DOCSLIB.ORG

April 2011 Vol

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
April 2011 Vol A Mirror and Focus for the Jazz Community April 2011 Vol. 27, No. 4 EARSHOT JAZZSeattle, Washington Golden Ear Award Recipients Andrew Swanson, Andrew Oliver, Kane Mathis, Chad McCullough, Chuck Deardorf Wayne Horvitz, Bill Anschell, Chris Icasiano, Gail Pettis, Thomas Marriott Photo by Daniel Sheehan NOTES EARSHOT JAZZ A Mirror and Focus for the Jazz Community Jazz for Japan legacies of jazz women, and their advo- Executive Director John Gilbreath Pony Boy Records and Jake Bergevin cates, who helped transform race, gen- Managing Director Karen Caropepe Music are combining to put on Jazz der, and social relations in the United for Japan in support of the people of States in the quest to build a more just Earshot Jazz Editor Danielle Bias Assistant Editor Schraepfer Harvey Japan and the relief efforts for the re- and equitable nation. This issue ofEar - cent disaster. Artists will include Jay shot Jazz previews dozens of concerts Contributing Writers Andrew Bartlett, Bill Thomas’s Usual Suspects Big Band happening this month throughout the Barton, Nathan Bluford, Jessica Davis, John (Thomas will also be performing in Seattle area, providing each and every Ewing, Steve Griggs, Schraepfer Harvey, Japan this April), Greg Williamson one of us with ample opportunities to David Marriott, Peter Monaghan, Greg Pincus, Eliot Winder Quartet, Jake Bergevin, and other vo- appreciate jazz! Calendar Editor Schraepfer Harvey calists and artists from the Pony Boy Earshot Open Board Meeting roster who have performed in Japan. Calendar Volunteer Tim Swetonic Earshot Jazz will hold an open board Photography Daniel Sheehan In addition to ticket sales, there will be meeting and general community fo- Layout Karen Caropepe opportunities for donation and com- rum on Thursday, April 21, 5-6:30pm Mailing Lola Pedrini munity support for the people and at Tula’s Jazz Club, 2214 2nd Ave in culture of Japan. Performance details Send Calendar Information to: Seattle’s Belltown neighborhood. Ev- 3429 Fremont Place #309 have not been completely confirmed eryone is invited and encouraged to Seattle, WA 98103 at press time, but will be available at bring their questions, ideas, and sug- fax / (206) 547-6286 www.ponyboyrecords.com by April 1, gestions for the Earshot organization. email / [email protected] 2011. There will be a sign-up sheet for public Board of Directors Paul Toliver (president), April is Jazz Appreciation Month! comment, and Earshot staff and board Cuong Vu (vice-president), Lola Pedrini This year marks the 10th year that members will be available to answer (treasurer), Hideo Makihara (secretary), the Smithsonian’s National Museum questions and receive suggestions. Clarence Acox, George Heidorn, Kenneth W. Masters, Renee Staton, Richard Thurston of American History has organized High School Big Bands events during the month of April to Earshot Jazz is published monthly by Seattle-area high school jazz musi- celebrate Jazz Appreciation Month Earshot Jazz Society of Seattle and is cians feature around town in April: available online at www.earshot.org. (JAM), aimed at paying tribute to jazz Garfield, Roosevelt, Edmonds-Wood- both as a historic and living Ameri- Subscription (with membership): $35 can art form. JAM 2011 examines the 3429 Fremont Place #309 CONTINUED ON PAGE 22 Seattle, WA 98103 phone / (206) 547-6763 fax / (206) 547-6286 Earshot Jazz ISSN 1077-0984 Printed by Pacific Publishing Company © 2011 Earshot Jazz Society of Seattle MISSION STATEMENT Earshot Jazz is a non-profit arts and service organization formed in 1984 to cultivate a support system for jazz in the community and to increase awareness of jazz. Earshot Jazz pursues its mission through publishing a monthly newsletter, presenting creative music, providing educational programs, identifying and filling career needs for jazz artists, increasing listenership, augmenting and complementing existing services and programs, and networking with the national and international jazz community. 