Cassandra Wilson Sign of the Judgment Теðºñ Ñ
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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. -
Glenn Siegel, Ken Irwin, (413) 545-2876
Contact: Glenn Siegel, Ken Irwin, (413) 545-2876 www.fineartscenter.com/magictriangle THE 2010 MAGIC TRIANGLE JAZZ SERIES PRESENTS: STEVE COLEMAN & FIVE ELEMENTS 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 Thursday, April 26, at Bezanson Recital Hall, at 8:00pm with a performance by Steve Coleman & Five Elements. The group features Coleman on alto saxophone with Jonathan Finlayson (trumpet), Tim Albright (trombone), Jen Shyu (vocals), Thomas Morgan (bass) and Tyshawn Sorey (drums). A mentor and something of a pied piper, Coleman is a hugely influential figure who has aided the careers of peers like Geri Allen, Greg Osby and Cassandra Wilson, as well as nurturing the development of such important younger musicians as Vijay Iyer, Steve Lehman and Rudresh Mahanthappa. Over the past two decades, he's turned his band Five Elements into an improviser's academy, attracting a steady flow of exceptional young musicians. “To me, Steve Coleman is as important as John Coltrane,” says pianist Vijay Iyer, “he has contributed an equal amount to the history of the music. He deserves to be placed in the pantheon of pioneering artists.” Born in Chicago in 1956, Coleman moved to New York City in 1978 and has been identified with the City ever since. Initially influenced by saxophonists Charlie Parker, Sonny Rollins, John Coltrane, Von Freeman and Bunky Green, Coleman has performed and recorded with Thad Jones, Sam Rivers, drummer Doug Hammond, Cecil Taylor, Abbey Lincoln and Dave Holland. One of the founders of the so-called M-Base movement, Coleman has led several groups and has 25 recordings under his name. -
Press Kit 2017
BIOGRAPHY BIOGRAPHY One of his generation’s extraordinary talents, Scott Tixier has made a name for himself as a violinist-composer of wide- ranging ambition, individuality and drive — “the future of jazz violin” in the words of Downbeat Magazine and “A remarkable improviser and a cunning jazz composer” in those of NPR. The New York City-based Tixier, born in 1986 in Montreuil, France has performed with some of the leading lights in jazz and music legends from Stevie Wonder to NEA jazz master Kenny Barron; as a leader as well. Tixier’s acclaimed Sunnyside album “Cosmic Adventure” saw the violinist performing with a all star band “taking the jazz world by storm” as the All About Jazz Journal put it. The Village Voice called the album “Poignant and Reflective” while The New York Times declared “Mr. Tixier is a violinist whose sonic palette, like his range of interests, runs open and wide; on his new album, “Cosmic Adventure,” he traces a line through chamber music, Afro-Cuban groove and modern jazz.” When JazzTimes said"Tixier has a remarkably vocal tone, and he employs it with considerable suspense. Cosmic Adventure is a fresh, thoroughly enjoyable recording!" Tixier studied classical violin at the conservatory in Paris. Following that, he studied improvisation as a self-educated jazz musician. He has been living in New York for over a decade where he performed and recorded with a wide range of artists, including, Stevie Wonder, Kenny Barron, John Legend, Ed Sheeran, Charnett Moffett, Cassandra Wilson, Chris Potter, Christina Aguilera, Common, Anthony Braxton, Joss Stone, Gladys Knight, Natalie Cole, Ariana Grande, Wayne Brady, Gerald Cleaver,Tigran Hamasyan and many more He played in all the major venues across the United States at Carnegie Hall, the Radio City Music Hall, Madison Square Garden, Barclays Center, Jazz at Lincoln Center, the Blue Note Jazz Club, the Apollo Theater, the Smalls Jazz Club, The Stone, Roulette, Joe's Pub, Prudential Center and the United States Capitol. -
Jason Moran STAGED Luhring Augustine Is Pleased to Announce
