Source + transcript: http://www.cnvill.net/mfcarter_at_buffalo.pdf
Sonorgie
In October 1979, Elliott Carter visited the State University of New York at Buffalo for a concert of four of his works, including the "Double Concerto for Harpsichord and Piano" (1961). A film of the visit was made by D. A. Pennebaker and Chris Hegedus. During the visit, Feldman, who was Professor of Composition in the Music Department at the time, invited Carter, the pianist Ursula Oppens and the other guest musicians to a dinner party at his apartment. Filming went on at the party and a short fragment of conversation between Feldman, Carter and Oppens is included in the final film. This is the only sequence in which Feldman appears in the film, which primarily focuses on Carter and the rehearsal and performance of his pieces. A transcript of Feldman’s exchange with Carter is given below. Feldman had just completed his first “hour and a half piece”, his “String Quartet” (1979), completed in September and premiered the following May.
Source + transcript: http://www.cnvill.net/mfcarter_at_buffalo.pdf
Source + transcript: http://www.cnvill.net/mfcarter_at_buffalo.pdf
updated 9 years ago
Source + transcript: http://www.cnvill.net/mfcarter_at_buffalo.pdf
We have been making noise, we are ignored. We challenge writers, we are written off and blocked. If women – and men – en masse stopped showing up to support and cater to male dominated shows and festivals, then we might see change.
Please share, talk to your local arts presenters and demand from them what should be a no-brainer in 2022. We have to become louder and uncomfortable, otherwise nothing will change.
Thank you for your support, Riccarda Kato
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Hey privileged guy friends, the #Jazzwerkstatt Peitz Festival is starting in a few hours and we need you to speak up for us today! #oliversteidle #rudimahall #robertlandfermann #peterevans #philippgropper #ravicoltrane #gadilehavi #dezrondouglas #elehowell #uwewarnke #volkerjaekel #joehertenstein #jonirabagon #anthonycoleman #johnsurman #vigleikstoraas #timhodgkinson #chriscutler #evanparker #barryguy #paullytton #koljablacher #walterküssner #timpark #dmitrysitkovetsky #joesachse #matthiasmuche #jebbishop #posaunenkraftei #chessmith #craigtaborn #matmaneri #augustopirodda #laurentblondiau #bensluijs #samcomerford #manolocabras #marekpatrman
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The music (sample) used in this video can be found/purchased here: bit.ly/3L1FtHq
Tiger Trio (FR/US), the union of pianist Myra Melford, bassist Joëlle Léandre, and flutist Nicole Mitchell, began during Melford’s two-year Building Demand for the Arts Residency, funded by the Doris Duke Charitable Foundation at Yerba Buena Center for the Arts in San Francisco. The trio debuted at the 2015 New Frequencies Fest: Jazz@YBCA, which was the culmination of the residency. Melford and Mitchell are both recipients of the Doris Duke Performing Arts Award and the Alpert Award in the Arts. Melford, a professor at University of California, Berkeley, is a widely celebrated pianist and composer. Mitchell, also a composer, is the former first woman chair of the Association for the Advancement of Creative Musicians and recognized by The New York Times for her "Afrofuturist vision." Mitchell, a professor at the University of Pittsburgh, is the new leader of their Jazz Studies program. Double bassist, vocalist and composer, Léandre was Creative Associate at the Center for Performing Arts in Buffalo, NY, working with Morton Feldman and John Cage. Léandre was a recipient of the Deutscher Akademischer Austauschdienst Scholarship and the Villa Kujoyama Scholarship, and in the early 1990s, she co-founded the feminist improvising trio Les Diaboliques, with Irène Schweizer and Maggie Nicols. Tiger Trio has two recordings—Unleashed and Map of Liberation—on the Parisian Rogue Art label.
Set 1:
Rova + Dohee Lee (voice and movement) perform Slowville, a structured improvisation composed by Larry Ochs.
Rova + Wobbly (electronics) perform Luau Axe Quiz, composed/designed by Steve Adams.
Set 2:
Rova + ACVILLA (video) perform ACVilla's No Distractions, a unique video score specifically envisioned for Rova Saxophone Quartet and The Lab, in which the artist will present three simultaneous projections.
