DOCSLIB.ORG

N Y PROJECT : Dossier Artistique

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
N Y PROJECT : Dossier Artistique Raphaël Imbert N_Y Project ES : 2-144212 L AC ECT P RENEUR DE S P WWW.ZIGZAG-TERRITOIRES.COM WWW.NINESPIRIT.ORG RÈS - LICENCE D’ENTRE FF PHOTO : FRANCK JA 1 N_Y Project Ce disque américain est un manifeste de ce jazz engagé, humain en quête de sens : des tambours de Harlem de Duke Ellington à l’évocation du maître de l’underground new yorkais qu’est John Zorn en passant par les Cloisters, l’hommage à Albert Ayler, la vie trépidante de New York à la méditation de Coltrane sur Central Park West. Ainsi, le saxophoniste autodidacte Raphaël Imbert, poursuit son chemin sur la route du jazz contemporain et présente une oeuvre originale construite autour du trio saxophone, contrebasse (Joe Martin) et batterie (Gerald Cleaver) qui nous montre en 13 étapes, son intime vision de New- York, suite à sa bourse de recherche dans cette ville, en 2003, lorsqu’il fut Lauréat de la Villa Medicis Hors les Murs. Toutes les compositions sont de Raphaël Imbert exceptées Echoes of Harlem de Duke Ellington et Central Park West de John Coltrane. Enregistré en janvier 2009 au Sear Sound Studio de New York (USA) Production phonographique : Zig Zag Territoires / La Compagnie Nine Spirit Distribution Harmonia Mundi Concerts automne 2009 16 octobre : Vinon-sur-Verdon (83) 17 octobre : Saint-Martin de Brômes (04) 18 octobre : Esparron-en-Verdon (04) 19 octobre : Auditorium de la Cité de la Musique, Marseille /// Jazz sur la Ville 22 octobre : Sunside, Paris /// CareFusion Festival Tournée européenne prévue au printemps et à l’été 2010 2 N_Y Project les musiciens R A P H A E L I M B E R T saxophones soprano, alto, tenor Musicien autodidacte né en 1974, Raphaël Imbert poursuit un chemin atypique dans la grande famille du Jazz et des musiques improvisées, artiste et pédagogue exigeant, arrangeur et improvisateur recherché. L’un de ses domaines de prédilection, sujet de recherche qu’il poursuit encore aujourd’hui et qui lui a valu d’être Lauréat de la Villa Medicis Hors les Murs en 2003 avec une bourse d’études pour un séjour à New York, est le Spirituel dans le Jazz. C’est ainsi qu’en 1999, il fonde son grand ensemble, la Compagnie Nine Spirit, afin de répondre à une commande passée pour jouer les musiques sacrées de Duke Ellington, John Coltrane, Pharoah Sanders et d’Albert Ayler. Cette formation, composée de solistes de grand talent comme la pianiste Carine Bonnefoy, le trompettiste Christophe LeLoiL, le saxophoniste Thomas Savy, le batteur Mourad Benhammou ou le percussionniste-batteur-chanteur Jean-Luc Di Fraya, devient le laboratoire idéal pour une recherche approfondie sur l’articulation entre jazz et narration qui devient ici un élément musical à part entière. Le principe essentiel de la rencontre, élément déterminant dans la pratique du Jazz, a amené Raphaël Imbert à travailler avec des musiciens d’exception comme le Trio Chemirani, l’Ensemble Contraste, et à enregistrer avec Yaron Herman « Suite élégiaque » du NEWTOPIA PROJECT, sortie en 2006 chez Zig Zag Territoires, et qui lui a valu d’être Lauréat de Concours National de Jazz Paris le Défense 2005. En 2008, il fait sensation avec le projet phare de sa démarche artistique, BACH COLTRANE, disque d’une rare homogénéité dans lequel Raphaël Imbert donne l’occasion d’explorer les tréfonds d’un imaginaire esthétique universel, et propose un voyage narratif sans frontières, à l’onirisme original et dynamique, en s’appuyant sur l’œuvre de Jean- Sébastien Bach et John Coltrane, deux sommets inégalés de l’art de l’improvisation et de la science de la composition. 