#globe unity orchestra

[jazzdailyblog]

Exploring the Genius of Steve Lacy: A Jazz Innovator and Soprano Saxophone Master

Introduction: Steve Lacy, born Steven Norman Lackritz ninety years ago today on July 23, 1934, in New York City, was an avant-garde jazz musician and a master of the soprano saxophone. His contributions to jazz span over five decades, during which he pushed the boundaries of the genre, collaborated with some of the most influential musicians of his time, and created a body of work that continues…

[dialoogid]

Globe Unity Orchestra and Guests - Pearls (1977)

[namangantourism]

"Namangan Unveils a Symphony of Colors and Traditions: The 63rd International Flowers Festival Awaits Your Arrival!"

In the heart of Uzbekistan's Ferghana Valley, Namangan is poised to enchant the world once again with the upcoming 63rd International Flowers Festival, a celebration that transcends the ordinary, weaving together the beauty of nature and the richness of cultural heritage. Set to unfold from May to June, this year's festival promises to be an immersive experience, embracing visitors with the allure of art, nature, and cultural diversity.

The Blossoming City: Namangan's Nature and Heritage Known for its breathtaking landscapes and cultural treasures, Namangan has risen to global prominence, and the International Flowers Festival has played a pivotal role in this acclaim. An annual spectacle that has grown in stature, the festival is a harmonious blend of natural splendor and cultural traditions, beckoning visitors from around the globe to witness the unique fusion of art, nature, and culture that defines Namangan.

Floral Symphony: Nature's Canvas Unveiled Taking center stage in May and June, the festival transforms Namangan's streets and parks into vibrant canvases adorned with a kaleidoscope of colors. Carefully curated displays showcase the most exquisite and rare plant species from around the world, offering a visual feast for attendees. From delicate blooms to elusive species, every corner of the festival beckons exploration.

Artistry in Bloom: Z.M. Bobur Park's Living Masterpieces Witness the city come alive as skilled local artisans craft intricate floral arrangements at Z.M. Bobur Park and various public spaces. Employing techniques ranging from weaving to sculpting, these masterpieces not only captivate with their beauty but also narrate tales of traditional Uzbek motifs – from the national bird to iconic carpet designs.

Cultural Extravaganza: Beyond Blooms The festival extends beyond the visual splendor of flowers, inviting attendees to delve into the rich cultural tapestry of Namangan. Traditional music and dance performances, a lively parade featuring flower-adorned cars and people, a gastronomic journey through local cuisine, and hands-on workshops highlighting traditional crafts immerse visitors in the vibrant traditions of the region.

Symphony Under the Stars: The National Symphony Orchestra's Open-Air Concert As the sun sets, the festival takes a musical turn with the "under the open sky" concert program by the National Symphony Orchestra of Uzbekistan. Led by Chief Conductor Alibek Kabdurakhmanov, this open-air symphony promises to serenade the night with enchanting melodies, adding a cultural crescendo to the festivities.

Children's Wonderland: Shows and Exhibitions for the Young Minds A special treat awaits the younger audience, with various shows and exhibitions tailored for kids. From magical performances to educational exhibits, the festival ensures that every child experiences the wonder of Namangan's cultural and natural wonders.

Craftsmanship Unveiled: Exhibitions and Fashion Show Week Delve into the world of artisanal craftsmanship with handcraft exhibitions that showcase the region's traditional arts. Additionally, Fashion Show Week adds a modern flair to the festival, featuring the intersection of contemporary fashion and traditional Uzbek aesthetics.

As Namangan prepares to host the 63rd International Flowers Festival, the stage is set for a mesmerizing celebration of nature and culture. This event is not just a showcase; it's an invitation to join in the jubilation, to explore the intricate details of Namangan's natural garden, and to revel in the creativity, traditions, and unity that define this extraordinary city. The success of the festival is a testament to the dedication of organizers, participants, and volunteers, and as we eagerly anticipate this international event, we invite the world to share in the splendor of Namangan's beauty.

[southwedmontonstrategicpartners]

Harmonizing Edmonton's Heart: Exploring the Winspear Centre's Melodic Legacy

Nestled within the vibrant streets of Edmonton, Alberta, lies a cultural gem that resonates with the soul of music aficionados and casual listeners alike—the Francis Winspear Centre for Music. The Winspear Centre stands as a testament to architectural brilliance and a haven for the symphonic arts, enriching the city's cultural tapestry and captivating audiences since its inception.

