{"id":1652,"date":"2014-06-11T10:11:52","date_gmt":"2014-06-11T14:11:52","guid":{"rendered":"http:\/\/www.artsjournal.com\/jazzbeyondjazz\/?p=1652"},"modified":"2019-09-12T15:53:33","modified_gmt":"2019-09-12T19:53:33","slug":"hail-visionary-charles-gayle-from-the-wire-1994","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2014\/06\/hail-visionary-charles-gayle-from-the-wire-1994.html","title":{"rendered":"Hail visionary Charles Gayle (from The Wire, 1994)"},"content":{"rendered":"

[contextly_auto_sidebar id=”JiuiRjN7E0uAO2UaM8RXMF3k9kToOBIP”] Saxophonist and pianist Charles Gayle has one of the largest, most urgent and original saxophone sounds to be heard since the 1990s.\u00c2\u00a0That was 20 years after he moved from Buffalo to NYC and started playing on the streets, then was “discovered,” promoted and booked by Michael Dorf, operator of the original Knitting Factory. Today (June 11) Gayle is receiving Lifetime Achievement honors and performing with three ensembles at the 19th Vision Festival<\/a>. I interviewed and profiled Charles for The Wire in March, 1994 <\/a>— and read\u00c2\u00a0part 2, as originally in the magazine, below —<\/p>\n

howardmandel.com<\/a><\/p>\n

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[contextly_auto_sidebar id=”JiuiRjN7E0uAO2UaM8RXMF3k9kToOBIP”] Saxophonist and pianist Charles Gayle has one of the largest, most urgent and original saxophone sounds to be heard since the 1990s.\u00c2\u00a0That was 20 years after he moved from Buffalo to NYC and started playing on the streets, then was “discovered,” promoted and booked by Michael Dorf, operator of the original Knitting Factory. […]<\/p>\n","protected":false},"author":2,"featured_media":1653,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[3],"tags":[],"class_list":{"0":"post-1652","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-main","8":"entry"},"jetpack_featured_media_url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2014\/06\/gayle.jpeg","jetpack_shortlink":"https:\/\/wp.me\/p1i3CL-qE","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":50,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2008\/02\/me_in_the_wire_online.html","url_meta":{"origin":1652,"position":0},"title":"Me in The Wire online","author":"Howard Mandel","date":"February 5, 2008","format":false,"excerpt":"Rare articles on John Coltrane, Charles Gayle and Matt Shipp -- by me -- have just been posted online by The Wire, an always-worth-reading UK publication that covers jazz beyond jazz and some music beyond even that. howardmandel.com Subscribe to Jazz Beyond Jazz by Email","rel":"","context":"In "main"","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":152,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2009\/01\/parameters_of_jazz_now.html","url_meta":{"origin":1652,"position":1},"title":"Parameters of jazz now","author":"Howard Mandel","date":"January 12, 2009","format":false,"excerpt":"The Winterjazzfest held at three venues in Greenwich Village last Saturday, a smorgasbord of almost two dozen acts offered up to attendees of the Association of Performing Arts Centers conference, gave a hint of some sounds to be heard around the U.S. in the months to come. What I witnessed\u2026","rel":"","context":"In "main"","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":1587,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2014\/04\/evolving-jazz-beyond-jazz-in-march-jazzapril.html","url_meta":{"origin":1652,"position":2},"title":"Evolving jazz beyond jazz in March & JazzApril","author":"Howard Mandel","date":"April 20, 2014","format":false,"excerpt":"Stunning, challenging and engaging if not always 100%, brilliantly revelatory music that goes beyond the strictest (old) definitions of jazz . . . What could music that\u00e2\u20ac\u2122s free to tap all techniques, strategies and human capacities become?","rel":"","context":"In "main"","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"jamaaladeen tenor sax","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2014\/04\/jamaaladeen-tenor-sax.jpeg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":273,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2009\/11\/far_downtown_weekend_adventure.html","url_meta":{"origin":1652,"position":3},"title":"Far downtown weekend adventures","author":"Howard Mandel","date":"November 20, 2009","format":false,"excerpt":"Far out improv, high concept contemporary composition, new jazz scholarship and \"cut loose\" music from Guadeloupe flood Lowest Manhattan (all the way to Staten Island) this weekend.\u00c2\u00a0The folks who bring us the Vision Festival stage\u00c2\u00a028 hours of multidisciplinary improvisation\u00c2\u00a0starting tonight (Friday) at 6 p.m. at Clemente Soso Velez Cultural Center;\u00c2\u00a0Mode\u2026","rel":"","context":"In "main"","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":1597,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2013\/04\/william-parker-my-downbeat-feature-from-1998.html","url_meta":{"origin":1652,"position":4},"title":"William Parker, my DownBeat feature from 1998","author":"Howard Mandel","date":"April 20, 2013","format":false,"excerpt":"Howard Mandel\u00c2\u00a0c 1998\/published by DownBeat, July 1998, under headline Beneath the Underdog (the editor's reference to Charles Mingus's autobiography): There's an anchor for New York's downtown free jazz and improv \"wild bunch\": his name is William Parker. The steadfast bassist has a huge, deep-rooted sound and concept, tied to more\u2026","rel":"","context":"In "interviews"","block_context":{"text":"interviews","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/interviews"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":19,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2007\/07\/the_makers_of_jazz_beyond_jazz.html","url_meta":{"origin":1652,"position":5},"title":"The Makers of Jazz Beyond Jazz","author":"Howard Mandel","date":"July 1, 2007","format":false,"excerpt":"Over the course of three decades, I've been privileged to get behind the scenes and meet heroic creators of jazz as well as up-and-comers, innovators and exemplars of many other genres. Please enjoy these archival interviews and articles. William Parker, DownBeat, July 1998 Maria Schneider DownBeat, July 2007 Sonny Rollins\u2026","rel":"","context":"In "interviews"","block_context":{"text":"interviews","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/interviews"},"img":{"alt_text":"audio_icon.gif","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/audio_icon.gif?resize=350%2C200","width":350,"height":200},"classes":[]}],"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/posts\/1652","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/comments?post=1652"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/posts\/1652\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/media\/1653"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/media?parent=1652"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/categories?post=1652"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/tags?post=1652"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}