, 1098, 1099, 1101, 1103, 1105, 1111, 1151, 1168, 1183, 1218, 1220, 1232–1244, 1256, 1326, 1328, 1439, 1440, 1495, 1537, 1556, 1998, 2254, 2266, 2267, 2304, 2305, 2308, 2311, 2374 see also Art Ensemble of Chicago Moffett, Charles 284, 629, 852, 878, 879, 1086, 1350, 2192, 2203 Moholo-Moholo, Louis 68, 827, 893, 1619, 1626, 1631, 1662, 1782, 1826, 1874, 1919,

Subject Index 1922, 1924–1928, 1949 see also Blue Notes; Dedication Orchestra Moncur, Grachan III 525, 565, 817, 880, 881, 883, 996, 1880 Monk, Thelonious 73, 143, 161, 396, 405–407, 468, 475, 670, 736, 816, 818, 823, 828–830, 834, 860, 907, 916, 937, 939, 994, 1160, 1421, 1422, 1482, 1697, 1792, 1817, 1819, 1820, 1824, 1825, 1892, 1893, 1896, 1991, 2308 Moondoc, Jemeel 43, 628, 663, 1957, 1958, 2023, 2031, 2189, 2190, 2250, 2263, 2264 Moore, Michael 395, 1863, 1894, 1899 Morris, Joe 53, 88, 568, 1028, 1034–1040, 1667, 1938, 1949, 2124, 2130, 2131, 2250, 2297, 2298, 2307 Morris, Lawrence “Butch” 12, 35, 45, 117, 165, 204, 1205, 1266, 1402, 1453, 1805, 1929, 1986, 2129, 2151, 2153, 2191–2205, 2229 Morris, Wilbur 663, 2030, 2121, 2206 Motian, Paul 127, 239, 898, 901, 1537, 1596, 2007, 2012, 2042, 2102, 2105 Moye, Don 64, 693, 1043, 1053, 1089, 1090, 1096, 1098, 1103, 1245–1247 see also Art Ensemble of Chicago Muhammaed, Ameen 1063, 1304 Mujician 1666, 1722, 1723 see also Dunmall, Paul; Tippett, Keith Müller, Torsten 114 Muñoz, Tisziji 2207, 2208 Murray, David 6, 9, 18, 35, 44, 48, 50, 154, 171, 263, 288, 598, 611, 660, 767, 1173, 1347, 1348, 1351, 1391, 1491, 1517, 1600, 1603, 1935, 2023, 2030, 2050, 2056, 2072, 2132, 2133, 2192, 2203, 2209–2231, 2266, 2267, 2350–2353 see also World Saxophone Quartet Murray, Diedre 98, 99, 130, 2080, 2232, 2233 Murray, Sunny 40, 50, 62, 154, 211, 517, 522, 531, 535, 544, 549, 568, 589, 598, 608, 752, 850, 877, 882–887, 1002, 1003, 1017, 1433, 1452, 1453, 1550, 1823, 1949, 2226 Music Improvisation Company 111, 1616, 1617, 1628, 1698, 1710 see also Bailey, Derek; Parker, Evan Musica Elettronica Viva (MEV) 27, 29, 1088, 1204, 1206, 1210, 1572, 1628, 1630, 1688, 1698, 1941 see also Rzewski, Frederic Musra, Phill 1024, 2190 Myers, Amina Claudine 96, 97, 1058, 1111, 1116, 1240

383 Nathanson, Roy 156, 1968 Naughton, Bobby 1285, 2349 Neidlinger, Buell 475, 888–890, 938 Netherlands 1560–1563, 1569, 1703, 1791, 1857–1918 New Haven 1210, 1279, 1285, 1290, 1413–1438 New Orleans 1439–1445 New York Art Quartet 27, 154, 190, 513, 554, 558–562, 567, 767, 770, 884, 891–894, 938, 942, 998, 1011, 1016 see also Baraka, Amiri; Graves, Milford; Rudd, Roswell; Tchicai, John; Workman, Reggie; Worrell, Lewis New York Contemporary Five 512, 671, 708, 729, 1013 see also Cherry, Don; Shepp, Archie; Tchicai, John New York Musicians Organization 1937, 1967, 2263 Newport Jazz Festival 105, 604, 706, 727, 1967 Newton, James 18, 664, 1223, 