Contents Inhalt Imprint Impressum 4 Acknowledgments Danksagung 5

contents inhalt imprint impressum 4 acknowledgments danksagung 5 foreword by vorwort von George E. Lewis 11 the woman in the black beret David Amram 23 untitled Harrison Bankhead 27 forever Lewis Barnes 28 moment Lewis Barnes 29 the subway philanthropist David Budbill 30 vision festival XIII David Budbill 31 improvisation is the jazz-mandala-voyage Katie Bull 32 swan song Chris Chalfant 35 sometimes Jay Clayton 36 kind of haiku Leena Conquest 37 the time before Leena Conquest 38 organic brown and sweet Cooper-Moore 39 old saint peter Cooper-Moore 40 keys to the city Jayne Cortez 41 the mambo lesson Jayne Cortez 43 what's your take Jayne Cortez 44 finding the art of improvising music Connie Crothers 46 freer than free Marc Edwards 48 blues in the road Bruce Eisenbeil 50 burning out sticky Bruce Eisenbeil 51 a girl on a purple bicycle Bruce Eisenbeil 52 an improvised life Avram Fefer 54 untitled Floros Floridis 57 Standstill Joel Futterman 60 untitled Charles Gayle 61 Bibliografische Informationen digitalisiert durch http://d-nb.info/100117755X contents inhalt child's play — a glance Alan Bernard Glover 62 life speaks Doug Hammond 63 to see Doug Hammond 66 you, my heart song Doug Hammond 67 improvisation - the celebration of the moment Gunter Hampel 69 untitled Gunter Hampel 72 within moments Jason Kao Hwang 75 a vision against violence part I Joseph Jarman 76 a vision against violence part II Joseph Jarman 77 blues in bolero Terry Jenoure 78 no easy way Lee Konitz 81 untitled Peter Kowald 82 befo' tomorrow Oliver Lake 86 if i knew this Oliver Lake 87 five part intuition Yusef Lateef 89 the bird Yusef Lateef 90 le train (vers Rome) Joëlle Léandre 91 song of solo man's psalms Elliott Levin 94 what jazz means to me David Liebman 95 one Joe Maneri 98 two Joe Maneri 99 three Joe Maneri 100 untitled Sabir Mateen 101 untitled Sabir Mateen 103 untitled Sabir Mateen 104 dream-time too quickly Nicole Mitchell 105 reflection streams Nicole Mitchell 108 albert ayler Ras Moshe 110 John coltrane poem #21 Ras Moshe 111 contents inhalt you are your own leader Ras Moshe 112 charles'song Roy Nathanson 113 man's condition Bern Nix 116 spring song for autumn William Parker 117 it rained a fortune Matana Roberts 122 in between gigs ... can you dig ...? Larry Roland 123 the underground Larry Roland 127 facts full Matthew Shipp 130 sequence to seizure Matthew Shipp 131 tone signifies Matthew Shipp 132 freedom Catherine Sikora 133 tel lie vis ion Warren Smith 135 broken Lisa Sokolov 139 ocean Lisa Sokolov 140 poets of the now Steve Swell 141 transitions Steve Swell 143 untitled John Tchicai 145 being Ijeoma Thomas 147 inside job Ijeoma Thomas 148 sumotuwe betty carter Ijeoma Thomas 149 being happy and aware of it Oluyemi Thomas 150 untitled Oluyemi Thomas 151 for roscoe Assif Tsahar 152 untitled Assît Tsahar 153 all in before the all was David S. Ware 154 saxophone spirals David S. Ware 155 Spirits David S. Ware 156 who is who Henry P. Warner 157 artist biographies biografíen der musiker 160 references for previously published pieces quellenangaben zuvor veröffentlichter texte 176.

