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FREE JAZZ & IMPROVISATION IN FILM KUNST KONZERT WORKSHOPS Eintrittspreise: Teilnahme-Gebühr Workshops: Infos/Kontakt/Anmeldung INTERPLAY ! BERLIN 2006: 2. – 5. Juni Workshops/Kartenreservierung: INTERPLAY ! BERLIN Festival-Pass: € 75 Workshop 1: € 65 Free Jazz + Improvisation in Film – (gültig für alle Konzerte + Filme) Improvisations-Workshop mit www.interplay-berlin.net Kunst – Konzert – Workshops 2.-5. Juni 2006 Ermäßigt: € 59 Roy Campbell www.fmp-online.de Veranstaltungsort: (Workshop-Teilnehmer/Studierende) Workshop 2: € 65 www.free-music-production.de Akademie der Künste, Tageskarte (2.6./5.6.): € 18 Big Band Workshop mit Gunter Hampel [email protected] Hanseatenweg 10, 10557 Berlin Tageskarte (3.6./4.6.) € 23 Workshop 3: € 65 [email protected] Tel. (030) 20057-2000, Fax –2175 Einzelkonzert 2./3./4./5.6.: € 11 Jazz On Film mit Ebba Jahn [email protected] U-Bahn: Hansaplatz / S-Bahn: Bellevue Einzelfilm 2./3./4./5.6. : € 5 Workshop 4: € 25 Clubraum-Filmvorführung: € 2 Music For Movies mit Barre Phillips Tel. +49 30 323 75 26 (Helma Schleif) Kartenvorverkauf nur in der Akademie (frei für Workshop-Teilnehmer + Workshop 5: € 40 Tel. 0179 964063 (Ebba Jahn/FilmPals) der Künste Festivalpass-Inhaber) Double Bass Master-Class mit Fax +49 30 324 94 31 Barre Phillips Kartenreservierung/ Stand: April 2006 FMP FREE MUSIC PRODUCTION Workshop-Anmeldung: (Programmänderungen vorbehalten) Workshop 6: € 25 Tanz-Workshop mit Maria Mitchell Distribution & Communication [email protected] Workshop 7: € 25 Markgraf-Albrecht-Str. 14, 10711 Berlin [email protected] Zeichen-Workshop mit Jeff Schlanger Mit Dank an Michael Snow www.rhapsodyfilms.com New York State Council on the Arts Stiftung Mit freundlicher Stadtmuseum Unterstützung der Berlin Botschaft der Vereinigten Staaten von Amerika INTRO Anknüpfend an den Workshop Freie Musik, der bis 1998 alljährlich in der Ebba Jahn zeigt ihren 1985 in New York gedrehten Jazzfilm RISING TONES Multimedia Performances: Um Musik – Tanz – Malerei geht es auch bei der New Yorker Gruppe um Akademie der Künste stattfand, vereint dieses Pfingst-Festival, nunmehr CROSS mit Charles Gayle, William und Patricia Parker, Peter Kowald, Peter Eigene Experimentalfilme, darunter„all along the line“ (1992), „La mémoire den Trompeter und Flötisten Roy Campbell, bestehend aus der Tänzerin mit erweitertem Konzept, zahlreiche Werke unterschiedlicher Kunstgattun- Brötzmann, Irène Schweizer, Rüdiger Carl, AR Penck, Charles Tyler, Roy et la main“ (1985), „explico“ (1984) und „cellophan“ (1982), konzipiert für Maria Mitchell, dem Bassisten Peter Giron und Schlagzeuger John Betsch– gen, die eines gemeinsam haben: die Arbeit an und mit der Improvisierten Campbell, John Betsch, Maria Mitchell, u.v.a. wie auch die Videodokumen- Musiker und Tänzer, zeigt Günter Christman, der sich darüber hinaus in der einst Protagonisten des Films RISING TONES CROSS von Ebba Jahn (1985). Musik und dem Instant Composing. tation einer Performance des Workshops Freie Musik in der Akademie Ausstellung mit einer kleinen Foto-Werkreihe und CD-Cover-Unikaten prä- Den Auftritt dokumentiert der ebenfalls aus New York stammende ´jazz der Künste von 1983 mit AR Penck, Peter Kowald, Phil Minton und Max sentiert. action painter´ und musicWitness® Jeff Schlanger, der seit mehr als 30 Internationale Filmemacher, Musiker, Tänzer, Performancekünstler und Eastley. Jahren Avantgarde Jazzmusiker während ihrer Performance zeichnet. Maler präsentieren auf der Studio-Bühne (Film/Konzert/Multimedia- Ein Novum ist der Auftritt des niederländischen Duos PDQ^D von Petra Performance), im Studio-Foyer (Ausstellung/Gespräche/Filmothek) und in Zu den Filmraritäten gehören u.a. die Kurzfilme DAYBREAK EXPRESS von Dolleman (Live Images) und Peter van Bergen (Live Music). Sie arbeiten Musik + Tanz: Workshops (Clubraum/Studio) ihre Werke. DA Pennebaker (USA 1953), NEW YORK EYE AND EAR CONTROL von Michael seit längerer Zeit an einem Konzept für Bilder und Klänge unter Verwen- Eröffnet wird das musikalische Programm von Interplay ! Berlin mit einer Snow (USA 1964) und AMBITUS. CECIL TAYLOR À PARIS von Luc Ferrari dung von tradierten Techniken und neuesten Technologien und treten hier Performance der 2001 gegründeten Gunter Hampel Music and Dance Die Filme: und Gérard Patris (Frankreich 1964). zum ersten Mal als Duo auf. Company. In deutscher Erstaufführung zeigen wir u.a. fünf Filme: IRÈNE SCHWEIZER In Wiederaufführung zeigen wir CECIL TAYLOR: ALL THE NOTES von von Gitta Gsell (Schweiz 2005), FEMMES DU JAZZ/WOMEN IN JAZZ von Christopher Felver (USA 2004), die zweiteilige Filmdokumentation SMITH, Die Performance-Gruppe GOKAN (japanisch: ´die Sinne´), 1990 von Helge Solo-Konzert: Gilles Corre (Frankreich 2000), MY NAME IS ALBERT AYLER von Kasper JAMES O. – ORGANIST USA von Klaus Wildenhahn (BRD 1965) sowie Leiberg, Lothar Fiedler, Dietmar Diesner sowie der Tänzerin Noriko Wada Irène Schweizer, die Pionierin des freien Klavierspiels, gibt vor der Collin (Schweden 2005), die Dokumentation der Proben und Aufnahmen KONZERT IM FREIEN (mit Günter ´Baby´ Sommer und Dietmar Diesner) gegründet, von der auch die Namensidee stammt, zeigt, nunmehr in Zu- Aufführung des ihr gewidmeten Filmes ein Solokonzert. von Carla Bleys Oper ESCALATOR OVER THE HILL (Steve Gebhardt, 1970/ von Jürgen Böttcher/Strawalde (D 2001). sammenarbeit mit der Tänzerin Fine Kwiatkowski – seit 1995 festes Mit- 2005) sowie IMAGINE THE SOUND von Ron Mann (Kanada 1981). glied der Gruppe – ihr Improvisationsgesamtkunstwerk aus Malerei, Musik Ausstellung: Filmemacherinnen wie Shirley Clarke, Charlotte Zwerin und Steina Vasulka Film – Musik: und Tanz. In einer Ausstellung präsentieren wir von 2. - 5. Juni einige Arbeiten mit- sind mit wegweisenden Arbeiten über einige der amerikanischen ´Jazz- Um Film-Bilder geht es auch bei dem Programm FILM MUSIQUE IMAGINAIRE wirkender Künstler, darunter Bilder von Jeff Schlanger, Ölgemälde und Giants´ vertreten, darunter ORNETTE COLEMAN: MADE IN USA (1985), von und mit Wolfgang Fuchs (cbcl, bcl, ssi, cl), Barre Phillips (b) und Peter Cover von Gunter Hampel, Fotoarbeiten und CD-Cover-Unikate von THELONIOUS MONK: STRAIGHT NO CHASER (1988) und DON CHERRY (1970). Klinkenberg (Geräuschemacher), die hier zum ersten Mal im Trio auftreten. Günter Christmann, Audio-Arbeiten von Michael Snow sowie Gemälde von Helge Leiberg und Jürgen Böttcher/Strawalde. INTRO Workshops/Filmgespräche: Danksagung: A follow-up to the regularly held Workshop Freie Musik at the Akademie Among the rarities these short films can be found: DAYBREAK EXPRESS In sieben Workshops unter Leitung von Jeff Schlanger, Barre Phillips, Wir danken allen beteiligten Künstlerinnen und Künstlern für ihre Mit- der Künste up to 1998, INTERPLAY ! BERLIN extends the format to various by DA Pennebaker (USA, 1953), NEW YORK EYE AND EAR CONTROL by Gunter Hampel, Ebba Jahn, Maria Mitchell und Roy Campbell sowie in wirkung und Unterstützung. genres of all arts with these common denominators: Improvised Music Michael Snow (USA, 1964), AMBITUS. CECIL TAYLOR À PARIS by Luc Ferrari zahlreichen Podiumsgesprächen gibt es darüber hinaus Gelegenheit, die Unser Dank gilt darüber hinaus besonders unserem Kooperationspartner and Instant Composing. and Gérard Patris (France, 1964) praktische und theoretische Auseinandersetzung mit dem jeweiligen Thema Akademie der Künste (Film- und Medienkunst, Elektro-akustisches Studio) zu vertiefen und mit einzelnen Künstlern zu arbeiten (siehe Workshop- sowie dem FilmMuseum Berlin/Deutsche Kinemathek. International filmmakers, musicians, dancers, performance artists and Also films of critical acclaim are CECIL TAYLOR: ALL THE NOTES