Free Art Ensemble

Total Page:16

File Type:pdf, Size:1020Kb

Free Art Ensemble Free improvisation / Free Art Ensemble Free Art Ensemble (FAE) is a professional musical group that was born in Barcelona, formed by a mixture of Catalonian and Andalusian musicians. The project is based on the communication and expression between its components. The lucidity, opened mind and communicative attitudes of its dialogue, turn FAE to be an outstanding group with hundreds of new possibilities in the creative area. It has been more than two years since this exceptional meeting happened. Their influences come basically from free jazz, contemporary music and from the most nonconformist Hispanic jazz. Recently they’ve recorded what will be their first album, with the great piano player Agustí Fernández, going in to the field of collective improvisation with conductions and spontaneous composition. “The word ”experimental” is apt, providing it is understood not as descriptive of an act to be later judged in terms of success and failure, but simply as of an act the outcome of which is unknown.” This is what John Cage says in his book Silence and seems to be simply talking about live. In the quicksand of the artistic creation through the experimentation, freedom gets a real meaning just because it doesn’t find, nor search, words to be com- fortable. Groaning goes through, the scream, the fall. Music gets free. The object created is alive: beats, loudness and texture; and as in every living being, infinite combinations contribute giving it a new meaning in every single moment. When this artists face creation from the nothing, it all comes down to the way nothing is conceived: nothing as the lack of something or as the presence of everything (this is the most important). For FAE, this everything is always there, waiting to be choppy. Bio Agustí Fernández Agustí Fernández is one of the most important explorers of avant-garde music in Spain, combining his thorough knowledge of 20th-century modern classical piano with jazz free improvisation to a forge a unique and powerful style (The Village Voice, New York). Agustí Fernández (Palma de Mallorca, 1954), with a perfectly based career and a well-deserved international reputation, is one of the Spanish musicians of major international projection and a world reference in the field of improvised music. Fernández has worked with the founders fathers of the free improvisation scene Peter Kowald, Derek Bailey, Evan Parker and Barry Guy, a.m.o., and with improvisers from all over the world. He is a member of the Evan Parker Electro-acoustic Ensemble and of the Barry Guy New Orchestra, since 2002. Up to the current date he has published more than 50 cd’s. Along his professional life AF has received many recognitions, and his solo for piano “Mutza” presented in New York in 2007 was distinguished by the New York magazine AllAboutJazz as one of 10 best concerts from that year. The CD “Un llamp que no s’acaba mai” on PSI (Agustí Fernández, John Edwards and Mark Sanders) has been distinguished by Allaboutjazz as one of the best 10 cd’s in 2009; the CD “Aurora” on Maya Recordings (Agustí Fernandez, Barry Guy and Ramón López) was selected by the Cuadernos de Jazz magazine as the best CD in 2007, by the Jaç magazine as the best fourth disc of the history of the Catalan jazz and it was Disc d’émoi (February, 2007) for the French Jazz Magazine. In 2010 Agustí Fernández received the “Ciutat de Barcelona Music Award” granted by the Council of Barcelona. Since 2001 Fernández is titular teacher of improvisation at the Catalonia High Music School (Escola Superior de Música de Catalunya). Discography Ken Vandermark / Agustí Fernández – Interacting Fields / Discordian