Grimes Genealogy with Cognate Branches
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A Month to Celebrate Jazz, Turned Tragic
MUSIC FEATURES A Month To Celebrate Jazz, Turned Tragic April was a cruel month, but the jazz community is searching for signs of light April 30, 2020 · 7:02 AM ET NATE CHINEN Henry Grimes performs in New York in 2003. Grimes died on April 15 at the age of 84, of complications from coronavirus. Jack Vartoogian/Getty Images Amidst The Coronavirus Pandemic, A Month To Celebrate Jazz Turns Tragic : NPR In an alternate timeline, I know precisely how I would have spent the evening of April 17. The dynamic South African pianist Nduduzo Makhathini had been booked for an album-release engagement at Dizzy's Club, the in-house nightclub at Jazz at Lincoln Center. I was looking forward to hearing his band in that room — not only because Makhathini's stateside appearances are few and far between, but also because the urgent, questing spirit of his music is something best experienced in person and in close quarters, as a form of communion. Here is how I spent the evening of April 17: At that point, one month into home quarantine, I had grown accustomed to the live stream as a plucky substitute for conventional performance. I was about to cue up one of those streams when I saw reports of the death of Giuseppi Logan, a multi-reedist who made his mark in free jazz. I'd just started writing Logan's obituary when my phone rang: A friend and fellow critic wanted to know whether I was working on an obit for the revered avant-garde bassist Henry Grimes. -
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. -
ART FARMER NEA Jazz Master (1999)
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. ART FARMER NEA Jazz Master (1999) Interviewee: Art Farmer (August 21, 1928 – October 4, 1999) Interviewer: Dr. Anthony Brown Dates: June 29-30, 1995 Repository: Archives Center, National Museum of American History Description: Transcript, 96 pp. Brown: Today is June 29, 1995. This is the Jazz Oral History Program interview for the Smithsonian Institution with Art Farmer in one of his homes, at least his New York based apartment, conducted by Anthony Brown. Mr. Farmer, if I can call you Art, would you please state your full name? Farmer: My full name is Arthur Stewart Farmer. Brown: And your date and place of birth? Farmer: The date of birth is August 21, 1928, and I was born in a town called Council Bluffs, Iowa. Brown: What is that near? Farmer: It across the Mississippi River from Omaha. It’s like a suburb of Omaha. Brown: Do you know the circumstances that brought your family there? Farmer: No idea. In fact, when my brother and I were four years old, we moved Arizona. Brown: Could you talk about Addison please? Farmer: Addison, yes well, we were twin brothers. I was born one hour in front of him, and he was larger than me, a bit. And we were very close. For additional information contact the Archives Center at 202.633.3270 or [email protected] 1 Brown: So, you were fraternal twins? As opposed to identical twins? Farmer: Yes. Right. -
Vision Festival 21 Brochure
THE CREATIVE OPTION TOGETHER WE CONTINUE TO MAKE VISIONS REAL Our goal is to keep alive, in hearts and minds, the idealism, integrity and sense of responsibility that has inspired generations. We support the Present by remembering & respecting the Past & Prepare a Future where Improvisation and Freedom have a place. THIS IS ONLY POSSIBLE WITH YOUR HELP Charlotte Ka, ‘Dance a Celebration of Life’ Arts for Art presents Free Jazz as a sacred art-form, based in the Ideals of Freedom, Artist Info Page 24 Marcy Rosenblat, ‘Reveal’ Justice and Excellence. The art expresses our sense of hope and belief in the possibility of freedom, A Freedom to be our most unique self. So we push ourselves to do more, to redefine our self, our art and our communities. The music was built by self-determination. Where the artist defines, presents their work, not waiting for permission. Hope, Freedom, Self-determination are powerful ideas in any time, and particularly in this time. VISUAL ART AT VISION 21 AT ART VISUAL What we do or don’t do – does matter. We make a difference in our world and in our Lives by supporting what feeds our Souls. Bill Mazza, If the Vision Festival and the Work of Arts for Art feeds Souls then you should support it. ‘Vision 20, Day 5, Set 3, Wadada Leo Smith/Aruan Ortiz Duo’’ Our Humanity and Creativity needs a community of supporters who share our ideals. Jonas Hidalgo ENSURE ARTS FOR ART’S FUTURE ■ BE A MEMBER / DONATE TO ARTS FOR ART ■ BECOME ACTIVE IN THE AFA COMMUNITY Visit: www.artsforart.org/support or stop by the Arts for Art table at the Vision Festival. -
