#Henry Threadgill

[garadinervi]

Wadada Leo Smith, The Great Lakes Suites, TUM CD 041-2, TUM Records, 2014

All compositions by Wadada Leo Smith; published by Kiom Music ASCAP

Wadada Leo Smith: trumpet Henry Threadgill: alto saxophone, flute, and bass flute John Lindberg: double bass Jack DeJohnette: drums

Artwork: Markus Konttinen Design: Juha Lökström

#graphic design #art #drawing #visual writing #music #music album #cd #cover #wadada leo smith #henry threadgill #john lindberg #jack dejohnette #markus konttinen #juha lökström #tum records #2010s

[kosmik-signals]

Wadsworth Jarrell of AfriCOBRA took this photo for the AACM in his backyard, probably in 1968. Left to right, on the ground: Wadada Leo Smith, Sarnie Garrett, Wadsworth Jarrell Jr., Muhal Richard Abrams, Wallace McMillan, Douglas Ewart, John Stubblefield, Steve McCall, and Henry Threadgill. On the stairs: Buford Kirkwood, John Shenoy Jackson, Lester Lashley, and Martin "Sparx" Alexander. Credit: Courtesy of George Lewis

(via Why the AACM and AfriCOBRA still matter - Chicago Reader)

#AACM #Chicago #jazz #Muhal Richard Abrams #Henry Threadgill

[jt1674]

#henry threadgill #try some ammonia #too much sugar for a dime

[doomandgloomfromthetomb]

Air with Amiri Baraka - WDR Studio, Köln, Germany, March 20, 1982

I've been loving this forthcoming Blank Forms collection of the pioneering Black Arts publication The Cricket.

The details: A rare document of the 1960s Black Arts Movement featuring Albert Ayler, Amiri Baraka, Milford Graves, Sun Ra, Cecil Taylor, and many more, The Cricket fostered critical and political dialogue for Black musicians and writers. Edited by poets and writers Amiri Baraka, A.B. Spellman, and Larry Neal between 1968 and 1969 and published by Baraka’s New Jersey–based Jihad productions shortly after the time of the Newark Riots, this experimental music magazine ran poetry, position papers, and gossip alongside concert and record reviews and essays on music and politics. Over four mimeographed issues, The Cricket laid out an anticommercial ideology and took aim at the conservative jazz press, providing a space for critics, poets, and journalists (including Stanley Crouch, Haki Madhubuti, Ishmael Reed, Sonia Sanchez and Keorapetse Kgositsile) and a range of musicians, from Mtume to Black Unity Trio, to devise new styles of music writing.

A must-buy for anyone interested in the intersection of jazz, R&B, the Black Power movement, poetry and the Gastetner mimeograph machine.

As a treat, here's a rarity to listen to — Amiri Baraka joined by Air (Henry Threadgill, Fred Hopkins and Steve McCall) for a fiery live-in-the-studio performance, with Baraka reciting his sharp-edged poetry over lively improvisations from the trio. I don't know how often these four guys played together, but it sounds fantastic here, a powerful blend.

#the cricket #amiri baraka #air #henry threadgill

[jazzdailyblog]

Exploring the Avant-Garde Genius of Henry Threadgill

Introduction: Unraveling the Musical Tapestry In the rich tapestry of avant-garde jazz, few figures loom as large or as enigmatic as Henry Threadgill. A master composer, multi-instrumentalist, and visionary bandleader, Threadgill has carved out a singular path in the music world, pushing the boundaries of genre and defying categorization. In this blog post, we embark on a journey through the…

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#David Murray #Diedre Murray #Henry Threadgill #Jazz Composers #Jazz Flutists #Jazz History #Jazz Saxophonists #Roscoe Mitchell

[dustedmagazine]

Henry Threadgill — The Other One (Pi)

The Other One by Henry Threadgill

Over the last five decades, Henry Threadgill has been creating a singular body of work, as both a distinguished reed players and an inimitable ensemble leader. Early on, Threadgill cultivated his sense of ensemble arranging and playing as member of AACM in the trio Air and in groups lead by Muhal Richard Abrams, Anthony Braxton and Roscoe Mitchell. But from X-75 Volume 1, his first recording under his own name released in 1979 with a group comprised of four woodwind players, three bassists, piccolo bass and vocals, he revealed a penchant for creating improvisational frameworks around distinctive voicings. Since that time, he’s honed his approach with long-standing ensembles, each building on his ear for angular, contrapuntal themes extended through open group interplay.