3 N_Y Project les musiciens J O E M A R T I N contrebasse C’est l’un des bassistes les plus recherchés de la scène de jazz new-yorkaise. Reconnu pour sa sonorité chaleureuse, son écoute, sa créativité harmonique et le lyrisme de ses sols, il joue avec différentes personnalités musicales. Il est actuellement membre à part entière du Kurt Rosenwinkel’s group, capté en live ; The Remedy-Live at the Village Vanguard. Il a aussi joué avec Andy Bey, Vinicius Cantuaria, Bill Charlap, Art Farmer, Aaron Goldberg, Jon Gordon, Ari Hoenig, Joel Frahm, Fred Hersch, Ethan Iverson, Guillermo Klein, Ivan Lins, Lionel Loueke, Bill McHenry, John McNeil, Brad Mehldau, Mingus Big Band, Ben Monder, Jane Monheit, Jean Michel Pilc, Chris Potter, Maria Schneider, Jaleel Shaw, Grady Tate, Mark Turner, et beaucoup d’autres. Le dialogue continue avec les grands musiciens est une source majeure d’inspiration pour Joe Martin. La composition est un autre aspect essentiel de son monde musical. Un sens mélodique fort ainsi que l’utilisation de la partie de basse comme basse et contrepoints sont des traits forts de son écriture musicale. Son premier disque « CD Passage » avec Mark Turner, Kevin Hays et Jorge Rossy reçut un excellent accueil des critiques et des musiciens. Joe Martin est leader sur des « gigs » à New York notamment à la Jazz Gallery, Smoke et Small’s. Il est parti en tournée en Italie avec son groupe. L’expérience acquise avec des géants du jazz comme avec ses pairs a et continue d’inspirer son développement et sa maturité musicale. 4 N_Y Project les musiciens G E R A L D C L E AV E R batterie Né le 4 mai 1963, élevé à Détroit, Gerald Cleaver est un héritier de la riche tradition musicale de Détroit. Inspiré par son père, batteur John Cleaver, il débuta la percussion très tôt. Il étudia également le violon à l’école primaire, la trompette au collège et au lycée. Comme adolescent, il acquit une expérience inestimable en jouant avec les grands jazzmen de Detroit : Ali Muhammad Jackson, Lamont Hamilton, Earl Van Riper et Pancho Hagood. Pendant ses études en musique à l’université du Michigan, il reçut la bourse Jazz Study du « National Endowment for the Arts afin d’étudier avec Victor Lewis. Il fut diplômé en 1992 et commença à enseigner à Détroit où il travailla avec Rodney Whitaker, A. Spencer Barefield, Marcus Belgrave, Donald Walden, Wendell Harrison, and with visiting musicians Hank Jones, Tommy Flanagan, Barry Harris, Kenny Burrell, Frank Foster, Cecil Bridgewater, Ray Bryant, Eddie Harris, Dennis Rowland, Howard Johnson, Diana Krall and Don Byron. En 1995, il accepta un poste de professeur assistant à l’Université de Michigan aux Jazz Studies et en 1998 rejoint la faculté de jazz de l’université d’état du Michigan. En 2002, il déménage pour New York. Il a joué et enregistré avec Franck Amsallem, Henry Threadgill, Roscoe Mitchell, Lotte Anker, Reggie Workman, Marilyn Crispell, Matt Shipp, William Parker, Craig Taborn, Kevin Mahogany, Charles Gayle, Mario Pavone, Ralph Alessi, Jacky Terrasson, Jimmy Scott, Muhal Richard Abrams, Dave Douglas, Tim Berne, Jeremy Pelt, Ellery Eskelin, David Torn and Miroslav Vitous, entre autres. Gerald Cleaver a sorti deux disques sous son nom. Son disque « Adjust » (Fresh Sound New Talent) 2001 fut nominé « Best Debut Recording category » par l’association des journalistes de jazz. Son dernier disque « Gerald Cleaver’s Detroit » (FSNT) est un hommage à sa ville natale et aux derniers grands batteurs de Detroit Roy Brooks, Lawrence Williams, George Goldsmith et Richard "Pistol" Allen. Gerarld Cleaver est le leader des groupes Violet Hour, NiMbNl et Uncle June. 5 N_Y Project CONCERTS 2009 / 2010 16/10/09 : Vinon-sur-Verdon (83) 17/10/09 : Saint-Martin-de-Brômes (04) 18/10/09 : Esparron-en-Verdon (04) 19/10/09 : Auditorium de la Cité de la Musique, Marseille (13) * Jazz sur la Ville * 22/10/09 : Sunside, Paris (75) * CareFusion Festival * 21/04/10 : Pannonica, Nantes 22/04/10 : Le Cri du Port, Marseille (13) 23/04/10 : Charlie Free, Vitrolles (13) 24/04/10 : AJMI, Avignon (84) 26/04/10 : Duc des Lombards, Paris (75) 27/04/10 Show Case sortie de disque au Ray’s Jazz, Londres (Angleterre) Concert au Charlie’s Wright, Londres (Angleterre) 29/04/10 : Jazz Bar, Edimbourg (Ecosse) à suivre... 