Restructuralism

Restructuralism refers to the breaking of convention to create new forms. In the context of jazz, this might involve the use of organizing principles other than the head-solos-head form, Western harmonies, and swing rhythms common to other styles of jazz. The specific structures used instead of the conventional ones are often unique to each artist. A number of important restructuralists and their approaches are outlined in this section.

A Jazz Improvisation Almanac
Unit: Jazz Styles
Chapter: Modern Jazz

Characterization of Restructuralism
Anthony Braxton
Cecil Taylor
The Association for the Advancement of Creative Musicians
Non-Idiomatic Improvisation
Conduction
Musicians

This is a preview of the educational program A Jazz Improvisation Almanac which is under development for the Outside Shore Music Online School. Feel free to browse this preview and learn what you can from it. For a more completed product, though, check out the original freely browsable jazz textbook, A Jazz Improvisation Primer.

Characterization of Restructuralism

The term "restructuralism" was popularized by Anthony Braxton, and it refers to the act of breaking conventions to create something new. In a way, the development of any new style is a restructuralist act - Louis Armstrong, Duke Ellington, and Charlie Parker can all be seen as restructuralists in this sense. This is, in fact, the way Braxton originally used the term. However, largely through the efforts of the aforemention musicians, jazz has now developed certain well understood conventions that are common across styles - the idea of soloing over accopmaniment provided by a rhythm section, the head-solos-head form, the use of Western harmonies, the notion of swing, and so forth. I use the term "restructuralism" to describe music that breaks these conventions and proposes alternatives in their place. Freebop, expressionism, and impressionism fit this description to some degree, but they still retain many of the familiar reference points of jazz and do not normally involve specific new structures. Restructuralism, as I am using the term, implies music that either abandons more of the traditional elements or that introduces significant new organizing principles.

Lester Bowie (Copyright © 1998 Lester Levy)

Because restructuralism is defined mostly in terms of what it is not, there tends to be a lot of variety within this category, and nothing that can really be held up as a representative example of the style. There are a few common themes, however. A restructuralist performance often involves unconventional ensembles, including combos with no rhythm section, and the use of various unusual ethnic and electronic instruments. There is a tendency for players to play a variety of different instruments. A restructuralist composition often involves unconventional notations that are unique to each composer, and its performance may involve extra-musical elements such as dance or theater. In short, a love of experimentation is a hallmark of this style.

There are a number of musicians who are considered especially innovative and influential in this field and therefore worthy of special mention.

Anthony Braxton

Foremost among restructuralist musicians is saxophonist Anthony Braxton. He is a multi-instrumentalist in the highest degree, regularly using six or more members of the saxophone family as well as a variety of clarinets and flutes. At his most traditional, his music may be based on freebop conventions, such as a unison theme played with a steady pulse, but this is only one of the devices he uses. He often dispenses with a rhythm section and defines his own structures to organize improvisation and accompaniment. His structures usually rely heavily on shape notations and other invented elements. The accompaniment to a solo is rarely based on a chord progression or a steady tempo, but may instead use a framework Braxton calls a pulse track. This is a series of graphic instructions that specify certain aspects of the accompaniment for each instrument, often on a beat-by-beat basis, but which leave other aspects of the accompaniment up to the musicians. His music typically pays considerable attention to variation in dynamics and textures. He does not limit these textures to ones that are immediately recognizable as jazz; many owe as much to 20th century classical music. Here is an example of a performance by Braxton:

Cecil Taylor

Another important restructuralist is pianist Cecil Taylor. While his early recordings were essentially freebop in style, he eventually developed a more personal system that involves the development of small motives he calls unit structures as opposed to a theme with associated chord changes. His compositions are rarely notated as extensively as Braxton's are, and they allow for considerable freedom in performance. The results are characteristically very dense, as he is a virtuoso pianist of the highest degree. When performing in a group setting, the effect can be almost overwhelming. The sound is often expressionistic, but since his structures are so specific and yet unconventional, his music is best described in this section. Here is an example:

The Association for the Advancement of Creative Musicians

An important force in modern jazz since the 1960's has been a group of individuals known as the Association for the Advancement of Creative Musicians (AACM). This organization was founded by pianist Muhal Richard Abrams and is based in Chicago. The AACM is not itself a performing unit, but a school of sorts and community of like-minded musicians who espouse the motto "Great Black Music, Ancient To The Future". As their motto implies, the AACM is interested in creating music that honors the tradition of jazz and other musical forms with roots in Africa, but the do so by drawing from these styles as well as various restructuralist techniques to create new forms. The individual musicians within the association are free to interpret this goal however they see fit. The AACM has spawned many regular performing groups. The most well-known and important of these is the Art Ensemble of Chicago, which includes trumpet player Lester Bowie and saxophonist Roscoe Mitchell. Here is an example of their music:

Non-Idiomatic Improvisation

A trend in Europe over the last few decades has been toward an improvised music that makes almost no direct concessions to established jazz styles but rather draws on all forms of music - or none at all, depending on your point of view. British guitarist Derek Bailey emphasizes the latter view when he refers to his music as non-idiomatic improvisation. At its most extreme, this form of music makes little or no use of even the most basic elements of music such as melody or rhythm, instead being focused sound for its own sake. Here is an example of this European improvised music, featuring pianist Alexander von Schlippenbach and saxophonist Evan Parker:

Conduction

One especially interesting restructuralist device that is used by a number of musicians is called conduction. This is a form of composition in which improvisation is conducted by the leader of the group performing the piece. The composition specifies some of the elements to be played, but the leader fills in many details by using a series of hand gestures or other signals to convey his intentions to the other members of the group. The concept is similar to impressionism in that the goal is to create textures rather than virtuoso solos, but the improvisation is under control of the conductor, which allows the performance to take on an organization that would be difficult to achieve in pure impressionism. Butch Morris is the leading figure in this field. Here is an example of one of his performances: