Avant-garde jazz

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Avant-garde jazz (almost always as avant-garde jazz in the relevant literature ) is a term that was coined by musicians and is not supported by a definition in musicological terms. Sometimes it is understood to mean free jazz with a regular rhythm and regular tempo , with other musical components such as melody and chords being relatively free.

Initially, some musicians used this term to distance themselves from the misleading term free . The term avant-garde jazz gained a new and more solid meaning from around 1990. Musicians have used it again for self-labeling. Since the completely free jazz of the 1960s, free funk , combined with musicians such as James Blood Ulmer (guitar) and Ronald Shannon Jackson (drums), created the first better-known intermediate stages of bound and unbound jazz styles around 1980 . In free funk, free melodies and chords sounded over a hard, bound rhythm, similar to how it occurs in funk , the style that succeeded soul . Around 1990 a wide range of styles of different bands was recorded in the then new New York live music venue Knitting Factory (see also: John Zorn ), marketed as LP or CD and so successful around the world that a term was first looked for as a conglomerate appearing new style area.

Two directions became more important: the freer one, for which the term avant-garde jazz described above became established for a time; as well as a direction based on Jewish musical elements ( klezmer ), which achieved its own worldwide success and thus became an established concept. The term avant-garde jazz, on the other hand, has always remained a bit fragile; The term experimental jazz has also become established for this jazz style . There was even a third direction: the inclusion of the computer in band performances instead of a musician or as a "musician". Such approaches are initially also included under avant-garde jazz. Authors such as Ekkehard Jost and Richard Cook point out, however, that in the field of jazz the term avant-garde can be problematic and tends to be “even nonsensical”.


See also

Individual evidence

  1. E. Jost Avantgarde Jazz in Reclams Jazzlexikon , p. 581