1 2014 年 6 月 29 日(日)Sound Café Dzumi 【Derek Bailey 60 年代音源補遺】 【Derek Bailey70 年代音源リス

Total Page:16

File Type:pdf, Size:1020Kb

1 2014 年 6 月 29 日(日)Sound Café Dzumi 【Derek Bailey 60 年代音源補遺】 【Derek Bailey70 年代音源リス 2014 年 6 月 29 日(日)Sound Café dzumi 【Derek Bailey 60 年代音源補遺】 *Instant Composers Pool (ICP 004) with Han Bennink d. 30-Jul-1969 【Derek Bailey70 年代音源リスト 1】 【1970】 *Tony Oxley 4 Compositions for Sextet (CBS 64071) with Kenny Wheeler t, fl-h; Evan Parker ss, ts; Paul Rutherford tbn; Jeff Clyne b; Tony Oxley d. 7-Feb-1970 *John Tchicai Fragments (ICP 005) with Misha Mengelberg p; John Tchicai reeds; Han Bennink d, perc. 3-Mar-1970 *Various Artists The German 12th Jazz Festival in Frankfurt Am Main (Scout Records SC-S12/13/14) with Malcolm Griffiths tbn; Paul Rutherford tbn; Willem van Manen tbn; Buschi Niebergall tbn; Peter Brötzmann reeds; Willem Breuker reeds; Evan Parker reeds; Fred van Hove p; Han Bennink d. 22-Mar-1970 Groupcomposing (ICP 006) with Paul Rutherford tbn; Peter Bennink as, bagpipes; Peter Brötzmann ts; Evan Parker ss, ts; Misha Mengelberg p; Han Bennink perc, oe-oe, gachi. 14-May-1970 The Topography of the Lungs (Incus 1) with Evan Parker ss, ts; Han Bennink perc. 13-Jul-1970 Music Improvisation Company Music Improvisation Company (ECM 1005) with Evan Parker ss; Hugh Davies live el; Jamie Muir perc; Christine Jeffrey v. 25-27-Aug-1970 Iskra 1903 Iskra 1903 (Incus 3/4) with Paul Rutherford tbn, p; Barry Guy b. 2-Sep-1970 and 21-Oct-1972 Globe Unity Orchestra Globe Unity 67 & 70 (Atavistic UMS/ALP 223CD) with Evan Parker: ts, ss; Gerd Dudek: ts, ss, fl; Michel Pilz: ss, b-cl, fl; Heinz Sauer: ts, ss; Peter Brötzmann: ts, bs; Kenny Wheeler: t, fl-h; Manfred Schoof: t, fl-h; Tomasz Stanko: t; Bernard Vitet: t; Malcolm Griffiths: tbn; Paul Rutherford: tbn, thn; Albert Mangelsdorff: tbn; Buschi Neibergall: b, b-tbn; Peter Kowald: b, tuba; Arjen Gorter: b, el-b; Alexander von Schlippenbach: p, perc; Han Bennink: d, shellhorn, dhung, gachi; Paul Lovens: d; perc. 7-Nov-1970 Various Artists Die Jazz-Werkstatt '70 (Norddeutscher Rundfunk – 0654 094) with Barry 1 Guy b; Jeff Clyne b; Tony Oxley d; Evan Parker ts; Paul Rutherford tbn; Manfred Schoof t. 1970 Tony Oxley Ichnos (RCA SF8215) with Evan Parker ss, ts; Paul Rutherford tbn; Tony Oxley perc, amplified perc; Kenny Wheeler t, fl-h; Barry Guy b. 1970? Iskra 1903 Buzz Soundtrack (Emanem 4066) with Paul Rutherford tbn; Barry Guy b. 1970 or 1971 【1971】 Improvisations for Cello and Guitar (ECM 1013) with David Holland cello. Jan-1971 Spontaneous Music Ensemble‘So, What Do You Think?’ (Tangent TGS 118) with Kenny Wheeler t, fl-h; Trevor Watts ss; Dave Holland cello, b; John Stevens d. 27-Jan-1971 Solo Guitar (Incus 2) Feb-1971 Basil Kirchin Worlds Within Worlds (Columbia SCX 6463) with Basil Kirchin composition and collage; Evan Parker ss. 1971 In Whose Tradition? (Emanem 3404) 26-Jul-1971, 29-Jun-1974, 22-May-1975, Mar-1977, 2-May-1979, Feb-1987, 12-Jun-1987 Iskra 1903 Chapter One (Emanem 4301) with Paul Rutherford tbn, p; Barry Guy b. 2-Sep-1970, 1971, 3-May-1972, 21-Oct-1972, 1-Nov-1972, 23- or 24-Oct-1972 Tony Oxley Tony Oxley (Incus 8) Evan Parker ss, ts; Paul Rutherford tbn; Dave Holdsworth g; Howard Riley p; Barry Guy b; Tony Oxley perc, amplified perc. 1971-1975 「デレク・ベイリーを聴く会」vol.05 は、特別ゲストに批評家の平井玄氏をお迎えし、 7 月 26 日(土曜日)18 時から開催します。必ずご予約をお願いします。 2 .
