#Ornette on Tenor

[jazzdailyblog]

"Beauty Is a Rare Thing": Ornette Coleman's Sonic Odyssey Through Avant-Garde Jazz

Introduction: On November 16, 1993, Rhino Records unveiled a musical treasure trove that transcended the boundaries of jazz. “Beauty Is a Rare Thing: The Complete Atlantic Recordings” by Ornette Coleman, a pioneering saxophonist and composer, stands as a testament to the avant-garde movement that swept through the jazz landscape in the late 1950s and early 1960s. This box set, meticulously…

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#Beauty Is a Rare Thing #Billy Higgins #Charlie Haden #Classic Albums #Don Cherry #Ed Blackwell #Eric Dolphy #Freddie Hubbard #Free Jazz #Jazz History #John Lewis #Modern Jazz Quartet #Nesuhi Ertegun #Ornette Coleman #Ornette on Tenor #Scott LaFaro #The Art of the Improvisers #The Shape of Jazz to Come #To Whom Who Keeps A Record #Twins #Yves Beauvais

[zef-zef]

Album Art for:

Ornette Coleman - Ornette On Tenor (Atlantic, 1972)

Cover Art - Bob Slutzky

#album art #album covers #cover art #Ornette Coleman #Ornette On Tenor #Atlantic #1972 #Bob Slutzky

[onetwofeb]

Ornette Coleman Quartet - Two Concerts in 1971

Ornette Coleman - Alto Sax, Trumpet, Violin Dewey Redman - Tenor Sax, Musette de cour Charlie Haden - Bass Ed Blackwell - Drums

Belgrade, Yugoslavia - November 2, 1971

#youtube

[burlveneer-music]

Mendoza Hoff Revels - Echolocation - a blast of instrumental skronk rock

Ava Mendoza: electric guitar, compositions Devin Hoff: electric bass, compositions James Brandon Lewis: tenor saxophone Ches Smith: drums 'Echolocation' is the astonishing debut album from Mendoza Hoff Revels, a formidable new unit led by Ava Mendoza & Devin Hoff and featuring James Brandon Lewis & Ches Smith. While Mendoza and Hoff have floated around each other's musical orbits for decades, and have been friends for some time, this is their first work together on record. It is an electric & holy harmonic fusion of highly estimable musical forces; wholly rendered. The original impetus of this group was Mendoza’s, based on the love she and Hoff shared for aggressive and polyglot electric avant-garde ensembles – artists like mid-80's Black Flag (w/ Roessler & Stevenson) and Ornette Coleman's Prime Time bands revolutionized the way they heard music. As stated in their liner notes, "we shared the writing of these pieces, though without the sizable stamps of both James and Ches, they would sound nothing like they do here.” The result – 21st Century progressive rock played by punk rockers with serious improv skills and a deep jazz feel. And vitally – non-stop wicked catchy tunes, riffs & grooves. Strong sonic references on our initial hearing at AUM Fidelity were The Stooges’ Funhouse, rendered by an entire band readily adept at rapidly swinging rhythmic & harmonic shifts (plus tenor sax on every track!) -&- minutemen, both their entire body of music & their fundamental egalitarian punk ethos. A higher combo accolade to any "rock-adjacent" band playing with electricity we at AUM cannot bestow. Art & Design by William Mazza Studio

#Mendoza Hoff Revels #Bandcamp #skronk #rock #jazz #fusion #punk #ava mendoza #james brandon lewis #ches smith #devin hoff #2023 #aum fidelity

[dustedmagazine]

Listed: Kid Millions and Sarah Bernstein

Photo by Caleb Bryant Miller

Kid Millions and Sarah Bernstein both have long CVs in experimental music, Millions as the drummer for Oneida and Man Forever and Bernstein as an avant garde composer and performer with the VEER Quartet, the avant-jazz Sarah Bernstein Quartet, and solo as Exolinger. They’ve been improvising together for roughly a decade, building mesmerizing sonic architectures out of free-form drumming, wild violin pyrotechnics and cryptic spoken word. Of their latest, Live at Forest Park, Margaret Welsh writes, “Bernstein and Colpitts weave sound together into an unsettling fever dream-like warp, growing larger and smaller. All you can do is lay back and surrender to the waves.” Here are some things that inspire the two.

