The Freedom Principle: Jazz After 1958

by John Litweiler

In this critical and historical survey of today's jazz, noted critic John Litweiler traces the evolution of the new music through such artists as Coleman, Coltrane, Davis, Cecil Taylor, Eric Dolphy, Sun Ra, Albert Ayler, Anthony Braxton, and others. He also addresses questions such as: Is Free jazz a rejection of the jazz tradition? Are European folk-classical musics altering this essentially Afro-American art? Do the Principle of Free jazz proved real emotional liberation for the creative musician? This is a solid, informed guide-for new jazz fans and serious listeners alike-to what has, in many ways, been the most productive and most controversial period in the history of jazz.

Genres: Music, Jazz, Nonfiction, History

324 pages, Hardcover

First published May 1, 1984

Reviews

[Jack Theaker · Rating 4 out of 5]

Lovely format and quite philosophically stimulating. The freedom principle documents the rise and revolution of free jazz from 1958 onwards, given its birth in Ornette Coleman's "Free Jazz" LP of the same year. The book touches on issues of especial pertinence in the context of the time that the genre was developing. It delivers a sound musicological analysis (sometimes too saturated in this aspect) that is underpinned by a judicious aesthetic critique matched with its historical context.

For me personally, it smashed my preconception of the genre as something nakedly esoteric, reserved only for the jazz intelligentsia. Instead, it framed it as a revolutionary genre rightfully owned and nurtured by African Americans and elevated to a level of profundity worthy of being titled art music. There are many artists to thank for this but John Coltrane is one of the genre's most heroic stalwarts, with the book rightfully acknowledging the merit in the composer's work post 'A Love Supreme'. Ascension and Meditations definitely worth a listen!

[Ryan Edwards · Rating 3 out of 5]

A good introduction to the avant-garde and free jazz movement, with some good insight. However, Litweiler all too often gets in the way of the subject by weighing in with his opinions. There are some great descriptions of certain solos, and particular styles of the musicians, but when he doesn't like something, he makes it known. I feel that anybody thinking of reading this should at least be a little acquainted with the major artists of this movement, otherwise they may be unfairly swayed in their opinion right from the outset.

Also this was published almost 30 years ago, so it really only gets into the first and second wave of performers, without going too far into the longer careers either.

[Peter Ruark · Rating 5 out of 5]

A great--no, let's say fascinating--book for those who love jazz, as it gets into the "degrees of freedom" employed by various jazz artists. As some others have noted, sometimes the author's personal opinions get in the way--he praises Cecil Taylor but is completely dismissive of Keith Jarrett, for example, instead of explaining in any depth WHY Taylor gets solo piano improvisation right and Jarrett gets it wrong. Still, a very worthwhile read and hopefully updated to incorporate the jazz developments of the 1990s.

[Paul Secor · Rating 4 out of 5]

A very good overview of where jazz was at thirty years ago. Could use an updating, but it's still useful and interesting today.

[severyn · Rating 4 out of 5]

Exhilarating on free jazz, with a brief, withering interlude on jazz fusion. Be warned, though, Litweiler applies free jazz principles to syntax, grammar and punctuation throughout.

[Landon Kuhlmann · Rating 5 out of 5]

The best book on this subject I've ever read.

[Djll · Rating 3 out of 5]

Good book, but dated.

[Andrew · Rating 5 out of 5]

Skillful descriptive writing about music that is very difficult to describe. A music book that enhances listening.