Thursday, December 31, 2009
It must have been more than an hour. It felt like 3. Every note, every beat, every pluck of the bass string was riveting.
When they said they were going to end with a Blues piece, I thought "Really?". It was a very uplifting piece reminiscent of . "Hidey hidey hidey ho ... Let it roll Let it roll ..."
What a show!
New Year’s Eve Week: STRUTTIN’ WITH SOME BARBECUE!
Henry Butler – piano
Donald Harrison – alto saxophone
Sean Jones – trumpet
Wycliffe Gordon – trombone
Ben Wolfe – bass
Ali Jackson – drums
We bid farewell to 2009 and ring in the New Year with six scintillating nights of celebratory music from “the Big Easy,” New Orleans. Pianist Henry Butler, saxophonist Donald Harrison Jr., and an all–star sextet – its name inspired by the fabled Louis Armstrong recording of 1927 – will bring the excitement of a Crescent City street parade to our stage as they romp and stomp through a boundless book of standard and original tunes. Jazz Standard will be the place to be, every night for the New Year!
Monday, December 28, 2009
Each of them had me focusing in on them at various times. They have a great rapport with each other. It's one of those ensembles where everything is aligned just right. I bet they've been playing together for a long time. I got the impression from their comments that they don't get the opportunity that often.
I loved all of it. They ran the gamut, beautiful Latin ballads, "I want to get up and dance Latin grooves, and whatever goes in between.
I had a great time and will think twice about missing future opportunities.
Romero Lubambo – guitar
Nilson Matta – bass
Duduka da Fonseca – drums and percussion
For more than two decades, Trio da Paz has updated the infectious spirit of jazz-oriented Brazilian music with its “distinct and sometimes dazzling flair for sophisticated jazz interplay and improvisation” (Mike Joyce, The Washington Post). Trio da Paz has become one of the best-known Brazilian jazz groups in the world with such acclaimed albums as Brazil From the Inside (featuring Herbie Mann and Joanne Brackeen), Black Orpheus, and the 2008 CD Live at JazzBaltica.
Featuring three of Brazil's most in-demand musicians, Trio da Paz updates the infectious spirit of jazz-oriented Brazilian music. Formed in 1990 by Romero Lubambo, Nilson Matta and Duduka da Fonseca, the Trio redefines Brazilian Jazz with their harmonically adventurous interactions, daring improvisations and dazzling rhythms. All three are seasoned masters of both jazz and Brazilian music with impressive resumes.
Tuesday, December 22, 2009
It was so awesome! I'm so glad I got to go the night before, too. I got to hear the same songs again, but they were much better with Mike D. I see why they were missing him so much. I loved the music the night before. I feel blessed I was there. I loved this music even more.
The venue is great. I do wish they had some kind of partition to make the performance space more intimate when they aren't going to fill the big space. I'm also very glad Skerik asked them to turn down the lights because they were way too bright. I'm assuming they will be bright for other shows. I am glad they left the lights alone. I don't think they should ever be moving them around, like they do at Highline or Sullivan Hall. Skerik also kept mentioning all of the tvs, which were probably distracting him. If you are facing the band, there are no tvs. I saw what he meant at setbreak, though.
He doesn't seem to play as much in this band. When he does, it's awesome. He and Marco each did a stint playing vibes with Mike. Stanton came over to play, and soon into that Mike took over the drumkit for a stint.
There were a few really great drum solos. They played The Real Morning Party twice, and it was completely different each time. I love Skerik's playing on it. I want to see him do a jazz show for jazz listeners some time. The 2nd time they played the song, Skerik took a break so it was heavy on the drums. I liked it both ways.
It was so worth the lack of sleep . I was actually so energized I had a very productive day. The new cd is also great. I love this band!
Stanton arrived for the 2nd set. I was surprised, given how the snow kept falling. I was also very very happy. I really loved The Daddy Issues and I very much want to see them again. But, Stanton brought a Garage a Trois intensity that brought it all to a whole other level. It was so awesome. I learned at that Highline show that Mike really makes a big difference. His bandmates were definitely missing him.
It was very special in that we heard more from Skerik's sax, especially in the 1st set. I had a lot of moments that set. I also love going out for the first snow.
I loved the 1 hour set so much, and I didn't feel the lack because I didn't know what I was missing. So, I really loved that show. I love the Led Zeppelin song they chose, No Quarter. I also assumed they would make it up to us some day, little did I know it would be so soon ...
Wednesday, December 16, 2009
Tuesday, December 15, 2009
There was also one tune in the 1st set that was just a piano/guitar duo. That was great because I could pay attention and see how great the guitar is. He tended to blend in on the other tunes, and I didn't notice him as much then.
I remember one song where the bass was being played with a bow. It was a much lower sound than I'm accustomed to hearing when the use a bow. I wonder if that was due to low tuning or what. He was great whatever he was doing by the way.
I really love this tango/jazz fusion. I'm so glad that Jazz Standard books it so often.
Tango Meets Jazz Festival with The Pablo Ziegler Quartet With Special Guests Miguel Zenon (12/10 & 12/11) and David Sanchez (12/12 & 12/13) Produced by Pat Philips & Ettore Stratta
Pablo Ziegler – piano
Claudio Ragazzi – guitar
Héctor del Curto – bandoneon
Pedro Giraudo – bass
Special Guest: Miguel Zenon – alto saxophone (12/10-12/11)
Special Guest: David Sanchez – tenor saxophone (12/12-12/13)
From Puerto Rico to Buenos Aires the modern tango takes on a new musical dance when Jazz Standard proudly presents our seventh annual “Tango Meets Jazz” Festival, featuring and directed by pianist Pablo Ziegler, a master of this thrilling Argentine style and the creator (with Quique Sinesi and Walter Castro) of the Latin Grammy Award-nominated album Buenos Aires Report. Two outstanding saxophonists from Puerto Rico will be Pablo’s special guests for this run, with Miguel Zenon appearing 12/10–11 and David Sanchez joining in 12/12–13. “Ziegler plays straight from the beating, bleeding heart of nuevo tango, with its Argentinian mix of swagger and sweetness. His tunes stay firmly within the tradition, with an urgent, finely tuned control of tension and release.” (London Guardian)
Friday, December 11, 2009
I chose a great seat, H14. It was on the end and the seats were arranged so that when I stood and danced the entire time I wasn't in anyone's way. It always bums be out that when there are seats, NYers tend to sit. I had a ball and was fortunate that the parterre by me had some dancers, so I didnt feel completely out of place. Although, I barely noticed them because the music was so enthralling.
