linking improvisation to cultural context: bringing a jazz
TRANSCRIPT
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LinkingImprovisationtoCulturalContext:BringingaJazzDrummingAesthetictotheMusicofDiverseCultures
FrankGibson
UniversityofOtago
Anexegesis,submittedinpartialfulfilmentoftherequirementsofthedegreeof
DoctorofMusicalArts.Thissubmissioncomprisesafolioofcreativeworkincluding
threecompactdiscs.
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Iherebydeclarethatthissubmissionismyownworkandhasnotbeensubmittedfora
degreeordiplomainanyuniversity.Tothebestofmyknowledgeandbelief,it
containsnomaterialpreviouslypublishedorwrittenbyanotherpersonexceptwhere
duereferencehasbeenmadeintheexegesisitself.
FrankGibson
June2019
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Table of Contents
Acknowledgments...........................................................................................................5
Abstract...........................................................................................................................6
Prelude............................................................................................................................7
Chapter1:Introduction.................................................................................................111.1Introduction.....................................................................................................................111.2ResearchDesignandScope..............................................................................................12
1.2.1ConceptualFramework...................................................................................................141.3Methodology....................................................................................................................16
1.3.1PerformanceLedResearch..............................................................................................171.3.2DiscourseinMusic...........................................................................................................171.3.3ScopeandLimitations......................................................................................................191.3.4ElementsofPraxis............................................................................................................20
1.4StructureoftheExegesis..................................................................................................23
Chapter2:Foundations..................................................................................................252.1Introduction:WhyJazz?...................................................................................................252.2Jazz..................................................................................................................................262.3InterculturalCollaborationinJazz....................................................................................272.4JazzDrummingAesthetics................................................................................................282.5Improvisation...................................................................................................................30
2.5.1JazzImprovisation............................................................................................................312.6AestheticsandImprovisationintheCollaborativeMusicalCultures.................................32
2.6.1IndianClassicalMusic.......................................................................................................322.6.2ChineseClassicalMusic....................................................................................................332.6.3WesternClassicalMusic...................................................................................................34
2.7Conclusion........................................................................................................................35
Chapter3:FourinOne...................................................................................................363.1Introduction.....................................................................................................................363.2ExplorationoftheCreativeProcess..................................................................................383.3Conclusion........................................................................................................................41
Chapter4:FreedomThroughDiscipline.........................................................................434.1Introduction.....................................................................................................................434.2ExplorationoftheCreativeProcess..................................................................................45
4.2.1‘FourPartSuiteforTablaandDrumset’...........................................................................464.2.2‘FreedomthroughDiscipline’and‘ConversationswithChinmaya’.................................474.2.3‘FirstMeeting,FirstTake’.................................................................................................48
4.3Conclusion........................................................................................................................48
Chapter5:TheFiveElements.........................................................................................505.1Introduction.....................................................................................................................505.2ExplorationoftheCreativeProcess..................................................................................52
5.2.1‘SpringtimeonTianMountain’........................................................................................545.2.2‘ExitThrutheEntrance’....................................................................................................545.2.3‘Intensity/Fire’..................................................................................................................555.2.4‘MarcoPolo’sReturn’.......................................................................................................555.2.5‘Empathy/Compassion’....................................................................................................56
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5.2.6‘HappyHouse’..................................................................................................................565.3Conclusion........................................................................................................................57
Chapter6:Open-Ended..................................................................................................596.1Introduction.....................................................................................................................596.2ExplorationoftheCreativeProcess..................................................................................60
6.2.1‘StolenMoments’.............................................................................................................616.2.2‘SoWhat’..........................................................................................................................626.2.3‘InWalkedBud’................................................................................................................626.2.4‘Naima’.............................................................................................................................636.2.5‘ANightinTunisia’...........................................................................................................636.2.6‘Skylife’.............................................................................................................................646.2.7‘ATributetoMaxRoach’:MaramaHallImprovisation(FrankGibson)...........................646.2.8‘StraightNoChaser’.........................................................................................................65
6.3Conclusion........................................................................................................................66
Chapter7:Conclusion....................................................................................................67
Bibliography..................................................................................................................72
Discography...................................................................................................................78
APPENDIX1:MusicianBiographies................................................................................81FourInOneMusicians’Biographies..........................................................................................81TheFiveElementsMusicians’Biographies................................................................................83Open-EndedMusicians’Biographies.........................................................................................84
APPENDIX2:DiscographyofAlbumsConsultedasBackgroundResearch.......................86
APPENDIX3:AccompanyingMaterialtoChapter3........................................................93SelectedstillsfromthevideoaccompanyingtheFourInOneRecordingSessions...................93SelectedleadsheetsandnotesfromFourInOne.....................................................................93
APPENDIX4:AccompanyingMaterialtoChapter4........................................................95SelectedstillsfromthevideoaccompanyingtheFreedomThroughDisciplinerecordingsessions.....................................................................................................................................95SelectednotesandsketchesmadeforFourPartSuite.............................................................95
APPENDIX5:AccompanyingMaterialtoChapter5........................................................98SelectedphotographsfromTheFiveElementsrecordingsessions..........................................98SelectedsketchesfromTheFiveElementsrecordingsessions.................................................99
APPENDIX6:AccompanyingMaterialtoChapter6......................................................107SelectedphotosfromtheOpen-EndedConcertatMaramaHall............................................107‘StraightNoChaser’chartarrangedbyBruceLynch...............................................................108
RecordingsandPerformances......................................................................................117CD1:TheFrankGibsonQuartetPlaysMonk:FourinOne.......................................................117CD2:TheFrankGibsonIndianEnsemblePresents:Freedom..................................................118CD3:FrankGibson’sChineseEnsemblePresents:TheFiveElements.....................................118LivePerformance:FrankGibsonandCollaboratingArtists,TheBlackStringQuartetandBruceLynchPresent:Open-Ended..........................................................................................119
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Acknowledgments
Thankyoutomyexceedinglyskilledmusicalcollaborators.Whatajoyanda
privilegetoplaywiththosewhoarededicatedandexcelattheircraft.Their
musicianshipandimprovisationsprovideafirmfoundation,forgingaconnection
thatinspiresbeyondwords.
MyappreciationtoOtagoUniversity,especiallyRobBurnsandHenryJohnsonfor
theirsupportandencouragementtopushtheboundariesand‘gobeyond’.
Asalways,thankyoumydearRosieforyourlovingsupport.
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AbstractThisexegesisexploreshowdifferingmusicallanguagescanbeusedincollaboration
tocreatenewstylisticinterpretations,whilstretainingdistinctmusic-culturalvoices.
ThroughthisresearchIwilladvancethefieldofperformance-ledresearchwithan
originalcontributiontoknowledgeandperformance,anddemonstrate,throughthe
accompanyingrecordings,thejazzdrummingaestheticinrelationtothe
performance,improvisationandthemusicofthreeverydifferentmusicalcultures:
Indianclassical,Chineseclassical,andWesternartmusic(specificallychamber
music).Iexaminenotionsoftradition,authenticityandhybriditythrough
collaborationwithmusiciansfromtheabove-mentionedmusicalcultures.The
compositionsandperformancescontainedwithinthisresearchdelveinto
improvisationalapproacheswithinandbetweenmusicalcultures,andhowthey
relate/reacttothefocusonimprovisationandindividualisticcomposition
techniquesfoundinjazz.Mycollaboratorsretainedtraditionalinstrumentaltunings,
harmoniesandaestheticapproaches,whilecollaboratingwithjazzdrums(kit).This
ensuredthatthevoicesofthenon-jazzmusiciansweregivenequalimportanceas
thejazzvoices.Inparticular,thisresearchexploresopportunitiesofcross-cultural
andinterculturalmusicalexpression,andtheuniquemusicalstoriesthatmayarise
fromembracinganopenmusicaldiscourse.
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Prelude
SincemyfirstperformanceintheAucklandTownHallplayingadrumduetwithmy
father,andplayingwithmyteenageband,theJuvenoliansatage10(Bourke,2013;
Dix,2014),Ihavelivedandbreathedmusic.Ibeganplayingprofessionallyatthe
ageof18andhaveplayedprofessionallyeversince.Ihaveenjoyedavastcareer,
whichhastakenmearoundtheworld.AsadrummerIhaveanunparalleledlocal
andinternationalperformanceprofile,whichhasshownmyabilitytoplayarange
ofmusicalgenres.Icontinuetobesoughtafterbothhereandoverseas.Withover
60yearsofplayingmusicsinceIfirststeppedontothestageattheAucklandTown
Hallasan8-year-old,IhavemadeacontributiontoNewZealandmusic,for
exampleIformedthefirstNewZealandjazz-rockband(DrTree),thefirstNew
Zealandjazz-funkband(SpaceCase),andalsoinstigatingandplayingonmany
seminalNewZealandjazzrecordings.
Ihaveplayedatconcerts,clubs,andfestivalsinNewZealandandaroundtheworld,
playingpop,rock,country,R&B,jazzfunk,jazzrockandallstylesofjazzmusic:
early,swing,bebop,hardbop,modernandfree.Ihaveplayedacrossmusicalgenres
withawidevarietyofartistsincludingLeoSayer,DustySpringfield,DioneWarwick,
DianaKrall,RickWakeman,MiltJackson,RonnieScott,SonnyStitt,andCharlieByrd.
Ihaveplayedonover200albums,onover250radioprogrammes(BBC-UK,Europe,
USA,ABC-Australia,NewZealand),andIhaveenjoyedbeingthefirstcalldrummer
forsessionsinNZandintheUKwhenresidentthere,playingoncountlessTVshows
andspecials.InNZIhavewonRockRecordoftheYear,wonJazzRecordoftheYear
3times,playedon10otheraward-winningalbums,andin1983wasinductedinto
theAvedisZildjianHallofFame.IhavebecomepartofNewZealandmusichistory,
asdidmyfatherwhohadthefirstNewZealandrockband,FrankGibson’s‘Rock‘n’
Rollers’(Bourke,2013).Asummaryofafewhighlightsbelowgivesanideaofthe
breadthofmycontributiontomusic,butinacareerthatspansover60years,these
highlightsarejustadropintheocean:
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• IformedandledthefirstNewZealandJazzRockband,DrTree,withthe
debutalbumDrTree(1976)winningNewZealandMusicAwardsforBest
NewArtistoftheYearandRecordingArtist/GroupoftheYearin1976.
• IplayedpercussionanddrumsonthesoundtracktothefirstNewZealand
colourfeaturefilm,ToLoveaMaori,recordedintheloungeofpioneerNew
Zealandfilmmaker,RudallHayward(whilewatchingthefilm)(1972).
• In1980,IformedNewZealand’sfirstjazz-funkbandSpaceCase(3albums
recorded1981,1983,1985andre-releasedin2008).
• IplayedforaRoyalCommandVarietyperformanceandplayedtheOpening
oftheNewZealandCommonwealthGames(Auckland1990)alongwithChris
ThompsonandSirHowardMorrison.
• Someofmydrumtracks,especially‘DrTree’(NZ)and‘Paz’(recordedinthe
UK)tracksarereveredbymanyinternationalDJs,suchasDJShepandDJ
Vadim(seeDiscographyfordetails).
• Duringthe1980s,whenvisitingartistscametoNewZealand,Iwasfirstcall
NewZealanddrummerfortheirgroups.Icontinuedthisprestigiousbacking
positionwhenIwaslecturingfulltimeinAustraliaatEdithCowanUniversity
(Dix,2014).Ialsorecordedwithmanyoftheseartistsonmyaward-winning
(NZMusicAwardforJazzRecordoftheYear,1982)albumParallel37(1980-
81),rereleased(2008)withpreviouslyunreleasedtracks,includingthelast
recordedtracksofrenownedguitaristEmilyRemlerbeforeheruntimely
death.IalsoplayedonDonBurrow’salbumTheTasmanConnection(1976),
anAustralianandNewZealandmusicalcollaboration.
• RogerMarbeck(OdeRecords)hasbeenre-releasingaseriesofseminalNZ
jazzrecordings.TheonecommondenominatorisIplayonallofthem.
• IhaveplayedonfiveofAlanBroadbent’salbumsinLosAngelesandthreein
NewZealand.BroadbentisaNewZealandjazzpianist,arrangerand
composerbestknownforhisworkwithWoodyHerman,ChetBaker,Charlie
Hadenetal.HehaswontwoGrammysforarrangementshedidforNatalie
Cole(‘WhenIFallInLove’duetwithNat‘King’Cole’,1999)andShirleyHorn
(‘LonelyTown’withCharlieHadenQuartetWest,2000).
• IhavetaughtmanyofNewZealand’srenowneddrummersinmyprivate
teachingpracticeandatUniversitylevel,includingMichaelFranklinBrowne
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(Pluto),PaulRoper(TheMintChicks),PaulRussell(ofSupergroove,Bic
Runga,Eight,CheFuandcurrentlyStomp),AidanBartlett(MidnightYouth),
RickyBall(HelloSailor),LukeCasey(ofEyeTVandTheRelaxomaticProject),
andBenVanderWal(MadeleinePeyroux,RufusReidandErnieWatts),to
namejustafew.
• In1979,IplayedonBritain'sfirstdigitally-recorded,direct-to-discsingle
recordatAbbeyRoadStudioswiththeMorrissey-Mullenband
(commissionedbyEMI,seeDiscographyfordetails).Iplayedregularlyand
recordedwiththisbandwhowereoneofthefirstUKjazzfunkbands.
• IplayedonLonnieDonegan’s(1978)albumPuttinontheStyle,alongwith
EltonJohnandBrianMay.Lonniewasknownasthe“KingofSkiffle”.The
GuinnessBookofBritishHitSingles&Albums(Roberts,2006)statesthat
DoneganwasoneofBritain'smostsuccessfulandinfluentialrecording
artistsbeforeTheBeatles.
• IplayedonthreeofthefirstfourtracksoftheWalkerBrothers’(1978),
AlbumNiteFlightrecentlydiscussedinthedocumentaryScottWalker:30
CenturyMan(2006)byBrianEnoandDavidBowie,amongothers,asbeinga
seminalrecordinginfluenceofavantgarderock.Thisalbumhasacult
following.
• IrecordedandplayedconcertswithRickWakeman(fromYes)intheUKand
Europein1979.
• IcompletedBBCtelevisionshowsandworldtourswithLeoSayer,Dusty
Springfield,andDavidEssex,amongothers(1977-1980).
Beingimmersedinmusicandthemusicworldfromayoungage,hasledmeinmany
musicaldirections.AllthatIhavelearnedfrommusicandtheaccomplishmentsI
havemadeinmusichasledmetoundertakethismusical,improvisationaland
interculturalexploration.Myinterestinthecreativepossibilitiesofcross-cultural
collaborationandpursuingthisresearcharepartofanongoingcreativeand
collaborativeexplorationthatbeganintheearly1970swiththejazz-rockfusionof
DrTreeandthelaterjazz-funkfusionofSpaceCase.Theseexplorationshave
continuedtodevelopthroughthecourseofmycareerasIhavecomeintoclose
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musicalcontactwitharangeofdiverseindividualsandmusiciansinNewZealand
andacrosstheworld.
Mymusicaljourneyhasencompassedmusicalcollaborationsbasedonthediverse
musicalandculturalbackgroundsofmycollaborators.Coretothedevelopmentin
thesecollaborationsisanegotiatedsharedmusicallanguagethatnotonlyrespects
thatdiversity,butthatalsousesthatdiversitytobroadenandenrichthemusic,my
musicalunderstandings,performanceandperceptions.Thecreativepossibilitiesof
negotiatedcollaborationanddevelopingasharedlanguagewhilstretainingdistinct
anddiversevoicesinconjunctionwithindependenceandindividualityopensnew
musicalpossibilitiesandwaysofmakingmusictogether.Thesenewpossibilities
buildontheindividualandcollectivevoicescomingtogetherasanindividualised
unificationthatpromotesself-determinationandprovidesandunleashesacreative
challengeandprocess.
Musicispartofmybeingandmylifeblood,andasamusician,andinparticulara
jazzmusician,Ihavenewstoriestotell–togobeyondwhatweknow,toexceedmy
reachbyseeingthroughtheeyesofthosewhobringadifferentwayofseeingand
playing,andtocreatenewstories.
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Chapter1:Introduction
1.1 Introduction Thisexegesisinvestigateshowjazz-basedimprovisationmightenablenew
collaborationsbetweenartistsofculturallydiverseexamplesofmusic.These
collaborationswillbeexpressedbylinkingjazz-basedimprovisationtoeachcultural
contextinbothrecordingsandperformance.Thisperformance-basedresearch
exploresthepossibilityofabroader,freerapproachthatdoesnotusuallyoccur
withinthestricturesofjazz,Westernartmusic,orChineseorIndianclassicalmusic
traditions(themusicsexploredinthestudy).Thecentralthesisinthisresearch
seekstoexaminehowdifferingmusicallanguagescanbeusedincollaborationto
createnewstylisticinterpretations,whilstretainingdistinctmusic-culturalvoices.
Theconceptof‘discourseinmusic’(seeLeeuwen,2012,p.320)providesabasefor
thesecollaborationsandIelucidatethisconceptthroughtherecordingsand
performancepresentedinthisresearch.Acentralconsiderationforthese
collaborationsistheretentionofeachdistinctcultural(musical)voice,using(inthe
caseoftheChineseandIndiancollaborations)traditionaltuningsandinstruments
sothattheintegrityofthemusicalvoiceisheardwithinthediscourse,ratherthan
leadingtoafusionofstyles.ThroughthisresearchIwilladvancethefieldof
performance-ledresearchwithanoriginalcontributiontoknowledgeand
performance,anddemonstrate,throughtheaccompanyingrecordings,thejazz
drummingaestheticinrelationtotheperformance,improvisationandthemusicof
threeverydifferentmusicalcultures:Indianclassical,Chineseclassical,andWestern
artmusic(specificallychambermusic).FromtheintrinsicframeworkofAmerican
jazztothemusicoftheabovementionedcultures,thecompositionsand
performancesontheaccompanyingCDswill:
• Contrastanddemonstratetheinter-connectionsbetweenIndianclassical
music’scollective-ideacreationandjazzmusic’simprovisational
individualisticcomposition.
• ExploretheharmonicinterplayrelatedtotheChinesephilosophicalideaof
thefiveelements,whileretainingthetraditionaltuningsoftheChinese
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instrumentssothattheirtraditionalvoiceisheardwithintheimprovisational
dialogue.
• Exploretheimprovisationalelements,inter-connections,andintersections
ofjazzrootsandtraditionalEuropeanharmony.
Musiccontinuestoevolvedifferentlyindiversecultures,impactedbyawiderange
ofgeographicalandsocialaspects.Thus,asanever-evolvingartform,therewill
alwaysbeareasoffurtherexplorationpossible.InthisresearchIaimtoexplorehow
musicfromdifferentpartsoftheworldcanblendwiththerhythms,texturesand
melodiccontentofjazzdrumming.
Improvisationasatopicofresearchacrossmusicologyhasbeenexaminedprimarily
fromthepointofviewoftheoryandanalysis(seeforexample,Agawu2008;
Berliner,1994),orintermsofspecificperformancepractices(forexample,
Mehegan,1964;Monson,1996).Incomparisontotheseapproaches,therehasbeen
arelativescarcityofresearchonimprovisationinrelationtoitsculturalcontext
(Bailey,1992;Monson,1996;NettlandRussell,1998),despitetherelationshipand
positioningofimprovisationinrelationtothemusicalprocessesinherentin
differentcultures(Becker,2000).AswillbeexploredfurtherinChapter2,the
examinationofimprovisationpracticesbetweencultures,orusingtwodifferent
musicalgenres/improvisationalsystemsinstudiesofimprovisationisrare.Todate,
relativelylittleofdepthhasbeenstudiedandpublishedonimprovisationinan
interculturalcontext(FíschlínandHeble,2004,p.21).Myresearchhereundertakes
tofillsomeofthatgapbyinvestigatingtheinterplaypossiblewhenmusiciansof
differentmusicalculturescompose,improviseandcreatemusictogether.
1.2 Research Design and Scope Thisprojectaimstoexplorethepossiblediscoursebetweenjazzdrummingandthe
musicofotherculturesandgenresthroughtheconnectionsthatoccurinthecourse
ofimprovisation.Iproposeanamalgamationofimprovisationaljazzdrummingwith
themusicandtraditionalinstrumentationandtuningsfromdifferentmusical
culturesthatpreservesthedistinctvoicesbroughttoimprovisationand
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performance,butalsocreatesanewmusicalwholeandframeworkforthe
discourseinmusic.Thisprojectculminatesinapracticalandcreativeoutcomeof
thecomposition,andthreerecordingsandoneperformanceusingimprovisational
languagewith,ingeneralterms:
1. AmericanBebop-basedJazz
2. Indian(Hindustani)ClassicalMusic
3. ChineseClassicalMusic
4. StringQuartetandBassintheWesternArtMusictradition
(Adiscussionofthesegenresandwhytheywerechosencanbefoundinchapter2)
Thisprojectalsoexploresimprovisationallanguageandhowthiscanbeutilisedin
thedevelopmentofnewmusicalmaterial.Imaintainthatintheexperienceand
processofimprovisingnewmusicalrelationshipsandprocessesarecreatedthat
shapethemusic.Therefore,Ipositthatthisprojectisnotafusionofjazzandworld
musicbutanexplorationofimprovisationandthejoiningofdistinctaesthetic
genres.
Thisexegesisprovidesarecordandanalysisofthecreativeprocessprovidingan
explorationoftheideasandinfluences,whichinform,interactwith,andinspirethe
process,performanceandmusicalbackground.Itisacriticalandreflectivereviewof
theculturalandjazzimprovisationmatrixthatprovidesaframeworkforthemusical
workandattemptstoarticulatetheinter-connectionsandunderlyingtheoretical
andperformanceunderpinningsinjazzdrummingimprovisationandclassicalmusic
fromthreedisparatemusicalcultures.