Records [2013] Pablo Ledesma / Agustí Fernández – Improvocaciones / Lumenan [2013] Free Art Ensemble + Agustí Fernàndez – Live at jamboree / Dsicordian Records [2013] Agustí Fernández, Barry Guy, Ramón López – A Moment’s Liberty / Maya Recordings [2013] Agustí Fernández, Mats Gustaffson, Ramón Prats – Breakin the lab / Discordian Records [2013] Agustí Fernández, Ilan Manouach, Ivo Sans – WRY / Clamshell Records [2013] Banda d’Improvisadors de Barcelona – Banda d’Improvisadors de Barcelona / La Olla Expréss [2013] Barry Guy New Orquestra – Small Formations – Mad Dogs / Nottwo Records [2013] Agustí Fernández Liquid Trio – Primer dia i última nit / Sirulita [2013] Agustí Fernández – A Trace of Light / Sirulita [2013] Free Art Ensemble / 2014 © nervo Joe Morris, Agustí Fernández y Nate Wooley – From the discrete to the particular / Relative Pitch Records [2012] Agustí Fernández – Pianoactivity – One / Sirulita [2012] Evan Parker & Agustí Fernández – The Voice is One / Nottwo Records [2012] Agustí Fernández & Ramón López – Azul / Universal [2012] Free Art Ensemble + Agustí Fernàndez / author edition [2012] Evan Parker Electroacoustic Ensemble – Hasselt / Psi Records [2012] Joe Morris & Agustí Fernández – Ambrosia / RITI [2011] Agustí Fernández & Joan Saura – Vents / Psi Records [2011] Agustí Fernández, Pablo Ledesma y Mono Hurtado – Buenos Aires, Argentina, 2000 / Audition Records [2011] EFG – Peter Evans, Agustí Fernández & Mats Gustafsson – Kopros Lithos / Multikulti [2011] Agustí Fernández – El laberint de la memòria / Mbari [2011] Agustí Fernández, Barry Guy & Ramón López – Morning Glory + Live in New York / Maya Recordings [2010] Agustí Fernández, Baldo Martínez & Ramón López – Triez / Universal [2010] Agustí Fernández, Joan Saura & Liba Villavecchia Trío Local – Vitralls / Agharta Music [2010] Ramón López Freedom Now Sextet – Valencia / Xàbia Jazz [2010] Agustí Fernández & Barry Guy – Some Other Place / Maya Recordings [2009] Agustí Fernández & Derek Bailey – A Silent Dance / Incus Records [2009] Agustí Fernández & Jo Krause – Draco / Anacrusí [2009] Evan Parker Electro-Acoustic Ensemble – The Moment’s Energy / ECM [2009] Agustí Fernández, John Edwards & Mark Sanders – un llamp que no s’acaba mai / Psi Records [2009] Agustí Fernández & Ingar Zach – Germinal / Plastic Strip [2008] Fernández/Parker/Guy/Lytton – Topos / Maya Recordings [2007] Agustí Fernández, Barry Guy & Ramón López – Aurora / Maya Recordings [2006] Evan Parker Octet – Crossing the River / Psi Records [2006] Agustí Fernández & Peter Kowald – Sea of lead / Hopscotch [2005] Agustí Fernández & Mats Gustafsson – Critical Mass / Psi Records [2005] Ensemble Impromptu – Instint / Marmita [2005] Evan Parker Electro-Acoustic Ensemble – The Eleventh Hour / ECM [2005] Barry Guy New Orchestra – Oort / Entropy / Intakt [2005] Agustí Fernández – Camallera / G3G / Sirulita [2004] Agustí Fernández Quartet – Lonely Woman / Taller / Sirulita [2004] Agustí Fernández & Jane Rigler – Mandorla / Dewdrop [2003] Evan Parker Electro-Acoustic Ensemble – Memory/Vision / ECM [2003] Christoph Irmer, John Butcher & Agustí Fernández – Clearings / ART [2003] Agustí Fernández & Derek Bailey – Barcelona / Hopscotch [2002] Agustí Fernández – Para Teresa / Sirulita [2002] Lawrence D.