Touch the Sound a Sound Journey with Evelyn Glennie
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Blabla Bio Fred Frith
BlaBla Bio Fred Frith Multi-instrumentalist, composer, and improviser Fred Frith has been making noise of one kind or ano- ther for almost 50 years, starting with the iconic rock collective Henry Cow, which he co-founded with Tim Hodgkinson in 1968. Fred is best known as a pioneering electric guitarist and improviser, song-writer, and composer for film, dance and theater. Through bands like Art Bears, Massacre, Skeleton Crew, Keep the Dog, the Fred Frith Guitar Quartet and Cosa Brava, he has stayed close to his roots in rock and folk music while branching out in many other directions. His compositions have been performed by ensembles ranging from Arditti Quartet and the Ensemble Modern to Concerto Köln and Galax Quartet, from the BBC Scottish Symphony Orchestra to ROVA and Arte Sax Quartets, from rock bands Sleepytime Gorilla Museum and Ground Zero to the Glasgow Improvisers’ Orchestra. Film music credits include the acclaimed documentaries Rivers and Tides, Touch the Sound and Leaning into the Wind, directed by Thomas Riedelsheimer, The Tango Lesson, Yes and The Party by Sally Potter, Werner Penzel’s Zen for Nothing, Peter Mettler’s Gods, Gambling and LSD, and the award-winning (and Oscar-nominated) Last Day of Freedom, by Nomi Talisman and Dee Hibbert- Jones. Composing for dance throughout his long career, Fred has worked with Rosalind Newman and Bebe Miller in New York, François Verret and Catherine Diverrès in France, and Amanda Miller and the Pretty Ugly Dance Company over the course of many years in Germany, as well as composing for two documentary films on the work of Anna Halprin. -
The APDT CHRONICLE Summer 2014 of the Dog
The APDT CHRONICLE Summer 2014 of the Dog BAT 2.0: A New Version of BAT for Fear and Aggression by Grisha Stewart, MA, CPDT-KA, KPA CTP Where Did Dogs Come From? What We Know and What We Don't Know About Dog Domestication by Jessica Hekman, DVM, MS Clearing Up the Confusion: Assistance Dogs and Their Public Access Rights by Mary McNeight, CPDT-KA, CCS, BGS CertifyInBehavior.org Broaden your horizons. How do you stand out from other trainers? You’ve spent a lot of time developing your skills through education and by solving real world problems. It’s time your colleagues, clients, and local veterinarians see you in a new light. The IAABC offers two certification levels, including the field’s only mid-level certification for trainers working in behavior: • FULL CERTIFICATION (CDBC) Indicates your proven expertise and critical thinking, sound reasoning in client assessments, and excellent skills in behavior modification application. • ASSOCIATE CERTIFICATION (ACDBC) Associate Certified status indicates your excellent, yet still burgeoning skills in behavior modification and understanding of current scientific theory and application. Certification is for the serious professional. Our applications for certification require written case studies as well as responses to questions about application of learning theory and common practices in behavior consulting. Learn more about our professional behavior consulting community at CertifyInBehavior.org INTERNATIONAL ASSOCIATION OF ANIMALIAABC BEHAVIOR CONSULTANTS iaabc.org 2 w The APDT Chronicle of the Dog w Summer 2014 www.APDT.com The Association of Professional Dog Trainers P.O. Box 1148 Table of Contents Greenville, SC 29602-1148 Summer 2014 1-800-PET-DOGS [email protected] Columns www.APDT.com A Message From the Chair - Jill Marie O'Brien, CNWI, CPDT-KA 4 APDT Vision Statement: The APDT is the recognized voice of the dog training Member News - Mychelle Blake, MSW, CDBC, CAE 5 profession. -
Sélection De La Commission Musique Nouvelle 40176 PCDM3 450 and 40177 PCDM3 450 CHA Voir PCDM4 Voir PCDM4 PCDM4 7 and CC PCDM4 7 CHA Gris Gris
