DOCSLIB.ORG

Keeping the Tradition Y B 2 7- in MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Keeping the Tradition Y B 2 7- in MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar June 2011 | No. 110 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Dee Dee Bridgewater RIAM ANG1 01 Keeping The Tradition Y B 2 7- IN MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar It’s always a fascinating process choosing coverage each month. We’d like to think that in a highly partisan modern world, we actually live up to the credo: “We New York@Night Report, You Decide”. No segment of jazz or improvised music or avant garde or 4 whatever you call it is overlooked, since only as a full quilt can we keep out the cold of commercialism. Interview: Cooper-Moore Sometimes it is more difficult, especially during the bleak winter months, to 6 by Kurt Gottschalk put together a good mixture of feature subjects but we quickly forget about that when June rolls around. It’s an embarrassment of riches, really, this first month of Artist Feature: Orrin Evans summer. Just like everyone pulls out shorts and skirts and sandals and flipflops, 7 by Terrell Holmes the city unleashes concert after concert, festival after festival. This month we have the Vision Fest; a mini-iteration of the Festival of New Trumpet Music (FONT); the On The Cover: Dee Dee Bridgewater inaugural Blue Note Jazz Festival taking place at the titular club as well as other 9 by Marcia Hillman city venues; the always-overwhelming Undead Jazz Festival, this year expanded to four days, two boroughs and ten venues and the 4th annual Red Hook Jazz Encore: Lest We Forget: Festival in sight of the Statue of Liberty. These alone could take you through the 10 François Tusques King Oliver entire month without considering the hundreds of shows that happen individually by Clifford Allen by Donald Elfman at clubs and concert halls. Our diverse selection covers much of the above: vocalist Dee Dee Bridgewater Megaphone VOXNews (Cover) brings her To Billie With Love project to Town Hall as part of the Blue Note 11 by Donald Harrison, Jr. by Suzanne Lorge Jazz Festival; pianist/multi-instrumentalist Cooper-Moore (Interview) participates in the Vision Festival as well as appearing at The Stone; pianist Orrin Evans (Artist Label Spotlight: Listen Up!: Feature) is at Undead Festival with the group Tarbaby and also leads his Captain 12 Edition Records Stan Killian Black Big Band at Dizzy’s Club; pianist and father of the French avant garde by Tom Conrad & Brad Farberman François Tusques (Encore) is at Vision Festival and University of the Streets and there will be tributes to King Oliver (Lest We Forget) and the recently-departed Festival Report: Freedom in the City Billy Bang (In Memoriam) at the Vision Festival. 13 Do we need to say more? We’ll see you everywhere... 14 In Memoriam: Billy Bang (1947-2011) Laurence Donohue-Greene, Managing Editor Andrey Henkin, Editorial Director CD Reviews: Bill Frisell, Warren Smith, Adam Cruz, Evan Parker, On the cover: Dee Dee Bridgewater (photo by Gary Firstenberg) 16 Claire Daly, Chris Dingman, Craig Taborn, Peter Brötzmann and more In Correction: In last month’s CD reviews, the review of Asiento by Animation Event Calendar incorrectly defined the title in relation to the slave trade, instead of its proper 46 definition as a level of initiation with the Santeria religion. In the obituaries, Billy Bang’s death date was not included; it was Apr. 11th, 2011 Club Directory 53 Submit Letters to the Editor by emailing [email protected] US Subscription rates: 12 issues, $30 (International: 12 issues, $40) Miscellany: In Memoriam • Birthdays • On This Day For subscription assistance, send check, cash or money order to the 55 address below or email [email protected]. The New York City Jazz Record www.nycjazzrecord.com Managing Editor: Laurence Donohue-Greene To Contact: Editorial Director & Production: Andrey Henkin The New York City Jazz Record Staff Writers 116 Pinehurst Avenue, Ste. J41 