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Music Video As Black Art
IN FOCUS: Modes of Black Liquidity: Music Video as Black Art The Unruly Archives of Black Music Videos by ALESSANDRA RAENGO and LAUREN MCLEOD CRAMER, editors idway through Kahlil Joseph’s short fi lm Music Is My Mis- tress (2017), the cellist and singer Kelsey Lu turns to Ishmael Butler, a rapper and member of the hip-hop duo Shabazz Palaces, to ask a question. The dialogue is inaudible, but an intertitle appears on screen: “HER: Who is your favorite fi lm- Mmaker?” “HIM: Miles Davis.” This moment of Black audiovisual appreciation anticipates a conversation between Black popular cul- ture scholars Uri McMillan and Mark Anthony Neal that inspires the subtitle for this In Focus dossier: “Music Video as Black Art.”1 McMillan and Neal interpret the complexity of contemporary Black music video production as a “return” to its status as “art”— and specifi cally as Black art—that self-consciously uses visual and sonic citations from various realms of Black expressive culture in- cluding the visual and performing arts, fashion, design, and, obvi- ously, the rich history of Black music and Black music production. McMillan and Neal implicitly refer to an earlier, more recogniz- able moment in Black music video history, the mid-1990s and early 2000s, when Hype Williams defi ned music video aesthetics as one of the single most important innovators of the form. Although it is rarely addressed in the literature on music videos, the glare of the prolifi c fi lmmaker’s infl uence extends beyond his signature lumi- nous visual style; Williams distinguished the Black music video as a creative laboratory for a new generation of artists such as Arthur Jafa, Kahlil Joseph, Bradford Young, and Jenn Nkiru. -
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. -
The Once and Future King? Ravi Coltrane Quartet in Flux Savoy Jazz SVY 17444 (2005)
The Once and Future King? Ravi Coltrane Quartet In Flux Savoy Jazz SVY 17444 (2005) Last year the editors of Jazz Times yielded to temptation and ran the eye-catching headline “COLTRANE RETURNS!” to cover the new release by keyboardist Alice Coltrane. Several thousand readers groaned. So it usually goes with the heirs and scions of the jazz world: A marketing dream becomes a musical disappointment. As befits a quintessentially democratic art, jazz “dynasties” are few and of relatively modest distinction (no offense meant to, for example, Mtume James Heath, Ellis Marsalis or Von Freeman). The birth-children of Dizzy Gillespie, Miles Davis and Charlie Parker steered away from musical pursuits. A decade ago if asked to point to a jazz family with a truly influential parent and child we might have started and ended with Dewey and Joshua Redman (and even that may be a stretch). John Coltrane’s living example was not what influenced his son to take up jazz: John died when Ravi was wearing diapers. Nor was the son’ s embrace of the father’s chosen tools, the tenor and soprano saxophone, pre-ordained; the younger Coltrane did not succumb to the horns’ siren songs until he was in his late teens. Ravi Coltrane consciously chose, as a young adult, to walk the path which his father blazed for so many. While he certainly benefitted as a young artist from the goodwill which his family brought with such early employers as Jack DeJohnette, Pharoah Sanders and particularly Elvin Jones, Mr. Coltrane made the most of the opportunities presented to him. -
Vindicating Karma: Jazz and the Black Arts Movement
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2007 Vindicating karma: jazz and the Black Arts movement/ W. S. Tkweme University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Tkweme, W. S., "Vindicating karma: jazz and the Black Arts movement/" (2007). Doctoral Dissertations 1896 - February 2014. 924. https://scholarworks.umass.edu/dissertations_1/924 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. University of Massachusetts Amherst Library Digitized by the Internet Archive in 2014 https://archive.org/details/vindicatingkarmaOOtkwe This is an authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI. The bibliographic information for this thesis is contained in UMTs Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. Dissertation UMI Services From:Pro£vuest COMPANY 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Michigan 48106-1346 USA 800.521.0600 734.761.4700 web www.il.proquest.com Printed in 2007 by digital xerographic process on acid-free paper V INDICATING KARMA: JAZZ AND THE BLACK ARTS MOVEMENT A Dissertation Presented by W.S. TKWEME Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 W.E.B. -
