DOCSLIB.ORG

Příloha: Diskografie Scotta Lafaro

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Příloha: Diskografie Scotta Lafaro Příloha: Diskografie Scotta LaFaro Zdroj: Helene LaFaro: Jade Visions - The Life and Music of Scott LaFaro / Chuck Ralston - Scott LaFaro Discography, University of North Texas, USA, 2009 Níže uvedená alba jsou chronologicky řazena podle data nahrání. Uvedeno je vždy původní vydání alba. 1. Shorty - Tunes: Buddy Morrow and His Orchestra, Standard Radio Transcription Services, Inc., 1956?, ST-1039 2. Golden Trombone: Buddy Morrow and His Orchestra, Mercury Record Corp., 1956? MG-20221 3. Let's Have a Dance Party! Buddy Morrow and His Orchestra, RCA Camden, 1956?, CAL-381.1 4. The 2 Trumpet Geniuses of the Fifties, Brownie & Chet: Clifford Brown and Chet Baker, Philology Records (Itálie), vydáno v 80. letech, 214 W 13.1 5. The Arrival of Victor Feldman, Contemporary Records, 1958, C-3549 / S-7549 6. Cal Tjader Stan Getz Sextet, Fantasy Records, 1958, LP-3266 / LPS-8005 7. For Real! Hampton Hawes Quartet, Contemporary Records, 1961?, S-7589 8. Live Date: Buddy DeFranco and His Septette, Verve, 1958, MG-V-8383 9. Kamuca Feldman Tjader: Featuring Scott LaFaro, Vantage Records (Japonsko), 1991, NLP 5007 10. Jazz at A.N.A. (Army and Navy Academy) - 2nd All Star Concert, vydáno First Classmen of Army and Navy Academy, 1958 11. Joe Gordon and Scott LaFaro: West Coast Days, Fresh Sound, Španělsko, 1992, FSCD-1030 12. Harold Land Quartet: Jazz at Tge Cellar, 1958, Lone Hill Jazz, Španělsko, 2007, LHJ-10291 13. This Is Pat Moran: The Pat Moran Trio, Audio Fidelity, 1958, AFLP-1875 / AFSD-5875 14. Beverly Kelly Sings with the Pat Moran Trio, Audio Fidelity, 1958, AFLP-1874 15. The Broadway Bit: The Modern Touch of Marty Paich, Warner Brothers, 1959, WB-1296 / WS-1296 16. The Stan Kenton Orchestra in Concert, Hindsight Records, 1997, HCD- 612 17. Latinsville! Victor Feldman, An Unusual Meeting of Jazz Stars and Authentic Afro - Cuban Rhythms, Contemporary Records, 1960, M-5005 18. Gypsy: Herb Geller and His All Stars, Atco Records, Division of Atlantic, 1960? 33-109 19. Sung Heroes: (Tony Scott) Featuring Bill Evans, ScottLaFaro, Paul Motian, Sunnyside Communications, Inc., 1989, SSC-1015-D 20. Dedications: (Tony Scott) Featuring Bill Evans, ScottLaFaro, Paul Motian, Juan Sastre and Shinichi Yuize, Core Records, Německo, 1989, COCD 9.00803 O 21. Portrait in Jazz: Bill Evans Trio, Riverside, 1960, RLP 1162 22. The 1960 Birdland Sessions: The Legendary Bill Evans Trio, Cool N' Blue Records, Švýcarsko, 1992, C&B-CD 106 23. Booker Little, Time, 1960, S-2011 24. 1960: Steve Kuhn, Scott LaFaro, Pete LaRoca, Polystar Co., Ltd, Japonsko, 2005, MTCJ-3024 1 25. Jazz Abstractions: Compositions by Gunther Schuller and Jim Hall, Atlantic, 1961, 1365 26. Free Jazz: A Collective Improvisation by the Ornette Coleman Double Quartet, Atlantic, 1960, 1364 27. Ornette! Atlantic London Records, Ltd., 1961, SAH-K 6235 28. Explorations: The Bill Evans Trio, Riverside, 1961, RLP-351 29. Stan the Man, (Stan Getz), Verve, 1984, 815 239-1 30. Memories for Scotty: Don Friedman with Scott LaFaro, Insight Records, Japonsko, 1988, 32CJ-3 31. Bill Evans Trio: Sunday at the Village Vanguard, Riverside, 1961, RLP 376 32. Bill Evans: The Complete Live at the Village Vanguard 1961, Victor Entertainment, Japonsko, 2002, VICJ-60951-3 33. Waltz for Debby: Bill Evans Trio, Riverside, 1961, RLP 9399 34. Miles Davis / Stan Getz: Tune Up, Natasha Imports, 1992, NI-4008 2 .
