User:Knifegames/sandbox

discography examples

 * Category:Jazz discographies


 * Marc Ribot discography: LOVELY! low-info, but it's fine cuz there are pages for all the albums... hmm...


 * Bill Frisell discography: a bit too streamlined, & i do prefer year first


 * Lee Konitz discography: by year; leader/co-leader then repeat collabs
 * Anthony Braxton discography: by year; leader/co-leader then repeat collabs


 * Chet Baker discography: by label
 * Miles Davis discography: big boxes; i prefer his "as sideman" listings

partiful
Partiful is an American event management and ticketing website.

chuck stern
Chuck Stern was an American composer, vocalist, and keyboardist known for his work in experimental music. He was frontman and composer of Time of Orchids, played in Sculptress, and released solo and band works under the name Stern. He lived in New York City.

Discography

 * As leader

corsano cleanup
Chris Corsano is an American drummer, improviser, and composer.

He has been noted for his prolific work at the intersection of noise

free-jazz improvisation

.

He has been called one of the greatest living drummers

In 2013, SPIN included him in their "100 Greatest Drummers Of Alternative Music";

VICE has praised Corsano as "one of the best drummers working today" and "the best drummer we know"

D Magazine called him "one of the best drummers on the planet"

Career
Alongside his solo work, Corsano has performed on over one hundred records with artists including Evan Parker, Sunburned Hand of the Man, Six Organs of Admittance, Dredd Foole, Bill Orcutt, Kim Gordon, Björk (on the studio recording and world tour for Volta), Thurston Moore, Jim O'Rourke, Jandek, Matt Valentine, Nels Cline, Vibracathedral Orchestra, Cold Bleak Heat, Michael Flower, C. Spencer Yeh, Mette Rasmussen, John Edwards, Sylvie Courvoisier, Okkyung Lee, and Nate Wooley.

Corsano has performed with saxophonist Paul Flaherty for more than twenty years and on more than twenty records in a style they call "The Hated Music." He has also recorded several albums each with Rangda (trio with Sir Richard Bishop and Ben Chasny), Chikamorachi (duo with Darin Gray), and Vampire Belt (duo with Bill Nace).

Corsano received a Foundation for Contemporary Arts Grants to Artists award in 2017.

As co-leader

 * Quand Fond La Neige, Où Va Le Blanc? (Relative Pitch, 2019)

album: From Wolves to Whales

with Chikamorachi (Corsano & Darin Gray)

He's also playing in dimension X with Massimo Pupillo (bass / Zu member) and David Chalmin (guitar)

with Orcutt


 * allmusic discography https://www.allmusic.com/artist/chris-corsano-mn0000065948/discography
 * Discogs https://www.discogs.com/artist/274468-Chris-Corsano
 * hated music http://www.cor-sano.com/hatedmusic.shtml
 * hated discog http://cor-sano.com/hateddiscog.html
 * vampire belt http://www.cor-sano.com/vampirebelt/


 * Paul Flaherty and Chris Corsano: Low Cost Space Flights (Feedtube Records, 2014) **** https://www.freejazzblog.org/2014/11/paul-flathery-and-chris-corsano-low.html
 * Chris Corsano and Bill Orcutt – Made Out of Sound / The Guardian Best Albums https://www.theguardian.com/music/2021/nov/30/the-50-best-albums-of-2021
 * Chris Corsano / Bill Orcutt: The Raw and the Cooked (2013) https://pitchfork.com/reviews/albums/18114-chris-corsano-bill-orcutt-the-raw-and-the-cooked/
 * Chris Corsano / Bill Orcutt, Brace Up! (Palilalia, 2018)
 * Chris Corsano / Bill Orcutt, Made Out of Sound (Palilalia, 2021)

