Steve Lacey Quartet – Jazz
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Here I Played with Various Rhythm Sections in Festivals, Concerts, Clubs, Film Scores, on Record Dates and So on - the List Is Too Long
MICHAEL MANTLER RECORDINGS COMMUNICATION FONTANA 881 011 THE JAZZ COMPOSER'S ORCHESTRA Steve Lacy (soprano saxophone) Jimmy Lyons (alto saxophone) Robin Kenyatta (alto saxophone) Ken Mcintyre (alto saxophone) Bob Carducci (tenor saxophone) Fred Pirtle (baritone saxophone) Mike Mantler (trumpet) Ray Codrington (trumpet) Roswell Rudd (trombone) Paul Bley (piano) Steve Swallow (bass) Kent Carter (bass) Barry Altschul (drums) recorded live, April 10, 1965, New York TITLES Day (Communications No.4) / Communications No.5 (album also includes Roast by Carla Bley) FROM THE ALBUM LINER NOTES The Jazz Composer's Orchestra was formed in the fall of 1964 in New York City as one of the eight groups of the Jazz Composer's Guild. Mike Mantler and Carla Bley, being the only two non-leader members of the Guild, had decided to organize an orchestra made up of musicians both inside and outside the Guild. This group, then known as the Jazz Composer's Guild Orchestra and consisting of eleven musicians, began rehearsals in the downtown loft of painter Mike Snow for its premiere performance at the Guild's Judson Hall series of concerts in December 1964. The orchestra, set up in a large circle in the center of the hall, played "Communications no.3" by Mike Mantler and "Roast" by Carla Bley. The concert was so successful musically that the leaders decided to continue to write for the group and to give performances at the Guild's new headquarters, a triangular studio on top of the Village Vanguard, called the Contemporary Center. In early March 1965 at the first of these concerts, which were presented in a workshop style, the group had been enlarged to fifteen musicians and the pieces played were "Radio" by Carla Bley and "Communications no.4" (subtitled "Day") by Mike Mantler. -
Pictorial Imagery, Camerawork and Soundtrack in Dario Argento's Deep
ACTA UNIV. SAPIENTIAE, FILM AND MEDIA STUDIES, 11 (2015) 159–179 DOI: 10.1515/ausfm-2015-0021 Pictorial Imagery, Camerawork and Soundtrack in Dario Argento’s Deep Red Giulio L. Giusti 3HEFlELD(ALLAM5NIVERSITY5+ E-mail: [email protected] Abstract. This article re-engages with existing scholarship identifying Deep Red (Profondo rosso, 1975) as a typical example within Dario Argento’s body of work, in which the Italian horror-meister fully explores a distinguishing pairing of the acoustic and the iconic through an effective combination of ELABORATECAMERAWORKANDDISJUNCTIVEMUSICANDSOUND3PECIlCALLY THIS article seeks to complement these studies by arguing that such a stylistic and technical achievementINTHElLMISALSORENDEREDBY!RGENTOSUSEOFASPECIlC art-historical repertoire, which not only reiterates the Gesamtkunstwerk- like complexity of the director’s audiovisual spectacle, but also serves to TRANSPOSETHElLMSNARRATIVEOVERAMETANARRATIVEPLANETHROUGHPICTORIAL techniques and their possible interpretations. The purpose of this article is, thus, twofold. Firstly, I shall discuss how Argento’s references to American hyperrealism in painting are integrated into Deep Red’s spectacles of death through colour, framing, and lighting, as well as the extent to which such references allow us to undertake a more in-depth analysis of the director’s style in terms of referentiality and cinematic intermediality. Secondly, I WILLDEMONSTRATEHOWANDTOWHATEXTENTINTHElLM!RGENTOMANAGESTO break down the epistemological system of knowledge and to disrupt the reasonable -
Neglected Jazz Figures of the 1950S and Early 1960S New World NW 275
