WEDS@7 ROSCOE MITCHELL WEDS@7 ROSCOE MITCHELL March 2, 2016 – 7:00 P.M

Total Page:16

File Type:pdf, Size:1020Kb

WEDS@7 ROSCOE MITCHELL WEDS@7 ROSCOE MITCHELL March 2, 2016 – 7:00 P.M UC San Diego | Division of Arts & Humanities | Department of Music UC San Diego | Division of Arts & Humanities | Department of Music WEDS@7 ROSCOE MITCHELL WEDS@7 ROSCOE MITCHELL March 2, 2016 – 7:00 p.m. March 2, 2016 – 7:00 p.m. Conrad Prebys Music Center Conrad Prebys Music Center Experimental Theater Experimental Theater Roscoe Mitchell – saxophone Roscoe Mitchell – saxophone Nicole Mitchell – flute & alto flute Nicole Mitchell – flute & alto flute Drew Ceccato – tenor saxophone Drew Ceccato – tenor saxophone Stephanie Richards – trumpet Stephanie Richards – trumpet Kjell Nordeson – vibraphone Kjell Nordeson – vibraphone Sean Dowgray – marimba Sean Dowgray – marimba Mike Reed – percussion Mike Reed – percussion Anthony Davis – piano Anthony Davis – piano Judith Hamann – cello Judith Hamann – cello Mark Dresser – bass Mark Dresser – bass Kyle Motl – bass Kyle Motl – bass Tommy Babin – bass Tommy Babin – bass Matt Kline – conductor Matt Kline – conductor The concert features the premiere of the work: The concert features the premiere of the work: CARDS IN THE FACES OF ROSES FOR ELEVEN CARDS IN THE FACES OF ROSES FOR ELEVEN as well as music for quartet and quintet. as well as music for quartet and quintet. ROSCOE MITCHELL, internationally renowned musician, composer, and ROSCOE MITCHELL, internationally renowned musician, composer, and innovator, began his distinguished career in the spirited 1960s of Chicago, Illinois. innovator, began his distinguished career in the spirited 1960s of Chicago, Illinois. His role in the resurrection of long neglected woodwind instruments of extreme His role in the resurrection of long neglected woodwind instruments of extreme register, his innovation as a solo woodwind performer, and his reassertion of the register, his innovation as a solo woodwind performer, and his reassertion of the composer into what has traditionally been an improvisational form have placed composer into what has traditionally been an improvisational form have placed him at the forefront of contemporary music for over four decades. A leader in him at the forefront of contemporary music for over four decades. A leader in the field of avant-garde jazz and contemporary music, Mr. Mitchell is a founding the field of avant-garde jazz and contemporary music, Mr. Mitchell is a founding member of the world renowned Art Ensemble of Chicago, the Association for the member of the world renowned Art Ensemble of Chicago, the Association for the Advancement of Creative Musicians, and the Trio Space. Mr. Mitchell is the Advancement of Creative Musicians, and the Trio Space. Mr. Mitchell is the founder of the Creative Arts Collective of East Lansing, Michigan, The Roscoe Mitchell founder of the Creative Arts Collective of East Lansing, Michigan, The Roscoe Mitchell Sextet, The Roscoe Mitchell Quartet, The Roscoe Mitchell Art Ensemble, The Sound Sextet, The Roscoe Mitchell Quartet, The Roscoe Mitchell Art Ensemble, The Sound Ensemble, The Roscoe Mitchell New Chamber Ensemble, and Roscoe Mitchell and the Ensemble, The Roscoe Mitchell New Chamber Ensemble, and Roscoe Mitchell and the Note Factory. Mr. Mitchell has recorded over 100 albums and has written hundreds of Note Factory. Mr. Mitchell has recorded over 100 albums and has written hundreds of compositions. His compositions range from classical to contemporary, from wild and compositions. His compositions range from classical to contemporary, from wild and forceful free jazz to ornate chamber music. His instrumental expertise includes the forceful free jazz to ornate chamber music. His instrumental expertise includes the saxophone family, from the sopranino to the bass saxophone; the recorder family, saxophone family, from the sopranino to the bass saxophone; the recorder family, from sopranino to great bass recorder; flute, piccolo, clarinet, and the transverse flute. from sopranino to great bass recorder; flute, piccolo, clarinet, and the transverse flute. Also, for over 35 years, he has designed an elaborate percussion instrument called Also, for over 35 years, he has designed an elaborate percussion instrument called the Percussion Cage, consisting of instruments from America, China, Tibet, Africa, the Percussion Cage, consisting of instruments from America, China, Tibet, Africa, Australia, Switzerland, France, Germany, Italy, and Turkey, as well many found Australia, Switzerland, France, Germany, Italy, and Turkey, as well many found instruments. instruments. As a drummer, MIKE REED has been part of the vibrant Chicago jazz and As a drummer, MIKE REED has been part of the vibrant Chicago jazz and improvised music community since 1997. He has performed regularly with local improvised music community since 1997. He has performed regularly with local luminaries such as Fred Anderson, David Boykin, Nicole Mitchell, Jeff Parker, Josh luminaries such as Fred Anderson, David Boykin, Nicole Mitchell, Jeff Parker, Josh Abrams, Jim Baker, and Rob Mazurek, as well as Chicago Jazz legends Ira Sullivan, Abrams, Jim Baker, and Rob Mazurek, as well as Chicago Jazz legends Ira Sullivan, Julian Priester and Art Hoyle. As a performer he tours extensively in Europe and Julian Priester and Art Hoyle. As a performer he tours extensively in Europe and South America. While performing in a variety of projects locally, nationally and South America. While performing in a variety of projects locally, nationally and internationally, Reed also leads two widely acclaimed groups, Loose Assembly and internationally, Reed also leads two widely acclaimed groups, Loose Assembly and People, Places & Things. Reed was named Chicagoan of the Year for Jazz (2008) by People, Places & Things. Reed was named Chicagoan of the Year for Jazz (2008) by the Chicago Tribune and in the 57th annual Downbeat critics poll was distinguished the Chicago Tribune and in the 57th annual Downbeat critics poll was distinguished as “Rising Jazz Star”. (People, Places & Things also named as “Rising Jazz Group”.) as “Rising Jazz Star”. (People, Places & Things also named as “Rising Jazz Group”.) Contact us for information on upcoming concerts: Contact us for information on upcoming concerts: Music Box Office: (858) 534-3448 | http://music.ucsd.edu/concerts Music Box Office: (858) 534-3448 | http://music.ucsd.edu/concerts Audience members are reminded to please silence all phones and noise generating Audience members are reminded to please silence all phones and noise generating devices before the performance. As a matter of courtesy and copyright law, no unauthorized devices before the performance. As a matter of courtesy and copyright law, no unauthorized recording or photographing is allowed in the hall. UC San Diego is a non-smoking campus. recording or photographing is allowed in the hall. UC San Diego is a non-smoking campus..