1229, 1331, 1387–1394, 1419, 1424, 1491, 1546, 1551, 2072, 2203, 2209 Newton, Lauren 853, 1227 Nichols, Herbie 226, 937, 938, 942 Nichols, Maggie, 94, 96, 97, 100–102, 179, 1629, 1718, 1721 see also Feminist Improvising Group Nicholson-Parker, Patricia 1949, 1973, 1975, 1976 Nickelsdorf Konfrontationen Festival 1018, 1239 Niebergall, Buschi 1810 Nilssen-Love, Paal 44, 1320, 1779, 1791, 1909, 1916 Ninh, Lê Quan 127, 1761, 2194 Nix, Bern 12, 41, 156, 288, 2041, 2234–2236 Nordensson, Kjell 1913, 1917 Norton, Kevin 2237 NOW (New Orchestra Workshop) 1593, 1595, 1606, 1608, 1675 Ochs, Larry 34, 78, 1285, 1367, 1464, 1493, 1494, 1499, 1502, 1504, 1506, 1511, 1904 see also ROVA Saxophone Quartet October Revolution in Jazz 3, 486, 520, 554, 556, 562, 888, 1952 see also Dixon, Bill; Jazz Composers Guild Old and New Dreams 667, 678, 2238 Oliver, Mary 1900, 1901 Oliveros, Pauline 27, 95, 96, 165, 483, 870, 2158 Ono, Yoko 27, 290, 1698

384 Orange, Joseph 968 O’Rourke, Jim 1044, 1710, 1854 Oshita, Gerald 1466 Oswald, John 132, 1624 Other Dimensions in Music 1973, 2025 see also Campbell, Roy Jr.; Carter, Daniel; Downs, Charles; Parker, William Oxley, Tony 66, 123, 127, 159, 484, 485, 499, 506, 696, 729, 883, 1557, 1568, 1572, 1614, 1619, 1637, 1680–1684, 1714, 2076 see also Joseph Holbrooke Pan-African Festival 108, 986, 1003, 1017, 1745 Parker, Evan 12, 27, 29, 44, 53, 60, 61, 66, 111, 113–115, 124, 125, 132, 139, 159, 160, 203, 291, 366, 481, 509, 568, 702, 825, 827, 840, 875, 1239, 1317, 1322, 1459, 1564, 1568, 1614–1617, 1620, 1621, 1624, 1626, 1631, 1642, 1643, 1652, 1655, 1664, 1680, 1685–1712, 1719, 1733, 1741, 1779, 1783, 1791, 1801, 1805, 1809, 1817, 1819, 1820, 1822–1824, 1826, 1863, 1926, 1928, 1998, 2080, 2254, 2295 see also Music Improvisation Company; Spontaneous Music Ensemble Parker, Jeff 53, 1044, 1080, 1084, 1217, 1248–1251, 1269 Parker, William 3, 17, 20, 23, 35, 39, 44, 45, 60, 61, 156, 499, 568, 571, 598, 679, 767, 769, 784, 804, 883, 935, 1080, 1172, 1173, 1445, 1486, 1487, 1511, 1642, 1788, 1938, 1949, 1951, 1952, 1957, 1958, 1973, 1975, 1976, 2019, 2020, 2023, 2025, 2031, 2036, 2039, 2080, 2113, 2152, 2156–2158, 2189, 2239–2265, 2298, 2301, 2304, 2306, 2311, 2333, 2366, 2338 see also Other Dimensions in Music Parkins, Zeena 1929 Parks, Mary 559, 588, 592, 596 Parran, J D 1514 Patrick, Pat 410, 447, 1020 Pavone, Jessica 2126 Peacock, Annette 131, 229, 237, 598, 895–897, 900, 935, 2042, 2053 Peacock, Gary 239, 397, 568, 578, 589, 598, 898–902, 912, 1596, 1671, 2042 Peet, Wayne 1373, 1376, 1379 Pelikan 1949 Penderecki, Krzysztof 29, 70, 1799 Perelman, Ivo 623

