The Miles Davis Lost Quintet and Other Revolutionary Ensembles by Bob Gluck(2016) Chapter 7 The Revolutionary Ensemble 第7章 レヴォリューショナリーアンサンブル Musical freedom is relative. The Miles Davis Lost Quintet was a model of a band…
The Miles Davis Lost Quintet and Other Revolutionary Ensembles by Bob Gluck(2016) Chapter 7 The Revolutionary Ensemble 第4回（4/4) Texture as a Musical Feature 演奏面の特徴としての曲の組み立て方 A third key aspect of the Revolutionary Ense…
The Miles Davis Lost Quintet and Other Revolutionary Ensembles by Bob Gluck(2016) Chapter 7 The Revolutionary Ensemble Musical Form and Structure 演奏の形式と作り方 Jerome Cooper comments on the group's distinctively cohesive playing: ジェ…
The Miles Davis Lost Quintet and Other Revolutionary Ensembles by Bob Gluck(2016) Chapter 7 The Revolutionary Ensemble Revolutionary Ensemble's Performances レヴォリューショナリーアンサンブルの演奏活動 In its early years, before the mid-19…
The Miles Davis Lost Quintet and Other Revolutionary Ensembles by Bob Gluck(2016) Chapter 7 The Revolutionary Ensemble 第7章 レヴォリューショナリーアンサンブル Musical freedom is relative. The Miles Davis Lost Quintet was a model of a band…
The Miles Davis Lost Quintet and Other Revolutionary Ensembles by Bob Gluck(2016) Chapter 6 Circle 第６章 サークル Some of the free music that was being played [in the sixties] was not just a need to break rules to try new things, but it w…
The Miles Davis Lost Quintet and Other Revolutionary Ensembles by Bob Gluck(2016) Chapter 5 Miles Davis's Increasingly Electronic 1970, and a Reflection on His 1971 - 75 Bands 第5章 マイルス・デイヴィス 1970年代の急ピッチな電子楽器の導入と…
The Miles Davis Lost Quintet and Other Revolutionary Ensembles by Bob Gluck(2016) Chapter 4 Interlude 第４章 Musical Rumblings in Chelsea チェルシー：多くの音楽が行き交う The Chick Corea - Dave Holland - Jack DeJohnette trio within Miles D…
Chapter 3 Anthony Braxton 第3章 アンソニー・ブラクストン Leroy Jenkins, Musica Elettronica Viva, and the “Peace Church” Concert リロイ・ジェンキンス、ムジカ・エレットロニカ・ヴィヴァ、「ピース・チャーチ」コンサート Another European Adventu…
The Miles Davis Lost Quintet and Other Revolutionary Ensembles by Bob Gluck(2016) Chapter 2 “Bitches Brew,” in the Studio and on the Road 第２章 「ビッチェズ・ブリュー」スタジオとライブと With that band we were playing our butts off, every…
The Miles Davis Lost Quintet and Other Revolutionary Ensembles by Bob Gluck(2016) Chapter 1 Miles Goes Electric 第１章 マイルス、エレクトリックに For musicians within the world designated “jazz” who sought to expand their horizons, 1969 wa…
Introduction 序章 One of the most serious problems confronted by jazz historians is that, while recordings offer the only tangible evidence we have of the music's development, some of the most important stages in that development were insu…
The Miles Davis Lost Quintet and Other Revolutionary Ensembles by Bob Gluck(2016) ロバート・グルック著(2016年) Bob Gluck is a pianist, composer, and jazz historian, as well as associate professor of music and director of the Electronic Mus…
The Miles Davis Lost Quintet and Other Revolutionary Ensembles by Bob Gluck(2016) Chapter 7 The Revolutionary Ensemble 第7章 レヴォリューショナリーアンサンブル Musical freedom is relative. The Miles Davis Lost Quintet was a model of a band…
The Miles Davis Lost Quintet and Other Revolutionary Ensembles by Bob Gluck(2016) Chapter 6 Circle Endings 活動終了 The life of a touring ensemble is rarely a long-term affair. Circle and the trio that preceded it had a yearlong run, a res…
The Miles Davis Lost Quintet and Other Revolutionary Ensembles by Bob Gluck(2016) Chapter 6 Circle 第6章 サークル New Beginnings 新たな取り組みのはじまり (callings) The idea wasn't to start out and play free; the idea was to play this musi…
The Miles Davis Lost Quintet and Other Revolutionary Ensembles by Bob Gluck(2016) Chapter 6 Circle Circle: Open Improvisation and Musical Form (continue) The quartet's approach to collective improvisation demanded everyone's complete atten…
The Miles Davis Lost Quintet and Other Revolutionary Ensembles by Bob Gluck(2016) Chapter 6 Circle The Impact of Marion Brown's “Afternoon of a Georgia Faun” マリオン・ブラウンの「Afternoon of a Goergia Faun」の与えたインパクト One possibl…
The Miles Davis Lost Quintet and Other Revolutionary Ensembles by Bob Gluck(2016) Chapter 6 Circle 第６章 サークル Some of the free music that was being played [in the sixties] was not just a need to break rules to try new things, but it w…
The Miles Davis Lost Quintet and Other Revolutionary Ensembles by Bob Gluck(2016) Chapter 5 Miles Davis's Increasingly Electronic 1970, and a Reflection on His 1971 - 75 Bands 第5章 マイルス・デイヴィス 1970年代の急ピッチな電子楽器の導入と…
The Miles Davis Lost Quintet and Other Revolutionary Ensembles by Bob Gluck(2016) Chapter 5 Miles Davis's Increasingly Electronic 1970, and a Reflection on His 1971 - 75 Bands 第5章 マイルス・デイヴィス 1970年代の急ピッチな電子楽器の導入と…
The Miles Davis Lost Quintet and Other Revolutionary Ensembles by Bob Gluck(2016) Chapter 5 Miles Davis's Increasingly Electronic 1970, and a Reflection on His 1971 - 75 Bands 第5章 マイルス・デイヴィス 1970年代の急ピッチな電子楽器の導入と…
The Miles Davis Lost Quintet and Other Revolutionary Ensembles by Bob Gluck(2016) Chapter 5 Miles Davis's Increasingly Electronic 1970, and a Reflection on His 1971 - 75 Bands 第5章 マイルス・デイヴィス 1970年代の急ピッチな電子楽器の導入と…
The Miles Davis Lost Quintet and Other Revolutionary Ensembles by Bob Gluck(2016) Chapter 5 Miles Davis's Increasingly Electronic 1970, and a Reflection on His 1971 - 75 Bands 第5章 マイルス・デイヴィス 1970年代の急ピッチな電子楽器の導入と…
The Miles Davis Lost Quintet and Other Revolutionary Ensembles by Bob Gluck(2016) Chapter 5 Miles Davis's Increasingly Electronic 1970, and a Reflection on His 1971 - 75 Bands 第5章 マイルス・デイヴィス 1970年代の急ピッチな電子楽器の導入と…
As time went by, Altschul would listen closely to the sounds of the city, the rising and falling of the sounds of the industrial era: 時を重なるうちに、バリー・アルトシュルが耳を傾けるようになったのが、街の音、ビジネスや産業の盛んな地域で…
Becoming a Trio トリオができ上がってゆく To form the kind of acoustic trio they had in mind, Holland and Corea needed to identify the right drummer. Corea relates: “We decided that we would like a drummer that could roll with the free form…
Meanwhile, Downstairs in Corea's and Holland's Lofts ... 一方、チック・コリアとデイヴ・ホランドの居たロフトの1階では… The jam sessions in Dave Liebman's loft overlapped in time with Chick Corea and Dave Holland's duets in Corea's loft down…
Liebman and his circle were profoundly influenced by John Coltrane's landmark collective improvisational work from 1965: “We played completely free in the language of [Coltrane's] Ascension,” the probing, expressive, and at times fiery mus…
Chelsea as a Home for Jazz Musicians. ジャズ・ミュージシャン達の拠点としてのチェルシー The neighborhood of Chelsea, between Fourteenth and Twenty-Ninth Streets on the West Side of Manhattan, was an unanticipated home for jazz or other crea…
