Cecil Taylor Air Above Mountains Mp3, Flac, Wma

Total Page:16

File Type:pdf, Size:1020Kb

Cecil Taylor Air Above Mountains Mp3, Flac, Wma Cecil Taylor Air Above Mountains mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Air Above Mountains Country: US Released: 1978 Style: Free Improvisation MP3 version RAR size: 1252 mb FLAC version RAR size: 1499 mb WMA version RAR size: 1198 mb Rating: 4.8 Votes: 494 Other Formats: ADX AAC TTA MP3 AU DTS ASF Tracklist A Air Above Mountains Part One 25:40 B Air Above Mountains Part Two 25:37 Companies, etc. Licensed From – Enja Records Phonographic Copyright (p) – MMO Music Group, Inc. Copyright (c) – MMO Music Group, Inc. Recorded At – Moosham Castle Credits Design [Cover] – Weber / Winckelmann Photography By – Matthias Winckelmann, Wolfgang Frankenstein Piano [Bösendorfer Grand Piano], Composed By – Cecil Taylor Producer – Horst Weber, Matthias Winckelmann Recorded By – Walter Kramper Notes Recorded live on 20 August 1976 at the Moosham Castle open-air festival, Austria. Licensed by Enja Records. Other versions Category Artist Title (Format) Label Category Country Year Air Above Cecil 3005 ST Mountains (LP, Enja Records 3005 ST Germany Unknown Taylor Album) Air Above Enja ENJ-3005 2, Cecil ENJ-3005 2, Mountains (CD, Records, Germany 1993 3005 2 Taylor 3005 2 Album, RE) Enja Records Air Above Cecil ENJ-3005 2 Mountains (CD, Enja Records ENJ-3005 2 Germany 2002 Taylor Album, RE) Cecil Air Above enja 3005 Enja Records enja 3005 Germany Unknown Taylor Mountains (LP) Air Above Ward Cecil Mountains (CD, TKCW-32190 Records, TKCW-32190 Japan 2007 Taylor Album, Ltd, RE, Enja Records RM, Pap) Related Music albums to Air Above Mountains by Cecil Taylor Cecil Taylor & Tony Oxley - Leaf Palm Hand The Cecil Taylor Unit - Akisakila - Cecil Taylor Unit In Japan Mal Waldron - What It Is Elvin Jones - Live At The Village Vanguard Aki Takase Trio - Song For Hope Uli Lenz, Cecil McBee, Joe Chambers - Live At Sweet Basil Cecil Taylor - Jumpin' Punkins Cecil Taylor - The World Of Cecil Taylor Mal Waldron - Moods Yamashita Trio - Clay.
Recommended publications
  • Weeksville Lost Jazz Shrines
    1 Weeksville Lost Jazz Shrines Annotated Bibliography and Discography Primary Sources Interviews Note: Most of the artists listed below were interviewed over a period of two years (April, 2010 –October, 2011 through Weeksville’s Lost Jazz Shrine Project). Artists interviewed include: Brooklyn natives; longtime Brooklyn residents; or artists who performed frequently at some of Brooklyn's Lost Jazz Shrines and in some cases, continue to perform in Brooklyn. Abdullah, Ahmed. Oral History Interview. Interviewed by Willard Jenkins, Jennifer Scott and Kaitlyn Greenidge. 6 April 2010. Audio. Transcription. Transcription date: April 2011. Weeksville Heritage Center Lost Jazz Shrines Project. Length: 46 mins 36 sec. Barnes, Wade E. Oral History Interview. Interviewed by Willard Jenkins, Jennifer Scott and Kaitlyn Greenidge. 7 December 2010. Audio. No Transcription. Weeksville Heritage Center Lost Jazz Shrines Project. Length: 51 min. 26 sec. Barron, Kenny. Oral History Interview. Interviewed by Willard Jenkins. 9 October 2010. Audio. No Transcription. Weeksville Heritage Center Lost Jazz Shrines Project. Braithwaite, “Fab 5” Freddie. Oral History Interview. Interviewed by Willard Jenkins and Jennifer Scott. 7 Oct 2010. Audio. Transcription. Transcription date: April 2011. Weeksville Heritage Center Lost Jazz Shrines Project. Length: 1 hr. 25 mins. 32 secs. Carroll, Alma. Oral History Interview. Interviewed by Willard Jenkins, Jennifer Scott and Kaitlyn Greenidge. 24 August 2010. Audio. Transcription. Transcription date: April 2011. Weeksville Heritage Center Lost Jazz Shrines Project. Length: 1 hr. 10 mins. 34 secs. Cheatham, Jo Ann. Oral History Interview. Interviewed by Willard Jenkins, Jennifer Scott and Kaitlyn Greenidge. 6 April 2010. Audio. Transcription. Transcription date: April 2011. Weeksville Heritage Center Lost Jazz Shrines Project.
