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the paper former leading figure of experimental joe's
leila chris christie and cry and you are charles mingus is one of the most highly regarded creators of
modern chance that this program is about a controversial news sometimes strange sound unusual and structure intellectual often serious it is considered by some critics' a new flowering a jazz and by others but then beyond that is the jazz that came to prominence in the nineteen fifties it's big in addition to charles mingus program representative cecil taylor one of the most radical jasmine to gain international attention all our host is the distinguished
novelist and social critic ralph ellison author of invisible man has gas and the experiment this program takes place the village like that specializes in contemporary jazz iraq policy the composer of the music which we just heard is charles mingus and it's played by misdemeanors and his group it is called the art of art tatum and gregory webster an integral part of one of the most restless and president of the modern jazz experimental ups in the beginning of jazz has been nothing if not experimental an experimental latitude sprang from its very creators as practitioners of an outlaw art
jazz musicians could create free of the concerns of status and respectability this pre it was expressed in their joyous events and they're playful manipulation of sound and allow freedom when harm in counterpoint and the ceaseless search for radical variety jazz group from the an attempt to express with musical instruments the sound and the style of the negro american voice as raised in prayer protests shop and saw it was an attempt to humanize the world in top terms of psalms an effort made with musical means to impose a neighbor american sense of time up on the larger society and upon the world of major early jazz was by no means an intellectual music it was however marked by a highly conscious sense of its sources and its own traditions while a jew from the european musical tradition it was instinctively aware that its goals were different i was a new experimental isn't differ from the pool for one thing jazz today exist in a climate where an uncertain it
is developed or the goal of so called serious music where an experimentation is less a means to achieving expressiveness that a value in itself and for some they grow musicians it has become a musical root a social respectability and to a wide acceptance among the cult of jazz and elections but the most serious of these composers however the breaking down of the wall between jazz and modern european music as pose a problem of absorbing that music without losing touch with their own traditions this has created a clash of styles and one might say that the main musical motif of experimental isn't is to absorb to americanize the most recent developments of european classical music the music of cecil taylor is i think the most interesting illustration of that struggle there's
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has been number one is by susan taylor martin of martin williams radical innovations of the nineteen forties in jazz the music of charlie parker and dizzy gillespie which sounded so startling when i first heard it is a part of the mainstream of the music and it's quite evident now in the sixties that there is a new kind of jazz that jazz hasn't of long god just like any other art it was evident actually in the music of cecil taylor quite evident by nineteen fifty eight and taylor's new concern that continued to develop since then cecil taylor has attended an american academy of music he knows twentieth century european composition but he also knows the jazz tradition farley and he approaches the music of duke ellington
thelonius monk with a real reverence his is not typical of the on got a tall because his photos is a very individual music and many of the players in the island got an equally individual but i wouldn't say anything about what they all have in common it would be something like this jazz players today approach improvisation with a new kind of freedom if you will traditionally they've made they're variations by playing on a melody or by playing on the structure which that melody implied an underlying chord sequence what you and i might call simply an outline today players want to make of them nowadays without necessarily referring to the theme or it's about why they want to feel free to depart spontaneously from either of those perhaps inhibiting things cecil taylor's next piece will have its introduction by the composer
music is the building of sounds structure of the theater about to hear will contain an ana cruz's complex the first at the table what is to be its formal possibility of the other legacy to an area which will contain melodic and across the divisions unifying like of the peaceful be in it's rhythm which will consist of regular an irregular measurement mr cohen the thing latinos the philosophical from a set of music and based on the man begins a transliteration of the mean back to a symbolic representation when mind and body move recognizing their singularity
and therefore the question is when the economic and social factors determining an honest those which permit the expression oh to tie to tie to one who's consumption is unlimited or where they produce is for others the name of the piece will be a panel spirit and fancy equal
protection it's been the
past week octagonal skirt and fancy pants by cecil taylor and his group i'm sure that the name charles mingus would be written largely history of jazz if only because he's a very good bass player he is first of all for me one of the few bass players in jazz history so they're not the only but one of a few as the emotional impact and
the technique the presence of art von actors turn to be a highly effective soloist one of the very best he's been called by one minutes ago the of the base and not without reason that the timing is in addition to being a great soloist has re evaluated the function of his instrument and yes particularly an ensemble and this is based off and there's not nearly the company the music that fits into it he improvises behind the players a melodic line that sometimes almost a kind of as counterpoint but at the same time he is improvising this part you know interference and he can inspire or really he can inspire almost a musician i've seen inspire budding musicians of promise into sounding like very great players but mendes came along in modern jazz after the innovations of the early players parker
gillespie in their media followers had settled in annie came along also as a composer what he has is an ensemble style and i did jazz composition that goes beyond what the soloist can do in other words he came along when modern jazz needed a larger sense of form and he offered at one is not the only such composer that come along in the idiom one is thelonious monk monk's contributed early to the style and then was rediscovered as a great composer and play or another is john lewis and this is set of his music comes from church charlie parker and duke ellington it also comes from charles mingus c'est si this week
