Podcasts about Bill Dixon

Play Episode Listen Later Jun 24, 2021 72:19

Support Burning Ambulance on Patreon • Get the Burning Ambulance email newsletterThis is an episode I have been hoping to present since this podcast began. I've been requesting interviews with Braxton for years, but never gotten the okay until this month. And you know what? In retrospect, I'm glad it took as long as it did. You know the saying “When the student is ready, the master appears”? Bill Dixon said that to me when I interviewed him for The Wire, and I feel like it's absolutely true in the case of the conversation you're about to listen to. I was not ready to interview Anthony Braxton when I first started asking. As it is, we probably could have talked for at least another hour, and maybe longer; we got along very, very well. Which was frankly not guaranteed going in. This interview didn't just take years to set up, it also fell through the first time we tried to do it, and I'm not 100 percent sure why but I have some suspicions. I do know that when I was working on re-scheduling it, I sent over my list of proposed questions in advance, which Braxton mentions right at the beginning, when he starts talking about the late Bob Koester from Delmark Records. I first started listening to Braxton's music about 20 years ago, and I feel like I've had a few major breakthroughs with it in that time, where it kind of made a little more sense to me afterward than it had before. Because it really is a learning process. You hear other things differently after you've grappled with his work for a while.The first big breakthrough for me was the album Quintet (Basel) 1977, which wasn't released until 2000; it's a live album that features George Lewis on trombone and Muhal Richard Abrams on piano. It was maybe the second or third thing I'd ever heard by him, so I mostly knew him by reputation still, as someone who made extremely advanced "weird" jazz that didn't really swing, but it wasn't free, either. Well, what I heard was not any of those things. It was a nonstop flow of energy, extremely creative but also swinging hard as hell, and the compositions were absolutely recognizable as such. It made perfect sense to me as jazz. The second breakthrough was when Mosaic Records put out a box set of his Arista albums, which I reviewed for Jazziz. Some of that music was difficult and alienating to my ear, but a lot of it was even more immediately accessible than I had expected it to be. If you've never listened to Braxton at all, you could do a whole lot worse than to start with New York, Fall 1974 or Five Pieces 1975, which were two of his first Arista releases and really do seem like his attempts to make music that would catch people's ear right away. The third and final breakthrough moment wasn't an album, it was a book – Forces In Motion, by Graham Lock. Lock went on tour with Braxton's quartet in England in the mid-80s, watching all the gigs, and interviewing all the group members repeatedly, and he gives you a 360 degree portrait of all of them as musicians and as human beings. It's one of the best books about music and musicians I've ever read, I recommend it unequivocally.When I was writing this intro, I looked on the hard drive where I keep most of my music, and I was surprised to find that I only actually own about 40 Anthony Braxton releases, including the individual albums that are contained in the Mosaic box and another box of his Black Saint albums from the 1980s. I honestly thought I had more. But among the others are a 3CD set of large ensemble pieces, a 12CD set of pieces for an a cappella ensemble, a 4CD set of improvisations for quartet, and a 4CD opera, all of which feature one long track per CD. I also have a 7CD set of the music of Lennie Tristano, Warne Marsh and other related musicians, an 11CD set of Charlie Parker tunes, a 13CD set of live recordings of standards, and an audio Blu-Ray containing 12 pieces ranging in length from 40 to 70 minutes. All told, I probably have around 80 hours' worth of Anthony Braxton's music in my house. If I wanted to, I could spend a long weekend listening to nothing but his work. And that's probably about ten percent of his total recorded output, maybe less. The man's catalog could fill a room.He's put out two mega releases just this month. The first is that audio Blu-Ray, which is called 12 Comp (ZIM) 2017 and features several different ensembles of between six and nine musicians including harp, cello, accordion, and horns, playing as I said long single pieces composed and then improvised upon using a highly specific and codified musical language of Braxton's own devising.The second is Quartet (Standards) 2020, the 13CD collection of live recordings from January 2020, when he played nine concerts in three cities: Warsaw, Poland, London, England, and Wels Austria, with a conventionally structured quartet: saxophone, piano, bass, drums. As its title suggests, they played standards. There are 67 songs on the box, with no repeats. There are tunes by Thelonious Monk, by Sonny Rollins, by Wayne Shorter, by Andrew Hill, but there are also several songs by Paul Simon, including the really excellent version of “Bridge Over Troubled Water” that you hear at the beginning of this episode, which if I'm being honest reminds me of Aretha Franklin's version.In this interview, we talk about both of those releases, as well as the larger issues they reflect. We talk about his compositional languages, the demands he places on the musicians he works with, his relationship to the jazz tradition, Wadada Leo Smith, Bill Dixon, Max Roach, Louis Armstrong, Duke Ellington, Cecil Taylor, and much, much more. It's one of my favorite interviews I've ever done, and I'm thrilled to share it with you.If you enjoy this podcast, please consider visiting patreon.com/burningambulance and becoming a subscriber. For just $5 a month, you can help keep this show and Burning Ambulance as a whole active and thriving. Thanks!Music featured in this episode:Anthony Braxton, “Bridge Over Troubled Water” (Quartet (Standards) 2020)Anthony Braxton, “Opus 23B” (New York, Fall 1974)

