Sarah Weaver Events Archive 2009
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Blues in the Blood a M U E S L B M L E O O R D
March 2011 | No. 107 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com J blues in the blood a m u e s l b m l e o o r d Johnny Mandel • Elliott Sharp • CAP Records • Event Calendar In his play Romeo and Juliet, William Shakespeare wrote, “A rose by any other name would smell as sweet.” It is a lovely sentiment but one with which we agree only partially. So with that introduction, we are pleased to announce that as of this issue, the gazette formerly known as AllAboutJazz-New York will now be called The New York City Jazz Record. It is a change that comes on the heels of our separation New York@Night last summer from the AllAboutJazz.com website. To emphasize that split, we felt 4 it was time to come out, as it were, with our own unique identity. So in that sense, a name is very important. But, echoing Shakespeare’s idea, the change in name Interview: Johnny Mandel will have no impact whatsoever on our continuing mission to explore new worlds 6 by Marcia Hillman and new civilizations...oh wait, wrong mission...to support the New York City and international jazz communities. If anything, the new name will afford us new Artist Feature: Elliott Sharp opportunities to accomplish that goal, whether it be in print or in a soon-to-be- 7 by Martin Longley expanded online presence. We are very excited for our next chapter and appreciate your continued interest and support. On The Cover: James Blood Ulmer But back to the business of jazz. -
Myra Melford Trio Alive in the House of Saints Part 2 Myra Melford Is a Polystylist, Who Draws on and Creates for Some Writers, Even in the Most Illustrious
Myra Melford Trio Alive In The House Of Saints Part 2 Myra Melford is a polystylist, who draws on and creates For some writers, even in the most illustrious 7 multiple playing styles. She combines free cases, a signature style is a branding device. Art historian 1 0 playing with strong melodic content and Christopher Atkins’s recent book The Signature Style of Frans 2 , driving rhythms, from a wide range of influ - Hals illuminates the relation of subjectivity and style, interpret - 4 1 ences. In Alive In The House Of Saints ing the Dutch master’s style as a personal and workshop brand. r e b these include stomping classic jazz piano, Initially, Hals worked in two distinct modes – smooth for por - o t the funky attack of Horace Silver, gospel traiture, rough and unblended for genre scenes. In the 1630s c O plangency, Keith Jarrett’s country and he abandoned genre painting, and began to develop a sketchy , n e blues lyricism, and Don Pullen-style free aesthetic for portraits. Scientific examination shows that Hals o t l i jazz. Though from quite early in her career, worked up his paintings over several sessions, while seeming - h m a Alive is one of her finest recordings – high ly persuading viewers that his sketches were spontaneous. H s on the musical power spectrum, one of the It’s not necessary to be a connoisseur, in order y T d n most exciting albums of piano jazz. to tell a Hals from a Rembrandt or a Vermeer. Hals, it seems, t A Her polystylism contrasts developed a sketchy manner – increasing the roughness and n with artists who have a strong signature looseness of individual strokes, and the degree to which they n i I style – an approach that allows listeners to were unblended – in order to emphasise an individual style. -
Danilo Pérez • Dado Moroni • Motéma Music • Event Calendar
November 2010 | No. 103 Your FREE Monthly Guide to the New York Jazz Scene aaj-ny.com JANGARBAREK AcrossTimeandRitual JAZZ NEWHOMEGROWN YORK’S ONLY GAZETTE Danilo Pérez • Dado Moroni • Motéma Music • Event Calendar We at AllAboutJazz-New York are pleased to announce our entry into the 21st Century. We will admit to a certain trepidation towards modern social technology and media for the past few years but who are we not to take advantage of New York@Night something that can benefit our valued readers? Some of you may already have 4 guessed what this means while others are still scratching their heads, wondering what on earth “modern social technology” means. Anyway, we’ve started Interview: Danilo Pérez tweeting. Check us out on Twitter (@AAJNY) for pithy reviews of the various 6 by Terrell Holmes shows we attend nightly (and wonder if we ever sleep), just more evidence of how jazz in New York City is a simple matter of schedule and stamina. Artist Feature: Dado Moroni Of course we are still fully committed to so-called dead-only-to-survive print 7 by Thomas Conrad media and this issue is brimming full of our usual offerings, amazingly international in scope. We profile Norwegian saxophonist Jan Garbarek (On The On The Cover: Jan Garbarek Cover), who makes a rare stateside appearance with the Hilliard Ensemble, 9 by Suzanne Lorge promoting a new ECM album. Panamanian Pianist Danilo Pérez (Interview), most Encore: Lest We Forget: famous these days for a wonderful association with Wayne Shorter, leads his trio at Jazz Standard. -
Bending Towards the Light a Jazz Nativity
December 2011 | No. 116 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com bending towards the light a jazz nativity HOLIDAYGIFT GUIDE VINCENT •••••LUKAS BAIKIDA OGUN FESTIVAL EVENT CHANCEY LIGETI CARROLL RECORDS REPORTS CALENDAR The Holiday Season is kind of like a mugger in a dark alley: no one sees it coming and everyone usually ends up disoriented and poorer after the experience is over. 4 New York@Night But it doesn’t have to be all stale fruit cake and transit nightmares. The holidays should be a time of reflection with those you love. And what do you love more Interview: Vincent Chancey than jazz? We can’t think of a single thing...well, maybe your grandmother. But 6 by Anders Griffen bundle her up in some thick scarves and snowproof boots and take her out to see some jazz this month. Artist Feature: Lukas Ligeti As we battle trying to figure out exactly what season it is (Indian Summer? 7 by Gordon Marshall Nuclear Winter? Fall Can Really Hang You Up The Most?) with snowstorms then balmy days, what is not in question is the holiday gift basket of jazz available in On The Cover: A Jazz Nativity our fine metropolis. Celebrating its 26th anniversary is Bending Towards The 9 by Marcia Hillman Light: A Jazz Nativity (On The Cover), a retelling of the biblical story starring jazz musicians like this year’s Three Kings - Houston Person, Maurice Chestnut and Encore: Lest We Forget: Wycliffe Gordon (pictured on our cover) - in a setting good for the whole family. -
For Muhal Richard Abrams
MUHAL RICHARD ABRAMS New World Records 80469 One Line Two Views For Muhal Richard Abrams ALL DAY IN THE ABSTRACTIONS I sing on the blunt & sharp edge of all mysterious edges I throw instrumental sweat of the chant into opening lip muscles of the earth to absorb the raw elements & activate the unmixed thunder my song centered on a mass molten of iron my song possessed in the mother drum forceps densifying between forge of hysterical blows muted gyrating intersections rasping & the orchestrated atmospheres clashing I ride the wind currents I climb the forest yelps I exhume the innerlife rotation of other landscapes my lungs filled with the fret marks of wandering notes the sound opening like bellowing mouth of the Mississippi River time disappearing into a geography of passages space articulating space form conceptualized & transfixed like the grinding eye of sunrise over crawing deserts memory stuffed into the flexibility of wrists pitches erupting from the percussive dance of fingers the balance of life undulating through a constellation of elbows phrases transformed into points of departure 1 attitudes linked to attitudes a cluster of impulses wiping off references tone embellished against tone boundaries swallowed by history of the music the music embedded with bitter leaves the music wrapped in human skin the music carrying cymbals of symbols between eyelids the music crossing rhythms in praise of rhythms outside of telescopes the music discovering itself in transitional site of the target where I sing the collective views the collaborated lines the unmathematical perceptions & the ramification of consequences into the textures the prisms the tributes the hydepth ©1995 By Jayne Cortez Poet Jayne Cortez lives in New York City. -