David R. Adler, Clifford Allen, Fred Bouchard, Stuart Broomer, Thomas Conrad, New York, NY 10033 Ken Dryden, Donald Elfman, Sean Fitzell, Graham Flanagan, Kurt Gottschalk, United States Tom Greenland, Laurel Gross, Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo, Francis Lo Kee, Martin Longley, Suzanne Lorge, Laurence Donohue-Greene: Wilbur MacKenzie, Gordon Marshall, Marc Medwin, Russ Musto, Joel Roberts, [email protected] John Sharpe, Elliott Simon, Jeff Stockton, Celeste Sunderland, Andrew Vélez, Ken Waxman Andrey Henkin: [email protected] Contributing Writers General Inquiries: [email protected] Duck Baker, Donald Harrison, Jr., George Kanzler, Sean O’Connell, Francie Scanlon Advertising: [email protected] Contributing Photographers Editorial: [email protected] Lena Adasheva, Jim Anness, Gary Firstenberg, Scott Friedlander, Calendar: [email protected] Peter Gannushkin, Alan Nahigian, Susan O’Connor, Howard Pitkow All rights reserved. Reproduction without permission strictly prohibited. All material copyrights property of the authors. THE NEW YORK CITY JAZZ RECORD | June 2011 3 NEW YORK @ NIGHT From the first seconds of their show at Issue Project Having already performed about 20 pieces in the Room (May 5th), Starlicker sent pounding asymmetric preceding half-hour, Charles Waters introduced rhythms and deft unison passages flooding into the another musical snapshot of New York City, “Veselka”, boomy loft-like space in Gowanus. The trio’s members named for the longstanding East Village restaurant. - cornetist Rob Mazurek, vibraphonist Jason “It’s kind of like that, right?” he offhandedly asked the Adasiewicz, drummer John Herndon (of indie rock audience at University of the Streets on May 11th. band Tortoise) - hail from the heart of Chicago’s vibrant “Julianne Moore’s over here and you’ve got this family underground scene. They seemed shell-shocked and in you get a glimpse of over there and you’ve still got the need of rest by the end of the first tune, “Double junkies and the Ukrainians.” The set’s music varied Demon”, the title track from their new Delmark from New Orleans brass band to sparse, theatrical recording. This was aggressive and unrelenting stuff, themes to hints of R&B and a traditional Ukrainian yet the expansive overtones of the vibes gave the music hymn, with subjects including lunch spots, park a softer quality, even when Adasiewicz beat on his benches, a building fire on West 15th Street and Waters’ instrument like an angry man. By the time they segued beloved Williamsburg Bridge. In all, the cycle to the rubato opening of “Vodou Cinque”, Mazurek comprised 30 movements, written for horn quartet, was working with a mute and suggesting a more Waters said, but with string quartet music and contemplative feel. There was a distinctly lyrical cinematic camera angles in mind. Some were barely 30 component and a precise, well-rehearsed handling of seconds, hardly even vignettes while others stretched themes and transitions underlying “Orange Blossom”, to an epic two minutes or more. Each of the four “Andromeda”, “Triple Hex” and “Skull Cave”. (The players (Matt Bauder [tenor saxophone and clarinet], set was drawn entirely from the 38-minute Double Chris McIntyre [trombone], Nate Wooley [trumpet] Demon, with the tracks played in order.) Starlicker is and Waters on alto sax) performed scored solo pieces. essentially a pared-down version of the quintet from There were boldly discrete sections, but the best Mazurek’s 2009 disc Sound Is, which included two moments still managed to retain everything you need bassists. Here the trio has a more open sound field in from a jazz tune: harmonic richness, development of which to work; the result is raw but still somehow themes and even fleeting solos - not incomplete, just complete. Live, Herndon was the main muscle, his condensed. Like a black and white photograph all the beats combining Elvin Jones-like suppleness with richer for its lack of hue, the miniatures showed the sheer punk energy. - David