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Laurent Cugny Sorbonne Université —  Faculté des Lettres Institut de Recherche en Musicologie (IReMus, UMR 8223) Centre de Recherches International sur le Jazz et les Musiques Audiotactiles (CRIJMA)
 
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"Les Cahiers du jazz," ("The Jazz Notebooks") nouvelle série, n° 3, 2006, p. 219-223
 
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<center>[http://www.academia.edu/75250542/1959_1970_2006_Visions_De_L_Histoire?email_work_card=view-paper  '''1959, 1970, 2006 : visions de l’histoire''']</center>
 
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In the transcription of a debate that appeared before last issue of the first series of ''Cahiers du jazz'' (n°18, embedded in ''Jazz Magazine'' n°176, March 1970), we read this Intervention by Yves Buin (p. XXII):
 
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“In 1959, date of recording treatment of "Free Jazz" by Ornette Coleman, what is the situation of modern jazz?  We have two great states of stability that are Miles Davis's quintet and John Coltrane's team. There is also Charlie Mingus, but he hesitates between the language of the small formation and that of the large orchestra.  Finally, there is an "eternal" Monk.  On the other hand, we are witnessing the degeneration of "soul jazz," the decrepitude of the "West Coast," without anything pointing to the horizon, except the music of Ornette Coleman.  So, I will take the concept of freedom in its relativity.  Given the decline of a certain jazz, which no longer interests anyone even at that time there, given the incessant journey by Miles Davis of a path he has long discovered, since My
 
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K also has already entered
 
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In a difficult phase, although at the height of his fame, since Coltrane, even if it is at his best, is still very influenced by traditional jazz, alone.
 
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Coleman offers something else.
 
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Let us now refer to a list (non-exhaustive and alphabetical) of recordings made in 1959 [FOOTNOTE 1: The List has relied heavily on the ''Chronology of jazz'' by Philippe Baudoin (Outre Mesure, 2005) commented on in this page issue.]:
 
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: Cannonball Adderley : "In Charge" ; "In San Francisco".
 
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: Chet Baker : "Chet".
 
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: Dave Brubeck : "Time Out".
 
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: Ornette Coleman : "Tomorrow Is the Question" ; "The Shape of Jazz to Come" ; "Change of the Century".
 
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: John Coltrane : "Giant Steps" ; « Coltrane Jazz » (en partie).
 
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: Miles Davis : "Kind of Blue", Concierto de Aranjuez
 
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: Duke Ellington : "Jazz Party" ; "Anatomy of a Murder" ; "Idiom '59 ; "Back to Back" (avec Johnny Hodges).
 
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: Bill Evans : "Peace Piece and Other Pieces" ; "Portrait in Jazz" (avec Scott LaFaro et Paul Motian).
 
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: Gil Evans : "Great Jazz Standards".
 
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: Jimmy Giuffre : "The Easy Way" ; "Seven Pieces".
 
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: André Hodeir : "Jazz et Jazz".
 
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: Lee Konitz : "Lee Konitz Meets Jimmy Giuffre".
 
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: John Lewis : "Improvised Meditations and Excursions".
 
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: Charles Mingus : "Blues and Roots" ; "Ah Um".
 
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: Thelonious Monk : "At Town Hall" ; "Alone in San Francisco".
 
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: Gerry Mulligan : "Meets Ben Webster".
 
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: Phineas Newborn : "Piano Portraits".
 
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: Art Pepper : "+ Eleven - Modern Jazz Classics".
 
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: George Russell : "New York, New York".
 
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: Horace Silver : "Blowin' the Blues Away" (Peace, Sister Sadie).
 
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: Wayne Shorter : "Introducing Wayne Shorter".
 