Thediscussionsthatoccurredwiththeperformersduringthecourseofrehearsaland
recording,andthemusicalperformancesthemselvesarecentraltotheresearch
undertakenforthisexegesis.Theybringtotheforeanawarenessandelucidationofthe
historicalandcurrentculturalandpersonalbackgroundofeachoftheperformers.The
awarenessarisingfromthediscoursewasengenderedinthemusicalform,structureand
functionformingtheconceptualcontextofeachofthecompositionsandimprovisations.
Thus,arangeofmaterialandapproacheswereusedtocontributetoandinformthis
exegesis,including,audiorecordingsofdiscussions,audiodiary/journalrecordings,
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videorecordingsofthecreativeprocess,CDrecordingsinclusiveoflinernotes,
literatureandmusicdiscographyreview.
1.2.1ConceptualFramework
Theresearchdesignofthisprojectisbasedonfourdistinctideas:
1. NewZealandasamulticulturalsociety,whichisreflectedintheperformance
practicesundertakeninthisresearch.
2. Thenotionoftraditionasitrelatestothegenrescollaboratedoninthis
research.
3. Interculturalmusicalcollaborations.
4. Hybridityinmusicalperformance.
Eachofthesewillbediscussedinturnbelow.
Inourdynamicsociety,culturaldiversityisarealityandcanbeanenriching
experienceofferingexplorationopportunitiesbeyondtraditionalWesternmusical
practices.SociologistandphenomenologistAlfredSchutz(1977)recognisesthat
individualsarelimitedbytheculturalpastandbackgroundbothconsciouslyand
unconsciously;hetermsthisthecollectivememoryandthelimitofhistoricity.
Schutz(1977)explainsthatmusiciansarelimitedwhentheyapproachapiece,even
anunknownpiece,byusingahistoricallypredeterminedapproachbasedontheir
previousmusicalexperiences.However,ratherthanlimitingthemusicalexperience,
thisprojectviewsculturalbackgroundandcapitalascreatingamusicalrelationship
thatenrichesthepieceandtheprocess,openingupareaspreviouslyunexplored,
andcreatingsomethingnovelinthepresentoutofthepastexperiences.
ThroughoutNewZealand’shistorytherehavebeenawidevarietyofdifferent
culturesinfluencingaspectsofNewZealandsociety(seeforexample,Belich,2001;
King,2004;Sinclair,1991).Theincreasingglobalisationofsocietyduringthe
twentiethcentury,andthegrowthinimmigrantpopulationsinNewZealand,has
ledtosocietyentertainingtheconceptofNewZealandasamulti-culturalsociety
(Patman&Rudd,2005).Inthetwenty-firstcentury,thisburgeoningmulti-
culturalismofNewZealandsocietyhasopenedupnewavenuesforcollaborations
andconversationsamongartists.
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Thesemulti-culturalinfluenceshavenaturallyextendedtoNewZealandersmusic-
makingandperformance,ascanbeheard,forexample,onMurrayMcNabb’salbum
AstralSurfers(2009).JazzinNewZealandhaslonghadmultipleculturaland
aestheticinfluences(Bourke,2010;Ward,2010,2012;Meehan,2017),andNew
Zealandjazzmusicianshavebeenfascinatedwithhowothertheseotheraesthetic
influencescancombinewithjazz.InmyownworkIhavebeenintriguedbyawide
varietyofmusicalculturesandhowtheycancombinewithjazz.Thisresearchisa
furtherexplorationofthreeculturalandaestheticinfluences(IndianandChinese
classicaltraditionsandWesternartmusic)andhowtheycancombineandconverse
withjazzinthecourseofperformance.
Traditionsarecentraltothehumancondition,and,asHobsbawmandRangerhave
noted,humanscontinuallycreatetraditions(Hobsbawm&Ranger,1992).
Traditions,andthecreationoftraditions,arealsocentraltoallmusicalcultures,for
exampletheriseofthetraditionofthescoreasasetdocument,excluding
improvisationinWesternpianofantasias.Sometraditionsarecenturiesold,suchas
someofthoseintheChineseandIndianmusicsfeaturedinthisresearch,andsome
farmorerecent,suchasjazzimprovisation(Hobsbawm&Ranger,1992).Further,
somemusicaltraditions,suchasthoseinvolvedinwesternartmusic,have
reinventedtraditionsasfoundinthe‘historically-informedperformancepractices’
(orHIPP),byusinghistoricaldocumentsandinstrumentstorecreateparticular
stylesandperformancepractices(Butt,2002).Thenotionoftradition,andplaying
withmusicaltraditionsformsthesecondpointofmyconceptualframework.
Throughthelive-recordedperformances,mycollaboratorsandIconsiderideasof
tradition,andhowthosechangeorremainthesamethroughthemusicaldiscourse.
Bringingtogethertheideasofmulti-culturalismandtraditionistheconceptof
interculturalcollaboration.Interculturalcollaborativeresearchcanbedefinedas
bothcultureshavingequallyvalidinputonresearch,withanemphasisonrespecting
eachcultureandwhatitcanbringtothecollaboration(Black,2015;Burnard,
Mackinlay,&Powell,2016).Interculturalcollaborationcantakemanyforms.
Centringtheseideasonjazz,interculturalformscanrangefromjazzmusiciansfrom
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differentcultures(see,forexampleLomanno,2012;Wilson,2015),tojazzmusicians
collaboratingwithmusiciansfromdifferingculturesanddifferingmusicaltraditions,
suchasthoseseenintherecordingsoftheMahavishnuOrchestra,John
MayerandOregon,Hiroshima,theMaxRoachDoubleQuartet,andBillEvanswith
theSymphonyOrchestra(seeDiscographyfordetails).Withinthisresearch,
interculturalcollaborationstaketheformofajazzmusiciancollaboratingwith
musiciansfromdifferentmusicalculturesandaesthetics.Usingjazzasthebase
aestheticandform,Iexplorethepossibilitiesofdiscoursewithothermusical
aestheticsthatdoesnotprioritisethejazzaestheticovertheothermusical
aestheticsandrespectsthetraditionsofmycollaborators.Whilethereisthe
possibilitythatusingjazzastheprimacygivesitanunequalweightinthese
collaborationsthefactthatIamadrummermeansthatmyjazzaestheticisnot
imposingtonalharmonyormelodyonmycollaboratorswhoareplayingtonal
instrumentsfromothertraditions.BydoingthisIaimtocreateahybridmusicthat
isbothjazzandnotjazz.
Hybridityinmusicis,asGoldschmittsuggests,“aconceptfordescribingmusical
mixturesthatareexplicitlyenmeshedinidentitypolitics”(2014).Jazzis,ofcourse,a
well-knownexampleofsuchhybridisation(Porter,2004),andasnotedabovejazz
musiciansandcomposerscollaboratewithmanymusicalcultures,thusencouraging
furtherhybridisation.Despitethenegativeconnotationsmanyhybridityprojects
havehadregardingthenotionsofauthenticity,powerimbalances,andculturalself-
determination(BornandHesmondhalgh,2000;Frith,2000;Goldschmitt,2014),
morerecentlyithasbeenrealisedthattherearepotentialbenefitsofhybridisation
ifapproachedrespectfullybythepartiesinvolved(Goldschmitt,2014).Such
hybridisationisacentralproductofthisresearchandproducedthroughthe
respectfulinterculturalcollaborationsbetweenmusicians’traditionsinamulti-
culturalsociety.
1.3 Methodology Mymethodologicalapproachforthisexegesisiscentredonperformance-led(also
commonlyknownaspractice-based/led,creative,orartistic)research.Iusethe
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creativeprocessofrecordingsandperformancetoexplorethediscourseinmusic
betweenmyjazzdrummingandthecomposition,performanceandimprovisationof
musicalaestheticsderivedinothercultures.
Thecompositionsandperformancesinthisresearchprovideanexplorationofthe
improvisationalelements,inter-connections,andintersectionsofjazzroots.Jazz
itself,isamusicofintersectionsfromAfricaandEurope(Shipton,2001),andhereI
combinethoseintersectionswithelements(instrumentation,form,and
philosophies)fromtheIndian,ChineseandWesternartmusictraditions.Traditional
instrumentsandtunings(inparticularthoseofthecollaborationswithIndianand
Chinesemusicians)areusedtoensuretheintegrityoftheculturalvoice.
1.3.1PerformanceLedResearch
Performanceorpractice-ledresearcharisesfromqualitativemethodologies,andhas
manypossibleformsdependentontheartformsandtypesofresearchinvolved
(SmithandDean,2009).Practice-ledresearchcanbroadlybedefinedasresearch
where“themainfocusoftheresearchistoadvanceknowledgeaboutpractice,or
toadvanceknowledgewithinpractice”(Candy,2006,p.3).Thelatterpoint,
“advancingknowledgewithinpractice”,isthechiefconcernofmymethodological
approach.
Performance-ledresearchisthemostusefulmethodologicalapproachforthis
projectasitallowstheresearcherflexibilityintermsofworkingcollaborativelyto
createadiscoursebetweentheleadresearcherandotherparticipants(Smith&
Dean,2009;Kershaw,2009).Thiscollaborativepraxisisessentialtothejazz
aestheticthatIuseasthebaseofmyresearch,andtothemusiciansIcollaborate
withandtheirmusicalaestheticsandcultures.
1.3.2DiscourseinMusic
Theideaofdiscourseinmusicarisesfromthefieldofcriticaldiscourseanalysisand
semiotics(Leeuwen,2012).Ithasmanyiterationsandapplicationsrangingfrom
musiciantomusiciancommunication(onbothalinguisticandmusicallevel),to
audience-performerorartist-institutioninteractions,towaysofanalysing
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compositions(Agawu,2008;Aleshnskaya,2013).Theconceptofthediscoursein
musicisausefulmethodologicalapproachforthisprojectpreciselybecauseof
thesebroadapplications.Withinthisprojectdiscourseinmusicfocuseson
communications:bothlinguistic(throughinformaldiscussionsbetween
collaboratorsinthecourseofrehearsalandrecording),andmusical(through
improvisation).Equallyimportantarethetypesofcommunicationsand
technologicalinterfacesoccurringonthelinguisticandmusicallevels.Musical
discourseinparticularcanbefurtherdifferentiatedwithrespecttocommunication
technologiesintermsoftwo-way/one-waycommunication,andmediated/non-
mediatedcommunication.Thisgivesusfourpossibilities:two-waynon-mediated
(face-to-facecommunication),two-waymediated(telephone,email,video
conferencing),one-waynon-mediated(lecture),andone-waymediated(print,
radio,television,Internet,film).Ifastudiosessionischaracterizedbytwo-waynon-
mediatedcommunication,thentheresultofstudiorecording(acompletedmusical
product,forinstance,atrackonaCD)isusuallyone-waymediated(Aleshnskaya,
2013,p.429).
Themeaningsofthecommunication-ofthediscourse-are,asAgawuposits,
contingentas“theyemergeatthesiteofperformance”(2008,p.4)andare
dependentonthewaysthatwe(asmusicians,composers,audience,critics,et
cetera),engagewiththem.Furthertheyarefrequentlyboundtogetherasaseriesof
eventsthatresultinafinalproduct(bethatacomposition,performance,or
recording)(Agawu2008).
Buildingontheaforementionedanalogyoftheexegesisasanarrativeunfolding,I
applieddiscourseinmusicwithmymusicalcollaboratorsinthefollowingways
duringtheproject:
• Themusicalperformancesasastand-alonerepresentationofthediscourse,
asthecompletestory;
• Settingthescene,preparation,thechoiceofthemusiciansandsequenceof
themusicalprocessaspartofthestory;
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• Thenarrativeofthemusicperformanceanddiscourseexplored:musician-
to-musician,genre-to-genre,socio-culturaltradition-to-socio-cultural
tradition.
• Musicalconversationsanddialogueinthemomentofimprovisationand
performance:playertoplayer;and
• Shiftingtoahigherlevelofcriticaldiscourseinordertocommentonthe
performanceandrespondingtotheimplicationsofthisresearchproject.
1.3.3ScopeandLimitations
Thisprojectcentresonthemusicalconversationsinthemomentofimprovisation
andperformance:playertoplayer,andplayertoaudience.Henceinthisproject,
makingmusictogetheropensuppossibilitiesintrinsictothemusicalconversation
byprovidingtheopportunityforfurtherexplorationinthemoment.Itisaboutthe
interactioninthecourseofmakingmusicencapsulatingthefeeling:thediscoursein
musicratherthanthediscourseonmusic(Leeuwen,2012).Withinthisdiscourse,
theanswerstothefollowingexplorativequestionsaresought:
• Whatpersonalandcollectivevoices,storiesandbackgroundsarebeing
broughttothediscourse?
• Whataretherelationshipsandconnectionsapparentinimprovisation?
• Isthisamusicalconversationwherenoonevoicedominatesbutthe
distinctiveculturalandmusicalvoicesareheard(notfusionorworld
music)?
Anumberofjazzmusicians,forexampleTheloniusMonk(Kelley,2009,)have
highlightedthedifficultiesininterviewing,analysingandwritingaboutjazz.Ithas
beensuggestedthatjazzcanbeseenasstorytelling(narrative)andaconversation
encapsulatingafeeling.Itisapttherefore,thattheframeworkandfurther
explorationofpotentialconnectionsbetweenimprovisationandculturalcontext
withthemusicianstaketheformatofamusicalconversation.Thefocusonnarrative
andconversationalsogivesthemusicianstheopportunitytotelltheirstoryand
detailtheirrelationshipwiththerootsofthemusicwithintheirpersonalcultural
contextthroughmakingmusictogether.
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Itisalsoimportanttoacknowledgetheconundrumoftheperformerbeingplacedin
theroleofthelistenerandoftheresearcher,inordertocriticallycommentonthe
performances,discourseandresearch.Thispositioningbyitsverynature
compromisesandchangesthemusicaldiscourseandthe‘discourseinmusic’that
thisprojectseekstoexplore.
Thisresearchexplorestheactofimprovisationasakeycomponentinthediscourse
inmusic,however,itdoesnotseektofocusoncompositionalissuesorexaminethe
performancepracticeofjazz.Ratherthisexegesisfocusesonthediscourseand
communicationthatoccursinthemusic-makingprocess.Becauseofthescopeof
thisresearchanditsfocusondiscourseIhavealsoexcludedanin-depththeoretical
analysisofthedefinitionandevolutionofjazz,improvisationandjazz-fusionfrom
theresearch.
1.3.4ElementsofPraxis
Intheperformancesandproductionoftherecordings,arangeofapproacheswere
used,whicharediscussedbelow:
• Rhythmicandharmonicapproaches
• Useoftechnology
• Improvisationalapproaches
Rhythmicapproaches
Thedrumsetastheaccompanist,thesoloistandtheequalvoiceinsimultaneous
groupimprovisation,willincludethefollowingrhythmicapproaches:standardtime,
rubatotime,impliedtime,polymetrictime,doubletimeandstoptime.Subdividing
intohighermultiplesfacilitatessuperimposingadifferenttempoand/ortime
signaturewithoutdisturbingtheoriginalpulse,forexample,quarternotetriplets.
Thismethodpresentsahorizontalapproachtophrasingwhichenablesafreerand
lesspredictableapproach.Thisistheabilitytoplaythroughthebarlinesand
sectionsofacomposition,whereasaverticalapproachprecipitatesanonthebeat
methodofphrasingandthedelineationofsectionsofacomposition.Thisapproach
isusefulforthisresearchasitpresentsmoreopportunitiesformycollaboratorsto
expressdifferentideasfromtheirmusicalculturesthatwouldnotworkwith
21
traditionaljazzforms.Accelerandoandrallentandowereparticularlyusefuldevices
toaidthisprocess.Unusualnotegroupingsandtheuseof,forexample,fivequarter
notesinabarof4/4,orfourquarternotesinabarof3/4cancreatetheillusionof
‘stretching’thebars.
Useoftechnology
Recordingtechnologyisusedbothtorecordthelivemusic,butalsotoincludepre-
recordedrhythmicpatterns(ostinato)toproduceloopsforimprovisation,andto
insert/create,forexample,polyrhythms.OverdubbingwithProTools(digitalaudio
workstation)providestheopportunitytoalterthetempowithoutchangingthekey
andtuninginstrumentsasrequired.ThroughtheuseofProToolsandpre-recorded
randomdrum,cymbalandvariouspercussioninstruments,arhythmic/tonal
compositioncanbecreatedforimprovisation.Theseapproacheswillalsobeutilised
withthewindinstruments,stringedinstruments,keyboards,voice,andpercussion
instrumentsofthevariousethnicities.Nosamplingofsoundsordrummachines
wereusedasthiswouldbeinconsistentwiththeapproachandaimsinherentinthis
research.
ImprovisationalApproaches
1. StandardformswillbeusedfortheTheloniusMonkcompositionsdiscussed
inChapter3,forexample,‘Rhythm-a-ning’isthestandard32barAABAform
(AABAreferstothemelodyandharmonicprogression,usuallydividedinto8
barsubsections).Monkwroteanoriginalmelodyline,buttheharmonyis
basedonGeorgeGershwin’s“IGotRhythm”chordchanges.
2. Modalforms,forexample,‘SoWhat’composedbyMilesDaviswillbeused
(Chapter7).ThisisanAABA32-barform,butusingonemodepersectionas
theharmony:
A.D.Dorian
A.D.Dorian
B.Eb.Dorian
A.D.Dorian
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3. OneChordApproach:Soloingononechordismonochordal,whichsuggests
modalism,notexceptingtheLatin‘Montuna/o’,ortheAsectionofDave
Brubeck’s‘TakeFive’(amongothers).
4. Non-HarmonicBasedImprovisationalApproaches:Freeimprovisationorthe
useoftone-rows,forexample,OrnetteColeman’sHarmolodics,orArnold
Schoenberg'stwelve-tonesystem.
5. ScalarApproaches:Therearemanyscalarbasedapproachesto
improvisationinmanyculturesincludingthosearisingfromMiddleEastern
musicalpracticessuchastheso-calledPersian(gamordastgāh)andJewish
(ahavarabbah,freygish,orinArabicdastgāh-ehomāyoun)scales.So-called
SpanishscalesfoundinflamencoandotherSpanishbasedgenresalsoevolve
fromtheseandotherMiddleEasternscales(duetotheNorthAfricanand
MiddleEasterninfluencesonSpanishculture).Theso-calledHungarian
minororHungariangypsyscalealsofoundinflamencoandEastern
Europeangenres,incontrastsoundsFarEastern(Asian)incharacterandis
identicaltotheCarnatic(Indian)ragamSimhendramadhyamam.
6. Non-IdiomaticApproaches:Bailey(1992)assertsidiomaticapproaches
expressanidiom,suchasFlamencoorbaroque,withtheidentityand
motivationderivedfromthatidiom.Thenon-idiomaticapproachesinthis
projectwillfocusontheideaofdiscourse,theconversationbetweenthe
musicians,andwillbefoundinfreeimprovisation.Whilethiscanbehighly
stylised,itwillnotusuallybetiedtorepresentinganidiomaticidentitysuch
asjazzorclassicalmusic(Bullock,2010,pp.141-144).
7. Meta-MusicalApproach:Prevost(1995)suggeststhatthemusicianmustbe
changedbytheimprovisation.Noidiomissecureinthespaceofsuch
engagementbecauseanidiomisasetofpre-recordedresponses.Each
meta-musicianstrivestocreatetheirownevolvingidiom,whichhasaninner
capacitytotransformitself.Tothisendthepreparationoftheserecordings
willrequirethatthemusiciansfromdiverseculturesareassembledto
improvisewiththeirmusicalindividualityvaluedandbroughttobear.
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1.4 Structure of the Exegesis Thisresearchdoesnotseektopresentathesistoaccompanytheperformances,but
ratheranexegesisthatleadstheaudiencetounderstandingtheperformances.Kroll
(2004)explainsanexegesisasareflectivejournalmakingexplicityourinner
dialoguelikewritingadiaryand‘talkingtoyourself’.Thus,itisimportantthatmy
authenticvoiceisheardinboththeperformancesandthewrittenexegesis,ifthe
exegesisistobeatruereflectionofmyinnerdialogue.Subsequently,thiswill
requireareflexiveandconversationalprose,someinformalityoflanguage,
colloquialismsandadeparturefromacademiclanguageandconventionsinorderto
capturemyinnerdialoguesothattheaudiencetotheseperformancesandexegesis
istrulyabletohearmyvoice.Kroll(2004)highlightsthedistinctionbetweenthe
approachtowritingathesisandtheprocessinvolvedinwritinganexegesis.Kroll
suggestsanexegesisapproachbearsasimilaritytotheforewordofabookthat
explainsandputsintocontextthebackgroundtothebook,andfactorsthat
subsequentlyshapetheplotofthebook.Thisemphasisesthataperformance-based
exegesisrequiresadifferentstructureandprocesstoathesis.Hence,inthis
exegesisthefocusisonthereaderasanaudienceto(before,duringandafter)the
creativeactofperforming(Kroll,2004).Therefore,inthisexegesisKroll’sbook
analogyprovidesausefulstartingpointwiththeoverallchaptersstructuredto
providetheforeword,introduction,performance-basedresearch(plot)and
conclusion.
Chapter1discussedtheresearchdesign,conceptualframework,andmethodology
(includingperformance-basedresearch,discourseinmusic,scopeandlimitations,
andelementsofpraxis).Chapter2introducesanddiscussesthetheoreticaland
culturalfoundationsofjazzandimprovisation,andtheimpactofcultural
background(andthetensionsbetweenjazzandcollaboratingwithothermusical
aesthetics)asastartingpointforthisproject.Chapter3discussestheperformance-
basedresearchforegroundingAmericanJazzastheoriginatorandthejazzrootsof
theresearch.Chapter4discussesandexploresIndianclassicalmusicandjazz
throughtheperformancesontheCD‘FreedomThroughDiscipline’.Chapter5
continuestheinterculturalcollaborativeperformanceswithChineseclassicalmusic
24
andjazzontheCD‘TheFiveElements’.Chapter6discussesthefinalcollaboration,a
recitalwithastringquartettitled‘Open-Ended’.Chapter7providestheconclusion
tothisexegesis.