Sélection de la commission Musique nouvelle 40176 PCDM3 450 AND 40177 PCDM3 450 CHA voir PCDM4 voir PCDM4 PCDM4 7 AND CC PCDM4 7 CHA Gris Gris 1CD Elektra WAR 1CD Tzadik ORK Anderson, Laurie Charming Hostess Homeland Bowls project (The) Laurie Anderson : voix, claviers J Eisenberg: voice, dulcimer, harmonium Eyvind Kang, Lou Reed, John Zorn, Antony, etc... Minimaliste Etats-Unis C Taylor: voice / J Ditzian: clarinets / s Ismaily: bass, perc, guit/ C Nouvel album de Laurie Anderson qui résume le spectacle Smith: drums + invités multimédia qu'elle fait tourner et évoluer depuis plusieurs rock chant west coast Amerique années. Elle n'avait pas sorti d'album en studio depuis "Life on a Chant rock décalé d'une charmante hôtesse qui passe de l'ange String" en 2001. au démon sans détour dans le registre vocal qui peut faire Ce nouvel opus est accompagné d'un DVD retraçant la genèse de penser à la chanteuse d'Art Bears. Des violons rock punk fusent, ce projet. les textes s'inspirent des inscriptions anciennes du babylon juif ; La musique et les textes sont quand à eux dignes du talent de les genres s'entremèlent mais restent mystiques sur des airs qui cette grande artiste-performeuse avec les mêmes composantes peuvent faire penser à la tradition celte ou à celle d'Afrique du que sur ses disques précédents : une musique minimaliste nord, on croise même des airs de bluegrass qui décoiffent ou accessible et sophistiquée, des textes mi-parlés mi-chantés, un baladent. Des percussions font envenimer ces univers insensés mélange d'influences qui vont de l'avant-garde new-yorkaise des et poétiques, des troubadours femmes avancent comme des annés 70-80 aux couleurs "world". -
Variations #6
Curatorial > VARIATIONS VARIATIONS #6 With this section, RWM continues a line of programmes devoted to exploring the complex map of sound art from The Library different points of view organised in curatorial series. We encounter the establishment of sound libraries, collections explicitly curated 'Variation' is the formal term for a musical composition based for further use: sound objects presented as authorless, unfinished ingredients. on a previous musical work, and many of those traditional Though some libraries contain newly commissioned generic sounds, specifically methods (changing the key, meter, rhythm, harmonies or designed for maximum flexibility, the most widely used sounds are often sourced tempi of a piece) are used in much the same manner today from commercial recordings, freed from their original context to propagate across by sampling musicians. But the practice of sampling is more dozens to hundreds of songs. From presets for digital samplers to data CD-ROMs than a simple modernization or expansion of the number of to hip-hop battle records, sounds increasingly detach from their sources, used options available to those who seek their inspiration in the less as references to any original moment, and more as objects in a continuous refinement of previous composition. The history of this music public domain. traces nearly as far back as the advent of recording, and its As hip-hop undergoes a conservative retrenchment in the wake of the early emergence and development mirrors the increasingly self- nineties sampling lawsuits, a widening variety of composers and groups expand conscious relationship of society to its experience of music. the practice of appropriative audio collage as a formal discipline. -
Intakt Sonderangebot.Xlsx
Intakt Sonderangebot jede CD nur Fr. 7.50 Intakt Nr. Band Titel Archiv Nr. SJO CD 003 Schweizer / Nicols / Lewis / Léandre The Storming of the Winter CD-04160 / Sommer Palace CD 018 Martin Schütz & Hans Koch Approximations CD-10421 CD 049 Pierre Favre Singing Drums Souffles CD-10428 CD 056 Koch-Schütz-Studer & Musicos Fidel CD-11906 Cubanos CD 061 Saadet Türköz Marmara Sea CD-10190 CD 067 Lucas Niggli Zoom Meets Arte Spawn of Speed CD-03144 Quartett CD 080 Barry Guy / Evan Parker Birds and Blades CD-07982 CD 082 Lucas Niggli / Zoom Rough Ride CD-03142 CD 083 Lucas Niggli / Big Zoom Big Ball CD-03143 CD 091 Pierre Favre and Arte Quartett with Saxophones CD-10188 Michel Godard CD 092 Ochs / Jeanrenaud / Masaoka Fly, fly, fly CD-10207 CD 093 Lucas Niggli / Zoom Ensemble Sweat CD-10385 CD 102 Objets Trouvés Co Streiff Gabriela objets trouvés / fragile CD-04680 Friedli / Jan Schlegel / Dieter Ulrich CD 103 Fred Frith / Carla Kihlstedt / Stevie The Compass, log and lead CD-10206 Wishart CD 106 Trio 3 Oliver Lake / Reggie Workman Time Being CD-10203 / Andrew Cyrille CD 107 Jacques Demierre / Barry Guy / Brainforest CD-08805 Lucas Niggli CD 108 Irène Schweizer First Choice - Piano Solo KKL CD-10192 Luzern CD 112 Omri Ziegele / Billiger Bauer Edges & Friends CD-05586 CD 113 Bauer Gumpert Petrowsky Sommer 11 Songs - aus teutschen Landen CD-12361 2 Ex Zentralquartett CD 113 Zentralquartett 11 Songs - aus teutschen Landen CD-12361 CD 114 Pierre Favre / Yang Jing Two in One CD-10199 CD 115 Alexander von Schlippenbach Twelve Tone Tales, Vol. -
