Become a member and get exclusive access to articles, live sessions and more!
Start Your Free Trial

New York Art Quartet: 35th Reunion

Reunions are usually nostalgic occasions, filled with glowing, if not distorted reminiscences about the good old days. The New York Art Quartet’s 35th Reunion is a different affair altogether. From the opening salvo fired by percussionist Milford Graves, trombonist Roswell Rudd, tenor saxophonist John Tchicai, the group’s second bass player, Reggie Workman, and the NYAQ’s adjunct member, poet and JazzTimes contributor Amiri Baraka, it is obvious that this is a long-deferred gestalt, not a bull session of backpatting and tall tales. This album of prodding, exultant music and provocative verse reconfirms the New York Art Quartet’s unique standing among the progenitors of the ’60s revolution in jazz.

Now, as then, the NYAQ has a unique cultural lens that filters free jazz’s twin beams of energy and structure: in the ’60s, it foreshadowed the Art Ensemble of Chicago and others, and now it provides historical grounding for ensembles like Other Dimensions in Music. Each of the three remaining original members had specific insights into pan-African music from the outset of their collaboration. While Graves’ cutting-edge use of African and Caribbean drum music was articulated at the time, Tchicai’s affinity for African music was not given its due, nor was Rudd’s unique absorption of the wisdom of generations of musicians whose cultures are now all but gone. Yet these sensibilities were and are the NYAQ’s primary colors, which, when blended with hues provided by Workman and Baraka, constitute a vivid, if not electrifying, palette.

Start Your Free Trial to Continue Reading

Become a JazzTimes member to explore our complete archive of interviews, profiles, columns, and reviews written by music's best journalists and critics.