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The Jazz ImageSeeing Music through Herman Leonard's Photography$
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Heather K. Pinson

Print publication date: 2010

Print ISBN-13: 9781604734942

Published to University Press of Mississippi: March 2014

DOI: 10.14325/mississippi/9781604734942.001.0001

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A “Style Portrait” of the Avant-Garde

A “Style Portrait” of the Avant-Garde

Chapter:
(p.142) Chapter 4 A “Style Portrait” of the Avant-Garde
Source:
The Jazz Image
Author(s):

K. Heather Pinson

Publisher:
University Press of Mississippi
DOI:10.14325/mississippi/9781604734942.003.0005

This chapter presents other ideas, sounds, and identities of jazz that contrast to the neoclassical figure that remains ever-so-popular. It takes a look at the striking figures of the budding avant-garde movement in jazz. These figures represent an alternative image, a way for jazz musicians to revolutionize the art and the image of jazz. Jazz musicians that attempt to go against the canon, however, end up creating an image of opposition to the more standard and accepted one. The chapter asks the question of how one goes about creating, or attempting to create an image that differs from the mainstream. The chapter looks at two figures that have possibly put down the foundation for a new face of the jazz image: the free jazz of Ornette Coleman and the avant-garde music of Muhal Richard Abrams.

Keywords:   identities of jazz, neoclassical figure, avant-garde, alternative jazz image, alternative jazz, image of jazz, free jazz, Ornette Coleman, Muhal Richard Abrams

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