Sendung, Sendedatum

Total Page：16

File Type：pdf, Size：1020Kb

WDR 3 Jazz & World, 25. September 2018 Das Ornette Coleman Quartet beim Enjoy Jazz Festival 2005 22:04-24.00 Uhr Stand: 17.09.2018 E-Mail: [email protected] WDR JazzRadio: http://jazz.wdr.de Moderation: Bert Noglik Redaktion: Bernd Hoffmann 22:04-24:00 Laufplan 1. Jordan K: Ornette Coleman 6:32 ORNETTE COLEMAN QUARTET Sound Grammar SG001 CD: Sound Grammar 2. Sleep Talking K: Ornette Coleman 8:55 ORNETTE COLEMAN QUARTET wie Titel 1 3. Turnaround K: Ornette Coleman 4:06 ORNETTE COLEMAN QUARTET wie Titel 1 4. Matador K: Ornette Coleman 5:55 ORNETTE COLEMAN QUARTET wie Titel 1 5. Waiting For You K: Ornette Coleman 6:50 ORNETTE COLEMAN QUARTET wie Titel 1 6. Call to Duty K: Ornette Coleman 5:34 ORNETTE COLEMAN QUARTET wie Titel 1 7. Once Only K: Ornette Coleman 9:40 ORNETTE COLEMAN QUARTET wie Titel 1 8. Song X K: Ornette Coleman 9:58 ORNETTE COLEMAN QUARTET wie Titel 1 9. The Sphinx K: Ornette Coleman 4:15 ORNETTE COLEMAN QUARTET Original Jazz Classics/ Contemporary OJCCD-163-2; LC: 00164 CD: Something Else!!! 10. Lonely Woman K: Ornette Coleman 4:58 ORNETTE COLEMAN QUINTET Atlantic 7567-81339-2; LC: 00121 CD: The Shape Of Jazz To Come 11. Blues Connotation K: Ornette Coleman 5:15 ORNETTE COLEMAN QUARTET Atlantic 7567-80767-2; LC: 00121 CD: This Is Our Music Dieses Manuskript ist ausschließlich zum persönlichen, privaten Gebrauch bestimmt. Jede weitere Vervielfältigung und Verbreitung bedarf der ausdrücklichen Genehmigung des WDR. 1 WDR 3 Jazz & World, 25. September 2018 Das Ornette Coleman Quartet beim Enjoy Jazz Festival 2005 22:04-24.00 Uhr Stand: 17.09.2018 E-Mail: [email protected] WDR JazzRadio: http://jazz.wdr.de 12. Free Jazz K: Ornette Coleman 2:58 ORNETTE COLEMAN DOUBLE Atlantic 7567-81347-2; LC: 00121 22:04-24:00 QUARTET CD: Free Jazz 13. Theme For A K: Ornette Coleman 3:38 Symphony (Variation One) A&M Records 396 999-2; LC: 00485 ORNETTE COLEMAN CD: Dancing In Your Head 14. Mob Job K: Ornette Coleman 4:10 ORNETTE COLEMAN / PAT Geffen Records 924096-2; LC: 07266 METHENY GROUP CD: Song X 15. Search For Life K: Ornette Coleman 4:10 ORNETTE COLEMAN GROUP Harmolodic/ Verve 537 483-2; LC: 00383 CD: Tone Dialing 16. Cyber Cyber K: Ornette Coleman 5:08 ORNETTE COLEMAN / Harmolodic/ Verve 537 789-2; LC: 00383 JOACHIM KÜHN CD: Colors – Live From Leipzig 17. Congeniality K: Ornette Coleman 6:45 ORNETTE COLEMAN QUARTET wie Titel 10 Dieses Manuskript ist ausschließlich zum persönlichen, privaten Gebrauch bestimmt. Jede weitere Vervielfältigung und Verbreitung bedarf der ausdrücklichen Genehmigung des WDR. 2 .

Copy Link

Recommended publications

Selected Observations from the Harlem Jazz Scene By
SELECTED OBSERVATIONS FROM THE HARLEM JAZZ SCENE BY JONAH JONATHAN A dissertation submitted to the Graduate School-Newark Rutgers, the State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History and Research Written under the direction of Dr. Lewis Porter and approved by ______________________ ______________________ Newark, NJ May 2015 2 Table of Contents Acknowledgements Page 3 Abstract Page 4 Preface Page 5 Chapter 1. A Brief History and Overview of Jazz in Harlem Page 6 Chapter 2. The Harlem Race Riots of 1935 and 1943 and their relationship to Jazz Page 11 Chapter 3. The Harlem Scene with Radam Schwartz Page 30 Chapter 4. Alex Layne's Life as a Harlem Jazz Musician Page 34 Chapter 5. Some Music from Harlem, 1941 Page 50 Chapter 6. The Decline of Jazz in Harlem Page 54 Appendix A historic list of Harlem night clubs Page 56 Works Cited Page 89 Bibliography Page 91 Discography Page 98 3 Acknowledgements This thesis is dedicated to all of my teachers and mentors throughout my life who helped me learn and grow in the world of jazz and jazz history. I'd like to thank these special people from before my enrollment at Rutgers: Andy Jaffe, Dave Demsey, Mulgrew Miller, Ron Carter, and Phil Schaap. I am grateful to Alex Layne and Radam Schwartz for their friendship and their willingness to share their interviews in this thesis. I would like to thank my family and loved ones including Victoria Holmberg, my son Lucas Jonathan, my parents Darius Jonathan and Carrie Bail, and my sisters Geneva Jonathan and Orelia Jonathan.
[Show full text]
The Evolution of Ornette Coleman's Music And
DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY by Nathan A. Frink B.A. Nazareth College of Rochester, 2009 M.A. University of Pittsburgh, 2012 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Nathan A. Frink It was defended on November 16, 2015 and approved by Lawrence Glasco, PhD, Professor, History Adriana Helbig, PhD, Associate Professor, Music Matthew Rosenblum, PhD, Professor, Music Dissertation Advisor: Eric Moe, PhD, Professor, Music ii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Copyright © by Nathan A. Frink 2016 iii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Ornette Coleman (1930-2015) is frequently referred to as not only a great visionary in jazz music but as also the father of the jazz avant-garde movement. As such, his work has been a topic of discussion for nearly five decades among jazz theorists, musicians, scholars and aficionados. While this music was once controversial and divisive, it eventually found a wealth of supporters within the artistic community and has been incorporated into the jazz narrative and canon. Coleman’s musical practices found their greatest acceptance among the following generations of improvisers who embraced the message of “free jazz” as a natural evolution in style.
[Show full text]
Ornette Coleman and Harmolodics by Matt Lavelle
Ornette Coleman and Harmolodics by Matt Lavelle A Thesis submitted to the Graduate School-Newark Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History and Research Written and approved under the direction of Dr. Henry Martin ________________________ Newark, New Jersey May 2019 © 2019 Matt Lavelle ALL RIGHTS RESERVED ABSTRACT Ornette Coleman stands as one of the most significant innovators in jazz history. The purpose of my thesis is to show where his innovations came from, how his music functions, and how it impacted other innovators around him. I also delved into the more controversial aspects of his music. At the core of his process was a very personal philosophical and musical theory he invented which he called Harmolodics. Harmolodics was derived from the music of Charlie Parker and Coleman’s need to challenge conventional Western music theory in pursuit of providing direct links between music, nature, and humanity. To build a foundation I research Coleman’s development prior to his famous debut at the Five Spot, focusing on evidence of a direct connection to Charlie Parker. I examine his use of instruments he played other than his primary use of the alto saxophone. His relationships with the piano, guitar, and the musicians that played them are then examined. I then research his use of the bass and drums, and the musicians that played them, so vital to his music. I follow with documentation of the string quartets, woodwind ensembles, and symphonic work, much of which was never recorded.
[Show full text]
Play — the First Name
PLAY—THE FIRST NAME 1 JULY 1997 JACQUES DERRIDA TRANSLATED BY TIMOTHY S. MURPHY1 Translator's Note: Derrida wrote "Play—The First Name" in response to Cole• man's invitation for him to perform a "solo" onstage with Coleman and pianist Joachim Kiihn during one of their La Villette concerts. On the appointed evening, Derrida took the stage with Coleman and Kiihn and began to perform his composition, but press reports indicate that the audience jeered him so loud• ly that his words could hardly be heard. The irony of this was undoubtedly not lost on Coleman, who has himself been the object of more abuse and ridicule than perhaps any other musician in the history of jazz. Qu'est-ce qui arrive? What's happening? What's going to happen, Ornette, now, right now?2 What's happening to me, here, now, with Ornette Coleman? With you? Who? 'This essay originally appeared in French in the magazine Les Inrockuptibles no.115 (20 aout-2 septembre 1997), pp.41-42. Unless otherwise attributed, all notes have been added by the translator, who would like to thank John Leavey for his advice on this translation. The original title, "Joue—Le Prenom," is difficult to translate into English. The first word, "joue," is at the same time the first-per• son singular, present indicative form of the verb "jouer," "to play," and the third-person singular, present indicative of that verb. In the absence of a specifying pronoun, the title is undecidable between first person ("I play," suggesting the voice of Derrida the author/speaker) and third ("he plays," suggesting Coleman, the privileged addressee).
[Show full text]
2007 Guelph Colloquium Speaker Bios and Abstracts
Speaker Biographies and Abstracts 2007 Guelph Jazz Colloquium Amiri Baraka, Ron Gaskin (moderator), William Parker Plenary Panel: The Future of Jazz www.williamparker.net Tamar Barzel, John Brackett and Marc Ribot Roundtable: Crisis in New Music? Vanishing Venues and the Future of Experimentalism in New York City Bios Tamar Barzel is assistant professor of Ethnomusicology at Wellesley College. Her scholarly interests center in jazz/improvisational music, Jewish cultural studies, and New York City’s downtown music scene. Her research focuses on how musicians negotiate issues of identity – cultural, national, creative, and personal – through their work. She has presented her research at national and international conferences, including the Society for Ethnomusicology, the Society for American Music, and the Center for Jazz Studies at Columbia University. Her article, “If Not Klezmer, Then What? Jewish Music and Modalities on New York City’s ‘Downtown’ Music Scene,” was published in the Michigan Quarterly Review (Winter 2002). She is working on a book manuscript, ‘Radical Jewish Culture’: Composer/Improvisers on New York City’s 1990s Downtown Scene. John Brackett is an assistant professor of Music at the University of Utah where he teaches and co-ordinates the music theory curriculum. Prof. Brackett has presented and published on the music of John Zorn, Led Zeppelin, and Arnold Schoenberg. His book – Tradition/Transgression: Critical and Analytical Essays on John Zorn’s Musical Poetics is forthcoming from Indiana University Press. Marc Ribot is a composer/guitarist based in New York City Abstracts Barzel: “Experimental Music: How Does the Centre Hold?” Brackett: “Change Has Come?: Chronicling the ‘Crisis’ on New York’s Lower East Side” Ribot: “Crisis in Indie/New Music Clubs: The rare feeding of a musical margin” Numerous clubs, venues, and other less formal performance spaces have supported and sustained many of the creative musicians who have called New York City their home.
[Show full text]
Harmolodic Programmes, Vol. 2012
***harmolodic programmes is an ongoing collaborative project ***about and a testament to harmolodic experience/expression ***********************in sound <> music <> vibration and life ********published in hard copy (sold for cost) and online (free). ************************we have an open call for submissions *********************of any and all relevant texts and images ********************************from anyone on the planet. ******past volumes under the title the harmolodic manifesto *************are available for download at zinelibrary.info. *******please send submissions, comments and suggestions to: ********************************[email protected]. peace <3 put forth by jean-paul larosee & billy conde goldman a f r e e s p i r i t c a n o n l y e x i s t i n a f r e e d b o d y --duncan school banner Bottlecap Press has no ownership of writings/images. all rights are reserved for the creators. 2012 B o t t l e c a p P r e s s 2 Table of Contents Cover painting by Bob Lordan and jean-paul larosee explanatory knote, the editors ************************************ page 5 o delicate vibratories…, Leroi Jones (Amiri Baraka) ***************** page 6 editoreal : the harmolodic now, jean-paul larosee ****************** page 7 Black Wadada, Jeff Schlanger, musicWitness® ********************* page 10 My Approach to Playing Music, Bill Cole ************************** page 11 Music was his life…, Harry Chapin ******************************* page 21 sounds and visions, Ben Kelley and billy conde goldman ************ page 22 free-form
[Show full text]
Downbeat.Com September 2015 U.K. £4.00
SEPTEMBER 2015 U.K. £4.00 DOWNBEAT.COM September 2015 VOLUME 82 / NUMBER 9 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Brian Zimmerman Contributing Editor Ed Enright Art Director LoriAnne Nelson Contributing Designer ĺDQHWDÎXQWRY£ Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes Bookkeeper Emeritus Margaret Stevens Editorial Assistant Stephen Hall 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] Classified Advertising Sales Pete Fenech 630-941-2030 [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,
[Show full text]
Free Jazz CD Listening Notes-Chase
Listening Notes JS 581/IMPRV 481 Jazz Styles: Free Jazz and the Avant Garde Fall 2005 Key: Track number. Title (composer) leader-instrument, musicians-instrument, recording location, recording date (month/day/year), (r=reissue title:) CD or LP title CD 1, Part 1: Precursors of free jazz and the avant-garde 1. Tough Truckin' (Duke Ellington) DE-p, Cootie Williams-t, Rex Stewart-ct, Joe "Tricky Sam" Nanton- tbn, Lawrence Brown-tbn, Juan Tizol-v tbn, Johnny Hodges-ss, Harry Carney-bari, Otto Hardwick-as, Hayes Alvis-b, Billy Taylor-b, Sonny Greer-d Chicago, 3/5/1935 (r) Classics Chronological 1935-1936 An early ostinato-based piece. Also note the attention that Ellington's soloists gave to timbre and envelope (attack, change of timbre and loudness over time, and decay), like many others who began their careers in early jazz of the 1920s. Wide variation of timbre and envelope were less often used as expressive devices (except by a few players) in late swing, bebop and early modern jazz of the late 1930s through the 1950s. Exceptions during that period, especially in rhythm and blues, were viewed by many in the jazz world as unsophisticated, vulgar, and/or a means of pandering to audiences' bad taste. In the 1960s, avant-garde players reclaimed wide variations in timbre and envelope as important expressive parameters. 2. The Clothed Woman (Duke Ellington) DE-p, Harold Baker-t, Johnny Hodges-as, Harry Carney-bari, Junior Raglin-b, Sonny Greer-d NYC, 12/30/1947 (r) Classics Chronological 1947-1948 Ellington's piano playing blends aspects of his stride roots with pedal effects and surprising sonorities -- an example of making the familiar seem strange through exaggeration or isolation of elements.
[Show full text]
Ornette Coleman
Lincoln Center Festival lead support is provided by American Express July 16 Stanley H. Kaplan Penthouse Ornette Coleman: Tomorrow is the Question All Compositions by Ornette Coleman Trinity (Fantasy for Solo Violin) (1986) Violin Olivia De Prato Forms and Sounds (1967) Flute Tim Munro Oboe Jacqueline Leclair Clarinet Adrián Sandí Bassoon Max Grube French Horn Tim McCarthy In Honor of NASA and the Planetary Soloists (1986) Oboe Soloist Jacqueline Leclair Violin Olivia De Prato, Lauren Cauley Viola Victor Lowrie Cello Lauren Radnofsky The Sacred Mind of Johnny Dolphin (1984) Guest Trumpet Soloist Seneca Black Violin Olivia De Prato, Jennifer Choi, Lauren Cauley, Molly Germer Viola Victor Lowrie, Caleb Burhans Cello Lauren Radnofsky, Mariel Roberts Double Bass Greg Chudzik Timpani Carson Moody Drums Ted Poor Ensemble Signal Conductor Brad Lubman Approximate performance time: 1 hour and 15 minutes, with no intermission This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Public support for Festival 2017 is provided by the New York City Department of Cultural Affairs and New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. LINCOLN CENTER FESTIVAL 2017 ORNETTE COLEMAN: TOMORROW IS THE QUESTION A Note on the Program formed by the New York Philharmonic under the direction of Kurt Masur. And there was Louis Armstrong built the rocket ship that Ornette’s Prime Time band with special lifted humans off the earth. We went from guests Lou Reed and Laurie Anderson. caves, ocean surfaces, jungles, prairies, and deserts to outer space.
[Show full text]
Charles University of Prague Faculty of Education
CHARLES UNIVERSITY OF PRAGUE FACULTY OF EDUCATION DEPARTMENT OF MUSIC EDUCATION DIPLOMA DISSERTATION ELENA GONATA FACULTY OF EDUCATION CHARLES UNIVERSITY DEPARTMENT OF MUSIC EDUCATION SAXOPHONE AND ITS ROLE IN JAZZ MUSIC ELENA GONATA MUSIC EDUCATION- CHOIR CONDUCTING SUPERVISOR OF DISSERTATION: Doc. PhDr. Stanislav Pecháček, Ph.D. 2008/09 PRAGUE PEGAGOGICKÁ FAKULTA UNIVERZITY KARLOVY KATEDRA HUDEBNÍ VÝCHOVY SAXOFON A JEHO ROLE V JAZZOVÉ HUDBĚ ELENA GONATA HUDEBNÍ VÝCHOVA- SBORMISTROVSTVÍ VEDOUCÍ DIPLOMOVÉ PRÁCE: Doc. PhDr. Stanislav Pecháček, Ph.D. 2008/09 PRAHA Declaration I confirm that this is my own work and the use of all materials from other sources has been properly and fully acknowledged. Prague 20/04/2009 Acknowledgements First of all I would like to thank my supervisor Mr. Stanislav Pecháček., for the help he offered me not only on my diploma work, but also throughout these five years I have been a student in the University. Mr. Stanislav Pecháček has been patient, understanding and helpful throughout my academic career and while my University career is coming into an end I feel obliged to pay a big respect to my tutor. In extent, I would like to thank all of the tutors whom I was a student throughout these five years, from the beginning of my academic career. Special thanks to Mrs. Afroditi Kathmeridou a tutor of Classical and Jazz Conservatory of Prague, who has always been there for me, supporting me not only as a tutor but as a friend as well. A significant figure in my life who 1 want to thank is Mrs. Kristi Pavlou, my tutor in Cyprus for a whole ten years.
[Show full text]
Title Format Released (Jerry Bergonzi/Bobby Watson/Victor Lewis) Together Again for the First Time CD 1997 ???? ????? CD 1990 4
Title Format Released (Jerry Bergonzi/Bobby Watson/Victor Lewis) Together Again For The First Time CD 1997 ???? ????? CD 1990 4 Giants Of Swing 4 Giants Of Swing CD 1977 Abate, Greg It'S Christmastime CD 1995 Monsters In The Night CD 2005 Evolution CD 2002 Straight Ahead CD 2006 Bop City: Live At Birdland CD 2006 Abate, Greg Quintet Horace Is Here CD 2004 Bop Lives CD 1996 Adams, George & Don Pullen Don't Lose Control CD 1979 Adams, Greg Midnight Morning CD 2002 Adams, Pepper 10 to 4 at the 5-Spot CD 1958 Adderley, Cannonball The Poll Winners: Volume 4 CD 1960 The Cannonball Adderley Quintet In San Francisco [Live] [Bonus Track] CD 1959 Adderley, Cannonball With Bill Evans Know What I Mean? CD 1961 Adderley, Nat Work Song CD 1990 Ade & His African Beats, King Sunny Juju Music CD 1982 Aggregation, The Groove’s Mood CD 2008 Akiyoshi, Toshiko Desert Lady/Fantasy CD 1993 Live at Maybeck Recital Hall: Volume 36 CD 1994 Finesse CD 1978 Alaadeen and the deans of swing Aladeen And The Deans Of Swing Plays Blues For RC And Josephine, Too CD 1995 Alaadeen, Ahmad New Africa Suite CD 2005 Time Through The Ages CD 1987 Page 1 of 79 Title Format Released Albany, Joe The Right Combination CD 1957 Alden, Howard & Jack Lesberg No Amps Allowed CD 1988 Alexander, Eric Solid CD 1998 Alexander, Monty Goin' Yard CD 2001 Jamboree CD 1998 Ray Brown Trio - Ray Brown Monty Alexander Russell Malone (Disc 2-2) CD 2002 Reunion in Europe CD 1984 Ray Brown Monty Alexander Russell Malone (Disc 1) CD 2002 My America CD 2002 Monty Meets Sly And Robbie CD 2000 Stir It
[Show full text]
Bringing a Jazz Drumming Aesthetic to the Music of Diverse Cultures
Linking Improvisation to Cultural Context: Bringing a Jazz Drumming Aesthetic to the Music of Diverse Cultures Frank Gibson University of Otago An exegesis, submitted in partial fulfilment of the requirements of the degree of Doctor of Musical Arts. This submission comprises a folio of creative work including three compact discs. 1 I hereby declare that this submission is my own work and has not been submitted for a degree or diploma in any university. To the best of my knowledge and belief, it contains no material previously published or written by another person except where due reference has been made in the exegesis itself. Frank Gibson June 2019 2 Table of Contents Acknowledgments ........................................................................................................... 5 Abstract ........................................................................................................................... 6 Prelude ............................................................................................................................ 7 Chapter 1: Introduction ................................................................................................. 11 1.1 Introduction ..................................................................................................................... 11 1.2 Research Design and Scope .............................................................................................. 12 1. 2.1 Conceptual Framework ..................................................................................................
[Show full text]