Rova Sax Quartet is a group that can move you the way an Eastern European choir of voices can move you, but also a group with force, a force that can feel as if it is tearing the walls of the listening space down, or that can simulate the complex sound of a machine, or conversely, the almost-silent overlapping sound-patterns heard with eyes closed in a field in the wilderness. Rova's musical goal has always been, since 1978, to instigate, to challenge, and to inspire. The group explores the synthesis of composition and collective improvisation, creating exciting, genre-bending music. Rova:Arts, formed in 1986, acts as the umbrella organization for the musicians, facilitating the goals and productions and tours, the collaborations and special projects. http://rova.org
Born on Jeju Island in South Korea, Dohee Lee studied Korean dance, music, percussion and vocals at the master level. Since her arrival in the US she has been a vital contributor to both the traditional and contemporary arts landscape of the San Francisco Bay Area and beyond. Dohee’s work focuses on integration of traditional forms and contemporary arts through music, movement, images, costumes and installations. Lee’s distinctive and profound performance style evokes the full spectrum of human emotion, the primordial, futuristic, visible and invisible realms. A review that appeared in the Chicago Tribune stated, “Lee unfurled an extraordinary lexicon of vocal colors, tones and textures. Yet she deftly controlled these otherworldly sounds…with her sinuous, thoroughly personalized one-woman choreography, self-styled art form.” http://doheelee.com
Video by Charles Smith. Copyright (c) 2018 Rova Saxophone Quartet. All rights reserved. Any reproduction or republication of all or part of this video is expressly prohibited, unless Rova Saxophone Quartet has explicitly granted its prior written consent.
Founding member of the Rova Sax Quartet, Larry Ochs has worked with many of the greatest musicians in Creative Music—Steve Lacy, Fred Frith, Wadada Leo Smith, Terry Riley, Marilyn Crispell, John Zorn, Nels Cline, Anthony Braxton and countless others. His newest ensemble is an update on the classic New York Contemporary Five and features Larry’s Shepp-tinged tenor sax along with some of the best young players out of New York’s Downtown scene. Ochs is particularly excited by both the ensemble sound and the music here, a set of pieces he considers to be among his strongest and most successful blendings of composition and improvisation. Fabulous and soulful, The Fictive Five is a tremendous achievement by this West Coast master of surprise! Get your copy here: larryochs.bandcamp.com/album/the-fictive-five
The 3 CD Box — "Nothing/Something," "Something/Nothing," and "Furthermore" — document a twenty-five year musical relationship, with improvisations, original songs and interpretations of Herbie Nichols' pieces. Order here: http://bit.ly/2cAmUvH
Video © Kato Bookbird
The 3 CD Box — "Nothing/Something," "Something/Nothing," and "Furthermore" — document a twenty-five year musical relationship, with improvisations, original songs and interpretations of Herbie Nichols' pieces. Order here: http://bit.ly/2cAmUvH
Video © Kato Bookbird
Celebrating over ten years of collaborating together, Berlin saxophonist/composer, Gebhard Ullmann and NYC trombonist/composer Steve Swell join two of Chicago's finest improvising musicians; Fred Lonberg-Holm, cello/electronics and percussionist Michael Zerang for this new configuration. Building on the strength and ideals of those three cities the quartet creates enough fireworks to light up the night sky with their brilliant sound imagery. The Chicago Plan thoroughly breaks new ground for what Jazz and New Music ensembles' approach to what creative music should be.
"Here now was jazz energy. Here was meticulous virtuosity. Here was wild, driving rhythm and horns in a front-line part. Stopping on a dime, returning to the previous mood. Finding a way to end. The ebb and flow of formal composition and instantaneous improvisation is what makes this approach to music making so exciting" — Lazaro Vega, Jazz Director, Blue Lake Radio
Photos © Gebhard Ullmann by ThomasSPunkt; Steve Swell by Peter Gannushkin; Fred Lonberg-Holm by Dawid Laskowski; Michael Zerang by Laurent Polget; Front Cover by Kato Bookbird
Copyright (c) 2014 Rova Saxophone Quartet. All rights reserved. Any reproduction or republication of all or part of this video is expressly prohibited, unless Rova Saxophone Quartet has explicitly granted its prior written consent.
Copyright (c) 2014 Rova Saxophone Quartet. All rights reserved. Any reproduction or republication of all or part of this video is expressly prohibited, unless Rova Saxophone Quartet has explicitly granted its prior written consent.
Purchase: http://nobusinessrecords.com/NBLP65.php
Purchase: http://nobusinessrecords.com/NBLP65.php
http://www.pointofdeparture.org/PoD30/PoD30MoreMoments2.html
(Here's a live extract from the Freenology perfomance at Konfrontationen Festival, Nickelsdorf http://www.youtube.com/watch?v=xBEMNHiMCWQ)
David S. Ware - Tenor Saxophone; Cooper Moore - Piano; William Parker - Bass; Muhammad Ali - Drums.
There will be a new Planetary Unknown album in 2012. Organica, David's second volume in a planned series of solo recordings, will be released in October 2011. http://www.davidsware.com
Recorded in concert in the fall of 1973 at a St. Louis church, the tape went unreleased until '77, when Thomas put it out on his own short-lived Creative Consciousness label; it was later reissued on vinyl, very briefly, on Circle Records. Reissue Producer - John Corbett.
All tracks composed and recorded at home (Vitre, France) on 8 tracks between March and may of 2006.
