Tim Berne, “Terre Haute,” Sanctified Dreams, 1988.
Nicole Mitchell, Tomeka Reid, & Mike Reed, “Composition 23b,” Artifacts, 2015.
Abdul Wadud, “Happiness,” By Myself: Solo Cello, 1977.
“I hear the ‘Cello’ as being percussive, chordal, linear, in a group improvisation context, and capable of many effects. In short I hear it as an ‘instrument,’ and not as the ‘accustomed sweet sounding instrument’ which tends to stifle a whole new world of music.”
The […] thing is that notion of creativity, not being afraid to explore your instrument, to allow the instrument to sound the way it will sound by itself no matter what you do to it. An instrument has a quality that, if you allow it to share it with you, to be a part of what you’re doing, it will give you a sound that no one else has. It will give you articulation and shapes or musical phrases and structures that no one has, and it will introduce this extra sonic aspect. It’s all inside the instrument, but most people fight hard to keep it from coming out.
47 years ago today, a group of musicians gathered in Chicago, IL to form an organization whose aim was to support music that fell outside the parameters of conventional practice, culture, and exhibition. The following week, the group came to be known by the name it has had since that day: the Association for the Advancement of Creative Musicians, or the AACM for short.