In the 1980s, Sonic Youth’s Thurston Moore asked his friend, the writer Byron Coley, to furnish him with a selection of jazz tapes to listen to on tour. Moore had experienced New York’s fabled avant-garde jazz loft scene first-hand in the late 1970s but “wasn’t so clued in”, he says. “Perhaps I was too young and too preoccupied by the flurry of activity in punk and no wave.” Now, he was keen to learn more.
The tapes, “of Coltrane, Mingus, Dolphy, Sun Ra, Monk et al”, led him by degrees to free jazz: the style of jazz unmoored from standard rhythms and phrasings, resulting in arguably the most challenging and far-out music one can listen to. “A music both liberated and yet wholly indebted to the learned techniques of its tradition” is how Moore enthusiastically describes it. “In some ways, it’s similar to noise and art rock, where the freedom to experiment with open form comes from a scholarship of the music’s historical lineage … truly a soul music, both political and spiritual.”
