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'''The New York Art Quartet''' was a [[free jazz]] ensemble originally made up of [[saxophonist]] [[John Tchicai]], trombonist [[Roswell Rudd]], [[drummer]] [[Milford Graves]] and bassist Lewis Worrell. Worrell was later replaced by various other bassists, including [[Don Moore]], [[Reggie Workman]] and [[Finn Von Eyben]].
'''The New York Art Quartet''' was a [[free jazz]] ensemble, originally made up of [[saxophonist]] [[John Tchicai]], trombonist [[Roswell Rudd]], [[drummer]] [[Milford Graves]] and bassist [[Lewis Worrell]], that came into existence in 1964 in [[New York City]].<ref name="tchicai_mohawk">{{cite web |url=https://johntchicai.com/linernotes-mohawk/ |title=linernotes Mohawk |last=Tchicai |first=John |website=johntchicai.com |access-date=July 27, 2020}}</ref> Worrell was later replaced by various other bassists, including [[Reggie Workman]], Finn Von Eyben, Harold Dodson, [[Eddie Gómez]], [[Steve Swallow]], and [[Buell Neidlinger]].<ref name="tchicai_mohawk" /> [[All About Jazz]] reviewer Clifford Allen wrote that the group "cut some of the most powerful music in the free jazz underground".<ref>{{cite web |url=https://www.allaboutjazz.com/new-york-art-quartet-new-york-art-quartet-esp-disk-review-by-clifford-allen.php |title=New York Art Quartet: New York Art Quartet |last=Allen |first=Clifford |date=March 7, 2008 |website=allaboutjazz.com |access-date=July 27, 2020}}</ref>


In November 1962, Tchicai moved from his home country of [[Denmark]] to [[New York City]] at the suggestion of [[Archie Shepp]] and [[Bill Dixon]], whom he had met at the Helsinki Jazz Festival earlier that year.<ref name="tchicai_interview">{{cite web |url=https://johntchicai.com/interview-1995/ |title=Interview with John Tchicai, 1995 |last=Trouchon |first=Mike |website=johntchicai.com |access-date=July 27, 2020}}</ref> Upon arriving in New York, Tchicai began playing with Dixon's group, which included Shepp and [[Roswell Rudd]] among others, and also sat in with [[Don Cherry (trumpeter)|Don Cherry]] and various other musicians.<ref name="tchicai_interview" /> By the summer of 1963, Tchicai, Shepp, and Cherry had formed the [[New York Contemporary Five]] with bassist [[Don Moore (musician)|Don Moore]] and drummer [[J. C. Moses]], while Rudd, with Shepp, continued to play with Dixon.<ref name="tchicai_interview" /><ref name="toop">{{cite book | last=Toop|first=David|authorlink=David Toop | title=Into the Maelstrom: Music, Improvisation and the Dream of Freedom Before 1970 | publisher=[[Bloomsbury Publishing|Bloomsbury]] | year=2016 | pages=270–271 }}</ref> According to Rudd, the idea of forming a new quartet originated with Tchicai,<ref>{{cite journal |last=Rudd |first=Roswell |date=December 2012 |title=John Tchicai 1936-2012 |journal=New York City Jazz Record |issue=128 |pages=14 |url=http://www.nycjazzrecord.com/issues/tnycjr201212.pdf}}</ref> and the two began playing in filmmaker [[Michael Snow]]'s loft space with Moore and Moses.<ref name="toop" /> Moses soon left as a result of mutual dissatisfaction with his role,<ref name="tchicai_interview" /> and Rudd and Tchicai were soon introduced to drummer [[Milford Graves]] by [[saxophonist]] [[Giuseppi Logan]]. Tchicai recalled: "this was a very pleasant surprise and more than that, because Graves simply baffled both Rudd and I in that we, at that time, hadn't heard anybody of the younger musicians in New York that had the same sense of rhythmic cohesion in poly-rhythmics or the same sense of intensity and musicality."<ref name="tchicai_mohawk" /> Graves "wound up playing with them for half an hour, astonishing Rudd and Tchicai, who promptly invited him to join what became The New York Art Quartet".<ref>{{cite magazine |last=Licht |first=Alan |date=March 2018 |title=Listen To Your Heart |url=https://static1.squarespace.com/static/5bbae881d74562ac18fdfcc6/t/5c109eec40ec9a552f43f374/1544593141126/THE+WIRE+Magazine+-+Issue+409.pdf |magazine=[[The Wire (magazine)|The Wire]] |pages=35 |access-date=May 18, 2020}}</ref> Graves later stated that his invitation to join the group came "at a time when the evolutive phases of my spiritual and creative potential were in need of being expressed without limitation".<ref name="tchicai_nyaq">{{cite web |url=https://johntchicai.com/new-york-art-quartet |title=New York Art Quartet |website=johntchicai.com |access-date=July 27, 2020}}</ref> However, Tchicai also recalled that "bassist Don Moore became so frightened of this wizard of a percussionist that he decided that this couldn't be true or possible and, therefore, refused to play with us", and the group brought in bassist Lewis Worrell in his place.<ref name="tchicai_mohawk" />
In 1962, Tchicai and Rudd were both playing with two groups: the [[New York Contemporary Five]] and [[Bill Dixon]]’s group with [[Archie Shepp]] and drummer [[Dennis Charles]].<ref name="toop">{{cite book | last=Toop|first=David|authorlink=David Toop | title=Into the Maelstrom: Music, Improvisation and the Dream of Freedom Before 1970 | publisher=[[Bloomsbury Publishing|Bloomsbury]] | year=2016 | pages=270 }}</ref> Two years later, they played together on [[New York Eye and Ear Control]] along with [[Albert Ayler]], [[Don Cherry (trumpeter)|Don Cherry]], [[Gary Peacock]], and [[Sunny Murray]], and also participated in the October Revolution in Jazz organized by [[Bill Dixon]].<ref name="toop" /> Rudd and Tchicai were introduced to drummer [[Milford Graves]] by [[saxophonist]] [[Giuseppi Logan]], and Graves "wound up
playing with them for half an hour, astonishing Rudd and Tchicai, who promptly invited him to join what
became The New York Art Quartet."<ref>{{cite magazine |last=Licht |first=Alan |date=March 2018 |title=Listen To Your Heart |url=https://static1.squarespace.com/static/5bbae881d74562ac18fdfcc6/t/5c109eec40ec9a552f43f374/1544593141126/THE+WIRE+Magazine+-+Issue+409.pdf |magazine=[[The Wire]] |pages=35 |access-date=May 18, 2020}}</ref> After adding bassist Lewis Worrell, the group first recorded in 1964 as part of [[ESP Disk]]'s original roster of jazz artists.<ref>[{{Allmusic|class=artist|id=p476440/biography|pure_url=yes}} Allmusic biography]</ref>


In July 1964, Tchicai and Rudd briefly joined [[Albert Ayler]]'s quartet, which consisted of Ayler, Cherry, [[Gary Peacock]], and [[Sunny Murray]], to record [[New York Eye and Ear Control]], the soundtrack for a film by [[Michael Snow]].<ref>{{cite book | last=Weiss | first=Jason | title =Always in Trouble: An Oral History of ESP-Disk, the Most Outrageous Record Label in America | publisher=Wesleyan University Press | year = 2012 | pages=141–144 }}</ref> That fall, the NYAQ, calling themselves "The John Tchicai Quartet", played their debut concert, participating in the "[[October Revolution in Jazz]]" organized by [[Bill Dixon]].<ref name="nyt_davis">{{cite news|last1=Davis|first1=Francis|authorlink=Francis Davis |title=MUSIC; 60's Free Jazz for the Sonic Youth Crowd |url=https://www.nytimes.com/1999/06/13/arts/music-60-s-free-jazz-for-the-sonic-youth-crowd.html |accessdate=May 18, 2020|work=[[New York Times]]|date=June 13, 1999}}</ref><ref name="toop" /><ref>{{cite web |url=https://www.wrti.org/post/jazz-revolution-backagain |title=The Jazz Revolution Is Back...Again! |last=Malloy |first=Maureen |date=October 4, 2018 |website=wrti.org |access-date=July 28, 2020}}</ref> In November, the NYAQ recorded their [[New York Art Quartet (album)|first album]] as part of [[ESP Disk]]'s original roster of jazz artists,<ref>{{cite web |url=https://www.discogs.com/New-York-Art-Quartet-New-York-Art-Quartet/release/1172021 |title=New York Art Quartet – New York Art Quartet |website=discogs.com |access-date=July 28, 2020}}</ref><ref>{{cite book | last=Weiss | first=Jason | title =Always in Trouble: An Oral History of ESP-Disk, the Most Outrageous Record Label in America | publisher=Wesleyan University Press | year = 2012 | pages=27 }}</ref> and a month later they performed at the Dixon-organized festival "[[Four Days in December]]" as the "Roswell Rudd - John Tchicai Quartet", playing opposite [[Sun Ra]] at Judson Hall.<ref>{{cite web |url=https://www.nytimes.com/1964/12/26/archives/jazz-composers-schedule-4days-in-december-fete.html |title=Jazz Composers Schedule '4 Days in December' Fete |date=December 26, 1964 |website=nytimes.com |access-date=July 28, 2020}}</ref><ref>{{cite book | last=Weiss | first=Jason | title =Always in Trouble: An Oral History of ESP-Disk, the Most Outrageous Record Label in America | publisher=Wesleyan University Press | year = 2012 | pages=161 }}</ref> The group's second album, ''[[Mohawk (album)|Mohawk]]'', was recorded in July 1965 with [[Reggie Workman]] on bass (Worrell left the group in December 1964<ref name="tchicai_mohawk" />), and was released on the [[Fontana Records|Fontana]] label.<ref>{{cite web |url=https://www.discogs.com/The-New-York-Art-Quartet-Mohawk/release/15101137 |title=New York Art Quartet – Mohawk |website=discogs.com |access-date=July 28, 2020}}</ref> In the fall of 1965, Tchicai lined up dates for the NYAQ in Copenhagen, Gothenburg (Sweden), Hilversum (Holland), and Amsterdam (where they opened for [[Ornette Coleman]]'s group), with Finn Von Eyben playing bass and [[Louis Moholo]] playing drums as a result of scheduling issues with the original musicians.<ref>{{cite book | last=Weiss | first=Jason | title =Always in Trouble: An Oral History of ESP-Disk, the Most Outrageous Record Label in America | publisher=Wesleyan University Press | year = 2012 | pages=92 }}</ref> Recordings from this tour were issued on ''[[Roswell Rudd (album)|Roswell Rudd]]'', released in 1971 without Rudd's consent,<ref>{{cite web |url=http://www.pointofdeparture.org/PoD42/PoD42Artmosis.html |title=Artmosis: New York Art Quartet |last=Allen |first=Clifford |date=2013 |website=Point of Departure |access-date=March 3, 2022}}</ref> and in 2010 on the album ''[[Old Stuff]]''.<ref>{{cite web |url=https://www.discogs.com/New-York-Art-Quartet-Old-Stuff/release/2434876 |title=New York Art Quartet – Old Stuff |website=discogs.com |access-date=July 28, 2020}}</ref> The group broke up in February 1966,<ref name="nyt_davis" /> with Tchicai returning to Denmark.<ref>{{cite web |url=https://johntchicai.com/john-tchicai-biography/ |title=John Tchicai Biography |website=johntchicai.com |access-date=July 27, 2020}}</ref>
In June 1999, the group reformed for a performance at the Bell Atlantic Jazz Festival, opening for [[Sonic Youth]]. [[Amiri Baraka]], whose poem "Black Dada Nihlismus" was included on their debut album 35 years earlier, also appeared.<ref>{{cite web |url=https://variety.com/1999/music/reviews/sonic-youth-new-york-art-quartet-1117499903/ |title=Sonic Youth/New York Art Quartet |last=Sprague |first=David |date=June 16, 1999 |website=[[Variety (magazine)|Variety]] |access-date=May 18, 2020}}</ref> The group recorded ''35th Reunion'' with bassist [[Reggie Workman]] at that time.

