DOCSLIB.ORG

Downbeat.Com November 2020 U.K. £4.99

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Downbeat.Com November 2020 U.K. £4.99 NOVEMBER 2020 U.K. £4.99 DOWNBEAT.COM november 2020 VOLUME 87 / NUMBER 11 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, Andy Hermann, 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. Jack Maher, President 1970-2003 John Maher, President 1950-1969 SUBSCRIPTION INFORMATION: Send orders and address changes to: DOWNBEAT, P.O. Box 11688, St. Paul, MN 55111–0688. Inqui- ries: U.S.A. and Canada (877) 904-5299; Foreign (651) 251-9682. CHANGE OF ADDRESS: Please allow six weeks for your change to become effective. When notifying us of your new address, include current DOWNBEAT label showing old address. DOWNBEAT (issn 0012-5768) Volume 87, Number 11 is published monthly by Maher Publications, 102 N. Haven, Elmhurst, IL 60126- 2970. Copyright 2020 Maher Publications. All rights reserved. Trademark registered U.S. Patent Office. Great Britain registered trade- mark No. 719.407. Periodicals postage paid at Elmhurst, IL and at additional mailing offices. Subscription rates: $34.95 for one year, $59.95 for two years. Foreign subscriptions rates: $56.95 for one year, $103.95 for two years. Publisher assumes no responsibility for return of unsolicited manuscripts, photos, or artwork. Nothing may be reprinted in whole or in part without written permission from publisher. MAHER PUBLICATIONS: DOWNBEAT magazine, MUSIC INC. magazine, Up- Beat Daily. POSTMASTER: Send change of address to: DownBeat, P.O. Box 11688, St. Paul, MN 55111–0688. CABLE ADDRESS: DownBeat (on sale October 27, 2020) Magazine Publishers Association. Á 4 DOWNBEAT NOVEMBER 2020 NOVEMBER 2020 20 Veronica Swift LAUREN DESBERG 39 Overnight Veteran BY SUZANNE LORGE Singer-songwriter Veronica Swift has been touring since age 9. Now, at 26, she’s a music biz veteran in pursuit of a variety of artistic disciplines. DownBeat catches up with the bandleader to discuss her career and her forthcoming album, This Bitter Earth. Our feature on Swift is followed by two dozen artist profiles that are part of our cover package, “25 For The Future.” Vibraphonist Joel Ross, who’s among the “25 For The Future,” is set to release his sophomore leader date Oct. 23. 26 Shabaka Hutchings Cover photo of Veronica Swift shot by Bill Westmoreland. Jazzmeia Horn Christian Sands Camila Meza Nubya Garcia Nduduzo Makhathini Makaya McCraven Lakecia Benjamin Junius Paul Morgan Guerin Yazz Ahmed 44 Dafnis Prieto 45 Junk Magic 47 Tom Guarna 49 Steph Richards James Francies Kuba Wiecek DEPARTMENTS Fabian Almazan RECORDING SCHOOL Theo Croker 8 First Take 52 Asynchronous Recording Jimmy Macbride Platforms BY KEITH BAUMANN Camille Thurman 10 Chords & Discords Alfredo Rodríguez 13 The Beat 54 Home Studio Gear Basics Hedvig Mollestad BY ED ENRIGHT Adam O’Farrill 41 Reviews 56 Toolshed Tomeka Reid 58 Jazz On Campus Luke Stewart Yussef Dayes 62 Blindfold Test Joel Ross Noah Preminger 6 DOWNBEAT NOVEMBER 2020 First Take BY BOBBY REED CLARA PEREIRA Fabian Almazan, one of DownBeat’s “25 For The Future,” is profiled on page 32. Revisiting a Futuristic Vision A GREAT IDEA SOMETIMES BEARS don’t make much of a difference to your career repeating. Longtime readers will recall that arc (or your bank account) unless fans are moti- the June 1999 issue of DownBeat had a cover vated to spend money to listen to your music package titled “25 For The Future,” focusing on and see you perform. young artists who seemed to have the potential Prior to the pandemic, the DownBeat staff to build significant careers in jazz. More than already had planned to present the third install- two decades later, we recognize the wisdom of ment of “25 For The Future” as the cover pack- the decision to shine a spotlight on musicians age of this issue. When the coronavirus hit the such as pianist Brad Mehldau, violinist Regina United States in the spring, we considered, very Carter, trumpeter Ingrid Jensen, vibraphon- briefly, the idea of pushing this article to 2021, a ist Stefon Harris, bassist Larry Grenadier and time when we hope that jazz musicians will be drummer Matt Wilson. back on the road in full force. But we decided to In our July 2016 issue, we had another cover forge ahead with this feature. Part of the reason package titled “25 For The Future.” As was the is because we know how difficult it is for young case in 1999, the goal was not so much to pre- musicians to maintain career momentum at a dict who would become a chart-topper, but to time when they cannot tour or conduct in-per- metaphorically declare, “Here are 25 musicians son workshops. whose artistry has provided evidence that they Avid jazz fans certainly will be able to con- have original voices—and just as significantly, nect the dots between the artists in our July they have