Arnold Davidson continues his discussion of the ethical implications of improvisation, illustrating his points with audio and video excerpts. The first of these is a duo performance by George E. Lewis and Evan Parker; the second is the Duke Ellington Trio.
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The Brazilian composer, bandleader, and bassist offers his views of improvisation and talks about his experiences with the legendary Hermeto Pascoal.
Eric Lewis, Lydia Goehr, Bernard Gendron, Lorenzo Simpson, and Carol Rovane share their views on improvisation and ethics, and keynote speaker Arnold Davidson responds.
Eric Lewis, Lydia Goehr, Bernard Gendron, Lorenzo Simpson, and Carol Rovane share their views on improvisation and ethics.
South Africa is unusual in that jazz is the center of a lively popular music culture in that country, and not just a niche market. A major part of the South African jazz audience are members of organizations known as stockvels, which are part savings clubs, part music appreciation societies, and part social networking and patronage hubs. Gatherings there typically involve not only listening to jazz records, but improvising dance performances to them.
The continuation of Nathanson's discussion of his career and work. Click here for Part I.
Saxophonist Roy Nathanson talks about his experiences as a Columbia student during the unrest at the University and the militant aftermath during the late 1960s, his development as an artist in an astonishing variety of forms (including composition, songwriting, poetry, acting and teaching) his work with global stars and with high school students, and his basic need to "tell a story" no matter what artistic language he uses. Click here for Part II.
Miya Masaoka is a composer, kotoist, and sound artist. She has created works for solo koto, ensembles, mixed choirs, live electronics, and video that have been presented across the world. Discussing her work with her is composer, pianist, and scholar Vijay Iyer. Ms. Masaoka talks about how her and her family's experiences as members of a persecuted minority, Japanese Americans, shaped her works that deal with Japanese artistic traditions and with subaltern social groups--and even with marginalized biological subjects such as plants and insects.
This talk examines the music festival documented in 2004 called Banlieues Bleues, which featured African American musicians from the Association for the Advancement of Creative Music. These musicians used improvisation to empower and give voice to children of color from marginalized Parisian suburban communities.