Kid Millions

Billy Harper Quintet — In Europe (Soul Note)

While I admire and enjoy all of the Quintet albums I’ve heard, this particular one captures something ineffable and transcendent. The Quintet’s personnel changes throughout Harper’s career but this particular session has the tunes, the passion, the reaching and the constant surprises that make it my most listened to album in the last ten years. Fred Hersch is especially sympathetic and powerful on this too. I really want to see this group ASAP. Billy Harper is still playing!

Pete La Roca — Basra (Blue Note)

La Roca is a drummer who is unappreciated but his playing and compositions stand out. This album gets the slight nod over the legendary Turkish Women at the Bath because it was recorded well. He’s in the same league as Elvin and also wrote some incredible tunes.

George Adams & Don Pullen Quartet — City Gates (Timeless) (but any record is cool)

I’m leaning on big tenor sounds these days, and George Adams stands in the same universe as Billy Harper because he plays the range of the instrument — there are gorgeous melodies set alongside blistering free blasts. Don Pullen is incredible as well. Near the end of his life he started to write more songs with hooks, but he shreds like Cecil Taylor. I’m digging the stuff that straddles the line between songs and free these days.

Henry Threadgill with Brent Hayes Edwards — Easily Slip Into Another World (memoir)

This is a brand-new book, and I’m finding lots of inspiration and great advice within the pages. His discussion about how young musicians need to find their way within the tradition, among their peers, and on their own terms applies to all traditions, rock included. In order to really engage with the music, you have to play all the time, with other people. You have to play covers, and you have to play in front of audiences. And you need to be fired. I certainly have!

Marcus Gilmore

Such an incredible, deep, drummer. You should go see him ASAP!

Sarah Bernstein

Music/poetry films I like:

When It Rains — Charles Burnett (1995)

Charles Burnett’s work speaks to me as a whole. The films I’ve seen slip into a continuous flow of poetic story/documentary. When It Rains is a 13-minute short film that takes place on a festive New Years Day, but January’s rent needs to be paid. Musicians are among the characters and sound, and it plays like a jazz improvisation. A particular highlight is seeing instrument-maker Juno Lewis on-screen playing his double bell trumpet. The story’s ending will have vinyl collectors smiling.

The Connection — Shirley Clarke (1961)

Before discovering this movie, I knew director Shirley Clarke from her later film "Ornette: Made in America," also a must-see. The Connection is a film version of Jack Gelber’s play for the burgeoning Living Theatre. Most of the actors from the stage play, and all the musicians, are also in the film. The band is swinging: Freddie Redd composer/pianist, Jackie McLean alto sax, Michael Mattos bass, Larry Ritchie drums. The musicians also act in the story, and even the turntable — playing Charlie Parker’s Marmaduke — provides a key recurring motif in the film.

Poetry In Motion — Ron Mann (1982)

Poetry in Motion, By Ron Mann from bob stein on Vimeo.

The other movies on this list are ones I’ve seen relatively recently, but Poetry In Motion I watched in an art-house cinema as a teenager, and it had a big impact on me. The documentary shows 40 poets and performers, including Jayne Cortez, Dianne Di Prima, Helen Adam, William S. Burroughs, Amiri Baraka, Allen Ginsburg, Jim Carroll, John Cage, Robert Creeley, Miguel Algarin, to name a few! Also check out Ron Mann’s first feature film: Imagine The Sound (1981), a superb profile of Cecil Taylor, Archie Shepp, Bill Dixon and Paul Bley.

