Chronologie Konzerte Taktlos 2017 – 1984 + Fabrikjazz 2017 – 1981
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UWE Obergs LACY POOL Uwe Oberg Piano / Rudi Mahall Clarinets / Michael Griener Drums
UWE OBERGs LACY POOL Uwe Oberg piano / Rudi Mahall clarinets / Michael Griener drums Just released! LACY POOL_2 (Leo Records / London) LACY POOL was founded by German pianist Uwe Oberg. With an intriguing lineup with the Berlin-based clarinettist Rudi Mahall and drummer Michael Griener, the band explores different styles in Steve Lacy's music and Oberg's compositions. It's a joyful celebration as well as an deconstruction, that transfers the Lacy's pieces into the present. Fresh and inquisitive. JAZZWEEKLY July 2017 “On Lacy Pool, an intriguing lineup (piano-trombone-drums) revisit what might one day become standards - 10 compositions penned by Steve Lacy. Uwe Oberg's angular lines, Christof Thewes' soaring trombone and drummer Michael Griener's clever support help bring out the joy that inhabits those pieces. Their truculent nods at Dixieland or Thelonious Monk are a reminder of how both influences informed the late soprano sax player's development. They never get lost in a meditative state, because Oberg and company's mood is definetely more celebratory than mournful. To sum up, this is an excellent addition to the recent tributes paid to Lacy's legacy that will surely inspire more generations to come. DOWNBEAT, December 2010 Great players, luminously entertaining album. TOUCHING EXTREMES, Okt. 2010 Confirming that the music of a true original like Lacy is best celebrated by adding to it rather than copying, the three leap into the Lacy Pool at the deep end. Accepting this challenge, they still manage an Olympic medal-like performance. KEN WAXMAN, March 2010 This refreshing and innovative, forward-thinking look on Steve Lacy's music is imaginatively clever as it is delightful. -
Short Takes Jazz News Festival Reviews Jazz Stories Interviews Columns
THE INDEPENDENT JOURNAL OF CREATIVE IMPROVISED MUSIC SHORT TAKES JAZZ NEWS FESTIVAL REVIEWS JAZZAMANCA 2020 JAZZ STORIES PATTY WATERS INTERVIEWS PETER BRÖTZMANN BILL CROW CHAD LEFOWITZ-BROWN COLUMNS NEW ISSUES - REISSUES PAPATAMUS - CD REVIEWS OBITURARIES Volume 46 Number 2 April May June Edition 2020 Ed Schuller (bassist, composer) on GM Recordings My name is Eddy I play the bass A kind of music For the human race And with beauty and grace Let's stay on the case As we look ahead To an uncertain space Peace, Music Love and Life" More info, please visit: www.gmrecordings.com Email: [email protected] GM Recordings, Inc. P.O. Box 894 Wingdale, NY 12594 3 | CADENCE MAGAZINE | APRIL MAY JUNE 2016 L with Wolfgang Köhler In the Land of Irene Kral & Alan Broadbent Live at A-Trane Berlin “The result is so close, so real, so beautiful – we are hooked!” (Barbara) “I came across this unique jazz singer in Berlin. His live record transforms the deeply moving old pieces into the present.” (Album tip in Guido) “As a custodian of tradition, Leuthäuser surprises above all with his flawless intonation – and that even in a live recording!” (Frankfurter Allgemeine Zeitung) “Leuthäuser captivates the audience with his adorable, youthful velvet voice.” (JazzThing) distributed by www.monsrecords.de presents Kądziela/Dąbrowski/Kasper Tom Release date: 20th March 2020 For more information please visit our shop: sklep.audiocave.pl or contact us at [email protected] The latest piano trio jazz from Quadrangle Music Jeff Fuller & Friends Round & Round Jeff Fuller, bass • Darren Litzie, piano • Ben Bilello, drums On their 4th CD since 2014, Jeff Fuller & Friends provide engaging original jazz compositions in an intimate trio setting. -
Booklet English.Pdf
