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Freejazz
Freejazz
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Freejazz

Erstellt
Jul 5, 2022 8:19 PM
Tags
SaxophonAvantgarde

Manch einem geht das Herz auf, wenn er Free Jazz hört. Ich finde die Impulse aus dieser Musikecke oft inspirierend - nirgendwo sonst wird so viel experimentiert. Ich stelle mir den Jazz an sich immer als den Ort vor an dem Neues entsteht was dann irgendwann in der Popmusik und Klassik landet. Der Freejazz ist so etwas wie das Labor für die kommende Musik - die Experimenteküche in der Ideen entstehen, die morgen die Welt verändern. Zugegeben: Die Menge an Chaos in der Musik ist oft unerträglich für viele Hörer und es erfordert Mut und Durchhaltevermögen für viele sich dieser Musik für längere Zeit auszusetzen. Es ist nicht zuletzt eine Frage persönlichen Geschmacks ob und wie viel avantgardistische Musik du hören kannst und keine Schande wenn du für dich sagst: das ist nichts für mich. Wenn du künstlerisch aktiv bist - und das bist du wenn du ein Instrument lernst - empfehle ich dir dich immer mal wieder ,nach eigenem Ermessen, fremden musikalischen Situationen auszusetzen um wertvolle Impulse für Wachstum und Inspiration zu bekommen.

sanfter Einstieg:

Believer

Provided to YouTube by Kontor New Media GmbHBeliever · Carlos Bica & AzulBeliever℗ 2006Released on: 2006-06-01Artist: Carlos Bica & AzulComposer: Carlos Bica...

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Believer

Ab Minute 56:

The Bad Plus Joshua Redman at Detroit Jazz Festival

Saxophonist Joshua Redman and the collaborative trio The Bad Plus both stand among the most celebrated, thoughtful and prominent jazz acts of the last couple...

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The Bad Plus Joshua Redman at Detroit Jazz Festival

Rock, Groove und Hardcore Freejazzimpros interessant balanciert

John Zorn's Naked City - The Marquee Club, New York City, NY, 1992-04-09 (Pro-Shot)

John Zorn's Naked CityApril 9, 1992The Marquee Club, New York, NYpro-shot (a neckey - voltarized upgrade)Personnel:John Zorn: Alto SaxBill Frisell: GuitarWay...

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John Zorn's Naked City - The Marquee Club, New York City, NY, 1992-04-09 (Pro-Shot)
KUU - Sex gegen Essen

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KUU - Sex gegen Essen

ein Tipp von einem FreeJazz-kollegen: Frank Möbus

Wegbereiter für den Free Jazz und sehr 🤔speziell:

[Entstanden während der Zivilrechtsbewegung]

Ornette Coleman (Shape Of Jazz)

der späte John Coltrane (Love Supreme)

Ein Klassiker: Lonely Woman …auf der Platte “ The shape of Jazz To Come”

Ornette Coleman - Lonely Woman

Ornette Coleman "Lonely Woman" Album: The Shape Of Jazz To Come Released: 1959 Length: 5'02" Wikipedia: http://en.wikipedia.org/wiki/The_Shape_of_Jazz_to_Come

youtu.be

Ornette Coleman - Lonely Woman

eine moderne Adaption

Lonely Woman

Provided to YouTube by Nonesuch Lonely Woman · Joshua Redman Elastic Band Momentum ℗ 2005 Nonesuch Records Inc. Drums, Synthesiser: Jeff Ballard Tenor Saxophone: Joshua Redman Rhodes Solo, Synthesiser: Sam Yahel Vibes: Stefon Harris Arranger: Joshua Redman, Sam Yahel Writer: Ornette Coleman Auto-generated by YouTube.

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Lonely Woman

Der späte John Coltrane:

John Coltrane - Last Performance at Newport 1966

I do not own the rights to this music! Track list: My Favorite Things: 0:00 - 21:57 Welcome (Part 1) - 21:58 - 30:53 Welcome (Part 2) - 30:54 - 32:38 Leo - 32:39 - End FIRST-HAND EXPERIENCE OF THIS PERFORMANCE: John Coltrane Group, 'Newport Jazz Festival', Newport RI July 2, 1966. Jack responds to a note that Fujioka had indicated that producer George Wein wanted to stop the band between numbers. Trane was the last act on the afternoon show. By the time the first song was over, it was about the usual ending time for the matinee. As Wein started out, as he would as mc, to thank Trane and announce the end of the show, the band started the second song. I doubt Trane even noticed him. I could see Wein standing off stage from my seat during "Welcome", and I could sense his understandable anxiety. The logistics of the festival made getting the audience out so clean-up for the evening show could begin very important. At the end of the second number, as he [Wein] started out again, the band immediately began the third song, and he went back off stage, even more nervous. I remember thinking how the responsibility of running a festival could keep one from enjoying the music as much as the audience. Any way, I just wanted to make things clear, as the Fujioka quote might be misconstrued as antagonism by Wein for the music itself or Trane defying the festival producer. It didn't appear to me that either was the case (sure, Wein's musical interests as a player and a fan were generally for older styles, but he definitely seemed to respect creativity of any era). How do I remember the details of a concert from over thirty years ago? Well, it was the single most satisfying listening experience I ever had, and I don't think I'll ever forget it. --Jack Lefton (Coltrane First Hand ----- http://www.wildmusic-jazz.com/jcfh660702.htm)

youtu.be

John Coltrane - Last Performance at Newport 1966

Und noch zum Abschluss ein Must-Hear: gaaanz viel Saxophon

John Coltrane - Ascension

Composed by John Coltrane -- Released on Impulse! in February 1966 This is the 1st take of the piece, called "Edition II", recorded by Rudy Van Gelder at Van Gelder Studio, Englewood Cliffs - N.J. , 28 June, 1965 Personnel : Trumpet – Dewey Johnson , Freddie Hubbard Alto Saxophone – John Tchicai , Marion Brown Tenor Saxophone – Archie Shepp , John Coltrane , Pharoah Sanders Piano – McCoy Tyner Bass – Art Davis , Jimmy Garrison Drums – Elvin Jones Order of Soloists and Ensemble: 1. (Opening Ensemble) 2. Coltrane solo 3. (Ensemble) 4. Johnson solo 5. (Ensemble) 6. Sanders solo 7. (Ensemble) 8. Hubbard solo 9. (Ensemble) 10. Tchicai solo 11. (Ensemble) 12. Shepp solo 13. (Ensemble) 14. Brown solo 15. (Ensemble) 16. Tyner solo 17. Davis and Garrison duet 18. (Concluding Ensemble)

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John Coltrane - Ascension