DOCSLIB.ORG

For the Love of Ornette

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
For the Love of Ornette LE RASSEGNE MUSICALI DEL VECCHI-TONELLI A CARPI FOR THE LOVE OF ORNETTE Domenica 19 maggio • Carpi, Auditorium San Rocco • ore 21 Ensemble di residenza, Centro Musica di Modena e Vecchi-Tonelli Orchestrazioni e Direzione di Marco Visconti Prasca Journey (poetry) ENSEMBLE DA CAMERA Teresa Morandini, flauto For The Love Of Ornette Massimilano Pepe, oboe Federico Scarso, clarinetto Interlude #1 Gianluca Pagliara, corno basso elettrico e saxofono contralto Luca Tassi, tromba Natalia Abbascià, violino East Wind Diego Bellaviti, violino Simona Nocetti, viola Interlude #2 Martina Silva, violoncello basso elettrico e voce ( ENSEMBLE JAZZ Celestial Conversation Filippo Gibertoni, sax baritono Giacomo Bertocchi, sax alto Interlude #3 Filippo Cassani, sax tenore basso elettrico e batteria Natale Gulotta, tromba Pierluigi Tartabini, trombone Drum& Space Federico Rubin, tastiere Riccardo Cocetti, batteria Tacuma Song Jamaaladeen Tacuma, basso Clarissa Colucci e Cecilia Preste, voci Celebration On Prince Street ’idea di realizzare un brano musicale esteso e pre-composto, al di là della consuetudine jazzistica – una sorta di Jazz Opera - scaturì sin dal primo incontro tra Jamaaladeen Tacuma e Marco Visconti-Prasca “Lnel 2012 a Salford (U.K.) in occasione di un concerto di musica contemporanea Europea (Laborintus II di Luciano Berio e Tort di Simon Best) che vedeva l’uno impegnato come solista-improvvisatore e l’altro nelle vesti di direttore. Con la realizzazione di questo lavoro musicale si vuole offrire l’opportunità a dei giovani musicisti presenti sul territorio regionale, interessati sia alla musica Afro-Americana/Jazz quanto alla Musica Contemporanea (Europea), di partecipare attivamente ad una produzione musicale di alto profilo artistico incentrata sulla vicenda umana e professionale che ha legato Jamaaladeen Tacuma ad Ornette Coleman. Si tratta, dunque, del progetto di una composizione su vasta scala la cui drammaturgia si svolga attorno all’evoluzione della musica di Jamaaladeen Tacuma attraverso l’influenza della concezione musicale di Coleman: un continuum di idee melodiche che sono tanto il significante di quello che sta accadendo quanto il nucleo generativo di quello che accadrà. For The Love Of Ornette è anche il titolo di un album registrato da Jamaaladeen Tacuma nel 2010 e dedicato al suo mentore, Ornette Coleman, che partecipò alla registrazione.” Jamaaladeen Tacuma, (Hempstead, 1956) Artista, produttore, performer, arrangiatore, innovatore e bassista elettrico. Lo statunitense Jamaaladeen Tacuma, cresciuto artisticamente a Philadelphia, fin dagli anni ‘70 ha basato la propria carriera sull’obiettivo di ridefinire il concetto di cosa e come un bassista dovrebbe suonare. Notato dal leggendario sassofonista Ornette Coleman, è entrato a far parte della sua formazione elettrica Prime Time, e ha suonato in tantissime registrazioni storiche di Coleman come ‘Dancing In Your Head’, ‘Body Meta’ e ‘Of Human Feelings’. Tacuma ha esordito come leader nel 1983 con l’album ‘Showstopper’, primo di una lunga serie di opere che negli anni hanno riconfermato la sua capacità di muoversi fra i più diversi generi musicali. Negli anni ha collaborato con musicisti del calibro di Vernon Reid (Living Color), G. Calvin Weston (Ornette Coleman, John Laurie, Medeski, Martin & Wood), Peter Murphy (Bauhaus), Pharoah Sanders, Grover Washington Jr., David Murray, Odean Pope, Wolfgang Puschnig e James Carter, oltre a musicisti provenienti da generi differenti come rock e hip-hop fra cui: The Roots, DJ King Britt, DJ Logic, Jeff Beck, Carlos Santana e Marc Ribot. Marco Visconti-Prasca (Milano, 1957) – Compositore, direttore e saxofonista. La sua musica è stata eseguita e diretta da: John McDonald (USA), Rohan de Saram (UK), Anna Maria Morini, (Italia) Roger Marsh (UK), l’Orchestra Sinfonica G. Verdi (Italia), il Brave New Works Ensemble (USA) ed il Black Hair Ensemble (UK). Ha diretto big bands ed ensembles da camera per Jamaaladeen Tacuma, David Murray, Markus Stockhausen e James Newton. Dal 2007 è stato direttore musicale per due stagioni del Live Streaming Music Workshop di Edimburgo. Come solista free-lance e leader di propri ensembles ha lavorato con David Liebman, Bobby Watson, Lee Konitz, Enrico Pieranunzi e Slide Hampton; si è esibito in ensembles diretti da George Lewis, John McDonald, Bob Brookmeyer e Jimmy Knepper ed ha collaborato con compositori-improvvisatori quali J. Tacuma, Stephen Davismoon, Ken Ueno, Will Edmondes, Damien Harron, Joelle Leandre e gli italiani Enrico Intra, Marco Colonna e Ivano Nardi oltre a collaborazioni con con artisti visivi, attori, danzatori e con poeti. Visconti-Prasca insegna alla “Civica Scuola di Musica” di Milano ed ha tenuto corsi, seminari e conferenze in Italia e negli U.S.A. (Conservatorio “G.B. Martini” di Bologna, Harvard University, New England Conservatory, The Atlantic Center for the Arts, Conservatorio “Giuseppe Verdi”, Milano)..
