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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. -
Jazzpress 0612
CZERWIEC 2012 Gazeta internetowa poświęcona muzyce improwizowanej ISSN 2084-3143 KONCERTY Medeski, Martin & Wood 48. Jazz nad Odrą i 17. Muzeum Jazz Pandit Hariprasad Chaurasia Mojito w Duc de Lombards z Giladem Hekselmanem Śląski Festiwal Jazzowy Marcus Miller Jarosław Śmietana Trio na Mokotów Jazz Fest Bruce Springsteen And The E Street Band Joscho Stephan W maju Szczecin zakwitł jazzem Mazurki Artura Dutkiewicza na żywo KONKURSY Artur Dutkiewicz, fot. Krzysztof Wierzbowski i Bogdan Augustyniak SPIS TREŚCI 3 – Od Redakcji 68 – Publicystyka 4 – KONKURSY 68 Monolog ludzkich rzeczy 6 – Wydarzenia 72 – Wywiady 72 Jarosław Bothur i Arek Skolik: 8 – Płyty Wszystko ma swoje korzenie 8 RadioJAZZ.FM poleca 77 Aga Zaryan: 10 Nowości płytowe Tekst musi być o czymś 14 Recenzje 84 Nasi ludzie z Kopenhagi i Odense: Imagination Quartet Tomek Dąbrowski, Marek Kądziela, – Imagination Quartet Tomasz Licak Poetry – Johannes Mossinger Black Radio – Robert Glasper Experiment 88 – BLUESOWY ZAUŁEK Jazz w Polsce – wolność 88 – Magia juke jointów rozimprowizowana? 90 – Sean Carney w Warszawie 21 – Przewodnik koncertowy 92 – Kanon Jazzu 21 RadioJAZZ.FM i JazzPRESS polecają y Dexter Calling – Dexter Gordon 22 Letnia Jazzowa Europa Our Thing – Joe Henderson 23 Mazurki Artura Dutkiewicza na żywo The Most Important Jazz Album 26 MM&W – niegasnąca muzyczna marka Of 1964/1965 – Chet Baker 28 48. Jazz nad Odrą i 17. Muzeum Jazz Zawsze jest czas pożegnań 40 Pandit Hariprasad Chaurasia i rzecz o bansuri 100 – Sesje jazzowe 43 Mojito w Duc de Lombards 108 – Co w RadioJAZZ.FM -
The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters
04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBORAH F. RUTTER , President CONCERT HALL Monday Evening, April 4, 2016, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters GARY BURTON WENDY OXENHORN PHAROAH SANDERS ARCHIE SHEPP Jason Moran is the Kennedy Center’s Artistic Director for Jazz. WPFW 89.3 FM is a media partner of Kennedy Center Jazz. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 2 2016 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, pianist and Kennedy Center artistic director for jazz With remarks from JANE CHU, chairman of the NEA DEBORAH F. RUTTER, president of the Kennedy Center THE 2016 NEA JAZZ MASTERS Performances by NEA JAZZ MASTERS: CHICK COREA, piano JIMMY HEATH, saxophone RANDY WESTON, piano SPECIAL GUESTS AMBROSE AKINMUSIRE, trumpeter LAKECIA BENJAMIN, saxophonist BILLY HARPER, saxophonist STEFON HARRIS, vibraphonist JUSTIN KAUFLIN, pianist RUDRESH MAHANTHAPPA, saxophonist PEDRITO MARTINEZ, percussionist JASON MORAN, pianist DAVID MURRAY, saxophonist LINDA OH, bassist KARRIEM RIGGINS, drummer and DJ ROSWELL RUDD, trombonist CATHERINE RUSSELL, vocalist 04-04 NEA Jazz Master Tribute_WPAS -
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. -
Steadying the Ladder Gerard Lemos Is a Partner at Social Researchers Lemos&Crane
Steadying the Ladder Gerard Lemos is a partner at social researchers Lemos&Crane. He is the author of several books and reports on supporting vulnerable people including, The Communities We Have Lost and Can Regain (1997), with Michael Young; A Future Foretold: new approaches to meeting the long-term needs of single homeless people (1999); Dreams Deferred: the families and friends of homeless and vulnerable people (2002), and Military History: the experiences of people who become homeless after military service (2005), both with Stefan Durkacz. Gerard Lemos was a member of the Commission on Families and the Well- being of Children. The Commission’s report, Families and the State; two-way support and responsibilities was published