Anthony Braxton

W talks: founders counsel

Play Episode Listen Later Jun 24, 2021 72:19

Support Burning Ambulance on Patreon • Get the Burning Ambulance email newsletterThis is an episode I have been hoping to present since this podcast began. I've been requesting interviews with Braxton for years, but never gotten the okay until this month. And you know what? In retrospect, I'm glad it took as long as it did. You know the saying “When the student is ready, the master appears”? Bill Dixon said that to me when I interviewed him for The Wire, and I feel like it's absolutely true in the case of the conversation you're about to listen to. I was not ready to interview Anthony Braxton when I first started asking. As it is, we probably could have talked for at least another hour, and maybe longer; we got along very, very well. Which was frankly not guaranteed going in. This interview didn't just take years to set up, it also fell through the first time we tried to do it, and I'm not 100 percent sure why but I have some suspicions. I do know that when I was working on re-scheduling it, I sent over my list of proposed questions in advance, which Braxton mentions right at the beginning, when he starts talking about the late Bob Koester from Delmark Records. I first started listening to Braxton's music about 20 years ago, and I feel like I've had a few major breakthroughs with it in that time, where it kind of made a little more sense to me afterward than it had before. Because it really is a learning process. You hear other things differently after you've grappled with his work for a while.The first big breakthrough for me was the album Quintet (Basel) 1977, which wasn't released until 2000; it's a live album that features George Lewis on trombone and Muhal Richard Abrams on piano. It was maybe the second or third thing I'd ever heard by him, so I mostly knew him by reputation still, as someone who made extremely advanced "weird" jazz that didn't really swing, but it wasn't free, either. Well, what I heard was not any of those things. It was a nonstop flow of energy, extremely creative but also swinging hard as hell, and the compositions were absolutely recognizable as such. It made perfect sense to me as jazz. The second breakthrough was when Mosaic Records put out a box set of his Arista albums, which I reviewed for Jazziz. Some of that music was difficult and alienating to my ear, but a lot of it was even more immediately accessible than I had expected it to be. If you've never listened to Braxton at all, you could do a whole lot worse than to start with New York, Fall 1974 or Five Pieces 1975, which were two of his first Arista releases and really do seem like his attempts to make music that would catch people's ear right away. The third and final breakthrough moment wasn't an album, it was a book – Forces In Motion, by Graham Lock. Lock went on tour with Braxton's quartet in England in the mid-80s, watching all the gigs, and interviewing all the group members repeatedly, and he gives you a 360 degree portrait of all of them as musicians and as human beings. It's one of the best books about music and musicians I've ever read, I recommend it unequivocally.When I was writing this intro, I looked on the hard drive where I keep most of my music, and I was surprised to find that I only actually own about 40 Anthony Braxton releases, including the individual albums that are contained in the Mosaic box and another box of his Black Saint albums from the 1980s. I honestly thought I had more. But among the others are a 3CD set of large ensemble pieces, a 12CD set of pieces for an a cappella ensemble, a 4CD set of improvisations for quartet, and a 4CD opera, all of which feature one long track per CD. I also have a 7CD set of the music of Lennie Tristano, Warne Marsh and other related musicians, an 11CD set of Charlie Parker tunes, a 13CD set of live recordings of standards, and an audio Blu-Ray containing 12 pieces ranging in length from 40 to 70 minutes. All told, I probably have around 80 hours' worth of Anthony Braxton's music in my house. If I wanted to, I could spend a long weekend listening to nothing but his work. And that's probably about ten percent of his total recorded output, maybe less. The man's catalog could fill a room.He's put out two mega releases just this month. The first is that audio Blu-Ray, which is called 12 Comp (ZIM) 2017 and features several different ensembles of between six and nine musicians including harp, cello, accordion, and horns, playing as I said long single pieces composed and then improvised upon using a highly specific and codified musical language of Braxton's own devising.The second is Quartet (Standards) 2020, the 13CD collection of live recordings from January 2020, when he played nine concerts in three cities: Warsaw, Poland, London, England, and Wels Austria, with a conventionally structured quartet: saxophone, piano, bass, drums. As its title suggests, they played standards. There are 67 songs on the box, with no repeats. There are tunes by Thelonious Monk, by Sonny Rollins, by Wayne Shorter, by Andrew Hill, but there are also several songs by Paul Simon, including the really excellent version of “Bridge Over Troubled Water” that you hear at the beginning of this episode, which if I'm being honest reminds me of Aretha Franklin's version.In this interview, we talk about both of those releases, as well as the larger issues they reflect. We talk about his compositional languages, the demands he places on the musicians he works with, his relationship to the jazz tradition, Wadada Leo Smith, Bill Dixon, Max Roach, Louis Armstrong, Duke Ellington, Cecil Taylor, and much, much more. It's one of my favorite interviews I've ever done, and I'm thrilled to share it with you.If you enjoy this podcast, please consider visiting patreon.com/burningambulance and becoming a subscriber. For just $5 a month, you can help keep this show and Burning Ambulance as a whole active and thriving. Thanks!Music featured in this episode:Anthony Braxton, “Bridge Over Troubled Water” (Quartet (Standards) 2020)Anthony Braxton, “Opus 23B” (New York, Fall 1974)

