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Seeing (For) Miles: Jazz, Race, and Objects of Performance
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2014 Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park anderson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, and the American Studies Commons Recommended Citation anderson, Benjamin Park, "Seeing (for) Miles: Jazz, Race, and Objects of Performance" (2014). Dissertations, Theses, and Masters Projects. Paper 1539623644. https://dx.doi.org/doi:10.21220/s2-t267-zy28 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park Anderson Richmond, Virginia Master of Arts, College of William and Mary, 2005 Bachelor of Arts, Virginia Commonwealth University, 2001 A Dissertation presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Doctor of Philosophy American Studies Program College of William and Mary May 2014 APPROVAL PAGE This Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Benjamin Park Anderson Approved by T7 Associate Professor ur Knight, American Studies Program The College -
THE SHARED INFLUENCES and CHARACTERISTICS of JAZZ FUSION and PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014
COMMON GROUND: THE SHARED INFLUENCES AND CHARACTERISTICS OF JAZZ FUSION AND PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master in Jazz Performance and Pedagogy Department of Music 2020 Abstract Blunk, Joseph Michael (M.M., Jazz Performance and Pedagogy) Common Ground: The Shared Influences and Characteristics of Jazz Fusion and Progressive Rock Thesis directed by Dr. John Gunther In the late 1960s through the 1970s, two new genres of music emerged: jazz fusion and progressive rock. Though typically thought of as two distinct styles, both share common influences and stylistic characteristics. This thesis examines the emergence of both genres, identifies stylistic traits and influences, and analyzes the artistic output of eight different groups: Return to Forever, Mahavishnu Orchestra, Miles Davis’s electric ensembles, Tony Williams Lifetime, Yes, King Crimson, Gentle Giant, and Soft Machine. Through qualitative listenings of each group’s musical output, comparisons between genres or groups focus on instances of one genre crossing over into the other. Though many examples of crossing over are identified, the examples used do not necessitate the creation of a new genre label, nor do they demonstrate the need for both genres to be combined into one. iii Contents Introduction………………………………………………………………………………… 1 Part One: The Emergence of Jazz………………………………………………………….. 3 Part Two: The Emergence of Progressive………………………………………………….. 10 Part Three: Musical Crossings Between Jazz Fusion and Progressive Rock…………….... 16 Part Four: Conclusion, Genre Boundaries and Commonalities……………………………. 40 Bibliography………………………………………………………………………………. -
Discourses of Decay and Purity in a Globalised Jazz World
1 Chapter Seven Cold Commodities: Discourses of Decay and Purity in a Globalised Jazz World Haftor Medbøe Since gaining prominence in public consciousness as a distinct genre in early 20th Century USA, jazz has become a music of global reach (Atkins, 2003). Coinciding with emerging mass dissemination technologies of the period, jazz spread throughout Europe and beyond via gramophone recordings, radio broadcasts and the Hollywood film industry. America’s involvement in the two World Wars, and the subsequent $13 billion Marshall Plan to rebuild Europe as a unified, and US friendly, trading zone further reinforced the proliferation of the new genre (McGregor, 2016; Paterson et al., 2013). The imposition of US trade and cultural products posed formidable challenges to the European identities, rooted as they were in 18th-Century national romanticism. Commercialised cultural representations of the ‘American dream’ captured the imaginations of Europe’s youth and represented a welcome antidote to post-war austerity. This chapter seeks to problematise the