On June 13, 1999, the NYAQ, with [[Reggie Workman|Workman]] on bass, reunited for a performance at the Bell Atlantic Jazz Festival, opening for [[Sonic Youth]]. [[Amiri Baraka]], whose poem "Black Dada Nihilismus" was included on their debut album 35 years earlier, also appeared.<ref>{{cite web |url=https://variety.com/1999/music/reviews/sonic-youth-new-york-art-quartet-1117499903/ |title=Sonic Youth/New York Art Quartet |last=Sprague |first=David |date=June 16, 1999 |website=[[Variety (magazine)|Variety]] |access-date=May 18, 2020}}</ref> The group recorded the album ''[[35th Reunion]]'' the following day.<ref name="nyt_davis" /><ref>{{cite web |url=https://www.discogs.com/New-York-Art-Quartet-35th-Reunion/release/1641503 |title=New York Art Quartet – 35th Reunion |website=discogs.com |access-date=July 28, 2020}}</ref> In 2000 they played the Paris Banlieues Blues Festival, followed by a performance at the Lisboa festival in 2001.<ref name="tchicai_nyaq" /> In 2013, after Tchicai's death,<ref>{{cite news|first=John|last=Fordham|url=https://www.theguardian.com/music/2012/oct/11/john-tchicai|title=John Tchicai obituary|date=11 October 2012|work=[[The Guardian]]|accessdate=2020-07-28}}</ref> Triple Point Records released a limited-edition five-LP box set, along with a 156-page coffee-table book and miscellaneous artifacts, entitled ''[[Call It Art]]''.<ref>{{cite web |url=https://www.discogs.com/New-York-Art-Quartet-Call-It-Art/release/4493927 |title=New York Art Quartet – Call It Art |website=discogs.com |access-date=July 28, 2020}}</ref><ref name="west">{{cite web |url=https://jazztimes.com/reviews/albums/new-york-art-quartet-call-it-art-new-york-art-quartet-1964-1965/ |title=New York Art Quartet: Call it Art: New York Art Quartet 1964-1965 |last=West |first=Michael |date=June 25, 2013| website=jazztimes.com |access-date=July 28, 2020}}</ref>

