{"id":1483,"date":"2008-10-10T01:05:00","date_gmt":"2008-10-10T08:05:00","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/wp\/?p=1483"},"modified":"2008-10-10T01:05:00","modified_gmt":"2008-10-10T08:05:00","slug":"graham_collier_on_the_web","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2008\/10\/graham_collier_on_the_web\/","title":{"rendered":"Graham Collier On The Web"},"content":{"rendered":"<p>The British composer, arranger and leader Graham Collier has a new web site that should win awards for design, thoroughness and easy navigation. <a href=\"http:\/\/www.grahamcolliermusic.com\/\" target=\"_blank\">The home page <\/a>contains a link to a<br \/>\n<span class=\"mt-enclosure mt-enclosure-image\" style=\"DISPLAY: inline\"><a href=\"http:\/\/www.artsjournal.com\/rifftides\/Graham%20Collier.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"mt-image-left\" style=\"FLOAT: left; MARGIN: 0px 20px 20px 0px\" height=\"131\" alt=\"Graham Collier.jpg\" src=\"http:\/\/www.artsjournal.com\/rifftides\/Graham%20Collier-thumb-92x131.jpg\" width=\"92\" \/><\/a><\/span>thirteen-minute montage of music from nine of Collier&#8217;s eighteen albums over forty years. The montage is designed to be played while the visitor roams the site. It is a clever teaser, making the roamer want to hear more of Collier&#8217;s daring writing played by superb musicians, among them trumpeters Kenny Wheeler, Ted Curson, Tomasz Stanko and Harry Beckett; pianist John Taylor; saxophonist John Surman; drummer John Marshall; and Collier himself on bass. I have made no secret of my admiration for Collier&#8217;s work. From a review last year of his 1967 album <em>Dark Blue Centre<\/em>: <\/p>\n<blockquote dir=\"ltr\" style=\"MARGIN-RIGHT: 0px\">\n<p>His writing for a pianoless seven-piece ensemble had economy, daring and just enough whimsy to prevent the music from perishing of an overdose of self-regard, the fate of so much avant garde jazz of the sixties.<\/p>\n<\/blockquote>\n<p>To read the whole thing, <a href=\"http:\/\/www.artsjournal.com\/rifftides\/2007\/04\/good_old_graham_collier.html\">go here<\/a>. Later, there was <a href=\"http:\/\/www.artsjournal.com\/rifftides\/2007\/07\/cd_catchup_part_3_graham_colli.html\" target=\"_blank\">another <em>Rifftides<\/em> piece<\/a> about a Collier reissue: <\/p>\n<blockquote dir=\"ltr\" style=\"MARGIN-RIGHT: 0px\">\n<p>The looseness and cogency in Collier&#8217;s arrangements are in ideal balance to contain the wildness, daring and&#8211;it must be emphasized&#8211;good humor of the soloists. There is no trace of the anger and willfull distortion that marred so much avant garde playing in the final decades of the twentieth century.<\/p>\n<\/blockquote>\n<p>Hmm. Do we detect a theme? If you decide to explore Collier&#8217;s music, that new site is a good place to start. Be aware that the audio montage is a slow loader, even&nbsp;if you have&nbsp;a high-speed connection.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>The British composer, arranger and leader Graham Collier has a new web site that should win awards for design, thoroughness and easy navigation. The home page contains a link to a thirteen-minute montage of music from nine of Collier&#8217;s eighteen albums over forty years. The montage is designed to be played while the visitor roams [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"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":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-1483","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/1483","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=1483"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/1483\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=1483"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=1483"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=1483"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}