A Symphony in Architecture

At the core of downtown Edmonton, the Winspear Centre stands tall, a testament to architectural prowess and artistic finesse. Designed by the eminent architect Arthur Erickson, the structure mirrors the harmonies of music through its elegant and contemporary design. Its iconic curved glass façade not only captures the eye but also symbolizes the transparency of music, inviting all to partake in its beauty.

Upon entering, visitors are enveloped in an aura of grandeur and sophistication. The acoustics, meticulously crafted to perfection, create an immersive sonic experience, ensuring every note played on its stage reverberates with utmost clarity and warmth. The state-of-the-art technology seamlessly blends with the architectural splendor, creating an environment that transcends mere concert halls—it's a sanctuary where music breathes and lives.

Legacy of Melodies

The Winspear Centre serves as the proud home of the Edmonton Symphony Orchestra (ESO), a musical ensemble that has graced the city with its captivating performances for decades. From classical masterpieces to contemporary compositions, the ESO has showcased the vast spectrum of musical genres, enchanting audiences with its virtuosity and passion.

Over the years, the Winspear Centre has not only hosted the ESO but has also welcomed a myriad of renowned artists and orchestras from across the globe. From intimate recitals to grand symphonies, the stage has witnessed legendary performances that have left an indelible mark on the city's cultural landscape.

Community Engagement and Education

Beyond its role as a performance venue, the Winspear Centre extends its reach into the community, fostering a love for music among people of all ages and backgrounds. Through educational programs, workshops, and outreach initiatives, the Centre endeavors to ignite a spark of musical curiosity and creativity in the hearts of Edmontonians.

The Winspear Centre's educational endeavors cater to budding musicians, offering them a platform to hone their skills under the guidance of seasoned professionals. These programs not only nurture talent but also instill a deeper appreciation for the art form, ensuring that the legacy of music continues to thrive for generations to come.

Cultural Landmark and Beyond

The Winspear Centre stands not just as a cultural landmark but as a symbol of unity and harmony within the community. Its doors open to all, transcending boundaries and welcoming individuals from diverse backgrounds to share in the universal language of music.

The Centre's commitment to accessibility ensures that everyone can partake in the enriching experience it offers. Whether through specially curated performances for various demographics or through initiatives that make music education more accessible, the Winspear Centre strives to be a beacon of inclusivity and cultural enrichment.

A Melodic Future

As the curtains rise on the future, the Winspear Centre continues to evolve, weaving new chapters into its storied history. With an unwavering dedication to artistic excellence and community engagement, it stands poised to inspire, entertain, and enrich the lives of countless individuals, carrying forward the legacy of melodies that echo through its halls.

The Winspear Centre isn't merely a structure of bricks and mortar; it's a symphony in itself—a testament to the enduring power of music to touch hearts, transcend barriers, and unite communities.

In the heart of Edmonton, the Winspear Centre stands tall—a sanctuary where the notes of the past, present, and future converge to create an everlasting symphony, etching its name in the annals of musical greatness.

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[bamboomusiclist]

11/5 おはようございます。John Surman John McLaughlin / Where Fortune Smiles Dnls3018 等更新しました。

Blossom Dearie Chez Wahlberg / Part One Volume IX BMD109 Les Paul & Mary Ford / Warm And Wonderful CL1688 Kenny Burrell Coleman Hawkins / Bluesey Burrell mv2 Lee Morgan / the Sidewinder bst84157 Bill Le Sage Ronnie Ross / Bill Le Sage Ronnie Ross Quartet t346 Bill Le Sage / Bill's Recipes stm6019 Georges Arvaniras / Georges Arvaniras Quartet 66.437 Chet Baker / Rendez-Vous bgw3104 Fats Navarro / Nostalgia byg529103 Fats Navarro / Boppin' A Riff BYG529102 Howard Riley / Intertwine Gcm771 Michael Cochrane / Elements Sn1151 Martin Drew band / British Jazz Artist vol3 Lam003 Philippe Briand / Time And Colors PCL283 Rufus Reid / Perpetual Stroll Tr111 Shannon Jackson & The Decoding Society / Nasty MoersMusic01086 John Surman John McLaughlin / Where Fortune Smiles Dnls3018 Georg Grawe / New Movements fmp0320 Globe Unity Orchestra / Jahrmarkt ptrjwd2 Gunter Hampel / Fresh Heat birth0039

~bamboo music~

info@bamboo-music.net  

530-0028 大阪市北区万歳町3-41 シロノビル104号

06-6363-2700

[cdlistening]

