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The Ethereal Genius of Craig Taborn - the New York Times
12/20/2019 The Ethereal Genius of Craig Taborn - The New York Times FEATURE The Ethereal Genius of Craig Taborn He has become one of the best jazz pianists alive — by disappearing almost completely into his music. By Adam Shatz June 22, 2017 he jazz pianist Craig Taborn often goes to museums for inspiration, carrying a notebook to record ideas for compositions and song titles. He also sometimes T performs at museums, becoming a sort of art object himself. This is a complicated situation for Taborn, who is very private. His mother, Marjorie Taborn, remembers seeing him at the Rubin Museum of Art in New York, where he played a recital to a full house at the debut of his solo album “Avenging Angel.” After the show, she was chatting with his friend Tim Berne, a saxophonist, while her son signed copies of his album, smiling graciously and patiently fielding questions. She and Berne looked at each other, because they each knew how much effort this required from Taborn. “Look at Craig,” Taborn’s mother recalls telling Berne, “he’s getting everything he never wanted, all the attention he’d never seek.” Taborn, who is 47, is used to attracting attention he’d prefer to avoid, and not just because of his extraordinary musicianship. He is an African-American man from Minnesota with features that often draw curious looks: a very pale complexion, reddish-blond curls and hazel eyes. “I have never had a day when someone does not look at me with an openly questioning gaze, sometimes remote and furtive, sometimes polite, sometimes in admiration or awe and sometimes with disgust,” he told me. -
The New York City Jazz Record
BEST OF 2020 BEST OF 2020 BEST OF 2020 BEST OF 2020 BEST OF 2020 BEST OF 2020 THE NEW YORK CITY JAZZ RECORD BEST OF 2020 BEST OF 2020 BEST OF 2020 BEST OF 2020 BEST OF 2020 BEST OF 2020 MUSICIANS OF THE YEAR ALBUMS OF THE YEAR MISCELLANEOUS CATEGORIES OF THE YEAR LAKECIA BENJAMIN (saxophone) JUHANI AALTONEN, JONAS KULLHAMMAR, JUHANI AALTONEN, JONAS KULLHAMMAR, TIM BERNE (saxophone) CHRISTIAN MEAAS SVENDSEN, CHRISTIAN MEAAS SVENDSEN, SOLO RECORDINGS BOXED SETS UNEARTHED GEMS ILMARI HEIKINHEIMO— ILMARI HEIKINHEIMO— MATS GUSTAFSSON (saxophone) CHRIS CORSANO—Mezzaluna (Catalytic Sound) PAUL DESMOND—The Complete 1975 Toronto Recordings ART BLAKEY & THE JAZZ MESSENGERS— The Father, the Sons & The Junnu (Moserobie) The Father, the Sons & The Junnu (Moserobie) (Mosaic) Just Coolin’ (Blue Note) JAMES BRANDON LEWIS (saxophone) SIGURD HOLE—Lys / Mørke ( Light / Darkness ) (s/r) DANIEL BINGERT—Berit in Space (Moserobie) PETER EVANS—Into the Silence (More is More-Old Heaven) HERMIONE JOHNSON—Tremble (Relative Pitch) CHARLES LLOYD—8: Kindred Spirits (Live From the Lobero) ELLA FITZGERALD—The Lost Berlin Tapes (Verve) CHARLES LLOYD (saxophone) (Blue Note) LUCA T. MAI—Heavenly Guide (Trost) LONDON JAZZ COMPOSERS ORCHESTRA— COLLOCUTOR—Continuation (On The Corner) FIRE! ORCHESTRA—Actions (Rune Grammofon) MODERN JAZZ QUINTET KARLSRUHE/ That Time (Not Two) MATTHEW SHIPP—The Piano Equation (Tao Forms) FOUR MEN ONLY—Complete Recordings (NoBusiness) CHARLES MINGUS—@ Bremen 1964 & 1975 (Sunnyside) ANDREA KELLER—Journey Home (s/r) DAVID KRAKAUER/KATHLEEN TAGG— UP-AND-COMERS OF THE YEAR CHARLIE PARKER—The Mercury & Clef 10-Inch LP ALAN WAKEMAN—The Octet Broadcasts (1969 and 1979) Breath & Hammer (Table Pounding) Collection (Verve) EMMET COHEN (piano) JON-ERIK KELLSO—Sweet Fruits Salty Roots (Jazzology) LATIN RELEASES (Gearbox) CHARLES LLOYD VARIOUS ARTISTS—Not Two.. -
Downbeat.Com December 2014 U.K. £3.50
£3.50 £3.50 . U.K DECEMBER 2014 DOWNBEAT.COM D O W N B E AT 79TH ANNUAL READERS POLL WINNERS | MIGUEL ZENÓN | CHICK COREA | PAT METHENY | DIANA KRALL DECEMBER 2014 DECEMBER 2014 VOLUME 81 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editor Ed Enright Art Director LoriAnne Nelson Contributing Designer Žaneta Čuntová Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Associate Kevin R. Maher Circulation Assistant Evelyn Oakes 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] Advertising Sales Associate Pete Fenech 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: Alan Bergman, -
