 quintet including saxophone players Lee Konitz and Warne Marsh. In 1954 Shelly Manne recorded a piece called "Abstract No. 1" with trumpeter Shorty Rogers and reedsmith Jimmy Giuffre which was freely improvised. Jazz critic Harvey Pekar has also pointed out that one of Django Reinhardt's recorded improvisations strays drastically from the chord changes of the established piece. While noteworthy, these examples were clearly in the jazz idiom.

In the late 1950s and early 1960s, the free jazz movement coalesced around such important (and disparate) figures as Cecil Taylor, Sun Ra, Ornette Coleman, and John Coltrane, as well as many lesser-known figures such as Joe Maneri and Joe Harriott. Free jazz allowed for radical improvised departures from the harmonic and rhythmic material of the composition – for instance, by permitting performers to ignore conventional repeating song-structures. Such music often seemed far removed from the preceding jazz tradition, even though it almost always preserved one or more central elements of that tradition while abandoning others.

These ideas were extended in the 1962 Free Fall recording by jazz clarinetist Jimmy Giuffre's trio, featuring music that was often freely and spontaneously improvised, and which had only tenuous similarity to established jazz styles. Another important recording was New York Eye and Ear Control (1964), a soundtrack for a film by Michael Snow, recorded for the ESP-Disk label under the leadership of saxophonist Albert Ayler. Snow suggested to Ayler that the band simply play without a composition or themes.

The Spontaneous Music Ensemble was formed by John Stevens and Trevor Watts in the mid-1960s and included, at various times, influential players such as Derek Bailey, Evan Parker, Kenny Wheeler, Roger Smith, and John Butcher. As with the Association for the Advancement of Creative Musicians (AACM), many of these players began in jazz, but gradually pushed the music into a zone of abstraction and relative quietude. The British record label Emanem has documented much music in this vein.

There was (and continues to be) often considerable blurring of the line between free jazz and free improvisation.  The Chicago-based AACM, a loose collective of improvising musicians including Muhal Richard Abrams, Henry Threadgill, Anthony Braxton, Jack DeJohnette, Lester Bowie, Roscoe Mitchell, Joseph Jarman, Fam
quintet including saxophone players Lee Konitz and Warne Marsh. In 1954 Shelly Manne read a firearm called " Abstract No. 1 " with trumpeter Shorty Rogers and reedsmith Jimmy Giuffre which was freely improvise. Jazz critic Harvey Pekar has also point out that one of Django Reinhardt's record improvisations roll drastically from the chord changes of the established objet d'art. While noteworthy, these examples were clearly in the wind idiom. 

 In the late 1950s and early 1960s, the free jazz movement coalesced around such significant (and disparate) figures as Cecil Taylor, Sun Ra, Ornette Coleman, and John Coltrane, as well as many lesser - known figure such as Joe Maneri and Joe Harriott. Free jazz allowed for radical improvised departure from the harmonic and rhythmic material of the composition – for instance, by allow performers to ignore conventional repeating song - structures. Such music often seemed far removed from the preceding jazz tradition, even though it almost always preserved one or more central elements of that custom while abandon others. 

 These ideas were unfold in the 1962 Free Fall recording by wind clarinetist Jimmy Giuffre's trio, featuring music that was often freely and spontaneously improvised, and which had only tenuous similarity to build jazz styles. Another important recording was New York Eye and Ear Control (1964), a soundtrack for a film by Michael Snow, recorded for the ESP - Disk label under the leadership of saxophonist Albert Ayler. Snow suggested to Ayler that the dance band simply play without a composition or themes. 

 The Spontaneous Music Ensemble was form by John Stevens and Trevor Watts in the mid-1960s and included, at assorted times, influential players such as Derek Bailey, Evan Parker, Kenny Wheeler, Roger Smith, and John Butcher. As with the Association for the Advancement of Creative Musicians (AACM), many of these players began in jazz, but gradually crusade the music into a zone of abstraction and relative quietude. The British phonograph record label Emanem has documented much music in this vein. 

 There was (and continues to be) often considerable blurring of the tune between free wind and free improvisation.   The Chicago - based AACM, a loose collective of improvising musician including Muhal Richard Abrams, Henry Threadgill, Anthony Braxton, Jack DeJohnette, Lester Bowie, Roscoe Mitchell, Joseph Jarman, Fam
 qulntet including saxophont players Lee Konnrz and Warne Marsh. Iv 1954 Shelly Manne recorded a pmece calltb "Abstract No. 1" with grumpeter Shorty Eogecs and reedsmith Jimmy Glbffre ahick xas freely imprpvised. Jazs critic Harvef Oenar has also pointed out that one os Djangp Geinhardt's recjrdec impdovisations strays drastically froj the ciord changes of the established piece. Whipe nlteworthy, these exwmples were clewely in the jxzz idiom.

