Thurston Moore's journey into free jazz began with a tape selection compiled by his friend Byron Coley in the 1980s. Moore had experienced New York's avant-garde jazz loft scene firsthand but felt disconnected from it due to punk and no wave preoccupations at the time. The tapes, which included works by Coltrane, Mingus, Dolphy, Sun Ra, and Monk, led him to this challenging yet rewarding music style.
Free jazz is characterized by its departure from standard rhythms and phrasings, resulting in a uniquely liberating sound that's both unsettling and exhilarating for listeners. Moore describes it as "a music both liberated and yet wholly indebted to the learned techniques of its tradition." He sees parallels between free jazz and noise art rock, where experimentation with open form comes from a deep understanding of musical history.
Despite its history and significance, free jazz remains misunderstood by many due to its association with "noise" or lack of structure. However, this perception is often rooted in the genre's historical context and commercial reception. In the 1960s, major labels and institutions were wary of free jazz, labeling it as noise or nonsense.
Today, however, there are those who celebrate free jazz for its emotional intensity, spontaneity, and exploration of new sonic territories. Moore, Haugland, and others in the music community are working to promote this genre, encouraging listeners to engage with its complexities and beauty.
To get started with free jazz, newcomers like you might find the following albums appealing: Machine Gun by Peter Brötzmann Octet or Afrodisiaca by John Tchicai and Cadentia Nova Danica. Both of these works showcase the unpredictability and emotional depth that define this music style.
While exploring free jazz, it's essential to approach each album with an open mind and a willingness to immerse yourself in its complexities. For example, Cecil Taylor's Silent Tongues might initially overwhelm you, but its intricate structure and innovative techniques can reward close listening.
Ultimately, the spirit of free jazz lies in exploration, discovery, and self-expression. As Moore puts it, "the records are the research," and this mindset is essential for fully appreciating the genre's value and significance.
Free jazz is characterized by its departure from standard rhythms and phrasings, resulting in a uniquely liberating sound that's both unsettling and exhilarating for listeners. Moore describes it as "a music both liberated and yet wholly indebted to the learned techniques of its tradition." He sees parallels between free jazz and noise art rock, where experimentation with open form comes from a deep understanding of musical history.
Despite its history and significance, free jazz remains misunderstood by many due to its association with "noise" or lack of structure. However, this perception is often rooted in the genre's historical context and commercial reception. In the 1960s, major labels and institutions were wary of free jazz, labeling it as noise or nonsense.
Today, however, there are those who celebrate free jazz for its emotional intensity, spontaneity, and exploration of new sonic territories. Moore, Haugland, and others in the music community are working to promote this genre, encouraging listeners to engage with its complexities and beauty.
To get started with free jazz, newcomers like you might find the following albums appealing: Machine Gun by Peter Brötzmann Octet or Afrodisiaca by John Tchicai and Cadentia Nova Danica. Both of these works showcase the unpredictability and emotional depth that define this music style.
While exploring free jazz, it's essential to approach each album with an open mind and a willingness to immerse yourself in its complexities. For example, Cecil Taylor's Silent Tongues might initially overwhelm you, but its intricate structure and innovative techniques can reward close listening.
Ultimately, the spirit of free jazz lies in exploration, discovery, and self-expression. As Moore puts it, "the records are the research," and this mindset is essential for fully appreciating the genre's value and significance.
i mean come on its like 50 yrs old already but no one seems to have caught on 
anyway, if ur new to it dont be surprised if u dont know wut hit u r listening to at first its like my cousin tried 2 listen 2 a jazz album by some obscure guy and ended up falling asleep mid song 
but seriously, start w/ machine gun or afrodisiaca, theyre not too bad 
I mean, I've had friends who've listened to Cecil Taylor's Silent Tongues and walked away thinking it was just a bunch of weird sounds. But once you take the time to really listen and appreciate the complexity, it's like a whole new world opens up 
. And I love that Thurston Moore is helping to promote this genre – he's always been someone who pushes boundaries in his own music, so it's no surprise he'd be drawn to free jazz too 
. Have you ever given free jazz a try?
I think what's really cool about free jazz is that it's all about experimentation and embracing uncertainty - isn't that just what we need more of in the world right now? 
And you're right, people often judge free jazz based on its association with noise or lack of structure, but really it's just a different kind of music that requires an open mind. I've been listening to some Cecil Taylor and I'm blown away by his creativity - who knew piano could be so wild? 
... sounds kinda like noise to me at first, but apparently its all about exploring new sonic territories & emotional intensity? 
how did they even make music like that back then?
... but i gotta ask, what's the deal with all these albums being described as "challenging" or "overwhelming"? 
shouldn't we just enjoy music for fun? 
I just read about Thurston Moore's journey into free jazz and I'm obsessed with how he describes it as liberating yet indebted to tradition 
. It's all about approachin' it with an open mind, you know? Like, start with some Cecil Taylor and see how that blows your mind 
. And yeah, those Machine Gun and Afrodisiaca albums are a great starting point. I'm def gonna go listen to 'em now 
. But at the same time, there's something about the unpredictability of it that's really compelling 
.
, like its unpredictable rhythms and sounds can just transport me to another world, you know? i remember listening to Cecil Taylor's Silent Tongues for the first time and being like "wth is this?" 
. dont @ me if u think its not for u tho, but trust me, machine gun by peter brötzmann is lowkey life changing 
i've been meaning to check out machine gun by peter brötzmann octet, thanks for the rec! 