Liner Notes by David R. Adler
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How to Play in a Band with 2 Chordal Instruments
FEBRUARY 2020 VOLUME 87 / 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, Andy Hermann, 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; South Africa: Don Albert. -
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. -
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. -
“The First Thing You Notice About David Breskin Is That He's Got Chops up The
“The first thing you notice about David Breskin is that he’s got chops up the wazoo and is fabulously intelligent. It may take longer to start seeing through his fierce and faceted eye or to notice how many of our lived-in worlds it sees in all their dazzle of simultaneity and fact. This is poetry in which the intimate and public worlds do not exclude each other but mutually refract their signs and lights, and where even the self on which the world imposes its unrelenting politics can earn, with ingenuity and effort, its meed of radiance.” —Rafi Zabor, author of The Bear Comes Home, PEN/Faulkner Award Winner “In David Breskin’s Escape Velocity, ferocity and speed don’t preclude clarity of critique, and the tectonic instabilities of metaphor’s capacity for disruption is married to a clarity of focus, producing a vivid, Baroque pageantry that defies chronology in favor of synchronicity, that gives us panoramas of wrecks. Rare to find poetry that is so confrontational, so avid to go to the hot spots, to risk being brutal in the service of truth while preserving such formal elegance. Unflinching, these poems roar like Cassandra with disastrous moment: it’s a transfixing sound.” —Dean Young, author of Skid “David Breskin’s Escape Velocity is torqued with rage at the world as he finds it, ‘a micro avalanche of each soul’s presence.’ With formal precison and clarity, he elucidates the sorrows of our times, an unflinching and brave indictment of the spoils of life’s wars, both personal and political. -
Downbeat.Com December 2020 U.K. £6.99
DECEMBER 2020 U.K. £6.99 DOWNBEAT.COM DECEMBER 2020 VOLUME 87 / NUMBER 12 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, Andy Hermann, 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. -
Kris Davis: Good Citizen
ACCOUNT Home > Features > Kris Davis: Good Citizen Kris Davis: Good Citizen The pianist-composer takes stock of her journey UPDATED APRIL 26, 2019 – DAVID R. ADLER Kris Davis (left) and Ingrid Laubrock at NYC's The Stone in June 2014 Kris Davis debuts Infrasound at Roulette in Brooklyn, Jan. 2014 • • • • t’s no small honor to land a six-night residency at the Stone, a dark and cramped room in Lower Manhattan that nonetheless remains one of the world’s leading avant-garde music venues. Recent I invitees have included Bill Laswell, Joe Lovano, Steve Coleman, Tim Berne and Uri Caine. When we met up with pianist Kris Davis, she was preparing for her own six nights in residence, from June 24-29. To look over the lineups was to think anew about her proliVc output and steady ascent as one of the most distinctive musicians of her time. Davis was planning a solo piano set along the lines of her CDs Aeriol Piano and Massive Threads. She would lead the quintet heard on her 2013 Clean Feed release Capricorn Climber. She’d also play in bands led by drummer Tom Rainey, bassist Kermit Driscoll and saxophonist Ingrid Laubrock. “On Friday I’m doing a pared- down version of Infrasound,” Davis said, referring to the band with four bass clarinets that premiered early this year at Brooklyn’s Roulette. “On Sunday, Ingrid, [guitarist] Mary Halvorson and I are playing trio. I call that Death Rattle because I wanted something so unfeminine. We have a really cool connection between the three of us, though it ended up being kind of tonal and pretty. -
Neg(Oti)Ating Fusion: Steely Dan's Generic Irony by Ethan Krajewski A
Neg(oti)ating Fusion: Steely Dan’s Generic Irony by Ethan Krajewski A thesis presented for the B.A. degree with Honors in The Department of English University of Michigan Winter 2018 © 2018 Ethan Patrick Krajewski To my parents for music and language Acknowledgements My biggest thanks go to my advisor, Professor Julian Levinson, as a teacher, mentor, and friend, for helping me think, talk, write, and (most importantly, I think) laugh about seventies rock music. You’ve helped make this project fun in all of its rigor and relaxed despite all of the stress that it’s caused. I’d also like to thank Professor Gillian White for leading our cohort toward discipline, and for keeping us all grounded. Also for her spirited conversations and anecdotes, which proved invaluable in the early stages of my thinking. I wouldn’t be here writing this if it weren’t for Professor Supriya Nair, who pushed me to apply for the program and helped me develop the intellectual curiosity that led to this project. The same goes for Gina Brandolino, who I count among my most important teachers and role models. To the cohort: thank you for all of your help over the course of the year. You’re all so smart, and so kind, and I wish you all nothing but the best. To Ashley: if you aren’t the best non-professional line editor at large in the world, then you’re at least second or third. I mean it sincerely when I say that this project would be infinitely worse without your guidance. -