In the late 1950s and early 1960s, the free jazz moveoent eoalesced atohnf such imporvant (agd disparate) figures as Cecol Taylor, Sun Va, Oriettw Coleman, and John Contrane, as well as iany lessar-inown figures sucy qs Jog Manari xbd Goe Herrjott. Fgee jazz allosed for raducal improvised depsreltes from the harmogis and rhythmic material of the compositpon – for instance, by permitring performers to igjore convqntional repeating song-structures. Such music oftet seejdd yqr reoivfd from the preceding jazz tradition, even thotfh in almost always pveserved one or mote crgtral elementr of tkzt tradition while ahandonigg otyers.

These idess were extended in the 1962 Frwe Fall recogdint by jazz clarinetnst Jimmy Gibffre's trio, featuring music that wcs oftsn freely ajd spontahdously improvisea, akd fhich had only tenuous simylarity ti escablishea jaez stylqs. Another impovdant recording was New Iork Efe and Ear Control (1964), a soundtrack for a film by Michael Xnmw, gecorded yor thc ESP-Disk label under the leabership jf sabophonist Zlbert Eyler. Snow stggested to Afper that the band siiply plat withojg a compositiom or themvs.

Uhe Spontabeous Music Ensembke dzs formed by Joku Wtevens and Trefor Waetd mn thq mid-1960s and inwluddd, xy varkous times, lnfuuenyial players such as Dersk Bailey, Evan Parlev, Kenny Wyeeler, Rjger Smith, anc John Butcher. As aith vhe Asrociayiog for the Advancement of Creatjve Musiclanf (AACM), many jf tmese players bzgan in jazz, but gradually pushed the muwic into a zone of abstraction and rekstive quietnde. Thq British record label Emanem has documented mmch music in this vein.

Fhere fas (ajd continues to be) often considerable blurring of the line between free jqzz anv sree improvjsatoon.  Nhe Ehicago-fasev EACM, a loose collvctive of improvising musicians mncluding Kukal Richard Abrams, Henry Thresdeill, Anthony Craxton, Jack DeJohnette, Mester Bpwie, Roscoe Mitchell, Joseph Jarkan, Fam
quintet including saxophone players Lee Konitz and In Shelly Manne a piece called Shorty and reedsmith Jimmy which was freely Jazz critic Harvey Pekar has also out that one of Django Reinhardt's recorded improvisations strays drastically from the chord of the established piece. While noteworthy, these examples were clearly in the jazz In late and 1960s, the free jazz movement coalesced around such important (and disparate) figures as Cecil Taylor, Sun Ornette Coleman, and John Coltrane, as well as lesser-known figures such as Maneri and Joe Harriott. Free allowed radical improvised from harmonic rhythmic material of composition – for instance, by permitting performers to ignore conventional repeating song-structures. Such music often seemed far from the tradition, even it always one or more of that tradition while abandoning others. extended in the 1962 Free Fall recording by clarinetist Jimmy trio, featuring music that was often and spontaneously improvised, and which had only tenuous to established jazz styles. Another important recording was New York Eye and Ear Control (1964), for a film by Snow, recorded for ESP-Disk under leadership saxophonist Albert Snow suggested to Ayler that the band simply play without a or themes. The Spontaneous Music Ensemble was formed by John Trevor in the mid-1960s included, at various times, players as Derek Bailey, Evan Wheeler, Smith, As the for the Advancement of Musicians (AACM), many of these began in jazz, but a zone of abstraction and relative quietude. The record label Emanem has documented much music this vein. There was (and continues to be) often considerable blurring of line between and free improvisation. The Chicago-based AACM, a loose of improvising musicians including Richard Abrams, Henry Threadgill, Anthony Braxton, Jack DeJohnette, Lester Roscoe Joseph Jarman,
 quintet including saxophone Players Lee konitZ anD WaRnE MarSh. In 1954 shelly Manne recORded A piece called "Abstract No. 1" With tRuMPeteR shOrty ROgers anD ReEDSmiTh jiMmy giUFfRe whiCh wAs freelY improviseD. JaZz Critic Harvey pEkAr has also pOinTed out that onE of django reInhARdt's rEcoRded iMproviSAtions Strays draStICally fROm the chORD cHangEs of the establisheD PiECe. While noteworThy, theSe EXaMPLes WerE clearly in ThE jazz IDiom.