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: Martial Solal : Suite n° 1 en ré bémol ; "À bout de souffle"
 
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Incidentally," also recorded that year under their names: Count Basie, Earl Bostic, Ray Charles, Al Cohn-Zoot Sims, Eddie Costa, Blossom Dearie, Benny Golson, Jimmy Heath, Woody Herman, Jo Jones, Philly Joe Jones, Barney Kessel, Les McCann, Junior Mance, Jackie McClean, Oliver Nelson, Nina Simone, Hal Singer, Rex Stewart-Dickie Wells, Wilbur Ware, Joe Zawinul.  Thus, according to Yves Buin in 1970, only Ornette Coleman would propose "something else". It is true that he produces this year three of his major albums that announce the brilliance of "Free Jazz" recorded at the end of the following year.  Miles Davis and John Coltrane on their side would manifest "two great states of stability."
 
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2
 
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Yet the albums they record this year- they are are nothing other than "Kind of Blue" and "Giant Steps" (and "Coltrane Jazz" in part), which are not precisely examples of stability.  One is a considered a chef-
 
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Of work of course, but also as the entrance to the scene of a major innovation, jazz called "modal."  The other undoubtedly gives the two pieces signing the end of a jazz approach "Traditional" in which we improvise on a harmonic grid: "Giant Steps" " and "Countdown"
 
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With their infernal tempo on grids
 
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Infernal. And we find on the same album an example of the tracks that will be precisely proposed by modal jazz with "Naima."
 
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If we are only looking for novelty, we will still note that George Russell with "New York, New York," Martial Solal with the "Suite No. 1 in D flat," André Hodeir with "Jazz and Jazz," and Jimmy Giuffre with the trio of "The Easy Way" offer recordings where elements of novelty swarm.  Even the "old" Duke Ellington does not stop to explore, especially with "Idiom '59," and his squad of percussionists, not to mention the frankly atonal credits of "Anatomy of a Murder."
 
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We can finally think what we want from Dave Brubeck, but the album "Time Out" is largely innovative in metric and heterometry materiality with, not only the famous "Take Five," but also "Blue Rondo a la Turk" and "Three to Get Ready."
 
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So two things are striking in this quote. The first, we have just seen, is that, despite the ten years of retreat, the author makes a questionable diagnosis on the novelty (or rather its supposed relative absence) at this particular time. We will be able to object that it is easier to pronounce with a deviation of being
 
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Nte-five years instead of ten. Or invoke a historical relativism according to which each era elects its masters, its leaders of work, its criteria of novelty. The first argument seems to me much more admissible than the second. But we can bring the two together by saying that each era has its own style of historical discourse and that it is difficult to escape it. We will come back to it.
 
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The second observation is that Yves Buin seems to retain only the criterion of novelty to gauge the time considered. In addition to the fact that he rather sees rarity with Ornette Coleman as the only innovator.
 
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—
 
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Whereas today we judge the period on the contrary extremely fruitful and even founder for a revival of jazz.
 
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—
 
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This choice of unique criterion makes him omit the mass recordings that can possibly be considered as non-innovative, but which
 
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—
 
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lack of luck are, that year numerous and of great wealth. We can certainly consider with him that the style "West Coast" [jazz] is in decay, m
 
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Ais Chet Baker still records the album "Chet" with Bill Evans, and that Jimmy Giuffre, Art Pepper, Lee Konitz, Gerry Mulligan, John Lewis offer  beautiful albums (even if it's more cool jazz than West Coast per se).  I don't know exactly what Yves Buin thinks when he talks about "soul jazz," but in addition to the fact that 1959 is the year of "What I Say" by Ray Charles, it is also that of "Sister Sadie" and "Peace" by Horace Silver and two albums by Cannonball Adderley.  As for
 
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Mingus who "hesitates" and Monk who is "eternal," they give us "Blues and Roots", "Ah 'um", "At Town Hall" and "Alone in San Francisco," which is not quite nothing.
 
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It is of course easy to point out a supposed myopia after the fact. Our purpose is not here to stigmatize an author but to seize an opportunity to return to this eternal and inextricable problem of historical apprehension. What's going on Is he here? Two postures, we said it, seem problematic: a partial (or partial) evaluation of novelty, and an overvaluation of the novelty criterion.
 
