DOCSLIB.ORG

October 4 — November 6, 2019 PROGRAM

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
October 4 — November 6, 2019 PROGRAM October 4 — November 6, 2019 PROGRAM Since 1984, Earshot Jazz has been Seattle’s major ambassador of jazz – presenting jazz masters and important new artists, supporting the local scene, and educating young and old about the joys of jazz – all thanks to contributions from folks like you. Make a donation TODAY www.earshot.org/donate 206-547-6763 All photos by Daniel Sheehan taken at the 2018 Earshot Jazz Festival. Top: Brian Blade, Kate Olson, Jovino Santos Neto, Logan Richardson, Jazzmeia Horn, Bill Frisell, Ryan J. Lee, Maria Schneider. Middle: Regina Carter, Jasnam Daya Singh, Tia Fuller, Wayne Horvitz, Burniss Travis, Roosevelt High School Jazz Band, Myra Melford, Joel Ross. Bottom Row: Dawn Clement, Johnaye Kendrick, Jay Thomas, Jen Shyu, Keyon Harrold, Caroline Davis, Donovan Kranzler-Lewis, Mark Turner. 2 • EARSHOT JAZZ • October 2019 2019 EARSHOT JAZZ FESTIVAL Welcome to Earshot Jazz Feast-ival! The table is set, the flavors are var- of some of the most impor- ied and rich, and the music is hot. tant jazz artists of our time. From the tantalizing appetizer of Yes, there are artists from Brian Blade and Life Cycles, to the 15 different countries, and satisfyingly sinful desert of Chick many of the top names on Corea with the entire Seattle Sym- the New York scene, but it phony Orchestra, this is a feast for is the connections to Se- every appetite. And you don’t have attle’s own, acclaimed jazz to be a sophisticated jazz gourmet to history that resonate most enjoy this banquet; you can pull up deeply here. a chair for the entire affair, or come We’ll directly connect to and go as your tastes move you, but the past, present, and fu- we guarantee that you’ll discover ture of jazz in Seattle’s Cen- new delicacies that will expand your tral District through three palate and leave you hungry for important presentations: more. Gary Hammon’s In Case Earshot Jazz is Seattle’s non-profit You Didn’t Know reveals jazz support organization. We’re the essence of Black artists not happen without the artists at its proud to be a valued part of this city’s in the development of Seattle jazz; core, and it cannot continue without incredible cultural scene; celebrat- while the Folks Project of D’Vonne the educators, students, parents, and ing Seattle’s place at the table with Lewis, Evan Flory-Barnes, and Dar- civic leaders whose dedication to the the past, present, and future of jazz. rius Willrich carries the tradition importance of arts education and As the National Endowment for forward through contemporary in- creative individual expression will the Arts 50th anniversary magazine fluences in performance and discus- only benefit our collective culture. pointed out in a recent profile titled, sion led by Dr. James Gore of the “Seattle’s Earshot Jazz, Improvising Jackson Street Music Program; both We are enormously grateful to all with the Community,” this organiza- at Langston Seattle. Supporting the of our partners in this endeavor. tion is widely respected for “think- future of that continuum is the Jazz Thank you all!! ing globally and acting locally.” Our Up Jackson Street program we’ll help And that means you, too. Please goal is to increase the overall sustain- to mount at Town Hall Seattle, to consider a gift to Earshot Jazz as part ability of jazz by nourishing the civic benefit the long-standing connec- of our Access Inspiration campaign appetite for this music, through pro- tion between the Central District’s this fall. Your donations help us keep gramming that cultivates, sources, Washington Middle School and ticket prices low, offer low and no- and serves the creative abundance of Garfield High School, and help to cost student tickets, and bring in- our students and artists. ensure equity and inclusion as those credible artists into creative engage- Growing