Free Form Evolution
Stephanie Portet of the Sunset-Sunside club in Paris, says that, in her opinion, the rising musicians play free form nowand it is the small venues which are the most important for thisbut she does not believe a musician can live now by just playing jazz.
Parker notes, "There are always new faces arriving. The rewards of playing this way are too great for those hooked to be easily put off by the lack of interest or the lack of money."
Of the UK scene, Parker says it is, "amazingly strong and diverse and seems to thrive on adversity. The cultural authorities have been ignoring it for the past twenty years, hoping it would die of starvation, but they have not reckoned with the determination of people to follow their hearts."
So, are there younger players coming into the free form scene? Wilkinson believes there are."I would say there are definitely younger players coming to the scene on a regular basis, but age is a relative thing and I wouldn't describe any of them as youngsters. We are talking late twenties and thirties. Some of them are coming from jazz into free music. These tend not to be as 'free' as the less schooled players, carrying a lot of technical luggage with them. I wouldn't say it is a genre which is attractive to kids."
Sheppard echoes the thoughts of many when he says that musicians have a responsibility to make music for the world and it is important to take care of them. Players should play what they want but may have to compromise, sometimes, in order to take the audience with them."The listener is part of the equation," Sheppard says. "You may have a band but you have to play to people and relate to them. It is about being responsible. Put everything into it, whatever your style. Be truthful." He then adds playfully, "Play John Coltrane!"
Whatever happens to free formhowever it develops and wherever it is playedit remains a small but remarkably resilient genre. Established players like Parker, Brötzmann, Gustafsson and others continue to draw good-sized audiences and there is always going to be a cohort of listeners willing to consider new ways of playing and new philosophies in music. Some are drawn to its differences, some to its lack convention and somethe majority perhapsbecause music, whether jazz, free from or classical, even, is one way to speak, communicate and make links with people. It is a language which knows no boundaries, borders, colors or learned correctness. It unites, divides and makes inroads into the mind. Free form, in particular, aims at that innermost part of the mind, the subconscious, and does not need to be defined; yet it has more true definition than the world of material possessions can ever have.
Payne, perhaps, sums it up when he comments, "I believe there is a divine music. It goes on; it's automatic, without anger, greed, lust, attachment and egoism. I think I experienced this once with a free music blow at the Paradiso in Amsterdam, and I hadn't been taking drugs; just mu tea and brown rice.'' With reference to Kenny G, Payne adds, "Personally, I like Pharoah Sanders, Stan Getz , Albert Ayler and Lester Young. I also like a cream cake from time to time, but if I have too much I get a tummy ache. Now where's the alternative medicine?"
Free form players have that knack of producingsometimes only fleetinglya moment of sublime magic. I got hooked at Camden clubs by players whose names I cannot even remember now. I was young. For others, the moment comes later but when it does, it lifts the soul and does not let go. Suddenly you know how you want to play.
Free form is not limiting and you do not have to only play free form or have too much of a good thing, but however many small bites you take, you can always go back for more if the chances to listen to it remain. After all, it's a free world.
There is definitely a futurelast night I listened to a saxophonist playing McGarry, Runswick and Rae. She played free, altering the tempos, timing and rhythms, and she mesmerized. This playerso small she needed a harness instead of a strapwas only 11!