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John Tchicai Discography

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JOHN TCHICAI DISCOGRAPHY Introduction This discography is the result of a special project following the preparation of the ”Danish Jazz Discography 1945-2000”. In the first phase John Tchicai did supply a lot of information on his recordings. However – because of the complications after he suffered a stroke in June 2012 – he did not see the final result. Edited by Erik Raben Please mail all corrections and comments to [email protected]. Content The Discography covers John Tchicai’s recordings 1962 – 2012. Available video recordings are also included. The Detailed Listing of Issues has information on the issues (LP/CD names etc.) – followed by the year of recording. An overview of some of the most relevant issues is found in the Selective Listing of Issues. LP/CD titles as well as the titles played are generally written with initial capital letters – except for titles in Scandinavian languages. It has to be remembered that this discography – like most other discographies – is not faultless! The above mentioned listings are separate .pdf documents and the Adobe search functions can therefore be used to locate specific musi- cians, issues etc. Instrumental abbreviations acc accordion hsc harpsichord alth alto horn keyb keyboards arr arranger ldr leader as alto saxophone mand mandolin b bass mar marimba barh baritone horn mcs maracas bars baritone saxophone mel mellophone band-vcl vocal by members of the band org organ bassax bass saxophone p piano bcl bass clarinet perc percussion bg bongo drum(s) picc piccolo flute bj banjo sax (unspecified) saxophone(s) btb bass trombone ss soprano saxophone btp bass trumpet synth synthesizer cg conga drum(s) tamb tambourine cl clarinet tb trombone C-mels C-melody saxophone timb timbales cnt cornet tp trumpet comp composer ts tenor saxophone cond conductor tu tuba dr drum(s) tymp tympani el electical amplified instrument vbs vibraphone (vibraharp/vibes) enh English horn vcl vocal fl flute(s) vla viola flh fluegelhorn vln violin frh French horn vtb valve trombone g guitar (acoustic and/or eletrical) wbd washboard hca harmonica xyl xylophone Note: The ”b” is used to indicate an acoustic bass (double bass) while ”el-b” is an electrical bass (e.g. a Fender bass). In some cases – when exact information has not been available – ”b” is used to indicate an unspecified type. Nationality abbreviations Am American (US) G German Arg Argentinean Hu Hungarian B Belgian I Italian Ca Canadian J Japanese Cz Czech/Slovakian N Norwegian D Danish P Polish Du Dutch Por Portuguese E English/British (UK) Sd Swedish Eu European Continent Sp Spanish F French Sw Swiss Fi Finnish Additional abbreviations acc. by accompanied by alt. take alternate take coll. pers. collective personnel ed. edited version incompl. incomplete version Cities – except for the capitals – are listed together with the name of the country. For Danish recordings only the name of the city is listed. Except for 12” LPs the issues listed are indicated – in parenthesis – as 45-single, EP (45 rpm extended play), 10” (10” LP), CD, CD-single, VID (video tape), DVD or MC (cassette tape). References Bergh, Johs: Norwegian Jazz Discography (1999) Bruyninckx, Walter: Discography – 90 Years of recorded Jazz & Blues (2010 edition) Cerutti, Gustave: Guidebook