Other Co-leader

 * References

LEYA
LEYA is xxxx


 * References

nate wooley scraaaaaatch
MISC / SIGNIFICANT WORKS

NOTABLE PERFORMANCES
 * (Dance to) the Early Music (Clean Feed, 2015)
 * Seven Storey Mountain: SSM (Pleasure of the Text, 2007), Seven Storey Mountain II 2009, Seven Storey Mountain III and IV (2013), Seven Storey Mountain V (2015), Seven Storey Mountain VI (2020)
 * Seven Storey Mountain (live performance reviews): 2012, 2013
 * "For Kenneth Gaburo" (2015): "his latest in a series of investigations into using the mouth and throat positions that form phonetic sounds as the starting point for his playing. He has come to use a notation system that combines phonetic symbols, numerals representing pitch and valve combinations and a means of indicating note durations through number of breaths. That these “phonetic” mouth positions, often of long duration, are physically unsustainable is the point. Mr. Wooley is fascinated by failure, by the sounds that emerge as he loses control."
 * New York Philharmonic (2018) in Ashley Fure's Filament, debut of season
 * Nate Wooley Quintet Omega at Brooklyn Lyceum //
 * Crackleknob (a trio with Mary Halvorson and Reuben Radding)
 * Four Simultaneous Soloists (Pioneer Works, w/ Susan Alcorn, Eli Keszler, Tomeka Reid)
 * He has collaborated with choreographers and dancers such as Anna Sperber and Anita Cheng
 * side-person in Harris Eisenstadt's Canada Day

MISC / INFLUENCES
 * father + Ron Miles, Éliane Radigue, Annea Lockwood
 * "My dad, and the guys in his band, were my first heroes." ... "untaught in the jazz pedagogical sense, but had come up through Woody Herman and Stan Kenton bands" ... "Ron Miles, a Denver trumpet player who helped me see how I could craft an individual voice out of all the music around me, not just the jazz tradition. He also was a model of behaving ethically and being a human first and a trumpet player second. In 2015 I began working with French composer Éliane Radigue and, a few years later, with Annea Lockwood here in New York. Both of them opened up a world to me that held up the human interaction of collaboration as a first principle. I think my music changed the most radically, and became the most personal, after starting my relationships with them."

–––––––––––––––––––––––––––––––––––––––––––––––––––––––– ––––––––––––––––––––––––––––––––––––––––––––––––––––––––


 * Nate Wooley

Nate Wooley (1974) is an American composer and trumpeter known for his use of vocalizations, amplification and feedback, and extended techniques; he is considered to be among "the New York avant-garde’s leading lights" and has been called "one of America’s most exciting and inveterate sonic explorers".

He has won critical acclaim for his live performances and collaborated and performed with artists including Anthony Braxton, Éliane Radigue, Ken Vandermark, Fred Frith, Evan Parker, Yoshi Wada, Chris Corsano, C. Spencer Yeh, Peter Evans, Mary Halvorson,  John Zorn, Christian Wolff Annea Lockwood, Wadada Leo Smith, and many more.

His album Seven Storey Mountain VI (2020) was included in year-end lists including the NPR Music Jazz Critics Poll, JazzTimes Top New Jazz Releases, and Bandcamp Dailys Best Contemporary Classical Albums, with critic Peter Margasak calling it "the most powerful work I heard in 2020".

Wooley is founder of the For/With Festival and the label Pleasure of the Text; he is also curator of the Database of Recorded American Music and editor-in-chief of the music journal Sound American.


 * Early life and career

Wooley's father was a big band saxophonist, and Wooley began performing with him professionally at the age of 13; he also studied piano from 10 to 18.

Wooley studied jazz and classical trumpet at the University of Oregon and the Lamont School of Music at the University of Denver, completing his BM in 1997 and his MM in 1999. // He earned a BM in trumpet performance from the University of Oregon, graduating in 1997, and two years later he completed his MM at the Lamont School of Music at the University of Denver.

In 2001, he moved to New York City.

In 2017, Wooley started the For/With Festival to commission and premiere new works for trumpet; the widely-praised event has featured pieces by Christian Wolff, Michael Pisaro, Ashley Fure, Annea Lockwood, Sarah Hennies, and Eva-Maria Houben.

LITERARY INFLUENCES Literary references and influences can be seen throughout Wooley's work: on Columbia Icefield (2019), one track takes its title from a poem by Jim Harrison and another includes lines from John Berryman's collection The Dream Songs; His ongoing Seven Storey Mountain project takes its title from the American Trappist monk Thomas Merton's 1948 autobiography The Seven Storey Mountain.
 * Aram Saroyan (on Knknighgh); Thomas Merton on Seven Storey Mountain; Greek poem Argonautica;

Pleasure of the Text + Sound American Wooley is curator of the Database of Recorded American Music (www.dramonline.org), a "streaming-service specializing in 20th century contemporary classical music from America", and is also editor-in-chief of the database's affiliated journal, Sound American. The journal has been described as
 * "a genre-allergic exploration of the kind of radical US music-makers Wooley affectionately dubs “the American Weirdo”—from Charles Ives to John Cage to Christian Wolff to Anthony Braxton, with countless stops in between. Sixteen issues have been published since it began in 2012, with the focus on subjects like Cage, trumpeter Don Cherry, and the Deep Listening ethos of Pauline Oliveros. While it tackles some pretty heady music—the current issue is devoted to Braxton’s fascinating sound world,, and part of the issue included a downloadable album of musicians performing elements of the composer’s singular language—Wooley is adamant about making sure it’s useful to a wide audience."