something important to say.” 2016 issue and the ones in this issue. Stefon That 2016 batch included saxophonists Harris, for example, has been a mentor to vibra- Kamasi Washington and Melissa Aldana, pia- phone phenom Joel Ross (see page 39). When nists Gerald Clayton and Kris Davis, guitar- he recorded his 2019 album Love Tape, Marquis ist Julian Lage, vocalist Cyrille Aimée, trum- Hill recruited bassist Junius Paul (page 30). peter Marquis Hill and trumpeter/vocalist Regina Carter is a guest on the forthcoming Bria Skonberg. Over the past four years, jazz album by Camille Thurman (page 34). Those fans have seen these musicians release excel- are just a few of the dozens of examples. lent albums and become artists with the type of As you read our cover package, we hope stature that allows them to tour the globe. that you’ll be inspired to check out some music Well, they were able to tour the globe— by an artist you may not have heard of, or per- before the coronavirus pandemic hit. haps one whose name you recognize but whose For young jazz artists whose careers are on music is not on any of your playlists. the ascent, the opportunity to play at clubs, And we fervently hope that one day soon concert halls and festivals is essential. Live per- we’ll have the chance to see these young play- formance is the lifeblood of a jazz musician. ers perform on a stage right in front of us, sur- Thousands of Facebook “likes” and video views rounded by other happy, healthy jazz fans. DB 8 DOWNBEAT NOVEMBER 2020 Chords Discords Watson’s Blues Power Congratulations to Bobby Watson on the success of his new album, Keepin’ It Real, JIMMY KATZ which hit the No. 1 spot on the JazzWeek radio airplay chart. Bobby and I were saxo- phone students at the University of Miami in the early 1970s—he an undergrad, myself a master’s candidate. The article in The Beat section of your September issue really struck a chord with me (pardon the pun) because Bobby Watson of what Bobby told journalist J.D. Considine grow into,” and he was talking about the about playing the blues. Somehow, with difference between knowing the music and each passing decade, the blues in jazz has feeling it. I played with Doc on a regular ba- become the “redheaded stepchild,” not real- sis throughout the 1990s and came to love ly appreciated—or simply ignored. playing the blues. As a full-time jazz performer for close to Long live the blues in jazz! And thank 40 years, I played the blues plenty. But it was you to Bobby and Doc for always “Keepin’ It only when I started working with Dr. Lonnie Real.” Smith that I started to truly understand the blues. In the article, Bobby described the ERIC ALLISON SYLVAN LAKE, ALBERTA blues as “something I think you have to CANADA Applause for DownBeat to come to my home to see it. I knew he want- Your October cover story by Ayana Contreras ed to talk me into it. He showed up, played it is an example of fantastic journalism, cover- a bit, and my tongue hit the floor. He again ing the musical side of the current political asked me to sell it, whereupon I suggested and social environment. he take it because I wasn’t playing any bass The cover itself, depicting Jon Batiste, is in those days.
Load more

Recommended publications
  • Interview with Nelly White
    What have you been doing up until now? NELLY: I signed a deal with Arpej Yapım in the autumn of 2017. I’d pretty much had a finished album when having talks with them, and I’d spent two years completing that to the mastering stage. I was working as musician in the evening, and in between my daily life found time to record the album. I have a growing family and that took up a lot of energy. I decided to concentrate my efforts on producing the music that I had been writing since my teens and through to today. An amazing bunch of musician friends came together and played on the album. Those brilliant people didn’t take any money for their efforts, as they had heard what kind of music we were producing, and they were just happy to be a part of it with us. I also worked with Engin Kaan Günaydın, drummer of The New York Gypsy All Stars, and internationally recognised group playing Turkish Jazz Fusion. Nelly White At the end of the recording process the group went to Istanbul and played in Nardis Jazz Club, as virtual unknowns, but we had an amazingly warm reception from Zuhal Focan, her team and the audience, and Zuhal was really ignited by our music. Along the way during the albums’ mixing process, our sound engineer happened to play some of the tracks to Genco Arı, who instantly picked up on the music. He loved the sound we were producing and offered to get involved. When I heard this I was over the moon, and I believe that his influence in the album and the direction he took the songs, really made a massive difference to the final production.