FIREHOUSE 12 RECORDS Announces Three New Releases from Pianist/Composer MYRA MELFORD. Street Date: November 2, 2018 the Other S
FIREHOUSE 12 RECORDS announces three new releases from pianist/composer MYRA MELFORD. Street date: November 2, 2018 The Other Side of Air • brand new music by Myra Melford’s Snowy Egret featuring Ron Miles (cornet), Liberty Ellman (guitar), Stomu Takeishi (bass guitar), and Tyshawn Sorey (drums) Life Carries Me This Way • deluxe double-LP of solo piano music • reissue of Melford’s 2013 Firehouse 12 Records album in tribute to artist Don Reich 12 from 25 • career retrospective Blu-ray disc release • hi-resolution video and immersive hi-resolution audio mixes • featuring Melford with past and current collaborators Nicole Mitchell, Tyshawn Sorey, Allison Miller, Matt Wilson, Dave Douglas, Erik Friedlander, Marty Ehrlich, Chris Speed, Ron Miles, and many others U.S. & European Tour Dates Listed Below MEDIA CONTACT Matt Merewitz @ Fully AltereD MeDia [email protected] 914-556-6368 Bay Area pianist Myra MelforD – whom the New Yorker called “a stalwart of the new-jazz movement” – has spent the last three decades making brilliant original music, in equal parts challenging and engaging. She has explored an array of formats, from dynamic solo-piano recitals to deeply interactive small groups and even the swinging grandeur of the Jazz at Lincoln Center Orchestra. But it’s her quintet Snowy Egret that best defines her artistry in 2018: “I really feel like it’s the vehicle that expresses where I am as a composer, performer and bandleader right now,” she says. Firehouse 12 RecorDs will release The Other Side of Air, this ensemble’s new album, on November 12. Premiering live in 2012, with roots that reach back to the mid-’90s, Snowy Egret features Melford alongside four of the most compelling musicians currently working in jazz and the avant-garde: Ron Miles (cornet), Liberty Ellman (guitar), Stomu Takeishi (acoustic bass guitar) and Tyshawn Sorey (drums). -
Recorded Jazz in the Early 21St Century
Recorded Jazz in the Early 21st Century: A Consumer Guide by Tom Hull Copyright © 2016 Tom Hull. Table of Contents Introduction................................................................................................................................................1 The Consumer Guide: People....................................................................................................................7 The Consumer Guide: Groups................................................................................................................119 Reissues and Vault Music.......................................................................................................................139 Introduction: 1 Introduction This book exists because Robert Christgau asked me to write a Jazz Consumer Guide column for the Village Voice. As Music Editor for the Voice, he had come up with the Consumer Guide format back in 1969. His original format was twenty records, each accorded a single-paragraph review ending with a letter grade. His domain was rock and roll, but his taste and interests ranged widely, so his CGs regularly featured country, blues, folk, reggae, jazz, and later world (especially African), hip-hop, and electronica. Aside from two years off working for Newsday (when his Consumer Guide was published monthly in Creem), the Voice published his columns more-or-less monthly up to 2006, when new owners purged most of the Senior Editors. Since then he's continued writing in the format for a series of Webzines -- MSN Music, Medium, -
Myra Melford Trio Alive in the House of Saints Part1
