Hough Expounds on Andropov's Mayer
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Lawrence D. “Butch” Morris
Lawrence D. “Butch” Morris American Cornetist, Composer & Conductor (February 10, 1947 – January 22, 2013) 1 Track listing 1. title: Conduction #1: Current Trends in Racism in Modern America (Part 1 (cont.)) personnel: Butch Morris (conductor), Frank Lowe (saxophone), John Zorn (saxophone, game calls), Christian Marclay (turntables), Thurman Barker (marimba), Curtis Clark (piano), Brandon Ross (guitar), Zeena Parkins (harp), Eli Fountain (vibraphone), Tom Cora (cello), Yasunao Tone (vocal) album title (format): Current Trends in Racism in Modern America (lp) label (country) (catalog number): Sound Aspects Records (Germany) (SAS 4010) recording location and date: New York, USA, February 1st, 1985 release date: 1986 duration: 12:12 2. title: Ozone – Burning Blue personnel: Butch Morris (cornet), Lê Quan Ninh (percussion), J.A. Deane (trombone, flute, electronics) album title (format): Burning Cloud label (country) (catalog number): Free Music Productions (Germany) (FMP CD 77 ) recording location and date: Berlin, Germany, October 29, 1993 release date: 1996 duration: 18:27 3. title: Conduction #26, E personnel: Butch Morris (conductor), Hasan Esen (kemence), Mehmet Emin Bitmez (ud), Göskel Baktagir (kanun), Süleyman Erguner (ney), Lê Quan Ninh (percussion), Bryan Carrott (vibraphone), J.A. Deane (trombone, electronics, drum machine), Elizabeth Panzer (harp), Brandon Ross (acoustic guitar), Steve Colson (piano), Hugh Ragin (pocket trumpet) album title (format): Testament: A Conduction Collection Disc 5 (cdx10+book+box) label (country) (catalog -
Fred Frith (Filmmusik)
Fred Frith (Filmmusik) Geboren 1949 in Heathfield, East Sussex, England. Im Alter 5 Jahren begann Fred Frith mit dem Violinen-Spiel, später kamen das Klavierspiel, mit 13 Jahren die Gitarre hinzu. Während seines Studiums in Cambrige gründete er 1968 mit dem Saxophonisten Tim Hodgkinson die wegweisende Independent-Band Henry Cow, die u.a. mit Chris Cutler, John Greaves und Lindsay Cooper zusammen arbeitete. Nach der Auflösung von Henry Cow ging Frith 1979 nach New York, wo er mit Künst- lern der Downtown-Szene um Tom Cora, Bob Ostertag, Ikue Mori, John Zorn und anderen in Kontakt kam. Die Arbeit von Fred Frith ist seitdem ungewöhnlich vielfäl- tig. Er arbeitete u.a. zusammen mit Amy Denio, Brian Eno, Half Japanese, Material, The Residents, Robert Wyatt, Heiner Goebbels und Yo Yo Ma, produzierte Alben für The Orthotonics, David Moss, Tenko und V- Effec, war Bassist in John Zorns Band Naked City und gründete so unterschiedliche Formationen wie The Guitar Quartett, Massacre (mit Bill Laswell und Charles Hayward) und Skeleton Crew (mit Tom Cora und Zeena Parkins). "Nach mehr als 20 Jahren mit Aufnahmen und Perfor- mances ist Fred Frith so etwas wie die Ikone der Avant- garde Music geworden“ schrieb Die Zeit 1991. „Die Kri- tiker haben ihm Unrecht getan, indem sie ihn als impro- visierenden Cage-Jünger beschrieben... Bei der Anerken- nung der intellektuellen Aspekte seiner Musik dürfen aber nicht die unsterbliche Neugier, der bittere Witz, sein kindlicher Spieltrieb und die schleichende Melan- cholie übersehen werden." In den letzten Jahren verla- gerte sich der Schwerpunkt von Friths Arbeit von der Perfomance hin zur Komposition, dazu kamen zahlrei- che Arbeiten für Theater, Tanz, Film, Malerei und Video. -
The Unconventional Has Been Conventional For
Nicolas Collins – Trombone Electronics by Robert Poss ©2007 TapeOp.com What exactly is/are “trombone-propelled electronics?” The backwards guitar pieces were fun to watch because of all those “horny guitars” (as my wife dubbed the highly pronged pawnshop specials that met the under-$50 Collins budget criterium.) “Devil’s Music” almost rocked, and had a vaguely DJ-look that seemed to justify the low-key performance. Then in 1986 or so I started hacking an early, pre-DSP digital reverb - the Stargate from Ursa Major - to do both the live sampling I’d gotten hooked on and some very weird digital signal processing. It sounded cool, but took me back to the Tudor-era minimal knob-twiddling performance style. For reasons of theatre and pedagogy I decided I needed a BIG controller, a HUGE knob, so that the tiny gestures of nudging electronics would visually amplified. I remembered how in early science fiction movies ordinary everyday things like door knobs would be huge - like the wheels on hatches in submarines; then Star Trek substituted tiny keypads and voice response. I wanted to go back to Buck Rogers-scale. I thought, “What I need is a really big slide pot.” I had an old trombone lying around the loft. I took an optical shaft encoder - essentially half a mouse, like the continuous rotation knobs used these days for data entry on synths and control surfaces - and mounted it on the back of the trombone, then ran a retractable dog leash around the encoder’s knob to the slide, so that when I moved the slide the leash would pull in and out, and the knob would turn. -