The Coming of John, with Apologies to W. E. B. Du Bois and Amus Mor
john h. bracey jr. The Coming of John, with Apologies to W. E. B. Du Bois and Amus Mor “John,” she said, “does it make every one — unhappy when they study and learn lots of things?” He paused and smiled. “I am afraid it does,” he said. “And, John, are you glad you studied?” “Yes,” came the answer, slowly but positively —W. E. B. Du Bois, Souls of Black Folk first saw C oltrane live at Birdland in New York City, during the I summer of 1959. I was working as a potwasher/waiter at Camp Sea Breeze, located on the south coast of Staten Island. This camp for unwed mothers and children up to the age of twelve was run by the Community Service Society, under the directorship of the head of the School of Social Work at Howard University. My older sister was a counselor and I got my job in the kitchen. Due to an early socialization by my older cousins in Chicago, I had known of Coltrane through some of his work with Gene Ammons and Johnny Griffin, both hard-bop tenors from Chicago, and of his current role in the Miles Davis Quintet. After growing up in Washington, D.C., upon arriving in New York I soon learned that New Yorkers thought D.C. was socially and culturally part of the Deep South. I was warned not to go to Manhattan, where I’d face the possibility of becoming hopelessly lost, or being attacked and robbed by street gangs who would recognize me by dress and speech as easy prey. -
Jazz Festival Pr
! ! ! ! ! ! ! ! DC Jazz Festival Neighborhood Venues Host More Than 80 Performances Citywide Jazz in the ‘Hoods, a major feature of the DC Jazz Festival, annually attracts a vibrant audience of thousands of music enthusiasts and highlights the city as a vibrant cultural capital by bringing jazz to all four quadrants of the nation’s capital, with over 80 performances at more than !40 neighborhood venues. View full schedule. !RAMW Member Jazz Festival Venues & Specials: Carmine’s DC 425 7th Street NW Washington, DC 20004 (202) 737-7770 http://www.carminesnyc.com !Special: Groups of 6 or more, show your ticket stub to receive a free desert. Bistrot Lepic & Wine Bar 1736 Wisconsin Ave NW Washington, DC 20007 (202) 333-0111 !http://www.bistrotlepic.com !June 10th & 15th- Jazz in the ‘Hoods Presents: Jazz in the Wine Room (7:00 pm) Acadiana 901 New York Ave NW Washington, DC 20001 (202) 408-8848 !http://www.acadianarestaurant.com/acadiana.html !June 14th - Jazz in the ‘Hoods Presents: Live Jazz Brunch (11:00 am) ! ! The Hamilton Live 600 14th St NW Washington, DC 20005 (202) 787-1000 !http://www.thehamiltondc.com June 10th - John Scofield ÜberJam Band featuring Andy Hess, Avi Bortnick & Tony !Mason: 7:30 pm (Doors open at 6:30 pm) June 11th - Paquito D’Rivera with Special Guest Edmar Castañeda: 7:30 pm (Doors !open at 6:30 pm) June 12th - The Bad plus Joshua Redman with Opener Underwater Ghost featuring !Allison Miller: 8:30 pm (Doors open at 7 pm) June 13th - (Early and Late Shows) Jack DeJohnette Trio featuring Ravi Coltrane & Matthew Garrison: 7:30 pm (Doors open at 6:30 pm) & 10:30 pm (Doors open at 9:30 !pm) June 14th - Stanton Moore Trio & Charlie Hunter Trio featuring Bobby Previte & Curtis !Fowlkes: 7:30 pm (Doors open at 6:30 pm) !June 15th - An Evening with Snarky Puppy (First Night): 8 pm (Doors open at 6:30 pm) June 16th - An Evening with Snarky Puppy (Second Night): 8 pm (Doors open at 6:30 pm). -
October 2020 2020 EARSHOT JAZZ DIGITAL FESTIVAL Feeling the Spirit