from our 30-year legacy programs move forward in these ment with the community through as one of the most organically for- challenging times. workshops and panels. ward-thinking and inclusive festi- Of course, there are many cooks Keep in touch and give us your vals in the country, this year’s spread in this festival kitchen. This event is feedback. Have fun and enjoy! Jazz serves up a bold lineup of interna- only sustained successfully through lives right here! Bon Appétit! tional masters and locally sourced the combined energies of literally –John Gilbreath, Executive Director pleasures, alongside a robust menu hundreds of participants. It could October 2019 • EARSHOT JAZZ • 3 EARSHOT JAZZ 2019 FESTIVAL LINEUP FRIDAY OCTOBER 4 THURSDAY OCTOBER 10 MONDAY OCTOBER 14 Kris Davis’ Diatom Ribbons w/ Wally Shoup Darius Jones Terri Lyne Carrington & Val Royal Room, 7:30pm Chapel Performance Space, 7:30pm Jeanty Seattle Art Museum, 8pm Jazz Up Jackson Street: A Benefit DakhaBrakha for Washington Middle School & Triple Door, 7:30pm SATURDAY OCTOBER 5 Garfield High School Town Hall Great Hall, 7pm TUESDAY OCTOBER 15 Seattle Jazz Showcase: Marina Albero / Jacqueline Tabor / Clave Gringa Seattle Modern Orchestra w/ Mandyck, Johnson, Bishop Seattle Art Museum, 5:30pm Darius Jones & Wayne Horvitz Town Hall Forum, 7pm Town Hall Forum, 7:30pm FRIDAY OCTOBER 11 DakhaBrakha SUNDAY OCTOBER 6 Tribute to Tony Williams Lifetime Triple Door, 7:30pm Royal Room 6:30pm & 9:30pm Jamaaladeen Tacuma Trio Here to Play featuring Gary Bartz Orrin Evans Trio w/ Jeff Tain Royal Room, 7:30pm Langston Hughes Performing Arts Watts Institute, 7:30pm Town Hall Forum, 8pm WEDNESDAY OCTOBER 16 Bria Skonberg SATURDAY OCTOBER 12 Aaron Parks Little Big Town Hall Forum, 7:30pm Columbia City Theater, 7:30pm Julian Lage Trio MONDAY OCTOBER 7 Columbia City Theater, 8pm Knife Knights / Darius Jones / Stas Thee Boss Tinariwen Afro-Electric: Val Jeanty & Ravish Langston Hughes Performing Arts Benaroya Hall, 7:30pm Momin / Fay Victor & Myra Institute, 7:30pm Trey McLaughlin & The Sounds of Melford Zamar Town Hall Forum, 7:30pm THURSDAY OCTOBER 17 Triple Door, 7:30pm Makaya McCraven Chucho Valdés Jazz Batá Royal Room, 7pm & 9:30pm Town Hall Great Hall, 8pm TUESDAY OCTOBER 8 Gerald Clayton Quartet / The SUNDAY OCTOBER 13 FRIDAY OCTOBER 18 Westerlies Youn Sun Nah Clarice Assad Triple Door, 7pm Triple Door, 7:30pm Chapel Performance Space, 8pm WEDNESDAY OCTOBER 9 DJ J-Justice / Afrocop w/ visuals Cécile McLorin Salvant w/ Aaron by blazinspace Diehl Trio Kneebody / Trio Subtonic: Galen Timbre Room, 9pm Town Hall Great Hall, 8pm Clark, Dan Balmer, D’Vonne Lewis Nectar Lounge, 8:30pm LET’S GET SOCIAL! Follow @earshotjazz for up-to-date information on concerts and events. Share your photos from Earshot Jazz 2019 Festival con- certs using the hashtag #earshotjazz. 4 • EARSHOT JAZZ • October 2019 SATURDAY OCTOBER 19 Dreamstruck: Marilyn Crispell, Seattle Jazz Showcase: Bill Joe Fonda, Harvey Sorgen Anschell Standards Trio / LaVon Joel Ross ‘Good Vibes’ Town Hall Forum, 7pm Hardison / Tarik Abouzied, Joe Seattle Art Museum, 8pm Doria, Cole Schuster Thomas Marriott with Friends Town Hall Forum, 7pm Roosevelt Jazz Band w/ Jay from Philly / Stuart MacDonald Thomas EWA Trace Generations Roosevelt High School, 7:30pm SUNDAY NOVEMBER 3 Royal Room, 7pm & 9:30pm Seattle Repertory Jazz SUNDAY OCTOBER 20 SUNDAY OCTOBER 27 Orchestra: “Jazz of the Harlem Shai Maestro Trio / Wayne Renaissance” Kassa Overall & Sullivan Fortner Kirkland Performance Center, 2pm Horvitz & Sara Schoenbeck Langston Hughes Performing Arts Seattle Art Museum, 7:30pm Institute, 7:30pm Gary Hammon: “In case you DJ OCnotes / Smacktalk w/ Sasha Berliner didn’t know” Langston Hughes Performing Arts Visuals by OCnotes Royal Room, 7:30pm Timbre Room, 9pm Institute 7:30pm DJ Nathan Womack / sunking & MONDAY OCTOBER 21 guest emcee Kassa Overall w/ MONDAY NOVEMBER 4 Visuals by Scott Keva James Travis Laplante