“Butch” Morris, Graham Haynes, Agustí Fernández, J.A.Deane, Joan Saura – Conduction # 113, Interflight / Palacio de Cristal [2001] Agustí Fernández – Territorios y Serendipias / IBA [2001] Agustí Fernández, Joan Saura & Liba Villavecchia – Trio Local + / Dewdrop [2001] Agustí Fernández & William Parker – Second Set / Radical Records [2001] Agustí Fernández, Joan Saura & Liba Villavecchia – Trio Local / IBA [2000] Agustí Fernández, Susie Ibarra & William Parker – Live At the Joan Miró Foundation / Synergy [1998] Agustí Fernández – 1 is not 1 / Nova Era [1998] Agustí Fernández & Christoph Irmer – Ebro Delta / Hybrid [1998] Agustí Fernández & Marilyn Crispell – Dark night, and luminous / Nova Era [1998] Agustí Fernández & Evan Parker – Tempranillo / Nova Era [1996] Agustí Fernández & Big Ensemble del Taller de Músics – Aura / Taller [1991] Agustí Fernández – Piano Solo / PE [1991] Agustí Fernández & Wolfgang Reisinger – Unexpected / PE [1990] Agustí Fernández – La Porta / PE [1990] Agustí Fernández Sextet / Nofres / PDI [1988] Agustí Fernández - Ardent / Blau [1987] www.agustifernandez.com Bio Julián Sánchez Carballo This musician and trumpeter was born in Granada. His love for jazz comes from very long time ago, when his uncle gave him some Benny Carter, Roy Eldridge and Charlie Parker records. Julián moved to Barcelona, where he received the Jazz Degree from de “Escola Superior de Música de Catalunya”, turning to be part of the most promising local jazz scene. In order to complete his studies, he is regularly travelling to New York, to receive classes from musicians such as Joe Magnarelli, Ralph Alessi, Tony Malaby, Ingrid Jensen y Avishai Cohe, among others. He has played “New Flamenco Sound” (Chano Domínguez), “Flamenco Big Band” (Perico Sambeaty) Bruce Barth, Dave Santoro y Rudy Royston, RubemDamtas, “Nou Nonet” (Joan Monnè), “Hora- cio Fumero Trio”, Paul Stocker, Samuel Torres, Dick Oatts, Bob Mintzer, Enrique Oliver Quintet, Ernesto Aurignac, Toni Belenguer, Tomasito, “el Piraña”, Mario Rossy, “Sonora Big Band de Cádiz”, “Joven Big Band Nacional“, “Big Band de Terrassa”, “Big Latin Band de Barcelona”, “Pedro CortejosaSeptet”, Sergio Pamies Grupo, “Big Acustic Band “BAb””, “La Canalla”, Javier Ruibal, Miguel Poveda, Michael Tomas, just to name some. Julián has performed in local and international festivals like “Festival de Jazz de San Sebastián”, “North Sea Jazz Festival”,” Nice Jazz Festival”, “Vienna Jazz Festival”, “Festival de Jazz de Terrassa”, “Voll-Damm Festival Internacional de Jazz de Barcelona”, “Festival de Jazz de Madrid”, “Jazz en la Costa” (Granada), “Jazz in Situ de Quito” (Ecuador), “Jazz Festival Warsaw”
Recommended publications
  • Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67
    Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 Marc Howard Medwin A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2008 Approved by: David Garcia Allen Anderson Mark Katz Philip Vandermeer Stefan Litwin ©2008 Marc Howard Medwin ALL RIGHTS RESERVED ii ABSTRACT MARC MEDWIN: Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 (Under the direction of David F. Garcia). The music of John Coltrane’s last group—his 1965-67 quintet—has been misrepresented, ignored and reviled by critics, scholars and fans, primarily because it is a music built on a fundamental and very audible disunity that renders a new kind of structural unity. Many of those who study Coltrane’s music have thus far attempted to approach all elements in his last works comparatively, using harmonic and melodic models as is customary regarding more conventional jazz structures. This approach is incomplete and misleading, given the music’s conceptual underpinnings. The present study is meant to provide an analytical model with which listeners and scholars might come to terms with this music’s more radical elements. I use Coltrane’s own observations concerning his final music, Jonathan Kramer’s temporal perception theory, and Evan Parker’s perspectives on atomism and laminarity in mid 1960s British improvised music to analyze and contextualize the symbiotically related temporal disunity and resultant structural unity that typify Coltrane’s 1965-67 works.
