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M-Base

M-Base, short for Macro-Basic Array of Structured Extemporizations, is a conceptual framework for music creation pioneered by jazz saxophonist Steve Coleman in the mid-1980s.^[1] It emphasizes spontaneous improvisation combined with structural elements to express personal, spiritual, and cultural experiences, drawing primarily from African and African Diaspora musical traditions while rejecting rigid Western conventions like fixed time signatures and stylistic hierarchies.^[1] Rather than defining a specific genre or style, M-Base functions as a philosophy promoting creative growth and the development of shared musical languages among artists.^[1] The M-Base Collective emerged around 1984 in New York City as a loose alliance of like-minded musicians led by Coleman, aiming to explore and disseminate these ideas through collaborative performances, recordings, and educational initiatives.^[2] Key figures in the collective included saxophonists Greg Osby and Gary Thomas, cornetist Graham Haynes, pianist Geri Allen, vocalist Cassandra Wilson, and trombonist Robin Eubanks, among others who contributed to its evolving sound and influence across jazz and beyond.^[2] The group released notable albums such as Anatomy of a Groove in 1992, showcasing their innovative blend of rhythmic complexity, melodic freedom, and collective improvisation.^[3] M-Base Concepts, Inc. was established as a nonprofit organization to further the approach's goals, including expanding consciousness through music via free instructional resources, workshops, and online materials.^[4] Over the decades, M-Base has impacted generations of musicians, fostering a non-hierarchical environment for experimentation that extends into contemporary jazz, fusion, and global improvisation scenes, with enduring contributions from alumni like Vijay Iyer and Jen Shyu.^[2]

Origins and History

Formation and Early Years

The M-Base Collective emerged in Brooklyn around 1984 as a grassroots referral service and job bank designed to connect jazz musicians with performance opportunities in the competitive New York scene. Initiated by alto saxophonist Steve Coleman and cornetist Graham Haynes, both of whom had recently arrived in the city, this network addressed the practical needs of emerging players facing scarce gigs and limited support structures. Primarily comprising young African American musicians, the collective provided a vital resource for sharing contacts and strategies amid the economic pressures of 1980s urban life.^[5] Early activities centered on informal gatherings in Brooklyn lofts and clubs, where participants exchanged ideas about music, culture, and personal experiences, fostering a sense of community outside the mainstream jazz circuits dominated by Manhattan venues. These sessions emphasized collaborative exploration, drawing from diverse influences to challenge conventional jazz norms and create alternatives for those marginalized in established scenes.^[6] In the broader 1980s jazz landscape, marked by fusion experiments and institutional conservatism, such meetings highlighted a push for innovation rooted in everyday realities.^[7] In 1985, Steve Coleman formalized the group's identity by coining the term "M-Base," an acronym for "macro-basic array of structured extemporization," encapsulating a philosophy that integrated structured improvisation with broader life expressions.^[8] This naming reflected the collective's aim to transcend stylistic labels, though it initially drew skepticism from traditionalists. The formative years were marked by significant challenges, including scarce financial resources that forced reliance on self-funding and informal networks, as well as resistance from established jazz institutions wary of the group's eclectic, non-hierarchical approach.^[9] Despite these hurdles, the collective's resilience laid the groundwork for its evolution into a influential force in modern jazz by the late 1980s.^[10]

