Piano, Bass, Computers, Conductor): a Partial List of Improvisers with Whom I Have Performed, and the Context(S)
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Jazz Services National Touring Support Scheme Data 1992 – 2011
Jazz Services National Touring Support Scheme Data 1992 – 2011 Presented By: Steve French Computer Consultant Jazz Services 132 Southwark Street London SE1 0SW Telephone: 0207 928 9089 Email: [email protected] Website: www.jazzservices.org.uk Facebook: British Jazz Twitter:@jazzservices 15th March 2012 Table of Contents FOREWORD ......................................................................................................................... 3 1. GENERAL ACTIVITY: FINANCIAL YEARS 1992-2011.................................................... 4 1.1 TABLE 1: Data Relating to the Financial Years April to March 1992/2011 .............................. 4 1.2 TABLE 1: Notes to the figures .................................................................................................. 5 2. BAND ACTIVITY: FINANCIAL YEARS 1992-2011 ........................................................... 6 2.1 TABLE 2: Data Relating to Band Award for Financial Years April to March 1992/2011 .......... 6 2.2 TABLE 2: Notes to the figures .................................................................................................. 7 3. REGIONAL STATISTICS 1992-2011 ................................................................................ 8 3.1 TABLE 3: Number of gigs by Financial Year and Region ........................................................ 8 3.2 TABLE 4: Gigs by Financial Year and Region as a Percentage 1992-2011 ............................ 9 3.3 TABLE 5: Number of gigs by Financial Year and Region as a % 1992-2011 ....................... -
Mcintosh MA352 HYBRID VALVE AMPLIFIER 10 Transistor Power but with Valve Sound
VINYL NEWS AND REVIEWS SECTION SEE PAGE 80 HI-FIHI-FIFEBRUARY 2020 UK £4.50 WORLDWORLDwww.hi-fiworld.co.uk FREE READER CLASSIFIED ADS IN THIS ISSUE! McINTOSH COMPETITION MA352 WIN A AUDIO TECHNICA ! Exclusive OC9X SL CARTRIDGE hybrid amplifier WORTH £660! (UK ONLY) KLIPSCH HERITAGE THE SIXES loudspeaker CHORD ELECTRONICS HUEI phonostage FEBRUARY 2020 TECHNICS SL-G700 network/sacd player ACOUSTIC ENERGY AE500 LOUDSPEAKERS SIVE! MUTECH MC3+ USB SMART CLOCK EXCLU PRO-JECT VC-E VINYL CLEANER MEASUREMENT B&W PX7 WIRELESS NC HEADPHONES FIVE PAGES OF LETTERS - THE BEST WINS A PAIR OF KEF Q150 LOUDSPEAKERS! (UK ONLY) [master] The definitive version. Ultimate performance, bespoke audiophile cable collection Chord Company Signature, Sarum and ChordMusic form the vanguard of our cable ranges. A master collection that features our latest conductor, insulation and connector technology. High-end audiophile quality at a realistic price and each one built to your specific requirements. Arrange a demonstration with your nearest Chord Company retailer and hear the difference for yourself. Designed and hand-built in England since 1985 by a dedicated team of music-lovers. Find more information and a dealer locator at: www.chord.co.uk chordco-ad-HFW-MAR19-MASTER-002a.indd 1 07/05/2019 13:57:32 welcome EDITOR alves can be a bit troublesome. If you’re lucky big ones responsible Noel Keywood for producing power will last a few thousand hours, but then need e-mail: [email protected] replacing. However, small ones that don’t dissipate power will sol- dier on past 10,000 hours – and what’s more they cost little, in the DESIGN EDITOR £10-£20 region. -
Re-Issues Reviews