    [Show full text]
  • Peter Johnston 2011
    The London School Of Improvised Economics - Peter Johnston 2011 This excerpt from my dissertation was included in the reader for the course MUS 211: Music Cultures of the City at Ryerson University. Introduction The following reading is a reduction of a chapter from my dissertation, which is titled Fields of Production and Streams of Conscious: Negotiating the Musical and Social Practices of Improvised Music in London, England. The object of my research for this work was a group of musicians living in London who self-identified as improvisers, and who are part of a distinct music scene that emerged in the mid-1960s based on the idea of free improvisation. Most of this research was conducted between Sept 2006 and June 2007, during which time I lived in London and conducted interviews with both older individuals who were involved in the creation of this scene, and with younger improvisers who are building on the formative work of the previous generation. This chapter addresses the practical aspects of how improvised music is produced in London, and follows a more theoretical analysis in the previous chapters of why the music sounds like it does. Before moving on to the main content, it will be helpful to give a brief explanation of two of the key terms that occur throughout this chapter: “free improvisation” and the “improvised music field.” “Free improvisation” refers to the creation of musical performances without any pre- determined materials, such as form, tonality, melody, or rhythmic feel. This practice emerged out of developments in jazz in the late 1950s and early 1960s, particularly in the work of Ornette Coleman and Cecil Taylor, who began performing music without using the song-forms, harmonic progressions, and steady rhythms that characterized jazz until that time.
    [Show full text]
  • Music Outside? the Making of the British Jazz Avant-Garde 1968-1973
    Banks, M. and Toynbee, J. (2014) Race, consecration and the music outside? The making of the British jazz avant-garde 1968-1973. In: Toynbee, J., Tackley, C. and Doffman, M. (eds.) Black British Jazz. Ashgate: Farnham, pp. 91-110. ISBN 9781472417565 There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/222646/ Deposited on 28 August 2020 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk Race, Consecration and the ‘Music Outside’? The making of the British Jazz Avant-Garde: 1968-1973 Introduction: Making British Jazz ... and Race In 1968 the Arts Council of Great Britain (ACGB), the quasi-governmental agency responsible for providing public support for the arts, formed its first ‘Jazz Sub-Committee’. Its main business was to allocate bursaries usually consisting of no more than a few hundred pounds to jazz composers and musicians. The principal stipulation was that awards be used to develop creative activity that might not otherwise attract commercial support. Bassist, composer and bandleader Graham Collier was the first recipient – he received £500 to support his work on what became the Workpoints composition. In the early years of the scheme, further beneficiaries included Ian Carr, Mike Gibbs, Tony Oxley, Keith Tippett, Mike Taylor, Evan Parker and Mike Westbrook – all prominent members of what was seen as a new, emergent and distinctively British avant-garde jazz scene. Our point of departure in this chapter is that what might otherwise be regarded as a bureaucratic footnote in the annals of the ACGB was actually a crucial moment in the history of British jazz.
    [Show full text]
  • Gerry Mulligan Discography
    GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”.