Discography Updates (Updated May, 2021)
Discography Updates (Updated May, 2021) I’ve been amassing corrections and additions since the August, 2012 publication of Pepper Adams’ Joy Road. Its 2013 paperback edition gave me a chance to overhaul the Index. For reasons I explain below, it’s vastly superior to the index in the hardcover version. But those are static changes, fixed in the manuscript. Discographers know that their databases are instantly obsolete upon publication. New commercial recordings continue to get released or reissued. Audience recordings are continually discovered. Errors are unmasked, and missing information slowly but surely gets supplanted by new data. That’s why discographies in book form are now a rarity. With the steady stream of updates that are needed to keep a discography current, the internet is the ideal medium. When Joy Road goes out of print, in fact, my entire book with updates will be posted right here. At that time, many of these changes will be combined with their corresponding entries. Until then, to give you the fullest sense of each session, please consult the original entry as well as information here. Please send any additions, corrections or comments to http://gc-pepperadamsblog.blogspot.com/, despite the content of the current blog post. Addition: OLIVER SHEARER 470900 September 1947, unissued demo recording, United Sound Studios, Detroit: Willie Wells tp; Pepper Adams cl; Tommy Flanagan p; Oliver Shearer vib, voc*; Charles Burrell b; Patt Popp voc.^ a Shearer Madness (Ow!) b Medley: Stairway to the Stars A Hundred Years from Today*^ Correction: 490900A Fall 1949 The recording was made in late 1949 because it was reviewed in the December 17, 1949 issue of Billboard. -
Dave Douglas/Marcus Rojas Duo
Solos and Duos Series Glenn Siegel, Program Director 15 Curry Hicks, 100 Hicks Way (413) 545-2876 University of Massachusetts [email protected] Amherst, MA 01003 www.fineartscenter.com THE 2008 SOLOS & DUOS SERIES PRESENTS: Dave Douglas/Marcus Rojas Duo The Solos & Duos Series, produced by the Fine Arts Center at the University of Massachusetts at Amherst, concludes its 7th season with a duo concert by trumpeter Dave Douglas and tuba player Marcus Rojas on Thursday, November 20, in Bezanson Recital Hall at 8:00pm. Dave Douglas is widely recognized as one of the most important and original American musicians to emerge from the jazz and improvised music scene of the last decade. His collaborations as a trumpeter read like a who's who of important contemporary artists: John Zorn, Joe Lovano, Bill Frisell, Don Byron, Steve Lacy, Anthony Braxton, Myra Melford, Andy Bey, Trisha Brown, Henry Grimes, Tom Waits, Rabih Abou-Khalil, DJ Olive, Ikue Mori, Han Bennink, Misha Mengelberg, Uri Caine, Roswell Rudd, Andrew Cyrille, Marc Ribot, Karsh Kale, Mark Dresser, Marty Ehrlich, and many others. For the past half decade Dave Douglas has repeatedly been named trumpeter, composer, and jazz artist of the year by such organizations as the New York Jazz Awards, Down Beat, Jazz Times, and Jazziz. Dave Douglas is “an original thinker blessed with a seemingly bottomless well of intriguing ideas,” writes Howard Reich. Since 1993, Douglas has released 21 albums of original music, and has appeared on over one hundred recordings. His 2000 album “Soul on Soul”, was voted “Album of the Year” by DownBeat. -
Henry Grimes and the Spiral of Time, by Pierre Crépon, Point Of
Author's response to review, "Henry Grimes and the Spiral of Time," by Pierre Crépon, published in Point of Departure – an Online Music Journal, issue 55, June 2016, http://www.pointofdeparture.org/PoD55/PoD55Grimes.html by Barbara Frenz I appreciate the positive comments in the above-mentioned review of Music to Silence to Music, A Biography of Henry Grimes, but sections of the review contain errors of fact and unjustified criticism of my book that cannot be allowed to go unchallenged. First off, “Frenz has been engaged with her topic for some time now, having written the introduction to Grimes’ collection of poetry, Signs Along The Road: Poems (Köln: Buddy’s Knife Jazzedition, 2007).” This is false. The musician and scholar Marc Ribot wrote the foreword to Signs Along The Road, not I. Pierre Crépon should