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| Bill Dixon in Italy, Volume Two |
| Bill Dixon |
első megjelenés éve: 1980
42 perc |
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| (2000)
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CD |
| 5.108 Ft
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| 1. | Sketch/Firenze
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| 2. | Summer Song Two: Evening
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| 3. | Summer Song/Three/Aurorea Daybreak
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| 4. | Dusk
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| 5. | Dance Piece: Places/For Jack and Barbara/Autumn Sequences from a Pari
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Jazz / Avant-Garde, Free Jazz, Avant-Garde Jazz
Bill Dixon - Paintings, Piano, Artwork, Trumpet
Alan Silva Double Bass
Arthur Brooks Trumpet
Elena Carminati Photography
Giancarlo Barigozzi Engineer
Giovanni Bonandrini Producer
Luigi Zanon Photography
Stephanie Haynes Trumpet
Stephen Horenstein Sax (Baritone), Sax (Tenor)
Verona Liner Notes
Waits, Frederick Drums
A rare date from a distinctive trumpeter whose approach, clarity of tone, and directness set him apart in the '60s. The set included a fine three-part song dedicated to Cecil Taylor. The band mixed avant-garde types like bassist Alan Silva with mainstream figures like drummer Freddie Waits. It also had an unusual lineup, with two, sometimes three trumpeters and a saxophonist, bassist, and drummer. Dixon occasionally played piano. ~ Ron Wynn, All Music Guide
Bill Dixon
Active Decades: '60s, '70s, '80s, '90s and '00s
Born: Oct 05, 1925 in Nantucket, MA
Genre: Jazz
Styles: Avant-Garde, Free Jazz, Avant-Garde Jazz
One of the seminal free jazz figures, Dixon's made his mark as a player, organizer, and educator in a career that's spanned more than 40 years. Dixon is a jaggedly lyrical trumpeter -- his delivery is as vocalic as that of any free jazz trumpeter except perhaps Lester Bowie. As an improviser, he's somewhat similar in temperament to Ornette Coleman, yet his compositional style differs greatly from the altoist. Dixon's work features open space, wide intervals that do not imply a specific key or mode, and dark backdrops owing to the use of two or more double bassists. His art is eminently thoughtful even as it can be viscerally exciting.
Dixon grew up in New York City. His first studies were in painting. He didn't become a musician until he was discharged from the Navy following World War II. Dixon met Cecil Taylor in 1951 and the two began playing together, along with other like-minded young musicians. In the early '60s, he formed a quartet with saxophonist Archie Shepp. The band recorded the self-titled Archie Shepp-Bill Dixon Quartet LP for Savoy in 1962 (Dixon was briefly the artistic director in charge of jazz for the label). In 1964, Dixon organized the October Revolution in Jazz, a festival of new music held at the Cellar Cafe in Manhattan. About 40 groups played, including the cream of the era's free jazz crop. Out of this grew the Jazz Composer's Guild, a musician's cooperative founded in 1964 that included Dixon, Shepp, Roswell Rudd, Cecil Taylor, Paul Bley, and Carla Bley, among others. In 1967 he recorded an album of his music for RCA. Also that year, he founded the Free Conservatory of the University of the Streets, a music education program for inner-city youth in New York. Beginning in 1968, Dixon taught at Bennington College in Vermont. He was a visiting faculty member at the University of Wisonsin in 1971-1972, then returned to Bennington, where in 1973 he founded the Black Music division. At Bennington, Dixon mentored a number of contemporary free jazz musicians, including alto saxophonist Marco Eneidi and drummer Jackson Krall. Dixon remained at Bennington until his retirement from teaching in 1996. In the intervening years, Dixon conducted workshops and master classes around the world. A collection of his work from 1970 to 1976 is available on the Cadence label. From 1980 on, he has recorded and performed, more-or-less infrequently, for Soul Note.
---Chris Kelsey, All Music Guide |
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