Monterey Jazz Festival
DECEMBER 2018 VOLUME 85 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael Weintrob; -
Komplette Ausgabe Als
ARDCOREMAGAZIN September 92 TRUST T.O.D., Destination Zero, Herr Bitz #30/10-91 u.a. Gray Matter, Kina, (einige wenige Exemplare noch mit Schwarze Feuer, Jelly Phlegma, der Destination Zero flexi!) Strangemen, Jones Very BACK #18/5-89 u.a. Cat-O-Nine-Tails, #31/12-91 u.a. Consolidated, Jeff Life but how to live it?, So Much Dahl, Skinyard, Holy Rollers, ISSUES Hate, L.U.L.L., Hubert Selby Bastro #19/9-89 u.a. Uniform Choice, #32/2-92 u.a. Mother, Schlönk, Gwar, Snuff, Nirvana, Sub Pop, Fudgetunnel, Morbid Angel, Coffin Soulside, Bad Religion, White Break, Urban Dance Squad, ACHTUNG! Es gibt wieder einige Zombie, Victims Family (einige- Mohawks, Flex Neuerungen aus unserem Lager zu Exemplare noch mit Alien Boys berichten. Die deutsche Ausgabe der Flexi!) 100 Seiten!! #33/4-92 u.a. Asexuals, TRUST/MRR Photomagazins ist Toxoplasma, Sharon Tates Children, leider völlig ausverkauft. Wir haben #20/3-90 u.a. Hard Ons, Blue Männer Haze aber weder Kosten noch Mühen Doughboys, Dickies, Exel, Gorilla gescheut und haben die Bisquits, Haywire und 4-farb #34/6-92 u.a. Treponem Pal, amerikanische Ausgabe in geringer Umschlag von Fabi Godflesh, Superchunk, Party Stückzahl besorgt, quasi als US Diktator, Hijack, Wat Tyler, Tar Import! Das Ding kann ab sofort be- #21/1-90 u.a. Mudhoney, Bitch stellt werden. Der Preis beträgt nach Magnet, Verbal Abuse, All, #35/8-92 u.a. The Ex & Tom Cora, wie vor nur 5.-DM! Einige der Wrecking Crew, Arm, Underdog, Wench, Dog Faced Hermans, Girls älteren TRUST'S sind nur noch in Kurdistan, Amp Rep Rec. -
Piano Bass (Upright And/Or Electric)
January 2017 VOLUME 84 / NUMBER 1 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Managing Editor Brian Zimmerman Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Markus Stuckey Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael Weintrob; North Carolina: Robin Tolleson; Philadelphia: David Adler, Shaun Brady, Eric Fine; San Francisco: Mars Breslow, Forrest Bryant, Clayton Call, Yoshi Kato; Seattle: Paul de Barros; Tampa Bay: Philip Booth; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Belgium: Jos Knaepen; Canada: Greg Buium, James Hale, Diane Moon; Denmark: Jan Persson; France: Jean Szlamowicz; Germany: Detlev Schilke, Hyou Vielz; Great Britain: Brian Priestley; Japan: Kiyoshi Koyama; Portugal: Antonio Rubio; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert. -
THE STEREOPHONIC CONFIT FESTIVAL Featuring EUGENE CHADBOURNE - JOEL GRIP - EVAN LIPSON TATSUYA NAKATANI - ERNEST PAIK & the SHAKING RAY LEVIS
the shaking ray levi society presents: THE STEREOPHONIC CONFIT FESTIVAL featuring EUGENE CHADBOURNE - JOEL GRIP - EVAN LIPSON TATSUYA NAKATANI - ERNEST PAIK & THE SHAKING RAY LEVIS Eugene Chadbourne is a rare guitarist/banjo player and off-kilter songwriter, who is equally comfortable with bluegrass, folk, or free jazz. With a career spanning four decades, he has worked with a wide range of artists such as Camper Van Beethoven, John Zorn, Violent Femmes, They Might Be Giants, Jimmy Carl Black, and Sun City Girls. http://www.eugenechadbourne.com/ Joel Grip, from Sweden, is an improvising double bassist who has given performances around the world as both a soloist and a collaborator. He uses his energy to combine diverse people’s talents and organizes festivals, including the annual art-flow festival Hagenfesten. He runs the label Umlaut Records. http://umlautrecords.com/joelgrip Evan Lipson is a bassist and composer with roots predominantly based in modernist classical, punk, jazz, outsider pop, noise, and free improvisation. Following his own occult research and forms of practical synthesis, Lipson's efforts strive towards cultivating the rarefied, esoteric, and iconoclastic world(s) of unconventional music. He plays in several ensembles, including Normal Love, Satanized, Dynamite Club, and Hisswig, and is a recent recipient of a CreateHere ArtsMove grant. Tatsuya Nakatani is a percussionist originally from Osaka, Japan. In the past 10 years he has released nearly 50 recordings on CD, and he has created his own instrumentation and extended techniques. He utilizes a drum set, bowed gongs, cymbals, singing bowls, metal objects, bells, and various sticks and bows to create an intense, organic music that defies genre. -
