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December 1992
VOLUME 16, NUMBER 12 MASTERS OF THE FEATURES FREE UNIVERSE NICKO Avant-garde drummers Ed Blackwell, Rashied Ali, Andrew JEFF PORCARO: McBRAIN Cyrille, and Milford Graves have secured a place in music history A SPECIAL TRIBUTE Iron Maiden's Nicko McBrain may by stretching the accepted role of When so respected and admired be cited as an early influence by drums and rhythm. Yet amongst a player as Jeff Porcaro passes metal drummers all over, but that the chaos, there's always been away prematurely, the doesn't mean he isn't as vital a play- great discipline and thought. music—and our lives—are never er as ever. In this exclusive interview, Learn how these free the same. In this tribute, friends find out how Nicko's drumming masters and admirers share their fond gears move, and what's tore down the walls. memories of Jeff, and up with Maiden's power- • by Bill Milkowski 32 remind us of his deep ful new album and tour. 28 contributions to our • by Teri Saccone art. 22 • by Robyn Flans THE PERCUSSIVE ARTS SOCIETY For thirty years the Percussive Arts Society has fostered credibility, exposure, and the exchange of ideas for percus- sionists of every stripe. In this special report, learn where the PAS has been, where it is, and where it's going. • by Rick Mattingly 36 MD TRIVIA CONTEST Win a Sonor Force 1000 drumkit—plus other great Sonor prizes! 68 COVER PHOTO BY MICHAEL BLOOM Education 58 ROCK 'N' JAZZ CLINIC Back To The Dregs BY ROD MORGENSTEIN Equipment Departments 66 BASICS 42 PRODUCT The Teacher Fallacy News BY FRANK MAY CLOSE-UP 4 EDITOR'S New Sabian Products OVERVIEW BY RICK VAN HORN, 8 UPDATE 68 CONCEPTS ADAM BUDOFSKY, AND RICK MATTINGLY Tommy Campbell, Footwork: 6 READERS' Joel Maitoza of 24-7 Spyz, A Balancing Act 45 Yamaha Snare Drums Gary Husband, and the BY ANDREW BY RICK MATTINGLY PLATFORM Moody Blues' Gordon KOLLMORGEN Marshall, plus News 47 Cappella 12 ASK A PRO 90 TEACHERS' Celebrity Sticks BY ADAM BUDOFSKY 146 INDUSTRY FORUM AND WILLIAM F. -
Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67
Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 Marc Howard Medwin A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2008 Approved by: David Garcia Allen Anderson Mark Katz Philip Vandermeer Stefan Litwin ©2008 Marc Howard Medwin ALL RIGHTS RESERVED ii ABSTRACT MARC MEDWIN: Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 (Under the direction of David F. Garcia). The music of John Coltrane’s last group—his 1965-67 quintet—has been misrepresented, ignored and reviled by critics, scholars and fans, primarily because it is a music built on a fundamental and very audible disunity that renders a new kind of structural unity. Many of those who study Coltrane’s music have thus far attempted to approach all elements in his last works comparatively, using harmonic and melodic models as is customary regarding more conventional jazz structures. This approach is incomplete and misleading, given the music’s conceptual underpinnings. The present study is meant to provide an analytical model with which listeners and scholars might come to terms with this music’s more radical elements. I use Coltrane’s own observations concerning his final music, Jonathan Kramer’s temporal perception theory, and Evan Parker’s perspectives on atomism and laminarity in mid 1960s British improvised music to analyze and contextualize the symbiotically related temporal disunity and resultant structural unity that typify Coltrane’s 1965-67 works. -
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. -
Stylistic Evolution of Jazz Drummer Ed Blackwell: the Cultural Intersection of New Orleans and West Africa
STYLISTIC EVOLUTION OF JAZZ DRUMMER ED BLACKWELL: THE CULTURAL INTERSECTION OF NEW ORLEANS AND WEST AFRICA David J. Schmalenberger Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Percussion/World Music Philip Faini, Chair Russell Dean, Ph.D. David Taddie, Ph.D. Christopher Wilkinson, Ph.D. Paschal Younge, Ed.D. Division of Music Morgantown, West Virginia 2000 Keywords: Jazz, Drumset, Blackwell, New Orleans Copyright 2000 David J. Schmalenberger ABSTRACT Stylistic Evolution of Jazz Drummer Ed Blackwell: The Cultural Intersection of New Orleans and West Africa David J. Schmalenberger The two primary functions of a jazz drummer are to maintain a consistent pulse and to support the soloists within the musical group. Throughout