It was so intimate. Possibly a little too intimate because some people felt they could talk to the band. I seemed to be near the few people having conversations during the show.
It was 2 hours start to finish and included a 2 song encore. Susan came out in the middle to play guitar on Any Day. Every note, every sound from the stage was excellent. Each of them caught me at moments. I love their style and sound. I was blown away yet again. This was such a high quality show.
I have a wish. I would love it if they got back together every now and then to do something even more special. I would truly love it if they did an entire show of The Music of John Coltrane. Greensleeves was unbelievable last night.
It was my first time hearing the new material. It's great. I got the cd and had my first listen today.
Quote: "Music is like a river or stream that has come down to us through time, bringing nurture to man’s soul. From the past masters, this music flowed to my father and through him to me. I want to keep this stream flowing. I don’t want it to die. It must spread all over the world." - Ali Akbar Khan
1. an art of sound in time that expresses ideas and emotions in significant forms through the elements of rhythm, melody, harmony, and color.
2. the tones or sounds employed, occurring in single line (melody) or multiple lines (harmony), and sounded or to be sounded by one or more voices or instruments, or both.
3. musical work or compositions for singing or playing.
4. the written or printed score of a musical composition.
5. such scores collectively.
6. any sweet, pleasing, or harmonious sounds or sound: the music of the waves.
7. appreciation of or responsiveness to musical sounds or harmonies: Music was in his very soul.
8. Fox Hunting. the cry of the hounds.
9. face the music, to meet, take, or accept the consequences of one's mistakes, actions, etc.: He's squandered his money and now he's got to face the music.
Origin: 1200–50; ME musike Muse + -ikos -ic
Dictionary.com UnabridgedBased on the Random House Dictionary, © Random House, Inc. 2009.
MusicJubal was the inventor of musical instruments (Gen. 4:21). The Hebrews were much given to the cultivation of music. Their whole history and literature afford abundant evidence of this. After the Deluge, the first mention of music is in the account of Laban's interview with Jacob (Gen. 31:27). After their triumphal passage of the Red Sea, Moses and the children of Israel sang their song of deliverance (Ex. 15). But the period of Samuel, David, and Solomon was the golden age of Hebrew music, as it was of Hebrew poetry. Music was now for the first time systematically cultivated. It was an essential part of training in the schools of the prophets (1 Sam. 10:5; 19:19-24; 2 Kings 3:15; 1 Chr. 25:6). There now arose also a class of professional singers (2 Sam. 19:35; Eccl. 2:8). The temple, however, was the great school of music. In the conducting of its services large bands of trained singers and players on instruments were constantly employed (2 Sam. 6:5; 1 Chr. 15; 16; 23;5; 25:1-6). In private life also music seems to have held an important place among the Hebrews (Eccl. 2:8; Amos 6:4-6; Isa. 5:11, 12; 24:8, 9; Ps. 137; Jer. 48:33; Luke 15:25).
Easton's 1897 Bible Dictionary
▸ noun: musical activity (singing or whistling etc.) ("His music was his central interest")
▸ noun: punishment for one's actions ("You have to face the music")
▸ noun: any agreeable (pleasing and harmonious) sounds ("He fell asleep to the music of the wind chimes")
▸ noun: (music) the sounds produced by singers or musical instruments (or reproductions of such sounds)
▸ noun: an artistic form of auditory communication incorporating instrumental or vocal tones in a structured and continuous manner
▸ name: A surname (rare: 1 in 50000 families; popularity rank in the U.S.: #6304)
music n [ME musik, fr. OF musique, fr. L musica, fr. Gk mousike any art presided over by the Muses, esp. music, fr. fem. of mousikos of the Muses, fr. Mousa Muse] : the science or art of ordering tones or sounds in succession, in combination, and in temporal relationships to produce a composition having rhythm, melody, or harmony
Music - The science and the art of tones, or musical sounds, i.e., sounds of higher or lower pitch, begotten of uniform and synchronous vibrations, as of a string at various degrees of tension; the science of harmonical tones which treats of the principles of harmony, or the properties, dependences, and relations of tones to each other; the art of combining tones in a manner to please the ear.
"...It is certain that musical tunes can do much with men, and there is no heart so hard and cruel, but convenient and sweet harmony will make it yield. And on the other side, harsh Music will vex and harden a man's mind..."
"...In Mysia, when Horses back Mares, a man sings to them as it were a marriage song, and the mares are so taken with the Music, that they become great with foal, and they bring forth most gallant colts..."
music. For information on types of music see such articles as
absolute music absolute music, term used for music dependent on its structure alone for comprehension. It is the antithesis of program music . It is not associated with extramusical ideas or with a pictorial or narrative scheme of emotions, nor does it attempt to reproduce sounds
aleatory music aleatory music (ā`lēətôr'ē) [Lat.
chamber music chamber music, ensemble music for small groups of instruments, with only one player to each part. Its essence is individual treatment of parts and the exclusion of virtuosic elements.
church music church music. 1 Music intended for performance as part of services of worship. With few exceptions, music is essential to the ritual of every religion; the singing of prayers and portions of Scripture is part of Judaeo-Christian tradition, and a large
computer music computer music, term used to describe music composed or performed with the aid of a computer. The first substantial piece of music composed on a computer was the Illiac Suite (1956) by the avant-garde composer Lejaren Hiller (1925–94).
electronic music electronic music or electro-acoustic music, term for compositions that utilize the capacities of electronic media for creating and altering sounds.
jazz jazz, the most significant form of musical expression of African-American culture and arguably the most outstanding contribution the United States has made to the art of music. Origins of Jazz Jazz developed in the latter part of the 19th cent.
program music program music Instrumental music of the 19th and 20th cent. that endeavors to arouse mental pictures or ideas in the thoughts of the listener—to tell a story, depict a scene, or impel a mood.
rock music rock music, type of music originating in the United States in the mid-1950s and increasingly popular throughout much of the world.