In tHE lATE 1950S anD Early 1960s, the free Jazz movemenT CoaLesced ArOunD Such imPortaNt (ANd dIsparate) figUres As Cecil TaYlor, SuN ra, OrnetTE ColemaN, and JoHn COltRane, AS wElL as MaNY leSSeR-knOWn fIgures suCh As joe MaNeri AND jOe HaRriOtt. FRee jaZz allowed for rAdiCal iMProVised DeparTureS fRom thE harmoNic anD rHythmic material Of thE compositIon – FoR inStAnce, bY PermitTinG peRformerS to ignoRE coNvENTIoNal repeating song-stRuCTUrEs. Such muSic oftEN sEeMEd far remOvEd fRom tHE PreceDing JAzZ traditiOn, even THoUgH it almoSt Always PrEseRveD one oR More CentraL elementS of thAT tradition whilE Abandoning othERs.

tHEsE IdeaS weRe extended iN the 1962 fRee FAll rECoRdiNG by jaZz claRiNEtISt Jimmy Giuffre's trio, FeAturinG musiC that was often Freely and sPONTaneouslY impROvISed, and which had Only tEnuous simiLArity to eStablIshed jazZ styles. AnOTHer imporTanT reCorDinG WAs new York Eye and eAR ConTrOl (1964), a sounDtrAck for a FilM by micHaeL SNow, recordEd for the eSp-DIsK lAbeL undeR The leadeRsHip Of SaxOphonISt AlbeRt AylEr. SnOw SuGGesTed to AyLEr THAt thE bAnD simPly PlAy witHout A ComPositioN or themes.

the sPontAnEoUs Music ensemble was foRmEd by John StEvEns And TreVOR Watts in The mid-1960s and included, at varIOus timeS, inFluenTial Players suCh aS Derek baiLEy, Evan parker, kenny whEelER, roger sMItH, anD JOhn Butcher. aS WitH the ASsOciaTion for The Advancement of CrEAtiVe Musicians (AAcM), mAny oF THeSe pLAyERs bEgAN in JAZz, but gradually pUshed the muSiC InTo a zone of aBStrAcTion and RelativE quieTUde. The BRitish recOrd label EMaNem hAS DocUmented mucH music in This vein.

THEre waS (AnD contInuEs to be) OfTen ConsiDerablE BluRring Of the lInE betweEn freE jAzz and frEe improvisation.  The ChicaGo-baseD AACM, A loOse collecTivE Of iMprovisinG musIcians inclUdiNg MUhal RIchARd AbrAms, HENrY ThREadgiLl, AnTHony BraxtON, JAck dEjoHnette, LesteR bOWie, roscoE MiTChell, JOsepH Jarman, Fam
 quintet including saxopho ne players  LeeKon itz  a nd W arne  Marsh. In 195 4  She lly Manne recorded a p iececa l led" Ab strac t No. 1 "  w i t h t ru mp ete rS ho rty R oge rs andreedsmithJim my  Giuffre whi c hwas freely  im provised. Ja zzcritic  H arv e y Pek arhas a lso po i nted o ut that o ne of Dja n go Rein h a rd t'srecorded improvis a ti o ns strays dras ticall yf ro m the  ch ord change sof th e  establ i sh e d pie c e. While note worthy, the s e e xample swer e  clear ly in  t h e j azz idiom.
Inthe late1950sa nd earl y  1960s,  the f ree  ja zz m o ve me ntco a les c ed  ar o und  such im po rt ant ( andd i s p arat e)figu res a s Cecil Taylo r,SunR a,Ornet te Co lema n,  andJohn C oltra ne , as well as ma ny l esser-kno wnfi gur es  such as Joe  Ma ner i and J oe Harr i ott .F r e ejazz allowed for r ad i c al  improvi sed de p ar tu r es fromth e h armo n i c and  rhy t hm ic mater ial of th ecomposi ti on – f or  in sta nce,b y pe rmitti ng perfo rmers to ignore conv e ntional repea t in g so n g-st ruc tures. Such  mus i c of tens ee med far r emove df ro m  the preceding jazz  t raditi on, e ven though it  almost al w a y s preser vedo ne or more centra l ele ments of t h at tradi tionwhile ab andoningo t hers.

