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A MirrorMirror andand FocusFocus fforor tthehe JJazzazz CCommunityommunity June 2008 Vol.Vol. 24, NNo.o. 6 EARSHOT JAZZSeattle,Seattle, WashingtonWashington Ziggurat: Eric Barber, Bill Anschell, Doug Miller, Byron Vannoy Photo by Daniel Sheehan Notes For more information and applica- EARSHOT J A Z Z tions visit www.justjazzoregon.com or A Mirror and Focus for the Jazz Community call Claire Little at 541-265-2100. Jack Straw Workshops Executive Director: John Gilbreath Th is month Jack Straw Productions Academy Hands on Jazz Class Earshot Jazz Editor: Elaine M. Hayes off ers two classes that cover the basics Applications for Hands on Jazz, an of Pro Tools and creative soundscap- educational summer arts program for Contributing Writers: Michael Allison, ing. Th e workshops are ideal for musi- King County 7th and 8th graders, are Andrew Bartlett, Paul Harding, Schraepfer cians, sound artists, writers, journalists, now available. Organized by the Se- Harvey, Elaine M. Hayes, Molly M. Manor, Peter Monaghan, Kimberly M. Reason, Chris documentarians, and fi lmmakers who attle Center Academy, Hands on Jazz Robinson, Peter Walton want to get a foundation in recording provides participants with a practical technology. All classes are held in the introduction to jazz. Classes will be Photography: Daniel Sheehan professional recording studios at Jack held July 28-August 8, Monday-Fri- Layout: Karen Caropepe Mailing: Straw Productions located at 4261 day, 9:00am-3:30pm. For information Lola Pedrini Program Manager: Karen Caropepe Roosevelt Way NE. about classes, tuition, scholarships, and Calendar Volunteers: Tim Swetonic, Rik Beginning Pro Tools runs June 4-6, registration visit www.seattlecenter. Wright 6-10pm, and provides hands-on in- com/academy. struction in the industry’s most popular Send Calendar Information to: Port Townsend Registration 3429 Fremont Place #309 digital audio production system. Stu- Seattle WA 98103 dents will learn the basic commands and Registration has opened for the 2008 Jazz Port Townsend workshop, which fax: (206) 547-6286 procedures for recording, editing, and email: [email protected] outputting with Pro Tools. $250 for takes place July 20-27 at Fort Worden Board of Directors: Genesee Adkins members and $285 for non-members. State Park. Registration information is available online at www.centrum.org. (president), Paul Harding (vice-president), Soudscapes runs June 12-13, 6-10pm, Fred Gilbert (treasurer), Hideo Makihara and introduces creative approaches to Th e workshop accommodates varying levels of ability, but participants should (secretary), Clarence Acox, George sound design, including manipulation Heidorn, Lola Pedrini, Cuong Vu of audio recordings and voice, altered have a basic technical command of their instruments or voice, as well as elemen- Earshot Jazz is published monthly by instruments, found objects, and elec- Earshot Jazz Society of Seattle and is tary improvisation experience or a basic tronics. Students get hands-on experi- available online at www.earshot.org. ence recording and mixing pieces in the knowledge of music theory. Subscription (with membership): $35 studio. $135 for members, $160 for Event Listings & News Items 3429 Fremont Place #309 non-members. Seattle, WA 98103 Please send gig listings to T: (206) 547-6763; F: (206) 547-6286 Enrollment is limited and registration [email protected]. Be sure to closes one week before the class date. Earshot Jazz ISSN 1077-0984 format your gig listings in keeping with Printed by Pacifi c Publishing Company. For more information or to reserve the way they appear in the calendar in ©2008 Earshot Jazz Society of Seattle a spot, call 206-634-0919 or e-mail this issue. [email protected]. Also, if you have news of your jazz Mission Statement Newport Jazz Camp projects, or of anything at all related Just Jazz is accepting applications for to your career, please feel free to e-mail Earshot Jazz is a non-profi t arts and service organization formed in 1986 to an intensive, fi ve-day summer camp to them to [email protected], as we are always looking for items to use in In cultivate a support system for jazz in the be held in Newport, Oregon, August community and to increase awareness 11-15. Th e camp is open to jazz stu- One Ear and as fodder for feature ar- ticles in this publication of jazz. Earshot Jazz pursues its mission dents of all ages who are able to read through publishing a monthly newsletter, music and have a basic command of Distribute This Magazine presenting creative music, providing their instrument. Students will par- We are looking for volunteers who educational programs, identifying and ticipate in combos, individual lessons, fi lling career needs for jazz artists, can take this publication to venues, increasing listenership, augmenting ensembles, and lectures under the di- shops and cafés in their neighborhood. and complementing existing services rection of Dr. Keller Coker of Western Contact Karen at [email protected] or and programs, and networking with Oregon University. (206) 547-6763. the national and international jazz community. 