Larry Ochs' Interview with Luca Canini for Allaboutjazzitalia.Com Via Email in Winter 2013.(Published April 2013.) Questions
Larry Ochs’ interview with Luca Canini for AllAboutJazzItalia.com via email in winter 2013.(published April 2013.) Questions in bold. Some years ago, when I first listened to “Electric Ascension”, I was shocked by the intensity and power of the performance: past/future, tradition/innovation. That disc and the few concerts around the world are a deep reflection on jazz, history, improvisation, sound. But everything started back in 1995, when Rova decided to celebrate the 30th anniversary of John Coltrane’s masterpiece. Can you tell me something about the birth of the project? How do you decide to approach such a “problematic” piece (if you consider Ascension a “piece”)? And do you remember the first time you listen to Ascension? I think Coltrane’s “Ascension” is one of the great jazz compositions of all time. A great formal structure; a great piece. Not that I consider myself an expert on all jazz music. I really don’t. But I am an expert on the greatness of that composition. We have played it 11 times as “Electric Ascension.” And yes it is true that we re- arranged the piece and changed the instrumentation, but the basic composition “Ascension” is absolutely at the center of “Electric Ascension;” it totally influences all the music we play in the spontaneous performance. There is no doubt of that. I remember seeing John Coltrane live at the Village Vanguard with his late great quartet in 1967. I was 18. The music overwhelmed me completely. There were maybe 20 people there for that second set of their night. -
John Lurie/Samuel Delany/Vladimir Mayakovsky/James Romberger Fred Frith/Marty Thau/ Larissa Shmailo/Darius James/Doug Rice/ and Much, Much More
The World’s Greatest Comic Magazine of Art, Literature and Music! Number 9 $5.95 John Lurie/Samuel Delany/Vladimir Mayakovsky/James Romberger Fred Frith/Marty Thau/ Larissa Shmailo/Darius James/Doug Rice/ and much, much more . SENSITIVE SKIN MAGAZINE is also available online at www.sensitiveskinmagazine.com. Publisher/Managing Editor: Bernard Meisler Associate Editors: Rob Hardin, Mike DeCapite & B. Kold Music Editor: Steve Horowitz Contributing Editors: Ron Kolm & Tim Beckett This issue is dedicated to Chris Bava. Front cover: Prime Directive, by J.D. King Back cover: James Romberger You can find us at: Facebook—www.facebook.com/sensitiveskin Twitter—www.twitter.com/sensitivemag YouTube—www.youtube.com/sensitiveskintv We also publish in various electronic formats (Kindle, iOS, etc.), and have our own line of books. For more info about SENSITIVE SKIN in other formats, SENSITIVE SKIN BOOKS, and books, films and music by our contributors, please go to www.sensitiveskinmagazine.com/store. To purchase back issues in print format, go to www.sensitiveskinmagazine.com/back-issues. You can contact us at [email protected]. Submissions: www.sensitiveskinmagazine.com/submissions. All work copyright the authors 2012. No part of this book may be used or reproduced in any manner whatsoever without the prior written permission of both the publisher and the copyright owner. All characters appearing in this work are fictitious. Any resemblance to real persons, living or dead, is purely coincidental. ISBN-10: 0-9839271-6-2 Contents The Forgetting -
A Zeitgeist Films Release Theatrical Booking Contact: Festival Booking and Publicity Contact