    [Show full text]
  • Whiskey River (Take My Mind)  I 
    whiskey river (take my mind) i introduction 00 Bush rev pg proofs 000i-xxiv i i 12/11/06 9:58:38 AM THIS PAGE INTENTIONALLY LEFT BLANK whiskey river (take my mind) iii The True Story of Texas Honky-Tonk by johnny bush with rick mitchell foreword by willie nelson University of Texas Press, Austin introduction 00 Bush rev pg proofs 000i-xxiv iii iii 12/11/06 9:58:39 AM iv copyright © 2007 by the university of texas press All rights reserved Printed in the United States of America First edition, 2007 Requests for permission to reproduce material from this work should be sent to: Permissions University of Texas Press P.O. Box 7819 Austin, TX 78713-7819 www.utexas.edu/utpress/about/bpermission.html ∞ The paper used in this book meets the minimum requirements of ansi/niso z39.48-1992 (r1997) (Permanence of Paper). library of congress cataloging-in-publication data Bush, Johnny. Whiskey river (take my mind) : the true story of Texas honky-tonk / by Johnny Bush with Rick Mitchell ; foreword by Willie Nelson. — 1st ed. p. cm. Includes discography (p. ), bibliographical references (p. ), and index. isbn-13: 978-0-292-71490-8 (cl. : alk. paper) isbn-10: 0-292-71490-4 1. Bush, Johnny. 2. Country musicians—Texas—Biography. 3. Spasmodic dysphonia—Patients—Texas—Biography. 4. Honky-tonk music—Texas— History and criticism. I. Mitchell, Rick, 1952– II. Title. ml420.b8967a3 2007 782.421642092—dc22 [B] 2006033039 whiskey river (take my mind) 00 Bush rev pg proofs 000i-xxiv iv iv 12/11/06 9:58:39 AM Dedicated to v John Bush Shinn, Jr., my dad, who encouraged me to follow my dreams.
    [Show full text]
  • Downbeat.Com March 2014 U.K. £3.50
    £3.50 £3.50 U.K. DOWNBEAT.COM MARCH 2014 D O W N B E AT DIANNE REEVES /// LOU DONALDSON /// GEORGE COLLIGAN /// CRAIG HANDY /// JAZZ CAMP GUIDE MARCH 2014 March 2014 VOLUME 81 / NUMBER 3 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editor Ed Enright Designer Ara Tirado Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes Editorial Intern Kathleen Costanza Design Intern LoriAnne Nelson ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Pete Fenech 630-941-2030 [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, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene
    [Show full text]
  • An Advanced Songwriting System for Crafting Songs That People Want to Hear
    How to Write Songs That Sell _________________________________________________________________________________________________________________________ An Advanced Songwriting System for Crafting Songs That People Want to Hear By Anthony Ceseri This is NOT a free e-book! You have been given one copy to keep on your computer. You may print out one copy only for your use. Printing out more than one copy, or distributing it electronically is prohibited by international and U.S.A. copyright laws and treaties, and would subject the purchaser to expensive penalties. It is illegal to copy, distribute, or create derivative works from this book in whole or in part, or to contribute to the copying, distribution, or creating of derivative works of this book. Furthermore, by reading this book you understand that the information contained within this book is a series of opinions and this book should be used for personal entertainment purposes only. None of what’s presented in this book is to be considered legal or personal advice. Published by: Success For Your Songs Visit us on the web at: http://www.SuccessForYourSongs.com Copyright © 2012 by Success For Your Songs All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic, or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the publisher. How to Write Songs That Sell 3 Table of Contents Introduction 6 The Methods 8 Special Report 9 Module 1: The Big
    [Show full text]
  • THE VISUAL STRATEGIES of ECM RECORDS By
    IMAGE AND SOUND: THE VISUAL STRATEGIES OF ECM RECORDS by ERIK HOLM B.A., The University of Saskatchewan, 1999 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Department of Fine Arts ) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA October 2001 © Erik Bjorn Holm, 2001 in presenting this thesis in partial fulfilment of the requirements for an advanced degree at the university of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives, it is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. rtment of ^H^Vf, l/lWl Art A T^crf y The university of British Columbia Vancouver, Canada Date \ Abstract Commercial recordings - CDs, LPs - are familiar objects. However, discussion about them has often attempted to conceal the fact that, as communicating objects, recordings pose special problems due to the fact that they unite text, image, and sound in a material commodity. This thesis examines the role of the visual in the production, circulation and use of recordings. The album cover is the primary category of study, with an emphasis on its functioning in relation to the recording as a sonic and material commodity. The label ECM, a German company which has been producing recordings since 1969, provides the main focus in this analysis.
