Source: Heavy Metal Bebop.
In this series, I’ve spoken with many musicians who have a serious appreciation for heavy metal, and some who have plenty of experience playing it, but Vernon Reid is in another category altogether. He’s a genuine legend of the genre whose band, Living Colour, achieved household-name status with their 1988 debut, Vivid. Both before Living Colour and alongside it, the guitarist and songwriter has worked on the cutting-edge of jazz, playing with artists such as drummer Ronald Shannon Jackson and pianist Geri Allen, as well as in the project Spectrum Road, a tribute to the Tony Williams Lifetime that featured Jack Bruce, John Medeski and Cindy Blackman-Santana. In this episode, Vernon discusses the Decoding Society’s unique musical DNA, how he came to work with Jack Bruce, what makes the power chord essential to his musical arsenal, why the Mahavishnu Orchestra foreshadows Meshuggah and much more.
Source: Point of Departure.
Page One: a column by Bill Shoemaker
Joel Harrison: It’s All Music: an interview with Troy Collins
Fanfare for the Warrior: Remembering Joseph Jarman by John Litweiler
Omnidirectional Projection: Teruto Soejima and Japanese Free Jazz by Pierre Crépon
Ezzthetics: a column by Stuart Broomer
Moment’s Notice: Reviews of Recent Recordings
Source: The New York Times.
In an interview, Kathinka Pasveer, one of Stockhausen’s partners and collaborators, and the musical director of “Aus Licht,” said that for him, “more and more, the music became the most important thing.”
That comfort with conceptual mystery as an organizing element has also had a strong influence on the American composer-saxophonist Anthony Braxton and his “Trillium” series of operas. When I interviewed Mr. Braxton earlier this year, he referred to Stockhausen as a hero, while also expressing his affection for Wagner. (By contrast, Ms. Pasveer said that the music of Wagner made Stockhausen “sick” — and that they once had to leave a performance of “Die Walküre,” after only 20 minutes.)