    [Show full text]
  • The Creative Application of Extended Techniques for Double Bass in Improvisation and Composition
    The creative application of extended techniques for double bass in improvisation and composition Presented in partial fulfilment of the requirements for the degree of Doctor of Philosophy (Music) Volume Number 1 of 2 Ashley John Long 2020 Contents List of musical examples iii List of tables and figures vi Abstract vii Acknowledgements viii Introduction 1 Chapter 1: Historical Precedents: Classical Virtuosi and the Viennese Bass 13 Chapter 2: Jazz Bass and the Development of Pizzicato i) Jazz 24 ii) Free improvisation 32 Chapter 3: Barry Guy i) Introduction 40 ii) Instrumental technique 45 iii) Musical choices 49 iv) Compositional technique 52 Chapter 4: Barry Guy: Bass Music i) Statements II – Introduction 58 ii) Statements II – Interpretation 60 iii) Statements II – A brief analysis 62 iv) Anna 81 v) Eos 96 Chapter 5: Bernard Rands: Memo I 105 i) Memo I/Statements II – Shared traits 110 ii) Shared techniques 112 iii) Shared notation of techniques 115 iv) Structure 116 v) Motivic similarities 118 vi) Wider concerns 122 i Chapter 6: Contextual Approaches to Performance and Composition within My Own Practice 130 Chapter 7: A Portfolio of Compositions: A Commentary 146 i) Ariel 147 ii) Courant 155 iii) Polynya 163 iv) Lento (i) 169 v) Lento (ii) 175 vi) Ontsindn 177 Conclusion 182 Bibliography 191 ii List of Examples Ex. 0.1 Polynya, Letter A, opening phrase 7 Ex. 1.1 Dragonetti, Twelve Waltzes No.1 (bb. 31–39) 19 Ex. 1.2 Bottesini, Concerto No.2 (bb. 1–8, 1st subject) 20 Ex.1.3 VerDi, Otello (Act 4 opening, double bass) 20 Ex.
    [Show full text]
  • John Mcneil Bill Mchenry
    John McNeil John McNeil is regarded as one of the most original and creative jazz artists in the world today. For nearly three decades John has toured with his own groups and has received widespread acclaim as both a player and composer. His highly personal trumpet style communicates across the full range of contemporary jazz, and his compositions combine harmonic freedom with melodic accessibility. John's restless experimentation has kept him on the cutting edge of new music. His background includes the Horace Silver Quintet, Gerry Mulligan, and the Thad Jones/Mel Lewis Orchestra. John is equally at home in free and structured settings, and this versatility has put him on stage with artists from Slide Hampton to John Abercrombie. John McNeil was born in 1948 in northern California. Due to a lack of available musical instruction in his home town of Yreka, John largely taught himself to play trumpet and read music. By the time he graduated from high school in 1966, John had already begun playing professionally in the northern California region. John moved to New York in the mid-1970's and began a freelance career. His reputation as an innovative trumpet voice began to grow as he played with the Thad Jones/Mel Lewis Orchestra, and led his own groups at clubs such as Boomer's, the legendary Village jazz room. In the late 70's, John joined the Horace Silver Quintet. Around the same time, he began recording for the SteepleChase label under his own name and toured internationally. Although he has worked as a sideman with such luminaries as Gerry Mulligan, John has consistently led his own groups from about 1980 to the present.
    [Show full text]
  • Contact: a Journal for Contemporary Music (1971-1988) Citation
    Contact: A Journal for Contemporary Music (1971-1988) http://contactjournal.gold.ac.uk Citation Barry. Malcolm. 1977-1978. ‘Review of Company 1 (Maarten van Regteren Altena, Derek Bailey, Tristan Honsinger, Evan Parker) and Company 2 (Derek Bailey, Anthony Braxton, Evan Parker)’. Contact, 18. pp. 36-39. ISSN 0308-5066. ! Director Professor Frederick Rimmer MA B M us FRco Secretary and Librarian James. L McAdam BM us FRco Scottish R Music Archive with the support of the Scottish Arts Council for the documentation and study of Scottish music information on all matters relating to Scottish composers and Scottish music printed and manuscript scores listening facilities: tape and disc recordings Enquiries and visits welcomed: full-time staff- Mr Paul Hindmarsh (Assistant Librarian) and Miss Elizabeth Wilson (Assistant Secretary) Opening Hours: Monday to Friday 9.30 am- 5.30 pm Monday & Wednesday 6.00-9.00 pm Saturday 9.30 am- 12.30 pm .. cl o University of Glasgow 7 Lily bank Gdns. Glasgow G 12 8RZ Telephone 041-334 6393 37 INCUS it RECORDS INCUS RECORDS/ COMPATIBLE RECORDING AND PUBLISHING LTD. is a self-managed company owned and operated by musicians. The company was founded in 1970, motivated partly by the ideology of self-determination and partly by the absence of an acceptable alternative. The spectrum of music issued has been broad, but the musical policy of the company is centred on improvisation. Prior to 1970 the innovative musician had a relationship with the British record industry that could only be improved on. To be offered any chance to make a record at all was already a great favour and somehow to question the economics (fees, royalties, publishing) would certainly have been deemed ungrateful.