25
Chapter2:Foundations
2.1 Introduction: Why Jazz? Havingafatherwhowasajazzdrummer,Ihavebeensteepedandimmersedinjazz
musicandtraditionsfrombirth.Jazzmusicanddrummingispartofmyverybeing,
ofwhoIam.MybackgroundasajazzmusicianfromNewZealand,andallthat
impliesprovidestheculturalstartingpointforthisproject.
InNewZealand,therehasbeenanevolutionofjazzmusicinachangingsocietaland
culturalplatform(Bourke,2010;Ward,2012;Meehan,2017).Ihavebeenplaying
jazzinNewZealandforover60yearsandIhavewitnessed,andbeenanactive
participant,ofNewZealand’sjazzevolution;asjazzevolvedtoreflectchanging
societalandculturaldemands,andpushedtheboundsofcreativityand
improvisation.AsIgrewupIsawhowjazzreflectedsociety,andhowsocietyis
reflectedinjazz.Fromthewar-timebigbands,tobe-bop,tojazzrockIhavebeen
partofthisevolution,andinsomeinstancesbeenattheforefrontofthischange
withmybandssuchasDrTreeandSpaceCase.InNewZealandthecultural
landscapecontinuestoshiftandchangebringingnewforcestobearonthejazz
formandprovidingtheopportunitytocontinuetoreflectonandengagethose
forcesinanever-evolvingjazzform.
Inthischapter,Iexplorethemusicalfoundationsofthisprojectandthebackground
ofcollaborationsbetweenjazzmusiciansandmusiciansindifferentmusical
cultures.Insections2.2and2.3Idiscusstheinherentmulti-culturaloriginsand
natureofjazz.Insection2.4Ispecificallyexaminejazzdrummingaesthetics,asthey
arecentraltomypraxis.In2.5Ilookatimprovisationmorebroadly,andhow
differentapproachestoimprovisationmayhelporhinderdiscourseinmusic.Finally,
insection2.6,Iexaminethemusicalaestheticsandimprovisationalapproaches
inherentinmymusicalcollaborators’backgrounds.
26
2.2 Jazz Insomewaysjazzhasalwaysbeenaglobalmusicratherthanastrictly‘American’
one(Shipton,2001).Themusical-culturalinfluencessurroundingNewOrleansatthe
dawnofthetwentiethcenturymeantthattheinfluencesonincipientjazzinthe
1910sweremanyandvaried.CatholicandProtestant,variousAfricanmusical
cultures,Spanish,French,German,Italian(directlyfromEurope,viagenerational
immigration,andthroughtheCreolisedculturesofcolouraswellasintegrationinto
slavecultures),andSpanishandFrenchcolonialculturesintheregion.Allthese
cultures,andtheirmusic,cametogetherinNewOrleansandcombinedtocreate
themusicwenowcalljazz(Ake,2002;Taylor,2000).
Jazzquicklyspreadaroundtheglobethroughthemediaofrecordsandradio
broadcasts,andthroughthevaudevillecircuits.Bythemid-1920s,jazzwasaglobal
musicwithlocalisediterationsandinfluences,andeverevolvingstyles(seefor
example,Bisset,1987;Jones,2001;Jordan,2010;Ward,2012).Theseearly
amalgamsofotherculturalinfluencesonjazzcametofruitionlongbeforethe
marketedfusionsofLatin-jazz(bossanova),forexample,StanGetz,CharlieByrd
andAstrudGilbertoDestfinado(1962);andjazz-rock,forexample,MilesDavis’Ina
SilentWay(1969),TonyWilliamsLifetimeEmergency(1969),andJohnMcLaughlin’s
MahavishnuOrchestraInnerMountingFlame(1971).ThirdStreammusicwasa
phrasecoinedbyAmericancomposerGuntherSchuller(1991)todescribeamixof
jazzandclassicalmusic.Theglobalimpactofjazzmeansthatjazzandjazz
improvisationhasbecomefamiliartomusiciansfromwildlydifferingcultures,and
theconceptofjazz-basedimprovisationisonethatcancrossmanybarriers(Bailey,
1992;Berliner,1994;NettlandRussel,1998).
Thehistoryofjazzhasbeenwellexploredbymanyscholarsacrossthetwentieth
andtwenty-firstcenturies.Itisnotthepurposeofthischaptertorehashwhathas
beenwrittenaboutinnumeroustext-booksandhistories,essays,andarticles,but
rathertoexplorethoseaspectsofjazzthatarecentraltothisresearch:intercultural
collaborations,jazzdrumming,improvisation(particularlyrelatingjazzimprovisation
toimprovisationalpracticesinothermusicalcultures),andtheimpactofdiffering
27
musicalculturesandaestheticsonthisproject.Thisprojectaimsatabroad,free
approach,notafusionofculturesandgenres,butratheraimedatretainingthe
distinctivemusico-culturalvoices.Italsoaimstodevelopanewmulticultural
musicalconversation‘inthemoment’anddevelopingaspectsthathavenot
formerlyexistedinworldmusicandculture.
2.3 Intercultural Collaboration in Jazz Collaborationsacrossmusicalcultureshavebeenafeatureofjazzsincethe1920s
(Shipton,2001).Theso-called‘SpanishTinge’,thatFerdinand‘JellyRoll’Morton
describedasbeingvitaltojazz(Lomax,1973),wasthebasisofmanyoftheearly
interculturalcollaborationsinjazz.JazzmusicianshaveusedHispanicinfluencesin
manyways:fromcreatingjazzversionsofpopularLatinosongs(suchasLouis
Armstrongwith‘PeanutVendor’1931),tousingLatindanceformsasthebasisof
compositions(forexampleDukeEllingtonandthejazz-rhumba‘Maori’,also1931).
Duringthe1940s,therewasaninfluxofPuertoRicansandCubans(andother
Hispaniccultures)toNewYorkCityandthejazzscenethere,withbandsledby
Machito,PerezPrado,EddiePalmieri,andmanyothers.TheseCuban,Mexican,and
PuertoRicanmusiciansmergedswingandincipientbebopstylesintotheirbig
bands,andlocaljazzmusicians,suchasJohnBirks‘Dizzy’Gillespiebeganworking
withLatinomusicians(suchaspercussionistsChanoPozoandSabuMartinez)to
createthesub-genreofbebopknownasCubop(CubanbebopaftertheGillespie
composition‘Cubano-Be,Cubano-Bop’,1949)(Shipton,2001;Giddens&Deveaux,
2009).
Theabovenotedinterculturalinfluencesbeganatraditionofcombiningjazzwith
musicalaestheticsfromothercultures.Throughoutthetwentiethcenturyjazz
musicianshaveinteracteddirectlyandindirectlywithmusicalaestheticsofother
cultures.BestknownoftheseinterculturalcollaborationsaremusicianssuchasStan
GetzcollaboratingwithBrazilianmusicianswithbossanovaandLatin-jazzfusions,
andJohnMcLaughlin’sgroupsMahavishnuOrchestraandShakticollaboratingwith
Indianmusicians(Shipton,2001).
28
Norisitonlywithmusicalaestheticsfromothercultureswithwhichjazz
collaborates.JazzhasalsobeencombinedwithmanyotherAmericanandEuropean
musicalaestheticsandgenres.Examplesofsuchcollaborationsarejazzrockinthe
1960sand1970s,forexampleMilesDavis’albums,InaSilentWay(1969)and
BitchesBrew(1970)ChickCorea’sgroupReturntoForever,LarryCoryell’sEleventh
House,andmorerecentlyjazzandhip-hopcollaborations.Thecollaborations
betweenjazzandhiphophavebeenoneofthelongeronesbeginninginthe1980s
withDJssamplingjazzrecordsandMilesDaviscollaboratingwithhiphopproducer
EasyMoBeeforhisfinal(andposthumousalbum)Doo-Bop(1992).Inthetwenty
firstcenturythejazzhip-hopcollaborationhasbeenrevived,withhiphopartists
suchasKendrickLamarcollaboratingwithjazzsaxophonistKamasiWashington
(Giddens&Deveaux,2009).
Westernclassical(art)musicwasonethefirstothermusicalaestheticsthatjazz
musicians(andclassicalcomposers)begantocollaboratewith.Fromasearlyasthe
1920s,withtheideaof‘jazzing’theclassicsthroughtocollaborationsbetweenjazz
andclassicalcomposers(suchasStravinskywithArtieShaw),therehasbeenawide
varietyofappropriationbetweenthetwogenres(Shipton,2001).These
collaborationseventuallyresultedinwhatGuntherSchullercalledthe‘ThirdStream’
movement,whichfusedclassicalformswithjazzimprovisationandrhythm(Schuller
1991).
2.4 Jazz Drumming Aesthetics Aestheticvalueistransactionalandunderpinnedbywhattheexpressivecontent
meanstotheaudience.Itissubjectiveintermsofanindividual’sexperienceofthe
emotionandperceivedbeautyofthemusicalpiece.Justasaworkofartmaybe
deemedtohaveaestheticbeautyandconveyemotion,sotoodoesamusical
performancewhichisinfluencedbytheabilityofthemusiciantobringthose
aestheticstobearonthepieceandaudience’sappreciationofthatpiece.
Scruton(1999)suggeststhatmusicalaestheticscanbedefinedasencapsulationof
thefeelingsandexpressionbroughttobearinaperformance.Scrutonhighlights
29
thatthisexpressionmusthaveafoundationofmusicalunderstanding,anditis
contextualandinfluencedbytheself-identityofthemusicianinrelationtothe
content.Smith(2013)inIDrum,ThereforeIAmhighlightsthatdrummersshould
notbeconsideredasaparticulargrouporcommunityofpractice,butasindividuals
whoarevariedandviewtheirdrummingaspartoftheirself-identity.Thissuggests
thatdrummingisnotjustsomethingthatanindividualdoes,butpartofwhothey
areasanindividual;apartoftheiridentityandinfluencedbythecontextinwhich
theyfindthemselves.
Jazzaestheticsisconcernedwiththeinterrelatednessandinterplayofrhythm,
harmonyandmelody.Composers,musiciansandimprovisershavedevelopeda
multitudeofharmonic,melodicandrhythmiccombinationstocomprisejazz
aesthetics.Thisisfurtherdelineatedwhenconsideringjazzdrummingaesthetics.
The‘swing’ofmelodies,thebackbeat,syncopatedrhythmsandphrasing,pulse
emphasison2and4andtheresultingswingandgroovearetheelementsthatmake
upjazzdrummingaesthetics.Likeotheraspectsofmusic,jazzdrummingaesthetics
areinfluencedbysocietal,culturalandmusicalcontext,andevolution(Smith,2013).
Theswingandgrooveofjazzdrummingaestheticsarethefoundationofthejazz
band,andhavebeenbuiltonbyjazzgreatssuchasCharlieParkerandDizzy
Gillespie.Inthe1940’sbeingabletoswingwasnolongerjustthedomainofthe
drummer,allmusicianswereexpectedtobeabletoswinginordertobepartofthe
musicalconversation,andthus,theconversationchanged.
Smith(2013)suggeststhatdrummersbringtheirwholeself-identitytobearontheir
music,infusingtheirwholeintermsoffeelingbroughttothemusic,hencetheyare
influencedbythebeautyofamusicalpiece,butalsoimpactonthepiecewiththe
groove,swing,beautyandexpressiontheybringtoit.Forexample,Smithsuggests
thatthedrummer’sgrooveisanintangiblecharacteristicthatinfluencesthe
drummer’sexpression,executionandimprovisation,andisindirectresponseto
theirself-identityasadrummer.Thiscontextualidentitywithinthedrummer’s
identityisresponsiblefortheaestheticsthatarebroughttobearonthe
performance.Inthisresearch,myself-identityasajazzdrummerhasafirm
foundationofjazzandjazzdrummingunderstandingsthatmakesitpossibletobring
30
tobearajazzdrummingaesthetic,‘theswingandgroove’todiversecontexts,the
pieceandaudience.
2.5 Improvisation Asnotedinsection1.3insubsection1.3.4ElementsofPraxis,improvisationisakey
componentinthisresearch,asitisthevehiclethroughwhichthemusiciansspeakto
eachother.Theartofimprovisationisfrequentlydescribedinmusicdictionariesas
beingextemporaneouscompositionorthecreationofmusicinthecourseof
performance(Berliner,1994),butasBailey(1992),Monson(1996),NettlandRussell
(1998),Hodson(2007)andmanyotherscholarspointout,improvisationinall
musicalgenresisconsiderablymorecomplicatedthanthesedefinitionsarticulate.
Althoughimprovisationhasbecomeprimarilylinkedtojazzinthetwentiethand
twenty-firstcenturies,Horsley(2001)arguesthatallmusicwasatonetime
improvised.TracingtheoriginandhistoryofimprovisationfromtheMiddleAges
throughtothemodernera,HorsleyhighlightsexamplesfrombothWesternand
Asianmusicalhistories.However,wheretheidealinWesternartmusichasbecome
oneofperfectlyreplicatedperformance,inmanyAsianmusicalculturesNettl(2001)
statesthattheidealistoatleastsoundimprovisedifnottobeimprovised.
InNettlandRussell’sIntheCourseofPerformance:StudiesintheWorldofMusical
Improvisation(1998),theauthorsprovideahistoryofimprovisationresearchthat
summarisesmethodologicalandmusicologicalimprovisatoryapproaches.It
highlightsthelackofconsensusandthemultitudeofcontradictorydefinitionsin
relationtoimprovisation.NettlandRussell’sviewofimprovisationconceptualises
compositionandimprovisationasendpointsonacontinuum,butnotesthatthey
arenolongerantagonistictoeachother.
Whiletheissueofimprovisationascompositioninjazziscontentious(see,Berliner,
1994),thisdoctoralprojectalignswithBensen’sview:“Thattheprocessbywhich
workcomesintoexistenceisbestdescribedasimprovisatoryatitsverycore,not
merelytheactofcomposingbutalsotheactsofperformingandlistening”(Bensen,
2009,p.2).However,compositionandimprovisationaredistinguishableusing
31
Nettl’scontinuuminrelationtotime,withcompositionbeingabstractedintime,
andimprovisationbeinginthepresenttime.ThissupportsGorow’ssuggestionthat
musicalimprovisationisthecreativeactivityof“inthemoment”immediatemusical
compositioncombiningperformance,communication,instrumentaltechniqueand
spontaneousresponsetotheothermusicians(Lothwesen,2009,pp.32-35).
Giventhecontentiousnessofimprovisationasaconceptanditscontradictory
definitions,itispertinenttothisresearchtobuildonTheGroveDictionaryofMusic
andMusiciansdefinitionofimprovisation(shownbelow)asabasisforfurther
exploration:
Thecreationofamusicalwork,orthefinalformofamusicalwork,asit
isbeingperformed.Itmayinvolvethework’simmediatecompositionby
its performers, or the elaboration or adjustment of an existing
framework,oranythinginbetween.Tosomeextenteveryperformance
involveselementsofimprovisation,althoughitsdegreevariesaccording
toperiodandplace,andtosomeextentevery improvisationrestsona
seriesofconventionsorimplicitrules(Nettl,2001/2014).
2.5.1JazzImprovisation
Jazzimprovisationprovidesmybasefortheperformancesinthisresearch.There
aremanystylesandapproachestojazzimprovisationrangingfromobbligatostyle
decorationsofthemelodythroughtocompletelyfreeimprovisation,wherethe
improviseristotallyunfetteredbyformorsequentialharmony.InmyownworkI
takemycuesfrombe-bop,hardbop,contemporaryjazz,andconceptssuchasfree
jazzunderpinnedbyaclearunderstandingofthehistoryofjazzdrummingfrom
Warren‘Baby’DoddstoPaulMotian.
Hodson(2007)succinctlydescribesjazzimprovisationasmostoftenbeingamusical
textureofseveralindividuallines.Thisisausefulinterpretationasitmovesbeyond
theemphasisonthesolomelodicline,especiallyfromtheperspectiveofthe
drummerwhoismostfrequentlyimprovisinglinesinsupport,notonlyofthe
composition,butthefront-lineperformers’interpretations.Itisalsomoreusefulto
thinkofjazzimprovisationasbeingtexturalfromananalyticalpointofviewasit
32
movesbeyondtheusualanalyticalemphasisonmelodic(asusedbyhorns,piano
andguitar)lineandharmony.Jazzimprovisationasatextureisausefultoolfor
conceptualisingtheapproachesthatmycollaboratorsandItookinthisresearchof
mixingjazzwithothermusicalaestheticsandimprovisationalcultures.
2.6 Aesthetics and Improvisation in the Collaborative
Musical Cultures Ashasbeenemphasisedinthischapter,thecentraltopicofthisprojectisthe
interculturalcollaborationsbetweenjazzandothermusicalaestheticsandcultures.
Thehistoryofjazzcollaborationswithothermusicalaestheticswasoutlinedabove,
butlittleasyethasbeenstatedregardingtheimprovisationalapproachesthatI
workedwith.Tothatendthefollowingsectionsprovidesbriefbackgroundstothe
typesofimprovisationalculturesfromwhichmycollaboratorscome.
Therearenumerousapproachestoimprovisationthatvaryfromgenretogenre,
andalsoculturetoculture.Withinthisproject,aswellasperforminginastraight-
aheadjazzcontext,IgatheredcollaboratorsfromtheIndian,ChineseandWestern
classicaltraditions.IchosethesemusicalculturesbecauseinNewZealand,
traditionally,therewasanemphasisonWesternclassicalmusic.However,New
Zealandisalsoamulti-culturalsocietywithaburgeoningChineseandIndian
population.Thisofferstheopportunitytoexploretheinterculturalcontextofmusic
traditionsinNewZealandusinganimprovisationalapproachtocelebratethat
diversity,ourcommonalities,inter-connectionsandintersections.An
improvisationalapproachofferstheopportunitytohonourandbuildonthose
traditionsyetprovidetheopportunitytobefreeofthem,tocreatenewmeaning
andnewmusicalconversations.Itisanopportunitytoseethereflectionofthat
multi-culturalisminpractice,andinthemoment.
2.6.1IndianClassicalMusic
Indianclassicalmusichastwoparallelbutdistinct(bothaurallyandstylistically)
‘classical’traditions:HindustaniinthenorthandKarnatak(orCarnatic)inthesouth
(Widdess,2015;Katz,2015).MuchlikeWesternclassicalmusic(andothergenres
33
suchasjazz),bothIndianclassicaltraditionsareperformed“forthedelectationof
anattentiveaudience”(Widdess,2015,p.139).However,theimprovisational
approachesforbothtraditionsrelyontheconceptofcollectiveimprovisation-
composingthepieceinthemomentofperformancebasedonthesystemofragas
(Katz,2015).Muchlikethejazztheoryofmodalscales(andmodaljazz),theragaisa
tonalsequencethatdefinesthebaseofIndianmusic.Unlikemodalscaleshowever,
therearemanymoreraga,withvaryingnumbersoftones,whichareoften
characterisedbyspecificphrasesormotifsthatarecreatedfromthosetones(Bor,
1999).
Whiletherearemultitudinousvariationsontheraga,therearesixthatare
consideredfundamental:Bhariv,Malkauns,Hindol,Dipak,MeghandShree(Singh,
1979).TraditionalIndianmusicismonophonic,withanemphasisonpurityof
melody,andwiththefoundationofaseven-notescalerepresentedbythesounds
‘SaReGaMaPaDhaNi’.Differentcombinationsofnotesaswellassharps,flatsand
microtonesarethenorm,eachofwhichcontributetocreateamelodicpermutation
basedonmelody(Bharatan,2013).
2.6.2ChineseClassicalMusic
Chinesemusicaltraditionshaveanexceedinglylonghistory,withadefinitivehistory
datingback4000years,andevidenceofmusicmakingintheregionasfarbackas
theNeolithicperiod(Jie,2011).UnlikeIndianclassicaltraditions,orevenjazz,
Chinese‘classical’traditionscontainmanymorefixedelementsthanimprovised
ones.ThetraditionalmodesofperformanceareclosertomodernWesternclassical
musicinthattheideaistorecreateaparticularidealthroughperformancerather
thantoreinterpretthatidealortocreatesomethingnew(Witzleben,1997).
ThepredominantmusicalaestheticstraditionallyfoundinChinesemusicarebased
inConfucianismandDaoism.Theyarecomplementary,ratherthancompetitive,
withthemusicalaestheticsbasedinConfuciusaddressingissuesofhumanlifeand
politics,andDaoaestheticsinvestigatingtheindividualandnature.Bothaesthetics
focusonthenotionsofharmonyandbalance:yinandyangfromConfucius,andthe
balanceofnaturalelementsfromDao(Woskin,1997).Thisconceptofmusic
34
representingthesoundofnatureintegratedwithyinandyanghascontinuedto
influenceChinesemusicwithinstrumentsrelatedtothefiveelements,andwithin
pitchandpentatonicscalesymbolisingheavenandearth,focussingonbringing
harmonytotheelements(Randel,2003).Thefiveelementsencompassfire,earth,
water,metalandwood.AccordingtotheChinesetheoryoftheFiveElements,
Chinesemusicaltonesareconnectedtotheinnermanandamyriadofouterworld
concepts(Chen,2002;Randel,2003).
Mycollaboratorsapproachedthisprojectthroughthebreadthanddepthoftheir
classicaltraining,seekingtounderstandtheframeworkandrequirements,andgain
abalancebetweenself-cultivationwhileperformingforanaudience,whileadhering
toatraditionalframeworkandexpressingcreativityviafreeimprovisation.This
balanceandfocusonharmonyallowedfortheflowofimprovisationtorangeacross
acontinuumfrominterpretative,free,structured,creativeandpersonalwhilst
conveyingthatsenseofharmonyandbalance.
