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Sound Experiments: The Music of the AACM by Paul Steinbeck

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Courtesy Roberto Masotti

By Tom Spargo
November 6, 2023
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Sound Experiments: The Music of the AACM
Paul Steinbeck
272 Pages
ISBN-13: 978-0-226-82953-1
University of Chicago Press
Hardback 2022/ Paperback 2023

Paul Steinbeck's Sound Experiments is a historical narrative and technical analysis of the music of the Association for the Advancement of Creative Musicians (AACM). Steinbeck traces the chronology of this wildly creative organization from its origins in the mid-1960s to the present day through the course ten chapters, each dedicated to a particularly influential album, composition, or live performance. Published by University of Chicago Press, the hardback edition of Sound Experiments first appeared back in 2022 and is now even more accessible to readers in this new paperback edition.

Steinbeck's book begins with a detailed analysis of the two albums which sparked the AACM into life:

Roscoe Mitchell

saxophone
b.1940

" data-original-title="" title="">Roscoe Mitchell's Sound (Delmark, 1966) and Levels and Degrees of Light by

Muhal Richard Abrams

piano
1930 - 2017

" data-original-title="" title="">Muhal Richard Abrams (Delmark, 1968). Experimenting similarly with collective improvisation and extended 20+ minute compositions, both bandleaders contrasted greatly in their approach to timbre and mood. Mitchell's album continued the improvisational innovations of

Ornette Coleman

saxophone, alto
1930 - 2015

" data-original-title="" title="">Ornette Coleman with the volume, aggression and sonic chaos dialed up tenfold, whereas Abrams' album emphasized sparse textures, woodwind pedal tones and even birdsong sounds. The sonic contrasts of these two founding albums sets the tone for the rest of the book, in which the never-ending search for greater expression, creativity, and iconoclasm is always at the forefront of each musician's imagination.

The following nine chapters trace the evolution of the AACM discography over subsequent decades. From the 1970s, it covers classic albums such as For Trio by

Anthony Braxton

woodwinds
b.1945

" data-original-title="" title="">Anthony Braxton (Arista, 1977) as well as Air Time (Nessa, 1978) by

Henry Threadgill

woodwinds
b.1944

" data-original-title="" title="">Henry Threadgill,

Fred Hopkins

bass
1947 - 1999

" data-original-title="" title="">Fred Hopkins and

Steve McCall

drums
b.1933

" data-original-title="" title="">Steve McCall. From the 1980s, Steinbeck chooses George Lewis' composition 'Voyager' (1987), an early example of computer-music in which intelligent algorithms improvised in real time dialogue with human musicians. From the 1990s, 2000s, and 2010s, Steinbeck analyses music by the likes of

Fred Anderson

saxophone
1929 - 2010

" data-original-title="" title="">Fred Anderson,

AACM Great Black Music Ensemble

" data-original-title="" title="">AACM Great Black Music Ensemble,

Wadada Leo Smith

trumpet
b.1941

" data-original-title="" title="">Wadada Leo Smith, and

Nicole Mitchell

flute
b.1967

" data-original-title="" title="">Nicole Mitchell.

The final chapter brings the narrative right into the present day, with the analysis of a 2015 album, Artifacts (482 Music), recorded by the Artifacts Trio comprised of cellist

Tomeka Reid

cello

" data-original-title="" title="">Tomeka Reid, flautist

Nicole Mitchell

flute
b.1967

" data-original-title="" title="">Nicole Mitchell and drummer

Mike Reed

drums
b.1974

" data-original-title="" title="">Mike Reed. Studded with compositions by and homages to former AACM members, Steinbeck demonstrates the enduring importance of history and lineage to current AACM members.

The author's analysis is undoubtably highly technical, and his book includes extensive musical notation and plates of transcriptions sourced through his personal connections to members of the AACM. Reading whilst simultaneously listening to the recordings cited is therefore a seamless and highly rewarding (if not sometimes quite exhausting) process. The sheer complexity and experimental nature of the AACM's music, in particularly its emphasis on collective improvisation, free form, and unconventional 'sound tools,' really tests the limits of standard musical notation. This is something that AACM constantly grappled with, and their ability to experiment with a mixture of strange symbols, mathematical approximations, colors and words to depict their musical intentions is seriously impressive. Even for readers who do not read music so fluently, the inclusion of highly visual examples of non-standard notation results in an engaging and highly immersive reading experience.

Steinbeck's focus is not exclusively musical; he remains interested throughout with the social, political, and economic forces that underpinned the evolution of the music. Successive generations of AACM musicians played a crucial role altering perceptions of 'art' globally, not only in music but across other domains such as visual art, academia and fashion. They were especially important in breaking down the racial barriers which traditionally segregated 'white experimental composers' from 'African-American jazz musicians.'

The music of the AACM is certainly some of the most artistically challenging music ever recorded. Sound Experiments is therefore an invaluable companion for those looking to dip their toes into this fascinating discography, as well as a rich source of information for those looking to dive more deeply into the depths of musical analysis.

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