THURMANBARKER and BEN LAMAR G AY South Side Suite Andhecky Naw! Angles!
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Keeping the Tradition Y B 2 7- in MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar
June 2011 | No. 110 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Dee Dee Bridgewater RIAM ANG1 01 Keeping The Tradition Y B 2 7- IN MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar It’s always a fascinating process choosing coverage each month. We’d like to think that in a highly partisan modern world, we actually live up to the credo: “We New York@Night Report, You Decide”. No segment of jazz or improvised music or avant garde or 4 whatever you call it is overlooked, since only as a full quilt can we keep out the cold of commercialism. Interview: Cooper-Moore Sometimes it is more difficult, especially during the bleak winter months, to 6 by Kurt Gottschalk put together a good mixture of feature subjects but we quickly forget about that when June rolls around. It’s an embarrassment of riches, really, this first month of Artist Feature: Orrin Evans summer. Just like everyone pulls out shorts and skirts and sandals and flipflops, 7 by Terrell Holmes the city unleashes concert after concert, festival after festival. This month we have the Vision Fest; a mini-iteration of the Festival of New Trumpet Music (FONT); the On The Cover: Dee Dee Bridgewater inaugural Blue Note Jazz Festival taking place at the titular club as well as other 9 by Marcia Hillman city venues; the always-overwhelming Undead Jazz Festival, this year expanded to four days, two boroughs and ten venues and the 4th annual Red Hook Jazz Encore: Lest We Forget: Festival in sight of the Statue of Liberty. -
Morgenstern, Dan. [Record Review: Earl Coleman: Love Song] Down
Records a re reviewed by Chris Albertson, Don DeMicheal, Gilbert M. Erskine, Ira Giller, Alan Heineman, Lawrence Kart, John Litweiler, Bill Mathieu , Marian McPartlond, Don Morgenstern, Don Nelse n, Harvey Pe kar , William Ruuo, Harvey Siders, Carol Sloane , and Pete Welding, Reviews are signed by the writers. Ratings ore: * * * * * exce llent, * * * * very good, * * * good, * * fair, * poor. When two cata log numbers ore listed, the flrst is mono, and the second is dereo . Richard Abrams ---------• comes hoa rse with excitement, and a quite accurate imitations of bird call!. LEVELS AND DEGREES OF LIGHT - Del• grace[u l manner of phrasing. He can play mark DS-4t3: Uv,is a,ut Degrees of Light; My Within this aviary there is an impassiorrd Thoughls ,sre l\fy Fu/ure-Now and Fort11er: The at a spee d about one-third slower than the duet between Braxton and Mclnlyr~. Bird Snug. basic pulse and then grad ually accelerate Personne l : Abrams. cl arinet, piano; An rhooy Extra-musica l factors make this a d.ffi. Braxton, aho saxop hon e; Maurice McIntyre, rcnor until he matches the pulse of the rhythm cult album to rate. I don't know wheille1 saxophone; Gordon Emmanuel, vibraharp (tracks section (Co ltran e does this during his My 1. 2); Leroy Jenkins, violin (crack 3 only); to blame Abrams , a&r man Bob Koe,1e: Charles Clark , bass: Leonard Jones. bass (crack Fa vorite Things solo on Coltrane L ive at the engineer, or all three, but the alb1111 3 only); Thurman Barker, drums: Penelop e Tay• the Village Vanguard Again). -
Guide to the Anthony Braxton Collection 1973-1992
University of Chicago Library Guide to the Anthony Braxton Collection 1973-1992 © 2008 University of Chicago Library Table of Contents Acknowledgments 3 Descriptive Summary 3 Information on Use 3 Access 3 Citation 3 Biographical Note 3 Scope Note 4 Related Resources 4 Subject Headings 4 INVENTORY 5 Descriptive Summary Identifier ICU.SPCL.BRAXTONA Title Braxton, Anthony. Collection Date 1973-1992 Size 1 linear foot (1 box) Repository Special Collections Research Center University of Chicago Library 1100 East 57th Street Chicago, Illinois 60637 U.S.A. Abstract Anthony Braxton, music professor, composer, and jazz musician. The Anthony Braxton Collection contains concert and lecture ephemera as well as a