This document provides reviews of several jazz saxophone albums: Dickie Landry's "Fifteen Saxophones" mixes Glass' minimalism with improvisation; John Berndt's "New Logic for Old Saxophones" explores signs and synchronicity; Travis LaPlante's "Heart Protector" works with integrating human objects through various tones and contrasts. Neil Welch's "Boxwork" plays with extended sequences that burst into lyricism over short tracks.
BRAVO! A Cultural Crossroads of Physics and the Performing ArtsScott Pfeiffer
Hill Auditorium celebrated 100 years and a special kind of acoustic excellence. The presentation was given to Saturday Morning Physics and University Music Society guests. Video of the original presentation is available at: http://lecb.physics.lsa.umich.edu/CWIS/browser.php?ResourceId=4381
Jamie Renton is given the opportunity to DJ at a local bar called Darbucka. With no prior DJ experience, he nervously agrees. At his first lesson, the resident DJ Karim shows Jamie the basics of fading between songs and mixing beats. For his debut, Jamie struggles at first but eventually finds his rhythm. The party crowd enjoys Jamie's global music selection as well as more familiar hits. Karim advises Jamie to play what he loves rather than just pleasing the crowd. Jamie interviews several expert DJs for tips, including Dave Hucker, a pioneer of world music DJing, and Eric Soul, who blends global beats for clubs.
This document provides summaries of sound design and composition work by Patrick Jansen for various theatrical productions. It describes 15 projects, listing for each the title, play, concept, instruments/software used, and a brief description of the sound design or composition. The projects cover works for plays such as "Eurydice", "Arcadia", "Art", and others. Methods include live instrumentation, field recordings, digital signal processing and others.
1) Manchester Orchestra's latest album Mean Everything To Nothing features their most aggressive and fully realized sound yet, with tracks like "The Only One" and "In My Teeth" fleshing out Andy Hull's personal manifestos and religious commentary.
2) Fareed Haque's album Flat Planet mixes Middle Eastern influences with rock, classical structures, and jazz in a style recalling John McLaughlin, particularly McLaughlin's jazz fusion project Mahavishnu Orchestra.
3) Jason Lytle's solo debut Yours Truly, The Commuter features trembling, evocative tracks that are recognizable as Lytle's style from his work with Grandaddy, but stand firmly as his first solo work
This document provides production details for Natalie Cole's recording of "Nature Boy". It describes the large orchestra and jazz rhythm section personnel, recording studios used, arrangement styles that blend orchestral and jazz elements, mic techniques, and mixing details. The orchestration captures the lonely yet wise nature of the song's protagonist through dramatic textures and solo flourishes that set a melancholy yet magical tone.
Connecticut Home - "A Welcome Home"NECArchitects
This document provides an overview of a contemporary home located on the Connecticut shoreline. The home was designed by architect Tom Edwards to have an open floor plan with intimate spaces while maximizing views of Long Island Sound. Beyond its modest exterior, the home features many artistic details and whimsical elements throughout that reflect the lively family. Working with the architect, the homeowner enjoyed the creative collaboration and the end result was a unique home that is accessible, livable and takes full advantage of its waterfront location and stunning views.
This document summarizes a home belonging to Kimberly Blue located in Greenwich, Connecticut. The home features a tower room with six arched windows providing natural light and a quiet space. Kimberly brought ebonized Regency chairs from her previous home to pair with a gilded Guéridon table in the tower room. The penthouse offers views of the New York City skyline and provides Kimberly with a fresh perspective after leaving her career on Wall Street.
BRAVO! A Cultural Crossroads of Physics and the Performing ArtsScott Pfeiffer
Hill Auditorium celebrated 100 years and a special kind of acoustic excellence. The presentation was given to Saturday Morning Physics and University Music Society guests. Video of the original presentation is available at: http://lecb.physics.lsa.umich.edu/CWIS/browser.php?ResourceId=4381
Jamie Renton is given the opportunity to DJ at a local bar called Darbucka. With no prior DJ experience, he nervously agrees. At his first lesson, the resident DJ Karim shows Jamie the basics of fading between songs and mixing beats. For his debut, Jamie struggles at first but eventually finds his rhythm. The party crowd enjoys Jamie's global music selection as well as more familiar hits. Karim advises Jamie to play what he loves rather than just pleasing the crowd. Jamie interviews several expert DJs for tips, including Dave Hucker, a pioneer of world music DJing, and Eric Soul, who blends global beats for clubs.