2.6.3WesternClassicalMusic
Thefinalcollaborationthattookplacewithinthisresearchinvolvedastringquartet
intheWesternclassicalmusictradition.Improvisationalsohasalonghistoryin
Westernartmusictraditions,andalthoughitallbutdisappearedincommon
practiceduringthetwentiethcentury,inrecentyearstherehasbeenaresurgence
inusingimprovisationintheso-calledClassicaltradition(Wegman,2014;Griffiths,
2001).
Thepracticeofimprovisationinaclassicalsettinginitiallyemphasisescreatingan
obbligatoaroundthecomposedmelody,orusingthecomposedmelodyasa
startingpoint,ratherthanimprovisingentirelyofftheharmonicstructure.
Traditionally,improvisationinclassicalmusicismostlyseenincadenzas,preludes,
interludes,impromptus,andfantasias(nottobeconfusedwiththepre-composed
examplesbythesamename,whicharewritteninthestyleofanimprovisation).For
themostpartthesetypesofimprovisationsaresoloratherthanaccompanied
harmonicallyorrhythmically,sotheperformercan(iftheysowish)playwithout
regardtoaharmonicstructure.Infact,thepre-composedversionsofthesegenres
35
arenotedfortheirlackofclearstructure,consistency,andharmonicorrhythmic
consequence.Theyarealsousuallyofshorterdurationthanmostjazzsolos(Rasch,
2011).Themainemphasisofclassicalimprovisation,therefore,istosound
indistinguishablefromapre-composedpiece,butatthesametimetobe
supposedlyunstructuredtogivetheideaof‘offthecuff’performance.
Mycollaboratorsforthisperformance(seeChapter7)usedtheirtrainingand
interpretationofclassicalmusicofthescore’sinclusionofcadenza-typesoloingto
approachjazzimprovisation.Theirfocusemphasisedcommonalityofstructure
whilstbringingoutwhatthecomposerhadinmind.
2.7 Conclusion Inthischapter,IexaminedthemusicalfoundationsoftheresearchIhaveundertaken
andthebackgroundofcollaborationsbetweenjazzmusiciansandmusiciansindifferent
musicalcultures.Idelvedintotheinherentinterculturalcollaborationswithinjazzasa
genre,andthosethatartisthaveundertakenthroughoutthetwentiethandtwenty-first
century.Iexaminedjazzdrummingaesthetics,andhowmypersonalapproachmight
workwiththecollaborationsdiscussedinthefollowingchapters,andhowdifferent
approachestoimprovisationmayhelporhinderdiscourseinmusic.Finally,Iexamined
themusicalaestheticsandimprovisationalapproachesinherentinmymusical
collaborators’backgroundsandhowaspectsoftheseapproachesmightbeappliedin
collaborationwithmyjazzaesthetic.
InChapter3,IbeginthediscussionofthecollaborationsIundertookforthisresearch,by
exploringthebasegenreforthisresearch:Americanbop-basedjazz.
36
Chapter3:FourinOne 3.1 Introduction
Myresearchbeginswiththeoriginatinggenreforthisresearch:Americanjazz(see
Appendix3forsupplementaryresearchmaterialassociatedwiththischapter).The
compositionsandperformancesontheaccompanyingCDFourInOnedemonstrate
jazzmusic’simprovisationalindividualisticcomposition,whileexploringthe
improvisationalelements,inter-connections,andintersectionsofjazzroots,African
basedmusicandEuropeanharmonyfromtheWesternartmusictradition.IntheCD
recordingthereisanexplorationofimprovisationallanguageandhowthiscanbe
utilisedinthedevelopmentofnewmusicalmaterial.Itbecomesapparentinthe
experienceandprocessofimprovising,thatnewmusicalrelationshipsand
processesarecreatedthatshapethemusic.
TheinvestigationofthemusicofcomposerandpianistTheloniousMonk(1917-
1982)waschosenforseveralreasons.Firstly,Monkwasaninnovatorwho
contributedtothegrowthofbe-bopmusicinthe1940s,HardBopinthe1950sand
subsequentlycontemporaryjazzmusic.Monkcomposedninety-onetunesbetween
1941and1967.However,themajorityofthesetuneswerewrittenbetween1941
and1960,whichwasanextremelycreativeperiodforhim.Monk’smusicisstill
playedbyjazzmusiciansacrosstheworld.AmericanbassistPatrick(knownas
Putter)SmithisrecognisedasanauthorityonMonk’smusichavingplayedwiththe
TheloniousMonkQuartet.Itisaptthatthisproject’sfirstperformancesoncompact
discshouldprovideanintrinsicframework,beginwiththeworksofaseminaljazz
improviserandcomposer,andincludeamemberofthathistoricquartet.
Thereisatensionandcontradictorynaturewhenusingimprovisationandjazzasan
intrinsicframeworkandfoundation.Thetensionexistsbetweenjazzimprovisation
ascompletelyfreewithoutreferenceto,andexcludingallhistory,background,
structureandconventionsofjazzimprovisationbasedonthetradition,structure
anddiscipline.Intrinsicisatermthatinfersessentiality,sotosaythisperformance
providestheessentialframeworkbelongingtojazzbringstotheforethatthis
performanceseekstoshowtheaudiencewhatisessentialtothisframeworkinthis
37
researchwhilstacknowledgingthatthereisatensionandacontinuumaround
wherejazzimprovisationispositioned.
Thisperformanceseekstoshowthattheintrinsicframeworkofjazzrequires
attentiontodiscipline,conventionsandtradition,andafullunderstandingofwhere
theperformanceandimprovisationsareplacedalongtheimprovisational
epistemologicalcontinuum.Themusiciansforthisperformancewerechosen
carefullytoshowcasetheintrinsicframeworkofjazz,aframeworkthatinthis
researchsuggeststhatifyouaretohavetheabilitytoimprovisefreelyyoumust
havecommandofthejazzlanguageandconventions,technicalknowledgeandthe
abilitytoexecutethatexpertise.Additionally,youneedanunderstandingofthe
historyandtraditionsofjazzinrelationtothejazzstructure,form,conventions,
repertoireandyourinstrumentinthatcontextbothindividuallyandcollectively.
Thereisanunspokenrequirementthatinordertobeapartofthewhole,tocome
togetherasfourinone,thatthemusiciansunderstandthedisciplineandbe
disciplinedinexecutingthatunderstanding.Thissubsequentlyenhancesmusical
collaborationandnegotiationbasedoncommonlanguageandunderstandings.
Usingtheintrinsicframeworkofjazzasstorytellingandaconversationthat
encapsulatesafeeling,itisappropriatethattheframeworkandfurtherexploration
ofpossibleconnectionpointsbetweenimprovisationandculturalcontextwiththe
Americanmusicianstakestheformatofamusicalconversation.Thisprovidesan
opportunityforthemusicianstotelltheirstory,andtheirrelationshiptotheroots
ofthemusicwithintheirpersonalculturalcontextthroughmakingmusictogether.
Thisisaboutconversationsinthemomentandinthemusic:moment-to-moment,
player-to-player,andplayer-to-audience.Hence,inthisAmericanjazzCDrecording
project,themusicandoralconversationswererecordedinthemomentaspartof
makingmusictogether,andprovidingtheopportunityforfurtherexploration.Itis
abouttheinteractioninthecourseofmakingmusicencapsulatingthefeeling:the
discourseinmusicratherthanthediscourseonmusic.
38
3.2 Exploration of the Creative Process TheAmericanmusicians(seeAppendix1fortheirbiographies)Ichosetojoinmefor
thisprojectinitiallywereLarryKoonse(guitar),ChuckManning(tenorsaxophone),
andPatrick(Putter)Smith(bass).However,onceinLosAngelesIfoundthatLarry
hadbeengiventhewrongdateforthesecondsession;hisdiarywasfullandwe
wereunabletochangethestudiobooking.Itwastimeforimprovisingofadifferent
nature.PuttersuggestedpianistTheoSaundersasanalternateforthesecond
session.AsIlistenedtoTheo’splayingononeofPutter’sCDs,Iknewimmediately
hewouldfitthemusicperfectlyasIcouldhearthejazzmusichistoricaland
sympatheticunderstandingsthathebroughttoMonk’scompositions.
Themusicianswerechosenbecauseoftheirjazzbackgroundsandabilitytoprovide
thefoundationforthesubsequentperformances.Allofthemusicianshave
extensivejazzbackgroundsandwhatcouldbetermed‘jazzpedigree’.PutterSmith
hasplayedwithmanyofthejazzgreats,includingtheTheloniousMonkQuartet,Art
BlakeyandtheJazzMessengersandtheDukeEllingtonOrchestra.LarryKoonsehas
recordedandortouredwithMelTorme,BobBrookmeyer,CleoLaine,NatalieCole,
BobMintzer,PeterErskine,thePercyFaithOrchestra,BillyChild’sSextetandmore.
TheoSaundershasperformedandrecordedwiththebandsofFreddieHubbard,
CarlaBley,SonnyFortune,BobBrookmeyerandsoon.ChuckManninghas
performedand/orrecordedwiththeLosAngelesQuartet,AlphonseMouzon,and
theBobbyBradfordMo’tet,amongothers.
PutterSmithwastheAssociateDirectorfortheCDwithmeas,havingbeeninThe
MonkQuartet,hehadvaluableinsightstobringtothecollaboration.Wehadone
four-hourrehearsal,andthemusicianshipnotwithstanding,someintensivesight-
readingbytheLosAngelesmusicianswasinvolved(Ihadmemorisedallthetunes).
WepreparedelevenofMonk’scompositionsforthesessionswiththetwoquartets
nowinvolved.Wedecidedwhichtuneswereappropriateforeachensembleby
consideringthestrengths,musicianshipandrelationshipsofeachmusician,and
whichcombinationwouldyieldthebestopportunitytoshowcasejazzasthe
39
‘originator’,tohighlightthejazzimprovisationalrootsandsetthefoundationfor
thisresearch.
ThefirstsessiononMarch8,2015withtenorsaxophone(Manning),guitar
(Koonse),bass(Smith),anddrums(Gibson)wasextremelysuccessfulwitheveryone
andeverythingcomingtogethertorecordfivetunesintwoandahalfhours.Atthe
beginning,thereweresomeminortechnicalproblemswithanamplifierthatused
upsomeofourtime.Allofthetuneswerefirstorsecondtakeswithpredominately
firsttakescapturingthemoment.Therewasnopriorarrangementofthetunesso
togetherwecameupwith‘head’arrangementsjustpriortotherecordingofeach
composition.Theheadarrangementstookcareofthefinerdetails:thetempo,who
statesthemelody,theorderofsoloists,two-feelorfour-feel,exchanges,andsoon.
LarryKoonsewroteawonderfularrangementforourfirsttune‘CrissCross’,telling
me“it’syourrecord,sowhynotplayaneight-barintroductionandmakethisyour
openingtrack.”Thetenorsaxophoneandtheguitarstatethemelodywithbassand
drumsplayingawalkingfourfeeling.
Thefirstsoloisbytheguitaranddrumssimultaneouslyimprovisingforachorus
withthebasstacet(silent).Oncethebassenters,theguitarplaysasoloforanother
chorusfollowedbythetenorsaxophonefortwomorechoruses.Theheadout
containsasurpriseendingthatwasorchestratedbyLarry.Afterthesolos,weplayed
theAABA32barformonce,andaddedasix-andone-halfbardrumsolofollowed
bythepenultimatephraseofthecomposition.
Ourentirerepertoireoverthetwodateswaspreparedinthisway.Thisnegotiation
andcollaborationbasedoncommonunderstandingsandlanguageprovidedthe
frameworktoimprovise.Thearrangementswerefreshandrequiredcomplete
concentration,whichadheredtoMonk’sdictumthatthefirsttwotakesarewhere
thefeelingandconcentrationare,andafterthatthingstendtofallaway.Itisabout
capturingthemoment.
LarryandIhadnotplayedtogetherformanyyears,andthiswasthefirsttimethat
pianistTheoSaundersandIhadplayedtogether.Whatmakesitpossibleforusto
40
soundrelaxedandtogetheroveraveryshorttimeisourawarenessofthejazz
languageandthefeelingweallbringtothemusic.Thatfeelingistheheartandsoul
ofimprovisedjazzmusic.
ThesecondsessiononMarch10,2015withthetenorsaxophone(Manning),piano
(Saunders),bass(Smith),anddrums(Gibson)ensembleincludedthewonderful
arrangementsofPutter’son‘Evidence’and‘Epistrophy’.‘Evidence’provedtobethe
mostdifficulttuneforme,eventhoughIhadmemorisedit.Putter’sideawasto
featurethedrumsastheonlysoloist.‘Evidence’followsthestandardAABA32bar
songform.However,thefirstchorusiseveryoneplayingthemelodyinunisonat
tempowithnounderlyingpulse.Thedrumsbeginsoloingonthesecondchorus
whilethebassplaysthemelody.Thesolocontinuesintothethirdchoruswiththe
pianostatingthemelody.Onthefourthchorus,tenorsaxophoneandpianoplaythe
melody,andthedrumsolocontinues.Thefifthchorusisthesameasthefirst
chorus.TheonlysuggestionPuttermadewastotryandplaythreecompletely
differentdrumsolos.
Werecordedthefourtuneswehadpreparedplustheunaccompanieddrumsolo
(‘InWalkedBud’)butcameupshortontime.Theosuggested‘UglyBeauty’,theonly
jazzwaltzthatMonkwrote.Chuck’sinterpretationofthemelodyisaesthetically
pleasingbringinganaffectsuggestiveofbeautytothetune.
Theconversationsthroughouttherecordingshighlightedsharedunderstandings
andjazzlanguage.Whenlisteningtotheseconversations,itwasevidentthatwe
spokethesamelanguage,andtoanoutsider,withoutthesameshared
understandings,theverbalconversationswouldhavesoundedlikeaforeign
language.Theseconversationswithinthemusicoftenhappeninamomentand
requirerelationshipsbuiltonempatheticunderstandingsandafirmgroundingin
thehistoryofthemusic.Thissharedunderstandingbuildstrustandacommon
language,bothimplicitandexplicit,creatingamusicalrelationshipthatenriches,
openingupareaspreviouslyunexplored,andcreatingsomethingnovelinthe
present.ThemusicianshipandimprovisationsofChuck,Larry,TheoandPutterare
whatmadethisprojectsoinspiringandwonderfultobeapartof.Thismusicis
41
relaxed,andnobodysoundsliketheyhadanythingtoprove;theempathetic
statementsfromallmakeforamusicaloneness.
Thediscourseinmusicwasveryevidentinthemusicalconversationwhereactive
listeningwastremendouslyimportant,becausewhenyouarenotsurewherethe
conversationmaygoyouneedtofocusonwhatishappeningnow,notthinking
aboutyourreply.Fromthevariousmusicians’backgrounds,therewasashared
understandingofthepersonalandcollectivevoice:eachhavingaparttoplay.There
wasanempatheticunderstandingthatwewillalllisten,play,andbringthepartsto
thewholeregardlessofwhatpathwaywetook.Whileimprovisingispersonaland
individualisticinnature,itwasacollectiveconversationandthediscourseisevident
inthemusic.Thisisamusicalconversationwherenoonevoicedominated,buteach
hadtheopportunitytoshineasanindividualandasacollective.
WithinthestorytoldontheCDperformances,thedrumimprovisationswereplaced
firmlywithinthejazzcontextandframeworkastextualbutadheringtotheform;
includinganemphasisonthesolomelodicline,butalsomovingbeyondthisto
encompassjazzdrummingaestheticsthatshowedmyidentity,swingandgroove.
Theexpression,improvisation,andexecutionwasindirectresponsetomymusical
collaborators,themusic,andimprovisations,butalsoareflectionofmyidentityasa
drummerandwhatIbringtobearontheperformance.
3.3 Conclusion FourinOneshowedthebaseaestheticandformasfoundationtothisresearch.The
CDperformancesbringtotheforethatplayingjazzisabouthumanconnection,as
wellasmusicalandculturalhistory.Playingtogetherforgesrelationshipsandshows
thebestofourhumanity,ourcollaboration,andthesharedstoryanddialogue.Jazz
improvisationrequiresasharedunderstandingofthehistory,lineageandtraditions
ofjazz,andisacollaborativeventureanddialoguethatrequirestremendous
discipline,concentrationandpayingattentiontoamultitudeofsubconsciousand
consciousfactors.ItwasevidentineachpiecethatweweretherepresentasFourin
Oneinthatmomentintime.
42
Beginningthisperformance-basedresearchfromafoundationandframeworkof
Americanjazzwithestablishedunderstandingsandrelationshipsprovidedthe
opportunitytosetoffonthisexplorationfromasolidstartpoint,wherethe
negotiationofmeaninganddiscourseenabledashareddialogueandcollaborative
explorationofimprovisationandallthatjazzmusiciansindividuallyandcollectively
bringtothis.
Thefollowingchapterbeginstheinterculturalexplorationswithacollaboration
betweenmyselfandIndianclassicalmusicians.
43
Chapter4:FreedomThroughDiscipline4.1 Introduction
Theinterculturalcollaborationsinthisstudybeginwiththecontrastandinter-
connectionsbetweenIndianclassicalmusic’shistoricalcollectiveideacreation,and
jazzmusic’simprovisationalindividualisticcomposition(seeAppendix4for
supplementaryresearchmaterialtothischapter).Thiswasexploredthrough
recordedperformanceswithFrankGibson(drumset),BasantMadhur(tabla),
ChinmayaDunster(sarod)andLesterSilver(sitar)(seeAppendix1formusician
biographies).
AsnotedinChapter2,Indianclassicalmusichashadafar-reachinginfluenceonjazz,
beginninginthe1950s.RaviShankar’scollaborationwithAmericanaltosaxophonist
andflautist,BudShankforthealbumImprovisations(1962)highlightlinksbetween
jazzconceptsandthehistoricalcollectiveconceptsofIndianclassicalmusic,solo
expression,compositionandimprovisation.Shankarfeltthatjazzmusicianshadan
inherentunderstandingofclassicalIndianrhythms.
Thereisalsoasharedunderstandingregardingtheneedtoperfecttechniqueand
skill,forexamplethenotionofpracticingrudimentsandpracticingragasasa
foundationtoimproviseaswellasanunderstandingofthedifferentmodelsof
improvisation.KindofBlue(1959)byMilesDavisdevelopedthisconnectionfurther
usingmodalscalesratherthanchordchangesasthebasisforimprovisation.This
enabledbandmemberJohnColtranetofurtherexploreandbuildonarangeof
methodsofimprovisationincorporatingworldmusics.Thisincludednotonlythe
additionof,butalsotheembeddingofIndianmusicinthemusicalstructure;for
examplein‘Naima’wheretheimprovisationisdevelopedfromthetonicand
dominantdroneasinIndianmusic.
Therearealreadyrecordingsandperformancesthatdocumentthemusical
collaborationbetweenjazzmusicandclassicalIndianmusic(seeAppendix2for
recordingsconsultedinthisresearch).However,theunderstandingofthe
44
uniquenessofeachculture’sapproachtoperformance,andthehistoricalcontext
thatimpactsonthatperformancehasbeenleftlargelyunexploredmusically.Ina
similarwaytojazzimprovisation,Indianclassicalmusicallowsforperformance
‘personalisation’;however,ragasareviewedashistorical,withanemphasison
universalcreationofideas,whereasjazzimprovisationisindividualistic,personal
composition.
ManynotablejazzmusicianshavesinceincorporatedelementsofIndianmusicinto
jazz,suchasMilesDavisandYusefLateef.Othersinclude:
• JohnMayer,whousedinterlockedadditiveanddivisiverhythmicconceptsin
Indianmusicandjazz.
• DonEllis,whousedconstructedpieceswithadditiverhythmicprinciples.
• JohnMcLaughlin,whousedsolotradingsimilartosawal-jawabinIndian
performancewithadvancedplannedrhythmicstructures(inhisband
Shakti).
BassistandcomposerBillLaswellmaintainsthatonecan“assassinatethepromiseof
fusion”(MartinandWaters,2011,p.324).Whilethisprojectisnotafusionof
musicalgenres,itisimportanttoexplorefusionasitcontributestotheevolutionof
thismulticulturalcollaboration.Thebeginningsofwhatbecameknownasfusion
musicwereunpremeditatedjazz/rockgroups,suchasCream,TonyWilliam’s
LifetimeBand,KingCrimson,SoftMachine,Blood,SweatandTears,MikeNock’s
FourthWay,andJimiHendrixExperience.Rockmusiciansbeganusinghornsections,
playinginstrumentalsolos,andusingavarietyofrhythmicapproaches,sometimesa
jazzshuffle,anddiversetimesignatures(see,forexampleWeatherReport,Return
toForever,andMahavishnuOrchestra).Jazzmusicianshadbeguntouseelectric
guitars,suchasinTonyWilliams’LifetimeBand,MahavishnuOrchestra,andCream.
Thesegroupsranthegamutwithrockandjazzrhythms,freeimprovisation,varying
timesignaturesandharmonies,usinghighlevelsofvolumeanddistortion.Thus,
these1960sand1970sgroupswereregardedbytheiraudiencesasnew,fresh,and
energetic.Itcould,therefore,bearguedthatduringthesecondhalfofthe1970s
jazz-rockgota‘shortbackandsides’andbecamemoremainstreamasitseemingly
appearedtodispensewithdistortion,impliedtime,rawenergyfuelled
45
improvisationsandperhapsbecamepredictable.Themusicappearedtobecome
increasinglysales-orientated,pre-meditated,formulaicanddispassionate.
4.2 Exploration of the Creative Process ThemusicianschosenforthisCDwerechosenbecausetheyareaccomplished
performersinIndianclassicalmusicbasedinNewZealand.BasantMadhurisatabla
playerinthefieldofIndianclassicalmusicandhasperformedwithsomeofthe
stalwartsofIndianclassicalmusic,suchasGrammywinnerPt.VishwaMohanBhatt.