    [Show full text]
  • Джимð¸ Хеð½ð´Ñ€Ð¸Ðºñ​Ð​лбуð¼ Ñ​пиÑ
    Джими Ð¥ÐµÐ½Ð´Ñ€Ð¸ÐºÑ ​ ÐÐ​ »Ð±ÑƒÐ¼ ÑÐ​ ¿Ð¸ÑÑ​ ŠÐº (диÑÐ​ ºÐ¾Ð³Ñ€Ð°Ñ„иÑÑ​ ‚а & график) Both Sides of the Sky https://bg.listvote.com/lists/music/albums/both-sides-of-the-sky-50359596/songs Machine Gun: The Fillmore East First https://bg.listvote.com/lists/music/albums/machine-gun%3A-the-fillmore-east-first- Show show-26252759/songs Songs for Groovy Children: The Fillmore https://bg.listvote.com/lists/music/albums/songs-for-groovy-children%3A-the-fillmore- East Concerts east-concerts-76281672/songs Electric Jimi Hendrix https://bg.listvote.com/lists/music/albums/electric-jimi-hendrix-3502683/songs Friends from the Beginning – Little https://bg.listvote.com/lists/music/albums/friends-from-the-beginning-%E2%80%93- Richard and Jimi Hendrix little-richard-and-jimi-hendrix-5504236/songs Jimi Hendrix's unfinished fourth studio https://bg.listvote.com/lists/music/albums/jimi-hendrix%27s-unfinished-fourth-studio- album album-55615088/songs https://bg.listvote.com/lists/music/albums/the-complete-ppx-studio-recordings- The Complete PPX Studio Recordings 9357901/songs Back to Berlin! https://bg.listvote.com/lists/music/albums/back-to-berlin%21-9163907/songs Experience https://bg.listvote.com/lists/music/albums/experience-583526/songs Band of Gypsys https://bg.listvote.com/lists/music/albums/band-of-gypsys-769971/songs Kiss the Sky https://bg.listvote.com/lists/music/albums/kiss-the-sky-690950/songs Nine to the Universe https://bg.listvote.com/lists/music/albums/nine-to-the-universe-654289/songs More Experience https://bg.listvote.com/lists/music/albums/more-experience-680792/songs
    [Show full text]
  • The Ultimate Listening-Retrospect
    PRINCE June 7, 1958 — Third Thursday in April The Ultimate Listening-Retrospect 70s 2000s 1. For You (1978) 24. The Rainbow Children (2001) 2. Prince (1979) 25. One Nite Alone... (2002) 26. Xpectation (2003) 80s 27. N.E.W.S. (2003) 3. Dirty Mind (1980) 28. Musicology (2004) 4. Controversy (1981) 29. The Chocolate Invasion (2004) 5. 1999 (1982) 30. The Slaughterhouse (2004) 6. Purple Rain (1984) 31. 3121 (2006) 7. Around the World in a Day (1985) 32. Planet Earth (2007) 8. Parade (1986) 33. Lotusflow3r (2009) 9. Sign o’ the Times (1987) 34. MPLSound (2009) 10. Lovesexy (1988) 11. Batman (1989) 10s 35. 20Ten (2010) I’VE BEEN 90s 36. Plectrumelectrum (2014) REFERRING TO 12. Graffiti Bridge (1990) 37. Art Official Age (2014) P’S SONGS AS: 13. Diamonds and Pearls (1991) 38. HITnRUN, Phase One (2015) ALBUM : SONG 14. (Love Symbol Album) (1992) 39. HITnRUN, Phase Two (2015) P 28:11 15. Come (1994) IS MY SONG OF 16. The Black Album (1994) THE MOMENT: 17. The Gold Experience (1995) “DEAR MR. MAN” 18. Chaos and Disorder (1996) 19. Emancipation (1996) 20. Crystal Ball (1998) 21. The Truth (1998) 22. The Vault: Old Friends 4 Sale (1999) 23. Rave Un2 the Joy Fantastic (1999) DONATE TO MUSIC EDUCATION #HonorPRN PRINCE JUNE 7, 1958 — THIRD THURSDAY IN APRIL THE ULTIMATE LISTENING-RETROSPECT 051916-031617 1 1 FOR YOU You’re breakin’ my heart and takin’ me away 1 For You 2. In Love (In love) April 7, 1978 Ever since I met you, baby I’m fallin’ baby, girl, what can I do? I’ve been wantin’ to lay you down I just can’t be without you But it’s so hard to get ytou Baby, when you never come I’m fallin’ in love around I’m fallin’ baby, deeper everyday Every day that you keep it away (In love) It only makes me want it more You’re breakin’ my heart and takin’ Ooh baby, just say the word me away And I’ll be at your door (In love) And I’m fallin’ baby.