6 N_Y Project production / administration communication / booking national La Compagnie Nine Spirit Olivier CORCHIA, production, administration [email protected] fixe 09 62 19 04 06 /// 04 91 39 28 85 mobile 06 88 57 06 20 édition phonographique / booking international Zig Zag Territoires Clémentine Richard [email protected] fixe 01 43 45 11 20 mobile 06 35 48 15 22 distribution Harmonia Mund www.harmoniamundi.com i 7.
Load more

Recommended publications
  • Johnny O'neal
    OCTOBER 2017—ISSUE 186 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM BOBDOROUGH from bebop to schoolhouse VOCALS ISSUE JOHNNY JEN RUTH BETTY O’NEAL SHYU PRICE ROCHÉ Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East OCTOBER 2017—ISSUE 186 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 NEw York@Night 4 Laurence Donohue-Greene: Interview : JOHNNY O’NEAL 6 by alex henderson [email protected] Andrey Henkin: [email protected] Artist Feature : JEN SHYU 7 by suzanne lorge General Inquiries: [email protected] ON The Cover : BOB DOROUGH 8 by marilyn lester Advertising: [email protected] Encore : ruth price by andy vélez Calendar: 10 [email protected] VOXNews: Lest We Forget : betty rochÉ 10 by ori dagan [email protected] LAbel Spotlight : southport by alex henderson US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or VOXNEwS 11 by suzanne lorge money order to the address above or email [email protected] obituaries Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Fred Bouchard, Festival Report Stuart Broomer, Robert Bush, 13 Thomas Conrad, Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, special feature 14 by andrey henkin Anders Griffen, Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, CD ReviewS 16 Suzanne Lorge, Mark Keresman, Marc Medwin, Russ Musto, John Pietaro, Joel Roberts, Miscellany 41 John Sharpe, Elliott Simon, Andrew Vélez, Scott Yanow Event Calendar Contributing Writers 42 Brian Charette, Ori Dagan, George Kanzler, Jim Motavalli “Think before you speak.” It’s something we teach to our children early on, a most basic lesson for living in a society.
    [Show full text]
  • How Kresge Eminent Artist Wendell Harrison
    1 Wendell Harrison says he was a "nervous child" when he was younger, and "full of energy." This is how he was introduced to music: In order to focus him, his mother started the boy on piano when he was 5 years old. From piano came clarinet at age 8, and then an alto saxophone he begged for so he could "play like the pros" at age 12. Eventually he switched to tenor saxophone, but the rest is history: A lifetime of jazz and a legacy of self-determination and dedication would follow. Now, at age 75, Harrison is the 10th artist to receive the Kresge Eminent Artist honor, announced in January, and $50,000 award for contributions to the art form and cultural community — a distinction he has more than earned. Detroit-born Harrison is so much more than a tenor saxophonist and clarinetist. Other roles he has taken on — and continues to explore — include educator, bandleader, composer, and entrepreneur. He is perhaps most well-known as co-founder of Tribe, a 1970s collective that was instrumental in both shaping and spreading the sound of Detroit jazz at that time. Tribe was both a record label and magazine, but more than that, it was an organization that allowed black musicians to independently release and stay in control of their own creative output — a true do-it-yourself operation long before that model became commonplace for contemporary artists. For our interview, Harrison is kind enough to invite me into his home in Detroit's North End, the very same house he has lived and worked in since the '70s during Tribe's heyday.