2 • Earshot Jazz • June 2008 you all to do something about Seattle enthusiastic crowd of thousands in St. In One Ear and Washington.” Louis, Missouri. It has been a good month for trum- Video footage of Marriott performing Once again, area high school jazz peter and Garfi eld alum Th omas Mar- with the band during rehearsal can be bands dominated the 2008 Essentially riott. On May 4, he was a featured found at: http://www.youtube.com/ Ellington competition, which took soloist with the Maynard Ferguson watch?v=WBigYMVwYKs place in New York City last month. For Alumni Band as they celebrated Fer- On another high note, accolades for the second year in a row and third time guson on what would have been his Marriott’s Crazy: Th e Music of Willie overall, the Roosevelt High School 80th birthday. Other soloists included Nelson continue to poor in. Th e most band directed by Scott Brown received trumpeters Eric Miyashiro and Walter recent highlight is an excellent review top honors. Garfi eld’s band directed by White, saxophonist Tim Reis, currently in the May issue of Jazz Times. Clarence Acox came in a close second on tour with the Rolling Stones, and KPLU’s School of Jazz is back in place and Shorewood’s band directed many other Ferguson alumni from the session. Th e results of this mentoring by Paul Harshman garnered an honor- 70’s through 2007, when Ferguson program, which pairs professional able mention. Bands from Mountlake passed away. Th e band played to an musicians with area high school jazz Terrace and South Whidbey also par- programs, can be heard on KPLU School ticipated in the festival. In addition to these stellar results, local students also brought home an impressive collection of individual and section awards, with Carl Majeau of Garfield selected as the overall out- standing soloist for his work on tenor saxophone and clarinet. Outstanding ratings went to alto saxophonist Jory Tindall and tenor saxophonist Ben Walters both from Mountlake Terrace, doubler Brad Murphy of Shorewood for his profi ciency on the baritone and alto sax, and trumpeter Zubin Hensler, trombonist Jake Linde, and pianist Ben Hamaji of Garfi eld. Honorable men- tions went to clarinetist Alex Dugdale, alto saxophonist Wyatt Palmer, trum- peter Corey Dansereau, and pianist Gus Carns of Roosevelt, and trumpeter Riley Mulherkar of Garfi eld. Section awards went to Garfi eld for reeds and brass, Roosevelt for trumpets, Shorewood for brass, and South Whid- bey for trombones. Essentially Ellington is the nation’s premier high school jazz competition with fi fteen fi nalists selected from a pool of 83 jazz bands. Th is year, Seattle sent an unprecedented fi ve fi nalists to New York, the most ever to compete from a single region. Taking note of Seattle’s dominance, festival judge Wynton Mar- salis had this to say: “I’m challenging June 2008 • Earshot Jazz • 3 of Jazz, Volume 4, which was released Scot Ranney, Stuart McDonald, and and 2007 Golden Ear vocalist of the May 13. This year’s installment features Andy Omdahl. year Gail Pettis on July 20. performances by many of Northwest KPLU School of Jazz, Volume 4 is The Royal Argosy departs from Seat- Washington’s finest high school jazz available at Easy Street Records, Silver tle’s Pier 56 at 10:30 am and returns bands, including usual suspects Roos- Platters locations, Sonic Boom Records, at 1 pm. Tickets are $59 and include evelt, Garfield, and Mountlake Terrace and through the King County Library brunch. For tickets and more informa- as well as Stadium, North Thurston, System. Proceeds benefit school music tion call 1-800-677-5758 or visit www. Kentridge, Squalicum, Mercer, New- programs throughout Western Wash- kplu.org. port, Shorewood, Edmonds Woodway, ington. Sonarchy, recorded live in the studios and South Whidbey. The album also Back by popular demand, KPLU has of the sound-arts nonprofit, Jack Straw showcases performances by Lance reinstated their Sunday Jazz Brunch Productions, kicks of the month with Buller, Thomas Marriott, Darren Cruises. Returning after a two-year a performance by the Threat of Beauty Motamedy, David Marriott, Steve hiatus, this summer’s lineup features on June 7. Lead by bassist Evan Flory- Korn, Greg Williamson, Jovino San- performances by Pearl Django on June Barnes, this acoustic ensemble presents tos Neto, Tracy Knoop, Neil Welch, 8, pianist Jessica Williams on July 13, an hour of genre-busting compositions. Also performing are drummer Eric Peters, cellist Dylan Rieck, and vibra- phonist Jacques Willis. On June 14, Jonathan Way mixes and processes recordings made in the remote mountains of northeastern Washington revealing the textures of snowbrush, horsetails, and pine bark alongside electronic manipulations.