2 • EARSHOT JAZZ • April 2011 IN ONE EAR Space for Music at Mars Bar/ Sonarchy Radio Program ing provided by Jack Straw Produc- Café Venus Announces April lineup tions. For more about this non-profit One thing this city needs – other Sound wiz Doug Haire is the pro- organization with a mission to support than roads that get you through it, or ducer and mixer of Sonarchy, recorded the sonic arts, go to http://www.jack- under it – is a place where we can listen live in the studios at Jack Straw Pro- straw.org. Sonarchy is also supported to music that isn’t only modern jazz, or ductions in Seattle. This hour-long in part by a grant from the Foundation only progressive rock, or only unclas- broadcast features new music and for Contemporary Arts. sifiable, but something of all three. sound art by Pacific Northwest art- This month of April, you can hear It’s in that lush zone that much of ists. Now into its 16th year of air- live performances by these stellar what is most interesting is taking ing on KEXP 90.3 FM, Sonarchy is Northwest artists. April 3, Orkestar place, thanks to musicians like gui- broadcast every Sunday evening at tarists Dennis Rea, Rik Wright, and midnight. Sonarchy would not be Jason Goessl. Those three curate a possible without the efforts and fund- CONTINUED ON PAGE 22 series that is scheduled to run at least through this year, on the third Thurs- day of each month at Eastlake venue Mars Bar/Café Venus. The series, Zero-G, spotlights mu- sicians like those: adventurous in- strumentalists, mostly exploratory, electric, and instrumental, from the veteran to the latest head-turners – a welcome prospect. Each evening, Rea says, spotlights three varied but com- plementary acts from diverse regional scenes. Participating so far is Ask the Ages, Batholith, Diminished Men, Fun- damental Forces, Vance Galloway, Hound Dog Taylor’s Hand, Iron Kim Style, Joie Tet, Luna Moth, Moraine, Rik Wright Quintet, The Schwa, Special OPS, Tempered Steel, Tom Baker Quartet, TRIM- TAB, Wah Wah Exit Wound, and Zen Tornado. Rea says, “It’s the latest attempt to build bridges between the Balkanized camps of creative musicians in this burg.” Always a noble undertaking and a good idea! Stay tuned for more details. The Mars Bar/Café Venus is located at 609 East- lake Avenue East in Seattle. For more information, call (206) 624-4516, send an email to info@zerogconcerts. com, or visit www.zerogconcerts.com. April 2011 • EARSHOT JAZZ • 3 U CALL FOR ARTISTS Jazz: The Second Century Submission deadline May 4 In the summer of 2006, Earshot Jazz began a project entitled Jazz: The Sec- ond Century, an initiative addressing jazz’s progressive transition into the future. The goal of the series is to pres- ent music performances that question and expand the conventional bound- aries and parameters of the jazz form. As such, this concert series brings that discussion into creative motion where it matters most – on the stage, with an attentive audience. Earshot Jazz seeks submissions from Seattle-area artists and ensembles for inclusion in the 2011 series. Any use of instruments or creative expression will be considered, as will any interpretation of the meaning of Artists and ensembles are selected by Seattle, WA 98103-8650. Submis- jazz. Submissions should include a a blind-jury process. Selected artists sion deadline is May 4. Direct ques- recorded sample of a project that can and ensembles perform during July tions and comments to Earshot Jazz at be performed in a concert setting. 