Recommended publications
  • Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67
    Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 Marc Howard Medwin A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2008 Approved by: David Garcia Allen Anderson Mark Katz Philip Vandermeer Stefan Litwin ©2008 Marc Howard Medwin ALL RIGHTS RESERVED ii ABSTRACT MARC MEDWIN: Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 (Under the direction of David F. Garcia). The music of John Coltrane’s last group—his 1965-67 quintet—has been misrepresented, ignored and reviled by critics, scholars and fans, primarily because it is a music built on a fundamental and very audible disunity that renders a new kind of structural unity. Many of those who study Coltrane’s music have thus far attempted to approach all elements in his last works comparatively, using harmonic and melodic models as is customary regarding more conventional jazz structures. This approach is incomplete and misleading, given the music’s conceptual underpinnings. The present study is meant to provide an analytical model with which listeners and scholars might come to terms with this music’s more radical elements. I use Coltrane’s own observations concerning his final music, Jonathan Kramer’s temporal perception theory, and Evan Parker’s perspectives on atomism and laminarity in mid 1960s British improvised music to analyze and contextualize the symbiotically related temporal disunity and resultant structural unity that typify Coltrane’s 1965-67 works.
    [Show full text]
  • Kenny Wheeler Gnu High Mp3, Flac, Wma
    Kenny Wheeler Gnu High mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Gnu High Country: Germany Released: 1976 Style: Contemporary Jazz MP3 version RAR size: 1354 mb FLAC version RAR size: 1292 mb WMA version RAR size: 1647 mb Rating: 4.7 Votes: 634 Other Formats: MPC APE AA TTA MP3 MMF AAC Tracklist A Heyoke 21:47 B1 'Smatter 5:56 B2 Gnu Suite 12:47 Companies, etc. Phonographic Copyright (p) – ECM Records GmbH Published By – ECM Verlag Recorded At – Generation Sound Studios Credits Bass – Dave Holland Composed By – Kenny Wheeler Drums – Jack DeJohnette Engineer – Tony May Flugelhorn – Kenny Wheeler Layout – B. Wojirsch* Mixed By – Martin Wieland Photography By [Cover] – Tadayuki Naito* Piano – Keith Jarrett Producer – Manfred Eicher Notes Recorded June 1975, Generation Sound Studios, New York City. An ECM Production ℗ 1976 ECM Records GmbH Printed in W. Germany Barcode and Other Identifiers Matrix / Runout (Side A runout, stamped): ST-ECM 1069-A Matrix / Runout (Side B runout, stamped): ST-ECM 1069-B Rights Society: GEMA Other versions Category Artist Title (Format) Label Category Country Year ECM ECM 1069, 825 Kenny Gnu High (CD, ECM 1069, 825 Records, Germany Unknown 591-2 Wheeler Album, RE) 591-2 ECM Records Kenny Gnu High (LP, 25MJ 3327 ECM Records 25MJ 3327 Japan 1976 Wheeler Album) ECM ECM 1069, ECM Kenny Gnu High (LP, ECM 1069, ECM Records, Germany Unknown 1069 ST Wheeler Album, RE) 1069 ST ECM Records ECM ECM 1069, Kenny Gnu High (CD, ECM 1069, Records, US 2008 B0011628-02 Wheeler Album, RE, Dig) B0011628-02 ECM
    [Show full text]
  • Peter Johnston 2011
    The London School Of Improvised Economics - Peter Johnston 2011 This excerpt from my dissertation was included in the reader for the course MUS 211: Music Cultures of the City at Ryerson University. Introduction The following reading is a reduction of a chapter from my dissertation, which is titled Fields of Production and Streams of Conscious: Negotiating the Musical and Social Practices of Improvised Music in London, England. The object of my research for this work was a group of musicians living in London who self-identified as improvisers, and who are part of a distinct music scene that emerged in the mid-1960s based on the idea of free improvisation. Most of this research was conducted between Sept 2006 and June 2007, during which time I lived in London and conducted interviews with both older individuals who were involved in the creation of this scene, and with younger improvisers who are building on the formative work of the previous generation. This chapter addresses the practical aspects of how improvised music is produced in London, and follows a more theoretical analysis in the previous chapters of why the music sounds like it does. Before moving on to the main content, it will be helpful to give a brief explanation of two of the key terms that occur throughout this chapter: “free improvisation” and the “improvised music field.” “Free improvisation” refers to the creation of musical performances without any pre- determined materials, such as form, tonality, melody, or rhythmic feel. This practice emerged out of developments in jazz in the late 1950s and early 1960s, particularly in the work of Ornette Coleman and Cecil Taylor, who began performing music without using the song-forms, harmonic progressions, and steady rhythms that characterized jazz until that time.
