The Beyond Theory gallery includes what I call ‘far out’ music. When jazz performers have mastered the theory – whether they study formally or by themselves – they are free to soar. S-o-a-r. That is why Charlie Parker was nicknamed Bird. In this gallery you will hear the musicians leave the melodies behind in one case, and improvise on the spot in the second and third examples. Gunther Schuller, a jazz and classical composer coined the term Third Stream Music – the fourth example is an orchestral piece with improvisors Jim Hall and Ornette Coleman – pretty far out.
Bill Frissell was Jim’s student once, and is consistently growing. After a 50-second credits intro, you will see them interact in Tuscany at an outdoor concert. In the second example you will see Jim with Brian Camelio live in Tokyo. And in the last example (audio only) Jim and Gil Goldstein illustrate spontaneously reacting to each other. Isn’t this what we do in an analytic session?
Jim enjoyed playing what he called Free Pieces. Completely on the spot thoughts often leave listeners wondering. But, wondering is what we all do – especially in psychoanalytic work – because we never really know the full answers to anything.
Because of its improvisatory nature, jazz music is ever changing and growing. Always new and never static. I suggest that each psychoanalysis creates something new and that psychoanalytic training needs revision to accommodate that idea. Both its stress on theory, much of which is outdated, and its vision of technique need major revamping and change. It is the method of listening and not the theory that demands the spotlight in our ongoing education.