Subject Index Perkins, Walter 1949 Perry, Frank 127, 1624 Petrowsky, Ernst-Ludwig 1568, 1763, 1769, 1772, 1815, 1816 Philadelphia 413, 1449–1462 Phillips, Barre 12, 34, 903, 904, 1028, 1322, 1621, 1826, 1918, 1955 Pilz, Michel 152 Plimley, Paul 866, 875, 1589, 1606, 1607 Portal, Michel 72, 152, 314, 598, 884, 1735, 1736, 1739, 1745 postmodernism 28, 79, 104, 154, 170, 174, 180, 197, 407, 1559, 1931, 1946, 1951, 2060, 2062, 2323, 2355, 2365, 2367, 2369, 2371–2373, 2377, 2383 Potts, Steve 827, 845, 882 Power Tools 65, 967, 2163 see also Frisell, Bill; Gibbs, Melvin; Jackson, Ronald Shannon Pozar, Cleve [Robert] 905, 906 Preston, Don 1395 Previte, Bobby 12, 18, 2151 Prévost, Eddie 111, 112, 1496, 1620–1624, 1629, 1631, 1643 see also AMM Priester, Julian 447 Pukuwana, Dudu 58, 1700, 1919, 1922, see also Blue Notes Pullen, Don 87, 137, 522, 567, 756, 758, 764, 765, 771, 774, 907–912, 1009, 1601, 1603, 2050 Ra, Sun 1, 12, 15, 19, 27, 40, 47, 50, 55, 59–61, 84, 92, 93, 107, 131, 152, 160, 162, 171, 172, 174, 185, 202, 210, 408–465, 512, 514, 515, 518, 522, 525, 533, 535, 541, 544, 551–553, 558–562, 608, 612, 650, 652, 729, 753, 754, 772, 820, 821, 850, 858, 923, 949, 951, 952, 994, 1001, 1002, 1017, 1043, 1063, 1134, 1142, 1168, 1169, 1196, 1229, 1237, 1239, 1246, 1300, 1308, 1325, 1328, 1330, 1450–1452, 1483, 1586, 1628, 1740, 1870, 1983–1985, 2013, 2030, 2132, 2133, 2224, 2265–2267 Radding, Reuben 90 Radical Jewish Culture 1968–1971, 2280, 2284, 2372 see also Tzadik Records; Zorn, John Ragab, Salah 421 Ragin, Hugh 612, 1111 Rainey, Tom 157, 2007, 2016 Raskin, John 76, 90, 1495, 1516 see also ROVA Saxophone Quartet Rava, Enrico 136, 827, 1818, 1832, 1840, 1908

Subject Index Reason, Dana 95, 96, 483 Redman, Dewey 18, 35, 41, 58, 277, 628, 851, 878, 913–916, 952, 1429, 1430, 1600, 1751, 2045, 2238 Reed, Mike 89, 1252–1255, 1257, 1258 Reform Art Unit 1579, 1771 Reid, Tomeka 1227, 1252, 1256–1258 Reijseger, Ernst 66, 1436, 1795, 1863, 1902 see also Arcado String Trio Revis, Eric 2268–2270 Revolutionary Ensemble 58, 1188, 1189, 1192–1195, 2034, 2271 see also Cooper, Jerome; Jenkins, Leroy; Sirone Ribot, Marc 82, 83, 596, 598, 776, 1034, 1248, 1250, 1295, 1594, 1968, 1970, 2131, 2272–2288 Riley, Howard 137, 1557, 1572, 1615, 1621, 1683, 1713–1715 Rivers, Sam 6, 12, 35, 50, 171, 193, 203, 238, 578–583, 598, 657, 772, 917–933, 1105, 1106, 1705, 1823, 1944, 1947, 1967, 1987, 2032, 2173, 2219, 2316 Roach, Max 50, 108, 208, 224, 484, 485, 488, 532, 535, 610, 692, 696, 740, 886, 1202, 1491, 1865, 1927, 2141 Robair, Gino 127, 1334, 1464, 1496, 1497 Roberts, Hank 2004, 2007, 2015 see also Arcado String Trio Roberts, Matana 53, 68, 156, 998, 1041, 1053, 1227 Robertson, Herb 18, 2007, 2121, 2289–2290 Robinson, Perry 152, 228, 695, 934, 935, 1354, 1800, 1979, 2121 Roebke, Jason 1258 Rogers, Paul 1949 Rollins, Sonny 48, 50, 105, 132, 135, 214, 219, 235, 237, 240, 241, 243, 244, 330, 355, 383, 522, 535, 673, 679, 736, 778, 784, 814, 816, 817, 969, 1298, 1682, 2239, 2343, 2344, 2347, 2348 Romano, Aldo 669, 1745, 1840 Romus, Rent 1334 Roper, William 1290, 1334, 1335, 1373, 1412 Rosen, Jay 2085, 2086, 2166, 2290, 2349 Ross, Brandon 1034, 1314, 2195 Rothenberg, Ned 53, 78, 132, 1946, 1971, 2292–2295 ROVA Saxophone Quartet 694, 1333, 1479, 1493–1495, 1497–1508, 1511, 1516, 1587, 1611, 1675, 1904, 1946, 2028, 2174 see also

