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LinkingImprovisationtoCulturalContext:BringingaJazzDrummingAesthetictotheMusicofDiverseCultures

FrankGibson

UniversityofOtago

Anexegesis,submittedinpartialfulfilmentoftherequirementsofthedegreeof

DoctorofMusicalArts.Thissubmissioncomprisesafolioofcreativeworkincluding

threecompactdiscs.

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Iherebydeclarethatthissubmissionismyownworkandhasnotbeensubmittedfora

degreeordiplomainanyuniversity.Tothebestofmyknowledgeandbelief,it

containsnomaterialpreviouslypublishedorwrittenbyanotherpersonexceptwhere

duereferencehasbeenmadeintheexegesisitself.

FrankGibson

June2019

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Table of Contents

Acknowledgments...........................................................................................................5

Abstract...........................................................................................................................6

Prelude............................................................................................................................7

Chapter1:Introduction.................................................................................................111.1Introduction.....................................................................................................................111.2ResearchDesignandScope..............................................................................................12

1.2.1ConceptualFramework...................................................................................................141.3Methodology....................................................................................................................16

1.3.1PerformanceLedResearch..............................................................................................171.3.2DiscourseinMusic...........................................................................................................171.3.3ScopeandLimitations......................................................................................................191.3.4ElementsofPraxis............................................................................................................20

1.4StructureoftheExegesis..................................................................................................23

Chapter2:Foundations..................................................................................................252.1Introduction:WhyJazz?...................................................................................................252.2Jazz..................................................................................................................................262.3InterculturalCollaborationinJazz....................................................................................272.4JazzDrummingAesthetics................................................................................................282.5Improvisation...................................................................................................................30

2.5.1JazzImprovisation............................................................................................................312.6AestheticsandImprovisationintheCollaborativeMusicalCultures.................................32

2.6.1IndianClassicalMusic.......................................................................................................322.6.2ChineseClassicalMusic....................................................................................................332.6.3WesternClassicalMusic...................................................................................................34

2.7Conclusion........................................................................................................................35

Chapter3:FourinOne...................................................................................................363.1Introduction.....................................................................................................................363.2ExplorationoftheCreativeProcess..................................................................................383.3Conclusion........................................................................................................................41

Chapter4:FreedomThroughDiscipline.........................................................................434.1Introduction.....................................................................................................................434.2ExplorationoftheCreativeProcess..................................................................................45

4.2.1‘FourPartSuiteforTablaandDrumset’...........................................................................464.2.2‘FreedomthroughDiscipline’and‘ConversationswithChinmaya’.................................474.2.3‘FirstMeeting,FirstTake’.................................................................................................48

4.3Conclusion........................................................................................................................48

Chapter5:TheFiveElements.........................................................................................505.1Introduction.....................................................................................................................505.2ExplorationoftheCreativeProcess..................................................................................52

5.2.1‘SpringtimeonTianMountain’........................................................................................545.2.2‘ExitThrutheEntrance’....................................................................................................545.2.3‘Intensity/Fire’..................................................................................................................555.2.4‘MarcoPolo’sReturn’.......................................................................................................555.2.5‘Empathy/Compassion’....................................................................................................56

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5.2.6‘HappyHouse’..................................................................................................................565.3Conclusion........................................................................................................................57

Chapter6:Open-Ended..................................................................................................596.1Introduction.....................................................................................................................596.2ExplorationoftheCreativeProcess..................................................................................60

6.2.1‘StolenMoments’.............................................................................................................616.2.2‘SoWhat’..........................................................................................................................626.2.3‘InWalkedBud’................................................................................................................626.2.4‘Naima’.............................................................................................................................636.2.5‘ANightinTunisia’...........................................................................................................636.2.6‘Skylife’.............................................................................................................................646.2.7‘ATributetoMaxRoach’:MaramaHallImprovisation(FrankGibson)...........................646.2.8‘StraightNoChaser’.........................................................................................................65

6.3Conclusion........................................................................................................................66

Chapter7:Conclusion....................................................................................................67

Bibliography..................................................................................................................72

Discography...................................................................................................................78

APPENDIX1:MusicianBiographies................................................................................81FourInOneMusicians’Biographies..........................................................................................81TheFiveElementsMusicians’Biographies................................................................................83Open-EndedMusicians’Biographies.........................................................................................84

APPENDIX2:DiscographyofAlbumsConsultedasBackgroundResearch.......................86

APPENDIX3:AccompanyingMaterialtoChapter3........................................................93SelectedstillsfromthevideoaccompanyingtheFourInOneRecordingSessions...................93SelectedleadsheetsandnotesfromFourInOne.....................................................................93

APPENDIX4:AccompanyingMaterialtoChapter4........................................................95SelectedstillsfromthevideoaccompanyingtheFreedomThroughDisciplinerecordingsessions.....................................................................................................................................95SelectednotesandsketchesmadeforFourPartSuite.............................................................95

APPENDIX5:AccompanyingMaterialtoChapter5........................................................98SelectedphotographsfromTheFiveElementsrecordingsessions..........................................98SelectedsketchesfromTheFiveElementsrecordingsessions.................................................99

APPENDIX6:AccompanyingMaterialtoChapter6......................................................107SelectedphotosfromtheOpen-EndedConcertatMaramaHall............................................107‘StraightNoChaser’chartarrangedbyBruceLynch...............................................................108

RecordingsandPerformances......................................................................................117CD1:TheFrankGibsonQuartetPlaysMonk:FourinOne.......................................................117CD2:TheFrankGibsonIndianEnsemblePresents:Freedom..................................................118CD3:FrankGibson’sChineseEnsemblePresents:TheFiveElements.....................................118LivePerformance:FrankGibsonandCollaboratingArtists,TheBlackStringQuartetandBruceLynchPresent:Open-Ended..........................................................................................119

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Acknowledgments

Thankyoutomyexceedinglyskilledmusicalcollaborators.Whatajoyanda

privilegetoplaywiththosewhoarededicatedandexcelattheircraft.Their

musicianshipandimprovisationsprovideafirmfoundation,forgingaconnection

thatinspiresbeyondwords.

MyappreciationtoOtagoUniversity,especiallyRobBurnsandHenryJohnsonfor

theirsupportandencouragementtopushtheboundariesand‘gobeyond’.

Asalways,thankyoumydearRosieforyourlovingsupport.

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AbstractThisexegesisexploreshowdifferingmusicallanguagescanbeusedincollaboration

tocreatenewstylisticinterpretations,whilstretainingdistinctmusic-culturalvoices.

ThroughthisresearchIwilladvancethefieldofperformance-ledresearchwithan

originalcontributiontoknowledgeandperformance,anddemonstrate,throughthe

accompanyingrecordings,thejazzdrummingaestheticinrelationtothe

performance,improvisationandthemusicofthreeverydifferentmusicalcultures:

Indianclassical,Chineseclassical,andWesternartmusic(specificallychamber

music).Iexaminenotionsoftradition,authenticityandhybriditythrough

collaborationwithmusiciansfromtheabove-mentionedmusicalcultures.The

compositionsandperformancescontainedwithinthisresearchdelveinto

improvisationalapproacheswithinandbetweenmusicalcultures,andhowthey

relate/reacttothefocusonimprovisationandindividualisticcomposition

techniquesfoundinjazz.Mycollaboratorsretainedtraditionalinstrumentaltunings,

harmoniesandaestheticapproaches,whilecollaboratingwithjazzdrums(kit).This

ensuredthatthevoicesofthenon-jazzmusiciansweregivenequalimportanceas

thejazzvoices.Inparticular,thisresearchexploresopportunitiesofcross-cultural

andinterculturalmusicalexpression,andtheuniquemusicalstoriesthatmayarise

fromembracinganopenmusicaldiscourse.

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Prelude

SincemyfirstperformanceintheAucklandTownHallplayingadrumduetwithmy

father,andplayingwithmyteenageband,theJuvenoliansatage10(Bourke,2013;

Dix,2014),Ihavelivedandbreathedmusic.Ibeganplayingprofessionallyatthe

ageof18andhaveplayedprofessionallyeversince.Ihaveenjoyedavastcareer,

whichhastakenmearoundtheworld.AsadrummerIhaveanunparalleledlocal

andinternationalperformanceprofile,whichhasshownmyabilitytoplayarange

ofmusicalgenres.Icontinuetobesoughtafterbothhereandoverseas.Withover

60yearsofplayingmusicsinceIfirststeppedontothestageattheAucklandTown

Hallasan8-year-old,IhavemadeacontributiontoNewZealandmusic,for

exampleIformedthefirstNewZealandjazz-rockband(DrTree),thefirstNew

Zealandjazz-funkband(SpaceCase),andalsoinstigatingandplayingonmany

seminalNewZealandjazzrecordings.

Ihaveplayedatconcerts,clubs,andfestivalsinNewZealandandaroundtheworld,

playingpop,rock,country,R&B,jazzfunk,jazzrockandallstylesofjazzmusic:

early,swing,bebop,hardbop,modernandfree.Ihaveplayedacrossmusicalgenres

withawidevarietyofartistsincludingLeoSayer,DustySpringfield,DioneWarwick,

DianaKrall,RickWakeman,MiltJackson,RonnieScott,SonnyStitt,andCharlieByrd.

Ihaveplayedonover200albums,onover250radioprogrammes(BBC-UK,Europe,

USA,ABC-Australia,NewZealand),andIhaveenjoyedbeingthefirstcalldrummer

forsessionsinNZandintheUKwhenresidentthere,playingoncountlessTVshows

andspecials.InNZIhavewonRockRecordoftheYear,wonJazzRecordoftheYear

3times,playedon10otheraward-winningalbums,andin1983wasinductedinto

theAvedisZildjianHallofFame.IhavebecomepartofNewZealandmusichistory,

asdidmyfatherwhohadthefirstNewZealandrockband,FrankGibson’s‘Rock‘n’

Rollers’(Bourke,2013).Asummaryofafewhighlightsbelowgivesanideaofthe

breadthofmycontributiontomusic,butinacareerthatspansover60years,these

highlightsarejustadropintheocean:

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• IformedandledthefirstNewZealandJazzRockband,DrTree,withthe

debutalbumDrTree(1976)winningNewZealandMusicAwardsforBest

NewArtistoftheYearandRecordingArtist/GroupoftheYearin1976.

• IplayedpercussionanddrumsonthesoundtracktothefirstNewZealand

colourfeaturefilm,ToLoveaMaori,recordedintheloungeofpioneerNew

Zealandfilmmaker,RudallHayward(whilewatchingthefilm)(1972).

• In1980,IformedNewZealand’sfirstjazz-funkbandSpaceCase(3albums

recorded1981,1983,1985andre-releasedin2008).

• IplayedforaRoyalCommandVarietyperformanceandplayedtheOpening

oftheNewZealandCommonwealthGames(Auckland1990)alongwithChris

ThompsonandSirHowardMorrison.

• Someofmydrumtracks,especially‘DrTree’(NZ)and‘Paz’(recordedinthe

UK)tracksarereveredbymanyinternationalDJs,suchasDJShepandDJ

Vadim(seeDiscographyfordetails).

• Duringthe1980s,whenvisitingartistscametoNewZealand,Iwasfirstcall

NewZealanddrummerfortheirgroups.Icontinuedthisprestigiousbacking

positionwhenIwaslecturingfulltimeinAustraliaatEdithCowanUniversity

(Dix,2014).Ialsorecordedwithmanyoftheseartistsonmyaward-winning

(NZMusicAwardforJazzRecordoftheYear,1982)albumParallel37(1980-

81),rereleased(2008)withpreviouslyunreleasedtracks,includingthelast

recordedtracksofrenownedguitaristEmilyRemlerbeforeheruntimely

death.IalsoplayedonDonBurrow’salbumTheTasmanConnection(1976),

anAustralianandNewZealandmusicalcollaboration.

• RogerMarbeck(OdeRecords)hasbeenre-releasingaseriesofseminalNZ

jazzrecordings.TheonecommondenominatorisIplayonallofthem.

• IhaveplayedonfiveofAlanBroadbent’salbumsinLosAngelesandthreein

NewZealand.BroadbentisaNewZealandjazzpianist,arrangerand

composerbestknownforhisworkwithWoodyHerman,ChetBaker,Charlie

Hadenetal.HehaswontwoGrammysforarrangementshedidforNatalie

Cole(‘WhenIFallInLove’duetwithNat‘King’Cole’,1999)andShirleyHorn

(‘LonelyTown’withCharlieHadenQuartetWest,2000).

• IhavetaughtmanyofNewZealand’srenowneddrummersinmyprivate

teachingpracticeandatUniversitylevel,includingMichaelFranklinBrowne

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(Pluto),PaulRoper(TheMintChicks),PaulRussell(ofSupergroove,Bic

Runga,Eight,CheFuandcurrentlyStomp),AidanBartlett(MidnightYouth),

RickyBall(HelloSailor),LukeCasey(ofEyeTVandTheRelaxomaticProject),

andBenVanderWal(MadeleinePeyroux,RufusReidandErnieWatts),to

namejustafew.

• In1979,IplayedonBritain'sfirstdigitally-recorded,direct-to-discsingle

recordatAbbeyRoadStudioswiththeMorrissey-Mullenband

(commissionedbyEMI,seeDiscographyfordetails).Iplayedregularlyand

recordedwiththisbandwhowereoneofthefirstUKjazzfunkbands.

• IplayedonLonnieDonegan’s(1978)albumPuttinontheStyle,alongwith

EltonJohnandBrianMay.Lonniewasknownasthe“KingofSkiffle”.The

GuinnessBookofBritishHitSingles&Albums(Roberts,2006)statesthat

DoneganwasoneofBritain'smostsuccessfulandinfluentialrecording

artistsbeforeTheBeatles.

• IplayedonthreeofthefirstfourtracksoftheWalkerBrothers’(1978),

AlbumNiteFlightrecentlydiscussedinthedocumentaryScottWalker:30

CenturyMan(2006)byBrianEnoandDavidBowie,amongothers,asbeinga

seminalrecordinginfluenceofavantgarderock.Thisalbumhasacult

following.

• IrecordedandplayedconcertswithRickWakeman(fromYes)intheUKand

Europein1979.

• IcompletedBBCtelevisionshowsandworldtourswithLeoSayer,Dusty

Springfield,andDavidEssex,amongothers(1977-1980).

Beingimmersedinmusicandthemusicworldfromayoungage,hasledmeinmany

musicaldirections.AllthatIhavelearnedfrommusicandtheaccomplishmentsI

havemadeinmusichasledmetoundertakethismusical,improvisationaland

interculturalexploration.Myinterestinthecreativepossibilitiesofcross-cultural

collaborationandpursuingthisresearcharepartofanongoingcreativeand

collaborativeexplorationthatbeganintheearly1970swiththejazz-rockfusionof

DrTreeandthelaterjazz-funkfusionofSpaceCase.Theseexplorationshave

continuedtodevelopthroughthecourseofmycareerasIhavecomeintoclose

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musicalcontactwitharangeofdiverseindividualsandmusiciansinNewZealand

andacrosstheworld.

Mymusicaljourneyhasencompassedmusicalcollaborationsbasedonthediverse

musicalandculturalbackgroundsofmycollaborators.Coretothedevelopmentin

thesecollaborationsisanegotiatedsharedmusicallanguagethatnotonlyrespects

thatdiversity,butthatalsousesthatdiversitytobroadenandenrichthemusic,my

musicalunderstandings,performanceandperceptions.Thecreativepossibilitiesof

negotiatedcollaborationanddevelopingasharedlanguagewhilstretainingdistinct

anddiversevoicesinconjunctionwithindependenceandindividualityopensnew

musicalpossibilitiesandwaysofmakingmusictogether.Thesenewpossibilities

buildontheindividualandcollectivevoicescomingtogetherasanindividualised

unificationthatpromotesself-determinationandprovidesandunleashesacreative

challengeandprocess.

Musicispartofmybeingandmylifeblood,andasamusician,andinparticulara

jazzmusician,Ihavenewstoriestotell–togobeyondwhatweknow,toexceedmy

reachbyseeingthroughtheeyesofthosewhobringadifferentwayofseeingand

playing,andtocreatenewstories.

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Chapter1:Introduction

1.1 Introduction Thisexegesisinvestigateshowjazz-basedimprovisationmightenablenew

collaborationsbetweenartistsofculturallydiverseexamplesofmusic.These

collaborationswillbeexpressedbylinkingjazz-basedimprovisationtoeachcultural

contextinbothrecordingsandperformance.Thisperformance-basedresearch

exploresthepossibilityofabroader,freerapproachthatdoesnotusuallyoccur

withinthestricturesofjazz,Westernartmusic,orChineseorIndianclassicalmusic

traditions(themusicsexploredinthestudy).Thecentralthesisinthisresearch

seekstoexaminehowdifferingmusicallanguagescanbeusedincollaborationto

createnewstylisticinterpretations,whilstretainingdistinctmusic-culturalvoices.

Theconceptof‘discourseinmusic’(seeLeeuwen,2012,p.320)providesabasefor

thesecollaborationsandIelucidatethisconceptthroughtherecordingsand

performancepresentedinthisresearch.Acentralconsiderationforthese

collaborationsistheretentionofeachdistinctcultural(musical)voice,using(inthe

caseoftheChineseandIndiancollaborations)traditionaltuningsandinstruments

sothattheintegrityofthemusicalvoiceisheardwithinthediscourse,ratherthan

leadingtoafusionofstyles.ThroughthisresearchIwilladvancethefieldof

performance-ledresearchwithanoriginalcontributiontoknowledgeand

performance,anddemonstrate,throughtheaccompanyingrecordings,thejazz

drummingaestheticinrelationtotheperformance,improvisationandthemusicof

threeverydifferentmusicalcultures:Indianclassical,Chineseclassical,andWestern

artmusic(specificallychambermusic).FromtheintrinsicframeworkofAmerican

jazztothemusicoftheabovementionedcultures,thecompositionsand

performancesontheaccompanyingCDswill:

• Contrastanddemonstratetheinter-connectionsbetweenIndianclassical

music’scollective-ideacreationandjazzmusic’simprovisational

individualisticcomposition.

• ExploretheharmonicinterplayrelatedtotheChinesephilosophicalideaof

thefiveelements,whileretainingthetraditionaltuningsoftheChinese

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instrumentssothattheirtraditionalvoiceisheardwithintheimprovisational

dialogue.

• Exploretheimprovisationalelements,inter-connections,andintersections

ofjazzrootsandtraditionalEuropeanharmony.

Musiccontinuestoevolvedifferentlyindiversecultures,impactedbyawiderange

ofgeographicalandsocialaspects.Thus,asanever-evolvingartform,therewill

alwaysbeareasoffurtherexplorationpossible.InthisresearchIaimtoexplorehow

musicfromdifferentpartsoftheworldcanblendwiththerhythms,texturesand

melodiccontentofjazzdrumming.

Improvisationasatopicofresearchacrossmusicologyhasbeenexaminedprimarily

fromthepointofviewoftheoryandanalysis(seeforexample,Agawu2008;

Berliner,1994),orintermsofspecificperformancepractices(forexample,

Mehegan,1964;Monson,1996).Incomparisontotheseapproaches,therehasbeen

arelativescarcityofresearchonimprovisationinrelationtoitsculturalcontext

(Bailey,1992;Monson,1996;NettlandRussell,1998),despitetherelationshipand

positioningofimprovisationinrelationtothemusicalprocessesinherentin

differentcultures(Becker,2000).AswillbeexploredfurtherinChapter2,the

examinationofimprovisationpracticesbetweencultures,orusingtwodifferent

musicalgenres/improvisationalsystemsinstudiesofimprovisationisrare.Todate,

relativelylittleofdepthhasbeenstudiedandpublishedonimprovisationinan

interculturalcontext(FíschlínandHeble,2004,p.21).Myresearchhereundertakes

tofillsomeofthatgapbyinvestigatingtheinterplaypossiblewhenmusiciansof

differentmusicalculturescompose,improviseandcreatemusictogether.

1.2 Research Design and Scope Thisprojectaimstoexplorethepossiblediscoursebetweenjazzdrummingandthe

musicofotherculturesandgenresthroughtheconnectionsthatoccurinthecourse

ofimprovisation.Iproposeanamalgamationofimprovisationaljazzdrummingwith

themusicandtraditionalinstrumentationandtuningsfromdifferentmusical

culturesthatpreservesthedistinctvoicesbroughttoimprovisationand

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performance,butalsocreatesanewmusicalwholeandframeworkforthe

discourseinmusic.Thisprojectculminatesinapracticalandcreativeoutcomeof

thecomposition,andthreerecordingsandoneperformanceusingimprovisational

languagewith,ingeneralterms:

1. AmericanBebop-basedJazz

2. Indian(Hindustani)ClassicalMusic

3. ChineseClassicalMusic

4. StringQuartetandBassintheWesternArtMusictradition

(Adiscussionofthesegenresandwhytheywerechosencanbefoundinchapter2)

Thisprojectalsoexploresimprovisationallanguageandhowthiscanbeutilisedin

thedevelopmentofnewmusicalmaterial.Imaintainthatintheexperienceand

processofimprovisingnewmusicalrelationshipsandprocessesarecreatedthat

shapethemusic.Therefore,Ipositthatthisprojectisnotafusionofjazzandworld

musicbutanexplorationofimprovisationandthejoiningofdistinctaesthetic

genres.

Thisexegesisprovidesarecordandanalysisofthecreativeprocessprovidingan

explorationoftheideasandinfluences,whichinform,interactwith,andinspirethe

process,performanceandmusicalbackground.Itisacriticalandreflectivereviewof

theculturalandjazzimprovisationmatrixthatprovidesaframeworkforthemusical

workandattemptstoarticulatetheinter-connectionsandunderlyingtheoretical

andperformanceunderpinningsinjazzdrummingimprovisationandclassicalmusic

fromthreedisparatemusicalcultures.

Thediscussionsthatoccurredwiththeperformersduringthecourseofrehearsaland

recording,andthemusicalperformancesthemselvesarecentraltotheresearch

undertakenforthisexegesis.Theybringtotheforeanawarenessandelucidationofthe

historicalandcurrentculturalandpersonalbackgroundofeachoftheperformers.The

awarenessarisingfromthediscoursewasengenderedinthemusicalform,structureand

functionformingtheconceptualcontextofeachofthecompositionsandimprovisations.

