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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. -
Why Jazz Still Matters Jazz Still Matters Why Journal of the American Academy of Arts & Sciences Journal of the American Academy
Dædalus Spring 2019 Why Jazz Still Matters Spring 2019 Why Dædalus Journal of the American Academy of Arts & Sciences Spring 2019 Why Jazz Still Matters Gerald Early & Ingrid Monson, guest editors with Farah Jasmine Griffin Gabriel Solis · Christopher J. Wells Kelsey A. K. Klotz · Judith Tick Krin Gabbard · Carol A. Muller Dædalus Journal of the American Academy of Arts & Sciences “Why Jazz Still Matters” Volume 148, Number 2; Spring 2019 Gerald Early & Ingrid Monson, Guest Editors Phyllis S. Bendell, Managing Editor and Director of Publications Peter Walton, Associate Editor Heather M. Struntz, Assistant Editor Committee on Studies and Publications John Mark Hansen, Chair; Rosina Bierbaum, Johanna Drucker, Gerald Early, Carol Gluck, Linda Greenhouse, John Hildebrand, Philip Khoury, Arthur Kleinman, Sara Lawrence-Lightfoot, Alan I. Leshner, Rose McDermott, Michael S. McPherson, Frances McCall Rosenbluth, Scott D. Sagan, Nancy C. Andrews (ex officio), David W. Oxtoby (ex officio), Diane P. Wood (ex officio) Inside front cover: Pianist Geri Allen. Photograph by Arne Reimer, provided by Ora Harris. © by Ross Clayton Productions. Contents 5 Why Jazz Still Matters Gerald Early & Ingrid Monson 13 Following Geri’s Lead Farah Jasmine Griffin 23 Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions Gabriel Solis 36 “You Can’t Dance to It”: Jazz Music and Its Choreographies of Listening Christopher J. Wells 52 Dave Brubeck’s Southern Strategy Kelsey A. K. Klotz 67 Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s Gerald Early 83 Ella Fitzgerald & “I Can’t Stop Loving You,” Berlin 1968: Paying Homage to & Signifying on Soul Music Judith Tick 92 La La Land Is a Hit, but Is It Good for Jazz? Krin Gabbard 104 Yusef Lateef’s Autophysiopsychic Quest Ingrid Monson 115 Why Jazz? South Africa 2019 Carol A. -
Lee Morgan and the Philadelphia Jazz Scene of the 1950S
A Musical Education: Lee Morgan and the Philadelphia Jazz Scene of the 1950s Byjeffery S. McMillan The guys were just looking at him. They couldn't believe what was coming out of that horn! You know, ideas like . where would you get them? Michael LaVoe (1999) When Michael LaVoe observed Lee Morgan, a fellow freshman at Philadelphia's Mastbaum Vocational Technical High School, playing trumpet with members of the school's dance band in the first days of school in September 1953, he could not believe his ears. Morgan, who had just turned fifteen years old the previous July, had remarkable facility on his instrument and displayed a sophisticated understanding of music for someone so young. Other members of the ensemble, some of whom al- ready had three years of musical training and performing experience in the school's vocational music program, experienced similar feelings of dis- belief when they heard the newcomer's precocious ability. Lee Morgan had successfully auditioned into Mastbaum's music program, the strongest of its kind in Philadelphia from the 1930s through the 1960s, and demon- strated a rare ability that begged the title "prodigy." Almost exactly three years later, in November of 1956, Lee Morgan, now a member of die Dizzy Gillespie orchestra, elicited a similar response at the professional level after the band's New York opening at Birdland. Word spread, and as the Gillespie band embarked on its national tour, au- diences and critics nationwide took notice of the young soloist featured on what was often the leader's showcase number: "A Night in Tunisia." Nat Hentoff caught the band on their return to New York from the Midwest in 1957. -
JREV3.8FULL.Pdf
JAZZ WRITING? I am one of Mr. Turley's "few people" who follow The New Yorker and are jazz lovers, and I find in Whitney Bal- liett's writing some of the sharpest and best jazz criticism in the field. He has not been duped with "funk" in its pseudo-gospel hard-boppish world, or- with the banal playing and writing of some of the "cool school" Californians. He does believe, and rightly so, that a fine jazz performance erases the bound• aries of jazz "movements" or fads. He seems to be able to spot insincerity in any phalanx of jazz musicians. And he has yet to be blinded by the name of a "great"; his recent column on Bil- lie Holiday is the most clear-headed analysis I have seen, free of the fan- magazine hero-worship which seems to have been the order of the day in the trade. It is true that a great singer has passed away, but it does the late Miss Holiday's reputation no good not to ad• LETTERS mit that some of her later efforts were (dare I say it?) not up to her earlier work in quality. But I digress. In Mr. Balliett's case, his ability as a critic is added to his admitted "skill with words" (Turley). He is making a sincere effort to write rather than play jazz; to improvise with words,, rather than notes. A jazz fan, in order to "dig" a given solo, unwittingly knows a little about the equipment: the tune being improvised to, the chord struc• ture, the mechanics of the instrument, etc. -