2011. Artists will be paid a competitive (206) 547-6763 or [email protected]. A We encourage applicants to include fee for the performance. Please send list of past Jazz: The Second Century any words or sentiments that speak to submissions electronically to jazz@ artists and ensembles can be viewed at their musical interpretation of the next earshot.org; or by mail to Earshot earshot.org/Events/2nd_Century stage of jazz music. Jazz, 3429 Fremont Place N., #309, .html. Presented in collaboration with Earshot Jazz ArT OF JAZZ Barney McClure Trio The refined jazz piano trio of a Northwest master Thursday, April 14, 5:30-7:30 pm SeATTle ArT MuSeuM DOWNTOWN 1st Avenue & union Street All ages Art of Jazz Seating is limited and available Sponsors: on a first-come, first-served basis. seattleartmuseum.org 4 • EARSHOT JAZZ • April 2011 GOLDEN EAR AWARDS Golden Ear Awards Presentation CHUCK DEARDORF: SEATTLE JAZZ HALL OF FAME GAIL PETTIS: NW VOCALIST OF THE YEAR BILL ANSCHELL: NW INSTRUMENTALIST OF THE YEAR PHOTO BY DANIEL SHEEHAN PHOTO BY DANIEL SHEEHAN PHOTO BY DANIEL SHEEHAN Inducted into the Seattle Jazz Hall of Fame: By Danielle Bias, with additional reporting by Schraepfer Chuck Deardorf & Wayne Horvitz Harvey NW Recording of the Year: The 2010 Golden Ear Awards, recognizing and cel- The Kora Band, Cascades (OA2 Records) ebrating contributions and achievements in Seattle-ar- ea jazz, were presented at a festive ceremony at Tula’s NW Acoustic Jazz Ensemble of the Year: Restaurant and Jazz Club on Sunday, March 20. Each Thomas Marriott’s Flexicon year, the awards give Pacific Northwest jazz fans an NW Alternative Jazz Group of the Year: opportunity to vote for the musicians and other com- Speak munity members who they believe have had a particu- larly outstanding year in jazz performance, recording, NW Concert of the Year: and service. The 2010 awards are the first Golden Ears Speak, CD release at the Chapel Performance Space to include an open nomination period, at the start of NW Jazz Instrumentalist of the Year: 2011. Then, figures that receive the most nominations Bill Anschell, piano are put on a public ballot, distributed via the Earshot Jazz website and in the Earshot Jazz newsletter. This NW Emerging Artist of the Year: year, Earshot Jazz received more ballots than in any Paul Kikuchi previous edition of the awards’ twenty-year history.
Load more

Recommended publications
  • Printcatalog Realdeal 3 DO
    DISCAHOLIC auction #3 2021 OLD SCHOOL: NO JOKE! This is the 3rd list of Discaholic Auctions. Free Jazz, improvised music, jazz, experimental music, sound poetry and much more. CREATIVE MUSIC the way we need it. The way we want it! Thank you all for making the previous auctions great! The network of discaholics, collectors and related is getting extended and we are happy about that and hoping for it to be spreading even more. Let´s share, let´s make the connections, let´s collect, let´s trim our (vinyl)gardens! This specific auction is named: OLD SCHOOL: NO JOKE! Rare vinyls and more. Carefully chosen vinyls, put together by Discaholic and Ayler- completist Mats Gustafsson in collaboration with fellow Discaholic and Sun Ra- completist Björn Thorstensson. After over 33 years of trading rare records with each other, we will be offering some of the rarest and most unusual records available. For this auction we have invited electronic and conceptual-music-wizard – and Ornette Coleman-completist – Christof Kurzmann to contribute with some great objects! Our auction-lists are inspired by the great auctioneer and jazz enthusiast Roberto Castelli and his amazing auction catalogues “Jazz and Improvised Music Auction List” from waaaaay back! And most definitely inspired by our discaholic friends Johan at Tiliqua-records and Brad at Vinylvault. The Discaholic network is expanding – outer space is no limit. http://www.tiliqua-records.com/ https://vinylvault.online/ We have also invited some musicians, presenters and collectors to contribute with some records and printed materials. Among others we have Joe Mcphee who has contributed with unique posters and records directly from his archive.
