The Greatest Names in Jazz W Ill Help You Be a Modernist! Lennie Tristano: Jazz Lines
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Cecil Taylor 3 Phasis Mp3, Flac, Wma
Cecil Taylor 3 Phasis mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: 3 Phasis Country: US Released: 1979 Style: Free Jazz, Avantgarde, Free Improvisation MP3 version RAR size: 1205 mb FLAC version RAR size: 1983 mb WMA version RAR size: 1218 mb Rating: 4.9 Votes: 556 Other Formats: AHX MMF AC3 DXD MP4 XM MP2 Tracklist A Side One 28:22 B Side Two 28:50 Companies, etc. Phonographic Copyright (p) – Recorded Anthology Of American Music, Inc. Copyright (c) – Recorded Anthology Of American Music, Inc. Recorded At – Columbia Recording Studios Mastered At – Sterling Sound Credits Alto Saxophone – Jimmy Lyons Artwork [Cover Art] – Paul Jenkins Bass – Sirone Design [Cover] – Michael Sonino Drums – Ronald Shannon Jackson Engineer [Assistant Recording] – Ken Robertson Engineer [Recording, Editing, And Mixing] – Don Puluse Mastered By – Ted Jensen Photography By – Marc Brasz Piano – Cecil Taylor Producer – Sam Parkins Trumpet – Raphé Malik* Violin – Ramsey Ameen Notes Recorded in April 1978 at Columbia Recording Studios, 30th Street, New York, NY. Other versions Category Artist Title (Format) Label Category Country Year New World 80303-2, NW Cecil 3 Phasis (CD, 80303-2, NW Records, New US 1996 303-2 Taylor Album, RE) 303-2 World Records Cecil 3 Phasis (CD, New World NW 303-2 NW 303-2 US Unknown Taylor Album, RE) Records Related Music albums to 3 Phasis by Cecil Taylor Jazz Cecil Taylor - Innovations Jazz Cecil Taylor - Great Paris Concert «2» Rock dt's - Widow Of An All-American Jazz Cecil Taylor Unit - Akisakila - Cecil Taylor Unit In Japan Jazz Cecil Taylor / Buell Neidlinger - New York City R&B Jazz Cecil Taylor - Conquistador! Jazz Cecil Taylor - The World Of Cecil Taylor Jazz Cecil Taylor - Buell Neidlinger - New York City R&B Jazz Cecil Taylor Trio And Quintet - Love For Sale Jazz Cecil Taylor / Charles Tolliver / Grachan Moncur / Archie Shepp - The New Breed. -
Andrew Cyrille Did It the Way He Did
so important to so many drummers? InterviewInterview AC: Joe was a very charismatic personality. He was somebody that was very beguiling. He was another showman, and he would do certain things, and you would try to figure out why he Andrew Cyrille did it the way he did. But the thing about Joe was that his musicianship was at such a high Interview & Photo by Ken Weiss caliber and he had such high intellect. He knew how to play certain things — we call them rudi- ments — in a particular way, so that they would schul are no slouches. It’s a great compliment come up representing the music he was playing Hear Andrew Cyrille with Andy Milne that he wrote that and I’ve been aware of it. I so exactly. He was a heavy point of light within Monday, August 26, 7:30pm & 9:30pm accept the praise but I don’t necessarily agree. a certain period of this music. He used to take Dizzy’s Club Coca Cola All music is based on mathematics and I don’t me to sessions with Stan Getz, Bud Powell and Jazz At Lincoln Center, 60th & Broadway, NYC know that my mathematics is better than anyone Miles Davis and my tongue would be hanging www.jalc.org/dizzys else’s. A lot of times I hear drummers play and I out just checking them out. I remember one time, say, ‘How come I couldn’t think of that?’ and Gary Bartz always teases me about this, he and I were at Julliard and we’d go down and Andrew Cyrille (November 10, 1939) grew up in JI: The critics have been impressed that you’ve listen at the old clubs — like the original Bird- Brooklyn to become one of the preeminent free studied the great past drum masters such as Baby land. -
Innovations in Music
