Intakt Records 2018 2018
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Acclaimed Drummer-Composer John
Bio information: THE CLAUDIA QUINTET Title: SUPER PETITE (Cuneiform Rune 427) Format: CD / DIGITAL RELEASE DATE: JUNE 24, 2016 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: JAZZ / POST-JAZZ Acclaimed Drummer-Composer John Hollenbeck Pens Rich, Complex Tunes for an Era of Short Attention Spans on The Claudia Quintet's 8th album – Super Petite – a Potent Package that Condenses Virtuoso Playing and a Wealth of Ideas into Ten Compact Songs Short doesn’t necessarily mean simple. Drummer-composer John Hollenbeck acrobatically explores the dichotomy between brevity and complexity on Super Petite, the eighth release by the critically acclaimed, proudly eccentric Claudia Quintet. The oxymoronic title of the band’s newest album on Cuneiform Records captures the essence of its ten new compositions, which pack all of the wit and virtuosity that listeners have come to expect from the Claudia Quintet into the time frame of radio-friendly pop songs. As always, Hollenbeck’s uncategorizable music – which bridges the worlds of modern jazz and new music in surprising and inventive ways - is realized by Claudia’s longstanding line-up: clarinetist/tenor saxophonist Chris Speed, vibraphonist Matt Moran, bassist Drew Gress, and accordionist Red Wierenga. Over the course of 19 years and 8 albums, the band has forged an astounding chemistry and become expert at juggling mind-boggling dexterity with inviting emotion and spirit. Like the band’s name, the title Super Petite originated as an affectionate nickname for one of the band’s fans. -
Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67
Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 Marc Howard Medwin A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2008 Approved by: David Garcia Allen Anderson Mark Katz Philip Vandermeer Stefan Litwin ©2008 Marc Howard Medwin ALL RIGHTS RESERVED ii ABSTRACT MARC MEDWIN: Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 (Under the direction of David F. Garcia). The music of John Coltrane’s last group—his 1965-67 quintet—has been misrepresented, ignored and reviled by critics, scholars and fans, primarily because it is a music built on a fundamental and very audible disunity that renders a new kind of structural unity. Many of those who study Coltrane’s music have thus far attempted to approach all elements in his last works comparatively, using harmonic and melodic models as is customary regarding more conventional jazz structures. This approach is incomplete and misleading, given the music’s conceptual underpinnings. The present study is meant to provide an analytical model with which listeners and scholars might come to terms with this music’s more radical elements. I use Coltrane’s own observations concerning his final music, Jonathan Kramer’s temporal perception theory, and Evan Parker’s perspectives on atomism and laminarity in mid 1960s British improvised music to analyze and contextualize the symbiotically related temporal disunity and resultant structural unity that typify Coltrane’s 1965-67 works. -
Syllabus 2020-2021 Class : Nursery
Syllabus 2020-2021 Class : Nursery Month : April Prayers and physical exercises to be done every morning. English Colours red, blue, yellow, green will be introduced with the help of rhymes, stories, activities and craft. Worksheets will be done based on these colours. Recapitulation will be done. Activity : Colour Hunt Craft and Play area Number work Shapes - circle, square, triangle, rectangle will be introduced with the help of rhymes, stories, activities and craft. Worksheets will be done based on these shapes. Recapitulation will be done. Activity : Shape walk Life Science Introduction to the school environment. Different areas like play area, water area, activity rooms etc. will be introduced. Children will be taken around the school. Familiarisation with Class teacher’s name, Asst. teacher’s name, In – Charge’s name, Head Mistress name, Vice Principal’s name, Principal’s name and the Peer group will be done. They would be made aware of how to use napkins and aprons while eating their tiffins. Motor skills Development Lab • How to walk in a straight line • How to do Namaste in a proper way • How to sit gracefully on a chair • How to wash hands Ecology / Culture Topic ‘Around the World’ will be taken up for discussion. Information on the globe will be imparted to the children. The land forms such as the continents along with the oceans will be discussed. Also Equator will be shown to the children. Music of ‘Beethoven’ will be played in the class room along with the picture on the Smart Board. The musical instrument ‘Piano’ played by Beethoven will be shown to the children. -
Weekly ADVERTISEMENTS Smucw [email protected]
