Extravaganza Press Release 2013
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1 Musik Spezial
1 Musik Spezial - Radiophon 21.03 bis 22.00 Uhr Sendung: 31.01.2013 Von Harry Lachner Musikmeldung 1. A Little Place Called Trust The Paper Chase (John Congleton) 28101-2 CD: Hide The Kitchen Knives 2. Ceremonial Magic II John Zorn (John Zorn) Tzadik TZ 8092 CD: Music and Its Double 3. Black Angels - I. Departure Quatuor Diotima (George Crumb) Naive 5272 CD: American Music 4. L.A. Confidential Jerry Goldsmith (Goldsmith) Restless 0187-72946-2 CD: LA Confidential 5. The Prophecy John Zorn (John Zorn) Tzadik TZ 8303 CD: A Vision in Blakelight 6. Room 203 Graham Reynolds (Graham Reynolds) Lakeshore 33863 CD: A Scanner Darkly 7. Fantasie For Horns II Hildegard Westerkamp (Hildewgard Westerkamp) Empreintes Digitales IMED 9631 CD: Transformations 8. Hier und dort Ernst Jandl, Christian Muthspiel (Ernst Jandl, Christian Muthspiel) Universal 0602517784901 (LC: 12216) CD: für und mit ernst 9. Tristan Eric Schaefer (Richard Wagner) ACT 9543-2 CD: Who is afraid of Richard W.? 10. Je ne pense kanous Hélène Breschand, Sylvain Kassap (Hélène Breschand, Sylvain Kassap) D'Autres Cordes dac 311 CD: Double-Peine 11. Harbour Symphony Hildegard Westerkamp (Hildegard Westerkamp) Empreintes Digitales IMED 9631 CD: Transformations 2 12. Soudain l'hiver dernier Hélène Breschand, Sylvain Kassap (Hélène Breschand, Sylvain Kassap) D'Autres Cordes dac 311 CD: Double-Peine 13. Voyage en Egypte Paul Bowles (Paul Bowles, Bill Laswell) Meta Records MTA9601 CD: Baptism of Solitude 14. Floundering Shelley Hirsch, Simon Ho (Shelley Hirsch, Simon Ho) Tzadik 7638 CD: Where Were You, Then? 15. Flea Bite Nurse with Wound (Steven Stapleton) UD 032 CD CD: A Sucked Orange 16. -
Lawrence D. “Butch” Morris
Lawrence D. “Butch” Morris American Cornetist, Composer & Conductor (February 10, 1947 – January 22, 2013) 1 Track listing 1. title: Conduction #1: Current Trends in Racism in Modern America (Part 1 (cont.)) personnel: Butch Morris (conductor), Frank Lowe (saxophone), John Zorn (saxophone, game calls), Christian Marclay (turntables), Thurman Barker (marimba), Curtis Clark (piano), Brandon Ross (guitar), Zeena Parkins (harp), Eli Fountain (vibraphone), Tom Cora (cello), Yasunao Tone (vocal) album title (format): Current Trends in Racism in Modern America (lp) label (country) (catalog number): Sound Aspects Records (Germany) (SAS 4010) recording location and date: New York, USA, February 1st, 1985 release date: 1986 duration: 12:12 2. title: Ozone – Burning Blue personnel: Butch Morris (cornet), Lê Quan Ninh (percussion), J.A. Deane (trombone, flute, electronics) album title (format): Burning Cloud label (country) (catalog number): Free Music Productions (Germany) (FMP CD 77 ) recording location and date: Berlin, Germany, October 29, 1993 release date: 1996 duration: 18:27 3. title: Conduction #26, E personnel: Butch Morris (conductor), Hasan Esen (kemence), Mehmet Emin Bitmez (ud), Göskel Baktagir (kanun), Süleyman Erguner (ney), Lê Quan Ninh (percussion), Bryan Carrott (vibraphone), J.A. Deane (trombone, electronics, drum machine), Elizabeth Panzer (harp), Brandon Ross (acoustic guitar), Steve Colson (piano), Hugh Ragin (pocket trumpet) album title (format): Testament: A Conduction Collection Disc 5 (cdx10+book+box) label (country) (catalog -
PROBES #19.2 Devoted to Exploring the Complex Map of Sound Art from Different Points of View Organised in Curatorial Series