Recommended publications
  • Rob Mazurek Interview: Galaxial & Celestial by Jordan Mainzer -December 10, 2020
    Rob Mazurek Interview: Galaxial & Celestial By Jordan Mainzer -December 10, 2020 At a time when we can’t physically feed off of Mazurek doesn’t play much on the record, each other’s energy, Rob Mazurek has provid- offering his trademark cornet but mostly ed an album that allows even the most meta- arranging the music for the twelve other physically skeptical feel a connection. Dimen- musicians, who play in tandem referencing sional Stardust is his latest with the Exploding a swath of genres and aesthetics. Ohmme’s Star Orchestra, the avant-garde collective he’s Macie Stewart’s violin and Tomeka Reid’s fronted since a 2005 co-commission from the cello intertwine with Damon Locks’ spoken Chicago Cultural Center and the Jazz Insti- word (which appears throughout the album), tute of Chicago, and its levels of long-distance minimal techno beats, and Coltrane-inspired expression are seemingly infinite. The record’s piano on highlight “Galaxy 1000”. With its creation story itself, pre-pandemic, is evidence opening fluttering flutes and string plucks, enough of the power of art even when collab- “Parable of Inclusion” sways along like a sea orators are technically alone. Mazurek wrote shanty. Closer “Autumn Pleiades” juxtapos- the material after JazzFest Berlin curator es solemn orchestral swells with percussive, Nadin Deventer invited him to present a Ber- electroacoustic blips. And only a couple lin-meets-Chicago iteration of ESO in Ger- songs feature prominent solos, but they’re many; when Mazurek returned to Chicago, mammoths: opener “Sun Core Tet”, buoyed venerable jazz label International Anthem in by Nicole Mitchell’s flute among clattering turn invited their roster and friends to record percussion and muted horns, and “The Ca- his new music.
    [Show full text]
  • RETURN the TIDES: ASCENSION SUITE and HOLY GHOST (Cuneiform Rune 399) Format: CD / 2Xlp / DIGITAL
    Bio information: ROB MAZUREK AND BLACK CUBE SP Title: RETURN THE TIDES: ASCENSION SUITE AND HOLY GHOST (Cuneiform Rune 399) Format: CD / 2xLP / DIGITAL Cuneiform promotion dept: (301) 589-8894 / fax (301) 589-1819 email: joyce [-at-] cuneiformrecords.com (Press & world radio); radio [-at-] cuneiformrecords.com (North American & world radio) www.cuneiformrecords.com FILE UNDER: JAZZ / AVANT-JAZZ In the Wake of an Epic Loss, A Tidal Wave of Extraordinary Music is Unleashed and Recorded in Sao Paulo, Brazil by Rob Mazurek and Black Cube SP Creating – Return the Tides: Ascension Suite and Holy Ghost – a Transcendent Psychedelic Spiritual Music for Modern Times Sometimes there are no words. But music can speak volumes when life requires a response to the most profound and wrenching of losses, channeling the deepest feelings, expressing the ineffable and providing emotional and spiritual succor. For Rob Mazurek, the brilliant Chicago cornetist, composer and conceptualist improviser who has honed an international coterie of collaborators, the sudden and unexpected passing of his mother Kathleen Mazurek in May of 2013 set him on a quest to honor her bountiful spirit and acknowledge her transition to another realm. Not surprisingly, he found exactly what he needed in São Paulo, Brazil. Working with five sonic explorers in Black Cube SP, a sextet that builds on the celebrated São Paulo Underground collective trio with drummer Mauricio Takara and keyboardist Guilherme Granado, he created Return the Tides: Ascension Suite and Holy Ghost, a startlingly cathartic and magisterial modern psychedelic spiritual that’s as riveting as it is ravishing. The album is Mazurek’s latest breathtaking project on Cuneiform.