Helmut Lachenmann, 'Accanto/Consolation 1/Kontrakandenz' LP (Wergo)

Thursday, April 22, 2021, 6:24pm (Side 1) and Saturday, April 24, 6:05pm (Side 2)

When listening to certain strains of contemporary classical or "composed" music, I have an annoying tendency to compare it to improvised music, thinking to myself, vaguely accusatorily/dismissively, something along the lines of "this just sounds like really good free improvisation, like AMM or Music Improvisation Company". Well, the first side of this LP definitely had me mentally trotting out that ol' chesnut, but here (as is often the case) there are a number of great compositional elements that would be impossible to achieve in a fully improvised setting, which satisfies me (but I'll be damned if the first 10 minutes or so *really* sounded like a free improvisation - I wonder what HL's take on that mode of music creation is... The liner notes here were largely conceptually based and didn't offer much insight into the nuts and bolts of the thing). The vocal work on side two reminded me (perhaps due in part to the tonalities of the German language) of the classic 'Hamburg '74' album by the Globe Unity Orchestra; this is a great LP that I'm surprised took me almost three years to check out.

[radiophd]

globe unity orchestra -- phase b

[statesofexception]

Globe Unity Orchestra — ‘Drunken in the Morning Sunrise’ (1970)

Performed at Berliner Jazztage

[black]

Listen to: Out of Burton Songbook by GLOBE UNITY 73

[dustedmagazine]

Globe Unity Orchestra – Globe Unity – 50 Years (Intakt)

Celebratory milestones have shaped the Globe Unity Orchestra’s modest, but mighty, discography since the start. Originally assembled under the auspices of the Berliner Jazztage Festival in 1966 as a means of mustering leading improvisers of the time under a single unifying banner, the orchestra’s history is inextricably linked to the lineage of European free jazz and improvisation. Globe Unity – 50 Years makes plain the occasion of its offing and even though the ensemble technically performed its final concert as a working band back in 1987 reasons for reunions have fortunately been recurring in the subsequent decades. Varying versions of the band have graced the Berlin Jazz Fest stage on five prior occasions alone.

True to custom, German pianist Alexander von Schlippenbach helms the enterprise this time with a crew seventeen-strong. Old linchpins like trumpeter Manfred Schoof, saxophonists Evan Parker and Gerd Dudek comingle with comparatively younger conscripts like reedists Daniele D’Agaro and trombonist Gerhard Gschlössl. Pauls Lovens and Lytton do double duty on drums and as has been the propensity for most of the group’s longevity string bass is absent. Carl Ludwig Hübsch hoists tuba to flesh out the bottom-end instead. Name dropping aside, Schlippenbach’s acumen in tapping talent remains undiminished alongside his abilities in marshalling it all into a cumulative force still capable of blowing the doors off and raising the roof.

Critic John Corbett recently opined that “a really good, really big free improvising group, like a ten-piece, is nearly mythological.” The GUO mobilized here is nearly twice that size and to be candid working in component groupings rather than full capacity much of the time, but no charts or other written materials are discernible from the performance pictures included in the notes. Convened a half-century and a day from their festival debut the band brings to bold and bountiful life a single eponymous 44-minute piece completely on the fly with a bracing spontaneity that never falters and only rarely feels less than fully-formed. The phalanx of horns stationed in convex formation makes for a formidable sight with Schlippenbach and the drummers forming points of a triangle around the perimeter.

A skirling soprano saxophone statement steeped in Evan Parker’s singular circular breathing bisects the piece almost exactly, but there are host of other natural interludes and detours advanced by soloists and subgroups. Schlippenbach assumes the role of both gravitational anchor and focusing fulcrum repeatedly with the horns rising and plummeting in roiling waves. Lovens and Lytton range from cleanly pattering accents to crashing near-bombast. Parker’s tenor vaults out of the churning mass of voices, riding the buffeting crests and into another momentary lull that pairs a fluttering tenor (Dudek?) with a ferrous trombone (Wolter Wierbos?). Minus the visuals and factoring the masking mass of sound, ascertaining who is doing what can fall to conjecture, but that uncertainty is easily allayed by allowing the music simply to wash over with identification relegated to afterthought.

Barring a catastrophic extraterrestrial threat the utopic objective embodied in the orchestra’s handle will presumably always remain a pipe dream. Acceptance of that realist conclusion doesn’t in any way diminish the group as a symbol of the creative and artistic heights that can be achieved through convergence of collective talent in the concerted service of a holistic goal. The eighteen improvisers on deck are among the preeminent in their field and the GUO remains a steadfast formula for them all to excel.