Copy Link

Recommended publications

Vision Festival 21 Brochure
THE CREATIVE OPTION TOGETHER WE CONTINUE TO MAKE VISIONS REAL Our goal is to keep alive, in hearts and minds, the idealism, integrity and sense of responsibility that has inspired generations. We support the Present by remembering & respecting the Past & Prepare a Future where Improvisation and Freedom have a place. THIS IS ONLY POSSIBLE WITH YOUR HELP Charlotte Ka, ‘Dance a Celebration of Life’ Arts for Art presents Free Jazz as a sacred art-form, based in the Ideals of Freedom, Artist Info Page 24 Marcy Rosenblat, ‘Reveal’ Justice and Excellence. The art expresses our sense of hope and belief in the possibility of freedom, A Freedom to be our most unique self. So we push ourselves to do more, to redefine our self, our art and our communities. The music was built by self-determination. Where the artist defines, presents their work, not waiting for permission. Hope, Freedom, Self-determination are powerful ideas in any time, and particularly in this time. VISUAL ART AT VISION 21 AT ART VISUAL What we do or don’t do – does matter. We make a difference in our world and in our Lives by supporting what feeds our Souls. Bill Mazza, If the Vision Festival and the Work of Arts for Art feeds Souls then you should support it. ‘Vision 20, Day 5, Set 3, Wadada Leo Smith/Aruan Ortiz Duo’’ Our Humanity and Creativity needs a community of supporters who share our ideals. Jonas Hidalgo ENSURE ARTS FOR ART’S FUTURE ■ BE A MEMBER / DONATE TO ARTS FOR ART ■ BECOME ACTIVE IN THE AFA COMMUNITY Visit: www.artsforart.org/support or stop by the Arts for Art table at the Vision Festival.
[Show full text]
Gerry Hemingway Quartet Press Kit (W/Herb Robertson and Mark
Gerry Hemingway Quartet Herb Robertson - trumpet Ellery Eskelin - tenor saxophone Mark Dresser- bass Gerry Hemingway – drums "Like the tightest of early jazz bands, this crew is tight enough to hang way loose. *****" John Corbett, Downbeat Magazine Gerry Hemingway, who developed and maintained a highly acclaimed quintet for over ten years, has for the past six years been concentrating his experienced bandleading talent on a quartet formation. The quartet, formed in 1997 has now toured regularly in Europe and America including a tour in the spring of 1998 with over forty performances across the entire country. “What I experienced night after night while touring the US was that there was a very diverse audience interested in uncompromising jazz, from young teenagers with hard core leanings who were drawn to the musics energy and edge, to an older generation who could relate to the rhythmic power, clearly shaped melodies and the spirit of musical creation central to jazz’s tradition that informs the majority of what we perform.” “The percussionist’s expressionism keeps an astute perspective on dimension. He can make you think that hyperactivity is accomplished with a hush. His foursome recently did what only a handful of indie jazzers do: barnstormed the U.S., drumming up business for emotional abstraction and elaborate interplay . That’s something ElIery Eskelin, Mark Dresser and Ray Anderson know all about.“ Jim Macnie Village Voice 10/98 "The Quartet played the compositions, stuffed with polyrhythms and counterpoints, with a swinging
[Show full text]
Press Kit 2015
minasi_bio_4-30-2019_Layout 1 4/30/19 11:22 PM Page 1 BIOGRAPHY “Improvising musicians all pay lip service to the idea of working without a net, but most end up building safety precautions —no matter how slight or subtle they may be—into their work. Dom Minasi, however, isn't one of those musicians. The indefatigable guitarist has no interest in sonic safeguards or insurance. He's a law unto himself, creating music that speaks to his intelligence, fearlessness, and mischievous nature. And while Minasi has been at it for half a century, he shows no sign of slowing down or taking an easy road. Minasi is one of the great creative guitar artists operating today”. Dan Bilawsky from All About Jazz. Dom Minasi has been playing guitar for over 50 years. He became a professional musician playing jazz when he was 15 years old. In 1962 he started teaching and working as a full–time musician. In 1974, he was signed to Blue Note Records. After two albums he left the recording business and did not record again as a leader till 1999 for CIMP records. Between those years he made his living composing, authoring three books on harmony and improvisation, teaching and arranging. During the late seventies he did have an opportunity to work and perform with a whole slew of jazz giants including Arnie Lawrence, George Coleman, Frank Foster, Jimmy Heath and Dave Brubeck. After working with and being inspired by Roger Kellaway in ‘74, Dom began seriously composing in all genres’, including songwriting (both music & lyrics) jazz tunes and serious long hair contemporary pieces.
