Mr. Dave Liebman talks about "free" jazz.

00:03:57
https://www.youtube.com/watch?v=UEol8W1_ygM

Summary

TLDRVideo a diskite sou evolisyon free jazz, yon estil mizik ki te kòmanse devlope nan ane 1960 yo. Li dekri difikilte koute ak konpreyansyon ki asosye ak estil sa a, ki pa gen okenn melodi fiks e ki demande plis konsantrasyon nan odyans lan. Free jazz te pwepare pa mizisyen tankou Anette Coleman ak Cecil Taylor, ki te ofri yon nouvo pèspektiv sou mizik, se sa ki mennen nan yon mouvman avant-gard nan New York. Epi, malgre ke free jazz ka sanble difisil pou kèk, li jwenn yon plas kòm yon stil legit nan mond lan mizikal jodi a.

Takeaways

  • 🎷 Free jazz pa gen estrikti konvansyonèl.
  • 🎶 Li ofri plis libète ak ekspresyon nan mizik.
  • 🕰️ Free jazz te devlope nan fen ane 1950 yo.
  • 🌍 Anette Coleman ak Cecil Taylor te pyonye stil sa a.
  • 📖 Free jazz se yon stil ki ka ansèyman jodi a.
  • 🎵 Li ka difisil pou odyans ki abitye ak melodi tradisyonèl.
  • 🤔 Odyans lan dwe prepare pou yon eksperyans mizik diferan.
  • 🔄 Free jazz ak mizik klasik swiv yon chemen ki sanble.
  • 🌱 Li pèmèt eksperimantasyon ak devlopman mizik.
  • 📜 Free jazz te touche anpil lòt estil pase nan mizik la.

Timeline

  • 00:00:00 - 00:03:57

    Diskou a montre presyon ki genyen nan edikasyon odyans la sou konpreyansyon mizik modèn, espesyalman free jazz. Li pale sou chanjman estil ki te fèt apre 1960, ki te fè jazz vin pi divès. Menm jan ak lòt estil, free jazz mande yon apwòch espesyal, kote odyans la gen pou yo adapte yo ak yon nouvo fason pou tande ak konprann mizik la. Li te sijere ke free jazz pa fasil pou moun ki prefere melodi tradisyonèl yo ak rit fasil pou swiv. Sa a se yon epòk ki chèf mizik yo te eksplore nouvo limit, sa ki pèmèt mouvman avant-garde a parèt, ki te pèmèt devlopman free jazz.

Mind Map

Video Q&A

  • Ki sa ki free jazz?

    Free jazz se yon estil mizik ki pa suiv konvansyonèl estrikti ak melodi, li pèmèt plis libète ak ekspresyon imedya.

  • Ki dat free jazz te devlope?

    Free jazz te komanse devlope nan fen ane 1950 yo, espesyalman nan 1960.

  • Ki sa ki karakterize free jazz?

    Li karakterize pa mank de agenda oswa estrikti fiks, ak yon pwezi son ki ka gen disonans ak ki pa fasil pou odyans ki abitye ak ton ak melodi tradisyonèl.

  • Ki wòl Anette Coleman ak Cecil Taylor nan devlopman free jazz?

    Anette Coleman ak Cecil Taylor te pyonye nan devlopman free jazz, pote yon nouvo apwòch ki te dife nan konvansyon tradisyonèl yo.

  • Ki sa ki fè free jazz diferan de jazz tradisyonèl?

    Free jazz se plis sou mouvman ak ekspreksyon nan moman an, san restriksyon sou estrikti ak melodi, pandan y ap jazz tradisyonèl souvan swiv yon fòma fiks.

  • Ki sa odyans lan dwe konnen sou free jazz?

    Odyans yo ka jwenn free jazz plis difisil pou konprann ak se pa toujou apwopriye pou moun ki prefere ritm ak melodi ki senp.

  • Ki enpak free jazz sou lòt estil mizik?

    Free jazz te ouvri pòt pou nouvo eksperyans ak devlopman nan lòt estil mizik, ki pèmèt plis eksperimantasyon ak konfwontasyon ak tradisyon.

  • Kijan free jazz kwaze ak mizik klasik?

    Free jazz ak mizik klasik parèt pou swiv yon chemen ki sanble, kote tou de estil explore riban ak inivèson son.

  • Ki kalite mizik ki ka ansèyman ansanm ak free jazz?

    Free jazz ka ansèyman ansanm ak lòt estil mizik tankou dans etnik, ak li se konsidere ki genyen zouti ak teknik spesifik.

  • Ki sa ki te pouse devlopman free jazz?

    Dezi pou chanjman ak yon nouvo fason pou gade mizik akeyi devlopman free jazz kòm repons a estrikti anvan yo.

