Critical Notice of Graham Lock's Blutopia
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Anthony Braxton Five Pieces 1975
Anthony Braxton Five Pieces 1975 ANTHONY BRAXTON Five Pieces 1975 Arista AL 4064 (LP) I would like to propose now, at the beginning of this discussion, that we set aside entirely the question of the ultimate worth of Anthony Braxton's music. There are those who insist that Braxton is the new Bird, Coltrane, and Ornette, the three-in-one who is singlehandedly taking the Next Step in jazz. There are others who remain unconvinced. History will decide, and while it is doing so, we can and should appreciate Braxton's music for its own immediate value, as a particularly contemporary variety of artistic expression. However, before we can sit down, take off our shoes, and place the enclosed record on our turntables, certain issues must be dealt with. People keep asking questions about Anthony Braxton, questions such as what does he think he is doing? Since these questions involve judgments we can make now, without waiting for history, we should answer them, and what better way to do so than to go directly to the man who is making the music? "Am I an improviser or a composer?" Braxton asks rhetorically, echoing more than one critical analysis of his work. "I see myself as a creative person. And the considerations determining what's really happening in the arena of improvised music imply an understanding of composition anyway. So I would say that composition and improvisation are much more closely related than is generally understood." This is exactly the sort of statement Braxton's detractors love to pounce on. Not only has the man been known to wear cardigan sweaters, smoke a pipe, and play chess; he is an interested in composing as in improvising. -
ANTHONY BRAXTON Echo Echo Mirror House
VICTO cd 125 ANTHONY BRAXTON Echo Echo Mirror House 1. COMPOSITION NO 347 + 62'37" SEPTET Taylor Ho Bynum : cornet, bugle, trompbone, iPod Mary Halvorson : guitare électrique, iPod Jessica Pavone : alto, violon, iPod Jay Rozen : tuba, iPod Aaron Siegel : percussion, vibraphone, iPod Carl Testa : contrebasse, clarinette basse, iPod Anthony Braxton : saxophones alto, soprano et sopranino, iPod, direction et composition Enregistré au 27e Festival International de ℗ Les Disques VICTO Musique Actuelle de Victoriaville le 21 mai 2011 © Les Éditions VICTORIAVILLE, SOCAN 2013 Your “Echo Echo Mirror House” piece at Victoriaville was a time-warping concert experience. My synapses were firing overtime. [Laughs] I must say, thank you. I am really happy about that performance. In this time period, we talk about avant-garde this and avant-garde that, but the post-Ayler generation is 50 years old, and the AACM came together in the ‘60s. So it’s time for new models to come together that can also integrate present-day technology and the thrust of re-structural technology into the mix of the music logics and possibility. The “Echo Echo Mirror House” music is a trans-temporal music state that connects past, present and future as one thought component. This idea is the product of the use of holistic generative template propositions that allow for 300 or 400 compositions to be written in that generative state. The “Ghost Trance” musics would be an example of the first of the holistic, generative logic template musics. The “Ghost Trance” music is concerned with telemetry and cartography, and area space measurements. With the “Echo Echo Mirror House” musics, we’re redefining the concept of elaboration. -
Chick Corea Early Circle Mp3, Flac, Wma
Chick Corea Early Circle mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Early Circle Country: US Released: 1992 Style: Free Jazz, Contemporary Jazz MP3 version RAR size: 1270 mb FLAC version RAR size: 1590 mb WMA version RAR size: 1894 mb Rating: 4.6 Votes: 677 Other Formats: AU ADX ASF VQF MP1 DMF AA Tracklist Hide Credits Starp 1 5:20 Composed By – Dave Holland 73° - A Kelvin 2 9:12 Composed By – Anthony Braxton Ballad 3 6:43 Composed By – Braxton*, Altschul*, Corea*, Holland* Duet For Bass And Piano #1 4 3:28 Composed By – Corea*, Holland* Duet For Bass And Piano #2 5 1:40 Composed By – Corea*, Holland* Danse For Clarinet And Piano #1 6 2:14 Composed By – Braxton*, Corea* Danse For Clarinet And Piano #2 7 2:34 Composed By – Braxton*, Corea* Chimes I 8 10:19 Composed By – Braxton*, Corea*, Holland* Chimes II 9 6:36 Composed By – Braxton*, Corea*, Holland* Percussion Piece 10 3:25 Composed By – Braxton*, Altschul*, Corea*, Holland* Companies, etc. Recorded At – A&R Studios Credits Bass, Cello, Guitar – Dave Holland Clarinet, Flute, Alto Saxophone, Soprano Saxophone, Contrabass Clarinet – Anthony Braxton Design – Franco Caligiuri Drums, Bass, Marimba, Percussion – Barry Altschul (tracks: 1 to 3, 10) Engineer [Recording] – Tony May Liner Notes – Stanley Crouch Piano, Celesta [Celeste], Percussion – Chick Corea Producer [Original Sessions] – Sonny Lester Reissue Producer – Michael Cuscuna Remix [Digital] – Malcolm Addey Notes Recorded at A&R Studios, NYC on October 13 (#4-9) and October 19, 1970. Tracks 1 to 9 originally issued -
