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Jazzinstitut Darmstadt
 Around the World
wirh
Music tiSA
'll /Tantovanl's loug-tirtte ( l4 ¡'ears t per-
lYl .rr.ioni.t, C"ha.lie Botterill, along
rvitl.r trumpeter Stan Nelt'some an<l bassist
Wally Ashs'orth, Mantovaui men for 12
years and 18 years respectively, acconl-
panied the rnaestro from London to New
York recently to receive an a*'ard for
selling scads of nrood music ot.r l,oncloIr
records. It s'as Botterill's l23rd trip.
Bob Gannon's Vibrations
. . . american jazz is dull
l-f-the 30-odd listerters. tlill crrltl ir,'rrr lhe
I pie.cing chill oi Ne*' York's February
stre€ts, were warming fast. In a rvoru,
Eighth Ave¡rue ballet studio, Ahmad
¡\Mul-Malik, eyes shut, sensitive fir.rgers
fmding chords, plucked quickly rvith a
mountain eagle feather Far East melodies
on an Egyptian ortd. To his left, Bilal
Ab<lurahrnan beat a contriputrtal rhythm on
a Syrian daral¡uþa. And the listeners. ears
slorvly grorvittg accustorne<1 to the alien
sounds, had stopped scluinting their eyes.
and instead, breathe<l slowly, quietly, con-
centrating.
.A.udience at llrc iruprumptu corìcert: ex-
ecutive niernheis of Jazz Unlimited, Inc..
Neu' York's massive jazz promotion so-
ciety.
Reason for the program: To start the
crgarrization thinking along jazz lines other
than 4/4 or 3/4 and the l3-tone \Vestern
scale. "American jazz, is dull," sai<l Ahmacl
Abdul-lvfalik. "To survive, iazz rnust keep
ahead of the public, ancl as of norv the
public has caught up. American jazz d,e-
velopment has ceased. lt's boiled <1os'n to
a single type, r,r'ith all musicians follos'ers
oÍ Dizzy or Parker. The rrltinrate goal
of American musicians is no longer the
commu¡rication of emotion, but techniques
to play fast. \\¡hy? Because Parker
-played fast.
"\\¡hen a musician plays, he should
paint a picture"; saicl tr{alik, "he should
portray s'ind, nlovement. \\'ar. the universe
and after he finishes, he shoultl be able
-
6 ÂAETRONOME
to repeat in u'ords tvhat he has just said
iIr rrrusic. Thc fuItut, I Loac-thin¡tç have all
been said before over and over again.
The reasor.r people- clon't come to coltcerts
is that they're used to the sounds."
To guard against this "stagnation," said
l{alik, jazz must branch out, experintent,
fight the inbreeding that is not' its rvont.
À{usicians must stop looking inrvard, and
insteacl, open their eyes to the irnagina-
tions of other cultures. Said he: "Musi-
cians of the Far and Middle East are lor
nrore advanced in imagination than U.S.
nrusicians. What the West plays in 4/4,
the East plays in 5/4 or 9/4 and thinks
nothing of it. I've been on the scene for
fifteen ¡,ears. and I fin<1 that Anlerican
nrusicians and music haven't changed
-
nruch at all." - not such a big junlp involi'ed. -A chant
l{alik is one of the ferv .q'ho doesn't
blarne the public. He feels that people will
accept anything to rvhich they are intel-
ligently exposed. As an example, he cited
the reaction of the J.U. listeners in the bal-
let studio. "When I first started playing,
I could feel the antagonism, the lack of
understanding. Then they started to soften,
the sounds seemed to them to become less
discordant, and they began to get the mes-
sage. Of course," he added, "J.U. members
n;ake an ideal group; they're intensely inter-
ested, really concentrate on,tvhat I'm. doing.
So they,accept fast. But this can be.clone.i
u'ith the general public too o\¡er a longer
period of time, of course." -
tr,Ialik doesn't blame the public, but, like
Inge, heaps gloomy u'rath on musicians.
He says that the American musician is still
living in tlie past that adnrired him, placecl
hint on a hero's pedestal. Nou', " . . peo-
p'le respect a porter more than tlrey do a
n.rusician."
A feu' years ago, according to \,Ialik, the
nl¡-rsician rvas quite a romantic figure; in
"the u'il<1 era." his flexible morals made
hirn most exciting. But norv society has
l;ecome niore serious, ancl it tr.on't put up
n'ith non-conformity.
"\{usic is a business a highly com-
petitive business and -the modern musi-
-
cian cannot be only an artist; he must be
a businessman as u'ell. He must think. He
nrust forget temperament.
"\\¡e nrusicians nlust builtl ourselves into
'high-class' types. Ancl wc nrust be au'are
not only of tl.re music s'orld, but of the
rest of society as u'ell. We should study
other cultures, other languages, other arts.
ìftrst American musiciatts <lou't even care
to study music. \\Iithout stu<ly of solrre art,
people don't progress. Ancl t,ithout pr,rg-
ress, there can be only recession."
He empl.rasizes that the public is ahva¡'s
looking for nelness, that it is tirecl of the
same ol<l 4/4, heavy beat nrusic u'e call
1azz. Says he: "It's los,brcxr'. It's dull.
And it's hackneyetl. No'rl' is the time to
transfuse nerv bloo<l foreign scales. for-
eign rnelodic lines, the- Oriental flalt,r.
"\\¡e should combine authentic foreign
tnusic u'ith our o\\:lr culture. There's reallv
from Lebano¡r or Egypt ir.rvolves essential-
ly the sarne emotions as America¡ blues.
Humans all have the sanre blood, tlre same
experiences, tlre same entotions. Only the
language is different.
"Actually, rve Westerners play too close
to our scale any\ray. If you plal' rvhat
you feel, it's impossible to play in tunc."
trfalik nos' has his o\\¡r1 group as-"emble<1,
a group oriented not only in Arnerican
jazz roots, but in Eastern culture as well.
At present, he is trying find a sponsor
- lrence the'corrcert; Í.or ,Jazz
-
Unlimited ex;
. ecutives.'' lle'$ànts' t'o start rvith airthentic
Eastern ntusic, and then gradual'ly merge it
ivith Arnerican jazz. He says that n'hen he
ñrst learned to play the violin, his first in-
strumeut, lre played traclitionall¡'. authen-
tically, just as the music t'as n'ritten. Then,
rvhen he developed, he learned to interpret.
He feels that this same prcrcedure should
be follou'ed itr respect to the intr,,ductiolt
of Oriental rnusic.
At first, the concerts rrorrld consist oi
authentic Eastern folk tunes. Then. as
these are establisherl. as the audiences gro\\'
accustomerl to the foreign voicings, scales
and rhythms, he rr'oul<l a<1<1 the Oriental
flavor to American jazz.
Ahmad Abdul-Ifalik, American bassist
u'ith intergalactic ideas, n,ill probably never
see his ideas fully accepted. But in an age
oí intrenched conservatism, of grass-roots
immovability, it is at least a start.
 DON SCHLITTÊN

yþ,, {"
:::s. :.f_
enos up 11de¡st3aing,
¡n sterilitv. But.rhe
easy patrerning_all of rhat
we,- as a- higher
$ecies, ,¡"rl.i
-þe able to see, hear, and ,nå..rrå'rj'ãiJ,;ñ;.,,