Pauline Oliveros Portrait This project, that shows a wide range of Pauline Oliveros‘s work, was initially triggered by a performance in the IGNM series of concerts by Marianne Schröder. It was there that Anmari Wili got to know ‚gathering together“ for Piano LPNO[OHUKZ;OLWPLJLZVU[OPZYLJVYKPUN^LYL^YP[[LUIL[^LLU HUK ;OL`WYLZLU[[OYLLKPɈLYLU[JYLH[P]L periods and are, apart from „gathering together“, all Swiss premieres. LE DONNE IDEALI The project was founded in 1998 and since then devotes itself to the research/study of women in music. Connections between female composers are established and performed by an all-female ensemble. Projects: 1998 Paris-Paris!, 1999 Pauline Oliveros Portrait, 2000 KOREAexchange, 2001 ScAnDiNaViAnCoOkIeS, a new project is in the works and recordings are being prepared for release. Co-Production d r i v i n g s o u n d s & a r t s - DEEP LISTENING INSTITUTE PAULINE OLIVEROS 7H\SPUL6SP]LYVZ OHZPUÅ\LUJLK(TLYPJHUT\ZPJL_[LUZP]LS`PUOLYJHYLLYZWHUUPUNTVYL[OHU`LHYZHZH composer, performer, author and philosopher. She pioneered the concept of Deep Listening, her practice based upon principles of improvisation, electronic music, ritual, teaching and meditation, designed to inspire both trained and untrained musicians to practice the art of listening and responding to environmental conditions in solo and ensemble ZP[\H[PVUZ+\YPUN[OLTPKºZZOLZLY]LKHZ[OLÄYZ[KPYLJ[VYVM[OL;HWL4\ZPJ*LU[LYH[4PSSZ*VSSLNLHRH*LU[LYMVY Contemporary Music followed by 14 years as Professor of Music and 3 years as Director of the Center for Music Expe- riment at the University of California in San Diego. -
Some Notes on John Zorn's Cobra
Some Notes on John Zorn’s Cobra Author(s): JOHN BRACKETT Source: American Music, Vol. 28, No. 1 (Spring 2010), pp. 44-75 Published by: University of Illinois Press Stable URL: http://www.jstor.org/stable/10.5406/americanmusic.28.1.0044 . Accessed: 10/12/2013 15:16 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of Illinois Press is collaborating with JSTOR to digitize, preserve and extend access to American Music. http://www.jstor.org This content downloaded from 198.40.30.166 on Tue, 10 Dec 2013 15:16:53 PM All use subject to JSTOR Terms and Conditions JOHN BRACKETT Some Notes on John Zorn’s Cobra The year 2009 marks the twenty-fifth anniversary of John Zorn’s cele- brated game piece for improvisers, Cobra. Without a doubt, Cobra is Zorn’s most popular and well-known composition and one that has enjoyed remarkable success and innumerable performances all over the world since its premiere in late 1984 at the New York City club, Roulette. Some noteworthy performances of Cobra include those played by a group of jazz journalists and critics, an all-women performance, and a hip-hop ver- sion as well!1 At the same time, Cobra is routinely played by students in colleges and universities all over the world, ensuring that the work will continue to grow and evolve in the years to come. -
Open Systems in Dialogue OPEN SYSTEMS 2005 Festival for Avant
Open Systems in Dialogue OPEN SYSTEMS 2005 Festival for avant-garde music, performance and sound art 17 - 20 November 2005 · Bochum I Dortmund I Essen I Herne New approaches, new goals, extension of the artistic space: From 17 – 20 November 2005 interdisciplinary integration of musical encounters will set the tone in the German cities Bochum, Dortmund, Essen and Herne. OPEN SYSTEMS, the festival for avant-garde music, performance and sound art in Germany’s Ruhr-area, promotes encounters between artists from different fields with the aim of developing and realizing ideas in a creative environment. Amongst the highlights of the fifteen concerts are performances by ARTO LINDSAY, the ARDITTI QUARTET, the pioneers of net music THE HUB, Tortoise guitarist JEFF PARKER, as well as world premières of works by the blind composer MOONDOG. Dance performances, video installations, lectures, the club lounge and a school project round off the programme. OPEN SYSTEMS stands for stylistic enrichment as well as exciting musical encounters. Collaboration with NOVEMBER MUSIC, the Belgian-Dutch festival for currently happening music, which contributes to five of the concerts on the programme, the Luxemburg Society for Contemporary Music (LGNM) and the WDR Studio Acoustic Art will intensify international networking of artists. The OPEN SYSTEMS festival acts as an artistic laboratory, as a platform for new ideas and approaches: OPEN SYSTEMS – the name refers to systems which interact with others. “Whether acoustic or electronic, improvised or composed, classical or popular, Western or non-European – the festival shows us music which is thriving and very now, and presents it using dialogue and contrast. -
