Muhal Richard Abrams Featuring Malachi Favors

Total Page：16

File Type：pdf, Size：1020Kb

Muhal Richard Abrams Featuring Malachi Favors

Muhal Richard Abrams Sightsong mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Sightsong Country: Italy Released: 1976 Style: Free Jazz MP3 version RAR size: 1527 mb FLAC version RAR size: 1623 mb WMA version RAR size: 1565 mb Rating: 4.7 Votes: 504 Other Formats: DTS AAC DMF RA VQF MOD MPC Tracklist A1 W. W. 4:57 A2 J. G. 5:35 A3 Sightsong 6:18 A4 Two Over One 6:16 B1 Way Way Way Down Yonder 5:28 B2 Panorama 5:59 B3 Unity 5:14 Companies, etc. Recorded At – Generation Sound Studios Credits Artwork [Cover Art] – Ariel Soulè* Bass, Percussion [Miscellaneous], Vocals – Malachi Favors Composed By – Malachi Favors (tracks: B1), Richard Abrams* (tracks: A1 to A4, B2, B3) Engineer – Tony May Liner Notes – Philippe Carles Photography By [Back Cover Photos] – Giuseppe G. Pino* Piano – Muhal Richard Abrams Producer – Giacomo Pellicciotti Notes A1 - Dedicated to Wilbur Ware A2 - Dedicated to Johnny Griffin B3 - Dedicated to the A.A.C.M. Recorded October 13-14/1975 at Generation Sound Studios, New York. Other versions Category Artist Title (Format) Label Category Country Year Muhal Richard Muhal Richard Abrams Black JC-3503 Abrams Featuring Featuring Malachi Favors - JC-3503 Japan 1976 Saint Malachi Favors Sightsong (LP) Muhal Richard Muhal Richard Abrams Black 120003-2 Abrams Featuring Featuring Malachi Favors - 120003-2 Italy Unknown Saint Malachi Favors Sightsong (CD, Album, RE) Muhal Richard Muhal Richard Abrams Black 120003-2 Abrams Featuring Featuring Malachi Favors - 120003-2 Italy Unknown Saint Malachi Favors Sightsong (CD, Album, RE) Related Music albums to Sightsong by Muhal Richard Abrams The Art Ensemble Of Chicago - Fanfare For The Warriors Prince Malachi feat Turbulence - Righteous Way Anthony Braxton - Four Compositions Malachi - Desert Rift/Fifth Muhal Richard Abrams - SoundDance Malachi Favors Magoustut - Natural & The Spiritual Prince Malachi - Strength And Hope Joshua Abrams - Natural Information Muhal Richard Abrams - Things To Come From Those Now Gone Malachi - Creative Construction Company - Muhal Sam Prekop - Sam Prekop.

