The case for spectral jazz combo practice

The term spectralism most commonly refers to an outlook on musical composition that emerged in 1970s Europe, particularly through the work of a group of French composers affiliated with Ensemble l’Itinéraire. The most well-known members of this group are Gérard Grisey and Tristan Murail. Spectral music shifts attention from discrete musical categories towards notions of process, continuity, and the exploration of perceptual and cultural thresholds. This approach had a large impact on experimental musical practice with links to the classical tradition.

Spectral techniques have only recently found their way into jazz. However, the spectral approach is in line with tendencies that have long existed in jazz practice. Chief amongst these tendencies is the significance of timbre (and its blurry border with harmony) as a structural parameter in musical discourse. In certain instances, the exploration of timbre and timbre-harmony has even gone to the point of what could veritably be considered proto-spectral. Examples are instrumental synthesis1 in the music of Duke Ellington2; the use of multiphonics by John Coltrane;3 voicings of Monk that mimic the spectral characteristics of the piano;4 and the timbral experiments of Henry Grimes.5

Frank Gratkowski’s Spectral Reflections, from his quartet’s eponymous 2003 album, is the first explicit reference to spectralism as a source of inspiration, though it does not engage with its composition methods. Jacob Anderskov’s Sonic Complexion project is a more recent example with a similar approach. It too looks at spectral music for inspiration, but does not go as far as to apply its techniques or methods.6

In the years after Gratkowski’s first spectral experiments, both he and alto saxophone player Hayden Chisholm did incorporate spectral composition methods into music for four alto saxophones and for big band without rhythm section.7 The spectral compositions they wrote for these instrumentations have a firm foot in classical spectral music. Traditional approaches to rhythm and groove are absent and unifying the ensemble into one meta-instrument takes full priority over individual expression by band members.

Steve Lehman put spectral techniques to work in a more typical jazz idiom. Two albums by Lehman’s octet8 feature spectral compositions with solos over chorus forms, rhythmic grooves, harmonic changes, and background writing. As is often the case with mid-size jazz ensembles, this band mostly relies on detailed written arrangements, and improvisation is limited to specific regions of the score. Erik Hove took a similar approach in compositions for his Chamber Ensemble,9 as did Frédéric Maurin with his spectral work for big band—of which the most recent example, Ex Machina, is a joint composition with Lehman.10

In its short history, spectral jazz has found its way from projects that straddle the worlds of free jazz and new music, to a more pronounced jazz practice in mid-size and large ensembles. A next logical step would be to integrate spectral techniques in the music making of small jazz formations, with its typical dynamics of extemporary cocreation. Benjamin Weidekamp11 and Cory Smythe12 have dipped their toes with a handful of compositions, but much is left to be explored. Piergiorgio Pirro traveled some of this uncharted terrain on his recent album fold/unfold/refold (2023).13 The quartet composition Stretch—the focal point of this exposition—is one of the album’s tracks.