An Esp-Disk' Discography
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Anthony Braxton Five Pieces 1975
Anthony Braxton Five Pieces 1975 ANTHONY BRAXTON Five Pieces 1975 Arista AL 4064 (LP) I would like to propose now, at the beginning of this discussion, that we set aside entirely the question of the ultimate worth of Anthony Braxton's music. There are those who insist that Braxton is the new Bird, Coltrane, and Ornette, the three-in-one who is singlehandedly taking the Next Step in jazz. There are others who remain unconvinced. History will decide, and while it is doing so, we can and should appreciate Braxton's music for its own immediate value, as a particularly contemporary variety of artistic expression. However, before we can sit down, take off our shoes, and place the enclosed record on our turntables, certain issues must be dealt with. People keep asking questions about Anthony Braxton, questions such as what does he think he is doing? Since these questions involve judgments we can make now, without waiting for history, we should answer them, and what better way to do so than to go directly to the man who is making the music? "Am I an improviser or a composer?" Braxton asks rhetorically, echoing more than one critical analysis of his work. "I see myself as a creative person. And the considerations determining what's really happening in the arena of improvised music imply an understanding of composition anyway. So I would say that composition and improvisation are much more closely related than is generally understood." This is exactly the sort of statement Braxton's detractors love to pounce on. Not only has the man been known to wear cardigan sweaters, smoke a pipe, and play chess; he is an interested in composing as in improvising. -
BARRY ALTSCHUL the 3DOM FACTOR TUM CD 032 01 The
BARRY ALTSCHUL THE 3DOM FACTOR TUM CD 032 01 The 3dom Factor / 02 Martin’s Stew / 03 Irina / 04 Papa’s Funkish Dance / 05 Be Out S’Cool / 06 Oops / 07 Just A Simple Song / 08 Ictus / 09 Natal Chart / 10 A Drummer’s Song Barry Altschul drums Jon Irabagon tenor saxophone Joe Fonda double bass International release: February 19, 2013 Legendary master drummer Barry Altschul, a veteran of ground-breaking groups with Paul Bley, Chick Corea, Anthony Braxton and Sam Rivers, celebrates his 70th birthday with the release of his first recording as a leader in over a quarter century. This new recording, The 3dom Factor, features Barry Altschul’s new trio with saxophonist Jon Irabagon and bassist Joe Fonda in a program of Altschul compositions. On January 6, 2013, Barry Altschul, who was born in the south Bronx and first started playing the drums on the local hard bop scene in the late 1950s, celebrated his 70th birthday. He is also quickly approaching five decades as a professional musician as his first “proper” gig was with the Paul Bley Trio at the inauguration of Slugs’, the (in)famous East Village bar, as a jazz club in 1964. In addition to playing with Bley, Altschul was active on New York’s bourgeoning free jazz scene of the 1960s, working with the likes of saxophonist Steve Lacy, trombonist Roswell Rudd as well as bassists Gary Peacock, Alan Silva and Steve Swallow and even performing with the Jazz Composer’s Orchestra. His familiarity with the tradition also led to performances with saxophonists Sonny Criss, Johnny Griffin, Lee Konitz, Art Pepper and Tony Scott, pianist Hampton Hawes and vocalist Babs Gonzalez, among others. -
Bob James and Nancy Stagnitta "In the Chapel in the Moonlight"
Interlochen, Michigan * Bob James and Nancy Stagnitta "In the Chapel in the Moonlight" Saturday, March 4, 2017 2:30pm, Dendrinos Chapel/Recital Hall 7:30pm, Dendrinos Chapel/Recital Hall PROGRAM Nancy Stagnitta, flute Bob James, piano Side A Dancing on the Water ............................................................................................ Bob James Air Apparent .................................................................... Johann Sebastian Bach/Bob James J.S. Bop ................................................................................................................. Bob James Quadrille ................................................................................................................ Bob James Heartstorm ............................................................................................................. Bob James ~ BRIEF PAUSE ~ Side B Smile .............................................................................................................. Charlie Chaplin The Bad and the Beautiful .................................................................................. David Raksin Iridescence ............................................................................................................ Bob James Bijou/Scrapple from the Chapel ................................................... Bob James/Nancy Stagnitta Odyssey ................................................................................................................. Bob James All compositions arranged by Bob -