Thus,arangeofmaterialandapproacheswereusedtocontributetoandinformthis

exegesis,including,audiorecordingsofdiscussions,audiodiary/journalrecordings,

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videorecordingsofthecreativeprocess,CDrecordingsinclusiveoflinernotes,

literatureandmusicdiscographyreview.

1.2.1ConceptualFramework

Theresearchdesignofthisprojectisbasedonfourdistinctideas:

1. NewZealandasamulticulturalsociety,whichisreflectedintheperformance

practicesundertakeninthisresearch.

2. Thenotionoftraditionasitrelatestothegenrescollaboratedoninthis

research.

3. Interculturalmusicalcollaborations.

4. Hybridityinmusicalperformance.

Eachofthesewillbediscussedinturnbelow.

Inourdynamicsociety,culturaldiversityisarealityandcanbeanenriching

experienceofferingexplorationopportunitiesbeyondtraditionalWesternmusical

practices.SociologistandphenomenologistAlfredSchutz(1977)recognisesthat

individualsarelimitedbytheculturalpastandbackgroundbothconsciouslyand

unconsciously;hetermsthisthecollectivememoryandthelimitofhistoricity.

Schutz(1977)explainsthatmusiciansarelimitedwhentheyapproachapiece,even

anunknownpiece,byusingahistoricallypredeterminedapproachbasedontheir

previousmusicalexperiences.However,ratherthanlimitingthemusicalexperience,

thisprojectviewsculturalbackgroundandcapitalascreatingamusicalrelationship

thatenrichesthepieceandtheprocess,openingupareaspreviouslyunexplored,

andcreatingsomethingnovelinthepresentoutofthepastexperiences.

ThroughoutNewZealand’shistorytherehavebeenawidevarietyofdifferent

culturesinfluencingaspectsofNewZealandsociety(seeforexample,Belich,2001;

King,2004;Sinclair,1991).Theincreasingglobalisationofsocietyduringthe

twentiethcentury,andthegrowthinimmigrantpopulationsinNewZealand,has

ledtosocietyentertainingtheconceptofNewZealandasamulti-culturalsociety

(Patman&Rudd,2005).Inthetwenty-firstcentury,thisburgeoningmulti-

culturalismofNewZealandsocietyhasopenedupnewavenuesforcollaborations

andconversationsamongartists.

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Thesemulti-culturalinfluenceshavenaturallyextendedtoNewZealandersmusic-

makingandperformance,ascanbeheard,forexample,onMurrayMcNabb’salbum

AstralSurfers(2009).JazzinNewZealandhaslonghadmultipleculturaland

aestheticinfluences(Bourke,2010;Ward,2010,2012;Meehan,2017),andNew

Zealandjazzmusicianshavebeenfascinatedwithhowothertheseotheraesthetic

influencescancombinewithjazz.InmyownworkIhavebeenintriguedbyawide

varietyofmusicalculturesandhowtheycancombinewithjazz.Thisresearchisa

furtherexplorationofthreeculturalandaestheticinfluences(IndianandChinese

classicaltraditionsandWesternartmusic)andhowtheycancombineandconverse

withjazzinthecourseofperformance.

Traditionsarecentraltothehumancondition,and,asHobsbawmandRangerhave

noted,humanscontinuallycreatetraditions(Hobsbawm&Ranger,1992).

Traditions,andthecreationoftraditions,arealsocentraltoallmusicalcultures,for

exampletheriseofthetraditionofthescoreasasetdocument,excluding

improvisationinWesternpianofantasias.Sometraditionsarecenturiesold,suchas

someofthoseintheChineseandIndianmusicsfeaturedinthisresearch,andsome

farmorerecent,suchasjazzimprovisation(Hobsbawm&Ranger,1992).Further,

somemusicaltraditions,suchasthoseinvolvedinwesternartmusic,have

reinventedtraditionsasfoundinthe‘historically-informedperformancepractices’

(orHIPP),byusinghistoricaldocumentsandinstrumentstorecreateparticular

stylesandperformancepractices(Butt,2002).Thenotionoftradition,andplaying

withmusicaltraditionsformsthesecondpointofmyconceptualframework.

Throughthelive-recordedperformances,mycollaboratorsandIconsiderideasof

tradition,andhowthosechangeorremainthesamethroughthemusicaldiscourse.

Bringingtogethertheideasofmulti-culturalismandtraditionistheconceptof

interculturalcollaboration.Interculturalcollaborativeresearchcanbedefinedas

bothcultureshavingequallyvalidinputonresearch,withanemphasisonrespecting

eachcultureandwhatitcanbringtothecollaboration(Black,2015;Burnard,

Mackinlay,&Powell,2016).Interculturalcollaborationcantakemanyforms.

Centringtheseideasonjazz,interculturalformscanrangefromjazzmusiciansfrom

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differentcultures(see,forexampleLomanno,2012;Wilson,2015),tojazzmusicians

collaboratingwithmusiciansfromdifferingculturesanddifferingmusicaltraditions,

suchasthoseseenintherecordingsoftheMahavishnuOrchestra,John

MayerandOregon,Hiroshima,theMaxRoachDoubleQuartet,andBillEvanswith

theSymphonyOrchestra(seeDiscographyfordetails).Withinthisresearch,

interculturalcollaborationstaketheformofajazzmusiciancollaboratingwith

musiciansfromdifferentmusicalculturesandaesthetics.Usingjazzasthebase

aestheticandform,Iexplorethepossibilitiesofdiscoursewithothermusical

aestheticsthatdoesnotprioritisethejazzaestheticovertheothermusical

aestheticsandrespectsthetraditionsofmycollaborators.Whilethereisthe

possibilitythatusingjazzastheprimacygivesitanunequalweightinthese

collaborationsthefactthatIamadrummermeansthatmyjazzaestheticisnot

imposingtonalharmonyormelodyonmycollaboratorswhoareplayingtonal

instrumentsfromothertraditions.BydoingthisIaimtocreateahybridmusicthat

isbothjazzandnotjazz.

Hybridityinmusicis,asGoldschmittsuggests,“aconceptfordescribingmusical

mixturesthatareexplicitlyenmeshedinidentitypolitics”(2014).Jazzis,ofcourse,a

well-knownexampleofsuchhybridisation(Porter,2004),andasnotedabovejazz

musiciansandcomposerscollaboratewithmanymusicalcultures,thusencouraging

furtherhybridisation.Despitethenegativeconnotationsmanyhybridityprojects

havehadregardingthenotionsofauthenticity,powerimbalances,andculturalself-

determination(BornandHesmondhalgh,2000;Frith,2000;Goldschmitt,2014),

morerecentlyithasbeenrealisedthattherearepotentialbenefitsofhybridisation

ifapproachedrespectfullybythepartiesinvolved(Goldschmitt,2014).Such

hybridisationisacentralproductofthisresearchandproducedthroughthe

respectfulinterculturalcollaborationsbetweenmusicians’traditionsinamulti-

culturalsociety.

1.3 Methodology Mymethodologicalapproachforthisexegesisiscentredonperformance-led(also

commonlyknownaspractice-based/led,creative,orartistic)research.Iusethe

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creativeprocessofrecordingsandperformancetoexplorethediscourseinmusic

betweenmyjazzdrummingandthecomposition,performanceandimprovisationof

musicalaestheticsderivedinothercultures.

Thecompositionsandperformancesinthisresearchprovideanexplorationofthe

improvisationalelements,inter-connections,andintersectionsofjazzroots.Jazz

itself,isamusicofintersectionsfromAfricaandEurope(Shipton,2001),andhereI

combinethoseintersectionswithelements(instrumentation,form,and

philosophies)fromtheIndian,ChineseandWesternartmusictraditions.Traditional

instrumentsandtunings(inparticularthoseofthecollaborationswithIndianand

Chinesemusicians)areusedtoensuretheintegrityoftheculturalvoice.

1.3.1PerformanceLedResearch

Performanceorpractice-ledresearcharisesfromqualitativemethodologies,andhas

manypossibleformsdependentontheartformsandtypesofresearchinvolved

(SmithandDean,2009).Practice-ledresearchcanbroadlybedefinedasresearch

where“themainfocusoftheresearchistoadvanceknowledgeaboutpractice,or

toadvanceknowledgewithinpractice”(Candy,2006,p.3).Thelatterpoint,

“advancingknowledgewithinpractice”,isthechiefconcernofmymethodological

approach.

Performance-ledresearchisthemostusefulmethodologicalapproachforthis

projectasitallowstheresearcherflexibilityintermsofworkingcollaborativelyto

createadiscoursebetweentheleadresearcherandotherparticipants(Smith&

Dean,2009;Kershaw,2009).Thiscollaborativepraxisisessentialtothejazz

aestheticthatIuseasthebaseofmyresearch,andtothemusiciansIcollaborate

withandtheirmusicalaestheticsandcultures.

1.3.2DiscourseinMusic

Theideaofdiscourseinmusicarisesfromthefieldofcriticaldiscourseanalysisand

semiotics(Leeuwen,2012).Ithasmanyiterationsandapplicationsrangingfrom

musiciantomusiciancommunication(onbothalinguisticandmusicallevel),to

audience-performerorartist-institutioninteractions,towaysofanalysing

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compositions(Agawu,2008;Aleshnskaya,2013).Theconceptofthediscoursein

musicisausefulmethodologicalapproachforthisprojectpreciselybecauseof

thesebroadapplications.Withinthisprojectdiscourseinmusicfocuseson

communications:bothlinguistic(throughinformaldiscussionsbetween

collaboratorsinthecourseofrehearsalandrecording),andmusical(through

improvisation).Equallyimportantarethetypesofcommunicationsand

technologicalinterfacesoccurringonthelinguisticandmusicallevels.Musical

discourseinparticularcanbefurtherdifferentiatedwithrespecttocommunication

technologiesintermsoftwo-way/one-waycommunication,andmediated/non-

mediatedcommunication.Thisgivesusfourpossibilities:two-waynon-mediated

(face-to-facecommunication),two-waymediated(telephone,email,video

conferencing),one-waynon-mediated(lecture),andone-waymediated(print,

radio,television,Internet,film).Ifastudiosessionischaracterizedbytwo-waynon-

mediatedcommunication,thentheresultofstudiorecording(acompletedmusical

product,forinstance,atrackonaCD)isusuallyone-waymediated(Aleshnskaya,

2013,p.429).

Themeaningsofthecommunication-ofthediscourse-are,asAgawuposits,

contingentas“theyemergeatthesiteofperformance”(2008,p.4)andare

dependentonthewaysthatwe(asmusicians,composers,audience,critics,et

cetera),engagewiththem.Furthertheyarefrequentlyboundtogetherasaseriesof

eventsthatresultinafinalproduct(bethatacomposition,performance,or

recording)(Agawu2008).

Buildingontheaforementionedanalogyoftheexegesisasanarrativeunfolding,I

applieddiscourseinmusicwithmymusicalcollaboratorsinthefollowingways

duringtheproject:

• Themusicalperformancesasastand-alonerepresentationofthediscourse,

asthecompletestory;

• Settingthescene,preparation,thechoiceofthemusiciansandsequenceof

themusicalprocessaspartofthestory;

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• Thenarrativeofthemusicperformanceanddiscourseexplored:musician-

to-musician,genre-to-genre,socio-culturaltradition-to-socio-cultural

tradition.

• Musicalconversationsanddialogueinthemomentofimprovisationand

performance:playertoplayer;and

• Shiftingtoahigherlevelofcriticaldiscourseinordertocommentonthe

performanceandrespondingtotheimplicationsofthisresearchproject.

1.3.3ScopeandLimitations

Thisprojectcentresonthemusicalconversationsinthemomentofimprovisation

andperformance:playertoplayer,andplayertoaudience.Henceinthisproject,

makingmusictogetheropensuppossibilitiesintrinsictothemusicalconversation

byprovidingtheopportunityforfurtherexplorationinthemoment.Itisaboutthe

interactioninthecourseofmakingmusicencapsulatingthefeeling:thediscoursein

musicratherthanthediscourseonmusic(Leeuwen,2012).Withinthisdiscourse,

theanswerstothefollowingexplorativequestionsaresought:

• Whatpersonalandcollectivevoices,storiesandbackgroundsarebeing

broughttothediscourse?

• Whataretherelationshipsandconnectionsapparentinimprovisation?

• Isthisamusicalconversationwherenoonevoicedominatesbutthe

distinctiveculturalandmusicalvoicesareheard(notfusionorworld

music)?

Anumberofjazzmusicians,forexampleTheloniusMonk(Kelley,2009,)have

highlightedthedifficultiesininterviewing,analysingandwritingaboutjazz.Ithas

beensuggestedthatjazzcanbeseenasstorytelling(narrative)andaconversation

encapsulatingafeeling.Itisapttherefore,thattheframeworkandfurther

explorationofpotentialconnectionsbetweenimprovisationandculturalcontext

withthemusicianstaketheformatofamusicalconversation.Thefocusonnarrative

andconversationalsogivesthemusicianstheopportunitytotelltheirstoryand

detailtheirrelationshipwiththerootsofthemusicwithintheirpersonalcultural

contextthroughmakingmusictogether.

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Itisalsoimportanttoacknowledgetheconundrumoftheperformerbeingplacedin

theroleofthelistenerandoftheresearcher,inordertocriticallycommentonthe

performances,discourseandresearch.Thispositioningbyitsverynature

compromisesandchangesthemusicaldiscourseandthe‘discourseinmusic’that

thisprojectseekstoexplore.

Thisresearchexplorestheactofimprovisationasakeycomponentinthediscourse

inmusic,however,itdoesnotseektofocusoncompositionalissuesorexaminethe

performancepracticeofjazz.Ratherthisexegesisfocusesonthediscourseand

communicationthatoccursinthemusic-makingprocess.Becauseofthescopeof

thisresearchanditsfocusondiscourseIhavealsoexcludedanin-depththeoretical

analysisofthedefinitionandevolutionofjazz,improvisationandjazz-fusionfrom

theresearch.

1.3.4ElementsofPraxis

Intheperformancesandproductionoftherecordings,arangeofapproacheswere

used,whicharediscussedbelow:

• Rhythmicandharmonicapproaches

• Useoftechnology

• Improvisationalapproaches

Rhythmicapproaches

Thedrumsetastheaccompanist,thesoloistandtheequalvoiceinsimultaneous

groupimprovisation,willincludethefollowingrhythmicapproaches:standardtime,

rubatotime,impliedtime,polymetrictime,doubletimeandstoptime.Subdividing

intohighermultiplesfacilitatessuperimposingadifferenttempoand/ortime

signaturewithoutdisturbingtheoriginalpulse,forexample,quarternotetriplets.

Thismethodpresentsahorizontalapproachtophrasingwhichenablesafreerand

lesspredictableapproach.Thisistheabilitytoplaythroughthebarlinesand

sectionsofacomposition,whereasaverticalapproachprecipitatesanonthebeat

methodofphrasingandthedelineationofsectionsofacomposition.Thisapproach

isusefulforthisresearchasitpresentsmoreopportunitiesformycollaboratorsto

expressdifferentideasfromtheirmusicalculturesthatwouldnotworkwith

21

traditionaljazzforms.Accelerandoandrallentandowereparticularlyusefuldevices

toaidthisprocess.Unusualnotegroupingsandtheuseof,forexample,fivequarter

notesinabarof4/4,orfourquarternotesinabarof3/4cancreatetheillusionof

‘stretching’thebars.

Useoftechnology

Recordingtechnologyisusedbothtorecordthelivemusic,butalsotoincludepre-

recordedrhythmicpatterns(ostinato)toproduceloopsforimprovisation,andto

insert/create,forexample,polyrhythms.OverdubbingwithProTools(digitalaudio

workstation)providestheopportunitytoalterthetempowithoutchangingthekey

andtuninginstrumentsasrequired.ThroughtheuseofProToolsandpre-recorded

randomdrum,cymbalandvariouspercussioninstruments,arhythmic/tonal

compositioncanbecreatedforimprovisation.Theseapproacheswillalsobeutilised

withthewindinstruments,stringedinstruments,keyboards,voice,andpercussion

instrumentsofthevariousethnicities.Nosamplingofsoundsordrummachines

wereusedasthiswouldbeinconsistentwiththeapproachandaimsinherentinthis

research.

ImprovisationalApproaches

1. StandardformswillbeusedfortheTheloniusMonkcompositionsdiscussed

inChapter3,forexample,‘Rhythm-a-ning’isthestandard32barAABAform

(AABAreferstothemelodyandharmonicprogression,usuallydividedinto8

barsubsections).Monkwroteanoriginalmelodyline,buttheharmonyis

basedonGeorgeGershwin’s“IGotRhythm”chordchanges.

2. Modalforms,forexample,‘SoWhat’composedbyMilesDaviswillbeused

(Chapter7).ThisisanAABA32-barform,butusingonemodepersectionas

theharmony:

A.D.Dorian

A.D.Dorian

B.Eb.Dorian

A.D.Dorian

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3. OneChordApproach:Soloingononechordismonochordal,whichsuggests

modalism,notexceptingtheLatin‘Montuna/o’,ortheAsectionofDave

Brubeck’s‘TakeFive’(amongothers).

4. Non-HarmonicBasedImprovisationalApproaches:Freeimprovisationorthe

useoftone-rows,forexample,OrnetteColeman’sHarmolodics,orArnold

Schoenberg'stwelve-tonesystem.

5. ScalarApproaches:Therearemanyscalarbasedapproachesto

improvisationinmanyculturesincludingthosearisingfromMiddleEastern

musicalpracticessuchastheso-calledPersian(gamordastgāh)andJewish

(ahavarabbah,freygish,orinArabicdastgāh-ehomāyoun)scales.So-called

SpanishscalesfoundinflamencoandotherSpanishbasedgenresalsoevolve

fromtheseandotherMiddleEasternscales(duetotheNorthAfricanand

MiddleEasterninfluencesonSpanishculture).Theso-calledHungarian

minororHungariangypsyscalealsofoundinflamencoandEastern

Europeangenres,incontrastsoundsFarEastern(Asian)incharacterandis

identicaltotheCarnatic(Indian)ragamSimhendramadhyamam.

6. Non-IdiomaticApproaches:Bailey(1992)assertsidiomaticapproaches

expressanidiom,suchasFlamencoorbaroque,withtheidentityand

motivationderivedfromthatidiom.Thenon-idiomaticapproachesinthis

projectwillfocusontheideaofdiscourse,theconversationbetweenthe

musicians,andwillbefoundinfreeimprovisation.Whilethiscanbehighly

stylised,itwillnotusuallybetiedtorepresentinganidiomaticidentitysuch

asjazzorclassicalmusic(Bullock,2010,pp.141-144).

7. Meta-MusicalApproach:Prevost(1995)suggeststhatthemusicianmustbe

changedbytheimprovisation.Noidiomissecureinthespaceofsuch

engagementbecauseanidiomisasetofpre-recordedresponses.Each

meta-musicianstrivestocreatetheirownevolvingidiom,whichhasaninner

capacitytotransformitself.Tothisendthepreparationoftheserecordings

willrequirethatthemusiciansfromdiverseculturesareassembledto

improvisewiththeirmusicalindividualityvaluedandbroughttobear.

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1.4 Structure of the Exegesis Thisresearchdoesnotseektopresentathesistoaccompanytheperformances,but

ratheranexegesisthatleadstheaudiencetounderstandingtheperformances.Kroll

(2004)explainsanexegesisasareflectivejournalmakingexplicityourinner

dialoguelikewritingadiaryand‘talkingtoyourself’.Thus,itisimportantthatmy

authenticvoiceisheardinboththeperformancesandthewrittenexegesis,ifthe

exegesisistobeatruereflectionofmyinnerdialogue.Subsequently,thiswill

requireareflexiveandconversationalprose,someinformalityoflanguage,

colloquialismsandadeparturefromacademiclanguageandconventionsinorderto

capturemyinnerdialoguesothattheaudiencetotheseperformancesandexegesis

istrulyabletohearmyvoice.Kroll(2004)highlightsthedistinctionbetweenthe

approachtowritingathesisandtheprocessinvolvedinwritinganexegesis.Kroll

suggestsanexegesisapproachbearsasimilaritytotheforewordofabookthat

explainsandputsintocontextthebackgroundtothebook,andfactorsthat

subsequentlyshapetheplotofthebook.Thisemphasisesthataperformance-based

exegesisrequiresadifferentstructureandprocesstoathesis.Hence,inthis

exegesisthefocusisonthereaderasanaudienceto(before,duringandafter)the

creativeactofperforming(Kroll,2004).Therefore,inthisexegesisKroll’sbook

analogyprovidesausefulstartingpointwiththeoverallchaptersstructuredto

providetheforeword,introduction,performance-basedresearch(plot)and

conclusion.

Chapter1discussedtheresearchdesign,conceptualframework,andmethodology

(includingperformance-basedresearch,discourseinmusic,scopeandlimitations,

andelementsofpraxis).Chapter2introducesanddiscussesthetheoreticaland

culturalfoundationsofjazzandimprovisation,andtheimpactofcultural

background(andthetensionsbetweenjazzandcollaboratingwithothermusical

aesthetics)asastartingpointforthisproject.Chapter3discussestheperformance-

basedresearchforegroundingAmericanJazzastheoriginatorandthejazzrootsof

theresearch.Chapter4discussesandexploresIndianclassicalmusicandjazz

throughtheperformancesontheCD‘FreedomThroughDiscipline’.Chapter5

continuestheinterculturalcollaborativeperformanceswithChineseclassicalmusic

24

andjazzontheCD‘TheFiveElements’.Chapter6discussesthefinalcollaboration,a

recitalwithastringquartettitled‘Open-Ended’.Chapter7providestheconclusion

tothisexegesis.

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Chapter2:Foundations

2.1 Introduction: Why Jazz? Havingafatherwhowasajazzdrummer,Ihavebeensteepedandimmersedinjazz

musicandtraditionsfrombirth.Jazzmusicanddrummingispartofmyverybeing,

ofwhoIam.MybackgroundasajazzmusicianfromNewZealand,andallthat

impliesprovidestheculturalstartingpointforthisproject.