Load more

Recommended publications
  • Apr-May 1980
    MODERN DRUMMER VOL. 4 NO. 2 FEATURES: NEIL PEART As one of rock's most popular drummers, Neil Peart of Rush seriously reflects on his art in this exclusive interview. With a refreshing, no-nonsense attitude. Peart speaks of the experi- ences that led him to Rush and how a respect formed between the band members that is rarely achieved. Peart also affirms his belief that music must not be compromised for financial gain, and has followed that path throughout his career. 12 PAUL MOTIAN Jazz modernist Paul Motian has had a varied career, from his days with the Bill Evans Trio to Arlo Guthrie. Motian asserts that to fully appreciate the art of drumming, one must study the great masters of the past and learn from them. 16 FRED BEGUN Another facet of drumming is explored in this interview with Fred Begun, timpanist with the National Symphony Orchestra of Washington, D.C. Begun discusses his approach to classical music and the influences of his mentor, Saul Goodman. 20 INSIDE REMO 24 RESULTS OF SLINGERLAND/LOUIE BELLSON CONTEST 28 COLUMNS: EDITOR'S OVERVIEW 3 TEACHERS FORUM READERS PLATFORM 4 Teaching Jazz Drumming by Charley Perry 42 ASK A PRO 6 IT'S QUESTIONABLE 8 THE CLUB SCENE The Art of Entertainment ROCK PERSPECTIVES by Rick Van Horn 48 Odd Rock by David Garibaldi 32 STRICTLY TECHNIQUE The Technically Proficient Player JAZZ DRUMMERS WORKSHOP Double Time Coordination by Paul Meyer 50 by Ed Soph 34 CONCEPTS ELECTRONIC INSIGHTS Drums and Drummers: An Impression Simple Percussion Modifications by Rich Baccaro 52 by David Ernst 38 DRUM MARKET 54 SHOW AND STUDIO INDUSTRY HAPPENINGS 70 A New Approach Towards Improving Your Reading by Danny Pucillo 40 JUST DRUMS 71 STAFF: EDITOR-IN-CHIEF: Ronald Spagnardi FEATURES EDITOR: Karen Larcombe ASSOCIATE EDITORS: Mark Hurley Paul Uldrich MANAGING EDITOR: Michael Cramer ART DIRECTOR: Tom Mandrake The feature section of this issue represents a wide spectrum of modern percussion with our three lead interview subjects: Rush's Neil Peart; PRODUCTION MANAGER: Roger Elliston jazz drummer Paul Motian and timpanist Fred Begun.
    [Show full text]
  • JAZZ WORTH READING: “THE BOSTON JAZZ CHRONICLES: FACES, PLACES and NIGHTLIFE 1937-1962″ Posted on February 20, 2014
    From Michael Steinman’s blog JAZZ LIVES MAY YOUR HAPPINESS INCREASE. Jazz: where "lives" is both noun and verb JAZZ WORTH READING: “THE BOSTON JAZZ CHRONICLES: FACES, PLACES AND NIGHTLIFE 1937-1962″ Posted on February 20, 2014 Some of my readers will already know about Richard Vacca’s superb book, published in 2012 by Troy Street Publishing. I first encountered his work in Tom Hustad’s splendid book on Ruby Braff, BORN TO PLAY. Vacca’s book is even better than I could have expected. Much of the literature about jazz, although not all, retells known stories, often with an ideological slant or a “new” interpretation. Thus it’s often difficult to find a book that presents new information in a balanced way. BOSTON JAZZ CHRONICLES is a model of what can be done. And you don’t have to be particularly interested in Boston, or, for that matter, jazz, to admire its many virtues. Vacca writes that the book grew out of his early idea of a walking tour of Boston jazz spots, but as he found out that this landscape had been obliterated (as has happened in New York City), he decided to write a history of the scene, choosing starting and ending points that made the book manageable. The book has much to offer several different audiences: a jazz- lover who wants to know the Boston history / anecdotal biography / reportage / topography of those years; someone with local pride in the recent past of his home city; someone who wishes to trace the paths of his favorite — and some obscure — jazz heroes and heroines.
