Robert O’Meally discusses his contact with Baraka as a student and his subsequent engagement with his writings. O’Meally focuses on Baraka’s liner notes to jazz LP albums, arguing that they too are an important and distinctive form of jazz writing. He discusses the notes to, and music within, 1960s albums by soul jazz tenor saxophonists like Willis “Gatortail” Jackson and Eddie “Lockjaw” Davis.
1970s and 1980s
Alice Coltrane was a composer, performer, guru, and the widow of John Coltrane. Over the course of her musical life, she synthesized a wide range of musical genres including gospel, rhythm and blues, bebop, free jazz, Indian devotional song, and Western art music. Franya Berkman's book, Monument Eternal: The Music of Alice Coltrane (Wesleyan University Press, 2010), illuminates her music and explores American religious practices in the second half of the twentieth century. The talk by Dr.
Part II of this talk by Dr. Anne C. Dvinge of the University of Copenhagen includes an exchange between Dr. Dvinge and CJS Director George E. Lewis on the further questions her work raises. For Part I, click here.
As jazz continues to migrate across national, ethnic, and cultural borders, jazz festivals function as physical and symbolic spaces where the dynamics between the vernacular and the cosmopolitan are put into play. In this talk, Dr. Anne C. Dvinge of the University of Copenhagen takes a closer look at jazz festivals, and specifically the Copenhagen Jazz Festival, as manifestations of this double sense of the cosmopolitan and the vernacular, where jazz enters into dialogue with local music cultures.
The String Trio of New York includes James Emery, guitar; John Lindberg, bass; Rob Thomas, violin. Since its formation in 1977 on the Lower East Side of New York City, the String Trio of New York has performing disctinctive acoustic improvisations and compositions for this instrumentation. This performance took place on May 9, 2014 at Columbia University’s Prentis Hall. The piece is the first movement of a suite entitled “River Orion,” and is called Aquarian Waters.
This panel discusses the CMS archives and the preservation efforts now underway that will make its recordings, texts, scores, courses and other materials available to the public.
This panel explores the Creative Music Studio's embrace of non-Western, non-European instruments and practices with alumni who are important vectors of this pan-cultural synthesis. In the same spirit, it questions and deconstructs the idea of "world music," citing Ravi Shankar's aphoristic comment that "everybody lives in the world."
Moderator Adam Rudolph is a composer, improviser and percussionist whose Organic Orchestra realizes a music notation and conducting system he developed.
This is the second part of a panel moderated by Karl Berger discussing the philosophy of music education at CMS. Participants are Marilyn Crispell, James Emery, Oliver Lake, and Ingrid Sertso. Click here for Part I.