InNewZealand,therehasbeenanevolutionofjazzmusicinachangingsocietaland

culturalplatform(Bourke,2010;Ward,2012;Meehan,2017).Ihavebeenplaying

jazzinNewZealandforover60yearsandIhavewitnessed,andbeenanactive

participant,ofNewZealand’sjazzevolution;asjazzevolvedtoreflectchanging

societalandculturaldemands,andpushedtheboundsofcreativityand

improvisation.AsIgrewupIsawhowjazzreflectedsociety,andhowsocietyis

reflectedinjazz.Fromthewar-timebigbands,tobe-bop,tojazzrockIhavebeen

partofthisevolution,andinsomeinstancesbeenattheforefrontofthischange

withmybandssuchasDrTreeandSpaceCase.InNewZealandthecultural

landscapecontinuestoshiftandchangebringingnewforcestobearonthejazz

formandprovidingtheopportunitytocontinuetoreflectonandengagethose

forcesinanever-evolvingjazzform.

Inthischapter,Iexplorethemusicalfoundationsofthisprojectandthebackground

ofcollaborationsbetweenjazzmusiciansandmusiciansindifferentmusical

cultures.Insections2.2and2.3Idiscusstheinherentmulti-culturaloriginsand

natureofjazz.Insection2.4Ispecificallyexaminejazzdrummingaesthetics,asthey

arecentraltomypraxis.In2.5Ilookatimprovisationmorebroadly,andhow

differentapproachestoimprovisationmayhelporhinderdiscourseinmusic.Finally,

insection2.6,Iexaminethemusicalaestheticsandimprovisationalapproaches

inherentinmymusicalcollaborators’backgrounds.

26

2.2 Jazz Insomewaysjazzhasalwaysbeenaglobalmusicratherthanastrictly‘American’

one(Shipton,2001).Themusical-culturalinfluencessurroundingNewOrleansatthe

dawnofthetwentiethcenturymeantthattheinfluencesonincipientjazzinthe

1910sweremanyandvaried.CatholicandProtestant,variousAfricanmusical

cultures,Spanish,French,German,Italian(directlyfromEurope,viagenerational

immigration,andthroughtheCreolisedculturesofcolouraswellasintegrationinto

slavecultures),andSpanishandFrenchcolonialculturesintheregion.Allthese

cultures,andtheirmusic,cametogetherinNewOrleansandcombinedtocreate

themusicwenowcalljazz(Ake,2002;Taylor,2000).

Jazzquicklyspreadaroundtheglobethroughthemediaofrecordsandradio

broadcasts,andthroughthevaudevillecircuits.Bythemid-1920s,jazzwasaglobal

musicwithlocalisediterationsandinfluences,andeverevolvingstyles(seefor

example,Bisset,1987;Jones,2001;Jordan,2010;Ward,2012).Theseearly

amalgamsofotherculturalinfluencesonjazzcametofruitionlongbeforethe

marketedfusionsofLatin-jazz(bossanova),forexample,StanGetz,CharlieByrd

andAstrudGilbertoDestfinado(1962);andjazz-rock,forexample,MilesDavis’Ina

SilentWay(1969),TonyWilliamsLifetimeEmergency(1969),andJohnMcLaughlin’s

MahavishnuOrchestraInnerMountingFlame(1971).ThirdStreammusicwasa

phrasecoinedbyAmericancomposerGuntherSchuller(1991)todescribeamixof

jazzandclassicalmusic.Theglobalimpactofjazzmeansthatjazzandjazz

improvisationhasbecomefamiliartomusiciansfromwildlydifferingcultures,and

theconceptofjazz-basedimprovisationisonethatcancrossmanybarriers(Bailey,

1992;Berliner,1994;NettlandRussel,1998).

Thehistoryofjazzhasbeenwellexploredbymanyscholarsacrossthetwentieth

andtwenty-firstcenturies.Itisnotthepurposeofthischaptertorehashwhathas

beenwrittenaboutinnumeroustext-booksandhistories,essays,andarticles,but

rathertoexplorethoseaspectsofjazzthatarecentraltothisresearch:intercultural

collaborations,jazzdrumming,improvisation(particularlyrelatingjazzimprovisation

toimprovisationalpracticesinothermusicalcultures),andtheimpactofdiffering

27

musicalculturesandaestheticsonthisproject.Thisprojectaimsatabroad,free

approach,notafusionofculturesandgenres,butratheraimedatretainingthe

distinctivemusico-culturalvoices.Italsoaimstodevelopanewmulticultural

musicalconversation‘inthemoment’anddevelopingaspectsthathavenot

formerlyexistedinworldmusicandculture.

2.3 Intercultural Collaboration in Jazz Collaborationsacrossmusicalcultureshavebeenafeatureofjazzsincethe1920s

(Shipton,2001).Theso-called‘SpanishTinge’,thatFerdinand‘JellyRoll’Morton

describedasbeingvitaltojazz(Lomax,1973),wasthebasisofmanyoftheearly

interculturalcollaborationsinjazz.JazzmusicianshaveusedHispanicinfluencesin

manyways:fromcreatingjazzversionsofpopularLatinosongs(suchasLouis

Armstrongwith‘PeanutVendor’1931),tousingLatindanceformsasthebasisof

compositions(forexampleDukeEllingtonandthejazz-rhumba‘Maori’,also1931).

Duringthe1940s,therewasaninfluxofPuertoRicansandCubans(andother

Hispaniccultures)toNewYorkCityandthejazzscenethere,withbandsledby

Machito,PerezPrado,EddiePalmieri,andmanyothers.TheseCuban,Mexican,and

PuertoRicanmusiciansmergedswingandincipientbebopstylesintotheirbig

bands,andlocaljazzmusicians,suchasJohnBirks‘Dizzy’Gillespiebeganworking

withLatinomusicians(suchaspercussionistsChanoPozoandSabuMartinez)to

createthesub-genreofbebopknownasCubop(CubanbebopaftertheGillespie

composition‘Cubano-Be,Cubano-Bop’,1949)(Shipton,2001;Giddens&Deveaux,

2009).

Theabovenotedinterculturalinfluencesbeganatraditionofcombiningjazzwith

musicalaestheticsfromothercultures.Throughoutthetwentiethcenturyjazz

musicianshaveinteracteddirectlyandindirectlywithmusicalaestheticsofother

cultures.BestknownoftheseinterculturalcollaborationsaremusicianssuchasStan

GetzcollaboratingwithBrazilianmusicianswithbossanovaandLatin-jazzfusions,

andJohnMcLaughlin’sgroupsMahavishnuOrchestraandShakticollaboratingwith

Indianmusicians(Shipton,2001).

28

Norisitonlywithmusicalaestheticsfromothercultureswithwhichjazz

collaborates.JazzhasalsobeencombinedwithmanyotherAmericanandEuropean

musicalaestheticsandgenres.Examplesofsuchcollaborationsarejazzrockinthe

1960sand1970s,forexampleMilesDavis’albums,InaSilentWay(1969)and

BitchesBrew(1970)ChickCorea’sgroupReturntoForever,LarryCoryell’sEleventh

House,andmorerecentlyjazzandhip-hopcollaborations.Thecollaborations

betweenjazzandhiphophavebeenoneofthelongeronesbeginninginthe1980s

withDJssamplingjazzrecordsandMilesDaviscollaboratingwithhiphopproducer

EasyMoBeeforhisfinal(andposthumousalbum)Doo-Bop(1992).Inthetwenty

firstcenturythejazzhip-hopcollaborationhasbeenrevived,withhiphopartists

suchasKendrickLamarcollaboratingwithjazzsaxophonistKamasiWashington

(Giddens&Deveaux,2009).

Westernclassical(art)musicwasonethefirstothermusicalaestheticsthatjazz

musicians(andclassicalcomposers)begantocollaboratewith.Fromasearlyasthe

1920s,withtheideaof‘jazzing’theclassicsthroughtocollaborationsbetweenjazz

andclassicalcomposers(suchasStravinskywithArtieShaw),therehasbeenawide

varietyofappropriationbetweenthetwogenres(Shipton,2001).These

collaborationseventuallyresultedinwhatGuntherSchullercalledthe‘ThirdStream’

movement,whichfusedclassicalformswithjazzimprovisationandrhythm(Schuller

1991).

2.4 Jazz Drumming Aesthetics Aestheticvalueistransactionalandunderpinnedbywhattheexpressivecontent

meanstotheaudience.Itissubjectiveintermsofanindividual’sexperienceofthe

emotionandperceivedbeautyofthemusicalpiece.Justasaworkofartmaybe

deemedtohaveaestheticbeautyandconveyemotion,sotoodoesamusical

performancewhichisinfluencedbytheabilityofthemusiciantobringthose

aestheticstobearonthepieceandaudience’sappreciationofthatpiece.

Scruton(1999)suggeststhatmusicalaestheticscanbedefinedasencapsulationof

thefeelingsandexpressionbroughttobearinaperformance.Scrutonhighlights

29

thatthisexpressionmusthaveafoundationofmusicalunderstanding,anditis

contextualandinfluencedbytheself-identityofthemusicianinrelationtothe

content.Smith(2013)inIDrum,ThereforeIAmhighlightsthatdrummersshould

notbeconsideredasaparticulargrouporcommunityofpractice,butasindividuals

whoarevariedandviewtheirdrummingaspartoftheirself-identity.Thissuggests

thatdrummingisnotjustsomethingthatanindividualdoes,butpartofwhothey

areasanindividual;apartoftheiridentityandinfluencedbythecontextinwhich

theyfindthemselves.

Jazzaestheticsisconcernedwiththeinterrelatednessandinterplayofrhythm,

harmonyandmelody.Composers,musiciansandimprovisershavedevelopeda

multitudeofharmonic,melodicandrhythmiccombinationstocomprisejazz

aesthetics.Thisisfurtherdelineatedwhenconsideringjazzdrummingaesthetics.

The‘swing’ofmelodies,thebackbeat,syncopatedrhythmsandphrasing,pulse

emphasison2and4andtheresultingswingandgroovearetheelementsthatmake

upjazzdrummingaesthetics.Likeotheraspectsofmusic,jazzdrummingaesthetics

areinfluencedbysocietal,culturalandmusicalcontext,andevolution(Smith,2013).

Theswingandgrooveofjazzdrummingaestheticsarethefoundationofthejazz

band,andhavebeenbuiltonbyjazzgreatssuchasCharlieParkerandDizzy

Gillespie.Inthe1940’sbeingabletoswingwasnolongerjustthedomainofthe

drummer,allmusicianswereexpectedtobeabletoswinginordertobepartofthe

musicalconversation,andthus,theconversationchanged.

Smith(2013)suggeststhatdrummersbringtheirwholeself-identitytobearontheir

music,infusingtheirwholeintermsoffeelingbroughttothemusic,hencetheyare

influencedbythebeautyofamusicalpiece,butalsoimpactonthepiecewiththe

groove,swing,beautyandexpressiontheybringtoit.Forexample,Smithsuggests

thatthedrummer’sgrooveisanintangiblecharacteristicthatinfluencesthe

drummer’sexpression,executionandimprovisation,andisindirectresponseto

theirself-identityasadrummer.Thiscontextualidentitywithinthedrummer’s

identityisresponsiblefortheaestheticsthatarebroughttobearonthe

performance.Inthisresearch,myself-identityasajazzdrummerhasafirm

foundationofjazzandjazzdrummingunderstandingsthatmakesitpossibletobring

30

tobearajazzdrummingaesthetic,‘theswingandgroove’todiversecontexts,the

pieceandaudience.

2.5 Improvisation Asnotedinsection1.3insubsection1.3.4ElementsofPraxis,improvisationisakey

componentinthisresearch,asitisthevehiclethroughwhichthemusiciansspeakto

eachother.Theartofimprovisationisfrequentlydescribedinmusicdictionariesas

beingextemporaneouscompositionorthecreationofmusicinthecourseof

performance(Berliner,1994),butasBailey(1992),Monson(1996),NettlandRussell

(1998),Hodson(2007)andmanyotherscholarspointout,improvisationinall

musicalgenresisconsiderablymorecomplicatedthanthesedefinitionsarticulate.

Althoughimprovisationhasbecomeprimarilylinkedtojazzinthetwentiethand

twenty-firstcenturies,Horsley(2001)arguesthatallmusicwasatonetime

improvised.TracingtheoriginandhistoryofimprovisationfromtheMiddleAges

throughtothemodernera,HorsleyhighlightsexamplesfrombothWesternand

Asianmusicalhistories.However,wheretheidealinWesternartmusichasbecome

oneofperfectlyreplicatedperformance,inmanyAsianmusicalculturesNettl(2001)

statesthattheidealistoatleastsoundimprovisedifnottobeimprovised.

InNettlandRussell’sIntheCourseofPerformance:StudiesintheWorldofMusical

Improvisation(1998),theauthorsprovideahistoryofimprovisationresearchthat

summarisesmethodologicalandmusicologicalimprovisatoryapproaches.It

highlightsthelackofconsensusandthemultitudeofcontradictorydefinitionsin

relationtoimprovisation.NettlandRussell’sviewofimprovisationconceptualises

compositionandimprovisationasendpointsonacontinuum,butnotesthatthey

arenolongerantagonistictoeachother.

Whiletheissueofimprovisationascompositioninjazziscontentious(see,Berliner,

1994),thisdoctoralprojectalignswithBensen’sview:“Thattheprocessbywhich

workcomesintoexistenceisbestdescribedasimprovisatoryatitsverycore,not

merelytheactofcomposingbutalsotheactsofperformingandlistening”(Bensen,

2009,p.2).However,compositionandimprovisationaredistinguishableusing

31

Nettl’scontinuuminrelationtotime,withcompositionbeingabstractedintime,

andimprovisationbeinginthepresenttime.ThissupportsGorow’ssuggestionthat

musicalimprovisationisthecreativeactivityof“inthemoment”immediatemusical

compositioncombiningperformance,communication,instrumentaltechniqueand

spontaneousresponsetotheothermusicians(Lothwesen,2009,pp.32-35).

Giventhecontentiousnessofimprovisationasaconceptanditscontradictory

definitions,itispertinenttothisresearchtobuildonTheGroveDictionaryofMusic

andMusiciansdefinitionofimprovisation(shownbelow)asabasisforfurther

exploration:

Thecreationofamusicalwork,orthefinalformofamusicalwork,asit

isbeingperformed.Itmayinvolvethework’simmediatecompositionby

its performers, or the elaboration or adjustment of an existing

framework,oranythinginbetween.Tosomeextenteveryperformance

involveselementsofimprovisation,althoughitsdegreevariesaccording

toperiodandplace,andtosomeextentevery improvisationrestsona

seriesofconventionsorimplicitrules(Nettl,2001/2014).

2.5.1JazzImprovisation

Jazzimprovisationprovidesmybasefortheperformancesinthisresearch.There

aremanystylesandapproachestojazzimprovisationrangingfromobbligatostyle

decorationsofthemelodythroughtocompletelyfreeimprovisation,wherethe

improviseristotallyunfetteredbyformorsequentialharmony.InmyownworkI

takemycuesfrombe-bop,hardbop,contemporaryjazz,andconceptssuchasfree

jazzunderpinnedbyaclearunderstandingofthehistoryofjazzdrummingfrom

Warren‘Baby’DoddstoPaulMotian.

Hodson(2007)succinctlydescribesjazzimprovisationasmostoftenbeingamusical

textureofseveralindividuallines.Thisisausefulinterpretationasitmovesbeyond

theemphasisonthesolomelodicline,especiallyfromtheperspectiveofthe

drummerwhoismostfrequentlyimprovisinglinesinsupport,notonlyofthe

composition,butthefront-lineperformers’interpretations.Itisalsomoreusefulto

thinkofjazzimprovisationasbeingtexturalfromananalyticalpointofviewasit

32

movesbeyondtheusualanalyticalemphasisonmelodic(asusedbyhorns,piano

andguitar)lineandharmony.Jazzimprovisationasatextureisausefultoolfor

conceptualisingtheapproachesthatmycollaboratorsandItookinthisresearchof

mixingjazzwithothermusicalaestheticsandimprovisationalcultures.

2.6 Aesthetics and Improvisation in the Collaborative

Musical Cultures Ashasbeenemphasisedinthischapter,thecentraltopicofthisprojectisthe

interculturalcollaborationsbetweenjazzandothermusicalaestheticsandcultures.

Thehistoryofjazzcollaborationswithothermusicalaestheticswasoutlinedabove,

butlittleasyethasbeenstatedregardingtheimprovisationalapproachesthatI

workedwith.Tothatendthefollowingsectionsprovidesbriefbackgroundstothe

typesofimprovisationalculturesfromwhichmycollaboratorscome.

Therearenumerousapproachestoimprovisationthatvaryfromgenretogenre,

andalsoculturetoculture.Withinthisproject,aswellasperforminginastraight-

aheadjazzcontext,IgatheredcollaboratorsfromtheIndian,ChineseandWestern

classicaltraditions.IchosethesemusicalculturesbecauseinNewZealand,

traditionally,therewasanemphasisonWesternclassicalmusic.However,New

Zealandisalsoamulti-culturalsocietywithaburgeoningChineseandIndian

population.Thisofferstheopportunitytoexploretheinterculturalcontextofmusic

traditionsinNewZealandusinganimprovisationalapproachtocelebratethat

diversity,ourcommonalities,inter-connectionsandintersections.An

improvisationalapproachofferstheopportunitytohonourandbuildonthose

traditionsyetprovidetheopportunitytobefreeofthem,tocreatenewmeaning

andnewmusicalconversations.Itisanopportunitytoseethereflectionofthat

multi-culturalisminpractice,andinthemoment.

2.6.1IndianClassicalMusic

Indianclassicalmusichastwoparallelbutdistinct(bothaurallyandstylistically)

‘classical’traditions:HindustaniinthenorthandKarnatak(orCarnatic)inthesouth

(Widdess,2015;Katz,2015).MuchlikeWesternclassicalmusic(andothergenres

33

suchasjazz),bothIndianclassicaltraditionsareperformed“forthedelectationof

anattentiveaudience”(Widdess,2015,p.139).However,theimprovisational

approachesforbothtraditionsrelyontheconceptofcollectiveimprovisation-

composingthepieceinthemomentofperformancebasedonthesystemofragas

(Katz,2015).Muchlikethejazztheoryofmodalscales(andmodaljazz),theragaisa

tonalsequencethatdefinesthebaseofIndianmusic.Unlikemodalscaleshowever,

therearemanymoreraga,withvaryingnumbersoftones,whichareoften

characterisedbyspecificphrasesormotifsthatarecreatedfromthosetones(Bor,

1999).

Whiletherearemultitudinousvariationsontheraga,therearesixthatare

consideredfundamental:Bhariv,Malkauns,Hindol,Dipak,MeghandShree(Singh,

1979).TraditionalIndianmusicismonophonic,withanemphasisonpurityof

melody,andwiththefoundationofaseven-notescalerepresentedbythesounds

‘SaReGaMaPaDhaNi’.Differentcombinationsofnotesaswellassharps,flatsand

microtonesarethenorm,eachofwhichcontributetocreateamelodicpermutation

basedonmelody(Bharatan,2013).

2.6.2ChineseClassicalMusic

Chinesemusicaltraditionshaveanexceedinglylonghistory,withadefinitivehistory

datingback4000years,andevidenceofmusicmakingintheregionasfarbackas

theNeolithicperiod(Jie,2011).UnlikeIndianclassicaltraditions,orevenjazz,

Chinese‘classical’traditionscontainmanymorefixedelementsthanimprovised

ones.ThetraditionalmodesofperformanceareclosertomodernWesternclassical

musicinthattheideaistorecreateaparticularidealthroughperformancerather

thantoreinterpretthatidealortocreatesomethingnew(Witzleben,1997).

ThepredominantmusicalaestheticstraditionallyfoundinChinesemusicarebased

inConfucianismandDaoism.Theyarecomplementary,ratherthancompetitive,

withthemusicalaestheticsbasedinConfuciusaddressingissuesofhumanlifeand

politics,andDaoaestheticsinvestigatingtheindividualandnature.Bothaesthetics

focusonthenotionsofharmonyandbalance:yinandyangfromConfucius,andthe

balanceofnaturalelementsfromDao(Woskin,1997).Thisconceptofmusic

34

representingthesoundofnatureintegratedwithyinandyanghascontinuedto

influenceChinesemusicwithinstrumentsrelatedtothefiveelements,andwithin

pitchandpentatonicscalesymbolisingheavenandearth,focussingonbringing

harmonytotheelements(Randel,2003).Thefiveelementsencompassfire,earth,

water,metalandwood.AccordingtotheChinesetheoryoftheFiveElements,

Chinesemusicaltonesareconnectedtotheinnermanandamyriadofouterworld

concepts(Chen,2002;Randel,2003).

Mycollaboratorsapproachedthisprojectthroughthebreadthanddepthoftheir

classicaltraining,seekingtounderstandtheframeworkandrequirements,andgain

abalancebetweenself-cultivationwhileperformingforanaudience,whileadhering

toatraditionalframeworkandexpressingcreativityviafreeimprovisation.This

balanceandfocusonharmonyallowedfortheflowofimprovisationtorangeacross

acontinuumfrominterpretative,free,structured,creativeandpersonalwhilst

conveyingthatsenseofharmonyandbalance.

2.6.3WesternClassicalMusic

Thefinalcollaborationthattookplacewithinthisresearchinvolvedastringquartet

intheWesternclassicalmusictradition.Improvisationalsohasalonghistoryin

Westernartmusictraditions,andalthoughitallbutdisappearedincommon

practiceduringthetwentiethcentury,inrecentyearstherehasbeenaresurgence

inusingimprovisationintheso-calledClassicaltradition(Wegman,2014;Griffiths,

2001).

Thepracticeofimprovisationinaclassicalsettinginitiallyemphasisescreatingan

obbligatoaroundthecomposedmelody,orusingthecomposedmelodyasa

startingpoint,ratherthanimprovisingentirelyofftheharmonicstructure.

