Source: Milner on Music. This is just one of many recent articles (another is here), and even a book chapter, in which the author is torn on Zappa – between his brilliance, his low-brow humor, and his consistently many less redeeming qualities. Zappa is being revisited and his ugly side explored. There’s no genius pass anymore.
I’ve been thinking about Frank Zappa lately. Why? A few days ago, writer and critic Steve Smith wrote a little post (and some tweets) about seeing The Zappa Band, and mentioned he used to be a fan, then went through a period where he wasn’t, but has sort of come around a little. And it got me to thinking about how I, a trans woman in her mid 30s, thinks about and tries to enjoy the music of one of classic rock’s biggest misogynists, when I’m the kind of person Zappa would have enjoyed pissing off.
Source: University of Antwerp.
For more than half a century Anthony Braxton has played a key role in contemporary and avant-garde- music as a composer, multi-instrumentalist, music theorist, teacher, mentor and visionary. Inspired by Jazz, European art music, and music of other cultures, Braxton labels his output ‘Creative Music’. This international conference will be the first one dealing with his multifaceted work, discussing different research projects concerned with Braxton’s compositional techniques as well as his music-philosophical thinking. In addition to this we will also look at his legacy, taking this vast body of work as a unique example among many to offer a different perspective on the eurocentric canon of post-war Western art music. The conference will take place from June 3rd. to 5th 2022 at De Singel International Arts Campus in Antwerp, Belgium.
Source: The New York Times.
Since his teens, O’Farrill has prioritized restraint, so that his huge range of inspirations — Olivier Messiaen’s compositions, Miles Davis’s 1970s work, the films of Alfonso Cuarón, the novels of D.H. Lawrence, the contemporary American-Swedish composer Kali Malone — could emulsify into something personal, and devilishly tough to pin down.
Source: burning ambulance.
William Parker had been a close musical partner of pianist Matthew Shipp since at least the early 1990s. They first appeared on record together on saxophonist David S. Ware’s Flight of I, which was recorded in December 1991. Between 1991 and 2000, they made over 20 albums together, either under Shipp’s name or as a duo, or with Ware, or saxophonist Ivo Perelman, or guitarist Joe Morris. So when Shipp became the artistic director of the Thirsty Ear label’s Blue Series, a collection of modern avant-garde jazz recordings which would ultimately span more than 60 albums over nearly two decades, one of the first was William Parker’s Painter’s Spring, a trio disc featuring saxophonist Daniel Carter and drummer Hamid Drake.