    [Show full text]
  • 3H3b &Eotercammemc
    teptexber 13, 197G n mcry, 3h3b & eotercammemc ' ; i i -- JG2Z5 G3JJ Vy OTil 1 1 If I ( nil if f i If tI HI- ..I 11 v "l( II II k I..V J L" J I i V uvu Lauy M Xiw the material bi isvzzs there is never doubt whose album it really releasing psckr. Yet, any Siice there have been over 20 albums of this type mar- If yca're fcto are more 251 ca is. Tens and ttzs it is Wheeler's comrnasdsig pre- jzn, tlre jped tin, keted ia the last four months, a complete review is im- fa lisccla this astena thaa ever before. tence ca the Ihil horn that drives this music into new fre-qaen- and possible. Local dubs sre bcd? sets triS cy. territories, bis horn Caching with dramatic purpose Arista com- jrrz fccreas Spontaneous Combustion from Savoy Area jazz mtr.scfcrrs arc a ? to show- warmth. grtrj bines the first two sessions ever recorded by the great case their tslssti st the Zoo Car's masiSLIy KFlfQ Add l!asfred Eicfcers flawless production and you psa. Cannonba3 Adderiey. These 1955 recordings find Adder-ley-'s deovies two hours jazz-orient- ed one the best acoustic efforts. every to come wi& cf year's Bird-inspir- Ssnday cht cp JCSHhenched and ed sax wiA such mon- musie, and the word is that the soca wi3 be ex- Kcfc!e &bzt Gcsdea prcsram by Horace Silver and, of course, tended another hour. - John Gordon makes a notable debut. Step by Step, sters as Kenny Clarke, Nat.
    [Show full text]
  • 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]
  • Music Outside? the Making of the British Jazz Avant-Garde 1968-1973
    Banks, M. and Toynbee, J. (2014) Race, consecration and the music outside? The making of the British jazz avant-garde 1968-1973. In: Toynbee, J., Tackley, C. and Doffman, M. (eds.) Black British Jazz. Ashgate: Farnham, pp. 91-110. ISBN 9781472417565 There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/222646/ Deposited on 28 August 2020 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk Race, Consecration and the ‘Music Outside’? The making of the British Jazz Avant-Garde: 1968-1973 Introduction: Making British Jazz ... and Race In 1968 the Arts Council of Great Britain (ACGB), the quasi-governmental agency responsible for providing public support for the arts, formed its first ‘Jazz Sub-Committee’. Its main business was to allocate bursaries usually consisting of no more than a few hundred pounds to jazz composers and musicians. The principal stipulation was that awards be used to develop creative activity that might not otherwise attract commercial support. Bassist, composer and bandleader Graham Collier was the first recipient – he received £500 to support his work on what became the Workpoints composition. In the early years of the scheme, further beneficiaries included Ian Carr, Mike Gibbs, Tony Oxley, Keith Tippett, Mike Taylor, Evan Parker and Mike Westbrook – all prominent members of what was seen as a new, emergent and distinctively British avant-garde jazz scene. Our point of departure in this chapter is that what might otherwise be regarded as a bureaucratic footnote in the annals of the ACGB was actually a crucial moment in the history of British jazz.