the twentieth century, jazz drummers have found creative ways to fulfill or challenge these roles. In the case of Bebop, for example, pioneers Kenny Clarke and Max Roach forged a new drumming style in the 1940’s that was markedly more independent technically, as well as more lyrical in both time-keeping and soloing. The stylistic innovations of Clarke and Roach also helped foster a new attitude: the acceptance of drummers as thoughtful, sensitive musical artists. These developments paved the way for the next generation of jazz drummers, one that would further challenge conventional musical roles in the post-Hard Bop era. One of Max Roach’s most faithful disciples was the New Orleans-born drummer Edward Joseph “Boogie” Blackwell (1929-1992). Ed Blackwell’s playing style at the beginning of his career in the late 1940’s was predominantly influenced by Bebop and the drumming vocabulary of Max Roach. -
The Modality of Miles Davis and John Coltrane14
CURRENT A HEAD ■ 371 MILES DAVIS so what JOHN COLTRANE giant steps JOHN COLTRANE acknowledgement MILES DAVIS e.s.p. THE MODALITY OF MILES DAVIS AND JOHN COLTRANE14 ■ THE SORCERER: MILES DAVIS (1926–1991) We have encountered Miles Davis in earlier chapters, and will again in later ones. No one looms larger in the postwar era, in part because no one had a greater capacity for change. Davis was no chameleon, adapting himself to the latest trends. His innovations, signaling what he called “new directions,” changed the ground rules of jazz at least fi ve times in the years of his greatest impact, 1949–69. ■ In 1949–50, Davis’s “birth of the cool” sessions (see Chapter 12) helped to focus the attentions of a young generation of musicians looking beyond bebop, and launched the cool jazz movement. ■ In 1954, his recording of “Walkin’” acted as an antidote to cool jazz’s increasing deli- cacy and reliance on classical music, and provided an impetus for the development of hard bop. ■ From 1957 to 1960, Davis’s three major collaborations with Gil Evans enlarged the scope of jazz composition, big-band music, and recording projects, projecting a deep, meditative mood that was new in jazz. At twenty-three, Miles Davis had served a rigorous apprenticeship with Charlie Parker and was now (1949) about to launch the cool jazz © HERMAN LEONARD PHOTOGRAPHY LLC/CTS IMAGES.COM movement with his nonet. wwnorton.com/studyspace 371 7455_e14_p370-401.indd 371 11/24/08 3:35:58 PM 372 ■ CHAPTER 14 THE MODALITY OF MILES DAVIS AND JOHN COLTRANE ■ In 1959, Kind of Blue, the culmination of Davis’s experiments with modal improvisation, transformed jazz performance, replacing bebop’s harmonic complexity with a style that favored melody and nuance. -
The African American Historic Designation Council (Aahdc)
A COMPILTION OF AFRICAN AMERICANS AND HISTORIC SITES IN THE TOWN OF HUNTINGTON Presented by THE AFRICAN AMERICAN HISTORIC DESIGNATION COUNCIL (AAHDC) John William Coltrane On Candlewood Path in Dix Hills, New York. obscured among overgrown trees, sits the home of jazz legend John Coltrane, a worldwide jazz icon. Born on September 23, 1920, in Hamlet, North Carolina, Coltrane followed in the foot steps of his father who played several instruments. He learned music at an early age, influenced by Lester Young and Johnny Hodges and others which led him to shi to the alto saxophone. He connued his musical training in Philadelphia and was called to military service during World War II, where he performed in the U.S. Navy Band. Aer the war, Coltrane connued his zest for music, playing the tenor saxophone with the Eddie Vinson Band, performing with Jimmy Heath. He later joined the Dizzy Gillespie Band. His passion for experimentaon was be- ginning to take shape; however, it was his work with the Miles Davis Quintet in 1958 that would lead to his own musical evoluon. He was impressed with the freedom given to him by Miles Davis' music and was quoted as say- ing "Miles' music gave me plenty of freedom." This freedom led him to form his own band. By 1960, Coltrane had formed his own quartet, which included pianist McCoy Tyner, drummer Elvin Jones, and bassist Jimmy Garrison. He eventually added other players including Eric Dolphy and Pharaoh Sanders. The John Coltrane Quartet, a novelty group, created some of the most innovave and expressive music in jazz histo- ry, including hit albums: "My Favorite Things," "Africa Brass," "Impressions," and his most famous piece, "A Love Supreme." "A Love Supreme," composed in his home on Candlewood Path, not only effected posive change in North America, but helped to change people's percepon of African Americans throughout the world. -
