Produzioni Cd & Libri Industria Del Jazz Solisti E Formazioni
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Myra Melford & Snowy Egret Language of Dreams
Saturday, November 19, 2016, 8pm Zellerbach Hall Myra Melford & Snowy Egret Language of Dreams Conceived and composed by Myra Melford Myra Melford’s Snowy Egret Myra Melford, piano, melodica, and sampler Ron Miles, cornet Liberty Ellman, guitar Stomu Takeishi, acoustic bass guitar Tyshawn Sorey, drums David Szlasa, video artist and lighting design Oguri, dancer and choreography Sofia Rei, narrator/spoken text Hans Wendl, artistic direction and production Texts excerpted from Eduardo Galeano’s Memory of Fire (Memoria del Fuego ) trilogy: Genesis (1982) Faces and Masks (1984) Century of the Wind (1986) Copyright 1982, 1984, 1986 respectively by Eduardo Galeano. Translation copyright 1985, 1987, 1988 by Cedric Belfrage. Published in Spanish by Siglo XXI Editores, México, and in English by Nation Books. By permission of Susan Bergholz Literary Services, New York, NY and Lamy, NM. All rights reserved. e creation and presentation of Language of Dreams was made possible by Yerba Buena Center for the Arts, a Guggenheim Fellowship, the Doris Duke Performing Artist Award, and a University of California Faculty Research Grant. Jazz residency and education activities generously underwritten by the Thatcher-Meyerson Family. n e s i o B s e l y M Myra Melford (far right) with Snowy Egret Language of Dreams I Prelude e Promised Land Snow e Kitchen II e Virgin of Guadalupe A Musical Evening For Love of Fruit/Ching Ching III Language IV Times of Sleep and Fate Little Pockets/Everybody Pays Taxes Market e First Protest V Night of Sorrow Day of the Dead e Strawberry VI Reprise – e Virgin of Guadalupe This performance will last approximately 75 minutes and will be performed without intermission. -
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 -
PROGRAM SOLITARY CONFINEMENT...CUONG VU (B. 1969)
PROGRAM ship to the New England Conservatory of Music, where he received his bachelor of music degree in Jazz Studies with a distinction in perform- ance. After moving to New York in 1994, Vu led several groups, most SOLITARY CONFINEMENT .................................... CUONG VU (b. 1969) notably his trio with Stomu Takeishi and Ted Poor, and toured exten- sively throughout the world, as well as giving clinics and master classes throughout the US and Europe. IT’S MOSTLY RESIDUAL .................................................................. VU Vu has released four recordings -- Bound (OmniTone), Pure (Knitting Factory Records), Come Play With Me (Knitting Factory Records) and VINA’S LULLABY ............................................................................. VU It's Mostly Residual (ArtistShare) -- to critical acclaim, each considered among the best recordings of their respective years. Each recording dis- MONK’S MOOD ............................... THELONIOUS MONK (1917-1982) plays how he has carved out a distinctive sonic territory on the trumpet while blurring all stylistic borders. ACCELERATED THOUGHTS .............................................................. VU His latest recording, Vu-Tet (ArtistShare), was released in mid- December 2007, featuring The Cuong Vu Trio and Chris Speed on sax I SHALL NEVER COME BACK ........................................................... VU and clarinet The recipient of numerous awards and honors, Vu was awarded the Colbert Award for Excellence: The Downtown Arts Project Emerging Artist Award. In 2002 and 2006, he received the Grammy for Best Contemporary Jazz Album as a member of the Pat Metheny Group. He was recognized as one of the top 50 young jazz artists in an article on “The New Masters” in the British magazine Classic CD, and in 2006 was named the Best International Jazz Artist by the Italian Jazz Critics’ Soci- ety. -