AWARDS
 * Foundation for Contemporary Arts Grants to Artists Award (2016),
 * with FCA grant: recording and production of [Syllables] (Pleasure Of The Text Records, 2017), "a solo work consisting of four CDs, a book of essays, and a book of scores that raises questions about the necessity of success and failure in instrumental technique"; "commissioned composer Christian Wolff's first piece for solo trumpet, For Trumpet Player (2017)"


 * Instant Award for Improvisation (2020)

Discography
discography sources
 * AllMusic.com discog
 * free jazz collective
 * "A Context for Mutual Aid Music" w/ notes on a number of records
 * https://de.wikipedia.org/wiki/Nate_Wooley/Diskografie (watch for inaccuracies)

AS LEADER

AS CO-LEADER

As performer / side-person


 * David Grubbs, An Optimist Notes the Dusk (2008)
 * Steve Swell, Magical Listening Hour (Cadence Jazz, 2009)
 * Anaïs Mitchell, Hadestown (Righteous Babe Records, 2010)
 * Harris Eisenstadt, Canada Day Octet (482 Music, 2012)
 * Eisenstadt, Canada Day III (Songlines, 2012)
 * The Gate (Dan Peck, Tom Blancarte, Brian Osborne) ft. Tim Dahl And Nate Wooley, Stench (Smeraldina-Rima / Heat Retention Records, 2014)
 * Jeremiah Cymerman, World of Objects (5049, 2014)
 * Matt Bauder, Nightshades (Clean Feed, 2014)
 * Eisenstadt, Canada Day IV (2015)
 * Taylor Ho Bynum, Enter the Plustet (Firehouse 12, 2016)
 * Ingrid Laubrock, Contemporary Chaos Practices (2018)
 * Moppa Elliott, Acceleration Due to Gravity (Hot Cup Records, 2019)
 * Ash Fure, Something To Hunt (Pleasure of the Text, 2020)
 * Liturgy, Origin of the Alimonies (2020)
 * Whit Dickey, Morph (ESP-Disk, 2020)

check for crediting...?
 * Bojan Vuletić: Nate Wooley & Mivos Quartet, Atemwende (Ignoring Gravity Music, 2012)
 * Ken Vandermark Duos W/ Agustí Fernandez - Christof Kurzmann - Joe McPhee - Joe Morris Trios W/ Paul Lytton - Nate Wooley - Eddie Prévost - John Tilbury - Nine Ways To Read A Bridge ‎(6xCD, Album + Box)	Not Two Records	MW920-2	2014
 * Superimpose: Matthias Müller / Christian Marien With John Butcher / Sofia Jernberg / Nate Wooley, With (Inexhaustible Editions, 2021)

split
 * Nate Wooley / Fred Lonberg-Holm / Jason Roebke, Throw Down Your Hammer and Sing (Smeraldina-Rima, 2013)


 * References

lapd

 * Los Angeles Police Department –– separate article for misconduct, per latest in talk

Over the years, the Los Angeles Police Department has been the subject of a number of scandals, police misconduct and other controversies. According to one study, during the lengthy tenure of William H. Parker as police chief (1950–1966), the LAPD was "outwardly racist", and the tenure of police chief Daryl Gates (1978–1992) was marked by "scandalous racist violence" among the LAPD. Following the Rampart Division CRASH scandal of the late 1990s and early 2000s, the United States Department of Justice entered into a consent decree with the LAPD regarding systemic civil rights violations and lack of accountability that stretched back decades, requiring major reforms. The consent decree was lifted in 2013. The executive director of the American Civil Liberties Union of Southern California stated that the decree "accomplished its purpose by and large" and that the department "has made serious culture changes", but cautioned against backsliding and said there was more work to be done regarding racial disparities and treatment of the homeless.
 * Controversies and misconduct

Louis Oaks, a chief of the LAPD in the early 1920s, was a member of the Ku Klux Klan.
 * 1920s–1940s