Chris Potter Circuits Quartet
03 Abr 2019 Erik Friedlander’s 21:00 Sala Suggia “Throw a glass” CICLO JAZZ Chris Potter Circuits Quartet Erik Friedlander’s “Throw a glass” Friedlander tomou contacto com a música muito cedo – cres‑ ceu numa casa cheia de música, começa a estudar guitarra com Erik Friedlander violoncelo apenas cinco anos e aos oito dedica ‑se ao violoncelo. Tocou e gravou Uri Caine piano com inúmeros artistas, incluindo The Mountain Goats, John Zorn, Mark Helias contrabaixo Dave Douglas e Courtney Love. O desejo de participar activamente Ches Smith bateria no turbilhão de estilos musicais que o cercava levou ‑o a encontrar novas formas de tocar violoncelo. Estas descobertas são as direc‑ Sob a inspiração das misteriosas esculturas de copos de absinto de trizes do seu trabalho como intérprete e compositor, com um catá‑ Picasso expostas no Museu de Arte Moderna (MoMA), Erik Fried- logo muito variado e original. lander e a sua banda The Throw criaram um álbum conceptual sobre a história sombria desta bebida e do seu uso como alucinogénio. Uri Caine nasceu em Filadélfia e começou a estudar piano com Friedlander formou o quarteto para uma actuação no The Stone Bernard Peiffer e composição com George Rochberg. Desde que em Nova Iorque e ficou logo “impressionado com a química que tive‑ se mudou para Nova Iorque, em 1985, gravou 33 álbuns como líder. mos”. Durante dois dias o grupo gravou Artemisia, um disco sobre Recentemente gravou Space Kiss (2017) com o Lutoslawski Quartet, aquela inspiração e a sua origem. “Muitas vezes estamos à procura Calibrated Thickness (2016) com o seu trio e Callithump (2015) com da grande revelação e a perder o milagre diário que está ali à vista de as suas composições para piano solo. -
Printcatalog Realdeal 3 DO
DISCAHOLIC auction #3 2021 OLD SCHOOL: NO JOKE! This is the 3rd list of Discaholic Auctions. Free Jazz, improvised music, jazz, experimental music, sound poetry and much more. CREATIVE MUSIC the way we need it. The way we want it! Thank you all for making the previous auctions great! The network of discaholics, collectors and related is getting extended and we are happy about that and hoping for it to be spreading even more. Let´s share, let´s make the connections, let´s collect, let´s trim our (vinyl)gardens! This specific auction is named: OLD SCHOOL: NO JOKE! Rare vinyls and more. Carefully chosen vinyls, put together by Discaholic and Ayler- completist Mats Gustafsson in collaboration with fellow Discaholic and Sun Ra- completist Björn Thorstensson. After over 33 years of trading rare records with each other, we will be offering some of the rarest and most unusual records available. For this auction we have invited electronic and conceptual-music-wizard – and Ornette Coleman-completist – Christof Kurzmann to contribute with some great objects! Our auction-lists are inspired by the great auctioneer and jazz enthusiast Roberto Castelli and his amazing auction catalogues “Jazz and Improvised Music Auction List” from waaaaay back! And most definitely inspired by our discaholic friends Johan at Tiliqua-records and Brad at Vinylvault. The Discaholic network is expanding – outer space is no limit. http://www.tiliqua-records.com/ https://vinylvault.online/ We have also invited some musicians, presenters and collectors to contribute with some records and printed materials. Among others we have Joe Mcphee who has contributed with unique posters and records directly from his archive. -
Information VICTO Cd074-075-076 Cecil Taylor Marilyn Crispell Paul Plimley / John Oswald «Complicité» Cd 074 PAUL PLIMLEY / JOHN OSWALD 1
