About The Artist

Andre Martinez in Brooklyn, New York.

Biography: André Martinez He was born in Downtown Brooklyn. Martinez grew up in an environment where artistic expression, particularly music, was highly prized. His uncle Frankie Martinez was a musician, bandleader, teacher, and arranger. Another uncle, Angel Marrero a virtuoso guitarist who led his orchestra and worked with Tito Guizar, Xavier Cugat, and many others. His father Henry (Hank) Martinez, was a master builder and master carpenter of high-end cabinetry and inventor http://cyberneticzoo.com/underwater-robotics/1965-diving-suit-henry-martinez-charles-opalek-american/.

Frankie "Tito" Martinez - Guitar - photo taken in the Borscht Belt - Catskills NY where he worked as band leader for many years along side many legendary entertainers.






Uncle Angel Marrero

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As a youth in the late 1960s and early 1970s, Martinez participated in gifted and talented school programs. As part of this program, he credits his jazz teacher and mentor, Fred Silverman, for his encouragement to pursue the arts. 

Percussionist with Jr. High School Orchestra - Fred Silverman - Conductor

A significant event in his life occurred in his youth when Marianne McPartland invited his class to meet Leonard Bernstein and Beverly Sills in rehearsal at Lincoln Center Philharmonic — followed by a meeting with Buddy Rich at his club in NYC. Music and art would become his destiny.

He continued his music studies at Brooklyn College and with many noted teachers and musicians. Some were Rick Kravitz, Jerry Gonzalez, Gene Golden, Beaver Harris, Michael Narada Walden, Jackie Masonet, Tommy Lopez, Dom Um Romao, Milton Cardona, Frankie Malabe, Chief Baba Bey, Pedro Morejon, Erasto Vasconselos, and others.

The great Dom Um Romao on top right with Sergio Mendes & Brasil 66 

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The Music Years 1970- 2022:

• In the 1970's he leads his Afro-Latin Ensemble - El Monté, which performed throughout New York City. They performed at Columbia University International House, The Door, Pratt University, Dance Africa at BAM in Brooklyn, and did various live radio shows from The Nuyorícan Poets Café.

 

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  Percussionist with Shaheed Singh Punjab Folkdance Company doing many concerts and television shows through tri - state
   area in NYC. Won citations in 1978,1979, and 1980 in Columbia University.


Performance at Lincoln Center

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• Percussionist with Afrikan Wood Wind Society - Wali Yaya - director/poet. performing in many cultural festivals throughout NYC.

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Pie De Boi

Before his tenure with Cecil Taylor, co-led Píe De Boí, a Brazilian Samba band, alongside Guilherme Franco. The ensemble performed at iconic NYC venues like The Mudd Club, The Theater District, Town Hall, and The Village Gate. They also recorded on Harris Simon's Wind Chant album and were featured in Interview Magazine and Brazil's Machete Magazine.
The band included legendary members such as Alyrio Lima, Jimmy Cruiz, Don Suarez, Dom Um Romao, Ronnie Burrage, Cyro Baptista, and Duduka Fonseca, many of whom went on to lead or collaborate with world-renowned musicians and bandleaders. Píe De Boí became known for its vibrant and authentic fusion of Brazilian rhythms, leaving an indelible mark on the NYC music scene.

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The Cecil Taylor Years

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André Martinez's Role with Cecil Taylor

André Martinez was indeed part of Cecil Taylor's rhythm section in the 1980s and early 1990s, contributing to the evolution of Taylor's sound during this period, particularly during the 1980–1992 stretch. His drumming was integral to some key recordings and world tours that represented Taylor's later, more experimental phase, and he helped shape Taylor's increasingly complex and dense performances during this time.

Here are some of the key works and milestones from his involvement with Taylor:

Key Albums Featuring André Martinez:

1. Winged Serpent / Sliding Quadrants (1980)

• This album is an important part of Taylor's catalog from the early 1980s. Martinez’s drumming is prominent on these pieces, which continue Taylor’s exploration of dissonant textures and extended improvisations. The drumming is rich with polyrhythmic complexity, matching Taylor's own forceful and percussive piano technique.

• Recorded live, this album captures the interaction between Taylor's musicians and their improvisational exchanges. Martinez plays a crucial role here, helping to anchor the ensemble's energy while pushing the boundaries of rhythm and time.