    [Show full text]
  • The New York City Jazz Record
    BEST OF 2017 BEST OF 2017 BEST OF 2017 BEST OF 2017 BEST OF 2017 BEST OF 2017 THE NEW YORK CITY JAZZ RECORD BEST OF 2017 BEST OF 2017 BEST OF 2017 BEST OF 2017 BEST OF 2017 BEST OF 2017 ALBUMS OF THE YEAR CONCERTS OF THE YEAR MISCELLANEOUS CATEGORIES OF THE YEAR ANTHONY BRAXTON—Solo (Victoriaville) 2017 (Victo) BILL CHARLAP WITH CAROL SLOANE DARCY JAMES ARGUE’S SECRET SOCIETY PHILIPP GERSCHLAUER/DAVID FIUCZYNSKI— January 11th, Jazz Standard Dave Pietro, Rob Wilkerson, Chris Speed, John Ellis, UNEARTHED GEMS BOXED SETS TRIBUTES Mikrojazz: Neue Expressionistische Musik (RareNoise) Carl Maraghi, Seneca Black, Jonathan Powell, Matt Holman, ELLA FITZGERALD—Ella at Zardi’s (Verve) WILLEM BREUKER KOLLEKTIEF— TONY ALLEN—A Tribute to Art Blakey REGGIE NICHOLSON BRASS CONCEPT Nadje Noordhuis, Ingrid Jensen, Mike Fahie, Ryan Keberle, Out of the Box (BVHaast) and The Jazz Messengers (Blue Note) CHARLES LLOYD NEW QUARTET— Vincent Chancey, Nabate Isles, Jose Davila, Stafford Hunter Jacob Garchik, George Flynn, Sebastian Noelle, TUBBY HAYES QUINTET—Modes and Blues Passin’ Thru (Blue Note) February 4th, Sistas’ Place Carmen Staaf, Matt Clohesy, Jon Wikan (8th February 1964): Live at Ronnie Scott’s (Gearbox) ORNETTE COLEMAN—Celebrate Ornette (Song X) KIRK KNUFFKE—Cherryco (SteepleChase) THE NECKS—Unfold (Ideological Organ) January 6th, Winter Jazzfest, SubCulture STEVE LACY—Free For A Minute (Emanem) WILD BILL DAVISON— WADADA LEO SMITH— SAM NEWSOME/JEAN-MICHEL PILC— ED NEUMEISTER SOLO MIN XIAO-FEN/SATOSHI TAKEISHI THELONIOUS MONK— The Danish Sessions:
    [Show full text]
  • Contact: a Journal for Contemporary Music (1971-1988) Citation
    Contact: A Journal for Contemporary Music (1971-1988) http://contactjournal.gold.ac.uk Citation Barry. Malcolm. 1977-1978. ‘Review of Company 1 (Maarten van Regteren Altena, Derek Bailey, Tristan Honsinger, Evan Parker) and Company 2 (Derek Bailey, Anthony Braxton, Evan Parker)’. Contact, 18. pp. 36-39. ISSN 0308-5066. ! Director Professor Frederick Rimmer MA B M us FRco Secretary and Librarian James. L McAdam BM us FRco Scottish R Music Archive with the support of the Scottish Arts Council for the documentation and study of Scottish music information on all matters relating to Scottish composers and Scottish music printed and manuscript scores listening facilities: tape and disc recordings Enquiries and visits welcomed: full-time staff- Mr Paul Hindmarsh (Assistant Librarian) and Miss Elizabeth Wilson (Assistant Secretary) Opening Hours: Monday to Friday 9.30 am- 5.30 pm Monday & Wednesday 6.00-9.00 pm Saturday 9.30 am- 12.30 pm .. cl o University of Glasgow 7 Lily bank Gdns. Glasgow G 12 8RZ Telephone 041-334 6393 37 INCUS it RECORDS INCUS RECORDS/ COMPATIBLE RECORDING AND PUBLISHING LTD. is a self-managed company owned and operated by musicians. The company was founded in 1970, motivated partly by the ideology of self-determination and partly by the absence of an acceptable alternative. The spectrum of music issued has been broad, but the musical policy of the company is centred on improvisation. Prior to 1970 the innovative musician had a relationship with the British record industry that could only be improved on. To be offered any chance to make a record at all was already a great favour and somehow to question the economics (fees, royalties, publishing) would certainly have been deemed ungrateful.