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3
 
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On the first point, I would like to risk a hypothesis. In 1970, free jazz was "dominant," if you want.  In any case, we mostly see in the New Thing the major jazz event of the decade that has just ended. I find for proof among others, this ultimate issue of the first series of ''Cahiers '' which is almost fully dedicated. However, as often in such a situation, musicological criteria are required to evaluate the expression of novelty, but they are not explained. [FOOTNOTE 3: It should be noted, however, that Yves Buin speaks during a debate where many topics are discussed. Thought jumps from one point to another, we cannot ask for the same rigor as in a written, matured and thoughtful text. On the other hand, the author does not explicitly say that he retains this unique novelty criterion for evaluating the time considered.  Nevertheless, we have a written text from which this impression emerges. It should also be noted that Yves Buin was a regular and appreciated collaborator of the ''Cahiers du Jazz''.]
 
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What are they in this case where we want to show that free jazz is the novelty?  Those, I think, that define the main frameworks of the "common practice" of jazz (almost hegemonic between 1940 and 1960): the theme-solos-theme form, the harmonic grid and the regular pulsation.  From this point of view, Ornette Coleman is of course radically innovative (but especially from "Free Jazz" in 1960): he challenges, in turn or all together this which until then seemed anchored to the very essence of jazz: form, harmony and pulsation. And it is particularly this last point, the regular pulse, the condition of swing, which imposes itself as the el
 
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Crucially, it previously seemed unthinkable that we could play Jazz without regular pulsation.  "Free Jazz" says, however, that it is possible.
 
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The problem is that this vision, which examines these three parameters by noting whether they are present or not, missed the fact that novelty could appear without these fundamentals are necessarily called into question. This is how the "Jazz modal" may have seemed redundant compared to traditional jazz. Certainly, he opened the harmonic field by allowing himself to play only on a chord ("So What") or by chaining chords outside the tonal cannons or those of the blues ("Flamenco Sketches," "Naima"), but he retains, in Miles Davis, the pulsation ("Flamenco Sketches") or even the pulse and the form theme-solos-theme ("So What"). As for Coltrane, he may well offer new harmonic grids played at dizzying tempos ("Giant Steps", "Countdown") or non-tonal sequences ("Naima"), it still plays the traditional form and pulsation. D
 
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Onc we would not really innovate on this side, it would somehow only be technical improvements. In this way, we can to come to say that Miles Davis in 1959 is in "the incessant journey of a path he has long discovered", or that Coltrane "even if it's in the best he has is still very influenced by traditional jazz." In addition to these objective (musicological) novelty elements, what the proponents of this conception did not see, in my opinion, it is that it could be a decisive advance of the side of the way to play, especially the rhythm section. That's how a little more late, Bill Evans' trio with Scott LaFaro and Paul Motian was able to pass for one more trio playing the standards. We didn't have not noted that the way LaFaro emancipated the role of the bass expanding its traditional functions represented a major step forward. We didn't see nor, a few years later, that working in the same directions of the rhythm section of Miles Davis's  second quintet (Herbie Hancock, Ron Carter, Tony Williams) made jazz take a giant step.  I advanced higher the idea of style of an era. It is quite clear that in 1970, not everyone wanted to be burdened with these subtleties. It's time for radicalism, at the table shaved, when speaking.  Ornette Coleman with its so roborative titles "Something Else!," "Tomorrow Is the Question," "The Shape of Jazz to Come," "Change of the Century" Kills himself telling us: "Something else?! ", "Tomorrow is the question", "The form of jazz to come", "The change of the century"!  Why then go listen to a white lanky who always seems to apologize while playing the piano, with his bass Iste impuberus and the eternal "My Romance", "Someday My Prince Will Come", "My Foolish Heart"?
 
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As for the second of the two points I mentioned above, that of privilege granted to the criterion of novelty, we are talking about the vision of history and its linearity.  The idea of progress is of course at the center of this conception and the influence in intellectual France of the early 1970s of Marxist historical materialism, the importance it gives to necessity in history no they obviously seem, inductive, to have favored this type of apprehension.
 
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However, and this is not the least surprising, in the continuity of the declaration mentioned above, Yves Buin stands out precisely from this vision.
 
