Her band got better with each season: so tight, so supple, and, seven or eight years ago, something clicked, the horn players turned into superb soloists, as well as top-notch ensemble musicians, and Schneider started writing pieces that built in more space for solos and brushed light strokes of color around them. It's worth noting that seven of these 17 musicians have played in the band since Schneider started it 22 years ago.
Read full article. Link to article. Now it's finally here, in the form of a magnificent double album, Data Lords. This is music of extravagant mastery, and it comes imbued with a spirit of risk. There are instrumental glories throughout this album, but the work of the low brass both as section and as individuals is quite unbelievable and is caught exceptionally well on the recording.
And they certainly deliver here. With Data Lords — a steeliness and even bleakness now shares a stage with her familiar pastoral side. Label : Blue Note. Size : 12". Format : 33RPM ,. Preorder A Preorder is an item that has not yet been released. Typically the label will set a projected release date that is subject to change. If a projected release date is known, we will include this in the description in red.
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And in , he introduced jazz studies to the California Institute of the Arts, which is now one of the premier programs of its kind. In interviews and onstage, often Haden spoke about the artist's duty to introduce beauty into a conflicted world.
Earlier this year, Haden released his latest album, a collection of duets with Keith Jarrett. We're listening to one of the towering figures of modern jazz - bass player and composer Charlie Haden.
He died today at age BLOCK: Haden began performing as a child singing on the radio in his native Iowa, but as he explained in an NPR interview a few years ago, childhood polio changed that. So that's when I started playing. Joining us to talk about Charlie is Fred Kaplan, columnist for Slate and jazz critic for the magazine Stereophile. Thanks for being with us. He would lean over his bass, almost in a perpendicular angle to listen to what he was doing more keenly.
He would turn his head away from the bass. He had such an intense expression on his face. He knew exactly what he was trying to do. And he would beam - I mean, really - it was almost an ecstatic expression, when he heard one of his band mates play a nice riff on some chord. And he knew exactly how to compound it. You know, you mentioned that he grew up in a family of singers. He was singing perfect harmony, when he was two years old. And that stayed with him through his entire career. I mean, before Charlie, most bassists, you know, they kept time.
And say if a pianist was playing a C-chord, they would play the C note and maybe some other notes. Charlie - you know, he's called a free jazz musician and some people think that means abstract or chaotic. What it means is that, you know, he was a romantic. He loved nothing more than a beautiful melody.
But he didn't like to be boxed in with a chord structure. So he would take what he was doing, where he wanted to go - he would play a bit of the melody, a counter melody. He would open it up to an entirely different direction, but somehow bring it right back down to earth. He greatly expanded, almost limitlessly, the role that a bass player had, while keeping perfect time.
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