    [Show full text]
  • Brazilian/American Trio São Paulo Underground Expands Psycho-Tropicalia Into New Dimensions on Cantos Invisíveis, a Global Tapestry That Transcends Place & Time
    Bio information: SÃO PAULO UNDERGROUND Title: CANTOS INVISÍVEIS (Cuneiform Rune 423) Format: CD / DIGITAL Cuneiform Promotion Dept: (301) 589-8894 / Fax (301) 589-1819 Press and world radio: [email protected] | North American and world radio: [email protected] www.cuneiformrecords.com FILE UNDER: JAZZ / TROPICALIA / ELECTRONIC / WORLD / PSYCHEDELIC / POST-JAZZ RELEASE DATE: OCTOBER 14, 2016 Brazilian/American Trio São Paulo Underground Expands Psycho-Tropicalia into New Dimensions on Cantos Invisíveis, a Global Tapestry that Transcends Place & Time Cantos Invisíveis is a wondrous album, a startling slab of 21st century trans-global music that mesmerizes, exhilarates and transports the listener to surreal dreamlands astride the equator. Never before has the fearless post-jazz, trans-continental trio São Paulo Underground sounded more confident than here on their fifth album and third release for Cuneiform. Weaving together a borderless electro-acoustic tapestry of North and South American, African and Asian, traditional folk and modern jazz, rock and electronica, the trio create music at once intimate and universal. On Cantos Invisíveis, nine tracks celebrate humanity by evoking lost haunts, enduring love, and the sheer delirious joy of making music together. São Paulo Underground fully manifests its expansive vision of a universal global music, one that blurs edges, transcends genres, defies national and temporal borders, and embraces humankind in its myriad physical and spiritual dimensions. Featuring three multi-instrumentalists, São Paulo Underground is the creation of Chicago-reared polymath Rob Mazurek (cornet, Mellotron, modular synthesizer, Moog Paraphonic, OP-1, percussion and voice) and two Brazilian masters of modern psycho- Tropicalia -- Mauricio Takara (drums, cavaquinho, electronics, Moog Werkstatt, percussion and voice) and Guilherme Granado (keyboards, synthesizers, sampler, percussion and voice).
    [Show full text]
  • Post-Rock, Chicago School, Jim O'rourke. Über Materialbehandlung in Der Avantgarde Der Populären Musik
    Post-Rock, Chicago School, Jim O'Rourke. Über Materialbehandlung in der Avantgarde der populären Musik Magisterarbeit Universität Lüneburg, Juni 2006 Fakultät I – Bildungs-, Kultur- und Sozialwissenschaften (ehem. Fachbereich III – Angewandte Kulturwissenschaften) vorgelegt von: Tobias Ruderer (Matrikelnummer: 111517) Fasanenweg 5 21337 Lüneburg Tel. 04131-767561 [email protected] Erstgutachter: Dr. Rolf Großmann, Universität Lüneburg Zweitgutachter: Dr. Christian Bielefeldt, Universität Lüneburg Inhaltsverzeichnis Einleitung......................................................................................................................4 1. Theorie des musikalischen Materials.......................................................................8 1.1 Phänomenologische Besonderheiten der Vorstellung eines künstlerischen Materials.....8 1.2 Grundzüge von Adornos Materialtheorie.......................................................................11 1.2.a Materialveränderung als musikimmanenter Prozess...............................................11 1.2.b Der Zwang des Materials........................................................................................13 1.2.c Material und Gesellschaft.......................................................................................15 1.3 Kritik und Probleme des Materialbegriffs......................................................................18 1.4 Stil, Konstruktion, Technik.............................................................................................21 2. Material
    [Show full text]
  • Randy Brecker Randypop! Pete Mccann Range Nicole Mitchell
    ment that he can go deep in any setting, wheth- er it’s the bristling, harmonically challenging opener “Kenny” (his ode to the late trumpet- er/%ugelhornist Kenny Wheeler), the angu- lar, odd-metered “Seventh Jar,” the urgent- ly swinging “Realm” (dedicated to pianist Richie Beirach), the Frisellian heartland bal- lad “To "e Mountains” or the pedal-to-the- metal fusion anthem “Mustard.” "ere’s even a 12-tone-in%uenced piece in the darkly disso- nant “Numinous.” Hey is the invaluable utility in!elder here, acquitting himself brilliantly on acoustic piano (“Kenny,” “Realm,” “Seventh Jar”), Fender Randy Brecker Pete McCann Rhodes electric piano (“Dyad Changes,” Range “Rumble,” “Bridge Scandal”) and organ RandyPOP! WHIRLWIND 4675 (“Mustard”). Saxophonist O’Gallagher, who PILOO RECORDS 009 ++++½ plays cascading unison lines alongside McCann +++½ A remarkable post-Pat Metheny contemporary on several of the intricate heads here, also deliv- ers outstanding solos on the uptempo swingers jazz guitarist, Pete McCann has %own some- With his younger brother Michael, trumpeter “Dyad Changes” and “Realm” and on the rau- what under the radar since the ’90s, though Randy Brecker helped de!ne the sound of early cous “Bridge Scandal.” It’s a formidable, %exi- the quality of his playing and depth of his writ- jazz-rock in out!ts like Dreams and the Brecker ing ranks alongside his generational colleagues ble out!t with a built-in chemistry and an auda- Brothers Band while also accruing an impres- Ben Monder and Kurt Rosenwinkel. He stakes cious streak. —Bill Milkowski sive “straight” jazz resume with everyone out highly original territory on his !$h out- from Horace Silver and Art Blakey to Charles ing as a leader in the company of pianist-key- Range: Kenny; Seventh Jar; Realm; To The Mountains: Mustard; Dyad Changes; Numinous; Bridge Scandal; Rumble; Mine Is Yours.