Anton Schwartz Sextet Timbre Room, 9pm Town Hall Forum, 7:30pm Chapel Performance Space, 7:30pm Briggan Krauss MONDAY OCTOBER 28 TUESDAY NOVEMBER 5 Chapel Performance Space, 7:30pm SPL Playback: Lori Goldston / Yemen Blues Plays Hallel Hound Dog Taylor’s Hand WEDNESDAY OCTOBER 23 Triple Door, 7:30pm Royal Room, 7:30pm Larry Grenadier / Kelsey Mines & Emmet Cohen Trio Carlos Snaider TUESDAY OCTOBER 29 Town Hall Forum, 7:30pm Chapel Performance Space, 7:30pm Avishai Cohen Quartet WEDNESDAY NOVEMBER 6 Jay Thomas EWA Seattle Art Museum, 7:30pm Town Hall Forum, 7:30pm Amendola vs. Blades w/ Skerik, WEDNESDAY OCTOBER 30 Jeff Parker, and Cyro Baptista Triple Door, 7:30pm THURSDAY OCTOBER 24 Egberto Gismonti Jenny Scheinman & Allison Town Hall Great Hall, 7:30pm Chick Corea Rhapsody in Blue w/ Miller’s Parlour Game Seattle Symphony Orchestra Options: Eric Revis, Bennie Benaroya Hall, 7:30pm Town Hall Forum, 7:30pm Maupin, Nasheet Waits Folks Project Langston Hughes Performing Arts Langston Hughes Performing Arts Institute, 7:30pm Satellite Series Institute, 7:30pm FRIDAY NOVEMBER 1 Earshot at Large FRIDAY OCTOBER 25 Flat Earth Society More info on page 30 Tyshawn Sorey Quintet Town Hall Forum, 8pm Town Hall Forum 8pm SATURDAY NOVEMBER 2 BIMA Within/Earshot Bainbridge Island Museum of Art SATURDAY OCTOBER 26 Seattle Repertory Jazz Seattle Women’s Jazz Orchestra Orchestra: “Jazz of the Harlem Earshot on Vashon w/ Rosana Eckert Renaissance” Vashon Center for the Arts Benaroya Hall, 7:30pm Rainier Arts Center, 7:30pm Sunday Night DJ Series Kiki Valera y su Son Cubano Timbre Room Town Hall Great Hall, 8pm Schedule subject to change. October 2019 • EARSHOT JAZZ • 5 to the sponsors, staff, and more than 80 volunteers THANK YOU! who make the Earshot Jazz Festival possible INSTITUTIONAL SUPPORT SPONSORS IN-KIND SPONSORS 6 • EARSHOT JAZZ • October 2019 TICKETS and info (206) 547-6763 / earshot.org TICKETS & DISCOUNTS SITES & ADDRESSES Tickets to concerts sold separately. Bainbridge Island Museum of Art All events are all-ages except: Columbia City Theater, Nectar Lounge, Timbre Room, Triple Door after 9pm, and the Royal Room after 10pm.
Load more

Recommended publications
  • THE SHARED INFLUENCES and CHARACTERISTICS of JAZZ FUSION and PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014
    COMMON GROUND: THE SHARED INFLUENCES AND CHARACTERISTICS OF JAZZ FUSION AND PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master in Jazz Performance and Pedagogy Department of Music 2020 Abstract Blunk, Joseph Michael (M.M., Jazz Performance and Pedagogy) Common Ground: The Shared Influences and Characteristics of Jazz Fusion and Progressive Rock Thesis directed by Dr. John Gunther In the late 1960s through the 1970s, two new genres of music emerged: jazz fusion and progressive rock. Though typically thought of as two distinct styles, both share common influences and stylistic characteristics. This thesis examines the emergence of both genres, identifies stylistic traits and influences, and analyzes the artistic output of eight different groups: Return to Forever, Mahavishnu Orchestra, Miles Davis’s electric ensembles, Tony Williams Lifetime, Yes, King Crimson, Gentle Giant, and Soft Machine. Through qualitative listenings of each group’s musical output, comparisons between genres or groups focus on instances of one genre crossing over into the other. Though many examples of crossing over are identified, the examples used do not necessitate the creation of a new genre label, nor do they demonstrate the need for both genres to be combined into one. iii Contents Introduction………………………………………………………………………………… 1 Part One: The Emergence of Jazz………………………………………………………….. 3 Part Two: The Emergence of Progressive………………………………………………….. 10 Part Three: Musical Crossings Between Jazz Fusion and Progressive Rock…………….... 16 Part Four: Conclusion, Genre Boundaries and Commonalities……………………………. 40 Bibliography……………………………………………………………………………….