Introspection: Neglected Jazz Figures of the 1950s and early 1960s New World NW 275 In the contemporary world of platinum albums and music stations that have adopted limited programming (such as choosing from the Top Forty), even the most acclaimed jazz geniuses—the Armstrongs, Ellingtons, and Parkers—are neglected in terms of the amount of their music that gets heard. Acknowledgment by critics and historians works against neglect, of course, but is no guarantee that a musician will be heard either, just as a few records issued under someone’s name are not truly synonymous with attention. In this album we are concerned with musicians who have found it difficult—occasionally impossible—to record and publicly perform their own music. These six men, who by no means exhaust the legion of the neglected, are linked by the individuality and high quality of their conceptions, as well as by the tenaciousness of their struggle to maintain those conceptions in a world that at best has remained indifferent. Such perseverance in a hostile environment suggests the familiar melodramatic narrative of the suffering artist, and indeed these men have endured a disproportionate share of misfortunes and horrors. That four of the six are now dead indicates the severity of the struggle; the enduring strength of their music, however, is proof that none of these artists was ultimately defeated. Selecting the fifties and sixties as the focus for our investigation is hardly mandatory, for we might look back to earlier years and consider such players as Joe Smith (1902-1937), the supremely lyrical trumpeter who contributed so much to the music of Bessie Smith and Fletcher Henderson; or Dick Wilson (1911-1941), the promising tenor saxophonist featured with Andy Kirk’s Clouds of Joy; or Frankie Newton (1906-1954), whose unique muted-trumpet sound was overlooked during the swing era and whose leftist politics contributed to further neglect. -
Cool Trombone Lover
NOVEMBER 2013 - ISSUE 139 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM ROSWELL RUDD COOL TROMBONE LOVER MICHEL • DAVE • GEORGE • RELATIVE • EVENT CAMILO KING FREEMAN PITCH CALENDAR “BEST JAZZ CLUBS OF THE YEAR 2012” SMOKE JAZZ & SUPPER CLUB • HARLEM, NEW YORK CITY FEATURED ARTISTS / 7:00, 9:00 & 10:30pm ONE NIGHT ONLY / 7:00, 9:00 & 10:30pm RESIDENCIES / 7:00, 9:00 & 10:30pm Fri & Sat, Nov 1 & 2 Wed, Nov 6 Sundays, Nov 3 & 17 GARY BARTZ QUARTET PLUS MICHAEL RODRIGUEZ QUINTET Michael Rodriguez (tp) ● Chris Cheek (ts) SaRon Crenshaw Band SPECIAL GUEST VINCENT HERRING Jeb Patton (p) ● Kiyoshi Kitagawa (b) Sundays, Nov 10 & 24 Gary Bartz (as) ● Vincent Herring (as) Obed Calvaire (d) Vivian Sessoms Sullivan Fortner (p) ● James King (b) ● Greg Bandy (d) Wed, Nov 13 Mondays, Nov 4 & 18 Fri & Sat, Nov 8 & 9 JACK WALRATH QUINTET Jason Marshall Big Band BILL STEWART QUARTET Jack Walrath (tp) ● Alex Foster (ts) Mondays, Nov 11 & 25 Chris Cheek (ts) ● Kevin Hays (p) George Burton (p) ● tba (b) ● Donald Edwards (d) Captain Black Big Band Doug Weiss (b) ● Bill Stewart (d) Wed, Nov 20 Tuesdays, Nov 5, 12, 19, & 26 Fri & Sat, Nov 15 & 16 BOB SANDS QUARTET Mike LeDonne’s Groover Quartet “OUT AND ABOUT” CD RELEASE LOUIS HAYES Bob Sands (ts) ● Joel Weiskopf (p) Thursdays, Nov 7, 14, 21 & 28 & THE JAZZ COMMUNICATORS Gregg August (b) ● Donald Edwards (d) Gregory Generet Abraham Burton (ts) ● Steve Nelson (vibes) Kris Bowers (p) ● Dezron Douglas (b) ● Louis Hayes (d) Wed, Nov 27 RAY MARCHICA QUARTET LATE NIGHT RESIDENCIES / 11:30 - Fri & Sat, Nov 22 & 23 FEATURING RODNEY JONES Mon The Smoke Jam Session Chase Baird (ts) ● Rodney Jones (guitar) CYRUS CHESTNUT TRIO Tue Cyrus Chestnut (p) ● Curtis Lundy (b) ● Victor Lewis (d) Mike LeDonne (organ) ● Ray Marchica (d) Milton Suggs Quartet Wed Brianna Thomas Quartet Fri & Sat, Nov 29 & 30 STEVE DAVIS SEXTET JAZZ BRUNCH / 11:30am, 1:00 & 2:30pm Thu Nickel and Dime OPS “THE MUSIC OF J.J. -
100 Titres Sur Le JAZZ — JUILLET 2007 SOMMAIRE
100 TITRES SUR LE JAZZ À plusieurs époques la France, par sa curiosité et son ouverture à l’Autre, en l’occurrence les hommes et les musiques de l’Afro-Amérique, a pu être considérée, hors des États-Unis, comme une « fille aînée » du juillet 2007 / jazz. Après une phase de sensibilisation à des « musiques nègres » °10 constituant une préhistoire du jazz (minstrels, Cake-walk pour Debussy, débarquement d’orchestres militaires américains en 1918, puis tour- Hors série n nées et bientôt immigration de musiciens afro-américains…), de jeunes pionniers, suivis et encouragés par une certaine avant-garde intellectuelle et artistique (Jean Cocteau, Jean Wiener…), entrepren- / Vient de paraître / nent, dans les années 1920, avec plus de passion que d’originalité, d’imiter et adapter le « message » d’outre-Atlantique. Si les traces phonographiques de leur enthousiasme, parfois