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  1. Flow is Everything: Composer Henry Threadgill Dishes the 'Dirt' and More on The Checkout “Like a film, like a play, even a so-called static work of art, it has to move,” Threadgill says. “What advances the action? Everything has to advance to the next action. Every act has something in it that advances to the next moment.” http://wbgo.org/post/flow-everything-composer-henry-threadgill-dishes-dirt-and-more-checkout#stream/0
  2. Presented by Epistrophy Arts and Liminal Sound seriesHenry Threadgill’s Zooid April 8th 2017 8:00 pmScottish Rite Theater Austin, TxMaster Class with Henry ThreadgillApril 7th 8:00 pmUT campus: MRH (Music Recital Hall)The Henry Threadgill Master Class will be a Q&A session. It is an open form session that can go where ever the questions lead. TICKETS AND INFORMATION -------------------- For over forty years, Henry Threadgill has been celebrated as one of the most forward-thinking composers and multi-instrumentalists in American music. The New York Times has called him “perhaps the most important jazz composer of his generation.” Born in 1944 in Chicago, Threadgill was an early member of the Association for the Advancement of Creative Musicians (AACM). The jazz avant-garde has produced dozens of notable improvisers (not surprisingly, since improvisation is arguably the music’s defining element) but relatively few great composers. Henry Threadgill is a member of that exclusive club. With his fellow Chicagoans Anthony Braxton and Muhal Richard Abrams, he’s one of the most original jazz composers of his generation. Threadgill’s art transcends stylistic boundaries. He embraces the world of music in its entirety, from ragtime to circus marches to classical to bop, free jazz, and beyond. Such might sound merely eclectic in the telling, but in truth, Threadgil always sounds like Threadgill. In for a Penny, In for a Pound by Henry Threadgill was named the winner of the Pulitzer Prize for “distinguished musical composition by an American.” In awarding the prize, the Pulitzer committee call the release “a highly original work in which notated music and improvisation mesh in a sonic tapestry that seems the very expression of modern American life.” We could not be more ecstatic for Henry and are honored to have been able to help document his work these last 15 years. This project is supported by individual contributions, and the City of Austin Cultural Arts program
  3. I decided to put this here instead of in the main ECM thread because I'm guessing the interest will be more general - but in January, ECM will be releasing a 2013 live recording of a quintet with Jack, Muhal Richard Abrams, Roscoe Mitchell, Henry Threadgill and Richard Larry Gray as a 50th anniversary tribute to the AACM (with compositions by Jack, Muhal, Roscoe, Henry as well as some collective improv). It's live so some of Manfred Eicher's more controversial production choices should be less less disruptive, I'm guessing.
  4. Wadada Leo Smith has recently released The Great Lakes Suites on TUM Records. Here's an excerpt of my review: “I couldn’t wait to get my hands on this when I learned who was on it, an all-star quartet with Henry Threadgill, John Lindberg and Jack DeJohnette. But beyond the players, it’s the strength of the compositions, particularly the three suites that comprise the first CD, that grabs one’s attention. The opening Lake Michigan has an unusual and arresting stop-start theme, with a structure that leads to a couple of false endings over its length…There’s a sense throughout that the musicians are really taking their time to explore each suite, so that the mind doesn’t really record whether the tempos are fast or slow; everything flows in an organic fashion through to the final track, the music shuffling off like a freighter moving out to the horizon. Mr. Smith’s trumpet has always had a majestic quality, with a little hint of Miles, and that is still the case here, but now there’s an additional richness, an emotional resonance, that I don’t remember hearing from him before. I was looking forward to hearing Threadgill in a context other than his own groups, and he doesn’t disappoint. His solos seem to be…about juxtaposing interesting textures and building blocks of sound in interaction with the other players… It’s a treat to hear Lindberg and DeJohnette, both of whom just kill throughout the Suites. I don’t know why we don’t see more of Lindberg, but I’m glad Smith uses him regularly, and DeJohnette is all over his kit, bringing to mind his hyperactive work with Miles during the Fillmore days.” You can read the full review of The Great Lakes Suites on my blog. Anyone else heard this? I'm curious what others think.