    [Show full text]
  • Varsity Jazz
    Varsity Jazz Jazz at Reading University 1951 - 1984 By Trevor Bannister 1 VARSITY JAZZ Jazz at Reading University 1951 represented an important year for Reading University and for Reading’s local jazz scene. The appearance of Humphrey Lyttelton’s Band at the University Rag Ball, held at the Town Hall on 28th February, marked the first time a true product of the Revivalist jazz movement had played in the town. That it should be the Lyttelton band, Britain’s pre-eminent group of the time, led by the ex-Etonian and Grenadier Guardsman, Humphrey Lyttelton, made the event doubly important. Barely three days later, on 3rd March, the University Rag Committee presented a second event at the Town Hall. The Jazz Jamboree featured the Magnolia Jazz Band led by another trumpeter fast making a name for himself, the colourful Mick Mulligan. It would be the first of his many visits to Reading. Denny Dyson provided the vocals and the Yew Tree Jazz Band were on hand for interval support. There is no further mention of jazz activity at the university in the pages of the Reading Standard until 1956, when the clarinettist Sid Phillips led his acclaimed touring and broadcasting band on stage at the Town Hall for the Rag Ball on 25th February, supported by Len Lacy and His Sweet Band. Considering the intense animosity between the respective followers of traditional and modern jazz, which sometimes reached venomous extremes, the Rag Committee took a brave decision in 1958 to book exponents of the opposing schools. The Rag Ball at the Olympia Ballroom on 20th February, saw Ken Colyer’s Jazz Band, which followed the zealous path of its leader in keeping rigidly to the disciplines of New Orleans jazz, sharing the stage with the much cooler and sophisticated sounds of a quartet led by Tommy Whittle, a tenor saxophonist noted for his work with the Ted Heath Orchestra.
    [Show full text]
  • The Creative Application of Extended Techniques for Double Bass in Improvisation and Composition
    The creative application of extended techniques for double bass in improvisation and composition Presented in partial fulfilment of the requirements for the degree of Doctor of Philosophy (Music) Volume Number 1 of 2 Ashley John Long 2020 Contents List of musical examples iii List of tables and figures vi Abstract vii Acknowledgements viii Introduction 1 Chapter 1: Historical Precedents: Classical Virtuosi and the Viennese Bass 13 Chapter 2: Jazz Bass and the Development of Pizzicato i) Jazz 24 ii) Free improvisation 32 Chapter 3: Barry Guy i) Introduction 40 ii) Instrumental technique 45 iii) Musical choices 49 iv) Compositional technique 52 Chapter 4: Barry Guy: Bass Music i) Statements II – Introduction 58 ii) Statements II – Interpretation 60 iii) Statements II – A brief analysis 62 iv) Anna 81 v) Eos 96 Chapter 5: Bernard Rands: Memo I 105 i) Memo I/Statements II – Shared traits 110 ii) Shared techniques 112 iii) Shared notation of techniques 115 iv) Structure 116 v) Motivic similarities 118 vi) Wider concerns 122 i Chapter 6: Contextual Approaches to Performance and Composition within My Own Practice 130 Chapter 7: A Portfolio of Compositions: A Commentary 146 i) Ariel 147 ii) Courant 155 iii) Polynya 163 iv) Lento (i) 169 v) Lento (ii) 175 vi) Ontsindn 177 Conclusion 182 Bibliography 191 ii List of Examples Ex. 0.1 Polynya, Letter A, opening phrase 7 Ex. 1.1 Dragonetti, Twelve Waltzes No.1 (bb. 31–39) 19 Ex. 1.2 Bottesini, Concerto No.2 (bb. 1–8, 1st subject) 20 Ex.1.3 VerDi, Otello (Act 4 opening, double bass) 20 Ex.