Desolation Center — Stuart Swezey (2018)

The concert footage is so good. Highlights are Einsturzende Neubauten and Survival Research Labs literally blowing up the desert in Joshua Tree. Also Sonic Youth, Minute Men, Swans, all in DIY festivals and shows taking place in outdoor remote locations in 1980’s SoCal.

Amazing Grace — Alan Elliott/Sydney Pollack (2018)

Aretha Franklin and choir hold a live concert recording session of her gospel album Amazing Grace over two days in 1972. This is not a documentary with talking heads or explanation, rather the action is all in the music and spirit. Aretha Franklin’s genius and deep interaction with the listeners and choir is riveting and inspiring, even more so with repeat viewing.

#dusted magazine #listed #kid millions #sarah bernstein #billy harper quintet #pete la roca #george adams and don pullen quartet #henry threadgill #marcus gilmore #charles burnett #shirley clarke #ron mann #stuart swezey #alan elliott #sydney pollack

[tidalwavesmusic]

GEORGE COLEMAN 'AMSTERDAM AFTER DARK' (1979)

George Coleman (born March 8, 1935) is an American jazz saxophonist best known for his work with Miles Davis and Herbie Hancock in the 1960s. Coleman was born in Memphis, Tennessee and learned to play the alto saxophone in his teens. After his work with Ray Charles, George started working with B.B. King in 1953 and switched to playing the tenor saxophone. 

George Coleman was a member of legendary outfits such as Max Roach’s quintet, The Slide Hampton Octet, Miles Davis’ Quintet and The Chet Baker Quintet. The list of his collaborations is impressive to say the least, Mr. Coleman recorded and performed with greats such as Freddie Hubbard, Herbie Hancock, Charles Mingus, Ahmad Jamal, Idris Muhammad, Pharoah Sanders, Ornette Coleman, Melvin Sparks, Art Blakey…and many others.

Coleman was named an NEA Jazz Master, was added to the Memphis Music Hall of Fame in 2015, and received a brass note on the Beale Street Brass Notes Walk of Fame. George Coleman’s performances were included on classic recordings released by prominent labels from the likes of Blue Note, Atlantic, Prestige, Strata-East, Muse, Verve and Impulse!

On the album we are proudly presenting you today: Amsterdam After Dark (Recorded in 1978 at the famous NY Sound Ideas Studio and released on Timeless Records in 1979) the listener is treated to six majestic tracks of the highest caliber and features a remarkable outing of advanced musicianship by jazz-giants in their prime, delivering an inspirational gem of an album. 

The all-star line-up includes Sam Jones (Dizzy Gillespie, Duke Ellington, Ben Webster) on bass, Billy Higgins (Donald Byrd, Thelonious Monk, John Coltrane) on drums and Hilton Ruiz (Roy Brooks, Rashaan Roland Kirk, Sonny Rollins) on piano. Most players featured here were also part of the legendary ‘Eastern Rebellion’ collective responsible for releasing multiple ground-breaking albums over several decades.

Amsterdam After Dark shows off George Coleman’s mastery of the sax, his brilliant vintage techniques and deep soulful tones. Coleman plays from the heart and is on top of his game. Expect both original compositions as well as standards, beautiful ballads with elegant (yet fierce) solos alternating between the instruments, growling blues-oriented themes…this is a contemporary sounding Hard Bop & Post-bop crossover album and a must have for any self-respecting jazz fan or collector!

Tidal Waves Music now proudly presents a much-needed and long overdue vinyl reissue of this classic jazz album (originally released in 1979 and out of print on vinyl since 1985). This reissue comes as a deluxe 180g vinyl edition (strictly limited to 500 copies worldwide) featuring the original artwork. This will also be the the first time the album is being released in North America and in the UK.