    [Show full text]
  • Recorded Jazz in the 20Th Century
    Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana
    [Show full text]
  • Carl Craig Reassembles Tribe
    Carl Craig reassembles Tribe Published / Tuesday, 18 August 2009 09:00 AM Words / Resident Advisor Category / Music News Comments / 1 Comment Latest News • Tuesday, 18 Aug 2009 • Music News Carl Craig has announced details of yet another project in which he's lent his production hand, Tribe. A jazz record in the truest sense of that word, Tribe Rebirth, will see the quartet of Phil Ranelin, Wendell Harrison, Marcus Belgrave and Doug Hammond recreating tunes from their past as well as a number of new compositions. The group, which first assembled in the '70s, and issued a slew of LPs that have grown in stature over the years among jazz aficionados, was put back in contact in 2007 when Craig asked Wendell Harrison to be a part of a gig he was putting together in Paris. Craig had previously worked with Belgrave on his Detroit Experiment record, and covered Tribe's "Space Odyssey," but it was his talks with the saxophonist that helped bring the group back together. Craig says that the record, which will see the light of day on Community Projects, is "less experimental than Innerzone Orchestra and more cohesive than Detroit Experiment." Tracklist 01. Living In A New Day 02. Glue Fingers 03. Denekas Chant 04. Vibes From The Tribe 05. Son Of Tribe 06. Jazz On The Run 07. Ride 08. Lesli 09. 13th And Senate 10. Where Am I (Featuring Joan Belgrave) Community Projects will release Tribe Rebirth on October 6th, with an iTunes pre-release scheduled for August 25th. Myspace preview: Tribe Detroit More on Carl Craig Marcus Belgrave Trumpet, flugelhorn, vocals Born June 12, 1936, in Chester, Penn.
    [Show full text]
  • “Where the Mix Is Perfect”: Voices
    “WHERE THE MIX IS PERFECT”: VOICES FROM THE POST-MOTOWN SOUNDSCAPE by Carleton S. Gholz B.A., Macalester College, 1999 M.A., University of Pittsburgh, 2007 Submitted to the Graduate Faculty of The Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2011 UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Carleton S. Gholz It was defended on April 11, 2011 and approved by Professor Brent Malin, Department of Communication Professor Andrew Weintraub, Department of Music Professor William Fusfield, Department of Communication Professor Shanara Reid-Brinkley, Department of Communication Dissertation Advisor: Professor Ronald J. Zboray, Department of Communication ii Copyright © by Carleton S. Gholz 2011 iii “WHERE THE MIX IS PERFECT”: VOICES FROM THE POST-MOTOWN SOUNDSCAPE Carleton S. Gholz, PhD University of Pittsburgh, 2011 In recent years, the city of Detroit’s economic struggles, including its cultural expressions, have become focal points for discussing the health of the American dream. However, this discussion has rarely strayed from the use of hackneyed factory metaphors, worn-out success-and-failure stories, and an ever-narrowing cast of characters. The result is that the common sense understanding of Detroit’s musical and cultural legacy tends to end in 1972 with the departure of Motown Records from the city to Los Angeles, if not even earlier in the aftermath of the riot / uprising of 1967. In “‘Where The Mix Is Perfect’: Voices From The Post-Motown Soundscape,” I provide an oral history of Detroit’s post-Motown aural history and in the process make available a new urban imaginary for judging the city’s wellbeing.
