DOCSLIB.ORG

By Anders Griffen LABEL by IG HENNEMAN & AB BAARS AMSTERDAM Raham Haynes Is a Cornet Player and Composer Who, for GH: Yeah, I Started with Trumpet When I Was About 13

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
By Anders Griffen LABEL by IG HENNEMAN & AB BAARS AMSTERDAM Raham Haynes Is a Cornet Player and Composer Who, for GH: Yeah, I Started with Trumpet When I Was About 13 INTERVIEW learning about nature and about the world, about science and mysticism. All of that, whether it’s deliberate or not, goes into the music. T S I T R TNYCJR: Why did you move to Paris? A E H T GH: There was a point in the late ‘80s when I was an F GRAHAM O usher at Symphony Space Theater in New York and Y S E they had something called the World Music Institute T R [WMI] that did a series there. I met Adam Rudolph; he U O C was working with Yusef Lateef doing a show for / I children, if you can imagine that! [laughs] Then I met C C Don Cherry, Hassan Hakmoun, Hamza El Din and U L L (CONTINUED ON PAGE 12) E B HAYNES O N WWW.STICHTINGWIG.COM A I DISTRIBUTION: WWW.SUBDIST.COM (AMSTERDAM, REAL COPY) R WWW.CATALYTICSOUND.COM (CHICAGO, REAL COPY & DIGITAL) D A by anders griffen LABEL BY IG HENNEMAN & AB BAARS AMSTERDAM raham Haynes is a cornet player and composer who, for GH: Yeah, I started with trumpet when I was about 13. G NEW RELEASE: WIG 31 WIG 27 over 40 years, has been exploring and fusing together In junior high school they had an orchestra, they had disparate musical influences including classical and a band, so, that’s where I started playing. electronic music, African, Arabian and South Asian music, drum ‘n’ bass, hip-hop and jazz. His father, Roy Haynes, is TNYCJR: How did you switch to cornet? one of the greatest jazz drummers of all time. As a performer Haynes has worked with Jaki Byard, Ed Blackwell, Butch GH: Everybody told me, “you gotta play trumpet.” Morris, David Murray, Vernon Reid, Bill Laswell, Steve It was actually Olu Dara who said, “fuck that, if you Coleman, Cassandra Wilson, Meshell Ndegeocello and The wanna play cornet, play cornet.” Then I got a cornet WIG 30 RPR 1094 / WIG 29 Roots, among many others. He has nearly 200 album credits that was the same make that his was. He told me which as a leader and sideman. While also working as an educator one to buy. And I bought that model. and lecturer, since 2000 his work has focused on chamber group composition and multimedia projects. He left his TNYCJR: What is that? study of classical composition at Queens College in the late ‘70s to become a player and now he has come full circle as GH: It’s an Olds Ambassador. It’s an Olds A3. I still his lifelong study has led him to compose for the orchestra. play it. I switched to cornet because I got tired of playing in sections and in big bands. In those days The New York City Jazz Record: I read that you are from there were a lot of bands. There were a lot of large Brooklyn, but when did you move to Hollis, Queens? groups, there were a lot of dance bands. I was playing in calypso bands and salsa bands and doing all that Graham Haynes: My parents were living in Queens. It stuff. I did a tour with Toots & the Maytals—you know just so happened that my mother, who was from Toots just died a month ago—I was on the road with Brooklyn, had to go there to deliver. I was born, him for three months. I loved playing with him, it was technically, in Brooklyn, but I’m from Hollis. You great playing with him, but I just got tired of playing know, if I say I’m from Hollis, Queens, most people the same thing night after night, you know? After that don’t know where that is. is when I switched to cornet. I wanted to be a soloist. TNYCJR: I understand that among your neighbors TNYCJR: So, on those Steve Coleman records were were Roy Eldridge, Jaki Byard and Milt Jackson, but you playing the trumpet? my first association with Hollis, Queens is Run-DMC. GH: I was playing trumpet. I switched to cornet shortly GH: Right, all the hip-hop people know, but what after. people don’t know is that between Hollis and other surrounding neighborhoods—Hollis, St. Albans, TNYCJR: When I first heard those records, I was Jamaica, South Jamaica—I think probably 90% of the listening with some friends and we were just grooving jazz musicians, particularly the Black jazz musicians until somebody said, “what meter is this in?” It really lived there. At one point we had Roy Eldridge, like blew my mind because you don’t think