29. April 2013 um 21:31 #7451071
Danke nochmal für den Link zum Goode-Interview – sehr toll! Ganz zu Ende gelesen habe ich es noch nicht, aber was er zu Eddie Harris erzählt ist klasse (überrascht mich aber, mit Verlaub, natürlich nicht!), auch die Geschichte von Lin Halliday … traurige Sache. Matana Roberts hatte ihn auch erwähnt, vor einem Jahr am Konzert, nachdem Travis Bickle und ich uns lange mit ihr unterhielten.
Ich fand beim Suchen nach was anderem einen spannenden alten Spiegel-Artikel über den Mob in Chicago in den Fünfzigern und frühen Sechzigern:
Es geht zwar nur sehr am Rande um das Nachtleben (Art Adler wird erwähnt, Chef des „The Tradewinds“ und „The Black Onyx“, dem der Mob einen hübschen Abgang bescherte), aber ich fand die Lektüre gerade ziemlich spannend. Und natürlich kommt auch Frank Sinatra vor, wie könnte es anders sein, wenn es um den Mob geht.
In Ergänzung dazu gibt’s hier einen tollen Einblick in das Nachtleben der Stadt im Jahr 1959:
Bill Doggett (sowie Andrew Hill, Johnny Hartman) tauchen ganz vorne im Inserat des Theater Room auf, auf Seite 7 gibt’s dann die Werbung für das Tradewinds (deshalb stiess ich darauf), unten ein Inserat der Red Kelly’s Lounge, in der Les Tucker auftritt (http://www.ebay.com/itm/1975-Press-Photo-Les-Tucker-Former-Pianist-Singer-Pose-Cameraman-Music-/261026944746), im Kino gab’s „Some Like It Hot“ und demnächst „Rio Bravo“ und an Showgirls aller Arten bestand wahrlich kein Mangel. Im Jack’s Spot („Continuous Kibitzing“) gab’s u.a. Patti Page, Tony Bennett, Jo Stafford, Frankie Laine, Dinah Shore und Nat Cole in der neuen Music Box mit 200 Platten.
Schliesslich fand ich gerade noch das hier:
Lohnt sich wohl, da etwas herumzusuchen – und damit übergebe ich redbeans
--"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #135: Charlie Haden: The B-Sides (Teil 1), 11.10., 22:00 | Slow Drive to South Africa, #7: tba | No Problem Saloon, #29: tbaHighlights von Rolling-Stone.deWerbung10. November 2013 um 1:42 #7451073
r.i.p. Kalaparusha Maurice McIntyre
--"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #135: Charlie Haden: The B-Sides (Teil 1), 11.10., 22:00 | Slow Drive to South Africa, #7: tba | No Problem Saloon, #29: tba17. November 2013 um 12:34 #7451075
Inzwischen sind auch ein paar Nachrufe auf Kalaparusha erschienen. Nate Chinen schrieb in der NYTimes vom 14.11.:
Mr. McIntyre had an earthy, imploring sound on tenor sax, and could evoke the keen bluster of hard bop even as he pushed toward free-form abstraction. He also played flute, clarinet and percussion, and occasionally performed in face paint and tribal costume.
“At times, the music sounded like a West African procession,” Robert Palmer wrote of his playing in a 1976 New York Times concert review. “On tenor, Mr. McIntyre paced himself by alternating multinoted flurries with broad, stately melodies, and with phrases as old as the blues.”
Present at the association’s first meeting in 1965, Mr. McIntyre later articulated its objectives in an in-house newsletter, The New Regime. The priority, he wrote, was creative autonomy. But he also touched on sociopolitical issues: “We are trying to balance an unbalanced situation that is prevalent in this society.”
Maurice Benford McIntyre was born on March 24, 1936, in Clarksville, Ark., and raised in Chicago. His father was a pharmacist, his mother an English teacher. He studied music at Roosevelt University in Chicago until a drug habit derailed him, leading to a three-year stretch in prison, in Lexington, Ky., where he later said he got most of his musical education.
After returning to Chicago, he met the pianist Muhal Richard Abrams and the saxophonist Roscoe Mitchell, who were developing an aesthetic revolving around strictly original music. Mr. McIntyre became a fixture in Mr. Abrams’s Experimental Band and appeared on Mr. Mitchell’s 1966 album, “Sound,” the first release under the Association for the Advancement of Creative Musicians banner. Mr. McIntyre released his first album, “Humility in the Light of the Creator,” in 1969, the year that he adopted the name Kalaparusha Ahrah Difda, a confluence of terms from African, Indian and astrological sources. (He later modified it to Kalaparusha Maurice McIntyre.) Like many of his fellow association musicians, he began performing in Europe.
Am Ende des Artikels wird auch nochmal bestätigt, dass die Aufnahmen, die in Parras Film dokumentiert wurden, bisher nicht erschienen sind.
Hier der Link zum ganzen Text:
Auch Taylor Ho Bynum hat einen wundervollen und aufschlussreichen Nachruf auf Kalaparusha verfasst, der im New Yorker erschienen ist:
A certain kind of creative magic was happening in the mid-nineteen-sixties on the South Side of Chicago. A group of African-American experimentalists organized themselves into a collective called the Association for the Advancement of Creative Musicians, or the A.A.C.M., that has produced some of the most revolutionary American sounds of the past fifty years. Rather than adopting any particular style, the A.A.C.M. nurtured the radical individualism of its members, blowing past the idiomatic restrictions of jazz while embracing its tradition of innovation. The combination of a supportive community of fellow outsiders with a committed philosophy of artistic independence and creative investigation resulted in an extraordinary cohort of musicians and composers: Muhal Richard Abrams, the Art Ensemble of Chicago, Anthony Braxton, Wadada Leo Smith, and Henry Threadgill, to name a few. Last week, this family lost one of its members, an artist less known to the wider public but admired deeply by his peers: Kalaparusha Maurice McIntyre, who passed away on November 9th.
Born in Clarksville, Arkansas, in 1936, McIntyre was raised on the South Side, the child of a pharmacist and a schoolteacher. He was fascinated by the saxophone as a child, but distracted as a teen-ager, first by football, then by drugs. He only returned to the instrument after spending two years in a federal narcotics prison in Lexington, Kentucky, where he passed time in the practice studio and studied music with fellow inmates, including the legendary bebop pianist Tadd Dameron. After his release, in 1962, McIntyre returned to Chicago and began his career as a professional musician, working with local jazz and blues artists. Soon he began crossing paths with musicians like the saxophonist Roscoe Mitchell and the pianist Muhal Richard Abrams, whose Experimental Band was the communal breeding ground for the coming wave of Chicago musical rebels.