R. Adler largesse of his compositional ideas. - Kurt Gottschalk r e d P n h a l o d t e o i : r L F e t n t o a c A S d y a b s h o t e o v h a P Starlicker @ Issue Project Room Charles Waters Horn Quartet @ University of the Streets Seattle drummer Paul Kikuchi was among the artists From the small bandstand to the SRO audience, there featured by Steve Peters in a two-week curating stint at was a decidedly multi-culti flair to saxophonist Hafez The Stone (May 6th). Fronting a new quartet, Kikuchi Modirzadeh’s May 12th show at The Jazz Gallery. The had trumpeter Nate Wooley, bassist Reuben Radding single, 45-minute piece presented was dedicated to and bass clarinetist Jason Stein on hand for a fairly Fred Ho, another saxophonist who brings global short set - three separate pieces, each roughly in the musical traditions into jazz models; Ho, who is battling 12-minute range. The music was freely improvised, cancer, was present in the audience. And onstage with full of motion and dynamic flux, with attention paid to the Iranian-American Modirzadeh was Iraqi-American the finer points of tone and timbre. Sound is very much trumpeter Amir ElSaffar and pianist Vijay Iyer, who Kikuchi’s arena, as is clear from his work with the has brought his own Indian heritage into his music. experimental duo Open Graves (hear Flight Patterns Completed by the rhythm section of bassist Ken Filiano [Prefecture, 2010], recorded in an empty water cistern and drummer Royal Hartigan, the band played with Stuart Dempster as guest). Drum heads struck Modirzradeh’s “Post-Chromodality”, a piece which - with assorted objects, ethereal feedback from walkie- at least in parts - might have been called “Post- talkies, amplification on Wooley’s horn, at one point a Harmolodicality”. The near-unison horn lines strongly clothespin on Radding’s bass strings: these elements brought to mind early Ornette Coleman, fleshed out made Kikuchi’s new quartet a thing of sonic intrigue, with luxurious swells of malleted drums, bowed bass with a more thoroughly abstract aesthetic than that of and piano trills, each lending tasteful bits of sonorous the Empty Cage Quartet (another of Kikuchi’s main discordance to the mix.
Load more

Recommended publications
  • Duke Ellington Kyle Etges Signature Recordings Cottontail
    Duke Ellington Kyle Etges Signature Recordings Cottontail. Cottontail stands as a fine example of Ellington’s “Blanton-Webster” years, where the ​ band was at its peak in performance and popularity. The “Blanton-Webster” moniker refers to bassist Jimmy Blanton and tenor saxophonist Ben Webster, who recorded Cottontail on May 4th, 1940 alongside Johnny Hodges, Barney Bigard, Chauncey Haughton, and Harry Carney on saxophone; Cootie Williams, Wallace Jones, and Ray Nance on trumpet; Rex Stewart on cornet; Juan Tizol, Joe Nanton, and Lawrence Brown on trombone; Fred Guy on guitar, Duke on piano, and Sonny Greer on drums. John Hasse, author of The Life and Genius of Duke ​ Ellington, states that Cottontail “opened a window on the future, predicting elements to come in ​ jazz.” Indeed, Jimmy Blanton’s driving quarter-note feel throughout the piece predicts a collective gravitation away from the traditional two feel amongst modern bassists. Webster’s solo on this record is so iconic that audiences would insist on note-for-note renditions of it in live performances. Even now, it stands as a testament to Webster’s mastery of expression, predicting techniques and patterns that John Coltrane would use decades later. Ellington also shows off his Harlem stride credentials in a quick solo before going into an orchestrated sax soli, one of the first of its kind. After a blaring shout chorus, the piece recalls the A section before Harry Carney caps everything off with the droning tonic. Diminuendo & Crescendo in Blue. This piece is remarkable for two reasons: Diminuendo & ​ ​ Crescendo in Blue exemplifies Duke’s classical influence, and his desire to write more ​ grandiose pieces with more extended forms.