    [Show full text]
  • Ázz /Hi-Fi Notes
    for You, and Dinah, along with the rela- trouble. Arranger Jack Marshall seems tively dismal Georgia on My Minci and happier when he is reflecting Wilbur De /HI-FI NOTES Bessie Couldn't Help lt. Paris than in trying to revive Crosby ÁZZ Four of these five discs are an invalu- items (Skater's Waltz, Surokey ,\fart). CONTEMPORARY RECORDS, INC. from able supplement to the Columbia set. Gene Bolen plays some pleasant low - For those who do not have the Colum- register clarinet in an orchestration of Producers of Wang Nang Blues based on the De CONTEMPORARV RECORDS bias, any one of the Odeons- starting COOD TIME JAZZ with the Hot Fives and Hot Sevens -be- Paris version of The Pearls. The main CR COMPOSERS SERIES grace of the group, however, is CALIFORNIA RECORDS longs in a balanced iazz collection. saving REM (Society for Forgotten Jackie Coons, who hulls and puffs an Mu.i4) STERRO RECORDS Louis Armstrong and Ella Fitzgerald: elegantly bumptious mellophone. "Porgy and Bess." Verve 4011/12, Barney Kessel has an exciting Wizard of the Rag- new album -music from "SOME $11.96 (two LI'). Eubie Blake: "The and Bess and Louis Armstrong and Piano." 20th- Century Fox 3003, LIKE IT HOT " Prohibition Era Porgy time - Ella Fitzgerald seem to have been made $3.98 (LP). tunes featured in. Billy Wilder's smash film starring Marilyn for each other. For both Armstrong and Blake was one of the great pianists of the Monroe, Tony Curtis and Jack Miss Fitzgerald, the Gershwin score pro- ragtime era; and later, in partnership Lemmon.
    [Show full text]
  • The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters
    4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBoRAh F. RUTTER, President CONCERT HALL Monday Evening, April 16, 2018, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters TODD BARKAN JOANNE BRACKEEN PAT METHENY DIANNE REEVES Jason Moran is the Kennedy Center Artistic Director for Jazz. This performance will be livestreamed online, and will be broadcast on Sirius XM Satellite Radio and WPFW 89.3 FM. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 2 THE 2018 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, Kennedy Center Artistic Director for Jazz With remarks from JANE CHU, Chairman of the National Endowment for the Arts DEBORAH F. RUTTER, President of the John F. Kennedy Center for the Performing Arts The 2018 NEA JAzz MASTERS Performances by NEA Jazz Master Eddie Palmieri and the Eddie Palmieri Sextet John Benitez Camilo Molina-Gaetán Jonathan Powell Ivan Renta Vicente “Little Johnny” Rivero Terri Lyne Carrington Nir Felder Sullivan Fortner James Francies Pasquale Grasso Gilad Hekselman Angélique Kidjo Christian McBride Camila Meza Cécile McLorin Salvant Antonio Sanchez Helen Sung Dan Wilson 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18
    [Show full text]
  • Fairfield Book
    August 2011 A Quarterly Publication of the City of Fairfield, Ohio New grants offer relief for flood prone area he City of Fairfield has received an combined with a larger $2.7 million Federal area, which has been periodically impacted by Tunprecedented fourth major grant to Emergency Management Agency Hazard flooding. The designated homes involved in purchase homes in flood prone areas Mitigation grant that was awarded in 2010 for the most recent grant are located on Bandelier along the Pleasant Run Creek. The latest 17 additional homes. Court, Banker Drive, Crystal Drive, Cedar funding, a $670,160 Clean Ohio Grant from Breaks Court, Carlsbad Court, Ivanhoe Drive, the Ohio Public Works Commission, will be So far, Fairfield has purchased 31 homes in the Sir Lancelot Lane and Nottingham Place. Acquisitions will be voluntary. Closings will begin in August, with all property acquisitions completed by December 2013. Assuming all of the most recent 17 properties participate, the City will potentially have acquired 48 of the most at-risk properties. As with past purchases, the lots will be cleared and permanently preserved as open spaces. The resulting preserve is designed to provide additional flood protection for the remaining homes in the vicinity of the creek. The area will also serve as a contemplative area where residents will be provided with the opportunity to donate trees in memory or honor of loved ones. In addition to securing federal and state grants to buy the most flood-prone properties, the City has also initiated a variety of additional measures to minimize the flood threat along the Pleasant Run Creek.
