Despite the favorable environment for jazz in France, African-American musicians’ turn toward using intellectual and formal techniques of European art music during the 1970s met with a cool reception in the French jazz press. Lehman suggests that a genuine fascination with this new music was tempered by received notions about race and musical idiom, which viewed through-notated forms and intellectualism as uniquely French or European.
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1970s, AACM, Advancement of Creative Musicians, African-Americans, Afro-logic, Anthony Braxton, contemporary music, France, French, George Lewis, jazz criticism, jazz journalism, left-wing, racism, right-wing