Ep5. Keeping founders and families secure: Issues with cyber and physical security

Play Episode Listen Later Jun 3, 2021 53:29

For family offices, individuals and families, cyber and physical security preparedness is often overlooked or less emphasized than it is at companies. But the threats are real and growing, including to founders and senior executives, and in some cases are greater to the individual or family than to a corporation. What are the biggest and most common cyber and physical security threats to individuals and families? What steps can you take to best protect yourself and your family or family office from such threats? What lessons can be drawn from a corporate perspective and applied to founders and other high profile people personally? What is a security audit, who is well suited to do this for families, and why do it? In this episode, ‘Keeping founders and families secure: Issues with cyber and physical security,’ host Doug Mandell draws on his own experience guiding companies through privacy and data security audits, and is joined by experts Sabrina Ross, Bill Dixon and Matt Bogaard, to discuss taking lessons from the corporate perspective related to cyber and physical security and how you can apply these best practices to protect yourself and your family. Each guest shares tips and insight on mindset and specific actions individuals and families can take to reduce vulnerabilities before a security threat happens, and on incident response, or what to do when there is an incident. For insight on cyber and physical security issues relevant for individuals and families, listen to the discussion in this episode of our podcast. William (Bill) Dixon – Managing Director, Cyber at Prescient. Bill serves as Managing Director in the cyber practice of the global risk management and intelligence firm, Prescient. His team works with individuals, families, family offices and corporations on cyber security issues and cyber threat awareness. Over his career, he has served as a CISO and Board of Directors advisor relating to cybersecurity and cyber threat awareness. He is a Certified Information Systems Security Professional (CISSP), Certified Information Security Manager (CISM), and is Certified in Risk and Information Systems Control (CRISC).Matthew Bogaard – Founder and CEO at Bogaard Group International. Matt has over twenty-five years of experience in government and the private sector, in crisis management, disaster planning and response, business continuity, intellectual property protection, workplace violence prevention, high-risk travel, threat assessment, security design, special event planning, and investigations. His consulting covers clients in entertainment, video gaming, financial services, pharmaceutical, manufacturing, and retail industries around the globe in a variety of locations. He is Certified Business Continuity Planning Professional and an Infrastructure Liaison Officer with the U.S. Department of Homeland Security.Sabrina Ross – Privacy and Public Policy Director at Facebook. Sabrina’s expertise includes counseling on all aspects of ethical technology, privacy and consumer protection, ranging from crafting algorithmic auditing frameworks to shaping complex product privacy standards, developing privacy compliance processes, responding to regulatory inquiries, and anticipating the state/federal/international privacy law landscape. At Facebook, she collaborates with product teams, legal, policymakers, and other key stakeholders to help build their core commitments to transparency, control, and accountability into every aspect of Facebook.

ceo director founders board risk families managing directors secure cyber certified homeland security ciso physical security prescient public policy director bill dixon

David Moss - Intakt (1)