Load more

Recommended publications
  • Downloaded For
    bioRxiv preprint doi: https://doi.org/10.1101/470237; this version posted November 14, 2018. The copyright holder for this preprint (which was not certified by peer review) is the author/funder, who has granted bioRxiv a license to display the preprint in perpetuity. It is made available under aCC-BY-NC-ND 4.0 International license. 1 Emotion Schemas are Embedded in the Human Visual System 2 Philip A. Kragel1,2*, Marianne Reddan1, Kevin S. LaBar3, and Tor D. Wager1* 3 1. Department of Psychology and Neuroscience and the Institute of Cognitive Science, University of 4 Colorado, Boulder, CO, USA 2. Institute for Behavioral Genetics, the University of Colorado, Boulder, CO, USA 3. Department of Psychology and Neuroscience and the Center for Cognitive Neuroscience, Duke University, Durham, NC, USA 5 6 *corresponding authors: [email protected], [email protected] bioRxiv preprint doi: https://doi.org/10.1101/470237; this version posted November 14, 2018. The copyright holder for this preprint (which was not certified by peer review) is the author/funder, who has granted bioRxiv a license to display the preprint in perpetuity. It is made available under aCC-BY-NC-ND 4.0 International license. Kragel, Reddan, LaBar, and Wager Visual Features of Emotions 7 Abstract 8 Theorists have suggested that emotions are canonical responses to situations ancestrally linked to survival. If so, 9 then emotions may be afforded by features of the sensory environment. However, few computationally explicit 10 models describe how combinations of stimulus features evoke different emotions. Here we develop a 11 convolutional neural network that accurately decodes images into 11 distinct emotion categories.
    [Show full text]
  • The Evolution of Ornette Coleman's Music And
    DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY by Nathan A. Frink B.A. Nazareth College of Rochester, 2009 M.A. University of Pittsburgh, 2012 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Nathan A. Frink It was defended on November 16, 2015 and approved by Lawrence Glasco, PhD, Professor, History Adriana Helbig, PhD, Associate Professor, Music Matthew Rosenblum, PhD, Professor, Music Dissertation Advisor: Eric Moe, PhD, Professor, Music ii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Copyright © by Nathan A. Frink 2016 iii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Ornette Coleman (1930-2015) is frequently referred to as not only a great visionary in jazz music but as also the father of the jazz avant-garde movement. As such, his work has been a topic of discussion for nearly five decades among jazz theorists, musicians, scholars and aficionados. While this music was once controversial and divisive, it eventually found a wealth of supporters within the artistic community and has been incorporated into the jazz narrative and canon. Coleman’s musical practices found their greatest acceptance among the following generations of improvisers who embraced the message of “free jazz” as a natural evolution in style.
