“Free Jazz is the ultimate expression of one's own creativity as well as a reflection of one's beliefs. It combines passion, composition, validation, and acceptance through collaboration with other musicians towards a common goal of musical celebration.” - Kelly Rossum

Photo by Howard A. Gitelson

Kelly is a trumpet player and composer currently living in Minneapolis. He is a master performer of jazz trumpet, although all of his university studies have focused on classical trumpet playing. Kelly said, "Since the trumpet is such a difficult instrument to master, classical training will give you the technical ability to play anything you want. Once you thoroughly understand the instrument, stylistic choices become just that, choices. Not limitations." And Rossum has made some very inclusive choices combining the traditions of swing, bop, and free jazz with the innovations of electronica, ambient, and trance music.

This summer at the International Trumpet Guild annual conference in Bangkok, Thailand Kelly Rossum was invited to perform and speak about the specifics of free jazz and the trumpet. (See: website for more details). I also had the pleasure to speak with Kelly about free jazz this summer, the interview follows:

[Jazz Police] With your classical training rooted in western tradition, why are you drawn to Free Jazz?

Photo by Andrea Canter

[Kelly Rossum] Free Jazz has always been an outlet for my creativity. ‘Classical’ music can be very exacting; the correct phrasing, tone, pitch vibrato, etc. I stumbled into Free Jazz in 1989 when a few musicians and myself would get together on Tuesday nights and jam. As soon we had finished setting up, somebody would yell “go!” - and we did. No charts, no form, no pre-determined harmony or melody. After about 3 hours of trance-like playing we would pack up and go home. There was never an audience; the music was just for us. Those sessions had a profound effect on me that I could not grasp at the time. Only within the past few years have I been able to justify my spontaneous creativity as an authentic musical idiom. This realm of music is usually labeled Free Jazz.

[Jazz Police] If jazz is by nature improvisational one might argue that all jazz is 'free', what makes 'free jazz' freer?

[Kelly Rossum] Good question! All jazz has an inherent freedom in its improvisations. The limitations set forth on that freedom today are imposed by the ‘classicalization’ of certain sub-genres of jazz. A musician must treat the jazz canon with respect and must try to honor the traditions of the composer. For example, when playing the repertoire of Count Basie, a trombonist would not take the instrument’s slide out and scream into the bell for his/her solo. This ‘classicalization’ of the repertoire sets boundaries upon the improvisations; which in this case I think is appropriate! The general attitude towards Free Jazz allows a much broader level of acceptance for non-conventional improvisations. Although certain levels of Free Jazz carry the same reverence of tradition; most audiences are unaware of the depth of artistry.

[Jazz Police] I just saw the film "A different Kind Of Blue" which documents Miles Davis' 1970 Isle of Wight concert with Dave Holland, Herbie Hancock, Gary Bartz, Jack DeJohnette, etc.. What do you think about what Miles was doing in the 70's? 80's?

[Kelly Rossum] I’ve heard of this film; I haven’t had a chance to see it yet. Miles was a brilliant musician and bandleader. He was able to steer music and performances in a way that very few other musicians were able to accomplish. 70’s Miles was way ahead of it’s time; only now are musician’s able to understand the electronic and world influences that Miles incorporated into his ensembles. 80’s Miles were exactly at that time; and I don’t mean that negatively at all. Man with the Horn and Star People were much more controlled than his 70’s live concerts. Each project Miles delivered to the public can take up pages of commentary; I’ll just say that I hold his musicianship, leadership and jazz esthetic in the highest regard.

[Jazz Police] Free Jazz is often referred to as 'avant guard' but it sounds today much like it did in the 60's, can this still be considered 'avant guard'?