Thursday, June 20, 2002|
Joe Hooper (TonyMalaby.com Press page) Here's the tenor-as-soprano quote I was looking for...
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Downtown Music: Picture of Tony Malaby Here are some blurry, but viewable, picture of Tony playing around NYC.
 3:24:59 PM  comment [] Google It!
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Hear/Say: Southwestern Cookin' - Tony Malaby Stirs It Up "I worked on trying to be original in the way that I dealt with rhythm, time, and melody -- coming up with a different vocabulary." Sound: Can he explain a little bit about the vision he had for this new 'vocabulary'? Was there some historical reference point or person that he was trying to expand on?
Speaking about Tucson and his wife, pianist Angelica Sanchez, Career: Does he believe his upbringing in Tucson, the wild west, had some influence on the direction he's taking? Career: How has being a Mexican-American Jazz artist influenced his playing, approach? His career?
About his leaving the Mingus Big Band...
Career: What kind of agenda was there? Does he believe that some of the musicians he was playing with were really trying to be formulaic? |
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Village Voice: Regulars (Tony Malaby at the Internet Cafe') "The new year has found Malaby playing somewhere different almost every night. But the Wednesday-night series at the Internet is reserved for first-time encounters designed to jolt the saxophonist out of set patterns and clichés. "If you play with the same people all the time, you get stuck in the same old habits, " he explains." Career: There seems to be a thread in keeping things 'New', like he reasoning for bailing out of the Mingus Big Band in the early 90s. Can he explain this?
Career: Does he have other regular gigs he's doing? |
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Dave Scott/Tony Malaby Quartet "Saxophonists unfamiliar with Tony Malaby are missing out on one of the best tenor players on the scene right now. Malaby's playing is a coelescence of warm sound, rich melodic vocabulary, and crystal technique. Listening to the material on this disc leaves you feeling that there is nothing outside the reach of Malaby's tenor. One specifically unique quality of his playing is his inherent ability to emphasize the lower range of the harmonic series in his tone. The net effect of this is an almost "bari-like" sound at times." This is kind of interesting, because I could swear that I just read something else that talked about him playing his tenor like a soprano. Sound: Listeners and reviewer tend to praise your sound. What have you done to work on this?
Sound: Is there a description of the kind of sound he is looking for or trying to get? Is this even possible to describe? |
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JazzWeekly: Ken Waxman: Review of Tony Malaby's Sabino "Overall more Thompson Square than Tucson, the CD is still colored with a tincture of romanticism that sets it apart from other products of New York's Lower East Side. One reason for this is Malaby's decision to build the quartet around a chordal instrument, and a guitar at that. Ducret's antecedents may be hard rockers and the sort of suburban sounds typified by Bill Frisell, but the blending of reed and strings on tunes such as "Remolino/Hamza" and "Mia" suggests a modern variation such 1960s duos as Sonny Rollins and Jim Hall or Stanley Turrentine and Kenny Burrell."
Concert: What will the difference be in tunes played next week due to it being a Trio and not the Quartet that recorded the disc? No 'chordal instrument', as referred to above. |
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Tony Malaby at TCAN - July, 2001 "Granted that jazz is, and in its purest form always has been, a music for the serious listener, there is still no good reason why such a vital human expression should be so ignored in the country of its birth. If Tony Malby, or John Hebert or George Schuller come to your neighborhood, be sure to come out and listen to them." Does Tony think about the difference in chosing to play adventurous music as opposed to more straight-ahead bop?
Does he have any thoughts on how people should listen to his music? Are there ways to decompose, as a listener, what he is doing and possibily relate it to other things that may be more 'standard'? |
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Jazz Journalists Association: Jazz Awards 2002 Winners "Based on votes cast by members of the 400 strong JJA international membership, and presented at a benefit for the Jazz Foundation of America, the awards -- handsome 6 1/2 inch obelisks, individually inscribed and with a floating acetate of the JJA's logo -- were given in 40 categories, which included Lifetime Achievement in Jazz, Lifetime Achievement in Jazz Journalism, Musician of the Year, and Jazz Film/Video of the Year. Along with the JJA, the JFA presented Discretionary Awards to veteran jazz producer George Avakian, Dr. John Minichetti and Dr. David Feldman, both of whom are associated with Englewood Hospital, New Jersey." Will have to talk a little about the winners on the show tonight.
There are some great pictures on the site, including all of the photo nominees. The winning photo was by Enid Farber. Miles sometimes has this face-look. |
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Jazzmatazz: Review of Tony Malaby's Sabino The good... "He has a fascination, as did Albert Ayler, with melodic phrases that he then works—stretching, amending, rethinking, pushing jazz to the verge of freedom but always with that melodic phrase retained, at least tentatively." and the critical... "...at least the opening track has a taut structure that keeps the melody within a framework the listener can attend to. Other pieces are over-long and too loosely structured, so the fiery solos from Malaby and guitarist Marc Ducret are like lightning in the atmosphere rather than anchored statements." Influences: Albert Ayler. What does he think about this comparison? Influences: Who are other influences, other than the players he's working with? Influences: Can compositional and performance influences be separated?
Influences: Has there been an influence from Mingus via his work with Mingus Dynasty / Big Band? |
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More Like CRUNCH, than SNAP... ...there's no way that a pipe in that condition could make a youthful, snapping sound. This one was more like the crumbling of old parchment paper. Sad state of affairs and we still have an inoperable kitchen sink. Thank goodness it's only one side of the sink, so it's still sort of functional.
Just thought I'd clear that up for any plumbers in the house. |
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NYTimes.com: Magical Find Excites TV Historians "...this artifact is a piece of entertainment history that had been given up for lost: the first dress rehearsal of the CBS television musical "Cinderella," featuring Julie Andrews, recorded on kinescope in Manhattan on March 17, 1957." Wow. I guess I thought this had always been around (I've yet to see it), but now I need to see how this differs from what the Radio and TV Museum has been showing all these years.
Oh...I'm a big Richard Rodgers fan. 'Cinderella', the 1965 TV version, was one of those childhood defining kind of things. Watched it many times. |
Last update: 6/13/2003; 6:41:42 AM .