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l"d:iï i::ä::i,1'¿ äîìþ,î

erally determines ité essential worth.
ík;:;",äï''#å ,ï:
For composer Ahmed aU¿ul_liaff the content en_
compasses all the sciences, particularlysociotogicaì, thì
ethnic, and rheolosicat..Túe
"à.¡rri-ìüi"Ë
be that Abdut-Mati[ ¡. ¿tnì.enì]rãä to say woutd
and both his brief biography a"¿
Åär,"¡ä musicians,
-ãlvelopment
t¡e of
his thought immediatelf ,i.; tÀ; ;ïr;;;.,
the same time serving as primer while at
.a for youngsters who
mighr aspire to be whät Ábd;r:ü;ïk';;,ito:;,
plete musician. rhe com_
All his conscious development has come
convictions. ,,people think i am too from religious
he said. "But it is so necessary
¡";-"; win re[gion,,,
to know the Creator, to
know the rules of being_whát it
commandments, to know_you are
Ààu"._io know the
commanded to use your
intellect and will. . . . That,"ii;;;;äiäuan"e
subjecrs. How else can you tno, in all
utã,rt iirlî'ao¿ rnuri.
is life.
"You must do subsidiary study. All
own history, of course, music has its
it is.atso,imporrânt to'knor/
.and
you nÉ.¿-io tnî* tnut, Uut
people. Thar way you learn
,h.-;;;;;dl side of a
*or.;b;;;;iãii .rri".
studyjng a people's habits, you fi;elir#;usical ny
pressions. ex_ There are some things, however,
that help, he said,
"That you are commanded to do. tvtooSrn Jazz euartefs presenr;ii;;år'jì.
The whole health lf¡_
rnstance, has done much foi jaz" rnuri", to,
of^ the world is based on .orrtriUïi**'a unJ _*ì"iäns, he said,
"u"t, If musicians one an_
other: doctors, bakers, musicians. and this is good because_
¡u"r'n""or-io;;i" ;"..
co-operate, they must be masters want to should naturally look up to ,üii"i""r. respecr
of all ,"ui., which will -people
"That would lead to--the gou.."_*i
broadcast to the receiver of the
mind.,, the arrisrs," Abdul-Malik fi-uîg respect to
"Really, a musician ,f,ouf¿ U.'lriexcellent ir'To_op..ution
physically, mentallv. pro-fessionãIy, condition, with the Crearor. who has "o,irtnulãl'"riuui
giu." ,p..iäi;;ä" ro each.
Abd ul_-Marik conri;ued^. .r ä"ã"i.ì*rifically,,, Honorary degrees ,r,ourJ tå'giu";";ö;ö;
r,"u"- ìi" erements :
riíåi"ä'är who have done practical versions of in rhe arts
animals, inse*s, plants, space_rh;
new__jazz but nrost importåntly
;"i;;;;L"ld and ways should be worked. out-to allow;;;;,
aòademic work, or
th. C;;;;;;:' school. Srill, I believe th.at tlre ro go ro
.beauty can you pra¡1 geguty îirr,""ï'i""wing
-.T"yis, what it ,eoity,is? what
;;;;;r"i, ,iåi'in
ships ro a conse¡varory.bur il ;;;_;;"g'.ät. scholar_
ú"¿.rrir"ã¡rg'it. c."u,o, in some other countrrr, b.cuu.. urt¡ír-r¡"oJä to t.uu"l
leads,. to
understanding the creations, and travel
st¿nding of what yoi.pJay better under_
iro-"tnii.
study _outside of thei own country and thei¡ ownand
you undersrand fuilv wiìnout"n,',.r
rro* cun forms." art
kno;in;lhe
iiuir, ,r,"
tin.uation, and the enAingl
"on_ .Abdul-Malik said he believes ..a musician must teach
"So much of iazz has.iecome
surface music because it
others if he is to retain- whar h. k";;:'ili: is in addi_
hasn't searched for ulrimare t."it.^jãr"'ìî"'iur, tiol.to performing. And by ,...fri"Ë, i,. _ái.rt"in.
world today. The a¡rificiat livin!'oi-iäuyJ1¡" o, ,t.
a con_
,1ir¡r_ lilli-.with young p"opte. ¡rri¿ä,--n.'äåi. gooo uy
passing his knowledge or1."
14 o DOWN BEAT
 Understandably, he is concerned that the teaching
exist on the broadest possible level because "it is hard to
find musicians who have open minds, not only to hear
but to play. So many drummers and horn men are more
prejudiced and more in a rut than are bassists. But all
musicians have to learn that you can work with all
music."
He says he is amazed at how little he knows now that
he has learned how much Eastern musicians know of
conception, theory, and science. And he is concerned
with that very lack among iazzmen.
"Jazz," he said, "has contributed very little musically'
Individual expressions have been extensive and excep-
tional though. It's important to remember that from all
parts of the world each man is expressing himself. But
here so many cut themselves off from development by
sticking to only chords or simple scales."
I N ANy pRoLoNcED conversation with Abdul-Malik, one
I Uegins to understand that he is no mere theoretician.
He is the most practical of men. Realizing that the tem-
pered scale is the basis of Western music, he began an
èxtensive study of the mathematics on which it is based.
As he grew more fascinated with scäles, he became a
piano tuner in an attempt to familiarize himself with the
mechanics of piano scales. This and his studies have
made him somewhat unhappy about the piano's ¡elative
rigidity.
"There is," he said as an example, "a difference be-
tween a B flat and an A sharp-but not on a piano. The
piano limits you. There are no one-eighth or one-quarter
tones available. People like Monk should have them."
And this is nearly criminal in Abdul-Malik's estimation,
because part of his whole concept is to get between notes
and to concentrate more on scales than on chords. His
primary studies have been of music from India and the
Mediterranean countries and a general study of African
music.
"The music of Somaliland and Sudan," he explained,
"has JapaneseJike effects and something like the blues.
Arabian music-and that includes part of the Sudan-
is a music all by itself. It specializes in strings and voice.
They can hit one-quarter tones on the head.
"The Greeks measure tones in different ways, paying
no attention to standard piano tones. A lazz musician
can hear this if he wants to, but he can't play it because
of the nature of his instrument or his past training. The
Greek instruments can break in eighths from Western
notes. They change in midflight and get an infinite
amount of scales. They consider the greatest musician
to be the one who can go from one scale to another with-
out it being easily heard. You see, they have much more
freedom than the jazz musician has."
The other important element of his practicality is rep-
resented in a pragmatic curiosity, whether in study (he's
working now with a Japanese musician) or in travel. He's
been on two overseas tours during the last year, both
sponsored by the State Department.
He was largely disappointed by the one to Nigeria
because "it was too much a government social event.
The people who wanted to see us couldn't. Some of them
didnt even know we were there. And because of the
way it was run, very little real iazz was heard, and there
was very little mixing between us and them, un-
fortunately."
But he was pleased, he said, with what he did see and
hear.
"People from all over came and performed," he said.
"There were fantastic acrobats, and the music was
interesting. Much of it is what is called high-life. It is
very common to west Africa, and it has a real rela-
tionship to calypso, especially in the dance. There were
some musicians there from the eastern part of Nigeria,
and their music is quite different, more related to the
Arabian."
In South America, Abdul-Malik also found a lack of
government understanding of jazz' importance.
"The people," he said, "were so hungry for jazz. I