Origins of Rock
serial music serial music, the body of compositions whose fundamental syntactical reference is a particular ordering (called series or row) of the twelve pitch classes—C, C#, D, D#, E, F, F#, G, G#, A, A#, B—that constitute the equal-tempered scale.
spiritual spiritual, a religious folk song of American origin, particularly associated with African-American Protestants of the southern United States. The African-American spiritual, characterized by syncopation, polyrhythmic structure, and the pentatonic scale of five whole
In addition, see entries on the music of various nations and peoples, including
African music African music, the music of the indigenous peoples of Africa. Sub-Saharan African music has as its distinguishing feature a rhythmic complexity common to no other region.
Arabian music Arabian music, classical musical tradition of the Islamic peoples of Arabia, the Fertile Crescent, and North Africa.
Characteristics, Forms, and Instruments
Balinese music Balinese music represents, to a large extent, a survival of the pre-Islamic music of Java. It was taken to Bali by Hindu Javanese in the 15th cent. and uses the tonal systems of Javanese music , of which pelog is by far the more important in Bali.
Chinese music Chinese music, the classical music forms of China. Origins and Characteristics Chinese music can be traced back as far as the third millennium B.C.
Greek music Greek music, the music of the ancient and modern inhabitants of Greece. Ancient Greek Music The music of ancient Greece was inseparable from poetry and dancing. It was entirely monodic, there being no harmony as the term is commonly understood.
Hindu music Hindu music. The music of India is entirely monodic. To Westerners it is the most accessible of all Asian musical cultures. Its tonal system divides the octave into 22 segments called srutis, not all equal but each roughly equal to one quarter of a whole tone of
Japanese music Japanese music, the highly eclectic musical culture of the Japanese islands. Over the years, Japan has borrowed musical instruments, scales, and styles from many neighboring areas. The indigenous music present before A.D.
Javanese music Javanese music, one of the richest and most distinctive of Asian musical cultures. It was and is of enormous importance in religious, political, and entertainment functions.
Jewish liturgical music Jewish liturgical music, the music used in the religious services of the Jews. The Bible and the Talmud record that spontaneous music making was common among the ancient Jews on all important occasions, religious and secular.
The technical aspects of music, such as theory, notation, and tone, are treated in such general articles as
theory theory, in music, discipline involving the construction of cognitive systems to be used as a tool for comprehending musical compositions. The discipline is subdivided into what can be called speculative and analytic theory.and
musical notation musical notation, symbols used to make a written record of musical sounds. Two different systems of letters were used to write down the instrumental and the vocal music of ancient Greece. In his five textbooks on music theory Boethius (c.A.D. 470–A.D.in more specific entries, including
counterpoint counterpoint, in music, the art of combining melodies each of which is independent though forming part of a homogeneous texture. The term derives from the Latin for "point against point," meaning note against note in referring to the notation of plainsong .
harmonic harmonic. 1 Physical term describing the vibration in segments of a sound-producing body (see sound ). A string vibrates simultaneously in its whole length and in segments of halves, thirds, fourths, etc.
harmony harmony, in music, simultaneous sounding of two or more tones and, especially, the study of chords and their relations. Harmony was the last in the development of what may be considered the basic elements of modern music—harmony, melody, rhythm, and tone
key key. 1 In music, term used to indicate the scale from which the tonal material of a given composition is derived. To say, for example, that a composition is in the key of C major means that it uses as its basic tonal material the tones of that scale
measure measure, in music, a metrical unit having a given number of beats, the first of which normally is accented, although the accent may be displaced by syncopation. Measures are separated on the staff by vertical lines called bars.
mode mode, in music. 1 A grouping or arrangement of notes in a scale with respect to a most important note (in the pretonal modes of Western music, this note is called the final or finalis
musicology musicology, systematized study of music and musical style, particularly in the realm of historical research. The scholarly study of music of different historical periods was not practiced until the 18th cent., and few published efforts were rigorously researched.
note note, in musical notation , symbol placed on or between the lines of a staff to indicate the pitch and the relative duration of the tone to be produced by voice or instrument.
pitch pitch, in music, the position of a tone in the musical scale , today designated by a letter name and determined by the frequency of vibration of the source of the tone.
polyphony polyphony (pəlĭf`ənē), music whose texture is formed by the interweaving of several melodic lines.
rhythm rhythm, the basic temporal element of music, concerned with duration and with stresses or accents whether irregular or organized into regular patternings. The formulation in the late 12th cent.
scale scale, in music, any series of tones arranged in a step-by-step rising or falling order of pitch . A scale defines the interval relationship of each tone to the others upon which the composition depends.
syncopation syncopation (sĭng'kəpā`shən, sĭn'–) [New Gr.
tablature tablature (tăb`ləch
temperament temperament, in music, the altering of certain intervals from their acoustically correct values to provide a system of tuning whereby music can move from key to key without unacceptably impure sonorities.
tonality tonality (tōnăl`ĭtē)
tone tone. In music, a tone is distinguished from noise by its definite pitch, caused by the regularity of the vibrations which produce it. Any tone possesses the attributes of pitch, intensity, and quality.
transposing instrument transposing instrument, a musical instrument whose part in a score is written at a different pitch than that actually sounded. Such an instrument is usually referred to by the keynote of its natural scale—the clarinet in A, for example—in which case A is
tuning systems tuning systems, methods for assigning pitches to the twelve Western pitch names that constitute the octave. The term usually refers to this procedure in the tuning of keyboard instruments.
