Talk:Soundscape Presents

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I'll work on it[edit]

I am not familiar with the subject, but I can see how the layout needs to be significantly improved. I'll work on it. Hurrmic 19:51, 14 January 2007 (UTC)[reply]

Comments welcome[edit]

I made some changes in the layout, but this still needs help. I got rid of the endless CAPITALIZED words, but now I think I have created a problem with too many italics... Hurrmic 21:03, 14 January 2007 (UTC)[reply]

This article mimics the Soundscape Presents web site[edit]

I have been making some changes to this article, mostly by polishing paragraphs (layout and headers) and removing heavy use of CAPS. I've been adding internal and external links, and doing a bit of research on the whole thing. One problem I have with this article is that part of it is almost a word-for-word copy of the Soundscape Presents web site. I do think this article has potential, and I've found good external links that provide relevance, but it does need to be re-written with original content, ideally by someone with more knowledge on the subject than I have. I will work on it eventually if nobody else jumps in any time soon. Hurrmic 18:13, 15 January 2007 (UTC)[reply]

Moved from article[edit]

Soundscape in the Press[edit]

About the Soundscape CD Series on Universal: Roswell Rudd’s MALIcool, May 2002: “The haunting beauty of the group sound is evident from the opening “Bamako”, the simplicity of its harmonies balanced by the shifting of constant cross-rhythms…The virtuosic abilities of the traditional players is given free space here, and is open to your admiration….this is something on a higher plane that listeners should relish.” Anthony Troon, Jazz Review

“A musical work full of tenderness, at the meeting place of two worlds.” La Voix du Nord, June 19th 2002

“On MALIcool, there’s a real mutual effort to listen, to find a path to each other. And that is very rare.” Le Nouvel Observateur, 13.6.02 “It’s a beautiful fusion….The adapatation of these Malians to Roswell Rudd’s phrasing (even on Thelonious Monk) is surprising. A very, very good record.” La Marseillaise, June 2nd 2002

“Now Rudd amazes us again with a fascinating west African influenced album. MALIcool documents one of the rare encounters in which there is a real fusion between Jazz and African music and not just a superficial merger.” “Something happened between these two creators, Roswell and Toumani…Something that a thousand million polished productions, images from a tamed Africa, will never possess…And everything about this journey rests on a latent ambiguity, the precarious balance of chemistry.” Arnaud Robert, Vibrations

"Its musical consciousness features artistic freedom, experimentation and curiosity about what happens when music and cultures mix." Robert Palmer, The New York Times, July 9, 1982

"Soundscape presentations still offer a more provocative mix of musical directions than other New York concerts." Robert Palmer, The New York Times, March 6, 1985

"With a fan’s enthusiasm and a connoisseur’s modesty, Gillis has been giving the city ear-openers for years, and thanks to Gillis’ far-flung contacts, Soundscape is plugged into the European and Asian and jazz communities, and the Caribbean-Latin-Nuyorican nexus." Jon Pareles, The Village Voice, Jan 5, 1982

"It’s a dream called Soundscape. A space born of a concept, and cleared in the maelstrom of the city where music weird and wondrous can flourish." Richard M. Sudhalter, The New York Post, Sept. 18, 1983

"Verna Gillis knows more about the world’s music, where styles came from and how they have evolved than many musicians." Robert Palmer, The New York Times, July 9, 1982

"Soundscape today stands as something of a beacon on the New York scene. Few innovators are themselves this generous, but Soundscape is possibly the most important club in the free-music world and it deserves such accolades. All jazz visitors to New York should make Soundscape an early port of call, and to make their own contribution to the breaking down of musical barriers." The Wire, London, Summer, 1984

"The level throughout the performance was very high indeed, which is to the credit of Verna Gillis who organized the concert." John Rockwell, The New York Times, March 10, 1975

"Musical boundaries crumble and re-emerge in new forms several nights a week at Soundscape." The Westsider, June 25th 1981

"Soundscape always presents music imperatively worth hearing." Michael Shore, The Soho Weekly News, December 20, 1979

"Verna Gillis and performers are making musical history in Clinton at Soundscape." Bob Kalin, The Clinton Community Press, November 1980

"In Soundscape’s imaginative series, pop idols with mass followings at home bring their magic to the world market." Connoisseur Magazine, June 1988

"The artists new to New York are being presented by organizations that book such varied adventurous and international work all year long...a tribute to the taste and savvy of energetic producers." like Soundscape’s Verna Gillis. 7 Days, June 15 1988