    [Show full text]
  • Jazz Orchestra of the Concertgebouw Crossroads
    Jazz Orchestra of the Concertgebouw Crossroads ‘It's a breakthrough. Along with their future-oriented American colleagues of the Maria Schneider and Darcy James Argue orchestras, the JOC marks a new century in the development of the jazz big band.’ The Jazz Orchestra of the Concertgebouw is extending its limits, in more ways than one. The band found its identity in the late 1990s, with the bi-weekly concerts at the Amsterdam Bimhuis under the leadership of Henk Meutgeert. Since then the JOC has literally conquered the world, not only touring all over Europe but also playing in Latin America, South Africa, Indonesia, Japan and China. The tracks of this new CD, for instance, were premiered in the spring of 2015 at the JZ Club in Shanghai, and again performed that fall at the Shanghai and Shenzhen Concert Halls. Musically, too, the band is still evolving. The starting point was the classic 1950s idiom of Count Basie and Neal Hefti, but from the beginning, Henk Meutgeert wanted the orchestra to be challenged by guest soloists and composers from every style in jazz. To mention just a few: Chick Corea, Benny Golson, Lee Konitz, George Duke, Richard Galliano, Joe Lovano, Joe Henderson, Jimmy Heath, Han Bennink and Misha Mengelberg. With the album Crossroads the JOC takes another step forward. Conducted by Dennis Mackrel (Henk Meutgeert's American successor since November 2015) and Rob Horsting (who has been arranging for the group practically from the start), the orchestra presents nine compositions by band members Martijn van Iterson, Joris Roelofs, Ilja Reijngoud, Simon Rigter and Jorg Kaaij, and one by Rob Horsting.
    [Show full text]
  • FMP FREE MUSIC PRODUCTION Distribution & Communication Markgraf-Albrecht-Str
    Mary Oliver w ww.oliverheggen.com Mary Oliver (violin, viola, hardanger fiddle) was born in La Jolla, California, and studied at San Francisco State University (Bachelor of Music), Mills College (Master of Fine Arts) and the University of California, San Diego where she received her Ph.D in 1993 for her research in the theory and practice of improvised music. Her work as a soloist encompasses both composed and improvised contemporary music; she has premiered works by among others,Richard Barrett, John Cage, Chaya Czernowin, Brian Ferneyhough, Joëlle Léandre Liza Lim, George E. Lewis , Richard Teitelbaum and Iannis Xenakis . Oliver has worked alongside improvising musicians such as Han Bennink, Mark Dresser, Cor Fuhler, Jean-Charles François, Tristan Honsinger, Joëlle Léandre, George E. Lewis, Nicole Mitchell, Andy Moor, Misha Mengelberg Evan Parker, and Anthony Pateras. As a soloist and ensemble player she has performed in numerous international festivals including the Darmstädter Ferienkurse für Neue Musik ,Donaueschinger Musiktage 2002, Bimhuis October Meeting, Vancouver and Toronto Jazz Festivals, Ars Electronica , Ars Musica, London Musicians Collective Festival, Münchner Biennale, Salzburger Festspiele and MaerzMusik Festival in Berlin. In 1994, she was an artist in residence at Akademie Schloss Solitude in Stuttgart where she added, through their generosity, the hardinger fiddle to her instrumentarium. For the past twelve years she has been based in Amsterdam where she has worked locally and internationally with various ensembles such as Instant Composer’s Pool (ICP) Orchestra, Magpie Music and Dance Company, AACM Black Earth Ensemble, Scapino Ballet , Elision Ensemble, MAE, Het National Ballet and Xenakis Ensemble. Currently she teaches at the Hogeschol voor Kunst, Media en Technology and a member of ICP Orchestra, Ammü (with Han Bennink, Johanna Varner, cello and Christofer Varner – trombone) and Magpie Music Dance Company.
