Amen to all of that. I happen to like free jazz too particularly what was called the "Freedom Swing" period of the early 80's that was entirely neglected in the Burns' piece and pretty much by everybody else. Oh well.
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On Apr 7, 2013, at 6:29 PM, Tom Fine <[log in to unmask]> wrote:
> I agree with Dave Lewis and David Goren, I was too harsh on free-jazz. That's just my opinion, it's not me saying that free-jazz shouldn't be studied or emphasized. I think I've been clear that I want a BROAD study and definition of jazz, not picking and choosing. So what I pick and choose to listen to is different from what I advocate being studied and sampled by students and others interested in jazz. I probably didn't make that clear enough.
> For what it's worth, you can sit me down and play the most out-there, non-melodic, endless-riffing free jazz all day long instead of forcing me to listen to a Kenny G record, but I think both are jazz and both should be studied and appreciated by those for whom they resonate.
> -- Tom Fine
> ----- Original Message ----- From: "Williams, Tim" <[log in to unmask]>
> To: <[log in to unmask]>
> Sent: Sunday, April 07, 2013 3:44 PM
> Subject: Re: [ARSCLIST] revisiting an old thread -- jazz anthologies
> Another thing to be said for free or experimental jazz was its popularity amongst fans of indie rock, punk, hardcore, emo and screamo, especially in the 1990s as so many of those folks were snatching up 60s albums at record shops or getting the CD reissues. It's not surprising that its cathartic element would appeal to those folks. So while a trad jazz fan might find free jazz to be "unfriendly and inaccessible," it's those elements which is exactly what would attract an aficionado and champion of the style like experimental noise rocker Thurston Moore. This is also the underground crowd that never gave up on vinyl.
> Something similar could be said for avant-classical and minimalism. A Mozart fan might not want Reich, Glass, Ligeti, Penderecki, etc. on the symphony program, but indie rock, kraut rock or electronica folks (e.g., Tortoise, Battles, Sonic Youth, Aphex Twin, etc.) are very interested in and influenced by that stuff. Those who work in the classical biz need to think more who the audience for that kind of music really is.
> (David, you're also right on the money for free jazz keeping the acoustic flame burning and for bop players being invigorated by it even if they didn't play it: Art Blakey's "Free for All" isn't a "free" album but it's his most energetic and perhaps his best.)
> -- Tim Williams
> From: Association for Recorded Sound Discussion List [[log in to unmask]] on behalf of David