• A continuation of Taylor’s adventurous approach to jazz and sound. Martinez’s drumming adds to the intensity of the session, contributing to the album’s dark, dense atmosphere. This period in Taylor’s career is marked by the integration of a wide range of musical influences, and Martinez’s drumming was essential to its execution.

• This politically charged recording is a significant document of Taylor’s engagement with global events and his ongoing commitment to avant-garde jazz. Martinez’s drumming complements the emotional weight and urgency of the music, which was part of Taylor’s response to world events during the 1980s.

World Tours and Live Performances (1980–1992)

During this period, Taylor's performances were often lengthy, exploratory affairs that pushed the boundaries of jazz improvisation. Martinez was a regular part of Taylor's groups in these years, touring worldwide and performing in a variety of contexts—from intimate club gigs to large-scale performances at international festivals.

• World Tours: Martinez played in numerous live concerts with Taylor, participating in groundbreaking performances across Europe, North America, Canada, Brasil, Japan and beyond. These tours allowed the musicians to push the limits of improvisation, testing the boundaries of form and structure in ways that were groundbreaking at the time.
• Collaborations: As a member of Taylor's ensemble, Martinez often worked alongside a rotating cast of musicians, contributing to the evolution of Taylor's sound. These live performances were essential in shaping the unique sonic landscapes Taylor sought to explore in the 1980s and early 1990s.

Guest Speaker at the Whitney Open Plan (2016)

In 2016, André Martinez appeared as a guest speaker at the Whitney Museum of American Art's Open Plan, which highlighted his long collaboration with Cecil Taylor. This event allowed Martinez to reflect on his experiences with Taylor, discussing the complexities of free jazz, the evolution of Taylor’s music, and the profound impact that working with Taylor had on his own artistic growth. This kind of event underscores Martinez’s importance not just as a musician but as a part of the cultural history surrounding the avant-garde movement.

Featured in Phil Freeman's Biography Luminous Brewing: Cecil Taylor

Most recently, André Martinez is mentioned in Phil Freeman’s biography, Luminous Brewing: Cecil Taylor, which highlights the significant moments in Taylor’s career, including the years when Martinez was an essential part of his ensemble. This biography offers an in-depth look at the late stages of Taylor's career and emphasizes Martinez’s contribution to the development of Taylor’s distinctive musical vision during the 1980s and 1990s.

André Martinez’s Artistic Legacy

While André Martinez may not have the same level of widespread recognition as some other figures in the free jazz movement, his role in Cecil Taylor's late-period groups cannot be overstated. His drumming was integral to maintaining the energy and intensity of Taylor’s complex and abstract compositions during the years when Taylor’s sound continued to evolve.

Martinez was part of a unique moment in Taylor’s career, one that integrated the heavy, physicality of free jazz with the depth of contemporary political and artistic statements. He was not merely a timekeeper but a co-creator, fully immersed in Taylor’s radical approach to music, and his contributions continue to resonate in the larger context of Taylor’s late work.

Final Thoughts

André Martinez’s tenure with Cecil Taylor marks an important chapter in the legacy of one of jazz’s most innovative and fearless artists. His drumming style, marked by complex rhythms and a willingness to explore uncharted territories, perfectly complemented Taylor’s unpredictable and boundary-pushing approach to music. Whether on studio recordings or in live settings, Martinez’s contribution to Taylor’s music of the 1980s and 1990s has solidified his place in the history of avant-garde jazz.

André Martinez and Cecil Taylor: A Partnership from 1980 to 1992

André Martinez was an integral part of Cecil Taylor’s groups from 1980 to 1992, playing an essential role in the evolution of Taylor’s sound during these years. As a drummer and percussionist, Martinez contributed to some of the most influential concerts, recordings, and tours of Taylor’s later career. His work with Taylor during this period was marked by intense improvisation, complex rhythms, and a focus on expanding the boundaries of jazz.