First up was The Henry Threadgill Sextet (a seven-piece group designated as a sextet because he saw the two drummers as a single percussion unit) featuring his alto sax along with trumpet, the low-end double bass/cello/trombone, and a percussion duo. A foray into social dance music, his Society Situation Dance Band, went unrecorded but his next ensemble, Very Very Circus, with sax, two tubas, two electric guitars, French horn, and drums added a pulsing groove while expanding on his multifaceted ear toward hocketed lines and intricate, stratified voicings. Make a Move and Zooid pared things back a bit in the size of the ensemble while still incorporating intriguing instrumental choices like paired acoustic guitars and cellos, accordion, oud and tuba. Then, with Double Up, Threadgill mixed in paired reeds, paired pianos, cello, tuba and drums, expanded even further with 14 Or 15 Kestra: Agg. With each of these ensembles, he extended his compositional approach, diving in to the timbral and dynamic opportunities afforded by an increasingly orchestral instrumental palette. All of this doesn’t even touch on the various commissions for orchestra, string quartet, and chamber ensembles he undertook. 

In May 2022, Threadgill presented one of his most ambitious projects to date at Roulette Intermedium in Brooklyn, New York. The composer prepared a three-movement composition entitled “Of Valence” for a twelve-piece ensemble made up of three saxophones, violin, viola, two cellos, tuba, percussion, piano and two bassoons. The piece, inspired by Milford Graves and his integration of the human heartbeat as a source of rhythmic understanding, is a meditation on human transience based on his observations of the exodus of people from New York City during the Covid pandemic. The performance incorporated an array of multimedia components including video, projections of paintings and photographs, electronics and recordings. Each performances was split in to two sets providing varying takes on the composition, the first set titled “One” and the second titled “The Other One.” This release, Threadgill’s eleventh for the Pi Recordings label, captures the second set of one of the performances in scintillating fidelity. 

The three-movement piece begins with spare, stabbing notes and rumbling open chords on piano, intently traversing the foundational angular motifs. The reeds join in setting up the entrance of the full ensemble. Threadgill maximizes the sonic breadth provided by the full range of strings and a broadened reed section. His conducting is supported by tubist Jose Davila, cellist Christopher Hoffman, pianist David Virelles and drummer Craig Weinrib, all veterans of the leader’s groups who collectively help helm the ensemble through the intricately evolving piece. Themes are introduced, fragmented, inverted, and hocketed as sections elastically play off of each other and branch off into sub-groupings as the densities of the piece ebb and flow. Threadgill’s proclivity for utilizing underlying galvanic pulse is an anchoring element, buoyed in particular by tuba, cellos and drums as the music bobs and weaves along with the countervailing, keening melodic threads. 

Threadgill’s pieces demand exacting execution, and the group fully embraces the compositional form while each displaying adroit capabilities exploring the inherent opportunities for improvisation. While Threadgill sticks to conducting here, the influence of his instrumental voice is readily apparent throughout. Milford Graves’ influence is heard most overtly at the start of the second movement where violinist Sarah Caswell, violist Stephanie Griffin and cellist Mariel Roberts each play their parts while listening to a playback of their own heartbeats as recorded previously by a cardiologist. The result is that the pulse of each individual players’ lines intertwine, mutably moving in and out of synch while maintaining an unwavering, galvanizing flow. One third of the way through the 16-minute section, lissome sax lines are introduced segueing to the entrance of the full ensemble. While density builds, there is a transparency to the orchestration as lines and instruments come to the fore and then recede. Midway through, sizzling transducer-activated cymbals play off of abraded cello overtones setting the stage for a freely lyrical tenor solo which wends to a closing section with percolating pizzicato strings and pattering percussion.

 The final movement kicks off with a short interlude for strings and drums, leading in to a section of abstracted melody, with alto and bassoon lines snaking around the ensemble voicings. Interludes for solos are woven through as the pacing constantly morphs. Here, sections are clear successors to the approaches that Threadgill worked through with Zooid and Double Up, inheriting the underlying coursing flow and arcing lyricism but shading and extending it with timbral orchestration, the bassoons being a particularly astute addition. In the final section, intertwined piano and tuba and the shifting shuffle of cellos and drums set the stage for an all-in re-statement of one of the central themes, leading to the finale of the piece for the full ensemble, crescendoing to dramatic intensity. Listeners have benefited from Pi Recordings’ dedication to Threadgill’s evolving and burgeoning oeuvre. The release of The Other One is a significant addition to these efforts and essential listening for those interested in Threadgill’s music. 