Key Milestones and Evolution

Early releases supported the emerging collective's experimental output through partnerships like JMT Productions.^[11] This led to pivotal early releases, including Greg Osby's debut album Sound Theatre in 1987, which featured the alto saxophonist's compositions rooted in the group's improvisational ethos.^[12] Similarly, Coleman's own World Expansion (By the M-Base Neophyte) that year showcased the collective's rhythmic innovations on the JMT label.^[11] A significant milestone came in 1991 with the recording of Anatomy of a Groove by the M-Base Collective, a compilation album that formalized the group's collaborative spirit through tracks blending structured improvisation and polyrhythmic grooves, released the following year on DIW/Columbia.^[13] This project highlighted core M-Base principles of spontaneous composition within cyclical forms, drawing contributions from key members like Coleman, Osby, and Cassandra Wilson.^[14] The 1990s marked a period of divergence within the collective, as members pursued broader commercial opportunities. Cassandra Wilson shifted to Blue Note Records in 1993, releasing Blue Light 'Til Dawn, which expanded her audience by incorporating folk, blues, and R&B elements beyond the avant-garde M-Base framework.^[15] Meanwhile, Coleman gravitated toward more experimental outlets, including his first solo saxophone album Invisible Paths: First Scattering on Tzadik in 2007 and Harvesting Semblances and Affinities on Pi Recordings in 2010, emphasizing global rhythmic research and spontaneous arrangements.^[16] By the late 1990s, the M-Base Collective's formal structure waned as individual careers took precedence, with musicians like Osby and Wilson achieving mainstream success on major labels, transforming the group from a unified initiative into a looser network influenced primarily by Coleman.^[17] However, the movement persisted through educational efforts, notably via M-Base Concepts, Inc., founded in 1990, and the online platform m-base.net, which promotes multimedia resources for improvisation and cultural studies.^[14]

The M-Base Concept

Core Principles

M-Base is fundamentally a way of thinking about music creation rather than a fixed musical style, emphasizing growth through creativity by integrating improvisation with structured forms to express personal and cultural experiences.^[18] This approach prioritizes conceptual development over mere technical proficiency, allowing musicians to evolve their ideas based on life experiences and interactions with diverse environments.^[19] At its core, M-Base encourages the spontaneous composition of music that reflects an ever-changing, dynamic process, drawing from rhythms inherent in daily life and ancient cultural practices to foster innovation.^[18] Central to M-Base is the rejection of rigid genre boundaries, particularly the traditional "jazz" label, which is viewed as overly broad and limiting in its application to improvised music.^[19] Instead, it advocates for music that maintains contemporary relevance by incorporating non-Western rhythmic and harmonic concepts, such as those from African and Afrikan Diaspora traditions, to create a more universal expressive language.^[18] This philosophy avoids stylistic hierarchies, recognizing that music inherently conveys cultural and philosophical underpinnings interpreted through individual listeners' backgrounds.^[18] M-Base places strong emphasis on collective improvisation as a primary tool for innovation, enabling musicians to develop evolving musical languages without imposed limitations.^[20] Steve Coleman, a principal founder, articulates M-Base as a process for continuously advancing musical expression by transcribing and building upon spontaneously composed elements, free from genre constraints.^[19] This methodology promotes the creation of original structures that capture personal narratives and broader human experiences, ensuring ongoing evolution in musical practice.^[20]

Philosophical and Cultural Foundations

The philosophical and cultural foundations of M-Base are deeply rooted in African and African American oral traditions, emphasizing polyrhythms, call-and-response patterns, and community-based music-making as vehicles for collective expression and cultural continuity. Steve Coleman, a central figure in M-Base, drew from these traditions through extensive research travels, including collaborations with the AfroCuba de Matanzas ensemble in Cuba to explore syncretic African-derived rhythms and workshops with musicians from India's Karnataka College of Percussion to investigate rhythmic cycles and improvisation. These journeys informed M-Base's rejection of rigid Western structures in favor of fluid, interlocking polyrhythms that mirror the communal improvisation found in West African drumming ensembles and African American vernacular practices.^[21]^[14] Central to M-Base's ethos is a critique of Eurocentric music education, which Coleman and collaborators viewed as imposing hierarchical, notation-driven norms that stifle authentic expression. Instead, M-Base advocated for music as a direct reflection of personal and social experiences, fostering artistic autonomy and active participation rather than passive consumption. This stance aligns with broader Black intellectual movements, such as the Association for the Advancement of Creative Musicians (AACM) and the Black Artists Group (BAG), which emphasized empowerment through self-determined cultural production and Afrocentric paradigms that reclaim African diasporic heritage from colonial erasure.^[21]^[21] Coleman's innovations in rhythm were further shaped by studies in ancient philosophies and human physiology, viewing music as an extension of natural bodily cycles and timeless cultural ciphers. He integrated concepts like nested looping structures to evoke organic pulses, drawing from studies in human physiology, as seen in works inspired by cardiac arrhythmias and other physiological rhythms that challenge metronomic regularity. These foundations underscore M-Base's commitment to music as a holistic, empowering practice that bridges historical wisdom with contemporary Black lived experience.^[21]^[22]

Key Members and Collaborations

Founders and Core Collective

The M-Base collective was initiated in 1984 by alto saxophonist Steve Coleman, who served as its conceptual leader, and cornetist and trumpeter Graham Haynes, recognized as a co-founder who helped establish its foundational philosophies.^[23]^[24] Coleman, drawing from his experiences in Chicago's R&B and funk scenes before relocating to New York, envisioned M-Base as a framework for creating music rooted in personal and cultural expression, while Haynes contributed early improvisational and textural elements through their joint busking efforts in the city.^[14]^[25] Among the core members shaping M-Base's emerging sound were soprano and alto saxophonist Greg Osby, a founding participant who pioneered early recordings within the group, and pianist Geri Allen (d. 2017), whose contributions advanced the collective's harmonic language through her integration of African rhythms, funk, and avant-garde structures.^[26]^[27] Osby's debut album Greg Osby and Sound Theatre (1987) featured collaborations with Haynes, Coleman, and others, setting a precedent for M-Base's recorded output on labels like JMT.^[28] Allen, joining soon after the collective's formation, brought a distinctive pianistic voice that bridged traditional jazz harmony with experimental extensions, appearing on key early sessions that defined the group's sonic identity. Trombonist Robin Eubanks and tenor saxophonist and flutist Gary Thomas further solidified the core through their emphasis on ensemble dynamics and participation in foundational performances.^[23]^[29] Eubanks provided robust brass interplay that enhanced the collective's rhythmic and timbral complexity, while Thomas added multifaceted woodwind textures, supporting the fluid interactions central to M-Base's improvisational approach in live settings.^[30]^[28] M-Base operated as a loose collective without a formal hierarchy, fostering egalitarian collaborations among its members in New York's vibrant jazz scenes from 1985 to 1990.^[29] This structure encouraged regular workshops, performances, and recordings in Brooklyn and Manhattan venues, allowing the core group to refine their shared aesthetic through organic, non-prescriptive interactions.^[23]^[31]

Extended Network and Influences

The extended network of the M-Base collective extended beyond its originators to include musicians who actively participated in recordings, performances, and workshops, thereby broadening its reach and stylistic scope. Vocalist Cassandra Wilson, who joined shortly after moving to New York in the early 1980s, emerged as a pivotal early associate after connecting with Steve Coleman; she contributed to seminal M-Base sessions and recorded six albums infused with its experimental ethos on JMT Records before transitioning to Blue Note in 1993, where she adapted M-Base's rhythmic complexity and improvisational freedom to achieve mainstream acclaim with works like Blue Light 'Til Dawn.^[32]^[15] Her involvement exemplified how M-Base principles could bridge avant-garde jazz with broader genres, influencing her signature blend of jazz standards, blues, and folk.^[33] Guitarist Jean-Paul Bourelly further expanded the collective's sonic boundaries as a frequent collaborator, integrating his fusion-inflected electric guitar into M-Base projects during the late 1980s and early 1990s; his contributions appeared on compilations like Introducing M-Base (2015), where tracks such as "Electromagnolia" showcased his interplay with Wilson and cornetist Olu Dara.^[23]^[34] Bourelly's Haitian-rooted rhythms and rock edges helped diversify M-Base's textural palette, fostering cross-pollinations with electric jazz scenes. Later figures like pianist Vijay Iyer, who performed with Coleman in the 1990s, drew direct inspiration from M-Base's metric modulation and collective improvisation; in a 2010 profile, Iyer credited Coleman's leadership in the collective as a foundational influence on his own avant-garde explorations, emphasizing its enduring role in redefining jazz structure.^[35]^[36] The collective served as a hub for this network, releasing albums by affiliates through associated labels and enabling collaborative expansions through events like annual workshops in Brooklyn that drew in international talent. Drummer Ronald Shannon Jackson, though not a formal member, profoundly shaped M-Base's rhythmic foundations via his Decoding Society and shared personnel with collective musicians, such as guitarist David Gilmore, who toured with both Jackson and M-Base ensembles in the late 1980s; Jackson's polyrhythmic intensity from avant-garde projects with Ornette Coleman and Cecil Taylor informed the collective's emphasis on layered grooves and free funk elements.^[37]^[38] These connections highlighted M-Base's role in nurturing a fluid ecosystem of influences, where external innovators like Jackson amplified its commitment to intuitive, culturally rooted improvisation.^[23]

Musical Characteristics and Innovations

Stylistic Elements

M-Base music is characterized by its integration of dense polyrhythms and asymmetrical structures, which create layered improvisations that draw heavily from African and Afrikan Diaspora traditions rather than conventional Western frameworks.^[39] These elements often manifest through odd time signatures and complex layering of rhythms and harmonies, resulting in angular melodic lines that prioritize rhythmic complexity over harmonic resolution.^[39]^[40] A hallmark of the approach is the use of "functional arrhythmias," a concept inspired by irregular yet healthy patterns in human heartbeats, which introduces organic, non-repetitive flows by shortening and stretching rhythmic cycles derived from Afro-Cuban sources.^[19]^[41] This technique eschews traditional swing feels and fixed chord changes, favoring instead a blend of acoustic and electric instrumentation to achieve a fluid, disruptive pulse that emphasizes ensemble precision and urgency.^[18]^[41] The style further highlights timbre exploration through unconventional sounds, such as high-tuned snares evoking timbales, sparse cymbal washes, and guitar textures resembling slithery koto lines, all contributing to a coiled tension in the bass and drums.^[41] Ensemble interplay is central, with horns delivering short, pert phrases in floating counterpoint and staccato jolts that interweave in flurries, producing a post-bop avant-garde aesthetic that resists easy categorization.^[41] This sonic palette evolves through improvisation structured around conceptual rhythmic modes, allowing for continuous development without reliance on standard jazz heads.^[40]

Notable Recordings and Performances

One of the landmark recordings associated with the M-Base collective is the 1992 compilation album Anatomy of a Groove, which features diverse tracks from various members, highlighting the group's collaborative spirit and rhythmic innovations through pieces like "Cool Lou" and "Non-Fiction" performed by ensembles including Steve Coleman, Greg Osby, and Geri Allen.^[42] Released on Columbia, the album captures the essence of M-Base's ensemble approach, with recordings made at Systems Two in Brooklyn between December 1991 and January 1992.^[43] Early individual efforts under the JMT label also exemplify M-Base's emergence, such as Steve Coleman's World Expansion (By the M-Base Neophyte) from 1987, which introduced the collective's subtitle and featured his Five Elements group exploring expansive, improvisational structures across tracks like "Desperate Move" and "Mad Monkey."^[44] Similarly, Greg Osby's 1988 debut Mindgames on JMT showcased his alto saxophone leading a quintet with contributions from M-Base affiliates like Kevin McNeal, emphasizing intricate, game-like improvisations in compositions such as "Dolemite."^[45] Cassandra Wilson, a key vocalist in the M-Base orbit, released Blue Skies in 1988 on JMT, an album of jazz standards reinterpreted with an elastic, intimate delivery backed by Mulgrew Miller on piano, Lonnie Plaxico on bass, and Terri Lyne Carrington on drums, marking a pivotal blend of tradition and collective experimentation that earned it Billboard's Jazz Album of the Year.^[46] Wilson's later adaptations, such as her ongoing expansions of standards into more eclectic formats on subsequent releases, built upon this foundation while reflecting M-Base's influence on her versatile phrasing.^[46] In the late 1980s, M-Base members frequently performed live at New York venues like the Knitting Factory, a downtown hub that hosted their spontaneous sets amid the avant-garde jazz scene, allowing for unscripted explorations by groups featuring Coleman, Osby, and others that drew from the collective's improvisational ethos.^[47] These performances, often in the club's intimate spaces starting from its 1987 opening, fostered the raw, interactive energy central to M-Base's development.^[48]

Legacy and Contemporary Impact

Influence on Jazz and Broader Music

M-Base's alumni, including saxophonists Greg Osby and Steve Wilson, played pivotal roles in shaping 1990s avant-garde jazz by extending the collective's emphasis on rhythmic complexity and structured improvisation into broader experimental contexts. Osby's recordings on Blue Note, such as Art Forum (1996), incorporated M-Base's polyrhythmic frameworks to push boundaries beyond traditional swing, influencing a wave of post-bop innovators. Similarly, Wilson's work with Osby and the M-Base orbit blended dense harmonic layers with free-form elements, helping to define the era's avant-garde sound in New York scenes.^[8]^[49] This influence extended to fusions with emerging genres, particularly nu-jazz and hip-hop jazz, where M-Base's integration of urban grooves and global rhythms inspired hybrid forms. The collective's early experiments, such as those featured on the 2015 compilation Introducing M-Base of 1980s recordings, foreshadowed nu-jazz's electronic-infused improvisation by prioritizing looping structures over linear narratives, impacting artists who merged jazz with drum machines and samples. In hip-hop jazz contexts, M-Base's approach to adding rap-like vocal inflections and beat-driven extemporization, as seen in collaborations involving Cassandra Wilson, bridged acoustic jazz traditions with hip-hop's rhythmic propulsion, contributing to 1990s fusions like those explored by Guru's Jazzmatazz series.^[50]^[51]^[34] Younger artists, notably pianist Vijay Iyer, drew directly from M-Base's rhythmic innovations to advance jazz's conceptual depth. Iyer, who first encountered M-Base through performances with Steve Coleman's Five Elements in 1994, integrated its nested metric cycles and polyrhythmic layering into his compositions, as heard in Memorophilia (1995) and later works like Historicity (2009), where complex odd-meter constructions echo M-Base's emphasis on perceptual challenges in improvisation. Iyer has publicly likened Coleman's impact to that of John Coltrane, crediting M-Base for expanding his approach to global rhythmic sources beyond Western norms. However, as of 2025, Coleman and Iyer have publicly disagreed over issues of mentorship and influence within M-Base's legacy.^[52]^[53]^[54] M-Base critiqued jazz's commercialization by advocating DIY models through independent labels and artist-led collectives, fostering autonomy amid industry pressures. Steve Coleman, a central figure, rejected major-label constraints after stints with JMT and RCA, launching M-Base Concepts, Inc. in 1990 to self-produce recordings and educational programs, exemplified by free distributions like Alternate Dimension Series I (2002) on m-base.com. This ethos promoted collectives over hierarchical structures, influencing peers to prioritize creative control via imprints like Osby's Rebel Soul Recordings, countering the era's push toward smooth jazz marketability.^[55]^[56]^[57] In 2010s scholarship, M-Base gained recognition as a bridge between free jazz's unbound exploration and global improvisation's multicultural synthesis, reframing jazz as a universal dialogue. Studies highlighted its role in connecting Ornette Coleman's harmolodics to transnational rhythms, as in Coleman's Afro-Cuban and Senegalese collaborations (The Sign and the Seal, 1996), which informed analyses of improvisation as culturally adaptive practice. This perspective, underscored by Coleman's MacArthur Fellowship in 2014 for advancing jazz's philosophical scope, positioned M-Base as a pivotal link in evolving jazz historiography.^[58]^[14]^[59]

Recent Developments and Ongoing Activities

In the 2020s, M-Base's continuity has been sustained primarily through the individual endeavors of its key figures, particularly Steve Coleman, whose work continues to embody and evolve the collective's rhythmic innovations. Coleman's 2021 double album Live at the Village Vanguard, Volume II (MDW NTR), recorded with his longstanding band Five Elements during performances at the iconic New York venue, captures the group's dynamic interplay of interlocking rhythms and spontaneous composition, hallmarks of M-Base aesthetics.^[60] Released on Pi Recordings, the set features extended improvisations that highlight the band's ability to weave complex polyrhythms drawn from global traditions into live jazz contexts.^[61] This momentum carried into 2024 with PolyTropos / Of Many Turns, another Pi Recordings release comprising two live sets from Coleman's Five Elements tour in France. The album showcases the ensemble's modular approach to rhythm, where motivic cells inspired by natural cycles and body movements are assembled in real time, extending M-Base's emphasis on organic, non-linear structures.^[62] Tracks like "Mdw Ntr" demonstrate how these elements create a fluid, ever-shifting soundscape, reflecting Coleman's ongoing exploration of rhythmic multiplicity.^[63] These recordings underscore M-Base's enduring impact without relying on full collective gatherings. Educational outreach remains a cornerstone of M-Base's activities via the non-profit online platform m-base.net, established in the early 2000s as a hub for creative music exploration. Active as of 2025, the site offers free and premium memberships that provide access to multimedia resources, including instructional videos, blogs, forums, and conference calls with Coleman and community members, fostering workshops on improvisation and rhythmic concepts.^[64] This digital expansion democratizes M-Base principles, enabling global participants to engage with its philosophical foundations through interactive formats.^[14] While full M-Base collective reunions have been sparse in the 2020s, with no major group albums released since 2010, individual members continue to adapt its innovations in contemporary improvisation across international jazz scenes. Coleman's residencies and performances, such as his 2025 appearance at Gent Jazz Festival, maintain this influence, often incorporating research into body rhythms—drawing from biological and cultural patterns—to inform new compositions.^[65]^[66] For instance, his recent works aggregate small rhythmic units mimicking physiological processes, bridging M-Base's experimental legacy with modern ensembles.^[67]

References

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What Is M-Base? | Steve Coleman
### Summary of M-Base
[2]
The M-Base Collective | Steve Coleman
### Summary of M-Base Collective
[3]
M-BASE COLLECTIVE discography (top albums) and reviews
M-Base Collective was a loose formation of Brooklyn based artists led by alto saxophonists Steve Coleman and Greg Osby.
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M-Base Web Site
M-Base Concepts, Inc. is a nonprofit using music to aid consciousness, offering free instruction videos, a free CD, and a free membership site.
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The History of Jazz Music. Steve Coleman - Piero Scaruffi
Chicago's alto saxophonist Steve Coleman (1956) relocated to New York in 1978 and in 1984 was instrumental in starting the M-Base Collective.
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[PDF] DB24_07_Historical.pdf - DownBeat
Jul 1, 2024 · When me and Steve Coleman started M-BASE, it was a bunch of people getting together and talking, but we didn't have anything estab- lished ...
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Freedom and Fusion | The History of Jazz - Oxford Academic
... jazz world. The M-Base crew articulated an ardent defense of the virtues of mixing jazz and popular dance-based idioms, meanwhile concocting a complex type ...
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M-Base Music Style Overview - AllMusic
Short for "macro-basic array of structured extemporization," M-Base was developed by altoists Steve Coleman and Greg Osby, tenor saxophonist Gary Thomas, ...
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### Summary of M-Base-Related Discography Entries (1986-2010)
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Rating 8/10 (4) Greg Osby & Sound Theater by Greg Osby & Sound Theater released in 1987. Find album reviews, track lists, credits, awards and more at AllMusic.
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### M-Base Collective Discography Summary (1991)
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The late 1980s found Coleman working to codify his early ideas using the group Steve Coleman and Five Elements and working with a collective of musicians called ...
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Sep 11, 2024 · ... Steve Coleman came over and struck up a conversation. “He told me ... M-Base movement. Unlike so many singers who combined jazz and R&B ...
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2006-2007 saw a flurry of activity, with Steve releasing his first solo saxophone recording called Invisible Paths (on the Tzadik label). Also recorded ...
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Rating 5.0 (1) The search for an identifiable M-Base "sound" is complicated by the fact that. M-Base members like Steve Coleman insisted that M-Base was an approach rather
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M-Base is a way of thinking about creating music, it is not the music itself. One of the main ideas in M-Base is growth through creativity. As we learn ...Missing: core principles
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As the principle founder of the M-Base movement, Coleman's aesthetic purview encapsulates a multitude of traditions with deep roots in the African Diaspora.
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Dec 6, 2013 · Steve Coleman & Five Elements, “Functional Arrhythmias” (Pi) –And ... human physiology. It's a smart idea (inspired, as Coleman says ...
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The M-Base Collective began around 1984. Here is a list of people who have been involved in this movement by participating in the music and or influenced the ...
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Feb 6, 2013 · (Gilmore's uncle Graham Haynes, who helped establish M-Base philosophies with Coleman, was responsible for that connection.) Coleman's tutelage ...
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Mr. Osby is also a founding member of the innovative M-BASE music collective. After recording 4 projects for JMT/Polygram, Osby signed with Blue Note Records ...
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THE INVISIBLE HAND GUIDING GREG OSBY - Blue Note Records
May 14, 2015 · ... M-Base Collective. During those years he met Gary Thomas and Terri Lyne Carrington, who appeared on Daigoro, his first CD, recorded in 1987.
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JL ROBIN EUBANKS: A TRUE SENSE. AU OF PERSPECTIVE. Trombonist/composer/arranger Robin Eubanks isn't your average up-and-coming jazz musician. In fact, he's.
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Reluctant Diva | The New Yorker
Jun 16, 2008 · In 1992, having recorded more than a dozen albums and earned little more than minor cult status, Wilson signed with Blue Note and, mentored by ...
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It was very much a New York sound of the Reagan decade, and although Steve Coleman was the figurehead, the many other musicians with whom he was associated also ...
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Vijay Iyer's jazz pulls from grab bag of genres and years
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Sep 10, 2024 · “To me, Steve's as important as Coltrane,” says pianist Vijay Iyer, another of Coleman's protégés. “He has contributed an equal amount to ...
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[PDF] DOWNBEAT.COM OCTOBER 2015 U.K. £4.00
Oct 15, 2015 · Coleman's Five Elements and Jean-Paul Bourelly's band, Reggie ... of Ronald Shannon Jackson's Decoding Society who passed away in ...
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[40]
