Avant-Garde Jazz / 前卫爵士

  前卫爵士乐与几乎同时出现的自由派爵士乐有很大的不同。前卫爵士乐的音乐虽然比传统意义上的爵士乐更为强调即兴演奏,这种风格的合奏却有比较成型的结构,完全不同于自由派爵士乐的音乐的游戏。很明显,几乎同时出现的前卫爵士乐和自由派爵士乐有许多相互重叠的地方,因此很多音乐家同时演奏这两种风格的爵士乐。在最出色的前卫爵士乐作品中,人们很难听得出作曲部分在什么时候结束,即兴演奏部分从什么时候开始。前卫爵士乐的一个重要的目标就是使即兴演奏自然地成为编曲部分的延伸和发展。在六十年代,前卫爵士乐和自由派爵士乐逐渐成熟之时,受到达两种风格影响的主流爵士乐深深感受到这些非正统的爵士乐的危险。前卫爵士乐和自由派爵士乐一样,成为了正统爵土乐批评的对象。

  代表人物

  Cecil Taylor

  Charlie Haden

  Max Roach


Avant-Garde Jazz differs from free jazz in that it has more structure in the ensembles (more of a "game plan") although the individual improvisations are generally just as free of conventional rules. Obviously there is a lot of overlap between free jazz and avant-garde jazz; most players in one idiom often play in the other "style" too. In the best avant-garde performances it is difficult to tell when compositions end and improvisations begin; the goal is to have the solos be an outgrowth of the arrangement. As with free jazz, the avant-garde came of age in the 1960s and has continued almost unnoticed as a menacing force in the jazz underground, scorned by the mainstream that it influences. Among its founders in the mid-to-late '50s were pianist Cecil Taylor, altoist Ornette Coleman and keyboardist-bandleader Sun Ra. John Coltrane became the avant-garde's most popular (and influential) figure, and from the mid-'60s on, the avant-garde innovators made a major impact on jazz, helping to push the music beyond bebop.

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