Play Episode Listen Later May 12, 2021 59:43

Il primo disco della Intakt - alle cui novità Jazz Anthology negli ultimi due anni ha dato ampio spazio - uscì trentacinque anni fa, nel 1986. Con due puntate dedicate agli album del percussionista/vocalist David Moss pubblicati dalla Intakt cominciamo una perlustrazione del catalogo "storico" dell'etichetta svizzera. Negli anni settanta secondo Down Beat fra i migliori batteristi sulla scena, già nel corso della sua collaborazione con Bill Dixon (1971-73) David Moss sviluppa però anche un forte interesse per l'espressione vocale. Negli anni ottanta come batterista/bandleader è tra i protagonisti dell'avantgarde newyorkese, ma si afferma anche nell'ambito della vocalità sperimentale. Alla fine del decennio Moss organizza il gruppo Direct Sound, che oltre a lui comprende altri quattro cantanti: Greetje Bijma, Shelley Hirsch, Anna Homler, Carles Santos: Direct Sound perché i cinque vocalist si esibiscono in solo, duo, trio senza accompagnamento strumentale e senza alcuna manipolazione delle voci, in una esaltazione della forza, della fisicità, della seduzione della voce. Un tour europeo dell'89 si traduce nell'album Five Voices (Intakt 015). Nel '91 poi Moss, quasi completamente da solo, con batteria, percussioni, chitarra, e suoni ed effetti vocali senza manipolazioni di alcun genere, realizza My Favorite Things (Intakt 022) in cui offre virtuosistiche, brillanti e spesso esilaranti rivisitazioni/reinvenzioni di brani di Prince, Ayler, Monk, Khaled, Bach, Miles Davis, e, naturalmente, di My Favorite Things.

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David Moss - Intakt (1)

Play Episode Listen Later May 10, 2021 59:42

Il primo disco della Intakt - alle cui novità Jazz Anthology negli ultimi due anni ha dato ampio spazio - uscì trentacinque anni fa, nel 1986. Con due puntate dedicate agli album del percussionista/vocalist David Moss pubblicati dalla Intakt cominciamo una perlustrazione del catalogo "storico" dell'etichetta svizzera. Negli anni settanta secondo Down Beat fra i migliori batteristi sulla scena, già nel corso della sua collaborazione con Bill Dixon (1971-73) David Moss sviluppa però anche un forte interesse per l'espressione vocale. Negli anni ottanta come batterista/bandleader è tra i protagonisti dell'avantgarde newyorkese, ma si afferma anche nell'ambito della vocalità sperimentale. Alla fine del decennio Moss organizza il gruppo Direct Sound, che oltre a lui comprende altri quattro cantanti: Greetje Bijma, Shelley Hirsch, Anna Homler, Carles Santos: Direct Sound perché i cinque vocalist si esibiscono in solo, duo, trio senza accompagnamento strumentale e senza alcuna manipolazione delle voci, in una esaltazione della forza, della fisicità, della seduzione della voce. Un tour europeo dell'89 si traduce nell'album Five Voices (Intakt 015). Nel '91 poi Moss, quasi completamente da solo, con batteria, percussioni, chitarra, e suoni ed effetti vocali senza manipolazioni di alcun genere, realizza My Favorite Things (Intakt 022) in cui offre virtuosistiche, brillanti e spesso esilaranti rivisitazioni/reinvenzioni di brani di Prince, Ayler, Monk, Khaled, Bach, Miles Davis, e, naturalmente, di My Favorite Things.

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Jonas Gwangwa 1937-2021 (1)

new york sudafrica hugh masekela bill dixon marc levin

Play Episode Listen Later Apr 19, 2021 59:41

Jonas Gwangwa è stato una delle più importanti figure della generazione del jazz sudafricano emersa negli anni cinquanta: la sua scomparsa - a 83 anni, nel gennaio di quest'anno - ha suscitato in Sudafrica grande cordoglio, perché Gwangwa era onorato nel suo paese non solo per i suoi meriti musicali come trombonista e compositore, ma anche per il suo impegno militante, negli anni dell'esilio, nella lotta contro l'apartheid. In due puntate, ripercorriamo la sua carriera dagli esordi da ragazzino nella Father Huddleston Band (in cui si formò anche Hugh Masekela), fino alle incisioni degli ultimi decenni, dopo il rientro in patria, e lo facciamo richiamando in particolare l'attenzione su alcuni album ingiustamente non abbastanza conosciuti: in questa puntata gli Lp Jazz in Africa Vol. 1 e 2 incisi nel '59 col pianista americano John Mehegan e l'album di ambito free The Dragon Suite inciso nel '67 a New York dal polistrumentista Marc Levin e prodotto da Bill Dixon.

Jonas Gwangwa 1937-2021 (1)

new york sudafrica hugh masekela bill dixon marc levin

Play Episode Listen Later Apr 18, 2021 59:42

Jonas Gwangwa è stato una delle più importanti figure della generazione del jazz sudafricano emersa negli anni cinquanta: la sua scomparsa - a 83 anni, nel gennaio di quest'anno - ha suscitato in Sudafrica grande cordoglio, perché Gwangwa era onorato nel suo paese non solo per i suoi meriti musicali come trombonista e compositore, ma anche per il suo impegno militante, negli anni dell'esilio, nella lotta contro l'apartheid. In due puntate, ripercorriamo la sua carriera dagli esordi da ragazzino nella Father Huddleston Band (in cui si formò anche Hugh Masekela), fino alle incisioni degli ultimi decenni, dopo il rientro in patria, e lo facciamo richiamando in particolare l'attenzione su alcuni album ingiustamente non abbastanza conosciuti: in questa puntata gli Lp Jazz in Africa Vol. 1 e 2 incisi nel '59 col pianista americano John Mehegan e l'album di ambito free The Dragon Suite inciso nel '67 a New York dal polistrumentista Marc Levin e prodotto da Bill Dixon.

