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Subjective (Re)Positioning in Musical Improvisation: Analyzing the Work of Five Female Improvisers *
Subjective (Re)positioning in Musical Improvisation: Analyzing the Work of Five Female Improvisers * Marc Hannaford NOTE: The examples for the (text-only) PDF version of this item are available online at: h+p:,,www.mtosmt.org,issues,mto.10.12.1,mto.17.12.1.hanna ord.php 4E5WORDS: Feminist music theory, gender, improvisation, jazz, Shannon 7arne+, Caroline Davis, Ingrid 9aubrock, 9inda Oh, Anna Webber A7STRACT: This article analyzes the music o :ve emale improvisers. I employ these women’s lived experiences o discrimination as a basis or my analysis o improvisation in terms o what I call subjective (re)positioning. Given these women’s experiences o discrimination, trust means something ar richer than musically working together during per ormance. Trusting improvising partners create a conceptual space in which musicians are able to position and reposition themselves, thus expressing agency. Received March 2016 Volume 23, Number 2, June 2010 Copyright © 2017 Society for Music Theory A/B At a recent per ormance o improvised music at a venue in New 5ork, some musicians and I noticed that the cover o the March 2015 DWomen’s Eistory Month” issue o The New York Jazz Record eatured male pianist Vijay Iyer on the cover. Our jokes about dishpan hands soon gave way to melancholy: it seems that, despite some jazz progressivists, neo-classicists, and academics arguing that jazz is a site or the realization o egalitarian or democratic ideals ( 7urns 2004 , Fischlin 2012 , Nicholls 1012 ), there is still work to be done. (1) A1B This article analyzes music by composer,improvisers Shannon 7arne+, Caroline Davis, Ingrid 9aubrock, 9inda Oh, and Anna Webber in conjunction with interviews I conducted with each o them ( 7arne+ 1015 , Davis 2015 , 9aubrock 2015 , Oh 2015 , Webber 2015 ). -
EMAIL INTERVIEW with Pachi Tapiz, Spanish Music Critic December 2009 to February 2010. Published in Spanish by Tomajazz in June
EMAIL INTERVIEW with Pachi Tapiz, Spanish Music Critic December 2009 to February 2010. Published in Spanish by Tomajazz in June 2010 http://www.tomajazz.com/perfiles/ochs_larry_2010.html Q1: Why did Rova decide to join its creative forces with Nels Cline Singers? Ochs: Rova has employed all these guys over the past 12 years or so in different bands. Scott Amendola and I work together in Larry Ochs Sax & Drumming Core as well as in a new band called Kihnoua featuring the great vocals of Korean‐born Dohee Lee. (That band plays in Europe very soon, but unfortunately nothing in Spain. I thought “maybe” some place there would hire this band after all the news / nonsense in December, but no one called me except journalists. No, I was not surprised that no one called. But I do feel strongly that Kihnoua is a great band, but I would agree with those on the other side; it is not a jazz band. Jazz influenced? Definitely; jazz band? No. I will send you the just released CD in early May when I return from the tour.) Sorry for the digression: So Scott performed first with Rova in a big piece of mine in 1998 called “Pleistocene: The Ice Age.” (as well as Adams’ and Raskin pieces that same evening.) And he worked in Vancouver with us on Electric Ascension in 2005 along with Devin Hoff and Nels, of course. Nels recorded Electric Ascension with us live in 2003, played on every performance of that “event” until 2009, and he is “the man” in free jazz when it comes to playing updated versions of late‐period Coltrane on guitar. -
Johnny O'neal
OCTOBER 2017—ISSUE 186 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM BOBDOROUGH from bebop to schoolhouse VOCALS ISSUE JOHNNY JEN RUTH BETTY O’NEAL SHYU PRICE ROCHÉ Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East OCTOBER 2017—ISSUE 186 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 NEw York@Night 4 Laurence Donohue-Greene: Interview : JOHNNY O’NEAL 6 by alex henderson [email protected] Andrey Henkin: [email protected] Artist Feature : JEN SHYU 7 by suzanne lorge General Inquiries: [email protected] ON The Cover : BOB DOROUGH 8 by marilyn lester Advertising: [email protected] Encore : ruth price by andy vélez Calendar: 10 [email protected] VOXNews: Lest We Forget : betty rochÉ 10 by ori dagan [email protected] LAbel