There's been lots of talk lately about Ken Burns' new film, Jazz, which attempts to chronicle the history of jazz music. You can read about it at http://www.pbs.org/jazz/. Ken Burns is famous for the Civil War series that captivated millions. Unfortunately, it appears that this telling of jazz history, like so many others in the recent past, has been severely Wyntonized, and fails to tell the story of free jazz. In many respects it seems to fail to tell the story of mainstream jazz as well, and thus it looks like a major disappointment. To listen to a stinging review from jazz critic Kevin Whitehead of The Village Voice and Coda, you can install RealPlayer and follow this link to Terry Gross' radio show, Fresh Air -> http://www.npr.org/ramfiles/fa/20010104.fa.02.ram

I suggested elsewhere that Tina Richerson start a conversation regarding her post, which said: "I am very curious about the social and economical background from which free jazz sprouted. I understand that the mid 1950's was a time of great civil rights unrest. African Americans were (are) fighting to shatter the established ideas holding them as secondary citizens. Was Free Jazz just another tool to help break the mold and force the white man to see and think outside the box? Or was there more to it than that? What else am i missing?" She didn't start a conversation, but this interests me enough to start one myself.

Clearly many free jazz artists, as well as more mainstream jazz people, have attempted at one time or another to place their music in a social context. From Billie Holiday's Strange Fruit to Coltrane's Alabama to Archie Shepp's Rufus (Swung His Face At Last To The Wind Then His Neck Snapped) to Mingus' Meditations (or Praying With Eric), the outrage and protest is unmistakable. But Tina raises an interesting point, which perhaps some of us have missed. If I understand her, she asks if free jazz is anything more than a tool for social protest--in other words, where and what is the artistic value? And how does one perceive it?

Has anyone a copy or seen the documentary film called "Imagine the Sound" features all the 60's avantists Cecil, Bill Dixon, Shepp, Paul Bley etc

Both interview and footage of performance probably the only document of its kind - i don't remember the directors name now

or any other films/videos of this genre ?

Where are the web sites that have RealAudio, mp3 etc. files that we can hear to get a taste of new artists?

Im wanting some idea of "general consesus" regarding improv.
I really like the idea of a session organizing itself as it goes along.
This relies,of course, on those who are playing it.
I also like doing "alieotoric" music where varing levels of notation and improv co-exist.
And its really neat to transcribe theatrical improv games for music.
Im also into computer music, specifically,music that is composed by way of algorythmic calculation.

Ah vacation...okay, the site was down for a day or two, and I was too. Oops. As suggested by um, Bummy, I'm issuing a call for people to post what they consider to be essential free jazz music.

Hi Everybody,,
The new site looks great! Here's a question.
Who's included under "free jazz"? What about
Charlie Parker? or Jerry Garcia?

Hi Matt,

It would be useful for me to get an idea of how you're thinking of the different topics, particularly Improvisation and Philosophy. My assumption is that the Improvisation topic is the sort of "general discussion - doesn't fit into any other topic" area, and the Philosophy is the more improv philosophy/theory discussion area?

Any one know about any mags/journals (on-line or off-line) that publish improvised music related articles? I've been doing a lot of writing about improvisation and improvisational theory, and am interested in submitting some of it in article form for publication!

Hey Bill,

You asked where to get info on free jazz concerts in the Boston area.
A comprehensive calendar can be found at:

http://members.aol.com/tautology3/BossImpCal.html

Hope this helps,
Tom