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Howard Mandel's Urban Improvisation

Another take on Butch Morris’ Conduction #1, “Current Trends in Racism”

Poet/playwright/critic  Allan Graubard has been a close friend and collaborator with Buch Morris, writing highly descriptive and evocative notes for Testament: A Conduction Collection  as well as their theater work, “Modette,” and the liner notes below, intended for the 25th anniversary re-issue of Conduction #1, Current Trends in Racism in Modern America, A Work in Progress. I posted my own notes to that edition yesterday.  Allan also was working in the months preceding Butch’s death January 29 to complete his long-in-progress book about conduction.

Beginning… an Oeuvre 

Opening

With silence, a sudden flourish, Conduction premiers in 1985. Not pure ensemble improvisation or notated orchestration, its vivacity is clear, its horizons large. By 2010, an exceptional oeuvre sustains its purpose.

“With a few exceptions, Conductions were created with no notation, preconceived idea as of what was to be performed or tonal centers (keys), only knowledge of the Conduction lexicon.  The idea was and is to see/explore how effectively the lexicon could be extended to accommodate each ensemble…and to see how broad and sturdy it is when integrating notation with Conduction (or Conduction with notation).” – Butch Morris (personal communication 2010)

Insistent and delicate, abrupt or gracious, this first Conduction carries an orchestral sensibility that Mr. Morris exploits as Conduction matures, with a current chronology nearing 200 works. For us nothing has changed. We seek Conductions that sing.

Enrichment

Butch Morris plays Conduction #1 with four signs, one of which he no longer uses. In 2010 the ductility of the form has grown apace, with (approximately) 48 signs and gestures and 13 different categories of signs and gestures – refining its capacity to isolate and shape musical structures as they appear, with all their tensions, releases, reflections and epiphanies.

How did this take place? What has Butch Morris done to hold us through his performances, workshops, lectures, interviews and writings? In what ways has Conduction valorized ensemble creation, the art of conducting, the discipline of composition and the vitality of music and musicianship?

Beyond his vision, sensitivity and perseverance – each quite necessary to support the effort – answers involve a host of issues intimate with our understanding of music, and the contribution that Conduction makes to music:  from musical method, culture, tradition, power, intelligence, emotion, to how we know them and how they inter-relate.

By integrating the social act of conducting with the solitude required for sustained composition, Mr. Morris asks of the ensemble that it assume a unique expressive identity rooted in an expansion of responsibility; the moment by moment creation of the work in real-time.

Enrichment here is reciprocal and multifaceted. Its effects, while initially fascinating, carry other distinctions, which we, because of Conduction, approach anew. I include quite necessary redefinitions and recalibrations, especially in terms of virtuosity and the place of the virtuoso within a medium where the “solo” has little meaning per se, equally idiom and style.

The Terms Evolve

Conduction fuses composition with conducting. Participants build the work through dialogue, precise to the values they bring and those they encounter:  between conductor and ensemble, musicians and conductor, musician and ensemble, conductor and audience, the ensemble entire and audience, and the venue; this emblazoned space.

As the act of composition infuses the ensemble, attentiveness, precision and playing clarify. The conductor leads and responds. The Conduction asserts and discovers.

In one sense, Conduction frees the ensemble, and Conductor, from a specifically lexical determination through notation. In another sense, it questions an expectation that lexicality is a matter of interpretation, not of creation, and that improvisation is a matter of creation exclusive of interpretation. For its audience, Conduction is drama — heterogeneous, homogenous; an arc that intensifies the rapport available to it. Yes, Conduction distinguishes the space it has made its own, with surprise its chorus.

Relative Time

It is revealing, even briefly to compare, Conduction #1, “Current Trends of Racism in Modern America,” to Conduction #146, “Relative Sea,” with the HKB Orchestra, Bern Switzerland, October 7, 2005, some twenty years on.

From an initial nonet of NY improvisers plus voice, there is now a European orchestra of 63 musicians, without improvisers. From a title given to American racism, there is reference to Einstein’s Theory of Relativity and Debussy’s La Mer.  Strikingly, while the circumstances, organization and metaphorical contexts have changed, the artistry commands in both Conductions as much for the music as the means of its making and the excitement of its reception.

Whatever their scale, the accents, colors and movements of any one Conduction enlighten other Conductions, depicting a method for collective intelligence and expression that speaks to the community or communities it comes from, and other communities drawn to it.

Mr. Morris has discussed Conduction #146, “Relative Sea,” performed, by the way, on the 100th anniversary of Einstein’s theory and Debussy’s music: “Relativity depends, among other things, on ‘reference frames’, which is exactly what Conduction is. Why is it that people look so deeply into or at the sea? Is it because they can determine their own reference? Conduction is an excellent bridge between relativity and the sea.”  And, I might add, between the relative comportment of ensemble musicians and the thermal, tidal, wave and wind forces of the music they make.

