Winter 2007 Season 128Th Annual Season Event Program Book Friday
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CNMAT Notes.Indd
CAL PERFORMANCES PRESENTS Saturday, February 11, 2006, 8 pm Hertz Hall CNMAT Presents: Mark Dresser, Myra Melford, Bob Ostertag, David Wessel Th is presentation is made possible, in part, by the generous support of Liz and Greg Lutz. Cal Performances thanks our Centennial Season Sponsor, Wells Fargo. CAL PERFORMANCES 29 ABOUT THE ARTISTS ABOUT THE ARTISTS Jazziz magazine noted, “Th e confi dence to go included the Kronos Quartet, avant-gardists so far into uncharted territory and the ability John Zorn and Fred Frith, heavy metal star to carry listeners along—then bring them Mike Patton, jazz great Anthony Braxton, back—attest to Melford’s vision.” dyke punk rocker Lynn Breedlove, drag diva Myra Melford is currently Assistant Justin Bond, fi lmmaker Pierre Hébert and Professor of Improvisation and Jazz in the others. He is rumored to have connections Department of Music at the University of to the shadowy media guerrilla group Th e California, Berkeley. Yes Men. Bob Ostertag recently joined the Department of Technocultural Studies at the University of California, Davis, where he is an Associate Professor. Myra Melford (piano and electronics) is “the genuine article, the most gifted pianist/ Mark Dresser has been composing and composer to emerge from jazz since Anthony performing solo contrabass and ensemble Davis,” according to critic Francis Davis. A music professionally throughout North composer and bandleader with a “commitment Composer, performer, instrument builder, America, Europe and the Far East since to refreshing, often surprising uses of melody, journalist, activist, historian, kayak instruc- 1972. He has recorded more than 100 CDs harmony and ensemble playing,” according to tor—Bob Ostertag’s work cannot easily be with some of the strongest personalities in NPR, Melford currently leads or co-leads four summarized or pigeon-holed. -
~La6(8Ill COMPA.NIES INC
October 1999 Brooklyn Academy of Music 1999 Next Wave Festival BAMcinematek Brooklyn Philharmonic 651 ARTS ~' pi I'" T if II' II i fl ,- ,.. til 1 ~ - - . I I I' " . ,I •[, II' , 1 , i 1'1 1/ I I; , ~II m Jennifer Bartleli, House: Large Grid, 1998 BAM Next Wave Festival sponsored by PHILIP MORRIS ~lA6(8Ill COMPA.NIES INC. Brooklyn Academy of Music Bruce C. Ratner Chairman of the Board Karen Brooks Hopkins Joseph V. Melillo President Executive Prod ucer presents Moby Dick Running time: BAM Opera House approximately ninety October 5, 1999, at 7:00 p.m. (Next Wave Festival Gala) minutes. Songs and October 6-9 & 12-16, 1999, at 7:30 p.m. Stories from Moby Dick is performed without an Visual Design, Music, and Lyrics Laurie Anderson intermission. Performers Pip, The Whale, A Reader Laurie Anderson Ahab, Noah, Explorer Tom Nelis The Cook, Second Mate, Running Man Price Waldman Standing Man Anthony Turner Falling Man Miles Green Musicians Violin, keyboards, guitar, talking stick Laurie Anderson Bass, prepared bass, samples Skuli Sverrisson Artistic Collaborators Co-Visual Design Christopher Kondek Co-Set Design James Schuette Lighting Design Michael Chybowski Sound Design Miles Green Costume Design Susan Hilferty Electronics Design Bob Bielecki Video Systems Design Ben Rubin Staging Co-Direction Anne Bogart General Management Julie Crosby Production Management Bohdan Bushell Production Stage Management Lisa Porter Major support for this presentation was provided by The Ford Foundation with additional support from The Dime Savings Bank of New York, FSB. Next Wave Festival Gala is sponsored by Philip Morris Companies Inc. 17 Produced by electronic theater company, Inc. -
Johnny O'neal
OCTOBER 2017—ISSUE 186 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM BOBDOROUGH from bebop to schoolhouse VOCALS ISSUE JOHNNY JEN RUTH BETTY O’NEAL SHYU PRICE ROCHÉ 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 2017—ISSUE 186 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 NEw York@Night 4 Laurence Donohue-Greene: Interview : JOHNNY O’NEAL 6 by alex henderson [email protected] Andrey Henkin: [email protected] Artist Feature : JEN SHYU 7 by suzanne lorge General Inquiries: [email protected] ON The Cover : BOB DOROUGH 8 by marilyn lester Advertising: [email protected] Encore : ruth price by andy vélez Calendar: 10 [email protected] VOXNews: Lest We Forget : betty rochÉ 10 by ori dagan [email protected] LAbel Spotlight : southport by alex henderson US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or VOXNEwS 11 by suzanne lorge