John Tchicai 1962 – 1981 (1982) Goto, Makoto: The SteepleChase Label – a Discography (1993) Hames, Mike: The Music of John Tchicai on disc + tape (a Discography) (1979) Irgens-Møller, Christer: Tchicai – et begreb (Dansk Musik Tidsskrift 1986/87 – Nr. 3) Jepsen, Jørgen Grunnet: Jazz Records 1942-68 (1963-69) Ljungkvist, Carsten: Jazzens historie i Århus (1995) Nielsen, Steen: The discography in Musikkens Hvem Hvad Hvor – Jazz (1969) Raben, Erik: A Discography of Free Jazz (1968) Raben, Erik: Jazz Records 1942-80 (1989-2004) Raben, Erik: Danish Jazz Discography 1945-2000 Storyville Records: Storyville Masters (2003) Widerøe, Arild: Swiss Jazz Discography 1925-2008 (2008) Young, Ben: Dixonia – A Bio-Discography of Bill Dixon (1998) Magazines Jazzrevy (1961-70) Musikrevue (1970-72) Jazz i Reprisen / Jazz m.m. / MM (1968-1989) Jazz Special (1991-2013) Orkester Journalen (1962-63) Contributors A number of persons have supplied information to this discography: Agergaard, Thomas Malmros, Anna-Lise Barnett, Anthony Marucci, Mat Becker, Irene Mathiasen, Jørgen Bergner, Roger Matthiessen, Ole Blak, Kristian Mortensen, Tore Blobel, Ulli Moseholm, Erik Boisen, Myles Munch-Hansen, Christian Bruyninckx, Walter Musikhuset Aarhus Buchanan, Jakob Passarell, Anthony Büchmann-Møller, Frank Reich, Peter Carlsen, Morten Roar, Finn Carstens, Henrik Romus, Rent Christensen, Niels Roskilde Bibliotek (Musikbiblioteket) Danstrup, Peter Rudd, Roswell Davidsen, Heðin Ziska Rømer, Hanne Dørge, Pierre Skovgaard, Ib Fernandez, Michel Slumstrup, Finn Frandsen, Kjeld Stefansen, Anders Fujioka, Yasuhiro Suwalski, Katrine Gjedsted, Jens Jørn Tchicai, John Granager, Mona Tchicai, Margriet Naber Høegh, T.S. Tchikai(!), Mauritz Høyer, Ole Izard Thomsen, Michael Irgens-Møller, Christer Vinding, Mads Jefsen, Jens Vogel, Karsten Joensen, Jóhannus á Rógvu Wagner, Christoph Johfu, Mitsuo Widerøe, Arild Kirkegaard, Anders Young, Ben Knudsen, Oda Ærtebjerg, Arne JOHN TCHICAI DISCOGRAPHY Edited by Erik Raben ([email protected]) MAX BRÜEL QUINTET: John Tchicai(as), Max Brüel(ts), Niels Brøndsted(p), Niels-Henning Ørsted Pedersen(b), Bjarne Rostvold(dr). Live. ”Radiohuset”, Copenhagen. March 25, 1962 Ba-lu Bolivar Ba-lues-are unissued Embraceable You What Is This Thing Called Love Note: The above titles were broadcast by the Danish Radio. MAX BRÜEL – JOHN TCHICAI QUINTET: Max Brüel(ss,bars), John Tchicai(as), Niels Brøndsted(p), Björn Alke(b), Rune Carlsson(dr). Live. Jazz Jamboree, Warsaw. October 29, 1962 Blue Monk Muza(P)L0397,Jazzhus(J)JD7647(CD) Night In Tunisia – – Muza(P)L0397: ”Jazz Jamboree 1962, vol. 4”. Jazzhus(J)JD7647(CD): ”John Tchicai & Igor Caplinski Live in Warsaw 1962” Note: The above group was presented as JØRGEN LETH QUINTET. ARCHIE SHEPP – BILL DIXON AUGMENTED QUARTET: Bill Dixon(tp), Roswell Rudd(tb), Perry Robinson(cl), John Tchicai(as), Archie Shepp, Guy Hampton(ts), Lowell Sclocum(bars), Gary Newman, Jimmie Stevenson, Jr.(b), J.C. Moses(dr). NYC. February 21, 1963 Scandinavian Sketches, pt. I-V unissued Note: The above titles were broadcast by the WBAI radio. JOHN TCHICAI: Bill Dixon(tp), John Tchicai(as), Jimmie Stevenson, Jr.(b), Sunny Murray(dr). NYC. Spring 1963 For Helvede unissued Note: The above title was recorded as an audition tape to WBAI. CHAMELEON DANCE GROUP: Bill Dixon(tp,flh), John Tchicai(as), Archie Shepp(ts), poss. Don Moore and/or Alex Lane(b), poss. Charles Moffett(dr), Chameleon Dance Group(dance). Live. ”Judson Hall”, NYC. May 24, 1963 Rufus unissued ARCHIE SHEPP – BILL DIXON QUINTET: Bill Dixon(tp), John Tchicai(as), Archie Shepp(ts), Gary Peacock, prob. Jimmie Stevenson, Jr.