in 2005. Steadying the Ladder Social and emotional aspirations of homeless and vulnerable people Gerard Lemos Lemos&Crane 64 Highgate High Street London N6 5HX Tel: 020 8348 8263; Fax: 020 8347 5740 Email: [email protected] Web: www.lemosandcrane.co.uk © Lemos&Crane 2006 First published in 2006 by Lemos&Crane in association with Thames Reach Bondway with the support of the City of London’s Bridge House Trust. No part of this publication may be reproduced, adapted, stored in a retrieval system or transmitted by any means, electronic, mechanical, photocopying, or otherwise without the prior permission of Lemos&Crane. A CIP catalogue record for this report is available from the British Library. ISBN 1 898001 79 0 (paperback) Prepared and printed by: York Publishing Services Ltd 64 Hallfield Road Layerthorpe York Y031 7ZQ Web: www.yps-publishing.co.uk Contents Acknowledgements vi Introduction 1 PART ONE. -
John Tchicai Discography
JOHN TCHICAI DISCOGRAPHY Edited by Erik Raben ([email protected]) MAX BRÜEL QUINTET: John Tchicai(as), Max Brüel(ts), Niels Brøndsted(p), Niels-Henning Ørsted Pedersen(b), Bjarne Rostvold(dr). Live. ”Radiohuset”, Copenhagen. March 25, 1962 Ba-lu Bolivar Ba-lues-are unissued Embraceable You What Is This Thing Called Love Note: The above titles were broadcast by the Danish Radio. MAX BRÜEL – JOHN TCHICAI QUINTET: Max Brüel(ss,bars), John Tchicai(as), Niels Brøndsted(p), Björn Alke(b), Rune Carlsson(dr). Live. Jazz Jamboree, Warsaw. October 29, 1962 Blue Monk Muza(P)L0397,Jazzhus(J)JD7647(CD) Night In Tunisia – – Muza(P)L0397: ”Jazz Jamboree 1962, vol. 4”. Jazzhus(J)JD7647(CD): ”John Tchicai & Igor Caplinski Live in Warsaw 1962” Note: The above group was presented as JØRGEN LETH QUINTET. ARCHIE SHEPP – BILL DIXON AUGMENTED QUARTET: Bill Dixon(tp), Roswell Rudd(tb), Perry Robinson(cl), John Tchicai(as), Archie Shepp, Guy Hampton(ts), Lowell Sclocum(bars), Gary Newman, Jimmie Stevenson, Jr.(b), J.C. Moses(dr). NYC. February 21, 1963 Scandinavian Sketches, pt. I-V unissued Note: The above titles were broadcast by the WBAI radio. JOHN TCHICAI: Bill Dixon(tp), John Tchicai(as), Jimmie Stevenson, Jr.(b), Sunny Murray(dr). NYC. Spring 1963 For Helvede unissued Note: The above title was recorded as an audition tape to WBAI. CHAMELEON DANCE GROUP: Bill Dixon(tp,flh), John Tchicai(as), Archie Shepp(ts), poss. Don Moore and/or Alex Lane(b), poss. Charles Moffett(dr), Chameleon Dance Group(dance). Live. ”Judson Hall”, NYC. May 24, 1963 Rufus unissued ARCHIE SHEPP – BILL DIXON QUINTET: Bill Dixon(tp), John Tchicai(as), Archie Shepp(ts), Gary Peacock, prob. -
Keith Jarrett's Spiritual Beliefs Through a Gurdjieffian Lens
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The University of Sydney: Sydney eScholarship Journals... Channelling the Creative: Keith Jarrett’s Spiritual Beliefs Through a Gurdjieffian Lens Johanna Petsche Introduction The elusive nature of the creative process in art has remained a puzzling phenomenon for artists and their audiences. What happens to an inspired artist in the moment of creation and where that inspiration comes from are questions that prompt many artists to explain the process as spiritual or mystical, describing their experiences as ‘channelling the divine’, ‘tapping into a greater reality’, or being visited or played by their ‘muse’. Pianist and improviser Keith Jarrett (b.1945) frequently explains the creative process in this way and this is nowhere more evident than in discussions on his wholly improvised solo concerts. Jarrett explains these massive feats of creativity in terms of an ability to ‘channel’ or ‘surrender to’ a source of inspiration, which he ambiguously designates the ‘ongoing harmony’, the ‘Creative’, and the ‘Divine Will’. These accounts are freely expressed in interviews and album liner notes, and are thus highly accessible to his audiences. Jarrett’s mystical accounts of the creative process, his incredible improvisatory abilities, and other key elements come together to create the strange aura of mystery that surrounds his notorious solo concerts. This paper will demystify Jarrett’s spiritual beliefs on the creative process by considering them within a Gurdjieffian context. This will allow for a much deeper understanding of Jarrett’s cryptic statements on creativity, and his idiosyncratic behaviour during the solo concerts. -
Memoria Info Sheet
Memoria (World Premiere – 1979) IN MEMORY – IN CELEBRATION Choreography: Alvin Ailey Music: Keith Jarrett Costumes: A. Christina Giannini Lighting: Chenault Spence In the tumultuous time of 1979 when Mr. Ailey’s great, perennial friend from his Lester Horton days, choreographer Joyce Trisler, died prematurely, he began choreographing Memoria. Later, he wrote, “Memoria is about Joyce’s life, my memories of her, my image of her. Although these are very abstract images, nobody has ever asked me what Memoria is about. People everywhere understand it. Making the dance was a very deep and wrenching experience for me.” The ballet is structured in two parts—“In Memory” and “In Celebration”—to the sublime music of Keith Jarrett. Memoria marked the first time Mr. Ailey combined Alvin Ailey American Dance Theater with Ailey II and advanced students from The Ailey School. AAADT in Alvin Ailey’s Memoria with Kansas City Area Dance Students. Photo by Steve Wilson. “…a serious stage drama, with mystery and poetry.” The New York Times “…Mr. Ailey has paid Miss Trisler the fine tribute of creating a work that has a universal quality. It is a dance of both exultation and quiet but deep feeling.” The New York Times “...a homage to the late Joyce Trisler that grows more poignant and more golden every season.” The New York Times “…a rhapsodic ensemble number that unfolds like the opening of a blossom.” The Washington Post, Alan M. Kriegsman “A work of love that brims over with the joys of life.” San Francisco Chronicle, Marilyn Tucker Keith Jarrett Keith Jarrett, pianist, composer and bandleader, is one of the most prolific, innovative, and iconoclastic musicians to emerge from the late 20th century. -
Late Night Concert
Radio SRF 2 Kultur, Postfach CH-4002 Basel Late Night Concert 27.09.2019 22.00 – 24.00 Redaktion & Moderation: Jodok Hess Elisa Day @ Cully Jazz Festival 11.04.2019 Chapiteau, Cully CD EA RTS Blackboard Story in NY 4.12 Isabelle Ritter Elisa Day Das Huhn und das Knie 4.48 Christian Morgenstern- Elisa Day Isabelle Ritter Atme und zähle bis 10 6.10 Isabelle Ritter Elisa Day Perhaps Strange 4.45 Kurt Schwitters-Isabelle Ritter Elisa Day Der Heimatlose 5.56 Kurt Ringelnatz-Isabelle Ritter Elisa Day L’orange 5.43 Isabelle Ritter Elisa Day Sag mir 6.51 Manuela Ohl-Isabelle Ritter Elisa Day Zipferlake 5.15 Lewis Carol-Isabelle Ritter Elisa Day Nonsense 4.16 Lewis Carol-Isabelle Ritter Elisa Day Der Panther 3.20 Rainer Maria Rilke-Isabelle Elisa Day Ritter Isabelle Ritter (voc), Philippe Hillebranc (cl, b-cl), Lukas Frei (tp, flh), Billy Utermann (p), Jeremias Keller (b), Manuel Pasquinelli (dr) Carla Bley & Paul Haines – Escalator Over the Hill (1968-1971) CD ECM (1998) Hotel Ouverture 13.12 Carla Bley Carla Bley & Paul Haines Carla Bley (p), Jimmy Lyons (as), Gato Barbieri (ts), Chris Woods (bs), Michael Mantler, Enrico Rava (tp), Roswell Rudd, Sam Burtis, Jimmy Knepper (tb), Jack Jeffers (b-tb), Bob Carlisle, Sharon Freeman (frh), John Buckingham (tuba), Nancy Newton (viola), Karl Berger (vibes), Charlie Haden (b), Paul Motian (dr), Roger Dawson (cgs) Carla Bley & Steve Swallow – Are We There Yet? (1998) CD Watt Works (1999) Major 3.35 Carla Bley Carla Bley & Steve Swallow A Dog’s Life 7.13 Carla Bley Carla Bley & Steve Swallow Satie for Two 8.41 Carla Bley Carla Bley & Steve Swallow Lost in the Stars 5.15 Carla Bley Carla Bley & Steve Swallow King Korn 4.37 Carla Bley Carla Bley & Steve Swallow Playing With Water 4.41 Carla Bley Carla Bley & Steve Swallow Musique Mécanique (Part I&II) 13.25 Carla Bley Carla Bley & Steve Swallow Carla Bley (p), Steve Swallow (b) . -