There are numerous articles on various musical forms, including
cantata cantata (kəntä`tə) [Ital.
concerto concerto (kənchâr`tō), musical composition usually for an orchestra and a soloist or a group of soloists. In the 16th cent.
march march, in music, composition intended to accompany marching. The only constant characteristics of a march are duple meter and a fairly simple rhythmic design.
nocturne nocturne (nŏk`tûrn) [Fr.
opera opera, drama set to music. Characteristics The libretto may be serious or comic, although neither form necessarily excludes elements of the other. Opera differs from operetta in its musical complexity and usually in its subject matter.
oratorio oratorio (ôrətôr`ēō)
polonaise polonaise (pŏl'ənāz`, ō'–), Polish national dance, in moderate 3–4 time and of slow, stately movements.
sonata sonata form. This is essentially a binary form, the first part being an exposition of two (or sometimes three) contrasted themes. The second part consists of a development of these themes and a recapitulation of the beginning exposition.
song song, relatively brief, simple vocal composition, usually a setting of a poetic text, often strophic, for accompanied solo voice . The song literature of Western music embodies two broad classifications— folk song and art song.
symphony symphony [Gr.,=sounding together], a sonata for orchestra.
The Italian operatic overture, called sinfonia, was standardized by Alessandro Scarlatti at the end of the 17th cent.
In addition to such survey articles as
concert concert, in music, public performance of a group of musical compositions. Originally the word referred simply to a group of musicians playing together; concerts by a solo performer are properly called recitals.
conducting conducting, in music, the art of unifying the efforts of a number of musicians simultaneously engaged in musical performance. In the Middle Ages and Renaissance the conductor was primarily a time beater, maintaining the measure or tactus
musical instruments 2)), are idiophones, but are not percussion instruments. Aerophones are of two types: free aerophones, which include those reed instruments employing free reeds, and wind instruments , which produce sound by means of an enclosed, vibrating column of air.
music festivals music festivals, series of performances separate from the normal concert season and often, but not always, organized around an idea or theme. Music festivals usually are held annually in the summer, sometimes in the open air.
orchestra and orchestration orchestra and orchestration, an orchestra is a musical ensemble of mixed instruments based on strings and winds, under the direction of a conductor, employing four classes of instruments: strings, woodwinds, brass, and percussion.
there are separate articles on musical instruments, treated singly, e.g.,
clarinet clarinet, musical wind instrument of cylindrical bore employing a single reed. The clarinet family comprises all single-reed instruments, including the saxophone. The predecessor of the modern clarinet was the simpler chalumeau, which J. C.
harp harp, stringed musical instrument of ancient origin, the strings of which are plucked with the fingers. Harps were found in paintings from the 13th cent. B.C. at Thebes. In different forms it was played by peoples of nearly all lands throughout the ages.
trumpet trumpet, brass wind musical instrument of part cylindrical, part conical bore, in the shape of a flattened loop and having three piston valves to regulate the pitch.or in groups, e.g.,
reed instrument reed instrument, in music, an instrument whose sound-producing agent is a thin strip of cane, wood, plastic, or metal that vibrates as air is passed over it. The predecessor of these instruments is the Chinese sheng.
stringed instrument stringed instrument, any musical instrument whose tone is produced by vibrating strings. Those whose strings are plucked with the finger or a plectrum include the balalaika , banjo , guitar , harp , lute , mandolin , zither , the sitar of India and Pakistan, the koto
In addition to the entry on
voice voice, sound produced by living beings. The source of the sound in human speaking and singing is the vibration of the vocal cords, which are inside the larynx , and the production of the sounds is called phonation. there are separate articles on
alto alto, singing voice the range of which is lower than the soprano by the interval of a fifth. More generally, the term refers to the register in which this voice sings, i.e.
baritone baritone or barytone (both: băr`ĭtōn)
countertenor countertenor, a male singing voice in the alto range. Singing in this range requires either a special vocal technique called falsetto, or a high extension of the tenor range.
soprano soprano [Ital.,=above], female voice of highest pitch. The three basic types of solo soprano are coloratura, lyric, and dramatic. The coloratura has a great range and impressive vocal agility; the lyric soprano has a light, pretty voice; and the dramatic soprano hasand
tenor tenor, highest natural male voice . In medieval polyphony, tenor was the name given to the voice that had the cantus firmus, a preexisting melody, often a fragment of plainsong, to which other voices in counterpoint were added.
Information on individual composers and performers can be found in biographical entries on composers, e.g. Monteverdi Giulio Cesare Monteverdi, 1573–?, was a composer, organist, and critic, and Claudio's assistant at the court of Mantua.
See studies by D. Arnold (1963 and 1968) and L. Schrade (1950, repr. 1969).Claudio; Puccini Puccini, Giacomo (jä`kōmō pGiacomo; and Schubert Schubert, Franz Peter (fränts pā`tər shFranz Peter; musicians, e.g., Beiderbecke, Bix Beiderbecke, Bix (Leon Bismarck Beiderbecke) (bī`dərbĕk), 1903–31, American jazz cornetist, pianist, and composer, b.Gieseking, Walter Gieseking, Walter (väl`tər gē`zəkĭng), 1895–1956, German pianist, b. Lyons, France, grad.Richter, Sviatoslav Richter, Sviatoslav (svyä`tōsläf rĭkh`tər), 1915–97, Russian pianist, b. Ukraine.and singers, e.g., Deller, Alfred Deller, Alfred, 1912–79, English countertenor . He began his career as a chorister in his parish church. From 1940–47 he was a lay clerk at Canterbury Cathedral, and in 1947 he was appointed to the choir of St. Paul's Cathedral in London.Merrill, Robert Merrill, Robert, 1917–2004, American baritone, b. Brooklyn, N.Y., as Moishe Miller. In 1945 he won the Metropolitan Opera's Auditions of the Air and in the same year made his debut as Germont in Verdi's La Traviata.Sembrich, Marcella Sembrich, Marcella (sĕm`brĭk), 1858–1935, stage name of Praxede Marcelline Kochanska, Polish coloratura soprano.and Sinatra, Frank Sinatra, Frank (Francis Albert Sinatra), 1915–98, American singer and actor, b. Hoboken, N.J. During the late 1930s and early 40s he sang with the Harry James and Tommy Dorsey bands, causing teenage girls to shriek and swoon over his romantic, seemingly casual
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music - Among all the arts, this is the art of arranging sounds in time, resulting in a composition that elicits an aesthetic response in the listener.