money order to the address above or email [email protected] obituaries Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Fred Bouchard, Festival Report Stuart Broomer, Robert Bush, 13 Thomas Conrad, Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, special feature 14 by andrey henkin Anders Griffen, Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, CD ReviewS 16 Suzanne Lorge, Mark Keresman, Marc Medwin, Russ Musto, John Pietaro, Joel Roberts, Miscellany 41 John Sharpe, Elliott Simon, Andrew Vélez, Scott Yanow Event Calendar Contributing Writers 42 Brian Charette, Ori Dagan, George Kanzler, Jim Motavalli “Think before you speak.” It’s something we teach to our children early on, a most basic lesson for living in a society. -
Music, Politics, People, and Machines
Critical Studies in Improvisation / Études critiques en improvisation, Vol 6, No 2 (2010) Book Review Creative Life: Music, Politics, People, and Machines Bob Ostertag Urbana: U of Illinois P, 2009 ISBN-10: 025207646X ISBN-13: 978-0252076466 194 pages Reviewed by Rob Wallace The title of Bob Ostertag’s third book is more accurately rendered as Creative Life Music Politics People and Machines—a continuous stream of concepts connected precariously only through Ostertag himself. The key term is “creative,” along with the equally important “people.” For while Ostertag’s book is on the one hand a collection of essays touching on various aspects of his own biography and artwork, it is also a series of engaging and at times very moving portraits of his contemporaries. Profiling such figures as Anthony Braxton, David Wojnarowicz, Jim Magee, “Maria,” Aleksandra Kostic, and Justin Bond, Creative Life is a story of many creative “lives” that in some way have intersected with the creative life of the protagonist, Ostertag. Some of these lives may be familiar to readers, some not so familiar, and that latter fact is one of the book’s greatest strengths: as an advocate of artists in particular and interesting people in general, Ostertag’s narrative makes the individuals he meets seem intriguing and potentially life-changing, regardless of their level of “fame” in their respective worlds. The information about Texas-based artist Jim Magee, for example, is reason enough to read the book (and if you are unfamiliar with Magee, as I was, take my word for it and read Ostertag’s profile). -
Variations #6
Curatorial > VARIATIONS VARIATIONS #6 With this section, RWM continues a line of programmes devoted to exploring the complex map of sound art from The Library different points of view organised in curatorial series. We encounter the establishment of sound libraries, collections explicitly curated 'Variation' is the formal term for a musical composition based for further use: sound objects presented as authorless, unfinished ingredients. on a previous musical work, and many of those traditional Though some libraries contain newly commissioned generic sounds, specifically methods (changing the key, meter, rhythm, harmonies or designed for maximum flexibility, the most widely used sounds are often sourced tempi of a piece) are used in much the same manner today from commercial recordings, freed from their original context to propagate across by sampling musicians. But the practice of sampling is more dozens to hundreds of songs. From presets for digital samplers to data CD-ROMs than a simple modernization or expansion of the number of to hip-hop battle records, sounds increasingly detach from their sources, used options available to those who seek their inspiration in the less as references to any original moment, and more as objects in a continuous refinement of previous composition. The history of this music public domain. traces nearly as far back as the advent of recording, and its As hip-hop undergoes a conservative retrenchment in the wake of the early emergence and development mirrors the increasingly self- nineties sampling lawsuits, a widening variety of composers and groups expand conscious relationship of society to its experience of music. the practice of appropriative audio collage as a formal discipline. -
Saturday-Night-Fever.Pdf
