notes on rethinking modernism
improvisations are creative actions next to existing environments: throughout the "polar2000intermedia istanbul vs hobart" next to the selections of experimental contemporary music pieces simultaneous visual art, body art, musical interpretations will constitute the other interdisciplinary dialogues of the multi media performance being exposed interactively to the attentions of all participants, the audience being primarily inclusive from all aesthetic elements up to the technological random intrigues, from  the immediate instances way over the internet linked cyberspace infinity the variety of improvisations  in various rhythmic time components will be delivered to your appraisal so in a multi media environment based on live modern art works a post modern performance and virtual outlook will be engendered 

modernizm üzerine notlar
her türlü doğaçlama varolan ortama göreceli olarak yapılan yaratıcı  bir edimdir: 
"polar2000intermedia istanbul vs hobart" konsept olarak günümüze özgü müzik eşliğinde, görsel 
soyutlamalar, doğaçlama dans, ritmik yorumlar ve düşünsel söylemler ile birlikte sunulacak multi 
media bir performanstır. böylece multi media ve disiplinler aras? bir birliktelik içinde tüm 
katılanların -izleyiciler dahil olmak üzere- dikkatine yönelik interaktif süreç sağlanacaktır ögelerin 
yakın çevreden internet aracılığıyla siberortama varan erişimle öncü modern yapıtlar bu kez 
post modern ve sanal ortamlarda izlenecek

For John Zorn Born  Sep 2, 1953 in New York, NY      Years Active            Genres Avntg            Styles Structured Improvisation, Free Improvisation, Jewish Music, Avant-Garde Jazz,                 Film Music, Experimental, Free Jazz, 20th Century Classical/Modern                 Composition, Post-Bop, Avant-Garde, Modern Creative        Instruments Sax (Alto), Composer            Tones Intense, Menacing, Confrontational, Fiery, Playful, Rollicking, Brash,                 Provocative, Reckless, Manic, Tense/Anxious, Quirky, Visceral, Cerebral,                 Sophisticated, Wry, Volatile           Labels Tzadik (45), DIW (9), Avant (6), Elektra/Nonesuch (3), hatART (2), Depth of                 Field (2                 )         See Also                  Naked City  Pain Killer  Sonny Clark Memorial Quartet  Masada String Trio                    Masada  Bar Kokhba  John Zorn Ensemble  All Movie Guide Entry                                  It is possible to call John Zorn a "jazz" musician, but that would                            be much too limiting a description. While jazz feeling is present in                            a good deal of his work, and the idea of improvisation is vitally                            important to him, Zorn doesn't operate within any idiom's                            framework, drawing from just about any musical, cultural or                            noise source that a fellow who grew up in the TV and LP eras                            could experience. This eclecticism gone haywire can result in                            such wildly jump-cutting works as Spillane, whose plethora of                            diverse and incompatible styles makes for a listening experience                            akin to constantly punching the station buttons on a car radio.                            Zorn believes that the age of the composer as an "autonomous                            musical mind" had come to an end in the late 20th century; hence                            the collaborative nature of much of his work, both with active  musicians and music and styles of the past. Like Mel Brooks, the zany film director, many of Zorn's  works are tributes to certain musical touchstones of his -- such as Ennio Morricone, Sonny Clark  and Ornette Coleman -- all filtered through his unpredictable hall of mirrors. While it would be  foolhardy to single out a handful of dominant influences, Zorn's music seems very close in spirit to  that of Warner Bros. cartoon composer Carl Stalling, both in its transformation of found material  and manic, antic moods.  This calculating wild man started playing the piano as a child before taking up the guitar and flute at  age ten. By the time he was 14, Zorn had discovered contemporary classical music and began  composing; his college years in St. Louis brought about his introduction to avant-garde ... Fo genre: AVANT-GARDE  Free improvisation implies that there was no planning done before the performance, that no rules  were stated. Some improvisers prefer to use structured improvisation to give a backbone to the  music or simply to vary the context of performance. Structured improvisations are often credited to  a "composer," i.e. the musician who devised the piece. It may have a score, but no notes (or very  few) are specified. Abstract graphics are drawn or sets of rules regarding range, timbre, speed, etc.  are outlined. Sometime the "composition" part can be limited to directives concerning the order of  appearance, for example: the alto saxophone will start the piece, then there will be three sets of  duets and everyone will join in for the last part. In other circumstances, the rules can be quite  complex and take the form of an interactive game. An improvisation can also be structured instantly  by a conductor who, through the use of body gestures (even dance, in the case of Masashi Harada)  or showing of cards, will give more or less clearly defined signals to the improvisers. Such  conduction (a term coined by Lawrence "Butch" Morris for conducting an improvisation) is often  used by creative orchestras, ensembles in which the number of free improvising musicians is too big  to make listening to everyone possible. A central "listener" is then designated to lead the group.  Artists like John Zorn (his game pieces, mostly) and Anthony Braxton, and ensembles like the  London Improvisers Orchestra regularly perform structured improvisations. -- François Couture  Related Styles: Free Improvisation  Creative Orchestra                             Some Important Albums    Bill Cole's Untempered Ensemble: Live in Greenfield, Massachusetts, November 20, 1999 [2000]    Lawrence D. "Butch" Morris: Dust to Dust [1990]    Scott Rosenberg: IE (For Large Ensemble) [1997]    Joane Hétu: Musique d'Hiver [2001]    John Zorn: Parachute Years, 1977-1980 [z]    John Zorn: Godard/Spillane [1999]    George Lewis & rhe NOW Orchestra: Shadowgraph Series: Compositions for Creative Orchestra  [2001]