Re-issues Reviews Home To the reviews index News A healthy nihilism goes all bellicose for the poet who turns his pen into a sword. Interviews In the most Orwellian of years Joseph Smalkowski, or Copernicus, decided it was time Reviews for his verses to not only produce a verbal music but also put some external sound to the words - and got himself a kindred-minded band. "Let the musicians declare war!!" goes Index "I Know What I Think", and they do so, indeed, with a full-blown aural onslaught onto DVD which the leader lays his punky stentorian chant. Deranged delight! - unlike the mournful Magazines recital of "Let Me Rest" clocking at 11.11. Books But the opener "I Won't Hurt You" delivers on its sweet, slithery, soulful promise that Specials either skanks or slides to form the most romantic song Copernicus could offer. Still, COPERNICUS - being himself he couldn't help but break such an innocence in the sonic terror of Photo Nothing Exists "Nagasaki", hung on an urgent, oscillating and scintillating rock 'n' roll guitar riff. It's here that the poet denies the existence of everything, him included, so "Atomic Nevermore" Links Nevermore 1984 spreads its spoken word over the emotional desert which somehow makes the listener MoonJune 2010 explore the album's dry landscape again. DME/Personal ***1/2 Guestbook Mail me The original angularity seeps away for guitar to feed on - and feedback - on a honeysuckle vine. Having tapped into the fusion fad of the day with "Bundles", the machinists might have thought they arrived at the right station, yet the restless passenger in Allan Holdsworth knew better. -
Joe Bonner Rashaad Kagris Urs Leimgruber Roberto Magris Byron Morris John Tchicai Frank Walton Cape Town Jazz Fest
THE INDEPENDENT JOURNAL OF CREATIVE IMPROVISED MUSIC Joe Bonner Rashaad Kagris Urs Leimgruber Roberto Magris Byron Morris John Tchicai Frank Walton Cape Town Jazz Fest International Jazz News CD Reviews Book Reviews DVD Reviews Obituaries Volume 42 Number 3 July Aug Sept 2016 THE DIFFERENT DRUMMER... IS ON OUR LABEL WWW.INNOVA.MU TWO GREAT BRAZILIAN JAZZ RELEASES BY AAM MUSIC CAROL SABOYA “CAROLINA” On her second solo release for the U.S. market, Carol Saboya presents “Carolina”. a suite of exquisite compositions by master composers such as Antonio Carlos Jobim, Pixinguinha, Joao Bosco, Edu Lobo, Djavan, Lennon and McCartney, and Sting. Her new CD is sure to become a classic. ANTONIO ADOLFO “TROPICAL INFINITO" On the heels of two consecutive Latin Grammy nominations in 2014 and 2015 for Best Instrumental Album, Antonio Adolfo pres- ents his latest work, “Tropical Infinito.” Continuing to mine the authentic samba jazz vein that is his specialty, Antonio offers his unique take on pieces by Benny Golson, Oliver Nelson and Horace Silver, and works in four of his own compositions. On this release, Antonio and his octet work to recreate the energy and intensity of "gafieiras" -- dance parties that were a prominent feature of Rio de Janeiro nightlife in the 1960s. CDs available at ITunes, Amazon, CDBaby and more… AAM music www.aammusic.com NICK FRASER QUARTET STARER Nick Fraser: drums, compositions Tony Malaby: saxophones Andrew Downing: cello Rob Clutton: bass "Nick Fraser's drumming is like a tide rushing in, its momentum surging and receding with engulfing force and polyrhythmic spray, cradling and upending its accompanying voices as it pours out into sonic space. -
Une Discographie De Robert Wyatt
Une discographie de Robert Wyatt Discographie au 1er mars 2021 ARCHIVE 1 Une discographie de Robert Wyatt Ce présent document PDF est une copie au 1er mars 2021 de la rubrique « Discographie » du site dédié à Robert Wyatt disco-robertwyatt.com. Il est mis à la libre disposition de tous ceux qui souhaitent conserver une trace de ce travail sur leur propre ordinateur. Ce fichier sera périodiquement mis à jour pour tenir compte des nouvelles entrées. La rubrique « Interviews et articles » fera également l’objet d’une prochaine archive au format PDF. _________________________________________________________________ La photo de couverture est d’Alessandro Achilli et l’illustration d’Alfreda Benge. HOME INDEX POCHETTES ABECEDAIRE Les années Before | Soft Machine | Matching Mole | Solo | With Friends | Samples | Compilations | V.A. | Bootlegs | Reprises | The Wilde Flowers - Impotence (69) [H. Hopper/R. Wyatt] - Robert Wyatt - drums and - Those Words They Say (66) voice [H. Hopper] - Memories (66) [H. Hopper] - Hugh Hopper - bass guitar - Don't Try To Change Me (65) - Pye Hastings - guitar [H. Hopper + G. Flight & R. Wyatt - Brian Hopper guitar, voice, (words - second and third verses)] alto saxophone - Parchman Farm (65) [B. White] - Richard Coughlan - drums - Almost Grown (65) [C. Berry] - Graham Flight - voice - She's Gone (65) [K. Ayers] - Richard Sinclair - guitar - Slow Walkin' Talk (65) [B. Hopper] - Kevin Ayers - voice - He's Bad For You (65) [R. Wyatt] > Zoom - Dave Lawrence - voice, guitar, - It's What I Feel (A Certain Kind) (65) bass guitar [H. Hopper] - Bob Gilleson - drums - Memories (Instrumental) (66) - Mike Ratledge - piano, organ, [H. Hopper] flute. - Never Leave Me (66) [H. -