A Chronology

Conduction engages musicians from different traditions, nationalities, cultures, backgrounds and accomplishment worldwide. In the chronology of Conductions, there are those of special significance for Mr. Morris, of course; I will note only several.

Conductions 62-64, with the Maarten Altena Ensemble, are exemplary for “their great open minds,” the ensemble’s ability to explore and enhance the interchange.  Conduction 28, “Cherry Blossom,” involves indigenous Japanese musicians, whose attack — “earthy, not Western in any way, so immediate and daring” – opens up new routes and implications for cultural dialogue. Later, in Conduction 100-101, he combines indigenous Japanese and Turkish musicians with NY improvisers. Conductions 57-59, “Holy Sea,” with the Orchestra della Toscana, his first with a classical orchestra for whom Conduction is an unknown, brings splendid results.  The prospect it opens on classical musicianship and musicality is both provocative and foundational for future engagements with other orchestras. Conduction 81-87, “London Skyscraper,” maneuvers to forge for its personnel, all improvisers, “leaps in ways other than improvisatory.” There is Conduction 27, the first with text vocalization (A Chorus of Poets), and Conduction 187, “Erotic Eulogy,” the first with full text written specifically for the chorus, with string ensemble; where Mr. Morris “accommodates and registers both ensembles, each formed in their own way, each given their own direction.” Conduction 115 visually transmits the conducting to three different ensembles in different rooms in one locale, a template for live cross-continental performance of a kind unheard before. His Conductions in theater works, and the use of Conduction as a principal medium in developing a theater work, touch new possibilities.  And others here and elsewhere…

Implications    

In recognizing the divide between notation and improvisation, Conduction appeals to interpretation: of the conducting signs and the ensemble’s response, and quality of that response, to them. As a supplement to music and musicianship, it provides a distinctive pedagogy with new values brought to capacity, attack, judgment, culture, tradition and communication. To compose the ensemble as it composes the work extends our notion of what does or does not qualify as a work, whether as product, process, or their various similitudes. As an inimitable “extra dimension” in music, it compels; perhaps because of the risk it entails and the acuity it requires from all participants.

Conduction has provided a synthesizing vector that we have yet to take full advantage of, especially in terms of poetry, theater, dance and architecture.  When performance becomes a fulcrum for dialogue between the individual and the collective, here in the service of music, but just over there in the service of ideology and power, other questions resonate — from what we endure, augment and critique, to what we celebrate or subvert as communities within a politically charged history.

The coherence that Conduction can bring to multiplicities (however existential, discontinuous or coterminous they are), and the capacities it can invest in static bodies, return us to its music, but also to the cultures that music comes from, the social logics thus embodied and the structures erected in their, and our, names.

Fortunate it is that we can chart, in each Conduction, the interactions that feed its momentum, ever attuned to the discipline and its delights.

Conduction does not conclude…

From its first appearance to its current embodiment, Conduction has given us marvelous affirmations of music and its larger meaning in the world. I see no end to this endeavor that enriches the spirit that moves us in music, and the passion and compassion that composes, from this movement, something new, something beautiful – something that is and will be.

But where is a Conduction orchestra or ensemble dedicated to the art and sustained with the kind of support that will make use of the Conduction lexicon in its entirety? This is a place we have yet to experience: practitioners, students, researchers, artists, writers, critics and audience alike. With 25 years of Conduction before us, its time has come. — Allan Graubard, c 2010

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News — good and otherwise — about good radio

WNYC/WQXR program host David Garland makes a good point, in reference to the announcement by WGBH (Boston) that it’s cutting back its nightly “Eric in the Evening”

David Garland, host of “Spinning on Air”, WNYC 93.9, Sunday evenings, 8 pm

jazz show, Steve Schwartz’s Friday night jazz show and  Bob Parlocha’s overnight jazz show. Writes Garland:  “I wish good radio was considered a good ‘story’ while it’s ongoing, not only when it’s cancelled.”

Journalists love conflict — it’s hard to make something that’s positive and ongoing dramatic. So it’s probably in the scheme of things that radio programs that continue to provide high quality pleasure to loyal listeners year after year don’t attract much frequent attention. But fair enough – and here’s some nice news: WBGO (Newark) is celebrating the 40th anniversary of program host Michael Bourne on the air, and the 30th anniversary of music director and Morning Jazz host Gary Walker’s launch of his radio career.