Choo Choo Crew #5: Down in the Dumps

Dads on a Map

Play Episode Listen Later Apr 3, 2021 73:52

James, Joe, Zach, and Sanchez go deep in the dumps with our conversation about yellow/brown strategy and tactics in 18xx. Enjoy the opening auction of Bill Dixon’s 1992 game 1870: Railroading across the trans Mississippi since 1870. More train game discussion on Dual Gauge, Han Heidema’s West Riding Revisited and Dutch InterCity, and of course 1830! JCL’s blog post on the difference between full and incremental capitalisation systems: https://kanga.nu/~claw/blog/posts/2017/04/18/meteing-capital/ 03:09 - Listener Feedback 05:15 – Opening Auction 1870 26:15 - Dual Gauge 30:50 – West Riding Revisited 36:10 – Portobello Market 37:00 – 1830 38:42 – Yellow Orange Brown tactics 42:07 – What game works with Yellow Brown Strategy 49:00 - How and Why? 55:25 – Managing your Portfolio 59:05 – Can you defend against it? 60:00 – When not to Yellow 71:00 – Closing Comments Support the Show - Patreon: http://www.patreon.com/dadsonamap Twitter - @dadsonamap Instagram - @choo_choo_crew_podcast BGG Guild - http://tiny.cc/DoaMGuild Merch Store - https://teespring.com/stores/dads-on-a-map Contact us at dadsonamap@gmail.com

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Jazz Composers Orchestra story (5./5)

Play Episode Listen Later Feb 19, 2021 27:19

Da lunedì 15 a venerdì 19 febbraio 2021La Jazz Composers Orchestra, nata negli Stati Uniti nel 1965 su iniziativa di Carla Bley e Michael Mantler, è un po' l'antesignana delle grandi formazioni di jazz d'avanguardia nate a partire dal quel periodo, al di là e al di qua dell'Atlantico.Il multistrumentista Bill Dixon aveva dato vita poco prima ad una breve esperienza analoga, alla quale avevano partecipato - durante quella che fu chiamata la Rivoluzione d'ottobre del jazz del 1964 - anche la Bley e Mantler. Nel 65 la coppia ne prese le redini e il nome si trasformò da subito in quello che conosciamo, un'esperienza che durò fina a metà degli anni 70.La Jazz Composers Orchestra divenne ricettacolo di parte della creatività nell'ambito del jazz d'avanguardia nuovayorkese e per diversi anni fu attiva in parallelo alla Liberation Music Orchestra di Charlie Haden.Fra i musicisti che vi parteciparono ricordiamo Don Cherry, Gato Barbieri, Cecil Taylor, Pharoah Sanders, Grachan Moncur III, Leroy Jenkins. L'orchestra fu protagonista anche del lavoro più importante e ambizioso di Carla Bley, la jazz-opera Escalator Over the Hill.

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Jazz Composers Orchestra story (4./5)

Play Episode Listen Later Feb 18, 2021 26:28

Da lunedì 15 a venerdì 19 febbraio 2021La Jazz Composers Orchestra, nata negli Stati Uniti nel 1965 su iniziativa di Carla Bley e Michael Mantler, è un po' l'antesignana delle grandi formazioni di jazz d'avanguardia nate a partire dal quel periodo, al di là e al di qua dell'Atlantico.Il multistrumentista Bill Dixon aveva dato vita poco prima ad una breve esperienza analoga, alla quale avevano partecipato - durante quella che fu chiamata la Rivoluzione d'ottobre del jazz del 1964 - anche la Bley e Mantler. Nel 65 la coppia ne prese le redini e il nome si trasformò da subito in quello che conosciamo, un'esperienza che durò fina a metà degli anni 70.La Jazz Composers Orchestra divenne ricettacolo di parte della creatività nell'ambito del jazz d'avanguardia nuovayorkese e per diversi anni fu attiva in parallelo alla Liberation Music Orchestra di Charlie Haden.Fra i musicisti che vi parteciparono ricordiamo Don Cherry, Gato Barbieri, Cecil Taylor, Pharoah Sanders, Grachan Moncur III, Leroy Jenkins. L'orchestra fu protagonista anche del lavoro più importante e ambizioso di Carla Bley, la jazz-opera Escalator Over the Hill.

jazz orchestras nel fra stati uniti composers don cherry rivoluzione pharoah sanders charlie haden cecil taylor carla bley leroy jenkins bley gato barbieri bill dixon dell'atlantico liberation music orchestra grachan moncur iii

