Free Jazz

by Ekkehard Jost

"Neither in Europe, nor in the States, has anyone published a volume dealing with contemporary jazz problems in such a concise and detailed manner."-- Jazz Forum





When originally published in 1974, Ekkehard Jost's Free Jazz was the first examination of the new music of such innovators as Sun Ra, Ornette Coleman, and the Art Ensemble of Chicago. Jost studied the music (not the lives) of a selection of musicians-black jazz artists who pioneered a new form of African American music-to arrive at the most in-depth look so far at the phenomenon of free jazz.





Free jazz is not absolutely free, as Jost is at pains to point out. As each convention of the old music was abrogated, new conventions arose, whether they were rhythmic, melodic, tonal, or compositional, Coltrane's move into modal music was governed by different principles than Coleman's melodic excursions; Sun Ra's attention to texture and rhythm created an entirely different big bang sound then had Mingus's attention to form.




In Free Jazz, Jost paints a group of ten "style portraits"-musical images of the styles and techniques of John Coltrane, Charles Mingus, Ornette Coleman, Cecil Taylor, Archie Shepp, Albert Ayler, Don Cherry, the Chicago-based AACM (which included Richard Abrams, Joseph Jarman, Roscoe Mitchell, Lester Bowie, Anthony Braxton, and the Art Ensemble of Chicago), and Sun Ra and his Arkestra. As a composite picture of some of the most compelling music of the 1960s and '70s, Free Jazz is unequalled for the depth and clarity of its analysis and its even handed approach.

Genres: Music, Jazz, Nonfiction

214 pages, Paperback

First published October 1, 1981

Reviews

[Davy · Rating 5 out of 5]

Hard to imagine how exciting this book must've seemed when it was originally published in 1974, before many of these musicians had achieved canonical status and tempers still flared at the mention of "free jazz." This is dense, propeller head stuff and I didn't understand half of it. But that didn't make it less enjoyable, or inspiring -- the mere fact that someone wrestled chaos to the ground and dared make sense of some of the most seemingly-nonsensical music ever produced is impressive on its own terms. But while I got lost in some of the technical, musicological discourse, and couldn't follow 90% of the musical transcriptions, I still learned a great deal, and the book went a long ways toward explaining, if not the music itself, then at least why I've been so drawn to it. There is great freedom and limitless depth in this music, and now, thankfully, I've sunk a little deeper into it.

[Djll · Rating 3 out of 5]

I'm skipping around in this, not finding anywhere really solid to land. I found major mistakes in his modal analysis of 'Flamenco Sketches' -- that didn't exactly boost my confidence in Jost's appearing to know what he was talking about. The writing is SUPER dry and uninvolving. Overall, this seems very much like an outsider's perspective on a music that is, in fundamentally important ways, beyond the kind of analysis brought to bear upon it. I think it's possibly helpful to musicians, to help get a grasp on some of the music presented, but bring along your own critical ear, as you can't trust Jost's in all cases.

[Ian · Rating 5 out of 5]

Essential reading for free jazz nerds. The technical analysis is eye opening (admittedly, I'm not formally trained in theory so I might be wrong). I've gained a bigger appreciation for Mingus and the genius of Ornette Coleman. The idea that the book ignores or obscures the political aspect of free jazz isn't true. Jost openly admits that free jazz is politically motivated or informed music of the Black Americans during the 60s and that that fact cannot be ignored when analyzing the music itself.

My only gripe is the dismissive attitude toward Ayler's later work. Even still, this book is a great read.

[Andrew · Rating 5 out of 5]

This book filled in a lot of gaps in my admittedly gappy knowledge of free jazz. Jost puts into clear and definite words a lot of ideas one might have about important records, ideas that one such as myself may have left uncrystallized and nebulous for years. He creates a solid frame of reference for important music and musicians that I could not have built myself. He also kicked the romantic stilts out from under some of my more fanciful imaginings about Coltrane, Ornette, the AACM, and especially Sun Ra, and he did so eloquently and inoffensively.

[Chris · Rating 5 out of 5]

The very best book ABOUT the structure, history and intention of free jazz I've ever read. Turns everything else into mere conjecture and storytelling (which is fine if we're talking about "Four Lives in the Bebop Business"). Slim, but essential.

[Franco Vite · Rating 4 out of 5]

Peccato che sia molto datato (1973) e che quindi non narri "come è finita la storia".
Ma imperdibile per capire come è iniziata.
Imperdibile per gli appassionati.

[Andrew · Rating 5 out of 5]

Essential early-70s survey of avant-garde jazz from Coltrane to Sun Ra. Especially strong analysis of the musical principles guiding the major composers and improvisers of the era.