Theatrical Booking Festival Booking and Contact: Publicity Contact: Clemence Taillandier / Zeitgeist Films Nadja Tennstedt / Zeitgeist Films 212-274-1989 x18 212-274-1989 x15 [email protected] [email protected] a zeitgeist films release act of god a film by Jennifer Baichwal Is being hit by lightning a random natural occurrence or a predestined event? Accidents, chance, fate and the elusive quest to make sense out of tragedy underpin director Jennifer Baichwal’s (Manufactured Landscapes) captivating new work, an elegant cinematic meditation on the metaphysical effects of being struck by lightning. To explore these profound questions, Baichwal sought out riveting personal stories from around the world—from a former CIA assassin and a French storm chas- er, to writer Paul Auster and improvisational musician Fred Frith. The philosophical anchor of the film, Auster was caught in a terrifying and deadly storm as a teenager, and it has deeply affected both his life and art: “It opened up a whole realm of speculation that I’ve continued to live with ever since.” In his doctor brother’s laboratory, Frith experiments with his guitar to demonstrate the ubiquity of electricity in our bodies and the universe. Visually dazzling and aurally seductive, Act of God singularly captures the harsh beauty of the skies and the lives of those who have been forever touched by their fury. DIRECTOR’S NOTES I studied philosophy and theology before turning to documentary and, in some ways, the questions I was drawn to then are the ones I still grapple with now, although in a different context. Two of these, which specifically inform this film, are the relationship between meaning and randomness and the classical problem of evil. -
Mark-Anthony Turnage About Time
the two groups after the workshop. But I think I might do a couple of things to change the overlaps and add a bit more. This is possible because it is a one-movement piece, but I think there should be another two or three movements. It is such a unique idea that it seems a shame for it to last only twelve minutes. The riskiest pieces have been EM: Do you play a lot with the idea of different sound colours of the instruments or the different performing tra- ditions that are involved? MAT: In a sense the thing that really fascinated me about the Orchestra of the Age of Enlightenment was the string sound. I went to a rehearsal of them doing a Mozart piano concerto and although I had heard quite a lot of the most rewarding baroque bands and early music groups, I hadn’t actually heard many „live“. I loved the incredible sensation of the Mark-Anthony Turnage Mark-Anthony Turnage, Jahrgang 1960, zählt zu den führenden englischen Komponisten. Er string sound – not only the string sound, they also have some wonderful wind players – but it is this sound that you studierte zunächst bei Oliver Knussen und John Lambert, 1983 brachte ihn ein Stipendium could almost eat, that is very sensous. About Time nach Tanglewood, wo er Unterricht bei Gunther Schuller und Hans Werner Henze nahm. EM: Are there any other differences between the two ensembles concerning the music you have written for them? 1988 arbeitete das Ensemble Modern für die Uraufführung der Oper Greek das erste Mal MAT: The original idea that I had for the string players of the early music group is that the music should be very mit Turnage zusammen, 1996 folgte die Gesamtfassung von Blood on the Florr. -
Jim Snidero MD66 Ben Wendel What We Bring Fred Frith Trio Another
Ben Wendel Jim Snidero What We Bring MD66 MOTÉMA SAVANT 2156 ++++ +++½ Kneebody collaborator and soulful Alto saxophonist Jim Snidero’s saxophonist Ben Wendel contin- MD66 is an album that starts out ues to build on the steam generat- bursting at the seams. Caught ed from his previous solo releases. between form and pure expression, What’s particularly striking about Snidero’s horn is on fire for most the Vancouver-born Wendel’s third of these eight tunes, which include release, as much as his riveting com- seven originals (one from pianist positions, is the mighty solidity of the assembled quintet. Andy LaVerne) and the Miles Davis/Bill Evans standard “Blue In Green.” Wendel is far from a purist: He’s worked with Snoop Dog, producer The album begins with the swinging title track, and the rhythm sec- Daedelus, the daKAH Hip-Hop Orchestra and pop star Jason Mraz. The tion of LaVerne, bassist Ugonna Okegwo and drummer Rudy Royston saxophonist’s genre-hopping career