385 Ackley, Bruce; Adams, Steve; Ochs, Larry; Raskin, Jon; Voight, Andrew Rowe, Keith 14, 112, 123, 1035, 1620 see also AMM Rudd, Roswell 3, 23, 35, 43, 57, 221, 407, 525, 558–562, 567, 568, 596, 599, 606, 622, 630, 695, 822–824, 827, 841, 881, 892–894, 935–946, 984, 996, 1012, 1014, 1027, 1832, 2065, 2120, 2321 see also New York Art Quartet Rudolph, Adam 203, 1172, 1259–1267, 1965 Russell, George 3, 212, 223, 265, 282, 321, 367, 535, 707, 736, 994, 1298, 1769, 1846, 1909, 2088, 2141, 2200 Russell, Hal 12, 60, 1044, 1268 Russell, John 1624, 1629, 1655, 1656 Russia/Soviet Union 1563, 1611, 1904–1907 Rutherford, Paul 1212, 1568, 1615, 1625, 1661, 1716, 1726, 1728 see also Iskra 1903 Rzewski, Frederic 827, 998, 1151, 1205 see also Musica Elletronica Viva Sakata, Akira 1850, 1854 Samworth, Ron 1608 San Francisco Bay Area 1459, 1463–1513, 1936, 1946 Sanders, Pharoah 1, 12, 24, 49, 50, 62, 65, 171, 172, 181, 199, 210, 346, 424 525, 526, 542, 550, 569, 584, 657, 660, 662, 672, 777, 865, 947–959, 961, 962, 964, 1068, 1218, 1478, 2055, 2207 Sato, Masahiko 1847, 1848, 1851 Schiaffini, Giancarlo 1832, 1842, 1843 Schiano, Mario 1831, 1832, 1843, 1844 Schlicht, Ursel 2296 Schlippenbach, Alexander von 29, 34, 66, 71, 72, 115, 137, 159, 405, 827, 1562, 1564, 1565, 1567, 1655, 1711, 1765, 1769, 1771, 1773, 1775, 1809, 1814, 1817–1825 see also Globe Unity Orchestra Schöenberg, Detlef 1568, 1764 Schoof, Manfred 29, 59, 70, 72, 1559, 1769, 1770, 1773, 1774, 1800, 1813, 1817, 1819 Schott, John 1488 Schuller, Gunther 298, 322, 323, 734, 736, 742 Schweizer, Irène 39, 94, 96, 100–102, 137, 405, 689, 1568, 1826–1830, 2052 see also Feminist Improvising Group Sclavis, Louis 1737 Shahid, Jaribu 1053, 1330, 2210 Sharp, Elliott 74, 1503, 1639, 1929, 1968, 2130

386 Sharrock, Linda 960, 964 Sharrock, Sonny 50, 199, 657, 960–967, 1022, 1248, 1250, 1414, 1779, 1785, 2106, 2130, 2170 see also Last Exit Shepp, Archie 1–3, 6, 21, 22, 24, 35, 47, 48, 52, 57, 58, 62, 79, 108, 154, 162, 171, 183, 184, 190, 196, 199, 208, 209, 211, 225, 320, 350, 355, 360, 414, 515, 517, 518, 520–522, 527, 530, 533–535, 539, 540, 542, 544, 548, 549, 551, 553, 554, 558–562, 567, 569, 598, 606, 608, 610, 613, 625, 650, 652, 653, 655–657, 660–663, 672, 695, 802, 808, 814–816, 818, 821, 854, 878, 880–882, 884, 885, 934–936, 938, 942, 968–999, 1001, 1003, 1010, 1013, 1017, 1022, 1193, 1195, 1470, 1660, 1705, 1740, 1919, 2138, 2141, 2142, 2145, 2146 see also New York Contemporary Five Shipp, Matthew 17, 23, 39, 53, 73, 121, 143, 156, 288, 493, 1032, 1035, 1655, 1938, 1950, 1952, 1956, 2017, 