    [Show full text]
  • Corvus Review
    CORVUS REVIEW ISSUE 8S 2017 2 TOC A. Mughal 3 S. Roberts 140 J. Schueler 235 C. Kosch 9 J. Hunter 142 M. Minassian 236 G. Jeffers 12 N. Kovacs 148 R. Flanagan 237 T. Elson 17 T. Rutkowski 151 Flash Fiction Competition Winners B. Iozzia 21 B. Diamond 153 Hon. Mention: A. Trodd 238 B. Stanwyck 23 F. Miller 157 2nd Place: C. Stanley 240 J. Manzano 25 K. Casey 166 1st Place: R. Reeves-Murray 242 E. Ferry 31 K. Hanson 168 S. Leet 32 J. Butler 171 Bio’s 244-E N. Orts 33 R. Massoud 173 T. Mihocik 41 C. Valentza 178 T. Frank 47 D. Vitucci 179 J, Serri 52 J. Hickey 183 B. Petersen 58 J. Bradley 188 M. Waldman 66 S. F. Greenstein 189 S. Slavin 75 J. Mulhern 195 C. Wellons 77 B. Varghese 201 R. Heby 78 K. Maruyama 208 A. O’Brien 80 Poetry P. Beckstrom 83 E. Smith Sleigh 216 J. Bristow 85 M. L. Johnson 217,218 D. Marsh 88 (NF) B. Abbott 219 C. Palmer (NF) M. Ehrlich 220 R. Hemmell 97 (SF) D. Hearne 221 K. Shields 99 R. Stout 222 J. Half-Pillow 101 D. Mager 223 M. Wren 109 K. Hemmings 224, 225 D. Clark 110 N. Rounds 226 P Kauffmann 112 K. Dronsfield 228 J. Hill 115 J. Zola 229 J.Gorman 117 P. Ilechko 230 B. Taylor 124 N. Crick 231 M. Ferro 131 I. Orpi 232 M. Laing 133 M. Danowsky 233,234 3 The Ear Alisha Mughal I left the house that morning because I felt trapped inside — stifled within those whitewashed walls, looming over me blank and silent and expectant.
    [Show full text]
  • Melissa Aldana Visions
    MARCH 2021—ISSUE 227 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM DIGITAL ONLY EDITION MELISSA ALDANA VISIONS WOMEN’S HISTORY MONTH ISSUE SUSAN PATRICIA MARILYN DOROTHY ALCORN BRENNAN MAZUR DONEGAN enough density and dissonance to remind you that integration from Ben Grayson, credited with “Electronics they come from Moran. But it is fitting that Rainbow and Editing”. Monder and Rainey are a tight rhythm Sign is less about private brilliance and more about section, the former skillfully defining the tempos and communal creativity. Most often the solos are collective meters of the music, setting the downbeats into which ventures, like on “This Old Man”, where everyone Burke steps and Rainey colors. The various grooves and including Morgan weaves in and out of Miles’ muted tune-based music works and Burke is a strong and lines. It feels wrong to call Rainbow Sign a concept interesting lead voice with Monder behind him. It’s the album. It is more like an offering. improvisations, “Discordat 1-4”, which are hit or miss Valentine and where the sheer power and attraction of Monder’s Bill Frisell (Blue Note) Rainbow Sign For more information, visit bluenote.com. Frisell live-streams playing overpowers everything else. His colleagues are Ron Miles (Blue Note) Mar. 6th at alternativeguitarsummitcamp.com no slouches, but this feels very much like sandlot by Thomas Conrad ballplayers and Mike Trout. The Live at the 55 Bar trio has the same issues, Defying the pandemic, the Blue Note label has been though the setting makes them less pronounced, and on a roll.