Jason Moran STAGED April 29 – July 30, 2016 Opening reception: Thursday, April 28, 6-8pm Luhring Augustine is pleased to announce the opening of STAGED, the first solo exhibition by the musician/composer/artist Jason Moran, in our Bushwick gallery. Moran's rich and varied work in both music and visual art mines entanglements in American cultural production. He is deeply invested in complicating the relationship between music and language, exploring ideas of intelligibility and communication. In his first gallery exhibition, Moran will continue to investigate the overlaps and intersections of jazz, art, and social history, provoking the viewer to reconsider notions of value, authenticity, and time. STAGED will include a range of objects and works on paper, including two large-scale sculptures with audio elements from Moran’s STAGED series that were recently exhibited in the 56th Biennale di Venezia. Based on two historic New York City jazz venues that no longer exist (the Savoy Ballroom and the Three Deuces), the sculptures are hybrids of reconstructions and imaginings. Works on paper and smaller objects will be in dialogue with the stage sculptures on many levels: citing performance and process, employing sound, and exploiting the visual history of jazz in America. Moran was born in Houston, TX in 1975. He was made a MacArthur Fellow in 2010 and is currently the Artistic Director for Jazz at The Kennedy Center in Washington DC; he also teaches at the New England Conservatory in Boston, MA. Moran’s activities comprise both his work with masters of jazz such as Charles Lloyd, the late Sam Rivers, Henry Threadgill, Cassandra Wilson, and his trio The Bandwagon (with drummer Nasheet Waits and bassist Tarus Mateen) as well as a number of partnerships with visual artists, including Stan Douglas, Theaster Gates, Joan Jonas, Glenn Ligon, Adam Pendleton, Adrian Piper, Lorna Simpson, and Kara Walker. -
Jazz in a Post-Ken Burns World: 1960'S-Today
University of California, San Diego Extension Jazz in a Post-Ken Burns World: 1960s-Today with San Diego Union-Tribune music critic George Varga If you believe the PBS-TV series Ken Burns Jazz, Americas greatest music stopped evolving sometime in the 1960s. Not so. This five-evening course will trace jazzs evolution since then, beginning with the controversial fusion movement spearheaded by Miles Davis and Weather Report, and including the sad transformation of fusion into the neo-elevator fuzak style. Well also focus on important artists and movements, from the envelope-pushing Ornette Coleman to recent acid-jazz upstarts like Charlie Hunter. And well investigate how this all-inclusive, multicultural music has impacted world culture. Stops along the way will include the genre- leaping Art Ensemble of Chicago and other mainstays of the Association for the Advancement of Creative Musicians; the neo-chamber jazz popularized by Keith Jarrett and Jan Garbarek; the freewheeling M-BASE revolution, which launched such mavericks as Cassandra Wilson and Steve Coleman; the Wynton Marsalis-led neo-traditional jazz movement; and such varied artists as the World Saxophone Quartet, Joshua Redman, Regina Carter, Henry Threadgill, Don Byron, Panamas Danilo Perez, Brazils Hermeto Pascoal and Germanys Albert Mangelsdorff. George Varga is the award-winning music critic for the San Diego Union-Tribune and Copley News Service, and a contributing writer to Jazz Times. He has interviewed everyone from Miles Davis, Dizzy Gillespie and Cassandra Wilson to Cecil Taylor, Wynton Marsalis and Diana Krall, and written liner notes for numerous albums, including saxophonist Michael Breckers 1988 Grammy Award-winning Dont Try This At Home. -
MISSISSIPPI LEGISLATURE REGULAR SESSION 2010 By