City, University of London Institutional Repository
City Research Online City, University of London Institutional Repository Citation: Lockett, P.W. (1988). Improvising pianists : aspects of keyboard technique and musical structure in free jazz - 1955-1980. (Unpublished Doctoral thesis, City University London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/8259/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] IMPROVISING PIANISTS: ASPECTS OF KEYBOARD TECHNIQUE AND MUSICAL STRUCTURE IN FREE JAll - 1955-1980. Submitted by Mark Peter Wyatt Lockett as a thesis for the degree of Doctor of Philosophy The City University Department of Music May 1988 TABLE OF CONTENTS Page No I List of Figures 3 IIListofRecordings............,........ S III Acknowledgements .. ..... .. .. 9 IV Abstract .. .......... 10 V Text. Chapter 1 .........e.e......... 12 Chapter 2 tee.. see..... S S S 55 Chapter 3 107 Chapter 4 ..................... 161 Chapter 5 ••SS•SSSS....SS•...SS 212 Chapter 6 SS• SSSs•• S•• SS SS S S 249 Chapter 7 eS.S....SS....S...e. -
Afonso Pais & Rita Maria Mat Manery / Evan Parker / Lucian
18 Out 2017 Afonso Pais & Rita Maria 21:00 Sala 2 – OUTONO EM JAZZ – CICLO JAZZ Mat Manery / Evan Parker / Lucian Ban de Afonso Pais não escolhem universos delimitados e previsíveis As duas partes do concerto desta noite são manifestações cria‑ que nos possam anestesiar a saudável angústia de não saber ao tivas bem diferentes que quase só podemos agrupar no mesmo que vamos. Não é só jazz, é também poesia, são também os cami‑ género, o jazz, por razões de proveniência histórica e de práticas nhos harmónicos guiados pelas palavras que nos remetem, por de improvisação – e mesmo esta se desenrolará com contornos exemplo, para as canções dos grandes mestres da música popular bem distantes. Mas há algo que é obrigatório para qualquer destes brasileira – uma das fundamentais referências dos dois músicos. ensembles de dois ou de três elementos funcionar: uma enorme Além das Horas foi editado há um ano, pela ENJA, e é agora cumplicidade comunicativa, construída, num dos casos, ao longo apresentado no Porto. Além de uma selecção de canções incluí‑ de muitos anos de próxima convivência musical, no outro, pelo culto das neste álbum, o repertório inclui composições inéditas que dão das sinergias em palco que são possibilitadas pela abertura total continuidade ao universo musical por ele delineado, universo esse das linguagens nas quais se escolhe comunicar. Enquanto Além que decorre da cumplicidade musical e parceria de longa data que das Horas de Afonso Pais e Rita Maria é um conjunto de canções consubstancia esta colaboração artística. lentamente -
Rückkopplungen Aus Dem Zodiak Free Arts Lab
BILDET NISCHEN! Rückkopplungen aus dem Zodiak Free Arts Lab HAU 21.–26.9.2021 Bildet Nischen! Rückkopplungen aus dem Zodiak Free Arts Lab 21.