Innovations in Music Paul F. Murphy Master drummer, Paul F. Murphy, and his apprentice of 12 years, multi- instrumentalist Dominic Fragman, are forging a new style of musical expression. Oxford has recognized Murphy as a “fuent, compositionally minded master drummer.” Dominic Fragman Fragman is noted as an unmatched musician. His work as a drummer, guitarist, and vocalist has gained him millions of video views and an international reputation as a “musical genius.” Murphy and Fragman’s work in the Spirit of Innovation & Freedom has been noted by Oxford as “a new direction in the jazz and art arena.” www.MurphyFragman.com Paul Murphy and Larry Willis create music that is quite simply hefy . the pair’s interaction is tight, unafraid, and thoroughly conscious.” — JazzTimes “Invention through total improvisation . the two musicians suggest they are interacting fully, listening intently and opening themselves to any and every type of possibility” - 4 stars —Downbeat “In addition to leading pioneering recordings and ensembles, Murphy is also renowned for his innovative approach to the drum set. He is a fuent, compositionally minded master drummer and has performed with numerous musicians across a vast spectrum of genres.” — Oxford’s Grove Dictionary of American Music “He has subsequently collaborated with the pianist Larry Willis and the poet Jere Carroll, performing works that link the worlds of bebop and the avant garde and have been noted as a new direction in the jazz and art arena.” — Oxford’s Grove Dictionary of American Music “Murphy developed a formidable technique and gained a high profle owing to a spell with alto saxophonist Jimmy Lyons during which his energetic and dizzyingly fast freeform playing attracted much attention.” — Oxford’s Encyclopedia of Popular Music “A Kung Fu master of the drums. -
Cecil Taylor, Piano Jimmy Lyons, Alto Saxophone Raph
CECIL TAYLOR, PIANO JIMMY LYONS, ALTO SAXOPHONE RAPH. MALIK, TRUMPET RAMSEY AMEEN, VIOLIN SIRONE, BASS RONALD SHANNON JACKSON, DRUMS CECILTAYLOR New World Records 80303-2 THE MUSIC OF CECIL TAYLOR by Gary Giddins More than any one else in contemporary music, Cecil Taylor has successfully reconciled the traditions of jazz and the academy. To no one's surprise, least of all his own, the accomplishment is not universally celebrated. The classical avant-garde views it with the suspicion it turns on all jazz-related developments, while the jazz traditionalists are disaffected by Taylor's abandonment of swing orthodoxies. Yet the achievement is unmistakable: Taylor's music gives emotional satisfaction; it enlarges the language and potential of musical expression; it makes us hear deeper and better. After two decades of uncompromising dedication, Taylor has earned a passionate international following. His art remains difficult for the novitiate to grasp, but time has proved that those difficulties are not insurmountable. To understand the impact of Taylor's innovations, it is useful to recall the state of American music in the nineteen- fifties, when his influence was first felt. At the time of his debut recording in 1955, the structure of a jazz performance was rigidly codified. Jazz improvisation and composition were based on a cyclical form—that is, the soloist and the composer worked with a predetermined structure, usually the twelve-bar blues or the thirty-two-bar popular song, which served as a harmonic and rhythmic pattern to be repeated over and over for the duration of a performance. Each cycle, or chorus, had the same harmonic progression and number of measures; the melodies had to conform to the harmonic outline, and the rhythms to the time signature. -
Monterey Jazz Festival
DECEMBER 2018 VOLUME 85 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [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, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael Weintrob; -
The Avant-Garde 15
