This site contain a translation work in progress. Or maybe the rewriting in a blog in English of a part of the materials that constituted my thesis finished in 2007. The thesis was concerning the reception of jazz in Italy with a particular interest on what happened in the Seventies around that particular season of creativity called “New Music”, “Great Black Music” or “Free Jazz” with some degree of approximation but following from a fundamental record of Ornette Coleman. I would rather now prefer the vision of Anthony Braxton, who pointed at this whole phase as follows:
By 1974, it was clear that, for instance, there were many groups of young people African-Americans, Asian-Americans, European-Americans, men and women begging to come together to be involved in a new universal music to push things forward. This was not able to happen.1
I will call this music of the “transitional period” of new tendencies in improvisation and composition. At that time jazz and other forms of “transitional music” connected with it were often performed side by side in Europe.
The work included historical and socio-anthropological approaches to jazz as well as a good deal of interview materials about concepts expressed from the musicians. However what was firstly interrogated in the thesis was the extra-musical context of musical practice, differing in times and spaces.
I decided to work back on it after ten years, for the interest showed from friends in the USA to read those materials, for the possibility to be corrected and helped in this (considerable) task, and for a sense of commitment to the memory of those years and their heroes: the still sung, the less sung and the unsung.
The pages are referring to translated material and the posts are commenting the general matter from different point of views, and may be more or less related with it.
1. ANTHONY BRAXTON-ANDREW CYRILLE DUO PALINDROM 2002. INTAKT CD 089 / 2004, (inside leaflet: Interview with Anthony Braxton conducted and edited by Ted Panken), New York, 2003. © Intakt Records.