DOCSLIB.ORG

An Evening with Pat Metheny with Antonio Sánchez, Linda May Han Oh, and Gwilym Simcock

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
An Evening with Pat Metheny with Antonio Sánchez, Linda May Han Oh, and Gwilym Simcock Thursday, October 25, 2018, 8pm Fox Theater, Oakland An Evening with Pat Metheny with Antonio Sánchez, Linda May Han Oh, and Gwilym Simcock Cal Performances’ 2018 –19 season is sponsored by Wells Fargo. ABOUT THE ARTISTS Pat Metheny was born in Lee’s Summit (MO) on one of the very first jazz musicians to treat the August 12, 1954, into a musical family. Starting synthesizer as a serious musical instrument. on trumpet at the age of eight, he switched to Years before the invention of MIDI technology, guitar at age 12. By the age of 15, he was work - Metheny was using the Synclavier as a compos - ing regularly with the best jazz musicians in ing tool. He has also been instrumental in the Kansas City, receiving valuable on-the-band - development of several new kinds of guitars, in - stand experience at an unusually young age. cluding the soprano acoustic guitar, the 42-string Metheny first burst onto the international jazz Pikasso guitar, Ibanez’s PM series of jazz guitars, scene in 1974. Over the course of his three-year and a variety of other custom instruments. stint with vibraphone great Gary Burton, the It is one thing to attain popularity as a musi - young Missourian quickly displayed his soon- cian, but it is another to receive the kind of to-become trademark playing style, which acclaim Metheny has garnered from critics and blends the loose and flexible articulation peers. Over the years, he has won countless polls customarily reserved for horn players with an as Best Jazz Guitarist along with awards includ - advanced rhythmic and harmonic sensibility— ing gold records for (Still Life) Talking, Letter a way of playing and improvising that is mod - from Home, and Secret Story . He has won 20 ern in conception but grounded deeply in the Gram my Awards spread over categories that in - jazz tradition of melody, swing, and the blues. clude Best Rock Instru mental, Best Contempo - With the release of his first album, Bright Size rary Jazz Re cording, Best Jazz Instrumental Solo, Life (1975), Metheny reinvented the traditional and Best Instrumental Com po sition, at one “jazz guitar” sound for a new generation of play - point winning seven consecutive Grammies for ers. roughout his career, he has continued to seven consecutive albums. redefine the genre by utilizing new technology In 2015 Metheny was inducted into the and constantly working to evolve the improvi - Downbeat Hall of Fame, becoming only the sational and sonic potential of his instrument. fourth guitarist to be included (along with Metheny’s versatility is nearly without peer Django Reinhardt, Charlie Christian, and on any instrument. Over the years, he has Wes Montgomery) and its youngest member. performed with artists as diverse as Steve Metheny has spent much of his life on tour, Reich, Ornette Coleman, Herbie Hancock, Jim oen doing more than 100 shows a year since Hall, Milton Nascimento, and David Bowie. becoming a bandleader in the 1970s. At the time Metheny’s body of work includes compositions of this writing, he continues to be one of the for solo guitar, small ensembles, electric and brightest stars of the jazz community, dedicat - acoustic instruments, large orchestras, ballet ing time to both his own projects and those of pieces, and even the robotic instruments of his emerging artists and established veterans alike, Orchestrion project, while always sidestepping helping them to reach their audiences as well as the limits of any one genre. realizing their own artistic visions. As well as being an accomplished musician, Metheny is a member of the prestigious Royal Metheny has also participated in the academic Swedish Academy of Music. He has also re - arena as a music educator. At age 18 he was ceived the 2018 NEA Jazz Master Fellowship the youngest teacher ever at the University of Award, the highest honor that our nation be - Miami. At 19 he became the youngest teacher stows on jazz artists. ever at the Berklee College of Music, where he also received an honorary doctorate more than Antonio Sánchez was born in Mexico City in 20 years later (1996). He has also taught music 1971, began playing the drums at age five, workshops all over the world, from the Dutch and performed professionally in his early teens. Royal Conservatory to the elonious Monk He pursued a degree in classical piano at Institute of Jazz to clinics in Asia and South the National Conservatory in Mexico. In 1993 America. He has also been a true musical pio - he moved to Boston to study at the Berklee neer in the realm of electronic music, and was College of Music and the New England Conser - B PLAYBILL ABOUT THE ARTISTS vatory, where he graduated magna cum laude in He has