about meter I said, my house was right in back of Roy Eldridge’s when you’re grooving like that. house. If I went into my yard and Roy came into his yard, then I’d see him and we’d talk, you know. Jaki GH: Right, you don’t notice. That’s the space we want Byard lived up the street. Coltrane lived [in St. Albans] the listener to be in. It’s not until you start analyzing for a minute in the ‘60s. That area also had Ella that you notice the time signature. That’s one of the Fitzgerald, Count Basie and guys from Duke Ellington’s differences between Steve and [folks] now who are band. Fats Waller had lived there in the ‘40s. He went doing a lot of time signature stuff. They make it out there because James P. Johnson went out there. All obvious [laughs]. The feel is more important than the these jazz musicians started coming out there because time signature. At the same time, for folks who want to there were not that many places that would sell analyze it, there’s enough meat in there. property to Black people. They sold James P. Johnson a house and then they sold Fats Waller a house and TNYCJR: Is Coleman’s M-Base concept an ongoing then Count Basie. James Brown lived around the corner aspect of your approach? from Count Basie [nods and smiles]. Back in those days there were a lot of clubs. The reason that the hip-hop GH: Since the time it was conceived up until now, and the bands were there—they had dance bands, funk people have always asked, “What is M-Base? What bands—was because people had houses and you could does it mean?” and I always say, “ask Steve, he came rehearse your band in the basement or in the garage up with the name.” [laughs] But, for me, it’s a means of and people wouldn’t really mess with you. learning and gathering all the elements of, not only music, but also science, physics and nature, to make TNYCJR: So, when did you start, when did you pick up music. That’s pretty much what Steve has always done a horn, when did you start playing…trumpet, I guess? and I’m always interested in new experiences and 6 DECEMBER 2020 | THE NEW YORK CITY JAZZ RECORD IN MEMORIAM OVERTON BERRY (Apr. 13th, 1936 – (INTERVIEW CONTINUED FROM PAGE 6) Oct. 19th, 2020) The longtime Seattle- TOSHINORI KONDO based pianist was Music Director for musicians that came from all over that would play Peggy Lee and other performers for the these WMI concerts. A lot of these people had lived in by andrey henkin 1962 World’s Fair and had albums for Paris, which was kind of like a hub for world music in Jaro and C E, featuring such sidemen as the ‘80s, particularly for West African music too, which Chuck Metcalf and Bill Kotick, as well was a direct link to what we were trying to do with as several self-released CDs in the new millennium. M-Base with all these polyrhythms and layering. I had Berry died Oct. 19th at 84. to look towards Africa, and I had to look towards the T E East and Arabia too, to find another perspective on how N . C I HAROLD BETTERS (Mar. 21st, 1928 – to deal with what I wanted to deal with. So, in 1990 I S U Oct. 11th, 2020) The trombonist wrote moved and I stayed for three years. I did move around M N tunes recorded by Woody Herman, quite a bit in Europe and I went to Africa and came W O T Gerald Wilson and Ambros Seelos and back to New York several times in that three-year N W had leader dates in the ‘60s for Gateway period. I was working with Ralph Peterson, Geri Allen O D (including one co-led with fellow and Ed Blackwell. So, I was coming to New York, but I / N I trombonist Slide Hampton), Reprise was based in Paris because [of the influence of] the K H and his own Bettersound and H.B. Better died Oct. World Music Institute… One day they would have S U N 11th at 92. music from Rajasthan and the next day there’d be music N A from Morocco with Don Cherry and then there’d be G R MARC FOSSET (May 17th, 1949 – Oct. Master musicians of South Asian music. I saw Zakir E T E 31st, 2020) The French guitarist was Hussain play with his father Ustad Allarakha Qureshi P active since the late ‘70s, working with several times. It just opened my ears up. Japanese trumpeter Toshinori Kondo, active in his countrymen René Urtreger, Patrice country’s and the international avant garde jazz scenes Caratini, Michel de Villers, Stéphane TNYCJR: And drove you right out of the country. with numerous collaborators and dozens of his own Grappelli and others as well as expatriate records since the ‘70s, died suddenly on Oct.
