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Jazz at Lincoln Center with Wynton Dave Liebman Explained from His Seat at Jazz at Marsalis Fêted Mccoy Tyner and Charles Mcpherson Kitano’S Bar (Apr
new york @ nigHt To provide healthcare and disaster relief for needy Jazz these days can be found most anywhere, from musicians, Wendy Oxenhorn and the Jazz Foundation hallowed concert hall to basement dive bar screaming o f of America must repeatedly replenish the non-profit’s fire-code violations. But perhaps the best place to hear FrEeDoM Sound coffers. The 17th annual “A Great Night in Harlem” creative musicians is in the company of other creations, benefit, held at the Apollo Theater on the anniversary like an art gallery or bookstore. There is an analogue of Martin Luther King’s 1968 assassination (Apr. 4th), between the notes and lines being generated by the could have been a somber occasion, but the mood was instruments and the colors and textures of a painting celebratory. Harry Belafonte (not present), Tony or sentences and themes of a novel. This synergy is Bennett and the late Hugh Masekela were honored for what drove local jazz journalist and all-around lifelong commitment to humanitarian causes, each an enthusiast Luigi Santosuosso to form a partnership agent for political change through music. Indeed, in with Rizzoli Books, one of the city’s most charming his remembrances of Belafonte and King, erstwhile purveyors of print. His series is in its ninth month and Civil Rights activist/ambassador Andrew Young fills a need for afternoon jazz appropriate for both quoted Paul Robeson: “Artists are the gatekeepers of aficionados and families striving to become so. On the truth.” The music, casual but passionate, scripted yet first gorgeous weekend of 2019, a large crowd came to freeform, reinforced the political spirit. -
Spring 2007 Newsletter
Dance Studio Art Create/Explore/InNovate DramaUCIArts Quarterly Spring 2007 Music The Art of Sound Design in UCI Drama he Drama Department’s new Drama Chair Robert Cohen empa- a professor at the beginning of the year, graduate program in sound sized the need for sound design initia- brings a bounty of experience with him. design is a major step in the tive in 2005 as a way to fill a gap in “Sound design is the art of provid- † The sound design program Tdepartment’s continuing evolution as the department’s curriculum. “Sound ing an aural narrative, soundscape, contributed to the success of Sunday in The Park With George. a premier institution for stagecraft. design—which refers to all audio reinforcement or musical score for generation, resonation, the performing arts—namely, but not performance and enhance- limited to, theater,” Hooker explains. ment during theatrical or “Unlike the recording engineer or film film production—has now sound editor, we create and control become an absolutely the audio from initial concept right vital component” of any down to the system it is heard on.” quality production. He spent seven years with Walt “Creating a sound Disney Imagineering, where he designed design program,” he con- sound projects for nine of its 11 theme tinued, “would propel UCI’s parks. His projects included Cinemagique, Drama program—and the an interactive film show starring actor collaborative activities of Martin Short at Walt Disney Studios its faculty—to the high- Paris; the Mermaid Lagoon, an area fea- est national distinction.” turing several water-themed attractions With the addition of at Tokyo Disney Sea; and holiday overlays Michael Hooker to the fac- for the Haunted Mansion and It’s a Small ulty, the department is well World attractions at Tokyo Disneyland. -
Asian Cultural Council 2018 Annual Report TABLE of CONTENTS
