{"title":"Free jazz","authors":"Maurice Windleburn","doi":"10.4324/9781315702254-158","DOIUrl":null,"url":null,"abstract":"This concept poem ekphrastically manifests Ornette Coleman’s landmark album Free Jazz: A Collective Improvisation. Separated into two columns, the piece features the work of two quartets of poets, reflecting Coleman’s own separation of his double quartet ensemble into left and right recording channels. The poets Bob Kaufman, Jayne Cortez, Cecil Taylor and Lawrence Ferlinghetti are the quartet in the left column; Amiri Baraka, Langston Hughes, M. NourbeSe Philip and Boris Vian are the quartet in the right. The work of these poets has been scrambled and interwoven in the first and third-from-last stanzas, mimicking the two polymelodic interludes found in Coleman’s album. The remaining stanzas either combine lines from a quartet of poets or are entirely from the work of a single poet, who ‘solos’ against the quartet in the adjacent column (again, mimicking the general structure of Coleman’s album).","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":" ","pages":""},"PeriodicalIF":0.1000,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Jazz Research Journal","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.4324/9781315702254-158","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
引用次数: 0
Abstract
This concept poem ekphrastically manifests Ornette Coleman’s landmark album Free Jazz: A Collective Improvisation. Separated into two columns, the piece features the work of two quartets of poets, reflecting Coleman’s own separation of his double quartet ensemble into left and right recording channels. The poets Bob Kaufman, Jayne Cortez, Cecil Taylor and Lawrence Ferlinghetti are the quartet in the left column; Amiri Baraka, Langston Hughes, M. NourbeSe Philip and Boris Vian are the quartet in the right. The work of these poets has been scrambled and interwoven in the first and third-from-last stanzas, mimicking the two polymelodic interludes found in Coleman’s album. The remaining stanzas either combine lines from a quartet of poets or are entirely from the work of a single poet, who ‘solos’ against the quartet in the adjacent column (again, mimicking the general structure of Coleman’s album).
期刊介绍：
Jazz Research Journal explores a range of cultural and critical views on jazz. The journal celebrates the diversity of approaches found in jazz scholarship and provides a forum for interaction and the cross-fertilisation of ideas. It is a development and extension of The Source: Challenging Jazz Criticism founded in 2004 at the Leeds College of Music. The journal aims to represent a range of disciplinary perspectives on jazz, from musicology to film studies, sociology to cultural studies, and offers a platform for new thinking on jazz. In this respect, the editors particularly welcome articles that challenge traditional approaches to jazz and encourage writings that engage with jazz as a discursive practice. Jazz Research Journal publishes original and innovative research that either extends the boundaries of jazz scholarship or explores themes which are central to a critical understanding of the music, including the politics of race and gender, the shifting cultural representation of jazz, and the complexity of canon formation and dissolution. In addition to articles, the journal features a reviews section that publishes critical articles on a variety of media, including recordings, film, books, educational products and multimedia publications.
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