Visual art about music:
Egypt, c. 2400 BCE (5th Dynasty), Musicians, detail of the Akhthetep Mastaba from Sakkara, painted limestone bas-relief, Louvre.
Gerona Bible Master, Bologna, Italy, Gradual, Proper and Common of Saints (folio 84 verso in Manuscript 526), c. 1285, tempera on vellum, one of 290 folios, 51.5 x 35.5 cm (20 1/4 x 14 inches), Musei Civici d'Arte Antica, Bologna. Black marks arranged on the horizontal lines ("staff") displayed here exemplify the system of musical notation used in Italy during much of the Middle Ages. The Latin text (or lyric) opens with "Gaudeamus," meaning "Let us rejoice." The initial letter "G" is historiated in late Byzantine style. This "gradual" is one of a set of three that together comprise the sung portions of the Mass for the entire church year.
Melozzo Da Forli (Italian, 1438-1494), Music-Making Angel (Angel with a Lute), fresco, c. 1480, Vatican, Italy. See angel.
Melozzo Da Forli, Music-Making Angel (Angel with a Violin), fresco, c. 1480, Vatican, Italy.
Italian, 16th century, Illumination of "Conditor alme siderum", a Renaissance period hymn composed by Costanzo Festa (Italian, c. 1480-1545), c. 1538, Collection of Polyphonic Hymns and Magnificats, Vatican, Rome. Costanzo Festa served as a singer in the papal choir from 1517 until his death in 1545. Students of musical notation can observe developments in that aspect of the work. The arms of the reigning pope Paul III on the elaborately decorated "Q" in the upper left. The coat of arms at the bottom of the right-hand page — lions holding a wreath with a fleur-de-lis — may be the composer's personal coat of arms. This work is catalogued as "Capp. Sist. 18 fols. 3 verso - 4 recto music06 NB.36" See historiated.
François Boucher (French, 1703-1770), Allegory of Music, 1752, oil on canvas, 26 1/2 x 30 inches (67.3 x 76.2 cm), North Carolina Art Museum, Raleigh. See allegory and Rococo.
Henri Matisse (French, 1869-1954), Music (Sketch) (La Musique [esquisse]), June-July 1907, oil and charcoal on canvas, 29 x 24 inches (73.4 x 60.8 cm), Museum of Modern Art, NY. See dance, Fauvism, movement, and rhythm.
Henri Matisse, Dance (first version), 1909, oil on canvas, 8 feet 6 1/2 inches x 12 feet 9 1/2 inches (259.7 x 390.1 cm), Museum of Modern Art, NY. Matisse painted a second version of Dance in 1910, oil on canvas, 102 x 154 inches (260 x 391 cm), Hermitage Museum, St. Petersburg, Russia. Dance, together with Music, was commissioned by S.I.Shchukin to decorate the staircase in his Moscow mansion. Matisse took the motif of the round dance, used as a symbol back as far as French Renaissance, to represent the rhythm and expression of the 20th century. The spaciousness and expressive lines emphasize the dynamics of the figures. Simplified and schematic forms intensify the brightness and resonance of the three colors -- red, blue and green. Dance, Matisse once said, meant "life and rhythm."
Paul Klee (Swiss, 1879-1940), Twittering Machine, 1922, watercolor and pen and ink on oil transfer drawing on paper, mounted on cardboard, 25 1/4 x 19 inches (63.8 x 48.1 cm), Museum of Modern Art, NY. Klee, who played the violin well, said the music of J. S. Bach and W. A. Mozart greatly influenced his painting. Many of his paintings have in turn inspired musical compositions. Twittering Machine has been cited as inspiring several. See Bauhaus.
Pablo Picasso (born Pablo Ruiz-Picasso) (Spanish, 1881-1973), Guitar, after March 31, 1913, collaged paper, charcoal, ink, and chalk on blue paper, mounted on ragboard, 26 1/8 x 19 1/2 inches (66.4 x 49.6 cm), Museum of Modern Art, NY.
Bob Thompson (American, 1937-1966), Music Lesson, 1962, oil on canvas. See African American art, Fauvism, and Neoclassicism.
"Music is the luxury of the imagination."Eugène Delacroix (1798-1863), French Romantic painter. The Journals of Eugene Delacroix, March 4, 1824, translated by Walter Pach, 1937.
"All art constantly aspires towards the condition of music."Walter Pater (1839-1894), English art critic and art historian. The Renaissance, 1873.
"Music: the breathing of statues. Perhaps: the silence of paintings. Language where language ends. Time that stands head-up in the direction of hearts that wear out."Rainer Maria Rilke (1875-1926), German poet. "On Music," 1918, from Selected Poems of Rainer Rilke, translated by Robert Bly, 1981.
Also see abstraction, aleatory, animation, Apollo, arts advocacy, arts center, audio guide, auditory, automaton, cinema, creativity, dance, dissonance, eurythmy, four-dimensional, funk art, harmonic sequence, interdisciplinary, juxtaposition, kinesthetic, kinetic, measure, movement, muses, new media, pattern, periodicity, permanence, principles of design, rhythm, theater, theory, universal artwork, and video.
Wednesday, December 9, 2009
It turned out there were also 2 dancers. Each of them sat in the middle seat of each of the 2 front rows. They moved, usually very slowly, and mainly sitting the chair, but sometimes turning around. They were improvising but also doing similar movements. It was very different. I get it, since I think all music is for dancing. It was quite different.
Karen Waltuch (viola) Ben Holmes (trumpet) Briggan Krauss (alto sax) Andrew Lafkas (bass)
Thursday - Sunday December 3 - 6
Chano Domínguez Flamenco Quintet: “The Flamenco Side of Kind of Blue
Chano Domínguez – piano
Mario Rossy – bass
Blas Córdoba – cantaor
Israel “Piraña” Suárez – cajón
Tomasito – dance and palmas
And now (as the saying goes) for something completely different: A stunning new interpretation of the 1959 Miles Davis classic Kind of Blue, as performed by a unique flamenco/jazz combo under the direction of the brilliant pianist Sebastian Domínguez Lozano, better known as Chano Domínguez. Born 49 years ago in the Spanish city of Cádiz, Chano began flamenco guitar studies at age eight, then switched to keyboards when he formed the band Caí, which fused traditional Andalusian roots with progressive rock. Beginning with the formation of his own trio in 1992, Chano has experimented endlessly with the alchemy of jazz and flamenco on such albums as Hecho a Mano and Imán. This is the final concert series of the Voll-Damm Barcelona International Jazz Festival, proudly co-presented with Jazz Standard. Don’t miss the Chano Domínguez Flamenco Quintet in Kind of Blue – and somewhere, even Miles will be smiling.