saw lines of people everywhere, all kinds of people, ask-
ing for records, asking for all sorts of groups, wondering
why the embassy promoted classical music and movie
stars. They [embassy personnell are completely out of
touch with the native people."
He was not out of touch, however. An inveterate
walker wherever he visits, he met dozens of musicians,
"This has always been me," he said, "since the first
time I knew myself. I always wander, talk to people, and
eat in the people's restaurants. You know, I always ask
for a kosher restaurant. If I can't find one, I usually eat
fish, either baked or broiled. It's the safest. And I don't
eat vegetables or fruit."
The tour stayed almost a week in Sao Paulo, Brazil,
and his knowledge of Arabic was useful when he found
a large Oriental section in that city. He played with
groups there and in other parts of the city, particularly
with "a modern samba group. They were amazed at my
feeling for their music, but I think most Latin music has
a strong calypso feeling. The people were very friendly,
and they gave me music, records, and instruments.
"In Argentina I had a similar experience. I went to
Lebanese and Syrian places, and I heard music you
would never hear in New York. In Argentina they play
tangos and boleros, as well as sambas, the way they
should be played. It was exciting to hear all this and to
hear so many good musicians. I want to return there and
to all parts of Africa to learn more and to record with
the musicians."
These wants hardly dent the scope of Abdul-Malik's
ambitions. He'd like to extend that African recording
trip through the Near East. Now studying Indian music,
he wants to devote a record to it. He plans on a sound
track for an African film. He wants to start his own
flexible group again. But he also wants to play with every
other kind of group.
"The widest experience," he said, "is most important,
especially playing music you don't want to play."
Then, sometime this fall, he said he plans on a con-
cert at the Brooklyn Museum in company with Japanese
musicians. Through it all, he said he intends to keep
on teaching-"it is as important as learning yourself.
One retains your memory, the other advances you."
All of that, much as it may be, is not a complete
portrait of the man but only an outline, hopefully to be
filled in when the scope of his learning and abilities reach
fruition in more acceptance. For now, even the outline
casts a huge shadow, in his playing-wherever or with
whomever-and in his teaching but most particularly
in his belief in total musicianship, in the dependence that
musicianship has on faith and diversified knowledge, and
the change that those things can bring about in life as
well as music. As he put it, "The tribes have always con-
tributed to each other for common expression and
growth."
Thus, exact and total expression is the goal of man-
kind and the duty of the artist. Abdul-Malik is reaching
for that goal. GÞ
July 4. 1963 . 15
cook-a summer-long array of artisans and
craftsmen, on a weekly or bi-weekly basis,
who do things for themselves and do them
well'
And there were plenty of people who make
rÍusic there, as one might expect from
¡lcCormick, who has had a hand in the ca-
reers of Lightning Hopkins and Mance Lip-
scomb. (He didn't "discover" anybody,
¡,tcCormick insists. The singers and musi-
cians have been of all kinds, and known and
unknown.
Bessie Jones and a group ofblack relþious
singers from the Georgia Sea Islands came up
during June. Johnny Hartford was there in
July, Roy Acuffin August.
And blues and traditional jazz were there
all summer. For the opening week in June,
pianist Jay McShann (in whose band Charlie
Parker first attracted attention) brought up a
group from Kansas City, and Jimmy Withers-
poon shouted his tantalizing, rubato blues.
Little Brother Montgomery brought his vocal
and keyboard blues.
During a "Cajun Music Week" in July,
Texas barrelhouse pianist Robert Shaw was
on hand. The following week, Danny Barker
filled the dome with the sounds of his New
Orleans Jazz Band, Ray Nance came in with
his quartet. Blues pianist-composer Roosevelt
"Honeydripper" Sykes was there (you'd
probably be surprised to know how many of
his early numbers have become pop and rock
hits tbr other people over the past 15 years).
And the Jo Jones-Ruby Braffquartet came in
from New York.
In late July, Honeydripper Sykes stayed on
and, for contrast, the impeccable Teddy Wil-
son arrived.
Then, in mid-August, bluesman Robert
Pete Williams was up, as was John "Knocky"
Parker, who collects and plays traditional jazz
piano as a hobby, and teaches English at the
University of South Florida.
McCormick may indeed have shown Cana-
dians that the U.S. is not all concrete factory
fronts, hamburger drive-ins, and dollar diplo-
macy. But perhaps the group that stood to
gain the greatest revelations from the "Festi-
val of American Folklife" were the American
visitorsthemselves. -MartinlVilliams
MILES, DUKE, FIDDTERS
SET FOR BERTIN BASH
The "Berliner Jazztage" -long established
a major festival-will take place this year
as
from Nov. 4 through Nov. 7.
As usual, most of the artists touring Europe
in George Wein's Newport package (see sep-
arate story) will participate: Duke Ellington,
Miles Davis, Ornette Coleman, The Soft Ma-
chine, and the Kid Thomas New Orleans
band. The latter willjoin forces with Ellington
tn a special expanded performance of his Nex,
Orleans Suite.
Other features will
include the Berlin
Dream Band directed by Gil Evans; a Violin
Summit with Jean-Luc Ponty, Sugar Cane
Harris, and several European fiddleis, among
them a newly discovered Gypsy artist, Nipso
Brantneri John McLaughrinl Jurie Driscoil;
C.hris l\4cGregor's Brotierhood of Breath; a
otg band made up of artists from Eastern Eu-
rope, including the U.S.S.R.; a "New Music
Night", and others not set at presstime.
Joachim E. Berendt is artistic director.
FINAL BAR
Pioneer ragtime pianist and composer Joe
Jordan, 89, died Sept. 13 in Tacoma, Wash.
Jordan was born Feb. I I, 1882 in Cincinnati,
Ohio. During his long and varied career, he
was musical director of the Chicago Theater
in the early I 900s, arranged and composed for
lhe Ziegfield Fol/ies (his Lot'ey Joe, in-
troduced by Fanny Brice in the l9l0 Follies,
was her first big hit), toured the U.S. and
Europe with his own band and as a single in
vaudeville, scored several musicals, including
Brown Buddies and Bandana Land, served
with the rank of captain in the U.S. Army,
was on the faculty of the Modern Institute of
Music in Tacoma, where he also conducted a
real estate business, and in his younger years,
was a famous gambler who made and lost
several fortunes.
Jordan best known compositions are Lovey
Joe, That Teasin' Rag, Take Your Time, and
Sweety Dear. He recorded two sides with his
Sharps and Flats in 1926 (Old Folks Shffie
and Moroccan Blues) and can be heard with
Eubie Blake and Charley Thompson on Re-
ùnion In Ragtime (Stereoddities), recorded in
t962.
Pianist Call Cobbs Jr,, 60, died Sept. 2l at
Jacobi Hospital in the Bronx, N.Y. of injuries
sustained in a hit-and-run accident.
