Unveiling the Nuances of Ambient Jazz
Is it accurate to deem In A Silent Way by Miles Davis as the first representation of what is now termed as ambient jazz? This art form has a unique signature quality: it’s an electro-acoustic jam, capable of setting and maintaining an ambiance without making substantial rhythmic or harmonic transitions. It also doubles as an inviting background sound, while still standing up to thoughtful, conscious listening whenever preferred. One may also propose the works of Don Cherry in collaboration with Collin Walcott and Nana Vasconcelos in the trio group Codona, as an inception of this genre. Their contributions to the ECM label fashioned pristine auditory settings using several non-western instruments.
In the same vein, Paul Horn’s trailblazing solo flute performance in 1976, Inside The Great Pyramid, hailed him as an influential personality in the embryonic New Age era. With time, a fresh cluster of artists has surfaced under the ambient jazz moniker. Their approach also leans heavily towards the New Age mood, interlacing a soft autosuggestion of synthesizers with contemplative landscapes while preserving elements of adjacent jazz-like freeforms. The most recent live performance showcases these concepts outside the constrained walls of a studio and into an outdoor venue where pure musicianship takes precedence.
The recording, conducted within the scenery of LA’s Coldwater Canyon Park, situated on the site of the longstanding conservation group, TreePeople, involves a group of seven LA-based collaborator musicians. To a large extent, their produced sound perpetuates the ambiance of serenity inspired by jazz which one can picture fueling a sophisticated yoga retreat. Elementally assorted, they incorporate shakers, gongs, chimes, cymbals, and airy flutes, subtly reverberating hand drums, and sinuous twin sax melodies chasing themselves.
They also employ ethereal tuned percussion and floating electronic tones to complete the spectrum. However, the spotlight during this session is pretty much overtaken by the multidimensional Saul Williams – a poet, writer, actor, filmmaker, and rapper. He sets the context with an opening chant of ‘Land back’ repeated thrice, each time in a slow yet firm manner. This very act induces a solemn, ritualistic atmosphere while simultaneously defining an anti-colonial motif.
Post establishing this context, he dips his brush into the somber hues of 21st-century malevolence and begins to create an ominous canvas. A surprising pivot then merges colonial monstrosities, stretching from Gaza to the United States, placing before the audience the unimaginable and heartrending reality of genocide. Further, a succinct discourse by Williams on how the Dutch East India Trade Company deceived the Lenape tribe leading to the loss of Manhattan Island followed.
Moreover, drawing attention to the creation of a barrier on the current Wall Street site to keep them out, he presents a glimpse of resistance and an instance of resolute ethicism. These are deeply moving narratives, delivered with acute emphasis and urgency. Williams’ final words to the audience after the concluding performance resound with optimism.
‘I see no reason really for us to… wallow in any sort of fear in terms of what lies ahead. I think we have to actually bask in community…we have to make a change … Prepare yourself for the transformative work and the transformative healing that this nation needs.’ This closing remark by Williams reverberates with a command of anticipation and inspiration.
His call to action not just echoes within the confines of America, but also finds resonance with global audiences. Williams compels us to collectively prepare for reconciliation and transformative endeavors that our nations need the most. His words, originating in hope, pragmatism, and motivation, are precisely the kind of dialogue we need to engage in at present.
Boiled down, the ambient jazz genre does not merely exist to serve as an auditory backdrop or facilitate a calming ambiance. It carries momentum, message, and significant insights into societal narratives and collective histories. The unique amalgamation of soothing and contemplative soundscapes with layered, thoughtful commentary creates an experience that is both intriguing and enlightening.
Furthermore, this contemporary interpretation of ambient jazz does not compromise the authentic elements of jazz and its improvisational spirit. Instead, the genre expands its horizon by integrating the nuances of the New Age aura. It presents an exciting blend of tradition and modernity, establishing ambient jazz as a potent conduit for creative expression and thought-provoking commentary.
Indeed, the debate whether In A Silent Way or works by the trio Codona marked the initiation of ambient jazz will continue. However, the genre’s evolution answers the call of our times for a mindful encounter with music, encouraging closer listening and thoughtful reflection. It embeds a unique blend of melodic subtlety and profound narratives, carving out its distinct niche within jazz and the broader musical landscape.
Be it Saul Williams’s vibrant performance or the humming backdrop supplied by the ensemble, each element played its part in creating a transformative auditory experience during the live recording at LA’s Coldwater Canyon Park. This session undoubtedly conveys that ambient jazz is more than a monotonous serenade. It’s an immersive sonic journey that resonates with the listener beyond the immediate surroundings, placing them in the heart of thought-provoking narratives.
In sum, ambient jazz, as highlighted by the recent Coldwater Canyon Park session, is not merely soothing, meditative music. Instead, it amplifies the notion of art being a reflection of society, capturing the struggles and aspirations in a soothing and intriguing soundscape. Ultimately, the genre challenges the conventional norms of music, offering a transformative auditory experience that resonates with the current societal narratives. Right now, this is the kind of music the world needs to engage with.