Myra Melford Trio Alive In The House Of Saints Part1 Listening, eight years after it was created, to this primary chapter in the recorded legacy of Myra Melford’s first trio evokes a rush of feel- ings. There are warm memories of in-per- son encounters with Melford, Lindsey Hor ner and Reggie Nicholson; and satis- faction regarding how the ideas Melford articulated here as both pianist and com- poser have metamorphosed into the tri- umphs of her subsequent music. What is absent is the uncertainty one often feels when contemplating the recent past, that Bob Blumenthal, March 2001 March Blumenthal, Bob feeling of needing more time to take the full measure of a musical statement. Melford has made it easy for us, through the clarity of both these now-historic per- formances and her subsequent efforts, to hear the present works as both glorious ends in themselves and the foundations of Alive In The In Alive her ongoing creations. Melford formed the trio in 1990, and immediately began the touring and recording that made her and it among the most positive signs of musical health in the early 1990s. What set the trio immediately apart was its ability to merge a strong blues feeling with notions of rhythmic and structural com- plexity associated with the exploratory end of the jazz-trio spec- trum. The music conveyed a strength and unguarded emotional- ism that burst forth in dynamic arcs, with a sense of shape and completeness that made the trio’s collective creations anything but random. Even as the band broke new ground, it was clearly a House Of Saints Of House product of the jazz tradition. -
LINER NOTES Recorded Anthology of American Music, Inc
THE NEW YORK New World Records 80397 COMPOSERS ORCHESTRA Music by MARTY EHRLICH, ROBIN HOLCOMB, WAYNE HORVITZ and DOUG WIESELMAN The New York Composers Orchestra was founded in 1986 with the purpose of commissioning and performing new works for jazz orchestra. Composers who have written for the band include Bobby Previte, Lenny Pickett, Elliott Sharp, Butch Morris, and Phillip Johnston, in addition to those included on this recording. The New York Composers Orchestra is directed by Robin Holcomb and Wayne Horvitz. The directors would like to thank all members of the band past and present, Roulette Intermedium Inc., the Greenwich House Music School, the Brooklyn Academy of Music, the Lila Wallace-Reader's Digest Fund, the Mary Flagler Cary Charitable Trust, and Meet the Composer. Special thanks to Jim Staley, Arthur Moorhead, B.C. Veermersch, Ted Allen, and Bob Hurwitz. Prodigal Son Revisited, Nightbirds: open 24 Hours, The House That Brings a Smile, and With the Hammer Down are published by Other Room Music/ASCAP. After All and Pliant Plaint are published by Dark Sounds Music/BMI/GEMA. The Montana Section and Interlude are published by Busmeat Music/BMI. Fever is published by Fort Knox Music, Inc./Trio Music (adm. by Hudson Bay Music, Inc.) BMI. Prodigal Son Revisited was commissioned by the Mary Flagler Cary Charitable Trust and premiered at The Kitchen in 1988. The piece is built around variations on a riff from the Reverend Wilkins tune Prodigal Son, first heard by millions on the Rolling Stones album Beggar's Banquet. The featured soloists are Cleave Guyton and Art Baron, with Marty Ehrlich taking a few choruses during the final theme. -
Muhal Richard Abrams One Line, Two Views Mp3, Flac, Wma
Muhal Richard Abrams One Line, Two Views mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: One Line, Two Views Country: US Released: 1995 Style: Free Jazz, Contemporary Jazz MP3 version RAR size: 1305 mb FLAC version RAR size: 1745 mb WMA version RAR size: 1893 mb Rating: 4.8 Votes: 975 Other Formats: VOC RA MMF MPC DXD MP2 AUD Tracklist 1 Textures 95 7:07 2 The Prism 3 9:17 3 Hydepth 13:32 4 Tribute To Julius Hemphill And Don Pullen 4:03 5 One Line, Two Views 11:53 6 11 Over 4 11:59 7 Ensemble Song 18:37 Companies, etc. Recorded At – Electric Lady Studios Mixed At – Sound On Sound Recording Studios Mastered At – SoundByte Productions Phonographic Copyright (p) – Recorded Anthology Of American Music, Inc. Copyright (c) – Recorded Anthology Of American Music, Inc. Pressed By – DADC Published By – Ric Peg Publishing Credits Accordion, Percussion, Voice – Tony Cedras Alto Saxophone, Bass Clarinet, Percussion, Voice – Marty Ehrlich Bass, Percussion, Voice – Lindsey Horner Design [Cover Design] – Bob Defrin Drums, Percussion, Voice – Reggie Nicholson Engineer [Recording, Mixing] – David Baker Executive Producer – Arthur Moorehead Harp, Percussion, Voice – Anne LeBaron Mastered By [Digital] – Paul Zinman Piano, Synthesizer, Percussion [Rain Stick], Percussion, Voice, Producer, Composed By, Cover [Cover Art] – Muhal Richard Abrams Tenor Saxophone, Bass Clarinet, Percussion, Voice – Patience Higgins Trumpet, Percussion, Voice – Eddie Allen Vibraphone, Percussion, Voice – Bryan Carrott Violin, Percussion, Voice – Mark Feldman Notes Recorded on 23, 24 June 1995 at Electric Lady Studios, NYC. Mixed June 28 and 28, 1995 at Sound on Sound Recording, Inc., NYC. -