Mehdi Ameziane: voice, acoustic guitar, effects, tampura, banjoline (sometimes bowed,) and tambourine.
Bismillahi 'Rrahman 'Rrahim, arabic for "In The Name of God, The Beneficent, The Merciful".
© Klangbad ℗ & Moebius
From his early work with the pioneering Krautrock band Cluster to his later solo recordings, Dieter Moebius remained one of the most innovative and prolific voices in contemporary electronic music, anticipating movements from ambient to techno years before the fact. By day a student at Berlin's Akademie Grafik, Moebius was moonlighting as a cook at an area restaurant when in 1969 he was befriended by Conrad Schnitzler, a key figure in local avant-garde circles, and invited to join Kluster, a band Schnitzler was forming with fellow underground artist Hans Joachim Roedelius. The trio released their debut LP Klopfzeichen in 1970; in the wake of their third album, 1971's Kluster und Eruption, Schnitzler exited to pursue a solo career, and Moebius and Roedelius continued on as a duo, modifying the name to Cluster. More: http://www.discogs.com/artist/Dieter+Moebius?anv=Moebius
In 1968, the same year that Anthony Braxton made his first solo LP "For Alto", Joe McPhee began a series of home recordings, assisted by his friend and future producer Craig Johnson.
McPhee had initially worked as a trumpeter, and he'd only picked up tenor saxophone earlier in the year. Along with his very first documentation on tenor, these tracks included solo recorder and a starling "sound on sound" recording, an early commercial overdubbing technique. In years to follow, McPhee would sometimes use the multitrack recorder in performance, referring to it as his Survival Unit. McPhee continued these highly experimental recordings in 1970 and 1973, using instruments not usually associated with him, including deftly manipulated microphone feedback, nagoya, harp, and Space Organ (a Wurlitzer), which he combined with tenor saxophone and the tour-de-force "Cosmic Love".
In 1968, the same year that Anthony Braxton made his first solo LP "For Alto", Joe McPhee began a series of home recordings, assisted by his friend and future producer Craig Johnson.
McPhee had initially worked as a trumpeter, and he'd only picked up tenor saxophone earlier in the year. Along with his very first documentation on tenor, these tracks included solo recorder and a starling "sound on sound" recording, an early commercial overdubbing technique. In years to follow, McPhee would sometimes use the multitrack recorder in performance, referring to it as his Survival Unit. McPhee continued these highly experimental recordings in 1970 and 1973, using instruments not usually associated with him, including deftly manipulated microphone feedback, nagoya, harp, and Space Organ (a Wurlitzer), which he combined with tenor saxophone and the tour-de-force "Cosmic Love".
Jane Robertson - cello, Daniele Cavallanti - soprano sax, Jutta Nienhaus - voice.
First Reprint of the same titled album from 1973.
"Further From The Truth (For Walker Evans)," from Vandermark 5, Beat Reader (Atavistic - ALP184CD, 2008). Ken Vandermark - baritone sax, clarinets; Tim Daisy - drums; Kent Kessler - bass; Fred Lonberg-Holm - cello, electronics; Dave Rempis - alto and tenor saxophones. Recorded on 19 & 20 December 2006 @ Semaphore, Chicago, Il., USA.
Available for download from:
http://www.emusic.com/album/The-Vandermark-5-Beat-Reader-MP3-Download/11140539.html
The full length feature documentary is available as a part of the Manafon deluxe edition.
Directed and edited by: Phil Hopkins. With: Otomo Yoshihide, Toshimaru Nakamura, Christian Fennesz, Keith Rowe, Eddie Prévost, Sachiko M., Evan Parker, John Tilbury, Werner Dafeldecker, Michael Moser and John Butcher.
Produced by: Adrian Molloy for Opium (Arts) Ltd. Executive Producer: David Sylvian. Music: Excerpts from Manafon by David Sylvian, © 2009 Samadhisound llc.
http://www.manafon.com
John Carter - clarinet, Arthur Blythe - alto saxophone, Bobby Bradford - cornet, Horace Tapscott - piano, Roberto Miguel Miranda - bass, Donald Dean - drums. Jazzgalerie, Restaurant Falb - outside in the court yard, Nickelsdorf, Austria, 10.07.1987.
***
Thoughts of a Night Sea, Photographs by Garry Fabian Miller
Merrell Publishers, 2003.
'Thoughts on a Night Sea' is perhaps Miller's most personal and reflective works to date, in that it echoes one of his first breakthrough pieces: 'The Sea Horizon' (1976 -- 1977). Deeply formal, yet profoundly spiritual, Fabian Miller's imagery straddles the Modernism of international figures such as Donald Judd, Elsworth Kelly and James Turrell with a sense of essential Englishness, and an appreciation of the sublime.
