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September 21, 2007


jeb bishop

thanks for the kind words --
two notes:
(a) there was no pre-planning at all other than our implicit multilayered shared history together as players/listeners
(b) the saxophonist/clarinetist's name is Daniele D'Agaro; Google will no doubt yield information about him under that name. Zingaro could be violinist Carlos.

Jean Burrows

George Lewis is also a member of Improvisation, Community, and Social Practice -- a major, international research project that will explore musical improvisation as a model for political, cultural, and ethical dialogue and action. George is the Improvisation and Pedagogy coordinator and a co-investigator on the project. It is funded by a Major Collaborative Research Initiative grant from the Social Sciences and Humanities Research Council of Canada.

Peter Cherches

Steve, I'm in general agreement with you on both sets. The Leandre set left me totally underwhelmed, though I also agree on your assessment of the high points. Some of the sections sounded a hell of a lot more like a Messaien tribute than one to Satie.

D'Agaro played mostly clarinet with Globe Unity, but he's mostly an excellent tenor playor. I saw his Chicago quartet a couple of years ago at the Chicago Jazz Festival. It's an inside-outside group, and D'Agaro is very much influenced by Don Byas in his sound. In fact, he reminded me a bit of James Carter without the shtick.

Capozzo is a wonderful trumpeter, and spent several years in Louis Sclavis' group. L'Affrontement des Pretendants is an excellent example of his playing in a more structured context.

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