This document provides summaries of sound design and composition work by Patrick Jansen for various theatrical productions. It describes 15 projects, listing for each the title, play, concept, instruments/software used, and a brief description of the sound design or composition. The projects cover works for plays such as "Eurydice", "Arcadia", "Art", and others. Methods include live instrumentation, field recordings, digital signal processing and others.
1) Manchester Orchestra's latest album Mean Everything To Nothing features their most aggressive and fully realized sound yet, with tracks like "The Only One" and "In My Teeth" fleshing out Andy Hull's personal manifestos and religious commentary.
2) Fareed Haque's album Flat Planet mixes Middle Eastern influences with rock, classical structures, and jazz in a style recalling John McLaughlin, particularly McLaughlin's jazz fusion project Mahavishnu Orchestra.
3) Jason Lytle's solo debut Yours Truly, The Commuter features trembling, evocative tracks that are recognizable as Lytle's style from his work with Grandaddy, but stand firmly as his first solo work
This document provides production details for Natalie Cole's recording of "Nature Boy". It describes the large orchestra and jazz rhythm section personnel, recording studios used, arrangement styles that blend orchestral and jazz elements, mic techniques, and mixing details. The orchestration captures the lonely yet wise nature of the song's protagonist through dramatic textures and solo flourishes that set a melancholy yet magical tone.
Connecticut Home - "A Welcome Home"NECArchitects
This document provides an overview of a contemporary home located on the Connecticut shoreline. The home was designed by architect Tom Edwards to have an open floor plan with intimate spaces while maximizing views of Long Island Sound. Beyond its modest exterior, the home features many artistic details and whimsical elements throughout that reflect the lively family. Working with the architect, the homeowner enjoyed the creative collaboration and the end result was a unique home that is accessible, livable and takes full advantage of its waterfront location and stunning views.
This document summarizes a home belonging to Kimberly Blue located in Greenwich, Connecticut. The home features a tower room with six arched windows providing natural light and a quiet space. Kimberly brought ebonized Regency chairs from her previous home to pair with a gilded Guéridon table in the tower room. The penthouse offers views of the New York City skyline and provides Kimberly with a fresh perspective after leaving her career on Wall Street.
The Music Business and Technology Program at New York University offers both undergraduate and graduate degrees combining music studies with technology. The program maintains recording studios and computer music labs, and places students in internships with music industry partners. It encourages collaborations between music, technology, and other arts disciplines. Students can also participate in international programs in Italy, combining performance, composition, and technology.
The document discusses and analyzes Victor Lopez's shortened version of the song "Stairway to Heaven" by Led Zeppelin. It argues that Lopez's version fails to convey the same mood and effect as the original due to ineffective manipulation of structure, timbre, and melody. Specifically, it completely changes the genre and lacks sensitivity to the original composition's style of building harmonies like an "army." The introduction immediately features all instruments playing and attempts the chorus, contrasting Led Zeppelin's idea of one melody gradually growing.
The document provides an analysis of the Riverview High School Kiltie Band's Fall Concert held on November 16th, 2017. Approximately 200 people attended. The Wind Ensemble's first piece was First Suite in E Flat for Military Band, Op. 28, No.1 by Gustav Holst. The piece has three movements with different forms and characters. The document then describes the tempo, time signature, melody, and instrumentation of each movement.
This document provides an overview of musical instruments and their use in orchestras and bands. It describes the main instrument families including strings, woodwinds, brass and percussion. It explains that strings are bowed or plucked, woodwinds are played by blowing air through them, and brass and percussion instruments are struck or blown. The document also gives brief descriptions of some common instruments within each family.
The document is a concert guide for the 2012-2013 season of the Detroit Symphony Orchestra. It features several classical music series, pops concerts, and neighborhood performances. Highlights of the season include performances of works by Beethoven, Rachmaninoff, and Tchaikovsky, and guest appearances by artists like Joshua Bell, Al Jarreau, and Kenny G.