    [Show full text]
  • Reggie Workman Working Man
    APRIL 2018—ISSUE 192 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM REGGIE WORKMAN WORKING MAN JIM JONNY RICHARD EDDIE McNEELY KING WYANDS JEFFERSON Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East APRIL 2018—ISSUE 192 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : JIM Mcneely 6 by ken dryden [email protected] Andrey Henkin: [email protected] Artist Feature : JONNY KING 7 by donald elfman General Inquiries: [email protected] ON The COver : REGGIE WORKMAN 8 by john pietaro Advertising: [email protected] Encore : RICHARD WYANDS by marilyn lester Calendar: 10 [email protected] VOXNews: Lest WE Forget : EDDIE JEFFERSON 10 by ori dagan [email protected] LAbel Spotlight : MINUS ZERO by george grella 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 by andrey henkin Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Stuart Broomer, FESTIvAL REPORT Robert Bush, Thomas Conrad, 13 Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, CD REviews 14 Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, Suzanne
    [Show full text]
  • 59Th Annual Critics Poll
    Paul Maria Abbey Lincoln Rudresh Ambrose Schneider Chambers Akinmusire Hall of Fame Poll Winners Paul Motian Craig Taborn Mahanthappa 66 Album Picks £3.50 £3.50 .K. U 59th Annual Critics Poll Critics Annual 59th The Critics’ Pick Critics’ The Artist, Jazz for Album Jazz and Piano UGUST 2011 MORAN Jason DOWNBEAT.COM A DOWNBEAT 59TH ANNUAL CRITICS POLL // ABBEY LINCOLN // PAUL CHAMBERS // JASON MORAN // AMBROSE AKINMUSIRE AU G U S T 2011 AUGUST 2011 VOLUme 78 – NUMBER 8 President Kevin Maher Publisher Frank Alkyer Managing Editor Bobby Reed Associate Editor Aaron Cohen Contributing Editor Ed Enright Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes 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 Assistant Theresa Hill 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, John McDonough Atlanta: Jon Ross; Austin: Michael Point, 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 Or- leans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D.
    [Show full text]
  • Jonny King — Biography
    Jonny King Biography Jonny King has been described by Downbeat as "one of the strongest piano voices" of his generation and a "bandleader who kicks ass." JazzTimes likewise wrote that he “represents the best of what jazz has to offer” as both a performer and composer. A native New Yorker, he grew up in the City's jazz clubs, participating first as a fan and then as a performer. Before he was a teenager, King had already performed onstage with Dizzy Gillespie and appeared on television at the piano alongside his early idol, Earl “Fatha” Hines. Before he was 20, he was already sitting in with Art Blakey and playing his first gigs in New York's many restaurants and clubs. King is primarily self-taught, having neither received any formal music education nor attended any jazz schools. He gratefully credits pianists Mulgrew Miller and Tony Aless as important influences, mentors and personal teachers. Beyond their private instruction, King learned music in the most old-school of ways -- by obsessively listening to records, attending jam sessions, and soaking up as much live and recorded music possible, from the most traditional to the most avant-garde. He continues to approach music the same way, both as a performer and composer. Beginning in the 1990s, King became a steady presence on the City's club scene, featuring his own bands at The Jazz Standard, Smalls, and legendary clubs like Sweet Basil's and Bradley's, his home-away-from-home, where he performed regularly both as leader and sideman. He toured as a member of Joshua Redman's Quartet and the Blue Note Records cooperative band OTB, and worked as the pianist in groups led by saxophonists Steve Wilson, Eddie Harris, Vincent Herring and many others.