    [Show full text]
  • A More Attractive ‘Way of Getting Things Done’ Freedom, Collaboration and Compositional Paradox in British Improvised and Experimental Music 1965-75
    A more attractive ‘way of getting things done’ freedom, collaboration and compositional paradox in British improvised and experimental music 1965-75 Simon H. Fell A thesis submitted to the University of Huddersfield in fulfilment of the requirements for the degree of Doctor of Philosophy The University of Huddersfield September 2017 copyright statement i. The author of this thesis (including any appendices and/or schedules to this thesis) owns any copyright in it (the “Copyright”) and he has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes. ii. Copies of this thesis, either in full or in extracts, may be made only in accordance with the regulations of the University Library. Details of these regulations may be obtained from the Librarian. This page must form part of any such copies made. iii. The ownership of any patents, designs, trade marks and any and all other intellectual property rights except for the Copyright (the “Intellectual Property Rights”) and any reproductions of copyright works, for example graphs and tables (“Reproductions”), which may be described in this thesis, may not be owned by the author and may be owned by third parties. Such Intellectual Property Rights and Reproductions cannot and must not be made available for use without the prior written permission of the owner(s) of the relevant Intellectual Property Rights and/or Reproductions. 2 abstract This thesis examines the activity of the British musicians developing a practice of freely improvised music in the mid- to late-1960s, in conjunction with that of a group of British composers and performers contemporaneously exploring experimental possibilities within composed music; it investigates how these practices overlapped and interpenetrated for a period.
    [Show full text]
  • Too Many Notes: Complexity and Culture in Voyager Lewis, George E
    Too Many Notes: Complexity and Culture in Voyager Lewis, George E. Leonardo Music Journal, Volume 10, 2000, pp. 33-39 (Article) Published by The MIT Press For additional information about this article http://muse.jhu.edu/journals/lmj/summary/v010/10.1lewis.html Access Provided by University of California @ Santa Cruz at 09/27/11 9:42PM GMT W A Y S WAYS & MEANS & M E A Too Many Notes: Computers, N S Complexity and Culture in Voyager ABSTRACT The author discusses his computer music composition, Voyager, which employs a com- George E. Lewis puter-driven, interactive “virtual improvising orchestra” that ana- lyzes an improvisor’s performance in real time, generating both com- plex responses to the musician’s playing and independent behavior arising from the program’s own in- oyager [1,2] is a nonhierarchical, interactive mu- pears to stand practically alone in ternal processes. The author con- V the trenchancy and thoroughness tends that notions about the na- sical environment that privileges improvisation. In Voyager, improvisors engage in dialogue with a computer-driven, inter- of its analysis of these issues with ture and function of music are active “virtual improvising orchestra.” A computer program respect to computer music. This embedded in the structure of soft- ware-based music systems and analyzes aspects of a human improvisor’s performance in real viewpoint contrasts markedly that interactions with these sys- time, using that analysis to guide an automatic composition with Catherine M. Cameron’s [7] tems tend to reveal characteris- (or, if you will, improvisation) program that generates both rather celebratory ethnography- tics of the community of thought complex responses to the musician’s playing and indepen- at-a-distance of what she terms and culture that produced them.