Dean Free Improv
"phenomenal musicianship" (Sydney Morning Herald, 1995) "incredible interaction" (The Wire, UK, 1996) "cutting edge ... eclectic ... consummate" (BBC Radio 3, UK, 1997) "intelligent musical innovation .... the sound world took the ear into alluring and unexplored domains" (Sydney Morning Herald, 2005) "those doyens of computerised music" (Sydney Morning Herald, 2008) "creates amazing soundscapes" (Sydney Morning Herald, December 2009) On Roger Dean: ‘trail-blazing’, 'earthy approach', ‘surprising and disquieting’, ‘exquisite’, ‘crystalline or tumultuous’, ‘brilliant musicianship’, ‘exploding with vivacity'. (John Shand of the Sydney Morning Herald, 2013) An activity of austraLYSIS, an international ensemble creating and performing new sound and intermedia arts, based in Sydney, Australia. www.australysis.com Roger Dean: Free Improviser/piano and/or laptop A major strand in the work of Roger Dean (composer/improviser) is Free Improvisation, solo and group, with Dean performing on piano and/or laptop. He has performed free improv at iconic venues such as the Little Theatre Club (1970’s-80s) and Café Oto (2011,2013--), and on the South Bank (London), at Bracknell Jazz Festival, at the ISCM World Music Days (Denmark), and around Asia and Australasia. He has worked in solo, duo and ensemble contexts, with people such as Derek Bailey, Connie Bauer, Jim Fulkerson, Barry Guy, The London Jazz Composers’ Orchestra, Oren Marshall, Maggie Nichols, Tony Oxley, Evan Parker, Eddie Prevost, Paul Rutherford, Veleroy Spall and Ken Wheeler. He made some innovative free improvisation recordings such as the 1970-1987 LPs Dualyses, and Superimpositions (reissued on CD in 2013), and included solo free improvisation on many other albums (such as his very first, LYSIS Live, 1975; reissued on CD by Future Music Records). -
Graham Collier / Cuneiform Records 01/18/2007 11:09 Am
GRAHAM COLLIER / CUNEIFORM RECORDS 01/18/2007 11:09 AM Graham Collier's site GRAHAM COLLIER Graham Collier is one of the best known and most important British jazz composers and over a 40 year career, his list of compositions and commissions has grown to encompass ensembles around the world. He is well-known as an author and educator, having written seven books on jazz. Hoarded Dreams is a previously unreleased long-form composition heard here in a powerful live performance from 1983 by an international all-star band that includes Tomasz Stanko, Conny Bauer, Malcolm Griffiths, Eje Thelin, Ed Speight, Roger Dean, Ted Curson, John Surman, Manfred Schoof, Kenny Wheeler, Art Themen and many others. " I came across the phrase “Hoarded Dreams” in a book...it seemed an ideal title for this commission, [which] is the realisation of the jazz composer’s constant dream: to be able to hand-pick a group of star musicians to perform a long composition written with absolutely no outside restrictions… . HOARDED Overall the piece inhabits (as indeed does most of my writing) that area DREAMS between the purely written and the purely improvised."-Graham Collier. The energy of the ensemble performing the piece in front of a large and enthusiastic RUNE 252 audience is very obvious on the recording and there's some great soloing as well as ensemble passages. "The instrumentation is that of the classic big jazz band, yet it is deployed in a highly untraditional way.… 70 minutes of dazzling solos and exchanges, what really could be described as musical fireworks." - The New Statesman "You couldn’t tell where improvisation ended and writing took over…. -
Soft Machine-SWITZERLAND 1974-PR