[Show full text]
NYC Jazz Record Review
format highlighting Zankel’s tart sound and fleet, title track and “Goldie’s Chance” are album highlights. brightly inflected, continuous lines. Rodriguez displays a delicacy at the keys that perfectly As the title declares, this is a 65th birthday balances Sevian’s slow, low swaying. But the almost celebration of bassist William Parker, Zankel’s manic “Lamb and Bunny”, on which Tarantino returns colleague for over 40 years. The suite is a loose for another round with/against the leader, is collection of themes taken from Zankel’s compositions astonishing. Rodriguez, McBride and Strickland set a for big band and used as launching pads for extended racetrack tempo and the two women sprint through improvisation welling up from the roots of free jazz. complex bebop phrases, tearing through the changes Two members of the sextet—pianist Dave Burrell and and trading off phrases like it’s 1945. Albums by Trio Joy drummer Muhammad Ali—launched their careers in baritone saxophonists may not be common, but Bliss the ‘60s and the dense, powerful undercurrent they makes a strong argument for more of them and soon. by Mark Keresman create with Parker’s foundational bass, a flux moving in every direction at once, keeps the music in a state of For more information, visit posi-tone.com. This project is at Sometimes musicians can be hemmed in by reputation, vital turbulence, feeding the other voices of Zankel, Dizzy’s Club May 16th. See Calendar. by style, by their timeframe in the grand scheme of trombonist Steve Swell and violinist Diane Monroe, things.
[Show full text]
Pioneer Valley Jazz Shares Presents: Steve Swell's Kende Dreams
FOR IMMEDIATE RELEASE Contact: Glenn Siegel, 413-320-1089 [email protected] Pioneer Valley Jazz Shares presents: Steve Swell’s Kende Dreams Pioneer Valley Jazz Shares begins its 5th season with a performance by Steve Swell’s Kende Dreams , featuring Steve Swell, trombone, compositions; Rob Brown , alto saxophone, Connie Crothers, piano, William Parker , bass and Gerald Cleaver , drums, on Thursday, September 15 , at 7:30pm at Hampshire College Music Recital Hall , Amherst, MA . Single tickets ($15) available at www.jazzshares.org and at the door. At the urging of Lars-Olof Gustavsson and Keith Knox of Sweeden’s Silkheart Records, Steve Swell assembled an all-star quintet and produced, Hommage à Bartók (2015.) “The seven tracks are creative music pitched at the highest level,” writes John Corbett in the liner notes.“As is that music's unalienable right, it absorbs and transforms things that it comes into contact with . So, unlike Milhaud's attempts to quote or characterize jazz, this is jazz eating and fully digesting modern classical music, turning it into something else completely.” Born in Newark, NJ in 1954, trombonist Steve Swell has been an active member of the New York music community since 1975, when he began playing in top 40 bands, salsa bands, big bands (most notably those of Buddy Rich and Lionel Hampton) and performed on Broadway in Bob Fosse's ‘Dancin’". Swell joined Jaki Byard and the Apollo Stompers, and made his recording debut in Sept. of '84 for the Soul Note label. He then became a member of Makanda Ken McIntyre's band which led to tours and recordings with Tim Berne, Joey Baron, Herb Robertson, Jemeel Moondoc, Anthony Braxton, Cecil Taylor, William Parker, Bill Dixon, Butch Morris, John Zorn, Dave Burrell, Elliott Sharp, Rob Mazurek, Perry Robinson and Ken Vandermark.