Curatorial > PROBES With this section, RWM continues a line of programmes PROBES #19.2 devoted to exploring the complex map of sound art from different points of view organised in curatorial series. Auxiliaries PROBES takes Marshall McLuhan’s conceptual The PROBES Auxiliaries collect materials related to each episode that try to give contrapositions as a starting point to analyse and expose the a broader – and more immediate – impression of the field. They are a scan, not a search for a new sonic language made urgent after the deep listening vehicle; an indication of what further investigation might uncover collapse of tonality in the twentieth century. The series looks and, for that reason, most are edited snapshots of longer pieces. We have tried to at the many probes and experiments that were launched in light the corners as well as the central arena, and to not privilege so-called the last century in search of new musical resources, and a serious over so-called popular genres. In this auxiliary we meet more repurposed new aesthetic; for ways to make music adequate to a world African instruments in several fields, and take one glimpse at the reverse traffic. transformed by disorientating technologies. Interestingly, for the first time, there’s hardly any adoption in contemporary classical circles. Answers on a postcard, please. Curated by Chris Cutler 01. Playlist PDF Contents: 01. Playlist 00:00 Gregorio Paniagua, ‘Anakrousis’, 1978 02. Notes 03. Links 00:06 Randy Weston, interview with Brian Pace (excerpt), 2010 04. Credits Pace is a broadcaster, journalist and mediator of The Pace Report 05. -
Cool Trombone Lover
NOVEMBER 2013 - ISSUE 139 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM ROSWELL RUDD COOL TROMBONE LOVER MICHEL • DAVE • GEORGE • RELATIVE • EVENT CAMILO KING FREEMAN PITCH CALENDAR “BEST JAZZ CLUBS OF THE YEAR 2012” SMOKE JAZZ & SUPPER CLUB • HARLEM, NEW YORK CITY FEATURED ARTISTS / 7:00, 9:00 & 10:30pm ONE NIGHT ONLY / 7:00, 9:00 & 10:30pm RESIDENCIES / 7:00, 9:00 & 10:30pm Fri & Sat, Nov 1 & 2 Wed, Nov 6 Sundays, Nov 3 & 17 GARY BARTZ QUARTET PLUS MICHAEL RODRIGUEZ QUINTET Michael Rodriguez (tp) ● Chris Cheek (ts) SaRon Crenshaw Band SPECIAL GUEST VINCENT HERRING Jeb Patton (p) ● Kiyoshi Kitagawa (b) Sundays, Nov 10 & 24 Gary Bartz (as) ● Vincent Herring (as) Obed Calvaire (d) Vivian Sessoms Sullivan Fortner (p) ● James King (b) ● Greg Bandy (d) Wed, Nov 13 Mondays, Nov 4 & 18 Fri & Sat, Nov 8 & 9 JACK WALRATH QUINTET Jason Marshall Big Band BILL STEWART QUARTET Jack Walrath (tp) ● Alex Foster (ts) Mondays, Nov 11 & 25 Chris Cheek (ts) ● Kevin Hays (p) George Burton (p) ● tba (b) ● Donald Edwards (d) Captain Black Big Band Doug Weiss (b) ● Bill Stewart (d) Wed, Nov 20 Tuesdays, Nov 5, 12, 19, & 26 Fri & Sat, Nov 15 & 16 BOB SANDS QUARTET Mike LeDonne’s Groover Quartet “OUT AND ABOUT” CD RELEASE LOUIS HAYES Bob Sands (ts) ● Joel Weiskopf (p) Thursdays, Nov 7, 14, 21 & 28 & THE JAZZ COMMUNICATORS Gregg August (b) ● Donald Edwards (d) Gregory Generet Abraham Burton (ts) ● Steve Nelson (vibes) Kris Bowers (p) ● Dezron Douglas (b) ● Louis Hayes (d) Wed, Nov 27 RAY MARCHICA QUARTET LATE NIGHT RESIDENCIES / 11:30 - Fri & Sat, Nov 22 & 23 FEATURING RODNEY JONES Mon The Smoke Jam Session Chase Baird (ts) ● Rodney Jones (guitar) CYRUS CHESTNUT TRIO Tue Cyrus Chestnut (p) ● Curtis Lundy (b) ● Victor Lewis (d) Mike LeDonne (organ) ● Ray Marchica (d) Milton Suggs Quartet Wed Brianna Thomas Quartet Fri & Sat, Nov 29 & 30 STEVE DAVIS SEXTET JAZZ BRUNCH / 11:30am, 1:00 & 2:30pm Thu Nickel and Dime OPS “THE MUSIC OF J.J. -
Immersion Into Noise