MISSISSIPPI LEGISLATURE REGULAR SESSION 2010 By: Senator(s) Horhn, Baria, Browning, To: Rules Butler, Chassaniol, Dawkins, Fillingane, Frazier, Jackson (11th), Jackson (15th), Jackson (32nd), Jones, Kirby, Montgomery, Powell, Stone SENATE CONCURRENT RESOLUTION NO. 530 1 A CONCURRENT RESOLUTION RECOGNIZING AND SALUTING JACKSON JAZZ 2 ARTIST CASSANDRA WILSON UPON THE OCCASION OF THE MISSISSIPPI BLUES 3 TRAIL MARKER IN HER HONOR WHICH IS MISSISSIPPI'S 100TH MARKER. 4 WHEREAS, on January 7, 2010, the 100th Mississippi Blues 5 Trail Marker will be dedicated to honor national jazz artist 6 Cassandra Wilson at the Sam M. Brinkley Middle School located at 7 Ridgeway Street and Albemarle Road in Jackson, Mississippi; and 8 WHEREAS, "There's no question that the 100th marker on the 9 Mississippi Blues Trail is a fitting tribute to one of the 10 greatest voices in American arts," Governor Haley Barbour said. 11 "Cassandra Wilson's collection of blues, jazz standards and 12 musical style sets her apart from other artists. She is truly one 13 of Mississippi's musical treasures"; and 14 WHEREAS, Mississippi, the Birthplace of America's Music, is a 15 destination for music lovers. The Mississippi Blues Trail program 16 was created to recognize the talents of the state's countless 17 musicians. When completed, the trail will include more than 100 18 sites that together will offer an unforgettable journey into Blues 19 history; and 20 WHEREAS, the Mississippi Blues Trail markers are funded in 21 part by a grant from the National Endowment for the Humanities and 22 by support from the Jackson Convention and Visitors Bureau, the 23 Mississippi Department of Transportation, Delta State University 24 and the Mississippi Development Authority; and 25 WHEREAS, although often categorized as a jazz artist, 26 Wilson's music spans many genres, including the blues. -
17312 Hon. John Conyers, Jr. Hon. James T. Walsh Hon
17312 EXTENSIONS OF REMARKS, Vol. 152, Pt. 13 September 6, 2006 A SALUTE TO REGINA CARTER album’’ she says ‘‘I chose ‘How Ruth Felt,’ HONORING DR. CLINTON BRISTOW, which is a commissioned piece that I wrote for JR. HON. JOHN CONYERS, JR. a woman named Ruth Felt, President of San OF MICHIGAN Francisco Performances, and Arts organiza- HON. BENNIE G. THOMPSON IN THE HOUSE OF REPRESENTATIVES tion in San Francisco. I spent some time as an OF MISSISSIPPI Artist-in-Residence there, teaching music to Wednesday, September 6, 2006 IN THE HOUSE OF REPRESENTATIVES disadvantaged children and spreading the joy Wednesday, September 6, 2006 Mr. CONYERS. Mr. Speaker, as Dean of of music to people in community centers and the Congressional Black Caucus, and Chair- churches around the Bay area. Ruth helped Mr. THOMPSON of Mississippi. Mr. Speak- man of the Jazz Forum and Concert that oc- me tremendously while I was dealing with my er, I would like to recognize the life of Dr. Clin- curs during the Congressional Black Caucus mother’s illness. I included ‘How Ruth Felt’ on ton Bristow, Jr., president of Alcorn State Uni- Foundation’s Annual Legislative Conference, I my album as a way to say, ’Thank you.’ ’’ versity. rise to salute the achievements of violinist Re- Now Regina Carter is looking forward to a Dr. Bristow, 57, became president of Alcorn gina Carter, a rising star in the field of jazz. brighter 2006, filled with sharing the memory State University, one of three Historically The following biography is found on her own of her mother and the music of I’ll Be Seeing Black public Universities in Mississippi, on Au- web site. -
The Vijay Iyer Trio
THE VIJAY IYER TRIO Vijay Iyer – piano Stephan Crump – double bass Marcus Gilmore – drums By overwhelming consensus, the V IJAY IYER TRIO (Vijay Iyer, piano; Stephan Crump, double bass; Marcus Gilmore, drums) has become one of the pivotal jazz bands of the twenty-first century. Described as “the best piano trio in jazz today” (D er Spiegel), “the great new jazz piano trio” (The New York Times), “truly astonishing” (NPR), and “the best band in jazz” (PopMatters), the trio makes “cutting-edge music, but always accessible” (The Guardian) – emotionally resonant and deeply interactive, radiating groove and brimming with polyrhythmic detail, rooted in tradition yet truly innovative in style and form. Break Stuff (2015), “the third and best record by Mr. Iyer’s trio” (N ew York Times) and Iyer’s twentieth release as a