Load more

Recommended publications
  • 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.
    [Show full text]
  • Victory and Sorrow: the Music & Life of Booker Little
    ii VICTORY AND SORROW: THE MUSIC & LIFE OF BOOKER LITTLE by DYLAN LAGAMMA A Dissertation submitted to the Graduate School-Newark Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History & Research written under the direction of Henry Martin and approved by _________________________ _________________________ Newark, New Jersey October 2017 i ©2017 Dylan LaGamma ALL RIGHTS RESERVED ABSTRACT OF THE DISSERTATION VICTORY AND SORROW: THE MUSICAL LIFE OF BOOKER LITTLE BY DYLAN LAGAMMA Dissertation Director: Henry Martin Booker Little, a masterful trumpeter and composer, passed away in 1961 at the age of twenty-three. Little's untimely death, and still yet extensive recording career,1 presents yet another example of early passing among innovative and influential trumpeters. Like Clifford Brown before him, Theodore “Fats” Navarro before him, Little's death left a gap the in jazz world as both a sophisticated technician and an inspiring composer. However, unlike his predecessors Little is hardly – if ever – mentioned in jazz texts and classrooms. His influence is all but non-existent except to those who have researched his work. More than likely he is the victim of too early a death: Brown passed away at twenty-five and Navarro, twenty-six. Bob Cranshaw, who is present on Little's first recording,2 remarks, “Nobody got a chance to really experience [him]...very few remember him because nobody got a chance to really hear him or see him.”3 Given this, and his later work with more avant-garde and dissonant harmonic/melodic structure as a writing partner with Eric Dolphy, it is no wonder that his remembered career has followed more the path of James P.
    [Show full text]
  • Neglected Jazz Figures of the 1950S and Early 1960S New World NW 275
    Introspection: Neglected Jazz Figures of the 1950s and early 1960s New World NW 275 In the contemporary world of platinum albums and music stations that have adopted limited programming (such as choosing from the Top Forty), even the most acclaimed jazz geniuses—the Armstrongs, Ellingtons, and Parkers—are neglected in terms of the amount of their music that gets heard. Acknowledgment by critics and historians works against neglect, of course, but is no guarantee that a musician will be heard either, just as a few records issued under someone’s name are not truly synonymous with attention. In this album we are concerned with musicians who have found it difficult—occasionally impossible—to record and publicly perform their own music. These six men, who by no means exhaust the legion of the neglected, are linked by the individuality and high quality of their conceptions, as well as by the tenaciousness of their struggle to maintain those conceptions in a world that at best has remained indifferent. Such perseverance in a hostile environment suggests the familiar melodramatic narrative of the suffering artist, and indeed these men have endured a disproportionate share of misfortunes and horrors. That four of the six are now dead indicates the severity of the struggle; the enduring strength of their music, however, is proof that none of these artists was ultimately defeated. Selecting the fifties and sixties as the focus for our investigation is hardly mandatory, for we might look back to earlier years and consider such players as Joe Smith (1902-1937), the supremely lyrical trumpeter who contributed so much to the music of Bessie Smith and Fletcher Henderson; or Dick Wilson (1911-1941), the promising tenor saxophonist featured with Andy Kirk’s Clouds of Joy; or Frankie Newton (1906-1954), whose unique muted-trumpet sound was overlooked during the swing era and whose leftist politics contributed to further neglect.
