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Post-World War II Jazz in Britain: Venues and Values 19451970
University of Plymouth PEARL https://pearl.plymouth.ac.uk Faculty of Arts and Humanities School of Society and Culture Post-World War II Jazz in Britain: Venues and Values 19451970 Williams, KA http://hdl.handle.net/10026.1/4429 10.1558/jazz.v7i1.113 Jazz Research Journal Equinox Publishing All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. [JRJ 7.1 (2013) 113-131] (print) ISSN 1753-8637 doi:10.1558/jazz.v7i1.113 (online) ISSN 1753-8645 Post-World War II Jazz in Britain: Venues and Values 1945–1970 Katherine Williams Department of Music, Plymouth University [email protected] Abstract This article explores the ways in which jazz was presented and mediated through venue in post-World War II London. During this period, jazz was presented in a variety of ways in different venues, on four of which I focus: New Orleans-style jazz commonly performed for the same audiences in Rhythm Clubs and in concert halls (as shown by George Webb’s Dixielanders at the Red Barn public house and the King’s Hall); clubs hosting different styles of jazz on different nights of the week that brought in different audiences (such as the 100 Club on Oxford Street); clubs with a fixed stylistic ideology that changed venue, taking a regular fan base and musicians to different locations (such as Ronnie Scott’s Jazz Club); and jazz in theatres (such as the Little Theatre Club and Mike West- brook’s compositions for performance in the Mermaid Theatre). -
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. -
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. -
District 63 for Mcdonalds
Nues Pt"jlio Lirxy .6960 Cakton StréCt. --;i1e fl1.6Q6R Nues Village Board honors3-4 gallon blood donors . byDlrneMiIki : gift of .apprdcuatuon from the . .Wade, blood coordinator for the in depth 'which are Ùnder'coo- ...Board'appéovèd the rezooisg The NiIù Village Board on -village.. Village of Niles, orgenresidesis sideration. Kes Scheel, sillageof the'pròperty at 7457 Waukegan 1Qodoy evening honored a Nues . The. Village of Niles s a par- ., -. to call her at 967-6100 and sigoup manager, will seek options, rd. from B-2 to R.4 for fàthèr and Matwo Sons fòr a total ticipaot in the Michael Reese . a 3-flut for this mont worthwhilecaase. regarding thd re-sohdlvision and buuldiag. ' blood dodatioñ o 110 gallons. Blood Program and it was noted So other business considerahle. present fisem to the board-next. ...Okayed the.Plat of Sob- Commended by the hoard were 1.1101. apidoniñsately5% of the . discussion bob place among the mosth It. wan aléo'noted that' it. divlsioo_ for', Shiba's," First Ad- Pool Sehjntd, 1048 N. 0000dm,' ',illage,qdotacoveringils i. board members regarding the re- would cost $2,000,,,to ss000 for ' for donating Çgalloos of blood .''ditionätß74flStolting,rd. residents add their immediate,oobdiyldiog of the property heI- ssrveylng' the propertiésand'ut' ' ...Dis'caus iso' 'wes'held 'amoog .. and his two noon Robert and Jobo fandilies has been donated. The ween Washington and Prospect would also he' oecessary to gelhoard memhers"regardiogthe . who have doijated 3 gallons each. nent -blood drawing will be held._from Oaktos lo Mesroe. There permission from the homeowners'request for 'remosarsf the . -
Lindsay Cooper: Bassoonist with Henry Cow Advanced Search Article Archive Topics Who Who Went on to Write Film Music 100 NOW TRENDING