Born in Springfield, Ohio, Cobbs best
known for his recorded work with
"¡/as
Albert
Ayler's groups in the I960s. In his youth, he
was a companion and guide for Art Tatum.
He also worked as accompanist for Billie
Holiday, replaced Hamp Hawes in Wardell
Gray's combo, and worked and recorded with
Johnny Hodges. With Ayler, Cobbs played
piano and harpsichord and also acted as cop-
yist and musical director. A well-schooled
musician who had studied the Schillinger Sys-
tem, Cobbs was at home in many jazz styles.
Samuel O'Donnel Dutrey, 62, clarinetist and
brother of the late trombonist Honore Dut-
rey, succumbed to a heart attack while play-
ing an early-morning engagement in New Or-
leans Aug. 28.
Dutrey was playing with william Houston
Jr.'s Band at the Rivergate for an Elks con-
vention when he suffered the fatal heart seiz-
ure at l:50 a.m.
A native of New Orleans, Dutrey played
with the bands of Joe Robichaux, Sidney Des-
vignes and Joan Lunceford and in later years
with the Freddie Kohlman All-Stars and the
Hep Cats of Opelousas. He toured Japan in
1969 \ryith Kid Sheik Colar's band.
Dick Gibson's annual Jazz Pr¡,,fy was held
this year in Colorado Springs, Sept. 4-6. The
stellar cast included trumpeters Sweets Edi-
son, Pee Wee Erwin, Joe Newman and Clark
Terry; trombonists Trummy Young, Urbie
Green, Carl Fontanâ and Kai Winding; saxo-
phonists Benny Carter, Al Cohn, James
Moody, Flip Phillips and Zoot Sims; clari-
netists Barney Bigard and Johnny Mince; the
guitar duo of George Barnes and Bucky Pizar-
relli; pianists Dick Hyman, Victor Feldman,
Willie The Lion Smith and Teddy Wilson; bas-
sists Milt Hinton and Larry Ridley, and drum-
mers Alan Dawson, Cliff Leeman, Mousey Al-
exander, Bobby Rosengarden and l8-year-old
Duffy Jackson, son of Chubby Jackson. Plus,
of course, The World's Greålest Jazz Band.
Details in next issue.
Bassist Ahmed Abdul-Malik is involved in
varied and extensive teaching activities, rang-
ing from a graduate seminar in American Mu-
sic at New York University through two
courses at Brooklyn College-East Meets
West, a comparative music course in the adult
education division, and lntroduction to Music
in the general studies program-to directing
an ensemble at a Brooklyn Jr. High School.
a
After a long stay abroad, tenor and soprano
saxophonist Lucky Thompson returned to the
U.S. in September. The length of his stay is
indefinite at present, but hopefully will be long
enough to allow Americans to hear his beau-
tiful playing once again. Another expatriate,
pianist Steve Kuhn, is also back for an in-
definite stay, and has recorded an album for
Buddah, on which he will also be heard as a
singer in his owncompositions, backed by
bassist Ron Carter, percussionists Billy Cob-
hgm and Airto Moreira, plus strings and ar-
ranged and conducted by Gary McFarland.
a
For years, friends of singer tæe Wiley have
tried to persuade her to come out of retire-
ment. The great stylist finally heèded their
call and recently recorded for Mon-
mouth-Evergreen backed by among others,
trumpeter Rusty Dedrick, reedman Johnny
Mince, and pianist Dick Hyman.
a
Pianist-composer Mary Lou Williams
recently conducted a four-day jazz workshop
for the 300 boys at Lincoln Hall, a residential
treatment center in Lincolndale, N.Y. Events
included seminars, a workshop for student
musicians, a concert in which Miss Williams
joined forces with students, and a Sunday
morning performance of her Mass for Pea<'e.
The workshop was held under the auspices of
the Creative Artists Public Service Program,
a new state-funded project. Miss Williams
was recently awarded a $4,000 musical com-
positional grant from the New York State
Council on the Arts.
a
A new group, Interchånge, made up of Ger-
man pianist Joachim Kuhn, U.S. bassist Peter
\ilarren, and Swiss drummer Pierre Favre, is
currently touring Europe and has an album in
the works.
a
Kenny Burrell, recently conducted a
five-day seminar at his friend and fellow gui-
tarist Bill Harris' guitar studios in Washing-
ton, D.C. Eighteen-year-old Orville Sanders
won first prize-a scholarship to the semi-
nar-and the event was so successful that a
repeat is planned for 1972. Burrell recently
received an award from the Philadelphia Jazz
At Home Club.
a
Lionel Hampton recently produced a TV
jazz spectacular in Toronto with guests includ-
ing Roy Eldridge, Cat Anderson, Zoot Sims,
Teddy Wilson, and Gene Krupa, the first in a
series planned by the vibisrbandleader.
November 11 f1 I
 64 Jozz in Block ond White
the originators of the music: "This is our contnbution
to the world,
though they want to ignore it and are always t yi"g
to connect it to some-
o'e else. It couldn't come from anyone but us. It couldn't
come from the
Africans."86
Although it is a littre uncrear in the context, Blakey is
probabry refer_
ring to whites when he refers to "they who would .utt..
gru" credit to Af_
ricans than to African-Americans." The irony is thãt
Americans who have been especiaily vocar in deålaring jazz
it i, Afü.un
andother at-
tributes of their culhrre as African idiomu.
Blakey's album, The African Beat, was a successfur
brend of jazz and
African music in which African elements dominated.
Brakey demon-
strated that he had internalized his knowledge of
African music and was
able to play in a manner that, while it meihed with
the context, stilr
sounded unmistakably like Art Blakey. In addition
to two American
dmmmers who had stLrdied Afro-cubãn and Nigerian
music as welr as
the Jamaican drummer n4ontego
Joe, who peiformed with olahrnji,
Blakey included thrge^AÍiican-percussion specialists:
solomon Irori,
James ola Folami, and chief Bey. Rounding ouf the ensemble were yusef
Lateef playing oboe, saxophoné, flute, cow-horn,
and nng". fiuno; Curtis
-F-dl:t
playing tympani (only on one track); and bassist"err-"a Abdur-
Malik. These musicians were among the most promrnent
in the jazz com-
munity with a background in Africãn music.
The African Beat demonstrated to jazzmusicians
the possibilities of in-
tegrating hand percussionists into the rhythm
section. sev"rJ d".ad",
after this record came out, the jazz community
has become aclustomed
to rhythm sections with severJ percussionists.
But at one time the multi_
p.ercussio' concept was problematic for drummers.
Adding extra percus-
sion meant th_at they had to pray less than they
wourd in a"standard jazz
setting' An additional problem is that most of
the drummers in multi_
drum.ensembles play traditionar ostinato figures
tn", i.riãg"tier into a
complete web. unless the jazz dmmmer bleñds
into thi, *"b", he or she is
like a hfth wheel.
more recent years, jazz drummers have been able
. ^ln to listen to new
African popular musical styles such as soukous
and the newest cuban
style, songo, for inspiration. In these styres, the
drumset is searrilessly in_
tegrated into a multi-drum ensemble.
Ahmed Abdul-tÅatìk (I 927- I 99J)
Jazz musicians have been drawn to the Middle East since
the 1940s.
Duke Ellington's carau.an and. Dizzy Gtnespie's
Night in Tunisia were
early reflections of this interest, arthough these piecei
do not reaìry have
Africon Music, Africon ldentitY 65