Major Concerts and Tours: 1980 – 1992

During this period, Cecil Taylor and his group, including André Martinez, performed extensively in the U.S. and abroad, including major festivals, club dates, and special events. Some of the most notable performances include:

U.S. Concert Series (New England Foundation for the Arts, 1980s):

• Cecil Taylor Trio – André Martinez (drums), William Parker (contrabass)

STRUCTOLITE TOUR (1980s):

• Spaulding Auditorium, Dartmouth College (Hanover, NH)
• Maine Center for the Arts, University of Maine (Orono, ME)
• Langston Hughes Center, Providence (RI)
• Residential Arts Center, University of MA-Amherst (Amherst, MA)
• Berkshire Museum, Pittsfield (MA)
• Flynn Theater, Burlington (VT)
• Polish National House, Hartford (CT)
• Strand Theater, Dorchester (MA)

Notable NYC Performances:

• Knitting Factory, NYC (Quintet: Cecil Taylor, Jimmy Lyons, William Parker, André Martinez, Rev. Frank Wright)
• Blue Note, NYC (Quartet: Cecil Taylor, Jimmy Lyons, William Parker, André Martinez)
• Judson Street Church, NYC (Orchestra: Taylor, Lyons, Wright, Parker, Craig Harris, G. Spearman, A. Martinez)
• Cecil Taylor Trio at Cleveland Institute of Music, Ohio (with William Parker and André Martinez)
• Village Vanguard, NYC (Trio with Taylor, Parker, Martinez)

International Tours and Performances:

• Art Park Jazz Festival, Niagara, NY (Quintet)
• Chicago Jazz Festival, Chicago (Unit)
• Vienna, Austria, Akademia Theater (1983)
• Paris, Teatré Musical (1984)
• Berlin, Der Philharmonie (1983)
• Madrid, Spain (1983)
• Cagliari, Sicily (1983)
• Zaragoza, Spain (1983)
• Mannheim, Germany (1983)

Key Recorded Works (1980–1992)

André Martinez’s drumming is central to a number of Cecil Taylor’s albums and live recordings during this period, showcasing the drummer's contribution to Taylor's complex, free-form music.

Part 1 – Notable Studio and Live Recordings:

• Cecil Taylor Quintet – Live at Lush Life (1981): Features Jimmy Lyons, William Parker, Rashid Bakr, André Martinez with special guest Lester Bowie.
• Cecil Taylor Quintet – Art Park (Lewiston, NY, 8/15/1982): With Jimmy Lyons, William Parker, Rashid Bakr, Brenda
• Bakr and André Martinez.
• Cecil Taylor Quintet – Live at the Chicago Jazz Festival (1982): With Jimmy Lyons, William Parker, Rashid Bakr, Brenda Bakr and André Martinez.
• Cecil Taylor Unit – Live at the Blue Note (1984): Featuring Jimmy Lyons, William Parker, Frank Wright, and André Martinez.
• Cecil Taylor Unit – Music from Two Continents (1984): Featuring Jimmy Lyons, William Parker, André Martinez, Rev. Frank Wright, Karen Borca, Gunter Hampel, Johm Tchai, Tomaso Stanko and Enrico Rava at various venues including Paris, Hunziken, and Vieligen.

Part 2 – Additional Key Releases:

• Cecil Taylor Unit – Live at the Knitting Factory (1991): With William Parker, Tony Oxley, Thurman Bakr, and others.
• Cecil Taylor Unit – Rada – Live at the Knitting Factory (1991): Featuring William Parker, André Martinez, Tony Oxley, Glen Spearman, Carlos Ward, and others.
• Cecil Taylor Quartet – Blues Alley (Japan, 1990): With William Parker, André Martinez, Tony Oxley.

Martinez's role was crucial in the rhythm section, contributing to the rich, dense soundscapes that Taylor’s music embodied, especially in his later works, which incorporated broader influences, including political themes and multimedia presentations.

Major International Tours and Performances:

• Cecil Taylor Unit frequently performed in Europe, including Paris, Berlin, Vienna, and Madrid, often with a lineup including Jimmy Lyons, William Parker, Rashid Bakr, and André Martinez. These performances helped solidify the Unit’s reputation as one of the most forward-thinking ensembles of the period.
• A particularly notable performance took place at the Berlin Der Philharmonie in 1983, and Cecil Taylor Unit’s"Sounds In Motion" tours in Europe were a significant part of their international legacy.
• In 1991, they performed at the Knitting Factory (NYC) and Rada, as well as Sweet Basil’s in NYC, continuing their exploration of free improvisation and experimental music.