This document provides information about a concert featuring works by Modest Mussorgsky, Camille Saint-Saëns, and Modest Mussorgsky being held on October 28th, 2016 at 8 PM at Commonwealth & Poe. The program includes Khovantchina Overture, Danse Macabre, Night on Bald Mountain, and Conte Fantastique (The Mask of the Red Death) featuring harpist Isabelle Frouvelle. Brief biographies of the conductor David Grandis and soloist Isabelle Frouvelle are also included, as well as program notes on Danse Macabre and Night on Bald Mountain. The roster of orchestra members and information on the student leadership is
This document provides an overview of many traditional musical instruments from different families (woodwinds, brass, strings, percussion). It discusses the origins and characteristics of common instruments like the flute, oboe, clarinet, bassoon, saxophone, trumpet, French horn, trombone, tuba, violin, viola, cello, double bass, and piano. The document emphasizes that musical instruments vary widely across cultures and have diverse histories, and aims to introduce the reader to some standard orchestral instruments.
This document provides information about an inaugural concert presented by the Harvard Summer Chamber Orchestra on August 7, 2016. It summarizes the program, which included works by Mozart, Sibelius, and Copland. Brief notes are also provided on each work, describing their musical and narrative elements. The document aims to introduce the audience to the new orchestra and the music that will be performed at the free inaugural concert.
Johann Sebastian Bach was a famous German composer and musician born in 1685. He composed many pieces for keyboard instruments and later in life wrote more solemn pieces, often for woodwinds. Some of his most famous works include the Brandenburg Concertos, The Well-Tempered Clavier, and the Mass in B Minor. Bach had a passion for music from a young age and became one of the greatest composers of the Baroque period.
The Music Business and Technology Program at New York University offers both undergraduate and graduate degrees combining music studies with technology. The program maintains recording studios and computer music labs, and places students in internships with music industry partners. It encourages collaborations between music, technology, and other arts disciplines. Students can also participate in international programs in Italy, combining performance, composition, and technology.
The document discusses and analyzes Victor Lopez's shortened version of the song "Stairway to Heaven" by Led Zeppelin. It argues that Lopez's version fails to convey the same mood and effect as the original due to ineffective manipulation of structure, timbre, and melody. Specifically, it completely changes the genre and lacks sensitivity to the original composition's style of building harmonies like an "army." The introduction immediately features all instruments playing and attempts the chorus, contrasting Led Zeppelin's idea of one melody gradually growing.
The document provides an analysis of the Riverview High School Kiltie Band's Fall Concert held on November 16th, 2017. Approximately 200 people attended. The Wind Ensemble's first piece was First Suite in E Flat for Military Band, Op. 28, No.1 by Gustav Holst. The piece has three movements with different forms and characters. The document then describes the tempo, time signature, melody, and instrumentation of each movement.
This document provides an overview of musical instruments and their use in orchestras and bands. It describes the main instrument families including strings, woodwinds, brass and percussion. It explains that strings are bowed or plucked, woodwinds are played by blowing air through them, and brass and percussion instruments are struck or blown. The document also gives brief descriptions of some common instruments within each family.
The document is a concert guide for the 2012-2013 season of the Detroit Symphony Orchestra. It features several classical music series, pops concerts, and neighborhood performances. Highlights of the season include performances of works by Beethoven, Rachmaninoff, and Tchaikovsky, and guest appearances by artists like Joshua Bell, Al Jarreau, and Kenny G.
This document provides information about a concert featuring works by Modest Mussorgsky, Camille Saint-Saëns, and Modest Mussorgsky being held on October 28th, 2016 at 8 PM at Commonwealth & Poe. The program includes Khovantchina Overture, Danse Macabre, Night on Bald Mountain, and Conte Fantastique (The Mask of the Red Death) featuring harpist Isabelle Frouvelle. Brief biographies of the conductor David Grandis and soloist Isabelle Frouvelle are also included, as well as program notes on Danse Macabre and Night on Bald Mountain. The roster of orchestra members and information on the student leadership is
This document provides an overview of many traditional musical instruments from different families (woodwinds, brass, strings, percussion). It discusses the origins and characteristics of common instruments like the flute, oboe, clarinet, bassoon, saxophone, trumpet, French horn, trombone, tuba, violin, viola, cello, double bass, and piano. The document emphasizes that musical instruments vary widely across cultures and have diverse histories, and aims to introduce the reader to some standard orchestral instruments.
This document provides information about an inaugural concert presented by the Harvard Summer Chamber Orchestra on August 7, 2016. It summarizes the program, which included works by Mozart, Sibelius, and Copland. Brief notes are also provided on each work, describing their musical and narrative elements. The document aims to introduce the audience to the new orchestra and the music that will be performed at the free inaugural concert.