been a featured cover artist in some of jazz studies. the most widely read drum and jazz magazines, Since relocating to New York City in 1999, including Downbeat (USA), and Modern Drum - Sánchez has become one of the most sought- mer (USA and Brazil). Sánchez has won many aer drummers in the international jazz scene. international polls and was ranked the top jazz His playing is featured on over 100 albums, and drummer in the Modern Drummer Readers’ as the drummer of choice for 20-time Grammy Poll (for 2015 and 2016) and Jazz Times Critics winner Pat Metheny, he has been part of virtually Poll (2015). every project the guitarist has created since 2000. He is endorsed by Yamaha Drums, Zildjian Sánchez and Metheny have recorded 10 albums Cymbals and Sticks (Antonio Sánchez Signa ture together, three of which have won Grammys. model), Remo Drumheads, and LP Percussion. Sánchez has also collaborated with some of Antonio Sánchez has made his home in New today’s most prominent jazz musicians, includ - York City since 1999. ing Joshua Redman, Chris Potter, Christian For more information, visit Sánchez’s website McBride, John Patitucci, Danilo Perez, Paquito at www.antoniosanchez.net. D’Rivera, Kenny Werner, Marcus Roberts, Dee Dee Bridgewater, Dianne Reeves, Scott Colley, Born in Malaysia and raised in Perth, Western Dave Samuels, Luciana Souza, and Billy Childs, Australia, Linda May Han Oh is a bassist and to name a few. composer who has performed and recorded Sánchez’s work as an artist has inspired him to with artists such as Kenny Barron, Joe Lovano, compose and lead his own bands and ensem - Dave Douglas, Terri Lyne Carrington, Vijay Iyer, bles. He has released five critically acclaimed Steve Wilson, and Geri Allen. albums as a leader. His debut, Migration (CAM She has received many accolades, including Jazz, 2007), was named as one of the best new an ASCAP Young Jazz Composer’s award in releases of the year by All About Jazz and fea - 2008, second place at the BASS2010 Compe ti - tured an impressive cast that included Metheny, tion, and an honorary mention at the 2009 Chick Corea, Chris Potter, David Sánchez, and elonious Monk Bass Competition. Linda also Scott Colley. His second solo effort, Live in New received the 2010 Bell Award for Young Aus - York (CAM Jazz, 2010) was recorded during a tralian Artist of the Year and was the 2012 four-day run at the Jazz Standard in New York Downbeat Critic’s Poll “Rising Star” on bass. City. New Life (CAM Jazz, 2013), ree Times Aer graduating from the Manhattan School ree (CAM Jazz, 2014, Europe/2015, US), and of Music, Linda has had three well-received e Meridian Suite (CAM Jazz, 2015) followed. releases as a leader. Her most recent, Walk Sánchez’s career took off with Birdman Against Wind, features Ben Wendel, Matthew (Mi lan Records), followed by soundtracks for Stevens, and Justin Brown, as well as guests such director Fernando León de Aranoa’s Política, as Fabian Almazan and Korean percussionist Manual de Instrucciones and EPIX network's Get Minji Park. e Wall Street Journal described Shorty . Channels of Energy with Vince Mendoza this album as “music that is resolutely of the and the WDR Big Band confirms Sánchez’s tal - moment… her innovative range and stellar im - ent as a composer and performer. provisations have made [her] one of the most Jazz vibraphonist and innovator Gary Burton dynamic rising stars in jazz today.” recognized Sánchez’s talent early on, featuring Linda has written for large and small ensem - four of his original compositions on Common bles as well as for film, participating in the BMI Ground and Guided Tour . Film Composers Workshop, Sundance Labs at Sánchez has taken part in drum festivals, Skywalker Ranch, and Sabrina McCormick’s clinics, and master classes around the world, short film, A Good Egg. including at the Modern Drummer Festival Recent projects include a trumpet trio with Week end, Zildjian Day, and the Montreal Drum Ambrose Akinmusire and Tyshawn Sorey, and Festival. a double-quartet album with the Aventurine 20 ABOUT THE ARTISTS string quartet, which was commissioned by the Simcock’s career is unique in spanning a huge Jazz Gallery in New York City and was the last range of musical settings, as evidenced by the recording at Avatar Studios before its closing. fact that he was the first BBC new-generation Linda is based in New York City and teaches artist from a jazz background, and that his Good at the New School. As an active educator she has Days at Schloss Elmau received the prestigious also created a series of lessons for the BassGuru Barclaycard Mercury Prize as Album of the Year app for iPad and iPhone. She recently received in 2011. He has performed with orchestras, a Jerome Foundation Fellowship. choirs, big bands, and dancers, as well as with For more information, visit her website at musicians from backgrounds including the clas - www.lindamayhanoh.com.
