{"id":813,"date":"2012-02-23T17:41:39","date_gmt":"2012-02-23T22:41:39","guid":{"rendered":"http:\/\/www.artsjournal.com\/jazzbeyondjazz\/?p=813"},"modified":"2019-09-12T19:54:39","modified_gmt":"2019-09-12T23:54:39","slug":"composer-heiner-brains-on-fire-stadler-its-psychedelic-baby","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2012\/02\/composer-heiner-brains-on-fire-stadler-its-psychedelic-baby.html","title":{"rendered":"Composer Heiner (Brains on Fire) Stadler @ It’s Psychedelic Baby"},"content":{"rendered":"

Heiner Stadler is a lesser-known but fascinating New York City-based composer who’s stretched he structures and dimensions of jazz with<\/p>\n

\"\"<\/a>

Heiner Stadler, family-supplied photo<\/p><\/div>\n

all-star productions including A Tribute to Monk<\/em>\u00c2\u00a0and Bird<\/em>\u00c2\u00a0<\/a>and\u00c2\u00a0Brains on Fire<\/a>\u00c2\u00a0(<\/em>which\u00c2\u00a0I annotated for recent reissue).\u00c2\u00a0It’s Psycheledic Baby<\/a><\/em>,\u00c2\u00a0the online magazine by\u00c2\u00a0Klemen Breznikar taglined “discover the unknown”\u00c2\u00a0has published\u00c2\u00a0an interview with Stadler<\/a>\u00c2\u00a0— a\u00c2\u00a0Polish-born (’42) WWII refugee who heard a Sydney Bechet record when he was 13, got to NYC by boat in his 20s, broke but motivated. He says his composing has been as profoundly affected by John Lee Hooker as by Bach and Cage (and he’s produced recordings of them all). I wrote a few words of introduction to the interview.<\/p>\n

Recorded from the late ’60s through late ’70s, Stadler’s pieces are often long and always multi-dimensional, even if his collaborative improvisers are just two (cf, Dee Dee Bridgewater’s virtuosic 20-minute\u00c2\u00a0“Love in the Middle of the Air” over only Reggie Workman’s bass). All his records have been released through his own \u00c2\u00a0Labor Records<\/a>\u00c2\u00a0(might call it a label-of-love) and there’s\u00c2\u00a0not a lot of samples\u00c2\u00a0online tbut I found one youtube clip.<\/p>\n

<\/object><\/p>\n

Unfamiliar to me, evidently excerpted — but from what? — I emailed Heiner for identification. He wrote back:<\/p>\n

This is indeed one of my pieces, an excerpt from “Out-Rock,” part of my\u00c2\u00a0Jazz Alchemy<\/em> cycle. K7 Records, a German company, had requested a license\u00c2\u00a0for\u00c2\u00a0this tune on behalf of “Four tet \/ DJ Kicks” in conjunction with the\u00c2\u00a0release of the act’s CD and double LP under the same name\/title. The CD\u00c2\u00a0version of Out-Rock with added electronics was shortened to 1:38; the\u00c2\u00a0version on the 2-LP set is identical to the one on the Alchemy<\/em> CD, namely\u00c2\u00a08:40.<\/p>\n

As for the trumpet player, this was the late Charles McGee (whose name I\u00c2\u00a0had always misspelled by inserting the “h” after the “G”). Charles was a\u00c2\u00a0dear friend of mine practically from the time I arrived in NY City.<\/p><\/blockquote>\n

