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POST EXAMINER FINAL Full Thesis Compile No 2A W Table of Contents

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POST EXAMINER FINAL Full Thesis Compile No 2A W Table of Contents What happens next? Imaginative presence in Gary Peacock and Lee Konitz: Divergent fields, audiation, and the unexpected A thesis submitted for the degree of Master of Philosophy of the Australian National University June, 2016 Benjamin I R Robertson © Copyright by Benjamin I R Robertson, 2016 All Rights Reserved STATEMENT OF ORIGINALITY This is to certify that the content of this thesis is my own work. This thesis has not been submitted for any degree or other purposes. I certify that the intellectual content of this thesis is the product of my own work and that all the assistance received in preparing this thesis and sources have been acknowledged. BEN ROBERTSON i ACKNOWLEDGEMENTS Thanks are due in no small part to my main supervisor, Doctor Kate Bowan, for her invaluable input and guidance in writing this thesis, as well as Professor Paul Pickering, Doctors David Irving, Alexander Hunter and John Mackey for their supervisory counsel. I would like to also acknowledge the early input of Mike Price, who got me started in this process and encouraged me to pursue the themes in the title. Thanks are due to the ANU Melbourne reading group, and its sage advisor, Professor Paul Pickering, who all offered valuable feedback to me on my writing. I would like to thank Miroslav Bukowsky for encouraging me to examine my own improvising processes, and Mark Williamson for reading early drafts and offering helpful counter-arguments. I would also like to thank Danny Fischer for helpful comments on early chapters and Chris Sommervelle for keeping the themes of aural development in focus, via robust discussion and debate. I would like to thank the fabulous musicians I play with for providing me with the chance to continue to develop musically. Many thanks to Gary Peacock and Lee Konitz for being the players they are, and for providing inspiration for the themes in this thesis. Lastly, I would like to thank my wife, daughter, extended family and friends for their support during the writing of the thesis. ii What happens next? Imaginative presence in Gary Peacock and Lee Konitz: Divergent fields, audiation, and the unexpected Benjamin I R Robertson ABSTRACT Bassist Gary Peacock champions an intuitive aesthetic, whether improvising over standard or free jazz forms. Saxophonist Lee Konitz utilises a similarly fearless approach, improvising melodic ideas that are conceived in the moment. This can be an elusive goal for improvisers, and so this research compares the approaches of these two improvisers via transcription and analysis, and the employment of their methods in my own creative practice. In synthesising the key ideas of the two case studies, the research then presents a theory of improvising possibility, called the divergent field. This identifies a type of indeterminacy that can be used as the engine for change in the process of improvising. The divergent field describes musically ambiguous states that leave ‘what happens next’ as being up to the improviser. This aspect is examined in a creative component, Unanchored Music, An Improvising Journal 2013-16, a CD which accompanies the written exegesis and is a record of my own improvising as double bassist with several ensembles, exploring my own creative practice resulting from the writing. My improvising is informed by the jazz tradition in a creative method that involves daily practice, aural training and the study of ideas that populate my musical imagination. This has allowed me to absorb and apply aspects of this research into my own improvising, as it is motivated by a desire to discover the process that Konitz and Peacock are using while improvising, rather than imitate the final products they create. It is hoped that by focusing on this less explored aspect of the field, this thesis will contribute to improving the ongoing dialogue between player and researcher. iii TABLE OF CONTENTS STATEMENT OF ORIGINALITY ................................................................................ i ACKNOWLEDGEMENTS ............................................................................................ ii ABSTRACT .................................................................................................................... iii TABLE OF CONTENTS ............................................................................................... iv ACCOMPANYING AUDIO EXAMPLES .................................................................... v UNANCHORED MUSIC, AN IMPROVISING JOURNAL 2013-16 ....................... vii INTRODUCTION TO THE RESEARCH .................................................................. 1 CHAPTER ONE Intuitive imagination: Gary Peacock ............................................ 