Load more

Recommended publications
  • Le JAZZ D' Hortense
    BELGIQUE - BELGÏE P.P. 1030 BRUXELLES 3 1 / 3261 - P705139 BUREAU DE DEPÔT BRUXELLES X LE JAZZ TRIMESTRIEL D' HORTENSE LE JOURNAL DES LUNDIS D’HORTENSE # 74 - 2È TRIMESTRE 2011 Nicolas Kummert #74 03 Concerts LDH LES 04 Partenaires LUNDIS 05 Gare au Jazz D’HORTENSE 08 Jazz Tour ASSOCiaTION DES muSICIENS DE jazz DE BELGIQUE 10 Midis Jazz 11 Larsen & AKDT : master class jazz 12 Brussels Jazz Marathon 02 219 58 51 www.jazzinbelgium.com 16 Festivals www.leslundisdhortense.be 18 Le jazz à l'Uradex 18 New CD’s Si vous souhaitez recevoir ce 21 Interview : Nicolas Kummert journal gratuitement, il vous 26 Concours suffit de nous communiquer votre adresse, soit par email 27 Jazz au Vert à [email protected], 32 RDV dans les clubs soit par téléphone au 02 219 58 51 (dans ce cas, 35 Rapido - News merci de nous communiquer également votre numéro de Photo de couverture © Didier Wagner téléphone). Suite à notre Assemblée Générale qui a eu lieu le lundi 14 mars Si vous souhaitez soutenir 2011, voici quels sont les nouveaux administrateurs des Lundis l'envoi de ce journal et nos d'Hortense élus pour une période de deux ans : Eve BEUVENS, activités, vous pouvez vous faire Henri COURTOIS, Jean DEMANNEZ, Jean-Paul ESTIEVENART, membre en versant la somme Tuur FLORIZOONE, Alexandre FURNELLE, Manuel HERMIA de 15 € sur le compte Dexia (président 2003-2005), Nicolas KUMMERT, Linda LORES 068-0704090-91. BLANES, Daniele MARTINI, Alain PIERRE, Jean-Louis Seuls les membres en ordre de RASSINFOSSE (président 1997-1999 + 2005-2007), Etienne cotisation recevront le journal RICHARD, Christine RYGAERT, Toine THYS, Barbara WIERNIK.