–26.9.2021 / HAU1 Im Winter des Jahres 1967 begann der Musiker und Künstler Conrad Schnitzler, auf Einladung des Wirtes Paul Glaser in zwei Räumen unter der damaligen Schaubühne am Halleschen Ufer, dem heutigen HAU2, das Programm zu gestalten. Mit Mit strei - ter:innen betrieb er das Zodiak Free Arts Lab über ein Jahr lang als hierarchiefreien Raum für musikalische Experimente und interdisziplinären Austausch. Bis 1969 diente das Zodiak als künstlerischer wie sozialer Treffpunkt. Trotz des kurzen Be- stehens kann es als initiierender Ort für zahlreiche musikalische Entwicklungen ver- standen werden – vor allem für die kurze Zeit später entstehende “Berliner Schule”, deren Sound oft unter dem Begriff “Krautrock” zusammengefasst wird und der bis heute in diversen musikalischen Strömungen nachhallt. “Bildet Nischen! Rückkopplungen aus dem Zodiak Free Arts Lab” begibt sich auf Spurensuche und beleuchtet die Verbindungen aus politischen, sozialen und kultu- rellen Verhältnissen, die auf die Szene um das Zodiak einwirkten. Welche Gemenge - lagen setzen auch heute noch Energien frei, die sich in (pop-)kulturellen Entwick- lungen manifestieren? Wie findet sich Gegenkultur und welcher Räume bedarf es dafür? Lassen sich Spuren und Bezüge des Zodiak in der kulturellen Praxis späterer subkultureller Entwicklungen im Berliner Underground aufzeigen? Fragestellungen wie diese bleiben bis in die aktuelle Gegenwart für die Entwicklung künstlerischer Positionen relevant. In einem Programm aus Konzerten, Kollaborationen, Installa- tionen, Gesprächen und einer Lecture Performance geht das HAU ihnen nach. Ein Festival des HAU Hebbel am Ufer. -
Newslist Drone Records 31. January 2009
DR-90: NOISE DREAMS MACHINA - IN / OUT (Spain; great electro- acoustic drones of high complexity ) DR-91: MOLJEBKA PVLSE - lvde dings (Sweden; mesmerizing magneto-drones from Swedens drone-star, so dense and impervious) DR-92: XABEC - Feuerstern (Germany; long planned, finally out: two wonderful new tracks by the prolific german artist, comes in cardboard-box with golden print / lettering!) DR-93: OVRO - Horizontal / Vertical (Finland; intense subconscious landscapes & surrealistic schizophrenia-drones by this female Finnish artist, the "wondergirl" of Finnish exp. music) DR-94: ARTEFACTUM - Sub Rosa (Poland; alchemistic beauty- drones, a record fill with sonic magic) DR-95: INFANT CYCLE - Secret Hidden Message (Canada; long-time active Canadian project with intelligently made hypnotic drone-circles) MUSIC for the INNER SECOND EDITIONS (price € 6.00) EXPANSION, EC-STASIS, ELEVATION ! DR-10: TAM QUAM TABULA RASA - Cotidie morimur (Italy; outerworlds brain-wave-music, monotonous and hypnotizing loops & Dear Droners! rhythms) This NEWSLIST offers you a SELECTION of our mailorder programme, DR-29: AMON – Aura (Italy; haunting & shimmering magique as with a clear focus on droney, atmospheric, ambient music. With this list coming from an ancient culture) you have the chance to know more about the highlights & interesting DR-34: TARKATAK - Skärva / Oroa (Germany; atmospheric drones newcomers. It's our wish to support this special kind of electronic and with a special touch from this newcomer from North-Germany) experimental music, as we think its much more than "just music", the DR-39: DUAL – Klanik / 4 tH (U.K.; mighty guitar drones & massive "Drone"-genre is a way to work with your own mind, perception, and sub bass undertones that evoke feelings of total transcendence and (un)-consciousness-processes. -
2002 European Tour Diary Part
EURO TOURO SPRING Diary PART 2: 2002 Goddamned Day 1: BUT FIRST A PUBLIC SERVICE ANNOUNCEMENT: IF THE PREDICAMENT OF 4 SWISSMEN TRAPPED IN A MUSICAL WORLD OF PAIN WITH A HIGHLY VOLATILE NEGRO SPUN OUT OF HIS HEAD ON RED WINE AND REDS DOESN'T APPEAL TO YOU SKIP DAYS 1 THROUGH 6 Well like Tina Turner, at the behest of the coked out and slappy happy Ike Turner, said, "we could do things nice or nasty... we choose nasty." I'm paraphrasing anyway as I don't have any ready recall of very many Tina Turner quotes but you know what the fuck I mean. I mean Jesus Christ everyone knows Proud Mary, but the point is this: is the ontological connection between sex and commerce as pervasive as it now, post-An Evil Heat, seems to me to be? Okay. Forget I asked that. The radio churns away: "That's the time I feel like making love to you." Okay. Don't forget I asked that. I'm in the cab on my way to the airport. The cab driver is a 60 year old, 260 pound, beet- red faced Irishman whose high spirits at 5 in the morning seem to be causally connected to high spirits. The song is on the radio and it doesn't take but a minute for him to get around to what's clearly been on his mind for like... oh, weeks. "Where you going?" "Well I'm going to this festival in Bern, Switzerland, to sing for some band named STEAMBOAT SWITZERLAND and it's..." "Yeah, I'm going to Thailand next week." Pause here for morality reading. -