    [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]
  • French Stewardship of Jazz: the Case of France Musique and France Culture
    ABSTRACT Title: FRENCH STEWARDSHIP OF JAZZ: THE CASE OF FRANCE MUSIQUE AND FRANCE CULTURE Roscoe Seldon Suddarth, Master of Arts, 2008 Directed By: Richard G. King, Associate Professor, Musicology, School of Music The French treat jazz as “high art,” as their state radio stations France Musique and France Culture demonstrate. Jazz came to France in World War I with the US army, and became fashionable in the 1920s—treated as exotic African- American folklore. However, when France developed its own jazz players, notably Django Reinhardt and Stéphane Grappelli, jazz became accepted as a universal art. Two well-born Frenchmen, Hugues Panassié and Charles Delaunay, embraced jazz and propagated it through the Hot Club de France. After World War II, several highly educated commentators insured that jazz was taken seriously. French radio jazz gradually acquired the support of the French government. This thesis describes the major jazz programs of France Musique and France Culture, particularly the daily programs of Alain Gerber and Arnaud Merlin, and demonstrates how these programs display connoisseurship, erudition, thoroughness, critical insight, and dedication. France takes its “stewardship” of jazz seriously. FRENCH STEWARDSHIP OF JAZZ: THE CASE OF FRANCE MUSIQUE AND FRANCE CULTURE By Roscoe Seldon Suddarth Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2008 Advisory Committee: Associate Professor Richard King, Musicology Division, Chair Professor Robert Gibson, Director of the School of Music Professor Christopher Vadala, Director, Jazz Studies Program © Copyright by Roscoe Seldon Suddarth 2008 Foreword This thesis is the result of many years of listening to the jazz broadcasts of France Musique, the French national classical music station, and, to a lesser extent, France Culture, the national station for literary, historical, and artistic programs.
    [Show full text]
  • Thompson Hall Overturns, Sinks Nto Ravine, No Serious Injuries
    © je J^eU) ^am psfjjtre PRICE — SEVEN CENTS VOLUME NO. 44 ISSUE 9 UNIVERSITY OF NEW HAMPSHIRE, DURHAM, N. H. — April 1, 1954 Committee Considering Designs Thompson Hall Overturns, Sinks And Location For Student Union The committee in charge of selecting a final design for the new nto Ravine, No Serious Injuries Student Union building has been considering the designs of current­ Neil Sherman ly built student union buildings, and has decided that a building This morning- the town of Durham was stunned by an occurance almost beyond belief. At 11.59 combining the elements of several of these should be erected. The n., T-Hall slowly began to sink, turned over completely, and slid into the ravine behind it. location of the new structure, as well hs the style of architecture, For a matter of minutes the whole scene was obscured by sheets of paper and records blown about have been the subject of long and heated discussion at UNH. The by a high wind. Amazed staff members on the basement level suddenly found themselves at their desks ravme, notch hill, the town dump, and the “ Pit” between North and South Con­ in the open air. One of them remarked later, “ It was rather drafty.” __________ greve are several of the locations that ~ The first observers on the scene were — ■_____. T a „ m_|J| have been suggested. /* C f r l i r l o n f c passingpassing students.students. TheyThey werewere followedfollowed byby R on Hill D 6l6 gQ T e lO A r n o ld Cylindrical Motif 5 W U V .