Publications and Influence:

Martinez’s contributions to the free jazz movement and Cecil Taylor’s legacy are reflected in a number of books and publications. These include:

• The Penguin Book of Jazz Encyclopedia
• A Sessionography – William Parker by Rick Lopez
• Universal Tonality – William Parker by Cisco Bradley
• Jazzing: New York City’s Unseen Scene by Thomas H. Greenland
• African Dance – An Artistic Historical and Philosophical Inquiry by Kariamu Weish Asante

Most recently, André Martinez was mentioned in Phil Freeman’s biography, Luminous Brewing: Cecil Taylor, which explores Taylor's groundbreaking work with his ensembles during these years.

André Martinez's Legacy

André Martinez's drumming during the 1980s and early 1990s was not just about providing rhythm; it was about creating a dynamic, ever-evolving sound that complemented Taylor’s complex, layered, and abstract piano playing. His contribution to Taylor's ensembles was integral to the unit's innovative sound, which pushed the boundaries of jazz into new territories of free improvisation.

Throughout this period, Martinez played a key role in shaping Taylor’s later work, both live and in the studio, collaborating with many of the genre’s most important players. He was not only a performer but also a creative force behind the ongoing reinvention of free jazz, contributing to some of the most adventurous and profound jazz music of the era.

Recordings and Performances (1980–1992)

1. Cecil Taylor Quintet – Live at Lush Life(1981)

• Date: 1981
• Lineup:
• Cecil Taylor (piano)
• Jimmy Lyons (alto saxophone)
• William Parker (contrabass)
• Rashid Bakr (drums)
• André Martinez (drums and percussion)
• Special guest: Lester Bowie (trumpet)

This live performance at Lush Life (a celebrated New York venue) captures the electric synergy between Taylor and his group. The energy is explosive, with Lester Bowie’s trumpet adding a distinctive layer to the unit’s already dynamic sound. Martinez’s contributions as a percussionist create a polyrhythmic landscape that provides a platform for Taylor’s avant-garde piano explorations. This recording is known for its intense improvisation and intricate communication between the musicians.

2. Cecil Taylor Quintet – Art Park(Lewiston, NY, 1982)

• Date: 8/15/1982
• Lineup:
• Cecil Taylor (piano)
• Jimmy Lyons (alto saxophone)
• William Parker (contrabass)
• Rashid Bakr (drums)
• Brenda Bakr ( voice)
• André Martinez (drums and percussion)

Recorded at the Art Park Jazz Festival in Lewiston, New York, this performance is considered one of the definitive live recordings of Taylor’s Quintet. The group had a deep, telepathic connection, and Martinez’s intricate percussion work punctuates Taylor’s intense improvisations. Rashid Bakr’s dynamic drumming also complements Martinez’s contributions, enhancing the layered, multi-textured sound of the unit.

3. Cecil Taylor Quintet – Live at the Chicago Jazz Festival(1982)

• Date: 1982
• Lineup:
• Cecil Taylor (piano)
• Jimmy Lyons (alto saxophone)
• William Parker (contrabass)
• Rashid Bakr (drums)
• André Martinez (drums and percussion)

A landmark performance at the Chicago Jazz Festival, the recording captures Taylor's quintet in full force, presenting an avant-garde, free jazz experience that continues to influence jazz today. The group's sound here is massive and sprawling, with Martínez's percussion blending beautifully with the melodic chaos of Taylor’s piano. As always, the music is tightly improvised, with rapid changes in intensity and structure.

4. Cecil Taylor Unit – Live at the Blue Note(1984)

• Date: 1984
• Lineup:
• Cecil Taylor (piano)
• Jimmy Lyons (alto saxophone)
• William Parker (contrabass)
• Rashid Bakr (drums)
• André Martinez (drums and percussion)
• Frank Wright (tenor saxophone)

This iconic performance features the Cecil Taylor Unit at the famous Blue Note in New York. The recording stands out not only for the ferocious playing of all members and André Martinez. This was one of the key moments where Taylor’s vision of multi-rhythmic complexity was most fully realized, with Frank Wright’s impassioned tenor saxophone work adding an extra layer of intensity to the ensemble.