[Show full text]
At the W Ardrobe Info 0113 269 4077
Brad Shepik was born in Walla Walla,Washington 1966 and raised in Seattle. He played Wednesday November 10 The Wardrobe £10/8 guitar and saxophone in school bands and attended Cornish College of the Arts where he Brad Shepik Trio studied with Jerry Granelli, Julian Priester, Dave Peck, James Knapp, Dave Petersen and Brad Shepik – guitar, saxaphone Ralph Towner. Tom Rainey – drums In 1990 Brad moved to New York and dived head first into the music scene. He quickly Matt Penman – bass became involved in the formation of a loose collective of improvising musicians who were into experimenting and playing each other’s music, as well as different folk musics including Balkan and Eastern European musics. Out of this environment was born many groups that Shepik continues to perform with today including the Tiny Bell Trio 1992, Paradox Trio 1992, Pachora 1993, and BABKAS 1992–8. In 1991 Bill Frisell recommended Shepik to Paul Motion for his Electric Be Bop Band which Shepik toured and recorded with for five years. “Shepik’s got the mind of a pioneer.The rhythmic complexity of his compositions has few parallels in jazz – or any other genre,for that matter.With all his exotic influences, and all his different axes,he makes us rethink what it means to be a guitarist and a musician.There’s no telling where he’ll go next.” allaboutjazz.com Iconoclastic and prolific jazz-rock guitarist David ‘Fuze’ Fiuczynski, a jazz player who “doesn’t want to Thursday November 18 The Wardrobe £12/10 play just jazz”, has been hailed by the world press as an incredibly inventive guitar hero, who continues Screaming Headless Torsos to deliver with music that is unclassifiable, challenging and invigorating.
[Show full text]
Globe Unity:Lithuania
Relative Pitch). Now a formidable set of trio, quartet GLOBE UNITY:LITHUANIA and quintet material has surfaced, centered on the saxophonist and a rhythm section of bassist Hilliard Greene and drummer Newman Taylor Baker for a program of originals and a cover of Alice Coltrane’s “Ptah, the El Daoud”. Moondoc’s early work looked to Cecil Taylor, Bill Dixon and Milford Graves, whom he encountered at Antioch College in Ohio and the University of Wisconsin-Madison, though the Live at Vilnius Jazz Festival William Hooker/Liudas Mockūnas (NoBusiness) Music For Flute & Double-Bass / Rain Forest saxophonist’s own dry, discursive approach landed ME Jeremy Steig/Eddie Gomez (CMP-Art of Groove) somewhere in between Steve Lacy, Ornette Coleman Dmitrij Golovanov (s/r) by Andrey Henkin and Jimmy Lyons. The closing ballad, “For the Love of Lights of Darkness Cindy”, is a fine example of the core trio at work, a Kęstutis Vaiginis (s/r) It is nice to imagine that the collaboration between delicate walk through a glassy field as Moondoc unfurls by Tom Greenland flutist Jeremy Steig and bassist Eddie Gomez was a quavering, conversational lines and squirrelly hops Lithuania has a growing rep as the jazziest former response to the question upright bassists hear throughout with a gentle, grainy tone. Baker’s evaporating, brushy Soviet republic. Ranks of conservatory trained, their careers: “Don’t you wish you played the flute?” constant is both subtle accompaniment and in a world avant-leaning artists, often drawing on folk roots, As part of its Collectors Premium collection, Art of of its own, as Greene maintains a thick pizzicato tonic.
[Show full text]
Magic Triangle Jazz Series Timeline
Close to the Music 25 Years of Magic Triangle Jazz Series Close to the Music 25 Years of Magic Triangle Jazz Series February 2014 WMUA 91.1 FM and the Fine Arts Center University of Massachusetts Amherst Concept and Project Director: Priscilla Page Founding Director of Magic Triangle: Glenn Siegel Book and Cover Design: Rebecca Neimark, Twenty-Six Letters Magic Triangle Posters: Ryan O’Donnell Contributing Writers: John Bracey, Jason Robinson, Ed Hazell Contributing Photographers: Jim Gipe, Ed Cohen, Maurice Robertson, Ben Barnhart, Parthasarathi Valluri, Frank Ward !!!"\$%&'()*%$(%'"*+,-,&./*('/&$.0% Magic Triangle archives are housed in the UMass Special Collections and University Archives, W.E.B. DuBois Library. Information at: 1((23--0/4'&'5"6,&))"%76-)2*+00- . Front Cover: Jonathan Finlayson, April 26, 2012, photo: Parthasarathi Valluri Back Cover: Bezanson Recital Hall, April 26, 2012, photo: Maurice Robertson © 2014 All Rights Reserved Glenn Siegel would like to thank: Dr. Fred Tillis, Director Emeritus of the UMass Fine Arts Center, !1+8\')(826(8/$)(/(6(/+$&08'%)+6'*%)84%1/$78+6'8%$(16)/&),"89+4%'(&8:$+;8<+6$7/$.8=/'%*(+'8+<8>%!8 WORLD Theater, for giving me entré to the world of presenting via the Bright Moments Festival and the Black Musicians Conference. Dr. Willie Hill and the entire FAC staff, for their unwavering sup- port. The jazz djs of WMUA-91.1FM. The Pioneer Valley is blessed to have a college radio station so *+,,/((%78(+8'%&08,6)/*&087/?%')/(5"8@+48A$(/08<+'8$6'(6'/$.8(1%8B%'/%)8(1'+6.18/()8\')(87%*&7%"8C58 beloved Priscilla Page, she hatched this book idea, and was its shepherd.