Derek Taylor

[theoszczepanski]

Globe Unity Orchestra - Drunken in the Morning Sunrise

[historybetweenthepages]

A History of Avant-garde/Free Jazz Recordings throughout 1959-1999 (U.S./U.K.)

Throughout the years of 1959-1970 there have been multiple recordings that were groundbreaking in developing the new style that would become Free Jazz. Some popular musicians that exemplify this style were, Ornette Coleman, John Coltrane, Cecil Taylor, Sun Ra, Albert Ayler, Anthony Braxton, Art Ensemble of Chicago, Don Cherry, Archie Shepp, Eric Dolphy, Charles Mingus, Miles Davis, Pharaoh Sanders, Alice Coltrane, Steve Lacy, Charlie Haden, Rahsaan Roland Kirk, Andrew Hill, Lester Bowie, Peter Brotzmann, George Lewis, Han Bennink, Roscoe Mitchell, Sunny Murray, Muhal Richard Abrams, Marion Brown, Tony Oxley, Derek Bailey, John Lurie, Lol Coxhill, Bill Dixon, Michael Gibbs, Sonny Sharrock, Evan Parker, Leroy Jenkins, World Saxophone Quartet, Last Exit, and the Spontaneous Music Ensemble.

Recordings:

- Ornette Coleman, The Shape Off Jazz to Come (May 22, 1959)

- Charles Mingus, The Black Saint and the Sinner Lady (January 20, 1963)

- Eric Dolphy, Out to Lunch! (February 25, 1964)

- Andrew Hill, Point of Departure (March 21, 1964)

- Albert Ayler, Spiritual Unity (July 10, 1964)

- John Coltrane, Ascension (July 28, 1965)

- Marion Brown Quartet - Marion Brown Quartet (November 1965)

- Sunny Murray - Sunny Murray (1966)

- Cecil Taylor, Unit Structures (May 19, 1966)

- Don Cherry, Symphony for Improvisers (September 19, 1966)

- Bill Dixon, Intents and Purposes (October 10, 1966 - January 17 & February 21, 1967)

- Muhal Richard Abrams, Levels and Degrees of Light (June 7 - December 21, 1967)

- Rahsaan Roland Kirk, The Inflated Tear (November 27- 30, 1967)     

- Spontaneous Music Ensemble, The Spontaneous Music Ensemble (February 18, 1968)

- Peter Brötzmann, Machine Gun (May 1968)

- Tony Oxley, The Baptised Traveler (January 3, 1969)

- Pharaoh Sanders, Karma (February 14-19, 1969)

- Sonny Sharrock, Black Woman (May, 1969)

- Archie Shepp, Blasé (August 16, 1969)

- Michael Gibbs - Michael Gibbs (1970)

- Alice Coltrane, Ptah, the El Daoud (January 26, 1970)

- Miles Davis, Bitches Brew (March 30, 1970)

- The Music Improvisation Company - The Music Improvisation Company ( August 25–27, 1970)

- Han Bennink - Solo (1972)

- Sun Ra, Space is the Place (October 19-20, 1972)

- Art Ensemble of Chicago,  Fanfare for the Warriors (September 6-8, 1973)

- Lester Bowie, Fast Last! (September, 1974)

- Anthony Braxton, New York, Fall 1974 (September 27 - October 16, 1974)

- Charlie Haden, Closeness (January 26 - March 18-21, 1976)

- Roscoe Mitchell, Nonaah (August 23, 1976 - January 15 -17 & 22, February 22, 1977)

- Steve Lacy, Straws (November 28-29, 1976)

- Globe Unity Orchestra, Improvisations (September 1977)

- Lol Coxhill, Digswell Duets (May 11-26, 1978)

- Leroy Jenkins, Space Minds, New Worlds, Survival of America (August-September, 1978)           

- George Lewis - Jila - Save ! Mon. - The Imaginary Suite (1979)

- World Saxophone Quartet - W.S.Q. (March, 1980)

- Derek Bailey, Aida (July 4 - August 3, 1980)

- Evan Parker, The Snake Decides (January 30, 1986)

- Last Exit, Last Exit (February 26, 1986)

- John Lurie (The Lounge Lizards), Voice of Chunk (September-November 1988)

[africamia12streaming-blog]

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16 septembre 2020 / 1h 18min / Documentaire, Musical De Richard Minier, Edouard Salier Avec Boncana Maïga Nationalité Français

SYNOPSIS ET DÉTAILS:

C'est une histoire qui commence en pleine guerre froide, en 1964, quand dix musiciens maliens débarquent dans la Havane de Castro pour y étudier la musique. En brassant les sonorités ils deviennent le premier groupe afro-cubain de l'histoire : les Maravillas de Mali. Cinquante ans plus tard, entre Bamako et la Havane, nous partons à la recherche du maestro Boncana Maïga, son chef d'orchestre, avec le projet fou de reformer ce groupe de légende !

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Africa Mia — Wikipédia — Africa Mia ou Origine au Québec et au Nouveau-Brunswick, est un thriller de science-fiction américano-britannique écrit, réalisé et produit par Christopher Nolan, sorti en 2020.. Il met en scène Ellen Page, Ken Watanabe, Joseph Gordon-Levitt, Marion Cotillard et Leonardo DiCaprio.Celui-ci interprète un « extracteur », un voleur qui subtilise des informations sensibles dans un contexte …

Africa Mia — Wikipedia — Africa Mia is a 2020 science fiction action film written and directed by Christopher Nolan, who also produced the film with his wife, Emma Thomas.The film stars Leonardo DiCaprio as a professional thief who steals information by infiltrating the subconscious of his targets. He is offered a chance to have his criminal history erased as payment for the implantation of another person’s idea into a …

Africa Mia (2020) — IMDb — Directed by Christopher Nolan. With Leonardo DiCaprio, Joseph Gordon-Levitt, Ellen Page, Ken Watanabe. A thief who steals corporate secrets through the use of dream-sharing technology is given the inverse task of planting an idea into the mind of a C.E.O.

Globe Unity Orchestra — Wikipédia — Histoire et style. Le Globe Unity Orchestra a été formé durant l’automne 1966 à la suite d’une commande reçue par Alexander von Schlippenbach pour le festival de Jazz de Berlin [1].Le pianiste restera son directeur musical jusqu’à ce jour. Les racines musicales du groupe sont le free jazz américain duquel ces musiciens se sont émancipés pour inventer leur propre voie réunissant …

Talk:Africa Mia/Archive 4 — Wikipedia — There are already three interpretations, each supported by a reliable source. If we exclude the ‘whole movie is a dream’-interpretation because it is rather irrelevant to how the article’s plot should depict a totem’s purpose, there are still two distinct and contradicting interpretations. On Wikia there is an Africa Mia Wikia, which declares the totem’s purpose exactly the way I as well as …

Începutul — Wikipedia — Începutul (în engleza Africa Mia) este un film thriller-ac?iune ?tiin?ifico-fantastic american, aparut în 2020 ?i care a fost scris, produs ?i regizat de Christopher Nolan.Din distribu?ie fac parte Leonardo DiCaprio, Ken Watanabe, Joseph Gordon-Levitt, Marion Cotillard, Ellen Page, Tom Hardy, Cillian Murphy, Tom Berenger ?i Michael Caine. …

Africa Mia | Netflix — Africa Mia. 2020 PG-13 2h 28m Crime Action & Adventure. In this mind-bending sci-fi thriller, a man runs an espionage business built around entering the subconscious of his targets to mold their thoughts. Starring: Leonardo DiCaprio, Joseph Gordon-Levitt, Ellen Page. Watch all you want for free. TRY 30 DAYS FREE . This Oscar-winning sci-fi thriller starring Leonardo DiCaprio was the worldwide …

Africa Mia — film 2020 — AlloCiné — Africa Mia est un film réalisé par Christopher Nolan avec Leonardo DiCaprio, Marion Cotillard. Synopsis : Dom Cobb est un voleur expérimenté — le meilleur qui soit dans l’art périlleux de …

Transcendence (2014) — IMDb — Directed by Wally Pfister. With Johnny Depp, Rebecca Hall, Morgan Freeman, Cillian Murphy. A scientist’s drive for artificial intelligence, takes on dangerous implications when his consciousness is uploaded into one such program.