Saturn MS 87976 (1976)
Inner City IC1039 (1978)
ESP-Disk reissued this album in 2009, you can order it here:
http://www.espdisk.com/official/catalog/1049.html
ESP-Disk reissued this album in 2009, you can order it here:
http://www.espdisk.com/official/catalog/1049.html
Nickelsdorf, Konfrontationen Festival, 2010; Hidegen fújnak a szelek.
[...] "Küchen using all his masterly technique to show all the shades and colorings of a single note, the kind of sound that is the prerogative primarily of the sax, yet the way he keeps the notes vibrating, multiphonic, overblowing slightly, vocalizing the tone, making it weep, cry, howl, and still without using too much power, full of restraint but evoking real pain, then adding power, shouting it out, repeating the same agonizing phrase, yet changing volume and timbre, hair-raising, and it tears your guts out. Can you make a powerful story with just a few notes? Yes. Listen to this track. It is absolutely phenomenal."
Script: Oleg Bogaev, Dmitry Geller; Director: Dmitry Geller; Art-director: Anna Karpova; Music by John Zorn, voice Elena Kamburova;
Producer Khignjakova Valentina.
Award:
Grand Prix. Best animation film. Festival "KINOFEST" Romania. 2008
Grand Prix. Best animation film. Festival "WINDOW TO EUROPE" Vyborg. 2008
Prize of the Guild of Film Critics and Cinema Journalists Russia «WHITE ELEPHANT» in the nomination "The best animated film of the year." 2008
Diplome of Guild of film critics. Festival "WINDOW TO EUROPE" Vyborg. 2008
Prize "Bright Impression". Festival "GOLDEN FISH" Russia 2008
2 place. A professional rating. Festival "SUZDAL" 2008
Script: Oleg Bogaev, Dmitry Geller; Director: Dmitry Geller; Art-director: Anna Karpova; Music by John Zorn, voice Elena Kamburova;
Producer Khignjakova Valentina.
Award:
Grand Prix. Best animation film. Festival "KINOFEST" Romania. 2008
Grand Prix. Best animation film. Festival "WINDOW TO EUROPE" Vyborg. 2008
Prize of the Guild of Film Critics and Cinema Journalists Russia «WHITE ELEPHANT» in the nomination "The best animated film of the year." 2008
Diplome of Guild of film critics. Festival "WINDOW TO EUROPE" Vyborg. 2008
Prize "Bright Impression". Festival "GOLDEN FISH" Russia 2008
2 place. A professional rating. Festival "SUZDAL" 2008
Credits
Artwork By [Design] - Capoeira Graphics
Bass [Electric] - Steve Swallow
Congas, Bongos - Milton Cardona, Puntilla Orlando Rios
Drums [Trap Drums] - Ignacio Berroa
Engineer [Primary Recording And Mixing] - Jon Fausty
Engineer [Recording Assistant] - Horacio Malvicino, Jr.
Engineer [Recording] - Emilsam Velasquez
Executive Producer - Scott Marcus
Guitar [Electric] - Arto Lindsay
Keyboards [Synclavier], Organ - Peter Scherer
Other [Associate Arranger] - Alberto Bengolea
Other [Production Associate] - Arto Lindsay
Photography - Charles Reilly
Producer, Percussion - Kip Hanrahan
Saxophone [Tenor] - David Murray
Vocals, Bass [Electric], Piano - Jack Bruce
Recorded february 1984, Mixed may-august 1984 at Latin / Eurosound Studios, New York City.
"Master chef Kip has cooked himself a scrumptious meal: Afro-Cuban soul food with some poetry chops on the side... Vertical's Currency stands to establish Kip as a vital force on the music scene. It proves once and for all that Jack Bruce is indeed a first rate vocalist of extraordinary passion and sensitivity..." - Bill Milkowski, Downbeat
"What it sound like? Like tangos, like salsa, like sambas, very tropical and layered with Jack Bruce's Celtic bop vocals and David Murray's effervescent and exultant sax. This features some of the most lyrical tenor work Murray's ever put on record. Consider yourself cosmopolitan? Well, if you don't know the work if Kip Hanrahan, you just faking it, bubba. Vertical's Currency is the soundtrack, from a movie shot on location in one truly cosmopolitan imagination" - Greg Tate, Spin
"One of 1985's Ten Best Records ..." - Fernando Gonzalez, Boston Globe
"One of 1985's Ten Best Records ..." - Richard Gere, Spin
"Feature Pick: "This is a cool, sensual album on the surface, but the thing burns red hot in its belly." - Cashbox
"That most rare of things, a genuinely new music... Wonderful. Seek and enjoy." - Richard Elms, The Face (England)
Recorded 19.07.1997, outside in the courtyard of Hans Falb's Restaurant.
Recorded 19.07.1997, outside in the courtyard of Hans Falb's Restaurant.