has prepared him to become a gen- lays the groundwork for the front line of Snidero and trumpeter Alex erous and encouraging leader, and on What We Bring, Wendel brings Sipiagin. Royston is all over his drums, supporting every soloist on tunes together some of the finest players in New York City, including pianist that swerve between swing and loose-limbed funk. Gerald Clayton, drummer Henry Cole and bassist Joe Sanders. More “Recursion” falls squarely in line with an old-school Blue Note sensi- than perform Wendel’s music, they imbibe and devour it. bility. It’s a waltzing swing, and Snidero’s production makes each instru- The band’s complete absorption of the music is evident on every ment sound as if it was playing in your living room. -
International Jazz News Festival Reviews Concert
THE INDEPENDENT JOURNAL OF CREATIVE IMPROVISED MUSIC INTERNATIONAL JAZZ NEWS TOP 10 ALBUMS - CADENCE CRITIC'S PICKS, 2019 TOP 10 CONCERTS - PHILADEPLHIA, 2019 FESTIVAL REVIEWS CONCERT REVIEWS CHARLIE BALLANTINE JAZZ STORIES ED SCHULLER INTERVIEWS FRED FRITH TED VINING PAUL JACKSON COLUMNS BOOK LOOK NEW ISSUES - REISSUES PAPATAMUS - CD Reviews OBITURARIES Volume 46 Number 1 Jan Feb Mar Edition 2020 CADENCE Mainstream Extensions; Music from a Passionate Time; How’s the Horn Treating You?; Untying the Standard. Cadence CD’s are available through Cadence. JOEL PRESS His robust and burnished tone is as warm as the man....simply, one of the meanest tickets in town. “ — Katie Bull, The New York City Jazz Record, December 10, 2013 PREZERVATION Clockwise from left: Live at Small’s; JP Soprano Sax/Michael Kanan Piano; JP Quartet; Return to the Apple; First Set at Small‘s. Prezervation CD’s: Contact [email protected] WWW.JOELPRESS.COM Harbinger Records scores THREE OF THE TEN BEST in the Cadence Top Ten Critics’ Poll Albums of 2019! Let’s Go In Sissle and Blake Sing Shuffl e Along of 1950 to a Picture Show Shuffl e Along “This material that is nearly “A 32-page liner booklet GRAMMY AWARD WINNER 100 years old is excellent. If you with printed lyrics and have any interest in American wonderful photos are included. musical theater, get these discs Wonderfully done.” and settle down for an afternoon —Cadence of good listening and reading.”—Cadence More great jazz and vocal artists on Harbinger Records... Barbara Carroll, Eric Comstock, Spiros Exaras, -
7 I Mugugni E La Poesia Di Eric Figlio Di Un Geniale Bastardo
07LIB07A0702 ZALLCALL 11 20:29:41 02/06/99 l’Unità DA SENTIRE 7 Lunedì 7 febbraio 2000 I nterzone ◆ Fred Frith cale che egli rappresenta, consistenti zione, struttura e istinto, codice eca- in una «pars construens» e una sualità. Nel primo dei due brani le «pars destruens», lucidità proget- strategie messe in atto (frammenti tuale e deriva nichilista. L’incombe- scritti, episodi improvvisati, «wild Robin Hood e la sua banda di musica alternativa re, l’eccessiva prominenza di questa cards») si compogono in un risultato seconda faccia (sulla cui tessera di ri- magnifico, arguto, sorprendente ed frasi citate illustrano punti di vista kese, mezzo tedesco, per un totale di suoiestimatori. conoscimento, di solito sta scritto energetico, nel corso del quale i molti GIORDANO MONTECCHI molto espliciti circa il cammino della 3/2, appunto, dimensione sovrab- Questo disco appena scodellato «improvvisazione radicale») è ciò sapori si amalgamano in quel suono musica degli ultimi cinquant’anni e bondante di una carriera che allinea che riunisce Frith e l’Ensemble Mo- che talvolta sciupa il piacere di av- particolare e seducente cui non può ome la vitastessalamusica circa il significato dell’interazione capitoli e partners eloquenti quali dern sotto l’insegna Winter & Win- venturarsi su questi terreni che ri- sfuggire chiunque affidi la propria contemporaneasievolvein fra culture. Le stesse parole gronda- Henry Cow, Naked City, Massacre, ter, e vede la presenza di Ikue Mori e mangono in assoluto fra i più fertili musica all’Ensemble Modern. Il se- «C continuazione. Se così non no anche di quella fragrante e tauto- Skeleton Crew, Chris Cutler, John Zeena Parkins, è quasi un raduno di di sorprese del nostro tempo musica- condobranoèpiùcomplessoealtem- fosse essa scomparirebbe.