According to Tchicai, one of the most unique aspects of the NYAQ was "the polyphonic part of the music that came into play; the whole collective style of playing that also existed in New Orleans Jazz and classical music. The polyphonic aspect of our music was something quite new compared to what other people were doing in contemporary jazz."<ref name="tchicai_interview" /> [[David Toop]] described the group's signature sound as "deliberately ragged, bleary themes tumbling out in spasms, notes tailing away as if lost to daydream, the music so open that total collapse seems perpetually imminent".<ref>{{cite book | last=Toop|first=David|authorlink=David Toop | title=Into the Maelstrom: Music, Improvisation and the Dream of Freedom Before 1970 | publisher=[[Bloomsbury Publishing|Bloomsbury]] | year=2016 | pages=271–272 }}</ref> In his liner notes to ''Mohawk'', Tchicai wrote: "The important thing about our music is that it must be heard and listened to without preconceived ideas as to how jazz should sound – listen to it as MUSIC and let that be the only label!"<ref name="tchicai_mohawk" />


A [[Documentary film|documentary]] on the NYAQ, entitled [http://thebreathcoursesthroughus.com/ ''The Breath Courses Through Us''], was released in 2013 by director Alan Roth.
A [[Documentary film|documentary]] on the NYAQ, entitled [http://thebreathcoursesthroughus.com/ ''The Breath Courses Through Us''], was released in 2013 by director Alan Roth.


==Discography==
==Discography==
*1964: ''New York Art Quartet'' ([[ESP-Disk]])
*1965: ''[[New York Art Quartet (album)|New York Art Quartet]]'' ([[ESP-Disk]])
*1965: ''Mohawk'' ([[Fontana Records]])
*1965: ''[[Mohawk (album)|Mohawk]]'' ([[Fontana Records]])
*2000: ''35th Reunion'' ([[DIW Records]])
*2000: ''[[35th Reunion]]'' ([[DIW Records]])
*2010: ''Old Stuff'' ([[Cuneiform Records|Cuneiform]])
*2010: ''[[Old Stuff]]'' ([[Cuneiform Records|Cuneiform]])
*2013: ''call it art'' (Triple Point): contains five LPs (four hours) of previously unreleased material and a 150-plus-page coffee-table book<ref>{{cite web |url=https://jazztimes.com/reviews/albums/new-york-art-quartet-call-it-art-new-york-art-quartet-1964-1965/ |title=New York Art Quartet: Call it Art: New York Art Quartet 1964-1965 |last=West |first=Michael |date=April 25, 2019 |website=[[JazzTimes]] |access-date=May 18, 2020}}</ref>
*2013: ''[[Call It Art]]'' (Triple Point): contains five LPs (four hours) of previously unreleased material and a 150-plus-page coffee-table book<ref name="west" />


==References==
==References==
{{Reflist}}
{{Reflist}}


==External links==
⚫
[[Category:American jazz ensembles]]
* {{Discogs artist|New York Art Quartet}}
{{New York Art Quartet}}
{{Roswell Rudd}}
{{Milford Graves}}
{{Steve Swallow}}
{{John Tchicai}}
{{Reggie Workman}}
{{Authority control}}
⚫
[[Category:Jazz ensembles from New York City]]
[[Category:ESP-Disk artists]]
[[Category:ESP-Disk artists]]
[[Category:DIW Records artists]]
[[Category:DIW Records artists]]