asian cultural council 2018 annual report TABLE OF CONTENTS 1. Message from Chairman & Executive Director 2. Board of Trustees 3. Partner Foundations 4. Messages from ACC’s Asia Directors 8. 2018 Program Overview 12. Public Programs & Partnerships 14. 2018 Grantee Highlights 20. 2018 Grants 22. JDR 3rd Award 24. BHR Award 26. Global Anniversary Celebrations 36. 2018 Events around the World 37. Donors 40. Financial Summary 42. Staff Cover: Ethnomusicologist Susie Ibarra The Wooster Group performing The recording a sound test on Easton Glacier, WA Town Hall Affair in Japan AT THE HEART OF ACC is a celebration of meaningful connection across borders. We believe that bringing people together from seemingly disparate backgrounds to discover commonality and appreciate differences is what creates a global consonance and commitment to a shared future. By empowering artists, scholars, and arts professionals to travel and pursue life- changing experiences in Asia and the U.S., we enact our core belief that cultural exchange is the most powerful WENDY O’NEILL MIHO WALSH tool we have to build a more harmonious world. Chairman Executive Director In 2018, ACC celebrated 55 years of work in cultural exchange, our investment to date of $100 million in direct grant-giving, and support for exchange opportunities to artists and scholars in Asia and the U.S. We showcased our brilliant alumni and gathered our ever-expanding global network of friends at our 55th Anniversary Gala in New York, where we honored John D. Rockefeller 3rd Award recipient Shen Wei (ACC 1995, 2017) alongside longtime ACC supporters and leading philanthropists David and Susan Rockefeller, who announced a $1 million endowment gift from the Estate of David Rockefeller, Sr. -
Ron Mcclure • Harris Eisenstadt • Sackville • Event Calendar
NEW YORK FebruaryVANGUARD 2010 | No. 94 Your FREE Monthly JAZZ Guide to the New ORCHESTRA York Jazz Scene newyork.allaboutjazz.com a band in the vanguard Ron McClure • Harris Eisenstadt • Sackville • Event Calendar NEW YORK We have settled quite nicely into that post-new-year, post-new-decade, post- winter-jazz-festival frenzy hibernation that comes so easily during a cold New York City winter. It’s easy to stay home, waiting for spring and baseball and New York@Night promising to go out once it gets warm. 4 But now is not the time for complacency. There are countless musicians in our fair city that need your support, especially when lethargy seems so appealing. To Interview: Ron McClure quote our Megaphone this month, written by pianist Steve Colson, music is meant 6 by Donald Elfman to help people “reclaim their intellectual and emotional lives.” And that is not hard to do in a city like New York, which even in the dead of winter, gives jazz Artist Feature: Harris Eisenstadt lovers so many choices. Where else can you stroll into the Village Vanguard 7 by Clifford Allen (Happy 75th Anniversary!) every Monday and hear a band with as much history as the Vanguard Jazz Orchestra (On the Cover). Or see as well-traveled a bassist as On The Cover: Vanguard Jazz Orchestra Ron McClure (Interview) take part in the reunion of the legendary Lookout Farm 9 by George Kanzler quartet at Birdland? How about supporting those young, vibrant artists like Encore: Lest We Forget: drummer Harris Eisenstadt (Artist Feature) whose bands and music keep jazz relevant and exciting? 10 Svend Asmussen Joe Maneri In addition to the above, this month includes a Lest We Forget on the late by Ken Dryden by Clifford Allen saxophonist Joe Maneri, honored this month with a tribute concert at the Irondale Center in Brooklyn. -
Stylistic Evolution of Jazz Drummer Ed Blackwell: the Cultural Intersection of New Orleans and West Africa
STYLISTIC EVOLUTION OF JAZZ DRUMMER ED BLACKWELL: THE CULTURAL INTERSECTION OF NEW ORLEANS AND WEST AFRICA David J. Schmalenberger Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Percussion/World Music Philip Faini, Chair Russell Dean, Ph.D. David Taddie, Ph.D. Christopher Wilkinson, Ph.D. Paschal Younge, Ed.D. Division of Music Morgantown, West Virginia 2000 Keywords: Jazz, Drumset, Blackwell, New Orleans Copyright 2000 David J. Schmalenberger ABSTRACT Stylistic Evolution of Jazz Drummer Ed Blackwell: The Cultural Intersection of New Orleans and West Africa David J. Schmalenberger The two primary functions of a jazz drummer are to maintain a consistent