CURRENT A HEAD ■ 407 ORNETTE COLEMAN lonely woman CECIL TAYLOR bulbs CECIL TAYLOR willisau concert, part 3 ALBERT AYLER ghosts DAVID MURRAY el matador THE AVANT-GARDE 15 Forward March T e word “avant-garde” originated in the French military to denote the advanced guard: troops sent ahead of the regular army to scout unknown territory. In English, the word was adapted to describe innovative composers, writers, painters, and other artists whose work was so pioneering that it was believed to be in the vanguard of contemporary thinking. Avant-gardism represented a movement to liberate artists from the restraints of tradition, and it often went hand-in-hand with progressive social thinking. T ose who championed avant-garde art tended to applaud social change. T ose who criticized it for rejecting prevailing standards couched their dismay in warnings against moral laxity or political anarchy. In the end, however, all art, traditional or avant-garde, must stand on its merit, inde- pendent of historic infl uences. T e art that outrages one generation often becomes the tradition and homework assignments of the next: the paintings of Paul Cézanne and Pablo Picasso, music of Gustav Mahler and Claude Debussy, and writings of Marcel Proust and James Joyce were all initially considered avant-garde. Two especially promi- nent twentieth-century avant-garde movements gathered steam in the decades follow- ing the world wars, and jazz was vital to both. Sonny Rollins combined the harmonic progressions of bop with the freedom of the avant-garde and sustained an international following. He appeared with percussionist Victor See Yuen and trombonist Clifton © HERMAN LEONARD PHOTOGRAPHY LLC/CTS IMAGES.COM Anderson at a stadium in Louisiana, 1995. -
Friday, Oct. 25 at the Graduate Center, Elebash Hall
1 Friday, Oct. 25 at The Graduate Center, Elebash Hall Session 1: the 1950s & 60s in context 9:00-9:30 am, Eric Charry, “The Development of Cecil Taylor’s Musical Language in the 1950s and 1960s” Cecil Taylor’s new musical language is audible from his very first album, Jazz Advance, recorded in fall 1956 when he was 27 years old. By exploring the interplay of pianistic textures (interactions between the two hands) and directional gestures and contours (ascending or descending lines, moving or static clusters), Taylor created new stories to be told and laid the foundation for developments that have resounded to the present day. Taylor’s approach precluded the necessity for a steady pulse and meter, and with the arrival of drummer Sunny Murray in 1960 and bassist Henry Grimes in 1961 his unit began to join him in breaking through the musical forms of the day and forging new ones. Taylor’s innovations yielded an extraordinary burst of extended solo piano recordings, from Carmen with Rings (1967) and Praxis (1968) through Indent (1973) and Silent Tongues (1974). Few in Taylor’s generation systematized and wrote down the codes to their language for others to decipher, with exceptions like George Russell (1923-2009). Anthony Braxton (1945-) would do just that for his own music in his 5-volume Composition Notes (1988), which codified a system of 99 “sound classifications,” including gestures such as accelerating, gliss, long, low, parallel, and trills. The intellectual underpinnings of Braxton’s music from the late 1960s onward can be linked directly to Taylor’s breakthroughs. -
Cecil Taylor: Life As
Cecil Taylor: Life As... Structure within a free improvisation Kaja Draksler Trboje, Slovenia, june 2013 Cecil Taylor: Life As... Structure within a free improvisation Acknowledgements! 2 Introduction! 3 Biography and influences! 4 Biography! 4 Influences! 5 Cecil Taylor: Life As... (Momentum Space, Verve 1999)! 8 Language! 8 Four main behaviors! 8 Intervals! 16 Register! 18 Rhythm! 18 Expression Tools! 21 Dynamics! 21 Pedaling! 22 Personal technique! 24 Structure! 28 Introduction! 29 Development! 30 Recapitulation! 35 Implications of tonalities! 37 Notation and its relation to music! 40 Cecil Taylor’s relationship with the European classical music! 42 Conclusion! 