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    2006:020 EXAMENSARBETE Fri improvisation Undervisningsmetoder och tankar kring dessa Johan Sundberg Luleå tekniska universitet Lärarutbildning Allmänt utbildningsområde C-nivå Institutionen för Utbildningsvetenskap 2006:020 - ISSN: 1652-5299 - ISRN: LTU-LÄR-EX--06/020--SE Fri improvisation Undervisningsmetoder och tankar kring dessa Johan Sundberg Musikhögskolan i Piteå/Luleå tekniska universitet Institutionen för utbildningsvetenskap C-uppsats 2005 Abstrakt Syftet med detta arbete var att undersöka vilka undervisningsmetoder som pedagoger har som grund vid undervisning i fri improvisation, samt vilka tankegångar som ligger bakom undervisningsmetoderna. Genom tre intervjuer med verksamma musiker och pedagoger inom fri improvisation, så fann jag att de tankegångar som ligger bakom metoderna är till en stor del kopplade till den definition av fri improvisation som de intervjuade har. Metoderna som används inom fri improvisations-undervisning är många och varierade men huvudsakligen baserade på att eleven, dels skall bygga upp ett förråd av konventionella och icke konventionella speltekniker. Samt att eleven skall öva upp sin reaktionsförmåga och associativa sida, som används på det som sker i nuet. Detta är en paradox mot den erfarenhet som eleven har i sitt material/kunskapsstoff, vilket den bör bli medveten om genom reflekterande och ifrågasättande av det den gör. Nyckelord: improvisation, fri improvisation, improvisations-undervisning, musikmetodik, musikdidaktik. 2 Förord Jag vill tacka Gary Verkade, David Stackenäs, Jan Ferm, Art Neue trio-medlemmarna och de övriga som jag spelat improviserad musik med under min tid på musikhögskolan. Vilket har varit det som givit min musikutbildning substans och mening. Jag vill även tacka KG Johansson med handledarpiskan, som bidrog mycket till att arbetet blev klart i tid.
  • PAUL LYTTON/GEORGES PAUL Lineares.G

    PAUL LYTTON/GEORGES PAUL Lineares.G

    IN SITU ART SOCIETY presents THE DISSONANT SERIES 4 = 2×2 P2: PAUL LYTTON/GEORGES PAUL Sa. 17.01.2015 um 19:00 lineares.g: BERND WENDT/ WOLFGANG MENDEN Bonn Café Sahneweiß Kaiserstraße 53113 1d, PAUL LYTTON: Schlagzeug, Perkussion Paul Lytton wurde 1947 in London geboren. Mit 16 hat er angefangen Schlagzeug zu spielen und seit Ende der 60er Jahre beschäftigt er sich mit der freien Im- provisation. Besonders bekannt ist u. a. seine Zusam- menarbeit mit Evan Parker und Barry Guy. Lytton ist Mitglied der Gruppe „London Jazz Composers Orches- tra“ und Gründungsmitglied des „London Musicians Collective“. Im Laufe seiner musikalischen Karriere hat Lytton zusammen mit Paul Lovens das Label „Po Torch Records“ gegründet. Desweiteren zählt er als Mitinitiator des Kollektivs „Aachen Musicians Coope- rative“. Lytton hat in seiner Laufbahn mehr als 100 Alben mit Musikern wie Roscoe Mit- chell, Fred Anderson, Evan Parker, Barry Guy, Ken Vandermark, Paul Lovens, Alexander von Schlippenbach, Marilyn Crispell und vielen anderen veröffentlicht und gilt weltweit als eine zentrale Figur des Free Jazz und der frei-improvisierten Musik. GEORGES PAUL: Saxophone, Klarinette Georges Paul wurde in Thessaloniki (Griechenland) geboren und begann seine musikalische Ausbildung parallel zum Philosophie- studium in Griechenland und Deutschland. Er studierte klassi- schen Kontrabass bei Iraklis Soumelidis am „Contemporary Con- servatory“ in Thessaloniki, weiters verschiedene Blasinstrumente, insbesondere Saxophone. Er spielt hauptsächlich frei improvisierte Musik und beschäftigt sich mit der Beziehung zwischen zeitge- nössischer Improvisation und philosophischer Ästhetik sowie dem Auffinden neuer Methoden und Techniken zur Aufschließung des Klangs. Er ist Mitbegründer der In Situ Art Society (ebenfalls be- teiligt ist Pavel Borodin) und bereitet zur Zeit eine Solo-Langspiel- platte sowie eine Reihe von 7” Singles in Zusammenarbeit mit ver- schiedenen Künstlern vor.