2019, 2025, 2052, 2126, 2240, 2250, 2297–2313, 2338 Shorter, Alan 616, 1734 Shorter, Wayne 135, 372, 383, 1941, 2070, 2297, 2374 Shoup, Wally 1447 Silva, Alan 23, 500, 598, 599, 706, 729, 752, 772, 774, 884, 888, 1000–1003, 1445, 1736, 1740, 1743, 1745, 1949 see also Free Form Improvisation Group Simmons, Sonny 129, 533, 568, 599, 736, 749, 750, 852, 878, 882, 883, 959, 1004–1007, 1023, 1945 Sinton, Josh 53, 847, 1932, 1933 Sirone 35, 148, 568, 655, 657, 1450, 2152, 2271 see also Revolutionary Ensemble Sirota, Ted 1251, 1269 Slug’s Saloon 519, 583, 1982 Smith, Bill 109, 1588, 1589 Smith, Ches 53, 2003 Smith, Damon 1334 Smith, Frank 525, 528, 604, 772, 1008–1010 Smith, Michael 2314 Smith, Wadada Leo 3, 21, 22, 26, 35, 39, 43, 44, 56, 68, 75, 77, 116, 166, 168, 171, 204, 646, 1045, 1049, 1053, 1055, 1058, 1063, 1065, 1188, 1193, 1194, 1270–1294, 1366, 1374, 1384, 1413, 1415, 1416, 1420, 1421, 1425, 1426, 1428–1430, 1437, 1438, 1467, 1548,

Subject Index 1738, 1740, 1741, 1802, 2056, 2304 see also Creative Construction Company Smith, Warren 156, 568, 574, 726, 1020, 1949, 2023, 2032, 2315, 2316, 2336 Smoker, Paul 583, 1111, 1326, 2135, 2136, 2291, 2317, 2318 Sommer, Günter “Baby” 127, 481, 1290, 1568, 1765, 1766, 1772, 1802, 1806 Sorey, Tyshawn 35, 37, 68, 1953, 1959 Sound Unity Festival 1973, 1975, 1802, 2031, 2251, 2252 South Africa 1617, 1919–1928 Spearman, Glenn 3, 882, 1464, 1484, 1486, 1487, 1493, 1509–1512, 1862, 1946, 2085 Spontaneous Music Ensemble 28, 160, 1613–1617, 1621, 1624, 1628, 1630, 1632, 1633, 1656, 1657, 1661, 1671, 1698, 1703, 1712, 1717–1721, 1725–1733, 1802, 1924, 1927, 1941 see also Bailey, Derek; Parker, Evan; Stevens, John; Watts, Trevor St Louis 1514–1552 Stańko, Tomasz 136, 481 Stevens, John 27, 61, 94, 111, 195, 1347, 1350, 1617, 1622, 1631, 1632, 1655, 1658, 1680, 1717–1720, 1725, 1726, 1728, 1910 see also Spontaneous Music Ensemble Stewart, Bob 18, 925, 2319 Stockhausen, Karlheinz 296, 1134, 1204, 1423, 1424, 2290, 2369 Stollman, Bernard 427, 527, 566–568, 596, 857 see also ESP-Disk Stone, The 37, 619, 621, 1697, 1710, 1940, 1959, 2181, 2366 Strata-East Records 865, 2315 String Trio of New York 1520, 1521, 1523, 1548, 1550, 1988, 2320 see also Bang, Billy; Emery, James; Lindberg, John Studer, Freddy 126, 127, 1801 Sultan, Juma 1937, 1945, 1980 Swallow, Steve 38, 61, 157, 393, 394, 517, 546, 630, 634, 635, 787, 1621 Swell, Steve 39, 89, 156, 1956, 2321–2323 Szabados, György 1569 Taborn, Craig 2007, 2016 Tacuma, Jamaaladeen 41, 288, 1454–1458, 2279 Takayanagi, Masayuki 1847–1851, 1855 Tapscott, Horace (and UGMAA, the Union of God’s Artists’ Ascension) 2, 18, 62, 107, 116, 167, 171, 185, 199, 201, 205, 206, 525,