    [Show full text]
  • Craig Taborn Trio Ma Vr 10 19 Uur / Za 16 19 Uur Wo 2 December 2009 [email protected] T +32 (0)3 248 28 28 F +32 (0)3 248 28 00
    2009-2010 architectuur theater dans muziek 2009-2010 blauwe zaal deSingel Desguinlei 25 / B-2018 Antwerpen CRAIG TABORN TRIO ma vr 10 19 uur / za 16 19 uur WO 2 DECEMBER 2009 www.desingel.be [email protected] T +32 (0)3 248 28 28 F +32 (0)3 248 28 00 deSingel is een kunstinstelling van de Vlaamse Gemeenschap en geniet de steun van hoofdsponsor mediasponsors 2009-2010 / JAZZ CECIL TAYLOR SOLO & DUO ZO 4 OKT 2009 GRÄWE-REIJSEGER-HEMINGWAY TRIO VR 13 NOV 2009 CRAIG TABORN TRIO WO 2 DEC 2009 A TOUCH OF NOIR / THE SHADES OF JAZZ ON NOIR VR 12 FEB 2010 THE CLAUDIA QUINTET VR 5 MRT 2010 REQUIEM FOR A DYING PLANET DO 11 MRT 2010 L’OEIL DE L’éléPHANT DO 6 MEI 2010 inleiding Hugo de Craen / 19.15 uur / de vergaderzaal begin 20.00 uur pauze omstreeks 20.45 uur einde omstreeks 21.50 uur teksten programmaboekje Didier Wijnants coördinatie programmaboekje deSingel CRAIG TABORN TRIO CRAIG TABORN piano THOMAS MORGAN contrabas GERALD CLEAVER percussie Deel 1 45’ pauze gelieve uw GSM uit te schakelen Deel 2 45’ De inleidingen kan u achteraf beluisteren via www.desingel.be Selecteer hiervoor voorstelling/concert/tentoonstelling van uw keuze. Op www.desingel.be kan u uw visie, opinie, commentaar, appreciatie, … REAGEER betreffende het programma van deSingel met andere toeschouwers delen. & WIN Selecteer hiervoor voorstelling/concert/tentoonstelling van uw keuze. Neemt u deel aan dit forum, dan maakt u meteen kans om tickets te winnen. Bij elk concert worden cd’s te koop aangeboden door ’t KLAverVIER, Kasteeldreef 6, Schilde, 03 384 29 70 > www.tklavervier.be
    [Show full text]
  • Cass Corridor Documentation Project Oral History Project
    SPANGLER, INTERVIEW 1 Cass Corridor Documentation Project Oral History Project Interviewee: Bud Spangler Relationship to Cass Corridor: Jazz Musician, Radio Program Host and Director Interviewer: Robin Darling Date of the interview: April 7, 2011 Location: Wayne State University, Detroit, Mi (telephone) Darling: Hello Bud, how are you doing? Spangler: I’m fine, Robin. Darling: Wonderful, wonderful. So, if you’d like let’s start with some biographical information. If you could tell me— Spangler: You got it. Darling: [If you could tell me] where you were born and raised. SPANGLER, INTERVIEW 2 Spangler: I was born in Norwalk, Ohio, which is in the northern part of the state not far from Sandusky and Cedar Point and all that. And the high school in our town was about two blocks from our house, but the football field where they marched and practiced was across the street from our house. So, everyday they would come marching down the street and go into the football field across the street. So from as early as I can remember the marching band was across the street and the drum majorette was my babysitter so, it was ok with her and it was ok with my mom. I would go and march up and down the sidelines along with the band. And the drums always thrilled me. The drums just thrilled me! So I got to hear music live in that manner. And then we moved to Detroit. My dad got a job in Detroit and actually lived in Wyandotte. And we used to go back to Norwalk to visit relatives.
    [Show full text]
  • Sonny Red Oral History 2020
    BLUESVILLE: THE JOURNEY OF SONNY RED Anders Svanoe INTRODUCTION The first time I heard Sonny Red on record, I wondered, “Who is this guy?” Luckily for me, I had stumbled on Curtis Fuller's New Trombone, which started the nine-year (and still counting) love affair with Sonny Red (a.k.a. Sylvester Kyner). That particular record really caught my attention, since I had never heard that much trombone and alto saxophone pairing on the front line. But there was something almost suspicious in how these two masterful musicians blended and embellished every note together as if they were one. It seemed they knew each other well. Almost too well. Red's organic sound on the alto saxophone was a perfect match for Curtis Fuller. I couldn't explain why I liked it so much, other than to say it was captivating, heartfelt and real. Imperfectly perfect, if you can say that. In the following weeks I looked for additional record dates that featured Sonny, but found very few sessions available on CD. Not even Out Of the Blue, perhaps Red's finest effort, was available in the U.S. Now Sonny's albums are finally resurfacing on CD, and are beginning to attract positive attention. When these albums first came out in the late 1950s and early 1960s, they were sadly overlooked. This was a common problem for bebop alto players recording in the 1950s: there were just too many other great alto players recording a similar type of music, and Red's style somehow got lost in the mix.