    [Show full text]
  • Press Kit Index
    PRESS KIT INDEX P.2 DownBeat (**** star review) P.4 JazzTimes P.5 Aberdeen News (Howard Reich Best Of 2011) P.6 NYC Jazz Record P.7 Jazz Journal P.8 Jazz Police P.10 Step Tempest P.12 Financial Times P.13 O's Place P.14 Lucid Culture P.15 MidWest Record P.16 Blog Critics P.19 TMS9-3-jazz P.20 Jazz Magazine (French) P.21 Evasion Mag (French) P.25 Jazz Thing (German) P.26 Jazz Podium (German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
    [Show full text]
  • Where to Study Jazz 2019
    STUDENT MUSIC GUIDE Where To Study Jazz 2019 JAZZ MEETS CUTTING- EDGE TECHNOLOGY 5 SUPERB SCHOOLS IN SMALLER CITIES NEW ERA AT THE NEW SCHOOL IN NYC NYO JAZZ SPOTLIGHTS YOUNG TALENT Plus: Detailed Listings for 250 Schools! OCTOBER 2018 DOWNBEAT 71 There are numerous jazz ensembles, including a big band, at the University of Central Florida in Orlando. (Photo: Tony Firriolo) Cool perspective: The musicians in NYO Jazz enjoyed the view from onstage at Carnegie Hall. TODD ROSENBERG FIND YOUR FIT FEATURES f you want to pursue a career in jazz, this about programs you might want to check out. 74 THE NEW SCHOOL Iguide is the next step in your journey. Our As you begin researching jazz studies pro- The NYC institution continues to evolve annual Student Music Guide provides essen- grams, keep in mind that the goal is to find one 102 NYO JAZZ tial information on the world of jazz education. that fits your individual needs. Be sure to visit the Youthful ambassadors for jazz At the heart of the guide are detailed listings websites of schools that interest you. We’ve com- of jazz programs at 250 schools. Our listings are piled the most recent information we could gath- 120 FIVE GEMS organized by region, including an International er at press time, but some information might have Excellent jazz programs located in small or medium-size towns section. Throughout the listings, you’ll notice changed, so contact a school representative to get that some schools’ names have a colored banner. detailed, up-to-date information on admissions, 148 HIGH-TECH ED Those schools have placed advertisements in this enrollment, scholarships and campus life.
    [Show full text]
  • Zimbabwe Emergency Benefit Concert
    ZIMBABWE EMERGENCY BENEFIT CONCERT in the Cathedral of St. John the Divine (112th & Amsterdam) Saturday :.February 9 • 8'pm ORGANIZED BY THE COMMITTEE TO SUPPORT THE PATRIOTIC FRONT OF ZIMBABWE all proceeds to IJO to ZAPU and ZANU PROGRAM HONORABLE JUDGE WILLIAM BOOTH MACHITO AND HIS ORCHESTRA-Featuring PAULA C. RANDALL ROBINSON-Executive Director of Transafrica BEAVER HARRIS/DON PULLEN & 3600 MUSICAL EXPERIENCE Ken Macintyre - Alto Saxophone Cameron Brown - Bass Francis Haynes - Steel Drums Ricky Ford -Tenor Saxophone CANAAN BAPTIST CHURCH OF CHRIST CONCERT CHOIR Dr. Wyatt Tee Walker - Minister Eugene Cooper - Musical Director DR. ANGIE DICKERSON-Executive Member U.S. Peace Council, Member World Peace Counci r INTERMISSION ROBERT VAN L1EROP-Mozambique Film Project ROD ROGERS DANCE COMPANY BOX 71 (1971) A study in confinement created in memory of George Jackson and the men of Attica. and dedicated to our brothers and sisters in South Africa. May their struggle win for them the right of self determination. Ori§inal Score by Sidney Smart Man Outside - Rod Rogers Man Inside - Noel Hall SOLO-Work in Progress Music by Noel Pointer Soloist - Noel Hall JIMMY OWENS-From the New York Jazz Quartet PRESENTATION TO ZANU - ZAPU ABDULLAH IBRAHIM (Dollar Brand) AND GROUP-South African Pianist and Composer SATHIMA - South African Singer Carlos Ward - Alto Saxophone Craig Harris - Trombone Alonzo Gardner - Bass Andrei Strobert - Drummer HUGH MASEKELA-South African's Premier Jazz Trumpeter Linda Tshabalala } Thandeka Agono Vocalists Thembi Mtshali Rene McLean - Saxophone Cecil Barnard - Piano Motoshiko Hino - Drums Asante - Percussron William Allen - Bass •••••••••••••••••••••••••••••• 11 •••••••••••••••••••••••••••••••••••••••••••, SPECIAL THANKS Bill Thorpe - Sound Engineer Frieda Jones - ArtWork Fay Greenbaum - Stage Manager Carl Jacobs - Sound System Jim Petosa - Cathedral St.