James E. Davis served two terms as LAPD police chief, heading the department from 1926 to 1929 and from 1933 to 1938. During his first term as chief, Davis called for violence against criminals while leading a Prohibition vice squad, and the department was known for controversies including accusations of conspiracy, blackmail, and murder. Davis also formed a Red Squad to combat labor unions; headed by Capt. William F. Hynes, the squad arrested hundreds participating in strikes. In March 1928, Christine Collins reported her nine-year-old son, Walter, missing. Five months later a boy named Arthur Hutchins came forth claiming to be Walter; when Mrs. Collins told the police that the boy was not her son, she was committed to a mental institution under a Section 12 internment. It was later determined that Walter had fallen victim to a child rapist/murderer in the infamous Wineville Chicken Coop Murders, and Arthur Hutchins admitted that he had lied about his identity in order to meet his favorite actor, Tom Mix. The widely-publicized case was depicted in the 2008 film Changeling.

When Frank L. Shaw was elected mayor in 1933, he reappointed Davis as police chief, and the LAPD––already considered "nationally notorious" for police corruption––entered a new phase of widespread criminal activity. In 1936, Davis sent members of the LAPD to California's state borders, along Arizona, Nevada, and Oregon, to institute checkpoints blocking the entry of migrants, or "okies". The police began raids and mass arrests of populations including the homeless and disabled; those taken in by police were given the option of leaving California or serving a 180-day jail term. The so-called "bum blockade" ended after significant negative publicity, including a suit filed by the ACLU in federal court.

By 1937, the LAPD was leading a vast intelligence operation wiretapping politicians, judges, and federal agents. Some records of police surveillance were taken under subpoena after Harry Raymond, a former officer investigating corruption in the force, was the victim of a car bomb. During the trial that followed, LAPD captain Earl Kynette was found guilty of Raymond's attempted murder; Davis acknowledged that he had known Raymond was under police surveillance.

In the late 1930s, the LAPD engaged in widespread racial profiling of Mexican Americans. The LAPD and the Los Angeles County Sheriff's Department used the 1942 "Sleepy Lagoon murder" of José Gallardo Díaz to justify a coordinated crackdown: the police identified primarily-Mexican American communities, cordoned them off with blockades, and carried out mass searches and arrests. The police detained hundreds of Mexican Americans before indicting 22 for murder. Twelve of the defendants were charged with murder and incarcerated; all convictions were later overturned. Members of the LAPD were accused of participating in anti-Mexican American violence during the Zoot Suit Riots that followed in 1943; despite the LAPD's insistence that the riots were caused by Mexican American crime, there was broad consensus that the riots were the result of racial discrimination.


 * 1950s–1960s

Parker, who served as chief of the LAPD from August 9, 1950, until his death on July 16, 1966, was frequently criticized for racist remarks, his refusal to acknowledge police brutality, and his demands that the police not be subject to the same laws as citizens; the last of these contributed to ongoing conflicts with the FBI, with the agency refusing to train LAPD officers until after Parker's death. Parker adopted the rhetoric of Los Angeles as the "white spot" of America, first popularized by Los Angeles Times publisher Harry Chandler, and explicitly set it against the "black picture" of the nation. The Los Angeles City Council once confronted him with a recording in which he referred to Mexican Americans as not being far from "the wild tribes of Mexico"; in the 1960s, he claimed that "by 1970, 45% of the metropolitan area of Los Angeles will be Negro" and that the city should support a strong police force because "if you don't, come 1970, God help you"; he described Black participants in the 1965 Watts riots as acting like "monkeys in a zoo". The Los Angeles Police Department was not integrated until the 1960s.

Early in his tenure as police chief, Parker launched an extensive public relations campaign for the LAPD. In the 1950s, he was a credited consultant for police procedural drama Dragnet, even offering the show departmental support in providing case examples and fact-checking; he popularized the term "thin blue line" in both his speeches and in a TV show he conceived and produced for Los Angeles NBC network KNBC; he hired Star Trek creator Gene Roddenberry as a speech writer; and he introduced the department's first press office. These efforts were seen as tied to his efforts to curry public favor and extend the reach of officers of the LAPD.

Bloody Christmas was the name given to the severe beating of seven civilians under LAPD custody on December 25, 1951. The attacks, which left five hispanic and two white young men with broken bones and ruptured organs, was only properly investigated after lobbying from the Mexican American community. The internal inquiry by chief Parker resulted in eight police officers being indicted for the assaults, 54 being transferred, and 39 suspended.

In 1962, the controversial LAPD shooting of seven unarmed members of the Nation of Islam resulted in the death of Ronald Stokes, and led to protests of the LAPD led by Malcolm X and the Nation of Islam.