music. If one had to pick a key figure in

much to do with Middle Eastern
the musicians who
,fr" ntrio" of jazzwith Middle Eastern music among
t"u" *o.k"d in this area-Randy Weston, Yusef Lateef, and Ornette
õol"-* are just a few-it would probably be the Brooklyn-bornhebassist grew
Ahmed Abdul-Malik. Unlike mostiazz artists with
Ambic names,
,ro ir ur Arabic environment. Abdul-Malikwas of Sudanese
descent and
,åok" fuabic. He had a diverse career that today would be described as
,.irutti"rlt-,.¿. In addition to the bass, he played oud. Besides playing and
recording wiïh jazz musicians such as Thelonious Monk, Art Blakey,
Randy weston, and coleman Hawkins, he played in symphony
orches-
ffas and with the calypso singer Lord Macbeth. His early professional
ca-

reer included playing for Greek, Syrian, and Gypsy weddings'

TheMusic of AhmedAbdul-Malik,a 1961 recording, reveals the diver-
sity of his music. He derived his composition Hannibal's Carniuals from
ttr"" ,orrr."s: highlife, calypso, and the chord changes for the bridge of
Monk's composition, Well, You Needn't. La Ibhq, named for an Arabic
phrase meaning "don't cry," is n7/4 In addition to recording composi-
iions influenceã by music outside the jazztradition, Abdul-Malik and his
ensemble recorded Don't Blame Me, apop standard recorded many times
by jazzmusicians, but this time featurin g jazz cellßtcalo Scott. Based on
thii recording, it seems that at the core of Abdul-Malik's musical interests
was a fascinátion with exploring a variety of musical cultures-Middle
Eastern, jazz, Affican music, calypso, and so on.
RondyWeston (192e )
Randy weston has had a lifelong interest in African music. Marshall
Stearns and Asadata Dafora familiarized him with African music in the
early 1950s.87 He has traveled and performed in Africa many times. In
addition,he ran a nightclub inMorocco forseveral years. Westonbelieved
that in the traditional music of the African continent we can hear the
elements of all modern African and African-American musical idioms.

I've listened to African music and I've heard everything from

old-time blues to avant-garde. . . . I've heard singers who sang
things that were rþttrmically just like Charlie Parker playing
his horn. I've heard cats who sound like Coltrane. The music
of the tribes is just unbelievable.ss

He was convinced that there is a single factor permeating all African mu-
sic and its descendants but, apart from calling it "a beat," he could not ver-
balize it. But he was sure that "ttrere is a certain something which
 Ahmed Abdul-Molik: Yo onnos (Oh. peopte) (l 9S8)

Ahmed Abdul-Molik (geó, 1927 ols Tim Jonothon) wuchs in Brooklyn in

einer mulljelhnischen umgebung ouf, die ihn früh mit verschiedenen
Musikkulturen Nordofrikos und des Nohen ostens in KonIokT brochle,(óo)
Mitte der 50er Johre nohm er den orobischen Nomen Ahmed Abdul-
Molik on. Abdul-Moliks islomischer Glouben steht vermuiich im Hinter-
grund seiner offenheit gegenüber nicht-wes|ichen Musikkulturen, Abdul-
Molik spielte ols Jozzbossist u.o. in den Gruppen von Rcndy weston
(1954-57) und Thelonious Monk (19s7-s8). Zugleich erlernte er die Loute
'Ü0, dos repösentotive lnstrument der orobischen Musikkultur, und ver-
wendete dieses InstrumenT neben oder onstelle des Bosses ouf ver-
schiedenen Plottenoufnohmen,
Abdul-Moliks musikolisches lnteresse blieb ubrigens nicht ouf den orobi-
schen Roum beschrönkt, Anfong der óoer Johre unternohm er eine stote
Deportment-Tournee noch sudomeriko und reiste miI der Gruppe von
Rondy weston noch Nigeric, Noch seinem Nigeriooufenlholt mochle er
vom Highlife inspirierte Aufnohmen (ouf seiner Lp sounds of Africo 1962).
Eostern Moods (19ó3) dokumentiert mit dem SIück so-ro-go yo-hindi
Abdul-Mcliks vorsichtige Annöherung on indische Musik, bei der er
ebenfolls die orobische 'üd verwendet. lm lnterview mit Bill coss sprichT
er von einem für Herbst l9ó3 geplonten Konzert mil joponischen Musi-
kern. ln Anerkennung seiner Verbindung von Jozz und orientolischer Mu-
sik verlieh die omerikonische urheberrechtsgesellschofj BMl Abdul-Molik
1984 den Pioneer of Jozz Aword.

Der vollslöndige Titel von Ahmed Abdul-Moliks im oklober l95g in New

York oufgenommener Debut-Lp louÍe| Jozz sohoro - Ahmed Abdut-
Molik's Middle-Eostern Music with Johnny Griffin. Dos plottencover zeigt
eine Fotogrofie Abdul-Moliks, ouf der er eine 'üd in Hönden hölt. lm Hin-
Tergrund des Fotos isT ein Tenorsoxophon zu erkennen. Titelgebung und
coverfoTo enlsprechen der Progrommotik der Aufnohme: Es gehl um die
Verbindung von Musik ous dem 'Mifileren osien' mil Jozz, symbolisiert
durch dos Soxophon und den prominenten Bebop-soxophonislen
Johnny Griffin.
Griffin spielt bei drei der vier stücke Tenorsoxophonsoli, die dokumentie-
ren, ouf welche weise sich der soxophonist miT seinem personolstil in den
orientolisch geförbten Kontext einfugt, Neben Griffin sind on den Auf-
nohmen Musiker beteiligt, die verschiedene orobische lnsfrumente spie-
len: die Bechertrommel Dorobukko (Mike Homwoy), den schellenring
Duff (Bilol Abdurrohmon), die Kostenzllher eänun bzw, Konoon (Jock
Ghonoim), die Violine (Noim Korocond), die im 20. Johrhunderl in der
orobischen Musik die troditionellen Spießgeigen weitgehend erseÞt hot