® PHILADELPHIA, PENNSYLVANIA PLAYBILL.COM PLAYBILLVAULT.PLAYBILL.COMCOM PLAYBILLVAULT.COM 06-01 SatNightFever2_Live.indd 1 5/12/17 3:22 PM Dear Theatregoer, Welcome to Saturday Night Fever! I am so glad to have you as our guest for this incredible season finale. The energy this cast brings to the stage will make you want to get up and dance to the iconic music from the legendary Bee Gees. I’m thrilled to share this electrifying production with you. Next season the excitement continues on our Mainstage with a spectacular line-up. The 2017–18 season will begin with Broadway’s classic Tony Award-winning Best Musical A Funny Thing Happened On the Way to the Forum. You’ll meet Pseudolus, a crafty slave who struggles to win the hand of a beautiful, but slow-witted, courtesan for his young master. The plot twists and turns with cases of mistaken identity, slamming doors and a bevy of beautiful showgirls. I think this musical comedy is one of the funniest Broadway shows ever written, and I’m sure you’ll agree. During the holiday season we’ll look to a brighter “tomorrow” with one of the world’s best-loved musicals Annie. This Tony Award- winning Best Musical features some of the greatest musical theatre Photo: Mark Garvin hits ever written including “It’s the Hard Knock Life,” “Easy Street,” and “Tomorrow.” I’m excited to share this exciting production with you and your family, as Annie fills our hearts with joy! Our season continues with The Humans. This comedy won more than 20 Best Play awards in 2016, including the Tony Award. -
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 -
A Zeitgeist Films Release Theatrical Booking Contact: Festival Booking and Publicity Contact
Theatrical Booking Festival Booking and Contact: Publicity Contact: Clemence Taillandier / Zeitgeist Films Nadja Tennstedt / Zeitgeist Films 212-274-1989 x18 212-274-1989 x15 [email protected] [email protected] a zeitgeist films release act of god a film by Jennifer Baichwal Is being hit by lightning a random natural occurrence or a predestined event? Accidents, chance, fate and the elusive quest to make sense out of tragedy underpin director Jennifer Baichwal’s (Manufactured Landscapes) captivating new work, an elegant cinematic meditation on the metaphysical effects of being struck by lightning. To explore these profound questions, Baichwal sought out riveting personal stories from around the world—from a former CIA assassin and a French storm chas- er, to writer Paul Auster and improvisational musician Fred Frith. The philosophical anchor of the film, Auster was caught in a terrifying and deadly storm as a teenager, and it has deeply affected both his life and art: “It opened up a whole realm of speculation that I’ve continued to live with ever since.” In his doctor brother’s laboratory, Frith experiments with his guitar to demonstrate the ubiquity of electricity in our bodies and the universe. Visually dazzling and aurally seductive, Act of God singularly captures the harsh beauty of the skies and the lives of those who have been forever touched by their fury. DIRECTOR’S NOTES I studied philosophy and theology before turning to documentary and, in some ways, the questions I was drawn to then are the ones I still grapple with now, although in a different context. Two of these, which specifically inform this film, are the relationship between meaning and randomness and the classical problem of evil. -
The Chamber Orchestra of Philadelphia 4-RC-21019 6-9-05
UNITED STATES OF AMERICA BEFORE THE NATIONAL LABOR RELATIONS BOARD REGION FOUR CONCERTO SOLOISTS d/b/a THE CHAMBER ORCHESTRA OF PHILADELPHIA1 Employer and Case 4–RC–21019 PHILADELPHIA MUSICIANS’ UNION LOCAL 77, AMERICAN FEDERATION OF MUSICIANS, AFL-CIO2 Petitioner REGIONAL DIRECTOR’S DECISION AND DIRECTION OF ELECTION The Employer, The Chamber Orchestra of Philadelphia, is a small, elite orchestra which performs at concerts and other engagements. The Petitioner, Philadelphia Musicians’ Union Local 77, has filed a petition with the National Labor Relations Board under Section 9(c) of the National Labor Relations Act seeking to represent a unit of the Musicians who perform in the Chamber Orchestra. There are about 33 Musicians in the petitioned-for unit. The Employer contends that the Musicians are independent contractors and thus are excluded from the coverage of the Act. A hearing officer of the Board held a hearing, and the parties filed briefs. I have considered the evidence and the arguments presented by the parties, and as discussed below, I have concluded that the Musicians are statutory employees. Accordingly, I am directing an election in a bargaining unit of the Employer’s Musicians.3 To provide a context for my discussion, I will first present a brief overview of the Employer’s operations. Then, I will review the factors that must be evaluated in determining independent contractor status and present in detail the facts and reasoning that support my conclusion that the Musicians are statutory employees. 1 The Employer’s name was amended at the hearing. 2 The Petitioner’s name was amended at the hearing. -