McIntyre was present at the A.A.C.M.’s creation in 1965, and appeared on three of the collective’s most important early recordings, all of which appeared on the Chicago-based Delmark label. (For the full story of the A.A.C.M., read George E. Lewis’s magnificent history, “A Power Stronger than Itself: The AACM and American Experimental Music.”) On Mitchell’s “Sound” (1966) and Abrams’s “Levels and Degrees of Light” (1968), McIntyre, Mitchell, Abrams, and their fellow explorers introduced a new kind of sonic world, where delicate overtones and harmonics are intimately examined, where extended silences are juxtaposed with found sounds and stately melodies, where traditional instruments are pushed to their breaking point to discover new timbres. The third album was McIntyre’s own profound spiritual meditation, worthy of a John or Alice Coltrane, or a Pharoah Sanders: “Humility in the Light of the Creator,” recorded in 1969. You can hear the alternate take of the title track on YouTube.
Even after five decades, these albums retain their power, producing the exquisite tension of musical surprise. On Abrams’s “The Bird Song,” a solemn poetry recitation by David Moore (“doomed and shrouded in what was jazz”) explodes into a burst of thrilling energy from McIntyre and his fellow saxophonist Anthony Braxton, who told me personally of how the other A.A.C.M. saxophonists looked up to McIntyre. When you listen to his music, you can hear why. His rich tone combined the fat-bottomed breathiness of Chicago tenor legends like Gene Ammons or Von Freeman with the yearning, searching cry of John Coltrane. He played with the unbridled passion of Albert Ayler but with the technical control of Sonny Stitt. You can hear the history of the instrument and the music in his playing, but his improvisational voice was all his own; he was grounded in the present while looking to the future.
The A.A.C.M.’s original goal of searching for new kinds of individual and collective expression through uncompromising creative exploration was realized in large measure; that community of artists, of which Kalaparusha was an integral part, has made a lasting and continuing impression on American music, and a number of his A.A.C.M. peers and successors became professors at major universities, MacArthur Fellows, Pulitzer Prize finalists, and N.E.A. Jazz Masters. However, Kalaparusha himself rarely recorded, and he never garnered the same degree of international attention as some of his A.A.C.M. colleagues, like Braxton, Threadgill, Abrams, and the Art Ensemble of Chicago.
Some of Kalaparusha’s struggles appeared self-inflicted: he never fully escaped the grasp of his addiction. But applying the junkie-jazz-musician narrative to Kalaparusha’s story is too easy, and ultimately rings false. Kalaparusha was not the cliché but the exception. Like any group of brilliant young people, over time one is likely to burn too bright and burn out. His is an individual tragedy; whether through bad luck or bad choices, he never received the attention his artistry deserved, and never received the financial or societal support that might have allowed him to make a full recovery, or at least better manage his illness.
So let us remember Kalaparusha in all his brilliance and glory, revel in his music and his sound, and protect the creativity and vision he embodied at his best.
Den ganzen Text gibt es hier:
--"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #135: Charlie Haden: The B-Sides (Teil 1), 11.10., 22:00 | Slow Drive to South Africa, #7: tba | No Problem Saloon, #29: tba10. Februar 2014 um 13:01 #7451077
Chuck NessaI was at that session and Lin didn’t show up. Ira took charge and left spaces for Halliday to drop in his solos. On 2 later occasions while visiting Delmark, Lin was in a booth playing solo after solo until he was either satisfied or exhaused. The „Ira Sullivan Presents“ cover is the 2nd one.
--"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #135: Charlie Haden: The B-Sides (Teil 1), 11.10., 22:00 | Slow Drive to South Africa, #7: tba | No Problem Saloon, #29: tba27. Juli 2014 um 9:26 #7451079
Im Moment bin ich schwer begeistert von Gene Ammons frühen Aufnahmen für Aristocrat/Chess. Junior Mance ist auf einigen Tracks zu hören, der auch eine ganze Menge mit Ammons aufgenommen hat, u.a. auch für Prestige. Kaum ein Track geht über 3 Minuten, was aber nichts macht. Die Balladen „You Go to My Head“ und „My Foolish Heart“ sind einfach erstklassig, letztere Version war ein Favorit von Billie Holiday und einer der ersten Hits für Chess Records. Billie Holiday und Gene Ammons hätten in der Zeit von 1949-1952 zusammen aufnehmen können, es hätte ganz sicher (musikalisch) gepasst.
„Happiness Is a Thing Called Joe“ ist ebenfalls ziemlich gelungen.
….and „My Foolish Heart“ remains to this day the best-known jazz performance of a superior ballad.
Mit Junior Mance hatte Gene Ammons einen Pianisten aus Chicago in der Band. Mance erinnert sich im Interview an jene Zeiten.
JM: Oh yes. With Gene Ammons. So when I was suspended, Gene said, “Listen Junior, I’m going to New York. Can you go?” I said yes before I had asked my dad. When I asked him, my parents had a fight. My mother didn’t want me to go. So Gene came over to the house and promised to take good care of me. My mother finally let me go. This was in the late ‘40s. When we arrived in New York, all the clubs on 52nd Street were shut or closing down. Gene was supposed to work there with a quintet, but we had to return to Chicago soon after we arrived in New York. There wasn’t much work. I stayed with Gene and recorded my first records with him in 1947.
Der Sound von Gene Ammons, sein Spiel, hätte außerdem gut zu Monk gepasst, was meine persönliche Meinung ist. Vielseitig war Ammons ganz gewiss, auch hätte er von Thelonious Monk lernen können (ähnlich wie Sonny Rollins oder Johnny Griffin) ohne seinen eigenen Stil völlig aufzugeben oder zu sehr anzupassen. Beim Hören von „Baby, Won’t You Please Say Yes“ mit Mance ist mir das besonders aufgefallen.
Musicians as diverse as Johnny Griffin, Clifford Jordan, Sonny Rollins and Henry Threadgill were hooked on Ammons. “Gene Ammons was sort of an idol of mine,” Rollins told me a few years ago. “He was out there doing it when I was still in school, and he was one of the older guys that I looked up to and respected a great deal. When I got to Chicago I had the opportunity of playing several times with Gene, and got to know him more as a colleague.”
