(He declined, through a spokesperson, to comment on Spalding for this story, citing his busy schedule.). She put on headphones and, following the sheet music spread out in front of her on the conductor’s podium, guided the musicians through the session. Though lax about practicing (for several years, she feigned sight-reading and learned her parts by ear), she earned a spot in an advanced youth orchestra, the Chamber Music Society of Oregon, and by fifteen was the orchestra’s concertmaster. Jazz is kind of like a boys’ playground.” She pointed out that women began to be accepted into orchestras only a few decades ago, and believes it is only a matter of time until the jazz world is as integrated.
Carol Reiley is an entrepreneur, computer scientist, and Artificial Intelligence roboticist.
In December 2020, the first five years of Density 2036 will be released in their world premiere recordings in a four-album compilation produced in collaboration with Meyer Sound Laboratories in Berkeley, CA. She made five or six passes through the song, overdubbing, creating unexpected harmonies that tugged the mood into deeper melancholy. “They’re small for a bassist,” he said. Meanwhile, she regularly toured with her own band while also performing with such jazz musicians as saxophonist Joe Lovano and pianists McCoy Tyner and Herbie Hancock as well as pop stars Prince and Stevie … She also earned a full scholarship to the Northwest Academy, a private arts high school in downtown Portland. But beyond jazz circles Spalding has attracted considerable notice. His recent major works include Concerto for Two Pianos. “I just love everything about that bass line,” she said. This year, his album Tenebre won both an Opus Klassik Award in Germany and a Diapason d’Or in France.
Between songs, she kept up a steady, intimate patter, at one point telling the audience, “This is a transitional period for me. She decided to try improvising them with her voice. Her recital highlights include appearances at New York’s Carnegie Hall, the Philadelphia Chamber Music Society, Cal Performances at UC Berkeley, Boston’s Celebrity Series, Washington’s Kennedy Center, and the Mostly Mozart and Ojai Music festivals, where she joined Roomful of Teeth and the International Contemporary Ensemble for the world premiere of, is a soloist, collaborative artist, curator, and, advocate for new and experimental music.
When I asked her about him, she shrugged and said that she’d met him only twice—in passing, at a New York club, and, more formally, when he arrived, unannounced, with his entire big band at a gig she was playing last year in Minnesota. Future projects include a world premiere with Sydney Dance Company and the Australian String Quartet. “He was checking out if I was legitimate.” Marsalis has never commented publicly on Spalding—a surprising omission for a man who, as the artistic director of Jazz at Lincoln Center, is the leading promoter of the art form in America. She dug out the Kindle that she’d been given for Christmas and read aloud: “ ‘I have felt the pulse of modern art and know that it will die! A deeply committed educator, Chase is currently is Professor of the Practice of Music at Harvard University, where she teaches courses on ensemble building, cultural activism, and transdisciplinary collaboration. When the band began to play, her left hand swarmed the neck of her upright bass, spidering out speedy arpeggios and dashing upward in chromatic runs. Spalding’s regular drummer had broken his arm, and she was using a sub, her friend Terri Lyne Carrington.
Spalding insisted on reverting to her earlier, simpler arrangement. She hit the iPod stop button and shook the cramp out of her left hand.
A chorus of women’s voices lightly chanting over a syncopated percussion section of crotales and hadgini drums gives way to Spalding’s swinging bass and Leo Genovese’s piano, before Spalding breaks into singing, in Portuguese, the Milton Nascimento number “Ponta de Areia.” Later, “I Know You Know,” an original, begins with a stuttering funk bass line that would not sound out of place on a James Brown record. Though the movement gained some early attention—in 1993, the saxophonist Joshua Redman was sponsored by DKNY, and appeared in GQ—it proved not to be a prescription for the long-term health of the art form. She signed, instead, with Heads Up, a label based in Cleveland, and in late 2007 began recording “Esperanza.” From the opening seconds of the record, it is clear that this is the product of an omnivorous sensibility. She found encouragement in the work of Wayne Shorter, the jazz saxophonist and composer who left Miles Davis’s quintet in 1970 to found Weather Report, an electric band that abandoned the verities of straight-ahead jazz—standards, acoustic instruments, swing—for an experimentalist music that combined rock, funk, and world-beat rhythms with dark, sophisticated chords and melodies. Attendance at jazz concerts has been declining for years; a hit jazz album today might sell forty thousand copies worldwide. This website uses cookies. There she caught the attention of Brian Rose, who taught jazz-improv classes and electronic music.