Musicnow CONCLUDES 2014/15 SERIES with PROGRAM FEATURING WORK by AVANT-GARDE JAZZ ARTISTS JOHN ZORN and MYRA MELFORD
FOR IMMEDIATE RELEASE: Press Contacts: May 21, 2015 Eileen Chambers, 312.294.3092 Rachelle Roe, 312.294.3090 Photos Available By Request [email protected] MusicNOW CONCLUDES 2014/15 SERIES WITH PROGRAM FEATURING WORK BY AVANT-GARDE JAZZ ARTISTS JOHN ZORN AND MYRA MELFORD Program Also Includes Works by Esa-Pekka Salonen and Chicago-based Composer Marc Mellits June 1 Concert Marks Final MusicNOW Program Curated by CSO’s Mead Composers-in-Residence Mason Bates and Anna Clyne Monday, June 1 at 7 p.m. at Harris Theater CHICAGO — The Chicago Symphony Orchestra’s (CSO) acclaimed MusicNOW series— dedicated to showcasing contemporary music through an innovative concert experience— concludes its 2014/15 season Monday, June 1, at 7 p.m. in a program led by MusicNOW principal conductor Cliff Colnot at the Harris Theater for Music and Dance in Millennium Park (205 E. Randolph Dr., Chicago). The June 1 concert marks the final MusicNOW program curated by the CSO’s Mead Composers-In-Residence Mason Bates and Anna Clyne, who have guided the vision and development for the concert series since their appointment by CSO Zell Music Director Riccardo Muti in 2010. The June 1 MusicNOW program is performed by musicians of the CSO and special guest musicians including composer, pianist and Chicago-area native Myra Melford. It features two works by Guggenheim Fellow Melford, as well as works by American avant-garde composer John Zorn, internationally-acclaimed composer/conductor Esa-Pekka Salonen and American composer Marc Mellits. The concert experience is enhanced by special visual elements created by the Chicago-based film making collective Cinema Libertad, as well as DJ sets from illmeasures before and after the concert. -
Fall 2018 Whole Notes
Fall 2018 WholeThe magazine for friends and alumni of the UniversityNotes of Washington School of Music IN THIS ISSUE School 2 . School News News 4 . Zakir Hussain From the Director 5 . IMPFest X Stays True to Form This issue of Whole Notes PROFESSOR PATRICIA CAMPBELL JOINS ASSOCIATION FOR 7 . 20 Questions with Larry Starr highlights only a few of the 9 . Faculty News triumphs and achievements CULTURAL EQUITY BOARD 10 . Passages of our students and faculty School of Music Professor Patricia Campbell has joined the board of the Association for in the 2017-18 academic year. Cultural Equity (ACE), accepting an invitation extended by Anna Lomax Wood, anthropologist 11 . New Publications and Recordings It also pays tribute to the and daughter of musicologist Alan Lomax. 12 . New Faculty friends whose support creates “ACE is the archive (recordings and films) of Alan Lomax, John Lomax (father), and Bess 13 . Q&A with Huck Hodge opportunities for learning and Lomax Hawes (sister) that encompasses historic recordings from about 1915 to the late 15 . Ted Poor: The Blues & Otherwise discovery at the University of 1990s, a goldmine of recordings that are highly valued by musicologists, ethnomusicologists, 17 . Making Appearances Washington School of Music. folklorists, historians, and Americanists of every sort,” Campbell says. As a member of the 19 . Faculty Profile: Cristina Valdés ACE board, Campbell expects to help with the development of teaching and learning projects In this issue we shine a spotlight related to the historical study of American music, a role for which she is abundantly qualified. 21 . Charles Corey, Partch Master General on a few of our outstanding “I’ve been involved for over a decade in developing resources for teaching/learning (as have 23 . -
Bio Information: JOEL HARRISON, LORENZO FELICIATI, CUONG VU, ROY POWELL, DAN WEISS Title: HOLY ABYSS (Cuneiform Rune 334)