Available in stores September 15, 2023. Pre-order now from www.lightintheattic.net

An exclusive variant (#100 copies CLEAR Vinyl) is also available from www.lightintheattic.net

#george coleman #jazz #timeless #1979 #tidalwavesmusic #lightintheattic

[ausetkmt]

Pharoah Sanders

Pharoah Sanders (born Farrell Sanders; October 13, 1940 – September 24, 2022) was an American jazz saxophonist. Known for his overblowing, harmonic, and multiphonic techniques on the saxophone, as well as his use of "sheets of sound".

Sanders played a prominent role in the development of free jazz and spiritual jazz through his work as a member of John Coltrane's groups in the mid-1960s, and later through his solo work.

He released over thirty albums as a leader and collaborated extensively with vocalist Leon Thomas and pianist Alice Coltrane, among many others. Fellow saxophonist Ornette Coleman once described him as "probably the best tenor player in the world".

Sanders' take on “spiritual jazz” was rooted in his inspiration from religious concepts such as Karma and Tawhid, and his rich, meditative performance aesthetic.This style was seen as a continuation of Coltrane's work on albums such as A Love Supreme. As a result, Sanders was considered to have been a disciple of Coltrane or, as Albert Ayler said, "Trane was the Father, Pharoah was the Son, I am the Holy Ghost".

#Pharoah Sanders

[samuelabudiono]

REDMAN - MEHLDAU - MCBRIDE - BLADE A MOODSWING REUNION Joshua Redman, tenor sax; Brad Mehldau, piano; Christian McBride, double bass; Brian Blade, drums “A MoodSwing Reunion" is a reunion of old friends: Joshua Redman, Brad Mehldau, Christian McBride and Brian Blade, names capable of attracting the attention of the whole jazz community. It was in fact they, at the turn of the nineties and the 2000s, who defined, paraphrasing Ornette Coleman, the form of jazz of the future. And they did so by trying their hand at a variety of expressive contexts. It was Redman who brought this line up together: it is in fact the quartet with which he recorded his third album as a leader: MoodSwing (1994, Warner Bros.), one of the fundamental jazz records of the nineties, consecration of talent, of aesthetics music and the creativity of four musicians who today are considered among the most important masters of international jazz. At the time, the Redman quartet stayed together for about a year and a half. In reforming itself, for the release of RoundAgain (2020, Nonesuch), leadership has become collective: an inevitable evolution given the maturation of the personalities involved. In almost thirty years things have happened: each of these musicians, then simply young promises, has become an undisputed master. Just think of Mehldau, who at the time had not yet made his debut as a leader on record but who in a few years would have changed the rules of the game with the flurry of volumes of The Art of the Trio . Blade too would make his debut on record only a few years later, as well as rewriting the ranking of the best jazz drummers from the moment he joined Wayne Shorter in 2000. McBride, albeit very young, had already made it clear that he belonged to the elite of the double bass: his dazzling career as a leader also began in 1994. @SamuelABudiono #SamuelABudiono #Music #Architecture #MusicArchitecture (at Teatro EuropAuditorium) https://www.instagram.com/p/CkZqHMxoHO9/?igshid=NGJjMDIxMWI=

#samuelabudiono #music #architecture #musicarchitecture

[nwdsc]

(▶︎ Solos | Dickie Landry (feat. Richard Peck, Robert Prado, Rusty Gilder, Jon Smith, Alan Braufman, David Lee) | Unseen Worldsから)

Solos by Dickie Landry (feat. Richard Peck, Robert Prado, Rusty Gilder, Jon Smith, Alan Braufman, David Lee)