    [Show full text]
  • 18Th Annual Illinois State University Jazz Festival School of Music Illinois State University
    Illinois State University ISU ReD: Research and eData School of Music Programs Music 3-21-2014 18th Annual Illinois State University Jazz Festival School of Music Illinois State University Follow this and additional works at: https://ir.library.illinoisstate.edu/somp Part of the Music Performance Commons Recommended Citation School of Music, "18th Annual Illinois State University Jazz Festival" (2014). School of Music Programs. 378. https://ir.library.illinoisstate.edu/somp/378 This Concert Program is brought to you for free and open access by the Music at ISU ReD: Research and eData. It has been accepted for inclusion in School of Music Programs by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. Illinois State University College of Fine Arts School of Music Presents th 18 Annual Illinois State University Jazz Festival featuring Dave Pietro With ISU Jazz Ensemble I ISU Center for the Performing Arts March 21 and 22, 2014 This is the one hundred and twentieth program of the 2013-2014 season. 18th Annual ISU Jazz Festival Tentative Schedule (please confirm times with the FINAL SCHEDULE upon arrival) FRIDAY, March 21, ISU CPA Concert Hall 1:00 PM Hickory Creek MS Jazz Band I Frankfort, IL 1:25 Hickory Creek MS Jazz Band II Frankfort, IL 1:50 Pekin Community HS Pekin, IL 2:15 H.L. Richards HS Big Band Oak Lawn, IL 2:40 H.L. Richards HS combo Oak Lawn, IL 3:05- 4:05 Dave Pietro Masterclass 4:45 Williamsville HS Williamsville, IL 5:10 Metamora Township HS Big Band Metamora, IL 5:35 Jacksonville High School Jacksonville, IL 6:00 Metamora Township HS Combo Metamora, IL 8:00 CONCERT: 1) ISU Jazz Ensemble II 2) Dave Pietro w/ ISU Jazz Ensemble I SATURDAY, March 22, ISU CPA Concert Hall 11:00 Morton Jr.
    [Show full text]
  • The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters
    04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBORAH F. RUTTER , President CONCERT HALL Monday Evening, April 4, 2016, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters GARY BURTON WENDY OXENHORN PHAROAH SANDERS ARCHIE SHEPP Jason Moran is the Kennedy Center’s Artistic Director for Jazz. WPFW 89.3 FM is a media partner of Kennedy Center Jazz. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 2 2016 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, pianist and Kennedy Center artistic director for jazz With remarks from JANE CHU, chairman of the NEA DEBORAH F. RUTTER, president of the Kennedy Center THE 2016 NEA JAZZ MASTERS Performances by NEA JAZZ MASTERS: CHICK COREA, piano JIMMY HEATH, saxophone RANDY WESTON, piano SPECIAL GUESTS AMBROSE AKINMUSIRE, trumpeter LAKECIA BENJAMIN, saxophonist BILLY HARPER, saxophonist STEFON HARRIS, vibraphonist JUSTIN KAUFLIN, pianist RUDRESH MAHANTHAPPA, saxophonist PEDRITO MARTINEZ, percussionist JASON MORAN, pianist DAVID MURRAY, saxophonist LINDA OH, bassist KARRIEM RIGGINS, drummer and DJ ROSWELL RUDD, trombonist CATHERINE RUSSELL, vocalist 04-04 NEA Jazz Master Tribute_WPAS
    [Show full text]
  • «An Evening with Pat Metheny» Feat. Antonio Sánchez, Linda May Han Oh & Gwilym Simcock
    2017 20:00 24.10.Grand Auditorium Mardi / Dienstag / Tuesday Jazz & beyond «An evening with Pat Metheny» feat. Antonio Sánchez, Linda May Han Oh & Gwilym Simcock Pat Metheny guitar Antonio Sánchez drums Linda May Han Oh bass Gwilym Simcock piano Pat Metheny photo: Jimmy Katz Pat Metheny, au-delà de la guitare Vincent Cotro « J’ai atteint un point où j’ai tant composé que tout n’est qu’une grande composition. Avec Antonio, Lina et Gwilym, nous allons explorer cette composition pour en faire, je l’espère, quelque chose de vraiment grandiose ». Pat Metheny, présentation du concert lors du festival Jazz sous les Pommiers, mai 2017 Né en 1954 dans le Missouri, Patrick Bruce Metheny découvre à onze ans Miles Davis puis Ornette Coleman et commence la guitare à douze ans, après s’être essayé à la trompette et au cor. Il écoutera et décortiquera les solos de Wes Montgomery, Kenny Burrell ou Jim Hall et se produira dès quinze ans avec les meilleurs musiciens dans les clubs de Kansas City. Alors qu’il se passionne pour John Coltrane et Clifford Brown, il rencontre Gary Burton en 1974, année de son explosion sur la scène internationale. Aux côtés du vibraphoniste, il développe ce qui deviendra sa caractéristique : une articulation plutôt relâchée et flexible habituellement observée chez les « souffleurs », combinée à une sensibilité harmonique et rythmique très développée. Son premier disque avec Jaco Pastorius et Bob Moses en 1976, « Bright Size Life », réinvente en quelque sorte la tradition sous des apparences de modernité, pour une nouvelle génération de guitaristes. On voit apparaître sa passion pour la musique d’Ornette Coleman qui se manifestera largement ensuite et jusqu’à aujourd’hui.