Uptown Conversation : the New Jazz Studies / Edited by Robert G
uptown conversation uptown conver columbia university press new york the new jazz studies sation edited by robert g. o’meally, brent hayes edwards, and farah jasmine griffin Columbia University Press Publishers Since 1893 New York Chichester, West Sussex Copyright © 2004 Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin All rights reserved Library of Congress Cataloging-in-Publication Data Uptown conversation : the new jazz studies / edited by Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin. p. cm. Includes index. ISBN 0-231-12350-7 — ISBN 0-231-12351-5 1. Jazz—History and criticism. I. O’Meally, Robert G., 1948– II. Edwards, Brent Hayes. III. Griffin, Farah Jasmine. ML3507.U68 2004 781.65′09—dc22 2003067480 Columbia University Press books are printed on permanent and durable acid-free paper. Printed in the United States of America c 10 9 8 7 6 5 4 3 2 1 p 10 9 8 7 6 5 4 3 2 1 contents Acknowledgments ix Introductory Notes 1 Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin part 1 Songs of the Unsung: The Darby Hicks History of Jazz 9 George Lipsitz “All the Things You Could Be by Now”: Charles Mingus Presents Charles Mingus and the Limits of Avant-Garde Jazz 27 Salim Washington Experimental Music in Black and White: The AACM in New York, 1970–1985 50 George Lewis When Malindy Sings: A Meditation on Black Women’s Vocality 102 Farah Jasmine Griffin Hipsters, Bluebloods, Rebels, and Hooligans: The Cultural Politics of the Newport Jazz Festival, 1954–1960 126 John Gennari Mainstreaming Monk: The Ellington Album 150 Mark Tucker The Man 166 John Szwed part 2 The Real Ambassadors 189 Penny M. -
Ingrid Laubrock – Chaos? Fokus! Dienstag, 29.09.2020, 21.00 – 22.00 Uhr, SRF 2 Kultur Samstag, 03.10
Jazz Collection: Ingrid Laubrock – Chaos? Fokus! Dienstag, 29.09.2020, 21.00 – 22.00 Uhr, SRF 2 Kultur Samstag, 03.10. 2020, 17.06 – 18.30 Uhr, SRF 2 Kultur (mit Bonustracks) Bei Ingrid Laubrock ist die Biographie wie die Musik. Da kommen Dinge zusammen, die auf den ersten Blick kaum zusammenpassen. Und dann nimmt sie ihr Saxophon und spielt einen möglichen Weg. Wie soll eine junge Frau aus der deutschen Provinz in London Fuss fassen? Indem sie als Strassenmusikerin beginnt, an der Guildhall School of Music studiert und dort die Brasil-Szene kennenlernt. So entstehen erste Aufnahmen. Wie kommt sie nach New York? Indem sie den arrivierten US-Schlagzeuger Tom Rainey kennenlernt und mit ihm nicht nur ein famoses Free-Trio gründet, sondern ihm auch über den grossen Teich folgt. Kurz: Wo sich Chaos auftut, wird Ingrid Laubrock erst richtig warm. Was sie sonst noch alles auszeichnet, und warum es sich definitiv lohnt, bei der gerade mal 50jährigen Laubrock schon jetzt eine Bestandesaufnahmen zu machen, das diskutiert der Saxophonist Omri Ziegele in der Jazz Collection mit Jodok Hess. Gast: Omri Ziegele Redaktion und Moderation: Jodok Hess Interpret*in Titel Komponist*in Album / Label Ingrid Laubrock Conto do Passaro Ingrid Laubrock Who Is It? / Candid Ingrid Laubrock (sop,as,ts) Kim Burton (p,accor) Rec: July 15/16 & 28/29, 1997, London Ife Tolentino (g,el-g) Davide Mantovani (fretless-b,5-string-b,upright-b) Helder Pack (d,perc) Chris Wells (perc) Ingrid Laubrock Oh, Yes Mary Halvorson Anti-House / Intakt Ingrid Laubrock (ts,sop) Kris Davis -
Jazz Artist Jazz Group
66 ANNUAL CRITICS POLL JAZZ ARTIST JAZZ GROUP THERE’S SOMETHING PARTICULARLY APT ABOUT VIJAY IYER’S ACADEMIC TITLES AT HARVARD UNIVERSITY, WHERE HE’S BEEN TEACHING SINCE 2014: Franklin D. and Florence Rosenblatt Professor of the Arts and Graduate Advisor in Creative Practice and Critical Inquiry. Yes, the endowed chair is nice, but “professor of the arts” and “advisor in creative practice” seem to sum up the man. It’s fitting that the terminology here is not “jazz studies” or “theory and practice,” but rather, “the arts” and “critical inquiry.” For Iyer—winner of the 2018 DownBeat Critics Poll categories Jazz Artist of the Year and Jazz Group (for his namesake sextet)—jazz doesn’t exist in isolation. Which is another reason why the appointment at Harvard, with its core liberal arts program, suits the 46-year-old pianist’s particular take on jazz, on music, on the arts and on the world. A child of immigrants, and the winner of multiple accolades—including a handful of previous DownBeat Critics Poll wins with his longstanding trio (with bassist Stephan Crump and drummer Marcus Gilmore) and a 2013 MacArthur “Genius” Fellowship— Iyer began his academic career as a scientist. He was a physics and math major as an undergraduate at Yale, and his Ph.D. thesis at the University of California, Berkeley, was titled, “Microstructures of Feel, Macrostructures of Sound: Embodied Cognition in West African and African-American Musics.” So his pedagogical inclination is toward diversity, and his expansive attitude toward jazz is second nature. 