In the 1970s and into the 1980s "biased policing", also known as racial profiling, was commonplace in the department. This policing alienated the department from minority residents and gained the department a reputation of abuse of power and bias against minority residents.
 * 1970s–1980s

A major controversy erupted in 1979 over the shooting of Eula Love by two LAPD officers; no legal consequences befell the officers responsible.

Early in his tenure as Chief of Police, Daryl Gates re-instituted the use of the chokehold (placing an arm or flashlight over someone's throat) in order to subdue suspects. In 1982, this technique was used and led to the death of James Mincey Jr. Following Mincey's death, the Police Commission barred the use of chokeholds by officers unless in a life-threatening situation. An investigation found that sixteen people had died after being restrained by police chokeholds.

In 1986, Officer Stephanie Lazarus killed her ex-boyfriend's new wife. Despite the victim's father's insistence that Lazarus should be a suspect in the homicide, she was not considered by the police and the case went cold. In the 2000s, detectives revisiting cold cases deduced that Stephanie was a suspect. DNA evidence led to her arrest and conviction.

Also in 1986, the department purchased a 14-ton armored breaching vehicle, used to smash quickly through the walls of houses of suspects. The ACLU questioned the constitutionality of the vehicle, and the California Appellate Court later ruled the vehicle was unconstitutional, violating lawful search and seizure.

In 1988, African-American baseball sportscaster and retired Baseball Hall of Fame player Joe Morgan was detained at Los Angeles International Airport by LAPD and L.A. Airport Police officers after being falsely identified as a drug dealer. He was released when the LAPD realized their mistake. The city cleared the detective of wrongdoing, but Morgan subsequently filed a civil suit against both the LAPD and the city for the unlawful detention; the lawsuit was settled in 1993, and Morgan was awarded $800,000 by the Los Angeles City Council.

On August 1, 1988, as part of Chief Gates' Operation Hammer directed against gangs, SWAT teams raided four apartments at 39th Street and Dalton Avenue. According to an investigation by the department's Internal Affairs, the team leader, Captain Thomas Elfmont, directed his men to "hit" the apartments "hard", to "level" them, and to leave them "uninhabitable". The police detained 37 people, making seven arrests. They found six ounces of marijuana and a small amount of cocaine. The seven were beaten by the police and at the police station forced to whistle the theme to the Andy Griffith Show. Those who refused to comply were beaten again. Nobody was charged with a crime. The city paid four million dollars to settle the matter.

On September 4, 1988, LAPD officers raided the home of Roger Guydon looking for drugs. They found nothing. In 1991, Guydon won a $760,000 lawsuit against the city.


 * 1990s–2000s: Rodney King, LA riots, consent decree

In April 1991, the Christopher Commission was formed in the wake of the Rodney King beating, by then-mayor of Los Angeles Tom Bradley. It was chaired by attorney Warren Christopher and was created to examine the structure and operation of the LAPD. The commission found that there were a significant number of LAPD officers who used excessive force and that the disciplinary structure was weak and ineffective. Fewer than a third of the suggested reforms were put into place.

In an effort to reduce drive-by shootings, LAPD initiated Operation Cul-de-Sac in 1991. This consisted of installing barriers on residential streets to block vehicle traffic. As a result, homicides and assaults were greatly reduced. The program ended after two years, with violent crime rates returning to their previous levels.

On July 1, 1992, John Daniels Jr., 36, a tow truck driver, was fatally shot by LAPD Officer Douglas Iversen as he was driving away from a service station in South Central. Iversen was charged with second-degree murder, and two separate juries were deadlocked on the charge. The case was dismissed by a judge. Daniels' family received a $1.2 million settlement after filing a lawsuit against the City of Los Angeles.

The Los Angeles riots of 1992, also known as the Rodney King uprising or the Rodney King riots, began on April 29, 1992, when a jury acquitted four LAPD police officers accused in the videotaped beating of Rodney King following a high-speed car pursuit on March 3, 1991. After seven days of jury deliberations, the jury acquitted all four officers of assault and acquitted three of the four of using excessive force. The evening after the verdict, thousands of people in the Los Angeles area rioted for over six days following the verdict. Widespread looting, assault, arson, and murder occurred, and property damages totaled one billion dollars. In all, 53 people died during the riots.

