Your Freedom Jazz File Download

I love music, I love jazz, and I especially love free jazz, and I've found that it can be difficult for people to get into. You can't just recommend Machine Gun to someone who's only heard Kind of Blue and then say, "Well, you just don't like FREE JAZZ" when they inevitably recoil in fear.

The list is grouped/tiered by the FREEDOM SCALE, from one to ten. The name is mostly just a lark, and this "scale" is not some objective measurement of an album's adherence to what some scholar considers "free jazz". Similarly, it is not meant to necessarily quantify the album's "loudness" or spasticity as one might assume. Rather, it attempts to gauge an album's unconventionality, its uniqueness, its level of raw and unfiltered emotional current, its flavor, its eccentricity. (This is, for example, one reason why you'll see Coleman's Ornette! ranked one tier above Free Jazz.)

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What that translates into are subsections of (mostly) decreasing accessibility, and therefore suggestions on how to proceed at a tempered pace if one wishes to do so. (To put it cheekily: The freedom scale is a good indicator of how likely my non-jazz conscious wife would be to complain about the music were I to start playing it on the house speaker. The higher the freedom rating, the sooner she will request it be turned off.) Albums are only "sort of" ranked within each tier, but honestly that level of granularity is a bit too fine, and not very useful imo.

Kick-off your PRIDE week with a FREE outdoor concert featuring the MN Freedom Concert & Jazz Bands! This delightful evening of music will be held OUTDOORS at the beautiful Lake Harriet Bandshell, weather permitting. For your comfort, you may want to bring a lawn chair or blanket to sit on, water, bug spray, and sun screen. The 40+ piece Freedom Concert Band will lead off the program, followed by the 20+ piece Freedom Jazz Band, for an enjoyable evening of toe-tapping fun!

Keep your Monday evenings energized with music that embodies the spirit of freedom, the essence of jazz, and the joy of dance. Tune in for jazz tinged with world, funk, blues, R&B, fusion and even a little classical now and then.

On January 10, 2024, Max Roach, one of jazz's most remarkable figures, would have turned 100 years old. The observance of Roach's centennial has coincided with the recent release of the documentary Max Roach: The Drum Also Waltzes, which celebrates the drummer's life and music. While many remember Roach as the pioneering drummer connected to the bebop movement of the mid to late 1940s, a much more incredible story is associated with his mastery, creativity, conviction, and spirit.

From Pasquotank County, NC, Maxwell Roach spent most of his youth in Brooklyn. Early into his career, Roach was recognized for his ability to play rapid tempos with impeccable technique while providing well-placed accents on the drum kit. At 18 years old, he came to the jazz community's attention when asked to fill in for Duke Ellington's drummer, Sonny Greer, at the Paramount Theater in New York City. Following that performance, Roach became active on the 52nd Street jazz scene, where he began playing and recording with bebop modernists such as Coleman Hawkins, Charlie Parker, Dizzy Gillespie, Bud Powell, Thelonious Monk, and Miles Davis. These individuals and the bebop style (a term Roach rejected) moved jazz musicians in a new direction in which the music became more removed from the commercialism of the swing era. Roach was considered not only the premier drummer of the movement but also one of its co-creators, particularly with regard to how the drums functioned within a bebop ensemble. Also, he became more interested in African and Afro-Caribbean drumming during this era. Through intense studies and continued schooling, he transferred those root-based traditions onto the drum set.

In 1954, Roach co-led one of the great jazz quintets with the young trumpet master Clifford Brown. The group served as one of the most influential jazz groups of the 1950s and helped develop a jazz style known as post-bop or hard bop, further incorporating blues and gospel elements into bebop. Sadly, the group ended when Brown and pianist Richie Powell died in a car accident in 1956. Roach suffered tremendously after the loss and turned inward, leading to a dark period in his life and the breakdown of his first marriage. Despite his struggles, he continued to forge ahead musically and remained one of the most sought-after jazz drummers.

In the early 1960s, Roach grew more focused and began working with vocalist, songwriter, and actress Abbey Lincoln. They eventually married, and Roach encouraged Lincoln to move away from her image as a starlet to become more focused on presenting music that was more personal and connected with the struggles of the African-American lifestyle in America. With Lincoln, Roach released We Insist! - Max Roach's Freedom Jazz Suite (1960-Candid). The music and lyrics dealt with the African Independence Movement and connected with the American Civil Rights Movement. The recording is a monumental achievement and the first political protest album associated with the jazz idiom. Following the release, Roach continued to present music connected with activism and experimentation through his music and commentary.