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"I think and I'm introducing an idea that is very dear to me — that there may be in the art of regression. Malson: Fertile regressions? Buin: Yes. Art cannot be located on an irreversible trajectory. There is no, in art, of definitely oriented progress. Thinking that jazz is improving more and more
 
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To meet the challenges posed by the "Westerns" of the 20th century, is a prejudice. This observation is quite disturbing. We could think, at least seen today, that this consideration of possible "Fruitful regressions" should have led to a favorable consideration of the formidable profusion of this year 1959 with its abundance of albums, not necessarily "creative", but of the highest aesthetic value.  However, the conclusion drawn by Yves Buin is quite different. The vision mechanist he denounces would have liked Ornette Coleman to respond to the challenges of the "Western" of the 20th century", it's that is, I suppose, composers of the scholarly tradition.  But Ornette Coleman, according to Yves Buin, is careful not to fall into this trap and "judiciously drop."  I'm again tempted to Ir an expression of a sensitivity of the 1970 era: jazz—Free jazz in particular—is the affirmation of new music based on a new sociology, it does not have to respond to the "Western" injunctions ("bourgeois" were almost read).
 
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Finally, we will note a last remark by the author, which summarizes can to be this sensitivity alone: "Given the decline of a certain jazz, which no longer interests anyone even at that time- There [...]
 
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Laurent Cugny
 
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THE END
 
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GOOGLE  TRANSLATE Second version:
 
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LawrenceCugnySorbonneUniversity _-FacultyfromlettersInstituteofResearchinMusicology(IReMus, UMR8223)CenterofResearchInternationalontheJazzandtheMusicsAudiotactiles(CRIJMA)
 
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TheNotebooksofjazz
 
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,newsseries,no.3,2006,p.219-223.
 
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1959,1970,2006:video
 
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nsofthe story
 
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Inthetranscriptionof onedebateappearedinthe front
 
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-latestnumberofthefirstseriesfromNotebooksofjazz(#18,insertinJazzMagazineNo. 176,March1970),webedthis
 
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interventionby Yvesbuin(p.XXII)
 
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:
 
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"
 
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In1959,dateof registration
 
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veryof
 
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Free
 
−
 
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[d'OrnetteColeman],whatisthe
 
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situationofjazzmodern?Wehaveof thembigstatesofstabilitywhoarethequintetofmilesDavisandthetrainingofJohnColtrane.HetherehasalsocharlieMingus,buthehesitateBetweenthespeechof
 
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thesmalltrainingandthat's why I wrote to youofbigorchestra.At lasthetherehasamonks"eternal".of aotherside,wewitnessto thedegenerationof"drunkjazz",to thedecrepitudeofthewest
 
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-
 
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coast”,withoutthatnothingnotpointto the skyline,exceptthemusicd'OrnetteColeman
 
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.So,
 
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Iwill take,me,theconceptoffreedominherrelativity.Seentheforfeitureof onecertainjazz,whonot interestedmorenobodysameto thisera
 
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-the,seenthejourneyincessantbymiles
 
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Davisof onewaythat hehasfromlong timediscovery,seenthatMy
 
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kalsoisBetweenalready
 
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inaphasedifficult,Againwhat tothe apogeeofhercelebrity,seenthatColtrane,sameifit isinthisthat hehasofbetter,restAgainveryaffectingbythejazztraditional,only
 
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Colemanproposeotherthing.»
 
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Let's refernowto alisting(Nopeexhaustiveandalphabetical)fromrecordingsmadeinthisyear1959
 
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1
 
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:cannon- ballAdderley:"InCharge";"InSanFrancesco".chetBaker:"Chet".DaveBrubeck:"TimeOut".OrnetteColeman:"TomorrowIsteaQuestion";"TeashapeofJazztoCome";"ExchangeofteaCentury".JohnColtrane:"GiantSteps";"ColtraneJazz»(inpart).milesDavis:"KindofBlue",
 
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ConciertoofAranjuez
 
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.
 
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1
 
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ListingwhoitsFedwidelyofthe
 
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Chronologyofjazz
 
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ofPhilipBaudoin(OutragedMeasure,2005)commentedinthisnumberpagexx.
 