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 -
Born in America, Jazz Can Be Seen As a Reflection of the Cultural Diversity and Individualism of This Country
1 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in “Styles in Jazz Music”. In Section 1 of this course you will cover these topics: Introduction What Is Jazz? Appreciating Jazz Improvisation The Origins Of Jazz Topic : Introduction Topic Objective: At the end of this topic student would be able to: Discuss the Birth of Jazz Discuss the concept of Louis Armstrong Discuss the Expansion of Jazz Understand the concepts of Bebop Discuss todays Jazz Definition/Overview: The topic discusses that the style of music known as jazz is largely based on improvisation. It has evolved while balancing traditional forces with the pursuit of new ideas and approaches. Today jazz continues to expand at an exciting rate while following a similar path. Here you will find resources that shed light on the basics of one of the greatest musical developments in modern history.WWW.BSSVE.IN Born in America, jazz can be seen as a reflection of the cultural diversity and individualism of this country. At its core are openness to all influences, and personal expression through improvisation. Throughout its history, jazz has straddled the worlds of popular music and art music, and it has expanded to a point where its styles are so varied that one may sound completely unrelated to another. First performed in bars, jazz can now be heard in clubs, concert halls, universities, and large festivals all over the world. www.bsscommunitycollege.in www.bssnewgeneration.in www.bsslifeskillscollege.in 2 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in Key Points: 1. The Birth of Jazz New Orleans, Louisiana around the turn of the 20th century was a melting pot of cultures. -
Mccann Swings Into Production
32 Billboard SPECIAL SURVEY For Week Ending 9/4/76 (Published the 2nd 8 4th Issue Of Every Month) Jazz Billboard jazz McCann Swings Into Production Sell i ng 3est LPs® Pianist- Singer Does Own Album, Preps Musical Show By ELIOT TIEGEL d ,V a %$ TITLE ' a LOS ANGELES -Les McCann should know what the control board a3 g Artist, Label & Number (Distributing Label) has produced his own first album can do, what he can get out of it and and will produce his first stage pres- what he can't. "I've had the great 1 1 23 BREEZIN George Benson, Warner Bros. BS 2919 entation of a musical, "Brother fortune of working with Bob Lifton Francis," co- authored with a lyricist in New York and I learned a lot 2 2 13 BOB JAMES THREE going under the monicker of Rev. B. from him," he says of past experi- CTI 6063 The Atlantic LP, "River High, ences with the noted New York engi- 3 5 14 FEVER River Low," has just been released. neer. Ronnie Laws, Blue Note BN- LA628 -G (United Artists) The musical, an updated story about McCann says before he agrees to 4 3 17 THOSE SOUTHERN KNIGHTS St. Francis of Assisi, will be record anyone he wants to get to Crusaders, ABC /Blue Thumb BTSD 6024 presented Nov. 27 at the Santa Mo- know the person because, he admits nica Civic Auditorium featuring 5 6 17 YOU ARE MY STARSHIP candidly, "there have been times in Norman Connors, Buddah BDS 5655 McCann the lead role and with a when I'd go in the studio and be so cast of about 30 onstage.