  Rarely does one person change the way we listen to music, but such a man is Ornette Coleman.   Since the late 1950's, when he burst onto the New York Jazz scene with his legendary      engagement at the Five Spot, Coleman has been teaching the world new ways of listening to music. His revolutionary musical ideas have been controversial, but today, his enormous      contribution to modern music is recognized throughout the world. 

                                      Born in Fort Worth, Texas, in 1930, Coleman's 
                                      educational interests included physics, mathematics 
                                      and chemistry. He taught himself to play the 
                                      saxophone and read music in 1944. One year later, he 
                                      formed his first band. Finding a troublesome existence 
                                      in Fort Worth, surrounded by racial segregation and 
                                      poverty, he took to the road by the age of nineteen. 
                                      For Coleman, music has the same qualities of 
                                      chemistry, physics, math and colors. This educational 
                                      basis continues to be the foundation of his approach 
     many years later. 

     In 1959, with the release of his debut album, "Something Else!," it was immediately clear that 
     Coleman had ushered in a new era in jazz history. This music was free from the prevailing 
     conventions of harmony, rhythm and melody, often called "free jazz," and it transformed the art 
     form. Coleman called the concept Harmolodic. In the 1960's, based on this theory, Coleman also 
     began writing string quartets, woodwind quintets and symphonies. In 1966, Denardo Coleman 
     made his debut in music at age 10, playing drums on the recording, "The Empty Foxhole," with his 
     father. Denardo recorded twice more with his father on "Ornette at 12" and "Crisis." 

                       In the early 1970's, Ornette traveled throughout Morocco and Nigeria, 
                       playing with the local musicians and interpreting the melodic and rhythmic 
                       complexities of their music into his Harmolodic approach. In 1975, seeking 
                       the fuller sound of the orchestra for his writing, Coleman constructed a new 
                       ensemble. Entitled Prime Time, the ensemble included doubling of the 
                       guitars, drums and bass. Combining elements of ethnic and danceable 
                       sounds, this approach is now identified with a full genre of music and 
                       musicians. 

     In the 1980's, another round of surprises included trend-setting albums, such as "Song X" with 
     guitarist Pat Metheny and "Virgin Beauty," featuring Grateful Dead guitarist Jerry Garcia. Both 
     records were widely-accepted. It was also in the 80's that Denardo Coleman not only began 
     producing the recordings of his father, but also became his manager - it was during this period that 
     the Colemans took control over all their business affairs. Out of this, Harmolodic Inc. emerged. 

     The 1990's have continued to be a very productive and creative time for Ornette. With large 
     works like the recent premiere of "Architecture In Motion," Ornette's first Harmolodic ballet, as 
     well as the soundtracks for the films "Naked Lunch" and "Philadelphia." And now the dawning 
     of the Harmolodic label, for which Ornette has been heavily involved in new recordings. 

     There has also been a tremendous out-pouring of recognition bestowed upon Coleman for his 
     work, including numerous honors and celebrations, most recently being named as a recipient of the 
     distinguished 1994 MacArthur Fellowship award. Always true to the spirit of discovery, Ornette 
     Coleman continues to share in new musical horizons as he has yesterday, today and tomorrow. 