Jazz Composers Orchestra story (3./5)

Play Episode Listen Later Feb 17, 2021 27:31

Da lunedì 15 a venerdì 19 febbraio 2021La Jazz Composers Orchestra, nata negli Stati Uniti nel 1965 su iniziativa di Carla Bley e Michael Mantler, è un po' l'antesignana delle grandi formazioni di jazz d'avanguardia nate a partire dal quel periodo, al di là e al di qua dell'Atlantico.Il multistrumentista Bill Dixon aveva dato vita poco prima ad una breve esperienza analoga, alla quale avevano partecipato - durante quella che fu chiamata la Rivoluzione d'ottobre del jazz del 1964 - anche la Bley e Mantler. Nel 65 la coppia ne prese le redini e il nome si trasformò da subito in quello che conosciamo, un'esperienza che durò fina a metà degli anni 70.La Jazz Composers Orchestra divenne ricettacolo di parte della creatività nell'ambito del jazz d'avanguardia nuovayorkese e per diversi anni fu attiva in parallelo alla Liberation Music Orchestra di Charlie Haden.Fra i musicisti che vi parteciparono ricordiamo Don Cherry, Gato Barbieri, Cecil Taylor, Pharoah Sanders, Grachan Moncur III, Leroy Jenkins. L'orchestra fu protagonista anche del lavoro più importante e ambizioso di Carla Bley, la jazz-opera Escalator Over the Hill.

jazz orchestras nel fra stati uniti composers don cherry rivoluzione pharoah sanders charlie haden cecil taylor carla bley leroy jenkins bley gato barbieri bill dixon dell'atlantico liberation music orchestra grachan moncur iii

Jazz Composers Orchestra story (2./5)

Play Episode Listen Later Feb 16, 2021 27:48

Da lunedì 15 a venerdì 19 febbraio 2021La Jazz Composers Orchestra, nata negli Stati Uniti nel 1965 su iniziativa di Carla Bley e Michael Mantler, è un po' l'antesignana delle grandi formazioni di jazz d'avanguardia nate a partire dal quel periodo, al di là e al di qua dell'Atlantico.Il multistrumentista Bill Dixon aveva dato vita poco prima ad una breve esperienza analoga, alla quale avevano partecipato - durante quella che fu chiamata la Rivoluzione d'ottobre del jazz del 1964 - anche la Bley e Mantler. Nel 65 la coppia ne prese le redini e il nome si trasformò da subito in quello che conosciamo, un'esperienza che durò fina a metà degli anni 70.La Jazz Composers Orchestra divenne ricettacolo di parte della creatività nell'ambito del jazz d'avanguardia nuovayorkese e per diversi anni fu attiva in parallelo alla Liberation Music Orchestra di Charlie Haden.Fra i musicisti che vi parteciparono ricordiamo Don Cherry, Gato Barbieri, Cecil Taylor, Pharoah Sanders, Grachan Moncur III, Leroy Jenkins. L'orchestra fu protagonista anche del lavoro più importante e ambizioso di Carla Bley, la jazz-opera Escalator Over the Hill.

jazz orchestras nel fra stati uniti composers don cherry rivoluzione pharoah sanders charlie haden cecil taylor carla bley leroy jenkins bley gato barbieri bill dixon dell'atlantico liberation music orchestra grachan moncur iii

Jazz Composers Orchestra story (1./5)

Mornings with John Mackenzie

Play Episode Listen Later Feb 15, 2021 27:04

Da lunedì 15 a venerdì 19 febbraio 2021La Jazz Composers Orchestra, nata negli Stati Uniti nel 1965 su iniziativa di Carla Bley e Michael Mantler, è un po' l'antesignana delle grandi formazioni di jazz d'avanguardia nate a partire dal quel periodo, al di là e al di qua dell'Atlantico.Il multistrumentista Bill Dixon aveva dato vita poco prima ad una breve esperienza analoga, alla quale avevano partecipato - durante quella che fu chiamata la Rivoluzione d'ottobre del jazz del 1964 - anche la Bley e Mantler. Nel 65 la coppia ne prese le redini e il nome si trasformò da subito in quello che conosciamo, un'esperienza che durò fina a metà degli anni 70.La Jazz Composers Orchestra divenne ricettacolo di parte della creatività nell'ambito del jazz d'avanguardia nuovayorkese e per diversi anni fu attiva in parallelo alla Liberation Music Orchestra di Charlie Haden.Fra i musicisti che vi parteciparono ricordiamo Don Cherry, Gato Barbieri, Cecil Taylor, Pharoah Sanders, Grachan Moncur III, Leroy Jenkins. L'orchestra fu protagonista anche del lavoro più importante e ambizioso di Carla Bley, la jazz-opera Escalator Over the Hill.