ORQUESTRA JAZZ DE MATOSINHOS Convida Carlos Bica & Azul (FEAT: FRANK MÖBUS E JIM BLACK) 21:00 SALA SUGGIA
14 DEZ | 2014 ORQUESTRA JAZZ DE MATOSINHOS conviDa cARlOS bIcA & AZUl (FEaT: FRANK MÖbUS E JIM blAcK) 21:00 SaLa SUGGia Pedro Guedes direcção musical Carlos Bica contrabaixo Frank Möbus guitarra Jim Black bateria Programa (ordem sujeita a alterações): ‑se a sua imagem de marca. A crítica costuma salientar a O Profeta (1) forma como na música de Carlos Bica interpenetram‑se Believer (2) referências de diferentes universos, da música erudita Heranças (1) contemporânea à folk, ao rock, ao jazz e às músicas im‑ John Wayne (1) provisadas. O que corresponde, como seria natural, à sua 2011 (1) própria trajectória. Alguém olhará por ti (1) Aprendeu a tocar contrabaixo na Academia dos Amado‑ Deixa pra lá (3) res de Música e no Conservatório Nacional, tendo finaliza‑ Vale (3) do os estudos superiores de música na Escola Superior de Canção número dois (3) Música de Würzburg como bolseiro do DAAD. Foi mem‑ Password (3) bro da Orquestra de Câmara de Lisboa, assim como de diversas orquestras de câmara alemãs, tais como a Bach Todas as composições de Carlos Bica Kammerorchester e a Wernecker Kammerorchester. Arranjos de (1) Carlos Azevedo, (2) Telmo Marques Fez muita música improvisada, durante anos tocou e (3) Pedro Guedes com Maria João, trabalhou e gravou na área da música popular portuguesa com Carlos do Carmo, José Mário ciclo jazz sonae Branco, Camané, Cristina Branco e Janita Salomé e parti‑ cipou em inúmeros festivais de jazz internacionais. O projecto Azul nasceu em 1996 com um disco em trio, Em finais de 1995 gravou o seu primeiro álbum, Azul liderado por Carlos Bica, e prosseguiu com uma colabo‑ (Polygram), com Möbus e Black, onde se afirma não só ração de rara longevidade no jazz, sempre com o guitar‑ como instrumentista inovador mas também como com‑ rista alemão Frank Möbus e o baterista norte ‑americano positor. -
JUBILEE EDITION to His Artistic Choice
WINTE R&WINTER JthUe fBirsIt L30EyE earsE1D98I5 T–I2O01N 5 SOUND JOURNEYS 30 Years of Music Recordings by Stefan Winter It is a kind of stage anniversary behind the scenes: 30 years ago Stefan Winter founds the JMT (Jazz Music Today) label and records the debut production of the young saxo - STEFAN WINTER AND MARIKO TAKAHASHI phonist Steve Coleman . The starting point is the new Afro-American conception M-Base . The protagonists of this movement are Cassandra Wilson (vocals), Geri Allen (piano), Robin Eubanks (trombone), Greg Osby and Gary Thomas (sax ophones). In antithesis to this artistic movement Winter do cu ments the development of the young jazz avant- garde and produces path-breaking recordings with Tim Berne (saxophone), Hank Roberts (cello), Django Bates (piano), Joey Baron (drums), Marc Ducret (guitar) and the ensemble Miniature . After 1995 his working method changes fundamentally from a documentarist to a sound director. This is the actual beginning of WINTER&WINTER. Together with Mariko Takahashi he dares to implement a new label concept. At the end of the 80s, Stefan Winter and Mariko Takahashi meet in Japan. Under the direction of Mariko Takahashi the festival »Taboo-Lu« is initiated in Ginza in Tokyo (Japan), a notable presentation with live concerts, an art exhibition and recordings. With »Taboo-Lu« the idea of and for WINTER&WINTER is quasi anticipated: Border crossing becomes a programme. Art and music cooperate together, contemporary meets tradition, composition improvisation. Mariko Takahashi and Stefan Winter want to open the way with unconventional recordings and works for fantastic and new experiences. Stefan Winter has the vision to produce classical masterpieces in radical new interpretations. -
Jazz Trio Plays Spanos Theatre Oct. 4
