Editing Free jazz (section)

== Other media ==
Canadian artist [[Stan Douglas]] uses free jazz as a direct response to complex attitudes towards African-American music. Exhibited at [[Documenta|documenta 9]] in 1992, his video installation ''Hors-champs'' (meaning "off-screen") addresses the political context of free jazz in the 1960s, as an extension of [[Pan Africanism|black consciousness]]<ref name="Krajewsk 2008">Krajewsk, "Stan Douglas, 15 September 2007 — 6 January 2008, Staatsgalerie & Wurttembergischer"</ref> and is one of his few works to directly address race.<ref>Milroy, "These artists know how to rock", p. R7</ref> Four American musicians, [[George E. Lewis]] (trombone), [[Douglas Ewart]] (saxophone), Kent Carter (bass) and Oliver Johnson (drums) who lived in France during the free jazz period in the 1960s, improvise Albert Ayler's 1965 composition "Spirits Rejoice."<ref>Gale, "Stan Douglas: ''Evening'' and others", p. 363</ref>

''New York Eye and Ear Control'' is Canadian artist [[Michael Snow]]'s 1964 film with a soundtrack of group improvisations recorded by an augmented version of Albert Ayler's group and released as the album ''[[New York Eye and Ear Control]]''.<ref>[http://www.allmusic.com/album/new-york-eye-ear-control-mw0000095219 Review] by Scott Yanow, Allmusic.</ref> Critics have compared the album with the key free jazz recordings: Ornette Coleman's ''Free Jazz: A Collective Improvisation'' and John Coltrane's ''Ascension''. John Litweiler regards it favourably in comparison because of its "free motion of tempo (often slow, usually fast); of ensemble density (players enter and depart at will); of linear movement".<ref>{{cite book | author=Litweiler, John | title=The Freedom Principle: Jazz After 1958 | publisher=Da Capo | year=1984}}</ref> Ekkehard Jost places it in the same company and comments on "extraordinarily intensive give-and-take by the musicians" and "a breadth of variation and differentiation on all musical levels".<ref>{{cite book | author=Jost, Ekkehard | title=Free Jazz (Studies in Jazz Research 4) | publisher=Universal Edition | year=1975}}</ref>

French artist [[Jean-Max Albert]], as trumpet player<ref>Dictionnaire du jazz, Sous la direction de Philippe Carles, Jean-Louis Comolli et André Clergeat. Éditions Robert Laffont, coll. "Bouquins", 1994</ref><ref>Sklower, Jedediah (2006). Free Jazz, la catastrophe féconde.Page 147 Une histoire du monde éclaté du jazz en France (1960-1982). Collection logiques sociales. Paris: Harmattan. {{ISBN|2-296-01440-2}}.</ref> of [[Henri Texier]]'s first quintet, participated in the 1960s in one of the first expressions of free jazz in France. As a painter, he then experimented plastic transpositions of Ornette Coleman's approach. ''Free jazz'', painted in 1973, used architectural structures in correspondence to the classical chords of standard harmonies confronted with an unrestrained all over painted improvisation.<ref>Jean-Max Albert, Peinture, ACAPA, Angoulême, 1982</ref>
[[Jean-Max Albert]] still explores the free jazz lessons, collaborating with pianist François Tusques in experimental films : Birth of Free Jazz, Don Cherry... these topics considered through a pleasant and poetic way.<ref>Clifford Allen, The New York City Jazz Record p10, June 2011</ref>