Vision Festival 18: Milford Graves
ACCOUNT Home > Reviews > Vision Festival > Vision Festival 18: Milford Graves Vision Festival 18: Milford Graves A Lifetime Achievement showcase for the drum legend in Brooklyn UPDATED APRIL 25, 2019 – DAVID R. ADLER Milford Graves' Transition TRIO at Vision Festival 18 (D.D. Jackson, Graves and Kidd Jordan, from left); Brooklyn's Roulette, June 2013 MilFord Graves (leFt) and David Virelles at Vision Festival 18; Roulette, Brooklyn, June 2013 • • • • • • • • • • • • y his own athletic standards, drummer Milford Graves’ kickoff performance at the 18th annual Vision Festival (June 12-16) was somewhat restrained. There were no somersaults, no piggyback B rides with unsuspecting listeners, no performance-art shenanigans in general. But the iconic 72- year-old played with great energy and depth oF Feeling, beginning the night alone on a talking drum toward the back of the stage. This was Vision’s second year at the Brooklyn avant-garde space Roulette, and attendance was heavy. It was Graves’ turn to receive the customary honor For LiFetime Achievement, so opening night Featured him with three ensembles, each representing a different facet of his career. The rst set highlighted Graves’ early immersion in Afro-Cuban music. It was a reenactment, to paraphrase emcee Ben Young oF WKCR-FM, oF what Graves was playing around 1962 with the MilFord Graves Latin Jazz Ensemble. The musicians didn’t appear all at once, however. Graves switched to an African slit drum as he brought out percussionist Román Díaz, who stole the show for a bit with his strutting demeanor and impassioned Yoruba vocals. AFter a time, Graves called upon pianist David Virelles, bassist John Benitez (standing in For Dezron Douglas) and alto saxophonist Román Filiu to complete the lineup. -
Andrew Cyrille Did It the Way He Did
so important to so many drummers? InterviewInterview AC: Joe was a very charismatic personality. He was somebody that was very beguiling. He was another showman, and he would do certain things, and you would try to figure out why he Andrew Cyrille did it the way he did. But the thing about Joe was that his musicianship was at such a high Interview & Photo by Ken Weiss caliber and he had such high intellect. He knew how to play certain things — we call them rudi- ments — in a particular way, so that they would schul are no slouches. It’s a great compliment come up representing the music he was playing Hear Andrew Cyrille with Andy Milne that he wrote that and I’ve been aware of it. I so exactly. He was a heavy point of light within Monday, August 26, 7:30pm & 9:30pm accept the praise but I don’t necessarily agree. a certain period of this music. He used to take Dizzy’s Club Coca Cola All music is based on mathematics and I don’t me to sessions with Stan Getz, Bud Powell and Jazz At Lincoln Center, 60th & Broadway, NYC know that my mathematics is better than anyone Miles Davis and my tongue would be hanging www.jalc.org/dizzys else’s. A lot of times I hear drummers play and I out just checking them out. I remember one time, say, ‘How come I couldn’t think of that?’ and Gary Bartz always teases me about this, he and I were at Julliard and we’d go down and Andrew Cyrille (November 10, 1939) grew up in JI: The critics have been impressed that you’ve listen at the old clubs — like the original Bird- Brooklyn to become one of the preeminent free studied the great past drum masters such as Baby land. -
“A Love Supreme”—John Coltrane (1964) Added to the National Registry: 2015 Essay by Lewis Porter (Guest Post)*
