punk jazz

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The first band to approach the genre were The Stooges, more specifically on three songs from their second album, Fun House: "1970", "Fun House", and "L.A. Blues". Those songs featured saxophone played by Steve Mackay, and were released in 1970, several years before the genre expanded.

Late 1970s New York no wave bands broke with blues rock-influenced punk in a style that instead combined elements such as free jazz noise, experimental drone rock, and other avant-garde influences.{{Cite web |last1=Masters |first1=Marc |title=NO!: The Origins of No Wave |work=Pitchfork |date=2008-01-15 |url=https://pitchfork.com/features/article/6764-no-the-origins-of-no-wave/ |language=en |access-date=2022-07-08 |df=mdy-all }} Examples of this style include Lydia Lunch's album Queen of Siam, the work of James Chance and the Contortions, who mixed funk with free jazz and punk rock. These bands, in turn, influenced the styles of the Pop Group and the Birthday Party.{{Cite book |last1=Sheppard |first1=David |title=On Some Faraway Beach: The Life and Times of Brian Eno |date=2009 |url=http://archive.org/details/onsomefarawaybea0000shep |language=en |isbn=978-1-55652-942-9 |publisher=Chicago Review Press |df=mdy-all |page=[https://archive.org/details/onsomefarawaybea0000shep/page/294/mode/1up 294] }} In London, the Pop Group began to mix free jazz, along with dub reggae, into their brand of punk rock.Dave Lang, Perfect Sound Forever, February 1999. [http://www.furious.com/Perfect/popgroup.html] {{Webarchive|url=https://web.archive.org/web/19990420123739/http://www.furious.com/perfect/popgroup.html |date=April 20, 1999 }} Access date: November 15, 2008. The Birthday Party's sound on Junkyard (1982) was described by one journalist as a mix of "no-wave guitar, free-jazz craziness, and punk-processed Captain Beefheart angularity".{{cite web|url=http://www.hbdirect.com/album_detail.php?pid=82954 |title=The Birthday Party: Junkyard [PA] [Remaster] - Buddha Records - COLB 74465996942 - 744659969423 |access-date=July 22, 2016 |url-status=dead |archive-url=https://web.archive.org/web/20160421021739/http://www.hbdirect.com/album_detail.php?pid=82954|archive-date=April 21, 2016}}

The Lounge LizardsBangs, Lester. "Free Jazz / Punk Rock". Musician Magazine, 1979. [http://www.notbored.org/bangs.html] Access date: July 20, 2008. was the first group to call themselves punk jazz. Bill Laswell and his band Material mixed funk, jazz, and punk while his band Massacre added improvisation to rock.{{Citation needed|date=May 2022}}

James Blood Ulmer applied Coleman's harmolodic style to guitar and sought out links to no wave. Bad Brains, widely acknowledged to have established the rudiments of the hardcore style, began by attempting jazz fusion.{{cite web|url=http://www.punknews.org/bands/badbrains |title=Bad Brains |publisher=Punknews.org |date=July 13, 2010 |access-date=August 15, 2012}} Guitarist Joe Baiza executed his blend of punk and free jazz with Saccharine Trust and in Universal Congress Of, a group influenced by the work of Albert Ayler. Henry Rollins has praised free jazz, releasing albums by Matthew Shipp on his record label{{cite web |author=LOkennedyWEBdesignDOTcom |url=http://www.matthewshipp.com/press/108-allaboutjazz-combo/108-allaboutjazz-combo.html |title=Matthew Shipp |publisher=Matthewshipp.com |access-date=August 15, 2012 |archive-url=https://web.archive.org/web/20160304124711/http://www.matthewshipp.com/press/108-allaboutjazz-combo/108-allaboutjazz-combo.html |archive-date=March 4, 2016 |url-status=dead }} and collaborating with Charles Gayle. The Minutemen were influenced by jazz, folk and funk. Mike Watt of the band has spoken about being inspired by listening to John Coltrane.{{Cite thesis |last=Sharp |first=Charles Michael |title=Improvisation, Identity and Tradition: Experimental Music Communities in Los Angeles |type=Ph.D. |url=https://books.google.com/books?id=wozYbXvkgqEC&q=minutemen+jazz&pg=PA217 |year=2008 |access-date=April 24, 2014 |url-status=dead |archive-url=https://web.archive.org/web/20140424235917/http://books.google.co.uk/books?id=wozYbXvkgqEC&pg=PA217&lpg=PA217&dq=minutemen+jazz&source=bl&ots=8OZPnnW0nj&sig=Gaf_z3Yf6YDo-D61c-GGxjxVVuA&hl=en&sa=X&ei=RltZU9mTJc2-PbChgegP&ved=0CDcQ6AEwAjgK#v=onepage&q=minutemen%20jazz&f=false |archive-date=April 24, 2014 }}