Philadelphia, Pennsylvania Clichés Rule the Thinking of Most People Who Comment on Philadelphia Without Knowing the 1990S Version of the City
Philadelphia, Pennsylvania Clichés rule the thinking of most people who comment on Philadelphia without knowing the 1990s version of the city. The standard knock is that it’s unhip—the place W.C. Fields thought would be a mite better than six feet under, the spiritual and real home of Dick Clark and his ’50s bandstand beat, the old-fashioned “City of Firsts’’ that never threw off the arts stigma of being Constitution City, birthplace of the nation. A second cliché is that it operates in the shadow of New York. Doesn’t everyone just drive up to Manhattan when an urge for real culture hits? Don’t Philadelphia artists tremble at what New Yorkers think of their work? Don’t Philadelphia audiences diss their local wares as second-rate stuff? The images are as stale as a week-old non- Philadelphia pretzel to those who know. Philadelphia’s arts scene—from historic insti- tutions like The Philadelphia Orchestra to the fast-growing Philadelphia Fringe Festival, from touring Broadway companies to the area’s more than 20 innovative theaters—is bigger and more vibrant than at any point in the city’s history. In recent years, Mayor Ed Rendell has com- mitted his administration to creating an “Avenue of the Arts” with 16 new and renovated arts facil- ities on the city’s South Broad Street— Philadelphia’s historic arts thoroughfare. Private philanthropy has also kicked in. The result so far is three newly constructed playhouses, including a smashing new space for the Wilma Theater and the just-reopened Prince Music Theater, which will serve as base for the former American Music Theater Festival, now renamed the “Prince Music Theater” after its new home. -
Human Bodies, Computer Music Author(S): Bob Ostertag Source: Leonardo Music Journal, Vol. 12, Pleasure, (2002), Pp. 11-14 Publis
Human Bodies, Computer Music Author(s): Bob Ostertag Source: Leonardo Music Journal, Vol. 12, Pleasure, (2002), pp. 11-14 Published by: The MIT Press Stable URL: http://www.jstor.org/stable/1513343 Accessed: 23/07/2008 16:29 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=mitpress. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. http://www.jstor.org Human Bodies, Computer Music ABSTRACT The authorconsiders the absenceof theartist's body in electronicmusic, a missing BobOstertag elementthat he finds crucial to thesuccess of anywork of art. Inreviewing the historical developmentof electronic music frommusique concrete to analogand then digital synthe- sizers,the author finds that the attainmentof increased control iierre Hebert, a frequent collaborator of mine, use outside of research institutions. -
Interweavings.Towards a New View of The
1 INTERWEAVINGS Towards a new view of the relation between composition and improvisation by Nina Polaschegg Translated by Carl Bergstroem-Nielsen*) This article was first published as "Verflechtungen. Zur Neubestimmung des Verhältnisses von Komposition und Improvisation" in MusikTexte 114, August 2007. Our (German) official view of music history since 1945 is still centred on two paradigms which were developed within the Darmstadt Summer Courses. These are serialism on one hand including the reaction against it from the side of Cageians - and aleatorics and other strategies for opening up the musical work on the other. In composed music of today, aleatorics play only an insignificant role, just like strict serialism. Open structures in music works are exceptions within contemporary composition. Thus, the quasi official view of music concerns itself with positions stemming from the origin of New Music after 1950. They admittedly implied a radical thinking through of principal possibilities for employing a new view of the musical work. Consequently they also appeared necessary and revolutionary, but they have remained without a real succession. When employing this view, the dominant view of the developing new contemporary music represses or marginalises the fact that aleatorics and open work structures were only a small part of a diverse movement against the traditional notion of music, musician and musical work. And, remarkably, exactly these repressed dimensions of this reaction have lived on and unfolded a strong influence precisely in recent years. Improvisation plays a central role in these new views – and this is the case inside as well as outside the traditional context of New Music.