In the 1970s, the jazz scene had shifted, and many musicians such as Miles Davis were experimenting with fusing more electric instruments and rock and roll explorations into jazz music. While it might have served Roach financially to jump onto the electric fusion trend, he refused and continued to explore acoustic music. Following the breakup of his marriage to Lincoln, he married Janus Adams. As he struggled to connect with major record labels, Roach relocated to Massachusetts and began a professorship at the University of Massachusetts, where he remained until the mid-1990s. During this period, he became fascinated with the possibilities of a percussion ensemble. He formed the group M'Boom, which showcased the opportunities of a modern percussion band that paid tribute to the African roots of American music.

By reimagining and presenting, We Insist! - Max Roach's Freedom Now Suite! Waits has taken on a monumental task that he does not take lightly. "Max had goals to achieve through his music. So, that impacted some of his choices, and activism was involved with his direction. That prompted a different direction like the Freedom Now Suite-: They were discussing freedom and the question of freedom. Asking have we really attained it? Certainly not. How do we express that through music? A certain discomfort is involved with the suite, and that's intentional. The music reflects a certain amount of struggle. The music was pretty open, and that was intentional. So that's the freedom. You hear the struggles through the song titles and what's happening through the music.

Let Freedom Swing brings outstanding performances to community audiences. Offering performances, workshops, collaborations, and instrumental clinics for audiences of all ages, Let Freedom Swing explores a wide range of jazz topics through the lens of American history. Since 2013, Let Freedom Swing has reached over half a million people in over 3,500 concerts around the world.

Flappers of the 1920s were young women known for their energetic freedom, embracing a lifestyle viewed by many at the time as outrageous, immoral or downright dangerous. Now considered the first generation of independent American women, flappers pushed barriers to economic, political and sexual freedom for women.

The 1920s also brought about Prohibition, the result of the 18th Amendment ending legal alcohol sales. Combined with an explosion of popularity for jazz music and jazz clubs, the stage was set for speakeasies, which offered illegally produced and distributed alcohol.

The classic image of a flapper is that of a stylish young party girl. Flappers smoked in public, drank alcohol, danced at jazz clubs and practiced sexual freedom that shocked the Victorian morality of their parents.

Jazz drummers are a different breed. They play within a set of rules: rhythm, timing, technique, etc. But within that framework, they improvise. The same could be said of classical vs. jazz pianists, brass instrumentalists, etc. Of course, there is better and worse jazz music. But the quality of that music will be measured not so much by how well the ensemble kept to its specific notations but to how skillfully they played within a set of musical rules.

A jazz concert at Jazz Alley in Seattle is typically between 70 and 90 minutes. Length of a typical classical concert is usually 1 to 2 hours. A rock concert is typically 3 to 4 hours long. Operas can last from 1.5 to 5 hours.

I have a Studio Six Digital SPL Meter app on my iPhone so I can check SPLs at venues if I have curiosity or concerns about the loudness. By checking the SPL levels at different concert venues / listening rooms, I have found that subjective listening levels are typically louder than you would think. Getting familiar with what different SPL levels at venues sound like can help you protect your hearing. I recommend you always carry ear plugs with you in case you need them.

So in spite of my inflammatory title for this article, I encourage you to listen safely. Hearing loss is not reversible, so some prudence is advisable if you want to enjoy the live music and audio hobby over your lifetime.

How did you go about assembling your Freedom Band to make this new recording?

I had a little help from my friends (smile). I collaborated with a few of the musicians on other projects and also thought it would be interesting to team up with some other swing state artists.

Brtzmann's sound could be gruff and garrulous, or knifelike and squalling, always with a ferocious commitment to the moment at hand. Few figures in free jazz ever sustained a voice so unsparingly intense, over so long a tenure. "His medium is screaming energy music with a deliberately manic edge," wrote the American critic John Litweiler in his book The Freedom Principle: Jazz After 1958. That pronouncement was made nearly 40 years ago; remarkably, Brtzmann only kept expanding that legacy, keeping a working pace as prodigious as his style. 17dc91bb1f