    [Show full text]
  • Vindicating Karma: Jazz and the Black Arts Movement
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2007 Vindicating karma: jazz and the Black Arts movement/ W. S. Tkweme University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Tkweme, W. S., "Vindicating karma: jazz and the Black Arts movement/" (2007). Doctoral Dissertations 1896 - February 2014. 924. https://scholarworks.umass.edu/dissertations_1/924 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. University of Massachusetts Amherst Library Digitized by the Internet Archive in 2014 https://archive.org/details/vindicatingkarmaOOtkwe This is an authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI. The bibliographic information for this thesis is contained in UMTs Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. Dissertation UMI Services From:Pro£vuest COMPANY 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Michigan 48106-1346 USA 800.521.0600 734.761.4700 web www.il.proquest.com Printed in 2007 by digital xerographic process on acid-free paper V INDICATING KARMA: JAZZ AND THE BLACK ARTS MOVEMENT A Dissertation Presented by W.S. TKWEME Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 W.E.B.
    [Show full text]
  • Mesia Austin, Percussion Received Much of the Recognition Due a Venerable Jazz Icon
    and Blo win' The Blues Away (1959), which includes his famous, "Sister Sadie." He also combined jazz with a sassy take on pop through the 1961 hit, "Filthy McNasty." As social and cultural upheavals shook the nation during the late 1960s and early 1970s, Silver responded to these changes through music. He commented directly on the new scene through a trio of records called United States of Mind (1970-1972) that featured the spirited vocals of Andy Bey. The composer got deeper into cosmic philosophy as his group, Silver 'N Strings, recorded Silver 'N Strings School of Music Play The Music of the Spheres (1979). After Silver's long tenure with Blue Note ended, he continued to presents create vital music. The 1985 album, Continuity of Spirit (Silveto), features his unique orchestral collaborations. In the 1990s, Silver directly answered the urban popular music that had been largely built from his influence on It's Got To Be Funky (Columbia, 1993). On Jazz Has A Sense of Humor (Verve, 1998), he shows his younger SENIOR RECITAL group of sidemen the true meaning of the music. Now living surrounded by a devoted family in California, Silver has Mesia Austin, percussion received much of the recognition due a venerable jazz icon. In 2005, the National Academy of Recording Arts and Sciences (NARAS) gave him its President's Merit Award. Silver is also anxious to tell the Theresa Stephens, clarinet Brian Palat, percussion world his life story in his own words as he just released his autobiography, Let's Get To The Nitty Gritty.