historiography and contemporary representations of jazz in the Nordic region, with particular focus on the production and reception of jazz from Norway. Accepted histories of jazz in Europe point to a period of adulatory imitation of American masters, leading to one of cultural awakening in which jazz was reimagined through a localised lens, and given a ‘national voice’. Evidence of this process of acculturation and reimagining is arguably nowhere more evident than in the canon of what has come to be received as the Nordic tone. In the early 1970s, a group of Norwegian musicians, including saxophonist Jan Garbarek (b.1947), guitarist Terje Rypdal (b.1947), bassist Arild Andersen (b.1945), drummer Jon Christensen (b.1943) and others, abstracted more literal jazz inflected reinterpretations of Scandinavian folk songs by Nordic forebears including pianist Jan Johansson (1931-1968), saxophonist Lars Gullin (1928-1976) bassist Georg Riedel (b.1934) (McEachrane 2014, pp. -
Windward Passenger
MAY 2018—ISSUE 193 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM DAVE BURRELL WINDWARD PASSENGER PHEEROAN NICKI DOM HASAAN akLAFF PARROTT SALVADOR IBN ALI Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East MAY 2018—ISSUE 193 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 NEw York@Night 4 Laurence Donohue-Greene: Interview : PHEEROAN aklaff 6 by anders griffen [email protected] Andrey Henkin: [email protected] Artist Feature : nicki parrott 7 by jim motavalli General Inquiries: [email protected] ON The Cover : dave burrell 8 by john sharpe Advertising: [email protected] Encore : dom salvador by laurel gross Calendar: 10 [email protected] VOXNews: Lest We Forget : HASAAN IBN ALI 10 by eric wendell [email protected] LAbel Spotlight : space time by ken dryden 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, Mark Keresman, Marilyn Lester, Miscellany 43 Suzanne Lorge, Marc Medwin, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Event Calendar 44 Andrew Vélez, Scott Yanow Contributing Writers Kevin Canfield, Marco Cangiano, Pierre Crépon George Grella, Laurel Gross, Jim Motavalli, Greg Packham, Eric Wendell Contributing Photographers In jazz parlance, the “rhythm section” is shorthand for piano, bass and drums. -
John Kelman All About Jazz
Live at Belleville Arild Andersen | ECM Records (2008) By John Kelman The general international perception of Norway's jazz scene as "Nordic Cool," is, like most generalizations, inevitably distanced from truth. Atomic, The Coreand Motif may possess no shortage of heat, but ECM has undeniably helped define that unmistakable Norwegian aesthetic. One of the "big four," brought to international attention in the early 1970s alongside guitarist Terje Rypdal, saxophonist Jan Garbarek, and drummer Jon Christensen, bassist Arild Andersen's ECM releases have largely avoided the kind of burning improvisational energy of his powerful trio disc Triptykon (1973), with Garbarek and Finnish drummer Edward Vesala. Live at Belleville—Andersen's first live album for ECM since his equally potent but stylistically different Molde Concert (1982)—recalls Triptykon's fiery intensity, but also reflects the same assimilation of traditional Norwegian music of albums including Sagn (1991). Live at Belleville is, like Triptykon, a trio date, featuring expat Italian drummer Paolo Vinaccia and Scottish saxophonist Tommy Smith. Andersen couldn't have made better choices. When Smith graduated from Berklee College of Music in the 1980s, his sound was a cogent combination of Jan Garbarek's biting tone and Michael Brecker's Americanized soulfulness. Since then his voice has become his own, but Garbarek and Brecker still loom and, while Garbarek's Mai Jazz 2008performance in Stavanger, Norway made clear he's still capable of edgy spontaneity, Smith has stayed more clearly within definable jazz borders, playing with a stunning combination of measured lyricism and inspired improvisational abandon. Vinaccia, a Norwegian resident for over 20 years, works regularly with Andersen and Rypdal, heard on the bassist's Electra (ECM, 2005) and guitarist's Vossabrygg(ECM, 2006). -