    [Show full text]
  • ELEVATION Songs from Afar
    ELEVATION Songs from Afar Transylvanian expat pianist & composer Lucian Ban and ELEVATION celebrate their 2 n d album for Sunnyside records - Songs from Afar . Released in 2016 the album immediately garnered rave reviews and honors – DOWNBEAT BEST ALBUM OF THE YEAR , a 5* review in DB march 2016 issue, ALL ABOUT JAZZ calls it “a triumph of emotional and musical communication” and New York City Jazz Record talks of an “Inspiring and touching journey, that seamlessly blends the traditions of jazz and folk songs”. ”Alluring timelessness . a strong life-force that seems to flow through this music . like many of the great masters, pianist Lucian Ban makes personal art that feels universal” 5* STARS! “Songs From Afar is a triumph of emotional and musical communication, and is not to be missed” Streams of influence from the past and cultural identities sometimes merge with one’s quest for forms of expression. Songs From Afar represents two traditions, two musical worlds, and many musical elements coming together to fashion a unique identity that truly spans continents and styles. "Songs from afar is very personal for me because the album is intimately tied to my Romanian cultural heritage and to the jazz influences that help me find out more about where I come from – and where I’m going. It's not only the ancient Transylvanian folk songs that we approach in this recording, it's also how the other pieces and improvisations reflect the constant search for musical meaning" notes Transylvanian expat pianist and composer Lucian Ban talking about his 2 n d album with Elevation quartet in his 3 r d appearance for Sunnyside.
    [Show full text]
  • May 2001 03 Jazz Ed
    ALL ABOUT JAZZ monthly edition — may 2001 03 Jazz Ed. 04 Pat Metheny: New Approaches 09 The Genius Guide to Jazz: Prelude EDITOR-IN-CHIEF: Aaron Wrixon 14 The Fantasy Catalog: Tres Joses ASSOCIATE EDITOR: Michael Martino 18 Larry Carlton and Steve Lukather: Guitar Giants CONTRIBUTORS: 28 The Blue Note Catalog: All Blue Glenn Astarita, Mathew Bahl, Jeff Fitzgerald, Chris Hovan, Allen Huotari, Nils Jacobson, Todd S. Jenkins, Joel Roberts, Chris M. Slawecki, Derek Taylor, Don Williamson, 32 Joel Dorn: Jazz Classics Aaron Wrixon. ON THE COVER: Pat Metheny 42 Dena DeRose: No Detour Ahead PUBLISHER: 48 CD Reviews Michael Ricci Contents © 2001 All About Jazz, Wrixon Media Ventures, and contributors. Letters to the editor and manuscripts welcome. Visit www.allaboutjazz.com for contact information. Unsolicited mailed manuscripts will not be returned. Welcome to the May issue of All About Jazz, Pogo Pogo, or Joe Bat’s Arm, Newfoundland Monthly Edition! (my grandfather is rolling over in his grave at This month, we’re proud to announce a new the indignity I have just committed against columnist, Jeff Fitzgerald, and his new, er, him) — or WHEREVER you’ve been hiding column: The Genius Guide to Jazz. under a rock all this while — and check some Jeff, it seems, is blessed by genius and — of Metheny’s records out of the library. as is the case with many graced by voluminous The man is a guitar god, and it’s an intellect — he’s not afraid to share that fact honour and a privilege to have Allen Huotari’s with us.