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TRAVERSE CITY RECORD-EAGLE SUMMER GUIDE 2004 15 NITELIFE GUIDE Jazz composer expands creations, talents BY MARTA HEPLER DRAHOS theme to the ‘70s television myself,” he says — it did Record-Eagle staff writer show “Taxi,” two Grammys inspire his latest venture, and a Lifetime Achievement With his international The Bob James Art of Wine Award from the Smooth career firmly entrenched, Collection. Launched in Jazz Association of Bob James could live any- 2002 after a chance meeting America, and several Gold where in the world. with Australian beverage Records. But Traverse City is where entrepreneur Chris Payne, These days he spends the jazz pianist and compos- the signature collection fea- about half his time perform- er feels a creative vibe. tures James’ distinctive art ing in the U.S., Europe and “We like privacy, peace on its labels. Asia, and the other half and quiet,” said James, who So far the collection con- recording in various set- has vacationed in the area sists of three wines from tings. Never one to focus on for more than 20 years. “I Down Under, including a single project when he think there’s a feeling we “Smooth Chardonnay,” win- could be working on three get here, there’s an escape ner of a silver medal at the or four, he laid down tracks aspect to it.” first U.S. Starwine for a new album with his Since purchasing part of International Wine jazz super-group Fourplay the Long Lake retreat estate Competition in in February, the same of meat company magnate J. Philadelphia in March. -
Here I Played with Various Rhythm Sections in Festivals, Concerts, Clubs, Film Scores, on Record Dates and So on - the List Is Too Long
MICHAEL MANTLER RECORDINGS COMMUNICATION FONTANA 881 011 THE JAZZ COMPOSER'S ORCHESTRA Steve Lacy (soprano saxophone) Jimmy Lyons (alto saxophone) Robin Kenyatta (alto saxophone) Ken Mcintyre (alto saxophone) Bob Carducci (tenor saxophone) Fred Pirtle (baritone saxophone) Mike Mantler (trumpet) Ray Codrington (trumpet) Roswell Rudd (trombone) Paul Bley (piano) Steve Swallow (bass) Kent Carter (bass) Barry Altschul (drums) recorded live, April 10, 1965, New York TITLES Day (Communications No.4) / Communications No.5 (album also includes Roast by Carla Bley) FROM THE ALBUM LINER NOTES The Jazz Composer's Orchestra was formed in the fall of 1964 in New York City as one of the eight groups of the Jazz Composer's Guild. Mike Mantler and Carla Bley, being the only two non-leader members of the Guild, had decided to organize an orchestra made up of musicians both inside and outside the Guild. This group, then known as the Jazz Composer's Guild Orchestra and consisting of eleven musicians, began rehearsals in the downtown loft of painter Mike Snow for its premiere performance at the Guild's Judson Hall series of concerts in December 1964. The orchestra, set up in a large circle in the center of the hall, played "Communications no.3" by Mike Mantler and "Roast" by Carla Bley. The concert was so successful musically that the leaders decided to continue to write for the group and to give performances at the Guild's new headquarters, a triangular studio on top of the Village Vanguard, called the Contemporary Center. In early March 1965 at the first of these concerts, which were presented in a workshop style, the group had been enlarged to fifteen musicians and the pieces played were "Radio" by Carla Bley and "Communications no.4" (subtitled "Day") by Mike Mantler. -
Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67
Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 Marc Howard Medwin A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2008 Approved by: David Garcia Allen Anderson Mark Katz Philip Vandermeer Stefan Litwin ©2008 Marc Howard Medwin ALL RIGHTS RESERVED ii ABSTRACT MARC MEDWIN: Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 (Under the direction of David F. Garcia). The music of John Coltrane’s last group—his 1965-67 quintet—has been misrepresented, ignored and reviled by critics, scholars and fans, primarily because it is a music built on a fundamental and very audible disunity that renders a new kind of structural unity. Many of those who study Coltrane’s music have thus far attempted to approach all elements in his last works comparatively, using harmonic and melodic models as is customary regarding more conventional jazz structures. This approach is incomplete and misleading, given the music’s conceptual underpinnings. The present study is meant to provide an analytical model with which listeners and scholars might come to terms with this music’s more radical elements. I use Coltrane’s own observations concerning his final music, Jonathan Kramer’s temporal perception theory, and Evan Parker’s perspectives on atomism and laminarity in mid 1960s British improvised music to analyze and contextualize the symbiotically related temporal disunity and resultant structural unity that typify Coltrane’s 1965-67 works. -
Printcatalog Realdeal 3 DO
DISCAHOLIC auction #3 2021 OLD SCHOOL: NO JOKE! This is the 3rd list of Discaholic Auctions. Free Jazz, improvised music, jazz, experimental music, sound poetry and much more. CREATIVE MUSIC the way we need it. The way we want it! Thank you all for making the previous auctions great! The network of discaholics, collectors and related is getting extended and we are happy about that and hoping for it to be spreading even more. Let´s share, let´s make the connections, let´s collect, let´s trim our (vinyl)gardens! This specific auction is named: OLD SCHOOL: NO JOKE! Rare vinyls and more. Carefully chosen vinyls, put together by Discaholic and Ayler- completist Mats Gustafsson in collaboration with fellow Discaholic and Sun Ra- completist Björn Thorstensson. After over 33 years of trading rare records with each other, we will be offering some of the rarest and most unusual records available. For this auction we have invited electronic and conceptual-music-wizard – and Ornette Coleman-completist – Christof Kurzmann to contribute with some great objects! Our auction-lists are inspired by the great auctioneer and jazz enthusiast Roberto Castelli and his amazing auction catalogues “Jazz and Improvised Music Auction List” from waaaaay back! And most definitely inspired by our discaholic friends Johan at Tiliqua-records and Brad at Vinylvault. The Discaholic network is expanding – outer space is no limit. http://www.tiliqua-records.com/ https://vinylvault.online/ We have also invited some musicians, presenters and collectors to contribute with some records and printed materials. Among others we have Joe Mcphee who has contributed with unique posters and records directly from his archive. -
Dave Burrell, Pianist Composer Arranger Recordings As Leader from 1966 to Present Compiled by Monika Larsson
Dave Burrell, Pianist Composer Arranger Recordings as Leader From 1966 to present Compiled by Monika Larsson. All Rights Reserved (2017) Please Note: Duplication of this document is not permitted without authorization. HIGH Dave Burrell, leader, piano Norris Jones, bass Bobby Kapp, drums, side 1 and 2: b Sunny Murray, drums, side 2: a Pharoah Sanders, tambourine, side . Recording dates: February 6, 1968 and September 6, 1968, New York City, New York. Produced By: Alan Douglas. Douglas, USA #SD798, 1968-LP Side 1:West Side Story (L. Bernstein) 19:35 Side 2: a. East Side Colors (D. Burrell) 15:15 b. Margy Pargy (D. Burrell 2:58 HIGH TWO Dave Burrell, leader, arranger, piano Norris Jones, bass Sunny Murray, drums, side 1 Bobby Kapp, drums side 2. Recording Dates: February 6 and September 9, 1968, New York City, New York. Produced By: Alan Douglas. Additional production: Michael Cuscuna. Trio Freedom, Japan #PA6077 1969-LP. Side: 1: East Side Colors (D. Burrell) 15:15 Side: 2: Theme Stream Medley (D.Burrell) 15:23 a.Dave Blue b.Bittersweet Reminiscence c.Bobby and Si d.Margie Pargie (A.M. Rag) e.Oozi Oozi f.Inside Ouch Re-issues: High Two - Freedom, Japan TKCB-70327 CD Lions Abroad - Black Lion, UK Vol. 2: Piano Trios. # BLCD 7621-2 2-1996CD HIGH WON HIGH TWO Dave Burrell, leader, arranger, piano Sirone (Norris Jones) bass Bobby Kapp, drums, side 1, 2 and 4 Sunny Murray, drums, side 3 Pharoah Sanders, tambourine, side 1, 2, 4. Recording dates: February 6, 1968 and September 6, 1968, New York City, New York. -
An Analytical Approach to Vibraphone Performance Through the Transcription and Analysis of Gary Burton’S Solo on Blue Monk
AN ANALYTICAL APPROACH TO VIBRAPHONE PERFORMANCE THROUGH THE TRANSCRIPTION AND ANALYSIS OF GARY BURTON’S SOLO ON BLUE MONK A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in Partial fulfillment of the Requirements for the degree of Doctor of Musical Arts in The School of Music By Charles B. Brooks B.A., Western Kentucky University, 1997 M.A., Austin Peay State University, 2000 December 2007 ACKNOWLEDGMENTS This document would not exist without the guidance and counsel of several extraordinary individuals. It is dedicated to my father for introducing me to the world of music. I would like to extend special gratitude to my mother for her guidance, strength, and belief that anything is possible. In addition I would like to thank Johnny Walker and my brother, Michael Brooks, without whom none of this would possible. This document is also dedicated to Kenneth Welch and Larry Long for their counsel and friendship. I extend special thanks to my teachers Dr. Christopher Norton, Mr. David Steinquest, Dr. Charles Smith, Dr. Thomas King, Dr. Jefferey Wood, Dr. Dinos Constantinides, Dr. Joseph Skillen, Dr. Robert Peck, and Dr. Michael Kingan. I would especially like to thank Dr. Willis Delony for staying the course and guiding me through rough terrain. ii TABLE OF CONTENTS ACKNOWLEDGMENTS ..............................................................................................ii LIST OF MUSICAL EXAMPLES................................................................................iv -