2015 NEA Jazz Masters 2015 NATIONAL ENDOWMENT for the ARTS
2015 NEA Jazz Masters 2015 NATIONAL ENDOWMENT FOR THE ARTS 2015 Fellows Carla Bley George Coleman Charles Lloyd Joe Segal NEA Jazz Masters 2015 Contents Introduction ..............................................................................1 A Brief History of the Program ................................................2 Program Overview ...................................................................5 2015 NEA Jazz Masters............................................................7 Carla Bley .......................................................................................8 George Coleman............................................................................9 Charles Lloyd ...............................................................................10 Joe Segal ......................................................................................11 NEA Jazz Masters, 1982–2015..............................................12 NEA Jazz Masters Awards Ceremony ...................................14 Pianist Jason Moran and guitarist Bill Frisell perform 2014 NEA Jazz Master Keith Jarrett’s “Memories of Tomorrow” at the 2014 awards concert. Photo by Michael G. Stewart The NEA is committed to preserving the legacy of jazz not just for this ”generation, but for future generations as well. ” IV NEA Jazz Masters 2015 IT IS MY PLEASURE to introduce the 2015 class of NEA Jazz Masters. The NEA Jazz Masters awards—the nation’s highest recognition of jazz in America—are given to those who have reached the pinnacle of their art: musicians -
Booking Agency Info
Kristin Asbjørnsen www.kristinsong.com Singer and songwriter Kristin Asbjørnsen is one of the most distinguished artists on the vibrating extended music scene in Europe. During the last decade, she has received overwhelming international response among critics and public alike for her unique musical expression. 2018 saw the release of Kristin’s Traces Of You. Based on her assured melodic flair and poetic lyrics, Kristin has on this critically acclaimed album explored new fields of music. Vocals, kora and guitars are woven creatively into a meditative and warm vibration, showing traces of West African music, lullabyes and Nordic contemporary jazz. Lyrical African ornaments unite in a playful dialogue with a sonorous guitar universe. Kristin sings in moving chorus with the Gambian griot Suntou Susso, using excerpts of her poems translated into Mandinka language. During 2019 Kristin will be touring in Europe in trio with the kora player Suntou Susso and guitarist Olav Torget, performing songs from Traces Of You, as well as songs from her afro-american spirituals repertoire. Kristin is well known for her great live-performances and she is always touring with extraordinary musicians. The Norwegian singer has featured on a number of album releases, as well as a series of tours and festival performances in Europe. Her previous solo albums I’ll meet you in the morning (2013), The night shines like the day (2009) and Wayfaring stranger (2006) were released across Europe via Emarcy/Universal. Wayfaring stranger sold to Platinum in Norway. Kristin made the score for the movie Factotum (Bukowski/Bent Hamer) in 2005. Kristin collaborates with the jazz pianist Tord Gustavsen (ECM). -
Pdf Document