THE INDEPENDENT MONDAY 22 SEPTEMBER 2014 Apps eBooks ijobs Dating Shop Sign in Register NEWS VIDEO PEOPLE VOICES SPORT TECH LIFE PROPERTY ARTS + ENTS TRAVEL MONEY INDYBEST STUDENT OFFERS UK World Business People Science Environment Media Technology Education Images Obituaries Diary Corrections Newsletter Appeals News Obituaries Search The Independent Lindsay Cooper: Bassoonist with Henry Cow Advanced search Article archive Topics who who went on to write film music 100 NOW TRENDING 1 Schadenfreudegasm The u ltim ate lis t o f M an ch ester -JW j » United internet jokes a : "W z The meaning of life J§ according to Virginia Woolf 3 Labour's promises and their m h azard s * 4 The Seth Rogen North Korea . V; / film tra ile r yo u secretly w a n t to w atch 5 No, Qatar has not been stripped o f th e W orld Cup Most Shared Most Viewed Most Commented Rihanna 'nude photos' claims emerge on 4Chan as hacking scandal continues Frank Lampard equalises for Manchester City against Her Cold War song cycle ‘ Oh Moscow’ , written with Sally Potter, was performed Chelsea: how Twitter reacted round the world Stamford Hill council removes 'unacceptable' posters telling PIERRE PERRONE Friday 04 October 2013 women which side of the road to walk down # TWEET m SHARE Shares: 51 Kim Kardashian 'nude photos' leaked on 4chan weeks after Jennifer Lawrence scandal In the belated rush to celebrate the 40 th anniversary of Virgin Records there has been a tendency to forget the groundbreaking Hitler’s former food taster acts who were signed to Richard Branson’s label in the mid- reveals the horrors of the W olf s Lair 1970s. -
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. -
Final Thesis.Pdf
An Investigation of the Impact of Ensemble Interrelationship on Performances of Improvised Music Through Practice Research by Sarah Gail Brand Canterbury Christ Church University Thesis submitted for the Degree of Doctor of Philosophy 2019 Abstract In this thesis I present my investigation into the ways in which the creative and social relationships I have developed with long-term collaborators alter or affect the musical decisions I make in my performances of Improvised Music. The aim of the investigation has been to deepen the understanding of my musical and relational processes as a trombonist through the examination of my artistic practice, which is formed by experiences in range of genres such as Jazz and contemporary music, with a current specialty in Improvised Music performance. By creating an interpretative framework from the theoretical and analytical processes used in music therapy practice, I have introduced a tangible set of concepts that can interpret my Improvised Music performance processes and establish objective perspectives of subjective musical experiences. Chapter one is concerned with recent debates in Improvised Music and music therapy. Particular reference is made to literature that considers interplay between performers. Chapter two focuses on my individual artistic practice and examines the influence of five trombone players from Jazz and Improvised Music performance on my praxis. A recording of one of my solo trombone performances accompanies this section. It concludes with a discussion on my process of making tacit knowledge of Improvised Music performance tangible and explicit and the abstruse nature of subjective feeling states when performing improvisation. This concludes part one of the thesis. -
Fred Frith Und Die Ungeahnten Klangwelten Der Gitarre (W)
Jazz Collection: Fred Frith und die ungeahnten Klangwelten der Gitarre (W) Samstag, 12. Juli 2014, 22.00 - 24.00 Uhr Der englische Gitarrist und Komponist Fred Frith, geboren 1949, testet seit seinen Anfängen mit der Band «Henry Cow» die Grenzen seines Instruments. Er entführt seine Hörer in entlegene Klangwelten. Der Gitarrist Vinz Vonlanthen ist Gast in der Sendung. Es gibt tausend Arten Gitarre zu spielen. Fred Frith hat noch ein paar Dutzend hinzu erfunden. Vom «Progressive Rock» ausgehend, hat der Klangkünstler aus Yorkshire mit Tonabnehmern und elektronischer Verfremdung experimentiert. Frith hat seine Klangfantasien auch für Gitarrenquartett arrangiert und für das Ensemble Modern komponiert. Schon mit seinem ersten Solo-Album unternahm er 1974 den Versuch, analog John Cage‘s Klavierkompositionen die Gitarre neu zu erfinden. Klangvielfalt und rhythmisch komplexe Muster kennzeichnen seine Arbeit. Der in Genf lebende Gitarrist Vinz Vonlanthen als Gast