[Show full text]
Listening at the Edges: Aural Experience and Affect in a New York Jazz Scene
Listening at the Edges: Aural Experience and Affect in a New York Jazz Scene by Matthew Somoroff Department of Music Duke University Date:_______________________ Approved: ___________________________ Louise Meintjes, Co-Supervisor ___________________________ Paul Berliner, Co-Supervisor ___________________________ Philip Rupprecht ___________________________ Mark Anthony Neal Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2014 ABSTRACT Listening at the Edges: Aural Experience and Affect in a New York Jazz Scene by Matthew Somoroff Department of Music Duke University Date:_______________________ Approved: ___________________________ Louise Meintjes, Co-Supervisor ___________________________ Paul Berliner, Co-Supervisor ___________________________ Philip Rupprecht ___________________________ Mark Anthony Neal An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2014 Copyright by Matthew Somoroff ©2014 Abstract In jazz circles, someone with “big ears” is an expert listener, one who hears the complexity and nuance of jazz music. Listening, then, figures prominently in the imaginations of jazz musicians and aficionados. While jazz scholarship has acknowledged the discourse on listening within various jazz cultures, to date the actual listening practices of jazz musicians and listeners remain under-theorized. This dissertation investigates listening and aural experience in a New York City community devoted to avant-garde jazz. I situate this community within the local history of Manhattan’s Lower East Side, discuss the effects of changing neighborhood politics on music performance venues, and analyze social interactions in this scene, to give an exposition of “listening to music” as a practice deeply tied into other aspects of my interlocutors’ lives.
[Show full text]
William Parker & the Little Huey Creative Music
VICTO cd 102 WILLIAM PARKER & THE LITTLE HUEY CREATIVE MUSIC ORCHESTRA For Percy Heath 1. Part One 10'34" 2. Part Two 9'49" 3. Part Three 10'15" 4. Part Four 17'40" Toutes les musiques sont de William Parker (Centering Music, BMI) Enregistré « live » au 22e Festival International de Musique Actuelle de Victoriaville le 22 mai 2005. Sabir Mateen : saxophone ténor, clarinette alto Darryl Foster : saxophones ténor et soprano Rob Brown : saxophone alto Charles Waters : saxophone alto, clarinette Dave Sewelson : saxophone baryton Roy Campbell : trompette Matt Lavelle : trompette Les Disques VICTO Lewis Barnes : trompette Les Éditions VICTORIAVILLE, SOCAN 2006 7 7 7 4 0 5 0 1 0 2 2 3 Steve Swell : trombone Alex Lodico : trombone Masahiko Kono : trombone Dave Hofstra : tuba Andrew Barker : batterie William Parker : contrebasse, composition, direction For Percy Heath April 30, 1923/April 28, 2005 The first time I met Percy Heath was 1983 in San Francisco. I was playing a concert with the pianist Cecil Taylor and when the concert ended, I went off stage and there standing in the wings was Percy Heath. He greeted me with a hug and called me “Iron fingers”. I thanked him for his wonderful bass playing. Then we spoke about the importance of space, timing and playing the right thing at the right time in a musical situation. I saw Percy one other time at the North Sea Festival in Holland. He was in his seventies and I asked him if I could get anything for him. He replied “No, just keep playing your music”.