    [Show full text]
  • Wallace Roney Joe Fiedler Christopher
    feBrUARY 2019—ISSUe 202 YOUr FREE GUide TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM BILLY HART ENCHANCING wallace joe christopher eddie roney fiedler hollyday costa Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East feBrUARY 2019—ISSUe 202 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 new york@niGht 4 Laurence Donohue-Greene: interview : wallace roney 6 by anders griffen [email protected] Andrey Henkin: artist featUre : joe fiedler 7 by steven loewy [email protected] General Inquiries: on the cover : Billy hart 8 by jim motavalli [email protected] Advertising: encore : christopher hollyday 10 by robert bush [email protected] Calendar: lest we forGet : eddie costa 10 by mark keresman [email protected] VOXNews: LAbel spotliGht : astral spirits 11 by george grella [email protected] VOXNEWS by suzanne lorge 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 oBitUaries 12 by andrey henkin money order to the address above or email [email protected] FESTIVAL REPORT 13 Staff Writers Duck Baker, Stuart Broomer, Robert Bush, Kevin Canfield, CD reviews 14 Marco Cangiano, Thomas Conrad, Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Miscellany Tom Greenland, George Grella, 31 Anders Griffen, Tyran Grillo, Alex Henderson, Robert Iannapollo, event calendar Matthew Kassel, Mark Keresman, 32 Marilyn Lester, Suzanne Lorge, Marc Medwin, Jim Motavalli, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Andrew Vélez, Scott Yanow Contributing Writers Brian Charette, Steven Loewy, As unpredictable as the flow of a jazz improvisation is the path that musicians ‘take’ (the verb Francesco Martinelli, Annie Murnighan, implies agency, which is sometimes not the case) during the course of a career.
    [Show full text]
  • Richard Twardzik
    1 The PIANO of RICHARD TWARDZIK Solographer: Jan Evensmo Completed: Jan. 4, 2016 2 Born: Danvers, Boston, Ma., April 30, 1931 Died: Paris, France, Oct. 21, 1955 Introduction: Richard “Dick” Twardzik was one of the most exciting pianists in early modern jazz, that is the few years he lived. His music is equally fresh, original, unpredictable and moving today as it was played and recorded, mostly in jams and concerts more than half a century ago. History: Studied classical music before discovering jazz. Began playing in clubs in 1946 and soon became one of the most promising musicians in Boston. Played with Serge Chaloff and Charlie Parker, worked with Charlie Mariano (1951-52) and toured with Lionel Hampton. After recording with Chaloff and as a leader (1954) he joined Chet Baker for a European tour (1955). He was addicted to heroin and died from an overdose in a Paris hotel (ref. New Grove Dictionary of Jazz). 3 RICHARD TWARDZIK SOLOGRAPHY CHARLIE MARIANO Boston, Dec. 1951 Sonny Truitt (tb), Charlie Mariano (as), Jim Clark (ts), Richard Twardzik (p), Jack Lawlor (b), Carl Goodwin (dm). One title (postscript: earlier presented as “Aviary”, although solo notation and comments below are correct for “Mariners”) was recorded for Prestige: 302 Mariners Intro 8 bars. Acc. (as), (tb) and (ts). Solo 32 bars. (FM) From the very first bar in the intro we meet one of the most fascinating pianists in modern jazz development. His musical world is quite different from most of his contemporaries, as evident from the dark hued solo on this “Mariners”. SERGE CHALOFF QUINTET Albany, NY.
    [Show full text]
  • BENNY GOLSON NEA Jazz Master (1996)
    1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. BENNY GOLSON NEA Jazz Master (1996) Interviewee: Benny Golson (January 25, 1929 - ) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: January 8-9, 2009 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 119 pp. Brown: Today is January 8th, 2009. My name is Anthony Brown, and with Ken Kimery we are conducting the Smithsonian National Endowment for the Arts Oral History Program interview with Mr. Benny Golson, arranger, composer, elder statesman, tenor saxophonist. I should say probably the sterling example of integrity. How else can I preface my remarks about one of my heroes in this music, Benny Golson, in his house in Los Angeles? Good afternoon, Mr. Benny Golson. How are you today? Golson: Good afternoon. Brown: We’d like to start – this is the oral history interview that we will attempt to capture your life and music. As an oral history, we’re going to begin from the very beginning. So if you could start by telling us your first – your full name (given at birth), your birthplace, and birthdate. Golson: My full name is Benny Golson, Jr. Born in Philadelphia, Pennsylvania. The year is 1929. Brown: Did you want to give the exact date? Golson: January 25th. For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 Brown: That date has been – I’ve seen several different references. Even the Grove Dictionary of Jazz had a disclaimer saying, we originally published it as January 26th.
    [Show full text]
  • 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.
    [Show full text]