Subject Index 544, 688, 699, 1266, 1332–1335, 1340, 1344, 1345, 1348, 1385, 1396–1411, 2180, 2192, 2203 Tarasov, Vladimir 691, 2153 Taylor, Cecil 1, 3, 9, 12, 14–18, 40, 42, 47, 50, 52, 58, 63, 68, 69, 71, 75, 80, 92, 93, 106, 108, 137, 143, 153–155, 158–160, 162, 163, 168, 171, 177, 204, 218, 219, 221, 225–227, 245, 255, 283, 296, 320, 331, 405, 406, 466–508, 515, 522, 525, 527, 530, 532, 533, 535, 537, 539–542, 549, 551–553, 558–565, 584, 598, 625, 664, 687–689, 695–699, 707, 714, 722, 728, 729, 753, 754, 774, 777, 786, 815, 824, 829, 830, 841, 843, 860, 862, 863, 883–890, 907, 911, 913, 920, 924, 930, 931, 938, 973, 975, 977, 982, 994, 996, 998, 1001–1003, 1032, 1038, 1098, 1239, 1385, 1391, 1418, 1421, 1422, 1425, 1449, 1461, 1462, 1464, 1477, 1478, 1484–1486, 1510, 1511, 1601, 1681–1683, 1707, 1711, 1714, 1810, 1918, 1928, 1938, 1965, 1996, 1998, 2034, 2046, 2049, 2050, 2052, 2085, 2086, 2095, 2096, 2109, 2113, 2129, 2134, 2162, 2164, 2174, 2175, 2185, 2190, 2216, 2239, 2248–2250, 2253, 2255, 2263, 2295, 2305–2307, 2333, 2335, 2337, 2340, 2342, 2344, 2345 Taylor, Chad 1295, 2270, 2285 Tchicai, John 3, 23, 39, 76, 156, 509, 512, 517, 542, 562, 568, 583, 598, 606, 884, 892–894, 1011–1016, 1024, 1027, 1511, 1568, 2122, 2314 see also New York Art Quartet; New York Contemporary Five Terroade, Kenneth 58 Test 2025, 2324 see also Carter, Daniel; Mateen, Sabir Theus, Sunship 1290 Thollot, Jacques 1745 Thomas, Clayton 1577, 2128 Thomas, Ijeoma 87, 156 Thomas, Leon 49, 62, 950 Thomas, Luther 1486 Thomas, Oluyemi 156, 1334, 1949 Thornton, Clifford 79, 190, 199, 870, 872, 873, 875–877, 923, 1017, 1018, 1022 Threadgill, Henry 12, 18, 38, 39, 45, 64, 65, 68, 75, 108, 138, 171, 204, 1034, 1047, 1052, 1058, 1063, 1072, 1073, 1105, 1240, 1276, 1296–1316, 1343, 1414, 1587, 1948, 1986, 2013, 2058, 2153, 2186, 2195, 2232, 2233, 2374

387 Tintweiss, Steve 935, 2121 Tippett, Julie 1721, 1723 Tippett, Keith 94, 1619, 1662, 1664, 1667, 1713–1714, 1721–1723, 1734 see also Mujician Togashi, Masahiko 1847, 1848, 1850, 1851 Tomlinson, Alan 179 Tonic 82, 83, 1948, 1952, 2282 Toop, David 1615, 1624, 1632, 1718 Tramontana, Sebi 1107, 1842 Trio 3 688, 689, 697, 1539, 1544, 2325 see also Cyrille, Andrew; Lake, Oliver; Workman, Reggie Tristano, Lennie 26, 27, 317, 475, 492, 509–511, 515, 1516, 1534, 1580, 2129, 2272 Trovsi, Gianluigi 1845, 1846, 2069 Tsahar, Assif 23, 156, 2156 Turetzky, Bertram 149, 164, 2072 Turner, Roger 1724 Tusques, François 598, 883, 1736, 1739, 1745 Tyler, Charles 878, 1019, 1453, 1947, 2055, 2164 Tyner, McCoy 50, 363, 383, 524, 907, 924, 1470, 2050, 2305 Tyson, June 431 Tzadik Records 623, 1642, 1648, 1969, 1971, 2366, 2381 see also Radical Jewish Culture; Zorn, John Ulmer, James “Blood” 12, 18, 63, 65, 256, 277, 301, 692, 1250, 1298, 1456, 1458, 1939, 2058, 2159, 2216, 2220, 2221, 2223, 2326–2332, 2379 Ulrich, Tomas 145, 2085 Umezu, Kazutoki 1851 van der Schyf, Dylan 1604, 1609, 1610 Van Hove, Fred 137, 825, 827, 1568, 1582–1584, 1624, 1782, 1783, 1793, 1814, 1862 Vandermark, Ken 17, 34, 44, 53, 61, 65, 67, 89, 568, 598, 873, 877, 1044, 1046, 1080, 1107, 1268, 1317–1324, 1791, 1806, 1909, 1914, 2268, 2270 see also DKV Trio Victor, Fay 37, 97 Village Vanguard 221, 374, 819, 1959, 2201, 2276 Vinkeloe, Biggi 1918 Vision Festival 23, 721, 729, 769, 775, 780, 1003, 1181, 1445, 1938, 1942, 1943, 1948, 1952, 1972–1974, 1976, 2021, 2038, 2095, 2246, 2250, 2252

