Bibliographic record
Abstract
My most intensive experience as a listener to jazz extends from 1959 – the year of release of groundbreaking albums that included Miles Davis’s Kind of Blue, Charles Mingus’s Ah Um, and Ornette Coleman’s The Shape of Jazz to Come – to the period in my late teens and early twenties when Archie Shepp released Fire Music and Four for ’Trane, Albert Ayler released Bells and The Heliocentric Worlds of Sun Ra appeared mysteriously in my collection (which also heavily featured albums by John Coltrane, especially the quartet with McCoy Tyner on piano, Elvin Jones on drums and Jimmy Garrison on bass). As I recall it, this was, among other things, a period in which improvisation was in different ways attempting to free itself from shaping structures such as chord changes, melodic lines, “modes” or even “notes” as such: as Albert Ayler famously remarked, “it’s not about notes any more, it’s about feelings.” In the wake of the civil rights and other liberatory social movements, as I remember it, jazz at this time was also, in some of its manifestations and particularly among black musicians, moving away from featured soloists toward increasing collaboration – or group improvisation, as on John Coltrane’s late albums, including the classic A Love Supreme, which consists of group improvisations around a basic four-note theme, extending over two sides of vinyl – one of the few non-classical “record” albums that actually benefited from the reformatting required by its re-release on CD.
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.004 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.001 | 0.001 |
| Bibliometrics | 0.002 | 0.001 |
| Science and technology studies | 0.002 | 0.001 |
| Scholarly communication | 0.007 | 0.004 |
| Open science | 0.002 | 0.006 |
| Research integrity | 0.002 | 0.002 |
| Insufficient payload (model declined to judge) | 0.663 | 0.533 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".