score titled L/C-J-637 (for orchestra). Acknowledgments The Anthony Braxton Collection was processed and preserved as part of the "Uncovering New Chicago Archives Project," funded with support from the Andrew W. Mellon Foundation. Information on Use Access The collection is open for research. Citation When quoting material from this collection, the preferred citation is: Braxton, Anthony. Collection [Box#, Folder#], Special Collections Research Center, University of Chicago Library Biographical Note Anthony Braxton was born in 1945 and grew up on Chicago’s South Side. Braxton began his saxophone studies under Jack Gell, who also taught Henry Threadgill. In 1963, Braxton attended Wilson Junior College, now Kennedy-King, in Chicago. A fertile ground for jazz experimentation, Wilson Junior College offered Braxton new musical outlets. In 1963, Braxton joined the army and was stationed with the Fifth Army Band in the northern suburbs of Chicago, which allowed him to continue his music studies in the city. -
Festival Report: Hudson Valley Jazz Fest
FESTIVAL REPORT Hudson Valley Jazz Fest Detroit Jazz Fest Guelph Jazz Festival by Laurence Donohue-Greene by Greg Thomas by Ken Waxman m o c . d r o w z z a j . w w w / / g : r p e t t b h n e t r s o z r t i n a F n K o y r C n ’ a e O G L n y y a b b s o o u t t S o o ) h h c P P ( String Trio of New York Wynton Marsalis Sextet Darius Jones & Matthew Shipp For New Yorkers looking to bolt out of the city for a The 2012 Detroit Jazz Festival held over Labor Day A specter was haunting the 2012 Guelph Jazz Festival day-trip or long weekend, Warwick, an hour’s drive weekend was a cornucopia of value at the perfect price: (GJF): the ghost of John Coltrane. Coltrane was honored northeast, is a great destination. From fall foliage and free. Considering the headliners - Sonny Rollins, in direct and indirect ways throughout the five-day apple picking (the 24th Applefest is Oct. 14th) to its Wynton Marsalis, Terence Blanchard (the Artist-in- festival, which takes places annually in this college third annual jazz festival (Aug. 16th-19th), the small Residence), Chick Corea/Gary Burton, Wayne Shorter, town, 100 kilometers west of Toronto. This year’s town is bustling with activity. Kenny Garrett and Pat Metheny - the vision of the new edition (Sep. 5th-9th), featured two live performances The Hudson Valley Jazz Festival (né Warwick Jazz Artistic Director Christopher Collins can be summed of Ascension, Coltrane’s 1965 masterwork, one by an Festival) is the brainchild of Steve Rubin, a jazz up by a WBGO radio tag line: real jazz, right now. -
November 1987
EDUCATION DRIVER'S SEAT Playing In Two or Four by Ed Shaughnessy 48 IN THE STUDIO Those First Sessions by Craig Krampf 50 ROCK 'N' JAZZ CLINIC Two-Surface Riding: Part 1 by Rod Morgenstein 52 CORPS SCENE Flim-Flams by Dennis DeLucia 66 MASTER CLASS Portraits in Rhythm: Etude #9 by Anthony J. Cirone 76 ELECTRONIC INSIGHTS MIDI System Interconnections by Jim Fiore 78 ROCK CHARTS Carl Palmer: "Brain Salad Surgery" by William F. Miller 80 Cover Photo by Michael S. Jachles ROCK PERSPECTIVES Ringo Starr: The Middle Period by Kenny Aronoff 90 RANDY CASTILLO JAZZ DRUMMERS' WORKSHOP Imagine this: You are at home with a broken leg, and you get a Your Drum Setup call to audition for Ozzy Osbourne. That happened to Randy by Peter Erskine 94 Castillo, and he got the gig. Here, he discusses such topics as SOUTH OF THE BORDER his double bass drum work and showmanship in drumming. Latin Rhythms On Drumset by John Santos 96 by Robyn Flans 16 CONCEPTS The Natural Drummer CURT CRESS by Roy Burns 104 Known for his work in Germany's recording studios and his CLUB SCENE playing with the band Passport, Curt Cress has also recorded Hecklers And Hasslers with Freddie Mercury, Meatloaf, and Billy Squier. Curt by Rick Van Horn 106 explains why the German approach is attracting British and EQUIPMENT American artists and producers. SHOP TALK by Simon Goodwin 22 Evaluating Your Present Drumset by Patrick Foley 68 PRODUCT CLOSE-UP DRUMMERS OF Pearl MLX/BLX Pro Series Drumkits by Bob Saydlowski, Jr 110 CONTEMPORARY ELECTRONIC REVIEW Korg DDD-1 Drum Machine CHRISTIAN MUSIC: by Rick Mattingly 112 NEW AND NOTABLE 124 PART 1 PROFILES John Gates, Art Noble, and Keith Thibodeaux discuss their PORTRAITS work with a variety of Christian music bands, and clarify what Thurman Barker Christian music is and what it is not. -
