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Bio Information: CHRISTIAN MARCLAY / TOSHIO KAJIWARA / DJ OLIVE: Djtrio Title: 21 SEPTEMBER 2002 (Cuneiform Rune 348) Format: LP
Bio information: CHRISTIAN MARCLAY / TOSHIO KAJIWARA / DJ OLIVE: djTRIO Title: 21 SEPTEMBER 2002 (Cuneiform Rune 348) Format: LP Cuneiform promotion dept: (301) 589-8894 / fax (301) 589-1819 email: joyce [-at-] cuneiformrecords.com (Press & world radio); radio [-at-] cuneiformrecords.com (North American radio) http://www.cuneiformrecords.com FILE UNDER: EXPERIMENTAL / SOUND ART / AVANT-GARDE / TURNTABLISM “At various moments, the mix suggested nature sounds, urban cacophony, 12-tone compositions and the tuning of radio dial” – Washington Post “An archeological excavation where whirlpool scratches, microtones and samples of thrift store-mined cheese fly around like poltergeists released from a tomb.” – XLR8R “Some amazing, static-riddled alien music.” – Dusted Start off by dispelling any outmoded notions about taking things at face value – sometimes a DJ is not just a DJ, a record is not a record, and a turntable is more than a record player. These are the basic tenets with which to enter the world of Christian Marclay’s djTRIO, especially in the case of their live recordings. World-renowned multi-media artist Marclay may be best known these days for his globally embraced film collage piece “The Clock,” but he began by redefining the roles of “musician,” “DJ,” and even “artist” itself. Since the late ‘70s, Marclay has created art by masterfully mistreating both vinyl and phonographic equipment, using them both in a manner more consistent with the way an abstract sculptor employs raw materials in the service of a larger vision. Sometimes these sonic journeys utilizing a turntable as a sextant have been in-the-moment experiences and sometimes they’ve been captured for posterity, but 21 September 2002 on Cuneiform Records happens to be both. -
Glenn Miller, Benny Goodman, and Count Basie Led Other Successful
JAZZ AGE Glenn Miller, Benny Goodman, and Count Basie led other modal jazz (based on musical modes), funk (which re- successful orchestras. While these big bands came to char- prised early jazz), and fusion, which blended jazz and rock acterize the New York jazz scene during the Great De- and included electronic instruments. Miles Davis in his pression, they were contrasted with the small, impover- later career and Chick Corea were two influential fusion ished jazz groups that played at rent parties and the like. artists. During this time the performer was thoroughly identified Hard bop was a continuation ofbebop but in a more by popular culture as an entertainer, the only regular accessible style played by artists such as John Coltrane. venue was the nightclub, and African American music be- Ornette Coleman (1960) developed avant-garde free jazz, came synonymous with American dance music. The big- a style based on the ideas ofThelonius Monk, in which band era was also allied with another popular genre, the free improvisation was central to the style. mainly female jazz vocalists who soloed with the orches- tras. Singers such as Billie Holiday modernized popular- Postmodern Jazz Since 1980 song lyrics, although some believe the idiom was more Hybridity, a greater degree offusion,and traditional jazz akin to white Tin Pan Alley than to jazz. revivals merely touch the surface of the variety of styles Some believe that the big band at its peak represented that make up contemporary jazz. Inclusive ofmany types the golden era ofjazz because it became part ofthe cul- ofworld music, it is accessible, socially conscious, and tural mainstream. -
Dave Douglas/Marcus Rojas Duo
Solos and Duos Series Glenn Siegel, Program Director 15 Curry Hicks, 100 Hicks Way (413) 545-2876 University of Massachusetts [email protected] Amherst, MA 01003 www.fineartscenter.com THE 2008 SOLOS & DUOS SERIES PRESENTS: Dave Douglas/Marcus Rojas Duo The Solos & Duos Series, produced by the Fine Arts Center at the University of Massachusetts at Amherst, concludes its 7th season with a duo concert by trumpeter Dave Douglas and tuba player Marcus Rojas on Thursday, November 20, in Bezanson Recital Hall at 8:00pm. Dave Douglas is widely recognized as one of the most important and original American musicians to emerge from the jazz and improvised music scene of the last decade. His collaborations as a trumpeter read like a who's who of important contemporary artists: John Zorn, Joe Lovano, Bill Frisell, Don Byron, Steve Lacy, Anthony Braxton, Myra Melford, Andy Bey, Trisha Brown, Henry Grimes, Tom Waits, Rabih Abou-Khalil, DJ Olive, Ikue Mori, Han Bennink, Misha Mengelberg, Uri Caine, Roswell Rudd, Andrew Cyrille, Marc Ribot, Karsh Kale, Mark Dresser, Marty Ehrlich, and many others. For the past half decade Dave Douglas has repeatedly been named trumpeter, composer, and jazz artist of the year by such organizations as the New York Jazz Awards, Down Beat, Jazz Times, and Jazziz. Dave Douglas is “an original thinker blessed with a seemingly bottomless well of intriguing ideas,” writes Howard Reich. Since 1993, Douglas has released 21 albums of original music, and has appeared on over one hundred recordings. His 2000 album “Soul on Soul”, was voted “Album of the Year” by DownBeat. -