Copy Link

Recommended publications

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
[Show full text]
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.
[Show full text]
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
[Show full text]
MUHAL RICHARD ABRAMS Celestial Birds
DESCRIPTION The compilation Celestial Birds reveals and focuses on the widely unknown electronic compositions of the Association for the Advancement Of Creative Musicians (AACM) founder and jazz pianist, Muhal Richard Abrams . The fifth release in KarlRecords' Perihel Series, curated by zeitkratzer director, Reinhold Friedl . Anybody interested in jazz knows that Chicago has always been an impressive hot spot for new talents -- and still is. One essential landmark in the history and development of jazz was the founding of the AACM in May 1965. This non-profit organization was a melting pot (and starting point) for artists like Anthony Braxton , Roscoe Mitchell , George Lewis , or Lester Bowie and his Art Ensemble of Chicago but one of its actual founding members is known only to the deep connoisseurs: Muhal Richard Abrams (1930-2017). The autodidact pianist and composer left music school and university, deciding to learn music by himself. From 1961 on, the Experimental Band was his first ensemble, but it soon turned out that Abrams's interests went beyond jazz and that he was open to the avant-garde and new music and most of all: electronic music. Which led to a double problem: On the one hand, black musicians had almost no access to the rare electronic music studios located in and funded by universities or MUHAL RICHARD ABRAMS broadcasting corporations. On the other hand, there were strong reservations regarding electronic music in the black music community. In his important book A Celestial Birds Power Stranger Than Itself: The A.A.C.M. and American Experimental Music , (2007) George Lewis wrote that " the use of electronics .
[Show full text]
Listening to Voyager
45 LISTENING to VoYAGER BY PAUL StEINBECK IN THIS introduction to composer, MUSICIAN, AND interdisciplinary scholar Founded on Chicago’s South Side in 1965 by four African George Lewis. He came aboard in 1971, and four years later served as the AACM’s chair, directing the 1975 Tenth Anni- George E. LEWIS, MUSIC theorist Paul STEINBECK, A former student OF LEWIS’S American composers, the Association for the Advancement of Creative Musicians (AACM) was the most significant collective versary Festival. Lewis also functioned as the Association’s in- at Columbia, sheds LIGHT ON THE intertwined histories OF THE Association organization in the history of experimental music. Or rather, is house historian. From the 1990s into the twenty-first century, he published a number of writings about the AACM, including for THE Advancement OF Creative MUSICIANS (AACM) AND Voyager, THE com- the most significant — the Association celebrated its fiftieth an- niversary in 2015 and shows no signs of slowing down. Impor- the book A Power Stronger Than Itself (2008), the definitive PUTER system WITH WHICH LEWIS AND Roscoe Mitchell WILL perform at CTM 2018. tant new AACM artists emerge every few years, and the Asso- study of the organisation. Additionally, Lewis’s performanc- AS HE argues, Voyager, LIKE ALL Artificial INTELLIGENCE, IS not A neutral sys- ciation’s impact can be seen in many corners of contemporary es and compositions left a lasting mark on the Association. culture, including intermedia performance and visual art. But In the mid-1970s, he established himself as one of the world’s TEM BUT rather reflects THE aesthetic values AND EXPERIENCES OF its HUMAN its influence may be strongest in the realms of social relations top trombonists, recognized for his virtuosic technique and his creator(S).
[Show full text]
FLUX Quartet Concerts, June 2021
CONCERTS FROM THE LIBRARY OF CONGRESS 2020-2021 The McKim Fund in the Library of Congress FLUX QUARTET WITH CORY SMYTHE & OLIVER LAKE IN TWO CONCERTS Thursday & Friday, June 10 & 11, 2021 ~ 8:00 pm The Library of Congress Virtual Events The MCKIM FUND in the Library of Congress was created in 1970 through a bequest of Mrs. W. Duncan McKim, concert violinist, who won international prominence under her maiden name, Leonora Jackson; the fund supports the commissioning and performance of chamber music for violin and piano. Conversation with the Artists Join us online at https://loc.gov/concerts/flux-quartet-june10. html and https://loc.gov/concerts/flux-quartet-june11.html for two conversation with the artists, available starting at 10am on Thursday, June 10, 2021 & Friday, June 11, 2021, respectively. Facebook During-concert Chat Want more? Join other concert goers and Music Division curators during