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... polyrhythms, often in odd meters. Coleman named the movement "M-Base," standing for "Macro - Basic Array of Structural Extemporization" (your guess is as ...
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Steve Coleman & Five Elements: Functional Arrhythmias. Rating ... Returning M-Base alumni Sean Rickman and Anthony Tidd play with perceptions of speed ...
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### Summary of "Anatomy Of A Groove" by M-Base Collective
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- **Album Details**: Steve Coleman And Five Elements – World Expansion (By The M-Base Neophyte)
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### Summary of Greg Osby – Mindgames
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Jul 13, 2024 · “She had in mind to do something with her M-BASE-type band,” remembers Bruce Lundvall, Blue Note's president and CEO. “I had sort of a ...
[47]
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Jul 22, 1990 · An M-Base sound has developed as the individual musicians fashioned their styles from a common pool of elements--including electronics, ...
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Remembering the Original Knitting Factory - JazzTimes
May 11, 2020 · This is the story of New York's original Knitting Factory, a jazz club that defined "downtown," as told by its owners and the musicians who ...
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The convergence of jazz and hip-hop, from Louis Armstrong ... - CBC
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[51]
Jazz / hip hop fusion? - Classical Music Forum
Sep 11, 2019 · Some of the only jazz with rap type vocals that do something for me, are the examples that come out of the M-BASE movement started by sax player ...
[52]
Vijay Iyer: Othering - JazzTimes
Aug 31, 2024 · ... Iyer heard alto saxophonist Steve Coleman and his Five Elements band at the original Yoshi's in Berkeley. “At the time,” Iyer says, “I was ...
[53]
Vijay Iyer: Into The Mainstream - All About Jazz
Dec 21, 2009 · He certainly draws on rhythmic concepts from his investigation into Indian classical talas (rhythmic structures), from West African ideas ...
[54]
Steve Coleman: Saxophone Funkmaster, Musical Philosopher ...
Sep 30, 2010 · Inspiration clearly comes from funk, from African music, from jazz, and from some Asian music. A comparable line-up, with Wilson making striking ...
[55]
WHY DO I GIVE AWAY SOME OF MY MUSIC? by Steve Coleman
Apr 28, 2013 · ... M-Base concept. However, unlike what most critics wrote this concept was philosophical, Coleman did not call the music itself M-Base. An ...
[56]
A HyperHistory of Independent Jazz Labels - New Music USA
Jul 1, 2003 · ... m-base.org. But for now, ours is still the CD age, and record labels have made the best of it, figuring out ways to make their products look ...Missing: critique commercialization
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[PDF] Exercises Derived from the West African Influence on Jazz - CORE
May 20, 2016 · African music and its relation to jazz, as well as numerous pieces of jazz scholarship ... M-Base: Envisioning Change for Jazz in the 1980s and.<|separator|>
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View of Black Jazz in the Digital Age - Critical Studies in Improvisation
... free jazz, soul and funk ideas seem not only hip, but inevitable and ... In this time all the major jazz languages from Dixieland to M-Base have become universal.Missing: global | Show results with:global
[59]
Live at the Village Vanguard Volume II (MDW NTR) - Pi Recordings
Oct 29, 2021 · Live at the Village Vanguard, Volume II (Mdw Ntr) finds alto saxophonist and MacArthur fellow Steve Coleman returning to that celebrated New York venue.
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Live at the Village Vanguard Volume II (MDW NTR) - Steve Coleman
by Steve Coleman. 11 tracks, 2 hours ... /. Album artwork for Live at ... brooklyn jazz jazz m-base saxophone new york. about. Steve Coleman image. Steve ...Missing: lofts | Show results with:lofts
[61]
PolyTropos / Of Many Turns - Pi Recordings
Oct 25, 2024 · Comprised of two sets recorded live during a March, 2024 tour in France, it features his band Five Elements, with long-running partners Jonathan ...
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PolyTropos / Of Many Turns - Steve Coleman - Bandcamp
Free deliveryPolyTropos / Of Many Turns by Steve Coleman, released 25 October 2024 1. Spontaneous Pi 2. Spontaneous One 3. Spontaneous All 4. Mdw Ntr 5.
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M-Base Ways
Join Steve Coleman and the M-Base community now to explore new perspectives in creative music. Click here for free registration to the M-Base Ways site.Missing: developments 2020-2025
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In Between Sets with Steve Coleman | Gent Jazz 2025 - YouTube
Jul 22, 2025 · Steve Coleman reflects on the ever-evolving nature of music ... M-Base. Follow Gent Jazz - https://www.facebook.com/gentjazz - https ...Missing: developments 2020-2025
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Steve Coleman's Complicated Soul - DownBeat
Jan 28, 2025 · Following Coleman's long-standing performance practice, the band assembles the music in real time, aggregating small rhythmic units that whirl ...Missing: critique Eurocentric commercialization
[66]
Steve Coleman and Five Elements - PolyTropos / Of Many Turns
Oct 24, 2024 · Alto saxophonist and composer Steve Coleman returns with two live sets recorded during his tour in France, showcasing his acclaimed Five Elements band.