AppleMusicJazz Playlist With Alan Silva A.R.T.DA MyStreamS

A superb modern jazz pianist, Stanley Cowell is a highly regarded artist whose work often pushes the boundaries of forward-thinking hard bop without ever falling into completely avant-garde territory. Born in Toledo, Ohio in 1941, Cowell began studying piano around age four and first became interested in jazz after gaining exposure to the music of pianist Art Tatum, a family friend. After high school, he attended both the Oberlin College Conservatory and the University of Michigan, during which time he also gained valuable experience playing with Rahsaan Roland Kirk. In the mid-'60s he moved to New York City, where he played regularly with such luminaries as Marion Brown (1966-1967), Max Roach (1967-1970), and the Bobby Hutcherson-Harold Land Quintet (1968-1971). As a leader, Cowell debuted on the Arista-Freedom label with 1969's Blues for the Viet Cong, followed that same year by Brilliant Circles. He then moved to ECM for 1973's Illusion Suite. Also in the early '

his type of geometric Spontaneous Composition holds a fascination for me. It’s a way of using the “other”, sometimes neglected elements of Abstract Rhythm in Timemusic like texture, color, density, transparency, spatial relationships...rhythmic motives, rather than Time pulse. It represents an experience of music where emphasis is on the vertical, profound plane rather than on the narrative expression on the horizontal linear plane musicians commonly use.

This type of geometric Spontaneous Composition holds a fascination for me. It’s a way of using the “other”, sometimes neglected elements of Abstract Rhythm in Timemusic like texture, color, density, transparency, spatial relationships...rhythmic motives, rather than Time pulse. It represents an experience of music where emphasis is on the vertical, profound plane rather than on the narrative expression on the horizontal linear plane musicians commonly use. Nowhere in Africa did jazz take root more strongly and passionately than it did in South Africa beginning in the '50s. Early combos like The Jazz Epistles—who introduced the world to pianist Abdullah Ibrahim and trumpeter Hugh Masekela—melded the ebullient, buoyantly joyful melodies of pennywhistle-driven kwela with a swing sensibility. Because of the repressive conditions of Apartheid, American jazz greats were unable to visit the country, giving locals a particularly un-U.S.-influenced compass to forge their own paths, freely

This type of geometric Spontaneous Composition holds a fascination for me. It’s a way of using the “other”, sometimes neglected elements of Abstract Rhythm in Timemusic like texture, color, density, transparency, spatial relationships...rhythmic motives, rather than Time pulse. It represents an experience of music where emphasis is on the vertical, profound plane rather than on the narrative expression on the horizontal linear plane musicians commonly use. A strong improviser whose colorful and spiritual music crosses many boundaries (between world music, free jazz, and folk songs from many countries), Zusaan Kali Fasteau plays soprano, shakuhachi flute, cello, piano, percussion, and quite a few "exotic" instruments such as the ney, kaval, sheng, mizmar, moursin, and the sanza. She spent her early childhood in Paris and New York and studied piano, cello, voice, and flute. After earning a B.A. in anthropology and an M.A. in World Music, she became involved in the free jazz s