100 YEARS OF RECORDED SOUND INSIDE THE ARCTIC CIRCLE: Music Collections at the National Library of Norway, Rana Division Trond Valberg (Senior Archivist, National Library of Norway)* The National Library of Norway, Rana Division (hereafter NB Rana), was founded in 1989 when Parliament passed its latest Legal Deposit Act. The decision to choose a location 1,000 km north of the capital was a political one. In connection with the establishment of NB Rana it was decided to build a huge storage vault blasted into the mountain. The constant rock temperature of 9°C during every season makes it suitable for long-term storage of different kinds of material. There are 42,000 metres of shelves on four floors, and we have already prepared for another storage vault. The mountain vaults can resist all conventional bombs. To some extent it is important to know the origin of our institution to understand the development of the collections and associated activities. In addition to its state-of-the art storage facilities, much focus has been made on building a good technical infrastructure. We have a fully- equipped conservation laboratory and a recording studio that can handle most analogue and digital formats. Our digital mass storage system became fully operational in 2001, serving both legal deposit documents and historical material. On the subject of finance, though, I have to add that due to our budget we have barely spent any money on buying records or CDs. Since NB Rana is not open to the general public, our services can only be accessed online or by contacting the staff by phone or in other ways. -
Sakspapirer Og Årsrapport NOPAS GENERALFORSAMLING 25
Sakspapirer og årsrapport NOPAS GENERALFORSAMLING 25. MAI 2020 Foto: Marthe Vee 4 INNHOLD [Innholdslisten er klikkbar] SAKSLISTE 7 Forretningsorden 8 ÅRSBERETNING 2019–2020 9 1. Styret og generalforsamling 12 2. Administrasjon 13 3. Medlemmer 14 4. Tillitsvalgte 16 5. Musikkpolitisk arbeid 16 6. Samarbeidspartnere 26 7. Faglige møteplasser 28 8. Priser 38 9. Tilskudd til skapende virksomhet 42 10. For medlemmer 44 11. Forvaltningsselskaper og andre virksomheter 46 12. Regnskap 50 13. Lister (tillitsvalgte, bevilgninger, arrangementer osv.) 52 ÅRSOPPGJØR 2019 78 ANDRE SAKER 88 Desisorrapport 89 Medlemskontingent for 2020 91 Honorar for NOPAs styre og komiteer 92 Valg og nominasjoner til styrer og utvalg 93 Kriterier for medlemskap i NOPA 103 Forslag til vedtektsendringer 104 ORIENTERINGSSAKER 119 NOPAs budsjett 2020 120 Stiftelsen Cantus. Årsberetning og regnskap for 2019 126 Komponistenes vederlagsfond. Årsberetning og regnskap for 2019 132 Tekstforfatterfondet. Årsberetning og regnskap for 2019 150 ORDLISTE 168 4 Lars Bremnes Foto: Martin Bremnes 6 TIL NOPAS MEDLEMMER Innkalling til digital generalforsamling MANDAG 25. MAI 2020 | KL. 14.00–18.00 SAKSLISTE SAK 1. KONSTITUERING A. Godkjenning av innkalling B. Godkjenning av saksliste C. Godkjenning av forretningsorden D. Valg av møteleder. Styrets forslag: Hans Marius Graasvold, NOPAs advokat E. Valg av referent. Styrets forslag: Tine Tangestuen, administrativ leder i NOPA F. Valg av to medlemmer til å undertegne protokollen G. Valg av tellekorps SAK 2. GODKJENNING AV NOPAS ÅRSBERETNING 2019–2020 SAK 3. GODKJENNING AV NOPAS ÅRSREGNSKAP 2019 SAK 4. GODKJENNING AV DESISORRAPPORT SAK 5. FASTSETTELSE AV MEDLEMSKONTINGENT FOR 2020 SAK 6. FASTSETTELSE AV HONORAR FOR NOPAS STYRE OG KOMITEER SAK 7. -
Red a M Register
"f I RED AM REGISTER ( VOLUME LXVD^NCX 6.- RED BA&& N. ^THURSDAY, AUGUST 1,1946. SECTION ONE-PAGES' *\k.±. <)O Rumson Show Place Funds To Protect Trailer Permit Boro Bus Company St. Mary's Honors? ** . • • • - Shore Highways To Roads, Streets Is Granted To Get* Four New Buses Congressman James C. Auchin- Two 39>passsnger Fords and two Of Nine Acres Sold cwis of Rumson today expressed 33-pawenger Reos, have recently Monsignor his great satisfaction that H. R. InMiddletown Belford Woman completed . the deliveries of new \& SOX has passed the Senate, with buses expected this year by the certain amendments, which have Ordinance Naming Middletown Committee Boro Bus company <>t Globe court Ray VanHorn Sells "Invermay" To been accepted by the House, which With the addition of these four, Bishop Griffin, Father Gillis would permit a contribution' by the Thoroughfares Passes Clarifies Plumbing after a year's delay, the concern's Federal governments toward