Bio information: JOEL HARRISON, LORENZO FELICIATI, CUONG VU, ROY POWELL, DAN WEISS Title: HOLY ABYSS (Cuneiform Rune 334) Cuneiform publicity/promotion dept.: 301-589-8894 / fax 301-589-1819 email: joyce [-at-] cuneiformrecords.com (Press & world radio); radio [-at-] cuneiformrecords.com (North American radio) www.cuneiformrecords.com FILE UNDER: JAZZ “When you stare into the abyss the abyss stares back at you.” – Friedrich Nietzsche Full of foreboding and existential terror, the abyss resides in the darkest corners of the human imagination. Holy Abyss, a collaborative project between New York guitarist Joel Harrison and Italian bassist Lorenzo Feliciati, is an antidote to angst. Flowing from a deep communion between the artists, the album turns dread on its head, offering a series of expansive soundscapes full of lustrous harmonies, searching melodies and knowing interplay. Featuring trumpeter Cuong Vu, drummer Dan Weiss and Roy Powell on piano and Hammond B3 organ, the quintet reflects jazz’s increasingly international reach. Harrison and Weiss, musical comrades for many years, are New Yorkers, while longtime collaborators Feliciati and Powell hail from Rome and Oslo via the UK, respectively. Vu, who has toured and recorded with Feliciati and Powell, was born in Vietnam and is now based in Seattle, near where he grew up. The musicians are united by a passion for modern jazz unbounded by stylistic conventions. Open to sounds from around the world, they have all created music infused with electronics, odd meters, and uncommon timbres and tonal palettes. Holy Abyss opens with Harrison’s anguished ballad “Requiem for an Unknown Soldier,” which establishes the album’s elemental sensibility with its ethereal trumpet fanfare and slow burning guitar solo. -
Myra Melford and John Zorn
PROGRAM NOTES MUSICNOW: MYRA MELFORD AND JOHN ZORN Marc Mellits OCTET (2010) Duration: 14 minutes Instrumentation: String Octet Commissioned by the Syracuse Symphony Orchestra Premiered by the Syracuse Symphony Orchestra String Quartet & the Syracuse Symphony Youth Orchestra String Quartet on March 14 2010 at the John H. Mulroy Civic Center in Syracuse, New York Copyright/Publisher: Dacia Music The composer writes: “I composed my Octet during the winter of 2009-10. The majority of the music was written at the Banff Music Center, where I was invited to be an artist-in-residence in January 2010. The incredibly beautiful mountainous surroundings of the Banff Centre had a profound impact on me. My composing studio overlooked the Canadian Rockies, pristine and covered with snow and ice. The weather was brutal, with a level of cold I had never felt. This, juxtaposed with the astounding frozen beauty all around me, provided the inspiration for the music. My studio had a glorious enormous picture window that overlooked the Rockies. The music came quick and it came easy; before I knew it I had material for all four movements. The outer movements are aggressive and have the biting cold I felt, while the second and third movements reflect more of the warmth I felt inside, sharing my thoughts with a wide range of artists who were also in residence.” About the composer: Composer Marc Mellits is one of the leading American composers of his generation, enjoying hundreds of performances throughout the world every year, making him one of the most performed composers in the United States. -