On February 19, 1972, a crew of mostly Louisiana-raised musicians came together at the Leo Castelli Gallery on West Broadway in Soho to perform a wholly improvised concert. This ensemble’s solos spring from collective improvisations and a tumultuous backbeat, loosely inspired by the creations of Coltrane, Coleman, Albert Ayler, and their brethren. The de facto leader was Richard “Dickie” Landry, a saxophonist and keyboardist who joined composer Philip Glass’s group in 1969. Landry had become a fixture in downtown New York’s loft and art scenes at the close of the 1960s, after he high-tailed it by car from Louisiana to the Lower East Side and auspiciously encountered Ornette Coleman at the Village Gate the night of his arrival. For this concert, fellow Glass reedists Jon Smith and Richard Peck joined in, alongside Rusty Gilder and Robert Prado, both doubling on bass (upright and electric) and trumpet. The drum chair was occupied by New Orleans firecracker David Lee, Jr., who brought alto saxophonist Alan Braufman along for the session (Braufman was the only non-Louisiana player in the band). The ensemble stretched out in the gallery for several hours in a configuration reflecting those that took place at Landry’s Chinatown loft, documented in photos by artists Tina Girouard and Suzanne Harris that adorn the inside of the original gatefold album jacket. Recorded live by Glass’ sound engineer Kurt Munkacsi, the album was released as a double LP on Chatham Square, the small imprint Landry and Glass co-ran, in a stark greyscale cover and simply titled Solos. The order of the players’ improvisations was laid out on the album inner labels, though unsurprisingly there’s a fair amount of blend. At the end of the day Solos is beyond category, a rousing exploration of instrumentation, rhythm, and life. This first-time reissue is remastered from the original master tapes, released as a 2LP gatefold with period photos and new liner notes by Clifford Allen, and an additional 30 minutes of bonus material in the digital edition, included with the download code. クレジット2022年10月7日リリース For Bobby Ramirez Dickie Landry: Tenor & Soprano Sax, Electric Piano Richard Peck: Tenor Sax Robert Prado: Trumpet & Bass Rusty Gilder: Trumpet & Bass Jon Smith: Tenor Sax Alan Braufman: Alto Sax David Lee: Drums Kurt Munkacsi: Engineer, 16 Track Skully, Butterfly Productions, Inc Recorded Live Feb. 19, 1972 Leo Castelli Gallery, N.Y.C., 420 W. Broadway Tina Girouard: Photographs, Cover Suzanne Harris: Photographs D. Norsen: Layout, Design Remastering: Stephan Mathieu Produced by Dickie Landry & Leo Castelli

#JZ #2210 #reissue

[chez-mimich]

NOVARA JAZZ 2022: GIUSEPPE CARDONI, “WORLD OF SOUND” DI DANIELE CAVALLANTI

Avete mai visto un festival musicale che si apre con una mostra fotografica? Ebbene se non lo avete mai visto, lo vedrete questa sera, visto che Novara Jazz 2022 apre i battenti proprio questa sera all’Opificio, possiamo ormai ben dire ,“storico” locale del jazz novarese. Però a pensarci bene strano non è, perché se il fotografo è nato in Umbria, dopo San Francesco e Giotto, la terza cosa che mi viene in mente è jazz. Giuseppe Cardoni è infatti un grande fotografo umbro che ha alle spalle una carriera fatta di tante mostre, libri, pubblicazioni, collaborazioni di grande prestigio. Sarà un piacere sopraffino vedere le sue fotografie, questa sera prima del concerto inaugurale dopo i suoi quindici anni passati alla corte di sua maestà Umbria Jazz, naturalmente in b/n come da “dress code”. Subito dopo prendono il via le danze che impegneranno la città e i suoi ospiti fino al 12 giugno prossimo. Sul palco dell’Opificio Daniele Cavallanti con il suo “A World Sound”, un progetto di brani originali di Cavallanti e dedicato ai grandi jazzisti quali Dewey Redman, Joe Henderson, Sam Rivers, Wayne Shorter, Massimo Urbani e brani di Ornette Coleman, Eric Dolphy, Albert Ayler, Archie Shepp, Joe Lovano e Wayne Shorter. Con Daniele Cavallanti al sax tenore si cimentano l’ormai novarese d’adozione Francesco Chiapperini (clarinetto basso, sax alto e flauto), Gianluca Alberti al contrabbasso e Toni Boselli alla batteria. Se amate il jazz non prendete troppi impegni per i prossimi dieci giorni, se non lo amate, è un’ottima occasione per innamorarvi.

#novara jazz 2022 #concerti #opificio

[jazzandother-blog]

Ethan Iverson, Dewey Redman, Johannes Weidenmüller, Falk Willis – School Work

Dewey Redman – tenor saxophone

 Ethan Iverson – piano

 Johannes Weidenmüller – bass

 Falk Willis – drums

1     Dewey Eyed, Dewey Played (Ethan Iverson)     -   00:00

2     Red Wing (Ethan Iverson)         -   05:07 

3     I Got It Bad (Duke Ellington, Paul Francis Webster)       -   11:31

4     Wisconsin Primitiv (Ethan Iverson)        -   18:44

5     Stella By Starlight (Victor Young, Ned Washington)        -   24:45

6     Cheryl (Charlie Parker)            -   33:09 

7     Sometimes A Half Life Is Just Not Enough (Ethan Iverson)     -   40:18

8     2300 Skidoo (Herbie Nichols)           -   44:43 

9     School Work (Ornette Coleman)         -   49:29 

10   Persistance Of Memory (Ethan Iverson)        -   57:36

School Work Review by Scott Yanow

Pianist Ethan Iverson (originally from Wisconsin) teams up with two fine German musicians (bassist Johannes Weidenmuller and drummer Falk Willis) and, on half of the selections, the great tenorman Dewey Redman for some stimulating inside/outside improvising. The performances range from a warm version of Duke Ellington's "I Got It Bad" and a Charlie Parker blues to Ornette Coleman's upbeat "School Work," Herbie Nichols' "2300 Skidoo," and five Iverson originals. The free bop music is often quite exciting without getting too radical for straight-ahead fans. Ethan Iverson shows a lot of talent, and Dewey Redman is up to his usual high level.

El pianista Ethan Iverson (originario de Wisconsin) se une a dos músicos alemanes (el bajista Johannes Weidenmuller y el baterista Falk Willis) y, en la mitad de las selecciones, el gran tenorman Dewey Redman para una estimulante improvisación dentro/fuera. Las actuaciones van desde una versión cálida de "I Got It Bad" de Duke Ellington y un blues de Charlie Parker hasta el optimista "School Work" de Ornette Coleman, "2300 Skidoo" de Herbie Nichols y cinco originales de Iverson. La música de bop libre es a menudo muy emocionante sin llegar demasiado radical para los fans de frente. Ethan Iverson muestra mucho talento, y Dewey Redman está a su nivel habitual.

#youtube

[theloniousbach]

FROM THE SMALL’S LIVE STREAM: BEN WOLFE with Nicole Glover, Peter Bernstein, and Aaron Kimmel, SMALL’S JAZZ CLUB, 5 MAY 2023, 9 pm set

I was so struck with Nicole Glover’s 8 November trio set at The Jazz Gallery that I am going back through the Small’s Archive to see at what point her playing, er, call it, mellowed—not as rushed, more melodic and linear, with a middle registered tone. It is perhaps the result of her not being the leader and playing someone else’s compostions or playing, as with George Colligan on 5 November or here more than six months ago, both with a chordal instrument. In any case, she is just as smart a student of the instrument and the music as a whole, but she is not as intense.

This gig had Peter Bernstein’s guitar, if anything more steeped in that instrument’s tradition, than Lage Lund who was so key to Melissa Aldana’s 12 Stars. Seeing that band and living with that album got me thinking about saxes and guitars (Sonny Rollins with Jim Hall, Pat Metheny’s Song X with Ornette Coleman and 80/81 with Michael Brecker and Dewey Redman, Paul Desmond also with Jim Hall but also Ed Bickert) and the possibility that the narrower range of the instrument opened up more space for the horn. As a one off gig, I don’t imagine that this fundamentally transformed Glover’s playing. But with BEN WOLFE’s smart tunes with extended intricate lines played in sync with guitar and/or bass, Glover drew on those different skills than in her earlier trio work.

Sideways opened things easily settling into an extended parallel line for all of them to play. Glover took her turn with a linear mid-ranged solo that had a punch without being rushed. In Community she came in with an extended note over the moody tone Bernstein added to Wolfe’s defining figure. Masked Man for Lenny Bruce had a late 50sish bounce and either had a second part that was slinky and smoky. Lots of interplay among bass, guitar, and tenor. Aaron Kimmel’s Unjust was bright but also included a bop quote and a rich fluid solo from Glover. She was plaintive on the ballad Love Is Near. The closer Blind Seven had both a relaxed pace and another extended line with a double time section before releasing nicely.

Wolfe was properly forward as the leader but wasn’t overwhelming. Bernstein was a tasteful team player as was Kimmel. All contributed mightily, but I was listening with a purpose and focused on Glover. Wolfe’s tunes gave her an interesting platform to showcase facets of her art that I’m noting more carefully.

#concert review #jazz #small’s live #2023 #small’s jazz club #from the small’s live archives

[rich4a1]

Ohad Talmor Back to the Land (2-CD)

Ohad Talmor Back to the Land (2-CD) Intakt Back to the Land clearly has one of 2023’s more interesting back stories, not to mention highly original music. Tenor saxophonist Ohad Talmor is releasing a double album of unreleased Ornette Coleman pieces from recently discovered DAT rehearsal tapes found in the basement of the home of the late Lee Konitz, Talmor’s mentor, friend, and father figure for…

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#cd review #jazz #jazz CD #Jazz Review #making a Scene

[burlveneer-music]

Luis Lopes ABYSS MIRRORS - echoisms - Clean Feed is on a tear, check out this slab of free jazz from Lisbon

From the music recorded in two days at Namouche Studios Lisbon, and reaching the public through this cd, comes a constantly changing sound and atmospheric passages, managed with the tense restraint of someone who listens and understands their place within a great formation and moments of collective ecstasy with no final destination. Movements of elusive harmony that revolve around themselves in line with the haunting lyrics of 'He Loved Him Madly' by Miles, along with a whirlwind of strings that brings that liberation of Alan Silva's ensembles, electronic phrases as meta-rhythmic as landscapes and more detours and certain continuities, in an abysmal game of mirrors. The name is well placed! The troop, the Abyss Mirrors, invoked by guitar player Luís Lopes, as described in his own words draws from inspirational foundations and a search for continuity to music that is born from the ensembles of Sun Ra and advances through the electric periods of Miles Davis and Ornette Coleman, to continue with Wadada Leo Smith, and pinching from electroacoustic giants like Stockhausen or Gabriel Prokofiev. A Herculean task but full of intention, built by an ensemble made up of a dozen figures, 4 nationalities: Portuguese, Swedish, Finnish, and Brazilian, all currently based in Lisbon, coming from areas as disparate as intersectional: obviously from jazz but also free improvisation and experimental styles, from electronic to underground techno, contemporary or rock, with a good balance between electric and acoustic. All people recognized and recognizable in a collusion of more or less usual cronies from Lopes various wanderings. creditsreleased March 21, 2023 Luis Lopes electric guitar Flak electric guitar Jari Marjamaki electronics Travassos electronics Felipe Zenícola electric bass Yedo Gibson tenor , alto, soprano sax Bruno Parrinha alto, soprano sax Helena Espvall cello Maria da Rocha violin Ernesto Rodrigues viola All music by Abyss Mirrors under Lopes direction

#Luis Lopes #abyss mirrors #jazz #free jazz #improvised music #lisbon #clean feed

[masatakeabe]

11月のスケジュール

11/1 (水) 19:30-

公園通りクラシックス

“Uquwa”

沼尾翔子　歌

遠藤ふみ piano

阿部真武　electricbass

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11/2(木)20:00-

荻窪ベルベットサン

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阿部真武　electricbass

外山明　　drums

　　　　

　　

11/4(土)20:00-

水道橋ftarri

阿部真武　electricbass

岡川怜央　drums

¥2000

要予約：[email protected] (氏名、人数、電話番号をお知らせください（当日19:30まで）

　　　

　　　

11/5(日)19:30-

神保町試聴室

遠藤ふみ　　piano

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阿部真武　　electricbass

　　　

　　　　

11/8(木) -9(金) ※今年は2days...！

上野公園水上音楽堂　

木枯らしコンサート

に"Thieves" で出演します

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11/15(水)19:30- ★

※阿部の体調不良により2/3に延期となりました。大変申し訳ございません。

入谷なってるハウス

阿部真武　electricbass

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藤原信雄　drums

予約¥2000/当日¥2300(+order)

　　

　　　

11/24(金)19:30-

阿佐ヶ谷マンハッタン

”Ornette Coleman Jam Session”

古和靖章　　guitar

田嶋真佐雄　contrabass

阿部真武 　 electricbass

白石美徳　　drums

¥3000（2drink込）

　　

　　　

11/27 19:30-

渋谷公園通りクラシックス

PFIPT

遠藤ふみ　piano

池田謙　　electronics

阿部真武　electricbass

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11/28 (火)20:30-

柏Nardis

"Trio Plays Songs"

遠藤ふみ　piano

阿部真武　electricbass

白石美徳　drums

¥3080+order

#jazz #improvisation

[juliansiegel]

Conducting

Julian studied Music at U.E.A. majoring in Saxophone and Clarinet. He also studied orchestral conducting directing the Student Symphony Orchestra and Chamber Choir including performances of the music of Mozart, Beethoven, Schubert, Stravinsky and Milhaud. During his time at U.E.A. he attended the Canford Conducting Summer school studying with George Hurst and Adrian Leaper. 

Since leaving college he has focused on his first love the Tenor Saxophone and working as a Jazz improviser, band leader and composer, but interspersed with this he has also continued to conduct / MD various ensembles across a broad musical spectrum from Jazz to contemporary classical music  

In 2001 Julian directed the BBC National Orchestra of Wales and BBC Singers in a concert of the music of Oscar winning composer Stephen Warbeck as featured on the BBC TV programme 'Classic Challenge’, the music commemorated the Normandy landings in WW2 and the performance took place on board a cross channel ferry, the orchestra and choir performed to an audience of Normandy Veterans.

In 2010 Julian directed the BBC Big Band in the London Jazz Festival with guests Billy Jenkins and Iain Ballamy at the Purcell Room, Southbank Centre London  

In 2013 Julian conducted a performance of Brian Eno’s ‘Music for Airports’ at ‘Bold Tendencies’, Peckham Car Park as part of the London Contemporary Music Festival 2013. 

Julian has directed the Trinity Laban Conservatoire of Music Postgraduate Jazz Ensemble in concerts of 

- the Big Band music of UK Saxophonist and composer Stan Sulzmann,

-  he co-led a project of the music of Ornette Coleman ‘Harmolodic  Ensemble’ with ex - Loose Tubes Trumpeter Chris Batchelor, 

- directed a performance of the Trinity Laban Conservatoire Big Band playing the music of Jaco Pastorius featuring the in-demand bassist Laurence Cottle at London's Ronnie Scotts Jazz Club. 

In 2021 Julian directed the Royal Academy of Music Big Band in a performance of the Big Band music of UK Saxophonist and composer Jason Yarde. 

In October 2023 Julian conducted the BBC Big Band in a recording session for the forthcoming album with Jacqueline Dankworth and Charlie Wood at Livingston Studios in London

For all conducting enquiries please contact management at Julian Siegel dot com 

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