--1. August 2014 um 0:43 #7451081
Bevor ich irgendwann demnächst mit Gene Ammons Aufnahmen für Prestige (The Gene Ammons Story: The 78 Era) weitermache, werde ich mich noch ein wenig mit Junior Mance beschäftigen.
Seine Geschichte ist für mich einfach sehr faszinierend, weil er so früh angefangen hat (professionell) zu spielen, mit wirklich bedeutenden Musikern wie Gene Ammons und Lester Young! Das Album „Junior’s Blues“ (mit Bob Cranshaw aus Evanston, Illinois) von 1962 wurde mal wieder gehört, „Junior Mance Trio at the Village Vanguard“ kenne ich, und er ist auf dem sehr schönen Album „Everything’s Mellow“ von Clark Terry zu hören.
Für die Eddie „Lockjaw“ Davis/Johnny Griffin Band fehlt mir gerade noch etwas die Lust, aber da gibt’s natürlich einiges an großartiger Musik (außerdem das Wilbur Ware Album plus das Album „J.G.“ auf Argo).
Das Cannonball Adderley Quintet, die Zeit bei Dinah Washington und die 2 Jahre mit Dizzy Gillespie, das waren alles nicht unbedeutende Stationen. Und die 23 Jahre an der New School for Jazz and Contemporary Music in New York sollte man nicht übersehen, wo er u.a. auch José James und Brad Mehldau unterrichtet hat.
“My relationship with him means so much to me,” James says of Mance, who taught the young singer about blues at the New School in Manhattan. “Having him in my life just puts everything in perspective, musically and culturally; he helps me keep a real sense of dignity that goes with the music.” – José James
Double Takes—Junior Mance
by Barbara Gardner — 4/13/1961
--3. August 2014 um 14:39 #7451083
Jetzt bin ich bei den Chronological Classics von Ammons angekommen, um das Thema Ammons weiter zu vertiefen. Redbeansandrice hatte mir die frühen Aufnahmen vor langer Zeit schon empfohlen und hier ist ein kurzer Eindruck von ihm. Die Arrangements von A.K. Salim sind sehr gut.
redbeansandrice… mehr dazu wohl bald im Chicago Thread, aber auf zwei meiner liebsten Bebop Sessions, den beiden Gene Ammons Sessions aus dem Dezember 1947, sind die Arrangements und 7 der 8 Kompositionen von Salim… (alle außer Jay Jay), geht ein gutes Stück über die üblichen Bebop-Arrangements hinaus (und Dungee und Brockman sind zwei klasse Solisten, im übrigen)
Das kann ich nur unterschreiben. Gene Wright, der Bassist bei vielen frühen Ammons-Sessions, so auch bei dieser für Mercury/EmArcy, kommt aus Chicago und war natürlich später lange Zeit im Dave Brubeck Quartet. Mance ist ja eigentlich aus Evanston, wurde aber wohl in Chicago geboren. Hier steht was zu Brockman, Dungee, Ellis Bartee, Gene Wright und Mance.
--18. Dezember 2014 um 14:08 #7451085
Registriert seit: 10.09.2003
Im Januar bei ECM:
Der Mitschnitt dieses Konzerts – mit Kompositionen von Roscoe, Henry, Muhal und Jack sowie Gruppenimprovisationen – wurde von Manfred Eicher und Jack DeJohnette im New Yorker Avatar Studio gemischt. Made In Chicago erscheint zu Beginn des 50. Jubiläumsjahrs des AACM.
--Hey man, why don't we make a tune... just playin' the melody, not play the solos...28. Januar 2015 um 8:35 #7451087
Weil ich gerade gemerkt habe, dass die get happy!?-Website abgeschaltet ist – von:
The Chicago Sound – Jazz in der Windy City
Webspecial zu Ausgabe #4
Chicago bietet einen reichen Fundus an Jazzaufnahmen. Schon einige der wichtigsten Tondokumente früher Jazzer aus New Orleans entstanden in der windy city am Lake Michigan. Von Bix Beiderbecke und Art Hodes über Dinah Washington, Gene Ammons und Ahmad Jamal bis zu Sun Ra, dem Art Ensemble of Chicago oder Anthony Braxton und vielen anderen versucht die folgende Liste, einen kleinen Überblick über die unzähligen wichtigen Aufnahmen zu schaffen, die der Jazz aus Chicago bietet.
Traditional Chicago Jazz
Bix Beiderbecke and The Wolverines 1924-1925 (Timeless)
Bix Beiderbecke with Jean Goldkette’s Orchestra 1924-1927 (Retrieval)
Bud Freeman – Chicago/Austin High School Jazz in Hi-Fi (RCA Victor)
Art Hodes – Tribute to the Greats (Delmark)
Art Hodes – Keepin’ Out of Mischief Now (Candid)
Singin’ the Blues
Lorez Alexandria – Lorez Sings Prez (King)
Bill Henderson – Bill Henderson (Vee Jay)
Dinah Washington – Dinah Jams (EmArcy)
Dinah Washington – For Those in Love (EmArcy)
Boogie, Bop and Boogaloo
Gene Ammons – Jug (Prestige)
Gene Ammons – The Black Cat (Prestige)
Johnny Griffin – Way Out! (Riverside)
Lin Halliday – Where or When (Delmark)
Eddie Harris – The In Sound (Atlantic)
Ahmad Jamal – At the Pershing: But Not for Me (Argo)
Clifford Jordan & John Gilmore – Blowing in from Chicago (Blue Note)
Ramsey Lewis Trio – The In Crowd (Argo)
Red Rodney – Modern Music from Chicago (Fantasy)
Sonny Stitt – At the D.J. Lounge (Argo)
Ira Sullivan – Bird Lives (Delmark)
Frank Strozier – Long Night (Jazzland)
Clark Terry – Out on a Limb with Clark Terry (Argo)
Baby Face Willette – Behind the 8 Ball (Argo)
Avantgarde: North Side Chicago
Joe Daley – Joe Daley Trio at Newport ‘63 (RCA Victor, Reissue angekündigt: Phonographic International)
Hal Russell – The Hal Russell Story (ECM)
The Flying Luttenbachers – Destroy All Music (ugEXPLODE)
Witches and Devils – At the Empty Bottle (Knitting Factory)
Muhal Richard Abrams – Levels and Degrees of Light (Delmark)
Fred Anderson – Dark Day/Live in Verona 1979 (Message, Reissue: Atavistic)
Art Ensemble Of Chicago – People in Sorrow (Pathé Marconi)
Air – Air Time (Nessa)
Lester Bowie – Numbers 1 & 2 (Nessa)
Anthony Braxton – 3 Compositions of New Jazz (Delmark)
Anthony Braxton – Six Monk’s Compositions (Black Saint)
Kalaparusha Maurice McIntyre – Humility in the Light of Creator (Delmark)
Roscoe Mitchell – Nonaah (Nessa)
Revolutionary Ensemble – The Psyche (RE: Records, Reissue: Mutable Music)