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Contents | Zoom in | Zoom out For navigation instructions please click here Search Issue | Next Page DOWNBEAT 73RD ANNUAL READERS POLL KEITH JARRETT SONNY ROLLINS ORNETTE COLEMAN READERS POLL KEITH JARRETT SONNY ROLLINS 73RD ANNUAL DownBeat.com DECEMBER 2008 DECEMBER 2008 U.K. £3.50 Contents | Zoom in | Zoom out For navigation instructions please click here Search Issue | Next Page A D Previous Page | Contents | Zoom in | Zoom out | Front Cover | Search Issue | Next Page BEF MaGS _____________ ____________ A D Previous Page | Contents | Zoom in | Zoom out | Front Cover | Search Issue | Next Page BEF MaGS A D Previous Page | Contents | Zoom in | Zoom out | Front Cover | Search Issue | Next Page BEF MaGS ___________ A D Previous Page | Contents | Zoom in | Zoom out | Front Cover | Search Issue | Next Page BEF MaGS A D Previous Page | Contents | Zoom in | Zoom out | Front Cover | Search Issue | Next Page BEF MaGS December 2008 VOLUME 75 – NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Jason Koransky Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Kelly Grosser Intern Mary Wilcop 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]___________ Classified Advertising Sales Sue Mahal 630-941-2030 [email protected]___________ OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 -
May 2019 Vol
A Mirror and Focus for the Jazz Community May 2019 Vol. 35, No. 05 EARSHOT JAZZSeattle, Washington Seattle JazzED Girls Ellington Project Front Row: Ava Lim, Brooke Lambert, Kelly Clingan, Faye Alesse, Marcela Bonet, Emma Usui-Villareal Back Row: Flora Eagan, Shayla Felix, Parker Crotty, Sylvie Kromer, Celeste Gould, Alli Beaulieu, Jahnvi Madan, Grace Kaste, Lilia Sanders Photo by Michael Craft LETTER FROM THE DIRECTOR EARSHOT JAZZ A Mirror and Focus for the Jazz Community History Doesn’t Stop Executive Director John Gilbreath Managing Director Karen Caropepe Programs Manager Tara Peters Marketing & Development Associate Lucienne I’ve often wondered about histo- Aggarwal ry’s memory. Clearly, a major event that impacts our solid cultural Earshot Jazz Editors Lucienne Aggarwal & Tara Peters icons, like the recent fire at Notre Dame, will stop us in our tracks Contributing Writers Whitney Bashaw, and remind us that we don’t often Halynn Blanchard, Haley Freedlund, Rayna get to witness historical events in a Mathis, Peter Monaghan, Carlos Snaider way that allows us to draw our own Calendar Editors Casey Adams, Jane conclusions. But history accumu- Emerson, & Tara Peters lates on all levels at all times. That’s Photography Michael Craft the good news and the bad news. Layout Tara Peters Distribution Karen Caropepe, Dan Dubie & In one of Walter Mosely’s recent Earshot Jazz volunteers books, entitled John Woman, the protagonist is a Black professor of Send Calendar Information to: [email protected] “Deconstructivist History,” who calls into question just about every- Board of Directors Danielle Leigh thing we think we “know.” I hate to admit to the epiphany I had realizing, (President), John W. -
It Was Sometime in 1974 That a Number of Composition Students Were
It was sometime in 1974 that a number of composition students were sitting at a table in the cafeteria of the New England Conservatory discussing the various musical issues of the day when Donald Martino, one of our Faculty Fearless Leaders, turned to Anthony Coleman and said “You know, Anthony, you are a truly literate musician.” Over the years, this condition has only intensified. I remember this quote now, in 2007, not only because it was true at the time, but also because after listening to the music on this CD I am deeply impressed that Anthony is able to draw from so many varied, disparate, and even contradictory sources, and still emerge with such a singular and consistent voice. It takes a truly literate and sophisticated mind to perceive the common threads of many languages and to sense their underlying unity. Listening to any of the five works on this CD is to enter into a particular world, highly specific in material but nearly hallucinatory in formal development. The music starts, becomes linear, suspends, goes vertical, goes backward, goes forward, produces vague memories, and ends. What happened? Something. Anthony was born in New York City in 1955 and is a pure product of that city’s musical energy. In high school he obsessed over Duke Ellington (a not-so-common thing for a high school kid in the late sixties and early seventies), hearing the band live for the first time on his fourteenth birthday. He subsequently got to know Ellington and the band personally, hanging out with them at gigs, and attending a workshop that they gave at the University of Wisconsin in the summer of 1972. -