Spotlight : southport by alex henderson US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or VOXNEwS 11 by suzanne lorge money order to the address above or email [email protected] obituaries Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Fred Bouchard, Festival Report Stuart Broomer, Robert Bush, 13 Thomas Conrad, Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, special feature 14 by andrey henkin Anders Griffen, Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, CD ReviewS 16 Suzanne Lorge, Mark Keresman, Marc Medwin, Russ Musto, John Pietaro, Joel Roberts, Miscellany 41 John Sharpe, Elliott Simon, Andrew Vélez, Scott Yanow Event Calendar Contributing Writers 42 Brian Charette, Ori Dagan, George Kanzler, Jim Motavalli “Think before you speak.” It’s something we teach to our children early on, a most basic lesson for living in a society. -
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 -
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. -
View 2012 Program
INTERNATIONAL SOCIETY FOR IMPROVISED MUSIC SIXTH FESTIVAL/CONFERENCE Improvisation · Self · Community·World February 16-19, 2012 William Paterson University Wayne, New Jersey, USA Keynote artists and performers: Pyeng Threadgill & trio Ikue Mori, Sylvie Courvoisier & Jim Black Mulgrew Miller WyldLyfe Robert Dick & Tom Buckner Karl Berger with the University of Michigan Creative Arts Orchestra And over 50 other artists presenting concerts, panels, talks and workshops! ISIM President’s Welcome ISIM President’s Welcome On behalf of the Board of Directors of the International Society for Improvised Music, I extend to all of you a hearty welcome to the sixth ISIM Festival/Conference. Nothing is more gratifying than gatherings of improvising musicians as our common process, regardless of surface differences in our creative expressions, unites us in ways that are truly unique. As the conference theme suggests, by going deep within our reservoir of creativity, we access subtle dimensions of self—or consciousness—that are the source of connections with not only our immediate communities but the world at large. It is dificult to imagine a moment in history when the need for this improvisation-driven, creativity revolution is greater on individual and collective scales than the present. Please join me in thanking the many individuals, far too many to list, who have been instrumental in making this event happen. Headliners Ikue Mori, Pyeng Threadgill, Wyldlife, Karl Berger, the University of Michigan Creative Arts Orchestra, the William Paterson University jazz group, Mulgrew Miller, Robert Dick, and Thomas Buckner—we could not have asked for a more varied and exciting line-up. ISIM Board members Stephen Nachmanovitch and Bill Johnson have provided invaluable assistance, with Steve working his usual heroics with the ISIM website in between, and sometimes during, his performing and speaking tours. -
Talking Heads Musician Biographies: Pauline Oliveros
PERFORMANCE: (Not Just) Talking Heads Musician Biographies: Pauline Oliveros (1932) is an internationally acclaimed composer, performer, humanitarian, and pioneer in American music. For five decades she has explored sound and forged new ground for herself and others. Through improvisation, electronic music, teaching, ritual, and meditation she has created a body of work with such breadth of vision that it profoundly affects those who experience it. Oliveros was born and raised in Houston, Texas to a musical family. In 1985 she started the Pauline Oliveros Foundation, a non- profit organization in New York, to “support all aspects of the creative process for a worldwide community of artists." Currently she serves as Distinguished Research Professor of Music at Rensselaer Polytechnic Institute in Troy, N.Y., and as Darius Milhaud Composer-in-residence at Mills College in Oakland, Calif. More information is available atwww.deeplistening.org/pauline. Roger Dean is an Australian sound and multimedia artist, and researcher in music computation and cognition. He is a participant in the Canadian SSHRC MCRI project on Improvisation, Community and Social Practice. He has performed in more than 30 countries, and his compositions include computer and chamber music, and commissions for many ensembles. His music is available on more than 30 commercial recordings originating in Australia, UK, US, and in several publications. He is particularly involved in computerinteractive sound and intermedia work. He has published five research books and many articles on improvisation, particularly in music. He is the founder and director of austraLYSIS, the international creative ensemble making sound and intermedia, and also formed the Sonic Communications Research Group at the University of Canberra. -