    [Show full text]
  • Arxiv:1811.02435V1 [Cs.CL] 6 Nov 2018
    WordNet-feelings: A linguistic categorisation of human feelings Advaith Siddharthan · Nicolas Cherbuin · Paul J. Eslinger · Kasia Kozlowska · Nora A. Murphy · Leroy Lowe Abstract In this article, we present the first in depth linguistic study of hu- man feelings. While there has been substantial research on incorporating some affective categories into linguistic analysis (e.g. sentiment, and to a lesser extent, emotion), the more diverse category of human feelings has thus far not been investigated. We surveyed the extensive interdisciplinary literature around feelings to construct a working definition of what constitutes a feeling and propose 9 broad categories of feeling. We identified potential feeling words based on their pointwise mutual information with morphological variants of the word \feel" in the Google n-gram corpus, and present a manual annotation exercise where 317 WordNet senses of one hundred of these words were cate- gorised as \not a feeling" or as one of the 9 proposed categories of feeling. We then proceded to annotate 11386 WordNet senses of all these words to create WordNet-feelings, a new affective dataset that identifies 3664 word senses as feelings, and associates each of these with one of the 9 categories of feeling. arXiv:1811.02435v1 [cs.CL] 6 Nov 2018 WordNet-feelings can be used in conjunction with other datasets such as Sen- tiWordNet that annotate word senses with complementary affective properties such as valence and intensity. · Advaith Siddharthan, Knowledge Media Institute, The Open University, Milton Keynes MK7 6AA, U.K. E-mail: [email protected] · Nicolas Cherbuin, College of Medicine Biology and Environment, Australian National Uni- versity, Acton, ACT 2601, Australia.
    [Show full text]
  • The Bern Nix Trio:Alarms and Excursions New World 80437-2
    The Bern Nix Trio: Alarms and Excursions New World 80437-2 “Bern Nix has the clearest tone for playing harmolodic music that relates to the guitar as a concert instrument,” says Ornette Coleman in whose Prime Time Band Nix performed from 1975 to 1987. Melody has always been central to Nix's musical thinking since his youth in Toledo, Ohio, where he listened to Duane Eddy, The Ventures, Chet Atkins, and blues guitarist Freddie King. When his private instructors Don Heminger and John Justus played records by Wes Montgomery, Charlie Christian, Django Reinhardt, Barney Kessel, and Grant Green, Nix turned toward jazz at age fourteen. “I remember seeing Les Paul on TV. I wanted to play more than the standard Fifties pop stuff. I liked the sound of jazz.” With Coleman's harmolodic theory, jazz took a new direction—in which harmony, rhythm, and melody assumed equal roles, as did soloists. Ever since Coleman disbanded the original Prime Time Band in 1987, harmolodics has remained an essential element in Nix's growth and personal expression as a jazz guitarist, as evidenced here on Alarms and Excursions—The Bern Nix Trio. The linear phrasing and orchestral effects of a jazz tradition founded by guitarists Charlie Christian, Grant Green and Wes Montgomery are apparent in Nix's techniques, as well as his clean-toned phrasing and bluesy melodies. Nix harks back to his mentors, but with his witty articulation and rhythmical surprises, he conveys a modernist sensibility. “I paint a mustache on the Mona Lisa,” says Nix about his combination of harmolodic and traditional methods.
    [Show full text]
  • James Blood Ulmer (Left) and David Murray in New York City, March 7
    James Blood Ulmer (left) and David Murray in New York City, March 7 By Howard Mandel | Photography by Jack Vartoogian/FrontRowPhotos big, bearish man sat before a microphone at the lip of the stage, growling out simple, declarative rhymes while plucking raw discords and jagged melody fragments from a Gibson electric guitar in his lap. To his left, 15 cramped musicians xed their eyes on the hand gestures and body language of their conductor, a somewhat smaller man in a blue Asuit and ope n-collar white shirt, who sometimes turned to face the audience and blow his tenor sax. When he did so, he thrust his head forth and sound check on that day early last spring. “He is as much a part of harmolodics as Ornette. To jaw out, puffed his cheeks, hunched his shoul- was the rst horn player to read my music off me, harmolodics grew out of the way Blood plays ders and, rocking in rhythm, projected a stream the score. When he’d just come to New York”— naturally.” of burry notes that cut a broad path through which was in 1978, as a graduate of Pomona Ulmer’s natural way of playing is earthy, rich the thicket of sound he’d just waved up from College in California—“he played on six of with overtones, insistent yet also unpredictable. the musicians, demonstrating the myriad ways my records, starting with Are You Glad To He grew up poor in St. Matthews, S.C., and rst a song might turn or take off. His musicians Be In America? and in the Music Revelation played a contraption his father made him.
