At home in Faversham in Kent, Evan Parker has the physicality of a contented honey-bear and the joviality of a real-ale enthusiast. He lives, as artists should, in a whitewashed terraced cottage with the dimensions of a Cornish net loft, each subsequent stage stratified with shelves or records, CDs and books. Economics dictate that Parker, who operates at the upper levels of a music that’s often commercially unsustainable, plays all over the world.
From The Boston Globe:
Feldman (1926-1987), after all, was the most painterly of avant-garde composers. He had plenty of musical influences, including Cage and Varese. But as a denizen of the fabled Greenwich Village scene of the 1950s, he was also intoxicated by the new energy in painting he saw bursting forth all around him. He once described his own works as “time canvases,” adding: “I more or less prime the canvas with an overall hue of the music.”
From Pittsburgh City Paper:
A good teacher presents ideas or disciplines that stay with students for years. Ben Goldberg understands this. Laying claim to a diverse set of recordings and projects, the clarinetist has blended traditional klezmer music with avant-garde jazz, and folk and bluegrass with chamber music. But while he’s talking about his own music, it becomes clear that the impact of two instructors has helped to shape the perspective he brings to his work.
Tomasz Stańko is by far the most accomplished Polish jazz musician. Throughout his incredible career he has recorded cult albums, been present for years in the top ten of Downbeat’s annual critics poll, and despite being an active musician for over 50 years, he shows no sign of slowing down any time soon. In spite of being the jazz giant of our times, he also has an incredibly interesting and controversial personality.
From Walker Art Center:
Musical revolutions tend to have a spontaneous, spasmodic outlier quality about them. They poke the status quo and then have to weather a pushback that tests their survivalist mettle and ability to create appreciative audiences in sync with their intuitions and intentions. Such is the case with the Association for the Advancement of Creative Musicians.
From Jazz Police:
Regarded as the incubator of avant garde jazz, Chicago’s Association for the Advancement of Creative Musicians (AACM) is a non-profit “collective of musicians and composers dedicated to nurturing, performing, and recording serious, original music.” In honor of AACM’s 50th anniversary, jazz drummer, composer, and NEA Jazz Master Jack Dejohnette revisits his roots in the avant-garde scene in a concert featuring three of the greatest artists to emerge from the AACM: pianist/composer Muhal Richard Abrams and reedists/composers Henry Threadgill and Roscoe Mitchell. The quintet is completed by prolific Chicago bassist Larry Gray. Following their debut gig at the 2013 Chicago Jazz Festival, a New York show in February 2015, and the March 10th release of their album Made in Chicago (ECM), DeJohnette and company now bring the music to the Walker Art Center in Minneapolis on Thursday, March 12, in the McGuire Theater (8 pm).