    [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]
  • Jeff Johnson Photo by Daniel Sheehan NOTES
    A Mirror and Focus for the Jazz Community June 2012 Vol. 28, No. 6 EARSHOT JAZZSeattle, Washington Jeff Johnson Photo by Daniel Sheehan NOTES Eddie Creed Memorial Concert Submissions should include a recorded Roosevelt High Takes Second Join in a memorial get together for sample of a project that can be per- Place at Ellington Competition pianist Eddie Creed at the New Or- formed in a concert setting. Selected Taking place at New York City’s leans Creole Restaurant, Sunday June artists are scheduled for performances famed Avery Fisher Hall on May 6, the 10, 4pm-8pm. A veteran and lifelong on July 12, 19, 26. Artists are paid a final concert at the 17th Annual Essen- jazz pianist, Creed was born in 1935 competitive fee for the performance. tially Ellington High School Jazz Band and died from complications due to Please send questions and submissions Competition & Festival, presented by throat cancer. electronically to [email protected]; or Jazz at Lincoln Center, featured the by mail to Earshot Jazz, 3429 Fremont Call for Artists, Deadline June 4 three top-placing bands performing Place N., #309, Seattle, WA 98103. Call with a member of the Jazz at Lincoln The submissions deadline for the Jazz: (206) 547-6763 with questions. Center Orchestra as a soloist. At an The Second Century series is June 4. awards ceremony after the performanc- es, Wynton Marsalis presented prizes and cash awards to each of the 15 final- ist bands. Christopher Dorsey, Direc- tor of the Dillard Center for the Arts, accepted the 1st place trophy and an THE SECOND CENTURY award of $5,000.
    [Show full text]
  • Uva-DARE (Digital Academic Repository)
    UvA-DARE (Digital Academic Repository) "Our subcultural shit-music": Dutch jazz, representation, and cultural politics Rusch, L. Publication date 2016 Document Version Final published version Link to publication Citation for published version (APA): Rusch, L. (2016). "Our subcultural shit-music": Dutch jazz, representation, and cultural politics. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:27 Sep 2021 "Our Subcultural Shit-Music": Dutch Jazz, Representation, and Cultural Politics ACADEMISCH PROEFSCHRIFT ter verkrijging van de graad van doctor aan de Universiteit van Amsterdam op gezag van de Rector Magnificus prof. dr. D.C. van den Boom ten overstaan van een door het College voor Promoties ingestelde commissie, in het openbaar te verdedigen in de Agnietenkapel op dinsdag 17 mei 2016, te 14.00 uur door Loes Rusch geboren te Gorinchem Promotiecommissie: Promotor: Prof.
    [Show full text]
  • Omer Avital Ed Palermo René Urtreger Michael Brecker
    JANUARY 2015—ISSUE 153 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM special feature BEST 2014OF ICP ORCHESTRA not clowning around OMER ED RENÉ MICHAEL AVITAL PALERMO URTREGER BRECKER Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 116 Pinehurst Avenue, Ste. J41 JANUARY 2015—ISSUE 153 New York, NY 10033 United States New York@Night 4 Laurence Donohue-Greene: [email protected] Interview : Omer Avital by brian charette Andrey Henkin: 6 [email protected] General Inquiries: Artist Feature : Ed Palermo 7 by ken dryden [email protected] Advertising: On The Cover : ICP Orchestra 8 by clifford allen [email protected] Editorial: [email protected] Encore : René Urtreger 10 by ken waxman Calendar: [email protected] Lest We Forget : Michael Brecker 10 by alex henderson VOXNews: [email protected] Letters to the Editor: LAbel Spotlight : Smoke Sessions 11 by marcia hillman [email protected] VOXNEWS 11 by katie bull US Subscription rates: 12 issues, $35 International Subscription rates: 12 issues, $45 For subscription assistance, send check, cash or money order to the address above In Memoriam 12 by andrey henkin or email [email protected] Festival Report Staff Writers 13 David R. Adler, Clifford Allen, Fred Bouchard, Stuart Broomer, CD Reviews 14 Katie Bull, Tom Conrad, Ken Dryden, Donald Elfman, Brad Farberman, Sean Fitzell, Special Feature: Best Of 2014 28 Kurt Gottschalk, Tom Greenland, Alex Henderson, Marcia Hillman, Miscellany Terrell Holmes, Robert Iannapollo, 43 Suzanne Lorge, Marc Medwin, Robert Milburn, Russ Musto, Event Calendar 44 Sean J. O’Connell, Joel Roberts, John Sharpe, Elliott Simon, Andrew Vélez, Ken Waxman As a society, we are obsessed with the notion of “Best”.