Bio information: SOFT MACHINE Title: SWITZERLAND 1974 (Cuneiform Rune 395/396) Format: CD/DVD Cuneiform promotion dept: (301) 589-8894 / fax (301) 589-1819 email: joyce [-at-] cuneiformrecords.com (Press & world radio); radio [-at-] cuneiformrecords.com (North American & world radio) www.cuneiformrecords.com FILE UNDER: CANTERBURY / JAZZ ROCK / FUSION Cuneiform Records Release Classic 1974 Bundles-Era Soft Machine Performance Featuring Allan Holdsworth On Guitar And Filmed at One of Europe’s Most Esteemed Jazz Festivals As A Dual DVD+CD Package At the end of 1973, the British band Soft Machine embarked on a fresh start. In December 1973, it added guitarist Allan Holdsworth (recently with Jon Hiseman’s Tempest, and previously Nucleus) to its line-up, which then consisted of Soft Machine founding member and keyboardist Mike Ratledge, along with pianist and saxophonist Karl Jenkins, bass player Roy Babbington, and drummer John Marshall. Jenkins and Ratledge then composed a whole new repertoire, which the band road-tested on extensive tours of North America and continental Europe in the first half of 1974. That material eventually made up Soft Machine’s eighth recording, the first not named after its order of release: the album Bundles, widely acknowledged as a jazz-rock / fusion classic. When released by EMI’s Harvest Label in early 1975, Bundles would secure Soft Machine’s role in the transcontinental jazz-rock pantheon alongside Return To Forever and Mahavishnu Orchestra in the USA, and Nucleus, Brand X, and Isotope in the UK. Soft Machine’s status in the international jazz/rock avant-garde was widely apparent even before Bundles’ official release. -
The Jazz Rag
THE JAZZ RAG ISSUE 135 WINTER 2015 UK £3.25 CONTENTS FESTIVALS 2015 JAZZ RAG'S PICK OF THE 2015 JAZZ FESTIVALS (PAGES 18-21) PEPPER OF PEPPER AND THE JELLIES PHOTOGRAPHED BY MERLIN DALEMAN AT THE 2014 BIRMINGHAM JAZZ AND BLUES FESTIVAL. THE ITALIAN GROUP IS DUE TO RETURN TO BIRMINGHAM THIS YEAR. 4 NEWS 6 UPCOMING EVENTS 8 DIGBY'S HALF DOZEN AT 20 10 VIC ASH (1930-2014) 11 MIKE BURNEY REMEMBERED 12 2014'S TOP TRUMPET: SUBSCRIBE TO THE JAZZ RAG STEVE WATERMAN THE NEXT SIX EDITIONS MAILED 14 BERNARD 'ACKER' BILK (1929-2014) DIRECT TO YOUR DOOR FOR ONLY A LIFE IN PHOTOGRAPHS £17.50* Simply send us your name. address and postcode along with your 16 HAPPY 100TH BIRTHDAY TO THE payment and we’ll commence the service from the next issue. JAZZ KIDS OF 1915 OTHER SUBSCRIPTION RATES: SCOTT YANOW CUTS THE CAKE FOR EU £20.50 USA, CANADA, AUSTRALIA £24.50 BILLIE, FRANK AND THE REST Cheques / Postal orders payable to BIG BEAR MUSIC 22 CD REVIEWS Please send to: JAZZ RAG SUBSCRIPTIONS PO BOX 944 | Birmingham | England 32 BEGINNING TO CD LIGHT * to any UK address THE JAZZ RAG PO BOX 944, Birmingham, B16 8UT, England UPFRONT Tel: 0121454 7020 NOW LISTEN TO JAZZ RAG! Fax: 0121 454 9996 London’s first internet jazz radio station jazzlondonradio.com covers a wide range Email: [email protected] of music, with extended programmes of both classic and contemporary jazz every Web: www.jazzrag.com afternoon. Former Director of Jazz Services Chris Hodgkins is the presenter of Jazz Then and Now on Mondays and Wednesdays at 3.00 pm and 8.00 pm. -
Orchestre National De Jazz
François Gautier président Brigitte Marger directeur général titre de cycle La France a l’originalité d’avoir inventé la formule, unique au monde, d’un big band national trouvant pérennité et identité dans la rotation des chefs et des musiciens, et le renouvellement des projets. La quinzaine de musiciens qui consti- tue de manière tournante l’Orchestre National de Jazz a ainsi donné, depuis 1986, sa couleur et sa dynamique à cet ensemble, alors que dans le même temps, la direction musicale se voyait confiée successivement à François Jeanneau, Antoine Hervé, Claude Barthélémy, Denis Badault, Laurent Cugny et Didier Levallet (depuis 1997). Au moment où les liens entre La Villette et l’Orchestre National de Jazz se concré- tisent - notamment par un projet d’installation de cet ensemble sur le Parc -, la cité de la musique est heureuse d’accueillir l’ONJ pour une soirée « carte blanche » qui permettra d’utiliser le savoir-faire de ses quinze musiciens au fil de plusieurs manifestations : conférence, concert de création, programmes pour le jeune public. Une « carte blanche » que Didier Levallet voit comme une manière sup- plémentaire de « construire une unité où l’écriture et improvisation (sous ses approches les plus diverses) se prolongent et se nourrissent mutuellement ». 