Johann Sebastian Bach was a famous German composer and musician born in 1685. He composed many pieces for keyboard instruments and later in life wrote more solemn pieces, often for woodwinds. Some of his most famous works include the Brandenburg Concertos, The Well-Tempered Clavier, and the Mass in B Minor. Bach had a passion for music from a young age and became one of the greatest composers of the Baroque period.
1. C D R EV I EWS
achieved from these ships foraying into the open sea create, so this is a satisfying listening workout without
and chiming the bells of freedom. Braxton’s double getting too grueling. Welch’s titles - “Black Sequence”,
blessing, though, was that, as much as these “Point and Line”, “Rothko” - obviously come from the
saxophonists following in his wake are still inspired visual arts. What’s more, they imply a concern with the
and inspiring, much else is left to be explored and basic, elemental properties of art, line and shade. As
mapped among the islands and rocks in inlets and Berndt intervolves time and space, so Welch does sight
harbors. Their mode is more plaintive and placid; God and sound, endowing us with new sensory balance
is in the details here, the fine textures and patterns on and a light afterglow.
the undersides of plant and wildlife. But Braxton can’t
Family be escaped, even here. Among the contemplative For more information, visit unseenworlds.net,
3 Cohens (Anzic) complexities on offer, bursts of energy, sometimes creativesourcesrec.com, skirlrecords.com and
by Andy Vélez disturbing, sometimes jubilant, come to the surface. tableandchairsmusic.com. LaPlante plays solo at Performers
Dickie Landry was an original member of the Forum Nov. 5th and Barbès Nov. 30th. He is also at Death
F amily is the third album from the Israeli Cohen Philip Glass Ensemble in the ‘70s. Fifteen Saxophones, By Audio Nov. 2nd with Little Women. See Calendar.
siblings, Anat, Avishai and Yuval, each of whom has also from the ‘70s, is an emotional amalgam of Glass’
established individual careers. The set mixes standards cycle-driven minimalism and the unexpected
with tunes by Avishai and Yuval and a Semitically- asymmetries of jazz-related improvisation. Landry
rocking “Tiger Rag” arranged by Anat. The opener is uses echo effects, creating an ensemble effect, but the
Avishai’s “Shufla De Shufla”, which roughly translates ultimate relation here is between him and his listener,
as “the best of the best” from Aramaic, an ancient whom he takes on a ride with initial turbulence but
language of the Middle East. With Avishai’s trumpet ultimate peace and exuberance. The first and title track
leading the way, it’s a bouncy, feel-good tune. He and mixes an ostinato in the bass with meandering melodies
pianist Aaron Goldberg are stage front, knocking it in the treble. Gradually, the ostinato takes on a life of
www.innova.mu
back and forth, with some extended, golden phrasing its own and begins to dominate the treble melodies,
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from Avishai. As with much of the set the effect is like which stay more or less the same. Somehow this is a
www.composersforum.org
a big band with only a handful of players. disturbing number, where the parts are thrown
Yuval’s tune “Blues for Dandi’s Orange Bull deliberately out of sync. “Alto Flute Quad Delay”, by
Chasing An Orange Sack” begins with a totally contrast, is supremely peaceful, in sync with melodic
different feel. After a very bluesy piano solo, the pace lines that hang like cumulus clouds rather than coalesce
picks up with some subtle brushwork from drummer into tunes. The final cut, “Kitchen Solos”, is a powerful
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Gregory Hutchinson, things heating up with a fervent catharsis. Starting with a one-man fanfare of arpeggios, THE
conversation between Anat’s tenor and Yuval’s it is all about change and disruption put to good use. DIFFERENT
soprano. Goldberg again takes the lead-in on As it progresses, major chords slip in and even some DRUMMER
Ellington’s slyly insinuating masterpiece “The growling and harmonics.
Mooche”. It quickly becomes an opportunity for John Berndt is a master geometer in addition to
blazing brass with piano and drums keeping everyone being a crackerjack organizer of sound and people. ...IS ON OUR LABEL
on course until Anat steps in with some wailing New Logic for Old Saxophones is true to its title,
clarinet. When Avishai comes in on trumpet, it is the concerned with signs and synchronicity, the objects of
family Cohen in totally swinging sync. Another choice
oldie to get Cohen-ized is “On the Sunny Side of the
phenomenology, the school of formal logic that has in
many ways supplanted traditional Aristotelian logic.