talentueux, sont qua- CULTURESFRANCE siment inexistantes, on ne saurait oublier les désormais légendaires Léon Vauchant, tromboniste et arrangeur, dont les promesses musica- les allaient finalement se diluer dans les studios américains, et les chefs d’orchestre Ray Ventura, (qui, dès 1924, réunissait une formation de « Collégiens ») et Gregor (Krikor Kelekian), à qui l’on doit d’avoir Philippe Carles Journaliste professionnel depuis 1965, rédacteur en chef de Jazz Magazine (puis directeur de la rédaction à partir de 2006) et producteur radio (pour France Musique) depuis 1971, Philippe Carles, né le 2 mars 1941 à Alger (où il a commencé en 1958 des études de médecine, interrompues à Paris en 1964), est co-auteur avec Jean-Louis Comolli de Free Jazz/Black Power (Champ Libre, 1971, rééd. -
Nr. 164 26 September 2011
1 9de JAARGANG, NR. 164 26 SEPTEMBER 2011 IN DIT NUMMER: 1 NIEUWSBERICHTEN 5 BOEKBESPREKING Aleid Truijens: biografie FB Hotz 7 PLATENRECENSIES Aldo Romano, Joep van Leeuwen, Tuesday Night Orchestra, Corrie & Grote Brokken, Enrico Rava, Mark Alban Lotz, Saskia Laroo, Pascal Schumacher, Alex Sipiagin e.a. EN VERDER: 14 Verslag conferentie Jazz and National Identities (Loes Rusch) JAZZ FLITS 165 staat 10 oktober op http://www.jazzflits.nl JAZZ FLITS IS EEN ONAFHANKELIJK JAZZMAGAZINE ste NIEUWSSELECTIE KRIS BOWERS WINT 25 THELONIOUS MONK TO EKOMST JAZZCLUB INTERNATIONAL JAZZ COMPETITION PORGY EN BESS ONGEWIS Porgy en Bess luidt de noodklok. “Als er geen verandering komt in de financiële situatie gaan de deuren volgend jaar dicht”, aldus het be- stuur van het Terneuzense cultuur- centrum, dat ook een prominent jazzpodium herbergt. De gemeente Terneuzen heeft het cen- trum jaarlijks 20.000 euro subsidie aan- geboden. Dat is 7.000 euro meer dan nu, maar nog te weinig vinden de exploi- tanten. Die willen 70.000 euro hebben: “De barinkomsten zijn de laatste jaren teruggelopen, de reserves zijn opge- bruikt voor vernieuwing van het dak en luchtbehandeling, en de kosten zullen stijgen doordat een salaris voor een manager noodzakelijk is.” Porgy en Bess President Obama begroet de finalisten van de Thelonious Monk draait op het moment geheel op vrijwilli- International Jazz Competition 2011 op 13 september in de Oval gers, maar een sleutelfiguur gaat een Office van het Witte Huis. V.l.n.r: Emmet Cohen, Joshua White, stapje terug doen. Die moet worden Barack Obama en Kris Bowers. vervangen door een professional. Het (Official White House Photo: Pete Souza) centrum krijgt subsidie van het Fonds De Amerikaanse pianist Kris Bowers (22) heeft 12 sep- Podiumkunsten, maar die is volgens het tember in Washington de Thelonious Monk International bestuur niet toereikend. -
The Avant-Garde in Jazz As Representative of Late 20Th Century American Art Music
THE AVANT-GARDE IN JAZZ AS REPRESENTATIVE OF LATE 20TH CENTURY AMERICAN ART MUSIC By LONGINEU PARSONS A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2017 © 2017 Longineu Parsons To all of these great musicians who opened artistic doors for us to walk through, enjoy and spread peace to the planet. ACKNOWLEDGMENTS I would like to thank my professors at the University of Florida for their help and encouragement in this endeavor. An extra special thanks to my mentor through this process, Dr. Paul Richards, whose forward-thinking approach to music made this possible. Dr. James P. Sain introduced me to new ways to think about composition; Scott Wilson showed me other ways of understanding jazz pedagogy. I also thank my colleagues at Florida A&M University for their encouragement and support of this endeavor, especially Dr. Kawachi Clemons and Professor Lindsey Sarjeant. I am fortunate to be able to call you friends. I also acknowledge my friends, relatives and business partners who helped convince me that I wasn’t insane for going back to school at my age. Above all, I thank my wife Joanna for her unwavering support throughout this process. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS .................................................................................................. 4 LIST OF EXAMPLES ...................................................................................................... 7 ABSTRACT -
Paolo Fresu & Uri Caine