2| cité de la musique mardi autour de l’improvisation 15 décembre - 18h30 amphithéâtre du musée par Didier Levallet conférence Cette conférence-concert permettra d’aborder les dif- férentes approches de l’improvisation dans le jazz : - l’improvisation tonale structurée, la forme thème- variations-thème, la paraphrase mélodique, l’impro- visation harmonique ; - le système modal et la forme ouverte, la référence aux musiques extra-européennes ; - la combinaison de ces modes de jeu dans le jazz d’aujourd’hui. -
Ho Avuto Fortuna: Ero Nei Paraggi
Interviste TIM HERBERT ALAN WAKEMAN Ho avuto fortuna: ero nei paraggi di Claudio Bonomi ■ I principali progetti cui oggi stai la- vorando sono molto diversi: hai i tuoi Rockin’ Hams, che rendono omaggio al sound degli anni Cinquanta, e gli Interplay, un gruppo fusion. Comincio dai Rockin’ Hams, il cui nome deriva da un gioco di parole a proposito dei Lord Rockingham’s IX, che erano l’at- trazione fissa diOh Boy!, il primo rock’n’roll show apparso sulla televisione commercia- le britannica, nel 1957. La band registrò anche alcune cose, arrivando in cima alle classifiche conHoots Mon, rivisitazione del famoso tradizionale scozzese A Hundred Pipers. Quello che mi ha sempre attratto è che la band schierasse come strumen- ■ E gli Interplay? ■ Sei molto attivo nell’area di Nort- ti principali quattro sassofoni (due tenori Il leader è il bassista Adrian Litvi- hampton, dove vivi? e due baritoni), una vera novità per quei noff, che conoscevo da anni ma con Suono con Richard Baker, il tromboni- tempi. Uno dei sassofonisti originali era cui ci eravamo persi di vista per mol- sta degli Interplay, in diverse formazio- Benny Green, noto critico jazz, e uno dei to tempo, finché non ci siamo ritro- ni. Una è il Royal Civil’s Swing Circus, due tenori era Red Price, jazzista ed ex vati in occasione di un mio concerto quintetto che interpreta standard pop e membro della Ted Heath Band. Ho dun- a Northampton. In quell’occasione jazz. Inoltre accompagno diversi musi- que trascritto per i miei Rockin’ Hams mi ha raccontato che stava formando cisti: una pianista che si chiama Rachel brani strumentali che vanno dagli anni una band e che gli sarebbe piaciuto Johnson, la cantante statunitense Susan Quaranta fino agli inizi degli anni Settan- coinvolgermi. -
IH in Shaftesbury Avenue - the Formative Years 1961-66
Journal of education and development History - compiled by Brita Haycraft IH in Shaftesbury Avenue - the formative years 1961-66 By Brita Haycraft IH first opened in London in the Covent Garden area in 1959, as described in the article ‘IH in Covent Garden: then and now’ which also tells how the Haycrafts then managed to rent Shaftesbury Avenue and on what pre- carious terms. Many will remember those exuberant founding years. Its fundamental principles made IH and still apply. See Recollections sent by contemporaries on p. 7 40 SHAFTESBURY AVENUE was the first 1961 was the era of swinging London with decent premises John and I managed to rent for our espresso bars and the first pizzerias, pre-Beatles school. Not only was it very near Piccadilly Circus in a and Carnaby Street. Foreigners had always passed busy street lined with theatres, restaurants and pubs, here and now began to enter our International whose name few foreigners could pronoun ce, but also House at number 40. IH would indeed experience it was spacious. many firsts here1. Our Endell Street teachers and students happily trans- ferred to the new building, confirmed via a battered old address book. Some students now also worked in admin - Gisela did our accounts, ingeniously storing receipts and ledgers in the boxed-in old washbasins, Reception was manned by Marie-Claude and Muriel2 who also typed for John and often baby-sat for us in Blackheath. She brought us Marina, our beautiful Swiss au pair girl, the first to go from Beginner to Proficiency in one year.