Historical Dictionary of Jazz. John S. Davis

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СКАЧАТЬ and, later, drummer Famodou Don Moye. Despite being at the forefront of free jazz and blending all sorts of influences from bop to rock to blues to traditional jazz and ethnic music, the ensemble always surrounded their playing with composition, along with an exploration of new sound structures and timbre combinations. With a firm but not necessarily explicitly detailed structure of composition, the ensemble explored new sounds and frequently improvised collectively, evolving their improvisations throughout the performance. Theatrical elements such as recitation of poetry and multimedia formats were aspects of the ensemble’s identity, but what is very noteworthy about the group was their refined ensemble playing in which each individual added a great deal to the group as a whole.

      In 1969, the ensemble moved to Paris and from there became one of the preeminent avant-garde ensembles, experiencing a considerable amount of success. During that time, they made such recordings as Reese and the Smooth Ones and People in Sorrow. In 1972, the ensemble moved back to Chicago and from there continued to grow. Despite the passing on of several musicians throughout the 1980s and 1990s, including Lester Bowie in 1999, the group remained together, adding trumpeter Corey Wilkes and bassist Jaribu Shahid to the ensemble in 2004. In 2019, the group released the album We Are on the Edge: A 50th Anniversary Celebration (Pi Recordings).

      ARTISTS HOUSE

      A record label founded in 1977 by John Snyder with the intention of delivering top-notch recordings and detailed liner notes. The record label was only in existence a short time (from 1977 to 1979) and put out about 10 albums, including James “Blood” Ulmer’s first album, Tales of Captain Black (1978). Other artists affiliated with the label included Ornette Coleman, Paul Desmond, Charlie Haden, and Thad Jones. After the record label dissolved in 1979, many of the sessions that had been recorded were rereleased in the 1980s under different labels.

      ASSOCIATION FOR THE ADVANCEMENT OF CREATIVE MUSICIANS INC. (AACM)ASSOCIATION FOR THE ADVANCEMENT OF CREATIVE MUSICIANS

      Regarded as one of the most successful musicians’ cooperatives, the Association for the Advancement of Creative Musicians was formed in 1965 by composer and multi-instrumentalist Muhal Richard Abrams and the musicians associated with him. The group was based on a commitment to support forward-thinking and innovative musicians and to provide performance and composition opportunities for the musician members. Featuring advocates for new music and talented musicians alike, including saxophonist Anthony Braxton, trumpet player Leo Smith, and violinist Leroy Jenkins, the organization emphasized the sharing of creative exploration and expression.

      The Art Ensemble of Chicago, a similar forward-thinking group of jazz musicians, was formed in 1968 by musicians who were associated with the AACM. Other organizations, including the cooperative Black Artists’ Group (BAG) based in St. Louis and formed in the 1970s, were inspired by the model created by the rather successful AACM. The group presented public concerts in churches, local taverns, art galleries, high schools, and colleges in both big band and small-group settings featuring original and creative music by its members. In 1969, an educational program was added to the AACM for inner-city youth, and today the organization still remains very dedicated to jazz education. Supported by grants from the MacArthur Foundation and the National Endowment for the Arts, a charter by the State of Illinois, and an association with Columbia College, the AACM continues to thrive today in its commitment to and celebration of creative and, coined by the organization itself, “great Black music.” In 2015, a 50-year retrospective exhibition of art, music, and group-related artifacts, titled Free at First, was held at the DuSable Museum of African American History. See also FAVORS, MALACHI (1927–2004); LEWIS, GEORGE (1952–); MITCHELL, ROSCOE (1940–); SMITH, WADADA LEO ( 1941–).

      ASSUNTO

      A family of Dixieland musicians made famous by the band they formed named the Dukes of Dixieland. Jacob “Papa Jac” Assunto (b. Lake Charles, Louisiana, 1 November 1905; d. New Orleans, 5 January 1985) was a Jennings, Louisiana–based trombonist and banjo player who relocated to New Orleans in the 1920s to pursue more performance opportunities and education. In 1929 he had his first son, Freddie Assunto (b. Jennings, Louisiana, 3 December 1929; d. Las Vegas, Nevada, 21 April 1966), who also took up trombone and received instruction from Papa Jac. Frank Assunto (b. New Orleans, Louisiana, 29 January 1932; d. New Orleans, 25 February 1974), Papa Jac’s second son, signaled a change in Papa Jac’s life as he decided to no longer pursue an active performance career. Frank decided to learn trumpet and at the age of 13 started a Dixieland band with Freddie. This band was officially named the Dukes of Dixieland in 1949, and the brothers toured with the band across the United States and Europe. In 1955 the group extended an invitation to their father to join, and after 22 years of inactivity, Papa Jac joined the band. After 11 years of touring, Freddie suffered from illness and succumbed to a heart attack in 1966. Almost 10 years later, Frank also died, and Papa Jac left the group to resume his teaching career that he had started almost 40 years prior.

      ASTORIA HOT EIGHT

      An early swing/Dixieland band founded by tenor saxophonist David Jones and cornetist Lee Collins in 1928. The band worked primarily at the Astoria Garden in New Orleans and had regular members Theodore Purnell, Joseph Robichaux, Emanuel Sayles, Al Morgan, and Joe Strode. The band also used the name Jones and Collins Astoria Hot Eight and recorded four sides: Astoria Strut and Duet Stomp (1929, Victor) and Damp Weather and Tip Easy Blues (1929, Bluebird).

      ATCO RECORDS

      Through the work of Herb Abramson, Atco was created as a subsidiary of Atlantic Records and was committed to popular music. Atlantic Records had primarily focused on rhythm and blues and jazz styles, and the smaller label was created out of a desire to sign more mainstream artists. The label was made famous through recordings and signings of several pop stars including King Curtis, Otis Redding, the Allman Brothers, and Bobby Darin. The label signed several jazz musicians during the 1960s. These included Herb Geller, Betty Carter, and Sir Roland Hanna. The label eventually folded into Atlantic until the 1990s, when it had a brief resurgence. The label name Atco was used for reissues by Warner Group music in 2006.

      ATLANTIC RECORDS

      Founded by Herb Abramson and Ahmet Ertegun in 1947 with the intention of recording and distributing African American–influenced music, the label became immensely popular in the 1950s and 1960s. The label was divided in 1955 with the creation of the Atco label, which featured primarily pop artists, leaving Atlantic to remain primarily focused on rhythm and blues music. Atlantic produced many popular jazz albums in the late 1950s. John Coltrane’s album Giant Steps (1959, Atlantic) and Ornette Coleman’s The Shape of Jazz to Come (1959, Atlantic) were two highly influential albums that were produced on the label. Jazz artists Lennie Tristano, Lee Konitz, Charles Mingus, Charles Lloyd, Gary Burton, Eddie Harris, and Keith Jarrett were also recorded during a 10-year period in which Atlantic emphasized recording jazz. Warner Bros. bought Atlantic in 1967, although Ahmet Ertegun retained control of the label. This purchase triggered events that led to fewer and fewer jazz recordings as the label pursued interests in recording soul music and artists like Aretha Franklin and Wilson Pickett. Atlantic eventually expanded to many other different forms of music and has a strong presence in the rock and country music recording industries in addition to R&B. In 2004, Atlantic and its sister label Elektra were merged into the Atlantic Records Group. See also СКАЧАТЬ