pulse and to support the soloists within the musical group. Throughout the twentieth century, jazz drummers have found creative ways to fulfill or challenge these roles. In the case of Bebop, for example, pioneers Kenny Clarke and Max Roach forged a new drumming style in the 1940’s that was markedly more independent technically, as well as more lyrical in both time-keeping and soloing. The stylistic innovations of Clarke and Roach also helped foster a new attitude: the acceptance of drummers as thoughtful, sensitive musical artists. These developments paved the way for the next generation of jazz drummers, one that would further challenge conventional musical roles in the post-Hard Bop era. One of Max Roach’s most faithful disciples was the New Orleans-born drummer Edward Joseph “Boogie” Blackwell (1929-1992). Ed Blackwell’s playing style at the beginning of his career in the late 1940’s was predominantly influenced by Bebop and the drumming vocabulary of Max Roach. -
Some Notes on John Zorn's Cobra
Some Notes on John Zorn’s Cobra Author(s): JOHN BRACKETT Source: American Music, Vol. 28, No. 1 (Spring 2010), pp. 44-75 Published by: University of Illinois Press Stable URL: http://www.jstor.org/stable/10.5406/americanmusic.28.1.0044 . Accessed: 10/12/2013 15:16 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of Illinois Press is collaborating with JSTOR to digitize, preserve and extend access to American Music. http://www.jstor.org This content downloaded from 198.40.30.166 on Tue, 10 Dec 2013 15:16:53 PM All use subject to JSTOR Terms and Conditions JOHN BRACKETT Some Notes on John Zorn’s Cobra The year 2009 marks the twenty-fifth anniversary of John Zorn’s cele- brated game piece for improvisers, Cobra. Without a doubt, Cobra is Zorn’s most popular and well-known composition and one that has enjoyed remarkable success and innumerable performances all over the world since its premiere in late 1984 at the New York City club, Roulette. Some noteworthy performances of Cobra include those played by a group of jazz journalists and critics, an all-women performance, and a hip-hop ver- sion as well!1 At the same time, Cobra is routinely played by students in colleges and universities all over the world, ensuring that the work will continue to grow and evolve in the years to come. -
The Piano Equation
Edward T. Cone Concert Series ARTIST-IN-RESIDENCE 2020–2021 Matthew Shipp The Piano Equation Saturday, November 21 2020 8:00 p.m. ET Virtual Concert, Live from Wolfensohn Hall V wo i T r n tu so osity S ea Institute for Advanced Study 2020–2021 Edward T. Cone Concert Series Saturday, November 21, 2020 8:00 p.m. ET MATTHEW SHIPP PROGRAM THE PIANO EQUATION Matthew Shipp Funding for this concert is provided by the Edward T. Cone Endowment and a grant from the PNC Foundation. ABOUT THE MUSIC David Lang writes: Over the summer I asked Matthew Shipp if he would like to play for us the music from his recent recording The Piano Equation. This album came out towards the beginning of the pandemic and I found myself listening to it over and over—its unhurried wandering and unpredictable changes of pace and energy made it a welcome, thoughtful accompaniment to the lockdown. My official COVID soundtrack. Matthew agreed, but he warned me that what he would play might not sound too much like what I had heard on the recording. This music is improvised, which means that it is different every time. And of course, that is one of the reasons why I am interested in sharing it on our season. We have been grouping concerts under the broad heading of ‘virtuosity’–how music can be designed so that we watch and hear a musical problem being overcome, right before our eyes and ears. Improvisation is a virtuosity all its own, a virtuosity of imagination, of flexibility, of spontaneity. -
Asian Americans and Creative Music Legacies