Perfect Partner
PERFECT PARTNER A film by Kim Gordon, Tony Oursler and Phil Morrison starring Michael Pitt and Jamie Bochert, with a live soundtrack performed by Kim Gordon, Jim O’Rourke, Ikue Mori, Tim Barnes and DJ Olive As a significant figure of alternative/avant-garde rock and one of the founders of Sonic Youth, Kim Gordon is a truly creative spirit. Enigmatic, iconic, original and multi- faceted, she is increasingly working in the medium of visual arts and diversifying her music projects into more experimental territory. Perfect Partner is a first time collaboration between Kim Gordon, highly renowned artist Tony Oursler and acclaimed filmmaker Phil Morrison. In a response to America’s enchantment with car culture, this surreal psychodrama-cum-road movie starring Michael Pitt (The Dreamers, Hedwig And the Angry Inch, Bully and Gus Van Sant’s upcoming Last Days) and Jamie Bochert unfolds to a thundering free rock live soundtrack. The sound world of Perfect Partner is textural improvised music breaking into occasional songs that interact with the narrative of the film. Kim Gordon is joined on stage by fellow Sonic Youth collaborator, producer extraordinaire, composer and School Of Rock collaborator Jim O’Rourke, percussionist Tim Barnes, laptop virtuoso Ikue Mori and turntablist DJ Olive. Audiences across the UK should fasten their seatbelts for an invigorating trip through live music, video and projection in this one-off cross media adventure. Gordon and Oursler’s shared fascination with the dream lifestyle promised by car manufacturers, and the aspirational language of car advert copy (selling cars as our ‘perfect partner’), provided the inspiration for this hugely inventive project. -
Slash. Uri Caine's Mahler
Interdisciplinary Studies in Musicology 13,2013 © PTPN & Wydawnictwo Naukowe UAM, Poznań 2013 ADAM POPRAWA Institiute of Polish Philology, University of Wroclaw Slash. Uri Caine’s Mahler ABSTRACT: In recent years, artistic projects combining a wide array of musical styles, such as jazz interpretations of classical music or orchestral arrangements of rock songs, have enjoyed considerable popularity. As their authors were focused mainly on sales profits, the artistic value of their works was often highly disputable. Nevertheless, some outstanding achievements in that field have also been made, among them reinterpretations of classical repertoire - Bach, Beethoven, Mozart, Schumann, and, above all, Mahler - by American pianist Uri Caine. He recorded several CDs containing new ver sions of Mahler’s entire works or their excerpts. Sometimes Caine’s music moves far away from the originals, though such artistic experiments are always well-grounded and aesthetically convincing. Caine’s reinterpretations of Mahler have also some (auto)biographical overtones. KEYWORDS: Uri Caine, blurred genres, reinterpretation, Jewish cultural tradition A warehouseman Gladyshev, one of the characters in Vladimir Voinovich’s novel, inspired by Michurin’s and Lysenko’s achievements, decided to grow a new plant which was to have been a combination of a potato and a to mato. Such a crop should bring a double benefit as in the near future it would be possible to pick tomatoes off the top and to dig up potatoes at the bottom of the same plant. Gladyshev named this cross using an acronym PUKS which stood for the ‘Put’ k Sotsialismu’ [Path to Socialism], ‘The experiments [...] have not as yet produced any useful results, however, some characteristic features of PUKS have already appeared: the leaves and stalks of Gladyshev’s plant were sort of potato like, the roots, one the other hand, looked definitely like those of a tomato’1. -
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 -
Crinew Music Re Uoft