analysiert die technischen Kniffe des unkonventionellen Virtuosen und würdigt den Sound-Visionär Fred Frith. Redaktion: Beat Blaser Moderation: Andreas Müller-Crepon Henry Cow:”Leg End” CD Virgin, 840 027 Track 5: Nirvana (Reprise) Track 7: Teenbeat (Reprise) Fred Frith Fred Frith: Guitar Solos CD ReR Megacorp, ReR/FRO 02 Track 1: Hello Music Fred Frith/Bob Ostertag/Phil Minton: Voice of America CD Rec-Rec Music, ReCDec 907 Part 1 Fred Frith: Step Across the Border CD RecRec Medien AG, ReCDec 30 Track 1: Sparrow Song Fred Frith: Allies – Music For Dance, Vol.2 CD RecRec Medien, RecDec 70 Track 1: Rifka Fred Frith: Quartetts CD RecRec Medien, ReCDec 44 Track II/2: The As Usual Dance Towards The Other Flight To What Is Not. -
Duo Vocal, Musique Électronique Et Multiphonie
MULTIVOX Duo vocal, musique électronique et multiphonie Avec Christine Bertocchi, voix Phil Minton, voix Olivier Sens ou Boris Darley, traitement sonore et multi-diffusion D'un instant à l’autre – 1, route de Chatillon– 21500 Montbard 06 25 11 20 29 - www.uninstantalautre.com 1 LE PROJET Les voix de Christine Bertocchi et Phil Minton se sont rencontrées à plusieurs reprises depuis une quinzaine d'années. Pour Multivox, elles tissent ensemble un parcours vocal, fait d'explorations sur le timbre et la matière sonore de la voix, de recherches sur les registres extrêmes et les usages extra-européens de la voix, de jeux rythmiques. Au fil de ce déroulement, ressurgissent des thèmes issus du jazz, des mélodies suspendues. La variété de leurs possibilités vocales et de leurs imaginaires musicaux, plongent les spectateurs dans une suite musicale faite de reliefs inattendus, relayée par un travail de traitement, transformation, boucles, et reprise en multi-diffusion tout autour des spectateurs. Entourés d'enceintes qui démultiplient les sources sonores, et plongés dans un premier temps dans une quasi pénombre, ils découvrent peu à peu les corps en mouvement, sources premières de l'émission sonore. Parfois, des objets manipulés par les deux chanteurs, leur permettent de jouer encore plus avec l'écoute du public. Les voix traversent ces filtres ou amplificateurs que peuvent être ces caisses de résonance, en forme de cercle ou de tunnel. Les gestes prennent alors une place prépondérante, détachés des voix qui voyagent à travers les différents enceintes : une différenciation de l'émission sonore et gestuelle, à partir de la même source, qui crée une sorte de chorégraphie spontanée, décalée mais intimement reliée. -
Marching Song
MARCHING SONG/THE MIKE WESTBROOK CONCERT BAND SIDE THREE Marching Song Notes PERSONNEL DETAILS : musicians involved : SIDE ONE Marching Song Notes TRANSITION 3:01 HOORAY ! WALTZ Mike Westbrook —_ piano HOORAY! 6:24 trumpet solo: Holdsworth side one: side three: (Westbrook) Westbrook Dave Holdsworth trumpet, fluegel horn (Westbrook) alto solo: Osborne Through the city streets the crowd cheers its There is a lull in the fighting. The soldiers, HOME 9:44 trombone solo: — Griffiths Bowen, Fisher, Holdsworth, Lowther Kenny Wheeler trumpet, fluegel horn crowd sounds: Bill Price heroes, off to the glory of war, young, anonymous instruments in the conflict, relax and (Westbrook) bass duet: Miller, Griffiths, Gibbs, Rutherford, Harvey, Fry Greg Bowen trumpet LANDSCAPE 15:28 flute solo: Living invincible, drunk with patriotic pride, gleaming become human—individuals who can laugh, Lawrence Surman, Osborne, Warren, Skidmore, Tony Fisher trumpet (Westbrook) bass duet; Miller, in the sun. love, dream of beautiful things that, threatened, ROSIE 6:36 trumpet solo: Holdsworth Smith, Living (Hooray only) Phillips Landscape; here the conflict will take place. But are most precious. But the shadow of war is Henry Lowther trumpet (Westbrook) Miller, Lawrence, Jackson, Marshall Ronnie Hughes trumpet Sax. duet: Surman, human events are no more than momentary there, and they prepare for what must come. Part PRELUDE 4:43 woodwind: Living, of them yearns for