UC Irvine UC Irvine Previously Published Works Title Asian Americans and Creative Music Legacies Permalink https://escholarship.org/uc/item/7hf4q6w5 Journal Critical Studies in Improvisation / Études critiques en improvisation, 1(3) Author Dessen, MJ Publication Date 2006 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Critical Studies in Improvisation / Études critiques en improvisation, Vol 1, No 3 (2006) Asian Americans and Creative Music Legacies Michael Dessen, Hampshire College Introduction Throughout the twentieth century, African American improvisers not only created innovative musical practices, but also—often despite staggering odds—helped shape the ideas and the economic infrastructures which surrounded their own artistic productions. Recent studies such as Eric Porter’s What is this Thing Called Jazz? have begun to document these musicians’ struggles to articulate their aesthetic philosophies, to support and educate their communities, to create new audiences, and to establish economic and cultural capital. Through studying these histories, we see new dimensions of these artists’ creativity and resourcefulness, and we also gain a richer understanding of the music. Both their larger goals and the forces working against them—most notably the powerful legacies of systemic racism—all come into sharper focus. As Porter’s book makes clear, African American musicians were active on these multiple fronts throughout the entire century. Yet during the 1960s, bolstered by the Civil Rights -
Earshot Jazz
Tomasz Stanko: Jazz as a Synonym for Freedom b y P e t e r M o n a g h a n Tomasz Stanko, the preeminent Polish jazzman, and one of the greatest trumpeters in the art form, ever, has called Chet Baker “my first trumpet love, followed by Miles, who continued as my guru until his very end.” He also acknowledges the in fluence o f a wide variety of other trumpet innovators of the modern era: Clifford Brown, Kenny Dorham, Fats Navarro, Booker Little, Don Cherry... That pretty well covers the trumpet waterfront. But Stanko also nods to other essential jazz heroes: John Coltrane, Max Roach, Sonny Rollins, the Jazz Messengers... But you can get a further sense o f how the Polish trumpeter’s aesthetic works from his comment that “as far as my sound is concerned, I believe that [painter Vincent] Van Gogh, [saxophonist] Coleman Hawkins, [writer W illiam ] Faulkner, [trumpeter] Roy Eldridge, [artist Amedeo] M odigliani, [writer W illiam S.] Burroughs, and [trumpeter] Buck Clayton might have helped in its buildup.” Stanko once said: “Various media, such as film , theatre, painting, literature and poetry, as well as philosophy and humanity, in its broad sense, have had an effect on me as a composer, improviser, and artist.” This month, we’ll get another chance (Triple Door, March 19) to hear why Stanko has become, through 40 years o f play ing in many of the most important bands and moments of European jazz — in fact, of any jazz — a true individualist. He is, nonetheless, rooted in and resonant w ith the course of modern jazz. -
Gerry Hemingway Quartet Press Kit (W/Herb Robertson and Mark
Gerry Hemingway Quartet Herb Robertson - trumpet Ellery Eskelin - tenor saxophone Mark Dresser- bass Gerry Hemingway – drums "Like the tightest of early jazz bands, this crew is tight enough to hang way loose. *****" John Corbett, Downbeat Magazine Gerry Hemingway, who developed and maintained a highly acclaimed quintet for over ten years, has for the past six years been concentrating his experienced bandleading talent on a quartet formation. The quartet, formed in 1997 has now toured regularly in Europe and America including a tour in the spring of 1998 with over forty performances across the entire country. “What I experienced night after night while touring the US was that there was a very diverse audience interested in uncompromising jazz, from young teenagers with hard core leanings who were drawn to the musics energy and edge, to an older generation who could relate to the rhythmic power, clearly shaped melodies and the spirit of musical creation central to jazz’s tradition that informs the majority of what we perform.” “The percussionist’s expressionism keeps an astute perspective on dimension. He can make you think that hyperactivity is accomplished with a hush. His foursome recently did what only a handful of indie jazzers do: barnstormed the U.S., drumming up business for emotional abstraction and elaborate interplay . That’s something ElIery Eskelin, Mark Dresser and Ray Anderson know all about.“ Jim Macnie Village Voice 10/98 "The Quartet played the compositions, stuffed with polyrhythms and counterpoints, with a swinging -