Henry Threadgill – Just the Facts and Pass the Bucket (About Time)
Funk from Saturn
Philip Cohran and the Artistic Heritage Ensemble – Philip Cohran and the Artistic Heritage Ensemble (aka „On the Beach“, Zulu/Katalyst)
Eddie Harris – The Electrifying Eddie Harris (Atlantic)
Sun Ra – The Singles (Saturn/Evidence)
Carrying on the Tradition
Muhal Richard Abrams – SoundDance (Pi Recordings)
Jason Adasziewicz – Sun Rooms (Delmark)
Robert Barry & Fred Anderson – Duets 2001: Live at the Empty Bottle (Thrill Jockey)
Ernest Dawkins’ New Horizons Ensemble – Cape Town Shuffle: Live at Hot House (Delmark)
Kahil El’Zabar’s Ritual Trio with Special Guest Billy Bang – Live at the River East Art Center (Delmark)
Vandermark 5 – Simpatico (Atavistic)
Exploding Star Ochestra – We Are All from Somewhere Else (Thrill Jockey)
Von Freeman – Vonski Speaks (Nessa)
Mike Reed’s People, Places & Things – Stories and Negotiations (482 Music)
Sticks and Stones – Shed Grace (Thrill Jockey)
Matana Roberts – Coin Coin Chapter One: Gens de couleur libres (Constellation)
Henry Threadgill – Tomorrow Sunny / The Revelry, spp (Pi Recordings)
Friends and Neighbours
Peter Brötzmann Chicago Tentet + 1 – 3 Nights in Oslo (Smalltown Superjazzz)
Misha Mengelberg – Two Days in Chicago (Hat Hut)
Irene Schweizer/Fred Anderson/Hamid Drake – Willisau & Taktlos (Intakt)
Ken Vandermark Resonance Ensemble – What Country Is This? (Not Two)
Zusammengestellt von Flurin Casura, Kamil Moll, Thorsten Ragotzky, Ingo Rother und Nikolaus Schweizer
Making a Difference. Ein Gespräch mit Chuck Nessa
Aufnahme-Session zu Roscoe Mitchells „The Maze“ (courtesy of Nessa Records)
Mit kleinem Budget produziert Chuck Nessa seit den Sechzigerjahren auf seinem Label Jazz-Aufnahmen, die einige der wichtigsten Musiker und Bands Chicagos präsentieren. Roscoe Mitchell, Henry Threadgill, Lester Bowie, Wadada Leo Smith oder Von Freeman haben für Nessa Records Aufnahmen gemacht, die zu ihren schönsten zählen. Chuck Nessa war es immer wichtig, Musik zu dokumentieren, die Aufmerksamkeit verdient und musikalische Horizonte erweitern soll.
On your website, you state: „The label was started in 1967 at the urging of Roscoe Mitchell and Lester Bowie. Since then we have cautiously built a small catalog of recordings we feel worthy of attention and support from folks interested in expanding their musical horizons.“ Please tell us how you hooked up with Roscoe and Lester and how you ended up actually heading a record label!
In 1966, while working at the Jazz Record Mart, I convinced [Bob] Koester [of Delmark Records] to begin a series of recordings by members of the AACM. We signed Roscoe, Joseph Jarman and Muhal Richard Abrams to contracts calling for one recording per year for three years. I oversaw first recordings by Roscoe and Joseph but left Delmark before Muhal’s first date was recorded, though I attended the session at Muhal’s request. The following year Roscoe and Lester wanted to make their second record and came to me. I said I would speak to Koester about it but when I did Bob (still angry because I left) started screaming at me and threw me out of the store. When I reported this to the guys they encouraged me to do it myself. The first sessions were done under Lester’s name since Roscoe was under contract to Delmark. I should point out during this period I was in constant contact with the guys at concerts, rehearsals, in our homes, etc.
Given how much jazz changed overall at that time, how did the music scene of Chicago change in the late sixties?
The only real change in Chicago at the time was the proliferation of „self produced“ concerts and gigs. The AACM encouraged members to create their own performance situations. A few took place in bars/clubs but the majority were in schools, theaters, community buildings and churches.
Can you expand on the relation of „your“ musicians and the deep jazz tradition of Chicago? What part do the roots of Chicago jazz, the awareness of its deep tradition play in the music of the avantgarde?
I think all musicians are influenced by their „community“ while developing, and a decent analysis of this is beyond my powers of observation.
I know Von Freeman, Eddie Johnson and Ira Sullivan were all deeply influenced by direct exposure to Bird, Coleman Hawkins and Lester Young but these influences were in addition to the information already absorbed from the „community“ – jazz and blues.
One exception with the AACM guys was the appreciation of the musicians of the 1920s: Armstrong, Dodds, Morton, etc. This was a couple of generations earlier and not something they absorbed in their environment, but something they sought out.
What are the differences – musical, social, political – between Chicago’s avantgarde and the more famous free jazzers from New York?
I never spent much time in New York in the 1960s so I can’t add much. I know some of the AACM guys made trips there and the general consensus was that it was „cut throat“ and lacking the cooperative outlook of Chicago.
Roscoe Mitchell (courtesy of Nessa Records)
The band on your first release, Lester Bowie’s „Numbers 1 & 2“, was an early edition of the Art Ensemble of Chicago: Bowie, Mitchell, Jarman and Malachi Favors. The Art Ensemble, particularly Roscoe Mitchell, are core musicians of your label’s catalogue. You recently released – for the first time – an early document of Mitchell’s: „Before There Was Sound“, which at the same time seems to be the earliest recording documenting the AACM. Can you explain what makes Mitchell and the Art Ensemble the extraordinary musicians they are?
When I first heard Roscoe’s group I had no idea what was going on but I could tell the group was completely in control of the material and I wanted to figure it out. I started going to every possible performance and some rehearsals. In very short order I was completely absorbed in the music. I was also helped greatly by discussions with Roscoe and Lester Bowie. They always stressed building a performance by listening to one another, responding with something original or do nothing at all. Form and space were/are very important to them.
On Roscoe Mitchell’s second Nessa release, there is a funky romp by Lester Bowie, „Tatas-Matoes“, with Malachi Favors playing a bass line that would have made James Brown proud. Chicago-based jazz musicians – Lester and Joseph Bowie, Phil Cohran, Eddie Harris, Maurice White – had a particularly close relation to R&B in the sixties. How did that come about?
R&B was everywhere and lots of it was being recorded in the Chess studios. Lester was originally from St. Louis and he toured with a number of groups from there and in Chicago gravitated to studio work at Chess. My friend Terry Martin was just asking if I remembered a Fontella Bass recording session with Lester and Roscoe. Terry was at the session but I was not. Lester also did a bunch of work with Jerry Butler touring and recording. The AACM musicians and the Earth Wind and Fire crowd were of the same generation, went to school together, the whole deal.
Donald Myrick (the Pharaohs and Earth Wind and Fire) went to high school with Roscoe. This takes us back to that „community“ I mentioned earlier.
The track on „Congliptious“ was definitely meant as a tribute to the James Brown band. They admired those guys.
For what it’s worth, remember that we recorded „Congliptious“ in the Chess studios and „Snurdy McGurdy“ was done at Curtis Mayfield’s.
Chicago has a famous tradition of tenor saxophone players. One of its most-treasured exponents was Von Freeman (1923-2012) who kept a low profile but was a mainstay of the local scene. You produced arguably his finest records in 1975, how did that happen?
Von Freeman was in Las Vegas during my first time in Chicago. I was away from Chicago from the Fall of 1968 until Spring of 1975 but managed to hear him on a couple of visits to the city. The first time (August 2, 1970) he was playing with Red Rodney, Dexter Gordon, Jodie Christian, Rufus Reid and Roy Haynes. I had no special impression from that experience.
I later heard him in a 3 tenor thing with Gene Ammons and Hank Mobley. When I returned to Chicago in ‘75 my friends Terry Martin and John Litweiler were trekking to the Enterprise Lounge on 75th Street every Monday night to hear Von. They said he was playing extremely well. After about a dozen trips there I spoke with Von about recording. I suggested using his current group with Wilbur Campbell subbing for his regular drummer and he agreed. The plan was to record like it was a club set no second takes and we would choose material for an LP from the evening’s work. We had a small audience and recorded from 6 until midnight and wound up with 15 tracks recorded.
How did your label evolve? After three productions centred around the Art Ensemble, you produced albums by as varied a bunch of musicians such as: Warne Marsh, Air (Henry Threadgill, Fred Hopkins, Steve McCall), Charles Tyler, Bobby Bradford and John Stevens with the Spontaneous Music Ensemble, Wadada Leo Smith, Hal Russell, veteran swing tenor Eddie Johnson, or the lamented late tenor great Von Freeman we just discussed. Was there a creed you followed, do you have some kind of a mission statement?
I never had very much money. A few times I initiated a project and borrowed money from family or friends to complete it. I guess my method was to record music that I thought had to be recorded and the recording could make a difference. Each project evolved individually. I searched out Warne Marsh and spoke with him on the phone a few times and we eventually engineered a weeklong gig in Chicago for Supersax to get Warne to town. I guess it really was me looking around for the best thing to record with the money at hand.
Do you have any favourite moments, remembrances to share from your recording sessions? Any noteworthy events, episodes … ?
In the late spring of 1977 Roscoe Mitchell invited me to his home in Wisconsin to discuss the next project. He had ideas for two new compositions to be written for specific musicians and the sound qualitites of their various instruments. He did not want to expend the effort on these pieces if we couldn’t record them, since performance opportunities would be difficult. I agreed, Roscoe began the work and ultimately we had „The Maze“ for 8 percussionists and „L-R-G“, a trio for woodwinds, high brass and low brass.
The participating musicians were located in the Midwest and East Coast areas and we agreed to do the recordings in the East. First up was rehearsal and recording of „The Maze“. In early July we rented a 19-foot truck in Wisconsin, loaded Roscoe’s instruments and drove to Chicago to pick up instruments from the players from there. Roscoe drove the truck to Woodstock, New York. He had arranged for us to use the Creative Music Studio to house and feed the participants for a week of rehearsal in their facilities. At the end of the week we loaded all the gear into the truck and Anthony Braxton’s van for a trip into NYC for the session. I had rented the famous Columbia Records 30th Street Studio. Studio set-up, recording and tear down took 8 hours. The instruments going back to Chicago were loaded into the truck and in a few days Malachi Favors drove them back home.
Next, Roscoe returned to Woodstock to begin rehearsals with Wadada Leo Smith and George Lewis. I joined them for the last couple of days and we then drove to Rudy Van Gelder’s studio in Englewood Cliffs, New Jersey to record „L-R-G“. We finished two complete takes in 4.5 hours at RVG’s. George and Leo headed for home in Leo’s car and Roscoe and I loaded the tapes and his horns in a rented car for the journey back to Chicago and Wisconsin.
In the planning stages Roscoe mentioned he wasn’t sure about the performance duration of the two pieces. He said we might have a 2 record set. We had not anticipated having a record and a half. Driving to Chicago we discussed the problem. I knew Roscoe had been compiling a series of alternate fingerings and techniques for multiphonics on his curved soprano sax – he called this his S II book. I suggested recording some of this material as „S II Examples“. On August 17, 1978 we entered Streeterville Studios in Chicago and completed the recording.
This project took over a year to execute and was the most complex production we attemped.
… favourite albums from your catalogue?
They are like children … I have different reasons for liking all of them.
Are there any musicians you regret not having recorded or recorded more thoroughly? Any missed opportunities?
I regret not recording Muhal Richard Abrams, but he was always being recorded so it was not necessary.
I regret not making the one definitive Joseph Jarman recording but the stars were never in the proper alignment.
I always wanted to do a duo date with Roscoe and Malachi, but …
I wanted to do a duo session with Ruby Braff and Earl Hines. Stanley Dance and Dan Morgenstern talked me out of it. They both said it would be a disaster because of the conflicting personalities. I should have done it.
I had two projects thwarted by the artist’s managers because I wasn’t big enough.
One was Cecil Taylor’s quartet with Jimmy Lyons, Sirone and Andrew Cyrille. Years later Cecil told me to always ignore his „people“ and speak directly with him. Sigh.
The other was an Andrew Hill date with Von, Malachi and/or Richard Davis and Wilbur Campbell. Andrew came to me with the idea and his „manager“ killed it.
Nessa Records is unlikely to be an economically lucrative venture – what prompted you to hang in there and keep it going to this day?
Early on, I had dreams of building the company to a level of twelve new recordings a year but I didn’t have the skills to manage that.
What is your personal motivation behind it?
An amalgam of responsibility to the artists, their reputations and now memory combined with a healthy dose of ego/pride in my own work keeps me going.
Interview: Flurin Casura
Photos zur Verfügung gestellt von Nessa Records
--"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #135: Charlie Haden: The B-Sides (Teil 1), 11.10., 22:00 | Slow Drive to South Africa, #7: tba | No Problem Saloon, #29: tba21. Februar 2015 um 17:16 #7451089
Trompeter und Toningenieur Paul Serrano (1932-2014) ist gestorben.
Mr. Serrano grew up in Chicago and attended DuSable High School. There, he studied under the legendary Capt. Walter Dyett, whose music program turned out such stars as Nat „King“ Cole, Dorothy Donegan and Von Freeman.
After high school, Mr. Serrano continued his studies at what was then Chicago Musical College. A plan to join the Chicago Civic Orchestra was cut short when he was drafted into the Army, where he played with an Army band.
He traveled to New York after leaving the Army, where he played with Woody Herman’s band. He was touring with pianist Donegan when cancellations brought him back to Chicago.
In biographical notes he put together some time ago, Mr. Serrano said he stayed in Chicago playing jazz as he became active in recording.
aus dem Nachruf des Chicago Tribune:
1966 öffnete Serrano die P.S. Recording Studios in South Side Chicago. Er arbeitete u.a. mit Ramsey Lewis, aber auch mit Aretha Franklin, Michael Jackson oder Mick Jagger. Nachdem er 1992 sein Studio schloss, wirkte er weitere zehn Jahre als Toningenieur für Delmark Records. Seit 25 Jahre kämpfte er gegen seine Alzheimer-Erkrankung an.
Als Leader nahm er gerade mal ein Album auf, „Blues Holiday“ für Riverside (Infos). Als Sidemann und Session-Musiker wirkte er allerdings an unzähligen Aufnahmen mit, war nicht nur bei Aufnahmen von Fontella Bass oder Duke Ellington beteiligt sondern ist auch an der Seite von Red Holloway („The Burner“, Prestige), Bunky Green („Playin‘ for Keeps“, Chess), James Moody („Another Bag“, Argo) oder – ein rarer später Auftritt als Trompeter – auf dem tollen Nessa-Album von Eddie Johnson, „Indian Summer“ von 1981 zu hören.
--"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #135: Charlie Haden: The B-Sides (Teil 1), 11.10., 22:00 | Slow Drive to South Africa, #7: tba | No Problem Saloon, #29: tba1. April 2015 um 20:35 #7451091
Auf Org läuft gerade eine höchst spannende Diskussion über Capt. Walter Dyett und seine Schüler, ich zitiere ein wenig (ein paar Geburtsdaten habe ich ergänzt – bei Campell weiss man nur, dass er am 30. Dezember 2000 im Alter von 73 Jahren starb:
1927 ist daher ziemlich wahrscheinlich, redbeans kann das ja mal durchrechnen ):
Taken from a FB post by Allan Chase:
The list of Dyett’s DuSable High School music program alumni is virtually a „Who’s Who“ of Chicago jazz. Among Dyett’s students were:
Nat „King“ Cole (b. 1917)-piano, voice
Von Freeman (b. 1922)-tenor saxophone
Bruz Freeman (birthdate unknown [b. 1921])-drums
George Freeman (birthdate unknown [b. 1927])-guitar
Bennie Green (b. 1923)-trombone
Dorothy Donegan (b. 1924)-piano
Dinah Washington (b. 1924)-voice
Martha Davis (birthdate unknown [b. 1917])-piano, voice
Gene Ammons (b. 1925)-tenor saxophone
*Victor Sproles (b. 1927)-bass
Bo Diddley (Ellas McDaniel) (b. 1928)-violin, guitar
E. „Prince“ Shell (b. 1928)-valve trombone, piano, arranger
Johnny Griffin (b. 1928)-tenor saxophone
*Laurdine „Pat“ Patrick (b. 1929)-saxophones, flute
Richard Davis (b. 1929)-bass
John Jenkins (b. 1931)-alto saxophone
Clifford Jordan (b. 1931)-tenor saxophone
*John Gilmore (b. 1931)-tenor saxophone, clarinet
*Robert Barry (b. 1932)-drums
Leroy Jenkins (b. 1932)-violin (flute and alto sax in high school)
Donald Rafael Garrett (b. 1932)-bass (clarinet or saxophone in high school?)
*Richard Evans (b. 1933)-bass, arranger
*Charles Davis (b. 1933)-baritone saxophone
*Julian Priester (b. 1935)-trombone, arranger
*Ronnie Boykins (b. 1935)-bass
Eddie Harris (b. 1936)-tenor saxophone
Andrew Hill (b. 1937 [1931!])-piano (mellophone in high school)
Joseph Jarman (b. 1937)-saxophones
Wilbur Campbell (birthdate unknown [b. 1927])-drums
(* Musicians who later recorded with Sun Ra.)
Before DuSable, he taught at Wendell Phillips High School. Milt Hinton was his student there.
Edit to say Milt told me Nat Cole started at Phillips and moved to DuSable in 1935 when Dyett transferred.
At Wendell Phillips Capt. Dyett assisted the bandmaster Major N. Clark Smith. DuSable is where Dyett himself became a bandmaster.
Fred Hopkins and Mwata Bowden were Dyett students during his last years at DuSable. John Young and Freddie Below were Dyett students and Redd Foxx performed in some of Dyett’s shows at DuSable.
The main thing here is, Wendell Phillips was the first black high school in Chicago and DuSable (opened in the 1930s) was the second. Dyett’s success as a teacher is to some extent a result of this city’s segregation.