    [Show full text]
  • The History of Women in Jazz in Britain
    The history of jazz in Britain has been scrutinised in notable publications including Parsonage (2005) The Evolution of Jazz in Britain, 1880-1935 , McKay (2005) Circular Breathing: The Cultural Politics of Jazz in Britain , Simons (2006) Black British Swing and Moore (forthcoming 2007) Inside British Jazz . This body of literature provides a useful basis for specific consideration of the role of women in British jazz. This area is almost completely unresearched but notable exceptions to this trend include Jen Wilson’s work (in her dissertation entitled Syncopated Ladies: British Jazzwomen 1880-1995 and their Influence on Popular Culture ) and George McKay’s chapter ‘From “Male Music” to Feminist Improvising’ in Circular Breathing . Therefore, this chapter will provide a necessarily selective overview of British women in jazz, and offer some limited exploration of the critical issues raised. It is hoped that this will provide a stimulus for more detailed research in the future. Any consideration of this topic must necessarily foreground Ivy Benson 1, who played a fundamental role in encouraging and inspiring female jazz musicians in Britain through her various ‘all-girl’ bands. Benson was born in Yorkshire in 1913 and learned the piano from the age of five. She was something of a child prodigy, performing on Children’s Hour for the British Broadcasting Corporation (BBC) at the age of nine. She also appeared under the name of ‘Baby Benson’ at Working Men’s Clubs (private social clubs founded in the nineteenth century in industrial areas of Great Britain, particularly in the North, with the aim of providing recreation and education for working class men and their families).
    [Show full text]
  • Music Outside? the Making of the British Jazz Avant-Garde 1968-1973
    Banks, M. and Toynbee, J. (2014) Race, consecration and the music outside? The making of the British jazz avant-garde 1968-1973. In: Toynbee, J., Tackley, C. and Doffman, M. (eds.) Black British Jazz. Ashgate: Farnham, pp. 91-110. ISBN 9781472417565 There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/222646/ Deposited on 28 August 2020 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk Race, Consecration and the ‘Music Outside’? The making of the British Jazz Avant-Garde: 1968-1973 Introduction: Making British Jazz ... and Race In 1968 the Arts Council of Great Britain (ACGB), the quasi-governmental agency responsible for providing public support for the arts, formed its first ‘Jazz Sub-Committee’. Its main business was to allocate bursaries usually consisting of no more than a few hundred pounds to jazz composers and musicians. The principal stipulation was that awards be used to develop creative activity that might not otherwise attract commercial support. Bassist, composer and bandleader Graham Collier was the first recipient – he received £500 to support his work on what became the Workpoints composition. In the early years of the scheme, further beneficiaries included Ian Carr, Mike Gibbs, Tony Oxley, Keith Tippett, Mike Taylor, Evan Parker and Mike Westbrook – all prominent members of what was seen as a new, emergent and distinctively British avant-garde jazz scene. Our point of departure in this chapter is that what might otherwise be regarded as a bureaucratic footnote in the annals of the ACGB was actually a crucial moment in the history of British jazz.