Carol Reiley is an entrepreneur, computer scientist, and Artificial Intelligence roboticist.
In December 2020, the first five years of Density 2036 will be released in their world premiere recordings in a four-album compilation produced in collaboration with Meyer Sound Laboratories in Berkeley, CA. She made five or six passes through the song, overdubbing, creating unexpected harmonies that tugged the mood into deeper melancholy. “They’re small for a bassist,” he said. Meanwhile, she regularly toured with her own band while also performing with such jazz musicians as saxophonist Joe Lovano and pianists McCoy Tyner and Herbie Hancock as well as pop stars Prince and Stevie … She also earned a full scholarship to the Northwest Academy, a private arts high school in downtown Portland. But beyond jazz circles Spalding has attracted considerable notice. His recent major works include Concerto for Two Pianos. “I just love everything about that bass line,” she said. This year, his album Tenebre won both an Opus Klassik Award in Germany and a Diapason d’Or in France.
Between songs, she kept up a steady, intimate patter, at one point telling the audience, “This is a transitional period for me. She decided to try improvising them with her voice. Her recital highlights include appearances at New York’s Carnegie Hall, the Philadelphia Chamber Music Society, Cal Performances at UC Berkeley, Boston’s Celebrity Series, Washington’s Kennedy Center, and the Mostly Mozart and Ojai Music festivals, where she joined Roomful of Teeth and the International Contemporary Ensemble for the world premiere of, is a soloist, collaborative artist, curator, and, advocate for new and experimental music.
When I asked her about him, she shrugged and said that she’d met him only twice—in passing, at a New York club, and, more formally, when he arrived, unannounced, with his entire big band at a gig she was playing last year in Minnesota. Future projects include a world premiere with Sydney Dance Company and the Australian String Quartet. “He was checking out if I was legitimate.” Marsalis has never commented publicly on Spalding—a surprising omission for a man who, as the artistic director of Jazz at Lincoln Center, is the leading promoter of the art form in America. She dug out the Kindle that she’d been given for Christmas and read aloud: “ ‘I have felt the pulse of modern art and know that it will die! A deeply committed educator, Chase is currently is Professor of the Practice of Music at Harvard University, where she teaches courses on ensemble building, cultural activism, and transdisciplinary collaboration. When the band began to play, her left hand swarmed the neck of her upright bass, spidering out speedy arpeggios and dashing upward in chromatic runs. Spalding’s regular drummer had broken his arm, and she was using a sub, her friend Terri Lyne Carrington.
Spalding insisted on reverting to her earlier, simpler arrangement. She hit the iPod stop button and shook the cramp out of her left hand.
A chorus of women’s voices lightly chanting over a syncopated percussion section of crotales and hadgini drums gives way to Spalding’s swinging bass and Leo Genovese’s piano, before Spalding breaks into singing, in Portuguese, the Milton Nascimento number “Ponta de Areia.” Later, “I Know You Know,” an original, begins with a stuttering funk bass line that would not sound out of place on a James Brown record. Though the movement gained some early attention—in 1993, the saxophonist Joshua Redman was sponsored by DKNY, and appeared in GQ—it proved not to be a prescription for the long-term health of the art form. She signed, instead, with Heads Up, a label based in Cleveland, and in late 2007 began recording “Esperanza.” From the opening seconds of the record, it is clear that this is the product of an omnivorous sensibility. She found encouragement in the work of Wayne Shorter, the jazz saxophonist and composer who left Miles Davis’s quintet in 1970 to found Weather Report, an electric band that abandoned the verities of straight-ahead jazz—standards, acoustic instruments, swing—for an experimentalist music that combined rock, funk, and world-beat rhythms with dark, sophisticated chords and melodies. Attendance at jazz concerts has been declining for years; a hit jazz album today might sell forty thousand copies worldwide. This website uses cookies. There she caught the attention of Brian Rose, who taught jazz-improv classes and electronic music.