Under the allegedly reformed Chicago Public Schools, what remains of DuSable High School is 200 or 300 students in the old building. 1 or 2 or maybe more other high schools are also at the old building. I believe Walter Dyett Elementary School, in Washington Park, was not opened until after Dyett’s death. Mayor Rahm Emanuel’s current school board closed Dyett School last year.
Dann das hier aus einem Robert Barry-Interview:
RB: DuSable High School. We had a marching band, swing band, concert band. Captain Walter Dyett was a phenomenal teacher. He taught all the guys that wound up coming out of Chicago: Nat King Cole, Benny Green, Johnny Griffin, Wilbur Campbell, Irma Thompson, Gene Ammons, John Gilmore, Clifford Jordan, Julian Priester, Richard Evans, myself. He was a positive thinker. You couldn’t mention the word can’t in his presence. He’d go into a rage and would physically throw you. [Laughs] He’d take you by your collar or by the seat of your pants – somebody open the door and boom! He’d say, „Don’t never come back here until you lose that word.“ And he’d say, „You are what you eat and you are what you think you are.“ He used to keep a .38 on the desk. Everybody would carry knives. He’d say, „You guys think you’re bad with your knives and your switchblades – I got something for you!“ [Laughs] Walter Dyett – he was something else.
Off-topic, aber auch sehr interessant, am Ende noch eine Liste von Cass Tech-Absolventen, die aber nur von Wiki reinkpiere wurde – hier der Link:
(softwarebeschädigten Post repariert, 31.10.2020)
--"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #135: Charlie Haden: The B-Sides (Teil 1), 11.10., 22:00 | Slow Drive to South Africa, #7: tba | No Problem Saloon, #29: tba8. Mai 2015 um 10:14 #7451093
Jerome Cooper loved freeJazz and his daughter. He left us all yesterday May 6, 2015. He lost his fight with cancer and now we all have lost. He was the last to go of the Revolutionary Ensemble preceeded by violinist/ composer Leroy Jenkins and bassist/composer Sirone (Norris Jones). Jerome was a FreeJazz giant. A drummer, multi-instrumentalist and composer. He developed what he called multi-dimensional drumming „I began to hear layers of sounds and rhythms. Divided into many parts and facets, the drum set and secondary instruments I use and play are all – aspects of the drums.“
We have lost yet another irreplaceable artist.
--"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #135: Charlie Haden: The B-Sides (Teil 1), 11.10., 22:00 | Slow Drive to South Africa, #7: tba | No Problem Saloon, #29: tba8. Mai 2015 um 10:24 #7451095
Registriert seit: 07.10.2007
ja, schade, wollte ich auch gerade posten.
Just found out via Jason Hwang that drummer Jerome Cooper passed away yesterday. We were honored to have worked with Jerome when we recorded the Revolutionary Ensemble release „And Now…“ back in 2004. Since then all three members — Jerome, Sirone, and Leroy Jenkins — have passed away. Jerome was a drummer of real sensitivity and an enigma of a man: he was sensitive, prickly, hardheaded, angry, vulnerable and kind, often all at once. We’ve been out of touch for a while, but every now and then we thought about checking in on him at his East Village apartment. Now all we have are some great memories and stories, and most importantly one great musical artifact of when the mighty Revolutionary Ensemble decided to reunite for one more go-around. RIP, Jerome…
Pi Recordings auf Facebook.
leider kenne ich die revolutionary ensemble reunion noch nicht. aber das hier ist toll:
--18. April 2016 um 20:41 #7451097
Henry Threadgill kriegt einen Pulitzer-Preis!
Chicagoan, AACM icon Henry Threadgill wins a Pulitzer Prize
by Howard Reich
April 18, 2016, 2:26 PM
Since the 1990s, the Pulitzer Prize board has struggled to liberate the award from the grip of classical music.
On Monday, that campaign took another a dramatic step forward, with eminent, Chicago-born-and-raised composer-instrumentalist Henry Threadgill winning for his brilliant album of 2015, “In for a Penny, In for a Pound” (Pi Recordings).
Like trumpeter-composer Wadada Leo Smith, who was a finalist in 2013 for his epic recording “Ten Freedom Summers,” Threadgill stands as an early member of the Association for the Advancement of Creative Musicians (AACM), a collective of free-thinkers established in Chicago in 1965. And like Smith, Threadgill has spent an illustrious career forging an intensely personal musical language that transcends stylistic boundaries and traditional ways of organizing sound. (I served on the jury that recommended Smith’s work for the Pulitzer.)
By honoring “In for a Penny,” the board has struck another blow against the classical monopoly that has been in place from the very first music Pulitzer, awarded in 1943 to the great composer William Schuman for his “Secular Cantata No. 2, A Free Song.” (Music finalists were „The Blind Banister,“ by Timo Andres and „The Mechanics: Six From the Shop Floor,“ Carter Pann.)
Not until 1997, when Wynton Marsalis’ “Blood on the Fields” became the first jazz composition to win a Pulitzer (I served on that jury), did classical music yield to another genre. (It’s worth nothing, though, that Scott Joplin received a special award in 1976, the year of the American bicentennial.)
Since Marsalis’ ground-breaking victory, however, the prize has reverted mostly to classical idioms, with the occasional exception: Ornette Coleman won for “Sound Grammar” in 2007 and posthumous special citations have gone to George Gershwin (1998), Duke Ellington (1999), Thelonious Monk (2006), John Coltrane (2007), and Hank Williams (2010). Bob Dylan also won a special award (2008).Non-classical finalists have included Don Byron for “7 Etudes for Solo Piano” in 2009.
Why would one genre dominate the prize for more than half a century?
Perhaps no one summed up the answer better than Duke Ellington, who had been recommended for a Pulitzer by the jury in 1965 but was rejected by the board.
“I’m hardly surprised that my kind of music is still without, let us say, official honor at home,” Ellington told writer Nat Hentoff in a 1965 New York Times magazine piece titled “This Cat Needs No Pulitzer Prize.”
“Most Americans,” added Ellington, “still take it for granted that European music – classical music, if you will – is the only really respectable kind. I remember, for example, that when Franklin Roosevelt died, practically no American music was played on the air in tribute to him … by and large, then as now, jazz was like the kind of man you wouldn’t want your daughter to associate with.”
When Ellington was denied the prize, jurors Winthrop Sargeant and Ronald Eyer resigned.