LesterSilverisamusicianinthefieldofIndianartandclassicalmusicwithan
interestinRagaSangeet.ChinmayaDunsterhasspentmanyyearsstudyingIndian
classicalmusiconthesarodinLondonandIndiaandhasfoundedandperformed
withtheEast-Westfusionband.BothnorthandsouthIndianclassicalmusic
traditionswereincorporatedasthemusicians’classicaltrainingandtheirrespective
musicalinstrumentswerefromeacharea.
ThisCDperformancehighlightsthenotionoftheinfinitepossibilitiesthatresult
frombeingabletoimprovisewithmusiciansfromarangeofbackgroundsand
acrossarangeofgenres.Thismusicalcollaborationhereisdesignedtonotbefinite
withtheintenttocreateaspecificoutcome(composition),butratheranopen-
endedprocess.Asimprovisers,weseektocreateinthemomentthroughexpressing
ourfeelings,spirit,andpersonalities.Throughempatheticapproachesandreactions
toeachother,theensemblecreatesamusicaloneness,whilealsoseekingtobe
influencedbyeachother’smusicandthesoundsoftherespectiveinstruments.
Themusicaimstobringusasmusiciansofdiverseculturestogethertomake
multiculturalmusic.Themusicinthisprojectisnotfusion,Indo-jazz,Indo-rock,pure
Indianmusicorpurejazz.Themusiccapitalisesontheopportunitytobringajazz
drummingimprovisationalaesthetictoIndianmusic.
BasantMadhurisamastertablaplayer,andisoftencalledupontoaccompany
IndianmastermusiciansbothinNewZealandandfromoverseas.BasantandImet
previouslyin2009aquarterofanhourpriortoplayingaconcertwith
46
keyboardist/composerMurrayMcNabb.LaterthatyearweplayedonMcNabb’s
albumAstralSurfers.Ourpreviousexperienceandhistoryplayingtogetherinstilled
confidencethatwewouldbeabletoeffectivelycollaboratemusicallywhilebringing
ourdistinctivevoices.Ialsobelieveoursharedpassionforvariedrhythmic
approachesandimprovisationprovideafirmfoundationforfurtherexploration.
Someofthemusicalideasforthe‘FourPartSuite’wereconceptualandwrittenas
wordsratherthannotationtoopentheoverallformofthesuitefordevelopment,
leavingmoreroomforpersonalinterpretationandimprovisation.Polyrhythmsand
figuresusedasapulseandbasisforimprovisationwerenotatedmusically(see
Appendix4).Theapproachtojazzimprovisationwithinthepieceswasstructuredto
incorporatearangeofrhythmicapproacheswiththeaesthetics,grooveandswing
differinginrelationtotime,metersandaccentstoberesponsivetothethematic
schema.
4.2.1‘FourPartSuiteforTablaandDrumset’
Themusicalcollaborativeprocessherecanbelikenedtotheanalogy,thestoryof
gettingtoknowsomeone,witharichconversationandthedevelopmentofa
relationship,wherethereisunderstandingandtrust,whichenablesandpromotes
furtherexploration.Mutualrespectenableseffectivecollaboration.Thestructureof
thecompositionisasfollows:
PartOne(Introduction):Basantbeginsalone,introducinghimselfwithtablaand
simultaneouslycreatinganintroductiontothesuite.
PartTwo(Establishingcommonalitiesandunderstandings):Wepre-recordedabass
lineonthetabla,abrushrhythmsimilartothereco-recofoundinBrazilianmusic
andafour-cymbaldescendinglineasbackgroundsandacarpetforBasant’ssecond
improvisation.Thepre-recordedpartscreateastrongbutflexiblehypnoticmood
reminiscentofIndianmeditativepractices.
PartThree(Whatwebring–listeningandresponding):Thisbeginswiththedrums
employingapolyrhythmicup-tempoapproach(♩=320bpm)usingthestandardjazz
47
ridecymbalrhythmasanostinato.Thedrumsbuildtoacrescendoffthenpareback
tompforthetablasolo.AttheconclusionofBasant’simprovisation,thedrumsolo
temporemainsat320bpm.Thebeginningofthedrumsoloisexecutedonthetwo
tom-toms,snaredrum(snaresoff)andbassdrumtoensurecontinuityofsound,
therebycreatingthepossibilityofusingrhythmicconceptsfromthetablasolo.As
thissolobuilds,thesnaredrumandcymbalsareintroduced,providingastark
contrast,andendingwithafortissimorollonthesnaredrum.
PartFour(theconversationstrengthens–therelationshipdeepens):theinitialtabla
improvisationisusedagaintostrengthentheformABCA=1-2-3-4.
4.2.2‘FreedomthroughDiscipline’and‘ConversationswithChinmaya’Initially,theideasforthisrecordingwereunabletobeutilised.Thesarod,tabla,and
sitarallneededtobeinthesameroomforeyecontact,cuesandtoheareachother
acoustically.Thus,therewasaculturalexpectationfromtheIndianmusiciansthat
theywouldbeinthesameroomtogetherwithme,andthedrumkit,whenplaying.
Inthestudiosituation,however,thisperformancewasalsoaffectedbytheIndian
musicians’relativeinexperienceinthestudioandhamperedbythesizeofthe
studio.Leakageandvolumedifficultieswiththedrumsinthesameroomwould
havealsomademixingandeditingtoodifficult.Aswithanycollaboration,we
neededtoreflectonandreviewtheperformancegiventhedemandsofthecontext,
inordertoaddressbothculturalexpectationsandtechnicaldifficulties.Thecontext
ofthiscollaborationmeantthatthesarod,sitar,andtablahadtheirconversation
andtoldtheirstoryfirstknowingthatmypartintheconversationwouldbeadded
latertocompletethewholestory.TheIndianmusicianswereessentiallyproviding
thefirstpartoftheconversationbutwerecarefulinleavingspaceandprovidingthe
basisoftheconversationformetocomeinandbepartofthewholeconversation.
Therefore,thesnaredrumandpercussionwereoverdubbed.Thesameconceptwas
usedforthesarodanddrumsetduet,withtheseimprovisationsbecoming‘Freedom
throughDiscipline’and‘ConversationswithChinmaya.’
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4.2.3‘FirstMeeting,FirstTake’
Thesitaranddrumsetduet‘FirstMeeting,FirstTake,’wassuccessfullyrecordedlive
withtheonlypreconceivedideasbeingthetempo(♩=150bpm).AfterLester’s
improvisation,wewouldplayexchangesofnofixedlengths.Therewereminimal
parametersforthismusicalconversation,but,asinanyconversation,someimplicit
andexplicitexpectationsbecomeespeciallyrelevantwhenthereisonlyabrieftime
togettoknowoneanothermusically.Thetempoandexchangeideaswere
collaborativelydevelopedandagreedonbeforewecametogetheratourfirst
meeting,andhelpedtomaintainsomecohesionanddirectioninthisbriefmusical
meeting.Thedrumsetutilisedbrushesandmalletsforsympathetictexturesasany
staccatosoundssuchasrimshotsandthesnaredrumwouldnothaveresonated
withthesitarsound.
Theaforementioneddifficultieswith‘FreedomthroughDiscipline’and
‘ConversationswithChinmaya’negatedsomeofmyinitialideasonhowtoapproach
thesepiecesbutsubsequentlyopenedupotheravenuesforexploration.Therich
andvariedmelodicandrhythmicimprovisationsofBasant,Lester,andChinmayaset
upextremelyinterestingstructurestowelcomemyoverdubbedimprovisations.
4.3 Conclusion Themusicalrelationshipinthisrecordingwasenrichedbytheculturalbackground
andcapitalbroughttobearfromdiversegenresandtraditions,withthemusicians
responsiveto,andchangedasaresultof,thisrelationshipandinteraction.The
inherentmelodies,melodicpermutationsandscalesoftheragasprovideda
performancefoundationfortheIndianmusicians.Personalisationofthemusicwas
positionedeasilywithintheperformances,withtheIndianmusicians’creative
explorationontheragasandthejazzimprovisationaspersonalcomposition.This
openedupareastofurtherexplorecreatingsomethingnovelwhilstretaining
respectfordistinctculturaltraditionsandvoices.Theaestheticinfluencesfromthe
Indianclassicaltraditioncombinedwithjazzandhencethemusicianswere
influencedbythemusicalconversation.However,themusictranscendedmere
49
influenceandnoonegenreortraditiondominatedbringingtogethermulti-
culturalismandtraditioninaninterculturalcollaboration.
50
Chapter5:TheFiveElements5.1 Introduction
Theinterculturalcollaborationscontinuewitharecordingthatexploresthe
harmonicinterplayrelatedtothefiveelements,whileretainingthehistorical
tuningsoftheChineseinstrumentssothattheirtraditionalvoiceisheardwithinthe
improvisationaldialogue.ThemusiciansforthisrecordingwereWilliamYu(yang
qin),TanyaLi(erhu)andFrankGibson(drumsetandpercussion)(seeAppendix1for
musicianbiographies;seeAppendix5forsupplementaryresearchmaterialtothis
chapter).
AsnotedinChapter2,traditionalChinesemusiccanbetracedback7,000-8,000
yearsbasedonthediscoveryofaboneflutemadeintheNeolithicAge(JieJen,
2011,p.1).Chinahasoneofthelongestdocumentedmusichistorieswithcourt
documentsandliteraturerecordsonmusicfromancientChinathatdatebacktothe
secondmillenniumBC.Legendssuggestbamboopipesweretunedtobirdsounds
andatwelve-tonemusicalsystembasedonpipepitch(JieJen,2011).Thisconcept
ofmusicrepresentingthesoundofnatureandthefiveelementswashighlightedin
Chapter2,andformsatraditionalconceptualunderstandingthatinformsthe
collaboration.
ThelonghistoryofChinesemusichasbeenimpactedbyandhasimpactedona
rangeoffactors:social,political,educational,linguistic,geographicaland
philosophical,andthesehavebecomeanintrinsicpartofthemusicallandscape.
ThetheoreticalsystemologyofChinesemusichasbeenformedbysomeofthose
elements.Althoughinitiallyforthehigherechelonsofsociety,classicalmusic
eventuallycametothemainstreampopulationandwasrelatedthroughreligion,
folksongsandoperatotheireverydaylivesandfortheirentertainment(Brindley,
2013).
Inthesocialandpoliticalturmoilofthe1920sand30sinChina,ahybridofjazz
emergedinthemeltingpotofShanghai(Jones,2001).Atthattime,Shanghaiwas
thebiggestmoderncityinAsiawithpeoplefrommanycultures,including
51
foreigners,colonialsandmilitarypersonnel.AmericanmusiciansincludedShanghai
intheircircuitsandChinesemusiciansbegantousetheinfluencesfromWestern
movies,Americanpopularandjazzmusic,fusingthesewithtraditionalfolkmusicby
usingtraditionalinstruments.Americanjazzmusiciansalsogotcontractstoplayin
theShanghaiclubsandbands;forexample,BuckClayton(whoplayedforCount
Basie)playedfirstlyhigh-classcabaretjazz,thenwhatwasderogatorilycalled
“YellowMusic”:ahybridofChineseMusicandAmericanJazz,whichwasbanned
after1949.LiJinhui,aChinesecomposerinShanghai,wasknownforcreatingthe
degenerate“YellowMusic”.LiJinhuihadbeentaskedbythegovernmenttounify
thedifferentChinesedialects,andhedidthisthroughmusicusing,singing(opera),
Asianpentatonicmelodiesfromlocalfolksongs,andswingharmoniesandrhythms
fromAmericanJazz(Jones,2001).However,thishybridwasshort-livedwiththe
ChineseNationalistandinsurgentCommunistPartyviewingthismusicasfrivolous,
decadent,exploitiveandcommercial,andthemusic,whichfollowedwasmuch
moreaboutservingapoliticalfunctionwiththeCulturalRevolution(Jones,2001).
Amidthepolitical,economicandsocialchangesinChinaoverthepastcentury,not
onlywereWesternpopularandjazzmusicbanned,butalsotraditionalChinese
minoritygroupmusic.However,sincethe1980s,therehasbeenarevivalinChinain
safeguardingsometraditionalChinesecultures.AcrossChina,thereisgreatdiversity
intraditionalmusicinrelationtogeographicallocalitywithatleast56officially
recognisedminoritygroups.Eachgrouphasspecificmusicaltraditionsandcultural
influences.Itisthereforeimportanttobecognizantoftherangeanddiversityof
regionalandculturalinfluencesintraditionalChinesemusicandnottoviewthe
musicashomogenous.Thisdiversityhighlightsthesimilaritiesanddifferencesin
worldmusicandprovidesaninterplayandbackdropthatbringsanindefinable
qualityofrichness,depthandbreadth.
Jazzimprovisationprovidestheopportunitytomergecompositionandperformance
tocreatesomethingnew‘inthemoment.’ImprovisationisalsonotnewtoChinese
traditionalmusic;ithashistoricalrootsgoingfarfurtherbackthanjazz
improvisation.ThereareChineselegendsandfablesfrombeforetheSongDynasty
(960–1279)aboutmusiciansandartistsengagedinthepursuitofindividualisingand
52
improvising.Chineseimprovisationwasviewedasatradition,withdistinctions
drawnbetweenfree,personalandcreativeimprovisation.JieJen(2011)describes
oneoftheearliestChineselegendsaboutBoya,aguqin(apluckedsevenstring
instrument)musiciancreativelyimprovisingandcomposinginrelationtothe
majestyandinspirationofthe‘highmountainsandflowingstreams’,highlighting
creativeandfreeimprovisation,butalsotheinnerandouterworlds,andhuman
connectionwithnatureandtheelements.
5.2 Exploration of the Creative Process Inthetwenty-firstcentury,jazzishavingalimitedresurgenceinChinabothin
BeijingandShanghaiwithjazzclubsandschoolssuchastheJZclubandschool,and
BlueNoteBeijing,butthisisbasedonAmericanjazz,withChineseandAmerican
musiciansplayingAmericanjazz.TherearealsoAmericanChinesemusicianswho
havebeguntotestthepossibilitiesofjazz-fusionbyusingChinesetraditional
instrumentsonstandardjazztunes;however,thisrecordingseekstogobeyondthis
approach.Thisrecordingisnotaboutfusionortheinfluenceofjazzmusicon
Chinesetraditionalmusic,orviceversa,buttheunfoldingofanewrelationshipand
voice.Ratherthanlimitingthemusicalexperience,thisprojectviewscultural
backgroundandcapitalascreatingamusicalrelationshipthatenrichesthepiece
andtheprocess,openingupareaspreviouslyunexplored,creatingpossibilitiesand
somethingnovelinthepresentoutofpastexperiences.
Thisrecordingseeksdifferentwaysofimprovisingandthinkingaboutthemusicin
ordertoexploretheharmonicinterplayrelatedtothefiveelements,whileretaining
thehistoricaltuningsoftheChineseinstrumentssothattheirtraditionalvoiceis
heardwithintheimprovisationaldialogue.Theopportunitytobringuniqueand
diverseculturalandmusicalbackgroundstobearontheprocessandproductisthe
opportunitytocreatenewpossibilities,andanovelanduniqueproduct.
Theinitialideasforthisinterculturalcollaborationweretofeatureavarietyof
Chinesemusiciansandtheirrespectiveinstruments.However,afterbeingunableto
findaChinesepercussionist,andsubsequentconversationsandrehearsalswith
53
ghuzheng(Chinesezither)anddizi(Chineseflute)musicianspromisedlittle,the
decisionwasmadetostaywiththeyangqin,erhu,drumsandpercussionforthe
entirealbum.
Thereisacomplexitytoimprovisationthatmakesitdifficulttoexpresstheprocess
inthewrittenword;thus,theresultingproductmusthaveitsownvoice.The‘Five
Elements’voiceisdistinctiveanduniquebecauseofthecalibreandexpertiseofthe
Chinesemusicians,WilliamYuandTanyaLihavelivedinNewZealandforthelast
thirteenyearsandbringavastdegreeofmusicalexperienceandexpertisein
relationtothetraditionofChinesemusicandinstruments.Insomeinstances,the
variousinstrumentsareoverdubbed.Ratherthandetractingfromtheintercultural
collaboration,spontaneityandimprovisation,itwasfoundthattheabilityto
overdubenhancedtheimprovisationthroughbeingabletoberesponsivetothe
nuancesandinterplayofthemusicaldiscoursewiththesetting,visionandemotion
ofthepiecesmademorevisibleandaudible.
Inordertomaintaintheintegrityoftheinterculturalcollaboration,Chinese
traditionalinstrumentsandtuningswereused.Williamplaystheyangqin(Chinese
hammereddulcimer)ontherecordings.Theyangqinisfromthezitherfamilyandis
astringedinstrument.Twolightweightbeatersareusedtostriketheinstrument’s
stringswithdifferentbeatersdrawingdifferenttonesfromtheinstruments.Thisis
similartotheuseofdrumsticksorpercussionmalletsondrumsandother
percussion,althoughtheyangqinisastringedinstrument.
TherearearangeoftheoriesonhowtheyangqincameaboutinChinawith
suggestionsitwasdevelopedthere,orthatitwasbasedonaTurkishinstrument
andbroughttoChinaviatheSilkRoadfromPersiaand/oritwasbroughttoSouth
ChinabyEuropeanseamerchants(Gifford,2001).Tanyaplaystheerhu,whichisa
two-stringedbowedzitherbelievedtohaveoriginatedfromMongoliamorethana
thousandyearsago(Stock,1993).Thesoundisproducedbythevibrationoftheskin
onthesoundboxthroughbowing.
54
ThemusicianschosenforthisCDperformanceareNewZealandbasedmusicians
whohavebeentrainedinChineseclassicalmusicfromanearlyage.BothTanyaLi
(Erhu)andWilliamYu(Yangqin)havemanyyearsofmusicalexperienceinChinese
Orchestras.Unbeknowntoallofus,wehadpreviouslyplayedononetrackofthe
lateMurrayMcNabb’salbumAstralSurfers(2008)withtheerhuandyangqintracks
overdubbedafterthecompletionofthealbum.Thepriorconnectionfacilitatedthe
beginningofourcollaboration,andeightyearsafterthefirstrecording,wewere
abletoconnect;althoughwehadnevermet,aninstantrapportwasestablishedon
ourfirstrecordingsessionatBruceLynch’sBoatshedstudio,withthissession
yielding‘MarcoPolo’sReturn’.
5.2.1‘SpringtimeonTianMountain’
ThistrackisatraditionalChinesefolksongfromtheXinjiangregionplayedbyTanya
(sopranoerhu)andWilliam(yangqin)withanoverdubbeddrumpart.TheXinjiang
regionisanorthwesternprovince,whichwasoncethegatewaytotheSilkRoad,
borderingMongolia,Russia,Afghanistan,Pakistan,India,andKazakhstan;themusic
evokesthefeelingofajourneyandastory,andbuildsonthemanytraditional
storiesandjourneysfromthepastalongthisSilkRoad.Hence,therearemany
musicalinfluencesofthetravellersfromavastarrayofbackgrounds,suchas
Persian,TurkishandRussianthatcanbeheardinthemusicfromtheXinjiang
region.Alongwiththeseinfluences,thelinkwithnature,theelementsandthe
majestyofthemountains,thecascadingwater,alongwiththebeautyand
beginningsofspringtimecanalsobeheardasthemusicsoars,findsaweandpeace,
thenwalkswithus.
5.2.2‘ExitThrutheEntrance’
ThisisabeautifulmelodywrittenbythelateNewZealandcomposerandmusician
MurrayMcNabbin2013.Thispiecewaspreviouslyrecordedasarubatotimeduet
(pianoanddrums,McNabbandmyselfrespectively)forhisposthumouslyreleased
2014album,EveryDayisaBeautifulDay.Subsequently,thepiecewasrearranged
andplayedbyTanya,Williamandmyself.Adecisionwasmadethatthemelodywas
onethatcouldstandalone.Sotohighlightthis,itwasplayedthreetimeswithno
55
improvisation.Italsotellsastoryandisatributetothecomposerwhobroughtus
together.
Tanya’sinterpretationofthemelodyhighlightsthetangiblemusicalrepresentation
ofthedualityoftheyingandyangbalance,inthisinstance‘thehardversusthesoft’
and‘maleversusfemale’(malecomposer/femaleperformer;allmaleinitial
performance/femaleperformertakingtheleadinthisrecording)withthispiece
illustratingadelicategentlenessandgivingahauntingbeautytothepiece
reminiscentofnaturalelements.Thetempo(♩=60bpm)isestablishedwitha
Chinesecymbal,belltreeandwindchimes.Animprovisedcongadrumpartwas
overdubbedtogivethepiecerhythmicvariety.Itwasveryimportantforthe
drumset,whichcanbequitehardtextually,toemploysofterpercussivetexturesso
thatthemoodofthepiececouldspeakclearlyandrepresentthisnaturalelemental
balance.
5.2.3‘Intensity/Fire’
Thispieceforyangqinanddrumsetwascompletelyimprovisedinrealtime.The
mainideawastoplaytexturesandrhythmsassociatedwithourinterpretationof
thewords,intensityandfire,inessencetoembodytheelementswithfireasthe
igniter.Williamontheyangqinbeginsalone,playingatahighintensity,butleaving
spaceatthesametimetoenabletheinteractionbetweentheyangqinanddrum
set,andtofanandbuildthefire.Atthe2’20’’mark,Williampullsbackbriefly,and
thedrumsgraduallybuildtoacrescendoastheflameispassedon.Theoverall
feelingofthepieceisspacious,asfiresneedtobreatheandatthesametimethere
isintensityastheflamepassesfromoneplayertotheother,andtheferocityofthe
firebuilds.
5.2.4‘MarcoPolo’sReturn’
Ofallthecompositionsonthisrecording,‘MarcoPolo’sReturn’isthemost
arranged,andtherhythmpartsfortheentireensemblesectionswerepre-recorded.