    [Show full text]
  • Chicago Jazz Visionaries Mike Reed and Jason Adasiewicz Perform Musical Alchemy in New Myth/Old Science, Transforming Discarde
    Bio information: LIVING BY LANTERNS Title: NEW MYTH/OLD SCIENCE (Cuneiform Rune 345) Format: CD / LP Cuneiform publicity/promotion dept.: 301-589-8894 / fax 301-589-1819 email: joyce [-at-] cuneiformrecords.com (Press & world radio); radio [-at-] cuneiformrecords.com (North American & world radio) www.cuneiformrecords.com FILE UNDER: JAZZ / AVANT-JAZZ Chicago Jazz Visionaries Mike Reed and Jason Adasiewicz Perform Musical Alchemy in New Myth/Old Science, Transforming Discarded Sun Ra Rehearsal Tape Into Improvisational Gold with their group Living By Lanterns, An All-Star Nine-Piece Ensemble, Featuring a Mighty Cast of Young Chicago & New York Masters According to some versions of String Theory, ours is but one of an infinite number of universes. But you would need to dig deeply into the cosmological haystack before encountering a project as extraordinary and unlikely as New Myth/Old Science, which brings together an incandescent cast of Chicago and New York improvisers to explore music inspired by a previously unknown recording of Sun Ra. In the hands of drummer Mike Reed and vibraphonist Jason Adasiewicz, who are both invaluable and protean creative forces on Chicago’s vibrant new music scene, Ra’s informal musings serve as a portal for their cohesive but multi-dimensional combo, newly christened Living By Lanterns. Commissioned by Experimental Sound Studio (ESS), the music is one of several projects created in response to material contained in ESS’s vast Sun Ra/El Saturn Audio Archive. Rather than a Sun Ra tribute, Reed and Adasiewicz have crafted a melodically rich, harmonically expansive body of themes orchestrated from fragments extracted from a rehearsal tape marked “NY 1961,” featuring Ra on electric piano, John Gilmore on tenor sax and flute, and Ronnie Boykins on bass.
    [Show full text]
  • A Transatlantic Network for Jazz and Creative Music
    A transatlantic network for jazz and creative music www.accrossthebridges.org The motive of The Bridge is to enable several dozen musicians – among the most active and most creative of the jazzistic field – half based in Chicago and the Midwest, the other half spread across France, to perform and circulate in all possible configurations, year after year, travel after travel, adventure after adventure. 4 exploration and creation travels per year, for ensemble of 4 to 6 French and American musicians 2 travels in France, February & October (Paris, Brest, Nantes, Tours, Poitiers, Toulouse, Vitrolles, Avignon, and Dijon) 2 travels in the USA April-May & Novembre (Chicago, Milwaukee, and the Midwest) Highlighting creative ecosystems On both continents, associated clubs and festivals provide the milestones for the ensembles’ tours / exploratory travels. The Bridge also organizes parallel events and services in schools, conservatories, and universities, for both non-profit and private structures. Keeping the memory, cultivating the imagination The Bridge sees that traces are seeds, that the present can almost be perpetual. Production of discs on the label The Bridge Sessions, oral, written, and visual archives, production of pleasure and knowledge: traces, seeds which will provide, in the long term, an irreplaceable documentation to the audience of jazz and improvised music, industry professionals, music students, researchers working in the field, archivists, activists, and utopists. Vision Statement Jazz – owing to its particular history – has always been an unmatched medium that allowed the sounds and music of different worlds to express themselves with passion and singularity, shaped by a musical art dedicated to collective invention and reinvention.