March 05 Prog
\ SAN FRANCISCO CONTEMPORARY MUSIC PLAYERS David Milnes, Music Director Performers Tuesday, 22 March 2005 8 pm Tod Brody, flute Yerba Buena Center for the Arts - Theater Carey Bell, bass clarinet Agnes Lee, harp Michael Taddei, double bass PREMIERES: Daniel Kennedy, percussion JEANRENAUD AND CAMPION TERRY RILEY Tonight’s performance of Edmund Campion’s A Complete Wealth of Time is Olde English (2004) made possible in part by a generous grant from the Ross McKee Foundation. World Premiere The commissioning and tonight’s premiere performance of Edmund Campion’s Joan Jeanrenaud, cello Outside Music were made possible in part by a generous grant from the Fromm Music Foundation, which has also helped to underwrite this entire ANNIE GOSFIELD concert performance. The Harmony of the Body-Machine (2003) Fred Frith’s Save As was commissioned with gifts from John Chalik, Jane S. Joan Jeanrenaud, cello Dutcher, Joan Jeanrenaud, Nora Norden, Dick Sander, Tim Savinar, Stephen Singer and Michel Boynton, Curtis Smith and Susan Threlkeld, Lee Townsend, and Patricia Unterman. FRED FRITH Save As (2005) World Premiere, Commission Joan Jeanrenaud, cello William Winant, percussion ~ INTERMISSION ~ EDMUND CAMPION A Complete Wealth of Time (1990) Gloria Cheng and Vicki Ray, pianos EDMUND CAMPION Outside Music (2005) World Premiere, Commission Julie Steinberg, keyboard-controlled sampler/computer Program Notes Origins, this European sojourn gave Riley the opportunity to attend the Summer New Music Courses at Darmstadt and to use the elec- tronic music resources at the ORTF (l’Office de la radiodiffusion- TERRY RILEY (B. 1935) télévision française), where he produced a score for Ken Dewey’s play, The Gift (1963), that took Chet Baker’s recording of Miles Davis’ So feel it’s my field to try to create magic in sound. -
Application Form
Improvisation weekend There is a noticeable reluctance to use the word (improvisation) and some improvisers express a positive dislike for it. I think this is due to its widely APPLICATION FORM accepted connotations which imply that improvisation is something without Improvisation weekend preparation and without consideration, a completely ad hoc activity, frivolous and inconsequential, lacking in design and method. And they object to that implication because they know from their own experience that it is untrue. They Name: ____________________________________ know that there is no musical activity which requires greater skill and devotion, preparation, training and commitment. Address: ____________________________________ from ‘Improvisation’ by Derek Bailey When: Workshops: ____________________________________ Sat 27th October 10am-1pm Sun 28th October 10am-1pm and 2-4pm ____________________________________ Improvisation event: Sun 28th October 5-5.30pm (open to public) Where: MacRobert Building, King Street, University of Aberdeen Telephone: ____________________________________ What: A fun but focused weekend of improvisation workshops with one of the great improvisers of our time, Fred Frith. Email: ____________________________________ Working on large group improvisation, changing ways of listening and interacting, interpretations of graphic scores Male / Female (please circle) and work on conducted improvising. Who: Age 16+ and approx Grade 7 standard + on any Instrument: _____________________________________ instrument. No previous -
Audio Compact Disc