2011July.indd 1
RECOMMENDED 6/17/11 3:52 PM
Street”, one of two tunes (the closing “Roll ‘Em Pete”
the other) on which vocalese legend Jon Hendricks
This new school recognizes that signs contaminate as
much as they represent. A sign can become its object,
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guests. Piano and drums frame him perfectly as he which in turn becomes another sign. In Berndt’s case, • The Claudia Quintet + 1 - What Is the Beautiful?
scats the second chorus, radiating happy, musical this means a temporal or historical sense complements (Cuneiform)
know-how to his fingertips. the spatial dimension implied by geometry. One track • Amir ElSaffar Two Rivers Ensemble - Inana (Pi)
After all of the party music, Avishai’s meditative is dedicated to Anthony Braxton, another to young • Joel Frahm Quartet - Live at Smalls (smallsLIVE)
title track is something of a surprise. It moves between European saxophonist Christine Sehnaoui-Abdelnour. • Brad Mehldau/Kevin Hays -
the horns, organically starting with the tenor then to Berndt takes these divergent sources and puts them on Modern Music (Nonesuch)
soprano and finally trumpet. As a unit, the Cohens are one plane. Their edges are jagged though and buck • Ted Rosenthal Trio - Out of This World (Playscape)
at once cohesive, serious and celebratory. homeostasis. New rhythms accrue and a new sense of • Tony Malaby’s Novela - Eponymous (Clean Feed)
time even evolves. David Adler
For more information, visit anzicrecords.com. This group is Travis LaPlante on Heart Protector also works with New York@Night Columnist
at Village Vanguard Nov. 1st-6th. See Calendar. the trials of integrating massive human objects. The
title track, with its long, lugubrious tones, suggests a • Ido Bukelman/Daniel Davidovsky/Ofer Bymel -
late Christian spiritual like “Abide with Me”. Sharp on EFT (OutNow)
the heels of this is “Five Points”, an exercise in tonal • Darius Jones Trio - Big Gurl (Smell My Dream)
contrasts where bass notes are interspersed with high (AUM Fidelity)
notes, creating a fugal counterpoint that relates as • Misha Mengelberg/Piet Noordijk Quartet -
much to Coltrane as to Bach. “The Great Mother” Journey (Music Center The Netherlands)
involves harmonics and serene but piercing flights of • Lina Nyberg - Palaver (Moserobie)
cicada sound, separated by spaces of silence that • Michel Pilz/Bob Degen Quartett -
slowly close in, until all appears as in the gathered Tilly’s Eyes (JazzHaus Musik)
colors of a prism. “She Heals as She Harms” begins • Greg Ward’s Phonic Juggernaut -
with a rich flurry of notes that gather into speedy Eponymous (Thirsty Ear)
major arpeggios into which more harmonics enter, Laurence Donohue-Greene
LaPlante exploring the natural interplay of the Managing Editor, The New York City Jazz Record
saxophone’s technical components. A high-pitched
Fifteen Saxophones fluttering follows like a songbird tumbling out of a • Bad Luck - Two (Tables & Chairs)
Dickie Landry bush and abruptly erupts into a wailing, squealing • Michael Bates - Acrobat: Music for, and by, Dmitri
(Northern Light/Wergo - Unseen Worlds) finale. “The Tear Dam”, though mellow, recapitulates Shostakovich (Sunnyside)
New Logic for Old Saxophones the spiritual quality of the opening number and ties • The Jeff Gauthier Goatette - Open Source
John Berndt (Creative Sources) everything up as neatly as a work of the soul can be. (Cryptogramophone)
Heart Protector Travis Laplante (Skirl) Neil Welch’s Boxwork plays with extended one- • Pet Bottle Ningen - Eponymous (Tzadik)
Boxwork Neil Welch (Table & Chairs Music)
tone sequences bursting unexpectedly into varied • RED Trio + John Butcher - Empire (NoBusiness)
by Gordon Marshall • The Kris Wanders Outfit - In Remembrance of the
lyricism. Welch’s box never overheats, however. Its 15
Some saxophone soloists stateside are still eking out tracks are short, ensuring the craft stays calm and Human Race (Not Two)
new blood from Anthony Braxton’s seminal 1969 collected. Welch also makes extended use of harmonics Andrey Henkin
Delmark recording For Alto. There is still profit to be and the virtual chords and counterpoint they can Editorial Director, The New York City Jazz Record
14 November 2011 | THE NEW YORK CITY JAZZ RECORD