PAOLO FRESU & URI CAINE Paolo Fresu: tpt, flh & effects – Uri Caine: p "Think." è la naturale prosecuzione del fortunato "Things" del 2006. Ancora un discorso a due ma questa volta arricchito dal suono del Quartetto d'archi Alborada. I 15 brani del cd appena pubblicato dalla Blue Note italiana toccano la storia del jazz con incursioni nella musica colta, classica e contemporanea fanno da corollario a questa nuova avventura discografica non dimenticando la canzone italiana e la musica per il cinema con "Centochiodi" scritto per l'omonimo film di Ermanno Olmi. Il duo costituito da PAOLO FRESU E URI CAINE, è la storia del fortunatissimo incontro tra due grandi personalità del jazz moderno. Una sorta di “altra versione” del celeberrimo trio di di Keith Jarrett alle prese con gli standard più tradizionali della storia del jazz ma, con in più, il rischioso “senza rete” di avere in realtà scelto materiale davvero “pericoloso” per la sua enorme popolarità. Non è affatto semplice, come invece potrebbe sembrare, scegliere di suonare ad arte, brani che sono il magma ed il segno della storia jazzistica. Il duo affronta il gioco con sorprendente semplicità, riuscendo perfettamente a trasmettere il sentimento che guida questa straordinaria musica. Ora, dopo il successo di "Things", album del 2006, Paolo Fresu reincontra Uri Caine, il grande pianista americano per un nuovo progetto ironicamente chiamato "Think." L'assonanza tra i due titoli (Things/Think) sta a significare l'assonanza tra i due progetti ma anche la differenza tra "le cose" e il "pensare -
Paolo Fresu Devil Quartet
PAOLO FRESU DEVIL QUARTET Paolo Fresu (tpt, flh, eff) – Bebo Ferra (g) – Paolino Dalla Porta (cb) – Stefano Bagnoli (dr) Devil… beyond the good inventions of the Italian style In order to help us in this presentation we are using a part of the accurate title of a feature by the sorely missed Italian journalist Vittorio Franchini, who labelled the Paolo Fresu led quartet music as “a good invention of the Italian Style”. Wise people know very well that it’s no good to ‘rest on one’s laurels’, which is what very often happens in the contemporary commercial music scene. Kudos to Fresu and to this extraordinary band that, after an electric beginning on the heels of the successful experience of the ‘Angel’ quartet, found new sap with the new ‘Devil’. And these ‘Devil’ have run a long way in the music territories of our times. Therefore, after this electric and powerful start, through Fresu’s idea of a new meaning of cross breed music or -as he defines it, melange- many were wondering where the quartet music could go. Well, Fresu, Ferra, Dalla Porta and Bagnoli take everyone by surprise proposing the most electric band of the Italian jazz scene of the last few years in a completely acoustic version, subverting canons and habits, also the drowsy habits of many journalists that find it easy to hastily stick labels on a certain project. Fresu’s simply new, and in a way unsettling, idea is to release a completely different record from the previous albums, whose strength lies the fact that is a completely acoustic, played on completely acoustic instruments (including Bebo Ferra’s guitars and Stefano Bagnoli only brushes technique, in which he is a true master). -
Libretto Gavi LAVAGNINO 2005
Città di Soprintendenza dei Beni Ambientali AVI Provincia di Genova e Architettonici del Piemonte ASSESSORATO ALLA CULTURA 5° Festival Internazionale “A. F. Lavagnino” Gavi (AL) settembre ‘05 PROGRAMMA MANIFESTAZIONE ingresso libero www.lavagninofestival.it Info: 0143-642913 (Comune di Gavi) - www.comune.gavi.al.it ★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ Anteprime Nazionali ★ ★ ★ ★ 8 Sale Cinematografiche ★ ★ ★ ★ Dolby Surround ★ ★ ★ ★ Rassegne Tematiche ★ ★ ★ ★ Pop Corn ★ ★ ★ ★ Parcheggio coperto ★ ★ ★ ★ ★ ★ ★ ★ Tortona (AL) ★ c/o Città Commerciale Oasi ★ Per Informazioni orari cinema: ★ ★ 0131/820079 - 0131/880754 ★ ★ ★ ★ ★ ★ COMITATO D’ONORE Giuliano Montaldo regista Carlo Lizzani regista Furio Scarpelli sceneggiatore Carlo Leva scenografo Mario Verdone saggista, storico di ogni forma di spettacolo e delle avanguardie, professore emerito di storia e critica del film all’Università La Sapienza di Roma Luigi Pestalozza storico della musica, direttore di Musica/Realtà Aldo Bennici direttore artistico dell’Accademia musicale Chigiana di Siena Armando Trovaioli compositore Renato Serio compositore, direttore d’orchestra cine-televisivo Gianni Rondolino presidente Torino Film Festival Marco Müller produttore cinematografico Peppe Vessicchio compositore, direttore d’orchestra cine-televisivo Natale Massara compositore, orchestratore Carlo Mazzacurati regista Steve Della Casa critico cinematografico, conduttore radiofonico e televisivo Alberto Barbera presidente Museo Nazionale del Cinema di Torino -