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are ass scrub the question of what is valid or invalid experimentation is ultimately unanswerable jazz is by definition an experimental school experimented upon given playing cards the composer arranger i'm afraid only therefore albany was all of these experiment with long harmony rhythms tempos instrumentation will it why then do we referred to the jazz which was the main this is an outstanding and bullock as a new experimental as the known as lies in the manner of consciousness are shall we say the matter of self consciousness and in many instances i'm afraid mr of false consciousness for much of the jazz that developed up a bop no longer regarded itself from within its own tradition but from within certain about what's taking place in
european music actually there had apparently applies between public to streams of western musical tradition that of americans and out of europe in the beginning many listeners from outside the negro american background all of jazz as ineptly played military are european dance music it was a snow leopard jasmine were trying their best to play correctly and with traditional instrumental techniques the rationale would be the result of improper training while in fact even the early conservatory trained jasmine their techniques quite consciously to give a voice the sound on the negro blows and behind all of these misconceptions way the belief that jazz was a mirror reflection of americanized european music rather than a new native music which saw expressed other vines and weeds grew out of the most american sense of
artistic freedom and wonder of wonder operate of outrageous this rowdy final and most compelling music was a product of the most politically and socially and regroup in the united states the problem of understanding jazz did not arrive because jazz was shy about making it stayed in a rose when that statement was interpreted in words for the jazz background was among literary background who's nuances were best expressed and gesture in attitude in inflection and fight and all the complex mood summed up in the term negro americans immigrate from outside this tradition most of necessity fall back upon his own lives and thus we may be unprepared to interpret what he has her even though he might himself be a trained musician party is likely to confuse the motives of jazz with those of classical european music it has been such outside as well meaning to a man responsible false consciousness
of a new experimental isn't and jess they were also promote his father called of intellectuals who impose that romanticism on the new jazz much as the early it is the american andy beneath of romanticism and beneath all experiments lies a reality of life and experience which nurses the beginning of jazz and which will continue to nurture to july it is this reality not withstanding european serious a respectable cut those which will provide the true standards of its validity and melodramas members will play one of his own compositions and titled don't let it happen here in doing in
use race says most in unison yes when the judges one denies it nothing new laws because of autism and when they came down her hansen use fb
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in resin or to avoid his look because people don't even know that afternoon it
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USA: Music
Episode Number
Jazz: The Experimenters
Producing Organization
National Educational Television and Radio Center
Contributing Organization
Library of Congress (Washington, District of Columbia)
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Episode Description
Using the music of experimental jazz musicians Charles Mingus and Cecil Taylor, this episode examines a controversial music, considered by some critics a new flowering of jazz and by others as a dead end of the art. Novelist Ralph Ellison is the host, and jazz critic Martin Williams comments on some musical elements of experimental jazz. Sometimes strange in sound ? unusual in structure ? intellectual ? serious ? this ?new experimentalism? came into prominence in the Fifties. Mr. Ellison points out that this jazz that developed after bop grew less out of the traditions of jazz than from certain recent developments in European music. This attempt by the new experimentalists to absorb and to Americanize the most recent developments of European classical music seems to Mr. Ellison to be the basic difference between today?s experimental jazz and the jazz that preceded it. Taped at ?The Village Gate? a New York nightclub that specializes in contemporary jazz, the episode features comment by Ralph Ellison and Martin Williams; Cecil Taylor, pianist-composer, introducing his music and playing a solo; the Cecil Taylor group playing ?Octagonal Skirts and Fancy Pant?; bass player Charles Minus and his group playing two of his own compositions, ?The Arts of Art Tatum and Freddie Webster? and ?Don?t Let it Happen Here.? The Charles Mingus Band includes Lonnie Hillyer, Hobart Dotson, Howard Johnson, Jimmy Owens, Julius Watkins, Charles MacPherson, and Danny Richmond. Jazz: The Experimenters is a 1965 production of National Educational Television. Episode Running Time: 29:10 (Description adapted from documents in the NET Microfiche)
Series Description
The series will assess various characteristics of popular and serious music composed and performed in America during the past 20 years and, secondly, it will examine the overall musical "institution" in America - the means by which this music has been brought to and supported by the American public. Particular emphasis will be placed on explaining various phenomenon in areas that seem uncharacteristically American: a certain trend towards unity between popular and serious music; commercial influences on the creative process; and various aspects, both positive and negative, of the recent cultural explosion in the field of music. This series of 5 half-hour episodes was originally recorded on videotape. (Description adapted from documents in the NET Microfiche)
Broadcast Date
Asset type
Media type
Moving Image
Director: Desmond, John J.
Executive Producer: Perrin, James
Guest: Williams, Martin
Host: Ellison, Ralph
Performer: Mingus, Charles
Performer: Owens, Jimmy
Performer: Watkins, Julius
Performer: Hillyer, Lonnie
Performer: Dotson, Hobart
Performer: MacPherson, Charles
Performer: Taylor, Cecil
Performer: Johnson, Howard
Performer: Richmond, Danny
Performing Group: The Charles Mingus Band
Performing Group: The Cecil Taylor Group
Producer: Toobin, Jerome, 1919-1984
Producing Organization: National Educational Television and Radio Center
AAPB Contributor Holdings
Library of Congress
Identifier: 1162759-1 (MAVIS Item ID)
Format: 2 inch videotape
Generation: Master
Library of Congress
Identifier: 1162759-2 (MAVIS Item ID)
Format: 1 inch videotape: SMPTE Type C
Generation: Master
Library of Congress
Identifier: 1162759-3 (MAVIS Item ID)
Format: U-matic
Generation: Copy: Access
Library of Congress
Identifier: 1162759-4 (MAVIS Item ID)
Generation: Master
Library of Congress
Identifier: 1162759-5 (MAVIS Item ID)
Generation: Copy: Access
Library of Congress
Identifier: 1162759-6 (MAVIS Item ID)
Generation: Copy: Access
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Chicago: “USA: Music; 3; Jazz: The Experimenters,” 1966-01-16, Library of Congress, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed June 20, 2024,
MLA: “USA: Music; 3; Jazz: The Experimenters.” 1966-01-16. Library of Congress, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. June 20, 2024. <>.
APA: USA: Music; 3; Jazz: The Experimenters. Boston, MA: Library of Congress, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from