Michael Bourne – WBGO-FM

Bourne, who is host of Singers Unlimited, Afternoon Jazz  and The Blues Hour on WBGO Jazz 88.3, and will broadcast live from the Montreal Jazz Festival on Sunday July 1, 10:00 am – 2:00 pm and Monday, July 2 – Wednesday, July 4, 2:00 pm – 6:30 pm. He’s heard on the radio at 88.3FM and worldwide on the web at www.wbgo.org.

Gary Walker, WBGO-FM

Walker, like Bourne and Garland and most of the other radio broadcasters I know, got his start at his college radio station and has not stopped.

(Tangent, disguised as full disclosure: I produce arts segments for NPR, and once had a weekly show on the radio station of my high school, New Trier East, where I broadcast “Little Suite” from Roscoe Mitchell’s album Sound. A listener within the station’s tiny range called to tell me about Eli’s Chosen Six, the avant-garde Dixieland band of Yalies including trombonist Roswell Rudd and bassist Buell Neidlinger — I borrowed that lp and played it on my show the next week. And I grew up listening to Chicago’s WVON (“Voice of the Negro,” though it was owned by the Chess brothers), as well as WLS and WCFL (which at the time mixed hits from Aretha, the Temps, Tops, Otis Redding, Wilson Pickett with the Beatles, Stones, Animals, Spoonful, Airplane, Turtles, Doors, Rascals, Hendrix, Simon & Garfunkel, Laura Nyro . . . Commercial radio then sure was swell).

In the digital age one wonders if there would still be terrestial radio as it’s existed since the 1920s if people didn’t listen in their cars. There are a lot of attractive online platforms competing for ears’ attentions. Sadly for those who crave human contact, the digital platforms offer music but no djs, who fostered a sense of community among listeners. But that leads to an interesting comment posted on Ed Bride’s insightful article about the WGBH debacle by the supremely talented radio producer Bobby Jackson, formerly at

Bobby Jackson, producer/host of “Roots of Smooth”

WCLK-Atlanta and WCPN-Cleveland, now distributing his own show Roots of Smooth in 16 U.S. markets and on the web:

There is a much more at work here. This is about systematic oppression from privileged board room members who make the decisions about the relevance of African-American culture on the radio. I would venture to say that there aren’t many people of color at those tables who are making these decisions. . . The elimination of jazz on other public radio stations have not helped their numbers. In fact, in many situations, these behind closed doors, board room decisions have put the stations at odds with many supporters in their communities; supporters who have left their ranks. . .I am incensed that African-American music and culture continues to be marginalized and is the first to be thrown under the bus when there is a “financial” crisis. . .One of the reasons public radio exists in the first place was to give voice to the voiceless over the airwaves. There is a rich history surrounding what we do that speaks to affirmation of the true melting pot that America is suppose to be. It is a model on display to share; for all to learn from, how we are able to come together under the magic of jazz, a music that originated in the African-American and is now shared not just here in the United States, but the world over. It is insane that it is being taken off the shelf in so many places in its place of birth.

It may be an unintended consequence of financial strategies that the music which used to be so easily, cheaply accessible to Americans of every background and economic strata is now being relegated to an ever-more-obscure niche. But even if it’s unintended, it’s real. And Bobby is so right — public radio was instituted to be a voice for the otherwise unheard public. Non-commercial radio is supposed to have a mission beyond accruing profits.

Come on, WGBH — be a leader in public broadcasting, end the pernicious trend. Use the airwaves to promote great American music that has the potential to appeal to everybody. So it costs a few bucks to keep informed djs on the air — make that point in your fund-drives. Be a job sustainer, if not a job creator. Realize that Boston needs and wants “Eric in the Evening,” Steve and Bob, and will not flock to hear more talk-news but will tune-in for jazz.

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News-talk doesn’t replace jazz programming

Of the many postings about Boston radio station WGBH’s misguided downgrading of its signature jazz coverage — managing director Phil Redo has announced the removal of long-

Eric Jackson, jazz voice of Boston

beloved prime time show host Eric Jackson to weekends only, the end of producer Steve Schwartz’s Friday night show, and the cut back Bob Parlocha’s overnight program from seven nights a week to two — the best I’ve read is by Edward Bride in Berkshire Fine Arts.

It includes interviews with public radio sources in Chicago, Pittsburgh, San Jose, Cleveland and Lansing, Michigan, who note that the substitution of news-and-talk radio and extended NPR broadcasts has, in other markets, resulted in station losses rather than gains. If the value of well-known, highly popular local voices spinning great music to impressionable (and international — WBGH streams online) audiences is not apparent to decision-makers at WGBH, perhaps the experience of stations like WBEZ Chicago which by dropping jazz sent its hard-earned listenership to the college stations WNUR, WDCB, and WHPK can be instructive.