    [Show full text]
  • Joshua Redman Back East Mp3, Flac, Wma
    Joshua Redman Back East mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Back East Country: US Released: 2007 Style: Contemporary Jazz MP3 version RAR size: 1700 mb FLAC version RAR size: 1585 mb WMA version RAR size: 1897 mb Rating: 4.4 Votes: 902 Other Formats: APE ADX AC3 MIDI VQF MP2 AAC Tracklist Hide Credits 1 The Surrey With The Fringe On Top 5:12 2 East Of The Sun (And West Of The Sun) 5:35 3 Zarafah 7:58 Indian Song 4 6:10 Saxophone – Joe Lovano 5 I'm An Old Cowhand 6:06 6 Wagon Wheels 5:58 7 Back East 6:40 Mantra #5 8 6:10 Saxophone – Chris Cheek 9 Indonesia 4:41 India 10 4:55 Saxophone – Dewey Redman 11 GJ 3:40 Companies, etc. Manufactured For – BMG Direct Marketing, Inc. – D171210 Credits Bass – Christian McBride (tracks: 3 to 4), Larry Grenadier (tracks: 1 to 2, 8 to 11), Reuben Rogers (tracks: 5 to 7) Drums – Ali Jackson (tracks: 1 to 2, 8 to 11), Brian Blade (tracks: 3 to 4), Eric Harland (tracks: 5 to 7) Producer – Joshua Redman Saxophone – Joshua Redman Other versions Category Artist Title (Format) Label Category Country Year Back East (CD, UK, Europe & 7559-79993-8 Joshua Redman Nonesuch 7559-79993-8 2007 Album) US Back East (CD, 7559-79993-8 Joshua Redman Nonesuch 7559-79993-8 Argentina 2007 Album) Back East (CD, 7559-79993-8 Joshua Redman Nonesuch 7559-79993-8 Europe 2007 Album) Related Music albums to Back East by Joshua Redman 1. The Music Of Don Redman Featuring George Kelly - The Music Of Don Redman 2.
    [Show full text]
  • Occam's Razor Vol. 3 - Full (2013)
    Occam's Razor Volume 3 (2013) Article 1 2013 Occam's Razor Vol. 3 - Full (2013) Follow this and additional works at: https://cedar.wwu.edu/orwwu Part of the Arts and Humanities Commons, Biological and Physical Anthropology Commons, Biology Commons, Comparative Politics Commons, Exercise Science Commons, Forest Biology Commons, Macroeconomics Commons, and the Physical Sciences and Mathematics Commons Recommended Citation (2013) "Occam's Razor Vol. 3 - Full (2013)," Occam's Razor: Vol. 3 , Article 1. Available at: https://cedar.wwu.edu/orwwu/vol3/iss1/1 This Complete Volume is brought to you for free and open access by the Western Student Publications at Western CEDAR. It has been accepted for inclusion in Occam's Razor by an authorized editor of Western CEDAR. For more information, please contact [email protected]. et al.: Vol. 3, 2013 Published by Western CEDAR, 2017 1 Occam's Razor, Vol. 3 [2017], Art. 1 occam’s razor OCCAM’S RAZOR OCCAM’S RAZOR occam’s razor CONTENTS spring 2013 Vol. 3 03 EDITOR IN CHIEF OUR SINCEREST GRATITUDE TO; FORWARD cameron adams glen tokola Chris Crow and Cameron Adams for having pioneered this journal. MANAGING EDITOR 05 REANIMATING IDENTITIES mckenzie yuasa sarah elder The Faculty Senate for providing Occam’s Razor WWU the the zombie manifestion ASSOCIATE EDITORS opportunity to be formally introduced to the departments of Western. of a darker america megan cook Rebecca Marrall, for her continued support in advising the journal. olivia henry 11 DARK CITY: rebecca ortega sophie logan Victor Celis, ASWWU Vice President for Academic Affairs, for his memories all alone support in our efforts to establish the journal’s presence.