Since 1984, Earshot Jazz has been Seattle’s major ambassador of jazz – presenting jazz masters and important new artists, supporting the local scene, and educating young and old about the joys of jazz – all thanks to contributions from folks like you. Make a donation TODAY www.earshot.org/donate 206-547-6763 All photos by Daniel Sheehan taken at the 2018 Earshot Jazz Festival. Top: Brian Blade, Kate Olson, Jovino Santos Neto, Logan Richardson, Jazzmeia Horn, Bill Frisell, Ryan J. Lee, Maria Schneider. Middle: Regina Carter, Jasnam Daya Singh, Tia Fuller, Wayne Horvitz, Burniss Travis, Roosevelt High School Jazz Band, Myra Melford, Joel Ross. Bottom Row: Dawn Clement, Johnaye Kendrick, Jay Thomas, Jen Shyu, Keyon Harrold, Caroline Davis, Donovan Kranzler-Lewis, Mark Turner. 2 • EARSHOT JAZZ • October 2020 2020 EARSHOT JAZZ DIGITAL FESTIVAL Feeling the Spirit Welcome to the 2020 edition of the time, president Earshot Jazz Festival. We’re proud to Barack Obama celebrate Seattle’s place in the dy- referred to jazz namic world of jazz with a festival as “fearless and that reflects both the circumstances true” and an and the spirit of these extraordinary “honest reflec- times. tion of who Building this year’s program on we are in this the tangible pillars of Listen, Learn, time.” All of and Improvise; we’ve also focused the artists on the artistic expression on the essen- this year’s festi- tial fourth corner of jazz’s founda- val bring a great tion: Feel. Beneath the technical depth of skill brilliance that we’ve come to expect and expressive in today’s artists, the essence of the spirit to the music is in the personal expression stage, though of the artist and its impact on the few have so rig- listener. -
Jazz Trio Plays Spanos Theatre Oct. 4
Cal Poly Arts Season Launches with Jazz Trio Oct. 4 http://www.calpolynews.calpoly.edu/news_releases/2006/September... Skip to Content Search Cal Poly News News California Polytechnic State University Sept. 11, 2006 FOR IMMEDIATE RELEASE Jazz Trio Plays Spanos Theatre Oct. 4 SAN LUIS OBISPO – In a spectacular showcase featuring jazz greats Bill Frisell (guitar/banjo), Jack DeJohnette (drums, percussion, piano) and Jerome Harris (electric bass/vocals), Cal Poly Arts launches its new 2006-07 performing arts season. The trio of master musicians will perform on Wednesday, October 4, 2006 at 8 p.m. in the Spanos Theatre. The evening will include highlights from the acclaimed release, “The Elephant Sleeps But Still Remembers.” Recorded at Seattle’s Earshot Festival in October 2001, “The Elephant Sleeps But Still Remembers” brilliantly captures the collaboration of two unparalleled musical visionaries: Jack DeJohnette -- “our era’s most expansive percussive talent” (Jazz Times) -- and Bill Frisell, “the most important jazz guitarist of the last quarter of the 20th century” (Acoustic Guitar). DeJohnette and Frisell first worked together in 1999. “We immediately had a rapport and we talked about doing more,” DeJohnette recalls. Frisell needed no convincing: “I have been such a fan of Jack’s since the late ’60s when I first heard him,” the guitarist says. “He’s been such an influence and inspiration throughout my musical life.” The two got together the afternoon before the 2001 Earshot concert and at the soundcheck, ran through a couple of numbers, but the encounter was largely improvised. “We had a few themes prepared,” Frisell says, “but it was pretty much just start playing, and go for it.” According to DeJohnette, “Bill and I co-composed in real time, on the spot” for “The Elephant Sleeps...” The album features 11 tracks covering a breadth of sonic territories. -
Downbeat October 2018
OCTOBER 2018 ON THE COVER 32 Tia Fuller The Radiance of a JIMMY & DENA KATZ 32 Diamond BY TED PANKEN As the featured saxophone soloist in Beyoncé’s band between 2006 and 2010, Tia Fuller won fans around the globe. Today, she is one of the most respected artists in jazz, both as a bandleader and educator. The Berklee College of Music professor's new Mack Avenue album, Diamond Cut, includes such high-profile collaborators as Terri Lyne Carrington, Jack DeJohnette and Dave Holland. Cover photo of Tia Fuller and image above shot by Jimmy and Dena Katz at The Jazz Gallery in New York City on May 22. Info for this venue is at jazzgallery.nyc. FEATURES 38 Tony Bennett & Diana Krall Streetwise Yet Sophisticated BY PHILLIP LUTZ 44 Ethan Iverson 56 Tord Gustavsen Trio 59 Adison Evans 62 Big Heart