William Parker & the Little Huey Creative Music

Total Page：16

File Type：pdf, Size：1020Kb

VICTO cd 102 WILLIAM PARKER & THE LITTLE HUEY CREATIVE MUSIC ORCHESTRA For Percy Heath 1. Part One 10'34" 2. Part Two 9'49" 3. Part Three 10'15" 4. Part Four 17'40" Toutes les musiques sont de William Parker (Centering Music, BMI) Enregistré « live » au 22e Festival International de Musique Actuelle de Victoriaville le 22 mai 2005. Sabir Mateen : saxophone ténor, clarinette alto Darryl Foster : saxophones ténor et soprano Rob Brown : saxophone alto Charles Waters : saxophone alto, clarinette Dave Sewelson : saxophone baryton Roy Campbell : trompette Matt Lavelle : trompette Les Disques VICTO Lewis Barnes : trompette Les Éditions VICTORIAVILLE, SOCAN 2006 7 7 7 4 0 5 0 1 0 2 2 3 Steve Swell : trombone Alex Lodico : trombone Masahiko Kono : trombone Dave Hofstra : tuba Andrew Barker : batterie William Parker : contrebasse, composition, direction For Percy Heath April 30, 1923/April 28, 2005 The first time I met Percy Heath was 1983 in San Francisco. I was playing a concert with the pianist Cecil Taylor and when the concert ended, I went off stage and there standing in the wings was Percy Heath. He greeted me with a hug and called me “Iron fingers”. I thanked him for his wonderful bass playing. Then we spoke about the importance of space, timing and playing the right thing at the right time in a musical situation. I saw Percy one other time at the North Sea Festival in Holland. He was in his seventies and I asked him if I could get anything for him. He replied “No, just keep playing your music”. In May 2005 The Little Huey Creative Music Orchestra premiered the piece “For Percy Heath”. William Parker, October 2006 C.P. 460, VICTORIAVILLE, QUÉBEC, CANADA, G6P 6T3 TÉL. : (819) 752-7912 • FAX : (819) 758-4370 • [email protected].

Copy Link

Recommended publications

Vision Festival 21 Brochure
THE CREATIVE OPTION TOGETHER WE CONTINUE TO MAKE VISIONS REAL Our goal is to keep alive, in hearts and minds, the idealism, integrity and sense of responsibility that has inspired generations. We support the Present by remembering & respecting the Past & Prepare a Future where Improvisation and Freedom have a place. THIS IS ONLY POSSIBLE WITH YOUR HELP Charlotte Ka, ‘Dance a Celebration of Life’ Arts for Art presents Free Jazz as a sacred art-form, based in the Ideals of Freedom, Artist Info Page 24 Marcy Rosenblat, ‘Reveal’ Justice and Excellence. The art expresses our sense of hope and belief in the possibility of freedom, A Freedom to be our most unique self. So we push ourselves to do more, to redefine our self, our art and our communities. The music was built by self-determination. Where the artist defines, presents their work, not waiting for permission. Hope, Freedom, Self-determination are powerful ideas in any time, and particularly in this time. VISUAL ART AT VISION 21 AT ART VISUAL What we do or don’t do – does matter. We make a difference in our world and in our Lives by supporting what feeds our Souls. Bill Mazza, If the Vision Festival and the Work of Arts for Art feeds Souls then you should support it. ‘Vision 20, Day 5, Set 3, Wadada Leo Smith/Aruan Ortiz Duo’’ Our Humanity and Creativity needs a community of supporters who share our ideals. Jonas Hidalgo ENSURE ARTS FOR ART’S FUTURE ■ BE A MEMBER / DONATE TO ARTS FOR ART ■ BECOME ACTIVE IN THE AFA COMMUNITY Visit: www.artsforart.org/support or stop by the Arts for Art table at the Vision Festival.
