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Category: flugelhorn

Saturday, September 5th

soundtrack to a dream I’d love to have

Jon Hassell (1937-, trumpet), “Sketches of the Mediterranean” (with Paolo Fresu, trumpet, flugelhorn; Rick Cox, guitar; Kheir-Eddine M’Kachiche, violin; Peter Freeman, bass), live, France (Junas), 2013

 

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lagniappe

random sights

yesterday, Chicago

*****

reading table

a knotwood-eating bug
likes what it likes . . .
evening dew

—Kobayashi Issa (1763-1827), translated from Japanese by David G. Lanoue

Monday, August 24th

Why not begin the week with something beautiful?

Meredith Monk & Vocal Ensemble and Alarm Will Sound, “Anthem” (M. Monk), published 8/22/20

 

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lagniappe

random sights

yesterday, outside Chicago

Monday, January 6th

like nobody else

Art Ensemble of Chicago (Roscoe Mitchell, 1940-, reeds, flute, percussion; Joseph Jarman, 1937-2019, reeds, flute, percussion; Lester Bowie, 1941-1999, trumpet, flugelhorn, MCOTD Hall of Fame; Malachi Favors, 1927-2004, bass, percussion, vocals; Don Moye, 1946-, drums, percussion), live, Germany (Hamburg), 1991

 

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lagniappe

random sights

other day, Oak Park, Ill.

*****

reading table

Culture’s beginnings:
from the heart of the country
rice-planting songs

—Matsuo Basho (1644-1694), from Narrow Road to the Interior (translated from Japanese by Sam Hamill)

Tuesday, December 17th

sounds of New York

More of one of my favorite drummers—again at the Village Vanguard.

Ed Blackwell (drums, 1929-1992) with Mal Waldron (1925-2002, piano), Charles Rouse (1924-1988, tenor saxophone), Woody Shaw (1944-1989, flugelhorn), Reggie Workman (1937-, bass), “Git Go” (M. Waldron, excerpt), live, New York (Village Vanguard), 1985

 

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lagniappe

random sights

yesterday, Chicago

*****

reading table

Do you imagine that writers speak ‘as themselves’? No such selves exist.

—Peter Schjeldahl, “The Art of Dying,” New Yorker, 12/23/19

Tuesday, December 11th

voices I miss

This drummer never fails to lift my spirits.

Ed Blackwell (drums, 1929-1992) with Mal Waldron (piano), Charlie Rouse (tenor saxophone), Woody Shaw (flugelhorn), Reggie Workman (bass), “The Git Go” (M. Waldron), live, New York (Village Vanguard), 1985

#1

 

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#2

 

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#3

 

Wednesday, July 26th

voices I miss

Ed Blackwell (drums, 1929-1992) with Mal Waldron (piano), Charles Rouse (tenor saxophone, flute), Woody Shaw (trumpet, flugelhorn), Reggie Workman (bass), live (“The Git Go,” “All Alone,” “Fire Waltz”), New York (Village Vanguard), 1985

 

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lagniappe

art beat: other day, Art Institute of Chicago

Utagawa Hiroshige (1797-1858), Irises at Horikiri, 1857

Tuesday, May 13th

voices I miss

Lester Bowie (1941-1999), trumpet (MCOTD Hall of Famer), with Brazz Brothers, “Summertime” (G. Gershwin), live, Germany (Jazz Baltica), 1993

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lagniappe

art beat: more from last week at the Art Institute of Chicago

Christopher Wool (1955-), Maggie’s Brain (1995)

Wool1

Thursday, February 13th

never enough

Monk, that is.

“Rhythm-a-Ning,” (T. Monk)

Art Pepper Quartet (AP, alto saxophone; Milcho Leview, piano; Tony Dumas, bass; Carl Burnett, drums), live


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Tom Harrell Quintet (TH, trumpet, flugelhorn; Wayne Escoffery, tenor saxophone; Danny Grissett, piano; Ugonna Okegwo, bass; Johnathan Blake, drums), live, Paris, 2008

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lagniappe

random thoughts

Given the number of lives that end in death, the odds of avoiding it seem slim.

Wednesday, October 2nd

love it or hate it

Anthony Braxton 12+1tet, Composition 355, live, Italy (Venice), 2012


*****

Anthony, a MacArthur “genius” award winner (1994) and professor at Wesleyan University, talks about this and that:


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lagniappe

musical thoughts

Music can take us places we’ve never been before, if we’re willing to listen to sounds we’ve never heard before.

Thursday, January 31

passings

Butch Morris, February 10, 1947-January 29, 2013, cornetist, composer, conductor

“Conduction #188,” live, Italy (Sant’Anna Arresi), 2009


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From the New York Times’ obituary:

Butch Morris, who created a distinctive form of large-ensemble music built on collective improvisation that he single-handedly directed and shaped, died on Tuesday in Brooklyn. He was 65.

The cause was cancer, said Kim Smith, his publicist and friend. Mr. Morris, who lived in the East Village, died at the Veterans Affairs Medical Center in Fort Hamilton.

Mr. Morris referred to his method as“conduction,” short for “conducted improvisation.” He defined the word, which he trademarked, as “an improvised duet for ensemble and conductor.”

He would often begin a performance by setting a tempo with his baton and having his musicians develop a theme spontaneously and then seize on the musical ideas he wanted to work with, directing the ensemble with a vocabulary of gestures and signals. An outstretched upward palm, up or down to indicate volume, meant sustain; a U shape formed with thumb and forefinger meant repeat; a finger to the forehead meant to remember a melodic phrase or a rhythm that he would summon again later.

He introduced this concept in 1985 and at first met resistance from musicians who were not willing to learn the vocabulary and respond to the signals; he was often in a position of asking artists to reorient themselves to his imagination and make something new out of familiar materials. But he demanded to be taken seriously, and he was. After 10 years he had made enough recordings to release “Testament,” a well-received 10-disc set of his work. After 20, he had become an internationally admired creative force, presenting conductions at concert halls worldwide and maintaining regular workshops and performances at the East Village spaces Nublu, Lucky Cheng’s and the Stone.

Mr. Morris, who also played cornet, began his career as a jazz musician in Los Angeles. After settling in New York in the early 1980s, he took his place among both the downtown improvising musicians of the Kitchen and the Knitting Factory and the purveyors of multidisciplinary, mixed-media art flourishing in the city.

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In decades of workshops around the world, and for a stretch, from 1998 to 2001, at Bilgi University in Istanbul, he taught his signals and gestures. Some of these were common to all conductors; some were adapted from the California jazz bandleaders Horace Tapscott and Charles Moffett, whom he had known early in his career (he also cited Sun Ra, Lukas Foss and Larry Austin’s “Improvisations for Orchestra and Jazz Soloists’’ as influences); many were his own.

He said he didn’t care whether people thought his music was jazz or not, although he himself saw it as derived from jazz but not beholden to it. “As long as I’m a black man playing a cornet,” he reasoned, “I’ll be a jazz musician in other people’s eyes. That’s good enough for me. There’s nothing wrong with being called a jazz musician.”

Ben Ratliff, 1/29/13

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WKCR-FM (Columbia University) is devoting much of today’s programming to a Butch Morris Memorial Broadcast, featuring his music until 3 p.m. (EST).

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