Traditionally,improvisationinclassicalmusicismostlyseenincadenzas,preludes,

interludes,impromptus,andfantasias(nottobeconfusedwiththepre-composed

examplesbythesamename,whicharewritteninthestyleofanimprovisation).For

themostpartthesetypesofimprovisationsaresoloratherthanaccompanied

harmonicallyorrhythmically,sotheperformercan(iftheysowish)playwithout

regardtoaharmonicstructure.Infact,thepre-composedversionsofthesegenres

35

arenotedfortheirlackofclearstructure,consistency,andharmonicorrhythmic

consequence.Theyarealsousuallyofshorterdurationthanmostjazzsolos(Rasch,

2011).Themainemphasisofclassicalimprovisation,therefore,istosound

indistinguishablefromapre-composedpiece,butatthesametimetobe

supposedlyunstructuredtogivetheideaof‘offthecuff’performance.

Mycollaboratorsforthisperformance(seeChapter7)usedtheirtrainingand

interpretationofclassicalmusicofthescore’sinclusionofcadenza-typesoloingto

approachjazzimprovisation.Theirfocusemphasisedcommonalityofstructure

whilstbringingoutwhatthecomposerhadinmind.

2.7 Conclusion Inthischapter,IexaminedthemusicalfoundationsoftheresearchIhaveundertaken

andthebackgroundofcollaborationsbetweenjazzmusiciansandmusiciansindifferent

musicalcultures.Idelvedintotheinherentinterculturalcollaborationswithinjazzasa

genre,andthosethatartisthaveundertakenthroughoutthetwentiethandtwenty-first

century.Iexaminedjazzdrummingaesthetics,andhowmypersonalapproachmight

workwiththecollaborationsdiscussedinthefollowingchapters,andhowdifferent

approachestoimprovisationmayhelporhinderdiscourseinmusic.Finally,Iexamined

themusicalaestheticsandimprovisationalapproachesinherentinmymusical

collaborators’backgroundsandhowaspectsoftheseapproachesmightbeappliedin

collaborationwithmyjazzaesthetic.

InChapter3,IbeginthediscussionofthecollaborationsIundertookforthisresearch,by

exploringthebasegenreforthisresearch:Americanbop-basedjazz.

36

Chapter3:FourinOne 3.1 Introduction

Myresearchbeginswiththeoriginatinggenreforthisresearch:Americanjazz(see

Appendix3forsupplementaryresearchmaterialassociatedwiththischapter).The

compositionsandperformancesontheaccompanyingCDFourInOnedemonstrate

jazzmusic’simprovisationalindividualisticcomposition,whileexploringthe

improvisationalelements,inter-connections,andintersectionsofjazzroots,African

basedmusicandEuropeanharmonyfromtheWesternartmusictradition.IntheCD

recordingthereisanexplorationofimprovisationallanguageandhowthiscanbe

utilisedinthedevelopmentofnewmusicalmaterial.Itbecomesapparentinthe

experienceandprocessofimprovising,thatnewmusicalrelationshipsand

processesarecreatedthatshapethemusic.

TheinvestigationofthemusicofcomposerandpianistTheloniousMonk(1917-

1982)waschosenforseveralreasons.Firstly,Monkwasaninnovatorwho

contributedtothegrowthofbe-bopmusicinthe1940s,HardBopinthe1950sand

subsequentlycontemporaryjazzmusic.Monkcomposedninety-onetunesbetween

1941and1967.However,themajorityofthesetuneswerewrittenbetween1941

and1960,whichwasanextremelycreativeperiodforhim.Monk’smusicisstill

playedbyjazzmusiciansacrosstheworld.AmericanbassistPatrick(knownas

Putter)SmithisrecognisedasanauthorityonMonk’smusichavingplayedwiththe

TheloniousMonkQuartet.Itisaptthatthisproject’sfirstperformancesoncompact

discshouldprovideanintrinsicframework,beginwiththeworksofaseminaljazz

improviserandcomposer,andincludeamemberofthathistoricquartet.

Thereisatensionandcontradictorynaturewhenusingimprovisationandjazzasan

intrinsicframeworkandfoundation.Thetensionexistsbetweenjazzimprovisation

ascompletelyfreewithoutreferenceto,andexcludingallhistory,background,

structureandconventionsofjazzimprovisationbasedonthetradition,structure

anddiscipline.Intrinsicisatermthatinfersessentiality,sotosaythisperformance

providestheessentialframeworkbelongingtojazzbringstotheforethatthis

performanceseekstoshowtheaudiencewhatisessentialtothisframeworkinthis

37

researchwhilstacknowledgingthatthereisatensionandacontinuumaround

wherejazzimprovisationispositioned.

Thisperformanceseekstoshowthattheintrinsicframeworkofjazzrequires

attentiontodiscipline,conventionsandtradition,andafullunderstandingofwhere

theperformanceandimprovisationsareplacedalongtheimprovisational

epistemologicalcontinuum.Themusiciansforthisperformancewerechosen

carefullytoshowcasetheintrinsicframeworkofjazz,aframeworkthatinthis

researchsuggeststhatifyouaretohavetheabilitytoimprovisefreelyyoumust

havecommandofthejazzlanguageandconventions,technicalknowledgeandthe

abilitytoexecutethatexpertise.Additionally,youneedanunderstandingofthe

historyandtraditionsofjazzinrelationtothejazzstructure,form,conventions,

repertoireandyourinstrumentinthatcontextbothindividuallyandcollectively.

Thereisanunspokenrequirementthatinordertobeapartofthewhole,tocome

togetherasfourinone,thatthemusiciansunderstandthedisciplineandbe

disciplinedinexecutingthatunderstanding.Thissubsequentlyenhancesmusical

collaborationandnegotiationbasedoncommonlanguageandunderstandings.

Usingtheintrinsicframeworkofjazzasstorytellingandaconversationthat

encapsulatesafeeling,itisappropriatethattheframeworkandfurtherexploration

ofpossibleconnectionpointsbetweenimprovisationandculturalcontextwiththe

Americanmusicianstakestheformatofamusicalconversation.Thisprovidesan

opportunityforthemusicianstotelltheirstory,andtheirrelationshiptotheroots

ofthemusicwithintheirpersonalculturalcontextthroughmakingmusictogether.

Thisisaboutconversationsinthemomentandinthemusic:moment-to-moment,

player-to-player,andplayer-to-audience.Hence,inthisAmericanjazzCDrecording

project,themusicandoralconversationswererecordedinthemomentaspartof

makingmusictogether,andprovidingtheopportunityforfurtherexploration.Itis

abouttheinteractioninthecourseofmakingmusicencapsulatingthefeeling:the

discourseinmusicratherthanthediscourseonmusic.

38

3.2 Exploration of the Creative Process TheAmericanmusicians(seeAppendix1fortheirbiographies)Ichosetojoinmefor

thisprojectinitiallywereLarryKoonse(guitar),ChuckManning(tenorsaxophone),

andPatrick(Putter)Smith(bass).However,onceinLosAngelesIfoundthatLarry

hadbeengiventhewrongdateforthesecondsession;hisdiarywasfullandwe

wereunabletochangethestudiobooking.Itwastimeforimprovisingofadifferent

nature.PuttersuggestedpianistTheoSaundersasanalternateforthesecond

session.AsIlistenedtoTheo’splayingononeofPutter’sCDs,Iknewimmediately

hewouldfitthemusicperfectlyasIcouldhearthejazzmusichistoricaland

sympatheticunderstandingsthathebroughttoMonk’scompositions.

Themusicianswerechosenbecauseoftheirjazzbackgroundsandabilitytoprovide

thefoundationforthesubsequentperformances.Allofthemusicianshave

extensivejazzbackgroundsandwhatcouldbetermed‘jazzpedigree’.PutterSmith

hasplayedwithmanyofthejazzgreats,includingtheTheloniousMonkQuartet,Art

BlakeyandtheJazzMessengersandtheDukeEllingtonOrchestra.LarryKoonsehas

recordedandortouredwithMelTorme,BobBrookmeyer,CleoLaine,NatalieCole,

BobMintzer,PeterErskine,thePercyFaithOrchestra,BillyChild’sSextetandmore.

TheoSaundershasperformedandrecordedwiththebandsofFreddieHubbard,

CarlaBley,SonnyFortune,BobBrookmeyerandsoon.ChuckManninghas

performedand/orrecordedwiththeLosAngelesQuartet,AlphonseMouzon,and

theBobbyBradfordMo’tet,amongothers.

PutterSmithwastheAssociateDirectorfortheCDwithmeas,havingbeeninThe

MonkQuartet,hehadvaluableinsightstobringtothecollaboration.Wehadone

four-hourrehearsal,andthemusicianshipnotwithstanding,someintensivesight-

readingbytheLosAngelesmusicianswasinvolved(Ihadmemorisedallthetunes).

WepreparedelevenofMonk’scompositionsforthesessionswiththetwoquartets

nowinvolved.Wedecidedwhichtuneswereappropriateforeachensembleby

consideringthestrengths,musicianshipandrelationshipsofeachmusician,and

whichcombinationwouldyieldthebestopportunitytoshowcasejazzasthe

39

‘originator’,tohighlightthejazzimprovisationalrootsandsetthefoundationfor

thisresearch.

ThefirstsessiononMarch8,2015withtenorsaxophone(Manning),guitar

(Koonse),bass(Smith),anddrums(Gibson)wasextremelysuccessfulwitheveryone

andeverythingcomingtogethertorecordfivetunesintwoandahalfhours.Atthe

beginning,thereweresomeminortechnicalproblemswithanamplifierthatused

upsomeofourtime.Allofthetuneswerefirstorsecondtakeswithpredominately

firsttakescapturingthemoment.Therewasnopriorarrangementofthetunesso

togetherwecameupwith‘head’arrangementsjustpriortotherecordingofeach

composition.Theheadarrangementstookcareofthefinerdetails:thetempo,who

statesthemelody,theorderofsoloists,two-feelorfour-feel,exchanges,andsoon.

LarryKoonsewroteawonderfularrangementforourfirsttune‘CrissCross’,telling

me“it’syourrecord,sowhynotplayaneight-barintroductionandmakethisyour

openingtrack.”Thetenorsaxophoneandtheguitarstatethemelodywithbassand

drumsplayingawalkingfourfeeling.

Thefirstsoloisbytheguitaranddrumssimultaneouslyimprovisingforachorus

withthebasstacet(silent).Oncethebassenters,theguitarplaysasoloforanother

chorusfollowedbythetenorsaxophonefortwomorechoruses.Theheadout

containsasurpriseendingthatwasorchestratedbyLarry.Afterthesolos,weplayed

theAABA32barformonce,andaddedasix-andone-halfbardrumsolofollowed

bythepenultimatephraseofthecomposition.

Ourentirerepertoireoverthetwodateswaspreparedinthisway.Thisnegotiation

andcollaborationbasedoncommonunderstandingsandlanguageprovidedthe

frameworktoimprovise.Thearrangementswerefreshandrequiredcomplete

concentration,whichadheredtoMonk’sdictumthatthefirsttwotakesarewhere

thefeelingandconcentrationare,andafterthatthingstendtofallaway.Itisabout

capturingthemoment.

LarryandIhadnotplayedtogetherformanyyears,andthiswasthefirsttimethat

pianistTheoSaundersandIhadplayedtogether.Whatmakesitpossibleforusto

40

soundrelaxedandtogetheroveraveryshorttimeisourawarenessofthejazz

languageandthefeelingweallbringtothemusic.Thatfeelingistheheartandsoul

ofimprovisedjazzmusic.

ThesecondsessiononMarch10,2015withthetenorsaxophone(Manning),piano

(Saunders),bass(Smith),anddrums(Gibson)ensembleincludedthewonderful

arrangementsofPutter’son‘Evidence’and‘Epistrophy’.‘Evidence’provedtobethe

mostdifficulttuneforme,eventhoughIhadmemorisedit.Putter’sideawasto

featurethedrumsastheonlysoloist.‘Evidence’followsthestandardAABA32bar

songform.However,thefirstchorusiseveryoneplayingthemelodyinunisonat

tempowithnounderlyingpulse.Thedrumsbeginsoloingonthesecondchorus

whilethebassplaysthemelody.Thesolocontinuesintothethirdchoruswiththe

pianostatingthemelody.Onthefourthchorus,tenorsaxophoneandpianoplaythe

melody,andthedrumsolocontinues.Thefifthchorusisthesameasthefirst

chorus.TheonlysuggestionPuttermadewastotryandplaythreecompletely

differentdrumsolos.

Werecordedthefourtuneswehadpreparedplustheunaccompanieddrumsolo

(‘InWalkedBud’)butcameupshortontime.Theosuggested‘UglyBeauty’,theonly

jazzwaltzthatMonkwrote.Chuck’sinterpretationofthemelodyisaesthetically

pleasingbringinganaffectsuggestiveofbeautytothetune.

Theconversationsthroughouttherecordingshighlightedsharedunderstandings

andjazzlanguage.Whenlisteningtotheseconversations,itwasevidentthatwe

spokethesamelanguage,andtoanoutsider,withoutthesameshared

understandings,theverbalconversationswouldhavesoundedlikeaforeign

language.Theseconversationswithinthemusicoftenhappeninamomentand

requirerelationshipsbuiltonempatheticunderstandingsandafirmgroundingin

thehistoryofthemusic.Thissharedunderstandingbuildstrustandacommon

language,bothimplicitandexplicit,creatingamusicalrelationshipthatenriches,

openingupareaspreviouslyunexplored,andcreatingsomethingnovelinthe

present.ThemusicianshipandimprovisationsofChuck,Larry,TheoandPutterare

whatmadethisprojectsoinspiringandwonderfultobeapartof.Thismusicis

41

relaxed,andnobodysoundsliketheyhadanythingtoprove;theempathetic

statementsfromallmakeforamusicaloneness.

Thediscourseinmusicwasveryevidentinthemusicalconversationwhereactive

listeningwastremendouslyimportant,becausewhenyouarenotsurewherethe

conversationmaygoyouneedtofocusonwhatishappeningnow,notthinking

aboutyourreply.Fromthevariousmusicians’backgrounds,therewasashared

understandingofthepersonalandcollectivevoice:eachhavingaparttoplay.There

wasanempatheticunderstandingthatwewillalllisten,play,andbringthepartsto

thewholeregardlessofwhatpathwaywetook.Whileimprovisingispersonaland

individualisticinnature,itwasacollectiveconversationandthediscourseisevident

inthemusic.Thisisamusicalconversationwherenoonevoicedominated,buteach

hadtheopportunitytoshineasanindividualandasacollective.

WithinthestorytoldontheCDperformances,thedrumimprovisationswereplaced

firmlywithinthejazzcontextandframeworkastextualbutadheringtotheform;

includinganemphasisonthesolomelodicline,butalsomovingbeyondthisto

encompassjazzdrummingaestheticsthatshowedmyidentity,swingandgroove.

Theexpression,improvisation,andexecutionwasindirectresponsetomymusical

collaborators,themusic,andimprovisations,butalsoareflectionofmyidentityasa

drummerandwhatIbringtobearontheperformance.

3.3 Conclusion FourinOneshowedthebaseaestheticandformasfoundationtothisresearch.The

CDperformancesbringtotheforethatplayingjazzisabouthumanconnection,as

wellasmusicalandculturalhistory.Playingtogetherforgesrelationshipsandshows

thebestofourhumanity,ourcollaboration,andthesharedstoryanddialogue.Jazz

improvisationrequiresasharedunderstandingofthehistory,lineageandtraditions

ofjazz,andisacollaborativeventureanddialoguethatrequirestremendous

discipline,concentrationandpayingattentiontoamultitudeofsubconsciousand

consciousfactors.ItwasevidentineachpiecethatweweretherepresentasFourin

Oneinthatmomentintime.

42

Beginningthisperformance-basedresearchfromafoundationandframeworkof

Americanjazzwithestablishedunderstandingsandrelationshipsprovidedthe

opportunitytosetoffonthisexplorationfromasolidstartpoint,wherethe

negotiationofmeaninganddiscourseenabledashareddialogueandcollaborative

explorationofimprovisationandallthatjazzmusiciansindividuallyandcollectively

bringtothis.

Thefollowingchapterbeginstheinterculturalexplorationswithacollaboration

betweenmyselfandIndianclassicalmusicians.

43

Chapter4:FreedomThroughDiscipline4.1 Introduction

Theinterculturalcollaborationsinthisstudybeginwiththecontrastandinter-

connectionsbetweenIndianclassicalmusic’shistoricalcollectiveideacreation,and

jazzmusic’simprovisationalindividualisticcomposition(seeAppendix4for

supplementaryresearchmaterialtothischapter).Thiswasexploredthrough

recordedperformanceswithFrankGibson(drumset),BasantMadhur(tabla),

ChinmayaDunster(sarod)andLesterSilver(sitar)(seeAppendix1formusician

biographies).

AsnotedinChapter2,Indianclassicalmusichashadafar-reachinginfluenceonjazz,

beginninginthe1950s.RaviShankar’scollaborationwithAmericanaltosaxophonist

andflautist,BudShankforthealbumImprovisations(1962)highlightlinksbetween

jazzconceptsandthehistoricalcollectiveconceptsofIndianclassicalmusic,solo

expression,compositionandimprovisation.Shankarfeltthatjazzmusicianshadan

inherentunderstandingofclassicalIndianrhythms.

Thereisalsoasharedunderstandingregardingtheneedtoperfecttechniqueand

skill,forexamplethenotionofpracticingrudimentsandpracticingragasasa

foundationtoimproviseaswellasanunderstandingofthedifferentmodelsof

improvisation.KindofBlue(1959)byMilesDavisdevelopedthisconnectionfurther

usingmodalscalesratherthanchordchangesasthebasisforimprovisation.This

enabledbandmemberJohnColtranetofurtherexploreandbuildonarangeof

methodsofimprovisationincorporatingworldmusics.Thisincludednotonlythe

additionof,butalsotheembeddingofIndianmusicinthemusicalstructure;for

examplein‘Naima’wheretheimprovisationisdevelopedfromthetonicand

dominantdroneasinIndianmusic.

Therearealreadyrecordingsandperformancesthatdocumentthemusical

collaborationbetweenjazzmusicandclassicalIndianmusic(seeAppendix2for

recordingsconsultedinthisresearch).However,theunderstandingofthe

44

uniquenessofeachculture’sapproachtoperformance,andthehistoricalcontext

thatimpactsonthatperformancehasbeenleftlargelyunexploredmusically.Ina

similarwaytojazzimprovisation,Indianclassicalmusicallowsforperformance

‘personalisation’;however,ragasareviewedashistorical,withanemphasison

universalcreationofideas,whereasjazzimprovisationisindividualistic,personal

composition.

ManynotablejazzmusicianshavesinceincorporatedelementsofIndianmusicinto

jazz,suchasMilesDavisandYusefLateef.Othersinclude:

• JohnMayer,whousedinterlockedadditiveanddivisiverhythmicconceptsin

Indianmusicandjazz.

• DonEllis,whousedconstructedpieceswithadditiverhythmicprinciples.

• JohnMcLaughlin,whousedsolotradingsimilartosawal-jawabinIndian

performancewithadvancedplannedrhythmicstructures(inhisband

Shakti).

BassistandcomposerBillLaswellmaintainsthatonecan“assassinatethepromiseof

fusion”(MartinandWaters,2011,p.324).Whilethisprojectisnotafusionof

musicalgenres,itisimportanttoexplorefusionasitcontributestotheevolutionof

thismulticulturalcollaboration.Thebeginningsofwhatbecameknownasfusion

musicwereunpremeditatedjazz/rockgroups,suchasCream,TonyWilliam’s

LifetimeBand,KingCrimson,SoftMachine,Blood,SweatandTears,MikeNock’s

FourthWay,andJimiHendrixExperience.Rockmusiciansbeganusinghornsections,

playinginstrumentalsolos,andusingavarietyofrhythmicapproaches,sometimesa

jazzshuffle,anddiversetimesignatures(see,forexampleWeatherReport,Return

toForever,andMahavishnuOrchestra).Jazzmusicianshadbeguntouseelectric

guitars,suchasinTonyWilliams’LifetimeBand,MahavishnuOrchestra,andCream.

Thesegroupsranthegamutwithrockandjazzrhythms,freeimprovisation,varying

timesignaturesandharmonies,usinghighlevelsofvolumeanddistortion.Thus,

these1960sand1970sgroupswereregardedbytheiraudiencesasnew,fresh,and

energetic.Itcould,therefore,bearguedthatduringthesecondhalfofthe1970s

jazz-rockgota‘shortbackandsides’andbecamemoremainstreamasitseemingly

appearedtodispensewithdistortion,impliedtime,rawenergyfuelled

45

improvisationsandperhapsbecamepredictable.Themusicappearedtobecome

increasinglysales-orientated,pre-meditated,formulaicanddispassionate.

4.2 Exploration of the Creative Process ThemusicianschosenforthisCDwerechosenbecausetheyareaccomplished

performersinIndianclassicalmusicbasedinNewZealand.BasantMadhurisatabla

playerinthefieldofIndianclassicalmusicandhasperformedwithsomeofthe

stalwartsofIndianclassicalmusic,suchasGrammywinnerPt.VishwaMohanBhatt.

LesterSilverisamusicianinthefieldofIndianartandclassicalmusicwithan

interestinRagaSangeet.ChinmayaDunsterhasspentmanyyearsstudyingIndian

classicalmusiconthesarodinLondonandIndiaandhasfoundedandperformed

withtheEast-Westfusionband.BothnorthandsouthIndianclassicalmusic

traditionswereincorporatedasthemusicians’classicaltrainingandtheirrespective

musicalinstrumentswerefromeacharea.

ThisCDperformancehighlightsthenotionoftheinfinitepossibilitiesthatresult

frombeingabletoimprovisewithmusiciansfromarangeofbackgroundsand

acrossarangeofgenres.Thismusicalcollaborationhereisdesignedtonotbefinite

withtheintenttocreateaspecificoutcome(composition),butratheranopen-

endedprocess.Asimprovisers,weseektocreateinthemomentthroughexpressing

ourfeelings,spirit,andpersonalities.Throughempatheticapproachesandreactions

toeachother,theensemblecreatesamusicaloneness,whilealsoseekingtobe

influencedbyeachother’smusicandthesoundsoftherespectiveinstruments.

Themusicaimstobringusasmusiciansofdiverseculturestogethertomake

multiculturalmusic.Themusicinthisprojectisnotfusion,Indo-jazz,Indo-rock,pure

Indianmusicorpurejazz.Themusiccapitalisesontheopportunitytobringajazz

drummingimprovisationalaesthetictoIndianmusic.

BasantMadhurisamastertablaplayer,andisoftencalledupontoaccompany

IndianmastermusiciansbothinNewZealandandfromoverseas.BasantandImet

previouslyin2009aquarterofanhourpriortoplayingaconcertwith

46

keyboardist/composerMurrayMcNabb.LaterthatyearweplayedonMcNabb’s

albumAstralSurfers.Ourpreviousexperienceandhistoryplayingtogetherinstilled

confidencethatwewouldbeabletoeffectivelycollaboratemusicallywhilebringing

ourdistinctivevoices.Ialsobelieveoursharedpassionforvariedrhythmic

approachesandimprovisationprovideafirmfoundationforfurtherexploration.

Someofthemusicalideasforthe‘FourPartSuite’wereconceptualandwrittenas

wordsratherthannotationtoopentheoverallformofthesuitefordevelopment,

leavingmoreroomforpersonalinterpretationandimprovisation.Polyrhythmsand

figuresusedasapulseandbasisforimprovisationwerenotatedmusically(see

Appendix4).Theapproachtojazzimprovisationwithinthepieceswasstructuredto

incorporatearangeofrhythmicapproacheswiththeaesthetics,grooveandswing

differinginrelationtotime,metersandaccentstoberesponsivetothethematic

schema.

4.2.1‘FourPartSuiteforTablaandDrumset’

Themusicalcollaborativeprocessherecanbelikenedtotheanalogy,thestoryof

gettingtoknowsomeone,witharichconversationandthedevelopmentofa

relationship,wherethereisunderstandingandtrust,whichenablesandpromotes

furtherexploration.Mutualrespectenableseffectivecollaboration.Thestructureof

thecompositionisasfollows:

PartOne(Introduction):Basantbeginsalone,introducinghimselfwithtablaand

simultaneouslycreatinganintroductiontothesuite.

PartTwo(Establishingcommonalitiesandunderstandings):Wepre-recordedabass

lineonthetabla,abrushrhythmsimilartothereco-recofoundinBrazilianmusic

andafour-cymbaldescendinglineasbackgroundsandacarpetforBasant’ssecond

improvisation.Thepre-recordedpartscreateastrongbutflexiblehypnoticmood

reminiscentofIndianmeditativepractices.

PartThree(Whatwebring–listeningandresponding):Thisbeginswiththedrums

employingapolyrhythmicup-tempoapproach(♩=320bpm)usingthestandardjazz

47

ridecymbalrhythmasanostinato.Thedrumsbuildtoacrescendoffthenpareback

tompforthetablasolo.AttheconclusionofBasant’simprovisation,thedrumsolo

temporemainsat320bpm.Thebeginningofthedrumsoloisexecutedonthetwo

tom-toms,snaredrum(snaresoff)andbassdrumtoensurecontinuityofsound,

therebycreatingthepossibilityofusingrhythmicconceptsfromthetablasolo.As

thissolobuilds,thesnaredrumandcymbalsareintroduced,providingastark

contrast,andendingwithafortissimorollonthesnaredrum.

PartFour(theconversationstrengthens–therelationshipdeepens):theinitialtabla

improvisationisusedagaintostrengthentheformABCA=1-2-3-4.

4.2.2‘FreedomthroughDiscipline’and‘ConversationswithChinmaya’Initially,theideasforthisrecordingwereunabletobeutilised.Thesarod,tabla,and

sitarallneededtobeinthesameroomforeyecontact,cuesandtoheareachother

acoustically.Thus,therewasaculturalexpectationfromtheIndianmusiciansthat

theywouldbeinthesameroomtogetherwithme,andthedrumkit,whenplaying.

Inthestudiosituation,however,thisperformancewasalsoaffectedbytheIndian

musicians’relativeinexperienceinthestudioandhamperedbythesizeofthe

studio.Leakageandvolumedifficultieswiththedrumsinthesameroomwould

havealsomademixingandeditingtoodifficult.Aswithanycollaboration,we

neededtoreflectonandreviewtheperformancegiventhedemandsofthecontext,

inordertoaddressbothculturalexpectationsandtechnicaldifficulties.Thecontext

ofthiscollaborationmeantthatthesarod,sitar,andtablahadtheirconversation

andtoldtheirstoryfirstknowingthatmypartintheconversationwouldbeadded

latertocompletethewholestory.TheIndianmusicianswereessentiallyproviding

thefirstpartoftheconversationbutwerecarefulinleavingspaceandprovidingthe

basisoftheconversationformetocomeinandbepartofthewholeconversation.

Therefore,thesnaredrumandpercussionwereoverdubbed.Thesameconceptwas

usedforthesarodanddrumsetduet,withtheseimprovisationsbecoming‘Freedom

throughDiscipline’and‘ConversationswithChinmaya.’

48

4.2.3‘FirstMeeting,FirstTake’

Thesitaranddrumsetduet‘FirstMeeting,FirstTake,’wassuccessfullyrecordedlive

withtheonlypreconceivedideasbeingthetempo(♩=150bpm).AfterLester’s

improvisation,wewouldplayexchangesofnofixedlengths.Therewereminimal

parametersforthismusicalconversation,but,asinanyconversation,someimplicit

andexplicitexpectationsbecomeespeciallyrelevantwhenthereisonlyabrieftime

togettoknowoneanothermusically.Thetempoandexchangeideaswere

collaborativelydevelopedandagreedonbeforewecametogetheratourfirst

meeting,andhelpedtomaintainsomecohesionanddirectioninthisbriefmusical

meeting.Thedrumsetutilisedbrushesandmalletsforsympathetictexturesasany

staccatosoundssuchasrimshotsandthesnaredrumwouldnothaveresonated

withthesitarsound.

Theaforementioneddifficultieswith‘FreedomthroughDiscipline’and

‘ConversationswithChinmaya’negatedsomeofmyinitialideasonhowtoapproach

thesepiecesbutsubsequentlyopenedupotheravenuesforexploration.Therich

andvariedmelodicandrhythmicimprovisationsofBasant,Lester,andChinmayaset

upextremelyinterestingstructurestowelcomemyoverdubbedimprovisations.

4.3 Conclusion Themusicalrelationshipinthisrecordingwasenrichedbytheculturalbackground

andcapitalbroughttobearfromdiversegenresandtraditions,withthemusicians

responsiveto,andchangedasaresultof,thisrelationshipandinteraction.The

inherentmelodies,melodicpermutationsandscalesoftheragasprovideda

performancefoundationfortheIndianmusicians.Personalisationofthemusicwas

positionedeasilywithintheperformances,withtheIndianmusicians’creative

explorationontheragasandthejazzimprovisationaspersonalcomposition.This

openedupareastofurtherexplorecreatingsomethingnovelwhilstretaining

respectfordistinctculturaltraditionsandvoices.Theaestheticinfluencesfromthe

Indianclassicaltraditioncombinedwithjazzandhencethemusicianswere

influencedbythemusicalconversation.However,themusictranscendedmere

49

influenceandnoonegenreortraditiondominatedbringingtogethermulti-

culturalismandtraditioninaninterculturalcollaboration.

50

Chapter5:TheFiveElements5.1 Introduction

Theinterculturalcollaborationscontinuewitharecordingthatexploresthe

harmonicinterplayrelatedtothefiveelements,whileretainingthehistorical

tuningsoftheChineseinstrumentssothattheirtraditionalvoiceisheardwithinthe

improvisationaldialogue.ThemusiciansforthisrecordingwereWilliamYu(yang

qin),TanyaLi(erhu)andFrankGibson(drumsetandpercussion)(seeAppendix1for

musicianbiographies;seeAppendix5forsupplementaryresearchmaterialtothis

chapter).

AsnotedinChapter2,traditionalChinesemusiccanbetracedback7,000-8,000

yearsbasedonthediscoveryofaboneflutemadeintheNeolithicAge(JieJen,

2011,p.1).Chinahasoneofthelongestdocumentedmusichistorieswithcourt

documentsandliteraturerecordsonmusicfromancientChinathatdatebacktothe

secondmillenniumBC.Legendssuggestbamboopipesweretunedtobirdsounds

andatwelve-tonemusicalsystembasedonpipepitch(JieJen,2011).Thisconcept

ofmusicrepresentingthesoundofnatureandthefiveelementswashighlightedin

Chapter2,andformsatraditionalconceptualunderstandingthatinformsthe

collaboration.

ThelonghistoryofChinesemusichasbeenimpactedbyandhasimpactedona

rangeoffactors:social,political,educational,linguistic,geographicaland

philosophical,andthesehavebecomeanintrinsicpartofthemusicallandscape.

ThetheoreticalsystemologyofChinesemusichasbeenformedbysomeofthose

elements.Althoughinitiallyforthehigherechelonsofsociety,classicalmusic

eventuallycametothemainstreampopulationandwasrelatedthroughreligion,

folksongsandoperatotheireverydaylivesandfortheirentertainment(Brindley,

2013).

Inthesocialandpoliticalturmoilofthe1920sand30sinChina,ahybridofjazz

emergedinthemeltingpotofShanghai(Jones,2001).Atthattime,Shanghaiwas

thebiggestmoderncityinAsiawithpeoplefrommanycultures,including

51

foreigners,colonialsandmilitarypersonnel.AmericanmusiciansincludedShanghai

intheircircuitsandChinesemusiciansbegantousetheinfluencesfromWestern

movies,Americanpopularandjazzmusic,fusingthesewithtraditionalfolkmusicby

usingtraditionalinstruments.Americanjazzmusiciansalsogotcontractstoplayin

theShanghaiclubsandbands;forexample,BuckClayton(whoplayedforCount

Basie)playedfirstlyhigh-classcabaretjazz,thenwhatwasderogatorilycalled

“YellowMusic”:ahybridofChineseMusicandAmericanJazz,whichwasbanned

after1949.LiJinhui,aChinesecomposerinShanghai,wasknownforcreatingthe

degenerate“YellowMusic”.LiJinhuihadbeentaskedbythegovernmenttounify

thedifferentChinesedialects,andhedidthisthroughmusicusing,singing(opera),

Asianpentatonicmelodiesfromlocalfolksongs,andswingharmoniesandrhythms

fromAmericanJazz(Jones,2001).However,thishybridwasshort-livedwiththe

ChineseNationalistandinsurgentCommunistPartyviewingthismusicasfrivolous,

decadent,exploitiveandcommercial,andthemusic,whichfollowedwasmuch

moreaboutservingapoliticalfunctionwiththeCulturalRevolution(Jones,2001).

Amidthepolitical,economicandsocialchangesinChinaoverthepastcentury,not

onlywereWesternpopularandjazzmusicbanned,butalsotraditionalChinese

minoritygroupmusic.However,sincethe1980s,therehasbeenarevivalinChinain

safeguardingsometraditionalChinesecultures.AcrossChina,thereisgreatdiversity

intraditionalmusicinrelationtogeographicallocalitywithatleast56officially

recognisedminoritygroups.Eachgrouphasspecificmusicaltraditionsandcultural

influences.Itisthereforeimportanttobecognizantoftherangeanddiversityof

regionalandculturalinfluencesintraditionalChinesemusicandnottoviewthe

musicashomogenous.Thisdiversityhighlightsthesimilaritiesanddifferencesin

worldmusicandprovidesaninterplayandbackdropthatbringsanindefinable

qualityofrichness,depthandbreadth.

Jazzimprovisationprovidestheopportunitytomergecompositionandperformance

tocreatesomethingnew‘inthemoment.’ImprovisationisalsonotnewtoChinese

traditionalmusic;ithashistoricalrootsgoingfarfurtherbackthanjazz

improvisation.ThereareChineselegendsandfablesfrombeforetheSongDynasty

(960–1279)aboutmusiciansandartistsengagedinthepursuitofindividualisingand

52

improvising.Chineseimprovisationwasviewedasatradition,withdistinctions

drawnbetweenfree,personalandcreativeimprovisation.JieJen(2011)describes

oneoftheearliestChineselegendsaboutBoya,aguqin(apluckedsevenstring

instrument)musiciancreativelyimprovisingandcomposinginrelationtothe

majestyandinspirationofthe‘highmountainsandflowingstreams’,highlighting

creativeandfreeimprovisation,butalsotheinnerandouterworlds,andhuman

connectionwithnatureandtheelements.

5.2 Exploration of the Creative Process Inthetwenty-firstcentury,jazzishavingalimitedresurgenceinChinabothin

BeijingandShanghaiwithjazzclubsandschoolssuchastheJZclubandschool,and

BlueNoteBeijing,butthisisbasedonAmericanjazz,withChineseandAmerican

musiciansplayingAmericanjazz.TherearealsoAmericanChinesemusicianswho

havebeguntotestthepossibilitiesofjazz-fusionbyusingChinesetraditional

instrumentsonstandardjazztunes;however,thisrecordingseekstogobeyondthis

approach.Thisrecordingisnotaboutfusionortheinfluenceofjazzmusicon

Chinesetraditionalmusic,orviceversa,buttheunfoldingofanewrelationshipand

voice.Ratherthanlimitingthemusicalexperience,thisprojectviewscultural

backgroundandcapitalascreatingamusicalrelationshipthatenrichesthepiece

andtheprocess,openingupareaspreviouslyunexplored,creatingpossibilitiesand

somethingnovelinthepresentoutofpastexperiences.

Thisrecordingseeksdifferentwaysofimprovisingandthinkingaboutthemusicin

ordertoexploretheharmonicinterplayrelatedtothefiveelements,whileretaining

thehistoricaltuningsoftheChineseinstrumentssothattheirtraditionalvoiceis

heardwithintheimprovisationaldialogue.Theopportunitytobringuniqueand

diverseculturalandmusicalbackgroundstobearontheprocessandproductisthe

opportunitytocreatenewpossibilities,andanovelanduniqueproduct.

Theinitialideasforthisinterculturalcollaborationweretofeatureavarietyof

Chinesemusiciansandtheirrespectiveinstruments.However,afterbeingunableto

findaChinesepercussionist,andsubsequentconversationsandrehearsalswith

53

ghuzheng(Chinesezither)anddizi(Chineseflute)musicianspromisedlittle,the

decisionwasmadetostaywiththeyangqin,erhu,drumsandpercussionforthe

entirealbum.

Thereisacomplexitytoimprovisationthatmakesitdifficulttoexpresstheprocess

inthewrittenword;thus,theresultingproductmusthaveitsownvoice.The‘Five

Elements’voiceisdistinctiveanduniquebecauseofthecalibreandexpertiseofthe

Chinesemusicians,WilliamYuandTanyaLihavelivedinNewZealandforthelast

thirteenyearsandbringavastdegreeofmusicalexperienceandexpertisein

relationtothetraditionofChinesemusicandinstruments.Insomeinstances,the

variousinstrumentsareoverdubbed.Ratherthandetractingfromtheintercultural

collaboration,spontaneityandimprovisation,itwasfoundthattheabilityto

overdubenhancedtheimprovisationthroughbeingabletoberesponsivetothe

nuancesandinterplayofthemusicaldiscoursewiththesetting,visionandemotion

ofthepiecesmademorevisibleandaudible.

Inordertomaintaintheintegrityoftheinterculturalcollaboration,Chinese

traditionalinstrumentsandtuningswereused.Williamplaystheyangqin(Chinese

hammereddulcimer)ontherecordings.Theyangqinisfromthezitherfamilyandis

astringedinstrument.Twolightweightbeatersareusedtostriketheinstrument’s

stringswithdifferentbeatersdrawingdifferenttonesfromtheinstruments.Thisis

similartotheuseofdrumsticksorpercussionmalletsondrumsandother

percussion,althoughtheyangqinisastringedinstrument.

TherearearangeoftheoriesonhowtheyangqincameaboutinChinawith

suggestionsitwasdevelopedthere,orthatitwasbasedonaTurkishinstrument

andbroughttoChinaviatheSilkRoadfromPersiaand/oritwasbroughttoSouth

ChinabyEuropeanseamerchants(Gifford,2001).Tanyaplaystheerhu,whichisa

two-stringedbowedzitherbelievedtohaveoriginatedfromMongoliamorethana

thousandyearsago(Stock,1993).Thesoundisproducedbythevibrationoftheskin

onthesoundboxthroughbowing.

54

ThemusicianschosenforthisCDperformanceareNewZealandbasedmusicians

whohavebeentrainedinChineseclassicalmusicfromanearlyage.BothTanyaLi

(Erhu)andWilliamYu(Yangqin)havemanyyearsofmusicalexperienceinChinese

Orchestras.Unbeknowntoallofus,wehadpreviouslyplayedononetrackofthe

lateMurrayMcNabb’salbumAstralSurfers(2008)withtheerhuandyangqintracks

overdubbedafterthecompletionofthealbum.Thepriorconnectionfacilitatedthe

beginningofourcollaboration,andeightyearsafterthefirstrecording,wewere

abletoconnect;althoughwehadnevermet,aninstantrapportwasestablishedon

ourfirstrecordingsessionatBruceLynch’sBoatshedstudio,withthissession

yielding‘MarcoPolo’sReturn’.

5.2.1‘SpringtimeonTianMountain’

ThistrackisatraditionalChinesefolksongfromtheXinjiangregionplayedbyTanya

(sopranoerhu)andWilliam(yangqin)withanoverdubbeddrumpart.TheXinjiang

regionisanorthwesternprovince,whichwasoncethegatewaytotheSilkRoad,

borderingMongolia,Russia,Afghanistan,Pakistan,India,andKazakhstan;themusic

evokesthefeelingofajourneyandastory,andbuildsonthemanytraditional

storiesandjourneysfromthepastalongthisSilkRoad.Hence,therearemany

musicalinfluencesofthetravellersfromavastarrayofbackgrounds,suchas

Persian,TurkishandRussianthatcanbeheardinthemusicfromtheXinjiang

region.Alongwiththeseinfluences,thelinkwithnature,theelementsandthe

majestyofthemountains,thecascadingwater,alongwiththebeautyand

beginningsofspringtimecanalsobeheardasthemusicsoars,findsaweandpeace,

thenwalkswithus.

5.2.2‘ExitThrutheEntrance’

ThisisabeautifulmelodywrittenbythelateNewZealandcomposerandmusician

MurrayMcNabbin2013.Thispiecewaspreviouslyrecordedasarubatotimeduet

(pianoanddrums,McNabbandmyselfrespectively)forhisposthumouslyreleased

2014album,EveryDayisaBeautifulDay.Subsequently,thepiecewasrearranged

andplayedbyTanya,Williamandmyself.Adecisionwasmadethatthemelodywas

onethatcouldstandalone.Sotohighlightthis,itwasplayedthreetimeswithno

55

improvisation.Italsotellsastoryandisatributetothecomposerwhobroughtus

together.

Tanya’sinterpretationofthemelodyhighlightsthetangiblemusicalrepresentation

ofthedualityoftheyingandyangbalance,inthisinstance‘thehardversusthesoft’

and‘maleversusfemale’(malecomposer/femaleperformer;allmaleinitial

performance/femaleperformertakingtheleadinthisrecording)withthispiece

illustratingadelicategentlenessandgivingahauntingbeautytothepiece

reminiscentofnaturalelements.Thetempo(♩=60bpm)isestablishedwitha

Chinesecymbal,belltreeandwindchimes.Animprovisedcongadrumpartwas

overdubbedtogivethepiecerhythmicvariety.Itwasveryimportantforthe

drumset,whichcanbequitehardtextually,toemploysofterpercussivetexturesso

thatthemoodofthepiececouldspeakclearlyandrepresentthisnaturalelemental

balance.

5.2.3‘Intensity/Fire’

Thispieceforyangqinanddrumsetwascompletelyimprovisedinrealtime.The

mainideawastoplaytexturesandrhythmsassociatedwithourinterpretationof

thewords,intensityandfire,inessencetoembodytheelementswithfireasthe

igniter.Williamontheyangqinbeginsalone,playingatahighintensity,butleaving

spaceatthesametimetoenabletheinteractionbetweentheyangqinanddrum

set,andtofanandbuildthefire.Atthe2’20’’mark,Williampullsbackbriefly,and

thedrumsgraduallybuildtoacrescendoastheflameispassedon.Theoverall

feelingofthepieceisspacious,asfiresneedtobreatheandatthesametimethere

isintensityastheflamepassesfromoneplayertotheother,andtheferocityofthe

firebuilds.

5.2.4‘MarcoPolo’sReturn’

Ofallthecompositionsonthisrecording,‘MarcoPolo’sReturn’isthemost

arranged,andtherhythmpartsfortheentireensemblesectionswerepre-recorded.

Theintroductionistheyangqinimprovisingbutatthesametimesuggestingthe

melody.Asimplefunkpattern,anoverlaidChinesecymbalandabasslineplayed

betweentwotom-tomsmakeuptherhythmsectionbed,overwhichthemelody

56

andsubsequentsolosareplayed.Yangqinanderhuplaythemelody;after16bars,

theyangqinbeginsplayingthemelodybetweentheerhu’ssolophrases.Next,the

yangqinplaysarepeateddoubletimephrasewhichleadsintoapercussion

interludeconsistingoflongtonesonavarietyofcymbals(AmericanandChinese).

ThefinalfivecrashesendatffonaChinesegongconcludingtheinterlude,

abstractlyandmetaphoricallysymbolisingthefiveelements:wood,fire,earth,

metalandwater,encompassingthephenomenaofnature.

Thefast3/4rhythmexecutedonthethreesmallChinesecymbalswithapoly-

rhythmicfigureplayedonaChinesecymbal,belltreeandchimesleadsintopartone

ofthethree-partdrumsolo.Thethree-partdrumsoloaimstobuildoverpartsone

andtwowhicharelinkedbytheaforementioned3/4rhythmplayedontom-toms,

inconjunctionwithbuildinginaveryorganicmannertoaclimaxwithfulldrumset,

suggestingtheforcesofnature.Themelodyisstatedagainafterpart3ofthedrum

solowiththedoubletimeyangqinfigureandmiscellaneouspercussion.Thecoda

consistsofashortrubatotimeyangqinsolo.