[Show full text]
Steve Swell 60Th Birthday Celebration at the Stone
STEVE SWELL 60TH BIRTHDAY CELEBRATION AT THE STONE November 24 8pm Improvising Trombone Trio - Dick Griffin, Joe McPhee, Steve Swell (trombones) 10pm “Dragonfly Breath” - Paul Flaherty (ts), C. Spencer Yeh, violin/voice, Weasel Walter (dr), Steve Swell (tb) November 25 8pm Kende Dreams: Hommage à Bartók with Rob Brown (as), Connie Crothers (p), Larry Roland (b), Chad Taylor (dr), Steve Swell (tb)/compositions 10pm Leaf Peeping in Poland: with Jason Hwang (v), Larry Roland/James Ilgenfritz (b), Chad Taylor (d), Patricia Nicholson-Parker, dance, Steve Swell, trombone/composition/words November 26 Thanksgiving, the Stone will be closed November 27 8 & 10pm Steve Swell’s Nation of We with Embedded String Quartet #1 with Jason Hwang, Jake Sokolov, Rosi Hertlein, Sarah Bernstein, Stephanie Griffin (strings), Darius Jones/Chris Pitsiokos (as), Dave Sewelson, baritone saxophone, Lewis Barnes/Matt Lavelle (tp), Vincent Chancey (fh), Joe Daley (tuba), Todd Nicholson (b) , Chad Taylor (d), Steve Swell, trombone/compositions November 28 8pm 1. Trombone Solo, Steve Swell 2. “Schematics and Heuristics for (4) Clarinets #2” with Marty Ehrlich, Ned Rothenberg, Guillermo Gregorio, Aaron Novik (clarinets) 3. Composite #11 Nate Wooley (tp), Marty Ehrlich (as), Steve Swell (tb/composition) photo: Ziga Koritnik @ St. Johann 3/24/ 15 4. Improvisations with everyone 10pm TPP (trombone, piano, poetry) Improvisations with Connie Crothers, piano, Steve Dalachinsky, poetry, Steve Swell, trombone November 29 8 & 10pm From Norway! Frode Gjerstad Trio with Steve Swell. Frode Gjerstad, alto saxophone, clarinet, Johnny Ruun, bass, Paal Nilssen-Love, drums, Steve Swell, trombone The STONE • Corner of Avenue C and 2nd Street, NYC • thestonenyc.com.
[Show full text]
STEVE SWELL.Bio
STEVE SWELL 31 Union Square West #2C New York, New York 10003 Tel (212) 206-8672 Email: [email protected] Web site: www.steveswell.com Steve’s Bio “One of the most adventurous and prolific members of the New York free-jazz community” according to Ed Hazell of Signal To Noise, Steve Swell’s reputation, work ethic and commitment to excellence has kept him in the forefront of improvised music and a leading voice on his instrument for more than 20 years. Born in Newark, New Jersey, Steve Swell has been an active member of the New York music community since 1975. He has established himself as a premiere leader and sideman of some of the most exciting groups ever assembled, giving performances at festivals, clubs and theaters in Africa, Asia, Europe, North and South America. His composing talents have been recognized the world over. His “Suite for Players, Dreamers and other Listeners” was voted number 2 in the 2006 Cadence Reader’s Poll. Swell’s curiosity and need to create has led him to becoming a much heralded sideman affording him the opportunity to participate as an integral part of groups led by some of the most renown musicians in the jazz and improvised worlds. Among those notables are Lionel Hampton, Buddy Rich, Anthony Braxton, Cecil Taylor, William Parker, Alan Silva, Roswell Rudd, Jemeel Moondoc, Ken Vandermark, Makanda Ken McIntyre, Roscoe Mitchell, Rob Mazurek, Dave Burrell, Elliott Sharp and Bill Dixon to name a few. Swell has fifty recordings as a leader or co-leader and is a featured artist on more than one hundred and twenty-five releases.
[Show full text]