leader, was produced by Manfred Eicher for ECM. It received a coveted five stars in D ownBeat m agazine, and the German newspaper D ie Zeit raved, “This record is very, very, very good… as astonishing as it is intoxicating.” Crucially, as D ownBeat notes, “the Vijay Iyer Trio is, at its core, a w orking band,” distinguished most of all by a profound, seemingly effortless unity, developed over hundreds of performances in nearly a dozen years. As Howard Reich wrote in The Chicago Tribune, "The three players practically have become a single rhythmic organism... one of the great rhythm units of the day." The trio earned the admiration of audiences, musicians, and journalists worldwide with its two previous albums, H istoricity (ACT, 2009) and Accelerando (ACT, 2012), which were both named #1 jazz album of their respective years in both the DownBeat and JazzTimes international critics’ polls, surveying hundreds of critics. -
Make It New: Reshaping Jazz in the 21St Century
Make It New RESHAPING JAZZ IN THE 21ST CENTURY Bill Beuttler Copyright © 2019 by Bill Beuttler Lever Press (leverpress.org) is a publisher of pathbreaking scholarship. Supported by a consortium of liberal arts institutions focused on, and renowned for, excellence in both research and teaching, our press is grounded on three essential commitments: to be a digitally native press, to be a peer- reviewed, open access press that charges no fees to either authors or their institutions, and to be a press aligned with the ethos and mission of liberal arts colleges. This work is licensed under the Creative Commons Attribution- NonCommercial- NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/ by-nc-nd/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, California, 94042, USA. DOI: https://doi.org/10.3998/mpub.11469938 Print ISBN: 978-1-64315-005- 5 Open access ISBN: 978-1-64315-006- 2 Library of Congress Control Number: 2019944840 Published in the United States of America by Lever Press, in partnership with Amherst College Press and Michigan Publishing Contents Member Institution Acknowledgments xi Introduction 1 1. Jason Moran 21 2. Vijay Iyer 53 3. Rudresh Mahanthappa 93 4. The Bad Plus 117 5. Miguel Zenón 155 6. Anat Cohen 181 7. Robert Glasper 203 8. Esperanza Spalding 231 Epilogue 259 Interview Sources 271 Notes 277 Acknowledgments 291 Member Institution Acknowledgments Lever Press is a joint venture. This work was made possible by the generous sup- port of -
The Hot Sardines and Jason Moran Celebrates Fats Waller
Saturday, March 11, 2017, 8pm Paramount Theatre, Oakland A Double Bill Concert The Hot Sardines and Jason Moran Celebrates Fats Waller The Hot Sardines Evan Palazzo, leader and piano Elizabeth Bougerol, vocals Nick Myers, saxophone and clarinet Evan Crane, bass and sousaphone AC Lincoln, tap dancer Bob Parins, guitar David Berger, drums Todd Londagin, trombone Jason Moran Celebrates Fats Waller Jason Moran, piano and Fender Rhodes Lisa E. Harris, vocals Leron Thomas, trumpet Tarus Mateen, bass Charles Haynes, drums Tonight’s program will be announced from the stage and include one intermission. Jazz residency and education activities generously underwritten by the Thatcher-Meyerson Family. Cal Performances’ presentations in Oakland are generously underwritten by Signature Development Group. ABOUT THE ARTISTS The Hot Sardines dard “Comes Love” starts as a minuet before In the talented hands of the New York-based vocalist Elizabeth, singing in her native French, The Hot Sardines, music first made famous conjures up spirits from the Roaring ’20s. The de cades ago comes alive through brassy horn Hot Sardines even upend Robert Palmer’s 1985 arrangements, rollicking piano melodies, and classic “Addicted To Love” with Elizabeth’s cool vocals from a chanteuse who transports listeners vocals and hot horn arrangements. to a different era with the mere lilt of her voice. French Fries & Champagne celebrates the du - On French Fries & Champagne, the new ality of The Hot Sardines, reflecting both their album for Universal Music Clas sics, the jazz col - glamorous and gritty sides. “When we started lective broadens its already impressive palette, out as a band, we played illegal parties in these combining covers and originals as they effort - secret spots in Brooklyn. -
