Guest Recital, JT Bates Trio, October 9, 2017 Lawrence University
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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. -
A Trumpet in the Morning Amplifiers! Jane Lra Bloom, Soprano Saxophone; Marty Ehrlich, Conductor, Clarinet, Bass Clarinet; J.D
RECORD REVIEWS I ILZZ JANE IRA BLOOM MARTY EHRTICH TARGE ENSEMBLE ew year! Sixteen Sunsets A Trumpet in the Morning amplifiers! Jane lra Bloom, soprano saxophone; Marty Ehrlich, conductor, clarinet, bass clarinet; J.D. Parran, narrator, Dom i nic * B rown' bass; soprano & bass saxophones; ""ni:li',ffi,?:;f ffiTJ Adam Kolker, Jason Robinson, others, reeds; Ron Outline OTL141 (CD;, Pure Audio PAR 55017 (BD). Horton, James Zolla1 others, trumpet; 2013. Jane lra Bloom, prod.; Jim Anderson, prod., John Clark, French horn; Ray Anderson, Michael eng. DDD . TT: 77 :48/77 :4O Dessen, others, trombone; Jerome Harris, guitar, slide guitar; Uri Caine, James Weidman, piano; PERFoRMANcE ****.*, Drew Gress, Brad Jones, bass; Warren Smith, soNtcs (cD) *"* ***; teot **-* ** vi b ra p h o n t'' e rso n' il fJiff illj ffi " New World80752-2 (CD).2013. Marty Ehrlich, Ira Bloom is a soprano-saxo- Jane oded Lev-Ari''J?,t:'fi:%lj;'nomerv' e ns' phone specialist who has won many jazz polls and a Guggenheim. Sixteen "-'3:il:l'lI*II* Amp Sunsets is her 15th recording as a leader !ntegrated and her first ballad album. The funes are mostly classics from the American One hates to abuse the word materpiece, Pure Tube Songbook. This is a rupt album of but surely A Tiumpet in the Morningwill deep after-midnight atmospheres, but go down as a m{or statement from its romanticism is sometimes edgy veteran reed player Mr.ty Ehrlich. flhe with passion. "For A11 We Know" is leader ser"ves as conductor-he plays on a naked autobiographical outpour- only one track-and marshals rsound irg. -
QUASIMODE: Ike QUEBEC
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ QUASIMODE: "Oneself-Likeness" Yusuke Hirado -p,el p; Kazuhiro Sunaga -b; Takashi Okutsu -d; Takahiro Matsuoka -perc; Mamoru Yonemura -ts; Mitshuharu Fukuyama -tp; Yoshio Iwamoto -ts; Tomoyoshi Nakamura -ss; Yoshiyuki Takuma -vib; recorded 2005 to 2006 in Japan 99555 DOWN IN THE VILLAGE 6.30 99556 GIANT BLACK SHADOW 5.39 99557 1000 DAY SPIRIT 7.02 99558 LUCKY LUCIANO 7.15 99559 IPE AMARELO 6.46 99560 SKELETON COAST 6.34 99561 FEELIN' GREEN 5.33 99562 ONESELF-LIKENESS 5.58 99563 GET THE FACT - OUTRO 1.48 ------------------------------------------ Ike QUEBEC: "The Complete Blue Note Forties Recordings (Mosaic 107)" Ike Quebec -ts; Roger Ramirez -p; Tiny Grimes -g; Milt Hinton -b; J.C. Heard -d; recorded July 18, 1944 in New York 34147 TINY'S EXERCISE 3.35 Blue Note 6507 37805 BLUE HARLEM 4.33 Blue Note 37 37806 INDIANA 3.55 Blue Note 38 39479 SHE'S FUNNY THAT WAY 4.22 --- 39480 INDIANA 3.53 Blue Note 6507 39481 BLUE HARLEM 4.42 Blue Note 544 40053 TINY'S EXERCISE 3.36 Blue Note 37 Jonah Jones -tp; Tyree Glenn -tb; Ike Quebec -ts; Roger Ramirez -p; Tiny Grimes -g; Oscar Pettiford -b; J.C. Heard -d; recorded September 25, 1944 in New York 37810 IF I HAD YOU 3.21 Blue Note 510 37812 MAD ABOUT YOU 4.11 Blue Note 42 39482 HARD TACK 3.00 Blue Note 510 39483 --- 3.00 prev. unissued 39484 FACIN' THE FACE 3.48 --- 39485 --- 4.08 Blue Note 42 Ike Quebec -ts; Napoleon Allen -g; Dave Rivera -p; Milt Hinton -b; J.C. -
Jazz-Fest-2017-Program-Guide.Pdf
JUNE 22 – JULY 2 | 2017 /coastaljazz | #VanJazzFest | COASTALJAZZ.CA 20TH ANNIVERSARY SEASON 2017 181 CHAN CENTRE PRESENTS SERIES The Blind Boys of Alabama with Ben Heppner I SEP 23 The Gloaming I OCT 15 Zakir Hussain and Dave Holland: Crosscurrents I OCT 28 Ruthie Foster, Jimmie Dale Gilmore and Carrie Rodriguez I NOV 8 The Jazz Epistles: Abdullah Ibrahim and Hugh Masekela I FEB 18 Lila Downs I MAR 10 Daymé Arocena and Roberto Fonseca I APR 15 Circa: Opus I APR 28 BEYOND WORDS SERIES Kate Evans: Threads I SEP 29 Tanya Tagaq and Laakkuluk Williamson Bathory I MAR 16+17 SUBSCRIPTIONS ON SALE MAY 2 DAYMÉ AROCENA THE BLIND BOYS OF ALABAMA HUGH MASEKELA TANYA TAGAQ chancentre.com Welcome to the 32nd Annual TD Vancouver International Jazz Festival TD is pleased to bring you the 2017 TD Vancouver International Jazz Festival, a widely loved and cherished world-class event celebrating talented and culturally diverse artists from Canada and around the world. In Vancouver, we share a love of music — it is a passion that brings us together and enriches our lives. Music is powerful. It can transport us to faraway places or trigger a pleasant memory. Music is also one of many ways that TD connects with customers and communities across the country. And what better way to come together than to celebrate music at several major music festivals from Victoria to Halifax. ousands of fans across British Columbia — including me — look forward to this event every year. I’m excited to take in the music by local and international talent and enjoy the great celebration this festival has to o er. -