VOLUME 102 • ISSUE 25 MARCH 9, 2017 FIRST COPY FREE, ADDITIONAL COPIES 50 CENTS ampusM U W S E T I WCELEBRATING 100 YeeklyEARS 1915 - 2015 A V N E G R M P ADN ESS FEATURE STORY Story Tag GIVINGLOCATION BACK How one Mustang is sending a message through his generous donation PAGE 3 SPORTS FASHION ARTS & LIFE Preview of the AAC tournament RewardStyle launches new app Inside look at SMU Ballroom Dance PAGE 8 PAGE 5 PAGE 11 2 | Thursday, March 9, 2017 SMU Campus Weekly ADVERTISEMENTS [email protected] BEBE SEENSEEN BEBE HEARDHEARD CHARTERED ORGANIZATIONS, FOR MORE INFORMATION ON THIS FREE ADVERTISING SPACE OR TO SUBMIT AN AD, CONTACT THE STUDENT SENATE COMMUNICATIONS CHAIR: [email protected] SMU Campus Weekly Thursday, March 9, 2017 | 3 NEWS smudailycampus.com/news @SMUCW_News Fellow student donates on Giving Day in honor of late friend LISA SALINAS people to be different," Robertson said. "Jamie's life was Editor-in-Chief part of that broader story of all of us trying to find space [email protected] to be ourselves." Robertson said he hopes to help the Women and LGBT Giving Day at SMU is an annual opportunity for donors Center in any way he can with his donation. to fund organizations and ideas on campus. Every dollar that a donor gives on Giving Day will be Donors can choose from providing air fare to students matched by Robertson's dollar; the university will also give studying abroad, educating future business leaders, money to match Robertson's. replacing furniture in buildings on campus. -
Peter Johnston 2011
The London School Of Improvised Economics - Peter Johnston 2011 This excerpt from my dissertation was included in the reader for the course MUS 211: Music Cultures of the City at Ryerson University. Introduction The following reading is a reduction of a chapter from my dissertation, which is titled Fields of Production and Streams of Conscious: Negotiating the Musical and Social Practices of Improvised Music in London, England. The object of my research for this work was a group of musicians living in London who self-identified as improvisers, and who are part of a distinct music scene that emerged in the mid-1960s based on the idea of free improvisation. Most of this research was conducted between Sept 2006 and June 2007, during which time I lived in London and conducted interviews with both older individuals who were involved in the creation of this scene, and with younger improvisers who are building on the formative work of the previous generation. This chapter addresses the practical aspects of how improvised music is produced in London, and follows a more theoretical analysis in the previous chapters of why the music sounds like it does. Before moving on to the main content, it will be helpful to give a brief explanation of two of the key terms that occur throughout this chapter: “free improvisation” and the “improvised music field.” “Free improvisation” refers to the creation of musical performances without any pre- determined materials, such as form, tonality, melody, or rhythmic feel. This practice emerged out of developments in jazz in the late 1950s and early 1960s, particularly in the work of Ornette Coleman and Cecil Taylor, who began performing music without using the song-forms, harmonic progressions, and steady rhythms that characterized jazz until that time. -
Johnny O'neal
OCTOBER 2017—ISSUE 186 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM BOBDOROUGH from bebop to schoolhouse VOCALS ISSUE JOHNNY JEN RUTH BETTY O’NEAL SHYU PRICE ROCHÉ Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East OCTOBER 2017—ISSUE 186 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 NEw York@Night 4 Laurence Donohue-Greene: Interview : JOHNNY O’NEAL 6 by alex henderson [email protected] Andrey Henkin: [email protected] Artist Feature : JEN SHYU 7 by suzanne lorge General Inquiries: [email protected] ON The Cover : BOB DOROUGH 8 by marilyn lester Advertising: [email protected] Encore : ruth price by andy vélez Calendar: 10 [email protected] VOXNews: Lest We Forget : betty rochÉ 10 by ori dagan [email protected] LAbel Spotlight : southport by alex henderson 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 Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Fred Bouchard, Festival Report Stuart Broomer, Robert Bush, 13 Thomas Conrad, Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, special feature 14 by andrey henkin Anders Griffen, Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, CD ReviewS 16 Suzanne Lorge, Mark Keresman, Marc Medwin, Russ Musto, John Pietaro, Joel Roberts, Miscellany 41 John Sharpe, Elliott Simon, Andrew Vélez, Scott Yanow Event Calendar Contributing Writers 42 Brian Charette, Ori Dagan, George Kanzler, Jim Motavalli “Think before you speak.” It’s something we teach to our children early on, a most basic lesson for living in a society. -
Jazz-Fest-2017-Program-Guide.Pdf