388 Vlatkovich, Michael 1336, 1373, 1412, 1446 Voight, Andrew 1504 see also ROVA Saxophone Quartet Voight, John 1024 von Essen, Eric 1364 Wadud, Abdul 130, 1390, 1419, 1535, 1551, 1552, 2304 Waits, Nasheet 138, 2210, 2268, 2270 Walcott, Colin 207, 667, 673, 678 Waldron, Mal 220, 825 Ward, Alex 1623, 1629 Ware, David S 20, 35, 44, 138, 156, 171, 598, 1687, 1938, 1952, 1973, 2039, 2040, 2155, 2249, 2250, 2297, 2301, 2302, 2304, 2305, 2307, 2308, 2311, 2333–2348 Ware, Wilbur 1308, 1988, 2260 Warner, Henry 1949 Washington, Kamasi 8, 1924 Waters, Patty 772, 773, 1020, 1021 Watts, Marzette 199, 558–561, 567, 608, 1020, 1022 Watts, Trevor 275, 1617, 1623, 1626, 1718, 1725–1729 see also Amalgam; Spontaneous Music Ensemble Wessel, Ken 1267 Weston, Grant Calvin 1458, 2279, 2286–2288 Weston, Randy 208, 535, 626, 629, 736 Weston, Veryan 1627, 1629, 1725, 1726 Wheeler, Kenny 159, 509, 1589, 1730–1733, 2092 Whitecage, Mark 1949, 2349 Wierbos, Wolter 481, 1863, 1894, 1903 Wilen, Barney 1736, 1743 Wilkerson, Ed Jr. 60, 1049, 2219 Williams, Tony 157, 563, 564, 625, 696, 860, 901, 912, 926, 961, 2159 Williams, Valdo 583 Wilson, Bert 1023 Wilson, Philip 50, 57, 1534 Windo, Gary 638, 1734

Subject Index Wong, Francis 1087, 1334, 1467, 1468, 1470–1472, 1474, 1475, 1513, 1936 Wooley, Nate 34, 68, 139, 1940 Workman, Reggie 356, 383, 695, 892, 996, 1826, 2153, 2325 see also New York Art Quartet; Trio 3 World Saxophone Quartet 18, 48, 1341, 1443, 1514, 1517, 1524–1528, 1534–1536, 1539, 1541, 1544, 1545, 2092, 2210–2212, 2216, 2350–2354 see also Bluiett, Hamiet; Hemphill, Julius; Lake, Oliver; Murray, David World Stage 780, 1337, 1339 Worrell, Lewis 606 see also New York Art Quartet Wright, Frank 699, 819, 820, 923, 1001, 1002, 1452, 1511, 1740, 2174, 2175 Wright, Jack 1459, 1460 X, Malcolm 79, 520, 524, 543, 1420, 1425, 2216 Yamashita, Yosuke 1569, 1847, 1848, 1851, 1854, 1856, 1880, 1912 Yoshihide, Otomo 1620, 1849 Zankel, Bobby 75, 1449, 1461, 1462 Zerang, Michael 1170, 1325 Zimmerman, Bernd Alois 29, 70, 1769 Zitro, James 568, 1023 Zorn, John 18, 28, 30, 37, 38, 42, 111, 118, 124, 132, 171, 180, 202, 275, 290, 291, 309, 509, 765, 1276, 1464, 1488, 1501, 1586, 1587, 1687, 1856, 1929–1931, 1938, 1946, 1959, 1968–1971, 1993, 1994, 1998, 2002, 2005, 2015, 2029, 2059, 2060, 2062, 2067, 2092, 2103, 2105, 2151, 2158, 2263, 2273, 2277, 2286–2288, 2292, 2355–2389 see also Masada; Radical Jewish Culture; Stone, The; Tzadik Records