100 Titres Sur Le JAZZ — JUILLET 2007 SOMMAIRE
100 TITRES SUR LE JAZZ À plusieurs époques la France, par sa curiosité et son ouverture à l’Autre, en l’occurrence les hommes et les musiques de l’Afro-Amérique, a pu être considérée, hors des États-Unis, comme une « fille aînée » du juillet 2007 / jazz. Après une phase de sensibilisation à des « musiques nègres » °10 constituant une préhistoire du jazz (minstrels, Cake-walk pour Debussy, débarquement d’orchestres militaires américains en 1918, puis tour- Hors série n nées et bientôt immigration de musiciens afro-américains…), de jeunes pionniers, suivis et encouragés par une certaine avant-garde intellectuelle et artistique (Jean Cocteau, Jean Wiener…), entrepren- / Vient de paraître / nent, dans les années 1920, avec plus de passion que d’originalité, d’imiter et adapter le « message » d’outre-Atlantique. Si les traces phonographiques de leur enthousiasme, parfois talentueux, sont qua- CULTURESFRANCE siment inexistantes, on ne saurait oublier les désormais légendaires Léon Vauchant, tromboniste et arrangeur, dont les promesses musica- les allaient finalement se diluer dans les studios américains, et les chefs d’orchestre Ray Ventura, (qui, dès 1924, réunissait une formation de « Collégiens ») et Gregor (Krikor Kelekian), à qui l’on doit d’avoir Philippe Carles Journaliste professionnel depuis 1965, rédacteur en chef de Jazz Magazine (puis directeur de la rédaction à partir de 2006) et producteur radio (pour France Musique) depuis 1971, Philippe Carles, né le 2 mars 1941 à Alger (où il a commencé en 1958 des études de médecine, interrompues à Paris en 1964), est co-auteur avec Jean-Louis Comolli de Free Jazz/Black Power (Champ Libre, 1971, rééd. -
Dejohnette/Coltrane/Garrison
FOR IMMEDIATE RELEASE CAP UCLA presents DeJohnette/Coltrane/Garrison December 7 at Royce Hall "Drummer and jazz legend Jack DeJohnette pairs up with saxophonist Ravi Coltrane and bassist (and electronics whiz) Matthew Garrison, to spellbinding and haunting results." —Pitchfork UCLA’s Center for the Art of Performance (CAP UCLA) presents Jack DeJohnette, Ravi Coltrane and Matthew Garrison on Saturday, Dec 7 at 8 p.m. at Royce Hall. Tickets starting at $28 are available now at cap.ucla.edu, 310-825-2101 and the Royce Hall box office. Representing the prestigious lineage of today’s great jazz families, DeJohnette/Coltrane/Garrison explore open improvisation as well as their own compositions. A NEA Jazz Master and Grammy Award-winner, Jack DeJohnette makes his return to the CAP UCLA family and Royce Hall where he previously performed as part of a jazz trio in 2013 with Keith Jarrett and Gary Peacock. DeJohnette/Coltrane/Garrison went through a rebirth in 2016 and have been touring ever since. They first performed the music of the late John Coltrane, Ravi’s father at The Brooklyn Museum. Named after the master sitarist Ravi Shankar, Coltrane is a Grammy nominated saxophonist who has released six albums to date. Matthew Garrison, son of the late Jimmy Garrison who was John Coltrane’s bassist, became a talented bass guitarist in part thanks to his godfather Jack DeJohnette. Garrison has collaborated with several jazz musicians including CAP Alums John Scofield and Pat Metheny. In 1998 Garrison founded GarrisonJazz Productions where he produces, promotes, and markets his music as well as providing music education. -
Download Press
Sumi Tonooka Pianist & Composer Biography n his liner notes to pianist, composer and Ieducator Sumi Tonooka’s fifth and latest CD, Long Ago Today, journalist Russ Musto restates his praise from thirty years ago: “. it has been a pleasure to hear her blos- som into one of the most talented musicians of her generation.” Today, Tonooka (pro- nounced To-NO-ka) reignites her successes as an architect at the keyboard with Long Ago Today (Artists Recording Collective), released nationwide on March 25, 2008. She’s joined by bassist Rufus Reid (who has appeared on all of her releases) and the late drummer Bob Braye. Nine of the ten tunes are penned by her. Born on October 3, 1956 in Philadelphia, a city that has few rivals in terms of its rich music history — jazz, gospel, punk, R&B, The Philly Soul Sound — Tonooka experienced unfettered freedom at the piano as a young child. She started piano and music instruction at the age of seven at the Settlement Music School in Philly with Ester Cinberg and then Gary Goldschneider. Tonooka, who grew up in a multicultural household, was introduced to the extramundane con- cepts and executions of pianist Thelonious Monk at the age of 13. “My parents took me to see Thelonious Monk ‘live’ at the Aqua Lounge for my thirteenth birthday and it was then and there . that’s when I decided to be a jazz musician.” He, along with pianist/composer Duke Ellington and close associate and admirer pianist Kenny Barron, have been her torches in the night as she’s glanced through and past many ideologies and perceptions of performance and tunesmithing.