The Singing Guitar
August 2011 | No. 112 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Mike Stern The Singing Guitar Billy Martin • JD Allen • SoLyd Records • Event Calendar Part of what has kept jazz vital over the past several decades despite its commercial decline is the constant influx of new talent and ideas. Jazz is one of the last renewable resources the country and the world has left. Each graduating class of New York@Night musicians, each child who attends an outdoor festival (what’s cuter than a toddler 4 gyrating to “Giant Steps”?), each parent who plays an album for their progeny is Interview: Billy Martin another bulwark against the prematurely-declared demise of jazz. And each generation molds the music to their own image, making it far more than just a 6 by Anders Griffen dusty museum piece. Artist Feature: JD Allen Our features this month are just three examples of dozens, if not hundreds, of individuals who have contributed a swatch to the ever-expanding quilt of jazz. by Martin Longley 7 Guitarist Mike Stern (On The Cover) has fused the innovations of his heroes Miles On The Cover: Mike Stern Davis and Jimi Hendrix. He plays at his home away from home 55Bar several by Laurel Gross times this month. Drummer Billy Martin (Interview) is best known as one-third of 9 Medeski Martin and Wood, themselves a fusion of many styles, but has also Encore: Lest We Forget: worked with many different artists and advanced the language of modern 10 percussion. He will be at the Whitney Museum four times this month as part of Dickie Landry Ray Bryant different groups, including MMW. -
Jon Batiste and Stay Human's
WIN! A $3,695 BUCKS COUNTY/ZILDJIAN PACKAGE THE WORLD’S #1 DRUM MAGAZINE 6 WAYS TO PLAY SMOOTHER ROLLS BUILD YOUR OWN COCKTAIL KIT Jon Batiste and Stay Human’s Joe Saylor RUMMER M D A RN G E A Late-Night Deep Grooves Z D I O N E M • • T e h n i 40 e z W a YEARS g o a r Of Excellence l d M ’ s # m 1 u r D CLIFF ALMOND CAMILO, KRANTZ, AND BEYOND KEVIN MARCH APRIL 2016 ROBERT POLLARD’S GO-TO GUY HUGH GRUNDY AND HIS ZOMBIES “ODESSEY” 12 Modern Drummer June 2014 .350" .590" .610" .620" .610" .600" .590" “It is balanced, it is powerful. It is the .580" Wicked Piston!” Mike Mangini Dream Theater L. 16 3/4" • 42.55cm | D .580" • 1.47cm VHMMWP Mike Mangini’s new unique design starts out at .580” in the grip and UNIQUE TOP WEIGHTED DESIGN UNIQUE TOP increases slightly towards the middle of the stick until it reaches .620” and then tapers back down to an acorn tip. Mike’s reason for this design is so that the stick has a slightly added front weight for a solid, consistent “throw” and transient sound. With the extra length, you can adjust how much front weight you’re implementing by slightly moving your fulcrum .580" point up or down on the stick. You’ll also get a fat sounding rimshot crack from the added front weighted taper. Hickory. #SWITCHTOVATER See a full video of Mike explaining the Wicked Piston at vater.com remo_tamb-saylor_md-0416.pdf 1 12/18/15 11:43 AM 270 Centre Street | Holbrook, MA 02343 | 1.781.767.1877 | [email protected] VATER.COM C M Y K CM MY CY CMY .350" .590" .610" .620" .610" .600" .590" “It is balanced, it is powerful. -
Intakt Sonderangebot.Xlsx
Intakt Sonderangebot jede CD nur Fr. 7.50 Intakt Nr. Band Titel Archiv Nr. SJO CD 003 Schweizer / Nicols / Lewis / Léandre The Storming of the Winter CD-04160 / Sommer Palace CD 018 Martin Schütz & Hans Koch Approximations CD-10421 CD 049 Pierre Favre Singing Drums Souffles CD-10428 CD 056 Koch-Schütz-Studer & Musicos Fidel CD-11906 Cubanos CD 061 Saadet Türköz Marmara Sea CD-10190 CD 067 Lucas Niggli Zoom Meets Arte Spawn of Speed CD-03144 Quartett CD 080 Barry Guy / Evan Parker Birds and Blades CD-07982 CD 082 Lucas Niggli / Zoom Rough Ride CD-03142 CD 083 Lucas Niggli / Big Zoom Big Ball CD-03143 CD 091 Pierre Favre and Arte Quartett with Saxophones CD-10188 Michel Godard CD 092 Ochs / Jeanrenaud / Masaoka Fly, fly, fly CD-10207 CD 093 Lucas