    [Show full text]
  • Free Jazz - at What Expense
    FREE JAZZ - AT WHAT EXPENSE by Didrik Ingvaldsen © 2002 I «.. I think that jazz, from the time it first began, was always concerned with degrees of freedom. The way Louis Armstrong played was «more free» than earlier players. Roy Eldridge was «more free» than his predecessors, Dizzy Gillespie was another stage and (Don) Cherry was another. And you have to keep it going otherwise you lose that freedom. And then the music is finished. It's a matter of life and death. The only criterion is: «Is this stuff alive or is it dead?» said Steve Lacy interviewed by Derek Bailey. Freedom makes room for the player to find his own voice, thereby improvising in a more personal way. This will lead to development, not only personally, but for jazz as an art form. There is the constant subject of freedom. The freedom to not to do what has been done before. The freedom to think, freedom to speak and freedom to act. As a result one may become paralysed by all the possibilities generated: The result of that may be loosing the freedom all together. Freedom is a relative term; what is free for one person may not be free for another. This creates many possibilities and makes room for contradiction. As Derek Bailey says in his book about improvisation, «Opinions about free music range from the view that free playing is the simplest thing in the world requiring no explanation, to the view that it is complicated beyond discussion.» This creates many points of discussion, and I will have a look at possibilities, limitations, contradictions and paradoxes in the processes and products of free improvisation.
    [Show full text]
  • Trevor Tolley Jazz Recording Collection
    TREVOR TOLLEY JAZZ RECORDING COLLECTION TABLE OF CONTENTS Introduction to collection ii Note on organization of 78rpm records iii Listing of recordings Tolley Collection 10 inch 78 rpm records 1 Tolley Collection 10 inch 33 rpm records 43 Tolley Collection 12 inch 78 rpm records 50 Tolley Collection 12 inch 33rpm LP records 54 Tolley Collection 7 inch 45 and 33rpm records 107 Tolley Collection 16 inch Radio Transcriptions 118 Tolley Collection Jazz CDs 119 Tolley Collection Test Pressings 139 Tolley Collection Non-Jazz LPs 142 TREVOR TOLLEY JAZZ RECORDING COLLECTION Trevor Tolley was a former Carleton professor of English and Dean of the Faculty of Arts from 1969 to 1974. He was also a serious jazz enthusiast and collector. Tolley has graciously bequeathed his entire collection of jazz records to Carleton University for faculty and students to appreciate and enjoy. The recordings represent 75 years of collecting, spanning the earliest jazz recordings to albums released in the 1970s. Born in Birmingham, England in 1927, his love for jazz began at the age of fourteen and from the age of seventeen he was publishing in many leading periodicals on the subject, such as Discography, Pickup, Jazz Monthly, The IAJRC Journal and Canada’s popular jazz magazine Coda. As well as having written various books on British poetry, he has also written two books on jazz: Discographical Essays (2009) and Codas: To a Life with Jazz (2013). Tolley was also president of the Montreal Vintage Music Society which also included Jacques Emond, whose vinyl collection is also housed in the Audio-Visual Resource Centre.
    [Show full text]
  • The “Second Quintet”: Miles Davis, the Jazz Avant-Garde, and Change, 1959-68
    THE “SECOND QUINTET”: MILES DAVIS, THE JAZZ AVANT-GARDE, AND CHANGE, 1959-68 A DISSERTATION SUBMITTED TO THE DEPARTMENT OF MUSIC AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Kwami Taín Coleman August 2014 © 2014 by Kwami T Coleman. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial 3.0 United States License. http://creativecommons.org/licenses/by-nc/3.0/us/ This dissertation is online at: http://purl.stanford.edu/vw492fh1838 ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Karol Berger, Co-Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. MichaelE Veal, Co-Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Heather Hadlock I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Charles Kronengold Approved for the Stanford University Committee on Graduate Studies. Patricia J. Gumport, Vice Provost for Graduate Education This signature page was generated electronically upon submission of this dissertation in electronic format.
    [Show full text]