    [Show full text]
  • Sonic Necessity-Exarchos
    Sonic Necessity and Compositional Invention in #BluesHop: Composing the Blues for Sample-Based Hip Hop Abstract Rap, the musical element of Hip-Hop culture, has depended upon the recorded past to shape its birth, present and, potentially, its future. Founded upon a sample-based methodology, the style’s perceived authenticity and sonic impact are largely attributed to the use of phonographic records, and the unique conditions offered by composition within a sampling context. Yet, while the dependence on pre-existing recordings challenges traditional notions of authorship, it also results in unavoidable legal and financial implications for sampling composers who, increasingly, seek alternative ways to infuse the sample-based method with authentic content. But what are the challenges inherent in attempting to compose new material—inspired by traditional forms—while adhering to Rap’s unique sonic rationale, aesthetics and methodology? How does composing within a stylistic frame rooted in the past (i.e. the Blues) differ under the pursuit of contemporary sonics and methodological preferences (i.e. Hip-Hop’s sample-based process)? And what are the dynamics of this inter-stylistic synthesis? The article argues that in pursuing specific, stylistically determined sonic objectives, sample-based production facilitates an interactive typology of unique conditions for the composition, appropriation, and divergence of traditional musical forms, incubating era-defying genres that leverage the dynamics of this interaction. The musicological inquiry utilizes (auto)ethnography reflecting on professional creative practice, in order to investigate compositional problematics specific to the applied Blues-Hop context, theorize on the nature of inter- stylistic composition, and consider the effects of electronic mediation on genre transformation and stylistic morphing.
    [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]
  • Peter Johnston 2011
    The London School Of Improvised Economics - Peter Johnston 2011 This excerpt from my dissertation was included in the reader for the course MUS 211: Music Cultures of the City at Ryerson University. Introduction The following reading is a reduction of a chapter from my dissertation, which is titled Fields of Production and Streams of Conscious: Negotiating the Musical and Social Practices of Improvised Music in London, England. The object of my research for this work was a group of musicians living in London who self-identified as improvisers, and who are part of a distinct music scene that emerged in the mid-1960s based on the idea of free improvisation. Most of this research was conducted between Sept 2006 and June 2007, during which time I lived in London and conducted interviews with both older individuals who were involved in the creation of this scene, and with younger improvisers who are building on the formative work of the previous generation. This chapter addresses the practical aspects of how improvised music is produced in London, and follows a more theoretical analysis in the previous chapters of why the music sounds like it does. Before moving on to the main content, it will be helpful to give a brief explanation of two of the key terms that occur throughout this chapter: “free improvisation” and the “improvised music field.” “Free improvisation” refers to the creation of musical performances without any pre- determined materials, such as form, tonality, melody, or rhythmic feel. This practice emerged out of developments in jazz in the late 1950s and early 1960s, particularly in the work of Ornette Coleman and Cecil Taylor, who began performing music without using the song-forms, harmonic progressions, and steady rhythms that characterized jazz until that time.
    [Show full text]
  • Lawrence D. “Butch” Morris