    [Show full text]
  • Printmakers Presspack
    THE PRINTMAKERS “In the old days, this band would have had the words “All-Stars” in their name. Every one of them is a leading figure in British contemporary jazz. Together, they create 10 evocative sound-pictures of places and times. It’s remarkable how just five instruments and voice can suggest space and depth as they do.” Dave Gelly, The Observer The word supergroup is common currency, especially in the rock world. Jazz, of course, has its fair share of supergroups too. Sometimes, one supergroup comes along that really is very special indeed. The Printmakers is such a group. The group formed at the instigation of Steve Mead at The Manchester Jazz Festival several years ago and since then has gone from strength to strength. Award winning Nikki Iles is one of the heroines of British jazz. She has made an invaluable contribution to the jazz scene in this country and beyond, while also making a very personal musical statement in many groups, not least her own superb Anglo-American trio with Rufus Reid and Jeff Williams. Grammy nominated and ECM recording artist Norma Winstone MBE, pioneering innovator of the voice, has been a leading light in European music for many years. She collaborated with Kenny Wheeler and John Taylor in Azimuth, described by Richard Williams as “one of the most imaginatively conceived and delicately balanced of all contemporary chamber jazz groups“. She has also worked with Fred Hersch, Steve Swallow, Jimmy Rowles, Mike Gibbs and Ralph Towner. She has had a resurgence recently, with three superb award winning ECM releases in collaboration with European musicians, Klaus Gesing and Glauco Venier.
    [Show full text]
  • Downbeat.Com December 2014 U.K. £3.50
    £3.50 £3.50 . U.K DECEMBER 2014 DOWNBEAT.COM D O W N B E AT 79TH ANNUAL READERS POLL WINNERS | MIGUEL ZENÓN | CHICK COREA | PAT METHENY | DIANA KRALL DECEMBER 2014 DECEMBER 2014 VOLUME 81 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editor Ed Enright Art Director LoriAnne Nelson Contributing Designer Žaneta Čuntová Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Associate Kevin R. Maher Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Pete Fenech 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman,
    [Show full text]
  • John Anthony Final Revisions Thesis
    Improvisational Devices of Jazz Guitarist Adam Rogers on the Thelonious Monk Composition “Let’s Cool One” by John J. Anthony Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music in Jazz Studies YOUNGSTOWN STATE UNIVERSITY August, 2012 Improvisational Devices of Jazz Guitarist Adam Rogers on the Thelonious Monk Composition “Let’s Cool One” John J. Anthony I hereby release this thesis to the public. I understand that this thesis will be made available from the OhioLINK ETD Center and the Maag Library Circulation Desk for public access. I also authorize the University or other individuals to make copies of this thesis as needed for scholarly research. Signature: John J. Anthony, Student Date Approvals: Dr. David Morgan, Thesis Advisor Date Dr. Kent Engelhardt, Committee Member Date Dr. Randall Goldberg, Committee Member Date Dr. Glenn Schaft, Committee Member Date Peter J. Kasvinsky, Dean of School of Graduate Studies and Research Date ABSTRACT Adam Rogers is one of the most influential jazz guitarists in the world today. This thesis offers a transcription and analysis of his improvisation on the Thelonious Monk composition “Let’s Cool One” which demonstrates five improvisational devices that define Rogers’s approach over this composition: micro-harmonization, rhythmic displacement, motivic development, thematic improvisation, and phrase rhythm. This thesis presents a window into the aesthetics of contemporary jazz improvisation and offers a prism for conceptualizing not only the work of Adam Rogers, but
    [Show full text]
  • I Think We're All Writing Very Politically Charged Music
    JAZZ 9 Garcia, 26, sitting in her local cafe in New horn-fuelled West African sound. There’s the American art form. (For his sold-out gig at Cross, southeast London, a vibrant creative I THINK WE’RE hip-hop and Afrobeat influenced Ezra Collec- London’s Roundhouse, Washington brought hub that includes Peckham and Deptford and tive, which picked up the British jazz act of the Hutchings onstage to improvise fierce sax happening DIY club/jam nights with names ALL WRITING year award at the recent Jazz FM Awards. And squalls alongside him). such as Steez and Steam Down, at which the Maisha ensemble, with Garcia on sax and London is one of the world’s most culturally acclaimed Californian saxophonist and band VERY POLITICALLY flute alongside guitarist Shirley Tetteh, blending integrated cities; little wonder, then, that sounds leader Kamasi Washington was spotted during free jazz over West African rhythms and serving from Britain’s former colonies are being his recent visit to the capital. CHARGED MUSIC, it up with raw spiritual intensity. This isn’t jazz as embraced — reclaimed — by the scene. “The press are calling it new but we’ve been we know it, if jazz as we know it is doo-wop and Perhaps inevitably, with the spectre of Brexit, doing this for a while,” she continues, her head- WHETHER WE LIKE black tie and the Great American Songbook, but wildly unpopular among British youth, looming phones around her neck, her laptop on the then the album’s musical director, Shabaka large, and the effects of the Windrush immi- table in front of her.