“A Love Supreme”—John Coltrane (1964) Added to the National Registry: 2015 Essay by Lewis Porter (guest post)* Joh Original album cover Original label As John Coltrane’s approach to improvisation changed and as his quartet evolved during the 1960s, he relied less and less on planned musical routines. In a 1961 interview with Kitty Grime, Coltrane said, “I don’t have to plan so much as I learn and get freer. Sometimes we start from nothing. I know how it’s going to end—but sometimes not what might happen in between. I’m studying and learning about longer constructions. If I become strong enough, I might try something on those lines.” “A Love Supreme” is his best known effort along those lines. Recorded December 9, 1964, the album clearly was important to Coltrane. It’s the only one for which he wrote the liner notes and a poem. Coltrane had come to see his music as an extension of his religious beliefs. But one doesn’t have to be religious to find Coltrane’s expression profoundly moving and important. His ‘60s music, though mostly improvised, is tightly structured despite those who consider it an undisciplined, formless expression of emotion. The structure of “A Love Supreme” suite, for example, is not simply abstract but is partly determined by his religious message. The four sections—“Acknowledgement,” “Resolution,” “Pursuance,” and “Psalms”—recreate Coltrane’s own progress as he first learned to acknowledge the divine, resolved to pursue it, searched and eventually celebrated in song what he attained. The first part is improvised over the repeated bass motif with no set chorus length. -
A Love Supreme: God’S Desire for Healing, Wholeness, and Wellbeing Sermon for St
A Love Supreme: God’s Desire for Healing, Wholeness, and Wellbeing Sermon for St. John the Evangelist Episcopal Church, St. Paul, MN by The Rev. Craig Lemming, Associate Rector Sunday, May 26, 2019 – The Sixth Sunday of Easter In the Name of God: A Love Supreme. Amen. Today’s Gospel Lesson prompted me to consider these three questions: - What prevents us from the healing, wholeness, and well-being we desire? - How are we actively participating in our own woundedness; and how are we actively participating in our own healing process? - Why is the difficult practice of being well essential to following Jesus? We will explore these questions together this morning and continue discussing them this Wednesday evening at our final “Unpack the Sermon” Supper. We will also engage today’s Gospel by exploring the story behind one of the greatest jazz albums of all time – John Coltrane’s ‘A Love Supreme’ – trusting that we too might hear the healing music of God’s call deep within us; stand up, take our mats, and walk into the abundant life that God desires for all people and all Creation. But first, a personal account of the horrors, struggles, and unholy mysteries of Dating Apps. As many of you know, your 37-year-old Associate Rector is very single. I’m bald, bespectacled, brown, foreign, a priest, old-souled (I’m 193 in soul years), and as I approach 40, the buttons on my cassock can attest that my body is 1 becoming rather chunky. I’m attaining what is called “Dad Bod.” So the struggle of finding a significant other is real. -
Downbeat.Com April 2021 U.K. £6.99
APRIL 2021 U.K. £6.99 DOWNBEAT.COM April 2021 VOLUME 88 / NUMBER 4 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, 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. -
Solos & Duos Series Announces Its 2Nd Season
www.resarts.com/solosandduos Contact: Glenn Siegel, 413-545-2876 Solos & Duos Series announces its 2nd season: Milford Graves, Sunny Murray Duo w/Sabir Mateen and Sonny Fortune/Rashied Ali Duo The UMass Fine Arts Center’s Solos & Duos Series will bring together three giants of the percussive arts for its 2nd season, with concerts by Milford Graves (September 25) the Sunny Murray Duo featuring Sabir Mateen (October 9) and the Sonny Fortune/Rashied Ali Duo (November 20). All concerts begin at 8:00 pm., in Bezanson Recital Hall, University of Massachusetts, Amherst. Tickets are $10 and $5 (students), and are available through the Fine Arts Center box office, 545-2511 or 1-800- 999-UMAS. Three men expanded the jazz drum vocabulary during the 1960s: Milford Graves, Sunny Murray and Rashied Ali. It is an honor and privilege to be able to present these three masters in one season. A drummer of unparalleled power and creativity, Milford Graves is a living legend. Professor, herbalist, healer, Milford Graves is first and foremost one of the world's great geniuses of the drum. Rarely heard live, a concert by Milford Graves is a special event. Born in 1941, in Jamaica, New York, Milford Graves made his first recordings on the ESP label with the New York Art Quartet (with John Tchicai, Archie Shepp and Lewis Worrell), pianists Lowell Davidson and Paul Bley. Graves was a founding member of the Jazz Composer's Orchestra and has subsequently worked and recorded with a wide variety of creative musicians including Albert Ayler, Sonny Sharrock, Miriam Makeba, Hugh Masekela, Don Pullen and Andrew Cyrille.