JUNE 22 – JULY 2 | 2017 /coastaljazz | #VanJazzFest | COASTALJAZZ.CA 20TH ANNIVERSARY SEASON 2017 181 CHAN CENTRE PRESENTS SERIES The Blind Boys of Alabama with Ben Heppner I SEP 23 The Gloaming I OCT 15 Zakir Hussain and Dave Holland: Crosscurrents I OCT 28 Ruthie Foster, Jimmie Dale Gilmore and Carrie Rodriguez I NOV 8 The Jazz Epistles: Abdullah Ibrahim and Hugh Masekela I FEB 18 Lila Downs I MAR 10 Daymé Arocena and Roberto Fonseca I APR 15 Circa: Opus I APR 28 BEYOND WORDS SERIES Kate Evans: Threads I SEP 29 Tanya Tagaq and Laakkuluk Williamson Bathory I MAR 16+17 SUBSCRIPTIONS ON SALE MAY 2 DAYMÉ AROCENA THE BLIND BOYS OF ALABAMA HUGH MASEKELA TANYA TAGAQ chancentre.com Welcome to the 32nd Annual TD Vancouver International Jazz Festival TD is pleased to bring you the 2017 TD Vancouver International Jazz Festival, a widely loved and cherished world-class event celebrating talented and culturally diverse artists from Canada and around the world. In Vancouver, we share a love of music — it is a passion that brings us together and enriches our lives. Music is powerful. It can transport us to faraway places or trigger a pleasant memory. Music is also one of many ways that TD connects with customers and communities across the country. And what better way to come together than to celebrate music at several major music festivals from Victoria to Halifax. ousands of fans across British Columbia — including me — look forward to this event every year. I’m excited to take in the music by local and international talent and enjoy the great celebration this festival has to o er. -
Blabla Bio Fred Frith
BlaBla Bio Fred Frith Multi-instrumentalist, composer, and improviser Fred Frith has been making noise of one kind or ano- ther for almost 50 years, starting with the iconic rock collective Henry Cow, which he co-founded with Tim Hodgkinson in 1968. Fred is best known as a pioneering electric guitarist and improviser, song-writer, and composer for film, dance and theater. Through bands like Art Bears, Massacre, Skeleton Crew, Keep the Dog, the Fred Frith Guitar Quartet and Cosa Brava, he has stayed close to his roots in rock and folk music while branching out in many other directions. His compositions have been performed by ensembles ranging from Arditti Quartet and the Ensemble Modern to Concerto Köln and Galax Quartet, from the BBC Scottish Symphony Orchestra to ROVA and Arte Sax Quartets, from rock bands Sleepytime Gorilla Museum and Ground Zero to the Glasgow Improvisers’ Orchestra. Film music credits include the acclaimed documentaries Rivers and Tides, Touch the Sound and Leaning into the Wind, directed by Thomas Riedelsheimer, The Tango Lesson, Yes and The Party by Sally Potter, Werner Penzel’s Zen for Nothing, Peter Mettler’s Gods, Gambling and LSD, and the award-winning (and Oscar-nominated) Last Day of Freedom, by Nomi Talisman and Dee Hibbert- Jones. Composing for dance throughout his long career, Fred has worked with Rosalind Newman and Bebe Miller in New York, François Verret and Catherine Diverrès in France, and Amanda Miller and the Pretty Ugly Dance Company over the course of many years in Germany, as well as composing for two documentary films on the work of Anna Halprin. -
Music Outside? the Making of the British Jazz Avant-Garde 1968-1973
Banks, M. and Toynbee, J. (2014) Race, consecration and the music outside? The making of the British jazz avant-garde 1968-1973. In: Toynbee, J., Tackley, C. and Doffman, M. (eds.) Black British Jazz. Ashgate: Farnham, pp. 91-110. ISBN 9781472417565 There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/222646/ Deposited on 28 August 2020 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk Race, Consecration and the ‘Music Outside’? The making of the British Jazz Avant-Garde: 1968-1973 Introduction: Making British Jazz ... and Race In 1968 the Arts Council of Great Britain (ACGB), the quasi-governmental agency responsible for providing public support for the arts, formed its first ‘Jazz Sub-Committee’. Its main business was to allocate bursaries usually consisting of no more than a few hundred pounds to jazz composers and musicians. The principal stipulation was that awards be used to develop creative activity that might not otherwise attract commercial support. Bassist, composer and bandleader Graham Collier was the first recipient – he received £500 to support his work on what became the Workpoints composition. In the early years of the scheme, further beneficiaries included Ian Carr, Mike Gibbs, Tony Oxley, Keith Tippett, Mike Taylor, Evan Parker and Mike Westbrook – all prominent members of what was seen as a new, emergent and distinctively British avant-garde jazz scene. Our point of departure in this chapter is that what might otherwise be regarded as a bureaucratic footnote in the annals of the ACGB was actually a crucial moment in the history of British jazz. -
The Creative Application of Extended Techniques for Double Bass in Improvisation and Composition
The creative application of extended techniques for double bass in improvisation and composition Presented in partial fulfilment of the requirements for the degree of Doctor of Philosophy (Music) Volume Number 1 of 2 Ashley John Long 2020 Contents List of musical examples iii List of tables and figures vi Abstract vii Acknowledgements viii Introduction 1 Chapter 1: Historical Precedents: Classical Virtuosi and the Viennese Bass 13 Chapter 2: Jazz Bass and the Development of Pizzicato i) Jazz 24 ii) Free improvisation 32 Chapter 3: Barry Guy i) Introduction 40 ii) Instrumental technique 45 iii) Musical choices 49 iv) Compositional technique 52 Chapter 4: Barry Guy: Bass Music i) Statements II – Introduction 58 ii) Statements II – Interpretation 60 iii) Statements II – A brief analysis 62 iv) Anna 81 v) Eos 96 Chapter 5: Bernard Rands: Memo I 105 i) Memo I/Statements II – Shared traits 110 ii) Shared techniques 112 iii) Shared notation of techniques 115 iv) Structure 116 v) Motivic similarities 118 vi) Wider concerns 122 i Chapter 6: Contextual Approaches to Performance and Composition within My Own Practice 130 Chapter 7: A Portfolio of Compositions: A Commentary 146 i) Ariel 147 ii) Courant 155 iii) Polynya 163 iv) Lento (i) 169 v) Lento (ii) 175 vi) Ontsindn 177 Conclusion 182 Bibliography 191 ii List of Examples Ex. 0.1 Polynya, Letter A, opening phrase 7 Ex. 1.1 Dragonetti, Twelve Waltzes No.1 (bb. 31–39) 19 Ex. 1.2 Bottesini, Concerto No.2 (bb. 1–8, 1st subject) 20 Ex.1.3 VerDi, Otello (Act 4 opening, double bass) 20 Ex. -
132 New on Maybe Monday
New on INTAKT RECORDS www.intaktrec.ch One marker of bassist Michael Formanek's creativity and versatility is the range of distinguished musicians of several generations he's worked with. While still a teenager in the 1970s he toured with drummer Tony Williams and saxophonist Joe Henderson. Starting in the '80s he played long stints with Stan Getz, Fred Hersch and Freddie Hubbard. Formanek is also a composer and leader of various bands. One of his principal recording and international touring vehicles has been his acclaimed quartet with Tim Berne, Craig Taborn and Gerald Cleaver. His occasional groups include the 18-piece all-star Ensemble Kolos- sus, roping in many New York improvisers he works with. Currently his primary focus is the Michael Formanek Elusion Quartet with Tony Malaby, Kris Davis, and Ches Smith. In putting together the Elusion Quartet, interpreting his music with these specific musicians, Michael Formanek says he sought “a more direct connection to emotions: mine, theirs and the listener’s.” Hank Shteamer writes in the liner notes: "As one zeroes in on the details of Time Like This, it's clear that this sort of emotional immediacy permeates the album. You hear it in Kris Davis’ flowing, balletic solo on “A Fine Mess”; in Tony Malaby's ululating tenor cries on “The Soul Goodbye”; in Ches Smith’s raucous grooves on “That Was Then”; or the leader’s poised, sinewy lines on “Culture of None.” Elusive? MicHaeL FOrManek Certainly. But as this album proves, under the right conditions, with the eLusiOn QuarTeT right personnel, it’s still out there." Der New Yorker Bassist und Komponist Michael Formanek präsen- TIME LIKE THIS tiert mit seinem Elusion Quartett ein neues, wegweisendes Projekt. -
Contact: a Journal for Contemporary Music (1971-1988) Citation
Contact: A Journal for Contemporary Music (1971-1988) http://contactjournal.gold.ac.uk Citation Barry. Malcolm. 1977-1978. ‘Review of Company 1 (Maarten van Regteren Altena, Derek Bailey, Tristan Honsinger, Evan Parker) and Company 2 (Derek Bailey, Anthony Braxton, Evan Parker)’. Contact, 18. pp. 36-39. ISSN 0308-5066. ! Director Professor Frederick Rimmer MA B M us FRco Secretary and Librarian James. L McAdam BM us FRco Scottish R Music Archive with the support of the Scottish Arts Council for the documentation and study of Scottish music information on all matters relating to Scottish composers and Scottish music printed and manuscript scores listening facilities: tape and disc recordings Enquiries and visits welcomed: full-time staff- Mr Paul Hindmarsh (Assistant Librarian) and Miss Elizabeth Wilson (Assistant Secretary) Opening Hours: Monday to Friday 9.30 am- 5.30 pm Monday & Wednesday 6.00-9.00 pm Saturday 9.30 am- 12.30 pm .. cl o University of Glasgow 7 Lily bank Gdns. Glasgow G 12 8RZ Telephone 041-334 6393 37 INCUS it RECORDS INCUS RECORDS/ COMPATIBLE RECORDING AND PUBLISHING LTD. is a self-managed company owned and operated by musicians. The company was founded in 1970, motivated partly by the ideology of self-determination and partly by the absence of an acceptable alternative. The spectrum of music issued has been broad, but the musical policy of the company is centred on improvisation. Prior to 1970 the innovative musician had a relationship with the British record industry that could only be improved on. To be offered any chance to make a record at all was already a great favour and somehow to question the economics (fees, royalties, publishing) would certainly have been deemed ungrateful.