    [Show full text]
  • Roy Brooks – Final Version – February 1, 2021
    Detroit Sound Conservancy – Roy Brooks – Final Version – February 1, 2021 Mjumbe: A Tribute Jazz Master Roy Mjumbe Brooks (1938–2005) was a phenomenal drummer I met in 1978 after I had married Harold McKinney, a Detroit-based pianist/composer, teacher and performer. On occasion, Harold hired Roy in several of his ensembles in the ’80s and ’90s. However, Mjumbe was much more than a sideman. Newly returned to Detroit from New York in the late ’70s, he became a colleague in the Detroit jazz advocacy movement. He re-formed his ensemble The Artistic Truth in Detroit and became involved in the then-sprouting Advocacy For Jazz independent music labels’ movement for Black musicians, of which the Tribe Records collective was an example. He formed Musicians United to Save Indigenous Culture (M.U.S.I.C.) and vibed with other godparents of independent Black music advocacy such as Harold, Phil Ranelin, Wendell Harrison, Pamela Wise Harrison, Marcus Belgrave, Kenny Cox and Barbara Cox. Mjumbe was amazingly creative. As a performer, he would ‘play the room’ – literally. He’d roam the club’s space, using his sticks on the different surfaces as he’d come across them. He blew into various tubes to change the intonation of his drum kit, playing African-inspired rhythms. He would meticulously bend his large saw between his knees, coaxing out beautiful resonant melodies improvised over a jazz standard or an original tune. Mjumbe was also a mentor and teacher for me. By the early 1990s, I had formed a women’s vocal and shakeré percussion society, Hakamma (Women of Wise Words), and also helped form Women’s Percussion Ensemble (WPE).
    [Show full text]
  • Marcus Belgrave 2009 Kresge Eminent Artist 2009 Kresge Eminent Artist 1
    Belgrave 2009 Marcus Kresge Eminent Artist Eminent Kresge Marcus Belgrave 2009 Kresge Eminent Artist 2009 Kresge Eminent Artist 1 Contents FOREWORD 3 Rip Rapson President and CEO, The Kresge Foundation PORTRAIT OF AN ARTIST 7 A Syncopated Journey by Claudia Capos 10 The Life and Be-Bop Times of Marcus Belgrave: A Timeline MASTER OF THE MUSIC 19 The Early Years: On the Road with Ray by W. Kim Heron “I want to see the music 20 Jazzin’ Up Motown by Sue Levytsky 22 Key Change: Evolution into the Avant-Garde by W. Kim Heron 24 Back to Big Time, Good Time, Old Time Jazz by Sue Levytsky of America continue. 27 Selected Belgrave Discography We have so much to give. Our music PASSING ON THE TRADITION 32 Marcus – The Master Teacher by Herb Boyd keeps coming, bubbling up 37 The Lesson Plan by W. Kim Heron 38 The Belgrave Method: Students Take Note from a reservoir. I’m happy to have been 39 A Letter in Tribute from Anne Parsons and The Detroit Symphony Orchestra a vital part of an era, 40 Teach Your Children Well 44 Belgrave as Educator and I want to see it endure.” 46 Selected Achievements, Awards, and Recognitions – Marcus Belgrave KRESGE ARTS IN DETROIT 48 The Kresge Eminent Artist Award 48 Charles McGee: 2008 Kresge Eminent Artist 49 A Letter of Thanks from Richard L. Rogers and Michelle Perron College for Creative Studies 50 Kresge Arts in Detroit – Advisory Council 51 About The Kresge Foundation 51 The Kresge Foundation Board of Trustees 52 Acknowledgements LISTEN TO ”Marcus Belgrave: Master of the Music” THE ACCOMPANYING CD INSERTED INTO THE BACK COVER.