    [Show full text]
  • Planilha Musical Setembro 2017 Empresa Brasil De
    PLANILHA MUSICAL SETEMBRO 2017 EMPRESA BRASIL DE COMUNICAÇÃO S/A - EBC RAZÃO SOCIAL: CNPJ: NOME FANTASIA: RÁDIO NACIONAL FM DIAL: 96.1 CIDADE: BRASÍLIA UF: DF EXECUÇÃO DATA HORA DESCRIÇÃO INTÉRPRETE COMPOSITOR GRAVADORA MECÂ AO VIVO NICO 01/09/2017 00:09:50 MAD 002 - BLOCO 10 MADRUGADA 2017 X 01/09/2017 00:24:44 MAD 002 - BLOCO 11 MADRUGADA 2017 X 01/09/2017 00:40:50 MAD 002 - BLOCO 12 MADRUGADA 2017 X 01/09/2017 00:54:55 MAD 002 - BLOCO 13 MADRUGADA 2017 X 01/09/2017 01:09:54 CORAÇÃO BOBO ALCEU VALENÇA ALCEU VALENÇA X 01/09/2017 01:13:33 ULTRALEVE BADI ASSAD BADI ASSAD X 01/09/2017 01:17:09 APRENDENDO A MEXER PAULO PAULELLI PAULO PAULELLI X 01/09/2017 01:20:05 MIL RAZÕES /2016 TIAGO IORC TIAGO IORC / DANI BLACK X 01/09/2017 01:24:08 SOSSEGO TIM MAIA TIM MAIA X 01/09/2017 01:27:55 QUEREM ACABAR COMIGO TITÃS ROBERTO CARLOS X 01/09/2017 01:31:31 IRMÃOS CORAGEM SANDRA DUAILIBE NONATO BUZAR / PAULINHO TAPAJÓS X 01/09/2017 01:34:57 PRA QUE DISCUTIR COM MADAME? ARRANCO DE VARSÓVIA HAROLDO BARBOSA / JANET DE X ALMEIDA 01/09/2017 01:38:37 SONHO DE UM BANDOLIM CHORO LIVRE JUVENTINO MACIEL X 01/09/2017 01:42:45 NADA SERÁ COMO ANTES MILTON NASCIMENTO & BETO GUEDES MILTON NASCIMENTO / RONALDO X BASTOS 01/09/2017 01:46:10 MARESIA ADRIANA CALCANHOTTO PAULO MCHADO / ANTÔNIO CICERO X 01/09/2017 01:50:16 TERRA DO VERDE WILSON TEIXEIRA WILSON TEIXEIRA X 01/09/2017 01:53:58 SAMBA DA BÊNÇÃO MARIA BETHÂNIA BADEN POWELL / VINICIUS DE MORAES X 01/09/2017 01:57:00 EM PAZ 5 A SECO E MARIA GADÚ RAFAEL ALTÉRIO / PEDRO ALTÉRIO / X RITA ALTÉRIO 01/09/2017 02:00:47
    [Show full text]
  • RETRATOS DA MÚSICA BRASILEIRA 14 Anos No Palco Do Programa Sr.Brasil Da TV Cultura FOTOGRAFIAS: PIERRE YVES REFALO TEXTOS: KATIA SANSON SUMÁRIO
    RETRATOS DA MÚSICA BRASILEIRA 14 anos no palco do programa Sr.Brasil da TV Cultura FOTOGRAFIAS: PIERRE YVES REFALO TEXTOS: KATIA SANSON SUMÁRIO PREFÁCIO 5 JAMELÃO 37 NEY MATOGROSSO 63 MARQUINHO MENDONÇA 89 APRESENTAÇÃO 7 PEDRO MIRANDA 37 PAULINHO PEDRA AZUL 64 ANTONIO NÓBREGA 91 ARRIGO BARNABÉ 9 BILLY BLANCO 38 DIANA PEQUENO 64 GENÉSIO TOCANTINS 91 HAMILTON DE HOLANDA 10 LUIZ VIEIRA 39 CHAMBINHO 65 FREI CHICO 92 HERALDO DO MONTE 11 WAGNER TISO 41 LUCY ALVES 65 RUBINHO DO VALE 93 RAUL DE SOUZA 13 LÔ BORGES 41 LEILA PINHEIRO 66 CIDA MOREIRA 94 PAULO MOURA 14 FÁTIMA GUEDES 42 MARCOS SACRAMENTO 67 NANA CAYMMI 95 PAULINHO DA VIOLA 15 LULA BARBOSA 42 CLAUDETTE SOARES 68 PERY RIBEIRO 96 MARIANA BALTAR 16 LUIZ MELODIA 43 JAIR RODRIGUES 69 EMÍLIO SANTIAGO 96 DAÍRA 16 SEBASTIÃO TAPAJÓS 44 MILTON NASCIMENTO 71 DORI CAYMMI 98 CHICO CÉSAR 17 BADI ASSAD 45 CARLINHOS VERGUEIRO 72 PAULO CÉSAR PINHEIRO 98 ZÉ RENATO 18 MARCEL POWELL 46 TOQUINHO 73 HERMÍNIO B. DE CARVALHO 99 CLAUDIO NUCCI 19 YAMANDU COSTA 47 ALMIR SATER 74 ÁUREA MARTINS 99 SAULO LARANJEIRA 20 RENATO BRAZ 48 RENATO TEIXEIRA 75 MILTINHO EDILBERTO 100 GERMANO MATHIAS 21 MÔNICA SALMASO 49 PAIXÃO CÔRTES 76 PAULO FREIRE 101 PAULO BELLINATI 22 CONSUELO DE PAULA 50 LUIZ CARLOS BORGES 76 ARTHUR NESTROVSKI 102 TONINHO FERRAGUTTI 23 DÉRCIO MARQUES 51 RENATO BORGHETTI 78 JÚLIO MEDAGLIA 103 CHICO MARANHÃO 24 SUZANA SALLES 52 TANGOS &TRAGEDIAS 78 SANTANNA, O Cantador 104 Dados Internacionais de Catalogação na Publicação (CIP) PAPETE 25 NÁ OZETTI 52 ROBSON MIGUEL 79 FAGNER 105 (Câmara Brasileira do Livro, SP, Brasil) ANASTÁCIA 26 ELZA SOARES 53 JORGE MAUTNER 80 OSWALDO MONTENEGRO 106 Refalo, Pierre Yves Retratos da música brasileira : 14 anos no palco AMELINHA 26 DELCIO CARVALHO 54 RICARDO HERZ 80 VÂNIA BASTOS 106 do programa Sr.