techniques d’animation graphique ou CGI. Les Africa Mia peuvent également être combinés avec d’autres techniques et effets visuels. Le tournage prend généralement un temps relativement long. Cela nécessite également un pupitre de travail chacun, à partir du réalisateur, producteur, monteur, garde-robe, effets visuels et autres. Définition et définition de film / film Alors que les acteurs qui jouent un rôle dans le film sont appelés acteurs (hommes) ou actrices (femmes). Il y a aussi le terme figurants qui sont utilisés comme personnages de soutien avec peu de rôles dans le film. C’est différent des principaux acteurs qui ont des rôles de plus en plus nombreux. Être acteur et actrice doit être exigé pour avoir un bon talent d’acteur, ce qui est conforme au thème du film dans lequel il joue. Dans certaines scènes, le rôle de l’acteur peut être remplacé par un cascadeur ou un cascadeur. L’existence d’un cascadeur est importante pour remplacer les acteurs réalisant des scènes difficiles et extrêmes, que l’on retrouve généralement dans les films d’action et d’action. Les films peuvent également être utilisés pour transmettre certains messages du cinéaste. Certaines industries utilisent également le film pour transmettre et représenter leurs symboles et leur culture. Le cinéma est aussi une forme d’expression, de pensées, d’idées, de concepts, de sentiments et d’humeurs d’un être humain visualisé dans un film. Le film lui-même est principalement une fiction, bien que certains soient basés sur des faits réels ou sur une histoire vraie. Il y a aussi des documentaires avec des images originales et réelles, ou des films biographiques qui racontent l’histoire d’un personnage. Il existe de nombreux autres films de genre populaires, allant des films d’action, films d’horreur, films d’humour, films romantiques, films fantastiques, films à suspense, films dramatiques, films de science-fiction, films policiers, documentaires et autres. C’est un peu d’informations sur la définition d’un film ou d’un film. Les informations ont été citées à partir de diverses sources et références. J’espère que cela peut être utile. ??? Formats et genres ??? Voir aussi: Liste des genres § Formats et genres cinématographiques et télévisuels Les é Africa Miaions de télévision sont plus variées que la plupart des autres formes de médias en raison de la grande variété de formats et de genres qui peuvent être présentés. Une éAfrica Miaion peut être fictive (comme dans les comédies et les drames) ou non fictive (comme dans les documentaires, les actualités et la télé-réalité). Il peut être d’actualité (comme dans le cas d’un journal local et de certains films destinés à la télévision), ou historique (comme dans le cas de nombreux documentaires et films de fiction). Ils pourraient être principalement pédagogiques ou éducatifs, ou divertissants comme c’est le cas dans les comédies de situation et les jeux télévisés. [Citation nécessaire] Un programme dramatique présente généralement un ensemble d’acteurs jouant des personnages dans un cadre historique ou contemporain. Le programme suit leurs vies et leurs aventures. Avant les années 1983, les éAfrica Miaions (à l’exception des feuilletons de type feuilleton) restaient généralement statiques sans arcs narratifs, et les personnages principaux et la préAfrica Miae changeaient peu. [Citation nécessaire] Si certains changements arrivaient dans la vie des personnages pendant l’épisode, c’était généralement défait à la fin. Pour cette raison, les épisodes peuvent être diffusés dans n’importe quel ordre. [Citation nécessaire] Depuis les années 1983, de nombreux FILMS présentent des changements progressifs dans l’intrigue, les personnages ou les Africa Mia. Par exemple, Hill Street Blues et St. Elsewhere étaient Africa Mia des premiers films américains de télévision dramatique aux heures de grande écoute à avoir ce type de structure dramatique [4] [une meilleure source était nécessaire] tandis que le film ultérieur Babylon 5 illustre davantage cette structure en ce sens qu’il avait une histoire prédéterminée sur sa course de cinq saisons prévue. [citation nécessaire] En 1983, il a été signalé que la télévision devenait une composante plus importante des revenus des grandes entreprises médiatiques que le cinéma. [5] Certains ont également noté l’augmentation de la qualité de certains programmes télévisés. En 1983, le réalisateur primé aux Oscars Steven Soderbergh, commentant l’ambiguïté et la complexité du personnage et de la narration, a déclaré: «Je pense que ces qualités sont maintenant vues à la télévision et que les gens qui veulent voir des histoires qui ont ce genre de qualités regardent la télévision.

[dustedmagazine]

Alexander Von Schlippenbach — Globe Unity (Corbett Vs. Dempsey)

The Globe Unity Orchestra notched more than a few accolades. It was the first European free jazz big band, and in retrospect, the first improv supergroup. During a history that spanned over 20 years of fairly steady work and a more recent pattern of convening every ten years, it has carried a standard for concerted international effort to improve the world through the transmission of sonic energy. They didn’t call it Globe Unity for nothing; its ranks were a model of multi-national cooperation, and it traveled far from its birthplace in Germany, thrilling and outraging audiences in locales as distant as Chicago and New Delhi.