the re- total; fleet has swelled to 48 ve- Mr. And Mrs. Wilbur A. Killeen pair of a sea wall to protect any First Reading Practice* hicles, 3$ of which are new. Seven- Deliver Principal Addresses publio highway from erosion by teen of the late models are Fords, waves and currents, and also for ' Two former curates -who "Invermiy," one of Rumson's The' Hlddletown township com- A license to place and occupy her 'the reft ire Reos, and all of them nationally known In the Cal most beautiful country estates, has the protection thereof by the build- are equipped with the most modern ing of an artificial beach. -
Nov/Dec 2017 Volume 21, Issue 5
Bimonthly Publication of the Central Florida Jazz Society BLUE NOV/DEC 2017 VOLUME 21, ISSUE 5 NOTES Joey Alexander, Grammy-nominated fourteen- year-old piano prodigy, released his latest album in homage to his lifelong hero Thelonious Monk. “Sometimes, when I’m just practicing, playing something else, new melodic and rhythmic ideas come to me and I realize I’m actually starting to compose a song. I think writing strong tunes comes from listening to so much music from composers and artists I like. I would say that Monk has had the greatest influence on me. Hearing his pieces so many times had a great impact on me and inspired me to write my own pieces. I actually find it harder to interpret other people’s songs than write my own, because I have to figure out and feel what the song is about and find a way to make it my own. Monk taught me to groove, bounce, understand space, be patient, be simple, sometimes be mysterious but, most of all, to be joyful. In my arrangements, I try to stay true to the essence of his music — to treat it with the highest level of respect. Monk’s music is the essence of beauty.” https://www.villagevoice.com/2017/10/10/18-jazz- pianists-pay-tribute-to-thelonious-monk-on-his-100th- birthday/ CFJS 3208 W. Lake Mary Blvd., Suite 1720 President’s Lake Mary, FL 32746-3467 [email protected] Improv http://centralfloridajazzsociety.com By Carla Page Executive Committee The very first thing I want to do is apologize for our last Blue Carla Page Notes. -
Curriculum Vitae
curriculum vitae Kjetil Traavik Møster musiker Skanselien 15 5031 Bergen mob. (+47) 90525892 e-post: [email protected] web: www.moester.no medlem av Gramart, Norsk Jazzforum f. 17/06/76 Bergen, Norge. UTDANNELSE: 2006-2012: Master i utøving jazz/improvisasjon, Norges Musikkhøgskole 1998-2002: Cand. mag. fra NTNU, Musikkonservatoriet i Trondheim, jazzlinja 3-års utøvende musikerutdanning (fordelt på 4 år) 1-års praktisk-pedagogisk utdanning (fordelt på to år) 1996-1997: Musikk grunnfag med etnomusikologi fordypning, NTNU, Universitetet i Trondheim 1995-1996: Sund Folkehøgskole, jazzlinga Annen utdannelse Examen artium, musikklinja, Langhaugen Skole 1995 ARBEID SOM MUSIKER: Har arbeidet som utøvende musiker siden år 2000, og er involvert i diverse prosjekter, bl.a. følgende: - Møster! (startet sommeren 2010) med Ståle Storløkken – orgel/keyboards, Nikolai Eilertsen – el.bass, Kenneth Kapstad – trommer. CD-utgivelse 2013, 2014, 2015 - Møster/Edwards/Knedal Andersen Friimprovisasjonstrio med John Edwards og Dag Erik Knedal Andersen, jevnlig turnéring fra høsten 2013 - Kjetil Møster med BIT20 Ensemble Skrev og fremførte et 30 minutters stykke for 16 stemmer pluss seg selv som solist for BIT20 Ensemble våren 2013 - Kjetil Møster Solo (Kongsberg Jazzfestival 2005, Soddjazz 2006, konserter i Norge 2004, 2005, 2006, 2010, 2011, Moldejazz 2011, turné i Skandinavia 2011, CD-utgivelse 2011) - The Heat Death Friimprovisasjonstrio med Martin Kuchen, Mats Äleklint, Ola Høyer og Dag Erik Knedal Andersen. Turnéring fra 2012, planlagt CD-utgivelse på portugisiske Clean Feed november 2015. - Kjetil Møster Sextet (startet sommeren 2006 i forbindelse med tildelingen av IJFO Jazz Talent Award. Inkluderer Anders Hana, gitar, Per Zanussi og Ingebrigt Håker Flaten, el. og kontrabass, Kjell Nordeson og Morten J.