     Photos: (top to bottom) 

     Ornette 1995. (Photo by Austin Trevett) 

     Ornette performing at the Newport Rebel Festival. 
     left to right: Kenny Dorham, Ornette Coleman, Charles Mingus (Photo by William Claxton) 

     Ornette Coleman performing at Fairfield Hall - London, England 
     August 29, 1965. 
 
 

  Return to NEW JAZZ ARCHIVES 
 
 
 

                    All contents of these WWW pages Copyright ©1997-1999 Eyeneer Music Archives. 
 
 
 

    Rarely does one person change the way we listen to music, but such a man is Ornette Coleman. 
     Since the late 1950's, when he burst onto the New York Jazz scene with his legendary 
     engagement at the Five Spot, Coleman has been teaching the world new ways of listening to 
     music. His revolutionary musical ideas have been controversial, but today, his enormous 
     contribution to modern music is recognized throughout the world. 

                                      Born in Fort Worth, Texas, in 1930, Coleman's 
                                      educational interests included physics, mathematics 
                                      and chemistry. He taught himself to play the
                                      saxophone and read music in 1944. One year later, he 
                                      formed his first band. Finding a troublesome existence 
                                      in Fort Worth, surrounded by racial segregation and 
                                      poverty, he took to the road by the age of nineteen. 
                                      For Coleman, music has the same qualities of 
                                      chemistry, physics, math and colors. This educational 
                                      basis continues to be the foundation of his approach 
     many years later. 

     During the early 1950's, while in Los Angeles, Ornette's musical ideas were so controversial, he 
     rarely found public performance possibilities. He did, however, find a core of musicians, 
     trumpeters Don Cherry and Bobby Bradford, drummers Ed Blackwell and Billy Higgens and 
     bassist Charlie Haden, who took Coleman's musical concepts. 

     In 1959, with the release of his debut album, "Something Else!," it was immediately clear that 
     Coleman had ushered in a new era in jazz history. This music was free from the prevailing 
     conventions of harmony, rhythm and melody, often called "free jazz," and it transformed the art 
     form. Coleman called the concept Harmolodic. In the 1960's, based on this theory, Coleman also 
     began writing string quartets, woodwind quintets and symphonies. In 1966, Denardo Coleman 
     made his debut in music at age 10, playing drums on the recording, "The Empty Foxhole," with his 
     father. Denardo recorded twice more with his father on "Ornette at 12" and "Crisis." 

                       In the early 1970's, Ornette traveled throughout Morocco and Nigeria, 
                       playing with the local musicians and interpreting the melodic and rhythmic 
                       complexities of their music into his Harmolodic approach. In 1975, seeking 
                       the fuller sound of the orchestra for his writing, Coleman constructed a new 
                       ensemble. Entitled Prime Time, the ensemble included doubling of the 
                       guitars, drums and bass. Combining elements of ethnic and danceable 
                       sounds, this approach is now identified with a full genre of music and 
                       musicians. 

     In the 1980's, another round of surprises included trend-setting albums, such as "Song X" with 
     guitarist Pat Metheny and "Virgin Beauty," featuring Grateful Dead guitarist Jerry Garcia. Both 
     records were widely-accepted. It was also in the 80's that Denardo Coleman not only began 
     producing the recordings of his father, but also became his manager - it was during this period that 
     the Colemans took control over all their business affairs. Out of this, Harmolodic Inc. emerged. 

     The 1990's have continued to be a very productive and creative time for Ornette. With large 
     works like the recent premiere of "Architecture In Motion," Ornette's first Harmolodic ballet, as 
     well as the soundtracks for the films "Naked Lunch" and "Philadelphia." And now the dawning 
     of the Harmolodic label, for which Ornette has been heavily involved in new recordings. 

     There has also been a tremendous out-pouring of recognition bestowed upon Coleman for his 
     work, including numerous honors and celebrations, most recently being named as a recipient of the 
     distinguished 1994 MacArthur Fellowship award. Always true to the spirit of discovery, Ornette 
     Coleman continues to share in new musical horizons as he has yesterday, today and tomorrow. 

     Photos: (top to bottom) 

     Ornette 1995. (Photo by Austin Trevett) 

     Ornette performing at the Newport Rebel Festival. 
     left to right: Kenny Dorham, Ornette Coleman, Charles Mingus (Photo by William Claxton) 

     Ornette Coleman performing at Fairfield Hall - London, England 
     August 29, 1965. 
 