Jason Moran [Is] Shaping up to Be the Most Provocative Thinker in Current Jazz.” – Rolling Stone
“Jason Moran [is] shaping up to be the most provocative thinker in current jazz.” – Rolling Stone Since his formidable emergence on the music scene in the late 90s, jazz pianist Jason Moran has proven more than his brilliance as a performer. The Blue Note Records recording artist has established himself as a risk-taker and innovator of new directions for jazz as a whole. In almost every category that matters – improvisation, composition, group concept, repertoire, technique and experimentation – Moran, and his group The Bandwagon – with bassist Tarus Mateen and drummer Nasheet Waits – have challenged the status quo, and earned the reputation as “the future of jazz.” Frequently influenced by the wider world of art as his muse, Moran has found inspiration in edgy 20th century painters like Jean-Michel Basquiat (check out “JAMO Meets SAMO” from Soundtrack to Human Motion, as well as his ongoing series of “Gangsterism” compositions); Egon Schiele (whose painting “Facing Left” provided the eponymous title to Moran’s second album); and Robert Rauschenberg, whose chaotic refinement inspired Moran’s third album Black Stars, featuring the legendary Sam Rivers. Moran is currently preparing for the release of TEN, his 10th anniversary album with The Bandwagon, on June 22, 2010. The trailblazing trio has proven to be one of the most enduring and creative piano trios in jazz today. TEN represents their most assured and focused album to date. Moran’s debut recording as a leader, Soundtrack to Human Motion, was released in 1999 to great critical praise. Ben Ratliff of The New York Times named it the best album of the year and the Jazz Journalists Association awarded it “Best Debut Recording.” The following year, Facing Left, established The Bandwagon trio with bassist Tarus Mateen and drummer Nasheet Waits, and prompted JazzTimes Magazine to declare the album "an instant classic." Moran augmented the trio for his third Blue Note release, Black Stars, adding avant-garde icon Sam Rivers, who plays saxophone, flute and piano on the recording. -
Jazz Collection: Rock Swings
Jazz Collection: Rock Swings Dienstag, 24. März 2015, 21.00 - 22.00 Uhr Samstag, 28. März 2015, 22.00 - 24.00 Uhr (Zweitsendung) Als der Sänger Paul Anka 2005 ein Album mit dem Titel «Rock Swings!» auf den Markt brachte, auf dem er Rockstandards in ein Swingkleid steckte, war er natürlich beileibe nicht der erste, der dies machte. Trotzdem scheint es, dass seither Rocknummern auch für seriöse Jazzer salonfähig wurden. Vor allem natürlich die Musiker der jüngeren Generation, die mit Rock, Hip Hop und Dance Sounds sozialisiert wurden, erinnern sich der Stücke, die sie als Jugendliche hörten und mitsangen: Songs aus den 80er- und 90er-Jahren. Das Trio «The Bad Plus» durchforstete die halbe Rockgeschichte nach brauchbaren Vorlagen, Brad Mehldau ebenso, und so gibt es heute eine unübersehbare Fülle von swingenden Rocksongs. Mit dem Pianisten Hans Feigenwinter diskutiert Peter Bürli verschiedene Ansätze, die schweren Rockrhythmen zum Fliegen zu bringen. Redaktion: Beat Blaser Moderation: Peter Bürli Van Halen: 1984 (MCMLXXXIV) (1984) CD Warner, 9362-47741-2 Track 2: Jump Paul Anka: Rock Swings!(2004) CD Universal, 9871434 Track 8: Jump Count Basie Big Band: Basie’s Beatle Bag (1966) CD Verve, 557455 Track 3: Michelle Marc Ribot: Rootless Cosmopolitans (1990) CD Antilles Track 9: While My Guitar Gently Weeps Soundgarden: Superunknown (1994) CD A&M Records Track 7: Black Hole Sun Steve Lawrence & Eydie Gormé: Lounge-a-Palooza. Rest Here (1997) CD Hollywood Records, 62072 Track 5: Black Hole Sun The Bad Plus: For All I Care (2008) CD Heads Up