the concert for a chat that may include the artists, depending on availability. You can access this during the premiere and for a few minutes after by going to facebook.com/pg/libraryofcongressperformingarts/videos How to Watch Concerts from the Library of Congress Virtual Events 1) See each individual event page at loc.gov/concerts 2) Watch on the Library's YouTube channel: youtube.com/loc 3) Watch the premiere of the concert on Facebook: facebook.com/libraryofcongressperformingarts/videos Videos may not be available on all three platforms, and some videos will only be accessible for a limited period of time. The Library of Congress Virtual Event Thursday, June 10, 2021 — 8:00 pm The McKim Fund in the Library of Congress FLUX QUARTET TOM CHIU & CONRAD HARRIS, VIOLINS MAX MANDEL, VIOLA FELIX FAN, CELLO WITH OLIVER LAKE, Saxophone & CORY SMYTHE, Piano Program I 1 Program I Oliver Lake Hey Now, Hey Roscoe Mitchell 9/9/99, With CARDS (2009/2011, rev.
[Show full text]
Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. ARTIE SHAW NEA Jazz Master (2005) Interviewee: Artie Shaw (May 23, 1910- December 30, 2004) Interviewer: Bruce Talbot Date: October 7 and 8, 1992 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 100 pp. Note: Expletives have been deleted from this Web version of the transcript, and are marked thus: [expletive deleted]. An unaltered transcript is available for use by researchers at the Archives Center, National Museum of American History. Talbot: This is October the 7th [1992], and this is day . the first of two days’ interviews with Artie Shaw. Shaw: Are we o.k.? [recording engineer:] Yeah, we got a great level. Shaw: Before we get into this, or maybe as a way of getting into it, I showed you this material on the book I’ve been working on on-and-off since about 1978. What is it now? This is . It’s been 12 years. I’ve published another book in between. I’ve done some CDs. I’ve done a lot of other stuff. But this one . I’ll tell you the point of it. I wanted to do a trilogy. I had at one time . I don’t know. You’re a reader, so you may know the book. Most people don’t even know of it. Romain Rolland wrote a book called Jean- Christophe. Did you ever read it or hear of it? For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 Talbot: Heard of it.
[Show full text]
Artifacts Trio: ...And Then There’S This
ARTIFACTS TRIO: ...AND THEN THERE’S THIS FEBRUARY 27, 2021 5pm We gratefully acknowledge that we operate on the traditional lands of the Tongva, presented by Tataviam, and Chumash peoples—including REDCAT the Gabrieleño, Fernandeño, and Ventureño; members of the Takic and Chumashan Roy and Edna Disney/CalArts Theater language families; and other Indigenous California Institute of the Arts peoples who made their homes in and around the area we now call Los Angeles. ARTIFACTS TRIO: ...AND THEN THERE’S THIS PROGRAM B.K. Steve McCall In Response To Tomeka Reid Blessed Nicole Mitchell I’ll Be Right Here Waiting Steve McCall Song for Helena Tomeka Reid Reflections Nicole Mitchell Pleasure Palace Mike Reed Light on The Path Ed Wilkerson ARTIFACTS TRIO Tomeka Reid, Cello Nicole Mitchell, Flute Mike Reed, Drums “Nicole Mitchell’s flute and Tomeka Reid’s cello met with Mike Reed’s cymbal- heavy drumming to make an aqueous sound that allowed itself to be warped and melted and spread about by the room.” —Giovanni Russonello, The New York Times “The cellist Tomeka Reid, from Chicago, has been one of the great energies of the past year in jazz: a melodic improviser with a natural, flowing sense of song and an experimenter who can create heat and grit with the texture of sound.” —Ben Ratliff, The New York Times “[Nicole Mitchell is] a flutist who embodies the sunny optimism of California and Chicago’s bold, creative spirit.” —Michael J. West, Jazz Times “A multithreat musician who thrives as soloist, bandleader, presenter and global talent scout, [Mike] Reed has emerged as a center of gravity for music in Chicago (and beyond).” —Howard Reich, The Chicago Tribune ABOUT THE PERFORMERS The Artifacts Trio first convened in 2015 in response to the 50th anniversary of the Association for the Advancement of Creative Musicians.
[Show full text]
Listening at the Edges: Aural Experience and Affect in a New York Jazz Scene