On October 12, 1996, LAPD Officers Rafael Pérez and Nino Durden entered the apartment of Javier Ovando. They shot Ovando in the back, paralyzing him from the waist down. They then planted a gun on the unarmed Ovando to make it appear he had attacked them. The two officers then perjured themselves. Ovando was sentenced to 23 years in custody based on their testimony. Later, one of the officers admitted his crime. Ovando was released, and in 2000, was paid $15 million for his injuries and imprisonment. The officers' actions led to the exposure of the Rampart scandal. By 2001, the resulting investigations would lead to more than 75 officers being investigated or charged, and over 100 criminal cases being overturned, due to perjury or other forms of misconduct, much based on the plea-bargain testimony of Perez.

Following the Rampart scandal, the United States Department of Justice entered into a consent decree with the LAPD regarding systemic civil rights violations and lack of accountability that stretched back decades. Many in the LAPD resisted federal oversight and proposed reforms, but entered into a consent decree when the DOJ threatened to sue the city and take complete control over the LAPD. Mayor Richard J. Riordan and the Los Angeles city council agreed to the terms of the decree on November 2, 2000. The federal judge formally entered the decree into law on June 15, 2001. In order to promote civil rights integrity, the legally binding decree placed emphasis on several areas, including management and supervisory measures, revising critical incident procedures, documentation, investigation and review, revising the management of gang units, revising the management of confidential informants, program development for response to persons with mental illness, improving training, increased integrity audits, increasing the operations of the Police Commission and the Inspector General, and increasing community outreach and public information.

Other provisions in the decree called for divisions to investigate all use of force (now known as Force Investigative Division) and conduct audits department-wide; the development of a risk management system; the creation of a field data capture system to track the race, ethnicity or national origin of the motorists and pedestrians stopped by the department; the creation of an Ethics Enforcement Section within the Internal Affairs Group; the transfer of investigative authority to Internal Affairs of all serious personnel complaint investigations; a nationwide study by an independent consultant on law enforcement dealing with the mentally ill, to help the department refine its own system; a study by an independent consultant of the department's training programs; and the creation of an informant manual and database.

The Consent Decree Bureau was the LAPD bureau charged with overseeing this process. Until 2009, the commanding officer of the Consent Decree Bureau, a civilian appointed by the chief of police, was Police Administrator Gerald L. Chaleff.

In 2006, the consent decree was extended by six years, as U.S. District Court Judge Gary Feess found that the LAPD had not implemented the reforms that it had committed to. The federal oversight of the LAPD was lifted in 2013.

On July 10, 2005, while under the influence of alcohol and cocaine, Jose Pena took his 19-month-old daughter, Suzie, hostage in his home. After police arrived, Pena threatened to kill her and himself after firing at others earlier. SWAT officers were called in. After negotiations to try and release Pena's daughter were unsuccessful, four SWAT officers entered the home and, during a gunfight, both Mr. Pena and his infant daughter were shot and killed by SWAT team members. One officer was shot and wounded by Pena. Suzie Pena's death was the first death of a hostage ever in LAPD SWAT history and the LAPD was criticized for their actions. An independent board of inquiry later cleared the SWAT officers of any wrongdoing. A judge later dismissed a lawsuit by the mother of Suzie Pena on the grounds that the officers acted reasonably in the case and no negligence was involved.

On May Day, 2007, immigrant rights groups held rallies in MacArthur Park in support of undocumented immigrants. The rallies were permitted and initially the protesters followed the terms of the permits but some of the protesters began blocking the street. After warnings by the LAPD, the protesters failed to disperse and the rally was declared an unlawful assembly. The LAPD only announced the declaration of the unlawful assembly in English leading to confusion by some in the crowd who only spoke Spanish. Police officers held a line to prevent protesters from entering the street and did not disperse the crowd until rocks, bottles, and other objects began to be thrown at the police. The officers began slowly advancing and fired rubber bullets and used batons to disperse crowd members who refused to comply with police orders to leave the area. Police were heavily criticized for firing rubber bullets at some journalists and hitting some with batons who did not disperse along with the crowds. Seventeen officers and two sergeants of the metropolitan division were recommended for punishment by a department internal review for their actions in the incident.

In 2008, Officer Russell Mecano offered to not arrest a woman in exchange for sex, and offered cash to another woman in exchange for sex. He was convicted and sentenced to more than eight years.