Jazz in Der Dieselstrasse
7. Mai 1986 – 16. Mai 2020 JAZZ IN DER DIESELSTRASSE Akkordeon : Richard Galliano, Vincent Peirani, Otto Lechner, Bratko Bibic, Lars Hollmer (†), Guy Klucevsek, Maria Kalaniemi, Luciano Biondini, Giani Coscia, Jean- Louis Matinier, Antonello Salis, Manfred Leuchter, Hans Hassler, Luis Di Matteo, Egor Zabelov, Accordion Tribe, Accordions Go Crazy, Mike Adcock, Motion Trio, Zeena Parkins, Stefan Hussong, Rüdiger Carl, Christophe Girard, Jean-Francois Baez, Kathrin Pfeifer, Stefan Hiss, Tobias Escher, Rudi Zapf, Albin Brun, Attwenger . Baß : Gary Peacock, Palle Danielsson, Aladar Pege (†), Barry Guy, Mark Helias, Mark Dresser, John Lindberg, Drew Gress, Thomas Morgan, Eberhard Weber, Peter Kowald (†), Anthony Cox (†), Cecil McBee, Fred Hopkins (†), Jamaaladeen Tacuma, Michael Formanek, John Hebert, Mat Brewer, Sirone (†), Anders Jormin, Arild Andersen, Henri Texier, Barre Philips, Renaud Garcia-Fons, Bruno Chevillon, J. J. Avenell, Didier Levallet, J. F. Jenny Clarke (†), Joëlle Léandre, Furio DiCastri, Pailino DellaPorta, David Friesen, Thyrone Brown, Juini Booth, Alex Blake, Lindsey Horner, Marc Abrms, Elliot Sharp, Wayne Darling, Ed Schuller, Harvie Swartz, Tony Scherr, Dave King, Bradley Jones, Lonnie Plaxico, Jay Oliver (†), Ali Haurand, Bobby Burry, Bänz Oester, Stumo Takeishi, Akira Ando, Kato Hideki, Shadhzad Ismaily, Wilber Morris, Joe Fonda, Jeff Denson, Moppa Elliot Bill Huntington, Gunnar Plümer, Günter Lenz, Dieter Ilg, Thomas Heidepriem, Thomas Stabenow, Adelhard Roidinger, Wolfgang Schmid, Klavs Hofman, Manfred Bründl, Jürgen Wuchner, Dieter Manderscheid, Karo Höfler, Veit Hübner, Oli Mascha, Henrik Mumm, Christoph Winckel, Jean-Luis Rassinfosse, Yves Torchinsky, Claude Tchamitchian, Stephan Schmolck, Sebastian Schuster, Dietmar Fuhr, Peter Bockius, Florian King, . Cello : Ernst Reijseger, Tom Cora (†), Hank Roberts, Tristan Honsinger, Muneer Abdul Fataath, Vincent Courtois, Günter Christmann, Martin Schütz, Raoul van der Weide, Asja Valsic, Melissa Coleman, Friedemann Dähn, Roland Gräter, . -
Download Trio M One Sheet
Trio M Myra Melford, Mark Dresser, Matt Wilson Photo: Nicholas Roberts “What makes this trio so different is not that they depart this strong structure…but that Featuring protean pianist Myra Melford, galvanizing bassist Mark everything they spontaneously come upon Dresser and supremely musical drummer Matt Wilson, Trio M creates new forms, and the relationships among the forms is never obvious.” brings together three visionary jazz artists with extensive track JazzTimes records in adventurous ensembles. Documented on the acclaimed 2007 Cryptogramophone CD “Big Picture,” the volatile ensemble “Arresting in its captivating melodicism, and explores compositions contributed by every member while profoundly egalitarian in its balance of maintaining a commitment to spontaneous improvisation. instrumental voices, Big Picture by the newly formed Trio M is one of the delights of the year. Highest recommendation!” Unbound by piano trio conventions, the leaderless project erases IAJRC Journal distinctions between frontline and accompanist, requiring each player to shape the music’s flow as it unfolds. The resulting sounds “With a nod to its enduring fertility, Trio M can be fierce and beatific, playful and rigorous, earthy or abstract, joyfully confounds expectations with the extravagantly joyous or quietly introspective. The only constant is litheness afforded by the piano trio format.” the triumvirate’s wondrous capacity to listen deeply and respond All About Jazz to one another other in unexpected ways, creating state of the art jazz that’s