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dukeEllington:"JazzParty";"AnatomyofhasMurder";
 
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Idiom'59
 
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;"BacktoBack"(withJohnnyHodges).BillEvans:"PeaceRoomandotherRooms";"PortraitinJazz"(withScottLaFaroandPaulMotian).GilEvans:"GreatJazzStandard".jimmyGiuffre:"TeaEasyWay";"SevenRooms".AndrewHodeir:"JazzandJazz".LeeKonitz:"LeeKonitzMeetsjimmyGiuffre".Johnlewis:"ImprovisedmeditationsandExcursions".CharlesMingus:"BluesandRoots";"OhHmm".Thelonio usmonks:"AtTownLobby";"AloneinSanFrancesco".GerryMulligan:"MeetsWellWebster".PhineasNew born:"PianoPortraits".ArtPepper:"+eleven-modernJazzClassics".georgeRussell:"NewYork,NewYork".HoraceSilver:"Blowin"teaBluesAway"(
 
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Peace
 
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,
 
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SisterSadie
 
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).wayneShorter:"IntroducingwayneShorter".MartialSolal:
 
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Afterno.1inDflat
 
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;"TOend ofbreath"."Incidentally»,havealsochecked inthisthat yearundertheirname:Countbase,EarlBostic,RayCharles,AlCohn ZootSims,EddieCosta,BlossomDearie,bennyGolson,jimmyheath,Woodyherman,JoeJones,PhillyJoeJones,BarneyKessel,TheMcCann,JuniorMance,jackieMcLean,J.R.Montrose,oliverNelson,NinaSimone,HalSinger,RexStewart DickieWells,WilburWare,JoeZawinul.Thereby,according toyvesbuinin1970,onlyOrnetteColemanwould suggest"otherthing".Heis
 
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truethat heproductthisyear
 
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-thethreeofhisscrapbookadultswhohasnnonc entthedazzlingof"FreeJazz
 
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»checked into theendofthe yearnext.milesDavisandJohnColtraneoftheirside
 
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would demonstrate"of thembigstatesofstability
 
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2
 
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".Howeverthe
 
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scrapbookthat theyrecord
 
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thisyear-
 
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thenotarenothingelsethat"
 
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KindofBlue»and"Giantsteps»(and"ColtraneJazz
 
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»forpart),whichnotarenotpreciselyfromexamplesofstability.Monis
 
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consideredasachief-
 
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workgoodsafe,butalsoasthe entranceinstageof one
 
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innovationmajor,thejazzsaid"modal
 
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".The othergivenwithoutnodoubttheof thempartssigningthe endof oneStepsofjazz"
 
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traditional»inwhichweimprovisedonagridharmonic :
 
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Giantsteps
 
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and
 
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Countdown
 
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withtheirtempoinfernalonfromgrids
 
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hellish.Andwefindonthesamealbumaexamplefromtrackswhowill beexactly
 
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proposed sbythejazzmodal with
 
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Naima
 
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.Yeswenotlook forthatthenovelty,wewill noteAgainthatgeorgeRussellwith"NewYork,Newyork»,MartialSolalwiththe
 
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Afterno.1inDflat
 
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,AndrewHodeirwith"Jazzand jazz»andjimmyGiuffrewiththetrioof"TeaEasyway»propposefromrecordingsorswarmtheelementsofnovelty é.Samethe" old "dukeEllingtonnotstop
 
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to explore,particularlywith
 
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Idiom'59,
 
−
 
−
MalletobaSpank
 
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andhis squadofpercussionists,withoutcountthegenericfranklyatonalof
 
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anatomyofhasMurder
 
−
.Wemayfinallyto think
 
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thisthatwewannaofDaveBrubeck,butthe scrapbook"
 
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TimeOut»iswidelyinnovativein
 
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matterofmetricandheterometrywith,Nopeonlythefamous
 
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takeFive
 
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,butalso
 
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BlueRondohastheTurkish
 
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and
 
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ThreetoGetReady
 
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.
 
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2
 
−
 
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Wewill notealsowhat about1959,thetrainingofmilesDavisis notnotaquintetbutasextet,
 
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andthatJohnColtr
 
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donkeyn / Anotoftrainingregular.thequartet"
 
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classic
 
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»nottoshapewhat totheendof1960withthe arrivalofMcCoyTynerandfrom ElvinJones,andtoconsistsdefinitivelywiththe entranceofjimmyGarrison
 
−
injanuary1962.
 
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−
 
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Of themthingsstrikesointhisquote.Thefirst,wecomeoftheto see,is
 
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that,despitethetenyearsofretreat,the authoremitsadiagnosticforthelessquestionableon
 
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thenovelty(Whereinsteadhersupposedabsencerelative)to thiseraparticular.Wewill be able
 
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objectthat heisplease _easyoftopronounce cerwithadifferenceofbe
 
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nte-fiveyearsinsteadthatoften.OrAgaininvokearelativismhistoricalaccording towhicheacheraelecthismasters,hisheads-
 
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work,hiscriteriaofnovelty.thefirstargumentmeseemswidelymore
 
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admissiblethatthesecond.Butwewill be ablereunitetheof theminsayingthateacherahashis
 
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styleofspeechhistoricalandthat heisdifficultofthereescape. We there will come back.
 
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Thesecondobservationisthat Yvesbuinseemsnothold backthatthecriteriaofnoveltyforgaugethe timeconsidered.Outragedthefactthat hethereseesinsteadthescarcitywith
 
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OrnetteColemanforonlyinnovator
 
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–
 
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sothat wejudgetodaytheperiodtoopposite
 
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extremelyfruitfulandsamefounderforarenewalofjazz
 
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–
 
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thischoiceofcriteriauniquehimfactomitthemass
 
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fromrecordingsthat wemayeventuallyconsider
 
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as non- innovative,but who
 
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–
 
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lackofchance
 
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–
 
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are, thisyear _numerous and _
 
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of oneverybigrichness.Wemaycertainlywithhimconsiderthatthestyle"
 
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west coast»isindecrepitude,m
 
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aischetBakerchecked ineverythingofsamethe scrapbook"
 
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chet»withBillEvans,andthatjimmyGiuffre,ArtPepper,LeeKonitz,GerryMulligan,Johnlewisproposefrom
 
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scrapbookbeautiful(sameif heisinsteadofjazzcoolthatofwestern
 
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-coastto properly speak).InotI knownotto whatthinkexactly _yvesbuinwhen _hespeakof"drunkjazz»,but
 
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outragedthat1959isthe yearof
 
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WhatI'dSay
 
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ofRayCharles,it isalsothatof
 
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SisterSadie
 
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and
 
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Peace
 
−
 
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of HoraceSilverandofof themscrapbookofcannon ballAdderley.As toto
 
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Minguswho"hesitate»andmonkswhois"eternal»,theywegive"BluesandRoots»,"OhHmm»,"AtTownLobby»and"AloneinSanfrancisco
 
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»,thiswhois notnoteverythingto factnothing.
 
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Heisgoodsafeeasyofpointafterkickasupposedmyopia.Ourp
 
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roposis notnot
 
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hereofstigmatizeaauthorbutofgrabaopportunityofto come backonthiseternaland
 
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inextricableproblemofthe apprehensionhistorical.Thattopass
 
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does hehere?Of themposes,we
 
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thesaid,appearproblematic
 
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:aEvaluationbiased(Wherepartial)ofthenovelty,andaovervaluationofcriteriaofnovelty
 
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3  [FOOTNOTE 3: Wewill noteeverythingofsamethat Yvesbuinexpresses himselftoClassesof onedebateorofmanytopicsareaddressed.Thethoughtjumped upof onepointto aother,wenotmayaskthesamerigorthatinatextwriting,maturedandreflexive.Elsego,the authornotsaidnotexplicitlythat heholds backthisa
 
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fuckcriteriaofnoveltyfor
 
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assessthe timeconsidered.Hedon'trestnotlessthat hewereaches,to we,atextwritingfrom wheretoclearthisimpression.Wewill noticeAgainthat YvesbuinhassummeracollaboraterregularandappreciatedfromNotebooksof
 
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jazz.]
 