TONY MALABY (B
TONY MALABY (b. 1964) PALOMA RECIO Tony Malaby, tenor saxophone; Ben Monder, electric guitar; Eivind Opsvik, bass; Nasheet Waits, drums 80688-2 1. Obambo 5:04 2. Lucedes 4:36 3. Alechinsky 10:06 4. Hidden 4:14 5. Boludos 2:51 6. Puppets 2:19 7. Sonoita 5:46 8. Loud Dove 12:07 9. Third Mystery 7:38 10. Musica Callada 3:07 TT: 57:58 These are strange times to be making music. Despite the recent change in political currents and a re- examination of national identity, the bottom-line question persists, “Is anything really going to be different?” In this context creative musicians go about the business of making a life and making music. The questions to be reckoned with rise to the surface as always, initiating valiant attempts to squeeze out some creative response to the inexorable truth; answers come with great difficulty and spawn new questions. It is a cycle of thought that deposits one in a temporarily liberating space with a license to go for it . one more time. Tony Malaby has been going for it on a regular basis since relocating to the New York area in 1995. Among the many projects that he has initiated, this quartet is of particular interest. My perspective on his music is unique: I have observed Tony’s compositional development over the past decade and had the chance to produce two of his recordings, including this one. Over that period of time we have had occasional discussions of formative processes and approaches to composition and improvisation. -
Stylistic Evolution of Jazz Drummer Ed Blackwell: the Cultural Intersection of New Orleans and West Africa
STYLISTIC EVOLUTION OF JAZZ DRUMMER ED BLACKWELL: THE CULTURAL INTERSECTION OF NEW ORLEANS AND WEST AFRICA David J. Schmalenberger Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Percussion/World Music Philip Faini, Chair Russell Dean, Ph.D. David Taddie, Ph.D. Christopher Wilkinson, Ph.D. Paschal Younge, Ed.D. Division of Music Morgantown, West Virginia 2000 Keywords: Jazz, Drumset, Blackwell, New Orleans Copyright 2000 David J. Schmalenberger ABSTRACT Stylistic Evolution of Jazz Drummer Ed Blackwell: The Cultural Intersection of New Orleans and West Africa David J. Schmalenberger The two primary functions of a jazz drummer are to maintain a consistent pulse and to support the soloists within the musical group. Throughout the twentieth century, jazz drummers have found creative ways to fulfill or challenge these roles. In the case of Bebop, for example, pioneers Kenny Clarke and Max Roach forged a new drumming style in the 1940’s that was markedly more independent technically, as well as more lyrical in both time-keeping and soloing. The stylistic innovations of Clarke and Roach also helped foster a new attitude: the acceptance of drummers as thoughtful, sensitive musical artists. These developments paved the way for the next generation of jazz drummers, one that would further challenge conventional musical roles in the post-Hard Bop era. One of Max Roach’s most faithful disciples was the New Orleans-born drummer Edward Joseph “Boogie” Blackwell (1929-1992). Ed Blackwell’s playing style at the beginning of his career in the late 1940’s was predominantly influenced by Bebop and the drumming vocabulary of Max Roach. -
Jason Robinson and Anthony Davis Dates Available in 2012-2014
Jason Robinson and Anthony Davis dates available in 2012-2014 “[For Robinson and Davis,] mood and interplay are more important than volume or scale.” -Ron Wynn, JazzTimes Magazine “[A] consummate summation of the jazz tradition in its most conversational and fundamental form.” -Troy Collins, All About Jazz “almost Ellingtonian in their lapidary elegance and beauty, highlighting the richness of Davis’ chordal voicings and Robinson’s big, brawny, Ben Webster-ish tone on tenor.” -The Stash Dauber “[I]nspired by their mutual passion for the music of Duke Ellington and spohisticated blues forms in a variety of hues, [their duet] is by turns lyrical and edgy, inviting and challenging. It’s steeped in jazz traditions that are handily extended, which is Robinson’s raison d’etre for making music.” -George Varge, San