CRINew Music Re u oft SEPTEMBER 11, 2000 ISSUE 682 VOL. 63 NO. 12 WWW.CMJ.COM MUST HEAR Universal/NIP3.com Trial Begins With its lawsuit against MP3.com set to go inent on the case. to trial on August 28, Universal Music Group, On August 22, MP3.com settled with Sony the only major label that has not reached aset- Music Entertainment. This left the Seagram- tlement with MP3.com, appears to be dragging owned UMG as the last holdout of the major its feet in trying to reach a settlement, accord- labels to settle with the online company, which ing to MP3.com's lead attorney. currently has on hold its My.MP3.com service "Universal has adifferent agenda. They fig- — the source for all the litigation. ure that since they are the last to settle, they can Like earlier settlements with Warner Music squeeze us," said Michael Rhodes of the firm Group, BMG and EMI, the Sony settlement cov- Cooley Godward LLP, the lead attorney for ers copyright infringements, as well as alicens- MP3.com. Universal officials declined to corn- ing agreement allowing (Continued on page 10) SHELLAC Soundbreak.com, RIAA Agree Jurassic-5, Dilated LOS AMIGOS INVIWITI3LES- On Webcasting Royalty Peoples Go By Soundbreak.com made a fast break, leaving the pack behind and making an agreement with the Recording Word Of Mouth Industry Association of America (RIAA) on aroyalty rate for After hitting the number one a [digital compulsory Webcast license]. No details of the spot on the CMJ Radio 200 and actual rate were released. -
Values and Practices in Contemporary Improvised Music Author(S): David Borgo Source: Black Music Research Journal, Vol
Negotiating Freedom: Values and Practices in Contemporary Improvised Music Author(s): David Borgo Source: Black Music Research Journal, Vol. 22, No. 2, (Autumn, 2002), pp. 165-188 Published by: Center for Black Music Research - Columbia College Chicago and University of Illinois Press Stable URL: http://www.jstor.org/stable/1519955 Accessed: 23/07/2008 16:48 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=cbmr. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. http://www.jstor.org NEGOTIATINGFREEDOM: VALUES AND PRACTICES IN CONTEMPORARYIMPROVISED MUSIC DAVIDBORGO Freeimprovisation is not an action resultingfrom freedom;it is an action directedtowards freedom. -
Mephista Short Bios.Rtf
MEPHISTA Sylvie Courvoisier (piano) Ikue Mori (electronics) Susie Ibarra (drums) Three of downtown's most dynamic performers join forces to form Mephista-one of the first all women supergroups (Susie Ibarra, Sylvie Courvoisier, and Ikue Mori). Separately these three have worked with some of the most important musicians in new music (Derek Bailey, William Parker, John Zorn, Fred Frith, Mike Patton, Dave Douglas, etc.)-together they have created a whole new kind of music spanning the worlds of rock, classical, jazz and electronica. Sensitive, powerful and exotic. Recordings Black Narcissus (Tzadic,2002) Entomological Refelections (Tzadic, 2004) ----------------------------------------------------------------------------------------- SYLVIE COURVOISIER- Pianist & composer Sylvie Courvoisier was born and raised in Lausanne, Switzerland. As a composer, she has been commissioned to write music for concerts, radio, dance and theater. Her newest release as a leader "ABATON" with Mark Feldman and Erik Friedlander is on ECM Records. As a pianist and improviser, she plays and records with different artists such as Mark Feldman, John Zorn, Tony Oxley, Yusef Lateef, Butch Morris, Tim Berne, Herb Robertson, Joëlle Léandre, Dave Douglas, Susie Ibarra, Ellery Eskelin, Ikue Mori, Fred Frith, Michel Godard, Mark Nauseef… Since 1998, Sylvie Courvoisier has been based in Brooklyn, New York. Her recent work includes: "Abaton", a trio performing her compositions with Mark Feldman violin & Erik Friedlander cello. "Sylvie Courvoisier Quintet" with Mark Feldman, Vincent Courtois, Ikue Mori, Gerald Cleaver "Mephista" an improvising trio with Ikue Mori electronics and Susie Ibarra drums. "Duo" with Mark Feldman playing John Zorn’s music "Vincent Courtois Trio" the French cellist's group with Ellery Eskelin saxophone. "John Zorn's Cobra" “Yusef Lateef 4tet” with Yusef Lateef , Adam Rudolph and Joseph Bowie "Herb Robertson Quintet" with Tim Berne, Tom Rainey and Mark Dresser. -
An Analysis of Instrumental Jazz Improvisation Development
An Analysis of Instrumental Jazz Improvisation Development Among High School and College Musicians By Christopher Michael Palmer A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music Education) in the University of Michigan 2013 Doctoral Committee: Associate Professor Carlos Xavier Rodriguez, Chair Assistant Professor Kate R. Fitzpatrick-Harnish Professor Patricia M. King Professor Marie F. McCarthy Professor Edward W. Sarath © 2013 Christopher Michael Palmer All Rights Reserved DEDICATION To my parents, who introduced me to the wonderful world of music at a young age, my fascination with improvisation comes from your encouragement of creativity and play. ii ACKNOWLEDGMENTS I wish to thank the many people who contributed in a variety of ways towards helping me with my dissertation. Thank you Donald Babcock, Miles Brown, Mark Filsinger, Marty Marks, Jack Wagner, and Chad West for assisting me in recruiting participants for this study. I extend thanks to Catherine Wilensky for her statistical expertise. Thanks to the faculty and students in the University of Michigan Jazz and Contemporary Improvisation Department. In particular, I would like to thank Andrew Bishop, Patrick Booth, Ellen Rowe, Ed Sarath, Chris Smith, and Dennis Wilson. Your willingness to share your time and expertise is deeply appreciated. I am indebted to the guidance of my dissertation committee, led by Carlos Xavier Rodriguez, for helping me develop and articulate my ideas regarding the development of improvisation achievement. I also wish to thank Colleen Conway, Kate Fitzpatrick-Harnish, Pat King, Marie McCarthy, and Betty Anne Younker for enriching discussions and learning experiences in your classes. -
University of Alberta 'Indo-Jazz Fusion'
University of Alberta ‘Indo-Jazz Fusion’: Jazz and Karnatak Music in Contact by Tanya Kalmanovitch A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of Music Edmonton, Alberta Spring 2008 Abstract An inherently intercultural music, jazz presents a unique entry in the catalog of interactions between Indian music and the west. This dissertation is situated in a line of recent accounts that reappraise the period of Western colonial hegemony in India by tracing a complex continuum of historical and musical events over three centuries. It charts the historical routes by which jazz and Karnatak music have come into contact in the twentieth and twenty-first centuries, both in India and abroad. It presents a detailed account of the history of jazz in India, and Indian music in jazz, and examines jazz’s contact with Karnatak music in three contexts—jazz pedagogy, intercultural collaboration, and the Indian diaspora in the United States—illustrating the musical, social and performative spaces in which these musics come into contact, and describing the specific musical and social practices, and political and social institutions that support this activity. Case studies in this dissertation include an educational exchange between the Jazz and Contemporary Music Program of the New School University (New York, NY) and the Brhaddhvani Research and Training Centre for Musics of the World (Chennai, India), directed by the author in December 2003 – January 2004; a 2001 collaboration between Irish jazz/traditional band Khanda and the Karnataka College of Percussion; and analyses of recent recordings by pianist Vijay Iyer, saxophonist Rudresh Mahanthappa and drummer Ravish Momin. -
Improvisation and Leapfrogging
Improvisation and Leapfrogging The History of Improvisation in Toronto and the Episteme of the Twentieth Century Mauricio Martinez “I am inclined toward leaping forward” – Mao Zedong, 2 February 1959 “One small step for a man, one giant leap for mankind” – Neil Armstrong, 20 July 1969 Here is one way to tell the history of improvised music in Toronto: it was founded in the late 1950s by a non-cohesive group of a few “old timers” who shifted their musical interests from Dixieland and Swing to free-improvisation and were influenced by, without appropriating, the Bebop movement of the late 1950s and early 1960s. These traditional jazz figures eventually joined with a group of artists who—also influenced by Bebop and free jazz—adopted free improvisation as a matter of technical necessity. Out of this merger would come two standbys of the classical period of Toronto improvised music: the Artist’s Jazz Band and the CCMC. A key feature of this narrative is the idea that the founders of improvised music in Toronto bypassed the (apparently) linear trajectory of jazz history, skipping over Bebop and moving straight from traditional jazz into free improvisation. This narrative speaks to an episteme of the twentieth century; it reproduces a structure of thought particular to that century, and this coincidence is the subject of the present exploration. What matters here is how a century conceives history and how it identifies historical actors. It could be said that the nineteenth century was absorbed with the notion of progress through historical stages. Hegel’s Lectures on the Philosophy of History makes explicit the notion that history is movement and associates non-movement with historical stagnation.1 And there is no question that this conception of history was absorbed by Marx.