(b), prob. Charles Moffett(dr). Live. ”Five Spot”, N.Y.C. c. May 1963 Metamorphosis unissued JOHN TCHICAI – ARCHIE SHEPP: John Tchicai(as), Archie Shepp(ts), Don Moore(b), J.C. Moses(dr). NYC. August 23, 1963 Rufus Fontana(Eu)681.014ZL Nettus – Hoppin’ – For Helvede – Funeral – All titles also on Fontana(Eu)881.014ZY, (J)SFON7080, 195J26, PHCE1002 (CD), Enlightment(E)EN4CD9165 (CD). Fontana(Eu)681.014ZL: ”Rufus”. Enlightment(E)EN4CD9165 (CD): “Archie Shepp The Early Albums Collection” Note: When Don Cherry started recording he was playing a pocket-cornet (which he named a pocket-trumpet) but later he changed (at least for some years) to a full-sized cornet. On most recordings his instrument is listed as pocket-trumpet; this discography lists the instrument as cornet (cnt). NEW YORK CONTEMPORARY FIVE: Don Cherry(cnt), John Tchicai(as), Archie Shepp(ts), Don Moore(b), J.C. Moses(dr), Bill Dixon(arr). NYC. Prob. August 23, 1963 (see note) Rufus Fontana(Eu)681.013ZL Crepuscule With Nellie – Trio – Sound Barrier (Cisum) – Wo Wo (Hoppin’) – Note: The above titles are generally listed as recorded at the same session as the ”Rufus” LP (Fontana(Eu)681.014ZL) – i.e. August 23, 1963. According to Tchicai Don Cherry was late for the session – therefore the five titles on the ”Rufus” LP were recorded with- out Cherry; when Cherry arrived the above titles (for the ”Consequences” LP) were recorded. The two records however have dif- ferent sound characteristics – suggesting different sessions. Same. Copenhagen. October 12, 1963 Consequences Fontana(Eu)681.013ZL Trio (take 1) unissued(see note) Trio (take 2) – All titles on 681.013ZL also on Fontana(Eu)881.013ZY, (J)SFON7077, 195J25, PHCE1001 (CD), Enlightment(E)EN4CD9165 (CD). Fontana(Eu)681.013ZL: ”New York Contemporary Five – Consequences”. Enlightment(E)EN4CD9165 (CD): “Archie Shepp The Early Albums Collection” Note: “Trio” (take 1) was used for the film ”Future One” – directed and produced by Niels Holt – issued on Marshmallow(J) MMEX-DVD101 (DVD) (”Jazz In Denmark ”). Same. Live. ”Radiohuset”, Copenhagen. October 27, 1963 Emotions Free Factory 069(CD) Monk’s Mood – Consequenses – Free Factory 069(CD): ”Don Cherry Quintets: Copenhagen 1963 & Hilversum 1966”. Same. Copenhagen. October/November 1963 The Funeral Note: The above title was recorded by Danmarks Radio (DR TV) and broadcasted January 6, 1964. Same; add Roswell Rudd(arr). Live. ”Jazzhus Montmartre”. November 15, 1963 Cisum Sonet(D)SLP36 Trio Sonet(D)SLP51 Consequences – The Funeral Sonet(D)SLP36 Sound By Yor unissued Wo Wo Sonet(D)SLP51 Crepuscule With Nellie(take 1) unissued O.C. Sonet(D)SLP36 The Sphinx unissued When Will The Blues Leave Sonet(D)SLP36 Monk’s Mood Sonet(D)SLP51 Ezz-thetic (Theme)(take 1) – Emotions – Crepuscule With Nellie(take 2) Sonet(D)SLP36 Epistrophy unissued Mik Sonet(D)SLP36 Ezz-thetic (Theme)(take 2) – All titles on SLP36 also on Storyville(Am)SLP1010, (F)21016, Sonet(J)UPS5123, UPS2022, UPS2250, Polydor(Eu)623.235, Delmark DL409, DS9409, DE409 (CD). All titles on SLP51 also on Storyville(Am)SLP1009, (F)21016, Sonet(J)UPS5150, UPS2023, UPS2251, Polydor(Eu)623.267 (poss. unissued), Delmark DL412 (poss.
