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All About Jazz: The web's most comprehensive jazz resource

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  • Richard Tabnik wrote on May 04, 2012 report

    Lennie Tristano FIRST recorded free playing with his band in 1949. Mingus studied with him! Miles Davis and Art Blakey acknowledged this in print... Why not you?

  • Russell Scarbrough wrote on May 04, 2012 report

    Wow, so many sweeping assertions right in the opening paragraphs, where do you start? It's as if he set out to alienate all but those who would already share his point of view and then spend 6 pages preaching to the choir.

    How about this point of view, shared by many: "By the 1950's, jazz, in its myriad forms, had reached a degree of maturity hitherto unknown in American art, had grown robust in the richness of its language, and was steadily absorbing a number of similarly developed influences as it had a increasingly significant impact on almost all other musical languages internationally"?

    Kind of explodes that first paragraph, doesn't it? Even if one doesn't necessarily agree, it can't just be ignored, either. Certainly musicians tend to think of the 50's as a "Golden Age" in many respects. Some of the most exciting, challenging, innovative music ever came out of the jazz of the 1950's, music which did not necessarily point to free playing.

    And a semantic quibble: the term "Traditional Jazz" usually refers specifically to the language of jazz from New Orleans in the first quarter of the 20th century. I think that term is being used here in a different way, but surely the author knew that would pose confusion to those who are versed in... jazz history?

  • James Armstrong wrote on May 05, 2012 report

    "...Yet, by the late '60s, Taylor had developed an almost completely free style. After he began to play with tenor saxophonist Archie Shepp, Taylor played almost exclusively free form..."

    I think this conclusion is inaccurate. Listen to 'Conquistador', the multi-part suite, in contrasting structure. It seems to me that the rhythms are very tightly controlled, and at least one section is based on a tonal center. The performance works because the form is strong, and the content is convincing.

  • Sammy Stein wrote on May 05, 2012 report

    Hi Richard and Russell
    Sorry if we do not agree but many thanks for your comments and writing in.

  • Mort Weiss wrote on September 05, 2012 report

    free FORM-is an oxymoron! Camon people-be real and true, just face it playing through the changes is a lot of hard work - before you find your own voice and can glide over Stable Mates & like that-although so called free players (notice I didn't call them musicians) probably get laid more often then jazz musicians (oh look at him he's suffered so much for his art) lets f**k! MORT OUT!