    [Show full text]
  • Jazzweek Jazz Album Chart Jan
    airplay data JazzWeek Jazz Album Chart Jan. 28, 2008 powered by TW LW 2W Peak Artist Release Label TP LP +/- Weeks Stations Adds 1 1 1 1 Steve Nelson Sound-Effect HighNote 211 210 1 13 56 1 2 11 NR 2 Eliane Elias Something For You: Eliane Elias Sings & Blue Note 196 128 68 2 49 14 Plays Bill Evans 3 5 9 2 Deep Blue Organ Trio Folk Music Origin 194 169 25 15 52 1 4 2 NR 2 Hendrik Meurkens Sambatropolis Zoho Music 166 185 -19 2 54 13 5 4 2 2 Jim Snidero Tippin’ Savant 154 172 -18 11 53 1 6 6 33 6 Monterey Jazz Festival 50th Aniversary Live At The 2007 Monterey Jazz Festival Monterey Jazz Fest 145 154 -9 3 43 8 All-Stars 7 7 7 6 Bob DeVos Playing For Keeps Savant 142 145 -3 11 47 0 8 3 5 3 Andy Bey Ain’t Necessarily So 12th Street Records 137 182 -45 10 49 0 9 20 34 9 Ron Blake Shayari Mack Avenue 136 94 42 3 46 11 10 7 14 7 Joe Locke Sticks And Strings Jazz Eyes 132 145 -13 7 37 5 11 14 11 2 Herbie Hancock River: The Joni Letters Verve Music Group 125 114 11 17 50 0 12 12 8 8 John Brown Terms Of Art Self Released 123 127 -4 11 32 0 13 28 NR 13 Pamela Hines Return Spice Rack 117 84 33 2 43 14 14 10 3 3 Houston Person Thinking Of You HighNote 115 139 -24 13 38 2 15 18 38 15 Brad Goode Nature Boy Delmark 112 97 15 3 29 6 16 22 21 3 Cyrus Chestnut Cyrus Plays Elvis Koch 110 93 17 16 37 1 17 16 6 6 Stacey Kent Breakfast On The Morning Tram Blue Note 101 101 0 16 33 0 18 NR NR 18 Frank Kimbrough Air Palmetto 100 NR 100 1 36 31 19 24 11 1 Eric Alexander Temple Of Olympic Zeus HighNote 94 90 4 18 39 0 20 15 4 2 Gerald Wilson Orchestra Monterey
    [Show full text]
  • Vocal Jazz in the Choral Classroom: a Pedagogical Study
    University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 5-2019 Vocal Jazz in the Choral Classroom: A Pedagogical Study Lara Marie Moline Follow this and additional works at: https://digscholarship.unco.edu/dissertations Recommended Citation Moline, Lara Marie, "Vocal Jazz in the Choral Classroom: A Pedagogical Study" (2019). Dissertations. 576. https://digscholarship.unco.edu/dissertations/576 This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Dissertations by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2019 LARA MARIE MOLINE ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School VOCAL JAZZ IN THE CHORAL CLASSROOM: A PEDAGOGICAL STUDY A DIssertatIon SubMItted In PartIal FulfIllment Of the RequIrements for the Degree of Doctor of Arts Lara Marie MolIne College of Visual and Performing Arts School of Music May 2019 ThIs DIssertatIon by: Lara Marie MolIne EntItled: Vocal Jazz in the Choral Classroom: A Pedagogical Study has been approved as meetIng the requIrement for the Degree of Doctor of Arts in College of VIsual and Performing Arts In School of Music, Program of Choral ConductIng Accepted by the Doctoral CoMMIttee _________________________________________________ Galen Darrough D.M.A., ChaIr _________________________________________________ Jill Burgett D.A., CoMMIttee Member _________________________________________________ Michael Oravitz Ph.D., CoMMIttee Member _________________________________________________ Michael Welsh Ph.D., Faculty RepresentatIve Date of DIssertatIon Defense________________________________________ Accepted by the Graduate School ________________________________________________________ LInda L. Black, Ed.D. Associate Provost and Dean Graduate School and InternatIonal AdMIssions Research and Sponsored Projects ABSTRACT MolIne, Lara Marie.