Stylistic Evolution of Jazz Drummer Ed Blackwell: the Cultural Intersection of New Orleans and West Africa
STYLISTIC EVOLUTION OF JAZZ DRUMMER ED BLACKWELL: THE CULTURAL INTERSECTION OF NEW ORLEANS AND WEST AFRICA David J. Schmalenberger Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Percussion/World Music Philip Faini, Chair Russell Dean, Ph.D. David Taddie, Ph.D. Christopher Wilkinson, Ph.D. Paschal Younge, Ed.D. Division of Music Morgantown, West Virginia 2000 Keywords: Jazz, Drumset, Blackwell, New Orleans Copyright 2000 David J. Schmalenberger ABSTRACT Stylistic Evolution of Jazz Drummer Ed Blackwell: The Cultural Intersection of New Orleans and West Africa David J. Schmalenberger The two primary functions of a jazz drummer are to maintain a consistent pulse and to support the soloists within the musical group. Throughout the twentieth century, jazz drummers have found creative ways to fulfill or challenge these roles. In the case of Bebop, for example, pioneers Kenny Clarke and Max Roach forged a new drumming style in the 1940’s that was markedly more independent technically, as well as more lyrical in both time-keeping and soloing. The stylistic innovations of Clarke and Roach also helped foster a new attitude: the acceptance of drummers as thoughtful, sensitive musical artists. These developments paved the way for the next generation of jazz drummers, one that would further challenge conventional musical roles in the post-Hard Bop era. One of Max Roach’s most faithful disciples was the New Orleans-born drummer Edward Joseph “Boogie” Blackwell (1929-1992). Ed Blackwell’s playing style at the beginning of his career in the late 1940’s was predominantly influenced by Bebop and the drumming vocabulary of Max Roach. -
Concerti 4 Luglio
XXV Edizione 1-10 luglio 2021 COMUNICATO STAMPA Concerti di domenica 4 luglio ore 11, Chiesa di Santa Corona CORO E ORCHESTRA DI VICENZA “Misa Criolla” ore 16, Giardino del Teatro Olimpico HAMID DRAKE & PASQUALE MIRRA Pasquale Mirra (vibrafono, marimba, percussioni), Hamid Drake (batteria, percussioni, voce) ore 18, Chiostri di Santa Corona FLAVIO BOLTRO & FRIENDS Flavio Boltro (tromba), Luca Mannutza (pianoforte), Lorenzo Conte (contrabbasso), Andrea Michelutti (batteria) Avrebbe dovuto esere l’ultimo appuntamento della sezione del festival New Conversations – Vicenza Jazz dedicata al jazz norvegese: purtroppo il concerto dei Red Kite previsto al Teatro Comunale domenica 4 luglio è stato cancellato. In compenso la giornata festivaliera offrirà diverse altre occasioni di ascolto: la Misa Criolla eseguita dal Coro e Orchestra di Vicenza alla Chiesa di Santa Corona (ore 11); il sorprendente duo percussivo formato da Pasquale Mirra (vibrafono, marimba, percussioni) e Hamid Drake (batteria, percussioni, voce) al Giardino del Teatro Olimpico (ore 16); la più pura tradizione hard bop ai Chiostri di Santa Corona (ore 18) con il trombettista Flavio Boltro e i suoi “Friends”, ovvero Luca Mannutza al pianoforte, Lorenzo Conte al contrabbasso e Andrea Michelutti alla batteria. Il festival New Conversations – Vicenza Jazz 2021 è promosso dal Comune di Vicenza in collaborazione con la Fondazione Teatro Comunale Città di Vicenza, in coproduzione con Trivellato Mercedes Benz. Acqua Recoaro è sponsor tecnico del festival. Flavio Boltro, nato a Torino nel 1961, si è rapidamente imposto come tromba di riferimento del jazz italiano: negli anni Ottanta suona nei Lingomania di Maurizio Giammarco e si esibisce con Steve Grossman, Cedar Walton, Billy Higgins, Clifford Jordan, Jimmy Cobb, Manhu Roche, Joe Lovano, Freddie Hubbard. -
Corso Accademico Di Musica Jazz Progetto2:Layout 1 24-04-2008 15:21 Pagina 2
Progetto2:Layout 1 24-04-2008 15:21 Pagina 1 Conservatorio di Musica di Vicenza “Arrigo Pedrollo” Conservatorio di Musica di Castelfranco “Agostino Steffani” Corso Accademico di Musica Jazz Progetto2:Layout 1 24-04-2008 15:21 Pagina 2 Obiettivi formativi. Acquisire una conoscenza del linguaggio jazzistico nei suoi vari aspetti legati a repertorio, improvvi - sazione, interpretazione, evoluzione stilistica, scrittura e ar - rangiamento, al fine di poter affrontare in modo adeguato le diverse situazioni professionali che ne derivano. Sbocchi professionali. Concertismo. Insegnamento in scuole professionali; insegnamento in scuole non professionali; in - segnamento di discipline musicali in scuole non professio - nali. Strumentista in formazioni orchestrali e cameristiche. Sarà attivo a partire dal prossimo anno accademico (2008/9) un interdipartimento che prevede la collabora - zione tra il Conservatorio di Musica di Vicenza “A. Pedrollo” e di Castelfranco Veneto“A. Steffani”. Oltre ai docenti co - ordinatori (Paolo Birro, Pietro Tonolo, Salvatore Maiore) è previsto l’utilizzo di collaboratori esterni. Questo il corpo docenti: Paolo Birro pianoforte jazz Pietro Tonolo sassofono jazz Salvatore Maiore contrabbasso e basso elettrico jazz Piera Acone canto jazz Sandro Gibellini chitarra jazz Mauro Beggio batteria jazz Riccardo Brazzale storia del jazz Kyle Gregory tromba jazz Insegnamenti relativi ad altri strumenti potranno essere at - tivati, qualora vi siano richieste. Sono previsti seminari e master class con jazzisti italiani e stranieri -
HAMMERHEAD's MOZAIC Album Review by John Clare Personnel
HAMMERHEAD’S MOZAIC Album review by John Clare Personnel: Jason Bruer – tenor & alto saxophone Ray Cassar – trumpet and flugel horn Andrew Robertson – alto& baritone saxophones and flute Duncan Archibald - drums Tim Bruer - piano Matt Gruebner – double bass ________________________________________________________ [This review appeared on www.australianjazz.net on Tuesday, August 12, 2014, at this link http://australianjazz.net/2014/08/album-review-mozaic-hammerhead-by-john- clare/.] e can’t always assume that we are right when we speculate on the self- identity of people who play or listen to the various idioms of music. But that W doesn’t stop us. Alright, but we should also realise that self-identification by players of the same idiom might be different in different countries. The music here – some of it recently composed and some of it interpretations of pieces by such as Wayne Shorter, Eddie Henderson, Cedar Walton, Oliver Nelson, Pat Metheny etc – covers hard bop, post-bop, funky jazz (where the time is often in eight or sixteen rather than four), and it seemed to project self-identification with the people and even the ghetto, yet also a certain self-aware sophistication. It had a punch, an exciting soulful attack, yet also a certain cool self-containment. 1 When I lived in London from 1965 to about 1968 it was often played by Cockneys. Men of the people, yes; but also not to be condescended to – not if you didn’t want a very smart, witty and probably very educated comeback. I say ‘seemed’ when all I can say definitely is that the sophisticated and cool was subtly blended with the tough, the masculine and the directly emotional. -
The Singing Guitar
August 2011 | No. 112 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Mike Stern The Singing Guitar Billy Martin • JD Allen • SoLyd Records • Event Calendar Part of what has kept jazz vital over the past several decades despite its commercial decline is the constant influx of new talent and ideas. Jazz is one of the last renewable resources the country and the world has left. Each graduating class of New York@Night musicians, each child who attends an outdoor festival (what’s cuter than a toddler 4 gyrating to “Giant Steps”?), each parent who plays an album for their progeny is Interview: Billy Martin another bulwark against the prematurely-declared demise of jazz. And each generation molds the music to their own image, making it far more than just a 6 by Anders Griffen dusty museum piece. Artist Feature: JD Allen Our features this month are just three examples of dozens, if not hundreds, of individuals who have contributed a swatch to the ever-expanding quilt of jazz. by Martin Longley 7 Guitarist Mike Stern (On The Cover) has fused the innovations of his heroes Miles On The Cover: Mike Stern Davis and Jimi Hendrix. He plays at his home away from home 55Bar several by Laurel Gross times this month. Drummer Billy Martin (Interview) is best known as one-third of 9 Medeski Martin and Wood, themselves a fusion of many styles, but has also Encore: Lest We Forget: worked with many different artists and advanced the language of modern 10 percussion. He will be at the Whitney Museum four times this month as part of Dickie Landry Ray Bryant different groups, including MMW. -
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. -
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). -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana