We recently acquired a collection of rare avant-garde jazz records, and I must admit I struggled at first. Avant-garde jazz, a genre pushing beyond traditional swing, bebop, hard bop, and cool jazz forms, is characterized by collective improvisation, radical harmonic concepts, and at times, atonality. Even after a few listens to some of the LPs I was struggling to make sense of what I was hearing. Was I enjoying all the disparate notes and rhythm changes? Kind of, but not as I normally do! I remembered asking a jazz musician friend why jazz was more challenging to listen to than other genres. His explanation, to a non-musician like me, was that if you could plot the key/chord changes in most traditional music genres on a graph, the line would not fluctuate too much. If you compared a similar graph mapping the key/chord changes in a piece of jazz music, there would be very high peaks and very low troughs. Denoting the dramatic variance in chord and key changes. Interesting but it only partly explained my response to this sub-genre of jazz.
Much jazz (and other modern music) is based on the diatonic harmony (with chord changes or scales remaining in the same key) which our Western ears have become used to. Avant-garde or free jazz often challenges this norm with atonal melodies and dissonant harmonies which can seem harsher or more jarring at first listen. As we explored the collection more, we started to discern some real gems that were more accessible to mainstream listeners like ourselves. Pioneers of free jazz like Eric Dolphy and John Coltrane had albums that were abstract within a pretty tight melodic structure. At the other extreme, as we listened and catalogued the collection, the freedom and atonality of Sun Ra and Pharoah Sanders began to make more sense. Or rather we were able to enjoy them on a visceral, instinctive level. Which I suppose it what the spiritual and primordial themes and imagery in these albumes allude to.
Here is a (too) brief history of avant-garde jazz told through five classic albums.
1) Early Signs of Free Jazz: "The Shape of Jazz to Come" by Ornette Coleman (1959)
The late 1950s marked the genesis of the avant-garde jazz movement, spearheaded by saxophonist Ornette Coleman. His seminal album "The Shape of Jazz to Come" heralded a new era of musical exploration, with its pioneering approach to improvisation and disregard for traditional structures. Featuring Coleman's classic quartet, including the likes of Billy Higgins and Charlie Haden, the album's opening track "Lonely Woman" epitomizes the fusion of bluesy, Dixieland undertones and daring experimentation that defined free jazz.
In the collection we have a sealed copy of the rare free jazz record. It is an early reissue on Atlantic from the red and green label era in great condition.
2) Enters the Mainstream of Jazz: "Out to Lunch" by Eric Dolphy (1964)
Eric Dolphy's "Out to Lunch" stands as a landmark moment in the integration of avant-garde jazz into the mainstream. With a lineup boasting jazz legends like Freddie Hubbard and Bobby Hutcherson, the album seamlessly blends collective improvisation with a more accessible framework. Dolphy's bass clarinet paired with Hutcherson's vibraphone creates a distinctive sonic palette, while the youthful energy of drummer Tony Williams propels things forward. It is arguably the most forward-thinking record in the Blue Note catalogue.
In the collection we have two lovely reissues. One an early reissue (White B labels) and the other a 1980s French DMM repress. Both have superb audio quality and represent very good value for money.
3) Popularity Grows: "Ascension" by John Coltrane (1965)
Building upon the foundations laid by Coleman and Dolphy, saxophonist John Coltrane embarked on a spiritual journey with his album "Ascension." Departing from his classic quartet format, Coltrane assembled an 11-piece ensemble to explore the boundaries of free jazz. The album's eponymous track serves as a watershed moment in Coltrane's career, with its alternating structured ensemble passages and freeform solo sections, signalling a profound shift towards spiritual expression and musical liberation.
In the collection we have an early reissue from 1968 on Impulse in top condition. See also Blue Train and A Love Supreme for more Coltrane.
4) Juxtaposing Logic with the Spiritual: "Ptah, the El Daoud" by Alice Coltrane (1970)
Delving deeper into the spiritual dimensions of avant-garde jazz, Alice Coltrane's "Ptah, the El Daoud" offers a transcendent listening experience. Having succeeded McCoy Tyner in John Coltrane's band, Alice Coltrane emerged as a visionary bandleader in her own right after her husbands death in 1967. The album's lineup, featuring luminaries like Pharoah Sanders and Joe Henderson, juxtaposes Sanders' spiritual playing with Henderson's controlled, logical lines, creating a harmonious balance between celestial transcendence and earthly precision.
This is a very rare jazz album, and we have an original in super condition in the collection for sale.
5) Embracing All-Out Atonality: "Space Is the Place" by Sun Ra (1972)
In the avant-garde jazz scene, Sun Ra is a significant figure, renowned for his album "Space Is the Place." Drawing from a kaleidoscopic array of jazz influences, including ragtime, bebop, and free jazz, Sun Ra creates a mesmerizing sonic tapestry that defies categorization. The album's hypnotic title track, characterized by chant-like rhythms and otherworldly melodies, stands as a testament to Sun Ra's enduring legacy as a pioneer of avant-garde jazz.
Many of Sun Ra’s earlier recordings were self-produced efforts that were only printed in small batches; many without the track names or featured musicians! We have a lovely collection of rare Sun Ra originals for sale. The collection includes a rare original of Space is the Place in top condition.