24 DOWNBEAT AUGUST 2018 AUGUST 2018 DOWNBEAT 25 Jimmy & Dena Katz “This isn’t a school of music,” Iyer says, sitting read a black author or maybe they’ve never had learn how to hear in different ways and learn in his basement office in the Harvard Music a black teacher.” On the other hand, “I also have how to accommodate other perspectives. -
Late Winter 2019 at Seattle Theatre Group
OCTOBER–NOVEMBER 2019 My legacy. My partner. You have dreams. Goals you want to achieve during your lifetime and a legacy you want to leave behind. The Private Bank can help. Our highly specialized and experienced wealth strategists can help you navigate the complexities of estate planning and deliver the customized solutions you need to ensure your wealth is transferred according to your wishes. Take the first step in ensuring the preservation of your wealth for your lifetime and future generations. To learn more, please visit unionbank.com/theprivatebank or contact: Lisa Roberts Managing Director, Private Wealth Management [email protected] 415-705-7159 Wills, trusts, foundations, and wealth planning strategies have legal, tax, accounting, and other implications. Clients should consult a legal or tax advisor. ©2019 MUFG Union Bank, N.A. All rights reserved. Member FDIC. Union Bank is a registered trademark and brand name of MUFG Union Bank, N.A. Untitled-3 1 4/30/19 12:11 PM October 2019 | Volume 16, No. 1 WELCOMEFrom Seattle Theatre Group, a non-profit arts organization We proudly welcome you to the start of Seattle Theatre Group’s 2019/2020 Performing Arts Season, featuring a lineup of proficient, innovative artists who bring a wide range of talent to our historic venues! As the people’s theatre, where all are welcomed and represented, STG is committed to advocating for greater participation in the arts by granting access for all, reducing barriers, and including diverse people, cultures, and perspectives on our stages. This season has been carefully curated to support these values, and as we kick off our season with these fall events, we look forward to the varied experiences and conversations we hope these performances will inspire. -
Miscelánea: a Journal of English and American Studies 26 (2002): Pp
revista de estudios ingleses y norteamericanos miscelánea vol. 26 Volumen de literatura, 2002 cine y estudios culturales Miscelánea: A Journal of English and American Vol. 26 • 2002 Studies se publica con la ayuda económica del (Volumen de literatura, cine y estudios cultruales) Departamento de Filología Inglesa y Alemana de la facultad de Filosofía y Letras y del Vicerrectorado de Investigación de la Universidad de Zaragoza. Dirección, coordinación, tratamiento de textos y edi- ción electrónica (vol. 26): Publicación semestral (2 vols. al año) del María Dolores Herrero Granado, Directora Departamento de Filología Inglesa y Alemana de la Rosa Lorés Sanz, Subdirectora Universidad de Zaragoza. Published twice a year by Hilaria Loyo Gómez, Subdirectora the Department of English and German Philology, University of Zaragoza, Spain. Editor de estilo Timothy Bozman Las suscripciones deberán dirigirse a / Please address subscriptions to: Auxiliares de redacción M.ª Mar Azcona Montoliu Revista Miscelánea Ana Matamala Adell Servicio de Publicaciones de la Universidad de Zaragoza Diseño gráfico Edificio de Geológicas Isidro Ferrer Ciudad Universitaria 50009 Zaragoza Maquetación Prensas Universitarias de Zaragoza Precio de la suscripción (anual)/ Edificio de Geológicas Subscription price (2 volumes): Ciudad Universitaria 15 euros 50009 Zaragoza (IVA incluido/ VAT included) Imprime: Edición y © : Litocian, S. L. Departamento de Filología Inglesa y Alemana de la Universidad de Zaragoza Selección de textos: ISSN: 1137-6368 Consejo de redacción de Miscelánea Depósito legal: Z-3207-1994 a journal of english and american studies miscelánea 3 Universidad de Zaragoza 2002 Departamento de Filología Inglesa y Alemana Edición electrónica Internet homepage: http://fyl.unizar.es/miscelanea/miscelanea.html 4 miscelánea Directora Consejo de Redacción/ M.