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  • 00:00:00
    it does put the listener in not a
  • 00:00:02
    precarious situation but you know and
  • 00:00:03
    more a little more pressure to come to
  • 00:00:05
    comprehend you we are kind of taking
  • 00:00:07
    away that desert you know leave me them
  • 00:00:10
    with just the soup and that's a little
  • 00:00:12
    you know it's a lot to demand of your
  • 00:00:13
    audience and it's always some people who
  • 00:00:15
    love it they love the freedom of it and
  • 00:00:17
    they actually love the energy of it and
  • 00:00:18
    that that's why it is a style now that
  • 00:00:21
    exists next to all the other styles the
  • 00:00:23
    word jazz now is just too big to talk
  • 00:00:25
    about what you mean when somebody asks
  • 00:00:27
    me they finally stopped asking the
  • 00:00:29
    question what do you think chances
  • 00:00:30
    because jazz now is understood to be
  • 00:00:32
    like 18 different idioms and it's not as
  • 00:00:34
    common language as it was up to 1960 it
  • 00:00:36
    really starts in 1960 when stuff starts
  • 00:00:38
    to separate the masses exhausted the
  • 00:00:41
    format it's why did baroque why did the
  • 00:00:43
    concerto grosso become the Sonata
  • 00:00:46
    Allegro I mean it you know things run
  • 00:00:48
    their course you can look back and you
  • 00:00:50
    can celebrate the past and just maybe
  • 00:00:53
    now more than it should be celebrates
  • 00:00:56
    the past in a lot of ways but you are
  • 00:00:59
    you know you're in a position where
  • 00:01:02
    somebody said something's got to change
  • 00:01:04
    in this case the the history goes to
  • 00:01:07
    Annette Coleman Cecil Taylor and a
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    couple other names I can name who came
  • 00:01:10
    out in the late 50s and early 60s and
  • 00:01:12
    said would have another way of looking
  • 00:01:13
    at this and without getting technical it
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    was definitely it was it a dis and it
  • 00:01:17
    wasn't negative it was instead of that
  • 00:01:19
    we'll do this and people didn't
  • 00:01:22
    understand it it is hard to listen to it
  • 00:01:24
    is not for the casual listener
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    especially nothing to listen who like to
  • 00:01:27
    tap two feet on two and four and snap
  • 00:01:29
    their fingers and remember a melody like
  • 00:01:31
    Stella by starlight that's not gonna
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    happen it's a it in a way it's for
  • 00:01:36
    musicians only music in a certain way
  • 00:01:38
    but it's also pushing the boundary of
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    music relationships because when we play
  • 00:01:43
    quote free and without again we're not
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    being technical we're really it's in a
  • 00:01:47
    way it's more in the moment then when we
  • 00:01:49
    play a tune that has an agenda because
  • 00:01:51
    it has a chord cycle well because I've
  • 00:01:53
    had 15 versions of Stella by starlight
  • 00:01:55
    we're playing in the moment and if we're
  • 00:01:57
    playing real free jazz we don't even say
  • 00:01:59
    it work we just play so we tell you off
  • 00:02:01
    of everything that's happening right
  • 00:02:02
    there there's no agenda and there's no
  • 00:02:03
    music in front of us in a certain way
  • 00:02:05
    it's very pure it's also cacophonous
  • 00:02:08
    quite dissident a little too busy at
  • 00:02:11
    times
  • 00:02:12
    and you can't tap your feet and you
  • 00:02:15
    don't remember belly so all the great
  • 00:02:17
    joy music that has been going on for
  • 00:02:21
    hundreds of years basically is out the
  • 00:02:24
    window but by the way it's president the
  • 00:02:25
    president was 20th century music so the
  • 00:02:27
    nachus Stockhausen Pender s key Lewis
  • 00:02:30
    Lewis Loski these cats especially
  • 00:02:32
    Eastern European I mean they already
  • 00:02:33
    we're doing this stuff with you know the
  • 00:02:35
    90 piece Orchestra and they were doing
  • 00:02:37
    it you know starting to do this in 1911
  • 00:02:38
    I mean that's shurberg so it jazz
  • 00:02:41
    there's a case to be made of jazz and
  • 00:02:43
    classical music following exactly the
  • 00:02:45
    same path except 400 years versus 100
  • 00:02:47
    years but harmonically and going to free
  • 00:02:50
    jazz which is in a way like on
  • 00:02:51
    Stockhausen didn't classical I mean you
  • 00:02:53
    know I'm gonna be accurate but I'm
  • 00:02:54
    saying that this was an inevitable thing
  • 00:02:56
    because the bebop thing coming out of
  • 00:02:58
    the 20s out of Dixieland it was so
  • 00:03:00
    ensconced it was so the format that's
  • 00:03:03
    the way you played and you had Charlie
  • 00:03:04
    Parker's Sonny Rollins John Coltrane
  • 00:03:06
    doing it and then somebody said you know
  • 00:03:08
    what I got something different to do and
  • 00:03:10
    you got it handed to those guys I
  • 00:03:11
    mentioned that they really came on the
  • 00:03:13
    scene it's all around 59 60 and then you
  • 00:03:15
    had a big avant-garde movement in New
  • 00:03:16
    York if you remember you know which I
  • 00:03:18
    mean the culturing record ascension is
  • 00:03:20
    like the benediction from on high of
  • 00:03:22
    this is okay this is this is kosher we
  • 00:03:25
    can do this because Coltrane did and
  • 00:03:27
    whence culturally adopted Oh Annette had
  • 00:03:28
    done it in 1960 with that record free
  • 00:03:30
    jazz with Jackson Pollock come picture
  • 00:03:32
    of the painting and two quartets playing
  • 00:03:34
    at the same time nobody did that and
  • 00:03:35
    then trained five years later doing
  • 00:03:37
    Ascension so what's the elders looked
  • 00:03:39
    and said hey you know something here
  • 00:03:40
    maybe I should look at then it became a
  • 00:03:42
    style and now in two thousand two
  • 00:03:44
    thousand seventeen I can teach free jazz
  • 00:03:47
    next to teaching ethnic dance I mean
  • 00:03:49
    it's a style it has ramifications it has
  • 00:03:52
    its tools we can discuss it it's not the
  • 00:03:54
    same discussion that we'll have about
  • 00:03:55
    Dixieland Biba
Tags
  • free jazz
  • musical evolution
  • Anette Coleman
  • Cecil Taylor
  • avant-garde
  • jazz history
  • musical freedom
  • listening experience
  • jazz styles
  • 1960s music