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.Onthefirstpoint,Iwould likeriskahypothesis.In1970,thefreejazzis"dominant
 
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»ifwewanna.Ineverythingcase,weseesmostlyintheNewthingthe eventjazzisticmajorofthedecadewhocomeoftoclose.Ifindfora proofamongothers,thisnumberultimateofthepremotherseriesfromNotebookswhohimisalmost
 
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entirelyconsecrated.Gold,asofteninthe samesituation,fromcriteriamusicological
 
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arerequiredforassessthe expressionofthenovelty,buttheynotarenotexplained.What
 
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are-
 
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theyinthiscaseorwewannato showthatthefreejazzconstitutesthenovelty
 
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?Those,I think ,whodefinetheframesmainofthe"practicecommon»ofjazz(almosthegemonicBetween1940and1960):theshapetheme-solos-theme,thegridharmonicandthe pulsationregular.Ofthispanointedofseen,OrnetteColemanisgoodsaferadicallyinnovative(butabove allto goof"FreeJazz»in1960):hechallenge,roundto roundWhereeverythingwholethis
 
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whoseemedso farpegto gasolinesameofjazz
 
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:shape,harmonyandpulsation.And
 
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it isparticularlythislatestpoint,thepulsationregular,theconditionofswing,whoimposes itselfasthe el
 
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mentcrucial
 
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:heseemedpreviouslyunthinkablethat wemayplayerof
 
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jazzwithoutpulse _regular ."FreeJazz
 
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»affirmsyetthatit ispossible.
 
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theproblemisthatthisvision,whoexaminedthosethreesettingsinrelevantif they
 
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arepresentWhereNope,haslackthefactthatthenoveltycouldappearwithoutthatthose
 
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fundamentalsbenecessarilyhanded overincause.It is thusthatthe"
 
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jazzmodal»hascouldappearredundantbyreporttojazztraditional.Certainly,hewas openingthefieldharmonicintoallowingofnotplayerthatonadeal(
 
−
SoWhat
 
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)WhereinchainingfromchordsexceptfromcannonstonalWhereofthoseofblues(
 
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Flamencosketches,Naima
 
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),buthecanned,at the house ofmilesDavis,thepulsation(
 
−
Flamencosketches
 
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)eventhepulsationandtheshapetheme-solos-theme(
 
−
SoWhat
 
−
).As toto Coltrane,hemaygoodto proposefromgridsharmonicsnewsplayedto frombeatsdizzy(
 
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Giantsteps
 
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,
 
−
Countdown
 
−
)WherefromsequencesNopetonal(
 
−
Naima
 
−
),he cheekAgaintheshapeandthepulsationtraditional.D
 
−
sowewould not innovatenotActuallyofthisside,henotwould beinsomekindthatimprovementstechniques.Ofthisway,wemay
 
−
arriveto saythatmilesDavisin1959isin"
 
−
thejourneyincessantof onewaythat hehas
 
−
fromlong timediscovery»,WherethatColtrane"
 
−
sameifit isinthisthat hehasofbetter,
 
−
restAgainveryaffectingbythejazztraditional".OutragedthoseelementsofnoveltyGoals(musicological),thisthatthesupportersof
 
−
thisdesigndon't havenotseen,to mysense,it isthat he
 
−
couldthereto haveaadvanceddecisiveof
 
−
sideofthewayofplayer,inparticularofthesectionrhythmic.It is thusonelittlemore
 
−
late,thetrioofBillEvanswithScottLaFaroandPaulMotianhascouldpassforatrioofmore
 
−
playingthestandards.Wen / A
 
−
notstatementthatthewaywhoseLaFaroemancipatedtheroleofthelow
 
−
inexpandinghisfunctionstraditionalrepresentedaadvancedmajor.Wen / Anotseen
 
−
Nopemore,Againsome yearsafter,thatthework inthesamedirectionsofthesectionrhythmicofsecondquintetofmilesDavis(HerbyHancock,RonCarter,TonyWilliams)was doingaccomplishtojazzanotofgiant.
 