    [Show full text]
  • The ONE and ONLY Ivan
    KATHERINE APPLEGATE The ONE AND ONLY Ivan illustrations by Patricia Castelao Dedication for Julia Epigraph It is never too late to be what you might have been. —George Eliot Glossary chest beat: repeated slapping of the chest with one or both hands in order to generate a loud sound (sometimes used by gorillas as a threat display to intimidate an opponent) domain: territory the Grunt: snorting, piglike noise made by gorilla parents to express annoyance me-ball: dried excrement thrown at observers 9,855 days (example): While gorillas in the wild typically gauge the passing of time based on seasons or food availability, Ivan has adopted a tally of days. (9,855 days is equal to twenty-seven years.) Not-Tag: stuffed toy gorilla silverback (also, less frequently, grayboss): an adult male over twelve years old with an area of silver hair on his back. The silverback is a figure of authority, responsible for protecting his family. slimy chimp (slang; offensive): a human (refers to sweat on hairless skin) vining: casual play (a reference to vine swinging) Contents Cover Title Page Dedication Epigraph Glossary hello names patience how I look the exit 8 big top mall and video arcade the littlest big top on earth gone artists shapes in clouds imagination the loneliest gorilla in the world tv the nature show stella stella’s trunk a plan bob wild picasso three visitors my visitors return sorry julia drawing bob bob and julia mack not sleepy the beetle change guessing jambo lucky arrival stella helps old news tricks introductions stella and ruby home
    [Show full text]
  • Pat Metheny 80/81 Mp3, Flac, Wma
    Pat Metheny 80/81 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: 80/81 Country: Japan Released: 1980 Style: Post Bop, Contemporary Jazz MP3 version RAR size: 1322 mb FLAC version RAR size: 1569 mb WMA version RAR size: 1314 mb Rating: 4.4 Votes: 404 Other Formats: AU RA MP1 MIDI AHX MOD MMF Tracklist Hide Credits Two Folk Songs 1st 1 13:17 Composed By – Pat Metheny 2nd 2 7:31 Composed By – Charlie Haden - 80/81 3 7:28 Composed By – Pat Metheny The Bat 4 5:58 Composed By – Pat Metheny Turnaround 5 7:05 Composed By – Ornette Coleman Open 6 Composed By – Haden*, Redman*, DeJohnette*, Brecker*, Metheny*Composed 14:25 By [Final Theme] – Pat Metheny Pretty Scattered 7 6:56 Composed By – Pat Metheny Every Day (I Thank You) 8 13:16 Composed By – Pat Metheny Goin' Ahead 9 3:56 Composed By – Pat Metheny Companies, etc. Recorded At – Talent Studio Lacquer Cut At – PRS Hannover Credits Bass – Charlie Haden Design – Barbara Wojirsch Drums – Jack DeJohnette Engineer – Jan Erik Kongshaug Guitar – Pat Metheny Photography By [Back] – Dag Alveng Photography By [Inside] – Rainer Drechsler Producer – Manfred Eicher Tenor Saxophone – Dewey Redman (tracks: B1, B2, C1, C2), Mike Brecker* (tracks: A1, A2, B2, C1, C2, D1) Notes Recorded May 26-29, 1980 at Talent Studios, Oslo. An ECM Production. ℗ 1980 ECM Records GmbH. Barcode and Other Identifiers Barcode: 042281557941 Other versions Category Artist Title (Format) Label Category Country Year ECM 1180/81, 80/81 (2xLP, ECM Records, ECM 1180/81, Pat Metheny Germany 1980 2641 180 Album) ECM Records
    [Show full text]