    [Show full text]
  • Bird's Bebop Brother Goes Home
    gram JAZZ PROMOTING AND NURTURING JAZZ IN CHICAGO SEPTEMBER 2020 WWW.JAZZINCHICAGO.ORG BIRD’S BEBOP BROTHER GOES HOME JOE SEGAL, JIC CO-FOUNDER, 2015 NEA JAZZ MASTER, REMEMBERED BY MUSICIANS AND MUSIC LOVERS BY COREY HALL While our current reality resembles Orson Welles’ War of the Worlds on steroids, let us escape and celebrate Joe Segal -- April 24, 1926-August 10, 2020 -- who brought jazz to Chicago for more than seven decades. Imagine… Scene: August 10, 2020. Place: Tadd’s Hot House. Charlie Parker, firm, fit, and poison-free since March 12, 1955, is sheddin’ “Just Friends” when in walks Joe. “Hey, man! It’s about time!” Bird exclaims, embracing his brother in bop. “What were you up to? Reading the list of upcoming cats?” “I was busy saving the youth,” Joe replies, while readjusting his Cubs cap. “Keeping them safe from the ‘Yookey Dukes!’” Both brothers laugh, embrace again, and then cast their sights down at this page, now a stage, where dudes and dudettes carrying voices, horns and guitars gather to take on this thought prompter: “What song sums up your experience with and/or appreciation of Joe Segal?” (The tunes designated with an asterisk are accompanied by a video available by clicking on the link or thumbnail). Solitaire Anna Miles, vocalist: (*) “I did every gig at the Jazz Showcase with Willie Pickens. We always opened with “Exactly Like You," and if Joe was there, he would sing it with me from the audience, so I think he liked the tune…or at least the way Willie and I did it.
    [Show full text]
  • Sustaining Afrocentric Spiritual Jazz in 21St Century Chicago
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2016 Sacred Freedom: Sustaining Afrocentric Spiritual Jazz in 21St Century Chicago Adam Zanolini The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1617 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] SACRED FREEDOM: SUSTAINING AFROCENTRIC SPIRITUAL JAZZ IN 21ST CENTURY CHICAGO by ADAM ZANOLINI A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2016 © 2016 ADAM ZANOLINI All Rights Reserved ii Sacred Freedom: Sustaining Afrocentric Spiritual Jazz in 21st Century Chicago by Adam Zanolini This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. _________________ __________________________________________ DATE David Grubbs Chair of Examining Committee _________________ __________________________________________ DATE Norman Carey Executive Officer Supervisory Committee: _________________ __________________________________________ DATE Jeffrey Taylor _________________ __________________________________________ DATE Fred Moten _________________ __________________________________________ DATE Michele Wallace iii ABSTRACT Sacred Freedom: Sustaining Afrocentric Spiritual Jazz in 21st Century Chicago by Adam Zanolini Advisor: Jeffrey Taylor This dissertation explores the historical and ideological headwaters of a certain form of Great Black Music that I call Afrocentric spiritual jazz in Chicago. However, that label is quickly expended as the work begins by examining the resistance of these Black musicians to any label.