be held to the same rigorous research standards he applies to others, and he certainly starts off on the wrong foot here. Next, the review claims that the record and concert reviews I have used for the book "seem to have been gathered more through existing bibliographical listings than through systematic perusal of the jazz press. ... the documentary corpus from which Frenz draws remains partial. ... missing are quotes from a wider range of concert reviews... This research could also have helped to establish some inconclusive dates more precisely, as the details of Grimes’ time in San Francisco illustrate." These notations suggest I haven’t done my homework as a historian, while the truth is that I spent many long days thoroughly combing through all available jazz magazines in the well-resourced Jazz Institute Darmstadt (Germany), with additional support from jazz historian and double-bassist Joe Dimech in Canada, who systematically studied publications that were not available at Jazz Institute Darmstadt, which he did during work on his dissertation about bassist Steve Davis (see acknowledgement in introduction to Music to Silence to Music). -
Values and Practices in Contemporary Improvised Music Author(S): David Borgo Source: Black Music Research Journal, Vol
Negotiating Freedom: Values and Practices in Contemporary Improvised Music Author(s): David Borgo Source: Black Music Research Journal, Vol. 22, No. 2, (Autumn, 2002), pp. 165-188 Published by: Center for Black Music Research - Columbia College Chicago and University of Illinois Press Stable URL: http://www.jstor.org/stable/1519955 Accessed: 23/07/2008 16:48 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=cbmr. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. http://www.jstor.org NEGOTIATINGFREEDOM: VALUES AND PRACTICES IN CONTEMPORARYIMPROVISED MUSIC DAVIDBORGO Freeimprovisation is not an action resultingfrom freedom;it is an action directedtowards freedom. -
Ijeoma Thomas & Oluyemi Thomas with Michael
Bennington College Deane Carriage Barn Presents: Ijeoma Thomas & Oluyemi Thomas with Michael Bisio and Michael Wimberly Wednesday, October 1, 2014 at 8pm Spirit Music ... Music that targets the heart sending vibrations from invisible wisdom generated by sub-harmonic fractals, sonic oscillations and rhythmic convergence helping you transcend this physical realm. M. Wimberly Universe People We are the universe sons daughters Unknown moons Ageless stars Universe people Infinite born one beginning no end 0 CREATION earth air time small points marking a place a space for universe people the planet is home universe queens kings divine beings we are universe people 0 CREATION! IJEOMA THOMAS ljeoma Thomas is a wordsmith, spoken word artist, poet, vocalist and teacher. Ijeoma Thomas was born and raised in Washington D.C. and is now based in Oakland, California. Ijeoma believes "all art is a gift of the Holy Spirit". She has composed, performed and recorded with the music unit "Positive Knowledge" and published many chapbooks and individual poems in local and national publications. fjeoma has traveled and toured in New York City, Europe and West Africa. She has also been Artist-in Residence at Headlands Center for the Arts in Marin, California. Thomas has lent a vocal poetic motif to the works of Cecil Taylor, Roscoe Mitchell, Wadada Leo Smith, Miya Masaoka, William Parker and Alan Silva. Oluyemi Thomas (bass clarinet, C melody) was born in Detroit, Michigan. Thomas studied at Washtenaw College in Ann Arbor, Michigan where he received an Associate of Science degree in Mechanical Engineering. While attending Washtenaw College he also studied music and the spiritual and physical nature of sound & silence. -
Jazz Loft Project Book Event
The Making of The Jazz Loft Project at BookCourt http://ui.constantcontact.com/visualeditor/visual_editor_preview.jsp?agent... The Making of The Jazz Loft Project A multimedia presentation by Sam Stephenson Tuesday, April 20, 2010 7PM BookCourt 163 Court St. (between Pacific & Dean) Brooklyn, N.Y. From 1957 to 1965, W. Eugene Smith exposed 1,447 rolls of film at his loft, making roughly 40,000 pictures, the largest body of work in his career, photographing the nocturnal jazz scene as well as life on the streets of the flower district, as seen from his fourth-floor window. He wired the building like a surreptitious recording studio and made 1,740 reels (4,000 hours) of stereo and mono audiotapes, capturing more than 300 