    Lawrence D. “Butch” Morris American Cornetist, Composer & Conductor (February 10, 1947 – January 22, 2013) 1 Track listing 1. title: Conduction #1: Current Trends in Racism in Modern America (Part 1 (cont.)) personnel: Butch Morris (conductor), Frank Lowe (saxophone), John Zorn (saxophone, game calls), Christian Marclay (turntables), Thurman Barker (marimba), Curtis Clark (piano), Brandon Ross (guitar), Zeena Parkins (harp), Eli Fountain (vibraphone), Tom Cora (cello), Yasunao Tone (vocal) album title (format): Current Trends in Racism in Modern America (lp) label (country) (catalog number): Sound Aspects Records (Germany) (SAS 4010) recording location and date: New York, USA, February 1st, 1985 release date: 1986 duration: 12:12 2. title: Ozone – Burning Blue personnel: Butch Morris (cornet), Lê Quan Ninh (percussion), J.A. Deane (trombone, flute, electronics) album title (format): Burning Cloud label (country) (catalog number): Free Music Productions (Germany) (FMP CD 77 ) recording location and date: Berlin, Germany, October 29, 1993 release date: 1996 duration: 18:27 3. title: Conduction #26, E personnel: Butch Morris (conductor), Hasan Esen (kemence), Mehmet Emin Bitmez (ud), Göskel Baktagir (kanun), Süleyman Erguner (ney), Lê Quan Ninh (percussion), Bryan Carrott (vibraphone), J.A. Deane (trombone, electronics, drum machine), Elizabeth Panzer (harp), Brandon Ross (acoustic guitar), Steve Colson (piano), Hugh Ragin (pocket trumpet) album title (format): Testament: A Conduction Collection Disc 5 (cdx10+book+box) label (country) (catalog
    [Show full text]
  • ACTIVE SINCE 1994, the KEUNE/RUSSELL DUO HAS BEEN EXPLORING Quartet for a Tour in 1993.To Join His New Ways of COMMUNICATION for ALMOST a DECADE
    GUITARIST JOHN RUSSELL ACTIVE SINCE 1994, THE KEUNE/RUSSELL DUO HAS BEEN EXPLORING quartet for a tour in 1993.to join his new ways OF COMMUNICATION FOR ALMOST A DECADE. A year later they were playing their first SOPRANINO SAXOPHONE AND UNAMPLIFIED ACOUSTIC GUITAR concert as a duo. Their combination of strikes CONTACT [email protected] the ear has having a highly distinctive sound. Their approach to FREE IMPROVISATION stems from the legacy PHONE/FAX of the British scene with a special nod to John Stevens´ Spontaneous Music Ensemble. ++49/208/66 88 75 The duo explores subtle relations between sounds, touching on both the quiet and loud to evoke a WIDE SPECTRUM OF COLOURS AND EMOTIONS. Their music evokes Derek Bailey, Roger Smith or Evan Parker, but it remains their own. Their commitment to freely improvised music stems from a shared belief that this is the best way for them to make and develop their music. The unit performs regularly since 1997 and has toured in Europe (England, Germany) and Japan. It has performed at the Freedom of the City Festival 2003. The duo took form after the German SAXOPHONIST (sopranino and alto) 2 CDs chronicle their association: Excerpts and Offerings on Acta (2001) and Frequency of Use on STEFAN KEUNE asked the English NURNICHTNUR (2003). Both have met with critical acclaim. Text: François Couture Fotos: Jean-Michel van Schouwburg GUITARIST JOHN RUSSELL ACTIVE SINCE 1994, THE KEUNE/RUSSELL DUO HAS BEEN EXPLORING quartet for a tour in 1993.to join his new ways OF COMMUNICATION FOR ALMOST A DECADE.
    [Show full text]
  • Drums • Bobby Bradford - Trumpet • James Newton - Flute • David Murray - Tenor Sax • Roberto Miranda - Bass
    1975 May 17 - Stanley Crouch Black Music Infinity Outdoors, afternoon, color snapshots. • Stanley Crouch - drums • Bobby Bradford - trumpet • James Newton - flute • David Murray - tenor sax • Roberto Miranda - bass June or July - John Carter Ensemble at Rudolph's Fine Arts Center (owner Rudolph Porter)Rudolph's Fine Art Center, 3320 West 50th Street (50th at Crenshaw) • John Carter — soprano sax & clarinet • Stanley Carter — bass • William Jeffrey — drums 1976 June 1 - John Fahey at The Lighthouse December 15 - WARNE MARSH PHOTO Shoot in his studio (a detached garage converted to a music studio) 1490 N. Mar Vista, Pasadena CA afternoon December 23 - Dexter Gordon at The Lighthouse 1976 June 21 – John Carter Ensemble at the Speakeasy, Santa Monica Blvd (just west of LaCienega) (first jazz photos with my new Fujica ST701 SLR camera) • John Carter — clarinet & soprano sax • Roberto Miranda — bass • Stanley Carter — bass • William Jeffrey — drums • Melba Joyce — vocals (Bobby Bradford's first wife) June 26 - Art Ensemble of Chicago Studio Z, on Slauson in South Central L.A. (in those days we called the area Watts) 2nd-floor artists studio. AEC + John Carter, clarinet sat in (I recorded this on cassette) Rassul Siddik, trumpet June 24 - AEC played 3 nights June 24-26 artist David Hammond's Studio Z shots of visitors (didn't play) Bobby Bradford, Tylon Barea (drummer, graphic artist), Rudolph Porter July 2 - Frank Lowe Quartet Century City Playhouse. • Frank Lowe — tenor sax • Butch Morris - drums; bass? • James Newton — cornet, violin; • Tylon Barea -- flute, sitting in (guest) July 7 - John Lee Hooker Calif State University Fullerton • w/Ron Thompson, guitar August 7 - James Newton Quartet w/guest John Carter Century City Playhouse September 5 - opening show at The Little Big Horn, 34 N.