Diego Union-Tribune Moody, stark, and emotionally charged. Captured on their critically acclaimed debut recording Cerulean Landscape (Clean Feed, 2010), Robinson and pianist Anthony Davis have collaborated for more than ten years as a duo. Telepathic interplay, inspired improvisation, and dynamic original compositions carry listeners to a brilliant and evocative soundscape marked by emotional subtlety, a vast array of sounds, and poignant melodicism. With Duke Ellington, Billy Strayhorn, and the post- 60s jazz avant-garde as central reference points, Robinson and Davis bring together their formidable experience in many different music worlds, spilling over the traditional boundaries of the horn/piano duo. One moment minimalist, another orchestral, another beautifully melodic – their duo invites us into a sound world of deep blues, a place of surreal horizons, intense emotions, and hypnotic melodies. -
DG Press Kit
devingray drummer Photos by Sasha Johanssen (October 2006, Berlin, Germany) Selected Performance Experience (short list) Multiple jazz tours in Poland, France, Germany, Switzerland, Sweden, Denmark, Belgium and Canada. Extensive touring in East Coast (USA) major cities: Boston, NYC, Philadelphia, Baltimore, Washington D.C., and Portland, Maine. Kim Cass Quartet: Featuring George Garzone. Portland, Maine. Ted Rosenthal Trio: An Die Musik Live, Baltimore Corpulent: Gary Thomas, Joel Grip. Spy Club, Baltimore/Washington D.C. Devin Gray Trio: featuring, John O’Gallagher, and Michael Formanek. Baltimore. Dave Burrell Trio: An Die Musik Live, Baltimore drummer devJon Ballantyne/Devin Gray Duo: Portland Conservatory of Music, Maine. in Devin Gray Quartet: Russ Johnson, Kris Davis, Alexis Cuadrado, Yarmouth Clam Festival, Maine. Solo Drum Concert: May 2006. “National Galleriet,” Stockholm, Sweden. Devin Gray Trio: Baltimore Jazz and Blues Festival, June 2005-07. Performances & Recordings With: Tony Malaby, Rez Abbasi, Cameron Brown, Bill McHenry, Dave Ballou, George Garzone, Biography grayVardan Ovsepian, Russ Johnson, Ted Rosenthal, Gary Thomas, Joel Grip, John O’Gallagher, Steve Devin Gray began his love of music at age 7, with a new drum Grover, Ingrid Jensen, Michael Formanek, Dave set. He grew as an artist through his junior and senior high Burrell, Greg Osby, Jon Ballantyne, Jolly-Boat school education, winning awards such as the Tom Snow “jazz Pirates. musician” award, all-state big band and combo music competi- tions and earned the opportunity to play with vocalist Cleo Lane and a master class with Christian McBride, all at a very young Devin’s fresh approach to modern drumming has enabled him to age. -
Full Biography
FULL BIO For forty years, pianist/composer and Fulbright Scholar ARMEN DONELIAN has distinguished himself in 25 countries as a performer, recording artist, master class leader and with his published writings. Donelian’s music is a distinctive blend of 20 influences including his Armenian origin, his Classical technique, and his association with some of the biggest names in Jazz. And, according to Metronom Magazine (1986), he achieves this fusion In such a natural way that one can tell it’s a master’s work. “The best time to learn music,” says Davis and John Coltrane. “Folk, Rock, Dixieland, Jazz, Church, Show and Society music – I played pianist Armen Donelian, “is when you’re them all while growing up,” says Donelian. young, while the brain synapses are still open and fresh. I started playing by ear “In college, I made money by accompanying when I was 5 or 6, and started classical theater and dance classes, providing cocktail music piano lessons when I was about 7 at the at a restaurant on campus and playing and Westchester Conservatory of Music. I arranging for an 8-piece Jazz/Rock band. After was lucky to have parents who supported graduation, I had no gigs, no direction, and lived at my musical aspiration.” home for a few months. My ex-girlfriend’s mother told me, ‘Armen, nothing is going to happen unless As a child, Armen absorbed the sound of you make it happen.’ Armenian, Turkish, Greek and Middle Eastern music at social gatherings and “So, after graduating from Columbia University in from records his father played at home. -
132 New on Maybe Monday