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    August 2011 | No. 112 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Mike Stern The Singing Guitar Billy Martin • JD Allen • SoLyd Records • Event Calendar Part of what has kept jazz vital over the past several decades despite its commercial decline is the constant influx of new talent and ideas. Jazz is one of the last renewable resources the country and the world has left. Each graduating class of New York@Night musicians, each child who attends an outdoor festival (what’s cuter than a toddler 4 gyrating to “Giant Steps”?), each parent who plays an album for their progeny is Interview: Billy Martin another bulwark against the prematurely-declared demise of jazz. And each generation molds the music to their own image, making it far more than just a 6 by Anders Griffen dusty museum piece. Artist Feature: JD Allen Our features this month are just three examples of dozens, if not hundreds, of individuals who have contributed a swatch to the ever-expanding quilt of jazz. by Martin Longley 7 Guitarist Mike Stern (On The Cover) has fused the innovations of his heroes Miles On The Cover: Mike Stern Davis and Jimi Hendrix. He plays at his home away from home 55Bar several by Laurel Gross times this month. Drummer Billy Martin (Interview) is best known as one-third of 9 Medeski Martin and Wood, themselves a fusion of many styles, but has also Encore: Lest We Forget: worked with many different artists and advanced the language of modern 10 percussion. He will be at the Whitney Museum four times this month as part of Dickie Landry Ray Bryant different groups, including MMW.
  • C:NTACT – Et Integrationsprojekt

    C:NTACT – Et Integrationsprojekt

    Et teatershowroom En analyse af de personlige historier i C:NTACTs forestilling Maveplasker Af Helle Bach Riis Integreret speciale i Dansk og Kultur- og sprogmødestudier, 2008 Institut for Kultur og Identitet, Roskilde Universitetscenter Vejledere: Erik Svendsen og Birgitta Frello Abstract This dissertation comprises an analysis of the play Maveplasker. Maveplasker is a production of the Department of Integration and Education, C:NTACT, at the Betty Nansen Theatre in Copenhagen. C:NTACT’s intention is to use theatre to portray the diversity of the so called “others” in the Danish society. They do so by creating plays with young people from the age 15 to 25 who get on stage and tell their own, personal stories in the form of a coherent play to a live audience. The young people are not professional actors, and partly for this reason C:NTACT uses the term “reality theatre” to describe these productions. This dissertation argues that the Department, C:NTACT, plays an important role in the shaping of these personal stories – from the beginning the department defined what genres the young participants could express their personal stories through – while acknowledging that genres such as hip-hop an street-dance can lead to a somewhat stereotypical and impersonal portrayal of the young participants. With Maveplasker as its focus, this dissertation investigates what representation of “the others” C:NTACT actually ends up producing. The dissertation presents theories of performativity in order to see how identity categories such as “the others” are produced, reproduced but also possibly transformed. It presents theories of performative aesthetics in order to try and place Maveplasker somewhere in between the representative theatre and the performance in order to investigate the play’s potential to transform a generalised conception of “the others”.