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INTERVIEWS

Jon Irabagon: Examining All The Angles

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Saxophonist Jon Irabagon likes challenges in music; likes attempting different things. He's not opposed to things traditional, but would prefer to come at music and sounds from different angles. He enjoys the journey; enjoys experiencing the results. At 35, he's on the go all the time, ubiquitous on the jny: New York City music scene. In the next minute, he's often off to Europe on tour with one of his own groups or playing as a sideman. Not long after he came to New York from jny: Chicago in 2001, he was there for the birth of Mostly ...

THE BIG QUESTION

I love jazz. Why do you?

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I started listening to jazz at an early age, thanks to my father and his record collection. He also took me to shows. I was 9 or 10 when I saw Maynard Ferguson and his band (circa Live at Jimmy's)... those guys knew how to dress! I played the trumpet in bands and junior phils for a dozen years and loved Music Minus One. I stopped playing in college but continued to collect jazz music (thousands of vinyl records turned into thousands of compact discs) and attend concerts and festivals. By the mid-1990s I decided to combine my ...

LIVE REVIEWS

Henry Threadgill: Very Very Threadgill 2014

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Henry Threadgill Harlem Stage Gate House Very Very Threadgill New York, NY September 27-28, 2014 Henry Threadgill isn't one to repeat himself. In nearly 40 years of recording, he's only repeated a few compositions. So why would a retrospective of his work by a mere recapitulation? Very Very Threadgill--held Sept. 27 and 28 at the Harlem Stage Gatehouse in upper Manhattan--was a tribute comprised of realizations, not reunions. Pieces from the past were re-imagined and bands reconfigured--to the extent that some players took the stage not for the music they'd had a hand ...

LIVE REVIEWS

Jazz Finland Festival / European Jazz Conference 2014

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Jazz Finland Festival/European Jazz Conference Hotel Crowne Plaza/Various Venues jny: Helsinki, Finland September 18-21, 2014 When the steamship RMS Andania docked in the port of Helsinki in 1926 it unloaded more than just cargo. The American jazz group the Andania Yankees that disembarked stayed for two months and effectively kick-started jazz in the Finnish capital. Today, Finnish jazz is in rude health and it was the mission of the Finnish Jazz Federation to showcase a broad cross-section of its finest up-and-coming jazz talent to the two hundred or so jazz professionals gathered in Helsinki ...

JAZZIN' AROUND EUROPE

Bimhuis at 40: Older, Better, Business as Usual

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The Bimhuis is turning 40 and is still very much in its prime. Beginning October 1, jny: Amsterdam's venerable jazz club will celebrate this milestone with a variety of concerts, activities and special events. The Bimhuis opened in 1974 after a lengthy search for a suitable venue for improvising musicians. Over the next decades it would become the most important jazz institution in the jny: Netherlands, not only as a venue but also as a crossroads for the leading performers and budding talents of the Dutch and international jazz scene. The Bim's roots derive from improvisational music, ...

INTERVIEWS

Kris Bowers: A Deeper Look into Heroes + Misfits

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Kris Bowers is a pristine example of what the term prodigy embodies. In 2011, at the tender age of 22, he became the winner of the prestigious Thelonious Monk International Jazz Piano Competition. Bowers also received an astute musical education at Julliard School of Music in New York--receiving a Bachelor's degree and Master's degree in Film Scoring and Jazz Performance before reaching the age of 25. Yet Bowers' style is not limited to traditional jazz. It is also shaped by the diverse musical genres he listened to on the radio as a kid, which makes his sound intriguing. He can ...

WHAT IS JAZZ?

How Teachers can Swing in the Classroom

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I am a jazz aficionado as well as a philosophy professor. Being in front of a classroom teaching is my favorite place on earth, second to a good jazz club with hip friends. In the midst of a philosophy class, I may wax enthusiastic about the transcendent qualities of a John Coltrane saxophone solo or the preternatural swing of Buddy Rich's timekeeping or the song-writing and band-leading genius of Duke Ellington. These comments are not merely idiosyncratic. They reflect something of a philosophical theory of pedagogy that is steeped in jazz sensibilities. After over thirty years of teaching philosophy in ...



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