    [Show full text]
  • Improvisation And/As Singularity
    Improvisation and/as Singularity [1] It is a sunny Sunday afternoon at the new BIM-Huis in Amsterdam. Scheduled is a trio, consisting of Will Holshouser on accordion, Michael Moore on clarinet and alto sax, and Han Bennink on drums. Most of the pieces they perform exhibit more or less the same structure: after a free style introduction, in which some basic materials are exposed, a theme is presented, followed by an improvisation which ends in free playing which, in turn, leads to the next piece. This kind of music making – musicking as Christopher Small would have it (although Small emphasizes that the actual production of music is only one aspect of musicking) – rests first of all on the interactions of the musicians; the musical choices that are made are based on what the others are (not) doing. That is why the most important activity the performers need to engage in is to listen, to listen closely and actively, because they ‘are continually called upon to respond to and participate in an ongoing flow of musical action that can change or surprise them at any moment’.1 A clarinet trill is taken up by the accordion; sax and accordion develop a call and response game; an obvious miscommunication between the same two instruments turns out to be the beginning of a voyage into unknown sonic territories; accordion and drums gradually play towards each other’s rhythm; extremely high pitches on sax and accordion make that any perceptible differences in timbre between the two instruments disappear. All these occurrences make clear that the three musicians are using their ears very well, thereby being able to respond to musical opportunities or to correct mistakes.
    [Show full text]
  • Music Notation and the Mediation of Improvising Agency
    Cadernos de Arte e Antropologia Vol. 5, No 1 | 2016 Micro-utopias: anthropological perspectives on art, relationality, and creativity The Instant Composers Pool: Music Notation and the Mediation of Improvising Agency Floris Schuiling Electronic version URL: http://journals.openedition.org/cadernosaa/1028 DOI: 10.4000/cadernosaa.1028 ISSN: 2238-0361 Publisher Núcleo de Antropologia Visual da Bahia Printed version Number of pages: 39-58 Electronic reference Floris Schuiling, « The Instant Composers Pool: Music Notation and the Mediation of Improvising Agency », Cadernos de Arte e Antropologia [Online], Vol. 5, No 1 | 2016, Online since 01 April 2016, connection on 01 May 2019. URL : http://journals.openedition.org/cadernosaa/1028 ; DOI : 10.4000/ cadernosaa.1028 © Cadernos de Arte e Antropologia THE INSTANT COMPOSERS POOL: MUSIC NOTATION AND THE MEDIATION OF CADERNOSIMPROVISING AGENCY AA Floris Schuiling1 Utrecht University, he Netherlands his article relates the recent development of a “relational musicology” to debates about participatory art and relational aesthetics. I present results from an eth- nographic study of the Dutch improvising music collective the Instant Composers Pool, founded in 1967 and still performing. With a background in jazz, ex- perimental music and performance art, this group developed an improvisatory musical practice in which musical notations are freely used. hese pieces mediate the social and creative agency of the musicians in the group. As such, they pro- vide a case for reconsidering the nature of musical notation, and the distinction between composition and improvisation, which have been foundational for the academic study of music, and constitutive for a distinction between the aesthetic and the social.
    [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]