    [Show full text]
  • With Great Musicians
    FA C E T O FA C E 'W I T H G R E AT M U S I C I A N S CH ARLES D I SAA C SON LEOPOLD GODOWSKY FIRST EKGUP D A P P L E T O N AN D C O M P A N Y NE W YO R K L O N D O N D EDI CATEU I F WH O F IR ST SAW TH E VALU E OF TH E IDE A PRE FACE F is there such a place as the Land of the Beyond, the immortals of music doubtless have gathered o o t gether there s me time since, and come to some o about - - conclusi n this, their self appointed latter day os B well . I have seen them if it is possible to see a man in o his o his his w rks, in letters , in his mem irs, in biog ra hies in his or and o n of his p , p traits, in the c mme ts enemies and friends . Each name in the whole history of music conjures o n I up f r me a livi g personality, with whom may in he c s a t silences of solitude, onver e in no mistak ble - d nn . no n wor ma er It is dead, empty soundi g for me to see the name of a composer on a program ; each number that is to be heard is a key Which un locks for me a stage on Which is reenacted a scene from the ’ drama of a man s life .
    [Show full text]
  • Dogboy's Long Night Moon
    Stories for the Teachers’ Room O1 The Lady at the Post Office! How Flowers Taught the Two-Legged Cows to Know Her Name My Grandfather’s Dinosaur The Legend of the DogBoy’s Dreamsinger Long Night Moon TThhee GGhhoosstt DDaannccee Published by: LearningdotInfo PO Box 18 Shelburne Falls, MA 01370 Copyright 2003 All Rights Reserved Stories for the Teachers’ Room CONTENTS Author’s Notes 4 The Lady at the Post Office 7 How Flowers Taught the 13 Two-Legged Cows to Know Her Name My Grandfather’s Dinosaur 19 Dogboy’s Long Night Moon 29 The Ghost Dance 45 The Legend of the Dreamsinger 52 3 Author’s Notes Stories for the Teachers’ Room happened kind of accidentally; at least in that I did not intend to write a companion volume to Making Sense in the Field of Time and Space. I had been struggling for a long time with issues around professional development for educators. I felt, and still feel, a need to explore alternative approaches to promoting learning, particularly deep learning, in people who educate other people. There are numerous models in the field of professional development. Those that I have encountered, and in some cases designed for, seem to focus on delivering very specific information with the intention that the learner be able to do something very specific, e.g., assess phonemic awareness in a six year old; fill-out an IEP; “do” cooperative learning, …the list goes on. As there are a number of models; so there are a number of promoters and practitioners. By suggesting alternatives to prevalent models, I do not (necessarily) disagree with their efficacy.
    [Show full text]
  • Catalogue 2009/10 ECM Paul Griffiths Bread and Water
    Catalogue 2009/10 ECM Paul Griffiths Bread and Water Here is someone standing at the entrance to the gallery who goes on talking all the time while almost all the visitors who come are rushing by in their eagerness to inspect what is on show inside. The hall a little way beyond is packed with rare and wonderful things, beautifully laid out and informatively labelled. There is much to see, much to learn. This is what the visitors have come for. Why, then, linger at the doorway? Why wait? But you, you have stopped. Thank you. Yes, this is the gallery, this the exhibition: a catalogue. We can use the word either to mean this paper object you hold in your hands or the totality of items a publisher or, as in this case, record company has available for sale: the CATALOGUE, as we may put it. Such a CATALOGUE is changeable as the ocean is: things will go (though rarely, where ECM is concerned), more will come. The catalogue, on the other hand, is fixed, a photograph of the ocean. There was a moment, probably before it reached print, when the catalogue was identical with the CATALOGUE. But that moment has passed and will not come again, for the ocean is growing and the photograph cannot. Is the catalogue therefore impoverished? No, no more than a photograph is. This is no snapshot, no fuzzy image trapped half_thoughtlessly on a mobile phone. Look at what you have in your hands: this is something well made, something composed. A professional photographer must have been invited to make a study of the ocean.
    [Show full text]