Cal Poly Arts Season Launches with Jazz Trio Oct. 4 http://www.calpolynews.calpoly.edu/news_releases/2006/September... Skip to Content Search Cal Poly News News California Polytechnic State University Sept. 11, 2006 FOR IMMEDIATE RELEASE Jazz Trio Plays Spanos Theatre Oct. 4 SAN LUIS OBISPO – In a spectacular showcase featuring jazz greats Bill Frisell (guitar/banjo), Jack DeJohnette (drums, percussion, piano) and Jerome Harris (electric bass/vocals), Cal Poly Arts launches its new 2006-07 performing arts season. The trio of master musicians will perform on Wednesday, October 4, 2006 at 8 p.m. in the Spanos Theatre. The evening will include highlights from the acclaimed release, “The Elephant Sleeps But Still Remembers.” Recorded at Seattle’s Earshot Festival in October 2001, “The Elephant Sleeps But Still Remembers” brilliantly captures the collaboration of two unparalleled musical visionaries: Jack DeJohnette -- “our era’s most expansive percussive talent” (Jazz Times) -- and Bill Frisell, “the most important jazz guitarist of the last quarter of the 20th century” (Acoustic Guitar). DeJohnette and Frisell first worked together in 1999. “We immediately had a rapport and we talked about doing more,” DeJohnette recalls. Frisell needed no convincing: “I have been such a fan of Jack’s since the late ’60s when I first heard him,” the guitarist says. “He’s been such an influence and inspiration throughout my musical life.” The two got together the afternoon before the 2001 Earshot concert and at the soundcheck, ran through a couple of numbers, but the encounter was largely improvised. “We had a few themes prepared,” Frisell says, “but it was pretty much just start playing, and go for it.” According to DeJohnette, “Bill and I co-composed in real time, on the spot” for “The Elephant Sleeps...” The album features 11 tracks covering a breadth of sonic territories. -
Baltimore: “Music City” of the Future?
December 2015 Baltimore: “Music City” of the Future? . 1 BCJS at BMA: Don Braden Quintet featuring Vanessa Rubin . 4 BALTIMORE JAZZ ALLIANCE Member Notes, Discounts and Merchandise . 6 Dave Douglas at An die Musik . 7 An Interview with Nico Sarbanes . 8 Jazz Jam Sessions . 10 Ad Rates and Member Sign-up Form . 11 VOLUME XII ISSUE XI THE BJA NEWSLETTER WWW.BALTIMOREJAZZ.COM Baltimore: “Music City” of the Future? By Ken Avis On October 25th the Music Cities Conference in Washington, DC brought together 200 musicians, presenters, and city ad - ministrators from around the world to share experiences con - cerning the value of active music communities and ways to make them thrive. Something is happening out there. In re - cent years, at the city and at national levels, data are being collected, action plans are being implemented, and “live music offices” are being staffed. The evidence is conclusive. Under the right conditions a vibrant music scene positively affects community and economic development. Link it to tourism and it can really bring in the dollars and jobs. Austin, Nashville, New Orleans, and Berlin are clearly “music cities” where festivals, clubs and the supporting in - dustries provide jobs and attract tourist dollars. Austin has been America’s fastest-growing city for the last nine years. Its “cool music city” factor has been key to its success in attract - ing creative talent for the expanding high tech and creative What about Baltimore? Could Baltimore harness its jazz industries. At the other end of the spectrum, Johannesburg, legacy and active arts scene to ramp up quality of life Bogota, and at the national level, Venezuela are actively pur - and attract talent and jobs to revitalize the city ? suing music education and performance programs to address problems of crime and poverty and to develop healthier com - searchable by date, location, and genre, are front and center. -
Liebman Expansions
