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Free Jazz!: Articles
historical information on the Free Jazz movement (1950s-1970s), as well as primary sources and recordings
From the mid-1960s to the early 1970s, free jazz was the subject of considerable public interest in France. The conditions that fueled enthusiasm for American avant-garde jazz are examined, focusing on the politicization of discourse surround the "new thing." Critics hostile to the movement felt that it undermined jazz's claim to universality, a cornerstone of postwar attempts to valorize the genre in the French cultural sphere. By constructing an image of free jazz that stressed its irremediable difference from the norms and values of European culture, writers were compelled to find alternative ways of relating it to contemporary French concerns. A reading of Philippe Carles and Jean-Louis Comolli's text "Free Jazz Black Power" shows how the authors' attempt to reinscribe African-American cultural nationalism as an expression of transnational anticolonial struggle not only helped bring free jazz closer to the French experience, but also served as a way of working through the unresolved legacies of colonialism.
"Describing a Sun Ra concert that ESP-Disk' staged on New York's South Street Seaport in 1968, Stollman talks about how the event attracted the attention of a nearby Portuguese military training vessel. [...]slow sales were to be expected for this music. [...]many of the free jazz players were part of a larger Black Arts Movement of activists who were actually monitored, infiltrated, and psychologically brutalized by the U.S. government."
Misconceptions in Linking Free Jazz with the Civil Rights Movement
"In this article I discuss free jazz saxophonist Albert Ayler's album New Grass, released in 1968. Although Ayler's early works have entered the jazz canon, this album has been seen as the beginning of his decline and also as a sellout. I argue that by taking Ayler's messianic religious convictions into account, we cannot only understand New Grass better but can also see how it fits into his career as a whole and widen our understanding of the ways in which religious convictions and experimental music interact."
Radio Free Coltrane: Free Jazz Radio as Revolutionary Practice
"Long marginalized by the preoccupation with the visual arts in Media Studies, radio remains a fundamental semiotic technology that continues to determine the parameters of cultural supremacy around such core issues as democracy, citizenship, and capitalism in American life. On the streets below academic ivory towers, radio still counts as a critical ideological battleground between local communities and big capital. San Francisco's 89.5 FM KPOO, the only Black-owned radio station west of the Mississippi, professes dedication to radical inclusivity – the critical ingredient of democratic participation and citizenship – and features as an emblem of its inclusivity four hours of the music and wisdom of late great jazz innovator John Coltrane. Created and hosted by the St. John Will-I-Am Coltrane African Orthodox Church, The KPOO Coltrane Uplift Broadcast spins Coltrane's extensive oeuvre as though the 1960's revolution in black music and politics from which Coltrane's art was born still raged on. The Uplift Broadcast is still one of the few spaces on the radio dial where women are included in the history of jazz innovations, where the decidedly non-commercial sounds of free jazz are played, where music is valued for its healing properties, and where spiritually democratic ethics such as the unity of all religious ideas are professed. The Coltrane Uplift is in all respects a brilliant example of the possibilities for transformative counter-hegemonic discourse through radio technology."
Kaler, M. (2013). Religious imperatives, boogaloo rhythms: Taking another listen to albert ayler's new grass. Journal of Religion and Popular Culture, 25(2), 264-272. Retrieved from http://ezproxy2.library.drexel.edu/login?url=https://search-proquest-com.ezproxy2.library.drexel.edu/docview/1448803823?accountid=10559
Tobias, J. (2013). Always in trouble: ESP-disk and free jazz. American Music Review, Xlii(2) Retrieved from http://ezproxy2.library.drexel.edu/login?url=https://search-proquest-com.ezproxy2.library.drexel.edu/docview/1830444639?accountid=10559
Griffin, M., Humphreys, M., & Learmonth, M. (2015). Doing Free Jazz and Free Organizations, “A Certain Experience of the Impossible”? Ornette Coleman Encounters Jacques Derrida. Journal of Management Inquiry, 24(1), 25–35. https://doi.org/10.1177/1056492614532316
Drott, E. (2008). Free jazz and the french critic. Journal of the American Musicological Society, 61(3), 541-581. Retrieved from http://ezproxy2.library.drexel.edu/login?url=https://search-proquest-com.ezproxy2.library.drexel.edu/docview/937216?accountid=10559
Gridley, M. (2007). Misconceptions in Linking Free Jazz with the Civil Rights Movement. College Music Symposium,47, 139-155. Retrieved from http://www.jstor.org.ezproxy2.library.drexel.edu/stable/40374510
Baham, N. L., III. (2006). Radio free coltrane: Free jazz radio as revolutionary practice.Americana: The Journal of American Popular Culture (1900-Present), 5(2)