While free jazz had been taking shape before this record came out, this is certainly the album that defined the genre. Altoist Coleman features in the 'left' quartet (the one playing into the left stereo channel) and another line-up handles the 'right'. From there on, it is a single extended collective improvisation that is surprisingly coherent.
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Mingus, Mingus, Mingus, Mingus Charles Mingus 1963 [Impulse!]
Perhaps the last truly great Mingus album, here he freely reinvents some of his best known compositions from the past. The record also served as a prelude to Mingus' legendary 1964 tour of Europe, with pianist Jaki Byard and Eric Dolphy featuring on some of the album's finer moments. A highly inventive record despite all the repeats.
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Destination Out! Jackie McLean 1963 [Blue Note]
A standout amongst McLean's consistently good records for Blue Note, this record finds him again teamed with trombonist Grachan Moncur III and vibes-man Bobby Hutcherson. A notable addition, drummer Roy Haynes lends his considerable talents to the mix - which is an adventurous freeform blend of blues, groove and hard bop.
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Out to Lunch! Eric Dolphy 1964 [Blue Note]
Stylistically angular and dissonant, Lunch has an underlying tonal quality that at times approaches conventionality. Trumpeter Freddie Hubbard occasionally strays into bop territory - all while maintaining Dolphy's overall artistic direction. But it is Bobby Hutcherson's vibraphone that gives the album much of its free-form distinctiveness.
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Spiritual Unity Albert Ayler Trio 1964 [ESP/Get Back]
This free jazz classic has Ayler's tenor transcending earthly constraints in search of the otherworld. Bassist Gary Peacock is no less inventive and drummer Sunny Murray uses his cymbals symbolically. With this record earlier free jazz that tended to maintain some sense of harmony was starting to give way to truly free avant-garde forms.
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Point of Departure Andrew Hill 1964 [Blue Note]
Free jazz luminaries Kenny Dorham and Eric Dolphy have no trouble keeping up with the complicated time-signature changes and angular movements of Hill's compositions. Hard bopper Joe Henderson, on the other hand, sounds like someone trying to fit some knockout tenor sax into just the right place when he really isn't any place at all.
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Fire Music Archie Shepp 1965 [Impulse!]
Outspoken tenor Shepp lets his feelings be known, paying homage to black American civil rights activist Malcolm X along the way. The CD release includes a live version of 'Hambone' which stands up well to the original. The treatment of 'The Girl From Ipanema' is outlandish, even in a free jazz context. Exhilarating stuff, but not for the timid.
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Dialogue Bobby Hutcherson 1965 [Blue Note]
Hutcherson virtually defined the vibraphone's place in post-bop jazz on this underrated record. Pianist Andrew Hill and trumpeter Freddie Hubbard bring some avant-garde sensibilities to the show, but there is still a genuine sense of true ensemble harmony that is easy on the ear. A real group effort that is wearing its age remarkably well.