Eine Endlos Breite Palette an Möglichkeiten. Zum Begriff
EINE ENDLOS BREITE PALETTE AN MÖGLICHKEITEN. ZUM BEGRIFF „EXPERIMENTELLE IMPROVISATION“ In diesem Jahr findet das Jazz-Festival des Goethe-Instituts unter einem veränderten Namen statt. Das Festival 2018 heißt Jazz im Herbst. Experimentelle Improvisationsmusik. Der neue Name bringt eine Neigung zum Experimentellen zum Ausdruck, die seit Jahren als Tendenz des Festivals zu verzeichnen ist. Aber diesmal bleibt vom Jazz praktisch nichts übrig. Im Laufe eines Monats treten in Moskau Vertreter der experimentellen Musikszene auf: Alfred 23 Harth mit seiner neuen Gruppe Revolver 23, das Berliner Trio Perlonex, das Duett Marcus Schmickler / Thomas Lehn und das elektroakustische Peter Evans Quartet, zu dessen Besetzung die jungen Musiker Elisabeth Coudoux, Sabine Akiko Ahrendt und Florian Zwißler gehören, die 2016 Gäste im Kölner Projekt Zeitinsel // Residency waren. Die Auswahl der Festivalteilnehmenden repräsentiert, was im allgemeinen Verständnis zeitgenössische experimentelle Improvisationsmusik darstellt. Der Begriff „Experimentalmusik“ gilt in der letzten Zeit immer häufiger als ein kompromittierter Begriff. Die angebliche Fragwürdigkeit liegt vor allem an seinen verschwommenen Grenzen: Wie kann man sich in der Szene zurechtfinden, der mit gleichem Recht sowohl der Komponist Jürg Frey und der japanische Multi-Instrumentalist Keiji Haino als auch DJ und Produzent Jlin angehören? Es tritt noch ein weiteres Problem auf, das auf den kulturpolitischen Kampf zurückzuführen ist. Es passiert oft, dass Musiker den Begriff „experimentell“ verwenden, -
PS08 30 Marc Ducret Trio OK IMPRESSION120
20 SEPT ———— 4 OCT 08 N°30 jeudi 2 octobre 22h30 France 3 Alsace Marc Ducret Trio Guitare, Marc Ducret Contrebasse, Bruno Chevillon Batterie, Éric Échampard France 3 Alsace accueille Musica À propos du concert Furieux combo que forme le guitariste Marc Ducret avec deux pointures de la scène jazz française. Dans le champ de la musique improvisée, le trio avec guitare est à jamais représenté par celui que John Abercrombie forma avec deux géants, Dave Holland et Jack DeJohnette. Sens du phrasé, fluidité rythmique, déhanchements dynamiques. Marc Ducret, en virtuose avisé et cultivé – il obtint le prix Django Reinhardt en 1987 –, saisit ce format compact et exigeant pour en développer les qualités ; Bruno Chevillon, bassiste à la rythmique magistrale et au son impérial, et Éric Échampard, percussionniste formé au Conservatoire National Supérieur de Musique et de Danse de Lyon, converti depuis 1995 en batteur précis, rigoureux et généreux, donnent toute sa dimension au jeu fantasque et coloré du guitariste. Ayant trouvé un son, une mesure, un degré de liberté, ils possèdent de surcroît un groove incroyablement efficace et une densité acoustique impressionnante. Depuis une dizaine dʼannées, le Trio est devenu à son tour une référence, la référence dʼune musique qui avance vite et fort. Les interprètes Marc Ducret trio France Fort de diverses expériences dans des formations similaires, Marc Ducret forme son trio avec Bruno Chevillon et Éric Échampard en 1996. Le trio est aujourd'hui la formation principale et privilégiée du guitariste, autodidacte de génie à la virtuosité époustouflante. Ensemble, les musiciens ont enregistré trois disques : L'ombra di Verdi (Screwgun records), Live, un disque autoproduit qui manifeste lʼengagement personnel de chaque membre dans le trio, et Live 2.