On July 22, 2012, Alesia Thomas, an African American woman, died in the back of a police car after being kicked in the upper thigh, groin, and abdomen. Her cause of death was ruled "undetermined" and the autopsy report mentioned cocaine intoxication as a "major" contributing factor, but also indicated that the struggle with officers "could not be excluded" as a contributing factor to her death. It was later revealed that Thomas was also bipolar. Later, LAPD officer Mary O'Callaghan was charged with assault over her actions in the case. As a result of these events, on September 1, 2012, civil rights activists requested an emergency meeting with LAPD Chief Charlie Beck to review arrest and use-of-force policies.
 * 2010s–2020s

On August 18, 2012, Ronald Weekley Jr., a college student, was punched in the face while being arrested after being stopped for riding his skateboard on the wrong side of the street.

On August 21, 2012, Michelle Jordan, a registered nurse, was pulled over for holding her cell phone while driving. She was thrown to the ground twice in the course of being arrested after getting out of the car and refusing to comply with an officer's command to get back in the vehicle.

On February 7, 2013, the LAPD was involved in what Chief Beck called "a case of mistaken identity" when, during the manhunt for murderer and fired LAPD officer, Christopher Dorner, the LAPD and the Torrance Police Department fired upon pickup trucks at two separate locations, believing them to be Dorner. The first incident took place on the 19500 Block of Redbeam Avenue. LAPD officers fired numerous shots into the back of a blue pickup truck, allegedly without warning, and injured the two women inside. Twenty-five minutes later, the Torrance Police shot into the windshield of another pickup truck, narrowly missing the driver. In both cases the victims were not involved with the Dorner case. The Dorner case involved allegations of impropriety by other LAPD officers, as Dorner alleged that he had been fired for reporting brutality by his training officer. The manhunt was triggered by Dorner's alleged attacks against LAPD and ex-LAPD personnel. In 2013, the city of Los Angeles agreed to pay the two female victims of the first incident $2.1 million each to settle the matter. The city of Torrance agreed to pay the victim of the second incident $1.8 million.

In May 2014, after much controversy in their own city, the Seattle Police Department transferred two Draganflyer X6 UAVs to the LAPD. The LAPD stated that the only uses for the drones would be for narrow and prescribed circumstances such as hostage situations, but that they would not be put into use until the Board of Police Commissioners and the City Attorney crafted a policy for their use after the LA City Council ordered the policy creation. The decision to use the drones gained significant opposition from community activists including the ACLU and new groups founded after the announcement about drone use including Stop LAPD Spying Coalition and the Drone-Free LAPD, No Drones, LA! activist groups who protested outside of city hall against the use of drones by the LAPD.

On August 11, 2014, an African-American man named Ezell Ford was shot by two LAPD gang detectives after they made an investigative stop of Ford on the street. Ford was unarmed and the officers claimed that he got into a physical struggle with one of them and then reached for their gun, forcing them to fire on Ford, while some witnesses who claimed to have seen the incident alleged that there was no struggle. The autopsy report was ordered to be released by Mayor Eric Garcetti before the end of 2014.

On September 11, 2014, African-American actress Danièle Watts was temporarily detained by the LAPD when she and her boyfriend were in Studio City. Watts accused the officers who stopped her of racially profiling her because she was African-American and her boyfriend was Caucasian, claiming that they treated her as if she was a "prostitute" and that the officers had been disrespectful to her because she was African-American. LAPD Sergeant Jim Parker who was one of the two officers accused by Watts of misconduct, released a personal audio recording of the entire incident to TMZ. The recording showed that police had received a 911 call about lewd acts in a car and the couple who were described to have committed the lewd acts fit Watts' and her boyfriend's description. It also showed that when officers arrived on the scene, Watts' boyfriend cooperated with police but Watts refused to cooperate and identify herself, accused the officers of racism, and ignored officers requests and walked away from them leading to her being handcuffed and temporarily detained. Following the release of the recording, local civil rights activists called for Watts to apologize to the LAPD for falsely accusing them of racial profiling but Watts refused. The two officers were cleared of any wrongdoing by the department shortly after the release of the audio recordings.

In October 2014, the LAPD Office of the Inspector General released a report that members of the department had been using department computers to falsely inflate the number of officers and patrol cars that were on duty at any given time in a method known as "ghost cars". The report found that supervisors of various ranks would check officers into vacant assignments right before the department's computerized patrol software did its head count and then log the officers off when the count was done. The report found that the practice occurred in at least five out of 21 patrol divisions, and the report also highlighted the causes including understaffing in the LAPD.

In June 2020, following a campaign by a coalition of community groups including Black Lives Matter, Los Angeles mayor Eric Garcetti announced LAPD budget cuts of $150 million. Garcetti announced the funds would be redirected to community initiatives. Senator Kamala Harris supported Garcetti's decision to cut the LAPD's budget.

