In a great passage, Barre describes the true litmus test of experiencing Free Music:
The sound of Free Music can be initially alienating for many people, as the constituents of ‘proper’ musical sounds, as perhaps anticipated, are largely missing. Melodic refrains and anchors are not present, the music sounds chaotic and unanchored; there is no recognisable rhythmic foundation (at least initially) to focus on or to help one ‘get one’s bearings’. Sounds are at times harsh and discordant; the piece has no perceivable ‘direction’ or recognisable reference points; the musicians do not seem to be playing together, even to the point of their contributions actually seeming to clash; where and what is the end-point of this music? “A racket,” as my wife emphatically states with unchanging regularity. (p52)
The real meat of the book comes in the chapters when Barre digs into the history and influence of the Spontaneous Music Ensemble and the AMM, positioning them as the archetype of free music. Both groups were seminal in the creation of the British approach to free music and help define the careers of their respective rotating membership. The history of these free-thinking musicians and a scrappy DIY mindset is inseparable, as venues and engagements for Free Music concerts were limited, and the most secure work was found working outside of Britain. It was the creation and curation of the Little Theater Club by John Stevens, a take over in the evenings of a small theater in London, which served as an incubator for his ideas and the musicians surrounding the Spontaneous Music Ensemble and to some degree the AMM, as well as the brief but important gathering place the Old Place, that gave Free Music a base. From this, important ventures like Incus Records were spawned - the record label started by Derek Bailey, Evan Parker and Tony Oxley that gave us
Topography of the Lungs, Iskra 1903 and Derek Bailey’s first solo guitar recordings.
A theme that is deeply woven is the importance of cultural and political conditions on the music - the post-World War II era gave folks like Stevens and Watts an opportunity and unorthodox training by being a part of the Royal Air Force band. Their time serving led them to make connections with musicians in Germany which proved to be influential and fruitful. Then, back in Britain, opposition to a stifling culture and expectations, led to this quiet oppositional music.
Throughout the chapters, Barre's research and personal communications with the founding fathers, like Evans, Guy, Watts, and Lytton, yield fresh insights and reflections that help deepen the appreciation of the contributions and sacrifices made in that heady era that led to the creation of a rich trove of music and influences that are still relevant today. Barre introduces the second and third ‘waves’ of Free Music musicians as well, presenting them as a direct heirs and contemporaries (many of the original musicians are still active, of course), these include second wavers: Lol Coxhill, Steve Beresford, David Toop and third wavers: Fred Frith, and John Butcher, John Rutherford, Mark Wastell, Phil Durrant, Radu Malfatti, Rhodri Davis, Shabak Hutchings and Dominic Lash.
My own knowledge of the SME and AMM was spotty, as my introduction to British jazz was through a high school fascination with Syd Barrett that eventually led me to the rock influenced Soft Machine, then to Nucleus, and eventually to John Surman and The Trio. These players all form an ancillary part of Barre's history, and certainly provide a gap in the literature for another enthusiast of the music. In fact, Barre's book could almost serve as a follow-up and update on musician and author Ian Carr's 1973 book
Music Outside, which was a survey of the then very current avant-garde music scene in England.
Beyond Jazz, Plink, Plonk & Scratch, the Golden Age of Free Music in London 1966–1972 is a great primer and for those already well aware of the history, offers wonderful insights and anecdotes fresh from Barre’s painstaking research and personal communications. It’s available pretty readily in book and Kindle format.