jazz orchestras nel fra stati uniti composers don cherry rivoluzione pharoah sanders charlie haden cecil taylor carla bley leroy jenkins bley gato barbieri bill dixon dell'atlantico liberation music orchestra grachan moncur iii

Ep. 13: Stephen Haynes

Jazztopia

Play Episode Listen Later Oct 21, 2020 110:58

Cornetist and improvising composer Stephen Haynes discusses working with his teacher and mentor Bill Dixon, the properties of "free music," performing with Butch Morris and George Russell, and the importance of organizing and curating movements in new music. Good times are had by all. More info: https://www.schilkemusic.com/stephen-haynes/ https://newatlantisrecords.bandcamp.com/album/pomegranate https://balancepointacoustics.bandcamp.com/album/theory-of-colors-umland-lc5284 https://firehouse12records.bandcamp.com/album/pillars https://nmbx.newmusicusa.org/in-search-of-a-sound-remembering-bill-dixon/

george russell bill dixon butch morris stephen haynes

Bright future for Catholic education in Cairns

Play Episode Listen Later Oct 16, 2020 9:45

Today I spoke to Bill Dixon, the Executive Director of Catholic Education Services Diocese Of Cairns, about the future of Catholic education in Cairns.

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Catholic High School students potential to be unlocked by combined campus

Mornings with John Mackenzie

Play Episode Listen Later Sep 2, 2020 7:06

Today I spoke to Bill Dixon, the executive director of the Catholic Education Services Diocese of Cairns, about the first-ever Catholic School within a university campus.

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En sol majeur - Jacques Coursil

En sol majeur

Play Episode Listen Later Jul 24, 2020 48:30

Jacques Coursil est né en 1938 à Paris, de parents martiniquais nés à Fort-de-France. Il a fait ses études musicales et universitaires à Paris. En 1958-1961, Jacques Coursil voyage en Afrique de l'Ouest, pendant la période de décolonisation. Il séjourne longuement à Dakar où il est accueilli dans l'entourage de Léopold Sédar Senghor. À son retour en France, il enseigne la littérature et poursuit sa formation musicale. En 1965, Malcolm X vient d'être assassiné. Coursil part pour les États-Unis où il restera dix ans. Il débarque à New York dans l'agitation des Civil Rights, l'avènement du free jazz, des happenings en art, des projets et des mouvements hippies. Pendant cette décennie, il va avoir l'occasion de côtoyer et de travailler avec les plus grands musiciens américains tant de la scène jazz que celle de la musique contemporaine. Il va devenir l'élève du pianiste Jaki Byard, et surtout celui du trompettiste Bill Dixon avec lequel il part finalement en tournée pour jouer en duo. Il étudie également l'harmonie et la composition sous la direction du compositeur Noel Da Costa, et participera avec lui à de nombreux concerts en musique contemporaine. À cette époque, sa technique instrumentale est très solide et son imagination fuse tous azimuts.Pendant ses années new-yorkaises dominées par la musique, la littérature, les arts et l'agitation politique, Jacques Coursil va découvrir quelque chose d'autre qui, selon lui, est tout aussi passionnant : la linguistique et la logique mathématique. Il va se détacher petit à petit de la scène musicale, enseigner de nouveau et retourner à l'université. Rentré en France, il décide de se consacrer à une carrière universitaire, ce qui l'amène à soutenir deux thèses, l'une en Lettres (1977) et l'autre en Sciences (1992). Il enseignera en alternance la littérature et la linguistique théorique, d'abord en France, puis en Martinique, aux États-Unis à l'Université de Cornell, et enfin à l'Université de Californie à Irvine. Ce cursus fait de lui une des voix les plus écoutées sur le corpus de Ferdinand de Saussure ou sur les théories générales de linguistique moderne, comme l'atteste la portée de ses articles et de son livre La Fonction Muette du Langage, paru chez Ibis Rouge en 2000.Durant cette époque d'activités littéraires et scientifiques, la pratique de la musique ressemble pour Jacques Coursil à une rivière souterraine (ou à un laboratoire d'alchimiste). Il travaille en secret le souffle continu, les articulations, les "coups de langue" sans relâche jusqu'à ce que cette trompette qu'il aime se mette à chanter, à danser et à parler : obsession de clarté et d'émotion du timbre. Il y a du Clark Terry, du Jimmy Owens, du Hugh Masekela dans cette démarche : sans doute, les trompettistes de jazz, Jacques Coursil les aime-t-il et les admire-t-il tous.[Universal] Son dernier album On A Trail Of Tears est sorti chez Universal. → Une interview de Jacques Coursil sur Rfimusique. Les choix musicaux de Jacques Coursil Jacques Coursil Nunna Daul Sunyi Thelonius Monk Blue Jacques Coursil Archipel du grand chaos Les îles Miles Davis Bag’s groove Jacques Coursil Franz Fanon