Theintroductionistheyangqinimprovisingbutatthesametimesuggestingthe
melody.Asimplefunkpattern,anoverlaidChinesecymbalandabasslineplayed
betweentwotom-tomsmakeuptherhythmsectionbed,overwhichthemelody
56
andsubsequentsolosareplayed.Yangqinanderhuplaythemelody;after16bars,
theyangqinbeginsplayingthemelodybetweentheerhu’ssolophrases.Next,the
yangqinplaysarepeateddoubletimephrasewhichleadsintoapercussion
interludeconsistingoflongtonesonavarietyofcymbals(AmericanandChinese).
ThefinalfivecrashesendatffonaChinesegongconcludingtheinterlude,
abstractlyandmetaphoricallysymbolisingthefiveelements:wood,fire,earth,
metalandwater,encompassingthephenomenaofnature.
Thefast3/4rhythmexecutedonthethreesmallChinesecymbalswithapoly-
rhythmicfigureplayedonaChinesecymbal,belltreeandchimesleadsintopartone
ofthethree-partdrumsolo.Thethree-partdrumsoloaimstobuildoverpartsone
andtwowhicharelinkedbytheaforementioned3/4rhythmplayedontom-toms,
inconjunctionwithbuildinginaveryorganicmannertoaclimaxwithfulldrumset,
suggestingtheforcesofnature.Themelodyisstatedagainafterpart3ofthedrum
solowiththedoubletimeyangqinfigureandmiscellaneouspercussion.Thecoda
consistsofashortrubatotimeyangqinsolo.
5.2.5‘Empathy/Compassion’
Thispiecebeginswithanorchestratedpercussionintroductionutilisingcymbals,
woodblock,Chinesechocoloandasix-noteAfricanxylophone.Tanya’s
improvisationisbasedonbeautifullyconstructedlongnotephraseswiththedrums
employingsympathetictextures,malletsonthreetom-tomsandcymbals.The
overdubbedwoodblockandAfricanxylophonehelptoreinforcethisloose
improvisedformandhighlighttheelementofwood.Thiswasanimmediate
collaborationandconversationachievedinonetake.Atthe3’25”mark,percussion
isreintroducedbrieflyasintheintroduction,withapauseandadramaticdynamic
changetoaclimax,whichismaintaineduntiltheendofthepiece.
5.2.6‘HappyHouse’
This24-barOrnetteColemancompositionbeginswitharubatotimedrumsolo
utilisingbrushesandoccasionallyreferringtotherhythmicphrasesofthe
composition.Drumsthensetupastraight-aheadhardbopgroovefortheyangqin
toenterandplaythemelodytwicethroughwithembellishments.Williamthen
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improvisesinaveryfreerhythmicmannershowingwithconsiderablefacilityhis
mastermusicianship.Theyangqinthenplaysthemelodyoncethroughleadinginto
anotherdrumsolowhichbeginswiththeopeningphraseofthemelody.Thissolo
graduallybuildsinintensityandvelocity,andthenparesbacktopforthefinalyang
qinphrase.TherewasanawarenessthatplacingWilliaminahardbopsituation
wouldnotbeideal,ashewasuncomfortablewiththeidiom;however,wecame
togetherincollaboration,abletoassimilateandadapt,soalltheelementswere
integrated.Wehaddevelopedsharedunderstandingsandtrustineachother’s
musicianshiptocreateapleasingperformance.
5.3 Conclusion Theperformancesinvolvedallofusplayingsimplemelodies,andwhileeachofus
embellishedonthemelody,distinctivevoicesmaystillbeharvestedfromthe
collectivesound.Harmony,bothmetaphoricalandmusical,wasbroughttothe
piecesthroughtheuseofourrespectiveinstrumentsandapproachtorepresentand
symbolisetheelementsencompassingfire,earth,water,metalandwood.
Inthisinterculturalcollaboration,ithasagainbeenhighlightedthatitisaboutthe
discourseinmusicratherthanthediscourseonmusic.Duringtherecording
process,itwasevidentfromthediscoursewithTanyaandWilliamthatnuances
andaestheticsintraditionalChinesemusiccannotbeputinscores.Thesenuances
andaestheticswereindividualisedaccordingtotheirfeelingandskillbasedontheir
personalinterpretation,understandingofandrespectfortradition-bothfroma
jazzdrummingperspectiveandaChineseclassicalmusician’sperspective,yetstill
bringingintheirowncharacterandpersonalexperience.Thedistinctivepersonal
andcollectivevoicesofJazzandChinesemusicaltraditionsandlanguagewere
evidentinthemusicandimprovisationswitheachindividual(inclusiveofthejazz
drummingaesthetic)bringingadistinctivevoicethatwasabletobeidentifiedas
derivingfromtherespectivelineages.Throughthisrecordingwediscoveredthat
knowingwheninthemusicalconversationtoemployrestraintandfreedom
underpinnedbyempathy,respect,humilitywasessentialtoanopennessand
celebrationtodiversewaysofapproachingpieces.
58
Whilewedidnotshareacommonmusicallanguage,wetookaleapoffaith,andthe
aestheticsofthemusicenrichedthemusicalconversation.Tanyaaskedtoredo
piecesthatweretechnicallyimmaculatetogettherightemotion.Implicitinthisisa
focusonconveyingtherightemotionandfeeling.This‘rightemotion’and‘feeling’
isanimportantpartoftheimprovisationalapproachforeachpieceforbothmyself
asthejazzdrummerandfortheChinesemusicians.Justastheswing,groove,
techniques,backgroundandaestheticscontributetomyimprovisations,itwasseen
asparamounttoTanyaandWilliamthatthechoiceoftechniquetobringoutthe
balanceofthepiece,thedistinctelementsortheircombination,andtheharmony
combinetocreatetherightemotionandfeeling.Thistooiswhatthebestjazz
musiciansaspireto,andthis‘rightemotion’iswhatwecreatedinTheFive
Elements.
59
Chapter6:Open-Ended6.1 Introduction Thefinalcollaborationinthisinterculturalexplorationisarecital:FrankGibsonand
collaboratingartists,TheBlackQuartetandBruceLynch,whichoccurredon28July
2017atMaramaHall,OtagoUniversity(seeAppendix1formusicianbiographies,
andappendix6forsupplementarymaterialtothischapter).Thisrecitalexplores
thepossiblerhythmical,melodic,harmonicandtexturalimprovisational
intersectionpointsbetweenjazzdrummingimprovisationwhileplayingwitha
Westernartmusicstringquartetandelectricbass.
Oneofthedefiningelementsofjazzisimprovisation.Whiledistinctivetojazz,
improvisationisalsoevidentinclassicalmusic;forexample,J.S.Bachimprovised
fuguesintheBaroqueera,whichwerethenfurtherelaboratedoninperformances.
However,itisnowuncommonforclassicalmusicianstoimprovisewithmost
classicalmusicpre-composedforperformances.Schuller(1991)suggeststhat
classicalmusicperformancescanberepetitivelydulledandlackinginspontaneity,
althoughacknowledgingspontaneitydoesoccurinclassicalmusic.Somejazz,too,is
through-composedandarranged;however,thedifferenceisthatimprovisationisa
crucial,valuedskillforjazzmusicians,butnotacrucialskillforclassicalmusicians.
Manyclassicalmusicpiecesaredeemedtohaveacorrectwaytobeplayed,and
integritytothehistorymaymeanthatthepiecesareplayedinamannerveryclose
totheoriginalcomposition.Theexpertiseofthemusicianinclassicalmusicmaybe
judgedbyhowcloselytheyadheretotheoriginalintegrity(knownasürtext)ofthe
originalcomposition,whereasmanyjazzmusiciansseekto‘gobeyond’inunique
expressionsofindividualityandself-expression.
Intheearlierperformancesofjazzandclassicalmusic,thereweredistinctgenre
differencesinstyle,articulation,interpretation,phrasingandtone.However,more
recently,worldmusicandfusionhavesoughttocrossoverandfusegenres.
Beginningfromthe1920sandthestartoffusingelementsofjazzandclassicalinthe
jazzagetocreatesymphonicjazz,tothelate1950swith‘ThirdStream’jazz,there
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havebeenclassicalelementsinjazzandjazzelementsinclassical(Austin,1996).
Composers,suchasStravinsky,whose‘TheEbonyConcerto’waswrittenforthe
WoodyHermanband,andGershwinexperimentedwithjazzinfluences,andmay
havehelpedlaythegroundworkforfusionandThirdStream.
ClassicalEuropeanstringquartetsusuallycompriseacello,violaandtwoviolins.A
numberofjazzmusicianshaverecordedjazztuneswithstringensemblesfusingjazz
andclassicalinstrumentation,suchasArtieShawandtheStringSwingEnsemblein
the1930s,CharlieParkerwithStrings(1949-52),CliffordBrownwithStrings(1953),
andlaterinthe1980sMaxRoach’sdoublequartetintherecordingBrightMoments
(1986).Also,anumberofStringQuartetshaveplayedjazzcompositions,suchas
TheTurtleIslandQuartetontheiralbumSkylife(1990)andtheKronosQuartetwith
MonkSuite:TheKronosQuartetPlaysMusicofTheloniousMonk(1984).MaxRoach
recorded‘Survivors’withaStringQuartetin1984andin1986recorded‘Bright
Moments’withaJazzQuartetandaStringQuartet.DuringthissameperiodThe
KronosQuartetwereexperimentingwithjazzbassistRonCarterinthe
aforementionedalbumMonkSuitebuttheydidnotfollowuponthecollaboration
withajazzdrummer.
Therehavebeenveryfewjazzdrummerswhohaveplayedasasolojazzartistwitha
stringquartet,asearchthathasrevealedonlyMaxRoach.Whilejazzrootslieinthe
combinationofelementsofEuropeanharmonyandform,andAfricanbasedmusic,
thisrecitalsoughttogobeyondrecreatingandsolelyusingclassicalinstrumentsto
playjazzand/ortofuseelementsofjazzandclassical;italsosoughttoretainthe
distinctvoicesofeach,andtoexploretheimprovisationalelements,intersections
andinter-connectionsofjazzroots:African-basedmusicandtraditionalEuropean
harmony.
6.2 Exploration of the Creative Process ThiswasaperformancewhereIknewthereweresomeareasbeyondmyscopeof
practice,andIneededtoaccessadditionalexpertiseespeciallyinarrangingclassical
musicandscores.BruceLynchisanelectricandacousticbassist,producerand
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arranger.IhavehadalongmusicalassociationwithBruce,whichhasincluded
sessionworkandplayingtogetherinfusionbands.Bruceisskilledandexperienced
incomposing,arrangingandorchestrating,hencewecollaboratedtogetherforthis
performance,eachbringingourstrengthsandexpertisetobeartoensurethatthe
classicalmusicianshadtherequiredframeworkandscorestoengageinthismusical
venture.
AsagroupandasindividualsTheBlackQuartetregularlyrecordandperformacross
variousmusicalgenreshavingpreviouslycollaboratedwithperformerssuchas
KanyeWest,Six60andLadyhawke.Theywerechosenforthisprojectbecauseof
theirclassicaltrainingandtheirdemonstratedversatilityandopennesstoother
genres.JosephHarrop(violinistandviolist)haspresentedinternationallyonmusic
performancepracticeandsocialactionthroughmusic,andwasalsoabletobring
additionalunderstandingsthatenhancedthemusicalconversation,dialogueand
collaboration.
6.2.1‘StolenMoments’
‘StolenMoments’wasoriginallycomposedandarrangedbyAmericansaxophonist,
OliverNelson.Theworkisa16-barminorbluesphrasedinaneight-six-twopattern.
Itwasfirstrecordedin1961onNelson’salbumBluesandtheAbstractTruth.Our
interpretation(arrangedbyBruceLynch)beginswiththestandardintroduction
followedbythemelodyrepeated.Thedynamicsemployedduringbars9-16provide
tensionandrelease,addinganothersidetothecharacterofthepiece.Theviolin
beginstheimprovisationplayingtwochoruses.Inthesecondchorus,viola,violin
andcellojoininandimprovise,collectivelyleavinglotsofspace.A24-barinterlude
followswiththedrumsinteractinginaspiritedmanner.Thebasssolosfortwo
chorusesandstringsplayabackgroundoverthesecondchorus.The24-bar
interludeisrepeated,followedbyenergeticinterplayofdrumsandtheensemble.
Wereturntothemelodywiththerepeat,andtheviolinplaysanimaginative
cadenzatoendthepiece.Thecharacterofthepiececomesthroughtheformand
theimprovisationwithreleaseandspaceprovidingthetensionandacalltointeract
andrespond.
62
6.2.2‘SoWhat’
WrittenbyMilesDavisin1959forthealbumKindofBlue,‘SoWhat’isarguablyhis
mostfamousandinfluentialcomposition,andisoneofthefirstrecordedexamples
ofmodaljazz.‘SoWhat’employsthestandardAABA32barformutilisingDDorian
modeintheAsections,andBflatDorianmodeintheBsection.Freedfrom
harmonicconstraints,theopportunityisprovidedforsoloiststocreatearelaxed
andmeditativefeelingwhilemaintainingthedeeppulseandforwardmotionso
necessaryto,andindicativeof,theunderlyingjazzfoundation.Rhythmically,the
melodyofthistuneisbuiltontraditionalAfricancall-and-responsetechniques,
suggestiveoftheworksongsofenslavedAfricansinthesouthernpartsofthe
UnitedStates.Ourinterpretationofthiscompositionbeginswitharubatobasssolo,
whichisrelaxedandspacious,immediatelyandaptlysettingupthemoodforthe
piece.Themelodyisastatedcallbythebassandresponsefromthestrings,and
leadstoLynch’s32-barshoutchorusmaintainingthecallandresponserhythms
whichsubsequentlyleadintothetwo-chorusviolasoloaccompaniedbystrings
playingresponsephrasesonthehead.Nextapedalpointensuesfor16bars,giving
atrulysuspendedfeeling,whichresolvesinto8barsofstylizedrhythmsection
followedbyanother8barsofpedalpoint.Duringthe32-barshoutchorus,tensions
areintermittentlyreleasedafter8barsofpedalpoint.Thedynamicschange
instantlytoforteforthe12/8section,whichsetsupthedrumsolo.Atthe
conclusionofthedrumsolothemelodyisstatedonceagain,leadingtothe
accentedeighthnotesbyalltothefiné.‘SoWhat’bringstothelisteneracalland
responsemelodybasedonamodalstructure,whichtrulyintegratesintoamutually
understoodmusicalconversation,thedifferentunderstandingsinherentinjazzand
classicalbackgrounds.
6.2.3‘InWalkedBud’
ThisworkisMonk'stributetohisfellowpianistandbebopinnovator,Earl‘Bud’
Powell.Firstrecordedin1947,itisbasedonthechordchangesofIrvingBerlin’s
‘BlueSkies’.ThisAABA32-barcompositionutilisesacall-and-responseconceptin
theBsection.Thisversionbeginswithdrumsplayingthemelody,orchestrated
betweentwotom-toms,asnaredrumandabassdrum.Thebassthenplaysthe
AABAmelody,improvisingovertheBsection.Thisisfollowedbyan8-bardrum
63
solo.Thestringquartetthenplaythemelodyaccompaniedbythebassanddrums.
Thisisfollowedbyonechorusofreharmonisedmelody,whichleadstoan
improvisedchorusbythecelloaccompaniedbybass,drums,violinandviolafigures.
A16-bardrumsolofollows,leadingintotheonechorusviolasolo.Sixteenbarsof
reharmonisedmelodysuggestaquasi-marchfeeling,withthebridgeplayedas
written,andan8-bardrumsolooverthelastAsectionsetsupthemelodytofinish.
Withthereharmonisedmelodyandthequasi-marchfeelingemulatingthewalk,the
improvisation,callandresponselinkmetaphoricallywiththetune’snamesakeso
thatjazzandclassicalcametogetheraswecalledandwaitedforBudtowalkin.
6.2.4‘Naima’
Composedin1959,andfirstrecordedthatyearfortheGiantStepsalbum,‘Naima’is
ahauntingmelodyofJohnColtrane’s,craftedforhiswifeNaimaasatribute.This
beautifulballadhasbecomepartofthestandardjazzrepertoire.ItsAABAform
standsoutfromothersinthattheAsectionsare4barsandthebridge8bars,
therebyaddingup20barsinstandard4/4time.Ourarrangement,byAuckland
basedcomposer/arrangerBernieAllen,in3/4timeisrefreshingandopensupthe
melodyforthedrumstointeractjudiciously.Thestringquartetplayedthis
compositionskilfullyandenteredintothespiritofthepiecewithmuchemotion.
ThepedalpointonwhichthecompositionisbasedallowsAllen’simaginative
sections(particularly,lettersGandH)toinvolvethedrumsinactiveinterplay.The
onlyimprovisationisa16-barbasssolo.Allen’srearrangementcapturestheessence
ofthetune,andprovidestheopportunitytobringemotionandimaginationto
enhancethespiritofthepiece.
6.2.5‘ANightinTunisia’
ComposedbyJohnBirks'Dizzy'Gillespie,thispiecehasbeenarrangedherebyBruce
Lynch.Writtenin1941andrecordedin1942,‘ANightinTunisia’becameajazz
standardandremainssotoday.Theuniquebasslinewasconsideredrevolutionary
foravoidingtheusual‘oneandthree’or‘fourbeatstothebar’standardbasslines.
Theformisthestandard32-barform.TheBsectionisbasedonthechordsofthe
jazzstandard‘AloneTogether’(comp.ArthurSchwartz).Uponcompletionofthelast
Asection,a16-barinterludeisemployedwiththelastfourbarstacet,givingthe
64
soloistsaspringboardtolaunchtheirimprovisations.Onthelive1947versionBird
andDiz,CharlieParkerplayedthefamousfour-barbreak,settinguphissolo.
Ourversionbeganwiththestringquartetplayingrubatotimeexcerptsofthemelody,
followedbytheaforementionedbasspattern,8barsfollowedbythemelodyand
interludesettinguptheviolinsolo.Attheendoftheviolinsolo,theintroductionwas
employedtosetupthebasssolo.Achorusofthemelodyfollows,settinguptheopen
drumsolo,whichwasplayedinrubatotimeatthebeginning,andthenontheformof
themelody.Theinterludefollowed,withdrumfillstofiné.Inthiswaythechorusand
solostructureprovidedthecontexttoforeachsoloisttobuildonandcreatedtheleadin
forthenextplayerinarelay‘passingthebaton’mannertocontinuetoaddtheirvoiceto
theconversationandexitandentertheconversationwithcommonunderstandings.
6.2.6‘Skylife’ComposedandarrangedbyDavidBalakrishan,‘Skylife’isananthemrockgroove
writtenfortheTurtleIslandStringQuartet(1990).Theinclusionof‘Skylife’inthe
programmeopensupotheravenuesforimprovisationovertherhythmsection’s
funkandrockgroove,andprovidestheopportunityforimaginativeapproaches.
MahuiaBridgeman-Cooperwasthefeaturedviolinsoloist.Theinterpretationofthis
compositionrequiredanentirelydifferentapproachfromthestringquartet,which
theyachievedwithconvictionandrelativeease.‘Skylife’isarelatively
straightforwardABAB,16-8-12-8form.TheBsectionswereplayedwithanopen
feelingoverthepedalpoint,whichenabledatensionandreleasetooccur.Mahuia’s
soloshowedanothersideofthestringquartet’sabilitytoadapttodiverserhythmic
approachesfromtherhythmsection.Theviolinbuiltover24barswithbackgrounds
fromtheviolin,violaandcello,andthequartetreturnstoAandB.‘Skylife’isa
modernmusicalconversationwithasteadypulsebringingthejazzandclassical
instrumentationtoanewcontemporaryposition.
6.2.7‘ATributetoMaxRoach’:MaramaHallImprovisation(FrankGibson)
Thisimprovisationisanunaccompanieddrumsolo,whichoccasionallyreferredto
therhythmicphraseswhichmakeupthreeofRoach'sunaccompanieddrumsolos:
'ForBigSid','DrumsUnlimited'and'TheDrumAlsoWaltzes’.Theinnovative
65
improvisationsofaltosaxophonistCharlie‘Bird’Parker,trumpeterJohnBirks‘Dizzy’
GillespieandpianistEarl‘Bud’Powell,amongstotherprominentjazzmusiciansof
the1940sand1950s,encourageddrummerMaxRoachtofindnewapproachesto
accommodatetheirmusicwhichwaslatercalledbe-bop.Hisfresh,innovativeideas
overtimecontributedtothedrummerbecomingamoreactiveandintegralpartas
anaccompanistintheband.Hisinnovationsaboveopenedupunlimitedpossibilities
forthedrummersthatfollowedhim,andthisimprovisationprovidesagood
exampleofthesepossibilitiesrealised.
Thisunaccompanieddrumsolobeganwithafour-cymbaldescendinglineplayed
severaltimesandrepeatedasafour-drumascendingline.Thecymballineis
repeatedleadingintoRoach’smelodiccomposition‘DrumsUnlimited’,whichisahi-
hatfigurerepeatedAA16bars,avariationBof8bars,andanothersectionAof8
barsmakinga32-barAABAcomposition.Thedrumsimproviseonthisformand
segueinto‘ForBigSid’,anotherAABA32-barcomposition,dedicatedtofellow
drummer‘Big’SidCatlett.Improvisationonthisformcontinuesandleadsintothe
thirdtheme,‘TheDrumAlsoWaltzes’,a16-bar3/4composition.Drumsimprovise
overthisformandreturntoashortstatementof‘DrumsUnlimited’,andthenthe
four-bardescendingcymballineisplayedasthefinalstatement.Thispieceisa
tribute,anditspeakstothehistoryandpersonalitiesofthosewhohaveforgednew
musicalpathwaysandopenedupthecreativepossibilitiesandroadsforthosewho
havecomeafter.
6.2.8‘StraightNoChaser’
Firstrecordedin1951‘StraightNoChaser’isonlythesecondbluesthatThelonious
Monkrecorded,with‘Mysterioso’beingthefirstin1948.Itisa12-barblues
employingMonk'screativelysimplecompositionalstyleofusingaconsistentidea
withdifferentmeasuresandendings.OriginallycomposedbyMonk,andarranged
byBruceLynchforthisconcert,‘StraightNoChaser’hasbeenapartofthestandard
jazzrepertoireforover50years.
Ourversionbeganwiththebassaccompaniedbydrumsplayingonechorusofthe
melodyaswritten,followedbytwomoremelodychoruseswithembellishments.In
66
thefourthchorusofthebasssolo,thestringquartetplayedawrittenshoutchorus
leadingintothefinalandfifthchorusofthebasssolo.Thestringquartetplayedthe
firstfourbarsofanotherMonkblues,‘BlueMonk’,tosetupthecellosolo,withthe
sameformatcontinuingwiththesolosbyfirstviolin,secondviolinandviola,withall
solosonthelasteightbarsofthebluesform.Areharmonisedchorusof‘StraightNo
Chaser’hintsattheatonalitythatfollowed.Theuseofasimplemelody,different
measuresandendingsprovidedtheframeworkfor,andtheopportunityto,
embellishandgobeyond,yetmeettogethertocomposeandre-compose.
6.3 Conclusion Thisperformanceevidencedanexplorationofhybridityinmusicwhereajazz
drummerandclassicalmusicianscollaboratedtoencourageandcreateafurther
hybridizationwhilstretainingthevoiceofandarespectforthemusicians’traditions
andmusicalcultures.Itwasanaspirationalopportunitycapitalisedontobring
togetherimprovisation,jazzandclassicalmusicianstogethertocreateinthe
moment.Thiswasanexplorationofimprovisationandthejoiningofdistinct
aestheticgenres.Weattemptedtoallowthemomenttocreateitselfandembraceit
withspirit,acknowledgingthatourmusicianshipandapproachhasbeeninformed
andcraftedbythosegreatjazzandclassicalprogenitors,traditionsandfoundations.
Whileimprovisationwascreated‘inthemoment’and‘themomentcreated’,the
historyandcontributionofthosewhohavegonebeforeplayedacrucialpartboth
unconsciouslyandthroughconsciousexecutionintheongoingexpressionand
evolutionofthecraft,musicandmusicianship.
67
Chapter7:Conclusion
Thisexegesisexploredthepossibilitiesofamalgamatingjazz-basedimprovisation
withthestyleandimprovisationsofthreeothermusicalcultures:Indian
(Hindustani)classicalmusic,ChineseclassicalmusicandWesternclassicalmusic
(chambermusictradition).Thisresearchaimedtoexploremusicalcollaborationand
theconnectionpointsbetweenbop-basedjazzimprovisationandthe
improvisationallanguagesofmusicfromIndiaandChina,andWesternclassical
chambermusic.Importantly,thecentralthesisofthisprojectwasthatthesemusical
languagescanbeusedincollaborationwithjazztocreatenewstylistic
interpretations,whilststillretainingdistinctmusic-culturalvoices.
Thecentralapproachtothisperformance-ledresearchwas,asdiscussedinChapter
1,theconceptof‘discourseinmusic’,wherebycommunicationonbothmusicaland
linguistic(discussion)levelsbecametheprimemotivatorofartist-to-artist
communication.ThroughtheperformancesandrecordingsIcreatedforthis
exegesisthenotionoftradition(andwhatwethinkofasmusicaltraditions)was
exploredthroughthemusicalandlinguisticdiscoursethatoccurredduringthe
rehearsal,performanceandrecordingofthemusicwecreated.Theincorporationof
thiscommunicationwasparticularlyimportantforthemergingofjazzwith
aestheticallyandculturallydifferentmusicalgenresininterculturalcollaborationsto
createhybridmusicalperformanceswherebothmusicalcultures(andthe
performers)haveequalinputintheperformance.
Ibegantheexplorationofhybridisinggenresbyexaminingthegenrecentraltothis
exegesis:jazz.AsstatedinChapter2,interculturalcollaborationshavebeenan
importantstylisticfeatureofjazzfromitsearliestyears,andinfact,jazzisaproduct
ofinterculturalcollaborationsbetweendescendantsofAfricanslavesandfree
peopletotheUnitedStates,Europeancolonialdescendants,andhybridcultures
betweenthetwo(suchasAfro–Cuban[Hispanic]orAfro–Haitian[French]).This
68
makesjazzauseful,flexiblemusicalvehicleforcollaborationswithothergenresand
cultures.
Keytothisresearchwasimprovisation.Improvisationiscentraltojazz,andtomany
othermusicalcultures.InthisresearchitwasimportanttomethatIcoulduse
aspectsofjazzwithmusicianswhoseprimarystylewasnotjazz,butalsotoexplore
aspectsofstyleandimprovisationinthevarietyofmusicalaestheticsmy
collaboratorswerebringingtotheproject.
Chapters3through6exploredthesedifferentcollaborationsinrecordingand
performance.InChapter3,Ibeganbyestablishingabase-lineofAmericanbopjazz
byrecordinganalbumofTheloniousMonkcompositions,withAmericanjazz
musiciansChuckManning(TenorSaxophone),LarryKoonse(Guitar),TheoSaunders
(Piano)andPutterSmith(Bass).Thisestablishedthefoundationandframeworkfor
me,usingtheunderstandingIhaveofthegenrethatIhaveperformedformostof
mylife.Thenegotiationsofmusicallanguage,meaninganddiscourseenableda
shareddialogueandacollaborativeexplorationofjazzimprovisation,andallthat
longpracticedjazzmusiciansbringtosuchperformances,providingtheopportunity
tosetoffthisexplorationofinter-culturalmusicalcollaborationsfromasolid
startingpoint.
Chapters4and5exploredHindustaniclassicalmusicandChineseclassicalmusic
aesthetics,respectively.BothIndianandChinesemusicshaveradicallydifferent
aestheticvaluesandstylisticimpulses.WhiletheragasysteminIndianclassical
musicsemphasisesimprovisationaskeytothemusicalexperience,Chineseclassical
musichasemphasisedtheartofembellishmentandornamentationonan
establishedmelodicline.Inexploringeachofthesemusicalstyles,Ifoundthatinmy
collaborationwithIndianmusiciansBasantMadhur(Tabla),LesterSilver(Sitar)and
ChinmayaDunster(Sarod),animprovisationalmelodicragafoundationpositioned
thepersonalisationofthemusiceasilywithintheperformances,withtheIndian
musicians’creativelyexploringtheragasandjazzimprovisationasacombinationof
collectiveideacreationandpersonalcomposition.Nogenreortradition
predominatedandthiscreatedsomethingnovelwhilstretainingdistinctvoicesand
69
traditionsbringingtogethermulti-culturalismandtraditioninanintercultural
collaboration.
Incontrast,mycollaborationwithChinesemusiciansTanyaLi(Erhu)andWilliamYu
(YangQin)foundthat,justastheswing,groove,technique,backgroundand
aestheticscontributetomyimprovisations,itwasseenasparamounttoTanyaand
Williamthattheimprovisationincorporatedtherightchoiceoftechniqueand
melodyembellishmenttobringoutthebalance,harmony,elementsandemotionof
thepiece.Therightfeelingandemotionwaspositionedasbeingessentialtothe
musicaldiscourseandasbeingrespectfultowhateachofusbroughttothe
interculturalcollaboration;anacknowledgementandvaluingofourrespective
traditions,musicianshipandmulticulturalism.
InChapter6,IexploredthepossibilitiesofjazzwithaWesternartmusicstring
quartet,withaddedelectricbass.Thiswasconsiderablydifferentagain,utilising
bothimprovisationandembellishmentofthemelody.IfoundthatBruceLynch
(ElectricBass)andtheTheBlackStringQuartet(MahuiaBridgmanCooper[Violin],
JessicaHindin[Violin],JosephHarrop[Viola],RachelWells[Cello])followedtheir
ownuniquepathsintoimprovisatoryaesthetics.Theperformanceevidencedan
explorationofhybridityinmusicwherecollaborationencouragedfurther
hybridizationtobringtogetherdistinctaestheticgenreswithimprovisation,jazzand
classicalmusicianstogethercreatinginthemoment.TheclassicalEuropeanstring
quartetwiththejuxtapositionofanelectricbassaddedafurther,distinctlymodern,
elementinthisinterculturalcollaboration,synthesisinginthediscoursearangeof
voicesandgenrestocometogetherasonevoicetotellnewstories.
Throughouttheperformancesinthisproject,distinctivevoiceswereharvestedfrom
thecollectivesound,yettherewasacomingtogetherinthemomentthatmadethe
wholegreaterthanthesumofindividualvoices.Whilebringingtheirowncharacter
andpersonalexperience,themusicwasindividualisedandcollectivelycreated
accordingtothemusicians’feelingandskill,andbasedontheirpersonal
interpretation,understandingofandrespectfortradition,andinrelationtoour
musicalconversationsandcollaboration.
70
Ireiteratethatitisapparentthattheseinterculturalcollaborationsare
fundamentallyabouttheinteractioninthecourseofmakingmusicencapsulating
thefeeling:thediscourseinmusicratherthanthediscourseonmusic.As
improvisers,weseektocreate‘inthemoment’throughexpressingourfeelings,
spiritandpersonalities,butatthesametime,werelyonourmusicalbackgrounds
andtechnicalexpertise.IbelievethemusicportfolioofCDsthataccompaniesthis
exegesisspeaksforitselfwitheverylistenerhearingwhatspeakstothem,basedon
thecapturedmomentandamyriadofunconsciousandconsciousperceptionsand
interpretationsfilteredthroughexperiencesandtheirstory,theconnectionand
conversationtheyhavewiththemusic,‘theirmoment’.
Inworldmusicandfusion,thedistinctculturalvoicecanget‘lostinthemix’,
mergedbeyondrecognitionoroverwhelmedbythedominantvoice.These
collaborationssoughttoretainthedistinctculturalvoiceandtogiveequalvoiceto
allinvolvedthroughretainingculturalintegrity.Thiswasassistedbytraditional
tuningsandinstrumentsandthedecisionsmadebetweenmusiciansinthecourseof
rehearsal,performanceandrecording.Attimes,suchasthosediscussedinChapter
4,ourinitialideashadtochangeduetopracticalconstraints,creatinganew
conversation.Thisprojectisfoundedoncollaborationwithcompositionschosen
andorchestratedtobuildontothatcollaboration,torenewestablishedmusical
relationshipsandbuildnewones.Musicalcollaborationisnotafiniteexpression,
butanopen-endedprocess.Itisaboutbringingopennessaswellasrespectforthe
pastanddiversebackgroundstotheconversation.Thus,wecreateanotionofvalue
andrespectforallthemusiciansinvolvedandwhattheybringtotheconversation,
aswellasameansofpursuinganewwayofmakingmusic;acelebrationofdiversity
andpossibilities–whatmightbecalled‘multiculturalmusic’.Multiculturalmusicis
wherethereisanopennesstotheothers’perspectiveandwheretheconversation
isnotone-sidedormeldedbyone’sperspectiveandbackground,andisthusnot
fusionor‘worldmusic’.Itis,however,adiscourseinmusicinthe‘spacebetween’in
theperformancespace.Thisisaspacewherenoonevoiceorgenredominates,but
acelebrationofdiversity,andanhonouringofrespectivehistoriesandtherichness
ofindividualandculturalexperience.
71
TheburgeoningNewZealandmulticulturalsocietyisaboonformusicianswanting
toexploreothermusicalcultures,styles,andaesthetics.Thenotionofbeingableto
improvisewithanymusicianfromarangeofbackgroundsandacrossarangeof
genresisintriguingandpresentsinfinitepossibilities.Improvisationprovidesthis
opportunitytotellnewmusicalstories:tomergecompositionandperformanceto
createsomethingnew‘inthemoment’andtocreate‘newmoments’.Future
researchinthisareacouldpotentiallyexploredifferentaestheticelementsand
improvisationstylestoenableothermusicalandculturalstoriestobetold.This
couldpotentiallybeimportantasmoreandmoreKiwimusicianshavecompeting
andoftenconflictingculturalbackgrounds.Musicalcollaborationandanopenness
tocelebratediversityalloweachmusicalvoicetobeheardinatrulyequal
conversation,‘thediscourseinmusic’creatingandtellingthatnewstory.
72
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FreeJazzandImprovisationsmusik.Bielefeld:Transcript.
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Lomax,A.(1973).MisterJellyRoll:TheFortunesofJellyRollMorton,Creoleand
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Prevost,E.(1995).NoSoundisInnocent:AMM&thePracticeofSelf-Invention:
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Schuller,G.(1991).TheSwingEra:TheDevelopmentofJazz,1930-1945.Oxford,
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Schutz,A.(1977).MakingMusicTogether:AStudyinSocialRelationship.InJ.L.
Dolgin,D.S.Kemnitzer&D.M.Schneider(Eds),SymbolicAnthropology:A
ReaderintheStudyofSymbolsandMeanings(pp.106-119).NewYork,NY:
ColumbiaUniversityPress.
Scruton,R.(1999).TheAestheticsofMusic.Oxford,England:OxfordUniversity
Press.
Shipton,A.(2001).ANewHistoryofJazz.London:Continuum.
Sinclair,K.(2000).AHistoryofNewZealand.(Rev.Ed.)Auckland:Penguin.
Singh,D.(1979).InvitationtoIndianMusic.Ludhiana,India:ClassicalMusicCircle.
Smith,G.(2013).IDrum,ThereforeIAm:BeingandBecomingaDrummer.Farnham,
UK:AshgatePublishing.
Smith,H.,&Dean,R.(2009).Practice-ledResearch,Research-ledPracticeinthe
CreativeArts.Edinburgh:EdinburghUniversityPress.
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toJazz(pp.39-52).NewYork:Oxford.
Ward,A.(2010).“ANZAC,HollywoodandHome”:ConstructingaNewZealandJazz
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Aotearoa/NewZealand(pp.93-102).Cambridge:CambridgeScholars.
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Widdess,R.(2015).NorthIndia.M.Church(ed.).TheOtherClassicalMusics:Fifteen
GreatTraditions(pp.138-159).Woodbridge:BoydellPress.
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andJ.L.Wizleben(eds.).GarlandEncyclopediaofWorldMusic.NewYork:
Routledge.RetrievedfromMusicOnline:TheGarlandEncyclopediaofWorld
Musicdatabase.
78
Discography
Broadbent,A.(2009).TogetherAgain:Broadbent,GibsonandSmith.Auckland,New
Zealand:OdeRecords.
Broadbent,A.(1986).SongofHome:AlanBroadbentTrio.Auckland,NewZealand:
KiwiPacificRecords.
Broadbent,A.(1987).EverythingILove:AlanBroadbentTrio.LosAngeles,CA:
DiscoveryRecords.
Burrows,D.(1976).TheTasmanConnection.Sydney,Australia:CherryPieRecords.
Davis,M.(1959).KindofBlue.NewYork,NY:ColumbiaRecords.
_______.(1969).InaSilentWay.NewYork,NY:ColumbiaRecords.
_______.(1970).BitchesBrew.NewYork,NY:ColumbiaRecords.
_______.(1992).Doo-BopNewYork,NY:WarnerBrothers.
Donegan,L.(1978).Puttin‘ontheStyle.London,England:Chrysalis.
Ellis,D.(1967).ElectricBath.NewYork,NY:ColumbiaRecords.
_____.(2010).LiveInIndia.SleepyNightRecords.[OriginallyaJazzIndia
presentation,recordedatRangBhavan,Bombay,India1978.]
Evans,B.(1966).BillEvansTrioWithSymphonyOrchestra.LosAngeles,CA:Verve
Records.
Getz,S.(1962).BigBandBossa.LosAngeles,CA:VerveRecords.
Gibson,F.(1976).DoctorTree.Auckland,NewZealand:EMINZ.
_______.(1981).ExecutiveDecision:FrankGibson’sSpaceCase.Auckland,NewZealand:
OdeRecords.
______.(1981).Parallel37:FrankGibsonwithMiltJackson,JohnScofield,Bobby
Shew,SteveErquiagaandMikeNock.Auckland,NewZealand:OdeRecords.
______.(1983).SpaceCase11:FrankGibson’sSpaceCasefeaturingClaudioRoditiandRon
McClure.Auckland,NewZealand:OdeRecords.
________.(1985).SpaceCase111:FrankGibson’sSpaceCase.Auckland,New
Zealand:OdeRecords.
______.(1987).Jazzmobile.Auckland,NewZealand:KiwiPacificRecords.
Gibson,F.&M.Nock.(1987).OpenDoor.Auckland,NewZealand:OdeRecords.
79
Gillespie,D&Parker,C.(1952).BirdandDiz.LosAngeles,CA:VerveRecords.
Hiroshima.(1979). Hiroshima.NewYork,NY:AristaRecordsInc.
MahavishnuOrchestra.(1971).InnerMountingFlame.NewYork,NY:Columbia
Records.
Mayer,J.(1969).JohnMayer'sIndoJazzFusion– Etudes.London,England:
TransatlanticRecordsLtd.
McNabb,M.(2000).TheEndistheBeginning.Auckland,NewZealand:Saranbang
Records.
__________.(2009).AstralSurfers.Auckland,NewZealand:SDLMusicLtd.
__________.(2012-13).EveryDayisaBeautifulDay.Auckland,NewZealand:
SaranbangRecords.
MorriseyMullenBand.(1979).LoveDon’tLiveHereAnymore.AbbeyRoad,London,
England:EMI.
Oregon.(1976) .ElvinJonesandOregon:Together.SantaMonica,CA:
VanguardRecordingSociety.
Parker,C.(1947-52).CharlieParkerwithStrings–TheMasterTapes.LosAngeles,
CA:VerveRecords.
Paz.(1982).PazareBack.London,UK:SpotliteRecords.
Roach,M.(1985).MaxRoachDoubleQuartet:TheSwedenborgStringQuartet-Live
AtVielharmonieMunich.Tribiano,Italy:SoulNote.
___________(1986).BrightMoments.NewYork,NY:SoulNote.
Shakti.(1977).AHandfulofBeauty(withJohnMcLaughlin).NewYork,NY:Columbia
Records.
_____.(1999).RememberShakti.NewYork,NY:VerveRecords.
Sutton,T.(2003).JazzmeetsSymphony:AlanBroadbentTrio.Auckland,New
Zealand:BMWSeries.
TurtleIslandQuartet.(1990).Skylife.LosAngeles,CA:WindhamHill.
WalkerBrothers.(1978).NiteFlights.London,England:GTORecords.
Williams,T.(1969-70).OnceinaLifetime.NewYork,NY:VerveRecords.
SAMPLEDBYDJSTHEFOLLOWINGALBUMSANDCOMPILATIONS:
DJNumark.(2004).Jurassic5-HandsOn.NewYork,NY:SequenceRecords.
80
Fingathing.(2002).DrunkenMaster11.OnSuperheroMusic.Manchester,UK:Grand
CentralRecords.
DJVadim.(1999).HowtoExerciseTheTurntableRecordPlayer.OnU.S.S.R.Lifefrom
theOtherSide.London,England:NinjaTune.
EuginoD.(2000).OnRespectOverdue.Vol2.Sydney,Australia:CreativeVibes.
FILMSOUNDTRACK:
Hayward,R.(1972).ToLoveaMaori.Dunedin,NewZealand:RudallandRamai
HaywardFilmProductions.
81
APPENDIX1:MusicianBiographiesFourInOneMusicians’Biographies
PutterSmithisajazzbasslegendperformingwithmanyofthegreats,including
TheloniousMonkQuartet,ArtBlakeyandtheJazzMessengers,DukeEllington
Orchestra,BillyEckstine,AlanBroadbent,LeeKonitz,RayCharles,CarmenMcRae,
ArtFarmer,MarleneDietrich,BurtBacharach,ErrolGarner,GerryMulligan,Charlie
Haden,ArtPepper,ManhattanTransfer,ShellyManne,JoeLaBarbera,BillyMintz
Quartet,DexterGordon,BillyHiggins,DonCherry,CarlaBley,DianaKrall,Natalie
Coleandmanymore.
LarryKoonsehasreceivedmultipleGrammynominationsandhastouredwithMel
Torme,BobBrookmeyer,CleoLaine,JohnDankworth,BillyChilds,JohnPatitucci,
DavidFriesen,LucianaSouza,NatalieCole,BobMintzer,PeterErskine,andWarne
Marsh,andwasafeaturedperformerwiththePercyFaithOrchestra.Heiscurrently
amemberofBillyChild’slandmarkchambersextetandjazzvocalistTierneySutton’s
trio.AttheinvitationofNelsonMandelaandUNICEF,Larryperformedforthefirst
annualSAMIXfestivalwiththeSteveHoughtonquintet.Inhistravels,hehas
performedatCarnegieHall,theAcademyofMusic,DisneyHall,theSydneyOpera
House,andhasbeenafeaturedsoloistwiththeL.A.Philharmonic,thePhiladelphia
Orchestraandmanyotherorchestrasthroughouttheworld.Larryhasrecordedwith
CleoLaine,AlHirt,JimmyRowles,BobBrookmeyer,LucianaSouza,LeeKonitz,Larry
Goldings,MelTorme,AlanBroadbent,RayBrown,TootsThielemans,RodStewart,
LindaRonstadt,DavidFriesen,BobSheppard,WarneMarsh,CharlieHaden,Natalie
Coleandmanyotherjazzartists.
TheoSaunderswasbornandraisedontheislandofManhattanandwasfirst
intoxicatedbythesoundofjazzwhileattendingtheHighSchoolofPerformingArts.