    [Show full text]
  • City, University of London Institutional Repository
    City Research Online City, University of London Institutional Repository Citation: Lockett, P.W. (1988). Improvising pianists : aspects of keyboard technique and musical structure in free jazz - 1955-1980. (Unpublished Doctoral thesis, City University London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/8259/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] IMPROVISING PIANISTS: ASPECTS OF KEYBOARD TECHNIQUE AND MUSICAL STRUCTURE IN FREE JAll - 1955-1980. Submitted by Mark Peter Wyatt Lockett as a thesis for the degree of Doctor of Philosophy The City University Department of Music May 1988 TABLE OF CONTENTS Page No I List of Figures 3 IIListofRecordings............,........ S III Acknowledgements .. ..... .. .. 9 IV Abstract .. .......... 10 V Text. Chapter 1 .........e.e......... 12 Chapter 2 tee.. see..... S S S 55 Chapter 3 107 Chapter 4 ..................... 161 Chapter 5 ••SS•SSSS....SS•...SS 212 Chapter 6 SS• SSSs•• S•• SS SS S S 249 Chapter 7 eS.S....SS....S...e.
    [Show full text]
  • Joe Henderson: a Biographical Study of His Life and Career Joel Geoffrey Harris
    University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 12-5-2016 Joe Henderson: A Biographical Study of His Life and Career Joel Geoffrey Harris Follow this and additional works at: http://digscholarship.unco.edu/dissertations © 2016 JOEL GEOFFREY HARRIS ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School JOE HENDERSON: A BIOGRAPHICAL STUDY OF HIS LIFE AND CAREER A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Arts Joel Geoffrey Harris College of Performing and Visual Arts School of Music Jazz Studies December 2016 This Dissertation by: Joel Geoffrey Harris Entitled: Joe Henderson: A Biographical Study of His Life and Career has been approved as meeting the requirement for the Degree of Doctor of Arts in the College of Performing and Visual Arts in the School of Music, Program of Jazz Studies Accepted by the Doctoral Committee __________________________________________________ H. David Caffey, M.M., Research Advisor __________________________________________________ Jim White, M.M., Committee Member __________________________________________________ Socrates Garcia, D.A., Committee Member __________________________________________________ Stephen Luttmann, M.L.S., M.A., Faculty Representative Date of Dissertation Defense ________________________________________ Accepted by the Graduate School _______________________________________________________ Linda L. Black, Ed.D. Associate Provost and Dean Graduate School and International Admissions ABSTRACT Harris, Joel. Joe Henderson: A Biographical Study of His Life and Career. Published Doctor of Arts dissertation, University of Northern Colorado, December 2016. This study provides an overview of the life and career of Joe Henderson, who was a unique presence within the jazz musical landscape. It provides detailed biographical information, as well as discographical information and the appropriate context for Henderson’s two-hundred sixty-seven recordings.
    [Show full text]
  • Works Neu Updated 2001
    DANIEL SCHNYDER 467 CENTRAL PARK WEST APT. 4B NEW YORK / NEW YORK 10025 E-MAIL: [email protected] PHONE: 212-678 7873 FAX: 212-678 7940 Daniel Schnyder/Werkverzeichnis Music for Violin - Violin Concerto - Sonatine Exotique for Violin and Piano - String Trio (Violin, Viola Vc.) - String Quartet 1 - String Quartet 2 - String Quartet 3 - String Quintet (2 violins/ 2 violas/ vc) - String Sextet - Ritus (for string orchestra: Ed. Kunzelmann: Ed. C.F.Peters) - Memoires for tenor sax and string orchestra - Songbook for Saxophone and string orchestra - Miniatures for String Orchestra (Ed. Kunzelmann/ Ed. C.F. Peters) - Piano Trio - WALDEN TRIO (for Horn, Violin and Piano) - EAST (for violin bass and guitar) - ZOOM IN (for ss and string quartet or quintet plus bass and optional perc.) - ‘Suite for jazz soloist (Saxophone; Clarinet) and string quartet’ (classical and advanced jazz improvisation skills for ww. soloist are a must)(rec. on TARANTULA enja rec. by Daniel Schnyder) - Memoires - Yellow Beach Birds - No Smoking - Family Fotos - No Tuba Today - Mr. M (for Charles Mingus) - Wedding Song - Cairo MYTHOLOGY by Daniel Schnyder enja rec.: album “Mythology” scored for string quartet and jazz band: (bass /drums/2tp/sax) ---------------------------------- Arrangements for string quartet by Daniel Schnyder - Purple Haze (as recorded by Absolute Ensemble on Absolution enja) by Jimi Hendrix - Sympathy for the Devil (Rolling Stones) Arr. for String Quartet plus jazz soloist without or with rhythm section -‘In a Sentimental Mood’ by Duke Ellington -‘Peace by Horace Silver’ -‘Someday My Prince will Come’ -Vivaldi: unknown Opera Arias Arrangements for string sextet and jazz rhythm section plus sax.