Latest revision as of 21:37, 11 April 2024

The New York Art Quartet was a free jazz ensemble, originally made up of saxophonist John Tchicai, trombonist Roswell Rudd, drummer Milford Graves and bassist Lewis Worrell, that came into existence in 1964 in New York City.[1] Worrell was later replaced by various other bassists, including Reggie Workman, Finn Von Eyben, Harold Dodson, Eddie Gómez, Steve Swallow, and Buell Neidlinger.[1] All About Jazz reviewer Clifford Allen wrote that the group "cut some of the most powerful music in the free jazz underground".[2]

In November 1962, Tchicai moved from his home country of Denmark to New York City at the suggestion of Archie Shepp and Bill Dixon, whom he had met at the Helsinki Jazz Festival earlier that year.[3] Upon arriving in New York, Tchicai began playing with Dixon's group, which included Shepp and Roswell Rudd among others, and also sat in with Don Cherry and various other musicians.[3] By the summer of 1963, Tchicai, Shepp, and Cherry had formed the New York Contemporary Five with bassist Don Moore and drummer J. C. Moses, while Rudd, with Shepp, continued to play with Dixon.[3][4] According to Rudd, the idea of forming a new quartet originated with Tchicai,[5] and the two began playing in filmmaker Michael Snow's loft space with Moore and Moses.[4] Moses soon left as a result of mutual dissatisfaction with his role,[3] and Rudd and Tchicai were soon introduced to drummer Milford Graves by saxophonist Giuseppi Logan. Tchicai recalled: "this was a very pleasant surprise and more than that, because Graves simply baffled both Rudd and I in that we, at that time, hadn't heard anybody of the younger musicians in New York that had the same sense of rhythmic cohesion in poly-rhythmics or the same sense of intensity and musicality."[1] Graves "wound up playing with them for half an hour, astonishing Rudd and Tchicai, who promptly invited him to join what became The New York Art Quartet".[6] Graves later stated that his invitation to join the group came "at a time when the evolutive phases of my spiritual and creative potential were in need of being expressed without limitation".[7] However, Tchicai also recalled that "bassist Don Moore became so frightened of this wizard of a percussionist that he decided that this couldn't be true or possible and, therefore, refused to play with us", and the group brought in bassist Lewis Worrell in his place.[1]

In July 1964, Tchicai and Rudd briefly joined Albert Ayler's quartet, which consisted of Ayler, Cherry, Gary Peacock, and Sunny Murray, to record New York Eye and Ear Control, the soundtrack for a film by Michael Snow.[8] That fall, the NYAQ, calling themselves "The John Tchicai Quartet", played their debut concert, participating in the "October Revolution in Jazz" organized by Bill Dixon.[9][4][10] In November, the NYAQ recorded their first album as part of ESP Disk's original roster of jazz artists,[11][12] and a month later they performed at the Dixon-organized festival "Four Days in December" as the "Roswell Rudd - John Tchicai Quartet", playing opposite Sun Ra at Judson Hall.[13][14] The group's second album, Mohawk, was recorded in July 1965 with Reggie Workman on bass (Worrell left the group in December 1964[1]), and was released on the Fontana label.[15] In the fall of 1965, Tchicai lined up dates for the NYAQ in Copenhagen, Gothenburg (Sweden), Hilversum (Holland), and Amsterdam (where they opened for Ornette Coleman's group), with Finn Von Eyben playing bass and Louis Moholo playing drums as a result of scheduling issues with the original musicians.[16] Recordings from this tour were issued on Roswell Rudd, released in 1971 without Rudd's consent,[17] and in 2010 on the album Old Stuff.[18] The group broke up in February 1966,[9] with Tchicai returning to Denmark.[19]

On June 13, 1999, the NYAQ, with Workman on bass, reunited for a performance at the Bell Atlantic Jazz Festival, opening for Sonic Youth. Amiri Baraka, whose poem "Black Dada Nihilismus" was included on their debut album 35 years earlier, also appeared.[20] The group recorded the album 35th Reunion the following day.[9][21] In 2000 they played the Paris Banlieues Blues Festival, followed by a performance at the Lisboa festival in 2001.[7] In 2013, after Tchicai's death,[22] Triple Point Records released a limited-edition five-LP box set, along with a 156-page coffee-table book and miscellaneous artifacts, entitled Call It Art.[23][24]