Niggli / Zoom Ensemble Sweat CD-10385 CD 102 Objets Trouvés Co Streiff Gabriela objets trouvés / fragile CD-04680 Friedli / Jan Schlegel / Dieter Ulrich CD 103 Fred Frith / Carla Kihlstedt / Stevie The Compass, log and lead CD-10206 Wishart CD 106 Trio 3 Oliver Lake / Reggie Workman Time Being CD-10203 / Andrew Cyrille CD 107 Jacques Demierre / Barry Guy / Brainforest CD-08805 Lucas Niggli CD 108 Irène Schweizer First Choice - Piano Solo KKL CD-10192 Luzern CD 112 Omri Ziegele / Billiger Bauer Edges & Friends CD-05586 CD 113 Bauer Gumpert Petrowsky Sommer 11 Songs - aus teutschen Landen CD-12361 2 Ex Zentralquartett CD 113 Zentralquartett 11 Songs - aus teutschen Landen CD-12361 CD 114 Pierre Favre / Yang Jing Two in One CD-10199 CD 115 Alexander von Schlippenbach Twelve Tone Tales, Vol. -
Larry Ochs' Interview with Luca Canini for Allaboutjazzitalia.Com Via Email in Winter 2013.(Published April 2013.) Questions
Larry Ochs’ interview with Luca Canini for AllAboutJazzItalia.com via email in winter 2013.(published April 2013.) Questions in bold. Some years ago, when I first listened to “Electric Ascension”, I was shocked by the intensity and power of the performance: past/future, tradition/innovation. That disc and the few concerts around the world are a deep reflection on jazz, history, improvisation, sound. But everything started back in 1995, when Rova decided to celebrate the 30th anniversary of John Coltrane’s masterpiece. Can you tell me something about the birth of the project? How do you decide to approach such a “problematic” piece (if you consider Ascension a “piece”)? And do you remember the first time you listen to Ascension? I think Coltrane’s “Ascension” is one of the great jazz compositions of all time. A great formal structure; a great piece. Not that I consider myself an expert on all jazz music. I really don’t. But I am an expert on the greatness of that composition. We have played it 11 times as “Electric Ascension.” And yes it is true that we re- arranged the piece and changed the instrumentation, but the basic composition “Ascension” is absolutely at the center of “Electric Ascension;” it totally influences all the music we play in the spontaneous performance. There is no doubt of that. I remember seeing John Coltrane live at the Village Vanguard with his late great quartet in 1967. I was 18. The music overwhelmed me completely. There were maybe 20 people there for that second set of their night. -
GINO ROBAIR - ARTIST in RESIDENCE På FYLKINGEN
2011-03-29 09:00 CEST GINO ROBAIR - ARTIST IN RESIDENCE på FYLKINGEN Fylkingen presenterar stolt årets Artist In Residence: Gino Robair. Han har framträtt och spelat in med bl.a. Tom Waits, Anthony Braxton, John Zorn, Nina Hagen, Terry Riley, Lou Harrison, John Butcher, Derek Bailey, Peter Kowald, Otomo Yoshihide och the ROVA Saxophone Quartet. Han är en av "25 innovative percussionists" i boken Percussion Profiles (SoundWorld, 2001) och medlem i The Splatter Trio och Pink Mountain. På Fylkingen kommer han att arbeta med workshops, föreläsningar samt repetera och framföra sin opera “I, Norton” med medlemmar från Fylkingen, Musikalliansen, FRIM, Great Learning Orchestra mm. I, Norton - baserad på historien om Norton I, Kejsare av Förenta Staterna - har framförts vid flera tillfällen i Nordamerika och Europa. Tider för föreställningar mm: TORSDAG 7/4 KL 19.30 GINO ROBAIR + GUESTS Gino Robair - energized surfaces/voltage made audible with Johannes Bergmark, Tippi Tillvind and Lisa Ullén. Entré: 100 kr / stud 80 kr FREDAG 8/4 GINO ROBAIR - WORKSHOP + FÖRELÄSNING KL 12.00 Workshop: “Anti-Percussion Workshop for Everyone”. Deltagaravgift: 50 kr. KL 19.00 Föreläsning: Gino Robair berättar om arbetet med operan “I, Norton”. Fri entré. DELTA I REALTIDSOPERAN “I, NORTON”! Alla sorts konstnärer och designers är välkomna: musiker, skådespelare, dansare, live-video mm. Du behöver INTE kunna läsa noter för att delta i detta projekt. Alla är välkomna. FREDAG 9/4, LÖRDAG 10/4, SÖNDAG 11/4 KL 11:00 - 15:00. Plats: Fylkingen. Info & anmälan: 08-84 54 43 eller [email protected]. Gratis. MÅNDAG 12/4 KL 19:30 I, NORTON – AN OPERA IN REAL TIME "At the request of the citizens of these United States, I, Joshua Norton declare myself Emperor." So began the proclamation by which Joshua Norton, in 1859, became Norton I, Emperor of the United States and Protector of Mexico.