It’s Psychedelic Baby, Heiner’s music, \u00c2\u00a0jazz beyond “jazz.”<\/p>\n

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

Subscribe by Email or RSS<\/a><\/p>\n

All JBJ posts <\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Heiner Stadler is a lesser-known but fascinating New York City-based composer who’s stretched he structures and dimensions of jazz with all-star productions including A Tribute to Monk\u00c2\u00a0and Bird\u00c2\u00a0and\u00c2\u00a0Brains on Fire\u00c2\u00a0(which\u00c2\u00a0I annotated for recent reissue).\u00c2\u00a0It’s Psycheledic Baby,\u00c2\u00a0the online magazine by\u00c2\u00a0Klemen Breznikar taglined “discover the unknown”\u00c2\u00a0has published\u00c2\u00a0an interview with Stadler\u00c2\u00a0— a\u00c2\u00a0Polish-born (’42) WWII refugee who heard a […]<\/p>\n","protected":false},"author":2,"featured_media":815,"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":[1754,1755,1752,1355,20,1497,1753],"class_list":{"0":"post-813","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-main","8":"tag-a-tribute-to-monk-and-bird","9":"tag-brains-on-fire","10":"tag-heiner-stadler","11":"tag-howard-mandel","12":"tag-jazz","13":"tag-jazz-beyond-jazz","14":"tag-polish-american-composer","15":"entry"},"jetpack_featured_media_url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2012\/02\/heiner-stadler1.jpg","jetpack_shortlink":"https:\/\/wp.me\/p1i3CL-d7","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":229,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2009\/08\/meet_the_composer_grants_-_no.html","url_meta":{"origin":813,"position":0},"title":"Meet the Composer grants — not for improvisers","author":"Howard Mandel","date":"August 6, 2009","format":false,"excerpt":"Pursuant to online debates about whether grants and fellowships are good for jazz -- here's\u00c2\u00a0a report on the non-profit\u00c2\u00a0Meet the Composer's choice of 31 recipients for $300,000 towards realization of commissions. Only one jazz-related project among them: composer-guitarist Joel Harrison, commissioned by the Brooklyn-based organization Connection Works, to write for\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":347,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2010\/10\/jason_moran_genius_andor_very.html","url_meta":{"origin":813,"position":1},"title":"Jason Moran: Genius and\/or very hard worker","author":"Howard Mandel","date":"October 15, 2010","format":false,"excerpt":"The MacArthur Fellowship to pianist\/composer\/bandleader Jason Moran follows from that Foundation's ongoing trend to give $500,000 no-strings-attached to musicians who've demonstrated accomplishment and seem to promise more. Here's my City Arts-New York column\u00a0\u00a0re what Moran's done and how things have changed since Monk, Bird, Dizzy et al brought modernism to\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":2750,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2020\/04\/future-jazz-past-hal-willner-circa-1992.html","url_meta":{"origin":813,"position":2},"title":"Future Jazz past: Hal Willner, circa 1992","author":"Howard Mandel","date":"April 9, 2020","format":false,"excerpt":"The death of funny, smart, idiosyncratic, unique music producer Hal Willner at age 64 saddens me. Hal Willner, photo by \u00a0David Andrako We were East Village neighbors in the go-go '90s, flush with ideas to try in the future. Here's my entry about him from Future Jazz (Oxford U Press,\u2026","rel":"","context":"In "main"","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2020\/04\/41V4564B46L.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":314,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2010\/04\/jazz_lofts_aint_what_they_used.html","url_meta":{"origin":813,"position":3},"title":"Jazz lofts as they used to be","author":"Howard Mandel","date":"April 22, 2010","format":false,"excerpt":"Composer\u00c2\u00a0Steve Reich said, \"Without John Coltrane, there would be no minimalism.\" The topic was Hall Overton, the man who arranged Monk's music, treating jazz as contemporary \"classical\" composition. The occasion was a panel discussion sprung from an exhibit at the NY Public Library of the Performing Arts about the Jazz\u2026","rel":"","context":"In "main"","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"monk overton.jpg","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/monk%20overton.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":63,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2008\/01\/international_jazz_at_iaje.html","url_meta":{"origin":813,"position":4},"title":"International Jazz at IAJE","author":"Howard Mandel","date":"January 14, 2008","format":false,"excerpt":"\"Everywhere I've been in in the past couple of years - and I've been everywhere -- young people have put aside their indigenous musics and adopted jazz and blues as their Esperanto,\" said Quincy Jones, most famous of the 2008 NEA Jazz Masters at the 35th annual International Association for\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":177,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2009\/04\/lose_some_gain_some.html","url_meta":{"origin":813,"position":5},"title":"Lose some, gain some","author":"Howard Mandel","date":"April 6, 2009","format":false,"excerpt":"ASCAP's longstanding Deems Taylor Awards recognizing excellence in music journalism has been suspended; no-charge online listening station Accujazz.com wants to be \"the future of jazz radio.\" Seismic shifts in the music media landscape continue. I'm a proud two-time winner of the Deems Taylor Award,\u00c2\u00a0named for a late ASCAP board member\u00c2\u00a0and\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":[]}],"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/posts\/813","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=813"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/posts\/813\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/media\/815"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/media?parent=813"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/categories?post=813"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/tags?post=813"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}