lr ló
(vgt. Toumo 1983, S. l55f), und die'ÜO (Abdul-Molik). Dieses lnstrumento-
rium entspricht weitgehend dem Tokht-Ensemble, dem troditionellen
Ensemble der orobischen Kunstmusik, dem normolerweise zusölzlich die
Löngsflöte Näy ongehört (vgl. Toumo 1983, S. 171; Wright et ol, 1980. s.
524t. Al Horewood om Schlogzeug versuchl über weile Possogen, sich
mit zurückholTendem Spiel ouf den Tom-toms in den Kontexl der orobi-
schen Perkussionsinstrumente einzufugen. Nur on zwei Stellen spielt er in
der für den modernen Jozz typischen Schlogzeugidiomotik mit ternören,
"swingenden" Achtelfiguren ouf dem Becken und offbeot-Akzenten ouf
snore und Boss Drum, wobei dos Jozzfeeling durch wolking Boss-Linien
von Abdul-Molik om Kontroboss weiter unlerslutzf wird.
Die vier Stucke von Jozz Sohoro trogen orobische Titel mit in Klommern
ongefugten englischen Übersefzungen: Yo onnos (Oh, People), lsmo'o
(i{ten), El honis (Anxious) und Foroh 'oloíyno (Joy upon us). Sie werden
ouf dem Plotlencover ols Kompositionen und Arrongements von Abdul-
Molik ousgewiesen, lehnen sich jedoch vermutlich on Volksmusikmelo-
dien des orobischen Roums on. lm Covertext zu Abdul-Moliks zweiter LP-
Veröffentlichung Eosl Meels West findet sich der Hinweis, doss dos ver-
wendete Themenmoteriol ous den orobischen Musiklroditionen Nordofri-
kos, Ägyptens, Sudons, lroks, Syriens, Jordoniens und des Libonons
stommi(Anonym ì959). Der formole Aufbou der Stucke ist einheitlich.
Am Anfong stehl jeweils eine zumeist zweileilige orientolische Melodie,
die von v¡òl¡ne. Qãnun und 'Üd Über einem ostinotopottern von Doro-
bukko und Duff unisono bzw. im Oktovobslond vorgestelll wird. Es folgen
Soli der verschiedenen Melodieinstrumente, die von einfochen Ostinoto-
figuren der Melodie- und Perkussionsinstrumente begleitet werden und
zwischen denen wiederum die Melodie (bzw. ein Teil der Melodie) wie-
derholt wird, Am schluss erklingT noch einmol dos Melodiethemo. Von
der jozzÜblichen'sondwich'-Form Ohemo-lmprovisolion(en)-Themo) wird
durch die Wiederholung des Themos zwischen den einzelnen Soli obge-
wichen. Hinsichtlich des formolen Aufbous bildet dos Stück Yo onnos
eine Ausnohme. Griffin spielt hier zu Beginn eine kurze solistische Einlei-
lung, dos Stuck endet mit Abdul-Moliks Bosssolo.(6)
Die Themenmelodien der vier Stucke orienTieren sich on jeweils einer
einzigen Tonleiter, die zugleich den tonolen Ausgongspunkt fur die lm-
provì-sotionsteile dorsiellt: der phrygischen (lsmo'o und Foroh 'oloiyno)'
bolischen (Et hon6) bzw. einer orientolischen Skolo mil zwei übermößi-
gen sekundschritten (Yo onnos). Die den Melodien zugrunde liegenden
Stoten lossen sich mit orobischen Maqäm-Tonleitern bzw. mit Maqäm-
Gottungen (chorokterisiert durch dieselbe obsteigende lntervollfolge hin
zum Grundton der Skolo) noch der Klossifikotion der orobischen Musik-
theorie in Verbindung bringen: Phrygisch entspricht dem Maqäm Kurd,
öotisch dem Maqäm Nohowond (vgl. Toumo 1989, S. ól bzw. 59). Die

llTl
 skolo in Yo onnos verweisr ouf die Maqäm-Gottung Hlgã2, deren chorok-
teristikum die zum Grundton führende lntervollfolge klejne sekunde,
ubermößige Sekunde, kleine Sekunde ist;(6)die Skolo mit dem Grundron
C entsprichT dobei der Maqãm-Skolo Higäzkãr (vgl, Toumo 19g9, S. 59Ð
Bezeichnenderweise vermeiden die ouf Jozz soharo gespielTen skolen
dos lntervoll der sogenonnten mitileren Sekunde (entspricht drei Vier-
teltönen), dos in vielen onderen Maqãm-Gottungen der orobischen
Kunstmusik ouftoucht. Dies mog ein ZugesTöndnjs on die Kompotibilitöt
mil dem westlichen Tonsystem (sei es nun 'Temperiert' oder 'rein' ge-
stimmt) und domit on die splelmöglichkeifen des soxophonislen Griffin
bzw, on die Hörgewohnheifen der wesflichen Hörerschofl sein, Allerdings
intonieren Qänün und 'üd innerholb ihrer soli lntervolle, die vom wesfli-
chen Tonsystem obweichen.

Notenbeispiel 6: Ahmcd Abdul-Mahk Yø annas (Oh, people)

Saxophonintroduktion (Johnny Griffin) und Thema
o
Tenorsaxophon, rubato

o.

Thema, .J - 126

lr ra
o
ln seiner solistischen Einleitung stellt Griffin dos lonole Moteriol von Yo
onnes mit einzelnen geholTenen Skolentönen und zwei weiT ousholenden
Skolenlinien vor. Am Schluss dieser lntroduklion verziert er die Töne u.o.
durch ProllTriller. Dos Themo von Yo onnos steht wie die drei onderen
o¡o-Metrum. Die Perkussionsinstrumente
Stücke in einem regelmößigen
begleilen mit nur leichlen rhythmischen Uberlogerungen, Auffollend ist
eine Melodieführung, welche die regelmößige Periodisierung in symme-
trische 4-Toktgruppen tendenziell oufbrichl. So scheint der erste Teil
durch die Wiederholung des ersten Tokts in Tokt 4 eher in zwei unter-
schiedlich longe Einheiten von drei und fünf Tokten unlerteilt zu sein.
Ähnliche Asymmetrien, zumeist von der Dorobukko- und Duff-Begleilung
betont, finden sich ouch in den Themen der onderen StÜcke und verwei-
sen ouf ein komplexes rhylhmisches Denken in der orobischen Musik, dos
jedoch onsonslen in den vorliegenden SIÜcken zugunsten einer mög-
lichst einfochen Metrik ousgeblendef bleibt.
Auf die Themenmelodien folgen in ollen vier StÜcken zur Begleitung der
einzelnen lmprovisolionssoli rhythmisch und lonol einfoche Oslinotofigu-
ren, die von den Perkussionsinstrumenlen sowie 'Üd, Qänün und Violine
(insofern diese lnslrumente nicht selbst im Vordergrund stehen) gespielt
werden. Die Perkussionsstimme ist im folgenden Notenbeispiel nur in ih-
rem Grundrhythmus und ohne genoue Differenzierung der lnsfrumente,
Schlogtechniken bzw. Trommelklongforben notierl.

Notenbeispiel 7: Ahmed Abdul-Malik lazz Saharø

Ostinatofiguren der vier Stücke

1. Yø ønnøs (Oh People), ) - D6

(Darabukka/Duff)

2. Isma'a (Lísten\, ) - n6

-;-"---41

Ilel
 3. El harris (Anxious), ) - 120

4. Farah'alaiyna (Joy upon Us¡, J - tSO

ln der Vorksmusik und popurören unTerhorïungsmusik des orobischen

Roums sind sorche osrinoti und spierfiguren weiT verbreiïet.
Die ostinoto_
potterns der Merodieinstrumente steilén dobei
eine tonore Ausdeutung
des TrommerosÌinotos dor. rmprovisierte sori über diese
einfochen oslinoti
wie in Jozz sohoro, die sich vom merodischen Ausgongspunkt
der STücke
weilgehend rösen, sind oilerdings fur die crobische Voiksmusik,
in der sich
die improvisotorischen Eremente zumeist ouf eine Abwondrung von
Liedmelodien und Spierfiguren beschrönken, eher ungewöhnrich.
Die
ostinotofiguren in Jozz sohoro können ors Versuch gJwertei
werden,
einen möglichst einfochen und kroren rhyfhmisch-tonoÉn
Bezugsrohmen
jenseits des Jozzidioms (ternöre swing-phrosierung
und Funkfloîshormo_
nik) zu etoblieren, der zwor einen Bezug zur orobischen
Themenmerodie
hersiellt und die rmprovisotoren on áinen Grundrhythmus
Grundtonclitöi bindeÌ, ihnen ober onsonsten große Freiheiten
und eine
in der im_
provisoTorischen GesÌoltung ihrer Soli lösst,
Die Qãnün- und Violinspieler verzichten in ihren soli in yo
onnosouf An_
klönge on die Jozzidiomotik. Noim Korocond spielt ein ¡.eich
ornomenî¡er_
tes Geigensoro, dos sich zunöchst in ousgreifenden Bögen
uoeì oie ste-
reotype osllnoiorhythmik hinwegseTzt. Erst om Ende oeJsoros
koordiniert
er die Rhyihmik seines^spiers mit der Rhythmik der ostinotobegreitung.
Dogegen spielt Jock Ghonoim on der eânun vorwiegend rrrytrrmiscn
einfoche Achteilöufe. ebenfoils mii instrumententyprschén Verzi'erungen
(irillern, Tremoli usw.) rnteressonlerweise beginnl
er sein Soro in der öori-
schen Skolo, inÏoniert donn mehrmors eine mitflere sexie (zwischen
A
und As) und kommt erst om schruss seines soros zur RusgoÀgsst
oro des
Maqäm Higãzkär zurück.

Irzo
Es konn im Rohmen dieser Untersuchung weder um eine Anolyse noch
um eine öslhetische Beurteilung der lnstrumentolsoli und des lmproviso-
lionsstils der Musiker gehen, die der orobischen Musikkultur verpflichtet
sind. Vermutlich sind die Qãnún- und Violinensoli von Korocond und
Ghonoim vom STondpunkt der orobischen Musik ous belrochtet recht
"untypisch" - wos sowohl om ungewöhnlichen musikolischen Rohmen ols
ouch on dem Umsiond liegen könnte, doss die wohrscheinlich in den
USA oufgewochsenen Musiker keine umfossende musikolische Ausbil-
dung in orobischer Musik genossen hoben, Ähnliches ließe sich ouch von
der 'Üd-spielweise Abdul-Moliks sogen, der in seinen Loutensoli in Jozz
Sohoro ebenfolls ouf Anklönge ons Jozzidiom weitgehend verzichtet.
Wie reogiert nun ober der Jozzsoxophonist Griffin ouf den orienlolischen
Bezugsrohmen? Die ersten TokTe seines Soxophonsolos in Yo onnos ver-
onschoulichen die wichtigsten Merkmole seiner Übernohme orobischer
Elemente in einen vom Hordbop geprögÌen lmprovisotionssTil - siehe
Notenbeispiel B, S. 122. Gritfin verbindet seine jozztypische Tonbildung
und Phrosierung mit Zitoten der Maqäm-Skolo, vor ollem der chorokteristi-
schen Schlusswendung hin zum Grundton. So schließT er eine typische
Bebop-Phrose in Tokt 5, dìe die skolenfremden kleine Septime (B), und
die Flotted Fith (Ges, ols Wechselnote) enthöll, durch die Schlusswen-
dung F - E - Des - C ob. Auf die rhylhmische Verschiebung einer Drei-
longruppe (Flotted Filh, Quinte, Oktove: Ges/Fis - G - C) in den Tokten
ló - l8 folgt ebenfolls jeweils diese Schlusswendung, die donn in Tokt l9
mehrmols wiederholt wird. Drei ondere Linien beschließt Griffin mit der
gesomten obsteigenden Mäqãm-Skolo (I. 9, 23, 26).é') Diesen Skolen-
zitoten gegenüber stehen Phrosen mit rhyThmischen Verschiebungen (1.
ì2 bis ì9), in denen jeweils die Flotted Fith on exponierter Stelle erklingl,
und Possogen mit betont jozlypischer Tonbildung: Bends, houplsöchlich zu
den Blue NoTes (zum E in T. 3, zum Ges in T. l3 sowie der longe Bend vom
F zum Ges in I. 25126), sowie Tonhöhenvoriotion durch Folse Fingering (l-,
21122, im Notenbeispiel symbolisiert durch ein " " uber der Note).
o

Zwor lösst sich Griffin in seinem Solo ouf dos ungewohnte Tonmoteriol ein.
Er verzichtel dobeijedoch nichl ouf seine jozztypischen Ausdrucksmitfel.
Die stereotype Ostinolobegleitung lösst Griffin diese Freiheilen, gibt ihm
ober umgekehrt koum rhythmische oder tonole Anregungen. Dies ön-
dert sich schlogortig in jenen beiden Possogen von Jozz Sohoro (in den
Slücken Yo onnos und F/ horris), in denen die OstinoTo-Schicht der orobi-
schen lnstrumente von einer zweiten Schichf miT der typischen Jozz-
Begleitung durch Abdul-Molik ftVolking Boss-Linie) und Horewood (Jozz-
schlogzeug) überlogert wird. Unterstulzi vom vertrouten Spiel der Jozz-
Rhythmusgruppe legt Griffin hier richtig los und versÖumt es nichT. in olter
Bebop-Monier ein Zitot des Bebop-Klossikers soll Peonuts einzuflechten.