    [Show full text]
  • João Gilberto
    SEPTEMBER 2019 VOLUME 86 / NUMBER 9 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; South Africa: Don Albert.
    [Show full text]
  • The Avant-Garde 15
    CURRENT A HEAD ■ 407 ORNETTE COLEMAN lonely woman CECIL TAYLOR bulbs CECIL TAYLOR willisau concert, part 3 ALBERT AYLER ghosts DAVID MURRAY el matador THE AVANT-GARDE 15 Forward March T e word “avant-garde” originated in the French military to denote the advanced guard: troops sent ahead of the regular army to scout unknown territory. In English, the word was adapted to describe innovative composers, writers, painters, and other artists whose work was so pioneering that it was believed to be in the vanguard of contemporary thinking. Avant-gardism represented a movement to liberate artists from the restraints of tradition, and it often went hand-in-hand with progressive social thinking. T ose who championed avant-garde art tended to applaud social change. T ose who criticized it for rejecting prevailing standards couched their dismay in warnings against moral laxity or political anarchy. In the end, however, all art, traditional or avant-garde, must stand on its merit, inde- pendent of historic infl uences. T e art that outrages one generation often becomes the tradition and homework assignments of the next: the paintings of Paul Cézanne and Pablo Picasso, music of Gustav Mahler and Claude Debussy, and writings of Marcel Proust and James Joyce were all initially considered avant-garde. Two especially promi- nent twentieth-century avant-garde movements gathered steam in the decades follow- ing the world wars, and jazz was vital to both. Sonny Rollins combined the harmonic progressions of bop with the freedom of the avant-garde and sustained an international following. He appeared with percussionist Victor See Yuen and trombonist Clifton © HERMAN LEONARD PHOTOGRAPHY LLC/CTS IMAGES.COM Anderson at a stadium in Louisiana, 1995.
    [Show full text]
  • Friday, Oct. 25 at the Graduate Center, Elebash Hall
    1 Friday, Oct. 25 at The Graduate Center, Elebash Hall Session 1: the 1950s & 60s in context 9:00-9:30 am, Eric Charry, “The Development of Cecil Taylor’s Musical Language in the 1950s and 1960s” Cecil Taylor’s new musical language is audible from his very first album, Jazz Advance, recorded in fall 1956 when he was 27 years old. By exploring the interplay of pianistic textures (interactions between the two hands) and directional gestures and contours (ascending or descending lines, moving or static clusters), Taylor created new stories to be told and laid the foundation for developments that have resounded to the present day. Taylor’s approach precluded the necessity for a steady pulse and meter, and with the arrival of drummer Sunny Murray in 1960 and bassist Henry Grimes in 1961 his unit began to join him in breaking through the musical forms of the day and forging new ones. Taylor’s innovations yielded an extraordinary burst of extended solo piano recordings, from Carmen with Rings (1967) and Praxis (1968) through Indent (1973) and Silent Tongues (1974). Few in Taylor’s generation systematized and wrote down the codes to their language for others to decipher, with exceptions like George Russell (1923-2009). Anthony Braxton (1945-) would do just that for his own music in his 5-volume Composition Notes (1988), which codified a system of 99 “sound classifications,” including gestures such as accelerating, gliss, long, low, parallel, and trills. The intellectual underpinnings of Braxton’s music from the late 1960s onward can be linked directly to Taylor’s breakthroughs.
    [Show full text]