Freier Download BA 94 Als
BAD 94 ALCHEMY ...die zwei Grundmerkmale als Urfundament der Musik..., nach dem etwas nur dann als 'Musik' gelten kann, wenn es entweder über eine "elementare Großzügigkeit" verfügt, oder andererseits als "irgendein unartikuliertes Gebrüll" empfunden werden muss... Im "unartikulierten Gebrüll" als elementarer Bedingung ist enthalten, dass der Klang vom Schmerz des Daseins der Lebewesen ausgelöst wird. Demnach kann nichts als Musik gelten, was nicht vom verborgenen oder ausgedrückten Schmerz der Existenz erzählt, alles andere kann nur irgendein Blödsinn sein... György Szabados in einer Hommage an das musikalische Konzept von Bela Hamvas Der Teufel hole die Bücher, die einer versteht! Albert Paris Gütersloh Gelesen Boris Akunin - Fandorin ermittelt: Türkisches Gambit; Mord auf der Leviathan Claude Auclair - Simon. Zeuge der Zukunft 1- 5 Claude Auclair + Alain Riondet - Simon. Zeuge der Zukunft 6 - 9 John Barth - Die schwimmende Oper Christopher Ecker - Die letzte Kränkung T.S. Eliot - Old Possums Katzenbuch James Gordon Farrell - Troubles Annie Goetzinger - Pierre Christin - Detektei Hardy: Das verschwundene Parfum / Die schwache Spur / Das rote Gift Nikolaj Gogol - Die toten Seelen René Guénon - Der König der Welt Albert Paris Gütersloh - Eine sagenhafte Figur Béla Hamvas - Kierkegaard in Sizilien Fritz von Herzmanovsky-Orlando - Der Gaulschreck im Rosennetz; Das Maskenspiel der Genien Jurgis Kunčinas - Tūla Christian de la Mazière - Ein Traum aus Blut und Dreck Leonardo Padura - Ketzer François Schuiten + Benoît Peters - Nach Paris: Sternennacht Antanas Škėma - Das weiße Leintuch 2 Fahrt ins Blaue (Relaxin' in the Spirit of Jazz) Was tue ich im G ro ß e n S a a l der Würzburger Hochschule für Musik, der am 04. April 2017 anlässlich des Jubiläumskon- zertes zum 30. -
SPIRITUAL DIMENSIONS (Cuneiform Rune 290-291)
Bio information: WADADA LEO SMITH Title: SPIRITUAL DIMENSIONS (Cuneiform Rune 290-291) Cuneiform publicity/promotion dept.: 301-589-8894 / fax 301-589-1819 email: joyce [-at-] cuneiformrecords.com (Press & world radio); radio [-at-] cuneiformrecords.com (North American radio) www.cuneiformrecords.com FILE UNDER: JAZZ / IMPROVISATION “I decided at the very beginning that Golden Quartet would be a lifelong quartet of mine, no matter what the personnel was or which direction it might go, whether it goes to the Golden Quintet…The idea is that of one horn player and rhythym” – Wadada Leo Smith “...not only as inventive and adventurous as he was when he was a younger player, but his creativity and ability to direct a band into new territory is actually farther reaching than ever before. This is brilliant work.” – All Music Guide “The Golden Quartet is the closest thing to a standard jazz group that Wadada Leo Smith ever used to present his own music. …the music is lively, even explosive at time, yet still exquisitely balanced. …No other composer accommodates the independence of the individual and the unity of the ensemble in quite the way Smith does. …the collective sound always coheres into something purposeful and beautiful. Remarkably, the personalities and forces are kept in balance.”– Point of Departure “...a welcome reminder of Smith's continued importance in the continuum of creative improvised music.” – All About Jazz Lauded as “one of the most vital musicians on the planet” by Coda, Wadada Leo Smith is one of the most visionary, boldly original and artistically important figures in contemporary American jazz and free music, and one of the great trumpet players of our time.