5. Cecil Taylor Unit – Music from Two Continents(1984)

• Date: 10/1984
• Lineup:
• Cecil Taylor (piano)
• Jimmy Lyons (alto saxophone)
• William Parker (contrabass)
• Rashid Bakr (drums)
• André Martinez (drums and percussion)
• Rev. Frank Wright (tenor saxophone)
• Karen Borca (bassoon)
• Tomaso Stanko (trumpet)
• John Tchicai (alto saxophone)
• Gunter Hampel (clarinet, vibraphone)

Recorded during one of Taylor’s legendary European tours, Music from Two Continents showcases the fusion of avant-garde jazz with elements of classical and world music. The percussion section is especially prominent in this release, with Martínez and Bakr weaving intricate rhythmic patterns that drive the ensemble's complex improvisations. The composition "Music from Two Continents" represents a perfect example of Taylor’s expansive vision, incorporating a larger orchestral framework into his typically intense, fiery small-group playing.

6. Cecil Taylor Unit – Rada– Live at the Knitting Factory (1991)

• Date: 1/13/1991
• Lineup:
• Cecil Taylor (piano)
• William Parker (contrabass)
• Tony Oxley (drums)
• Rashid Bakr (drums)
• André Martinez (drums and percussion)
• Glen Spearman (tenor saxophone)
• Carlos Ward (alto saxophone)
• Raphé Malik (trumpet)

This late-period Cecil Taylor Unit performance at the Knitting Factory captures the ensemble in an intense and evocative interaction. Taylor’s piano is as ever expansive, and Martínez’s percussive contributions—characterized by multiple drum sets and instruments—are even more diverse, with both subtle textures and explosive rhythms. The group's intense improvisation leads to powerful moments of unity, where every player is locked into a collective creative momentum. The live recording showcases how Taylor’s experimentalism continued well into the 1990s, adapting to the ever-changing landscape of New York's avant-garde jazz scene.

Further International Appearances (1980–1992)

• Paris, 1984: A performance at the Teatré Musical featured Jimmy Lyons, William Parker, Karen Borca, Frank Wright and André Martinez. The ensemble’s exploration of polyrhythmic textures and harmonic abstraction highlighted Taylor's adaptability in international settings, working with local musicians like Tomaso Stanko, John Tchicai, and Gunter Hampel.
• Berlin Philharmonie, 1983: This iconic venue hosted a transcendent performance by the Cecil Taylor Unit, which continued the group’s exploration of multi-layered sound and rhythm. Martínez’s drumming blends into the abstract landscapes of Taylor’s compositions, with the ensemble traversing deep sonic landscapes.
• Madrid, 1983: The Cecil Taylor Unit performed for an enthusiastic European audience, continuing to develop Taylor’s ideas around sound and collective improvisation.
• Cagliari, Sicily (1983) & Sardinia (1983): Taylor’s group brought their intense improvisation to southern Europe, demonstrating their powerful live energy and cohesion in an international context.

André Martinez’s Impact on the Group:

During this period, André Martinez was more than just a member of the rhythm section—he was a pivotal creative force who helped shape the group’s sound. His diverse percussion palette included everything from traditional drum sets to more unorthodox instruments, contributing to the avant-garde nature of the group’s music. His relationship with fellow percussionist Rashid Bakr allowed for intricate, layered rhythms, giving Taylor’s compositions a distinct, expansive feel.

The drumming duo in particular was a hallmark of these performances, as the percussionists exchanged complex polyrhythms, creating a dense and dynamic foundation for Taylor's adventurous piano work. Martinez’s innovative approach to percussion was essential in capturing the essence of Taylor's late-period work, pushing the boundaries of rhythm and jazz improvisation.

3. Burning Poles Concert Live in Barcelona (1991)

• Date: 1991
• Venue: Barcelona, Spain
• Event: Burning Poles Concert Live

In 1991, Cecil Taylor and his group performed the Burning Poles Concert Live in Barcelona, an unforgettable performance widely regarded as one of the most intense and captivating moments in Taylor's later career. The concert stood out for its exploration of complex, free improvisation, with Cecil Taylor and his ensemble pushing the boundaries of jazz.

The lineup for the Burning Poles Concert was:

• Cecil Taylor (piano)
• André Martinez (drums and percussion)
• William Parker (contrabass)
• Tony Oxley (drums and percussion)

This Barcelona performance was marked by an extraordinary synergy between the musicians, where the intricate interplay between Martinez and Oxley on drums, the resonant grounding of Parker’s bass, and the fiery piano of Taylorcreated an unparalleled soundscape. The concert, which became a favorite of Cecil Taylor, exemplified the freedom and creative explosion that characterized his work.