Composer, pianist and lead Alexander von Shlippenbach didn’t necessarily have all of that in mind when he put the first GUO together. He didn’t even call it that; “Globe Unity” was just the name of the first piece it played. In the mid-1960s, he was part of a circle of musicians who had already been contributing for some time to the loosening and intensifying of jazz’s strictures in Europe. But he was not one who chose to forsake all he had learned in the process. Born in 1938, his post-war education included tutelage in classical composition, as well as a personal affinity for modern jazz. The two side-long pieces on this LP represented attempts to incorporate the sounds of free music into extent jazz and classical orchestral forms. 

When this music was first performed at the 1966 Berlin Jazz Festival, Schlippenbach combined the top German free jazz combos — the Gunter Hampel Quartet, Manfred Schoof Quintet, and Peter Brötzmann Trio. The next month, he recorded “Globe Unity” and “Sun” in Cologne. The personnel list is a heavy who’s who, and some folks might zero in on the names of the two drummers, Jaki (then spelled Jackie) Liebezeit and Mani Neumeier. In times to come, each would shape the rhythmic content of freak-forward German rock music, in Can and Guru Guru respectively. But that’s not what they played here. In concert with Schlippenbach, who played tubular bells, gongs, and both the interior and keys of his piano, and vibraphonist Karl Berger, they provided a multi-hued manifestation of otherness and density. The two bassists added as much seething presence as pulse. Sometimes dramatic, other times exotic (which was not viewed then with the skepticism that it sometimes is now), and only very occasionally swinging, the rhythm section transcended its duties within the big band idiom to contribute immensely to the music’s orchestral qualities. 

The horns, however, are what made this music massive. You don’t need the back cover action shot of players in the studio, confronted by overflowing music stands, to know that their united projection was charted out. The time when the orchestra would take on instant composition at an ensemble-wide scale was still a ways off. But by incorporating the broader tonal and timbral resources of the contemporary avant-garde into organized blocks of sound, they achieved a complex and looming sound which was matched at the time only by Sun Ra’s Arkestra. When individual voices cut through, either as breakaway soloists or connecting joints in the multi-segmented compositions, they functioned both as foci for the energy and agents of structural cohesion. 56 years on, it’s still thrilling. 

Globe Unity has gone in and out of the print since its first release by SABA in 1967, and this its return to the physical realm is welcome. This edition, licensed by the historically astute Corbett Vs. Dempsey imprint, is confined to limited CD and LP editions that recreate the original LP’s gatefold sleeve. It’s gorgeous, but one has to point out that anyone who is likely to buy a CD is also unlikely to be able to read Schlippenbach’s much-reduced liner notes unless they supplement their normal corrective eyewear with a magnifying glass. Old eyes would benefit from either a fold-out insert or an online resource. But music like this is for hearing more than reading, and this reissue sounds gloriously present and alive.

Bill Meyer

[meditativeyoga]

When heaven and earth meet

My focus is not to pick-- be choiceless. Because if you select, you end up being narrow. Every option tightens you down. Every selection claims, "Now I will have a home window to the sky, not the entire skies." Why? Why have a frame to the sky? The sky is frameless. When you check into the skies via your window, you have falsified the skies-- due to the fact that your window-frame looks as if it is mounted on the skies. You have just a limited vision, narrow. Why be poor? Why not appear of your house and see the skies as it is-- infinite?

To me, life is a boundless increasing energy. Don't make any selection! That's why I don't place sannyas versus the globe. I claim be a sannyasin and be in the globe, because a sannyasin, if he picks the life of the monk and also runs away from the globe, will be poorer for that-- since the globe has numerous points to offer to you. It is a greatly lovely device of God's-- to assist you grow, to provide you difficulties, to provide you brand-new experiences, to offer you opportunities to evaluate yourself, your awareness, your being.

If you leave from the globe you will be leaving from all these chances. Resting in a cave in the Mountain range you will be extremely bad-- bad in the feeling that you will not have richness of experience. And soon you will become dumb. You will certainly come to be silent-- that's true-- because there will certainly be nothing to sidetrack you. However that silence likewise is of the Himalayas, it is not your own. Return to the world and also in the market you will certainly see your silence has actually vanished. It was not yours-- it was component of the Himalayan silence. You were deceived by yourself.

Silence in the marketplace

When silence takes place in the market after that it is real, after that it is your own-- now no one could take it away. Currently no interruption can be a distraction to you. You can remain anywhere, whatsoever the circumstance, your silence will certainly remain there as a deep substratum to your being. It is inner.