45 Sources! 47 Appendix! 50 2 Acknowledgements The majority of the material in this research, was written for my master’s degree thesis, during the study of classical composition at the Conservatorium van Amsterdam. The research coordinator was Michiel Schuijer and the external advisor was Vijay Iyer. The original work has been revised and enriched, resulting in the version you are about to read. I wish to express my deepest gratitude to my mentor Vijay Iyer for his enthusiasm, support, guidance and advising. His precious insights were essential for this research. I would like to extend my sincere thanks to Trevor Grahl for the language revision and refinements made to the text. Finally, my heartfelt thanks to George Dumitriu for his care, encouragement and understanding. 3 Introduction “To play with Cecil Taylor, you need the stamina of an athlete and the imagination of a God!” (Tony Oxley in an interview with Panken, 2001) Cecil Taylor’s free improvisations are beautifully structured compositions. The material Taylor is using is pre-considered and fairly restricted; therefore, cohesive and at the same time, colorful and varied. -
The Use of Two Basses in the Jazz Avant-Garde of the 1960S
UNIVERSITY OF CALIFORNIA SAN DIEGO Double Down ! : The Use Of Two Basses in the Jazz Avant-Garde of the 1960s A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Musical Arts in Contemporary Music Performance by Thomas Andrew Babin Committee in Charge : Professor Mark Dresser, Chair Professor David Borgo Professor Anthony Davis Professor Victoria Petrovich Professor Stephanie Richards 2021 Copyright, Thomas Andrew Babin, 2021 All Rights Reserved The dissertation of Thomas Andrew Babin is approved, and it is acceptable in quality and form for publication on microfilm and electronically. University of California, San Diego 2021 iii TABLE OF CONTENTS Dissertation Approval Page. ........................................................................................ iii Table of Contents ..................................................................................................... iv List of Figures ............................................................................................................ v List of Supplemental AudioFiles ................................................................................. vii Acknowledgements ................................................................................................ ix Vita ........................................................................................................................... x Abstract 0f the Dissertation ..................................................................................... xi Introduction -
MUSIC for the 21St CENTURY
THE WOOLLEY FUND OF BENNINGTON COLLEGE and the BENNINGTON COLLEGE MUSIC DMSION JPresent: MUSIC FOR THE 21st CENTURY Milford Graves, percussion Charles Gayle, reeds lBiugh Glover, reeds William IParker, bass WEDNESDAY, (Q)CTOBER li~, 1991 3:li5 p.m. GREENWALL MUSIC WORKSHOP - Program Notes - Percussionist Milford Graves has performed in Europe, Japan, Africa, and across the United States, including four appearances at the Newport Jazz Festival. He has been a member of the Bennington College faculty since 1973. Since winning Down Beat Magazine's Drum Poll in 1967, he has appeared on many recordings, and last summer WKCR-FM radio in New York broadcast a 14-hour birthday tribute of his music. Charles Gayle taught in the State University System of New York and has performed throughout the United States and Europe. He is acknowledged to be one of the great saxophone players in contemporary jazz, and has recorded for Silkheart Records. After attending Goddard College and the Mannes College of Music, Hugh Glover became music director for the Black Arts Theatre in Harlem. His recordings include BABI Music and New Music America. Bassist William Parker was born in the Bronx, New York, and studied with Wilbur Ware, Jimmy Garrison, Richard Davis, and Milt Hinton. Since 1981 he has performed with the Cecil Taylor group, and has also performed with Bill Dixon, Don Cherry, and Jimmy Lyons. The Woolley Fund of Bennington College was created in 1953. Honoring Founder Isabelle Baker Woolley, its purpose is to contribute to the enrichment of the musical life and experience of the Bennington Community. -