    [Show full text]
  • A Journal for Contemporary Music (1971-1988)
    Contact: A Journal for Contemporary Music (1971-1988) http://contactjournal.gold.ac.uk Citation Reynolds, Lyndon. 1975. ‘Miles et Alia’. Contact, 11. pp. 23-26. ISSN 0308-5066. ! [I] LYNDON REYNOLDS Ill Miles et Alia The list of musicians who have played with Miles Davis since 1966 contains a remarkable number of big names, including Wayne Shorter, Herbie Hancock, Tony Williams, Chick Corea, Joe Zawinul, Jack de Johnette, Dave Hol l and, John McLaughlin and Miroslav Vitous. All of these have worked success fully without Miles, and most have made a name for themselves whilst or since working with him. Who can say whether this is due to the limelight given them by playing alongside , Miles, the musical rewards of working with him, or Miles's talent-spotting abili- ties? Presumably the truth is a mixture of all these. What does Miles's music owe to the creative personalities of the musicians working with him? This question is unanswerable in practice, for one cannot quan- tify individual responsibility for a group product - assuming that is what Miles's music is. It is obvious that he has chosen very creative musicians with which to work, and yet there has often been an absence of conspicuous, individual, free solo playing in his music since about 1967. It would appear that Miles can absorb musical influences without losing his balance. What we find then, is a nexus of interacting musicians, centring on Miles; that is, musicians who not only play together in various other combinations, but influence each other as well. Even if the web could be disentangled (I know not how, save with a God's-eye-view), a systematic review of all the music that lies within it would be a task both vast and boring.
    [Show full text]
  • Some Notes on John Zorn's Cobra
    Some Notes on John Zorn’s Cobra Author(s): JOHN BRACKETT Source: American Music, Vol. 28, No. 1 (Spring 2010), pp. 44-75 Published by: University of Illinois Press Stable URL: http://www.jstor.org/stable/10.5406/americanmusic.28.1.0044 . Accessed: 10/12/2013 15:16 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of Illinois Press is collaborating with JSTOR to digitize, preserve and extend access to American Music. http://www.jstor.org This content downloaded from 198.40.30.166 on Tue, 10 Dec 2013 15:16:53 PM All use subject to JSTOR Terms and Conditions JOHN BRACKETT Some Notes on John Zorn’s Cobra The year 2009 marks the twenty-fifth anniversary of John Zorn’s cele- brated game piece for improvisers, Cobra. Without a doubt, Cobra is Zorn’s most popular and well-known composition and one that has enjoyed remarkable success and innumerable performances all over the world since its premiere in late 1984 at the New York City club, Roulette. Some noteworthy performances of Cobra include those played by a group of jazz journalists and critics, an all-women performance, and a hip-hop ver- sion as well!1 At the same time, Cobra is routinely played by students in colleges and universities all over the world, ensuring that the work will continue to grow and evolve in the years to come.