Apianist,composerandarranger,hehaslivedinSouthernCaliforniasince1985,but
hiscareerhasremainedinternationalinitsscope.Saunders’musicalodysseyhas
takenhimtofourcontinentsandtwenty-fivecountries.Hehasperformedand
recordedwithdozensofjazzluminariesandworkedextensivelyinthebandsof
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FreddieHubbard,CarlaBley,SonnyFortune,BobBrookmeyer,andJohnKlemmer.A
highlightwashisparticipationinthehistoricalbum,LivingTimeonColumbia
Records,whichbroughttogetherthewritingofcomposerGeorgeRussellandthe
improvisationalgeniusofpianistBillEvanswiththeband,includingJoeHenderson,
TonyWilliams,RonCarter,SamRivers,JimmyGuiffre,SnookyYoungandHoward
Johnson.
ChuckManninghasmadedozensofappearancesandcollaborationswithmusicians,
suchastheLosAngelesQuartet,andhehashadalong-timecollaborationwith
SwissmultiinstrumentalistIslaEckinger.ChuckhasrecordedwithAlphonseMouzon
andisaregularmemberoftheBobbyBradfordMo’tet.
FreedomThroughDisciplineMusicians’Biographies
BasantMadhurisawidelyacknowledgedtablaplayerandamuch-respectedartiste
inthearenaofIndianClassicalMusic.Onaccountofhisversatilityandpleasing
disposition,heisaforemostcreativeartistintherealmofIndianclassicalmusicin
NewZealand,andAustralasiaasawhole.MadhurmovedtoNewZealandin2002
andestablishedtheSargamSchoolofIndianMusic.In2008,hereceivedtheAward
ofAppreciationforhiscontributiontothefieldofmusicbyGOPIO(Global
OrganizationofPeopleofIndianOriginNewZealand).Basanthashadthehonourof
accompanyingsomeofthestalwartsofIndianClassicalMusic,suchasGrammy
winnerPt.VishwaMohanBhatt,Pt.RonuMajumdar,Pt.RakeshChaurasia,Dr.Kadri
GopalnathandmridangamplayerPatriSatishKumar,tonameafew.Otherthan
beingaregularfeatureinmanymusicfestivalsinNewZealand,Basantisknownto
performinIndia,Australia,andUSAonotheroccasions.
LesterSilverhasneverlosthispassionforstudyingandlearningaboutthemusic
knownasRagaSangeet.Thesitar’sbeautifultoneandshimmeringnoteshave
enchantedlistenerseversinceRaviShankarbroughtitoutofIndiamorethanhalfa
centuryago.Sincebeingintroducedtothismusicoverthirtyyearsago,therehave
beenmanyteachersandinfluences,withmostofLester’sformaltrainingbeing
undertheguidanceofsitaristProf.PrasantaK.BhanjaofSantiniketan.Aftermuch
personalpracticeandeffort,LesterisnowconsideredtobeoneofNewZealand's
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leadingexponents.Lesterisawell-respectedandacclaimedmusicianinthisfieldof
IndianartmusicandisaregularperformerinAuckland'sclassicalmusicconcerts,as
wellasregionalartsfestivalsaroundNewZealand.
ChinmayaDunsterwasborninKent,England.Afterattendingartcollege,Chinmaya
lefttheUK,andwithwatercoloursandSpanishguitarinhand,wentonthehippy
trailthatledthroughAfghanistantoIndia.Afterexploringandpaintinginthe
Himalayas,SriLanka,Thailand,andJapan,anall-nightconcertinNewDelhiin1979
provedtobeaturningpointinhislife.Thereheheardaperformancebytheworld-
famoussarodistAmjadAliKhanandinstantlyfellinlovewiththesarod.Threeyears
laterhebecameastudentofAmjadAliKhan’sleadingdisciple.Chinmayadedicated
thenextthirteenyearstothestudyofIndianclassicalmusiconthesarod,bothin
LondonandattheOshoCommuneinPune,India.In1990,withtwoothercommune
members,hefoundedtheeast-westfusionbandTerraIncognita,whichreleased
twoCDsonNewEarthRecords.Hisrelease,CelticRagas,ablendofIndianandCeltic
elements,appearedonNewEarthRecordsin1998.In2003ChinmayaandhisCeltic
RagasbandwereexclusivelyhonouredtoperformliveatPaulMcCartney’swedding
inIreland.In2004,PaulMcCartneychosethesong‘ChanceMeeting’from
Chinmaya’sCDCelticRagas,asthethirdtrackonhisfavouritesongscompilation,
GlastonburyGrooves(2004).
TheFiveElementsMusicians’Biographies
TanyaListartedlearningtheerhuattheageof10.Byage14,Tanyawasinvitedto
playsoloperformancesinvariousconcertsandsheperformedthroughoutthe
provincesandcitiesofChina.
WilliamYustartedtolearnyangqinatnineyearsofage.Hewonfirstplaceinthe
NationalMusicCompetitionofChinawhenhewas15.Williamwasadmittedtothe
LiaoNingProvinceSongandDancetroupeattheageof16.
TanyaandWilliamhaveover30yearsofmusicalexperienceinChineseOrchestras.
In2004theyimmigratedtoNewZealand.Subsequently,theyhaveperformedat
music,government,ministerial,Chineseassociationandeducationalfunctions,and
84
alsoperformingwiththeAucklandPhilharmoniaandattheInternationalJazz
FestivalinWellington.
Open-EndedMusicians’Biographies
BruceLynchisanelectricandacousticbassist,producerandarranger.Arrivingin
theUKinthemid-1970s,Lynchbecameasessionmusiciantouringandrecording
withCatStevens.HealsorecordedontwoalbumsforRichardThompsonandan
albumwithRickWakeman,aswellasplayingonKateBush'sdebutalbum.Whilein
theUK,hewasanearlymemberofBritishjazz/funkbandMorrissey-Mullen,
togetherwithfellowNewZealandsessionmusicianFrankGibson,Jr.ondrums.
ReturningtoNewZealandin1981,hestartedarrangingandorchestratingforNew
Zealandtelevisionandjazzensembles.Helaterbecamearecordproducer,
producing,amongstothers,KiriteKanawa'sMaorialbum,andreceivingtwoNew
ZealandMusicAwards.
TheBlackQuartetareasophisticated,versatilegroupofextremelytalented
musicians,offeringacontemporarytakeonthisclassicensemblestyle.Theyhave
collaboratedwithperformerssuchasKanyeWest,Six60andLadyhawke.Theyhave
alsocomposedadvertisingmusicforsomeoftheworld'sbiggestcommercial
brands.
MahuiaBridgman-CooperisanAucklandbasedcomposer,producerand
accomplishedviolinist.AfoundingmemberofTheBlackQuartet,hehasbeencalled
toplayandproduceforadiverserangeofartistsandensemblesincludingLaurence
Arabia,MaiseyRika,Ladyhawke,MoanaandTheTribe,TVNZ,TheNZSO,SJD,Kid
KenobiandHayleyWestenraamongothers.In2016hetookhometheAPRAbest
filmscoreawardforLeeTamahori’sMahana,whichaddstothepreviouslywon
APRAMaiohaawardandmultiplenominations,includingBestFilmScoreforFantail
in2013,andHouseboundin2014,amongstothers.
JosephHarropisalsoaprofessionalviolinistandviolist,educatorandmusic
academic.‘DrJoe’,ashisstudentscallhim,believesinthepowerofmusic-making
asaninstrumentofsocialchange,asacreativewaytoinvestinone’sselfandthe
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community,andasatemplateforachievementandhigheraspirations.Joseph
studiedinAucklandandGermanybeforecompletinghisPhDattheRoyalAcademy
ofMusic,London.HeleftasuccessfulperformanceandlecturingcareerintheUKto
takeonthechallengeofimplementingthemusical-socialdevelopmentprogramme,
SistemaAotearoainOtara,SouthAuckland.JosephwasgivenaSirPeterBlake
LeadershipAwardin2013andwaselectedasanAssociateoftheRoyalAcademyof
Musicforsignificantcontributionstothemusicprofessionin2014.Hehas
presentedinternationallyonmusicperformancepracticeandsocialactionthrough
music.Thetechniquesofeffectivemusicensembleperformanceareaparticular
researchinterest.HisworkispublishedbyOxfordUniversityPress.
RachelWellsstudiedwithEuanMurdochandCoralBognuda,andgainedherATCL
withdistinctionunderJimTennant.SheplayswiththeBlackQuartet,andhas
freelancedandrecordedwithotherchambergroups,andahostofNZ'sfinest
contemporarybandsandartistsincludingBroods,LawrenceArabia,theBlackbird
EnsembleandHayleyWestenra.ShehasaBachelorofFineArtsfromElam,
AucklandUniversity.
JessHindingainedadegreeinPerformanceViolinatTheUniversityofAuckland
SchoolofMusic.Followingherstudies,shesuccessfullyauditionedforthe
internationallytouringworldmusicstageshowBarrage,basedinAlberta,Canada.
Afteralmostsixyearsofextensivetouring,encompassingfivecontinentsand
multipleinternationaltelevisionappearances,shereturnedhometocontinuea
careerasafreelancemusicianperforminginNewZealandandinternationallywith
differentshowsandbands.In2016JessicawasappointedMusicDirectorofSistema
Aotearoa,anorchestralmusical/socialinterventionprograminSouthAuckland
bringingfreemusicaleducationtoover400childrenweekly.Jessretainsanactive
professionalperformingcareer,andregularlyrecordsandperformsforartistsacross
variousmusicalgenres,andfortelevisionandmoviesoundtracks.Herwork
encompassesclassical,world,gypsy,jazz,country,andCelticmusic.
86
APPENDIX2:DiscographyofAlbums
ConsultedasBackgroundResearch
ArtEnsembleofChicago.(1967--68).ArtEnsemble.NewYork,NY:PrestigeRecords.
ArtEnsembleofChicago.(1984-90).TheThirdDecade.München,Germany:ECM.
ArtEnsembleofChicago.(1990).LiveattheEighthTokyoMusicJoy.Tokyo,Japan:
DIW.
Ayler,A.(1962).FirstRecordings.Volume2.Tokyo,Japan:DIW.
Bailey,D.(1986).Cyro.London,England:Incus.
Bailey,D.(1995)TheLastWave.Tokyo,Japan:DIW.
Bailey,D.(1998).MelancholyBabesPart2.London,England:Incus.
Bang,B.(1982).Bangception.JazzfestivalWillisau,Switzerland:Hatology.
Blakey,A.(1958).ANightinTunisia.NewYork,NY:RCA.
Bley,P.(1958).TheFabulousPaulBleyQuintet.NewYork,NY:InnerCityRecords.
Bley,P.(1994).RealityCheck.Copenhagen,Denmark:Steeplechase.
Brotzmann,P.(1994).NoiseofWings.Kunalv,Sweden:BohusSoundRecording.
Burrows,D.(1976).TasmanConnection.Thornleigh,Sydney:CherryPieRecords.
Christian,C.(1939-41).SoloFlight.NewYork,NY:TopazRecords.
Coleman,O.(1959).TheShapeofJazztoCome.NewYork,NY:AtlanticRecords.
Coleman,O.(1969).HappyHouse.OnBrokenShadows.ArroyoGrande,CA:Moon
Records.
Coleman,O.(1977).DancinginyourHead,Feat.TheMastermusiciansofJoujouka
Morocco.LosAngeles,CA:A&MRecords.
Coleman,O.(1995).ToneDialing.LosAngeles,CA:VerveRecords.
Coleman,S.(1991).PhaseSpace.Tokyo,Japan:DIW.
Coleman,S.(1996).TheSignandtheSeal.NewYork,NY:RCA.
Coltrane,J.(1959).GiantSteps.NewYork,NY:AtlanticRecords.
Coltrane,J.(1964).ALoveSupreme.LosAngeles,CA:Impulse.
Coltrane,J.(1967).InterstellarSpace.LosAngeles,CA:Impulse.
Coryell,L.(1972).Spaces.NewYork,NY:Vanguard.
Cyrille,A.(1990).Galaxies.VancouverJazzfestival,Canada:Music&Arts.
87
Davis,M.(1959).KindofBlue.NewYork,NY:ColumbiaRecords.
Davis,M.(1969).InaSilentWay.NewYork,NY:ColumbiaRecords.
Davis,M.(1970).LiveEvil.NewYork,NY:ColumbiaRecords.
Davis,M.(1970-74).GetUpWithIt.NewYork,NY:ColumbiaRecords.
Davis,M.(1985).Aura.NewYork,NY:ColumbiaRecords.
Dodds,B.(1946).TalkingandDrumSolos.UheardMusicSeries.
Dolphy,E.(1961).AtTheFiveSpotVolI.NewYork,NY:PrestigeRecords.
Donegan,L.(1978).Puttin‘ontheStyle.London,England:Chrysalis.
DrTree.(1975).DrTree.Auckland,NewZealand:EMI.
Ellington,D.(1940).INeverFeltThisWayBefore.Hamburg,Germany:International
MusicCo.
Ellington,D.(1944-48).Black,Brown&Beige.NewYork,NY:Bluebird.
Ellington,D.(1966).AConcertofSacredMusic.NewYork,NY:RCA.
Ellington,D.(1968).LatinAmericanSuite.NewYork,NY:PrestigeRecords.
Ellington,D.(1971).TheAfro-EurasianEclipse.NewYork,NY:PrestigeRecords.
Ellington,D.(1995).OnlyGodCanMakeaTree.NewYork,NY:MusicMasters.
FreeJazzQuartet(1989).Premonition.NewYork,NY:AtlanticRecords.
Frisell,B.(1998).Quartet.NewYork,NY:Electra.
Gayle,C.(1999).AncientofDays.NewYork,NY:KnittingFactory.
Getz,S.(1962).BigBandBossa.LosAngeles,CA:VerveRecords.
Getz,S.(1962).JazzSamba.LosAngeles,CA:VerveRecords.
Gibson,F.(1980-81).Parallel37.Auckland,NewZealand:OdeRecords.
Gillespie,D.(1947).TheCompleteRCAVictoryRecordingDiscOne.CubanaBe,
CubanaBop.NewYork,NY:RCA.
Gillespie,D&Parker,C.(1952).BirdandDiz.LosAngeles,CA:VerveRecords.
Gillespie,D.(1966).ANightinTunisia.NewYork,NY:VSP.
Granelli,J.(1998).CrowdTheory.Vancouver,Canada:Songlines.
Haden,C.(1969).LiberationMusicOrchestra.LosAngeles,CA:Impulse.
Haden,C.(1976).Closeness.LosAngeles,CA:VerveRecords.
Haden,C.(1982).TheBalladoftheFallen.München,Germany:ECM.
Haden,C.(1990).DreamKeeper.LosAngeles,CA:VerveRecords.
Haden,C.(1994).Stealaway:Spirituals,HymnsandFolksongs.LosAngeles,CA:
VerveRecords.
88
Haden,C.(1999).TheArtoftheSong.LosAngeles,CA:VerveRecords.
Hamilton,C.(1959).FeaturingEricDolphy.Barcelona,Spain:Freshsound.
Hamilton,C.(1989).Reunion.Tribiano,Italy:Soulnote
Harriot,J.(1960).Freeform.LosAngeles,CA:Redial.
Harriot,J.(1968).IndoJazzFusionsI&II.LosAngeles,CA:Redial.
Hemphill,J.(1980).FlatOutJumpsuite.Tribiano,Italy:Blacksaint.
Ibrahim,A.(1977).TheJourney.NewYork,NY:Downtown.
Ibrahim,A.(1997).AfricaSuite.NewYork,NY:Downtown.
Jackson,R.S.(1991).RedWarrior.NewYork,NY:Knitting
Factory
Jackson,R.S.(1992).RavenRoc.Tokyo,Japan:DIW.
Jackson,R.S.(1994).WhatSpiritSay.Tokyo,Japan:DIW.
JazzComposersOrchestra.(1968).Communications.LosAngeles,CA:JCOA.
JazzJamaica.(1993).Skaravan.London,England:HannibalRecords.
Jones,E.(1982).EarthJones.Tokyo,Japan:PaloAltoJazz.
Jones,J.(1973).TheDrums.Tokyo,Japan:Odyssey.
Jones,J.(1959).Showcase.NewYork,NY:RiversideRecords.
Kirk,R.(1964).ITalkwiththeSpirit.NewYork,NY:Limelight.
Laswell,B.(1982).CityofLight.Brussels,Belgium:SubRosa.
Laswell,B.(1984).Baselines.NewYork,NY:CelluloidRecords.
Laswell,B.(1990).LastExit.NewYork,NY:Subharmonic.
Laswell,B.(1993).Divination-Akasha.NewYork,NY:Subharmonic.
Laswell,B.(1993).MaterialLiveinJapan.Tokyo,Japan:Restless.
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93
APPENDIX3:AccompanyingMaterialtoChapter3SelectedstillsfromthevideoaccompanyingtheFourInOneRecording
Sessions
SelectedleadsheetsandnotesfromFourInOne
94
95
APPENDIX4:AccompanyingMaterialtoChapter4SelectedstillsfromthevideoaccompanyingtheFreedomThrough
Disciplinerecordingsessions
SelectednotesandsketchesmadeforFourPartSuite
96
97
98
APPENDIX5:AccompanyingMaterialtoChapter5SelectedphotographsfromTheFiveElementsrecordingsessions
99
SelectedsketchesfromTheFiveElementsrecordingsessions
100
101
102
103
104
105
106
107
APPENDIX6:AccompanyingMaterialtoChapter6SelectedphotosfromtheOpen-EndedConcertatMaramaHall
108
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RecordingsandPerformances
CD1:TheFrankGibsonQuartetPlaysMonk:FourinOne
1. CrissCross3.52
2. LightBlue4.25
3. Epistrophy3.54arr.PutterSmith
4. IMeanYou4.55
5. Monk’sMood5.40
6. InWalkedBud3.04
Orchestratedfordrumset(FrankGibson)
7. Eronel5.35
8. FourinOne6.10
9. UglyBeauty4.18
10. Monk’sDream7.03
11. Pannonica5.40
12. Evidence3.20arr.PutterSmith
AllCompositions:TheloniousSphereMonk
MUSICIANS
FrankGibson(Drumset)Alltracks
ChuckManning(TenorSaxophone)Alltracksexcept6
LarryKoonse(Guitar)Tracks1,4,7,8,11
TheoSaunders(Piano)Tracks2,3,5,9,10
PutterSmith(Bass)AllTracksexcept6
MusicalDirector:FrankGibson.AssociateDirector:PutterSmith
ProducedbyFrankGibson.AssociateDirector:PutterSmith
EngineeredbyNolanShaheed
RecordedatNolan’sStudio,Pasadena,CAon8and10March,2015
118
CD2:TheFrankGibsonIndianEnsemblePresents:Freedom
ThroughDiscipline1. FreedomThroughDiscipline13.06
MusicforSitar,Tabla,Sarod,DroneBox,SnareDrumandPercussion
Comp.Gibson,Silver,Dunster,MadhurandLynch
2. FirstMeeting,Firsttake7.08
MusicforSitarandDrumset
Comp.GibsonandSilver
3. FourPieceSuiteforTablaandDrumset
Part1and25.45
Part3and44.65
Comp.Gibson
4. ConversationswithChinmaya7.42
MusicforSarod,TablaandDrumset
Comp.Gibson,DunsterandLynch
MUSICIANS
FrankGibson(DrumsetandPercussion)
BasantMadhur(Tabla)
LesterSilver(Sitar)
ChinmayaDunster(Sarod)
RecordedattheBoatshedStudio,Bayswater,Auckland
FourPieceSuiteforTablaandSitarrecorded15.12.2014
FreedomThroughDiscipline,FirstMeetingFirstTakeandConversationswithChinmaya,
basictracksrecorded27.10.2015
Drumandpercussionoverdubs,editingandProTools.October2015
MixedandmasteredbyFrankGibsonandBruceLynch
CD3:FrankGibson’sChineseEnsemblePresents:TheFiveElements1. SpringtimeonTianMountain3.54TraditionalChineseFolkSong
2. ExitThrutheEntrance2.47
119
Comp.MurrayMcNabb
3. Intensity/Fire3.58
Comp.FrankGibson,WilliamYuandBruceLynch
4. MarcoPolo’sReturn13.10Comp.MurrayMcNabb
5. Empathy/Compassion5.28
Comp.FrankGibson,TanyaLiandBruceLynch
6. HappyHouse5.03
Comp.OrnetteColeman
MUSICIANS
FrankGibson(DrumsetandPercussion)
TanyaLi(Erhu)
WilliamYu(YangQin)
MusicalDirector:FrankGibson.AssociateDirector:BruceLynch
ProducedbyFrankGibson.AssociateProducer:BruceLynch
EngineeredbyBruceLynch
Recorded,mixed,masteredandedited2016and2017attheBoatshedStudio,Bayswater,
Auckland
LivePerformance:FrankGibsonandCollaboratingArtists,TheBlack
StringQuartetandBruceLynchPresent:Open-Ended
1. StolenMoments
Comp.OliverNelson,re-arrangedbyBruceLynch
2. SoWhat
Comp.MilesDavis,re-arrangedbyBruceLynch3.
InWalkedBud
Comp.TheloniousMonk,re-arrangedbyCarlDoy
4. Naima
Comp.JohnColtrane,re-arrangedbyBernieAllen
5. ANightinTunisia
Comp.JohnBirks'Dizzy'Gillespie,re-arrangedbyBruceLynch
120
6. Skylife
Comp.andarrangedbyDavidBalakrishan
7. ATributetoMaxRoach
MaramaHallImprovisationFrankGibson
8. StraightNoChaser
Comp.TheloniousMonk,re-arrangedbyBruceLynch
MUSICIANS
FrankGibson(Drumset)
MahuiaBridgman-Cooper(Violin)
JessicaHindin(Violin)
JosephHarrop(Viola)
RachelWells(Cello)
BruceLynch(ElectricBass)
PerformedandrecordedliveatMaramaHall,OtagoUniversityon28July2017.