1966. Bop is dead. Fusion reigns. But the free-jazzers of Europe, particularly Germany, were having none of it. Having adopted the erupting-volcano strategies of Albert Ayler—because someone had to—they began to formulate big-band improvisations.

Globe Unity Orchestra - Globe Unity

This presents an obvious problem: put, say, 18 free-improvisers in a room and demand something, say, listenable. So when pianist Alexander von Schlippenbach wrote this piece for 18 musicians—putting together groups led by fire-breathers Peter Brotzmann (sax) and Manfred Schoopf (trumpet), along with folks like Evan Parker (sax), Can’s Jaki Liebezeit (drums), and others—he put it down in the graphic notation that was gathering steam among avant-garde classical composers. It’s really something to behold, meticulously choregraphed in such a way that crazy-persons Brotzmann and Hans Bennink (drums) somehow get to shine and don’t completely overwhelm the lower-key players like Albert Mangelsdorff (trombone) and Arjen Gorter (bass). Moment to watch: when everything drops out and Gerd Dudek gets his flute solo.

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Baden-Baden Big Band - Let’s Sing For Him (March In Memory of Albert Ayler)

Another option is to invoke the Holy Ghost, Mr. Ayler. He demands a procession, and gets a fitting one here, recorded for German radio at the Baden-Baden Free Jazz Meeting in 1970, and led by vocalists Karin Krog and Norma Winstone alternating between the titular refrain and a weirdly joyous “bah-doo-doo.” Somehow, Brotzmann and Bennink manage to stay to a single, descending line for four minutes, as bassist Peter Warren keeps them in check. At least, until the inevitable final blowout. Moment to watch: Don Cherry (trumpet) comes blazing in out of nowhere about a minute in.

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Italian Instabile Orchestra - Litania Sibilante

And so it goes. There are still a few massive combos roaming Europe, like the London Improvisers Group and Micro-East Collective, but none are more successful, to my mind, than the Italian Instabile Orchestra. Bringing together all the big stars of the Italian free-jazz scene, at least 18 of them (who knew there were so many!), IIO works a similar standard to that of Globe Unity—loosely scripted and choreographed, with room enough for pensiveness and bombast—but brings with it a sense of older jazz traditions, and a deep, occasionally sardonic, sense of humor. Watch as they start in murky freeform, Antonello Sallis leading the way on his accordion (as he does throughout here). Then, they bring it all back together, passing the same two-note phrase back-and-forth like a game of telephone; first Giancarlo Schaffini on his trombone, Eugenio Colombo on flute, then Alberto Mandarini on his trumpet, then all together. Until Mario Sciano’s alto sax busts through like a linebacker. Moment to watch: the last minute or two, everything comes together in a lovely fanfare, with a hot-licks ‘Trane-redolent accordion solo from Sallis.

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