Jazz Poetry Calendar

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Jazz Poetry Calendar on the All events Parking at Northside listed are Federal North 40 W. North Ave Free 1215 Federal St Thursday Friday Saturday Sunday 9/8 9/9 9/10 9/11 Grand Opening Ceremonies Svetlana Alexievich Nobel Prize in Literature, 2015 (Belarus) with Philip Gourevitch Writer at The New Yorker 5:00–6:30pm 8:00–9:30pm 9/15 9/16 9/17 9/18 Oliver Lake Bluiett, Humphries, Poetry World Saxaphone Quartet Musician and Poet Oliver Lake Musicians Roger Humphries and Poetry Hamiet Bluiett Musicians Oliver Lake, David with Poets Joy Katz Murray, Bruce Williams, and and Israel Centeno Hamiet Bluiett with Writers Osama Alomar and Adriana Ramirez 8:00–10:00pm 8:00–10:00pm 8:00–10:00pm 9/22 9/23 9/24 9/25 Jazz Poetry Jazz Poetry Pittsburgh Jazz Jam Pittsburgh Jazz Jam with Poets Chen Ko Hua, Alice with Poets Henriikka Tavi, Alice S. Yousef, Kwame Dawes, and S. Yousef, and Richard Blanco Tuhin Das 8:00–10:00pm 8:00–10:00pm 9/29 9/30 10/1 10/2 Fiction Reading Alexey Kruglov-Jaak Sooäär Alexey Kruglov-Jaak Sooäär Author Sjón Quartet Poetry Quartet Poetry Musicians Alexey Kruglov, Mihkel Musicians Alexey Kruglov, Mihkel Mälgand, Tanel Ruben, and Mälgand, Tanel Ruben, and Jaak Jaak Sooäär with Poets Rita Sooäär Malikonyte Mockus and Ekiwah with Poet Yona Harvey Adler-Beléndez 8:00–10:00pm 8:00–10:00pm 8:00–10:00pm 10/6 10/7 10/8 10/9 Mary Halvorson Tomas Fujiwara and the Thumbscrew Musician Mary Halvorson Hookup Musicians Mary Halvorson, Musicians Tomas Fujiwara, Mary Tomas Fujiwara, and Michael Halvorson, Michael Formanek, Formanek Dave Ballou, and Brian Settles Album Launch: Convallaria 8:00–10:00pm 8:00–10:00pm 8:00–10:00pm cityofasylum.org | sampsoniaway.org | 412.323.0278 City of Asylum @ Alphabet City Grand opening Svetlana Alexievich With Philip Gourevitch inner of the 2015 Nobel Prize in regime of Alexander Lukashenko, and Literature, Svetlana Alexievich fled Belarus in 2000. From 2006–2008 she Wwill be the guest of honor at lived as writer-in-residence in Gothenburg, the grand opening of City of Asylum @ one of the 50 cities in the International Alphabet City on September 9 & 10, 2016. Cities of Refuge Network (ICORN). Her We are excited to have her here to present own life story demonstrates why ICORN an inaugural address and public interview is both necessary and important, and we with The New Yorker writer Philip are proud that City of Asylum Pittsburgh Gourevitch. Their appearance will launch was chosen to be the U.S. headquarters of our expanded, year-round programming. ICORN. We also thank ICORN for helping arrange Alexievich’s visit. September 9–10 Alexievich faced persecution from the Oliver Lake ne of the greats of jazz Jaak Oand the genius behind our Jazz Poetry concerts since 2005. SooÄÄr Lake is one of the founders of the World Saxophone Quartet Quartet, which in 2007 + Alexey Kruglov was the first national jazz group to play at Jazz oming directly from one evening they will play their Poetry Concert. The WSQ CEstonia and Russia, this jazz adaptation of 19th century will return to launch our powerhouse group will perform Russian composers that ranges expanded jazz program. for several nights in different from the lyrical to the punkish. Lake will also premiere a configurations and collaborations September 15, 17 jazz-poetry solo act. September 29–October 1 with Pittsburgh jazz artists. On and... Musicians: Hamiet Bluiett and Roger Humphries World Saxophone Quartet Tomas Fujiwara and the Hook Up Thumbscrew Mary Halvorson More info on back City of Asylum creates a thriving community for writers, readers, and neighbors. We provide sanctuary for endangered literary writers, so they can continue to write and their voices are not silenced. We also offer a broad range of literary programs in a variety of community settings to encourage cross-cultural exchange. cityofasylum.org | sampsoniaway.org | 412.323.0278.

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The Saxophone Symposium: an Index of the Journal of the North American Saxophone Alliance, 1976-2014

Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2015 The aS xophone Symposium: An Index of the Journal of the North American Saxophone Alliance, 1976-2014 Ashley Kelly Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Kelly, Ashley, "The aS xophone Symposium: An Index of the Journal of the North American Saxophone Alliance, 1976-2014" (2015). LSU Doctoral Dissertations. 2819. https://digitalcommons.lsu.edu/gradschool_dissertations/2819 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE SAXOPHONE SYMPOSIUM: AN INDEX OF THE JOURNAL OF THE NORTH AMERICAN SAXOPHONE ALLIANCE, 1976-2014 A Monograph Submitted to the Graduate Faculty of the Louisiana State University and AgrIcultural and MechanIcal College in partIal fulfIllment of the requIrements for the degree of Doctor of MusIcal Arts in The College of MusIc and DramatIc Arts by Ashley DenIse Kelly B.M., UniversIty of Montevallo, 2008 M.M., UniversIty of New Mexico, 2011 August 2015 To my sIster, AprIl. II ACKNOWLEDGEMENTS My sIncerest thanks go to my committee members for theIr encouragement and support throughout the course of my research. Dr. GrIffIn Campbell, Dr. Blake Howe, Professor Deborah Chodacki and Dr. Michelynn McKnight, your tIme and efforts have been invaluable to my success. The completIon of thIs project could not have come to pass had It not been for the assIstance of my peers here at LouIsIana State UnIversIty.
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James Blood Ulmer (Left) and David Murray in New York City, March 7

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Wavelength (June 1983)

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The Avant-Garde in Jazz As Representative of Late 20Th Century American Art Music

THE AVANT-GARDE IN JAZZ AS REPRESENTATIVE OF LATE 20TH CENTURY AMERICAN ART MUSIC By LONGINEU PARSONS A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2017 © 2017 Longineu Parsons To all of these great musicians who opened artistic doors for us to walk through, enjoy and spread peace to the planet. ACKNOWLEDGMENTS I would like to thank my professors at the University of Florida for their help and encouragement in this endeavor. An extra special thanks to my mentor through this process, Dr. Paul Richards, whose forward-thinking approach to music made this possible. Dr. James P. Sain introduced me to new ways to think about composition; Scott Wilson showed me other ways of understanding jazz pedagogy. I also thank my colleagues at Florida A&M University for their encouragement and support of this endeavor, especially Dr. Kawachi Clemons and Professor Lindsey Sarjeant. I am fortunate to be able to call you friends. I also acknowledge my friends, relatives and business partners who helped convince me that I wasn’t insane for going back to school at my age. Above all, I thank my wife Joanna for her unwavering support throughout this process. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS .................................................................................................. 4 LIST OF EXAMPLES ...................................................................................................... 7 ABSTRACT
Recorded Jazz in the 20Th Century

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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.
O. Lake Big Band

Oliver Lake Big Band ! Biography Whether composing commissioned works for Pro Musica Chamber Orchestra and the Brooklyn Philharmonic; creating chamber pieces for Arditti and Flux String Quartets, Amherst Sax Quartet and San Francisco Contemporary Players ; arranging for Bjork, Lou Reed and A Tribe Called Quest; collaborating with poets Amiri Baraka and Ntozake Shange; choreographers Ron Brown and Marlies Yearby; vocalist Mary Redhouse, kumongo player Jin Hi Kim, and bamboo ﬂute player Shuni Tsou; performing with Anna Devere Smith and Patricia Williams; sharing the stage with Mos Def and Me'shell Ndegeocello; or leading his own Organ Quartet, Big Band and cooperative ensembles the World Saxophone Quartet and Trio 3; Oliver views it all as parts of the same whole. Oliver Lake Big Band Lake attributes much of his diverse array of musical styles and disciplines to his experience with the Black Artists Group (BAG), the legendary multi-disciplined and innovative St. Louis collective he co-founded with poets Ajule Rutlin, and musicians Julius Hemphill and Floyd La Flore over 35 years ago. As a co-founder of the internationally acclaimed World Saxophone Quartet with Hemphill, Hamiet Bluiett and David Murray, Oliver continues to work with a variety of groups, and collaborates with several notable choreographers, poets and a veritable Who's Who of the progressive jazz scene, performing all over the U.S., Europe, Japan, the Middle East, Africa and Australia. In addition to his musical endeavors, Oliver is also an accomplished poet, painter and performance artist. He has published two books of poetry, has exhibited and sold his artwork internationally, and has toured the country with his one-man performance piece, Matador of 1st and 1st.
Julius Hemphill the Hard Blues Mp3, Flac, Wma

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Uptown Conversation : the New Jazz Studies / Edited by Robert G

uptown conversation uptown conver columbia university press new york the new jazz studies sation edited by robert g. o’meally, brent hayes edwards, and farah jasmine griffin Columbia University Press Publishers Since 1893 New York Chichester, West Sussex Copyright © 2004 Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin All rights reserved Library of Congress Cataloging-in-Publication Data Uptown conversation : the new jazz studies / edited by Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin. p. cm. Includes index. ISBN 0-231-12350-7 — ISBN 0-231-12351-5 1. Jazz—History and criticism. I. O’Meally, Robert G., 1948– II. Edwards, Brent Hayes. III. Griffin, Farah Jasmine. ML3507.U68 2004 781.65′09—dc22 2003067480 Columbia University Press books are printed on permanent and durable acid-free paper. Printed in the United States of America c 10 9 8 7 6 5 4 3 2 1 p 10 9 8 7 6 5 4 3 2 1 contents Acknowledgments ix Introductory Notes 1 Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin part 1 Songs of the Unsung: The Darby Hicks History of Jazz 9 George Lipsitz “All the Things You Could Be by Now”: Charles Mingus Presents Charles Mingus and the Limits of Avant-Garde Jazz 27 Salim Washington Experimental Music in Black and White: The AACM in New York, 1970–1985 50 George Lewis When Malindy Sings: A Meditation on Black Women’s Vocality 102 Farah Jasmine Griffin Hipsters, Bluebloods, Rebels, and Hooligans: The Cultural Politics of the Newport Jazz Festival, 1954–1960 126 John Gennari Mainstreaming Monk: The Ellington Album 150 Mark Tucker The Man 166 John Szwed part 2 The Real Ambassadors 189 Penny M.
Monterey Jazz Festival

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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.