Immersion Into Noise Critical Climate Change Series Editors: Tom Cohen and Claire Colebrook The era of climate change involves the mutation of systems beyond 20th century anthropomorphic models and has stood, until recent- ly, outside representation or address. Understood in a broad and critical sense, climate change concerns material agencies that im- pact on biomass and energy, erased borders and microbial inven- tion, geological and nanographic time, and extinction events. The possibility of extinction has always been a latent figure in textual production and archives; but the current sense of depletion, decay, mutation and exhaustion calls for new modes of address, new styles of publishing and authoring, and new formats and speeds of distri- bution. As the pressures and re-alignments of this re-arrangement occur, so must the critical languages and conceptual templates, po- litical premises and definitions of ‘life.’ There is a particular need to publish in timely fashion experimental monographs that redefine the boundaries of disciplinary fields, rhetorical invasions, the in- terface of conceptual and scientific languages, and geomorphic and geopolitical interventions. Critical Climate Change is oriented, in this general manner, toward the epistemo-political mutations that correspond to the temporalities of terrestrial mutation. Immersion Into Noise Joseph Nechvatal OPEN HUMANITIES PRESS An imprint of MPublishing – University of Michigan Library, Ann Arbor, 2011 First edition published by Open Humanities Press 2011 Freely available online at http://hdl.handle.net/2027/spo.9618970.0001.001 Copyright © 2011 Joseph Nechvatal This is an open access book, licensed under the Creative Commons By Attribution Share Alike license. Under this license, authors allow anyone to download, reuse, reprint, modify, distribute, and/or copy this book so long as the authors and source are cited and resulting derivative works are licensed under the same or similar license. -
Some Notes on John Zorn's Cobra
Some Notes on John Zorn’s Cobra Author(s): JOHN BRACKETT Source: American Music, Vol. 28, No. 1 (Spring 2010), pp. 44-75 Published by: University of Illinois Press Stable URL: http://www.jstor.org/stable/10.5406/americanmusic.28.1.0044 . Accessed: 10/12/2013 15:16 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of Illinois Press is collaborating with JSTOR to digitize, preserve and extend access to American Music. http://www.jstor.org This content downloaded from 198.40.30.166 on Tue, 10 Dec 2013 15:16:53 PM All use subject to JSTOR Terms and Conditions JOHN BRACKETT Some Notes on John Zorn’s Cobra The year 2009 marks the twenty-fifth anniversary of John Zorn’s cele- brated game piece for improvisers, Cobra. Without a doubt, Cobra is Zorn’s most popular and well-known composition and one that has enjoyed remarkable success and innumerable performances all over the world since its premiere in late 1984 at the New York City club, Roulette. Some noteworthy performances of Cobra include those played by a group of jazz journalists and critics, an all-women performance, and a hip-hop ver- sion as well!1 At the same time, Cobra is routinely played by students in colleges and universities all over the world, ensuring that the work will continue to grow and evolve in the years to come. -
Reggie Workman Working Man
APRIL 2018—ISSUE 192 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM REGGIE WORKMAN WORKING MAN JIM JONNY RICHARD EDDIE McNEELY KING WYANDS JEFFERSON Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East APRIL 2018—ISSUE 192 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : JIM Mcneely 6 by ken dryden [email protected] Andrey Henkin: [email protected] Artist Feature : JONNY KING 7 by donald elfman General Inquiries: [email protected] ON The COver : REGGIE WORKMAN 8 by john pietaro Advertising: [email protected] Encore : RICHARD WYANDS by marilyn lester Calendar: 10 [email protected] VOXNews: Lest WE Forget : EDDIE JEFFERSON 10 by ori dagan [email protected] LAbel Spotlight : MINUS ZERO by george grella US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or vOXNEWS 11 by suzanne lorge money order to the address above or email [email protected] Obituaries by andrey henkin Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Stuart Broomer, FESTIvAL REPORT Robert Bush, Thomas Conrad, 13 Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, CD REviews 14 Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, Suzanne -