    [Show full text]
  • Joshua Redman Bio
    JOSHUA REDMAN BIO Joshua Redman is one of the most acclaimed and charismatic jazz artists to have emerged in the decade of the 1990s. Born in Berkeley, California, he is the son of legendary saxophonist Dewey Redman and dancer Renee Shedroff. He was exposed at an early age to a variety of musics (jazz, classical, rock, soul, Indian, Indonesian, Middle-Eastern, African) and instruments (recorder, piano, guitar, gatham, gamelan), and began playing clarinet at age nine before switching to what became his primary instrument, the tenor saxophone, one year later. The early influences of John Coltrane, Ornette Coleman, Cannonball Adderley and his father, Dewey Redman, as well as The Beatles, Aretha Franklin, the Temptations, Earth, Wind and Fire, Prince, The Police and Led Zeppelin drew Joshua more deeply into music. But although Joshua loved playing the saxophone and was a dedicated member of the award-winning Berkeley High School Jazz Ensemble and Combo from 1983-86, academics were always his first priority, and he never seriously considered becoming a professional musician. In 1991 Redman graduated from Harvard College summa cum laude, Phi Beta Kappa with a B.A. in Social Studies. He had already been accepted by Yale Law School, but deferred entrance for what he believed was only going to be one year. Some of his friends (former students at the Berklee College of Music whom Joshua had met while in Boston) had recently relocated to Brooklyn, and they were looking for another housemate to help with the rent. Redman accepted their invitation to move in, and almost immediately he found himself immersed in the New York jazz scene.
    [Show full text]
  • Open Systems in Dialogue OPEN SYSTEMS 2005 Festival for Avant
    Open Systems in Dialogue OPEN SYSTEMS 2005 Festival for avant-garde music, performance and sound art 17 - 20 November 2005 · Bochum I Dortmund I Essen I Herne New approaches, new goals, extension of the artistic space: From 17 – 20 November 2005 interdisciplinary integration of musical encounters will set the tone in the German cities Bochum, Dortmund, Essen and Herne. OPEN SYSTEMS, the festival for avant-garde music, performance and sound art in Germany’s Ruhr-area, promotes encounters between artists from different fields with the aim of developing and realizing ideas in a creative environment. Amongst the highlights of the fifteen concerts are performances by ARTO LINDSAY, the ARDITTI QUARTET, the pioneers of net music THE HUB, Tortoise guitarist JEFF PARKER, as well as world premières of works by the blind composer MOONDOG. Dance performances, video installations, lectures, the club lounge and a school project round off the programme. OPEN SYSTEMS stands for stylistic enrichment as well as exciting musical encounters. Collaboration with NOVEMBER MUSIC, the Belgian-Dutch festival for currently happening music, which contributes to five of the concerts on the programme, the Luxemburg Society for Contemporary Music (LGNM) and the WDR Studio Acoustic Art will intensify international networking of artists. The OPEN SYSTEMS festival acts as an artistic laboratory, as a platform for new ideas and approaches: OPEN SYSTEMS – the name refers to systems which interact with others. “Whether acoustic or electronic, improvised or composed, classical or popular, Western or non-European – the festival shows us music which is thriving and very now, and presents it using dialogue and contrast.