In 2020, the Los Angeles County District Attorney's Office announced that six LAPD officers had been charged with conspiracy and falsifying information in a false gang labeling scandal, with an additional 18 officers under investigation. The discovery of false accusations led to the review of hundreds of cases and the dismissal of a number of felony charges dating back to 2016.

On February 13, 2021, the LAPD announced in a series of tweets it was launching an internal investigation into the Harbor Division, after their employees allegedly passed around a Valentine's Day-themed e-card depicting George Floyd with the caption "You take my breath away", which made reference to Floyd's murder. The LAPD said it "will have zero tolerance for this type of behavior".

In September 2021, The Guardian reported that LAPD officers had been instructed by Chief Michel Moore to collect social media account information from all citizens they interview, whether or not they have been accused of committing a crime. Further, officers were asked to collect social security numbers and instructed to tell individuals that they "must be provided" under federal law, although it is unclear if this is true. In a response for comment, the LAPD stated that the field interview policy was "being updated".


 * References

mariel roberts scraaaaaatch

 * scratch → Mariel Roberts draft
 * 2017: The New Yorker, "Roberts, the cellist of the Mivos Quartet, just issued an arresting CD, “Cartography,” which displays her formidable technique and zeal for collaboration"
 * SCW @ NYT: For Music, a Fall Deluge of Performances Is Beginning
 * SCW @ NYT: A Reliably Varied Music Festival Returns to New York (on Time Spans premiere)
 * IDCIYL: Joseph C. Phillips Jr.

anna webber scraaaaaatch

 * scratch → Anna Webber (musician)
 * [also mentions MR] Margasak @ Bandcamp Daily: On “Idiom,” Anna Webber Merges Improvisation With Composition
 * Margasak @ The Quietus: Complete Communion: Jazz For May Reviewed By Peter Margasak

ptp (fka purple tape pedigree) scraaaaaatch
scratch → PTP (artist collective)


 * artists
 * 9T Antiope: Nima Aghiani & Sara Bigdeli Shamloo
 * ACAPELLA aka Isis Scott
 * Amani Fela
 * Bonaventure: Soraya Lutangu
 * Celestial Trax: Joni Judén
 * City (aka Will Ballantyne) & i.o (aka Maxwell Patterson)
 * CYPHR: co-founder Her Records
 * Dis Fig: Felicia Chen
 * Eaves: Joseph Lyons
 * Gorgeous Children: Gila Monsta & Face Vega
 * Imaabs: Cristo Gavras
 * MM (fka Miss Modular; co-founder Her Records)
 * Model Home: Patrick Cain & NappyNappa
 * N-Prolenta: Brandon Covington Sam-Sumana
 * Sour Spirit: Rodnie King, Riot Dent
 * Sour Data: Sour Spirit & Madam Data
 * Sour Vision: Sour Spirit & King Vision Ultra
 * WWWINGS: LIT INTERNET, LIT DAW, LIT EYNE
 * YATTA: Yatta Zoker


 * rough listing
 * Geng, Screwing Yourself To Live: A Chopped & Slowed Tribute To Black Sabbath (2012)
 * PTP001: Gorgeous Children, Gorgeous Children (2012)
 * PTP002: Celestial Trax, Ride Or Die EP (2015)
 * PTP003: Gang Fatale / CYPHR, Body Horror I (2015)
 * PTP004: MM / Imaabs, Body Horror II (2015)
 * PTP005: Joey LaBeija, Shattered Dreams (2016)
 * PTP006: EndgamE, Savage EP (2016)
 * PTP007: DJ NJ Drone, Syn Stair (2016)
 * PTP008: Celestial Trax, From The Womb EP (2016)
 * PTP009:
 * PTP010: N-Prolenta, A Love Story 4... (2016)
 * PTP011: 0comeups, One Deep (2016)
 * PTP012: 9T Antiope, Nocebo (2019)
 * PTP2001: Eaves, Verloren (2017)
 * PTP2002: Yatta, Spirit Said Yes! (2017)
 * PTP2003: Bonaventure, Free Lutangu (2017)
 * PTP2004: Violence, Human Dust to Fertilize the Impotent Garden (2017)
 * PTP2005: Kepla & DeForrest Brown Jr., Absent Personae (2017)
 * PTP2006: Celestial Trax, Nothing Is Real (2017)
 * PTP2007: Among The Rocks And Roots, