History:
1950s
The origins of avant-garde jazz are in the innovations of the immediate acolytes of Charlie Parker. Based in New York City, now-canonical musicians such as Charles Mingus, Miles Davis, and John Coltrane introduced modal improvisation and experimented with atonality and dissonance. Sun Ra, Cecil Taylor, and Ornette Coleman became a new vanguard of controversial jazz innovators, outside the range of what many fans considered listenable.
1960s
John Coltrane's increasingly experimental work, and the Impulse! label became the flagbearers of the avant-garde jazz scene. Musicians associated with this high-volume variety of avant-garde jazz (sometimes referred to as "fire music)" included Archie Shepp, Albert Ayler, McCoy Tyner, Don Cherry, Pharaoh Sanders and Coltrane's wife, Alice Coltrane. Some of these musicians also began to take on an oppositional relationship to the mainstream music industry, preferring to release records themselves through independent labels such as ESP-Disk. This wing of avant-garde jazz was taken as emblematic of the Black Power movement, and also sometimes had mystical intentions.
Musicians who incorporated the innovations of free and avant-garde jazz, but remained within a more conventional framework, recorded for Blue Note Records. Miles Davis's second quintet (Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams), as well as others such as Eric Dolphy and Andrew Hill, are the best-remembered representatives of this style.
Meanwhile, in Chicago, the Association for the Advancement of Creative Musicians began pursuing their own variety of avant-garde jazz, sometimes described as "postmodern" jazz. The AACM musicians (Muhal Richard Abrams, Anthony Braxton, Roscoe Mitchell, and the Art Ensemble of Chicago) tended towards eclecticism, and incorporated developments in 20th century classical music (particularly Karlheinz Stockhausen and John Cage) as well as funk and ska, in addition to Dixieland and other elements of jazz history. Rahsaan Roland Kirk also made use of pastiche.
1970s
The 1970s saw the development of jazz fusion. It is questionable whether this can be considered a form of avant-garde jazz, though Miles Davis's recordings of this period, in particular, appear quite innovative and take inspiration from serialism and aleatoric music, just as the AACM did. In any case, hardcore jazz fans tended to regard early jazz fusion as a commercial sell-out move. However, by the mid-'70s, many free jazz icons, such as Albert Ayler, Archie Shepp, and Ornette Coleman were experimenting with rock and funk. Coleman would eventually develop the free funk style, which would be further explored by the M-Base musicians in the 1980s.
Jazz also became considerably more international in the 1970s, as saxophonists Gato Barbieri (Argentine), Kaoru Abe (Japanese), Peter Brötzmann (German), and pianist Sergey Kuryokhin (Russian), attest. European free jazz, in particular, began to develop. Evan Parker and Derek Bailey were pioneers of the new non-idiomatic style. Some veteran avant-garde jazz musicians (Charlie Haden), and much of the new blood, including a number who had played with Miles Davis in the 1970s (Dave Holland, Keith Jarrett, Chick Corea) and several Europeans (Jan Garbarek among them), began to record for the ECM label. The ECM sound, invariably recorded by Manfred Eicher, tended towards an elegant, refined, polished style that owed a great deal to the history of classical music. ECM also released recordings of minimalist and medieval music, and work by the Art Ensemble of Chicago (who were considerably messier than the ECM stereotype would indicate). A number of the AACM and ECM musicians would collaborate with one another, for example in the group Circle.
Many of the AACM musicians moved to New York City, where they provided the nucleus of the loft jazz scene. The World Saxophone Quartet also emerged from this milieu.
1980s
The 1980s saw the pre-eminence of Wynton Marsalis and his classicist approach, and a resulting diminution of the visibility of the avant-garde. However, as avant-garde jazz was a prime influence on no wave, New York City became the center of a new crop of aggressive improvisors: John Zorn, Borbetomagus, the Lounge Lizards, James Chance, James Blood Ulmer, Sonny Sharrock, Diamanda Galás, Bill Laswell (who also worked on Herbie Hancock's funk and electro recordings) and Bill Frisell (who had also recorded with the ECM musicians) among them. This development is referred to as punk jazz.
John Zorn, in particular, became an iconic figure in the "downtown" music scene, performing in free jazz, free improvisation, and a variety of rock and extreme music styles. Many of these musicians actually resided in Brooklyn; Tim Berne is a prominent representative.
1990s
The 1990s saw a return in visibility to the Chicago jazz scene, including players with links to the AACM. Most prominent are David Boykin, Aaron Getsug, Nicole Mitchell, Karl E. H. Seigfried, and Isaiah Spencer - all of who came up through Fred Anderson's Velvet Lounge. Other players include Ken Vandermark, Jeff Parker, and Kevin Drumm; these musicians had connections to the post-rock or noise rock scenes.