New on INTAKT RECORDS www.intaktrec.ch One marker of bassist Michael Formanek's creativity and versatility is the range of distinguished musicians of several generations he's worked with. While still a teenager in the 1970s he toured with drummer Tony Williams and saxophonist Joe Henderson. Starting in the '80s he played long stints with Stan Getz, Fred Hersch and Freddie Hubbard. Formanek is also a composer and leader of various bands. One of his principal recording and international touring vehicles has been his acclaimed quartet with Tim Berne, Craig Taborn and Gerald Cleaver. His occasional groups include the 18-piece all-star Ensemble Kolos- sus, roping in many New York improvisers he works with. Currently his primary focus is the Michael Formanek Elusion Quartet with Tony Malaby, Kris Davis, and Ches Smith. In putting together the Elusion Quartet, interpreting his music with these specific musicians, Michael Formanek says he sought “a more direct connection to emotions: mine, theirs and the listener’s.” Hank Shteamer writes in the liner notes: "As one zeroes in on the details of Time Like This, it's clear that this sort of emotional immediacy permeates the album. You hear it in Kris Davis’ flowing, balletic solo on “A Fine Mess”; in Tony Malaby's ululating tenor cries on “The Soul Goodbye”; in Ches Smith’s raucous grooves on “That Was Then”; or the leader’s poised, sinewy lines on “Culture of None.” Elusive? MicHaeL FOrManek Certainly. But as this album proves, under the right conditions, with the eLusiOn QuarTeT right personnel, it’s still out there." Der New Yorker Bassist und Komponist Michael Formanek präsen- TIME LIKE THIS tiert mit seinem Elusion Quartett ein neues, wegweisendes Projekt. -
The Recordings
Appendix: The Recordings These are the URLs of the original locations where I found the recordings used in this book. Those without a URL came from a cassette tape, LP or CD in my personal collection, or from now-defunct YouTube or Grooveshark web pages. I had many of the other recordings in my collection already, but searched for online sources to allow the reader to hear what I heard when writing the book. Naturally, these posted “videos” will disappear over time, although most of them then re- appear six months or a year later with a new URL. If you can’t find an alternate location, send me an e-mail and let me know. In the meantime, I have provided low-level mp3 files of the tracks that are not available or that I have modified in pitch or speed in private listening vaults where they can be heard. This way, the entire book can be verified by listening to the same re- cordings and works that I heard. For locations of these private sound vaults, please e-mail me and I will send you the links. They are not to be shared or downloaded, and the selections therein are only identified by their numbers from the complete list given below. Chapter I: 0001. Maple Leaf Rag (Joplin)/Scott Joplin, piano roll (1916) listen at: http://www.youtube.com/watch?v=9E5iehuiYdQ 0002. Charleston Rag (a.k.a. Echoes of Africa)(Blake)/Eubie Blake, piano (1969) listen at: https://www.youtube.com/watch?v=R7oQfRGUOnU 0003. Stars and Stripes Forever (John Philip Sousa, arr. -
Michael Schade at a Special Release of His New Hyperion Recording “Of Ladies and Love...”
th La Scena Musicale cene English Canada Special Edition September - October 2002 Issue 01 Classical Music & Jazz Season Previews & Calendar Southern Ontario & Western Canada MichaelPerpetual Schade Motion Canada Post Publications Mail Sales Agreement n˚. 40025257 FREE TMS 1-01/colorpages 9/3/02 4:16 PM Page 2 Meet Michael Schade At a Special Release of his new Hyperion recording “Of ladies and love...” Thursday Sept.26 At L’Atelier Grigorian Toronto 70 Yorkville Ave. 5:30 - 7:30 pm Saturday Sept. 28 At L’Atelier Grigorian Oakville 210 Lakeshore Rd.E. 1:00 - 3:00 pm The World’s Finest Classical & Jazz Music Emporium L’Atelier Grigorian g Yorkville Avenue, U of T Bookstore, & Oakville GLENN GOULD A State of Wonder- The Complete Goldberg Variations (S3K 87703) The Goldberg Variations are Glenn Gould’s signature work. He recorded two versions of Bach’s great composition—once in 1955 and again in 1981. It is a testament to Gould’s genius that he could record the same piece of music twice—so differently, yet each version brilliant in its own way. Glenn Gould— A State Of Wonder brings together both of Gould’s legendary performances of The Goldberg Variations for the first time in a deluxe, digitally remastered, 3-CD set. Sony Classical celebrates the 70th anniversary of Glenn Gould's birth with a collection of limited edition CDs. This beautifully packaged collection contains the cornerstones of Gould’s career that marked him as a genius of our time. A supreme intrepreter of Bach, these recordings are an essential addition to every music collection.