    [Show full text]
  • 2018 Kresge Eminent Artist
    2018 KRESGE EMINENT ARTIST THE KRESGE EMINENT ARTIST HONORS AN EXCEPTIONAL ARTIST IN THE VISUAL, PERFORMING OR LITERARY ARTS for lifelong professional achievements and contributions to metropolitan detroit’s cultural community. wendell harrison is the 2018 kresge eminent artist. this monograph commemorates his life and work. A sampling of the multitude of recordings in which Wendell Harrison has played a major role as lead artist, guest artist, producer and/ Photo taken by Julie Pincus at Tennant & Associates, or distributor in his more than 50 year career the Michigan Design Center. Troy, Michigan. as a jazz artist and entrepreneur. """""""""" Contents 5 Foreword By Rip Rapson, President and CEO, The Kresge Foundation 6 Artist’s Statement LIFE 10 The Sound and Vision of Wendell Harrison By Sue Levytsky MUSIC 26 Six Degrees of Wendell Harrison: A Constellation of Jazz Connections 28 All that Jazz 36 The Axe and the Licking Stick LEGACY 40 Made in Detroit: Jazz from the Motor City On Taking Control and Tribe By Mark Stryker 48 Tribe, The Magazine 52 After Tribe: Rebirth and Revision By Larry Gabriel 54 The Teachings of Wendell Harrison By Susan Whitall 58 Other Voices 62 Biography KRESGE ARTS IN DETROIT 72 Our Congratulations Christina deRoos, Director, Kresge Arts in Detroit Richard L. Rogers, President, College for Creative Studies 74 The Kresge Eminent Artist Award and Winners 74 2016-2017 Advisory Council 76 Credits & Acknowledgements Photos by Julie Pincus """""""" """""""" """""""" Foreword We often invoke as a figure of speech the phrase, “Art moves us.” wendell harrison takes us beyond metaphor. he comes to us from the aesthetic of jazz, and he exemplifies the special relationship jazz has always enjoyed with motion.
    [Show full text]
  • 11Th Season of Concerts!
    Tickets Saturday, June 16, 8 pm Garden Concert* Must be purchased in advance 2017-2018 Preferred Seats (PS): Reserved seats in front rows with additional A Fathers Day Tribute to Harold McKinney leg room; early admission to concerts; first in line for dinner PAID Non-Profit Gayelynn McKinney McKinFolk MI Detroit, Holiday Concert with Kathy Kosins: $60 / PS $70 Postage U.S. All other concerts: $50 / PS $60 2781 No. Permit Series (eight concerts): $395 (includes PS seating — save $95) Group discount: Ten or more tickets to a single concert: $5 discount for each ticket (must be ordered at one time) 313-891-2514 b palmerwoods.org email: [email protected] Order and pay for tickets online or by phone • Limited seating Tickets are not refundable Directions to homes revealed prior to concert to ticket holders All concerts include a light dinner, beverages & desserts. Michelle McKinney Photos by BarbaraPhotos by Barefield Order Form Mail self-addressed stamped envelope & check to: Gayelynn McKinney Palmer Woods Association 19550 Argyle Crescent • Detroit, MI 48203 Gifted, multi-genre percussionist/ A limited number of discount student tickets may be available for certain composer Gayelynn concerts; two free children’s concerts will be announced on palmerwoods.org McKinney grew up in a Name________________________________________ home enveloped in music, a hub for some of Detroit’s most Address_______________________________________ Vincent Chandler important jazz musicians. Her City________________________State____Zip________ Marcus Elliot dad, jazz master pianist/composer Harold McKinney, her mom, singer Gwendolyn Shepherd McKinney, along with jazz luminaries Marcus Phone________________________________________ Belgrave, Wendell Harrison, George Davidson, Max Roach, and other friends and Email_________________________________________ fellow artists, filled their home with music and passion ’round the clock.
    [Show full text]