5.2.5‘Empathy/Compassion’

Thispiecebeginswithanorchestratedpercussionintroductionutilisingcymbals,

woodblock,Chinesechocoloandasix-noteAfricanxylophone.Tanya’s

improvisationisbasedonbeautifullyconstructedlongnotephraseswiththedrums

employingsympathetictextures,malletsonthreetom-tomsandcymbals.The

overdubbedwoodblockandAfricanxylophonehelptoreinforcethisloose

improvisedformandhighlighttheelementofwood.Thiswasanimmediate

collaborationandconversationachievedinonetake.Atthe3’25”mark,percussion

isreintroducedbrieflyasintheintroduction,withapauseandadramaticdynamic

changetoaclimax,whichismaintaineduntiltheendofthepiece.

5.2.6‘HappyHouse’

This24-barOrnetteColemancompositionbeginswitharubatotimedrumsolo

utilisingbrushesandoccasionallyreferringtotherhythmicphrasesofthe

composition.Drumsthensetupastraight-aheadhardbopgroovefortheyangqin

toenterandplaythemelodytwicethroughwithembellishments.Williamthen

57

improvisesinaveryfreerhythmicmannershowingwithconsiderablefacilityhis

mastermusicianship.Theyangqinthenplaysthemelodyoncethroughleadinginto

anotherdrumsolowhichbeginswiththeopeningphraseofthemelody.Thissolo

graduallybuildsinintensityandvelocity,andthenparesbacktopforthefinalyang

qinphrase.TherewasanawarenessthatplacingWilliaminahardbopsituation

wouldnotbeideal,ashewasuncomfortablewiththeidiom;however,wecame

togetherincollaboration,abletoassimilateandadapt,soalltheelementswere

integrated.Wehaddevelopedsharedunderstandingsandtrustineachother’s

musicianshiptocreateapleasingperformance.

5.3 Conclusion Theperformancesinvolvedallofusplayingsimplemelodies,andwhileeachofus

embellishedonthemelody,distinctivevoicesmaystillbeharvestedfromthe

collectivesound.Harmony,bothmetaphoricalandmusical,wasbroughttothe

piecesthroughtheuseofourrespectiveinstrumentsandapproachtorepresentand

symbolisetheelementsencompassingfire,earth,water,metalandwood.

Inthisinterculturalcollaboration,ithasagainbeenhighlightedthatitisaboutthe

discourseinmusicratherthanthediscourseonmusic.Duringtherecording

process,itwasevidentfromthediscoursewithTanyaandWilliamthatnuances

andaestheticsintraditionalChinesemusiccannotbeputinscores.Thesenuances

andaestheticswereindividualisedaccordingtotheirfeelingandskillbasedontheir

personalinterpretation,understandingofandrespectfortradition-bothfroma

jazzdrummingperspectiveandaChineseclassicalmusician’sperspective,yetstill

bringingintheirowncharacterandpersonalexperience.Thedistinctivepersonal

andcollectivevoicesofJazzandChinesemusicaltraditionsandlanguagewere

evidentinthemusicandimprovisationswitheachindividual(inclusiveofthejazz

drummingaesthetic)bringingadistinctivevoicethatwasabletobeidentifiedas

derivingfromtherespectivelineages.Throughthisrecordingwediscoveredthat

knowingwheninthemusicalconversationtoemployrestraintandfreedom

underpinnedbyempathy,respect,humilitywasessentialtoanopennessand

celebrationtodiversewaysofapproachingpieces.

58

Whilewedidnotshareacommonmusicallanguage,wetookaleapoffaith,andthe

aestheticsofthemusicenrichedthemusicalconversation.Tanyaaskedtoredo

piecesthatweretechnicallyimmaculatetogettherightemotion.Implicitinthisisa

focusonconveyingtherightemotionandfeeling.This‘rightemotion’and‘feeling’

isanimportantpartoftheimprovisationalapproachforeachpieceforbothmyself

asthejazzdrummerandfortheChinesemusicians.Justastheswing,groove,

techniques,backgroundandaestheticscontributetomyimprovisations,itwasseen

asparamounttoTanyaandWilliamthatthechoiceoftechniquetobringoutthe

balanceofthepiece,thedistinctelementsortheircombination,andtheharmony

combinetocreatetherightemotionandfeeling.Thistooiswhatthebestjazz

musiciansaspireto,andthis‘rightemotion’iswhatwecreatedinTheFive

Elements.

59

Chapter6:Open-Ended6.1 Introduction Thefinalcollaborationinthisinterculturalexplorationisarecital:FrankGibsonand

collaboratingartists,TheBlackQuartetandBruceLynch,whichoccurredon28July

2017atMaramaHall,OtagoUniversity(seeAppendix1formusicianbiographies,

andappendix6forsupplementarymaterialtothischapter).Thisrecitalexplores

thepossiblerhythmical,melodic,harmonicandtexturalimprovisational

intersectionpointsbetweenjazzdrummingimprovisationwhileplayingwitha

Westernartmusicstringquartetandelectricbass.

Oneofthedefiningelementsofjazzisimprovisation.Whiledistinctivetojazz,

improvisationisalsoevidentinclassicalmusic;forexample,J.S.Bachimprovised

fuguesintheBaroqueera,whichwerethenfurtherelaboratedoninperformances.

However,itisnowuncommonforclassicalmusicianstoimprovisewithmost

classicalmusicpre-composedforperformances.Schuller(1991)suggeststhat

classicalmusicperformancescanberepetitivelydulledandlackinginspontaneity,

althoughacknowledgingspontaneitydoesoccurinclassicalmusic.Somejazz,too,is

through-composedandarranged;however,thedifferenceisthatimprovisationisa

crucial,valuedskillforjazzmusicians,butnotacrucialskillforclassicalmusicians.

Manyclassicalmusicpiecesaredeemedtohaveacorrectwaytobeplayed,and

integritytothehistorymaymeanthatthepiecesareplayedinamannerveryclose

totheoriginalcomposition.Theexpertiseofthemusicianinclassicalmusicmaybe

judgedbyhowcloselytheyadheretotheoriginalintegrity(knownasürtext)ofthe

originalcomposition,whereasmanyjazzmusiciansseekto‘gobeyond’inunique

expressionsofindividualityandself-expression.

Intheearlierperformancesofjazzandclassicalmusic,thereweredistinctgenre

differencesinstyle,articulation,interpretation,phrasingandtone.However,more

recently,worldmusicandfusionhavesoughttocrossoverandfusegenres.

Beginningfromthe1920sandthestartoffusingelementsofjazzandclassicalinthe

jazzagetocreatesymphonicjazz,tothelate1950swith‘ThirdStream’jazz,there

60

havebeenclassicalelementsinjazzandjazzelementsinclassical(Austin,1996).

Composers,suchasStravinsky,whose‘TheEbonyConcerto’waswrittenforthe

WoodyHermanband,andGershwinexperimentedwithjazzinfluences,andmay

havehelpedlaythegroundworkforfusionandThirdStream.

ClassicalEuropeanstringquartetsusuallycompriseacello,violaandtwoviolins.A

numberofjazzmusicianshaverecordedjazztuneswithstringensemblesfusingjazz

andclassicalinstrumentation,suchasArtieShawandtheStringSwingEnsemblein

the1930s,CharlieParkerwithStrings(1949-52),CliffordBrownwithStrings(1953),

andlaterinthe1980sMaxRoach’sdoublequartetintherecordingBrightMoments

(1986).Also,anumberofStringQuartetshaveplayedjazzcompositions,suchas

TheTurtleIslandQuartetontheiralbumSkylife(1990)andtheKronosQuartetwith

MonkSuite:TheKronosQuartetPlaysMusicofTheloniousMonk(1984).MaxRoach

recorded‘Survivors’withaStringQuartetin1984andin1986recorded‘Bright

Moments’withaJazzQuartetandaStringQuartet.DuringthissameperiodThe

KronosQuartetwereexperimentingwithjazzbassistRonCarterinthe

aforementionedalbumMonkSuitebuttheydidnotfollowuponthecollaboration

withajazzdrummer.

Therehavebeenveryfewjazzdrummerswhohaveplayedasasolojazzartistwitha

stringquartet,asearchthathasrevealedonlyMaxRoach.Whilejazzrootslieinthe

combinationofelementsofEuropeanharmonyandform,andAfricanbasedmusic,

thisrecitalsoughttogobeyondrecreatingandsolelyusingclassicalinstrumentsto

playjazzand/ortofuseelementsofjazzandclassical;italsosoughttoretainthe

distinctvoicesofeach,andtoexploretheimprovisationalelements,intersections

andinter-connectionsofjazzroots:African-basedmusicandtraditionalEuropean

harmony.

6.2 Exploration of the Creative Process ThiswasaperformancewhereIknewthereweresomeareasbeyondmyscopeof

practice,andIneededtoaccessadditionalexpertiseespeciallyinarrangingclassical

musicandscores.BruceLynchisanelectricandacousticbassist,producerand

61

arranger.IhavehadalongmusicalassociationwithBruce,whichhasincluded

sessionworkandplayingtogetherinfusionbands.Bruceisskilledandexperienced

incomposing,arrangingandorchestrating,hencewecollaboratedtogetherforthis

performance,eachbringingourstrengthsandexpertisetobeartoensurethatthe

classicalmusicianshadtherequiredframeworkandscorestoengageinthismusical

venture.

AsagroupandasindividualsTheBlackQuartetregularlyrecordandperformacross

variousmusicalgenreshavingpreviouslycollaboratedwithperformerssuchas

KanyeWest,Six60andLadyhawke.Theywerechosenforthisprojectbecauseof

theirclassicaltrainingandtheirdemonstratedversatilityandopennesstoother

genres.JosephHarrop(violinistandviolist)haspresentedinternationallyonmusic

performancepracticeandsocialactionthroughmusic,andwasalsoabletobring

additionalunderstandingsthatenhancedthemusicalconversation,dialogueand

collaboration.

6.2.1‘StolenMoments’

‘StolenMoments’wasoriginallycomposedandarrangedbyAmericansaxophonist,

OliverNelson.Theworkisa16-barminorbluesphrasedinaneight-six-twopattern.

Itwasfirstrecordedin1961onNelson’salbumBluesandtheAbstractTruth.Our

interpretation(arrangedbyBruceLynch)beginswiththestandardintroduction

followedbythemelodyrepeated.Thedynamicsemployedduringbars9-16provide

tensionandrelease,addinganothersidetothecharacterofthepiece.Theviolin

beginstheimprovisationplayingtwochoruses.Inthesecondchorus,viola,violin

andcellojoininandimprovise,collectivelyleavinglotsofspace.A24-barinterlude

followswiththedrumsinteractinginaspiritedmanner.Thebasssolosfortwo

chorusesandstringsplayabackgroundoverthesecondchorus.The24-bar

interludeisrepeated,followedbyenergeticinterplayofdrumsandtheensemble.

Wereturntothemelodywiththerepeat,andtheviolinplaysanimaginative

cadenzatoendthepiece.Thecharacterofthepiececomesthroughtheformand

theimprovisationwithreleaseandspaceprovidingthetensionandacalltointeract

andrespond.

62

6.2.2‘SoWhat’

WrittenbyMilesDavisin1959forthealbumKindofBlue,‘SoWhat’isarguablyhis

mostfamousandinfluentialcomposition,andisoneofthefirstrecordedexamples

ofmodaljazz.‘SoWhat’employsthestandardAABA32barformutilisingDDorian

modeintheAsections,andBflatDorianmodeintheBsection.Freedfrom

harmonicconstraints,theopportunityisprovidedforsoloiststocreatearelaxed

andmeditativefeelingwhilemaintainingthedeeppulseandforwardmotionso

necessaryto,andindicativeof,theunderlyingjazzfoundation.Rhythmically,the

melodyofthistuneisbuiltontraditionalAfricancall-and-responsetechniques,

suggestiveoftheworksongsofenslavedAfricansinthesouthernpartsofthe

UnitedStates.Ourinterpretationofthiscompositionbeginswitharubatobasssolo,

whichisrelaxedandspacious,immediatelyandaptlysettingupthemoodforthe

piece.Themelodyisastatedcallbythebassandresponsefromthestrings,and

leadstoLynch’s32-barshoutchorusmaintainingthecallandresponserhythms

whichsubsequentlyleadintothetwo-chorusviolasoloaccompaniedbystrings

playingresponsephrasesonthehead.Nextapedalpointensuesfor16bars,giving

atrulysuspendedfeeling,whichresolvesinto8barsofstylizedrhythmsection

followedbyanother8barsofpedalpoint.Duringthe32-barshoutchorus,tensions

areintermittentlyreleasedafter8barsofpedalpoint.Thedynamicschange

instantlytoforteforthe12/8section,whichsetsupthedrumsolo.Atthe

conclusionofthedrumsolothemelodyisstatedonceagain,leadingtothe

accentedeighthnotesbyalltothefiné.‘SoWhat’bringstothelisteneracalland

responsemelodybasedonamodalstructure,whichtrulyintegratesintoamutually

understoodmusicalconversation,thedifferentunderstandingsinherentinjazzand

classicalbackgrounds.

6.2.3‘InWalkedBud’

ThisworkisMonk'stributetohisfellowpianistandbebopinnovator,Earl‘Bud’

Powell.Firstrecordedin1947,itisbasedonthechordchangesofIrvingBerlin’s

‘BlueSkies’.ThisAABA32-barcompositionutilisesacall-and-responseconceptin

theBsection.Thisversionbeginswithdrumsplayingthemelody,orchestrated

betweentwotom-toms,asnaredrumandabassdrum.Thebassthenplaysthe

AABAmelody,improvisingovertheBsection.Thisisfollowedbyan8-bardrum

63

solo.Thestringquartetthenplaythemelodyaccompaniedbythebassanddrums.

Thisisfollowedbyonechorusofreharmonisedmelody,whichleadstoan

improvisedchorusbythecelloaccompaniedbybass,drums,violinandviolafigures.

A16-bardrumsolofollows,leadingintotheonechorusviolasolo.Sixteenbarsof

reharmonisedmelodysuggestaquasi-marchfeeling,withthebridgeplayedas

written,andan8-bardrumsolooverthelastAsectionsetsupthemelodytofinish.

Withthereharmonisedmelodyandthequasi-marchfeelingemulatingthewalk,the

improvisation,callandresponselinkmetaphoricallywiththetune’snamesakeso

thatjazzandclassicalcametogetheraswecalledandwaitedforBudtowalkin.

6.2.4‘Naima’

Composedin1959,andfirstrecordedthatyearfortheGiantStepsalbum,‘Naima’is

ahauntingmelodyofJohnColtrane’s,craftedforhiswifeNaimaasatribute.This

beautifulballadhasbecomepartofthestandardjazzrepertoire.ItsAABAform

standsoutfromothersinthattheAsectionsare4barsandthebridge8bars,

therebyaddingup20barsinstandard4/4time.Ourarrangement,byAuckland

basedcomposer/arrangerBernieAllen,in3/4timeisrefreshingandopensupthe

melodyforthedrumstointeractjudiciously.Thestringquartetplayedthis

compositionskilfullyandenteredintothespiritofthepiecewithmuchemotion.

ThepedalpointonwhichthecompositionisbasedallowsAllen’simaginative

sections(particularly,lettersGandH)toinvolvethedrumsinactiveinterplay.The

onlyimprovisationisa16-barbasssolo.Allen’srearrangementcapturestheessence

ofthetune,andprovidestheopportunitytobringemotionandimaginationto

enhancethespiritofthepiece.

6.2.5‘ANightinTunisia’

ComposedbyJohnBirks'Dizzy'Gillespie,thispiecehasbeenarrangedherebyBruce

Lynch.Writtenin1941andrecordedin1942,‘ANightinTunisia’becameajazz

standardandremainssotoday.Theuniquebasslinewasconsideredrevolutionary

foravoidingtheusual‘oneandthree’or‘fourbeatstothebar’standardbasslines.

Theformisthestandard32-barform.TheBsectionisbasedonthechordsofthe

jazzstandard‘AloneTogether’(comp.ArthurSchwartz).Uponcompletionofthelast

Asection,a16-barinterludeisemployedwiththelastfourbarstacet,givingthe

64

soloistsaspringboardtolaunchtheirimprovisations.Onthelive1947versionBird

andDiz,CharlieParkerplayedthefamousfour-barbreak,settinguphissolo.

Ourversionbeganwiththestringquartetplayingrubatotimeexcerptsofthemelody,

followedbytheaforementionedbasspattern,8barsfollowedbythemelodyand

interludesettinguptheviolinsolo.Attheendoftheviolinsolo,theintroductionwas

employedtosetupthebasssolo.Achorusofthemelodyfollows,settinguptheopen

drumsolo,whichwasplayedinrubatotimeatthebeginning,andthenontheformof

themelody.Theinterludefollowed,withdrumfillstofiné.Inthiswaythechorusand

solostructureprovidedthecontexttoforeachsoloisttobuildonandcreatedtheleadin

forthenextplayerinarelay‘passingthebaton’mannertocontinuetoaddtheirvoiceto

theconversationandexitandentertheconversationwithcommonunderstandings.

6.2.6‘Skylife’ComposedandarrangedbyDavidBalakrishan,‘Skylife’isananthemrockgroove

writtenfortheTurtleIslandStringQuartet(1990).Theinclusionof‘Skylife’inthe

programmeopensupotheravenuesforimprovisationovertherhythmsection’s

funkandrockgroove,andprovidestheopportunityforimaginativeapproaches.

MahuiaBridgeman-Cooperwasthefeaturedviolinsoloist.Theinterpretationofthis

compositionrequiredanentirelydifferentapproachfromthestringquartet,which

theyachievedwithconvictionandrelativeease.‘Skylife’isarelatively

straightforwardABAB,16-8-12-8form.TheBsectionswereplayedwithanopen

feelingoverthepedalpoint,whichenabledatensionandreleasetooccur.Mahuia’s

soloshowedanothersideofthestringquartet’sabilitytoadapttodiverserhythmic

approachesfromtherhythmsection.Theviolinbuiltover24barswithbackgrounds

fromtheviolin,violaandcello,andthequartetreturnstoAandB.‘Skylife’isa

modernmusicalconversationwithasteadypulsebringingthejazzandclassical

instrumentationtoanewcontemporaryposition.

6.2.7‘ATributetoMaxRoach’:MaramaHallImprovisation(FrankGibson)

Thisimprovisationisanunaccompanieddrumsolo,whichoccasionallyreferredto

therhythmicphraseswhichmakeupthreeofRoach'sunaccompanieddrumsolos:

'ForBigSid','DrumsUnlimited'and'TheDrumAlsoWaltzes’.Theinnovative

65

improvisationsofaltosaxophonistCharlie‘Bird’Parker,trumpeterJohnBirks‘Dizzy’

GillespieandpianistEarl‘Bud’Powell,amongstotherprominentjazzmusiciansof

the1940sand1950s,encourageddrummerMaxRoachtofindnewapproachesto

accommodatetheirmusicwhichwaslatercalledbe-bop.Hisfresh,innovativeideas

overtimecontributedtothedrummerbecomingamoreactiveandintegralpartas

anaccompanistintheband.Hisinnovationsaboveopenedupunlimitedpossibilities

forthedrummersthatfollowedhim,andthisimprovisationprovidesagood

exampleofthesepossibilitiesrealised.

Thisunaccompanieddrumsolobeganwithafour-cymbaldescendinglineplayed

severaltimesandrepeatedasafour-drumascendingline.Thecymballineis

repeatedleadingintoRoach’smelodiccomposition‘DrumsUnlimited’,whichisahi-

hatfigurerepeatedAA16bars,avariationBof8bars,andanothersectionAof8

barsmakinga32-barAABAcomposition.Thedrumsimproviseonthisformand

segueinto‘ForBigSid’,anotherAABA32-barcomposition,dedicatedtofellow

drummer‘Big’SidCatlett.Improvisationonthisformcontinuesandleadsintothe

thirdtheme,‘TheDrumAlsoWaltzes’,a16-bar3/4composition.Drumsimprovise

overthisformandreturntoashortstatementof‘DrumsUnlimited’,andthenthe

four-bardescendingcymballineisplayedasthefinalstatement.Thispieceisa

tribute,anditspeakstothehistoryandpersonalitiesofthosewhohaveforgednew

musicalpathwaysandopenedupthecreativepossibilitiesandroadsforthosewho

havecomeafter.

6.2.8‘StraightNoChaser’

Firstrecordedin1951‘StraightNoChaser’isonlythesecondbluesthatThelonious

Monkrecorded,with‘Mysterioso’beingthefirstin1948.Itisa12-barblues

employingMonk'screativelysimplecompositionalstyleofusingaconsistentidea

withdifferentmeasuresandendings.OriginallycomposedbyMonk,andarranged

byBruceLynchforthisconcert,‘StraightNoChaser’hasbeenapartofthestandard

jazzrepertoireforover50years.

Ourversionbeganwiththebassaccompaniedbydrumsplayingonechorusofthe

melodyaswritten,followedbytwomoremelodychoruseswithembellishments.In

66

thefourthchorusofthebasssolo,thestringquartetplayedawrittenshoutchorus

leadingintothefinalandfifthchorusofthebasssolo.Thestringquartetplayedthe

firstfourbarsofanotherMonkblues,‘BlueMonk’,tosetupthecellosolo,withthe

sameformatcontinuingwiththesolosbyfirstviolin,secondviolinandviola,withall

solosonthelasteightbarsofthebluesform.Areharmonisedchorusof‘StraightNo

Chaser’hintsattheatonalitythatfollowed.Theuseofasimplemelody,different

measuresandendingsprovidedtheframeworkfor,andtheopportunityto,

embellishandgobeyond,yetmeettogethertocomposeandre-compose.

6.3 Conclusion Thisperformanceevidencedanexplorationofhybridityinmusicwhereajazz

drummerandclassicalmusicianscollaboratedtoencourageandcreateafurther

hybridizationwhilstretainingthevoiceofandarespectforthemusicians’traditions

andmusicalcultures.Itwasanaspirationalopportunitycapitalisedontobring

togetherimprovisation,jazzandclassicalmusicianstogethertocreateinthe

moment.Thiswasanexplorationofimprovisationandthejoiningofdistinct

aestheticgenres.Weattemptedtoallowthemomenttocreateitselfandembraceit

withspirit,acknowledgingthatourmusicianshipandapproachhasbeeninformed

andcraftedbythosegreatjazzandclassicalprogenitors,traditionsandfoundations.

