Eight Jazz Composers Selected To Have Works Performed By Orchestra

From A Blog Supreme:

Over the summer, Columbia University hosted the Jazz Composers Orchestra Institute, a collaborative effort between its Center for Jazz Studies and the American Composers Orchestra. Around 30 composers in the field of jazz were invited to participate in a week’s worth of seminars and workshops to learn about orchestral techniques, as recently reported on Weekend Edition and in an earlier post.

Knowledge may be its own reward, but there was also a tasty carrot for those who attended: Eight of the composers would be selected to have their works performed in public readings by the ACO in June 2011. A Blog Supreme is honored to announce those winners:

Harris Eisenstadt
Mark Helias
Adam Jenkins
Erica Lindsay
Nicole Mitchell
Rufus Reid
Jacob Sacks
Marianne Trudel
Volker Goetze and Joel Harrison were selected as alternates.

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Yuriy Yaremchuk and Ilia Belorukov have recorded a sax duet that is available for free streaming and download.

Alarm Press offers their 100 unheralded albums of 2010. While not all avant, you’ll find a lot of goodies in the list.

James Falzone has reached his Kickstarter goal for funding his new album.

The Issue Project Room has released a collection of their recordings, available via the Free Music Archive.

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Petr Kotir and Christian Wolff Interviewed

Morton Feldman
Cover of Morton Feldman

From File Under?, a short interview/preview in anticipation of their upcoming SEM concert:

Since 1984, the SEM Ensemble, directed by Petr Kotik, has given annual Christmas concerts. But these are not your usual holiday fare! The programs mix works from the New York School, other pieces in the avant-garde/experimental tradition, and early music. On Tuesday evening December 21 at the Paula Cooper Gallery in Chelsea, SEM will present J. S. Bach’s Fugue in 6 Voices from A Musical Offering (1747), Kotik’s 1st String Quartet (2007-’10), Why Patterns? (1978) by Morton Feldman, and two works by Christian Wolff: Small Preludes (2009-’10) and, incredibly, the American premiere of a work dating from 1958: For Six or Seven Players (for Merce Cunningham).

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