Machine 69 The Jamie Saft Quartet Dynamo at the Crossroads BY DAN OUELLETTE 48 Joey Baron Deep Listening Manifesto DEPARTMENTS BY BILL MILKOWSKI 8 First Take 53 Reviews 190 Jazz On Campus 10 Chords & Discords 176 Master Class 194 Blindfold Test SPECIAL SECTION BY DAVE ESKRIDGE 13 The Beat 180 Pro Session 71 Student 26 Players BY JIMI DURSO Music Guide Adi Meyerson 182 Transcription Steffen Schorn Frank Caruso Piano solo JACOB BLICKENSTAFF Where To Study Jazz 2019 Dongfeng Liu Dana Murray 186 Toolshed Jazzmeia Horn 6 DOWNBEAT OCTOBER 2018 TIA FULLER KNOWS ABOUT BEING A ROAD WARRIOR. AS FEATURED SAXOPHONE SOLOIST IN BEYONCÉ’S ALL-WOMAN BAND BETWEEN 2006 AND 2010, SHE TRAVELED FROM ONE MEGA-VENUE TO ANOTHER IN HIGH STYLE, NOT INFREQUENTLY IN THE LEADER’S PRIVATE JET. -
Jack Dejohnette's Drum Solo On
NOVEMBER 2019 VOLUME 86 / NUMBER 11 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert. -
An Evening with Lettuce & John Scofield
FOR IMMEDIATE RELEASE CAP UCLA presents An Evening with Lettuce & John Scofield March 20 at The Theatre at Ace Hotel DTLA "(Lettuce is} everyone's favorite funk band..." — Red Bull Music “During the course of his storied career, guitarist/composer John Scofield has never shown much of a predilection to repeat himself. Rather, he navigates through projects as diverse as trio outings, experiments with horns, collections of ballads and collaborations with the likes of Gov't Mule and the Grateful Dead's Phil Lesh in a such a way that, when he completes a cycle of activity, he's grown discernibly as an artist.” — All About Jazz UCLA’s Center for the Art of Performance (CAP UCLA) presents An Evening with Lettuce & John Scofield, on Wednesday, March 20 at 8 p.m. at The Theatre at Ace Hotel Downtown Los Angeles. Tickets for $29–$59 are available now at cap.ucla.edu and theatre.acehotel.com, 310-825-2101 and The Theatre at Ace Hotel box office. Influenced by Earth, Wind and Fire and Tower of Power, among others, undergrads started Lettuce following a music program at Berklee College of Music. Jamming out the summer of 1992 led to engagements in New York, San Francisco, Chicago, and even a following in Tokyo. Their first album Outta Here began Lettuce’s mission of bringing vigor and spunk to classic funk. For their Theatre at Ace Hotel debut, Lettuce will be joined by renowned guitarist John Scofield. An influencer of jazz, Scofield has collaborated with Pat Metheny who performed at CAP UCLA earlier this season. -
Eddie Who? - Eddie Harris Amerikansk Tenorsaxofonist, Født 20.10.1934 I Chicago, IL, D
Eddie Who? - Eddie Harris Amerikansk tenorsaxofonist, født 20.10.1934 i Chicago, IL, d. 5.11.1996 Sanger og pianist som barn i baptistkirker og spillede senere vibrafon og tenorsax. Debuterede som pianist med Gene Ammons før universitetsstudier i musik. Spillede med bl.a. Cedar Walton i 7. Army Symphony Orchestra. Fik i 1961 et stort hit og jazzens første guldplade med filmmelodien "Exodus", hvad der i de følgende år gav ham visse problemer med accept i jazzmiljøet. Udsendte 1965 The in Sound med bl.a. hans egen komposition Freedom Jazz Dance, som siden er indgået i jazzens standardrepertoire. Spillede fra 1966 elektrificeret saxofon og hybrider af sax og basun. Flirtede med rock på Eddie Harris In the UK (Atlantic 1969). Spillede 1969 på Montreux festivalen med Les McCann (Swiss Movement, Atlantic) og skrev 1969-71 musik til Bill Cosbys tv-shows. Spillede i 80'erne med bl.a. Tete Montoliu og Bo Stief (Steps Up, SteepleChase, 1981) og igen med Les McCann. Som sideman med bl.a. Jimmy Smith, Horace Silver, Horace Parlan og John Scofield (Hand Jive, Blue Note, 1993). Optrådte trods sygdom, så sent som maj 1996. Indspillede et stort antal plader for mange selskaber, fra 80'erne mest europæiske. Med udgangspunkt i bopmusikken udviklede Harris sine eksperimenter til en meget personlig stil med umiddelbart genkendelig, egenartet vokaliserende tone, fra 70'erne krydret med (ofte lange), humoristisk filosofisk/satiriske enetaler. Følte sig ofte underkendt som musiker og satiriserede over det i sin "Eddie Who". Kilde: Politikens Jazz Leksikon, 2003, red. Peter H. Larsen og Thorbjørn Sjøgren There's a guys (Chorus) You ought to know Eddie Harris ..