Dutch anarcho-punk group the Ex incorporated elements of free jazz and particularly European free improvisation, collaborating with Han Bennink and other members of the Instant Composers Pool.{{cite web |last1=Beissenhirtz |first1=Alexander J. |title=Misha Mengelberg and Han Bennink in Berlin |url=http://www.allaboutjazz.com/php/article.php?id=21548 |website=All About Jazz |access-date=August 17, 2018 |language=en |date=May 11, 2006}}

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Free jazz was an important influence in the American post-hardcore scene of the early 90s. Drive Like Jehu took Black Flag's atonal solos a step further with their dual guitar attack. The Nation of Ulysses had Ian Svenonious alternating between vocals and trumpet, and their complex song structures, odd time signatures, and frenetic live shows were as much hardcore punk as they were free jazz. They even did a brief cover of John Coltrane's A Love Supreme on their Plays Pretty for Baby album, though they titled it "The Sound of Jazz to Come" after Ornette Coleman's classic album The Shape of Jazz to Come. Chicago's Cap'n Jazz also borrowed free jazz's odd time signatures and guitar melodies, marrying them with hardcore screams and amateur tuba playing. The Swedish band Refused was influenced by this scene and recorded an album titled The Shape of Punk to Come, where they alternate between manic hardcore punk numbers and slower, jazzy songs.

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Yakuza from Chicago is comparable to Candiria, combining heavy metal with free jazz and psychedelia. Although Italian band Ephel Duath was credited with the inadvertent recreation of jazzcore on their albums The Painter's Palette (2003) and Pain Necessary to Know (2005), the band moved away from it to pursue a more esoteric form of progressive rock similar to the music of Frank Zappa. Midori made waves around Japan in the mid-2000s for their unrelenting and chaotic blend of hardcore punk and dissonant jazz before disbanding at the end of 2010.

Other punk jazz acts include Gutbucket,{{cite magazine|url=http://www.popmatters.com/post/144183-gutbucket-addresses-their-flock/ |title=Gutbucket Addresses Their Flock|magazine=Pop Matters|access-date=January 23, 2014}} Antikult

and King Krule.{{cite news |url=http://www.latimes.com/entertainment/music/posts/la-et-ms-review-king-krule-spooky-angry-musings-fonda-20131219,0,3310150.story#axzz2oL5a3xyQ |title=Review: King Krule's spooky, angry musings at the Fonda|newspaper=The Los Angeles Times| last=Brown |first=August|date=December 19, 2013|access-date=December 23, 2013|quote=Sometimes, his debts to jammy jazz-fusion went on a little long, and some concision in the writing and playing would have sharpened the emotional fangs that these songs have at their core. But who knew the time was so right for a disaffected jazz-punk balladeer in a baggy suit?}}

{{Infobox music genre

| name = Jazzcore

| stylistic_origins = {{hlist|Punk jazz|hardcore punk|heavy metal}}

| cultural_origins =

| subgenres =

| instruments =

| other_topics = {{hlist|Mathcore|jazz metal}}

}}

Jazzcore is a subgenre that incorporates elements of hardcore punk and heavy metal music alongside typical jazz instrumentation and improvisation.{{Cite book |last=Davis |first=John S. |url= |title=Historical Dictionary of Jazz |publisher=Rowman & Littlefield |year=2020 |isbn=978-1-5381-2815-2 |pages=217 |oclc=1283081873}}

• Berendt, Joachim E. (1992). The Jazz Book: From Ragtime to Fusion and Beyond. Revised by Günther Huesmann, translated by H. and B. Bredigkeit with Dan Morgenstern. Brooklyn: Lawrence Hill Books. "The Styles of Jazz: From the Eighties to the Nineties," pp. 57–59. {{ISBN|1-55652-098-0}}
• Byrne, David, et al. (2008). New York Noise: Art and Music from the New York Underground 1978–88. Soul Jazz Records. {{ISBN|0-9554817-0-8}}.
• Hegarty, Paul (2007). Noise/Music: A History. Continuum International. {{ISBN|0-8264-1727-2}}
• Heylin, Clinton (1993). From the Velvets to the Voidoids: The Birth of American Punk Rock. {{ISBN|1-55652-575-3}}
• McNeil, Legs and Gillian McCain (1997). Please Kill Me: The Uncensored Oral History of Punk. Grove Press. {{ISBN|0-8021-4264-8}}
• Masters, Marc (2008). No Wave. Black Dog Publishing. {{ISBN|1-906155-02-X}}
• Mudrian, Albert (2000). Choosing Death: The Improbable History of Death Metal and Grindcore. Feral House. {{ISBN|1-932595-04-X}}
• Reynolds, Simon (2006). Rip It Up and Start Again: Postpunk 1978–1984. Penguin. {{ISBN|0-14-303672-6}}
• Sharpe-Young, Garry (2005). New Wave of American Heavy Metal. Zonda Books. {{ISBN|0-9582684-0-1}}
• Zorn, John, ed. (2000). Arcana: Musicians on Music. Granary Books. {{ISBN|1-887123-27-X}}

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Category:Punk rock genres

Category:Jazz genres

Category:Fusion music genres