Leonardo_36-4_255_344 7/17/03 12:07 PM Page 335 Artmedia is among the first confer- communication technologies” were time for questions, too short lunch ence series posing theoretical questions very illustrative and interesting, but in breaks. Nonetheless the program and as well as looking at experimentations some respects also a bit superficial. conference format allowed networking regarding art and communication Nevertheless, I enjoyed the professional and discussions in many of the restau- technologies. It was founded in 1985 by presentation of Beusch and Cassani, rants of Paris—especially after walking the philosopher Mario Costa at the who gave an overview of mobile gam- through streets illuminated by most Department of Philosophy of the Uni- ing, and also the enlightening speeches wonderful Christmas decorations. versity of Salerno and was held there about curating net art by the curators seven times in a roughly bi-annual Dietz (Walker Art Center) and Jemima rhythm. There seem to be different Rellie (Tate Gallery). reasons why Artmedia VIII was held in The third day, Sunday, was the most AUDIO COMPACT DISC Paris in 2002: one is the possibility of exciting day of Artmedia VIII, because broadening its circle of influence; finally some rather provocative another is the fact that Paris is cur- thoughts were expressed. It started with rently a place of many interesting new Lévy’s presentation of a taxonomy for NORTH AMERICA electronic art activities. cultural design. This talk was not en- by Curlew. Cuneiform Records, Silver Artmedia VIII was co-organized by tirely appreciated because of the lack of Springs, MD, U.S.A., 2002. -
Full Article
Rifftides: Doug Ramsey on jazz and other matters Page 1 of 6 an ARTSJOURNAL weblog | ArtsJournal Home | AJ Blog Central ABOUT... « A Notable Wedding | Main ...Rifftides September 4, 2007 This blog is founded on Doug's conviction that musicians and listeners who embrace and Hello, Cello understand jazz have interests that run deep, wide and beyond jazz. Music is its principal concern, Several major jazz bassists - including Oscar Pettiford, Ray Brown, Sam but it reaches past... more Jones, and Percy Heath - also played the cello. Ron Carter doubles on cello. ...Doug Ramsey For the most part, Carter employs it as a midget replica of his main Doug lives in the Pacific instrument, soloing by plucking the strings, as did his predecessors. Indeed, Northwest, where he settled following a career in print and Heath referred to his re-tuned cello as a baby bass. broadcast journalism in cities including New York, New Orleans, San Francisco, Los Angeles, Improvising while bowing the cello is another matter. Fred Katz, who Seattle, Portland, San Antonio, Cleveland and Washington, DC. became well known in the 1950s for his work with the Chico Hamilton His writing about jazz has Quintet, demonstrated that there was a place for the arco cello in paralleled his life in journalism... improvisation despite the instrument's challenges, which include its relative more slowness. The cello's small, fast, cousin the violin has had a role virtually from the beginning of jazz. In Roger Kellaway's glorious Cello Quartet ...Doug's books Doug's most recent book is Poodie recordings, Ed Lustgarten was brilliant at reading and interpreting the solos James, a novel published in 2007. -
Why Rova Rocks
ROVA personnel: Steve Adams, Jon Raskin, Bruce Ackley, Larry Ochs – saxophones, visual cues, music Think of the human voice in music. The most primal of instruments, it can melt you or move you to tears on the spot. Then it’s the saxophone, one-step removed from the human voice, and the next most powerful messenger in music. Johnny Hodges, Albert Ayler, Steve Lacy, Pharoah Sanders, Oliver Lake, King Curtis, Tim Berne, John Butcher - to name only a few of the many singular voices on the instrument who, with one short phrase or even one sound, can take your breath away, or excite and inspire you to great heights. Multiply that power, that capability, times 4, and you have a saxophone quartet. Rova Sax Quartet: a group that can move you the way an Eastern European choir of voices can move you, but also a group with force, a force that can feel as if its tearing the walls of the listening space down, or that can simulate the complex sound of a machine, or one of nature’s wild phenomena, or conversely, the almost-silent overlapping sound-patterns heard with eyes closed in a field in the wilderness. Rova Sax Quartet's musical goal has always been, since 1978, to instigate, to challenge, and to inspire. The group explores the synthesis of composition and collective improvisation, creating exciting, genre-bending music. Rova:Arts, formed in 1986, acts as the umbrella organization for the musicians, facilitating the goals and productions and tours, the collaborations and special projects. Rova is one of the longest-standing groups in the music movement that has its roots in post-bop, free jazz, avant-rock, and 20th century new music; Rova draws inspiration from the visual arts, www.rova.org / 510-908-1747 (Larry Ochs) 333 12th Street; San Francisco, CA 94103 USA contemporary poetry, contemporary dance.