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Free Collective Improvisation Concepts for Medium and Large Ensembles in Jazz: Historical Examples and New Approaches

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Free Collective Improvisation Concepts for Medium and Large Ensembles in Jazz: Historical Examples and New Approaches ORDO AB CHAO Free Collective Improvisation Concepts for Medium and Large Ensembles in Jazz: Historical Examples and New Approaches Thesis for the acquisition of the academic degree Doctor philosophiae (PhD) in the Institut für Jazzforschung of the Universität für Musik und darstellende Kunst Graz submitted by M. Mus. Mathieu LOISEAU, B. Mus. Montreal, June 2016 Universität für Musik und darstellende Kunst Graz This thesis entitled: ORDO AB CHAO Free Collective Improvisation Concepts for Medium and Large Ensembles in Jazz: Historical Examples and New Approaches Presented by: Mathieu Loiseau (Matrikelnummer 0873366) Has been evaluated by a jury composed of the following individuals: Franz KERSCHBAUMER, O.Univ.Prof. Dr. Franz KRIEGER, Ao.Univ.Prof. Mag. DDr. Jürgen ARNDT, Prof. Dr. Thesis approved on this date: ...................................................................... iii SUMMARY The art of free musical improvisation have sometimes led to moments of great musical intensity. For now over fifty years, certain artists have made free improvisation the (either temporary or permanent) main focus of their musical career. For the majority of them, this art have been performed either in solo or in small formations for many reasons, one of which being the possible lack of clarity and musical coherence a large number of improvisers playing at the same time can generate. Improvising freely alone will, naturally, bring no problem of coherence for obvious reasons. When a small musical formation decides to do so, the difficulty to get good interaction between every player becomes exponentially greater as the number of musicians increases, each musician having to care about both his relation to the general musical result if the ensemble, but also his relation with every single other musician playing. Following this logic, it becomes almost impossible, when freely improvising with a large ensemble, like a big band formation, to get instant coherence from every player. Trying to do so without setting certain rules or indications beforehand will almost lead to what one can call musical chaos: a big blur of indistinguishable, unintelligible and uninteresting sounds. This thesis focuses on the methods some composers and musical directors (including the author) have brought forward to try to organize these potential chaotic situations in a relative orderly way. To do so, the author focuses on past personal experiences and experimentations on the subject, interviews he conducted with five composers and/or conductors who had to (or still do) deal with this reality and had different approaches to face it, some other historical examples of composers/conductors having dealt with this situation and a comparative and appreciative analysis of all of these approaches. iv KEYWORDS Free improvisation Collective improvisation Improvisation techniques Composition techniques Musical direction Conduction Musical notation Musical graphics v TABLE OF CONTENT SUMMARY .......................................................................................................................... iii TABLE OF CONTENT ......................................................................................................... v ACKNOWLEDGEMENTS ................................................................................................ viii INTRODUCTION .................................................................................................................. 1 Origins and evolution of free improvisation ...................................................................... 1 Increasing complications ................................................................................................... 3 Managing musical chaos .................................................................................................... 5 Additional difficulties and explanations ............................................................................ 9 CHAPTER I Naïve experimentations .................................................................................. 11 Prologue ........................................................................................................................... 11 The time ........................................................................................................................... 12 The imposing idea ............................................................................................................ 13 The peak(s) ...................................................................................................................... 14 The two hands .................................................................................................................. 16 Divisions within the orchestra ......................................................................................... 18 The story .......................................................................................................................... 19 General musical directions ............................................................................................... 22 Written indications ........................................................................................................... 23 Conclusion ....................................................................................................................... 25 CHAPTER II mathias rüegg: going the other way ............................................................... 26 Composition according to mathias rüegg ........................................................................ 27 Musicians according to mathias rüegg ............................................................................. 35 Free improvisation according to mathias rüegg ............................................................... 41 CHAPTER III Barry Guy: the improvisation architect ........................................................ 44 vi CHAPTER IV Dieter Glawischnig: practical freedom ........................................................ 69 CHAPTER V Butch Morris: conducting freedom ............................................................... 82 CHAPTER VI Marshall Allen, Sun Ra and the Arkestra: the spiritual approach .............. 106 CHAPTER VII Other historical examples: Alexander von Schlippenbach and Michael Mantler ........................................................................................................................ 124 Alexander von Schlippenbach ....................................................................................... 124 Michael Mantler ............................................................................................................. 130 CHAPTER VIII Observations and comparisons ................................................................ 134 Free improvisation goals and direction .......................................................................... 134 Degree of freedom ......................................................................................................... 134 Compositional techniques .............................................................................................. 137 Graphic notation ............................................................................................................ 144 The importance of structure and how to play with it ..................................................... 145 Integrity of the score ...................................................................................................... 147 Concerts and rehearsals ................................................................................................. 148 Problems and remedies concerning free collective improvisation ................................ 152 Musicians ....................................................................................................................... 157 The public ...................................................................................................................... 161 CONCLUSION .................................................................................................................. 162 BIBLIOGRAPHY/DISCOGRAPHY ................................................................................. 168 APPENDIX ............................................................................................................................ x APPENDIX I Extract from Maudite bonne toune pour partir un show ............................ xi APPENDIX II Interview with mathias rüegg ................................................................. xiii APPENDIX III Interview with Barry Guy ..................................................................... xlv APPENDIX IV Interview with Dieter Glawischnig ....................................................... lxx APPENDIX V Interview with Butch Morris .................................................................. xci vii APPENDIX VI Interview with Marshall Allen ................................................................ cl APPENDIX VII A few words about CD #2 .............................................................. clxxvi LIST OF JOINED DOCUMENTS ............................................................................... clxxviii viii ACKNOWLEDGEMENTS First things come first. Therefore, I would like to begin my acknowledgements by thanking both my parents since, had they not made me, it would have been significantly harder to produce this thesis. So firstly, thanks
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