The magic word to describe this process could be “Equilibrium”.
Or maybe ambivalence, oscillation, ambiguity would be better,
instead of equilibrium. A music animated by a constant spirit
of research, that moves out of harmony and rules of metronomic
tempo, and at the same time deeply rooted to tonalities and
to Blues. A music declaring itself – and effectively
being – freely improvised and having its target in a
complete overturn of traditional jazz writing.
A music of this kind is not based on a static, consolidated
balance; it is slipping, fragile, uncertain, always elsewhere.
There’s nothing codified, predictable in it, and the
absence of codes or direction cannot be its flag. In free
moments, tradition elements are evocated – and where
past and tradition are all around, extraneous elements contradict
The contradictory character of musical material, its
placing besides codes and its not being able to exist without
them, its “guided transgression” character are
suggested as the only alternative to a “dogmatic”
conception of music, according to which it moves either within
or without a code. But a music imprisoned in a system or completely
free from any system does not exist, except in most unbending
conservatories and academies or, on the other side, in the
stuttering of incompetents. The history of music is the history
of rebellion to rules while respecting them, of their overturn
from the inside.