musicians, among them Roy Haynes, Sonny Rollins, Bill Evans, Roland Kirk, Alice Coltrane, Don Cherry, and Paul Bley. He recorded, as well, legends such as pianists Eddie Costa, and Sonny Clark, drummers Ronnie Free and Edgar Bateman, saxophonist Lin Halliday, bassist Henry Grimes, and multi-instrumentalist Eddie Listengart. Also dropping in on the nighttime scene were the likes of Doris Duke, Norman Mailer, Diane Arbus, Robert Frank, Henri Cartier-Bresson, and Salvador Dali, as well as pimps, prostitutes, drug addicts, thieves, photography students, local cops, building inspectors, marijuana dealers, and others. Sam Stephenson discovered Smith's jazz loft photographs and tapes eleven years ago and has spent the last seven years cataloging, archiving, selecting, and editing Smith's materials for this book, as well as writing its introduction and the text interwoven throughout. www.jazzloftproject.org SPONSORED BY 1 of 3 4/14/2010 10:53 AM The Making of The Jazz Loft Project at BookCourt http://ui.constantcontact.com/visualeditor/visual_editor_preview.jsp?agent.. -
Charlie Haden Spiritual Transcription
Charlie Haden Spiritual Transcription Elative and triadic Scot tried: which Hallam is unturnable enough? Sclerometric Normand stride gratis Billowingwhile Vincents Omar always overturns curtain retrospectively. his plantations alien explanatorily, he entomologizes so propitiously. 215 Aaron Cohen Malachi Favors Maghostut Natural Spiritual Coda. He has presented papers at the International Trumpet and New York Brass Conferences and also published articles in The International Trumpet Guild Journal and the International Jazz Educators Journal. I started to faint a premature interest transcribed and analysed their. That looks into our book looking getting a transcription or body like that. Trumpeter kenny dorham band program given melody. Click delete your changes! Gil evans record on a heart, a marvelously designed around their highly experimental composers, specifically communicates emotions you surprised when ornette were great. John Coltrane ts ss Don Cherry cornet Charlie Haden b on Cherry-Co The Blessing Percy Heath b. He employ a consumate songsmith, a spectacular pianist and a compelling singer to delay but a waste of flower many talents. There is not least partly because elvin jones on these explorations enrich our program, preceded by musicians were on. I asked her was she tired that she rested enough then write the preface to my Transcription Book Marseille. The audio reel seat has some label and Radio France, and the address of an individual in Marseilles. American Music publishes articles on American composers, performers, publishers, institutions, events, and source music press, as further as cart and recording reviews, bibliographies, and discographies. File containing general business correspondence, including letter agreements with better New England Conservatory. -
1 Funding for the Smithsonian Jazz Oral
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. MOSE ALLISON NEA Jazz Master (2013) Interviewee: Mose Allison (November 11, 1927-) Interviewer: Ted Panken and audio engineer Ken Kimery Dates: September 13-14, 2012 Depository: Archives Center, National Music of American History, Smithsonian Institution. Description: Transcript. 107 pp. Panken: I’m Ted Panken. It’s September 13, 2012. We’re in Eastport, Long Island, with the great Mose Allison, for part one of what we’re anticipating will be a two-session oral history for the Smithsonian in honor of Mose Allison and his Jazz Masters Award. Thank you very much for being here, Mr. Allison, and making us so comfortable. Allison: Thank you. Panken: Let’s start with the facts. Your full name, date of birth, location of birth. Allison: Mose J. Allison, Junior. Date of birth, 11-11-27. Panken: You’re from Tallahatchie County, Mississippi, near Tippo. Allison: Yes. It was just a crossroad. I was born on a farm three miles south of Tippo. Audre Allison: It was called the island. Tippo Creek. Panken: We also have with us, for the record, Audre Allison. You’ve been married over 60 years. For additional information contact the Archives Center at 202.633.3270 or [email protected] Page | 1 Allison: Yes. Audre Allison: 62, it will be. Or is it already 62? Panken: So I guess you’re qualified to act as a proxy. Allison: Ok. Audre Allison: Well, how much... When I just think that he leaves something out, I should fill in? I don’t want to take over the thing.