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NEA Jazz Masters Program Morphs into Museum of Jazz Masters
By Fradley Garner It's happened every year since 1982, but it won't again after 2012, when the honors- loaded gravy train arrives at its 30th and last stop. The National Endowment for the Arts' Jazz Master Awards, America's highest honor in its own music genre, then goes the way of the space shuttle. For three decades, ...
Coleman Duemila: in alto il (contrab)basso
by AAJ Italy Staff
Ci sembra importante in questa rubrica riproporre ancora un testo di Claudio Sessa, che in questo caso analizza le modalità e le ragioni dell'interesse di Ornette Coleman per il contrabbasso. Il testo era stato concepito come programma di sala del concerto tenuto nel 2008 dal sassofonista texano al Teatro Manzoni di Milano, all'interno della rassegna “Aperitivo ...
Ornette Coleman: Tomorrow is the Question!
by C. Michael Bailey
Ornette ColemanTomorrow is the QuestionContemporary1959Shaking out of the contractual obligation forcing him to employ a pianist on his debut, Something Else!!!! (Contemporary, 1958), alto saxophonist Ornette Coleman dispensed with the instrument altogether on 1959's Tomorrow is the Question!, causing a bit of consternation on the part of the ...
Ultra Music at Pori Jazz Festival: Pori, Finland, July 14-16, 2011
by Anthony Shaw
uLTRA mUSIC at the 46th Pori Jazz FestivalPori, FinlandJuly 14-16, 2011 The port of Pori has always been a hub of access for Finns living in the flatlands of the west coast area. As a center for the export of wood and cereals, the city traditionally has seen the import of ideas ...
Something Else!!!!
by C. Michael Bailey
Robert Louis Stevenson noted that, “The mark of a good action is that it appears inevitable in retrospect." The middle-to-late 1950s in jazz were populated with several “good actions," all considered inevitable evolutionary reactions to earlier genre, specifically swing and bebop--the latter the complex and elevated jazz style that had dominated the creative American musical structure ...
Vision Festival: Days 5-6, June 9-10, 2011
by John Sharpe
Day 1 | Days 2-3 | Day 4 | Days 5-6 | Day 7Kidd Jordan Quintet, Matthew Shipp/Evan Parker, Paradoxical Frog, Planetary UnknownVision FestivalAbrons Arts CenterNew York CityJune 9-10, 2011 Kidd Jordan Quintet New Orleans saxophonist Edward Kidd Jordan, who was the ...
Rich Halley Quartet: Requiem for a Pit Viper
by Dan McClenaghan
It must be difficult for saxophonist Rich Halley to find a collaborative horn man who can keep up with him, who can match his free jazz ferocity and full-throttle momentum. Difficult, but not impossible. In the midst of three fine trio efforts for Louie Records, he offered up one quartet outing in which the saxophonist teamed ...
Matt Lavelle: Goodbye New York, Hello World
by Florence Wetzel
Multi-instrumentalist Matt Lavelle's CD is entitled Goodbye New York, Hello World--and he means it. Since 1999, Lavelle has been a vital part of the New York City avant-garde jazz scene: in addition to electrifying live performances and impressive CD releases, he has also been a thoughtful commentator on the music world, including blogs, Facebook posts, and ...
The Grand Unified Field Of Harmony Part 1
by Catrina Daimon Lee
A Wordy Introduction A “Grand Unification" type of harmonic theory, to be useful, has to be transportable over the entire terrain of authentic musical activity, covering as many stylizations and idioms as in existence. It must be diagnostic, generative and predictive. All harmonic and melodic systems past and present are idiomatically bound to ...
Peter Zak: Down East
by C. Michael Bailey
Block chords, swinging touch, trio setting, full-throated playing: this must be Red Garland. No, its New York City pianist and composer Peter Zak and his loquacious piano style, tasteful and full-bodied. Down East is Zak's sixth release for the Danish Steeplechase label. Zak's piano approach is easily stated, even and uniformly dense. His Ornette Coleman ("Invisible") ...
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