MAY 2016—ISSUE 169 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM DAVE LIEBMAN EXPANSIONS CHICO NIK HOD LARS FREEMAN BÄRTSCH O’BRIEN GULLIN Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East MAY 2016—ISSUE 169 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : Chico Freeman 6 by terrell holmes [email protected] Andrey Henkin: [email protected] Artist Feature : Nik Bärtsch 7 by andrey henkin General Inquiries: [email protected] On The Cover : Dave Liebman 8 by ken dryden Advertising: [email protected] Encore : Hod O’Brien by thomas conrad Editorial: 10 [email protected] Calendar: Lest We Forget : Lars Gullin 10 by clifford allen [email protected] VOXNews: LAbel Spotlight : Rudi Records by ken waxman [email protected] 11 Letters to the Editor: [email protected] VOXNEWS 11 by suzanne lorge US Subscription rates: 12 issues, $40 Canada Subscription rates: 12 issues, $45 In Memoriam 12 by andrey henkin International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or money order to the address above CD Reviews or email [email protected] 14 Staff Writers Miscellany David R. Adler, Clifford Allen, 37 Duck Baker, Fred Bouchard, Stuart Broomer, Thomas Conrad, Ken Dryden, Donald Elfman, Event Calendar 38 Philip Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo, Suzanne Lorge, Marc Medwin, Ken Micallef, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Andrew Vélez, Ken Waxman Tracing the history of jazz is putting pins in a map of the world. -
Glenn Siegel, Ken Irwin, (413) 545-2876
Contact: Glenn Siegel, Ken Irwin, (413) 545-2876 www.fineartscenter.com/magictriangle THE 2011 MAGIC TRIANGLE JAZZ SERIES PRESENTS: Mostly Other People Do the Killing The Magic Triangle Jazz Series, produced by WMUA, 91.1FM and the Fine Arts Center at the University of Massachusetts, Amherst, concludes its 22nd season on Wednesday, April 20, at Bezanson Recital Hall with an 8:00pm performance by Mostly Other People Do the Killing. Deconstructing jazz standards and original compositions, weaving in and out of styles erratically and often humorously, Mostly Other People Do the Killing (MOPDtK) is led by bassist and composer Moppa Elliot and features Peter Evans, trumpet, Jon Iragabon, saxophone and Kevin Shea, drums. “Bolstered by a youthful visceral intensity,” writes All About Jazz, “the mercurial quartet has a historically aware yet stylistically irreverent take on the jazz tradition." Mostly Other People Do the Killing formed in the fall of 2003 in New York City. Moppa Elliott met Peter Evans in 1998 at the Oberlin Conservatory of Music, where both studied. Upon relocating to New York, Elliott met Jon Irabagon and Kevin Shea. Mostly Other People Do the Killing recorded its first eponymous album during the summer of 2004 and released it on Elliott's Hot Cup label. "There’s a bustling, ostentatious impiety in the music of Mostly Other People Do the Killing,” writes The New York Times. “It’s a jazz quartet with a diligent grasp of history but an anarchic take on convention.” Their most recent release, Forty Fort (Hot Cup), is their fourth. By 2009, they had been voted the winners of the DownBeat Critics' Poll in the Rising Star Ensemble category, and Evans, Irabagon, and Elliott had been mentioned in their respective categories Jon Irabagon won the prestigious Thelonious Monk International Jazz Saxophone competition in 2008, while Peter Evans released his second solo trumpet album on Evan Parker's psi label. -
Approaching the Jazz Past: MOPDTK's Blue and Jason Moran's
Journal of Jazz Studies vol. 11, no. 2, pp. 1-28 (2016) Approaching the Jazz Past: MOPDTK’s Blue and Jason Moran’s “In My Mind: Monk at Town Hall, 1959” Tracy McMullen “Polemical traditions seem to valorize the literal” -Henry Louis Gates In October 2014, the jazz group Mostly Other People Do the Killing released their seventh album, Blue, a “painstakingly realized, note-for-note” re- performance of the classic 1959 album by the Miles Davis Sextet, Kind of Blue. Some jazz critics have described this album as “ingenious and preposterous” and “important.”1 Many of my fellow jazz scholars have been intrigued, wondering just how closely these artists come to re-performing the nuances of Miles or Coltrane or Evans. I have been far less impressed or intrigued. MOPDTK’s album is the product of a long Western tradition of understanding the art object, the artist, and history. Far from preposterous, ingenious, or even new, I argue this album is a stark example of comprehending jazz via a Western epistemology that informs “classical music” rather than, as one reviewer argues, a critique of this tendency. Using the 1939 Jorge Luis Borges story the band offers as liner notes as my pivot point, I argue that MOPDTK assumes an epistemology that privileges objectivity and an obsession with naming while suspecting the subjec- tive and what cannot be named. In an obtuse reading of the Borges story, bassist and bandleader Moppa Elliott asserts that we must have a new object in order to re-read the old one. An obsession with naming (that is, locating boundaries) breeds a fascination with difference, which is then found in a predictable place: racial difference. -