    [Show full text]
  • Freier Download BA 89 Als
    BAD 89 ALCHEMY »Also viel Gewese um Hokutisi.« »Um was?« »Hokutisi. Hochkultur und Tiefsinn. Kennst du gar nicht?« Per Leo ...ward es ihm zur Gewohnheit, abends in der Bibliothek zu stöbern und wie ein Besessener zu lesen. Schon die Vorstellung der unzähligen Bücher genügte, ihn in Wut zu versetzen. Je mehr Bücher er las, desto weniger Bücher schien er zu kennen, denn mit der Zahl der gelesenen schien ihm die Zahl derer, die er zu lesen außerstande wäre, ins Unermeßliche zu steigen. Thomas Wolfe Ernst Augustin - Schönes Abendland Harry Crews - Scar Lover E. L. Doctorow - City of God Mark Fisher - Ghosts Of My Life. Writings On Depression, Hauntology And Lost Futures Otto Flake - Die Sanduhr Catalin Dorian Florescu - Der blinde Masseur Wolf Haas - Wie die Tiere; Brennerova Daniel Kehlmann - Die Vermessung der Welt Per Leo - Flut und Boden Petros Markaris - Nachtfalter David Mitchell - Die tausend Herbste des Jacob De Zoet Olga Tokarczuk - Ur und andere Zeiten Jakob Wassermann - Etzel Andergast Thomas Wolfe - Von Zeit und Strom 2 Freakshow: Wild and windy Donnerstag, der 28.01.2016 beschert denen, die etwas zahlreicher als üblich im Würzburger Immerhin erschienen, LE REX. Ein Schlagzeug, ein Stuhl. Dann kommen vier Burschen und blasen die Backen auf, Rico Baumann (von Anton And The Headcleaner) trommelt. Keine Verstärker, alles unplugged. Marc Unternährer darf sich setzen, er bläst die Tuba. Als Lackel von feinem Humor, laid back und dennoch virtuos, mit seinem federnden Um-pah der Bass und doch mehr als ein Rhythmusknecht. Ein starker Tröter vor dem Herrn ist auch Andreas Tschopp an der Posaune, ein gefragter Mann für jazzige XL-Formate, kein Wunder, bei seinem Temperament.
    [Show full text]
  • BAM Presents Brazilian Superstar Marisa Monte in Concert, May 1 & 2
    BAM presents Brazilian superstar Marisa Monte in concert, May 1 & 2 SAMBA NOISE Marisa Monte With special guests Arto Lindsay, Seu Jorge, and more TBA BAM Howard Gilman Opera House (30 Lafayette Ave) May 1 & 2 at 8pm Tickets start at $35 April 8, 2015/Brooklyn, NY—Renowned Brazilian singer/songwriter Marisa Monte makes her BAM debut with two nights of contemporary Brazilian popular music in a show specifically conceived for the BAM Howard Gilman Opera House. The performances feature Monte’s hand-picked band and guest artists. Praised by The New York Times as possessing “one of the most exquisite voices in Brazilian music,” Marisa Monte has been the benchmark for excellence among female singers in Brazil since she burst upon the scene in 1987. As she approaches the 30-year mark of her career, she still commands the same admiration and prestige that greeted her stunning debut. Her 12 CDs and seven DVDs have sold over 10 million copies worldwide and garnered 11 Latin Grammy Award nominations (winning four) and eight Video Music Brazil awards. For her BAM debut, she will perform with artists that are closely associated with her, including American producer/composer Arto Lindsay, Brazilian singer/songwriter/actor Seu Jorge, and others to be announced. About the Artists Born in Rio de Janeiro, the home of samba, Marisa Monte honed her singing skills with operatic training in in Italy. Her work embraces the traditions of MPB (música popular brasileira) and samba within a pop format that is modern and sophisticated. Aside from being a talented composer—she recorded her own work starting with her second album, Mais (EMI-Odeon, 1991), produced by Arto Lindsay—Monte is considered one of the most versatile performers in Brazil.
    [Show full text]
  • An Ethnomusicology of Disability Alex Lubet, Ph.D. School of Music University of Minnesota
    CORE Metadata, citation and similar papers at core.ac.uk Provided by ScholarSpace at University of Hawai'i at Manoa Tunes of Impairment: An Ethnomusicology of Disability Alex Lubet, Ph.D. School of Music University of Minnesota Abstract: "Tunes of Impairment: An Ethnomusicology of Disability" contemplates the theory and methodology of disability studies in music, a sub-field currently in only its earliest phase of development. The article employs as its test case the field of Western art ("classical") music and examines the reasons for the near total exclusion from training and participation in music performance and composition by people with disabilities. Among the issues around which the case is built are left-handedness as a disability; gender construction in classical music and its interface with disability; canon formation, the classical notion of artistic perfection and its analogy to the flawless (unimpaired) body; and technological and organizational accommodations in music-making present and future. Key words: music; disability; classical Introduction: The Social Model of Disability Current scholarship in Disability Studies (DS) and disability rights activism both subscribe to the social modeli that defines disability as a construct correlated to biological impairment in a manner analogous to the relationship between gender and sex in feminist theory.ii Disability is thus a largely oppressive practice that cultures visit upon persons with, or regarded as having, functional impairments. While social constructs of femininity may not always be oppressive, the inherent negative implications of 'dis-ability' automatically imply oppression or at least dis-advantage. Like constructions of gender, categorizations of disability are fluid; variable between and within cultures.
    [Show full text]