 

  Return to NEW JAZZ ARCHIVES 
 
 
 

                    All contents of these WWW pages Copyright ©1997-1999 Eyeneer Music Archives. 
 

     Rarely does one person change the way we listen to music, but such a man is Ornette Coleman. 
     Since the late 1950's, when he burst onto the New York Jazz scene with his legendary 
     engagement at the Five Spot, Coleman has been teaching the world new ways of listening to 
     music. His revolutionary musical ideas have been controversial, but today, his enormous 
     contribution to modern music is recognized throughout the world. 

                                      Born in Fort Worth, Texas, in 1930, Coleman's 
                                      educational interests included physics, mathematics 
                                      and chemistry. He taught himself to play the 
                                      saxophone and read music in 1944. One year later, he 
                                      formed his first band. Finding a troublesome existence 
                                      in Fort Worth, surrounded by racial segregation and 
                                      poverty, he took to the road by the age of nineteen. 
                                      For Coleman, music has the same qualities of 
                                      chemistry, physics, math and colors. This educational 
                                      basis continues to be the foundation of his approach 
     many years later. 

     During the early 1950's, while in Los Angeles, Ornette's musical ideas were so controversial, he 
     rarely found public performance possibilities. He did, however, find a core of musicians, 
     trumpeters Don Cherry and Bobby Bradford, drummers Ed Blackwell and Billy Higgens and 
     bassist Charlie Haden, who took Coleman's musical concepts. 

     In 1959, with the release of his debut album, "Something Else!," it was immediately clear that 
     Coleman had ushered in a new era in jazz history. This music was free from the prevailing 
     conventions of harmony, rhythm and melody, often called "free jazz," and it transformed the art 
     form. Coleman called the concept Harmolodic. In the 1960's, based on this theory, Coleman also 
     began writing string quartets, woodwind quintets and symphonies. In 1966, Denardo Coleman 
     made his debut in music at age 10, playing drums on the recording, "The Empty Foxhole," with his 
     father. Denardo recorded twice more with his father on "Ornette at 12" and "Crisis." 

                       In the early 1970's, Ornette traveled throughout Morocco and Nigeria, 
                       playing with the local musicians and interpreting the melodic and rhythmic 
                       complexities of their music into his Harmolodic approach. In 1975, seeking 
                       the fuller sound of the orchestra for his writing, Coleman constructed a new 
                       ensemble. Entitled Prime Time, the ensemble included doubling of the 
                       guitars, drums and bass. Combining elements of ethnic and danceable 
                       sounds, this approach is now identified with a full genre of music and 
                       musicians. 

     In the 1980's, another round of surprises included trend-setting albums, such as "Song X" with 
     guitarist Pat Metheny and "Virgin Beauty," featuring Grateful Dead guitarist Jerry Garcia. Both 
     records were widely-accepted. It was also in the 80's that Denardo Coleman not only began 
     producing the recordings of his father, but also became his manager - it was during this period that 
     the Colemans took control over all their business affairs. Out of this, Harmolodic Inc. emerged. 

     The 1990's have continued to be a very productive and creative time for Ornette. With large 
     works like the recent premiere of "Architecture In Motion," Ornette's first Harmolodic ballet, as 
     well as the soundtracks for the films "Naked Lunch" and "Philadelphia." And now the dawning 
     of the Harmolodic label, for which Ornette has been heavily involved in new recordings. 

     There has also been a tremendous out-pouring of recognition bestowed upon Coleman for his 
     work, including numerous honors and celebrations, most recently being named as a recipient of the 
     distinguished 1994 MacArthur Fellowship award. Always true to the spirit of discovery, Ornette 
     Coleman continues to share in new musical horizons as he has yesterday, today and tomorrow. 

     Photos: (top to bottom) 

     Ornette 1995. (Photo by Austin Trevett) 

     Ornette performing at the Newport Rebel Festival. 
     left to right: Kenny Dorham, Ornette Coleman, Charles Mingus (Photo by William Claxton) 

     Ornette Coleman performing at Fairfield Hall - London, England 
     August 29, 1965. 
 
 

  Return to NEW JAZZ ARCHIVES 
 
 
 

                    All contents of these WWW pages Copyright ©1997-1999 Eyeneer Music Archives.