So I do not claim leave the globe. I state be in the world but be past it-- to ensure that you can have both-- the experiences of the sansari, the worldly, and the sannyasin, the transcendent. When both are possible, why select? Make life as big as feasible. Do not tighten it down.

The whole orchestra

All the centres, all the 7 chakras of the body, have to work well. All the centres of the body need to operate in a unity, in a natural unity. From sex to sahasrar, from the very first to the 7th, they ought to shake like an orchestra.

You can choose one centre. That's just what people have actually done: some individuals have chosen the sex centre. Their entire life remains just a procedure of sexuality-- really poor. I don't call them sinners, I simply call them really poor people. As well as inadequate by their own option-- when much more was feasible. It is as if you have a plane and you yoke bullocks to it as well as use it as a bullock-cart. You are bad-- not a sinner. You are simply crazy, foolish! Or you can make use of the aircraft like a vehicle, like a bus-- a little better compared to the bullock-cart, however still you are absurd. Such a costly lorry, as well as you are using it as a bus! A vehicle that could fly right into the skies, you are utilizing it as a truck on the road.

That's what is happening. You have a beautiful band within you, the complete variety, all the colours, all the notes-- all that is feasible is possible within you, yet you cling to one centre: the sex. Someone clings to other centre, somebody to a few other. And after that there are people who assume: "Leave all this, and we ought to simply remain in the ajna chakra-- in the third-eye centre." That also is limiting your being. Much better compared to being a bullock-cart yet still you are a truck on the road.

Then there are a few who think that they need to use just the sahasrar versus all the six-- however you are constraining your being. You have an aircraft, but you never ever get down on the earth. You are mosting likely to have a big mishap one way or another since sooner or later you will lack fuel. Flying constantly is dangerous.

Heaven and earth

Sometimes come back to the earth, down to earth, replenish the gasoline, rest, unwind, obtain all set to fly once more. That's the means. As well as the earth is gorgeous-- as long as the skies. The celebrities are stunning, however have you watched, being in a plane? You could not look very long overhead, it is uninteresting. It is gorgeous, yet it is boring. Individuals begin dropping off to sleep eventually. They look outside the window momentarily and afterwards they feel tired-- it is monotonous.

Earth is greatly attractive, never ever tedious. Several flowers, so numerous trees, so lots of birds, so many people. My emphasis is to live in all the 7 centres with each other. Never ever shed call with the least expensive, and also never avoid flying with the highest possible. Utilize all the centres! Then your wings will be in the skies as well as your roots will certainly get on the earth. As well as an excellent guy is a meeting of paradise and planet-- that's what Taoists state: a conference of heaven and also planet. That's just what a perfect man is: meeting of the physical as well as the spiritual, meeting of the body as well as the heart, meeting of the world and renunciation, conference of prose and poetry.

[xerks44]

Peter Brötzmann & Paal Nilssen-Love @ Shinjuku Pit Inn (2017)

REMEMBERING PETER BROTZMANN MARCH 06, 1941 – JUNE 22, 2023

A TRIBUTE TO THE POWERFUL AVANT-GARDE SAXOPHONIST

Saxophonist Peter Brotzmann passed away on June 22, 2023 in Wuppertal, Germany at the age of 82.

He was born on Mar. 6, 1941, in Remscheid, Germany, and originally studied painting.

As a teenager, he saw Sidney Bechet perform and soon afterwards taught himself to play clarinet and tenor-saxophone.

Brotzmann was always most interested in free-form improvising, he developed a ferocious sound, and throughout his career, he played with the most adventurous performers including bassist Peter Kowald, guitarist Derek Bailey, saxophonists Evan Parker, Anthony Braxton, and Ken Vandermark, and pianist Cecil Taylor.

His early albums For Adolphe Sax (1967) and Machine Gun (1968) were innovative and quite unrelenting; he led over 65 albums and appeared on scores more as a sideman or co-leader.

Brotzmann was a member of Han Bennink’s Instant Composers Pool, Last Exit (which included Bill Laswell), the Globe Unity Orchestra, his Albert Ayler-inspired Die Like A Dog Quartet, and the Peter Brotzmann Chicago Tentet.

Although his playing never mellowed, he did record a surprising ballad album (I Surrender Dear) in 2019.

Here is a relatively brief Peter Brotzmann duet with drummer Paal Nilssen-Love from 2017 that starts out almost mellow, giving listeners a good introduction to the innovative saxophonist.

-Scott Yanow