David Glen Such - Avant-garde jazz musicians: performing out there

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title	:	Avant-garde Jazz Musicians : Performing "Out There"
author	:	Such, David Glen.
publisher	:	University of Iowa Press
isbn10 | asin	:	0877454353
print isbn13	:	9780877454359
ebook isbn13	:	9781587292316
language	:	English
subject	Jazz--History and criticism, Jazz musicians.
publication date	:	1993
lcc	:	ML3506.S93 1993eb
ddc	:	781.65/6
subject	:	Jazz--History and criticism, Jazz musicians.

Page iii Avant-Garde Jazz Musicians Performing 'Out There' David G. Such university of iowa press, iowa city

Page iv University of Iowa Press, Iowa City 52242 Copyright (c) 1993 by David G. Such All rights reserved Printed in the United States of America Design by Richard Hendel All photos by the author No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, without permission in writing from the publisher. Printed on acid-free paper Library of Congress Cataloging-in-Publication Data Such, David G. Avant-garde jazz musicians: performing "out there" / by David G. Such. p. cm. Discography: p. Bibliography: p. Includes index. ISBN 0-87745-432-9, ISBN 0-87745-435-3 (pbk.) 1. Jazz-History and criticism. 2. Jazz musicians. I. Title. ML3506.S93 1993 781.65'6-dc20 93-3753 CIP MN 97 96 95 94 93 C 5 4 3 2 1 97 P 5 4 3 2

Page v To all artists, educators, and folks who envision a more peaceful world

Page vii Contents Acknowledgments ix 1 Introduction 1 2 Labels and Out Jazz 15 3 Jazz Styles and the Precursors of Performing Out 30 4 The Founders of Out Jazz and Their Successors 52 5 The Economics of Performing Out in New York City 75 6 Perceiving Out Music through Metaphor 93 7 Communicating Out Worldviews through Music 112 8 The Implications of Fusing Out Jazz and Culture 145 Notes 163 Selected Discography 179 Selected Bibliography 183 Index 201

Page ix Acknowledgments In the preparation of this book, I am indebted foremost to all the musicians and listeners whose names herein are mentioned. Without their cooperation and hard-earned trust, none of this would be possible. I would also like to thank Mark Gridley for generously sharing his opinions and extensive knowledge; Chuck Braman for his helpful editorial suggestions; and Tom Owens for his willingness to review my transcriptions. There are many others to whom I am thankful for their input. These include Jon Pareles, James Lincoln Collier, Dan Morgenstern, Bob Rusch, Paul Berliner, Leonard Feather, James Porter, Jacqueline DjeDje, D. K. Wilgus, Kwabena Nketia, Lewis Porter, Verna Gillis, Rod Harrison, Robert Georges, and the Sort of Quartet. I would also like to express my appreciation to the Institute of American Culture, University of California, Los Angeles, for their kind support and to the guys at Rhino Records in West Los Angeles for their diligence in locating essential but hard-to-find LP recordings. Lastly, I am grateful to my grandmother, Verona Sadinsky, whose simple but perceptive insights never allowed my ego to exceed my abilities while preparing this book.

Page 1 One Introduction The origins of out jazz, more commonly called avant-garde or free jazz, extend back to the mid and late 1950s. During this time, Charlie Mingus and Ornette Coleman were the first out performers to experiment freely with alternative approaches to group improvisation. Their efforts stimulated a great deal of controversy that virtually divided the jazz community. Though over the years musicians and critics have grown to tolerate out jazz, the music today still attracts much negative criticism. When examined closely, the basis of these criticisms appears to rest awkwardly upon misunderstandings about the music and the motivations of the performers. Consequently, the role of out music in the development of jazz remains ambiguous. In addressing these issues, this work focuses not only upon a number of

Page 2 different musicians and their respective approaches to performing out but also upon how certain cultural and personal factors have influenced the music. By penetrating the music and worldviews of out performers in a comprehensive manner, I hope to resolve some of the more controversial issues surrounding out jazz and to make the music more understandable to jazz fans and scholars. This will also help to clarify the role of out music in the development of jazz.

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