Kris Davislooks to Discover the Piano's Full Potential
Outerto the Kris Davis looks to discover the piano’s full potential. ReachesBY TED PANKEN t 7 a.m., 90 minutes before our scheduled morning, after which, Davis told me later, she treated herself interview on Christmas Eve morning, Kris to a rare “day off” that entailed practice, exercise and hanging Davis sent an email: “bad night of sleep — out with her son. call you when I’m up — around 9:30.” We Between our conversations, Davis had pursued her were supposed to speak the previous night, customarily industrious schedule, which included a commute but she emailed me before the appointed from her Ossining, New York, home to Manhattan to teach time to say that a second consecutive day of recording piano and guide the Herbie Hancock Ensemble at the New an orchestral album with saxophonist Ingrid Laubrock at School; a two-hours-each-way drive to teach jazz piano at Manhattan’s Power Station left her too punchy “to do you Princeton; and two long rehearsals with Laubrock. The day much good.” When we finally connected at 9:30 sharp, Davis after our second talk, she led a new trio with Eric Revis and explained that she’d been up most of the night soothing her Johnathan Blake at a John Zorn-produced evening at the New A4-year-old son through serial nightmares. School’s Tishman Auditorium, then worked three consecutive It was our second rescheduling moment of the week. Six nights as a sidewoman, first in saxophonist Jure Pukl’s quintet days earlier, we postponed our first scheduled interview when at the Cornelia Street Café in Greenwich Village, then in a Davis awoke in the morning with a stomach virus her son had quintet assembled by Revis to play a newly commissioned suite picked up at school. -
Drew Gress, Artistic Integrity, and Some Kind of Accep- Portunity to Engage Visiting Artists and Craig Taborn, Tim Berne Tance, Even Within Its Own Mainstream
Welcome to the 2006 Earshot Jazz Festival This year, “Seattle’s most important in three-day residency with the Seattle Roosevelt High School Band shares a bill annual jazz event” includes more than Repertory Jazz Orchestra that includes with the Ted Nash Quintet. 60 events over 18 days between October open rehearsals and workshops as well Th e Earshot Jazz Festival is by far the 19 and November 5. With more than as two concerts. biggest undertaking of the Earshot Jazz 200 artists participating, from around Once again, we’ll feature Seattle’s award- organization, but it is far from our only the world and around our city, this year’s winningest high-school jazz ensembles in activity. We present our own concerts event off ers as much as any of its prede- mainstage concerts with special guest throughout the year, collaborate on con- cessors to music lovers of the Seattle area. artist. Guest artists who have rehearsed cert presenting initiatives like SAM’s Art Th e festival includes main stage concerts, and performed with Garfi eld and Roos- of Jazz, the Anacortes Jazz Festival, and, club dates, meet-the-artist receptions, evelt High School Bands in the past have coming up, EMP’s Jazz in January. We jazz fi lms, and plenty of opportunities included saxophonists Ravi Coltrane publish the monthly Earshot Jazz news- for all fans of all ages to learn a bit more and Joshua Redman and New Orleans letter, and work to provide educational about the music and the musicians. trumpeter Nicholas Payton. Th is year, opportunities and advancements to the We’re excited about this festival.