Listening at the Edges: Aural Experience and Affect in a New York Jazz Scene by Matthew Somoroff Department of Music Duke University Date:_______________________ Approved: ___________________________ Louise Meintjes, Co-Supervisor ___________________________ Paul Berliner, Co-Supervisor ___________________________ Philip Rupprecht ___________________________ Mark Anthony Neal Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2014 ABSTRACT Listening at the Edges: Aural Experience and Affect in a New York Jazz Scene by Matthew Somoroff Department of Music Duke University Date:_______________________ Approved: ___________________________ Louise Meintjes, Co-Supervisor ___________________________ Paul Berliner, Co-Supervisor ___________________________ Philip Rupprecht ___________________________ Mark Anthony Neal An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2014 Copyright by Matthew Somoroff ©2014 Abstract In jazz circles, someone with “big ears” is an expert listener, one who hears the complexity and nuance of jazz music. Listening, then, figures prominently in the imaginations of jazz musicians and aficionados. While jazz scholarship has acknowledged the discourse on listening within various jazz cultures, to date the actual listening practices of jazz musicians and listeners remain under-theorized. This dissertation investigates listening and aural experience in a New York City community devoted to avant-garde jazz. I situate this community within the local history of Manhattan’s Lower East Side, discuss the effects of changing neighborhood politics on music performance venues, and analyze social interactions in this scene, to give an exposition of “listening to music” as a practice deeply tied into other aspects of my interlocutors’ lives.
[Show full text]
30 November 2018 Page 1 of 21
Radio 3 Listings for 24 – 30 November 2018 Page 1 of 21 SATURDAY 24 NOVEMBER 2018 Scherzo No 2 in B flat minor, Op 31 Alex Slobodyanik (Piano) SAT 01:00 Through the Night (m00018bq) Chamber music from Switzerland 04:50 AM Camerata Variabile Basel in a programme of Debussy, Jolivet, John Carmichael (b.1930), Michael Hurst (Arranger) Couperin and Ravel. Catriona Young presents. A Country Fair arr. Hurst for orchestra Jack Harrison (Clarinet), West Australian Symphony Orchestra, 01:01 AM Richard Mills (Conductor) Claude Debussy (1862-1918) Premiere Rhapsodie 05:01 AM Camerata Variabile Basel Ludwig van Beethoven Coriolan - overture Op.62 01:09 AM BBC Scottish Symphony Orchestra, Donald Runnicles Andre Jolivet (1905-1974) (Conductor) Le Chant de Linos Camerata Variabile Basel 05:09 AM Giovanni Battista Vitali (1632-1692),Francesco Corbetta 01:21 AM Toccata, Chiaccona (Vitali); Caprice de chaccone (Corbetta) Thomas Kessler (b.1937) United Continuo Ensemble Lost Paradise Camerata Variabile Basel 05:19 AM Joseph Haydn (1732-1809) 01:37 AM (Grosses) Te Deum in C major (Hob XXIIIc:2) Rudolf Kelterborn (b.1931) Netherlands Radio Choir, Netherlands Radio Chamber Lichtmomente Orchestra, Antoni Ros-Marbà (Conductor) Camerata Variabile Basel 05:28 AM 01:49 AM Wolfgang Amadeus Mozart (1756-1791) François Couperin (1668-1733) Sonata for piano duet in B flat major (K.358) Forlane Leonore von Stauss (Fortepiano), Wolfgang Brunner Camerata Variabile Basel (Fortepiano) 01:53 AM 05:40 AM Maurice Ravel (1875-1937) Johann David Heinichen (1683-1729) Le Tombeau de Couperin Concerto in G major for flute, bassoon, cello, double bass and Camerata Variabile Basel harpsichord Vladislav Brunner jr.
[Show full text]
Alan Broadbent Michael Bisio Wallace Mcmillan
OCTOBER 2015—ISSUE 162 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM LAROY ALAN MICHAEL WALLACE WES BROADBENT50BISIO MCMILLAN MONTGOMERY Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East OCTOBER 2015—ISSUE 162 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : Alan Broadbent 6 by alex henderson [email protected] Andrey Henkin: [email protected] Artist Feature : Michael Bisio 7 by clifford allen General Inquiries: [email protected] On The Cover : AACM 50th Anniversary 8 by kurt gottschalk Advertising: [email protected] Encore : LaRoy Wallace McMillan by ken waxman Editorial: 10 [email protected] Calendar: Lest We Forget : Wes Montgomery 10 by ken dryden [email protected] VOXNews: LAbel Spotlight : V.S.O.P. by ken dryden [email protected] 11 Letters to the Editor: [email protected] VOXNEWS 11 by katie bull US Subscription rates: 12 issues, $35 International Subscription rates: 12 issues, $45 In Memoriam 12 by andrey henkin For subscription assistance, send check, cash or money order to the address above or email [email protected] Festival Report 13 Staff Writers David R. Adler, Clifford Allen, CD Reviews 14 Fred Bouchard, Stuart Broomer, Katie Bull, Thomas Conrad, Ken Dryden, Donald Elfman, Miscellany 43 Brad Farberman, Sean Fitzell, Kurt Gottschalk, Tom Greenland, Event Calendar Alex Henderson, Marcia Hillman, 44 Terrell Holmes, Robert Iannapollo, Suzanne Lorge, Marc Medwin, Russ Musto, Joel Roberts, John Sharpe, Elliott Simon, Jazz is a music based on and dependent upon community.
[Show full text]
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.
[Show full text]