[Show full text]
The Piano Equation
Edward T. Cone Concert Series ARTIST-IN-RESIDENCE 2020–2021 Matthew Shipp The Piano Equation Saturday, November 21 2020 8:00 p.m. ET Virtual Concert, Live from Wolfensohn Hall V wo i T r n tu so osity S ea Institute for Advanced Study 2020–2021 Edward T. Cone Concert Series Saturday, November 21, 2020 8:00 p.m. ET MATTHEW SHIPP PROGRAM THE PIANO EQUATION Matthew Shipp Funding for this concert is provided by the Edward T. Cone Endowment and a grant from the PNC Foundation. ABOUT THE MUSIC David Lang writes: Over the summer I asked Matthew Shipp if he would like to play for us the music from his recent recording The Piano Equation. This album came out towards the beginning of the pandemic and I found myself listening to it over and over—its unhurried wandering and unpredictable changes of pace and energy made it a welcome, thoughtful accompaniment to the lockdown. My official COVID soundtrack. Matthew agreed, but he warned me that what he would play might not sound too much like what I had heard on the recording. This music is improvised, which means that it is different every time. And of course, that is one of the reasons why I am interested in sharing it on our season. We have been grouping concerts under the broad heading of ‘virtuosity’–how music can be designed so that we watch and hear a musical problem being overcome, right before our eyes and ears. Improvisation is a virtuosity all its own, a virtuosity of imagination, of flexibility, of spontaneity.
[Show full text]
The Singing Guitar
August 2011 | No. 112 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Mike Stern The Singing Guitar Billy Martin • JD Allen • SoLyd Records • Event Calendar Part of what has kept jazz vital over the past several decades despite its commercial decline is the constant influx of new talent and ideas. Jazz is one of the last renewable resources the country and the world has left. Each graduating class of New York@Night musicians, each child who attends an outdoor festival (what’s cuter than a toddler 4 gyrating to “Giant Steps”?), each parent who plays an album for their progeny is Interview: Billy Martin another bulwark against the prematurely-declared demise of jazz. And each generation molds the music to their own image, making it far more than just a 6 by Anders Griffen dusty museum piece. Artist Feature: JD Allen Our features this month are just three examples of dozens, if not hundreds, of individuals who have contributed a swatch to the ever-expanding quilt of jazz. by Martin Longley 7 Guitarist Mike Stern (On The Cover) has fused the innovations of his heroes Miles On The Cover: Mike Stern Davis and Jimi Hendrix. He plays at his home away from home 55Bar several by Laurel Gross times this month. Drummer Billy Martin (Interview) is best known as one-third of 9 Medeski Martin and Wood, themselves a fusion of many styles, but has also Encore: Lest We Forget: worked with many different artists and advanced the language of modern 10 percussion. He will be at the Whitney Museum four times this month as part of Dickie Landry Ray Bryant different groups, including MMW.
[Show full text]
Downbeat.Com February 2021 U.K. £6.99
FEBRUARY 2021 U.K. £6.99 DOWNBEAT.COM FEBRUARY 2021 DOWNBEAT 1 FEBRUARY 2021 VOLUME 88 / NUMBER 2 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [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; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow.
