The term "free jazz"—coined in from an Ornette Coleman recording to describe the "new thing" developing in jazz at that time—is even today little understood by jazz musicians and the music community at large. This may be due in large part to the fact that jazz, in general, is very often slighted as lacking in intellectual depth and does not usually receive the same critical analysis granted to the more "serious" art forms. It may also be due to the fact, of course, that improvisation—one of the foundations of jazz—defies traditional analysis in that it is not written out and that not too many scholars are willing to make the extra effort to transcribe music where necessary and to tackle the difficulties inherent in analyzing music based solely on recordings. At the same time, jazz musicians and jazz critics themselves pay little attention to free jazz, as most do not approve of its untraditional techniques to this day and would rather have it not considered jazz at all; rather, they see it as the anti-jazz Jost
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Ekkehard Jost: Free Jazz
By Martin Schray Last week Ekkehard Jost, one of the most astute writers about free jazz, passed away. Jost was a musicologist and played the baritone saxophone. In his reputation spread outside Germany with Free Jazz - The Roots of Jazz , still one of the most significant works on the subject. Jost wrote insightfully, but was always readable, never descending into Academese.
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National Library of Australia. Search the catalogue for collection items held by the National Library of Australia. Read more Jost, Ekkehard.