15 CHAPTER TWO Melodic presence: Lee Konitz ....................................................... 37 CHAPTER THREE What happens next: Do I improvise? ........................................ 63 CONCLUSION ............................................................................................................. 85 REFERENCES: .............................................................................................................. 89 APPENDIX: .................................................................................................................... 92 iv ACCOMPANYING AUDIO EXAMPLES 1. Peacock - So Tender excerpt (duration 0:24) 2. Peacock - Ballad of the Sad Young Men - excerpt (duration 0:13) 3. Ballad of the Sad Young Men - full track (duration 7:02) 4. Peacock - Never Let Me Go - bass solo (duration 2:08) 5. Never Let Me Go - full track (duration 7:44) 6. Peacock - bars 1-3 (duration 0:14) 7. Peacock - bars 4-5 (duration 0:16) 8. Peacock - bars 6 (duration 0:09) 9. Peacock - bars 9-11 (duration 0:18) 10. Peacock - bar 17 (duration 0:10) 11. Peacock - bar 24 (duration 0:12) 12. Peacock - bar 12 (duration 0:10) 13. Konitz - Phrase from Present Past (duration 0:13) 14. Konitz solo - Everybody’s Song but My Own (duration 2:31) 15. Everybody’s Song but My Own - full track (duration 7:28) 16. Konitz - bars 2-4 (duration 0:12) 17. Konitz - bars 5-8 (duration 0:16) 18. Konitz - bars 15-20 (duration 0:11) 19. Konitz - bars 33-9 (duration 0:15) 20. Konitz - bars 61-3 (duration 0:11) 21. Konitz - bars 18-19 (duration 0:17) 22. Konitz - bars 68-71 (duration 0:11) 23. Konitz - bar 81 (duration 0:17) 24. Konitz -bars 83 (duration 0:09) 25. Konitz - bar 85 (duration 0:09) 26. Peacock - bar 6 (duration 0:09) 27. Peacock - bars 22 (duration 0:13) 28. Konitz - bars 33-9 (duration 0:15) 29. Konitz - bar 81 (duration 0:17) 30. Konitz - bars 83 (duration 0:09) 31. Konitz - bar 85 (duration 0:09) 32. Peacock - bar 8 (duration 0:09) 33. Peacock - bar 12 (duration 0:10) 34. Peacock - bar 14 (duration 0:09) v 35. Peacock - bar 17 (duration 0:10) 36. Peacock - bar 20 (duration 0:02) 37. Peacock - bar 22 (duration 0:13) 38. Dance Of The Soul - Part Two from Lirik (Newmarket 1993) (duration 2:45) 39. No It's Not from Mickets (Rufus 2008) (duration 6:38) vi UNANCHORED MUSIC, AN IMPROVISING JOURNAL 2013-16 1. Falling Twilight (Beck, Gould, Robertson) (duration 5:34) 2. Sidestep Expansion (Robertson) (duration 7:24) 3. Dynamic Revelation (Beck, Gould, Robertson) (duration17:38) 4. On Green Dolphin Street F# major (Kaper) (Duration 7:31) 5. Non-defined (Collings, Howard, Robertson) (duration 10:51) 6. The Useable Parts (Collings, Howard, Robertson) (duration 4:45) 7. Adjacent Dialogues (Beck, Gould, Robertson) (duration 8:49) 8. Quiet End (Robertson) (duration 5:34) vii INTRODUCTION TO THE RESEARCH This research is an investigation of musical factors that contribute to imaginative melodic jazz improvisation. This refers to jazz improvising mainly influenced by approaches from 1950 onwards. This approach is affected by African-American rhythm and harmony, European classical harmony, Indian modal music and common Blues structures, among other things. It refers to improvising using harmonic and related non- extended technique playing.1 It does not attempt to apply these concepts to a broader improvisational context, despite the potential for the ideas to be applied further. This remains beyond the scope of this thesis. The research examines the improvising of two case studies that is inventive and the product of deeper resonance than a vertical explanation. Both improvisers were chosen for their unique qualities. American saxophonist Lee Konitz (b.1927) is one of the most significant alto saxophone players of the highly influential Charlie Parker era, although he does not sound like Parker.2 In a similar era, American double bassist Gary Peacock (b.1935) has enjoyed a long career as a pre- eminent bassist with the Keith Jarrett trio. He is also known for his innovative work with Albert Ayler, Paul Bley and Bill Evans.3 The first two chapters will investigate the music and philosophies of these two contemporary musicians 4 as case studies, and then present a reflective exegesis on the author’s creative practice. The third chapter will thus focus on the development of my internal aural architecture with links to the case studies and offer a new contribution to research in this area, a proposed divergent field. 1 Extended technique playing is music with pure sonic pallets of sounds without tonal reference, often with unconventional techniques. 2 For corroboration of the differing sound of Konitz to Parker, see Parker’s own comments on Konitz’s playing in chapter one. 3 See for instance Spiritual Unity (ESP, 1963), Paul Bley with Gary Peacock (ECM, 1970) and Trio ’64 (Verve, 1964) 4 Contemporary
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