WXYC Brings You Gems from the Treasure of UNC's Southern
IN/AUDIBLE LETTER FROM THE EDITOR a publication of N/AUDIBLE is the irregular newsletter of WXYC – your favorite Chapel Hill radio WXYC 89.3 FM station that broadcasts 24 hours a day, seven days a week out of the Student Union on the UNC campus. The last time this publication came out in 2002, WXYC was CB 5210 Carolina Union Icelebrating its 25th year of existence as the student-run radio station at the University of Chapel Hill, NC 27599 North Carolina at Chapel Hill. This year we celebrate another big event – our tenth anni- USA versary as the first radio station in the world to simulcast our signal over the Internet. As we celebrate this exciting event and reflect on the ingenuity of a few gifted people who took (919) 962-7768 local radio to the next level and beyond Chapel Hill, we can wonder request line: (919) 962-8989 if the future of radio is no longer in the stereo of our living rooms but on the World Wide Web. http://www.wxyc.org As always, new technology brings change that is both exciting [email protected] and scary. Local radio stations and the dedicated DJs and staffs who operate them are an integral part of vibrant local music communities, like the one we are lucky to have here in the Chapel Hill-Carrboro Staff NICOLE BOGAS area. With the proliferation of music services like XM satellite radio Editor-in-Chief and Live-365 Internet radio servers, it sometimes seems like the future EDITOR-IN-CHIEF: Nicole Bogas of local radio is doomed. -
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. -
UNIVERS ZERO Title: CLIVAGES (Cuneiform Rune 295)
Bio information: UNIVERS ZERO Title: CLIVAGES (Cuneiform Rune 295) 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 radio] www.cuneiformrecords.com FILE UNDER: ROCK / CHAMBER ROCK / EXPERIMENTAL / CLASSICAL “...an indispensable release for anyone who believes that "Bartók" and "rock" can fit comfortably in the same sentence.” – All Music Guide “Univers Zero's vision (is) pretty much unique & for those touched by it, nothing else will quite do...a sound that really couldn't be any other band in the world.'” – The Rough Guide To Rock The Belgian band Univers Zero is legendary for their uncompromising musical vision – a sound and stance Keyboard described as “Chamber music for the Apocalypse”. Simultaneously medieval & modern, its distinctive, dark and elegantly beautiful music has set the standard for “chamber rock”, a New Music hybrid of Francophone origin and worldwide appeal that UZ pioneered. UZ’s singular sound derives from its unique instrumentation (piano and keyboards, violin, clarinets saxophone, oboe, bassoon, English horn, electric bass, drums) combined with brooding gothic imagery, elements of European folk and other world musics, the iconoclasm and intensity of rock, the relentless sonic experimentation of the avant garde, and leader and composer Daniel Denis’ classically-inspired writing style, influenced by early 20th Century avant garde classical composers. In the hands of some of the best musicians in Europe, these factors result in a group on the cutting edge of creating a new, vital, and unique fusion of classical and rock music. The band has remained on the cutting edge of New Music throughout the course of a career that began in the ‘70s and continues today, stretching and disintegrating the boundaries of classical and rock music alike to create a new, vital, and unique fusion. -