Joseph Celli: Musicians Speak with composer/bassist Mario Pavone

WPKN Community Radio

Play Episode Listen Later Apr 21, 2020 20:56

Composer/bassist/jazz musician Mario Pavone discusses his collaborations with Anthony Braxton, Paul Bley, Bill Dixon, Wadada Leo Smith and an emerging generation of new improvisers. Mario’s various ensembles have included Matt Wilson, Gerald Cleaver, Joshua Redman, Tony Malaby, Dave Douglas, Steven Bernstein and Craig Taborn among others. “His work has never been less than compelling.” (NY Times). “Mario Pavone works his strings with the force and persistence of a sculptor chipping away at granite. The sheer dynamism of his playing is matched by the lustre of his writing and arranging for small bands” (The New Yorker).

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Catholic education is still there for you

Mornings with John Mackenzie

Play Episode Listen Later Apr 16, 2020 7:58

This week I spoke to Bill Dixon the Executive Director of Catholic Education Services Diocese of Cairns about the fee relief available for families that send their children to Catholic Schools.

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77 - Interview with David Moss (in english), 2 years podcast "neue musik leben"

neue musik leben

Play Episode Listen Later Apr 10, 2020 46:07

David Moss evolved from a drummer in 1971 to percussionist/singer, solo performer and and vocalist in contemporary music theater/opera. After working with composers/musicians as varied as Luciano Berio, Carla Bley, Bill Dixon, Heiner Goebbels, Christian Marclay and Olga Neuwirth, he offers thoughts and experiences on a life in music. On April 10th 2018 I have started the podcast "neue music leben"!!!!!! Thank you so much for listening. All the best, Irene

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Jazz Bastard Podcast 180 - We Got the Skillz to Play the Billz

Jazz Bastard Podcast

Play Episode Listen Later Nov 26, 2019 76:58

William, oh William, it was really nothing - but an all-Bill all the time podcast! At Mike's suggestion, this round's musicians are all named Bill. Heck, half of them are white guys named Bill Evans who gigged with Miles Davis. How's that for homogeneity? Don't fret - the other Bills at this party bring heavy-gauge avant credentials to balance things out. Bill Evans – YOU MUST BELIEVE IN SPRING; Bill Evans – STARFISH AND THE MOON; Bill Dixon – INTENTS AND PURPOSES; Bill McHenry – ROSES.

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Ep.5 - Sun Mountain's Crazy Small Kube Travel Cover + Our Dream Foursome in Golf

Hosel Rockets Podcast

Play Episode Listen Later Nov 6, 2019 61:11

Looking for new golf gear?Our sponsor Morton Golf Sales has a huge variety of golf clubs, balls, shoes and more!

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Verona 1980-88: Bill Dixon, Gerald Wilson, John Zorn, Buell Neidlinger

Jazz in un giorno d'estate

Play Episode Listen Later Aug 18, 2019 29:37

Jazz in un giorno d'estate del lun 19/08/19

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Verona 1980-88: Bill Dixon, Gerald Wilson, John Zorn, Buell Neidlinger

Jazz in un giorno d'estate

Play Episode Listen Later Aug 18, 2019 29:37

Jazz in un giorno d'estate del lun 19/08

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Whit Dickey

Play Episode Listen Later Jul 4, 2019 85:36

Support Burning Ambulance on Patreon Get the Burning Ambulance email newsletter Drummer Whit Dickey is a well-known figure on the New York free jazz scene; he came to prominence as a member of the Matthew Shipp Trio and the David S. Ware Quartet in the 1990s, but has made multiple albums as a leader and collaborated with a lot of other musicians, including Joe Morris, Ivo Perelman, and Mat Maneri. His latest releases are a double CD, Tao Quartets, on AUM Fidelity — each CD features a different band — and a duo CD with cornet player Kirk Knuffke, Drone Dream, on NoBusiness. In this interview, we talk about the evolution of his style, the musicians he studied with — including Bill Dixon, Milford Graves, and Andrew Cyrille — and his various bands and projects. We also talk about aspects of his personal life that some listeners and fans may not know about. It's one of the longest episodes I've done, but it's really interesting, and I hope you'll enjoy listening to it. This episode is sponsored by nugs.net - visit nugs.net/burningambulance to get 35% off a year's subscription. Music heard in this episode: Whit Dickey, "Suite for DSW" (Tao Quartets) Whit Dickey/Kirk Knuffke, "Soaring" (Drone Dream) Whit Dickey, "Ethereality" (Tao Quartets)

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Whit Dickey