The Jazz Composers Guild

Following a series of Avant-Garde jazz concerts at NYC's Cellar Cafe (The October Revolution) in 1964, trumpeter and composer Bill Dixon sought to improve the working conditions of Jazz musicians, whom he felt were being exploited by venues and record labels. Further discussions, initially with Cecil Taylor, led to the creation of the Jazz Composers Guild in 1965.
Members included Bill Dixon, Sun Ra, Paul Bley, Roswell Rudd, Carla Bley, Mike Mantler, Cecil Taylor, John Tchicai and Archie Shepp.

Ascension Recording. Archie Shepp (Left)

During its short run, the Jazz Composers Guild experienced tension with other political groups including with Amiri Baraka. Bill Dixon faced defending the Guild due to its inclusion of white musicians. He agreed that white musicians were treated better, but not by much.

Ascension Recording. John Tchicai (Centre)

John Coltrane's Ascension recording in 1965 included members of the Guild, Archie Shepp and John Tchicai. A critical wit at the time called the album recordings The Free Jazz Musicians Benefit Society (or something similar), since most were reliant on union rate recording fees and regular gig work.

Carla Bley and Mike Mantler went on to create the Jazz Composers Guild Orchestra. Political progression continued into the Liberation Music Orchestra, recorded by Impulse in 1969 with an album released in 1970.

Comments

Pharoah Sanders' Philosophical Conversation - July 1967

In the July 1967 issue of Canada's Coda Magazine, Pharaoh Sanders held a long conversation with Elisabeth van der Mei. The feature starts out with the comment "You play so good you made me forget about Trane", and ends with Pharoah saying Coltrane wouldn't have got to where he is now without listening to others. The feature talks about playing in Trane's group and the dynamics between the musicians, how he (and Trane) had dropped playing over chord changes and the concept of time was now radically different. He preferred playing with just Rashied Ali for this very reason. Making 8 or 9 notes out of 2 by putting them through the horn in different ways; And to achieve what he could, you needed ability, control and emotion. Poignant given the issue date, the same month of Trane's death, this is a really insightful interview with Pharoah just as he was ending one phase in his career, before taking his deeply felt spirituality into a new phase. pharoah sanders ...

John Coltrane's Only British Tour in 1961

Britain’s Musicians' Union found the 1950s difficult, with the rise of Rock ‘n’ Roll and the growth of outside musicians coming to play in Britain. By the early 60s an agreement had been reached with the US that an equivalent number of touring American and British musicians could play in each country. Most headline US Jazz artists up to that point had used local musicians, and the live exposure to ‘modern’ Jazz artists was limited. Through the 60s and beyond, Britain was still problematic for outside artists due to the (then) power of the MU. Having said that, the MU was sometimes a force for good. For example, in 1961 the MU boycotted the entire Mecca Circuit for the Bradford Mecca Locarno’s policy of refusing admission to single black males. Norman Granz had been running JATP European tours since 1952, featuring top US jazz artists. Earlier in 1960 Miles Davis had visited Britain, so it missed out on Miles' famous JATP tour of Europe with Trane later in 1960. Granz organised...

Ornette Coleman and Sweden's Golden Circle Club

Ornette Coleman's trio famously recorded over two nights, during a two week stint at Stockholm's Golden Circle (Gyllene Cirkeln) Club in December 1965. Francis Wolff of Blue Note flew to Sweden to supervise and produce the recording, using Rune Andreasson, a local recording engineer. The resulting two albums "At The Golden Circle" vols one and two became Blue Note classic albums. The Golden Circle Club was b ased, from 1962 in the ABF-Huset building, a progressive community building built in 1961 in the centre of Stockholm. Over its seven year life the club hosted many US jazz musicians. Due to its welcoming attitude to foreign musicians, Sweden became home (at times) to jazz musicians such as Sahib Shahib, George Russell, Albert Ayler, Steve Kuhn, Red Mitchell and Don Cherry. See also : The New Jazz Musings - Albert Ayler in Sweden The Club was on the 1st Floor (unchanged inside) Gyllene Cirkeln Wall Display Original Golden Spiral Staircase Entran...

The New Jazz Musings

Search This Blog