Steve Schwartz, another voice of Boston jazz

In Boston, the loss of iconic programming threatens the city’s bid for recognition as a hub of contemporary jazz action. It’s home, after all, to Berklee College of Music, the most thriving jazz education institution in the U.S., and New England Conservatory, one of the most open-minded, as well as jazz ed programs at Brandeis, Wellseley, Harvard, MIT, Mount Holyoke, Clark, Amherst, U. Mass, Emerson, etc.  It has a tenacious, historic local jazz club scene and native son George Wein invented the jazz festival (Newport RI is just a couple hours away).

The grass roots support group Jazz Boston and entrepreneurial Mass Jazz website/magazine are relatively recent additions to Boston’s jazz ecosystem, adding focus to a community that can be opaque or amorphous. The Tanglewood Jazz Festival, produced by the Boston Symphony Orchestra, has been cancelled for 2012, despite the BSO receiving funds in 2011 from the National Endowment for the Arts to bring NEA Jazz Masters to TJF. The 2012 Berklee Beantown Jazz Festival, 13 years old and now also supported in part by the NEA, is scheduled for Sept. 29, 2012. It’s a fun, community-spirited affair (I attended last year), if not on the level of the municipally-signficant New Orleans Jazz and Heritage, Detroit, or Chicago Jazz Festivals.

So given that Boston is churning out jazz people with each graduating class, and has the educated, urban population that likes this music, it would seem to be a boon to a PBS/NPR station a la WGBH to have highly identifiable. personable and well-connected on-air voices  entertaining and edifying loyal listeners with America’s indigenous art form. Call-in talk shows are ok, I guess, but if it ain’t the Tappet Brothers Click and Clack telling me what’s wrong with somebody else’s car, I’m hard-pressed to identify anything especially Boston when I’m dialing ’round the dial.

Of course, I’m not a Red Sox, Celtics, Bruins or Patriots or Revolution fan, and I understand Boston is a helluva sports town. Maybe if ‘GBH threw in with that community it would see its ratings rise. Oh, already covered by the commercial stations? Hmmmm. Then how about sticking with something locally distinguished and distinctive? I’m thinking . . .  jazz?

[There are several attempts being made to get WGBH to reconsider this decision: the Facebook group Save Eric in the Evening has more than 2100 members, and is the place to make your thoughts known, get in on protests, sign petitions, etc.]

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What if there’s more to jazz than you suppose? What if jazz demolishes suppositions and breaks all bounds? What if jazz – and the jazz beyond, behind, under and around jazz – could enrich your life?

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I’ll be speaking about the legacy of Billy Strayhorn on The Barber Shop Show hosted by Richard Steele, live from Chicago’s Lawndale neighborhood at noon Friday Nov 6 2015 (rebroadcast 3 pm Sunday) on WBEZ ChicagoPublicMedia.org.

Needledrop & video-viewings of Ornette, Old and New Dreams and their world — I’ll vj with esteemed aficionados Kate (Hyde Park Jazz Assoc.) Dumbleton, Lofton (WHPK) Emenari and Neil (Playboy Guide to Jazz, et al) Tesser at noon to 3 pm Sat Nov 15 at the Logan Center penthouse (915 E. 60th St., Chicago). Part of HotHouse’s Old and New Dreams festival.

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Howard Mandel

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I’m a Chicago-born (and after 30 years in NYC, repatriated in 2014) writer, editor, author, arts reporter for National Public Radio, non-profit organization consultant and videographer — a veteran freelance journalist working on newspapers, magazines and websites, appearing on tv and radio, teaching at New York University and elsewhere, specializing on culturally oriented media and music-related issues. Since 1994 I’ve been president of the Jazz Journalists Association, a non-profit membership organization devoted to using new and traditional media to disseminate news and views about jazz. I’m a member of the Author’s Guild and a board member of the Jazz Institute of Chicago.

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Howard Mandel

I'm a Chicago-born (and after 32 years in NYC, recently repatriated) writer, editor, author, arts reporter for National Public Radio, consultant and nascent videographer -- a veteran freelance journalist working on newspapers, magazines and websites, appearing on tv and radio, teaching at New York University and elsewhere, consulting on media, publishing and jazz-related issues. I'm president of the Jazz Journalists Association, a non-profit membership organization devoted to using all media to disseminate news and views about all kinds of jazz.
My books are Future Jazz (Oxford U Press, 1999) and Miles Ornette Cecil - Jazz Beyond Jazz (Routledge, 2008). I was general editor of the Illustrated Encyclopedia of Jazz and Blues (Flame Tree 2005/Billboard Books 2006). Of course I'm working on something new. . . Read More…

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