Uptown Conversation : the New Jazz Studies / Edited by Robert G
uptown conversation uptown conver columbia university press new york the new jazz studies sation edited by robert g. o’meally, brent hayes edwards, and farah jasmine griffin Columbia University Press Publishers Since 1893 New York Chichester, West Sussex Copyright © 2004 Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin All rights reserved Library of Congress Cataloging-in-Publication Data Uptown conversation : the new jazz studies / edited by Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin. p. cm. Includes index. ISBN 0-231-12350-7 — ISBN 0-231-12351-5 1. Jazz—History and criticism. I. O’Meally, Robert G., 1948– II. Edwards, Brent Hayes. III. Griffin, Farah Jasmine. ML3507.U68 2004 781.65′09—dc22 2003067480 Columbia University Press books are printed on permanent and durable acid-free paper. Printed in the United States of America c 10 9 8 7 6 5 4 3 2 1 p 10 9 8 7 6 5 4 3 2 1 contents Acknowledgments ix Introductory Notes 1 Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin part 1 Songs of the Unsung: The Darby Hicks History of Jazz 9 George Lipsitz “All the Things You Could Be by Now”: Charles Mingus Presents Charles Mingus and the Limits of Avant-Garde Jazz 27 Salim Washington Experimental Music in Black and White: The AACM in New York, 1970–1985 50 George Lewis When Malindy Sings: A Meditation on Black Women’s Vocality 102 Farah Jasmine Griffin Hipsters, Bluebloods, Rebels, and Hooligans: The Cultural Politics of the Newport Jazz Festival, 1954–1960 126 John Gennari Mainstreaming Monk: The Ellington Album 150 Mark Tucker The Man 166 John Szwed part 2 The Real Ambassadors 189 Penny M. -
Sound Directions Inc
SOUND DIRECTIONS, INC. Senior Leadership Resumes JAMES EMERY Guitarist/composer James Emery, virtuoso guitarist and composer, has been active on the international jazz and contemporary music scene since 1975. He has recorded 26 CDs as a leader or co-leader and has performed his works in over 25 countries worldwide. He has received international critical acclaim for his work leading various ensemble formations, and he is also celebrated for his work with the String Trio of New York, a veritable institution of jazz and creative music which he co- founded in 1977. Emery has become known for his distinctive and highly original approach to both improvisation and composition. His sound and ideas are immediately recognizable, leading the distinguished music critic Francis Davis to observe “Absolutely nobody sounds like Emery”. This singular artistic expression has resulted in many awards, grants and commissions, most notably a Guggenheim Fellowship in 1995. His sensibility as a musician draws in nearly equal measures on formal notions of structure and technique and a robust willingness to improvise, experiment and follow his musical intuition. Emery has been acclaimed as “one of the world’s finest guitarists...[he] possesses an encyclopedic jazz vocabulary as a technician and composer ...staggering technical virtuosity, remarkable creative spirit...” (allaboutjazz.com). The New York Times wrote, “Emery is a fleet guitarist with a personal touch and sound...mercurial, poised and thoroughly satisfying.” The German magazine Stereo lauded Emery’s compositional skills, observing “the guitarist succeeds in something astonishing: shaping modernistic sound dimensions in an extraordinarily delightful way and making them accessible to a wider audience...”. -
Listening to Voyager
45 LISTENING to VoYAGER BY PAUL StEINBECK IN THIS introduction to composer, MUSICIAN, AND interdisciplinary scholar Founded on Chicago’s South Side in 1965 by four African George Lewis. He came aboard in 1971, and four years later served as the AACM’s chair, directing the 1975 Tenth Anni- George E. LEWIS, MUSIC theorist Paul STEINBECK, A former student OF LEWIS’S American composers, the Association for the Advancement of Creative Musicians (AACM) was the most significant collective versary Festival. Lewis also functioned as the Association’s in- at Columbia, sheds LIGHT ON THE intertwined histories OF THE Association organization in the history of experimental music. Or rather, is house historian. From the 1990s into the twenty-first century, he published a number of writings about the AACM, including for THE Advancement OF Creative MUSICIANS (AACM) AND Voyager, THE com- the most significant — the Association celebrated its fiftieth an- niversary in 2015 and shows no signs of slowing down. Impor- the book A Power Stronger Than Itself (2008), the definitive PUTER system WITH WHICH LEWIS AND Roscoe Mitchell WILL perform at CTM 2018. tant new AACM artists emerge every few years, and the Asso- study of the organisation. Additionally, Lewis’s performanc- AS HE argues, Voyager, LIKE ALL Artificial INTELLIGENCE, IS not A neutral sys- ciation’s impact can be seen in many corners of contemporary es and compositions left a lasting mark on the Association. culture, including intermedia performance and visual art. But In the mid-1970s, he established himself as one of the world’s TEM BUT rather reflects THE aesthetic values AND EXPERIENCES OF its HUMAN its influence may be strongest in the realms of social relations top trombonists, recognized for his virtuosic technique and his creator(S). -
Magic Triangle Jazz Series Timeline
Close to the Music 25 Years of Magic Triangle Jazz Series Close to the Music 25 Years of Magic Triangle Jazz Series February 2014 WMUA 91.1 FM and the Fine Arts Center University of Massachusetts Amherst Concept and Project Director: Priscilla Page Founding Director of Magic Triangle: Glenn Siegel Book and Cover Design: Rebecca Neimark, Twenty-Six Letters Magic Triangle Posters: Ryan O’Donnell Contributing Writers: John Bracey, Jason Robinson, Ed Hazell Contributing Photographers: Jim Gipe, Ed Cohen, Maurice Robertson, Ben Barnhart, Parthasarathi Valluri, Frank Ward !!!"\$%&'()*%$(%'"*+,-,&./*('/&$.0% Magic Triangle archives are housed in the UMass Special Collections and University Archives, W.E.B. DuBois Library. Information at: 1((23--0/4'&'5"6,&))"%76-)2*+00- . Front Cover: Jonathan Finlayson, April 26, 2012, photo: Parthasarathi Valluri Back Cover: Bezanson Recital Hall, April 26, 2012, photo: Maurice Robertson © 2014 All Rights Reserved Glenn Siegel would like to thank: Dr. Fred Tillis, Director Emeritus of the UMass Fine Arts Center, !1+8\')(826(8/$)(/(6(/+$&08'%)+6'*%)84%1/$78+6'8%$(16)/&),"89+4%'(&8:$+;8<+6$7/$.8=/'%*(+'8+<8>%!8 WORLD Theater, for giving me entré to the world of presenting via the Bright Moments Festival and the Black Musicians Conference. Dr. Willie Hill and the entire FAC staff, for their unwavering sup- port. The jazz djs of WMUA-91.1FM. The Pioneer Valley is blessed to have a college radio station so *+,,/((%78(+8'%&08,6)/*&087/?%')/(5"8@+48A$(/08<+'8$6'(6'/$.8(1%8B%'/%)8(1'+6.18/()8\')(87%*&7%"8C58 beloved Priscilla Page, she hatched this book idea, and was its shepherd. -
For Immediate Release
Ann Hickey 312/744-4306 [email protected] The City of Chicago Announces The Chicago Jazz Partnership as the Presenting Sponsor for the Chicago Jazz Festival August 28-31, 2008 The City of Chicago and new presenting sponsor, The Chicago Jazz Partnership, are proud to announce the complete schedule for the 2008 Chicago Jazz Festival. This Labor Day weekend tradition begins with a free evening concert featuring Sonny Rollins at Millennium Park’s Jay Pritzker Pavilion on August 28, moves to Grant Park for three full days of free music, August 29-31, and closes with Ornette Coleman (complete schedule below). Rollins, a GRAMMY® Lifetime Achievement Award recipient, officially opens The Chicago Jazz Festival on August 28 at 6:30 p.m. at a new location, the world-renowned Jay Pritzker Pavilion in Millennium Park. Rollins is one of the last of the originals—a running mate of Miles Davis, Clifford Jordan and Max Roach, he was among the inventors of the language of Bebop. Rollins emerged from Chicago in the 1950s with a signature sound that has astounded audiences and inspired countless musicians for more than 50 years. The Chicago Jazz Festival then moves to Grant Park, August 29-31, with three stages of free music, activities and more from 11:00 a.m. to 9:30 p.m. daily. This year’s Artist-in-Residence is Chicago-based composer, arranger, musician and educator, Edward Wilkerson, Jr. Other headliners include Dee Dee Bridgewater, Eddie Palmieri and The Gerald Wilson Orchestra. Closing out the event on Sunday, August 31 at the Petrillo Music Shell is saxophonist/composer Ornette Coleman. -
A Power Stronger Than Itself
A POWER STRONGER THAN ITSELF A POWER STRONGER GEORGE E. LEWIS THAN ITSELF The AACM and American Experimental Music The University of Chicago Press : : Chicago and London GEORGE E. LEWIS is the Edwin H. Case Professor of American Music at Columbia University. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2008 by George E. Lewis All rights reserved. Published 2008 Printed in the United States of America 16 15 14 13 12 11 10 09 08 1 2 3 4 5 ISBN-13: 978-0-226-47695-7 (cloth) ISBN-10: 0-226-47695-2 (cloth) Library of Congress Cataloging-in-Publication Data Lewis, George, 1952– A power stronger than itself : the AACM and American experimental music / George E. Lewis. p. cm. Includes bibliographical references (p. ), discography (p. ), and index. ISBN-13: 978-0-226-47695-7 (cloth : alk. paper) ISBN-10: 0-226-47695-2 (cloth : alk. paper) 1. Association for the Advancement of Creative Musicians—History. 2. African American jazz musicians—Illinois—Chicago. 3. Avant-garde (Music) —United States— History—20th century. 4. Jazz—History and criticism. I. Title. ML3508.8.C5L48 2007 781.6506Ј077311—dc22 2007044600 o The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48-1992. contents Preface: The AACM and American Experimentalism ix Acknowledgments xv Introduction: An AACM Book: Origins, Antecedents, Objectives, Methods xxiii Chapter Summaries xxxv 1 FOUNDATIONS AND PREHISTORY -
C U R E N T Cross
COMUNE DI BOTTICINO Provincia di Brescia C con il patrocinio U CROSS R BOTTICINO JAZZ II Centro Lucia E 30-31 Ottobre 2009 N in collaborazione con T CROSSCURRENT BOTTICINO JAZZ II Produzione: Comune di Botticino, Botticino Servizi s.r.l. e Associazione Culturale Crosscurrent Direttore Artistico: Luigi Settala Direttore Esecutivo: Mariateresa Porteri Organizzazione: Mario Fava, Cesare Magagna, Davide Lorenzon Fotografo ufficiale: Luciano Rossetti Fonica: Zanetti Audio Artwork: Carlo Majorani Progetto grafico e realizzazione: La Grafica Webmaster: Alessandro Camanini Il festival è patrocinato dal Settore Turismo di Regione Lombardia e Provincia di Brescia e dalla SIdMA - Società Italiana di Musicologia Afroamericana Biglietti: 20 e serata, 35 e abbonamento Prevendita on-line Informazioni: Ufficio Cultura Comune di Botticino tel. 0302197460 con il patrocinio COMUNE DI BOTTICINO Provincia di Brescia CROSSCURRENT BOTTICINO JAZZ II 30/31 OTTOBRE 2009 CENtro LUCIA BotticiNO (BS) I lusinghieri risultati ottenuti nella prima edizione di Botticino Jazz (dal 27 al 29 ottobre 2008) sono riassunti nel tutto esaurito che si è registrato in ognuna delle tre serate di un festival al debutto. Il quartetto del pianista e compositore Corrado Guarino, il quartetto di Amiri Baraka, il trio Burrell, Conquest e Barnes, il quartetto di improvvisazione Parker, Drake, Mateen e Wilkes, il duo Puglisi, Drake e in particolar modo l’ensemble di William Parker “The inside songs of Curtis Mayfield”, hanno riscosso da un pubblico composto prevalentemente da neofiti un successo ben oltre le aspettative. Il festival si terrà venerdì 30 e sabato 31 ottobre e da quest’anno viene chiamato Crosscurrent per sottolineare la direzione controcorrente della manifestazione e le benefiche tendenze conflittuali generatesi nella musica jazz dopo la rivoluzione del free.