    [Show full text]
  • The Jazz Record
    oCtober 2019—ISSUe 210 YO Ur Free GUide TO tHe NYC JaZZ sCene nyCJaZZreCord.Com BLAKEYART INDESTRUCTIBLE LEGACY david andrew akira DR. billy torn lamb sakata taylor on tHe Cover ART BLAKEY A INDESTRUCTIBLE LEGACY L A N N by russ musto A H I G I A N The final set of this year’s Charlie Parker Jazz Festival and rhythmic vitality of bebop, took on a gospel-tinged and former band pianist Walter Davis, Jr. With the was by Carl Allen’s Art Blakey Centennial Project, playing melodicism buoyed by polyrhythmic drumming, giving replacement of Hardman by Russian trumpeter Valery songs from the Jazz Messengers songbook. Allen recalls, the music a more accessible sound that was dubbed Ponomarev and the addition of alto saxophonist Bobby “It was an honor to present the project at the festival. For hardbop, a name that would be used to describe the Watson to the band, Blakey once again had a stable me it was very fitting because Charlie Parker changed the Jazz Messengers style throughout its long existence. unit, replenishing his spirit, as can be heard on the direction of jazz as we know it and Art Blakey changed By 1955, following a slew of trio recordings as a album Gypsy Folk Tales. The drummer was soon touring my conceptual approach to playing music and leading a sideman with the day’s most inventive players, Blakey regularly again, feeling his oats, as reflected in the titles band. They were both trailblazers…Art represented in had taken over leadership of the band with Dorham, of his next records, In My Prime and Album of the Year.
    [Show full text]
  • 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.
    [Show full text]
  • Fresh Dressed
    PRESENTS FRESH DRESSED A CNN FILMS PRODUCTION WORLD PREMIERE – DOCUMENTARY PREMIERE Running Time: 82 Minutes Sales Contact: Dogwoof Ana Vicente – Head of Theatrical Sales Tel: 02072536244 [email protected] 1 SYNOPSIS With funky, fat-laced Adidas, Kangol hats, and Cazal shades, a totally original look was born— Fresh—and it came from the black and brown side of town where another cultural force was revving up in the streets to take the world by storm. Hip-hop, and its aspirational relationship to fashion, would become such a force on the market that Tommy Hilfiger, in an effort to associate their brand with the cultural swell, would drive through the streets and hand out free clothing to kids on the corner. Fresh Dressed is a fascinating, fun-to-watch chronicle of hip-hop, urban fashion, and the hustle that brought oversized pants and graffiti-drenched jackets from Orchard Street to high fashion's catwalks and Middle America shopping malls. Reaching deep to Southern plantation culture, the Black church, and Little Richard, director Sacha Jenkins' music-drenched history draws from a rich mix of archival materials and in-depth interviews with rappers, designers, and other industry insiders, such as Pharrell Williams, Damon Dash, Karl Kani, Kanye West, Nasir Jones, and André Leon Talley. The result is a passionate telling of how the reach for freedom of expression and a better life by a culture that refused to be squashed, would, through sheer originality and swagger, take over the mainstream. 2 ABOUT THE FILMMAKERS SACHA JENKINS – Director Sacha Jenkins, a native New Yorker, published his first magazine—Graphic Scenes & X-Plicit Language (a ‘zine about the graffiti subculture)—at age 17.
    [Show full text]