[Show full text]
Gerry Hemingway Quartet Press Kit (W/Herb Robertson and Mark
Gerry Hemingway Quartet Herb Robertson - trumpet Ellery Eskelin - tenor saxophone Mark Dresser- bass Gerry Hemingway – drums "Like the tightest of early jazz bands, this crew is tight enough to hang way loose. *****" John Corbett, Downbeat Magazine Gerry Hemingway, who developed and maintained a highly acclaimed quintet for over ten years, has for the past six years been concentrating his experienced bandleading talent on a quartet formation. The quartet, formed in 1997 has now toured regularly in Europe and America including a tour in the spring of 1998 with over forty performances across the entire country. “What I experienced night after night while touring the US was that there was a very diverse audience interested in uncompromising jazz, from young teenagers with hard core leanings who were drawn to the musics energy and edge, to an older generation who could relate to the rhythmic power, clearly shaped melodies and the spirit of musical creation central to jazz’s tradition that informs the majority of what we perform.” “The percussionist’s expressionism keeps an astute perspective on dimension. He can make you think that hyperactivity is accomplished with a hush. His foursome recently did what only a handful of indie jazzers do: barnstormed the U.S., drumming up business for emotional abstraction and elaborate interplay . That’s something ElIery Eskelin, Mark Dresser and Ray Anderson know all about.“ Jim Macnie Village Voice 10/98 "The Quartet played the compositions, stuffed with polyrhythms and counterpoints, with a swinging
[Show full text]
Xnn Dance Chaos Magic
Eschatology Records Presents: XNN DANCE CHAOS MAGIC “Don’t think we ain’t rehearsing!” I remember these words being spoken by Daniel Carter 3 or 4 hours into our first “rehearsal” as a group. Musical instruments had not yet been touched - we were consumed by deep conversation, most of which was framed by the shift in reality caused by the 2016 election which had just occurred around the time the group was formed. In fact, Daniel was paraphrasing Cecil Taylor, who he remembered had relayed the same words to his group, when one of their rehearsals had transformed into a several hours long conversation. Looking back, it’s easy to see that quote, in that moment, as representative of the central concept of XNN. A typical XNN session begins upon Daniel’s arrival, exuberantly sharing the bevy of new current events, philosophical, and musical information he’s been digesting that week as he takes his time unpacking his multitude of instruments. Never failing to present challenging, alternative perspectives, the group dialogue runs the emotional gamut from curiosity and surprise, to anger and frustration - always landing on laughter and love. It occurs to me now that, quite literally, this was and is the way we prepare to play. In some ensembles, it makes sense to go over sheet music and chord changes in order to prepare the music. For XNN, though, the hang is essentially practicing the ability to exist in paradoxical and liminal spaces. Can we remain curious and open to new perspectives while standing firm in the principles that make us who we are? To what extent can we sincerely consider an idea that challenges everything we think we believe? What better training to play improvised music than to deal with these questions! After years of this process, XNN has coalesced into a collective with a unique ability to stand firm in their individual musical personalities while collectively reaching something greater.
[Show full text]
Press Kit 2015
minasi_bio_4-30-2019_Layout 1 4/30/19 11:22 PM Page 1 BIOGRAPHY “Improvising musicians all pay lip service to the idea of working without a net, but most end up building safety precautions —no matter how slight or subtle they may be—into their work. Dom Minasi, however, isn't one of those musicians. The indefatigable guitarist has no interest in sonic safeguards or insurance. He's a law unto himself, creating music that speaks to his intelligence, fearlessness, and mischievous nature. And while Minasi has been at it for half a century, he shows no sign of slowing down or taking an easy road. Minasi is one of the great creative guitar artists operating today”. Dan Bilawsky from All About Jazz. Dom Minasi has been playing guitar for over 50 years. He became a professional musician playing jazz when he was 15 years old. In 1962 he started teaching and working as a full–time musician. In 1974, he was signed to Blue Note Records. After two albums he left the recording business and did not record again as a leader till 1999 for CIMP records. Between those years he made his living composing, authoring three books on harmony and improvisation, teaching and arranging. During the late seventies he did have an opportunity to work and perform with a whole slew of jazz giants including Arnie Lawrence, George Coleman, Frank Foster, Jimmy Heath and Dave Brubeck. After working with and being inspired by Roger Kellaway in ‘74, Dom began seriously composing in all genres’, including songwriting (both music & lyrics) jazz tunes and serious long hair contemporary pieces.