Christian Marclay: Festival to Be Presented at the Whitney
CHRISTIAN MARCLAY: FESTIVAL TO BE PRESENTED AT THE WHITNEY Featuring live performances by Butch Morris, Zeena Parkins, Marina Rosenfeld, Elliott Sharp, Joan LaBarbara, Anthony Coleman, Okkyung Lee, Bill Frisell, Lee Ranaldo, Mary Halvorson, David Moss, o.blaat/Keiko Uenishi, Cyro Baptista, John Zorn and many others July 1 - September 26, 2010 Christian Marclay, Graffiti Composition, 1996–2002. Portfolio of 150 digital prints. Printed by Muse X Editions, Los Angeles, published by Paula Cooper Gallery, New York. Courtesy the artist and Paula Cooper Gallery, New York. © Christian Marclay NEW YORK, May 3, 2010 – Artist/composer Christian Marclay (b. 1955), known for the distinctive fusion of sound and image in his art, is the subject of a major exhibition this summer at the Whitney Museum of American Art. Activated by daily musical performances, the show explores Marclay’s approach to the world around him with a more… Christian Marclay: Festival, 2 particular focus on his “graphic scores.” Approximately fifty renowned instrumentalists and vocalists, some of whom have collaborated regularly with the artist over the course of the past three decades, are scheduled to interpret the scores exhibited, enabling museum audiences to experience Marclay’s work brought to life. The exhibition, curated by David Kiehl, the Whitney’s curator of prints and special collections, with Limor Tomer, adjunct curator of performing arts, will be on view from July 1 through September 26, 2010, in the Whitney’s fourth-floor Emily Fisher Landau Galleries. Celebrated as a pioneer of turntablism, Marclay transforms sound and music into visual and physical forms; in the past, his work has included performance, photography, collages, sculpture, large-scale installations, and video. -
Freier Download BA 67 Als
BAD 67 ALCHEMY 1 Martin Büsser gewidmet 1968 - 2010 2 WHAT A DIFFERENCE A NIGHT MAKES Ah, Serenade kommt tatsächlich von sereno. Weil sie unter heiterem Himmel stattfindet. Der 10. August 2010 ist so ein Abend, ideal, um ihn beim WÜRZ- BURGER HAFENSOMMER mit dem PORTICO QUARTET zu genießen. Vier le- ger gekleidete Jungmänner entern die schwimmende Bühne hinter dem Heiz- kraftwerk und beginnen, die genial verhuschten Federwölkchen über uns abzu- malen. Duncan Bellamy an den Drums, Milo Fitzpatrick am Kontrabass, Nick Mul- vey klöppelt auf etwas, das sich Hang Drums nennt und aussieht wie drei Wok- pfannen und Jack Wyllie bläst abwechselnd Tenor- und Sopranosaxophon. Sie präsentieren ihr Isla-Programm und wenige Takte genügen, um auf den voll be- setzten Treppenstufen zu begreifen, warum die Londoner für den Mercury Prize 2008 nominiert waren, auf Peter Gabriels Label Real World publizieren und eu- ropaweit als Darlings herumgereicht werden. Der melodische Sound des Hang, einer Percussion-Novität von Panart in Bern, verbreitet mit repetitiven, harmoni- schen Mustern aus nur einer Handvoll Tönen die Wärme und den hypnotischen Sog von Trinidad-Steel-Drums, erinnert stellenweise an Harfenarpeggios, mit bloßen Händen gespielt auch an eine Mbira. Das Quartett lässt in seinen Mustern Debussy und Nyman mit Tortoise vexieren. Fitzpatrick zupft warme Bassriffs. Bellamy tickelt, tüpfelt und wischt dazu funkelnde und federleichte Beats. Und schon ist jeweils der schönste Groove beieinander, etwa bei ‚Dawn Patrol‘ mit seinem simplen Pizzikatodrive, in den Wyllie hell und sanglich betörend einfädelt. Der Clou sind jedoch klangliche Accessoires, die er mit Delay- und Loop-Effekten unterlegt, einfach das Klacken der Klappenmechanik, lang gezogene oder kas- kadierende Dauertöne, das Fiepen einer Melodica.