Information VICTO cd074-075-076 Cecil Taylor Marilyn Crispell Paul Plimley / John Oswald «Complicité» cd 074 PAUL PLIMLEY / JOHN OSWALD 1. WON (John Oswald-SOCAN) . .10’09” 2. TO (Plimley/Oswald) . .6’43” 3. TOON (Plimley/Oswald) . .5’11” 4. FREE (Plimley/Oswald) . .10’11” p SOCIÉTÉ RADIO-CANADA 5. FOREMOST (Paul Plimley-SOCAN) . .9’14” c Les Éditions Victoriaville et Les Disques VICTO, SOCAN 2001 cd 075 MARILYN CRISPELL Of Trees, Limbs and Springs 1. PRAYER (Mitchell Weiss-BMI) . .5’33” Three pianists-Cecil Taylor, Marilyn Crispell 2. TRIPLOS PART I (Marilyn Crispell-BMI) . .14’36” and Paul Plimley-and an alto saxist-John 3. GESTURE WITHOUT PLOT (Annette Peacock-PRS/MCPS) . .9’24” Oswald-gathered to play, in a triple-header 4. PARIS (Mitchell Weiss-BMI) . .9’38” that meandered blissfully and chaotically, and 5. TRIPLOS PART II.a (Marilyn Crispell-BMI) . .6’15” showed us a vision of measured abandon. 6. SILENCE (Marilyn Crispell-BMI) . .2’40” Freedom rang out, amidst floating bits of 7. TRIPLOS PART II.b (Marilyn Crispell-BMI) . .3’49” structure and melody, and it also stretched out 8. NOT (Anders Jormin-STIM) . .1’27” over three hours (which seemed like less, a 9. TRIPLOS PART II.c (Marilyn Crispell-BMI) . .5’06” sign that music is working, and time is being artfully subverted). And it’s a very good thing, cd 076 indeed, that it is now captured for posterity on CECIL TAYLOR a recording. The occasion turned out, through CONCERT DÉDIÉ À JIMMY McDONALD serendipitous circumstances, to be festive, and 1. -
Myra Melford & Snowy Egret Language of Dreams
Saturday, November 19, 2016, 8pm Zellerbach Hall Myra Melford & Snowy Egret Language of Dreams Conceived and composed by Myra Melford Myra Melford’s Snowy Egret Myra Melford, piano, melodica, and sampler Ron Miles, cornet Liberty Ellman, guitar Stomu Takeishi, acoustic bass guitar Tyshawn Sorey, drums David Szlasa, video artist and lighting design Oguri, dancer and choreography Sofia Rei, narrator/spoken text Hans Wendl, artistic direction and production Texts excerpted from Eduardo Galeano’s Memory of Fire (Memoria del Fuego ) trilogy: Genesis (1982) Faces and Masks (1984) Century of the Wind (1986) Copyright 1982, 1984, 1986 respectively by Eduardo Galeano. Translation copyright 1985, 1987, 1988 by Cedric Belfrage. Published in Spanish by Siglo XXI Editores, México, and in English by Nation Books. By permission of Susan Bergholz Literary Services, New York, NY and Lamy, NM. All rights reserved. e creation and presentation of Language of Dreams was made possible by Yerba Buena Center for the Arts, a Guggenheim Fellowship, the Doris Duke Performing Artist Award, and a University of California Faculty Research Grant. Jazz residency and education activities generously underwritten by the Thatcher-Meyerson Family. n e s i o B s e l y M Myra Melford (far right) with Snowy Egret Language of Dreams I Prelude e Promised Land Snow e Kitchen II e Virgin of Guadalupe A Musical Evening For Love of Fruit/Ching Ching III Language IV Times of Sleep and Fate Little Pockets/Everybody Pays Taxes Market e First Protest V Night of Sorrow Day of the Dead e Strawberry VI Reprise – e Virgin of Guadalupe This performance will last approximately 75 minutes and will be performed without intermission. -
Sarah Weaver Events Archive 2016
SARAH WEAVER EVENTS ARCHIVE 2016 12/20/16 SLM ENSEMBLE SOLO AND CHAMBER WORKS FOR PEACE – THE CELL THEATRE, NYC SLM Ensemble: Solo and Chamber Works for Peace December 20, 2016 8:00pm $20/$15 Students & Seniors Location: the cell 338 W. 23rd St, New York City Tickets: http://www.thecelltheatre.org/events/2016/12/20/slm-ensemble-solo-and-chamber- works-for-peace Musicians from the SLM Ensemble perform solo and chamber music compositions and improvisations for peace. Musicians: Jane Ira Bloom, soprano saxophone, Yoon Sun Choi, voice, Julie Ferrara, oboe, english horn, Joe McPhee, saxophone, trumpet, Zafer Tawil, oud, ney, Arab percussion, Dave Taylor, bass trombone, Min Xiao-Fen, pipa, Sarah Weaver, composer, computer The SLM Ensemble is a New York City based experimental music large ensemble created by co- artistic directors bassist/composer Mark Dresser and conductor/composer Sarah Weaver. The SLM Ensemble performs and records works for large ensemble, solo and chamber works, film/multimedia, and the telematic medium via the internet by Dresser, Weaver, and at times collaborating composers. The modular roster is composed of diverse pioneering musicians of our time. The name SLM is an acronym “Source Liminal Music” as well as a tri-consonantal root of words from several languages that mean “peace”. 11/29/16 REASONS OF RESONANCE: GERRY HEMINGWAY, SARAH WEAVER, BETH WARSHAFSKY – THE CELL THEATRE, NYC Reasons of Resonance Tuesday November 29, 2016 8:00PM $20/$15 Students & Seniors Location: the cell 338 W. 23rd Street, New York City Tickets: http://www.thecelltheatre.org/events/2016/11/29/reasons-of-resonance Solo performance by percussionist/composer Gerry Hemingway of collaborative works with composer Sarah Weaver and visual artist Beth Warshafsky. -
Free Jazz in the Classroom: an Ecological Approach to Music Educationi