[Show full text]
NYC Jazz Record Review
format highlighting Zankel’s tart sound and fleet, title track and “Goldie’s Chance” are album highlights. brightly inflected, continuous lines. Rodriguez displays a delicacy at the keys that perfectly As the title declares, this is a 65th birthday balances Sevian’s slow, low swaying. But the almost celebration of bassist William Parker, Zankel’s manic “Lamb and Bunny”, on which Tarantino returns colleague for over 40 years. The suite is a loose for another round with/against the leader, is collection of themes taken from Zankel’s compositions astonishing. Rodriguez, McBride and Strickland set a for big band and used as launching pads for extended racetrack tempo and the two women sprint through improvisation welling up from the roots of free jazz. complex bebop phrases, tearing through the changes Two members of the sextet—pianist Dave Burrell and and trading off phrases like it’s 1945. Albums by Trio Joy drummer Muhammad Ali—launched their careers in baritone saxophonists may not be common, but Bliss the ‘60s and the dense, powerful undercurrent they makes a strong argument for more of them and soon. by Mark Keresman create with Parker’s foundational bass, a flux moving in every direction at once, keeps the music in a state of For more information, visit posi-tone.com. This project is at Sometimes musicians can be hemmed in by reputation, vital turbulence, feeding the other voices of Zankel, Dizzy’s Club May 16th. See Calendar. by style, by their timeframe in the grand scheme of trombonist Steve Swell and violinist Diane Monroe, things.
[Show full text]
Download the Entire Issue (PDF)
American Music Review The H. Wiley Hitchcock Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York Volume XLII, Number 2 Sprimg 2013 “Live From The East”: Pharoah Sanders in Brooklyn By Jeffrey Taylor, Brooklyn College, CUNY Though for most jazz historians Brooklyn remains in the shadow of Manhattan, two previous articles in this journal have documented a robust tradition that can be traced back as far as performances by The Creole Band at Coney Island in 1915.1 Though often paralleling musical developments across the East River, Brooklyn jazz has also been shaped by the unique dynamic of the borough’s ethnic and racial makeup, as well as the very spe- cial qualities of its many, often insular, neighborhoods.2 The historically black neighborhood of Bedford-Stuyvesant in central Brooklyn, or “Bed-Stuy” as it is more commonly referred to, has long been a center of jazz, with its “Golden Age” of the 1940s and 1950s seeing performances by first-tier jazz musicians, includ- ing Miles Davis, Dizzy Gillespie, Thelonious Monk, and many oth- ers. Though the popular imagination may now see Bed-Stuy primar- ily as a backdrop for Spike Lee movies, it boasts a black presence that goes far back into the 19th century, with the establishment of communities of freedmen in places such as Weeksville—now part of neighboring Crown Heights. With the construction of the A train in the mid-1930s, which connected Bed-Stuy with Harlem, the neigh- borhood became a cultural mecca that rivaled Manhattan’s larger and more famous African American community.
[Show full text]
Ijeoma Thomas & Oluyemi Thomas with Michael
Bennington College Deane Carriage Barn Presents: Ijeoma Thomas & Oluyemi Thomas with Michael Bisio and Michael Wimberly Wednesday, October 1, 2014 at 8pm Spirit Music ... Music that targets the heart sending vibrations from invisible wisdom generated by sub-harmonic fractals, sonic oscillations and rhythmic convergence helping you transcend this physical realm. M. Wimberly Universe People We are the universe sons daughters Unknown moons Ageless stars Universe people Infinite born one beginning no end 0 CREATION earth air time small points marking a place a space for universe people the planet is home universe queens kings divine beings we are universe people 0 CREATION! IJEOMA THOMAS ljeoma Thomas is a wordsmith, spoken word artist, poet, vocalist and teacher. Ijeoma Thomas was born and raised in Washington D.C. and is now based in Oakland, California. Ijeoma believes "all art is a gift of the Holy Spirit". She has composed, performed and recorded with the music unit "Positive Knowledge" and published many chapbooks and individual poems in local and national publications. fjeoma has traveled and toured in New York City, Europe and West Africa. She has also been Artist-in Residence at Headlands Center for the Arts in Marin, California. Thomas has lent a vocal poetic motif to the works of Cecil Taylor, Roscoe Mitchell, Wadada Leo Smith, Miya Masaoka, William Parker and Alan Silva. Oluyemi Thomas (bass clarinet, C melody) was born in Detroit, Michigan. Thomas studied at Washtenaw College in Ann Arbor, Michigan where he received an Associate of Science degree in Mechanical Engineering. While attending Washtenaw College he also studied music and the spiritual and physical nature of sound & silence.