Whileimprovisationwascreated‘inthemoment’and‘themomentcreated’,the

historyandcontributionofthosewhohavegonebeforeplayedacrucialpartboth

unconsciouslyandthroughconsciousexecutionintheongoingexpressionand

evolutionofthecraft,musicandmusicianship.

67

Chapter7:Conclusion

Thisexegesisexploredthepossibilitiesofamalgamatingjazz-basedimprovisation

withthestyleandimprovisationsofthreeothermusicalcultures:Indian

(Hindustani)classicalmusic,ChineseclassicalmusicandWesternclassicalmusic

(chambermusictradition).Thisresearchaimedtoexploremusicalcollaborationand

theconnectionpointsbetweenbop-basedjazzimprovisationandthe

improvisationallanguagesofmusicfromIndiaandChina,andWesternclassical

chambermusic.Importantly,thecentralthesisofthisprojectwasthatthesemusical

languagescanbeusedincollaborationwithjazztocreatenewstylistic

interpretations,whilststillretainingdistinctmusic-culturalvoices.

Thecentralapproachtothisperformance-ledresearchwas,asdiscussedinChapter

1,theconceptof‘discourseinmusic’,wherebycommunicationonbothmusicaland

linguistic(discussion)levelsbecametheprimemotivatorofartist-to-artist

communication.ThroughtheperformancesandrecordingsIcreatedforthis

exegesisthenotionoftradition(andwhatwethinkofasmusicaltraditions)was

exploredthroughthemusicalandlinguisticdiscoursethatoccurredduringthe

rehearsal,performanceandrecordingofthemusicwecreated.Theincorporationof

thiscommunicationwasparticularlyimportantforthemergingofjazzwith

aestheticallyandculturallydifferentmusicalgenresininterculturalcollaborationsto

createhybridmusicalperformanceswherebothmusicalcultures(andthe

performers)haveequalinputintheperformance.

Ibegantheexplorationofhybridisinggenresbyexaminingthegenrecentraltothis

exegesis:jazz.AsstatedinChapter2,interculturalcollaborationshavebeenan

importantstylisticfeatureofjazzfromitsearliestyears,andinfact,jazzisaproduct

ofinterculturalcollaborationsbetweendescendantsofAfricanslavesandfree

peopletotheUnitedStates,Europeancolonialdescendants,andhybridcultures

betweenthetwo(suchasAfro–Cuban[Hispanic]orAfro–Haitian[French]).This

68

makesjazzauseful,flexiblemusicalvehicleforcollaborationswithothergenresand

cultures.

Keytothisresearchwasimprovisation.Improvisationiscentraltojazz,andtomany

othermusicalcultures.InthisresearchitwasimportanttomethatIcoulduse

aspectsofjazzwithmusicianswhoseprimarystylewasnotjazz,butalsotoexplore

aspectsofstyleandimprovisationinthevarietyofmusicalaestheticsmy

collaboratorswerebringingtotheproject.

Chapters3through6exploredthesedifferentcollaborationsinrecordingand

performance.InChapter3,Ibeganbyestablishingabase-lineofAmericanbopjazz

byrecordinganalbumofTheloniousMonkcompositions,withAmericanjazz

musiciansChuckManning(TenorSaxophone),LarryKoonse(Guitar),TheoSaunders

(Piano)andPutterSmith(Bass).Thisestablishedthefoundationandframeworkfor

me,usingtheunderstandingIhaveofthegenrethatIhaveperformedformostof

mylife.Thenegotiationsofmusicallanguage,meaninganddiscourseenableda

shareddialogueandacollaborativeexplorationofjazzimprovisation,andallthat

longpracticedjazzmusiciansbringtosuchperformances,providingtheopportunity

tosetoffthisexplorationofinter-culturalmusicalcollaborationsfromasolid

startingpoint.

Chapters4and5exploredHindustaniclassicalmusicandChineseclassicalmusic

aesthetics,respectively.BothIndianandChinesemusicshaveradicallydifferent

aestheticvaluesandstylisticimpulses.WhiletheragasysteminIndianclassical

musicsemphasisesimprovisationaskeytothemusicalexperience,Chineseclassical

musichasemphasisedtheartofembellishmentandornamentationonan

establishedmelodicline.Inexploringeachofthesemusicalstyles,Ifoundthatinmy

collaborationwithIndianmusiciansBasantMadhur(Tabla),LesterSilver(Sitar)and

ChinmayaDunster(Sarod),animprovisationalmelodicragafoundationpositioned

thepersonalisationofthemusiceasilywithintheperformances,withtheIndian

musicians’creativelyexploringtheragasandjazzimprovisationasacombinationof

collectiveideacreationandpersonalcomposition.Nogenreortradition

predominatedandthiscreatedsomethingnovelwhilstretainingdistinctvoicesand

69

traditionsbringingtogethermulti-culturalismandtraditioninanintercultural

collaboration.

Incontrast,mycollaborationwithChinesemusiciansTanyaLi(Erhu)andWilliamYu

(YangQin)foundthat,justastheswing,groove,technique,backgroundand

aestheticscontributetomyimprovisations,itwasseenasparamounttoTanyaand

Williamthattheimprovisationincorporatedtherightchoiceoftechniqueand

melodyembellishmenttobringoutthebalance,harmony,elementsandemotionof

thepiece.Therightfeelingandemotionwaspositionedasbeingessentialtothe

musicaldiscourseandasbeingrespectfultowhateachofusbroughttothe

interculturalcollaboration;anacknowledgementandvaluingofourrespective

traditions,musicianshipandmulticulturalism.

InChapter6,IexploredthepossibilitiesofjazzwithaWesternartmusicstring

quartet,withaddedelectricbass.Thiswasconsiderablydifferentagain,utilising

bothimprovisationandembellishmentofthemelody.IfoundthatBruceLynch

(ElectricBass)andtheTheBlackStringQuartet(MahuiaBridgmanCooper[Violin],

JessicaHindin[Violin],JosephHarrop[Viola],RachelWells[Cello])followedtheir

ownuniquepathsintoimprovisatoryaesthetics.Theperformanceevidencedan

explorationofhybridityinmusicwherecollaborationencouragedfurther

hybridizationtobringtogetherdistinctaestheticgenreswithimprovisation,jazzand

classicalmusicianstogethercreatinginthemoment.TheclassicalEuropeanstring

quartetwiththejuxtapositionofanelectricbassaddedafurther,distinctlymodern,

elementinthisinterculturalcollaboration,synthesisinginthediscoursearangeof

voicesandgenrestocometogetherasonevoicetotellnewstories.

Throughouttheperformancesinthisproject,distinctivevoiceswereharvestedfrom

thecollectivesound,yettherewasacomingtogetherinthemomentthatmadethe

wholegreaterthanthesumofindividualvoices.Whilebringingtheirowncharacter

andpersonalexperience,themusicwasindividualisedandcollectivelycreated

accordingtothemusicians’feelingandskill,andbasedontheirpersonal

interpretation,understandingofandrespectfortradition,andinrelationtoour

musicalconversationsandcollaboration.

70

Ireiteratethatitisapparentthattheseinterculturalcollaborationsare

fundamentallyabouttheinteractioninthecourseofmakingmusicencapsulating

thefeeling:thediscourseinmusicratherthanthediscourseonmusic.As

improvisers,weseektocreate‘inthemoment’throughexpressingourfeelings,

spiritandpersonalities,butatthesametime,werelyonourmusicalbackgrounds

andtechnicalexpertise.IbelievethemusicportfolioofCDsthataccompaniesthis

exegesisspeaksforitselfwitheverylistenerhearingwhatspeakstothem,basedon

thecapturedmomentandamyriadofunconsciousandconsciousperceptionsand

interpretationsfilteredthroughexperiencesandtheirstory,theconnectionand

conversationtheyhavewiththemusic,‘theirmoment’.

Inworldmusicandfusion,thedistinctculturalvoicecanget‘lostinthemix’,

mergedbeyondrecognitionoroverwhelmedbythedominantvoice.These

collaborationssoughttoretainthedistinctculturalvoiceandtogiveequalvoiceto

allinvolvedthroughretainingculturalintegrity.Thiswasassistedbytraditional

tuningsandinstrumentsandthedecisionsmadebetweenmusiciansinthecourseof

rehearsal,performanceandrecording.Attimes,suchasthosediscussedinChapter

4,ourinitialideashadtochangeduetopracticalconstraints,creatinganew

conversation.Thisprojectisfoundedoncollaborationwithcompositionschosen

andorchestratedtobuildontothatcollaboration,torenewestablishedmusical

relationshipsandbuildnewones.Musicalcollaborationisnotafiniteexpression,

butanopen-endedprocess.Itisaboutbringingopennessaswellasrespectforthe

pastanddiversebackgroundstotheconversation.Thus,wecreateanotionofvalue

andrespectforallthemusiciansinvolvedandwhattheybringtotheconversation,

aswellasameansofpursuinganewwayofmakingmusic;acelebrationofdiversity

andpossibilities–whatmightbecalled‘multiculturalmusic’.Multiculturalmusicis

wherethereisanopennesstotheothers’perspectiveandwheretheconversation

isnotone-sidedormeldedbyone’sperspectiveandbackground,andisthusnot

fusionor‘worldmusic’.Itis,however,adiscourseinmusicinthe‘spacebetween’in

theperformancespace.Thisisaspacewherenoonevoiceorgenredominates,but

acelebrationofdiversity,andanhonouringofrespectivehistoriesandtherichness

ofindividualandculturalexperience.

71

TheburgeoningNewZealandmulticulturalsocietyisaboonformusicianswanting

toexploreothermusicalcultures,styles,andaesthetics.Thenotionofbeingableto

improvisewithanymusicianfromarangeofbackgroundsandacrossarangeof

genresisintriguingandpresentsinfinitepossibilities.Improvisationprovidesthis

opportunitytotellnewmusicalstories:tomergecompositionandperformanceto

createsomethingnew‘inthemoment’andtocreate‘newmoments’.Future

researchinthisareacouldpotentiallyexploredifferentaestheticelementsand

improvisationstylestoenableothermusicalandculturalstoriestobetold.This

couldpotentiallybeimportantasmoreandmoreKiwimusicianshavecompeting

andoftenconflictingculturalbackgrounds.Musicalcollaborationandanopenness

tocelebratediversityalloweachmusicalvoicetobeheardinatrulyequal

conversation,‘thediscourseinmusic’creatingandtellingthatnewstory.

72

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Lothwesen,K.(2009).Klang-Struktur-Konzept.DieBedeutungderNeuenMusikfur

FreeJazzandImprovisationsmusik.Bielefeld:Transcript.

Lomanno,M.(2012).ImprovisingDifference:ConstructingCanarianJazzCultures

(UnpublishedPhD.Diss.).UniversityofTexasatAustin.

Lomax,A.(1973).MisterJellyRoll:TheFortunesofJellyRollMorton,Creoleand

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Meehan,N.(2017).TheNewZealandJazzTradition:SomethingBorrowed,

SomethingBlue.InM.Brown&S.Owens(Eds.),SearchesforTraditions:

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Monson,I.(1996).SayingSomething:JazzImprovisationandInteraction.Chicago:

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Prevost,E.(1995).NoSoundisInnocent:AMM&thePracticeofSelf-Invention:

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Porter,L.(2004).Jazz:ACenturyofChange.London:ThomsonLearning.

Randel,D.M.(Ed.)(2003).TheHarvardDictionaryofMusic.(4thed.).Cambridge,

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Rasch,R.(2011).BeyondNotes:ImprovisationinWesternMusicoftheEighteenth

andNineteenthCenturies.Turnhout:Brepols.

Roberts,D.(Ed.)(2006).TheGuinnessBookofBritishHitSinglesandAlbums.(18th

ed.).Vancouver,BritishColumbia:JimPattisonGroup.

Schuller,G.(1991).TheSwingEra:TheDevelopmentofJazz,1930-1945.Oxford,

England:OxfordUniversityPress.

Schutz,A.(1977).MakingMusicTogether:AStudyinSocialRelationship.InJ.L.

Dolgin,D.S.Kemnitzer&D.M.Schneider(Eds),SymbolicAnthropology:A

ReaderintheStudyofSymbolsandMeanings(pp.106-119).NewYork,NY:

ColumbiaUniversityPress.

Scruton,R.(1999).TheAestheticsofMusic.Oxford,England:OxfordUniversity

Press.

Shipton,A.(2001).ANewHistoryofJazz.London:Continuum.

Sinclair,K.(2000).AHistoryofNewZealand.(Rev.Ed.)Auckland:Penguin.

Singh,D.(1979).InvitationtoIndianMusic.Ludhiana,India:ClassicalMusicCircle.

Smith,G.(2013).IDrum,ThereforeIAm:BeingandBecomingaDrummer.Farnham,

UK:AshgatePublishing.

Smith,H.,&Dean,R.(2009).Practice-ledResearch,Research-ledPracticeinthe

CreativeArts.Edinburgh:EdinburghUniversityPress.

Stock,J.(1993).AHistoricalAccountoftheChineseTwoStringedFiddleErhu.Galpin

SocietyJournal,46,83-113.

Taylor,J.(2001)TheEarlyHistoryofJazz.InB.Kirchner(ed.)TheOxfordCompanion

toJazz(pp.39-52).NewYork:Oxford.

Ward,A.(2010).“ANZAC,HollywoodandHome”:ConstructingaNewZealandJazz

Culture.InH.Johnson(Ed.),ManyVoices:MusicandNationalIdentityin

Aotearoa/NewZealand(pp.93-102).Cambridge:CambridgeScholars.

77

____________(2012)“AnyRags,AnyJazz,AnyBoppersToday?”JazzinNew

Zealand1920-1955(UnpublishedPhD.Thesis)UniversityofAuckland.

Wegman,R.C.(2014).‘WesternArtMusic:Introduction’InNettl,etal.

‘Improvisation’GroveMusicOnline.Ed.Retrieved8Oct.2018,from

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Widdess,R.(2015).NorthIndia.M.Church(ed.).TheOtherClassicalMusics:Fifteen

GreatTraditions(pp.138-159).Woodbridge:BoydellPress.

Wilson,D.(2015).MusicMakingSpace:Musicians,Scenes,andBelonginginthe

RepublicofMacedonia(UnpublishedPhD.Diss.).UniversityofCaliforniaLos

Angeles.

Witzleben,J.L.(2002).China:AMusicalProfile.InR.Provine,Y.Tokumaru,andJ.L.

Wizleben(eds.).GarlandEncyclopediaofWorldMusic.NewYork:Routledge.

RetrievedfromMusicOnline:TheGarlandEncyclopediaofWorldMusic

database.

Woskin,K.De.(2002).ChinesePhilosphyandAesthetics.InR.Provine,Y.Tokumaru,

andJ.L.Wizleben(eds.).GarlandEncyclopediaofWorldMusic.NewYork:

Routledge.RetrievedfromMusicOnline:TheGarlandEncyclopediaofWorld

Musicdatabase.

78

Discography

Broadbent,A.(2009).TogetherAgain:Broadbent,GibsonandSmith.Auckland,New

Zealand:OdeRecords.

Broadbent,A.(1986).SongofHome:AlanBroadbentTrio.Auckland,NewZealand:

KiwiPacificRecords.

Broadbent,A.(1987).EverythingILove:AlanBroadbentTrio.LosAngeles,CA:

DiscoveryRecords.

Burrows,D.(1976).TheTasmanConnection.Sydney,Australia:CherryPieRecords.

Davis,M.(1959).KindofBlue.NewYork,NY:ColumbiaRecords.

_______.(1969).InaSilentWay.NewYork,NY:ColumbiaRecords.

_______.(1970).BitchesBrew.NewYork,NY:ColumbiaRecords.

_______.(1992).Doo-BopNewYork,NY:WarnerBrothers.

Donegan,L.(1978).Puttin‘ontheStyle.London,England:Chrysalis.

Ellis,D.(1967).ElectricBath.NewYork,NY:ColumbiaRecords.

_____.(2010).LiveInIndia.SleepyNightRecords.[OriginallyaJazzIndia

presentation,recordedatRangBhavan,Bombay,India1978.]

Evans,B.(1966).BillEvansTrioWithSymphonyOrchestra.LosAngeles,CA:Verve

Records.

Getz,S.(1962).BigBandBossa.LosAngeles,CA:VerveRecords.

Gibson,F.(1976).DoctorTree.Auckland,NewZealand:EMINZ.

_______.(1981).ExecutiveDecision:FrankGibson’sSpaceCase.Auckland,NewZealand:

OdeRecords.

______.(1981).Parallel37:FrankGibsonwithMiltJackson,JohnScofield,Bobby

Shew,SteveErquiagaandMikeNock.Auckland,NewZealand:OdeRecords.

______.(1983).SpaceCase11:FrankGibson’sSpaceCasefeaturingClaudioRoditiandRon

McClure.Auckland,NewZealand:OdeRecords.

________.(1985).SpaceCase111:FrankGibson’sSpaceCase.Auckland,New

Zealand:OdeRecords.

______.(1987).Jazzmobile.Auckland,NewZealand:KiwiPacificRecords.

Gibson,F.&M.Nock.(1987).OpenDoor.Auckland,NewZealand:OdeRecords.

79

Gillespie,D&Parker,C.(1952).BirdandDiz.LosAngeles,CA:VerveRecords.

Hiroshima.(1979). Hiroshima.NewYork,NY:AristaRecordsInc.

MahavishnuOrchestra.(1971).InnerMountingFlame.NewYork,NY:Columbia

Records.

Mayer,J.(1969).JohnMayer'sIndoJazzFusion– Etudes.London,England:

TransatlanticRecordsLtd.

McNabb,M.(2000).TheEndistheBeginning.Auckland,NewZealand:Saranbang

Records.

__________.(2009).AstralSurfers.Auckland,NewZealand:SDLMusicLtd.

__________.(2012-13).EveryDayisaBeautifulDay.Auckland,NewZealand:

SaranbangRecords.

MorriseyMullenBand.(1979).LoveDon’tLiveHereAnymore.AbbeyRoad,London,

England:EMI.

Oregon.(1976) .ElvinJonesandOregon:Together.SantaMonica,CA:

VanguardRecordingSociety.

Parker,C.(1947-52).CharlieParkerwithStrings–TheMasterTapes.LosAngeles,

CA:VerveRecords.

Paz.(1982).PazareBack.London,UK:SpotliteRecords.

Roach,M.(1985).MaxRoachDoubleQuartet:TheSwedenborgStringQuartet-Live

AtVielharmonieMunich.Tribiano,Italy:SoulNote.

___________(1986).BrightMoments.NewYork,NY:SoulNote.

Shakti.(1977).AHandfulofBeauty(withJohnMcLaughlin).NewYork,NY:Columbia

Records.

_____.(1999).RememberShakti.NewYork,NY:VerveRecords.

Sutton,T.(2003).JazzmeetsSymphony:AlanBroadbentTrio.Auckland,New

Zealand:BMWSeries.

TurtleIslandQuartet.(1990).Skylife.LosAngeles,CA:WindhamHill.

WalkerBrothers.(1978).NiteFlights.London,England:GTORecords.

Williams,T.(1969-70).OnceinaLifetime.NewYork,NY:VerveRecords.

SAMPLEDBYDJSTHEFOLLOWINGALBUMSANDCOMPILATIONS:

DJNumark.(2004).Jurassic5-HandsOn.NewYork,NY:SequenceRecords.

80

Fingathing.(2002).DrunkenMaster11.OnSuperheroMusic.Manchester,UK:Grand

CentralRecords.

DJVadim.(1999).HowtoExerciseTheTurntableRecordPlayer.OnU.S.S.R.Lifefrom

theOtherSide.London,England:NinjaTune.

EuginoD.(2000).OnRespectOverdue.Vol2.Sydney,Australia:CreativeVibes.

FILMSOUNDTRACK:

Hayward,R.(1972).ToLoveaMaori.Dunedin,NewZealand:RudallandRamai

HaywardFilmProductions.

81

APPENDIX1:MusicianBiographiesFourInOneMusicians’Biographies

PutterSmithisajazzbasslegendperformingwithmanyofthegreats,including

TheloniousMonkQuartet,ArtBlakeyandtheJazzMessengers,DukeEllington

Orchestra,BillyEckstine,AlanBroadbent,LeeKonitz,RayCharles,CarmenMcRae,

ArtFarmer,MarleneDietrich,BurtBacharach,ErrolGarner,GerryMulligan,Charlie

Haden,ArtPepper,ManhattanTransfer,ShellyManne,JoeLaBarbera,BillyMintz

Quartet,DexterGordon,BillyHiggins,DonCherry,CarlaBley,DianaKrall,Natalie

Coleandmanymore.

LarryKoonsehasreceivedmultipleGrammynominationsandhastouredwithMel

Torme,BobBrookmeyer,CleoLaine,JohnDankworth,BillyChilds,JohnPatitucci,

DavidFriesen,LucianaSouza,NatalieCole,BobMintzer,PeterErskine,andWarne

Marsh,andwasafeaturedperformerwiththePercyFaithOrchestra.Heiscurrently

amemberofBillyChild’slandmarkchambersextetandjazzvocalistTierneySutton’s

trio.AttheinvitationofNelsonMandelaandUNICEF,Larryperformedforthefirst

annualSAMIXfestivalwiththeSteveHoughtonquintet.Inhistravels,hehas

performedatCarnegieHall,theAcademyofMusic,DisneyHall,theSydneyOpera

House,andhasbeenafeaturedsoloistwiththeL.A.Philharmonic,thePhiladelphia

Orchestraandmanyotherorchestrasthroughouttheworld.Larryhasrecordedwith

CleoLaine,AlHirt,JimmyRowles,BobBrookmeyer,LucianaSouza,LeeKonitz,Larry

Goldings,MelTorme,AlanBroadbent,RayBrown,TootsThielemans,RodStewart,

LindaRonstadt,DavidFriesen,BobSheppard,WarneMarsh,CharlieHaden,Natalie

Coleandmanyotherjazzartists.