Fiscal 2020 Corporate Social Responsibility Report Fiscal 2020 Corporate Social Responsibility Report
Fiscal 2020 Corporate Social Responsibility Report Fiscal 2020 Corporate Social Responsibility Report Table of Contents Introduction | 3 • Letter from President and CEO Tom Harty • Mission Statement and Principles • Corporate Values and Guiding Principles Social | 5 • COVID-19 Response – Special Section • Volunteerism and Charitable Giving • Human Resources • Wellness • Diversity and Inclusion • Privacy Environment | 32 • Mission and Charter • Stakeholder Engagement • Responsible Paper • Waste and Recycling • Energy and Transportation • Water Conservation • Overall Environmental Initiatives Appendices | 59 2020 Corporate Social Responsibility Report | 2 INTRODUCTION Letter from Chairman and CEO Tom Harty Social Responsibility has always been important, but 2020 has elevated it to new levels. More than ever, corporations are expected to step up, whether it’s contributing to the elimination of social injustices that have plagued our country, keeping employees safe and healthy during the COVID-19 Pandemic, or fighting to curb global greenhouse gas emissions. Meredith has heard that call, and the many actions we are taking across the social responsibility spectrum are outlined in this report. We recognize the need for our business to be socially responsible, as well as a competitive and productive player in the marketplace. Just as we are devoted to providing our consumers with inspiration and valued content, we want them to feel great about the company behind the brands they love and trust. At Meredith, we promote the health and well-being of our employees; implement continuous improvements to make our operating systems, products and facilities more environmentally friendly; and take actions to create a just and inclusive environment for all. The social justice events of 2020 have brought diversity and inclusion to the forefront for many people both personally and professionally. -
Dino Rubino Quartet
Dino Rubino Quartet “time of silence” Dino Rubino, flicorno e pianoforte; Emanuele Cisi, sax; Paolino Dalla Porta, contrabbasso; Enzo Zirilli, batteria After the lucky experience of the long tour of the theatre show 'Tempo di Chet' with Paolo Fresu and Marco Bardoscia, Dino Rubino releases the fifth album for Tǔk Music, titled 'time of silence' and he is ready to bring the new experience live in concert. In the new project, which contains 10 new songs entirely composed by him, Dino brings back to work his quartet, that is one of the most interesting groups of the last years of Italian jazz; with him (both on piano and flugelhorn) there are Emanuele Cisi on tenor saxophone, Paolino Dalla Porta on double bass and Enzo Zirilli on drums. The four instruments dialogue with each other like a single voice and move following a univocal feeling of deep serenity and harmony. Evident is the natural evolution, from the previous work 'Where is the happiness?' several times at the center of numerous positive feedbacks from both critics and audience. In the music of the quartet, the Sicilian multi-instrumentalist synthesizes his musical listening made of classical, jazz, pop, folk and blues music through a deep emotionality. The love for melody remains the main instance that guides him through the many musical worlds and the pieces take on a kinematic character, soundtracks of images and moments that emerge from the experience. The time of silence is a common good, the moment of waiting, the hope of a promise, respect, the intention of listening, the intimacy of prayer, the moment of concentration, but it is also awareness and courage to discover oneself.