    [Show full text]
  • David S. Ware in Profile
    Steve Coleman: The Most Influential Figure Since Coltrane? AMERICA’s JAZZ MAGAZINE Win a Trip for Two on The Jazz Cruise! TBetweenia Fuller Bop&Beyoncé David S. Ware Fred Ho in Profile His Harrowing BY DAVID R. ADLER Fight Against Cancer Before & After Lee Konitz Nate Chinen on Kirk Whalum John Ellis A $250,000 Turntable? Audiophile Gear to Die For Stan Getz & Kenny Barron Reviewed 40 JAZZTIMES >> JUNE 2010 A f te r the here were torrential rains, and gusts up to 60 miles per hour, on the night in mid- March when saxophone icon David S. Ware played solo before an intimate crowd in Brooklyn. Seated in the cozy home office of host Garrett Shelton, a music industry con- sultant, Ware began with an assertive, envel- Still coping with the oping improvisation on sopranino—a new Thorn in his arsenal—and followed it with an S toaftermath of a rkidney m extended tenor display, rigorously developed, with mounting sonic power. transplant, David S. Ware After he finished, Ware played up the salon-like atmosphere by inviting questions forges ahead with solo from listeners. Multi-instrumentalist Cooper- Moore, Ware’s good friend and one-time saxophone, a new trio roommate, who (like me) nearly missed the show on account of a subway power outage, and a return to the Vision was among the first to speak. He noted that the weather was also perfectly miserable on Festival this summer Oct. 15, 2009, the night of Ware’s previous solo concert. So one had to wonder, “What’s goin’ on with you, man?” Laughing, Ware By David R.
    [Show full text]
  • The Evolution of Ornette Coleman's Music And
    DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY by Nathan A. Frink B.A. Nazareth College of Rochester, 2009 M.A. University of Pittsburgh, 2012 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Nathan A. Frink It was defended on November 16, 2015 and approved by Lawrence Glasco, PhD, Professor, History Adriana Helbig, PhD, Associate Professor, Music Matthew Rosenblum, PhD, Professor, Music Dissertation Advisor: Eric Moe, PhD, Professor, Music ii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Copyright © by Nathan A. Frink 2016 iii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Ornette Coleman (1930-2015) is frequently referred to as not only a great visionary in jazz music but as also the father of the jazz avant-garde movement. As such, his work has been a topic of discussion for nearly five decades among jazz theorists, musicians, scholars and aficionados. While this music was once controversial and divisive, it eventually found a wealth of supporters within the artistic community and has been incorporated into the jazz narrative and canon. Coleman’s musical practices found their greatest acceptance among the following generations of improvisers who embraced the message of “free jazz” as a natural evolution in style.
    [Show full text]
  • Liebman Expansions
    MAY 2016—ISSUE 169 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM DAVE LIEBMAN EXPANSIONS CHICO NIK HOD LARS FREEMAN BÄRTSCH O’BRIEN GULLIN Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East MAY 2016—ISSUE 169 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : Chico Freeman 6 by terrell holmes [email protected] Andrey Henkin: [email protected] Artist Feature : Nik Bärtsch 7 by andrey henkin General Inquiries: [email protected] On The Cover : Dave Liebman 8 by ken dryden Advertising: [email protected] Encore : Hod O’Brien by thomas conrad Editorial: 10 [email protected] Calendar: Lest We Forget : Lars Gullin 10 by clifford allen [email protected] VOXNews: LAbel Spotlight : Rudi Records by ken waxman [email protected] 11 Letters to the Editor: [email protected] VOXNEWS 11 by suzanne lorge US Subscription rates: 12 issues, $40 Canada Subscription rates: 12 issues, $45 In Memoriam 12 by andrey henkin International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or money order to the address above CD Reviews or email [email protected] 14 Staff Writers Miscellany David R. Adler, Clifford Allen, 37 Duck Baker, Fred Bouchard, Stuart Broomer, Thomas Conrad, Ken Dryden, Donald Elfman, Event Calendar 38 Philip Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo, Suzanne Lorge, Marc Medwin, Ken Micallef, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Andrew Vélez, Ken Waxman Tracing the history of jazz is putting pins in a map of the world.
    [Show full text]
  • Jack Dejohnette's Drum Solo On
    NOVEMBER 2019 VOLUME 86 / NUMBER 11 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.
    [Show full text]