Michael Rosenstein

#henry threadgill #the other one #pi #michael rosenstein #albumreview #dusted magazine #jazz #AACM #air #improvisation #composition

[sivavakkiyar]

Henry Threadgill

#Henry threadgill #jazz

[lyssahumana]

#Henry Threadgill #Zooid #records #record covers

[jacobwren]

“In composing for all three of us, my thinking was influenced most of all by the Ahmad Jamal Trio. It was a piano trio rather than a saxophone trio. But what I learned had to do with the way the music was arranged—the sense of space. They could lock into a groove, but they also knew how to be elliptical: to play a hint or dollop in a way that suggested more. I didn’t have a brass section to work with, or an arsenal of violas to bring out some timbral nuance. It forced me to learn to write the silhouette of the thing rather than the thing itself.” — Henry Threadgill, Easily Slip Into Another World: A Life in Music

#henry threadgill

[steamedtangerine]

Gateway - The Henry Threadgill Sextet

#tunes #henry threadgill

[jgthirlwell]

03.24.24 Henry Threadgill's Air repertory ensemble featuring Marty Ehrlich, Pheeron AkLaff and Hilliard Greene. At Big Ears Festival.

#Henry Threadgill #Marty Ehrlich #Pheeron AkLaff #Hilliard Greene #Big Ears Festival

[donospl]

Co w jazzie piszczy [sezon 1 odcinek 17]

premierowa emisja 23 sierpnia 2023 – 18:00 Graliśmy: Henry Threadgill “Mvt III, Section 17” z albumu “The Other One” – Pi Recordings Benjamin Gisli Einarsson “For Carla” z albumu “Line of Thought” – Fjordgate Records / Reykjavík Records Shop Ferdinando Romano “The Dreamers” z albumu “Invisible Painters” Manuel Valera Quintet “Remembrance” z albumu “Vessel” – Criss Cross Jazz Áron Tálas Trio…

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#Anthony Pirog #Antonio Sanchez #Artificial Jazz #Benjamin Gisli Einarsson #BMC Records #Candice Hoyes #Chris Donnelly #Co w jazzie piszczy #Criss Cross Jazz #Cuneiform Records #Ferdinando Romano #Fjordgate Records #Francois Bourassa #Gabriela Martina #Henry Threadgill #Jim Matus #Larry Derdeyn #Location Location Location #Manuel Valera #Max Gerl #Mehmet Ali Sanlikol #Michael Formanek #Miguel Zenón #Mike Pride #Mimi Jones #Nicky Schrire #Nite Bjuti #Paul Flaherty #Pi Recordings #Reykjavík Records Shop

[werkboileddown]

#henry threadgill #Youtube

[edwordsmyth]

Henry Threadgill in conversation with Yusef Komunyakaa

#henry threadgill #yusef komunyakaa #Youtube

[jazzdailyblog]

Reviving the Roots: Exploring Air's "Air Lore"

Introduction: In 1979, the avant-garde jazz trio Air, comprised of Henry Threadgill, Steve McCall, and Fred Hopkins, released their groundbreaking album “Air Lore.” Recorded at C.I. Recording Studios in New York City, “Air Lore” pays homage to jazz pioneers Scott Joplin and Jelly Roll Morton, offering a fresh perspective on their timeless compositions. Reimagining Jazz Classics: “Air Lore”…

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#Air #Air Lore #Classic Albums #Fred Hopkins #Henry Threadgill #Jazz History #Jelly Roll Morton #Scott Joplin #Steve McCall

[dustedmagazine]

Listed: Kid Millions and Sarah Bernstein

Photo by Caleb Bryant Miller

Kid Millions and Sarah Bernstein both have long CVs in experimental music, Millions as the drummer for Oneida and Man Forever and Bernstein as an avant garde composer and performer with the VEER Quartet, the avant-jazz Sarah Bernstein Quartet, and solo as Exolinger. They’ve been improvising together for roughly a decade, building mesmerizing sonic architectures out of free-form drumming, wild violin pyrotechnics and cryptic spoken word. Of their latest, Live at Forest Park, Margaret Welsh writes, “Bernstein and Colpitts weave sound together into an unsettling fever dream-like warp, growing larger and smaller. All you can do is lay back and surrender to the waves.” Here are some things that inspire the two.

