Results for "Henry Threadgill"

Henry Threadgill

Henry Threadgill first performed as a percussionist in his high school marching band before taking up the baritone saxophone and later a large portion of the woodwind instrument family. He soon settled primarily upon the alto saxophone and the flute. He was one of the original members of the legendary AACM (Association for the Advancement of Creative Musicians) in his hometown of Chicago and worked under the guidance of Muhal Richard Abrams before leaving to tour with a gospel band. He later served in the Army, where he played with a rock band. Upon his return to Chicago he rejoined fellow AACM members Fred Hopkins and Steve McCall, forming a trio which would eventually become the group Air, one of the most celebrated and critically acclaimed avant-garde jazz groups of the 1970s and 1980s

Four Masters and More

By MARC COHN

After a segment of 21st century music from Andy Fusco, Matt Criscuolo, Wycliffe Gordon and Fred Hersch, we go into celebration mode--saluting Sonny Rollins (with Max Roach) because he IS Sonny Rollins, Charlie Parker and Dave Brubeck (with some gorgeous Paul Desmond on the rarely played 'Jazz Goes To College) on their centennial, and 2020 National ...

Harriet Tubman at SFJAZZ

By HARRY S. PARISER

Harriet Tubman SFJAZZ San Francisco, CA January 23, 2020 The electric bass, electric guitar and drum trio Harriet Tubman stands apart in the music world. As guitarist Brandon Ross notes, they are electrified yet based on spiritual influences such as the late Alice Coltrane, the late John Coltrane's wife who ran ...

Adam Rudolph: Ragmala and Prototypical Music

By FRANZ A. MATZNER

Adam Rudolph has been seeking to push the boundaries of musical creativity for decades, developing a unique concept of composition, ensemble interaction, and conducting. As many writers have commented, his music resists critical commentary due to its prototypical nature. Said another way, Rudolph's music doesn't sound like anything else, and its antecedents are so varied that ...

Tim Stine Quartet: Knots

By MARK CORROTO

What is apparent straight away with Knots by the Tim Stine Quartet is the intense physicality of the performance. I'll posit Stine, a North Dakota native who grew up with classical music, was drawn to the creative music scene of Chicago because of its tradition of a robust and muscular sound. From Gene Ammons to Roscoe ...

Sloth Racket: Dismantle Yourself

By JOHN SHARPE

Dismantle Yourself is the fifth release by British baritone saxophonist Cath Roberts' outfit Sloth Racket since its inception in 2015. From the hand-printed sleeves and accompanying zine to the shapeshifting compositions, a home-crafted feel pervades the album, which extends to the punkish bristle exuded even in the quieter moments. Roberts has developed a template for small ...

Moldejazz 2019

By MARTIN LONGLEY

Moldejazz Molde, Norway July 15-20, 2019 In the last few years, the Moldejazz festival's artists-in-residence have kept their appearances down to a manageable human count, with two or three concert manifestations apiece from Pat Metheny, Vijay Iyer and Maria Schneider. For the 2019 edition, that position was awarded to Norwegian ...

Italian Showcase Festival and Fringe Program, Novara

By LUDOVICO GRANVASSU

Part 1 | Part 2 | Part 3 European Jazz Conference 2019: Italian Showcase Festival and Fringe Program Various venues Novara, Italy September 11-15, 2019 At a time when the ideals of unity and transnational solidarity that represented the founding values of modern-day Europe seem to be faltering under ...

Stephanie Richards: Take the Neon Lights

By VINCENZO ROGGERO

Sono due gli elementi principali che emergono all'ascolto di Take the Neon Lights : la straordinaria tecnica strumentale di Steph Richards, nella scia di innovatori come Nate Wooley e Peter Evans, ed una scrittura decisamente originale, anomala, anticonvenzionale. Al secondo album da leader, dopo l'eccellente debutto con l'elettronico Fullmoon, Richards scopre definitivamente le carte mettendo in ...

What's the Concept?

By PATRICK BURNETTE

Can jazz have “concept albums?" Probably not, but some records do work harder at sustaining a mood--or a sense of narrative--than others. The boys look at five test cases--one brand new, two from that prime year 1969, and two from the transition from the eighties to the nineties. Madge gets a look in during pop matters, ...