Various Wildflowers: the New York Loft Jazz Sessions - Complete Mp3, Flac, Wma
Various Wildflowers: The New York Loft Jazz Sessions - Complete mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Wildflowers: The New York Loft Jazz Sessions - Complete Country: US Released: 1999 Style: Free Jazz, Fusion, Avantgarde, Free Improvisation MP3 version RAR size: 1621 mb FLAC version RAR size: 1981 mb WMA version RAR size: 1936 mb Rating: 4.2 Votes: 841 Other Formats: WAV AAC AC3 DTS ASF ADX MP1 Tracklist Hide Credits Jays –Kalaparusha, Chris White , 1-1 Bass – Chris White Drums – Jumma SantosTenor 6:17 Jumma Santos Saxophone, Written-By – Kalaparusha –Ken McIntyre, Richard New Times 1-2 Harper, Andrei Strobert, Andy Alto Saxophone, Written-By – Ken McIntyreCongas – Andy 7:45 Vega VegaPercussion – Andrei StrobertPiano – Richard Harper Over The Rainbow –Sunny Murray + The Alto Saxophone – Byard LancasterBass – Fred 1-3 Untouchable Factor* HopkinsDrums – Sunny MurrayTenor Saxophone – David 5:48 Featuring Byard Lancaster MurrayVibraphone – Khan JamalWritten-By – Harold Arlen Rainbows –Sam Rivers, Jerome Hunter, 1-4 Bass – Jerome HunterDrums – Jerry GriffinSoprano 10:24 Jerry Griffin Saxophone, Written-By – Sam Rivers Uso Dance –Henry Threadgill, Fred 1-5 Alto Saxophone, Written-By – Henry ThreadgillBass – 8:26 Hopkins, Steve McCall Fred HopkinsDrums, Percussion – Steve McCall The Need To Smile Bass – Benny WilsonCongas – Don Moye*Drums – Harold 1-6 –Flight To Sanity Smith*Piano, Written-By – Sonelius SmithSoprano 10:45 Saxophone – Art BennettTenor Saxophone – Byard LancasterTrumpet – Olu Dara Naomi –Ken McIntyre, Richard -
Harold Carrington Drive Suite
Harold Carrington Drive suite Harold Carrington Drive suite Volume fourteen in the Heritage series published by Paul Breman London, 1972 an idiom of Cecil Taylor First edition CC the estate of Harold Carrington 1972 Library of Congress card no. n-112504 Published by Paul Breman Ltd, I Rosslyn Hill, London nwl Sui I : a thousand pounds of ponder •.. icy regimentation turns out to be volcanic. it is a cold hard year / historic trompings ..• all must be erupted, turned about icy regimentation wham I cymbal cymbal cymbal , destroyed ••• without demolition cymbal I wham without compendiums on the subject ••. icy •.• cold ••• blue ••• hard , torn at the ground at the roots and dis mantled, frantic I another far and off in the distant (ricocheting husk of but careful ivory) ••. wham / cymbal , the beast is agitated I fighting angry I wham I I I I I I I I I I I mad I Tyrannosaurus roaring in its snout I I I and so on ad absurdum infinitum ••. and miles of holocaust ••. steaming diesel neolith vacuity I din of arc and trench and eon I loco/locomotion cymbal/wham cymbal/wham - cymbal Lacawanna martyr of Cretaeceous WHAM WHAM WHAM WHAM WHAM ••• WHAM the frail wall fails. cymbal cymbal WHAM the form lets loose. poco grows and water falls • • • • •• / kisha / kisha / kisha I kisha J space ••• time •.• suspension ••• riff kisha - wham on a toad I wham wham (unbegun I the drummer is a school wham wham of young deception ••• all nerves tense wham wham wham wham as a motor-car •.• the frog is a frog wham wham in the world's throat, waiting cymbal) wham wham wham I wham GOD SAY TADPOLE I wham GOD SAY FROG I wham wham ••• GOD SAY goddamTOAD 1cymbal WHAM ••• wham wham/cymbal vertebrat •.• unicellular cymbal/cymbal , the molecules croak the dawn of time cymbal GOD SAY TADPOLE ••• o k, wham.