    [Show full text]
  • Friday, October 13, 2017 @BLUEWHALE
    Angel City Jazz Festival The tenth annual Angel City Jazz Festival continues its tradition of Criss Cross (featuring Donny McCaslin and Dan Weiss); and Elliott being Los Angeles’ most adventurous modern jazz celebration. This Sharp playing Monk in a solo guitar performance for the closing night year’s theme celebrates the centennial of Thelonious Sphere Monk of the festival. In addition, Dwight Trible is curating a Monk-themed (born October 10, 1917). A very innovative individual and creative double-bill at The World Stage with James Leary’s Bassed (six force throughout his career as both a pianist and a composer, many basses and a drummer) premiering original arrangements of Monk’s of Monk’s songs (best-known of which is “’Round Midnight”), while music, and Dwight Trible’s band ‘Cosmic Vibrations’ with special way ahead of their time when they were introduced in the 1940s and guest award-winning actor Roger Guenveur Smith adding a bit of ‘50s, have since become jazz standards. His unique piano style has abstract storytelling based on Monk’s life and career. also been very influential while being impossible to duplicate. As is always the case at the Angels City Jazz Festival, there is much Rather than merely recreating Monk’s classic recordings, many much more. You can find full details about all of the performances of the performers at this year’s Angel City Jazz Festival will be listed within this program. paying tribute to the musical genius in their own unique way. The special opening night concert at the Ford Theatres features Dee We hope you’ll enjoy our musical presentations and we’d like to Dee Bridgewater’s “Afro-Cuban Dream” — her interpretation of invite you to support our programming efforts through our non- Carmen McCrae’s famous Carmen Sings Monk album — under the profit organization Angel City Arts.
    [Show full text]
  • Blue Immersion ( Eng)
    "BLUE IMMERSION" Diane Peters: harp, vox, sounds Enzo Carpentieri: drums, percussion Marc Abrams: double bass, guimbri # An Immersion into a unique atmosfere, with an all original sound of cosmic and spiritual jazz, afro grooves, experimental, sounds and improvisation. The harp, double bass and drums emerse themselves in the hight and depths of blue inspiring an entrancing sound journey where the voice, percussion, asian and african instruments and sound effects, paint the way with infinite shades. Australian Harpist Diane Peters here side by side with two well known jazz musicians on both the Italian and International scene Enzo Carpentieri e Marc Abrams. Right from the start Diane Peters has been inspired by the first non classical harpists such as Alice Coltrane and Dorothy Ashby and by the jazz of the Coltrane era. Diane has developed her own original sound playing both solo and various groups from jazz to electronic music, using both voice, and effects combined with her ancestral instrument, in a modern setting, playing an acoustic electric “Camac Blue.” Diane Peters - Jazz harpist, Composer - Australia Diane Peters is an artist of international level, who started out developing her unique style in Melbourne’s venues and jazz clubs. She has a BA in jazz, improv from the VCA, and honours in Composition at Monash Uni. Melbourne, Australia. In 2001 a CD with her quintet “Diane Peters’ Archaeopteryx”of her original music was released, recorded for Radio "ABC Jazz track" at ABC studios Melbourne. She played in NY, Paris, Belgium, and Amsterdam (at the 5th European harp symposium). Other invites to play on the stages of International harp festivals include: ’98 Perugia, 2001 Arles, 2004 ANU, Australia and 2015 Viggiano.
    [Show full text]
  • Downbeat.Com January 2016 U.K. £3.50
    JANUARY 2016 U.K. £3.50 DOWNBEAT.COM DOWNBEAT LIZZ WRIGHT • CHARLES LLOYD • KIRK KNUFFKE • BEST ALBUMS OF 2015 • JAZZ SCHOOL JANUARY 2016 january 2016 VOLUME 83 / NUMBER 1 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Brian Zimmerman Contributing Editor Ed Enright Art Director LoriAnne Nelson Contributing Designer ŽanetaÎuntová Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes Bookkeeper Emeritus Margaret Stevens Editorial Assistant Baxter Barrowcliff ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sam Horn 630-941-2030 [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:
    [Show full text]