David Borgo Free Jazz in the Classroom: An Ecological Approach to Music Educationi Abandon Knowledge About Knowledge All Ye Who Enter Here. Bruno Latourii Conventional Western educational practice hinges on the notion that knowledge— or at least knowledge worth having—is primarily conceptual and hence can be abstracted from the situations in which it is learned and used. I recently came across a helpful illustration of this general tendency while watching Monty Python reruns. The sketch involved a caricature of a British talk show called “How to Do It.” John Cleese served as the show’s host: Well, last week we showed you how to become a gynecologist. And this week on “How to Do It” we're going to show you how to play the flute, how to split an atom, how to construct a box girder bridge, how to irrigate the Sahara Desert and make vast new areas of land cultivatable, but first, here’s Jackie to tell you all how to rid the world of all known diseases. After Eric Idle solves the global health crisis in a sentence or two, John Cleese explains “how to play the flute”: “Well here we are. (Picking up a flute.) You blow there and you move your fingers up and down here.” Turning again to the camera, he concludes the show with a teaser for the next installment: Well, next week we’ll be showing you how black and white people can live together in peace and harmony, and Alan will be over in Moscow showing us how to reconcile the Russians and the Chinese. -
Anthony Braxton
Call for Papers 50+ Years of Creative Music: Anthony Braxton – Composer, Multi-Instrumentalist, Music Theorist International Conference June 18th‒20th 2020 Institute for Historical Musicology of the University Hamburg Neue Rabenstr. 13 | 20354 Hamburg | Germany In June, 2020, Anthony Braxton will be celebrating his 75th birthday. For more than half a century he has played a key role in contemporary and avant-garde- music as a composer, multi-instrumentalist, music theorist, teacher, mentor and visionary. Inspired by Jazz, European art music, and music of other cultures, Braxton labels his output ‘Creative Music’. This international conference is the first one dealing with his multifaceted work. It aims to discuss different research projects concerned with Braxton’s compositional techniques as well as his instrumental- and music-philosophical thinking. The conference will take place from June 18th to 20th 2020 at the Hamburg University, Germany. During the first half of his working period, dating from 1967 to the early 1990s, Braxton became a ‘superstar of the jazz avant-garde’ (Bob Ostertag), even though he acted as a non-conformist and was thus perceived as highly controversial. In this period he also became a member of the AACM, the band Circle, and recorded music for a variety of mostly European minors as well as for the international major Arista. Furthermore, he developed his concepts of ‘Language Music’ for solo-artist and ‘Co-ordinate Music’ for small ensembles, composed his first pieces for the piano and orchestra and published his philosophical Tri-Axium Writings (3 volumes) and Composition Notes (5 volumes). These documents remain to be thoroughly analyzed by the musicological community. -
Solo List and Reccomended List for 02-03-04 Ver 3
Please read this before using this recommended guide! The following pages are being uploaded to the OSSAA webpage STRICTLY AS A GUIDE TO SOLO AND ENSEMBLE LITERATURE. In 1999 there was a desire to have a required list of solo and ensemble literature, similar to the PML that large groups are required to perform. Many hours were spent creating the following document to provide “graded lists” of literature for every instrument and voice part. The theory was a student who made a superior rating on a solo would be required to move up the list the next year, to a more challenging solo. After 2 years of debating the issue, the music advisory committee voted NOT to continue with the solo/ensemble required list because there was simply too much music written to confine a person to perform from such a limited list. In 2001 the music advisor committee voted NOT to proceed with the required list, but rather use it as “Recommended Literature” for each instrument or voice part. Any reference to “required lists” or “no exceptions” in this document need to be ignored, as it has not been updated since 2001. If you have any questions as to the rules and regulations governing solo and ensemble events, please refer back to the OSSAA Rules and Regulation Manual for the current year, or contact the music administrator at the OSSAA. 105 SOLO ENSEMBLE REGULATIONS 1. Pianos - It is recommended that you use digital pianos when accoustic pianos are not available or if it is most cost effective to use a digital piano. -
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