[Show full text]
Pioneer Valley Jazz Shares Presents: Steve Swell's Kende Dreams
FOR IMMEDIATE RELEASE Contact: Glenn Siegel, 413-320-1089 [email protected] Pioneer Valley Jazz Shares presents: Steve Swell’s Kende Dreams Pioneer Valley Jazz Shares begins its 5th season with a performance by Steve Swell’s Kende Dreams , featuring Steve Swell, trombone, compositions; Rob Brown , alto saxophone, Connie Crothers, piano, William Parker , bass and Gerald Cleaver , drums, on Thursday, September 15 , at 7:30pm at Hampshire College Music Recital Hall , Amherst, MA . Single tickets ($15) available at www.jazzshares.org and at the door. At the urging of Lars-Olof Gustavsson and Keith Knox of Sweeden’s Silkheart Records, Steve Swell assembled an all-star quintet and produced, Hommage à Bartók (2015.) “The seven tracks are creative music pitched at the highest level,” writes John Corbett in the liner notes.“As is that music's unalienable right, it absorbs and transforms things that it comes into contact with . So, unlike Milhaud's attempts to quote or characterize jazz, this is jazz eating and fully digesting modern classical music, turning it into something else completely.” Born in Newark, NJ in 1954, trombonist Steve Swell has been an active member of the New York music community since 1975, when he began playing in top 40 bands, salsa bands, big bands (most notably those of Buddy Rich and Lionel Hampton) and performed on Broadway in Bob Fosse's ‘Dancin’". Swell joined Jaki Byard and the Apollo Stompers, and made his recording debut in Sept. of '84 for the Soul Note label. He then became a member of Makanda Ken McIntyre's band which led to tours and recordings with Tim Berne, Joey Baron, Herb Robertson, Jemeel Moondoc, Anthony Braxton, Cecil Taylor, William Parker, Bill Dixon, Butch Morris, John Zorn, Dave Burrell, Elliott Sharp, Rob Mazurek, Perry Robinson and Ken Vandermark.
[Show full text]
At the W Ardrobe Info 0113 269 4077
Brad Shepik was born in Walla Walla,Washington 1966 and raised in Seattle. He played Wednesday November 10 The Wardrobe £10/8 guitar and saxophone in school bands and attended Cornish College of the Arts where he Brad Shepik Trio studied with Jerry Granelli, Julian Priester, Dave Peck, James Knapp, Dave Petersen and Brad Shepik – guitar, saxaphone Ralph Towner. Tom Rainey – drums In 1990 Brad moved to New York and dived head first into the music scene. He quickly Matt Penman – bass became involved in the formation of a loose collective of improvising musicians who were into experimenting and playing each other’s music, as well as different folk musics including Balkan and Eastern European musics. Out of this environment was born many groups that Shepik continues to perform with today including the Tiny Bell Trio 1992, Paradox Trio 1992, Pachora 1993, and BABKAS 1992–8. In 1991 Bill Frisell recommended Shepik to Paul Motion for his Electric Be Bop Band which Shepik toured and recorded with for five years. “Shepik’s got the mind of a pioneer.The rhythmic complexity of his compositions has few parallels in jazz – or any other genre,for that matter.With all his exotic influences, and all his different axes,he makes us rethink what it means to be a guitarist and a musician.There’s no telling where he’ll go next.” allaboutjazz.com Iconoclastic and prolific jazz-rock guitarist David ‘Fuze’ Fiuczynski, a jazz player who “doesn’t want to Thursday November 18 The Wardrobe £12/10 play just jazz”, has been hailed by the world press as an incredibly inventive guitar hero, who continues Screaming Headless Torsos to deliver with music that is unclassifiable, challenging and invigorating.
[Show full text]