−
I haveadvancedmorehighthe ideaofstyleof oneera.Heisgoodclearwhat about1970,everythingtheworldn / Anoturgeofto encumberofthosesubtleties.Timeisto theradicalism,to thetable
 
−
shave,to theplugofword.OrnetteColemanwithhissecuritiessuchinvigorating
 
−
–
 
−
"SomethingElse!»,"TomorrowIsteaQuestion»,"TeashapeofJazztocome»,"ExchangeofteaCentury»
 
−
–
 
−
tokillto wethesay:"
 
−
Somethingelse
 
−
!»,"tomorrowisthequestion»,"Theshapeofjazzto to come»,"thechangeofcentury»!Whysoto golistena
 
−
Whitelankywhohasstillthe airofapologizeinplayingofpiano,withhis bass
 
−
istprepubescentandtheeternal"MyRomance»,"SomedayMyPrinceWillcome»,"MyFoolishHeart»?
 
−
As totosecondfromof thempointsthatI haveevokedmorehigh,that's why I wrote to youofprivilege
 
−
grantedtocriteriaofnovelty,heisquestionhereofthevisionof
 
−
the storyandofherlinearity.The ideaofprogressisgoodsafetocenterofthisdesignandinfluenceintheFranceintellectualofstartfromyears1970ofmaterialismhistoricalMarxist,ofimportancethat hegivento theneedinstoryno
 
−
usseemobviously,
 
−
hasposteriori
 
−
,to havefavored
 
−
thiskindof apprehension.
 
−
 
−
However,andthisis notnotthethelesssurprising,inthecontinuityofthestatement
 
−
aforementioned,Yves _buintodemark _precisely _ofthisvision.
 
−
"Ithink
 
−
–
 
−
and
 
−
I introducetheaideawhois meveryDear–
 
−
 
−
that hemaythereto haveinartfromregressions .
 
−
Malson:Fromregressionsare fertile?buin
 
−
:Yes.Artnotmaynotbelocatedonapathirreversible.Henot therehasnot,
 
−
inart,ofprogressdefinitely _oriented.To thinkthatthejazztoperfectofmoreinmore
 
−
forto respondto thechallengesthrownbythe“Westerners”oftwentiethcentury,isaprejudice.
 
−
 
−
 
−
 
−
aesthetic.Heispossiblewhat tothisera
 
−
-the,toward1959,Ornetteconfrontsthequestionandtheleave alone,wisely,fall.»
 
−
Thisobservationisenoughdisturbing.Wecouldto think,ineverythingcaseseen
 
−
of today,thatthispluginaccountofpossible"
 
−
regressionsfruitful»would haveof exactlybring _to considerfavorably _thetremendousprofusionofthisyear1959
 
−
withhis plentyalbums,Nopenecessarily"
 
−
creative»,butofthemorehighvalueaesthetic.However,theconclusionpulledbyyvesbuinisalldifferent.Thevision
 
−
mechanisticthat hedenounceswould havedesiredthat OrnetteColemananswerto the
 
−
challengesfrom"
 
−
“Westerners”oftwentiethcentury
 
−
 
−
»,it is
 
−
-to say,IAssumed,fromcomposersofthetraditionlearned.ButOrnetteColeman,according toyvesBuin,toguardgoodoffallinthistrapand"leave alone,wisely,fall".IamtheAgaintentofyou
 
−
goaexpressionof onesensitivityofthe time1970
 
−
:thejazz
 
−
–
 
−
thefreejazzparticularly
 
−
–
 
−
 
−
isaffirmationof onemusicnewsleaningonasociologynews,shen / Anotto to respondto the
 
−
injunction s"western»(“bourgeoise s»do we havebankruptread).
 
−
Wewill noteforto finishalastremarkofthe author,whoabstractmay
 
−
-beto sheonlythissensitivity:"
 
−
Seentheforfeitureof onecertainjazz,whonot interestedmorenobody
 
−
sameto thisera-
 
−
the[…] »…
 
−
 
−
Lauren Cugny
 

Latest revision as of 18:11, 18 January 2024

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