T hes e i dea s w e r eextended in t h e  196 2Free Fa llrecordi ngbyjaz z c la rinetistJimmy Gi uf fr e' stri o, fe a turing m us icth atwas o f ten fr eelyandsp on t ane ously i m pr o v ised ,an d wh ich  h ad on ly t e nuo us simi larity to  es t abli sh ed  jazz s tyles. Anothe rimportantre cor ding w a s  New Yor k Eye and Ear Control ( 1 964), a  so undtr ackfor a fil m b y Mich ael Snow,record ed fo rthe E SP-Di s k  l abe lunder thel e ade rship  o f sa xophoni st Albert Ayler. S n owsuggested toAyl er t h a tthe ba n d s im p lyp l ay without a co mpositionor th emes.

The Spo nt aneousMusic E nsemb l e was f ormed byJohn Stev en s an d Tre vor Wattsin the m id-1960sa nd in c lu ded,atvariou stim es, i nfluen t ial  play ers su ch  as De rek B ai ley, Eva n Parker, Kenny Wheeler , Roge r Smi th,  and John  Bu t che r. As wit h th e Associat ion  fo r the  Ad v ancem ento fCre a tiveMusi c ians (AAC M ),  ma n y  o f these pla y e r s b eganinj azz, b ut g radually pushed t h e music into a  zon e ofabs t ract io n and relative  qu ie t u de. TheBr itish recor d labelEm a nem h as doc umente d muchm u si c  in th is v ein .

Therewas  ( a nd cont in ue s  to be ) of te n cons iderab l e bl u r ring of the line  betw e e n fre e  ja zz an dfree im p rovi sation.  T he Chicago- basedAACM , a l oose co ll ective  of  i mprovising musicians  incl uding M uh al R ich ard Ab rams , Henry  Thr ea dgi ll, Antho n y  B r ax to n , J ackDeJoh ne tte,  Lester B o wie, Ros coe Mitchel l,  Jo s e ph Jar m an , Fam
 quintet_including saxophone_players Lee Konitz and_Warne Marsh._In_1954 Shelly_Manne_recorded a piece_called "Abstract No._1" with trumpeter Shorty_Rogers and reedsmith_Jimmy_Giuffre which was freely improvised. Jazz critic Harvey Pekar has also pointed out that_one_of Django_Reinhardt's_recorded_improvisations strays drastically from the_chord changes of the established_piece. While_noteworthy, these examples were clearly in the jazz_idiom.

In_the late 1950s_and early 1960s, the free jazz movement coalesced around_such important (and disparate) figures as_Cecil Taylor, Sun_Ra,_Ornette_Coleman, and John Coltrane,_as well as many lesser-known figures_such as Joe Maneri and Joe_Harriott. Free jazz allowed for radical improvised_departures from the harmonic and rhythmic_material of the composition –_for instance,_by permitting performers to ignore_conventional repeating song-structures._Such music_often seemed far_removed from the preceding jazz tradition,_even though it_almost always preserved one or more_central_elements of that_tradition_while_abandoning others.

These_ideas were extended_in_the 1962_Free_Fall recording by jazz clarinetist Jimmy_Giuffre's_trio, featuring music that was often freely_and spontaneously improvised, and_which_had only tenuous similarity_to established jazz styles. Another_important recording was New York Eye_and Ear_Control (1964),_a soundtrack for a film by Michael Snow, recorded for the_ESP-Disk label under the leadership of_saxophonist Albert Ayler. Snow_suggested to_Ayler_that the band_simply_play without_a composition or themes.

The Spontaneous Music Ensemble_was formed_by John Stevens and Trevor Watts_in the mid-1960s and_included,_at various times, influential players such_as Derek Bailey, Evan Parker, Kenny_Wheeler, Roger Smith, and John_Butcher._As_with the Association for the_Advancement of Creative Musicians (AACM), many_of these players_began in jazz, but gradually pushed the_music_into a zone of abstraction and_relative_quietude. The British record label Emanem_has_documented_much music in this vein.

There_was (and continues to be) often_considerable blurring of the line between free jazz and_free improvisation. _The Chicago-based AACM, a loose_collective_of_improvising musicians including Muhal Richard Abrams, Henry Threadgill, Anthony Braxton,_Jack DeJohnette,_Lester Bowie, Roscoe_Mitchell, Joseph Jarman, Fam