TheoSaunderswasbornandraisedontheislandofManhattanandwasfirst

intoxicatedbythesoundofjazzwhileattendingtheHighSchoolofPerformingArts.

Apianist,composerandarranger,hehaslivedinSouthernCaliforniasince1985,but

hiscareerhasremainedinternationalinitsscope.Saunders’musicalodysseyhas

takenhimtofourcontinentsandtwenty-fivecountries.Hehasperformedand

recordedwithdozensofjazzluminariesandworkedextensivelyinthebandsof

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FreddieHubbard,CarlaBley,SonnyFortune,BobBrookmeyer,andJohnKlemmer.A

highlightwashisparticipationinthehistoricalbum,LivingTimeonColumbia

Records,whichbroughttogetherthewritingofcomposerGeorgeRussellandthe

improvisationalgeniusofpianistBillEvanswiththeband,includingJoeHenderson,

TonyWilliams,RonCarter,SamRivers,JimmyGuiffre,SnookyYoungandHoward

Johnson.

ChuckManninghasmadedozensofappearancesandcollaborationswithmusicians,

suchastheLosAngelesQuartet,andhehashadalong-timecollaborationwith

SwissmultiinstrumentalistIslaEckinger.ChuckhasrecordedwithAlphonseMouzon

andisaregularmemberoftheBobbyBradfordMo’tet.

FreedomThroughDisciplineMusicians’Biographies

BasantMadhurisawidelyacknowledgedtablaplayerandamuch-respectedartiste

inthearenaofIndianClassicalMusic.Onaccountofhisversatilityandpleasing

disposition,heisaforemostcreativeartistintherealmofIndianclassicalmusicin

NewZealand,andAustralasiaasawhole.MadhurmovedtoNewZealandin2002

andestablishedtheSargamSchoolofIndianMusic.In2008,hereceivedtheAward

ofAppreciationforhiscontributiontothefieldofmusicbyGOPIO(Global

OrganizationofPeopleofIndianOriginNewZealand).Basanthashadthehonourof

accompanyingsomeofthestalwartsofIndianClassicalMusic,suchasGrammy

winnerPt.VishwaMohanBhatt,Pt.RonuMajumdar,Pt.RakeshChaurasia,Dr.Kadri

GopalnathandmridangamplayerPatriSatishKumar,tonameafew.Otherthan

beingaregularfeatureinmanymusicfestivalsinNewZealand,Basantisknownto

performinIndia,Australia,andUSAonotheroccasions.

LesterSilverhasneverlosthispassionforstudyingandlearningaboutthemusic

knownasRagaSangeet.Thesitar’sbeautifultoneandshimmeringnoteshave

enchantedlistenerseversinceRaviShankarbroughtitoutofIndiamorethanhalfa

centuryago.Sincebeingintroducedtothismusicoverthirtyyearsago,therehave

beenmanyteachersandinfluences,withmostofLester’sformaltrainingbeing

undertheguidanceofsitaristProf.PrasantaK.BhanjaofSantiniketan.Aftermuch

personalpracticeandeffort,LesterisnowconsideredtobeoneofNewZealand's

83

leadingexponents.Lesterisawell-respectedandacclaimedmusicianinthisfieldof

IndianartmusicandisaregularperformerinAuckland'sclassicalmusicconcerts,as

wellasregionalartsfestivalsaroundNewZealand.

ChinmayaDunsterwasborninKent,England.Afterattendingartcollege,Chinmaya

lefttheUK,andwithwatercoloursandSpanishguitarinhand,wentonthehippy

trailthatledthroughAfghanistantoIndia.Afterexploringandpaintinginthe

Himalayas,SriLanka,Thailand,andJapan,anall-nightconcertinNewDelhiin1979

provedtobeaturningpointinhislife.Thereheheardaperformancebytheworld-

famoussarodistAmjadAliKhanandinstantlyfellinlovewiththesarod.Threeyears

laterhebecameastudentofAmjadAliKhan’sleadingdisciple.Chinmayadedicated

thenextthirteenyearstothestudyofIndianclassicalmusiconthesarod,bothin

LondonandattheOshoCommuneinPune,India.In1990,withtwoothercommune

members,hefoundedtheeast-westfusionbandTerraIncognita,whichreleased

twoCDsonNewEarthRecords.Hisrelease,CelticRagas,ablendofIndianandCeltic

elements,appearedonNewEarthRecordsin1998.In2003ChinmayaandhisCeltic

RagasbandwereexclusivelyhonouredtoperformliveatPaulMcCartney’swedding

inIreland.In2004,PaulMcCartneychosethesong‘ChanceMeeting’from

Chinmaya’sCDCelticRagas,asthethirdtrackonhisfavouritesongscompilation,

GlastonburyGrooves(2004).

TheFiveElementsMusicians’Biographies

TanyaListartedlearningtheerhuattheageof10.Byage14,Tanyawasinvitedto

playsoloperformancesinvariousconcertsandsheperformedthroughoutthe

provincesandcitiesofChina.

WilliamYustartedtolearnyangqinatnineyearsofage.Hewonfirstplaceinthe

NationalMusicCompetitionofChinawhenhewas15.Williamwasadmittedtothe

LiaoNingProvinceSongandDancetroupeattheageof16.

TanyaandWilliamhaveover30yearsofmusicalexperienceinChineseOrchestras.

In2004theyimmigratedtoNewZealand.Subsequently,theyhaveperformedat

music,government,ministerial,Chineseassociationandeducationalfunctions,and

84

alsoperformingwiththeAucklandPhilharmoniaandattheInternationalJazz

FestivalinWellington.

Open-EndedMusicians’Biographies

BruceLynchisanelectricandacousticbassist,producerandarranger.Arrivingin

theUKinthemid-1970s,Lynchbecameasessionmusiciantouringandrecording

withCatStevens.HealsorecordedontwoalbumsforRichardThompsonandan

albumwithRickWakeman,aswellasplayingonKateBush'sdebutalbum.Whilein

theUK,hewasanearlymemberofBritishjazz/funkbandMorrissey-Mullen,

togetherwithfellowNewZealandsessionmusicianFrankGibson,Jr.ondrums.

ReturningtoNewZealandin1981,hestartedarrangingandorchestratingforNew

Zealandtelevisionandjazzensembles.Helaterbecamearecordproducer,

producing,amongstothers,KiriteKanawa'sMaorialbum,andreceivingtwoNew

ZealandMusicAwards.

TheBlackQuartetareasophisticated,versatilegroupofextremelytalented

musicians,offeringacontemporarytakeonthisclassicensemblestyle.Theyhave

collaboratedwithperformerssuchasKanyeWest,Six60andLadyhawke.Theyhave

alsocomposedadvertisingmusicforsomeoftheworld'sbiggestcommercial

brands.

MahuiaBridgman-CooperisanAucklandbasedcomposer,producerand

accomplishedviolinist.AfoundingmemberofTheBlackQuartet,hehasbeencalled

toplayandproduceforadiverserangeofartistsandensemblesincludingLaurence

Arabia,MaiseyRika,Ladyhawke,MoanaandTheTribe,TVNZ,TheNZSO,SJD,Kid

KenobiandHayleyWestenraamongothers.In2016hetookhometheAPRAbest

filmscoreawardforLeeTamahori’sMahana,whichaddstothepreviouslywon

APRAMaiohaawardandmultiplenominations,includingBestFilmScoreforFantail

in2013,andHouseboundin2014,amongstothers.

JosephHarropisalsoaprofessionalviolinistandviolist,educatorandmusic

academic.‘DrJoe’,ashisstudentscallhim,believesinthepowerofmusic-making

asaninstrumentofsocialchange,asacreativewaytoinvestinone’sselfandthe

85

community,andasatemplateforachievementandhigheraspirations.Joseph

studiedinAucklandandGermanybeforecompletinghisPhDattheRoyalAcademy

ofMusic,London.HeleftasuccessfulperformanceandlecturingcareerintheUKto

takeonthechallengeofimplementingthemusical-socialdevelopmentprogramme,

SistemaAotearoainOtara,SouthAuckland.JosephwasgivenaSirPeterBlake

LeadershipAwardin2013andwaselectedasanAssociateoftheRoyalAcademyof

Musicforsignificantcontributionstothemusicprofessionin2014.Hehas

presentedinternationallyonmusicperformancepracticeandsocialactionthrough

music.Thetechniquesofeffectivemusicensembleperformanceareaparticular

researchinterest.HisworkispublishedbyOxfordUniversityPress.

RachelWellsstudiedwithEuanMurdochandCoralBognuda,andgainedherATCL

withdistinctionunderJimTennant.SheplayswiththeBlackQuartet,andhas

freelancedandrecordedwithotherchambergroups,andahostofNZ'sfinest

contemporarybandsandartistsincludingBroods,LawrenceArabia,theBlackbird

EnsembleandHayleyWestenra.ShehasaBachelorofFineArtsfromElam,

AucklandUniversity.

JessHindingainedadegreeinPerformanceViolinatTheUniversityofAuckland

SchoolofMusic.Followingherstudies,shesuccessfullyauditionedforthe

internationallytouringworldmusicstageshowBarrage,basedinAlberta,Canada.

Afteralmostsixyearsofextensivetouring,encompassingfivecontinentsand

multipleinternationaltelevisionappearances,shereturnedhometocontinuea

careerasafreelancemusicianperforminginNewZealandandinternationallywith

differentshowsandbands.In2016JessicawasappointedMusicDirectorofSistema

Aotearoa,anorchestralmusical/socialinterventionprograminSouthAuckland

bringingfreemusicaleducationtoover400childrenweekly.Jessretainsanactive

professionalperformingcareer,andregularlyrecordsandperformsforartistsacross

variousmusicalgenres,andfortelevisionandmoviesoundtracks.Herwork

encompassesclassical,world,gypsy,jazz,country,andCelticmusic.

86

APPENDIX2:DiscographyofAlbums

ConsultedasBackgroundResearch

ArtEnsembleofChicago.(1967--68).ArtEnsemble.NewYork,NY:PrestigeRecords.

ArtEnsembleofChicago.(1984-90).TheThirdDecade.München,Germany:ECM.

ArtEnsembleofChicago.(1990).LiveattheEighthTokyoMusicJoy.Tokyo,Japan:

DIW.

Ayler,A.(1962).FirstRecordings.Volume2.Tokyo,Japan:DIW.

Bailey,D.(1986).Cyro.London,England:Incus.

Bailey,D.(1995)TheLastWave.Tokyo,Japan:DIW.

Bailey,D.(1998).MelancholyBabesPart2.London,England:Incus.

Bang,B.(1982).Bangception.JazzfestivalWillisau,Switzerland:Hatology.

Blakey,A.(1958).ANightinTunisia.NewYork,NY:RCA.

Bley,P.(1958).TheFabulousPaulBleyQuintet.NewYork,NY:InnerCityRecords.

Bley,P.(1994).RealityCheck.Copenhagen,Denmark:Steeplechase.

Brotzmann,P.(1994).NoiseofWings.Kunalv,Sweden:BohusSoundRecording.

Burrows,D.(1976).TasmanConnection.Thornleigh,Sydney:CherryPieRecords.

Christian,C.(1939-41).SoloFlight.NewYork,NY:TopazRecords.

Coleman,O.(1959).TheShapeofJazztoCome.NewYork,NY:AtlanticRecords.

Coleman,O.(1969).HappyHouse.OnBrokenShadows.ArroyoGrande,CA:Moon

Records.

Coleman,O.(1977).DancinginyourHead,Feat.TheMastermusiciansofJoujouka

Morocco.LosAngeles,CA:A&MRecords.

Coleman,O.(1995).ToneDialing.LosAngeles,CA:VerveRecords.

Coleman,S.(1991).PhaseSpace.Tokyo,Japan:DIW.

Coleman,S.(1996).TheSignandtheSeal.NewYork,NY:RCA.

Coltrane,J.(1959).GiantSteps.NewYork,NY:AtlanticRecords.

Coltrane,J.(1964).ALoveSupreme.LosAngeles,CA:Impulse.

Coltrane,J.(1967).InterstellarSpace.LosAngeles,CA:Impulse.

Coryell,L.(1972).Spaces.NewYork,NY:Vanguard.

Cyrille,A.(1990).Galaxies.VancouverJazzfestival,Canada:Music&Arts.

87

Davis,M.(1959).KindofBlue.NewYork,NY:ColumbiaRecords.

Davis,M.(1969).InaSilentWay.NewYork,NY:ColumbiaRecords.

Davis,M.(1970).LiveEvil.NewYork,NY:ColumbiaRecords.

Davis,M.(1970-74).GetUpWithIt.NewYork,NY:ColumbiaRecords.

Davis,M.(1985).Aura.NewYork,NY:ColumbiaRecords.

Dodds,B.(1946).TalkingandDrumSolos.UheardMusicSeries.

Dolphy,E.(1961).AtTheFiveSpotVolI.NewYork,NY:PrestigeRecords.

Donegan,L.(1978).Puttin‘ontheStyle.London,England:Chrysalis.

DrTree.(1975).DrTree.Auckland,NewZealand:EMI.

Ellington,D.(1940).INeverFeltThisWayBefore.Hamburg,Germany:International

MusicCo.

Ellington,D.(1944-48).Black,Brown&Beige.NewYork,NY:Bluebird.

Ellington,D.(1966).AConcertofSacredMusic.NewYork,NY:RCA.

Ellington,D.(1968).LatinAmericanSuite.NewYork,NY:PrestigeRecords.

Ellington,D.(1971).TheAfro-EurasianEclipse.NewYork,NY:PrestigeRecords.

Ellington,D.(1995).OnlyGodCanMakeaTree.NewYork,NY:MusicMasters.

FreeJazzQuartet(1989).Premonition.NewYork,NY:AtlanticRecords.

Frisell,B.(1998).Quartet.NewYork,NY:Electra.

Gayle,C.(1999).AncientofDays.NewYork,NY:KnittingFactory.

Getz,S.(1962).BigBandBossa.LosAngeles,CA:VerveRecords.

Getz,S.(1962).JazzSamba.LosAngeles,CA:VerveRecords.

Gibson,F.(1980-81).Parallel37.Auckland,NewZealand:OdeRecords.

Gillespie,D.(1947).TheCompleteRCAVictoryRecordingDiscOne.CubanaBe,

CubanaBop.NewYork,NY:RCA.

Gillespie,D&Parker,C.(1952).BirdandDiz.LosAngeles,CA:VerveRecords.

Gillespie,D.(1966).ANightinTunisia.NewYork,NY:VSP.

Granelli,J.(1998).CrowdTheory.Vancouver,Canada:Songlines.

Haden,C.(1969).LiberationMusicOrchestra.LosAngeles,CA:Impulse.

Haden,C.(1976).Closeness.LosAngeles,CA:VerveRecords.

Haden,C.(1982).TheBalladoftheFallen.München,Germany:ECM.

Haden,C.(1990).DreamKeeper.LosAngeles,CA:VerveRecords.

Haden,C.(1994).Stealaway:Spirituals,HymnsandFolksongs.LosAngeles,CA:

VerveRecords.

88

Haden,C.(1999).TheArtoftheSong.LosAngeles,CA:VerveRecords.

Hamilton,C.(1959).FeaturingEricDolphy.Barcelona,Spain:Freshsound.

Hamilton,C.(1989).Reunion.Tribiano,Italy:Soulnote

Harriot,J.(1960).Freeform.LosAngeles,CA:Redial.

Harriot,J.(1968).IndoJazzFusionsI&II.LosAngeles,CA:Redial.

Hemphill,J.(1980).FlatOutJumpsuite.Tribiano,Italy:Blacksaint.

Ibrahim,A.(1977).TheJourney.NewYork,NY:Downtown.

Ibrahim,A.(1997).AfricaSuite.NewYork,NY:Downtown.

Jackson,R.S.(1991).RedWarrior.NewYork,NY:Knitting

Factory

Jackson,R.S.(1992).RavenRoc.Tokyo,Japan:DIW.

Jackson,R.S.(1994).WhatSpiritSay.Tokyo,Japan:DIW.

JazzComposersOrchestra.(1968).Communications.LosAngeles,CA:JCOA.

JazzJamaica.(1993).Skaravan.London,England:HannibalRecords.

Jones,E.(1982).EarthJones.Tokyo,Japan:PaloAltoJazz.

Jones,J.(1973).TheDrums.Tokyo,Japan:Odyssey.

Jones,J.(1959).Showcase.NewYork,NY:RiversideRecords.

Kirk,R.(1964).ITalkwiththeSpirit.NewYork,NY:Limelight.

Laswell,B.(1982).CityofLight.Brussels,Belgium:SubRosa.

Laswell,B.(1984).Baselines.NewYork,NY:CelluloidRecords.

Laswell,B.(1990).LastExit.NewYork,NY:Subharmonic.

Laswell,B.(1993).Divination-Akasha.NewYork,NY:Subharmonic.

Laswell,B.(1993).MaterialLiveinJapan.Tokyo,Japan:Restless.

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93

APPENDIX3:AccompanyingMaterialtoChapter3SelectedstillsfromthevideoaccompanyingtheFourInOneRecording

Sessions

SelectedleadsheetsandnotesfromFourInOne

94

95

APPENDIX4:AccompanyingMaterialtoChapter4SelectedstillsfromthevideoaccompanyingtheFreedomThrough

Disciplinerecordingsessions

SelectednotesandsketchesmadeforFourPartSuite

96

97

98

APPENDIX5:AccompanyingMaterialtoChapter5SelectedphotographsfromTheFiveElementsrecordingsessions

99

SelectedsketchesfromTheFiveElementsrecordingsessions

100

101

102

103

104

105

106

107

APPENDIX6:AccompanyingMaterialtoChapter6SelectedphotosfromtheOpen-EndedConcertatMaramaHall

108

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RecordingsandPerformances

CD1:TheFrankGibsonQuartetPlaysMonk:FourinOne

1. CrissCross3.52

2. LightBlue4.25

3. Epistrophy3.54arr.PutterSmith

4. IMeanYou4.55

5. Monk’sMood5.40

6. InWalkedBud3.04

Orchestratedfordrumset(FrankGibson)

7. Eronel5.35

8. FourinOne6.10

9. UglyBeauty4.18

10. Monk’sDream7.03

11. Pannonica5.40

12. Evidence3.20arr.PutterSmith

AllCompositions:TheloniousSphereMonk

MUSICIANS

FrankGibson(Drumset)Alltracks

ChuckManning(TenorSaxophone)Alltracksexcept6

LarryKoonse(Guitar)Tracks1,4,7,8,11

TheoSaunders(Piano)Tracks2,3,5,9,10

PutterSmith(Bass)AllTracksexcept6

MusicalDirector:FrankGibson.AssociateDirector:PutterSmith

ProducedbyFrankGibson.AssociateDirector:PutterSmith

EngineeredbyNolanShaheed

RecordedatNolan’sStudio,Pasadena,CAon8and10March,2015

118

CD2:TheFrankGibsonIndianEnsemblePresents:Freedom

ThroughDiscipline1. FreedomThroughDiscipline13.06

MusicforSitar,Tabla,Sarod,DroneBox,SnareDrumandPercussion

Comp.Gibson,Silver,Dunster,MadhurandLynch

2. FirstMeeting,Firsttake7.08

MusicforSitarandDrumset

Comp.GibsonandSilver

3. FourPieceSuiteforTablaandDrumset

Part1and25.45

Part3and44.65

Comp.Gibson

4. ConversationswithChinmaya7.42

MusicforSarod,TablaandDrumset

Comp.Gibson,DunsterandLynch

MUSICIANS

FrankGibson(DrumsetandPercussion)

BasantMadhur(Tabla)

LesterSilver(Sitar)

ChinmayaDunster(Sarod)

RecordedattheBoatshedStudio,Bayswater,Auckland

FourPieceSuiteforTablaandSitarrecorded15.12.2014

FreedomThroughDiscipline,FirstMeetingFirstTakeandConversationswithChinmaya,

basictracksrecorded27.10.2015

Drumandpercussionoverdubs,editingandProTools.October2015

MixedandmasteredbyFrankGibsonandBruceLynch

CD3:FrankGibson’sChineseEnsemblePresents:TheFiveElements1. SpringtimeonTianMountain3.54TraditionalChineseFolkSong

2. ExitThrutheEntrance2.47

119

Comp.MurrayMcNabb

3. Intensity/Fire3.58

Comp.FrankGibson,WilliamYuandBruceLynch

4. MarcoPolo’sReturn13.10Comp.MurrayMcNabb

5. Empathy/Compassion5.28

Comp.FrankGibson,TanyaLiandBruceLynch

6. HappyHouse5.03

Comp.OrnetteColeman

MUSICIANS

FrankGibson(DrumsetandPercussion)

TanyaLi(Erhu)

WilliamYu(YangQin)

MusicalDirector:FrankGibson.AssociateDirector:BruceLynch

ProducedbyFrankGibson.AssociateProducer:BruceLynch

EngineeredbyBruceLynch

Recorded,mixed,masteredandedited2016and2017attheBoatshedStudio,Bayswater,

Auckland

LivePerformance:FrankGibsonandCollaboratingArtists,TheBlack

StringQuartetandBruceLynchPresent:Open-Ended

1. StolenMoments

Comp.OliverNelson,re-arrangedbyBruceLynch

2. SoWhat

Comp.MilesDavis,re-arrangedbyBruceLynch3.

InWalkedBud

Comp.TheloniousMonk,re-arrangedbyCarlDoy

4. Naima

Comp.JohnColtrane,re-arrangedbyBernieAllen

5. ANightinTunisia

Comp.JohnBirks'Dizzy'Gillespie,re-arrangedbyBruceLynch

120

6. Skylife

Comp.andarrangedbyDavidBalakrishan

7. ATributetoMaxRoach

MaramaHallImprovisationFrankGibson

8. StraightNoChaser

Comp.TheloniousMonk,re-arrangedbyBruceLynch

MUSICIANS

FrankGibson(Drumset)

MahuiaBridgman-Cooper(Violin)

JessicaHindin(Violin)

JosephHarrop(Viola)

RachelWells(Cello)

BruceLynch(ElectricBass)

PerformedandrecordedliveatMaramaHall,OtagoUniversityon28July2017.