    [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]
  • A More Attractive ‘Way of Getting Things Done’ Freedom, Collaboration and Compositional Paradox in British Improvised and Experimental Music 1965-75
    A more attractive ‘way of getting things done’ freedom, collaboration and compositional paradox in British improvised and experimental music 1965-75 Simon H. Fell A thesis submitted to the University of Huddersfield in fulfilment of the requirements for the degree of Doctor of Philosophy The University of Huddersfield September 2017 copyright statement i. The author of this thesis (including any appendices and/or schedules to this thesis) owns any copyright in it (the “Copyright”) and he has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes. ii. Copies of this thesis, either in full or in extracts, may be made only in accordance with the regulations of the University Library. Details of these regulations may be obtained from the Librarian. This page must form part of any such copies made. iii. The ownership of any patents, designs, trade marks and any and all other intellectual property rights except for the Copyright (the “Intellectual Property Rights”) and any reproductions of copyright works, for example graphs and tables (“Reproductions”), which may be described in this thesis, may not be owned by the author and may be owned by third parties. Such Intellectual Property Rights and Reproductions cannot and must not be made available for use without the prior written permission of the owner(s) of the relevant Intellectual Property Rights and/or Reproductions. 2 abstract This thesis examines the activity of the British musicians developing a practice of freely improvised music in the mid- to late-1960s, in conjunction with that of a group of British composers and performers contemporaneously exploring experimental possibilities within composed music; it investigates how these practices overlapped and interpenetrated for a period.
    [Show full text]
  • Audio ART Festiwal2000
    Stowarzyszenie Artystyczne Muzyka Centrum Goethe-Institute Kraków m u z y k a koncerty b e z instalacje g r a n i c AUdio ART performance FEStiwaLw w w . a2000 u d i o a r t . z . p l 11 LISTOPADA, 18:00, SYNAGOGA ul. Szeroka EVAN PARKER (Londyn) saksofon EVAN PARKER EVAN PARKER Born Bristol, 5 April 1944; Tenor and soprano saxophones. Urodzony Bristol, 5 kwiecieñ 1944; bieg i sopranu saksofony. Evan Parker started to play (alto) saxophone around the age of Evan Parker zaczynany bawiæ siê (alt) saksofon dooko³a wieku 14, being particularly interested in the music of Paul Desmond. 14, bêd¹cego szczególnie zainteresowanego w muzyce Paul At 16 he started to play the soprano saxophone and there fol- Desmond. Przy 16 on zaczyna³ siê graæ sopranu saksofon i tam lowed a period where he concentrated on soprano only, influ- nastêpowaæ okres gdzie on koncentrowa³ siê na sopranie tylko, enced by John Coltrane. Following his undergraduate studies at wp³ywany przez John Coltrane. Nastêpuj¹cy jego student studiuje Birmingham University, he moved to London and, in late 1966/ przy Birmingham Uniwersytecie, on rusza³ siê do Londynu i, w early 1967 began playing in the Spontaneous Music Ensemble pónym 1966 / wczenie 1967 zaczyna³ grê w Spontanicznym (SME) who, at that time, along with Parker, comprised John Muzyki Zespole (SME) kto, w tamtym czasie, wzd³u¿ z Parker, Stevens, Kenny Wheeler, Paul Rutherford, Trevor Watts and Derek zawiera³ John Stevens, Kenny Konia dyszlowy, Paul Ruterford, Bailey. The regular venue for these sessions was the Little Thea- Trevor Waty i Derek Mur zamku.
    [Show full text]
  • The Songsof Laura Nyro
    Misha Mengelberg, the idea was put forth that, Anthology (Intakt, 2006). Eberhard shows a continued aesthetically and conceptually, Thelonious Monk’s affinity for small groupings, manifest in a duet with music is from the mind of an “architect” while Herbie American pianist Dave Burrell, as well as the brace of Nichols’ is from that of a “painter”. Monk and Nichols twosomes here that emphasize different facets of her have both been favorites of Mengelberg in terms of craft. interpretation; by comparison, the pieces of the former On Singen Sollst Du..., the German goes head to are painstakingly constructed albeit whimsical in their head with up-and-coming Swiss drummer Alex Huber relationships while the latter’s work is brushy and across a set of 13 short extemporizations. Even from gestural - Alexander Calder versus Willem de Kooning. the first, where Huber’s annunciatory tattoo rattles as Live at Glenn Miller Café A fellow linchpin of European improvisation, if he has chains draped across his drumheads, there is Noah Howard Quartet (JaZt TAPES) German pianist Alexander von Schlippenbach, who a clear sense of exploratory zeal. Eberhard demonstrates by Ken Waxman turns 75 this month, has brought Monk’s music into her credentials as an accomplished free jazz expressive play for decades, whether as a soloist, with saxophonist, deploying a litany of fraying overtones, More than a typical nightclub set, the untitled tracks a trio or in the context of the Globe Unity Orchestra. vocalized inflections, gruff honks and overblown that make up this passionate and high-quality The apex of Schlippenbach’s engagement was Monk’s shrieks to magnificent effect.
    [Show full text]