Jazz after Bebop: Discover What Makes “Free Jazz” Avant-Garde

Please join us at the Queens Central Library at 89-11 Merrick Boulevard for a concert, brief talk, and Q & A with musicians on January 27:

  • Michelle Yom, flutes
  • Mark Hennen, piano
  • Elliott Levin, reeds/flute
  • Karen Borca, bassoon
  • Jackson Krall, drums

What happened to jazz after bebop? The main narrative of jazz would tell us that jazz became cool after the bop frenzy, thanks to geniuses like Miles Davis- and masterpieces such as Kind of Blue. But jazz is not monolithic nor must it necessarily rely on the recording industry for its identity. Today there are numerous styles of jazz, each with different aesthetic values and practical styles. Free Jazz is a style of jazz that emerged in the late 50’s and early 60’s. It is neither a set of repertoire nor a means of filling a functional role. It is a type of music characterized by a search for freedom, despite the paradox of such a pursuit. Coined by Ornette Coleman through the eponymous album in 1961, the term Free Jazz is not without controversy.

There are unsaid parameters musicians follow, not by abiding rules, but by following the Spirit of what Free Jazz tries to create with each instance: freedom, individual expression, energy, spirit. Pioneered by individual styles and practices of such masters such as Cecil Taylor, Sunny Murray, Albert Ayler, and Archie Shepp, Free Jazz impacted jazz and other improvised music to become practiced internationally with many cultural crossovers.

Particularly in New York City, Free Jazz was a staple in the loft era of the 70’s and clubs in 80’s and 90’s. Karen Borca, Mark Hennen, Elliott Levin and Jackson Krall have been active in this scene since the 80’s. Michelle Yom is an improviser originally from South Korea.

For ticket information click here!



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