It's a $3 cover and you can bring food in from outside. They serve wine and beer and sodas. They have some kind of low alcohol content pseudo mixed drinks. You can also get yourself water from a tap I assume is filtered. You don't have to buy anything beyond paying the cover.
The big draw is the old school, non-electric games like scrabble, pool, ping pong, chess, etc.
They usually have 3 bands a night, the late night one being a jam session. I've been wanting to get there for Stacey Dillard's jam for a long time, but haven't yet been able to make it happen. I'm not even sure if he still does it at 1am on Thurs.
Anyway, I enjoyed this 1st set. The sax drew me in. Its been over a week since my last live music experience, so almost anything would do. They did some Coltrane and I had fun.
Bill Saxton Quartet Feat. Marco Di Gennaro
Monday, November 23, 2009
At first, I thought this was where CBGBs was, and I felt like a traitor. I felt a little worse when I saw that I liked the space. I'm glad to see it's not the space, so that was all for nothing. The funny thing is I was never crazy about it. I did like CB's Gallery a little more, but I rarely went to raunchy CBGB space. It was before I got into the Freestyle Music Series type stuff and my time in NYC was after I was exploring the music that usually went on there. I do remember liking the few shows I was at there, I just never sought it out or explored it on a whim like I've done so many other places when I was figuring out what I liked through trial and error.
Anyway, Bowery Electric downstairs is a nice room. It's got nice wood floors, a good bar, and lots of seats. Still, it was easy to stand on the dance floor. It was rock, but not super loud get down kind of rock. Most of the people were really into it, they just sat. After the set, they started rearranging the room to become a dance club.
I enjoyed the music. She sounds similar to Norah Jones and I liked the music enough to move to it. That's always my sign.
I've been wanting to get exposed to Korean ever since I overheard Ned Rothenberg telling his friends he was going to see something at the Korean Ministry of Culture a few years ago. It was a at the Freestyle Music Series at Jimmy's No 43. It was probably before 2007 and therefor probably before Ned started playing with Korean Traditional musicians. I remember I was intrigued by his description. You probably know how faulty our memories are, so this one could be complete ca ca. I have a notion Ned was talking about how inventive Koreans are and how funk may have originated through them. Since then I took an introductory Korean tea ceremony class and attended a demonstration where the Korean Tea Ceremony was performed with music (not live music). I was loving how every move the participants made was completely in sync with the music. It was so cool.
This show was phenomenal. It was an Improv night, with 1.5 hours of various improvised pieces in various formations of the 10 artists.
Let's see how much I can remember.
It started with Yoon Jeong Heo on geomungo-zither and Min Xiao Fen on pipa. Aha! Now I know she plays 2 pipas! I was sitting in the front row, so I got a good look at them.
Next came Zeena Parkins on harp, Kwon Soon Kang on vocals and Sylvie Courvoissier on piano.
Erik Friedlander on cello, Young Chi Min on percussion, the changgo-drum, and Ikue Morie on laptop were pheonemenal. Ikue stayed out there for the next piece, which included Satoshi Takeishi on percussion and I think Sylvie and maybe someone else.
So, it's all becoming a blur. I do remember there was one piece with just Korean artists and then one with the NY representatives. It was all truly awesome. Satoshi had various percussion instruments on the floor and it reminded me of a very simple and different type of drum kit. There were drums and other stuff around him. Young Chi Min also played a daegum-flute.
The program is great. I'm talking about the printed program. I got a lot of info about everyone and learned something new about each of them. I now know that the tribal flute Ned plays is a shakuhachi-flute. He's been studying it for quite some time.
I also noticed that same groove that is always played differently by Ned. It came up for a few moments when he was on the bass clarinet. I love it, which is why I always notice when it emerges.
This was really great. I need to keep my eye out for more Korean over time.
Saturday, November 21, 2009
I got there probably toward the beginning of the break. They came back on a little after 10:15. They didn't realize they were scheduled to play til 11:45, so they went back to some of the material from the 1st set as well as some unplanned material. Lucky me who missed the 1st set!
It was awesome. 2 guitars and a bass. For the most part, I didn't miss the drums. I can at least say it wasn't a big deal they weren't there and the music was awesome. I'm glad it was an extra-long set. I loved the planned portion of the set. It was enough. It was a little more mellow than the unplanned portion. It made it difficult to tear myself away a little after 11:30.
The other guitar had an electric and a pedal steel. It was an upright bass. It was really great, and I love this trio.
Thursday, Nov. 19th. DW Trio with Jeff Hanley on bass and Rich Hinman on guitar/pedal steel at La Lanterna. 3rd and MacDougal.
Thursday, November 19, 2009
JAMES WEIDMAN'S THREE WORLDS ENSEMBLE
- Ray Anderson – trombone
Marty Ehrlich – alto sax, clarinet
Jay Hoggard – vibes
James Weidman – piano
Brad Jones – bass
Francisco Mela – drums
Three Worlds is James Weidman’s fourth album as a leader, and its original compositions, striking arrangements, and spirited execution combine to demonstrate his mastery of the art of jazz. Tonight at Jazz Standard, an all-star septet will enable James to deploy the various lineups featured on Three Worlds, from the trio arrangement of the timeless African-American spiritual “Joshua Fit The Battle Of Jericho” to exuberant ensemble performances like “Razz 2.0.” James Weidman has been a valued sideman and accompanist in many settings over the past 20 years, from Abbey Lincoln and Steve Coleman to Kevin Mahogany and Joe Lovano. Three Worlds is an important marker of his growing significance as a bandleader and composer
Wednesday, November 18, 2009
This show was a great one to make the realization. I can't remember enough details to give a good detailed write-up. I'll just make an attempt to give the dribs and drabs I do remember. I recall being very pleased from start to finish.
It started with a great drum solo by Billy. Chris and John came out soon enough with Chris on an electric bass. At some point in the first set, they invited Eddie Bobé to sit in on the timbales and small congas. That was great. It also allowed me to again appreciate how well the 3 know each other and how they create together. Of course, I have very few of their CDs, so I don't know what's a song or even what's been played how many times before. That's one of the things that makes them so great, its all awesome without any familiarity.
I don't remember many specifics in the 2nd set, aside from loving it. Each of them had me super appreciating them at different times.
Yes, I love this band!
So, I got online sometime in the past couple of weeks and selected a matinee that looked like it would work. This solves a lot of the commitment issues because there's not as much sacrificing during the day. Plus, I love getting down in the afternoon.
It was awesome! Fantastic! I hope to get there at least once more, hopefully a couple more time. Forget it's a Broadway show, or a show period. It's an awesome concert where you get great insight into the great . I've been wanting to explore and learn about him for a long time, but hadn't taken the time yet. I love getting it through a medium that delivers in a few hours. Its also better than a film because you get the live music experience to boot.
It is so well done. The band slowly started jamming before showtime, which was an enjoyable way to begin. They then did their best to make it like we were at the Nigerian club, Shrine, where Fela always came back to. It was in a bad neighborhood, and he attracted press and the Army.
The music and dancing was phenomenal. I also left knowing a lot more about Fela's life and who he was. They even gave us the words to the songs and some clips in a very tasteful manner in the top portion on the backdrop.
I loved the Break It Down portion where they showed us in simple terms how Fela created afro-beat. He came up with the drum style and the guitar style. They showed us what music influenced him.
I left feeling satisfied I got a great show. I was enriched with insight into Fela. I also left hungry to go a little deeper. I think it was perfect for a first foray. I have a good base now, in addition to the CDs I own, for more exploration. I should start with seeing this again.
He played sax for most of it. The were awesome. When Charles went to the piano, Thomas mainly played percussion. He had this really cool thing I never saw before. It looked like a bunch of wooden squares strung together and I like the sound it makes. The bass solo was awesome. There was also some avant-call-and-response, playing somewhat simultaneously, between the piano and the drums. I think a new alliance was formed that night.
Charles finished up on the sax.
It was a good choice on my part, if I was only going to do 1 set of music.
Monday, November 16, 2009
There were a number of people there, but it was only about 1/4 full.
I got there at 10:30ish and they were on. It was awesome. The music was somewhat melancholy, but there was also a variety. It was all new music. Eszter played melodica, violin, and sang some songs. That first one she and Ribot were both singing in French.
It was absolutely fantastic. I was going to leave early, and I couldn't. They did a 1 hour set and then an encore.
They did Break on Through, but it was a completely different arrangement since their last album. I really hope they record this.
Tues Nov 10, 8pm
Knitting Factory Brooklyn
Just back from their European tour with newly developed material..
Ceramic Dog w/guest Eszter Balint, 10pm
Chris Cochrane Trio, 9pm
Guest opening act TBA, 8pm
This was mainly Billy expanding what he can do with great accompaniment. He was definitely the centerpiece and star, but it was great to have this expansive view.
There were 3 other percussionists. That was so much fun! They were often playing the same types of instruments and it was just cool. They started off each with a conga and a cool stick. They had gongs at times and other stuff I'm not sure what it was. Billy started with the kit. Each time he got on the drum kit, I completely fell in love with his drumming anew. I can't believe it, but I think he went up even higher in my appreciation. I must be feeling even deeper about great music than ever before.
Billy also played some other stuff, including the aquasonic (no water), berimbau, thumb piano, etc.
Shazaad was awesome on guitar. Kato had many awesome ways of playing the electric bass. He played it with a bow at times. He also put a metal disk somehow over the hole, it was like a tiny cymbal, and it sounded great.
It was fabulous and a really great set to be at.
Billy Martin, Shahzad Ismailey, Kato Hideki (electronics, guitars) Jed Koziner, Steve Honoshowsky and Ronald Stockwell (acoustic percussion)
The Mystery Riddim set will consist of new compositions by Billy Martin for this unique ensemble interspersed with solo drum interludes.
Wednesday, November 11, 2009
All five nights of Marco's historic January, 2008 Sullivan Hall residency were recorded in high-definition video with multiple cameras, along with multi-track . Each of the five nights featured a different grouping playing Marco originals, covers and improvisations. A DVD has been created highlighting the best moments of these shows, along with behind the scenes interviews.
This DVD can now be pre-ordered at the link below. All pre-orders will receive five additional unreleased videos from the residency:
Please spread the word and support this independent project produced by The Royal Potato Family & Shine A Light Productions.
played amazing organ and trumpet. There was a great call and response part between him and Ronnie Cuber.
The guitar was awesome. I really loved the instrumentation.
The was so much more than I expected. Based on nothing, I thought it would be stellar . Boy was I exhiliaratingly surprised! There was some lively jazz in there, but also funk, blues, and groove. Everything was superb. I loved every minute.
It was also a great set to be at. The set was 1.5 hours, including an encore. I heard that was the only time they did an encore after the 1st set. I think Steve had a lot of special friends there that night.
Now I'm wondering what else is out there that I don't know about yet.
From the Iridium website listing:
Steve Gadd and Friends with Special Guests Joey DeFrancesco, Ronnie Cuber and Paul Bollenback
Possibly the most recorded drummer ever, the modest and retiring drummer who burst onto the New York scene in the early seventies quickly went about his quiet work of redefining the nature of modern drumming. His influence became so vast that it would be difficult to measure. In Japan they called him “God”, while in Cuba, he was the “Papa”, such was the pervasiveness of Gadd’s effect—on the musicians with whom he played and on other drummers, many of whom copied everything from his fills and his unique drumset to his clothing and beard! He’s performed and recorded with all the legends including Eric Clapton, James Taylor, and Paul Simon.
Joey DeFrancesco has come a long way from All of Me, his recording debut as a leader made in 1989 as a fresh-faced 17-year-old. From the get-go, the Philadelphia native established his credentials with virtuoso technique and an innate soulfulness that he brought to bear on the hulking Hammond B-3 organ which belied his young age but spoke of his deep Philly roots under the tutelage of his father, Papa John DeFrancesco, a B-3 burner in his own right. Through the 1990s, Joey was widely recognized as spearheading a renewed interested in the Hammond organ, an instrument that had fallen out of favor among musicians and the public since its golden period during the 1960s and early 70s. Joey dazzling facility was once described as by guitar great Pat Martino, himself a veteran of many classic B-3 sessions. Today DeFrancesco is regarded by organ aficionados as the baddest B-3 burner in the business (a claim supported by his five consecutive DownBeat Critics Poll awards for 2002, 2003, 2004, 3005and 2006).
Ronnie Cuber is a baritone sax player strong enough to bring out the lyricism of the weighty instrument. While he plays traditional jazz in the style of Pepper Adams and Nick Brignola, Cuber also has led Latin sessions and appeared on dozens of pop recordings as an in-demand sideman. Cuber was born on Christmas, 1941, in New York. When he was 18, he appeared in Marshall Brown's Newport Youth Band at the Newport Jazz Festival. Three years later he was in Slide Hampton's groups and spent the 1960s working with Maynard Ferguson, George Benson, Lionel Hampton, Woody Herman and Lonnie Smith.During the next decade, Cuber performed on a slew of recordings and embraced distant ends of the woodwind family by playing flute and baritone sax on Eddie Palmieri's 1973 record, Sun Of Latin Music. While working with Lee Konitz in the late '70s, Cuber featured the clarinet and soprano sax alongside the baritone in his arsenal. He recorded his own Cuber Libre in 1976 and released a succession of traditional jazz records in the '80s and '90s, such as Live At The Blue Note and The Scene Is Clean (Milestone). In the 1980's he was a member of the Saturday Night Live Band for 5 years. The slew of pop musicians who have recruited easy-going Cuber for sessions include Chaka Kahn, Paul Simon. In 1998, Cuber played on and arranged The Three Baritone Saxophone tribute disc, Plays Mulligan on Dreyfus Records, and has arranged and recorded on 6 Mingus Big Band cd's for Dreyfus Records. Aaron Cohen/Downbeat. His latest recording ‘Ronnie’ is on the Steeplechase label.
”Not one jazz virtuoso could put the definition of jazz into words, but all agreed that you know it when you hear it. That's the way it is with Paul Bollenback. It's bona-fide playing, unambiguous, up-front and powerful,” summarizes George Benson, a long-time friend. His debut recording, Original Visions, as a leader with Challenge Records, is one of the most creative efforts by a guitarist in recent memory. Double Gemini, his second CD, features four of his own compositions and won the title of CD of The Month in Jim Fisch's distinguished jazz column in 20th Century Jazz Magazine. It won the same award from the renowned jazz radio station WBGO in Newark, New Jersey. Challenge Records has recently released his third recording, Soul Grooves.
I would call it stellar jazz/psychedelic/jam music. It was incredible. 2 contrabasses, drumkit, Medeski on piano and Tisziji. Really amazing. This was so worth it. I'm really happy.
Medeski was playing a few things similar to the solo I saw him at the other night. And, of course he also played a lot of different music. Tisziji is an amazing guitarist. He really had me. The was an extra special show.
“Concert of the Secret Guardians”
Tisziji Munoz (guitar) John "lam sobo" Medeski (keyboards) Ra-Kalam Bob Moses (drums) John Lockwood, Don Pate (bass)
It wasn't too long after I got there they invited 2 guitarists to join them. Eric Krasno came out. It was better than I anticipated, I had trouble since I heard he was going to be there seeing how he could possibly fit in with that ensemble. Will Bernard eventually joined in and fit much better. He has been playing with Steven since childhood after all. Later, took over in Krasno's spot. Kraz had his moments, he just never struck me as an experimental music type.
Anyway, the whole thing was truly awesome, anyone who was up there. Doug Weiselman came up and blew us away with his grooving clarinet. There were parts where Ben Perowsky took over the drums and Kenny got out his tenor sax. I think I knew Kenny played sax, I think. It was nice to add more brass.
Medeski showed up during the 2nd set. I just remember loving it and having a great time. I think I couldn't control a scream every now and then, but I couldn't actually even talk. I might have been delirious toward the end.
DJ Logic spun a super funky set in between live sets. He also jammed with band for the 2nd set. I'm appreciating him more and more these days.
It was well worth the effort. This, by the way, was a Scotty Hard benefit. I love how the great musicians come out and support him.
Sex Mob & DJ Logic w/ John Medeski & Eric Krasno plus Will Bernard, Doug Wieselman, Adam Rogers, Ben Perowsky / plus other surprise guests! / Otis Grove opens the show / A Benefit for Scotty Hard
at Sullivan Hall
I got a seat right behind Medeski, which was awesome. Everything he did was blown away amazing. I'm having trouble remembering details, but I think he played every note on the piano. There was one part where he was jamming on the high notes that was killer. I would see him do that again in a great band .
I think he played a melodica or that other thing that is similar. That memory is blending in with many times I've seen him, so I'm not quite sure.
I know he played the sruti. I got to see it super close up for the first time. I went to great pains to try to figure out what it was called on the internet. I hadn't succeeded yet when I saw the guy I was sitting next to the next night. He had asked John the name and gave it to me. I found some interesting info about free reed aerophones with bellows and a bunch of other instruments that I'm sharing here.
The sruti is really cool. Its got a drone sound and I could see how he could change it by moving the keys. He often was playing the piano at the same time. Here's a demo.
There were some grooving parts of course. The last one was a familiar emotion-evoking piece reminiscent of The Bad Plus. It was all beautiful. I think every emotion was evoked from one time to another throughout the set.
He paused in between pieces. I seem to recall it being a long set, I think 75-90 minutes. Of course, its all blending by now. I put most of my efforts into finding the sruti instead of writing it up asap, so I forgot a lot by now.
I also found this piece about Medeski and the melodica that I haven't read yet: