10khrs on 05/09/2011 at 03:40PM
Composer, multi-instrumentalist, educator, and record label enterpreneur Vinny Golia discusses his unlikely entrance into improvised music, going from his cover artwork for albums by Chick Corea (The Song of Singing), Joe Henderson, and Dave Holland / Barre Phillips (the seminal Music From Two basses), to his acquisition of a Selmer Mark VI soprano saxophone, replete with metal mouthpiece to match the setup of his idol John Coltrane. He then goes on to discuss some experiments in Grand Central Station, his emigration to the west coast, and the gradual expansion of his staggerinly diverse collection of woodwind instruments. He discusses the development of his improvisational and compositional style, and his recent set of recordings featuring compositions for Like Instruments (one CD each for music featuring flutes, clarinets, Eb saxohpones, and Bb saxophones). He discusses his work with his record label Nine Winds and his stint curating half of April’s concerts at The Stone in New York. Also included are a handful of duo improvisations with host James Ilgenfritz.
As a composer Vinny Golia fuses the rich heritage of Jazz, contemporary classical and world music into his own unique compositions. Also a bandleader, Golia has presented his music to concert audiences in Europe, Canada, Mexico, Japan, Australia, New Zealand and the United States in ensembles varying dramatically in size and instrumentation. Mr. Golia has won numerous awards as a composer, including grants from The National Endowment of the Arts, The Lila Wallace Commissioning Program, The California Arts Council, Meet the Composer,Clausen Foundation of the Arts, Funds for U.S. Artists and the American Composers Forum. In 1982 he created the on-going 50 piece Vinny Golia Large Ensemble to perform his compositions for chamber orchestra and jazz ensembles. Vinny has been a featured performer with Anthony Braxton, Henry Grimes, John Carter, Bobby Bradford, Joelle Leandre, Leo Smith, Horace Tapscott, John Zorn, Tim Berne, Bertram Turetzky, George Lewis, Barre Phillips, The Rova Saxophone Quartet, Patti Smith, Harry “the Hipster” Gibson, Eugene Chadburne, Kevin Ayers, Peter Kowald, John Bergamo, George Gruntz Concert Jazz Band, Misha Mengelberg, Han Bennick, Lydia Lunch, Harry Sparrney and the Los Angeles Philharmonic Orchestra amongst many others. He currently teaches at California Institute of the Arts.
andrewcsmith on 03/08/2011 at 11:00AM
ISSUE Artist-in-Residence Nate Wooley, performing this Friday at ISSUE (FREE | RSVP), sat down with bassist, composer, and Artist-in-Residence James Ilgenfritz for an extended interview and some improvised takes as part of James's series Ten Thousand Hours.
Nate details what it is that makes him uncomfortable—which he sees as success. His residency at ISSUE, he says, is a chance for him to "rewrite my whole vocabulary in a way," and go beyond his solo acoustic and his amplified trumpet work to make something "really raw, and loud, and uncomfortable and personal." Interspersed throughout are excerpts from his and James's improvisations, which are also separate tracks on the album made for re-listening.
Also make sure to check out a video of Nate in his studio, talking about his upcoming piece Seven Storey Mountain, which he'll be performing as part of his ISSUE residency.
andrewcsmith on 02/28/2011 at 09:30AM
In the run-up to ISSUE's first benefit this coming Friday, we're featuring podcasts of music and interviews with composer and guitarist Elliott Sharp (whose 60th birthday party is happening at 110 Livingston in Brooklyn on March 4).
Elliott Sharp's output spans a whole bunch of genres of current experimental music, and so one podcast just didn't seem quite enough. Luckily, James Ilgenfritz's series Ten Thousand Hours takes a close look at Elliott's improvisational output, on what it means to be an improviser and still associate with "classical" genres, or to be an musician using amplification, sampling, and electronics and still associate with the jazz (or even classical) worlds. Sharp doesn't seem to think too much of the distinction, but he and James dig deeper; they talk about his teenage years reading Xenakis and Cage, his days releasing string quartets on the punk label SST, the challenges of being a freelance composer, and his ongoing hope for the open-mindedness of today's younger musicians and music enthusiasts. Check out James's podcast below, and we'll be featuring a number of these interviews with creative improvisors throughout March and onward.