1211
 Notenbeispiel 8: Ahmed Abdul-Maltk Ya annas (Oh people)
Saxophonsolo von Johnny Griffin (Anfang)

)- nr'
r3'l
--)

f-3-l
_1.Þ-

f-31
J-

t-3-_l

t-31 f- 3.l t-31

6--_-]r- Þ 6
T-s -_-l 3-l 3-l

r; 6
l-6----l
3 I

ltzz
An Ahmed Abdul-Moliks Yo onnos lossen sich einige Möglichkeiten und
Probleme der Verbindung von Jozz und orobischer Musik, jo osiolischer
Musik uberhoupt oblesen:
Eine Verbindung der verschiedenortìgen Klongsphören und lnstrumento-
rien isl prinzipiell moglich, Schwierigkeiten treTen houptsöchlich bei der
Kombinolion des vergleichsweise weichen Klongs osiolischer Hondtrom-
meln (im vorliegenden Foll der Dorobukko) und dem horten sound des
mit Slocken gespielten schlogzeugsels ouf. Ein einfuhlsomer Schlog-
zeuger, der wie Al Horewood sein spiel Über weile strecken ouf lmpulse
derÍom-toms reduziert, konn sich jedoch sehr wohl on die Klongsphöre
der Hondtrommeln onPossen.
Die KombinoTion orienlolischer Melodien und Skolen mit lnslrumentolsoli
von Jozzmusikern, die ouf dieses tonole Moteriol Bezug nehmen, ist un-
problemofisch, Jedoch hölt ein rigider rhyThmischer Bezugsrohmen wie in
Yo onnos wenig lnleroktionsmöglichkeiÌen zwischen lmprovisotionsso-
listen und begleitenden Musikern bereit. Do jedoch diese direklen Anre-
gungen im Jozz essentiell fur die solistische EntfolTung der lmprovisotoren
s¡nOlso ouch fur Johnny Griffin), wirkt der neue rhyThmisch-tonole Osti-
notorohmen eher einschrönkend. Die Fusionsmöglichkeiien von Hordbop
Jozz und orientolischer Muslk gelongen hier on eine Grenze: Wird on der
fur den modernen Joz typischen Rhythmik, d.h. einer vorherrschend
ternören AchTelphrosierung der Solisten, lernören Beckenfiguren und
Akzenten in der Schlogzeugbegleitung, Offbeots und einer Wolking Boss-
Begleitung des Bosses, festgehollen, so werden die fremden lnstrumente,
Skolen und Themenmelodien schnell zu oddiliven Exotismen' Wird jedoch
ouf diese rhythmischen Eigenheifen verzichlet, so stehen die Musiker vor
der Aufgobe, einen neuen rhythmischen Bezugsrohmen zu entwickeln,
der dem solislen onregende lnTeroktionsmóglichkeilen mit seinen Be-
gleitmusikern offen lössI.
ouf die SIucke von Abdul-Moliks zweiter Ploitenoufnohme Eosf
Ein Blick
Meets wesi (1959) zeigl, doss dos dorgesTellte Fusionskonzepl von Abdul-
Molik bereils in Jozz Sohoro on seine idiomotisch bedingten Grenzen
gesloßen isT. Die ochl Stucke von Eosl Meets Wesî, die on verschiedenen
Aufnohmetogen mit unterschiedlicher Beselzung oufgenommen wur-
den, sind heterogener ols diejenigen von Jozz Sohoro. Neben einem
reinen Hordbop-sIuck (seorchin) und einem schlogzeugsolo mit Perkus-
sionsbegleitung (E/ Ghodo) stehen Stúcke, die den Violinisten Noim Ko-
rocond und den Qãnúnspieler Ahmet Yetmon - Rooh (The soul), Moho-
woro (The Fugue) - sowie den orobischen Gesong des sÖngers Jokoro-
won Nosseur - Tokseem (so/o) - in den vordergrund stellen. Dobei enl-
fernen sich die Aufnohmen von der jozztypischen 'Sondwich'-Form und
vezichten ouf Themenexposilion und -reprise.

123 |
 Die drei verbleibenden Stücke - E-loil (The Night), Lo lkby (Don't Cry) und
lsmo'o (trsfen) -stellen öhnlich wie in den Aufnohmen von Jozz Sohoro
den orobisch geprögten Soli von 'Üd, Qänün und Violine Jozzimprovisc-
Iionen gegenüber, die von Johnny Griffin, Benny Golson (lenorsoxo-
phon) und Lee Morgon (Irompete) gespielT werden. Die Stucke stehen in
den Skolen G- bzw. C-Aolisch und G-Phrygisch. Dle lmprovisolionsposso-
gen werden durch einfoche zweiioktige Ostinotofiguren der orcbischen
lnstrumenle begleilet, Gegenüber Jozz Sahoro follen zwei Verönderun-
gen ouf : Einerseiïs wird ouf eine rondoortige Wiederoufnohme der jewei-
ligen Themen zwischen den Soli verzichtet. Andererseils werden bei zwei
der drei Sïucke die Soli von Morgon, Griffin und Golson von Wolking Boss
und Jozzschlogzeug und nicht, wie die Soli von 'Üd, Qänun und Violine
von den Ostinotofiguren begleitet, Auf diese Weise bleiben trotz einiger
orientolischer Wendungen im Spiel der BlÖser (Übermößige Sekunden,
Eigenheiten der Phrosierung) ihre Soli sehr stork jozzbezogen. lnsgesomt
trögt dos Album Eosf Meets Wesl weil eher den Chorokter einer bezie-
hungslosen Gegenüberstellung von Jozz und orobischer Volksmusik ols
eines Verbindungsversuchs, wie er in Jazz Sohoro ongedeutel worden ist.

Zur Rezeption osymmetrischer Metren im Jozz

o/n-
Jozz wurde longe fost ousschließlich im (bzw, '/.-)Tokt gespielt, Diese
Beschrönkung ouf "gerode" Toktorten löste sich in den 50er Johren durch
die Einfuhrung des'/,-Tokts von Hcrdbop-Musikern wie Sonny Rollins oder
Kenny Dorhom (ols bop wotZ oder jozz woltz) ollmöhlich ouf,tuu' Rondy
Weston, der in den óOer Johren hÖufig SIÜcke im '/o-Tokt spielte und
komponierte, verweist ouf die ofrikonischen EinflÜsse, die ihn zu seinen
jozz wollz ongeregt hoben (vgl, Donce l9ó5)

Obwohl sich ouch in ofrikonischer Musik rhyihmische Zirkel miI ungero-

den Zöhlzeitsummen finden, kom der Ansloss zur Vetwendung von Ser-,
7er- oder 9er-lr4etren im Jczz seit den spöten 50er Johren ous osiotischen
Musiktroditonen, besonders ous der Turkei und lndien. Ungerode Metren
sind ober ouch in der Volksmusik der Bolkonlönder, die Ionge unter lÜrki-
schem Einfluss gestonden hoben, verbreitet. Europöische Komponisten
wie Bélo Bortók oder Dorius Milhoud erhielten ìn der erslen Johrhun-
derthölfte ous der Volksmusik des Bolkons Anregungen fÜr eine meTrische
Erweiterung ouch der obendlöndischen Kompositionsmusik, - Allerdings
verwenden die osiolischen Volks- und Kunstmusiktroditionen ebenfolls viele
regelmößige, gerodzohlig unlerteilte RhyIhmen, ln der orobischen Kunst-
musik (noch dem System des orobischen Musiktheoretikers SofI ol-DTn) isl
der gerodzohlige Thoqil Romol (2+2+2+2+2+2 und verschiedene Vori-
onten) dos bei weitem gebröuchlichste Metrum (vgl. Wright et ol. 1900,

lva