Are there fundamental rules or guidelines to performing free jazz drumming?
The “role” of drumming, period, is maybe where we should begin. Is it a time keeping, supportive role? Is it an equal voice in a counterpoint texture? I think it’s all of the above. Some of my favorite drumming is by Barry Altchul on Braxton’s record, Five Pieces 1975. It’s everything: it’s soft, sensitive, sparse, coloristic like classical music and it’s ferocious, propulsive “jazz” drumming like Art Blakey or Roy Haynes. The term “free jazz,” or at least what it has become, bothers me a little. I guess it bothers me because it implies that there is no basis for the improvisations or that people are free NOT to listen to the other players. In a sense, the beginnings of what became termed as free jazz, was a return to collective improvisation, a concept that had been increasing dropped from post Louis Armstrong jazz. I think in collective improvisation your ears, your listening skills, should be on a higher level than in a soloist/rhythm section context. Really my point is that these d