battle. HOME, TENSION Malcolm Griffiths trombone Osborne interruptions in the earth's cycle. (Surman) Osborne, as above but Hughes replaces Fisher Paul Rutherford trombone WALTZ 5:54(for Joanna) soprano solo: Surman Skidmore LANDSCAPE, TRANSITION, ROSIE side two: Side four: Mike Gibbs trombone (Westbrook) TENSION 4:38 PRELUDE, TARNISHED, MEMORIAL When the soldier moves into the landscape, he saxophone duet: Surman, Waiting for the inevitable, the dark hours are full Eddie Harvey trombone (Surman) Westbrook Skidmore of tormented visions, and unbearable memories Tom Bennellick french horn SIDE TWO is a being from another world. -
The English Occupational Song
UNIVERSITY OF UMEÅ DISSERTATION ISSN 0345-0155-ISBN 91-7174-649-8 From the Department of English, Faculty of Humanities, University of Umeå, Sweden. THE ENGLISH OCCUPATIONAL SONG AN ACADEMIC DISSERTATION which will, on the proper authority of the Chancellor's Office of Umeå University for passing the doctoral examination, be publicly defended in Hörsal E, Humanisthuset, on Saturday, May 23, at 10 a.m. Gerald Porter University of Umeå Umeå 1992 ABSTRACT THE ENGLISH OCCUPATIONAL SONG. Gerald Porter, FL, Department of English, University of Umeå, S 901 87, Sweden. This is the first full-length study in English of occupational songs. They occupy the space between rhythmic work songs and labour songs in that the occupation signifies. Occupation is a key territorial site. If the métier of the protagonist is mentioned in a ballad, it cannot be regarded as merely a piece of illustrative detail. On the contrary, it initiates a powerful series of connotations that control the narrative, while the song's specific features are drawn directly from the milieu of the performer. At the same time, occupational songs have to exist in a dialectical relationship with their milieu. On the one hand, they aspire to express the developing concerns of working people in a way that is simultaneously representational and metaphoric, and in this respect they display relative autonomy. On the other, they are subject to the mediation of the dominant or hegemonic culture for their dissemination. The discussion is song-based, concentrating on the occupation group rather than, as in several studies of recent years, the repertoire of a singer or the dynamics of a particular performance. -
密集报纸第miji Newspaper No.09
密字 2012-6，出版日期 2012 年 6 月 15 日 和李 火 星 即 兴 委 人声和电密集 介绍材料上说：“陈皓伊和菲尔· 明顿的二重奏始于 2006 年，随后逐渐发 Quote from press kit:“The duo of Audrey Chen and Phil Minton began several years ago in 2006 and has been steadily developing since that time into a truly unique 剑 鸿 展为一个非常独特的团体。他们专注于纯然的嗓音和唇齿之声，探索着自身天 ensemble. 然的，身体的‘乐器’。他们的即兴演奏是无所畏惧的，易碎的，饥渴的，激情 With primary focus on the interplay between the uttered sounds of the mouth and vocal 的，放荡的，哀恸的，野兽般的：人所能发出的各种声音⋯⋯今年，他们在比 chords, Minton and Chen plumb the depths of their most inherent and bodily instru- 利时实验大厂 Sub Rosa 发表了首张专辑。” ments; their voices. Their improvisations are fearless, fragile, hungry, passionate, riot- ous, ululating and animalistic yet are, in all respects, human. They are, in collaboration, expressing, pronouncing and articulating (in their fashion) the many nuanced shades of 其实他们已经不是陌生的名字了。陈皓伊曾经两次在中国巡演，参加过二皮音 their individual conditions.” 乐节和水陆观音。她是很多中国即兴乐手的好朋友。她的嗓音，像 Ami 九 Yoshida 一样，有一种电子效果的绝技。她也是一位大提琴即兴高手，全力以 But these are not new names for us. As Audrey is good friend of many Chinese impro musicians. She has toured in China twice. Attended 2pi festival and Waterland 员 赴，充满热量的那种。 Kwanyin. Her voice could be as sharp as from electronic device. Her cello playing is unique and warm. She is definitely a new star in the international improvised music 会 年龄大她一倍的菲尔，是老一代自由即兴乐手中的顶尖高手。一位貌不惊人的 scene. 老头，龇牙咧嘴，飞快地翻动着他的魔术师的嘴皮子，又忘我，又轻松，还带着 Phil Minton is, no doubt, one of the masters in our time. He is a magician of lips and 一分幽默。他会为火星即兴委员会准备一个工作坊，我们打算来一个全火星人 throat. As a traveling musician without luggage he devoted his body to the stage for decades.