    [Show full text]
  • Race (1999; Excerpt) Tially What Distinguishes That Stance from Its Superficial Imitations-From Posturing
    266 Joel Rudinow musician's commitment to jazz, the ultimate concern, proposed that the sub-cultural attitudes that produced the music as a profound expression of human feelings, could be learned. ... And Negro music is essentially the expression of an attitude, or a collection of attitudes about the world, and only secondarily an attitude about the way music is made. The white jazz musician carne to understand this attitude as a way of making music, and the intensity of his understanding produced the "great" white jazz musicians, 35 and is producing them now, 30 In other words, the essence of the blues is a stance embodied and articulated in sound and poetry, and what distinguishes authentic from inauthentic blues is essen­ Race (1999; excerpt) tially what distinguishes that stance from its superficial imitations-from posturing. I think that if we wish to avoid ethnocentrism, as we would wish to avoid racism, what we should say is that the authenticity of a blues performance turns not on the ethnicity of the performer but on the degree of mastery of the idiom and the integri­ Russell A. Potter ty of the performer's use of the idiom in performance. This last is delicate and can be difficult to discern. But what one is looking for is evidence in and around the per­ formance of the performer's recognition and acknowledgement of indebtedness to When people worldwide refer to American music, they often mean, by way of shorthand, sources of inspiration and technique (which as a matter of historical fact do have an black music.
    [Show full text]
  • Booking Folder 2014
    Open for gigs Europe Period: February 2014 Soundscapes Groove Improvisation Artist Line up: G.Calvin Weston Drums and Vocals Harry Triendl Touch guitar, Keyboards, Vocals Krzysztof Majchrzak Bass and electric Guitar Travelparty : 3 Open dates in February 2014 : 1st, 5th, 7th e and the 9th Contact: Basic information Monica Scheepers Paul Keijzer E; [email protected] E: [email protected] M: +31625 100 300 T: +3170 - 30 40 489 S: Monicaways M:+31683.974 085 MO-Music Talent Soundscapes - Groove - Improvisation A trio that blends in then cruise around sound frequencies and improv movements, funk- jazz- fusion its all spontaneous and all in real time. Nothing is planned out nothing is written. It’s all from the heart and the soul and full of imagination! Just use your mine and ears and go with the spirits !! G. Calvin Weston - Drums and Vocals Weston has blazed a harmolodic, funkadelic trail through modern jazz. This record is a culmination of recordings made on the West Coast and his hometown of Philadelphia. Weston puts his Midas touch on electronics and acoustic instruments that blow the socks off any jazz-rock poser out there. Listen to the man who funked-up Ornette Coleman in the 1970s. “Weston lays down a ferocious groove with ecstatic shouts … tugging rhythmic displacements that tease like thunder and lightning throughout.” - All About Jazz Krzysztof Majchrzak - Bass and electric Guitar After a period of active participation in the creation of a new wave of Polish jazz, he has settled in France. His musical universe is at the crossroads of different musical cultures and different ABOUT sources of inspiration from contemporary music through harmolodic to rock, jazz and ethnic music).
    [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]
  • Memorable Sticks Press Release Final
    Contact: Sheena Hong +1 (617) 816-6522 [email protected] Spring 2016 For-tune Album release: Sean Noonan “Memorable Sticks" “…it’s safe to say that you’ve never heard music like this before…will have you wondering why Sean Noonan isn’t a household name.” – Mark Saleski, Blogcritics.org The Spring 2016 release of “Memorable Sticks" is a reflection of how Drummer/composer Sean Noonan sees himself, a modern-day sonic griot. In the spirit of those traveling African storytellers, Noonan wanders the world gathering stories, legends, and folklore like a punk-jazz Alan Lomax. The treasures that he finds along the way are filtered through his distinctive vision to become the unpredictable and far-ranging sounds of Noonan’s wide-spectrum music, which combines the eloquence of an Irish bard, the narrative rhythms of Samuel Beckett, and the raw physicality of a street-smart boxer. "Memorable Sticks” is available on For-tune Records, is an electric epic experience taking hold of funk punked-up jazz new music utilizing Noonan's "wandering folk music theory”. With “Memorable Sticks", Noonan adopts a magical scepter (The Immortal Rod (Wiekopomna Laska) to dig the depths of the Wieliczka underworld revealing "Hidden Treasures" protected by its treasurer, Skarbnik and apparition "White Lady Bieliczka”. Bieliczka appears with her Krasnolodki (dwarfs) in tears courting Noonan to carry her from the salt mine. The Immortal Rod (Wiekopomna Laska) is a symbol of power and authority in the salt mine, and is always in the Foreman's possession. When the miners chip away at a wall of salt, the clatter of their pickaxes resounds from wall to wall, from floor to ceiling and, finding no outlet, soaks into the saline bedrock.
    [Show full text]
  • Toward Machines with Emotional Intelligence
    Toward Machines with Emotional Intelligence Rosalind W. Picard MIT Media Laboratory Abstract For half a century, artificial intelligence researchers have focused on giving machines linguistic and mathematical-logical reasoning abilities, modeled after the classic linguistic and mathematical-logical intelligences. This chapter describes new research that is giving machines (including software agents, robotic pets, desktop computers, and more) skills of emotional intelligence. Machines have long been able to appear as if they have emotional feelings, but now machines are also being programmed to learn when and how to display emotion in ways that enable the machine to appear empathetic or otherwise emotionally intelligent. Machines are now being given the ability to sense and recognize expressions of human emotion such as interest, distress, and pleasure, with the recognition that such communication is vital for helping machines choose more helpful and less aggravating behavior. This chapter presents several examples illustrating new and forthcoming forms of machine emotional intelligence, highlighting applications together with challenges to their development. 1. Introduction Why would machines need emotional intelligence? Machines do not even have emotions: they don’t feel happy to see us, sad when we go, or bored when we don’t give them enough interesting input. IBM’s Deep Blue supercomputer beat Grandmaster and World Champion Gary Kasparov at Chess without feeling any stress during the game, and without any joy at its accomplishment,
    [Show full text]
  • Why We Listen to Sad Music: Effects on Emotion and Cognition
    Fachbereich Erziehungswissenschaft und Psychologie der Freien Universität Berlin Why We Listen to Sad Music: Effects on Emotion and Cognition Dissertation zur Erlangung des akademischen Grades Doktorin der Philosophie (Dr. phil.) Doctor of Philosophy (Ph.D.) vorgelegt von Liila Taruffi (M.Sc./M.A.) Berlin, 2016 Erstgutachter: Univ.-Prof. Dr. Stefan Koelsch (University of Bergen) Zweitgutachter: Univ.-Prof. Dr. Arthur M. Jacobs (Freie Universität Berlin) Disputation: 21. Dezember 2016 II In memory of Riccardo Taruffi 1922 - 2013 III Eidesstattliche Erklärung Hiermit erkläre ich an Eides statt, • dass ich die vorliegende Arbeit selbständig und ohne unerlaubte Hilfe verfasst habe, • dass ich mich nicht bereits anderwärts um einen Doktorgrad beworben habe und keinen Doktorgrad in dem Promotionsfach Psychologie besitze, • dass ich die zugrunde liegende Promotionsordnung vom 02.12.2008 kenne. Berlin, den 30.05.2016 Liila Taruffi IV Table of Contents Acknowledgements ..........................................................................................VIII English Summary ............................................................................................. IX Deutsche Zusammenfassung ........................................................................... XI List of Figures .................................................................................................. XIV List of Tables .................................................................................................... XV List of Abbreviations .......................................................................................
    [Show full text]
  • OBITUARY: ORNETTE COLEMAN 1930-2015 by John Fordham
    OBITUARY: ORNETTE COLEMAN 1930-2015 by John Fordham* ______________________________________________________ [This obituary appeared in The Guardian, London, on June 12, 2015, and can be read there at this link https://www.theguardian.com/music/2015/jun/11/ornette- coleman.] Ornette Coleman performing in New Orleans in 2003. PHOTO CREDIT SIPA PRESS/REX SHUTTERSTOCK he appearance of Ornette Coleman, who has died aged 85, at the Barbican in London in 2001, with a supporting cast of rappers, dancers, video artists, sufi T vocalists, opera singers and Chinese traditional musicians, spectacularly symbolised this self-taught musician’s lifelong conviction that all good music is one. Back in London eight years later as the curator of the Meltdown festival, the dynamic Coleman did it again (this time with the singer-poet Patti Smith, the Senegalese griot Baaba Maal, guitarist Bill Frisell and a Moroccan drum choir), and found himself mobbed by fans crowding down the aisles of the Royal Festival Hall to shake his hand, long after the concert’s last chord had faded. It was a spontaneous display of gratitude for a gently indomitable vision that had radically changed the music of _______________________________________________________ *John Fordham is a British jazz critic and writer. As well as being the main jazz critic for The Guardian, he publishes a monthly column for the newspaper. He is the author of several books on jazz, and has reported on it for publications including Time Out, City Limits, Sounds, Jazz UK and The Wire. 1 the previous half-century not just by revolutionising the intonation, phrasing and shared languages of jazz bands and soloists, but also by offering new ways for contemporary musicians in all genres to communicate with each other.
    [Show full text]