According to Tchicai, one of the most unique aspects of the NYAQ was "the polyphonic part of the music that came into play; the whole collective style of playing that also existed in New Orleans Jazz and classical music. The polyphonic aspect of our music was something quite new compared to what other people were doing in contemporary jazz."[3] David Toop described the group's signature sound as "deliberately ragged, bleary themes tumbling out in spasms, notes tailing away as if lost to daydream, the music so open that total collapse seems perpetually imminent".[25] In his liner notes to Mohawk, Tchicai wrote: "The important thing about our music is that it must be heard and listened to without preconceived ideas as to how jazz should sound – listen to it as MUSIC and let that be the only label!"[1]

A documentary on the NYAQ, entitled The Breath Courses Through Us, was released in 2013 by director Alan Roth.

Discography[edit]

References[edit]

  1. ^ a b c d e f Tchicai, John. "linernotes Mohawk". johntchicai.com. Retrieved July 27, 2020.
  2. ^ Allen, Clifford (March 7, 2008). "New York Art Quartet: New York Art Quartet". allaboutjazz.com. Retrieved July 27, 2020.
  3. ^ a b c d e Trouchon, Mike. "Interview with John Tchicai, 1995". johntchicai.com. Retrieved July 27, 2020.
  4. ^ a b c Toop, David (2016). Into the Maelstrom: Music, Improvisation and the Dream of Freedom Before 1970. Bloomsbury. pp. 270–271.
  5. ^ Rudd, Roswell (December 2012). "John Tchicai 1936-2012" (PDF). New York City Jazz Record (128): 14.
  6. ^ Licht, Alan (March 2018). "Listen To Your Heart" (PDF). The Wire. p. 35. Retrieved May 18, 2020.
  7. ^ a b "New York Art Quartet". johntchicai.com. Retrieved July 27, 2020.
  8. ^ Weiss, Jason (2012). Always in Trouble: An Oral History of ESP-Disk, the Most Outrageous Record Label in America. Wesleyan University Press. pp. 141–144.
  9. ^ a b c Davis, Francis (June 13, 1999). "MUSIC; 60's Free Jazz for the Sonic Youth Crowd". New York Times. Retrieved May 18, 2020.
  10. ^ Malloy, Maureen (October 4, 2018). "The Jazz Revolution Is Back...Again!". wrti.org. Retrieved July 28, 2020.
  11. ^ "New York Art Quartet – New York Art Quartet". discogs.com. Retrieved July 28, 2020.
  12. ^ Weiss, Jason (2012). Always in Trouble: An Oral History of ESP-Disk, the Most Outrageous Record Label in America. Wesleyan University Press. p. 27.
  13. ^ "Jazz Composers Schedule '4 Days in December' Fete". nytimes.com. December 26, 1964. Retrieved July 28, 2020.
  14. ^ Weiss, Jason (2012). Always in Trouble: An Oral History of ESP-Disk, the Most Outrageous Record Label in America. Wesleyan University Press. p. 161.
  15. ^ "New York Art Quartet – Mohawk". discogs.com. Retrieved July 28, 2020.
  16. ^ Weiss, Jason (2012). Always in Trouble: An Oral History of ESP-Disk, the Most Outrageous Record Label in America. Wesleyan University Press. p. 92.
  17. ^ Allen, Clifford (2013). "Artmosis: New York Art Quartet". Point of Departure. Retrieved March 3, 2022.
  18. ^ "New York Art Quartet – Old Stuff". discogs.com. Retrieved July 28, 2020.
  19. ^ "John Tchicai Biography". johntchicai.com. Retrieved July 27, 2020.
  20. ^ Sprague, David (June 16, 1999). "Sonic Youth/New York Art Quartet". Variety. Retrieved May 18, 2020.
  21. ^ "New York Art Quartet – 35th Reunion". discogs.com. Retrieved July 28, 2020.
  22. ^ Fordham, John (11 October 2012). "John Tchicai obituary". The Guardian. Retrieved 2020-07-28.
  23. ^ "New York Art Quartet – Call It Art". discogs.com. Retrieved July 28, 2020.
  24. ^ a b West, Michael (June 25, 2013). "New York Art Quartet: Call it Art: New York Art Quartet 1964-1965". jazztimes.com. Retrieved July 28, 2020.
  25. ^ Toop, David (2016). Into the Maelstrom: Music, Improvisation and the Dream of Freedom Before 1970. Bloomsbury. pp. 271–272.

External links[edit]

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