In his memoirs, “Music Is My Mistress,” Ellington reflected on the contretemps with the same characteristic grace and elegance that course through his music.
“Since I am not too chronically masochistic, I found no pleasure in all the suffering that was being endured,” he wrote. “I realized that it could have been most distressing and distracting as I tried to qualify my first reaction: ‘Fate is being very kind to me; Fate doesn’t want me to be too famous too young.’” Ellington was 66.
By the 1990s, the Pulitzer board began actively encouraging musicians of other genres to enter their works, changing the rules so that a complete written score was not required, only “a score of the non-improvisational elements of the work and a recording of the entire work.” In effect, the board explicitly made improvisation an accepted part of the Pulitzers. By 2004, no score was required at all, a publicly released recording sufficient for entry.
“After more than a year of studying the Prize … the Pulitzer Prize Board declares its strong desire to consider and honor the full range of distinguished American musical compositions – from the contemporary classical symphony to jazz, opera, choral, musical theater, movie scores and other forms of musical excellence,” the board said in a statement on June 1, 2004.
Now the evolution continues. By spotlighting Threadgill’s “In for a Penny,” the Pulitzer process has honored a major work blurring distinctions of genre that long have haunted the award.
Leading his band Zooid in an impossible-to-categorize six-movement suite, Threadgill, 72, conceived “In for a Penny” as a malleable composition featuring “four quintets plus one (alto saxophone, flute, bass flute),” to quote his album’s terse liner notes. A different instrument, in other words, holds prominence in each of four movements (with two tracks serving as brief introductions), the music continuously changing sonic shape, flow and direction.
Regardless of this methodology – which might be lost on casual listeners anyway – “In for a Penny” unfolds as the rare suite that conveys a dense amount of musical information with unusual transparency and unmistakable melodic beauty.
In some passages, one marvels at the delicate interplay among lines articulated by Jose Davila on trombone and tuba, Liberty Ellman on guitar, Christopher Hoffman on cello and Elliot Humberto Kavee on drums and percussion. In other sections, each musician appears to be headed in an utterly independent direction, the ensemble somehow maintaining a cohesive sound and achieving lustrous colors.
In certain portions of “In for a Penny,” which appeared on the Tribune’s survey of the 10 best jazz recordings of 2015, Kavee’s drum work evokes swing-tinged sensibility. In others, the lack of a central pulse references bracing contemporary composition.
Is this jazz? Classical? Something else?
Does it matter?
“When I began this work, it was something I perceived in a stream of phases,” writes Threadgill in the liner notes, the “stream” metaphor apt for the fluidity and liquidity of this music.
“I wanted to write something that Zooid could revisit and find a new perspective and arrangement with each performance.
“I intended for this to be played in chamber-listening spaces.”
With those last two sentences, Threadgill has described the boundary-breaking ethos of this work, which he conceived to accommodate the improvisational impulse at the root of jazz and the chamber-music ambience we associate with classical music.
That Threadgill should have developed such a distinctive expressive language may reflect the cauldron of music he encountered growing up on the South Side of Chicago, where he was born. Muddy Waters, Howlin’ Wolf and other blues masters played the Maxwell Street market, where Threadgill’s family often visited. Threadgill started piano lessons at age four and played along with boogie-woogie virtuosos he heard on the radio.
“I would practice Meade Lux Lewis and Albert Ammons,” he said in George Lewis’ definitive book “A Power Stronger Than Itself: The AACM and American Experimental Music.”
Threadgill played reeds at Englewood High School and immersed himself in the then-thriving 63d Street music scene from age 14. Over time, he also absorbed avant-garde classical music performed by the University of Chicago Contemporary Chamber Players, and in the early 1960s he attended Muhal Richard Abrams’ rehearsals of the Experimental Band, an organization that in 1965 would blossom into the AACM.
By leading his collective Air across Europe in the 1970s and after, Threadgill helped build AACM’s global acclaim. Other Threadgill ensembles have attested to the originality of Threadgill’s work, including the exuberant dissonance of his Very Very Circus in the 1990s and the luminous tones and intricate counterpoint of his subsequent Zooid. Though Threadgill hasn’t lived in Chicago for years, his periodic appearances here have underscored the uniqueness of his vision.
But that genre-bending approach long was excluded from the music Pulitzers, which caused consternation among many.
“I don’t give a damn whether a piece is improvised or composed,” Pulitzer-winning classical symphonist Gunther Schuller told me in 2004. “What matters is that it’s a remarkable, new, revelatory piece of music.”
Threadgill’s opus is just that, and its triumph suggests the music Pulitzers are headed in the right direction.
--"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #135: Charlie Haden: The B-Sides (Teil 1), 11.10., 22:00 | Slow Drive to South Africa, #7: tba | No Problem Saloon, #29: tba2. November 2017 um 12:39 #10309859
Hole das mal noch hier rüber:
RIP Muhal Richard Abrams (September 19, 1930 – October 29, 2017)
Muhal Richard Abrams – One for the Whistler (ursprünglich von Blu Blu Blu, 1991)
Offen gesagt kenne ich fast nichts von ihm. Aber die paar Stücke, die ich kenne, sind toll!
Oh, sehr traurig.
Hier begann gerade passend dazu der Himmel zu weinen.
Bin ich froh war ich damals in Mailand beim Konzert! Abrams‘ Einfluss dürfte sehr weit gestreut sein. Das fängt mal bei der AACM an, für die er eine Art Vater/Vorläufer/Pionier-Figur war, gegt dann aber vermutlich bis zu Geri Allen und den M-Base-Leuten, aber auch zu Steve Lehman denk ich mal …
Habe mich mit seiner Musik insgesamt nich immer zuwenig befasst, aber dankenswerterweise sind die vielen (odt sehr feinen) Black Saint/Soul Note Alben wieder da … zudem sollte man aber auf keinen Fall Delmark vergessen! Und spät landete er ja auch noch bei Pi … als ich ihn sah hatte er an der Trompete den ehemaligen Sideman von Steve Coleman, Jonathan Finlayson, dabei, und am Vibraphon einen Musiker, den ich davor von Greg Osby kannte, Bryan Carrott.
Die Nachrufe sind auch da:
Howard Reich für die Chicago Tribune:
Howard Mandel für die NYTimes:
--"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #135: Charlie Haden: The B-Sides (Teil 1), 11.10., 22:00 | Slow Drive to South Africa, #7: tba | No Problem Saloon, #29: tba
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