M-Base
As M -Base Collective understood each other from 1984, some young, African-American, New York-based musician whose music is counted for Jazz ( Steve Coleman, Greg Osby, Cassandra Wilson, Robin Eubanks, Graham Haynes, James Weidman, etc.). They exchanged, played together and shared some basic ideas which they called concept as "M -Base".
After their music was more attention, attacked jazz critics the term " M- Base" on to name this music and stylistically classify, but this was contrary to the understanding of the musicians. Because they sought to no unified style, but found a match in the basic orientation, which left room for their own musical paths to the parties. A series of recordings from the period from 1985 to the mid-1990s, however, actually shows significant stylistic similarities, so that the designation "M -Base" - for lack of a more appropriate - for this kind of music remained in use despite the objection of the musicians.
The M-Base concept
The term " M-Base " comes from Steve Coleman and one hand is an acronym for "Macro Base" ( big, wide, strong base ) and contains the other hand, with the word " base " is an abbreviation for " Basic Array of Structured Extemporizations " ( basic arrangement structured improvisations ). The aim of this concept was a - very much understood - common musical language, with its own current experiences to be expressed in a creative way and in both improvisation and structure are essential.
Elements of this orientation are:
- Contemporary relevance
- Improvisation
- Structuring
- Revival of creativity
- Ongoing spiritual development as a prerequisite for musical development
- Not a "Western " civilization appropriate, originating mainly from African cultures view and mode of expression
- The influence of these " non-western " style on the musical accompaniment, especially with regard to the development of rhythm (see also polyrhythms ) and melody
- The connection of the outstanding achievements of jazz history through the ages by the importance of these elements.
The M-Base concept therefore has in a direction that makes you think about the creative energy in the creation of " Bebop " on the loose collective of musicians involved in it gewesenen and also the type of time -driven forms of musical expression. This approach therefore does not correspond: a solidified continuation of the bebop style, a structureless " free improvisation ", a music in which improvisation plays no role or only a minor role, or business for which the design aspects are important.
The as "M -Base" designated music direction
A significant part of the musicians involved in the M-Base Initiative took in 1991 as " M-Base Collective" CD "Anatomy of a Groove", which appeared on DIW Records. Most of them had previously participated in CDs of the old saxophonist Steve Coleman, whose creativity has played a central role in this circle of musicians. His - also alto saxophone playing - Greg Osby friend, whose playing style was similar to the Colemans together with Coleman, led the group " Strata Institute," published by the two CDs ( the second with Von Freeman as an additional director ). Under Osbys name appeared in 1987, a number of CDs with their own character, which helped shape the image of " M-Base " music. The tenor saxophonist and flutist Gary Thomas was not involved in the M -Base initiative, but his style of play had similarities with the Osbys and Colemans. He can be heard on recordings of Coleman and Osbys and his own CDs are also "style" counted for M -Base. All three saxophonists were involved in the CD "Jump World" singer Cassandra Wilson.
Greg Osby and saxophonist Courtney Pine called Gary Thomas as the most valued of them tenor saxophonists of the 1990s. From Osby pianist Andrew Hill said: "He has an incredible sense of rhythm and harmonic accuracy and selects the correct notes with a precision that is unusual for people with his technical ability. " Steve Coleman was the clarinetist and composer Don Byron even as "exceptional figure in American music history " means.
In addition to Coleman, Osby and Thomas added another musician with the importance and diversity of the M -Base scene that remained open in many directions.
Characteristics
According to the M-Base concept built Coleman, Osby and Thomas, among others, on the current, Afro- American groove music ( radio, etc.) - similar to Charlie Parker and John Coltrane, whose music in the blues and rhythm & blues of their time was founded. Similar to Parker and Coltrane, they increased the challenge for the improvisation, using their music with complex structures, particularly in rhythmic ways. Especially Steve Coleman created - by Ekkehard Jost - "circular and highly complex polymetric patterns, but certainly preserve the danceable character of popular funk rhythms despite their internal complexity and asymmetry ." In summary, Jost wrote about the music Colemans around 1990: " Overall, this is a very intelligent and thereby demonstratively black music; a music that is hip like a long time no more before and the manifold stylistic experiences processed without revealing their African American identity. " the outstanding musicians of the M -Base movement play " urban grooves " with a technical brilliance that in the jazz literature was described as " almost frightening ."
The further development
The objectives of the M -Base concept was limited compatible with the demands of the music market. For many of the original participants, the M-Base Initiative remained a springboard that gave them jobs in more conventional forms of the music industry. - Cassandra Wilson's blues and folk -related music was best suited to adapt to the tastes of a wider audience without significant loss of musical quality. She has since 1993 a contract with the relatively large CD company "Blue Note Records ". - Two CDs by Gary Thomas have even won awards from Downbeat magazine, but was the interest in his gloomy, often angry, least melancholy music to a small audience limited. In 1997 he became head of the jazz studies at the Peabody Institute in Baltimore, and since then he has released the CD. - Greg Osby is since 1990 in the contract with the "Blue Note " and found their own way for a balance between tradition an increased respect and the respect of his musical claim. - Steve Coleman has continued to develop his music in terms of the M -Base concept with no compromise in many ways. He published his CDs over the small French company "Label Bleu " after his contract to large company BMG was completed in the late 1990s. In relation to his reputation and influence in music circles, finds its music little public attention ( in France more, in German-speaking barely).
The influence of the musical concepts of the M -Base musicians circle - especially Steve Coleman - is in the music of Josh Roseman ( Treats for the Nightwalker 2003), Stefon Harris and Steve Williamson, partly in the Ravi Coltrane and the band Dapp Theory by Andy Milne as well as in parts of jazz rap and hip-hop sound.