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| news | calendar | projects and bands | bio | discs | photos | videos | press | links | contact | | calendar 2010 | archive 04.01.09 New York , The Stone - Sylvie Courvoisier Trio with Gerald Cleaver and John Herbert 28.01.09 New York , The Stone - Trio with Ikue Mori + Lotte Anker January 29.01.09 Philadelphia, - Trio with Mori + Anker 30.01.09 New York, - John Zorn Improv 31.01.09 Baltimore, An die music - Trio with Mori + Anker February 14.02.2009 New York , The Stone - John Zorn improv 14.03.09 New York , Roulette - with Peter Evans European Tour Sylvie Courvoisier & Mark Feldman Duo 25.03.09 Padova, Italy-teatro Torresino March 26.03.09 Madrid, Spain -Colegio Mayor San Juan Evangelista de Madrid 27.03.09 Cully, Switzerland -Festival de Cully -Temple de Cully 28.03.09 Neuchatel, Switzerland - Theatre du Pommier 31.03.09 Koeln, Germany -the Loft- 01.04.09 Berlin, Germany - Institut Francais de Berlin 15.04.2009 New York , The Stone -8pm Duo with Mark Feldman / 10 pm 4tet with Gerry Hemingway, Mark Feldman , Eivind Opsvik 18.04.09 Brescia, Italy- ReThinkjazzfestival- Duo with Mark Feldman 19.04.09 Zurich, Switzerland, Rotefabrick - Duo with Mark Feldman April 20.04.09>26.04.09 Austria, -Arbogast days of Utopia - Duo with Feldman European Tour Trio Courtois, Courvoisier, Eskelin 27.03.09 >>12.05.09 27.04.09 KARLSRUHE,Gemany - Tollhaus -Trio Courtois,Courvoisier,Eskelin 02.05.09 NEUBURG, Donau, Germany -Birdland-Trio May 04>07.05.09 PARIS, France- Dynamo-Trio + cinema project - 11.05.09 LONDON, England, Vortex-Trio 12.05.09 DUBLIN, Ireland -John Field Room at the National Concert Hall-Trio June 02.06.09 New York , The Stone - Ikue Mori + Sylvie Courvoisier with Ches Smith + Devin Hoff Japan Tour solo piano + Trio Ikue Mori, Makigami Koichi & SC 13.06.09 Tokyo,Sengawa, Japan- -Sengawa Jazz Festival 14 06.09 Tokyo, Japan-JAZZ ART Sengawa theater / Cobra 16.06.09 Kushiro, Hokkaido, "This is" - 17.06.09 Sapporo, Yamaha Fields" 18.06.09 Tokyo, Shibuya Classics 20. -
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Sylvie Courvoisier http://www.sylviecourvoisier.com/calendar.htm | news | calendar | projects and bands | bio | discs | photos | videos | press | links | contact | | calendar 2009 | archive 03.01.08 New York, The Stone- Impro with Ned Rothenberg & Mark Feldman January 04.01.08 New York, Abrons Art Center - duo Courvoisier & Feldman 18.01.08 Los Angeles, Red Cat - duo Courvoisier & Feldman 08.02.08 New York , The Stone - 8pm - duo Courvoisier & Feldman February 14.02.08 New York , The Stone - John Zorn's improv 01.03.08 New York, Chelsea Art Museum :2pm with Ne(x)Tworks 2.03.08 New York - Roulette - duo with Jim Staley 16.03.08 >18 .03.08 -Teaching Luzern, Switzerland 18.05.08 Luzern, Switzerland -Kleintheater March 21.03.08 New York, Japan Society - Mephista (Mori, Ibarra, Courvoisier) 27.03.08 New York, Merkin Hall - piano solo 28.03.08 Brooklyn, Tea Lounge-9pm Trio with Chris Speed & Perowsky BR>30.03.08 Brooklyn, Tea Lounge- 8pm Duo with Ben Perowsky 12.04.08 Milano, Italy- secondo maggio:Duo with Roberto Ottaviano 17.04.08 Boston, USA - The Institute of Contemporary Art, -Music of John Zorn - April Duo with Mark Feldman 29.04.08 New York - Roulette - John Zorn's Cobra 02.05.08 New York , The Stone - 8pm - duo with Ben Perowsky European Tour : Sylvie Courvoisier "Lonelyville" feat. Ikue Mori, Mark Feldman, Vincent Courtois & Gerald Cleaver 08.05.08 New York, USA - Roulette 11.05.08 Le Mans, France - Festival du Mans May 12.05.08 Lille,France - La malterie - 14.05.08 Antwerp, Belgium - - Cultuurcentrum Luchtbal 15.05.08 Amsterdam, Holland