Likewise, there was an increase in vitality in the remnants of the loft jazz scene in New York, centered around David S. Ware. Matthew Shipp, Susie Ibarra, and William Parker practiced a more traditional variety of avant-garde jazz than the punk jazz-inflected downtown musicians, though some collaboration did occur between the two camps. Matthew Shipp eventually collaborated with illbient and alternative hip hop musicians (DJ Spooky, Antipop Consortium, El-P), and moved towards a distinctive brand of nu jazz comparable to that of Craig Taborn.
Blackstar
David Bowie Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Stands a solitary candle, ah ah, ah ah
In the centre of it all, in the centre of it all
Your eyes
On the day of execution, on the day of execution
Only women kneel and smile, ah ah, ah ah
At the center of it all, at the center of it all
Your eyes
Your eyes
Ah ah ah
Ah ah ah
In the villa of Ormen, in the villa of Ormen
Stands a solitary candle, ah-ah, ah-ah
At the center of it all, at the center of it all
Your eyes
Your eyes
Ah ah ah
Something happened on the day he died
Spirit rose a metre then stepped aside
Somebody else took his place, and bravely cried
(I'm a blackstar, I'm a blackstar)
How many times does an angel fall?
How many people lie instead of talking tall?
He trod on sacred ground, he cried loud into the crowd
(I'm a blackstar, I'm a blackstar, I'm not a gangster)
I can't answer why (I'm a blackstar)
Just go with me (I'm not a filmstar)
I'ma take you home (I'm a blackstar)
Take your passport and shoes (I'm not a popstar)
And your sedatives, boo (I'm a blackstar)
You're a flash in the pan (I'm not a marvel star)
I'm the great I Am (I'm a blackstar)
I'm a blackstar, way up, oh honey, I've got game
I see right, so wide, so open-hearted it's pain
I want eagles in my daydreams, diamonds in my eyes
(I'm a blackstar, I'm a blackstar)
Something happened on the day he died
Spirit rose a metre then stepped aside
Somebody else took his place, and bravely cried
(I'm a blackstar, I'm a star star, I'm a blackstar)
I can't answer why (I'm not a gangster)
But I can tell you how (I'm not a flam star)
We were born upside-down (I'm a star star)
Born the wrong way 'round (I'm not a white star)
(I'm a blackstar)
('m not a gangster)
(I'm a blackstar, I'm a blackstar)
(I'm not a pornstar, I'm not a wandering star)
(I'm a blackstar, I'm a blackstar)
In the villa of Ormen stands a solitary candle
Ah ah, ah ah
At the centre of it all, your eyes
On the day of execution, only women kneel and smile
Ah ah, ah ah
At the centre of it all, your eyes
Your eyes
Ah ah ah
The opening lyrics of David Bowie's "Blackstar" present a mysterious and haunting scene. The villa of Ormen, a solitary candle, and the center of it all - all symbols of something arcane and mystical. The repeated phrase "Your eyes" suggests some sort of hypnotic or visionary experience. This suggests that the song is talking about a journey into another reality or a trip through the unknown. The song's mention of execution and smiling, kneeling women adds to the sense of mystery and eeriness. These elements combine to communicate a sense of otherworldliness which the song represents.
The mysterious and cryptic scenes presented in the opening give way, in the later parts of the song, to vocals which are more straightforward. In the section where David Bowie sings "Something happened on the day he died, Spirit rose a meter and then stepped aside. Somebody else took his place, and bravely cried" he is clearly referring to himself as a blackstar. This represents a transformation, a kind of death and rebirth. This is typical of alchemical transformations, from the black sun, whose light is danger to a glittering silver star. In this way, the song becomes a metaphor for Bowie's own career, marked by constant reinvention.
Line by Line Meaning
In the villa of Ormen, in the villa of Ormen
In a place of great importance, a single candle stands alone
Stands a solitary candle, ah ah, ah ah
A single flame exists in this powerful place
In the centre of it all, in the centre of it all
The candle is at the very heart of this significant location
Your eyes
It is through your eyes that this location is seen and interpreted
On the day of execution, on the day of execution
During a time of death and endings
Only women kneel and smile, ah ah, ah ah
As death approaches, only women show strength and positivity, despite their sorrow
At the center of it all, at the center of it all
The candle remains at the heart of everything
Your eyes
Even in death, it is through your eyes that this all is witnessed
Something happened on the day he died
There was a significant event on the day of his passing
Spirit rose a metre then stepped aside
His spirit was lifted before making way for someone else
Somebody else took his place, and bravely cried
Someone else took on his mantle and showed courage in doing so
(I'm a blackstar, I'm a blackstar)
Potentially referencing the idea of being a significant, shining figure even in death
How many times does an angel fall?
Even angels, typically seen as perfect beings, can experience moments of failure or imperfection
How many people lie instead of talking tall?
Instead of speaking with honesty and vulnerability, people often choose to hide behind falsehoods
He trod on sacred ground, he cried loud into the crowd
He dared to speak out in a place of great importance and expressed himself strongly
(I'm a blackstar, I'm a blackstar, I'm not a gangster)
Restating the idea of being a significant, shining figure even in death, while also rejecting an association with a particular type of person
I can't answer why (I'm a blackstar)
He cannot explain why he is such a significant figure, but he is confident in this statement
Just go with me (I'm not a filmstar)
Follow him despite not being a typical celebrity figure
I'ma take you home (I'm a blackstar)
He can guide others and bring them to a significant place
Take your passport and shoes (I'm not a popstar)
He can provide direction while also stating his difference from a typical musician
And your sedatives, boo (I'm a blackstar)
He can even provide comfort and care for others
You're a flash in the pan (I'm not a marvel star)
He is not a brief, passing moment like a typical Hollywood star
I'm the great I Am (I'm a blackstar)
He sees himself with great spiritual significance and power
I'm a blackstar, way up, oh honey, I've got game
He is a significant and powerful figure
I see right, so wide, so open-hearted it's pain
He sees the world very clearly and understands it so deeply that it hurts him
I want eagles in my daydreams, diamonds in my eyes
He desires grandeur and beauty in his hopes and dreams
Something happened on the day he died
There was a significant event on the day of his passing
Spirit rose a metre then stepped aside
His spirit was lifted before making way for someone else
Somebody else took his place, and bravely cried
Someone else took on his mantle and showed courage in doing so
(I'm a blackstar, I'm a star star, I'm a blackstar)
Restating the idea of being a significant, shining figure even in death
I can't answer why (I'm not a gangster)
He cannot explain why he is such a significant figure, but he is confident in this statement
But I can tell you how (I'm not a flam star)
He can explain his significance or how he came to be this way, despite not being a typical celebrity
We were born upside-down (I'm a star star)
He was born differently or uniquely compared to others, lending to his significant status
Born the wrong way 'round (I'm not a white star)
He is not like other types of stars or celebrities, but was born distinct
(I'm a blackstar)
He reiterates his significance as a powerful and distinct figure
('m not a gangster)
He reaffirms his distance from a particular kind of person or celebrity
(I'm a blackstar, I'm a blackstar)
Restating the idea of being a significant, shining figure even in death
('m not a pornstar, I'm not a wandering star)
He is neither of these things, yet still a powerful figure
(I'm a blackstar, I'm a blackstar)
He identifies himself as a significant, powerful figure
In the villa of Ormen stands a solitary candle
In this significant place stands a single flame
Ah ah, ah ah
Approximately representing the candle's flicker
At the centre of it all, your eyes
The eyes still represent the best way to interpret and understand this place
On the day of execution, only women kneel and smile
In the face of great sorrow, only women show strength and positivity
Ah ah, ah ah
Approximately representing the women's sing-song voices
At the centre of it all, your eyes
Even during such a significant moment, it is through the eyes that the truth of the matter can be seen
Your eyes
This repeated line confirms the importance of interpretation through the eyes
Ah ah ah
Approximately representing the flickering of the candle
Lyrics © Universal Music Publishing Group
Written by: David Bowie
Lyrics Licensed & Provided by LyricFind
@hastekulvaati9681
@@chookin1 “This is not art persay...”
Sure it is Percy.
“If you cannot see this...”
I think you are confused. Art is not necessarily the thing that inspired it. Space Oddity was a song not a space mission.
Bowie dabbled in all kinds of interesting ideas m throughout his career. He was inspired occultism. He was also inspired by politics, Current affairs, classic Hollywood, science fiction, psychology; krautrock, Americana, the golden age of cinema and the culture of Weimar Germany.
@rmilrta
+HighPacheChief
It
is
not
satanic.
Nor was he a satanist.
It is art. And in accord with batwingedloony's comment I have not begun to absorb it yet.
It is intense.
The diamond encrusted skull might allude to bone cancer or metastases.
It's full of symbolism and art. Apparently some of the dancing is inspired by the way characters move in Popeye animations.
It is intense, readable, it has beauty.
@iliaschaikalis8579
Man knew he was dying but instead of being afraid looked death in the eye and used him as inspiration for his final masterpiece. Absolute respect to this legend. What a noble way to go out. May he rest in piece
@pleasantvalleypickerca7681
Yes I agree. I've thought exactly that since he passed. He was a remarkable man and artist!
@wightwalker2453
I expect he experienced the same emotions as we all would in that particular boat.
@sammyd8860
Stop accepting death. Build citadels of lego and cheese
@johnpyle1268
Masterpiece indeed, as was his life.
@vinn995
DiX Inc. right? I think Bowie showed us that there is nothing to fear in death. As Mark Twain said “ I had been dead for billions and billions of years before i was born and do not recall suffering the slightest inconvenience from it”. Perhaps the Starman has begun a new journey in a new universe?
@CreaMrTive
The man has even turned his death into a piece of performing art. RIP you powerful visionary.
@28theli
+A.J. Thomson totally agree! Thats incredible!
@katrinaj3757
you're so right . its incredibly moving and a little hard to watch
@jennifferocasio6266
why? how did he die?