by Liste/Anmeldeformular www.interplay-berlin.net und www.fmp-online.de). Ermöglicht wurde das Projekt durch die Förderung des Hauptstadtkultur- painters present their works on the Studio Stage (films/concerts/multi- Christopher Felver (USA, 2004), the two-part documentary SMITH, JAMES fonds. Auch ihm gilt unser herzlicher Dank. media performances), in the Studio Foyer (exhibitions/talks/film library), O. – ORGANIST USA by Klaus Wildenhahn (West Germany, 1965), as well Filmothek: Tatkräftig unterstützt wurden wir ebenfalls von The New York State and in workshops (club room/studio). as KONZERT IM FREIEN/OPEN AIR CONCERT by Jürgen Böttcher/Strawalde Im Ausstellungsbereich befindet sich auch die Filmothek mit weiteren Council on the Arts, der Botschaft der Vereinigten Staaten von Amerika, (Germany, 2001), featuring Günter ‘Baby’ Sommer and Dietmar Diesner. Musikfilmen, die für die Dauer des Festivals täglich ab 11 Uhr geöffnet ist. der Botschaft des Königreichs Schweden, der Stadt Zürich, Reck PROGRAM Dort können Filme auf DVD oder Video kostenlos ausgeliehen und Filmproduktion, BBK, Stiftung Stadtmuseum Berlin, Skoda, MerzMusik Five films shown are German premières: IRÈNE SCHWEIZER by Gitta Gsell A performance with Wolfgang Fuchs (cbcl, bcl, ssi, cl), Barre Phillips (b), gesichtet werden. und Rhapsody Films. (Switzerland, 2005); FEMMES DU JAZZ/WOMEN IN JAZZ by Gilles Corre and Peter Klinkenberg (sound effects) unfolds an imaginary film sound- Wir danken allen Filmemachern und Partnern, die uns für diesen Zweck (France, 2000); MY NAME IS ALBERT AYLER by Kasper Collin (Sweden, track (FILM MUSIQUE IMAGINAIRE). ihre Arbeiten zur Verfügung stellten, darunter insbesondere: Jane Balfour, 2005); ESCALATOR OVER THE HILL by Steve Gebhardt (USA, 1970/2005) Konstanze Binder, Karen Brookman (Incus), Gilles Corre (DocAdhoc), Helma Schleif Ebba Jahn and IMAGINE THE SOUND by Ron Mann (Canada,
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  • Signifyin(G) with the Dead Musical Memorialization and Consolation at John Coltrane’S Funeral

    Signifyin(G) with the Dead Musical Memorialization and Consolation at John Coltrane’S Funeral

    Signifyin(g) with the Dead Musical memorialization and consolation at John Coltrane’s funeral Kevin Laskey MUS 507 Professor Keith Johnston December 8, 2014 On July 17, 1967, tenor saxophonist John Coltrane died of liver cancer at Huntington Hopsital in Huntington, New York. He was forty years old. Coltrane was arguably the central figure of the rapidly-evolving New York jazz scene at the time, and his death came as a shock to the musical community. Trumpeter Miles Davis, one of Coltrane’s former bandleaders, said, "Coltrane's death… took everyone by surprise. I knew he hadn't looked too good... But I didn't know he was that sick—or even sick at all.”1 Coltrane’s funeral would be held four days later at St. Peter’s Lutheran Church on Lexington Avenue and 54th street in Manhattan. St. Peter’s was an ideal setting for the funeral, as under the leadership of pastor John Garcia Gensel, the church had embraced New York’s diverse jazz community through a “jazz ministry” founded in 1964.2 Reporters estimated that nearly one thousand people filled the church for the service, including a who’s who of New York jazz musicians: Dizzy Gillespie, Max Roach, Gerry Mulligan, Archie Shepp, Milt Jackson, and Nina Simone, to name a few.3 The service featured readings, including friend and trumpeter Calvin Massey reciting Coltrane’s poem “A Love Supreme,” and musical performances by Coltrane’s saxophonist-peers Albert Ayler and Ornette Coleman.4 Ayler’s quartet, featuring Donald Ayler on trumpet, Richard Davis on bass, and Milford Graves on drums, opened the ceremony, while Coleman’s quartet, featuring David Izenson and Charlie Haden on bass, and Charles Moffett on drums, played just 1 Qtd in.