Cecil Taylor’s Love for the Performance:

After the event, Taylor remarked that the Burning Poles Concert in Barcelona was one of the performances he loved the most—capturing the pure essence of his music. The performance was a cathartic and liberating experience, with Taylor at his most intense and his ensemble delivering one of the most exhilarating free jazz concerts in recent memory.

The dual drum setup, with André Martinez and Tony Oxley, created a complex yet fluid rhythmic foundation, giving Cecil Taylor the space to fully unleash his avant-garde piano explorations. The energy between the musicians was electric, and the concert allowed each member to shine through extended improvisations and spontaneous compositions.

Legacy of the Concert:

The Burning Poles Concert became a significant part of Cecil Taylor’s discography and remains a high point in his performances with André Martinez, William Parker, and Tony Oxley. The event, marked by extraordinary musicianship and musical freedom, exemplifies the spirit of avant-garde jazz and Taylor’s unparalleled approach to improvisation.

Key Performances with André Martinez:

1. Free Jazz Festivals in Brazil (1989) – Performances in Rio de Janeiro and São Paulo, featuring Cecil Taylor, André Martinez, William Parker and Greg Bendian.
2. Blues Alley, Tokyo, Japan (1990) – A week-long residency with Cecil Taylor, William Parker, André Martinez, and Tony Oxley, featuring two sets every night.
3. Eye of the Crocodile in NYC (1983) – A unique fusion of jazz and dance, with André Martinez contributing alongside Cecil Taylor,Jimmy Lyons , William Parker, and Rashid Bakr.
4. Burning Poles Concert Live, Barcelona (1991) – A remarkable concert Cecil Taylor loved, featuring the same lineup of Taylor, Martinez, Parker, and Oxley.
5. Structolite Concerts in New England (1990) – A series of performances across New England, coinciding with Cecil Taylor’s receipt of the MacArthur Genius Award.

6. The Cecil Taylor Trio – Structolite Tour Live at Real Art Ways, Hartford, Connecticut
7. This electrifying moment captures the Cecil Taylor Trio in full flight during theirStructolite Tour. The trio, featuring avant-garde jazz legend Cecil Taylor on piano, André Martinez on drums, and William Parker on bass, performed at Real Art Ways in Hartford, Connecticut. Known for their intense and innovative improvisations, this collaboration was a hallmark of avant-garde jazz in the late 20th century.
8. Cecil Taylor's intricate, explosive piano playing intertwines seamlessly with André Martinez’s dynamic, polyrhythmic drumming, creating a foundation of relentless energy and rhythmic complexity. William Parker’s resonant bass lines act as the grounding force, bridging rhythm and melody while driving the ensemble's explorations forward.
9. TheStructolite Tour stands as a testament to the trio’s bold artistry, showcasing their fearless commitment to pushing the boundaries of jazz improvisation. Each performance was a journey, blending spontaneity, precision, and an unyielding sense of musical adventure.
10. "Legendary Cecil Taylor Trio performing live at Real Art Ways, Hartford, CT, during theStructolite Tour. Featuring Cecil Taylor (piano), André Martinez (drums), and William Parker (bass), this unforgettable performance pushed the boundaries of avant-garde jazz and remains a milestone in the genre’s history."
11. Cecil Taylor & André Martinez Live at Lush Life Jazz Club, NYC (1981)
12. This rare photograph captures one of the earliest live performances ofAndré Martinez alongside avant-garde jazz pioneer Cecil Taylor at the iconic Lush Life Jazz Club in New York City in 1981. This performance marked a significant moment in the evolution of Taylor’s ensembles, as Martinez's dynamic and innovative drumming brought a new layer of rhythmic complexity to Taylor’s already groundbreaking improvisations.
13. In this intimate club setting, Taylor’s fiery, percussive piano style met the raw energy and precision of Martinez’s drumming, creating an electrifying synergy that enthralled the audience. Lush Life, known for its vibrant atmosphere and dedication to cutting-edge jazz, provided the perfect stage for these two virtuosos to explore uncharted sonic territories.
14. This concert is a reminder of the duo's fearless approach to improvisation, where rhythm and melody intertwined to challenge and transcend the conventions of jazz. It was the beginning of a partnership that would continue to redefine avant-garde music in the years to come.