Results for "David S. Ware"

David S. Ware

David S. Ware played the saxophone for over 40 years. First in New Jersey public school bands, and in informal practice sessions with Sonny Rollins as a youth in the '60s; then as part of the fertile NYC Loft Jazz era of the '70s. During this decade, he joined the Cecil Taylor Unit and Andrew Cyrille's Maono. He also worked together with drummers Beaver Harris and Milford Graves. In the early '80s he toured Europe with both Andrew Cyrille and his own trio. In mid-decade, Ware purposefully engaged himself in a period of extensive woodshedding - in order to further develop both his personal sound and his visionary group concept. The '90s saw the full-on actualization of this group, and the recognition of David S

Okuden Quartet: Mat Walerian/Matthew Shipp/William Parker/Hamid Drake: Every Dog Has His Day But It Doesn't Matter Because Fat Cat Is Getting Fatter

By KARL ACKERMANN

A student of eastern philosophy and Japanese culture, reed player/composer Mat Walerian coined the Okuden series name from a Japanese word meaning “inner teachings." Walerian had studied piano at six and taught himself saxophone while in his teens. He expanded his self-taught regime to include clarinet and flute in 2008-9. Walerian has sporadically taken lessons from ...

Music from new label Tao Forms

By BOB OSBORNE

Tao Forms is a new recording label launched in Spring 2020. Drummer—improviser—composer Whit Dickey is both the creative director and executive producer of this fresh endeavour. Matthew Shipp's The Piano Equation was the label's inaugural release. It was followed by Expanding Light, which is the new work by Whit Dickey himself. The music is distributed by ...

Highlights of Jazz in the Late 1990s (1995 - 1999)

By RUSSELL PERRY

This is the 96th of 100 programs in the Jazz at 100 series. As we present more recent music, we face the historian's dilemma, what performances will have lasting value? What players will be remembered for their contributions to advancing the music? What trends will turn into dominant themes? We are following the lead of critic ...

Whit Dickey: Morph

By KARL ACKERMANN

Two players on Morph, Matthew Shipp and Nate Wooley, hardly need an introduction to those who venture into free jazz or experimental waters. But the leader, free jazz drummer Whit Dickey, is more of an enigma. Though prolific, his credits are more often in a supporting role. Dickey has been working with Shipp for nearly four ...

Stephen Gauci / Sandy Ewen: Studio Sessions Vol. 6

By JOHN SHARPE

One of reasons label boss and tenor saxophonist Stephen Gauci appreciates performing with Texan guitarist Sandy Ewen so much is that she doesn't play anything which demands a rote response. Ewen forms one quarter of Gauci's regular quartet, which appears on Live At The Bushwick Series (Gaucimusic, 2019) and Studio Sessions Volume 5 (Gaucimusic, 2020), but ...

Matthew Shipp - Nate Wooley: What If?

By JOHN SHARPE

What If? presents pianist Matthew Shipp and trumpeter Nate Wooley in their first appearance as a duo. Both possess illustrious back stories and, while Shipp's place as one of the pre-eminent piano stylists in contemporary jazz is assured—as much due to his staggeringly constant series of solo and trio dates as his tenure with the likes ...

Whit Dickey: Tao Quartets: Peace Planet & Box of Light

By GIUSEPPE SEGALA

Possiamo dire che l'assioma secondo il quale tutti i jazzisti sono sottovalutati, non sia poi così paradossale. Parliamo naturalmente dei musicisti che mettono al primo posto del loro operato il fare artistico e non la realizzazione di un prodotto solo ben accetto sul mercato. Spesso ci troviamo di fronte a musicisti che subiscono tale disattenzione in ...

Matthew Shipp String Trio: Symbolic Reality

By KARL ACKERMANN

Of the many formations in which Matthew Shipp works, his string trio is one of the most eclectic and appealing. Mat Maneri, William Parker and Shipp have covered the breadth of progressive improvised music from chamber to noise. Shipp has dabbled in electronica and hip-hop, but more often in the genre-less manner which makes him stand ...