Kid Millions

Billy Harper Quintet — In Europe (Soul Note)

While I admire and enjoy all of the Quintet albums I’ve heard, this particular one captures something ineffable and transcendent. The Quintet’s personnel changes throughout Harper’s career but this particular session has the tunes, the passion, the reaching and the constant surprises that make it my most listened to album in the last ten years. Fred Hersch is especially sympathetic and powerful on this too. I really want to see this group ASAP. Billy Harper is still playing!

Pete La Roca — Basra (Blue Note)

La Roca is a drummer who is unappreciated but his playing and compositions stand out. This album gets the slight nod over the legendary Turkish Women at the Bath because it was recorded well. He’s in the same league as Elvin and also wrote some incredible tunes.

George Adams & Don Pullen Quartet — City Gates (Timeless) (but any record is cool)

I’m leaning on big tenor sounds these days, and George Adams stands in the same universe as Billy Harper because he plays the range of the instrument — there are gorgeous melodies set alongside blistering free blasts. Don Pullen is incredible as well. Near the end of his life he started to write more songs with hooks, but he shreds like Cecil Taylor. I’m digging the stuff that straddles the line between songs and free these days.

Henry Threadgill with Brent Hayes Edwards — Easily Slip Into Another World (memoir)

This is a brand-new book, and I’m finding lots of inspiration and great advice within the pages. His discussion about how young musicians need to find their way within the tradition, among their peers, and on their own terms applies to all traditions, rock included. In order to really engage with the music, you have to play all the time, with other people. You have to play covers, and you have to play in front of audiences. And you need to be fired. I certainly have!

Marcus Gilmore

Such an incredible, deep, drummer. You should go see him ASAP!

Sarah Bernstein

Music/poetry films I like:

When It Rains — Charles Burnett (1995)

Charles Burnett’s work speaks to me as a whole. The films I’ve seen slip into a continuous flow of poetic story/documentary. When It Rains is a 13-minute short film that takes place on a festive New Years Day, but January’s rent needs to be paid. Musicians are among the characters and sound, and it plays like a jazz improvisation. A particular highlight is seeing instrument-maker Juno Lewis on-screen playing his double bell trumpet. The story’s ending will have vinyl collectors smiling.

The Connection — Shirley Clarke (1961)

Before discovering this movie, I knew director Shirley Clarke from her later film "Ornette: Made in America," also a must-see. The Connection is a film version of Jack Gelber’s play for the burgeoning Living Theatre. Most of the actors from the stage play, and all the musicians, are also in the film. The band is swinging: Freddie Redd composer/pianist, Jackie McLean alto sax, Michael Mattos bass, Larry Ritchie drums. The musicians also act in the story, and even the turntable — playing Charlie Parker’s Marmaduke — provides a key recurring motif in the film.

Poetry In Motion — Ron Mann (1982)

Poetry in Motion, By Ron Mann from bob stein on Vimeo.

The other movies on this list are ones I’ve seen relatively recently, but Poetry In Motion I watched in an art-house cinema as a teenager, and it had a big impact on me. The documentary shows 40 poets and performers, including Jayne Cortez, Dianne Di Prima, Helen Adam, William S. Burroughs, Amiri Baraka, Allen Ginsburg, Jim Carroll, John Cage, Robert Creeley, Miguel Algarin, to name a few! Also check out Ron Mann’s first feature film: Imagine The Sound (1981), a superb profile of Cecil Taylor, Archie Shepp, Bill Dixon and Paul Bley.

Desolation Center — Stuart Swezey (2018)

The concert footage is so good. Highlights are Einsturzende Neubauten and Survival Research Labs literally blowing up the desert in Joshua Tree. Also Sonic Youth, Minute Men, Swans, all in DIY festivals and shows taking place in outdoor remote locations in 1980’s SoCal.

Amazing Grace — Alan Elliott/Sydney Pollack (2018)

Aretha Franklin and choir hold a live concert recording session of her gospel album Amazing Grace over two days in 1972. This is not a documentary with talking heads or explanation, rather the action is all in the music and spirit. Aretha Franklin’s genius and deep interaction with the listeners and choir is riveting and inspiring, even more so with repeat viewing.

#dusted magazine #listed #kid millions #sarah bernstein #billy harper quintet #pete la roca #george adams and don pullen quartet #henry threadgill #marcus gilmore #charles burnett #shirley clarke #ron mann #stuart swezey #alan elliott #sydney pollack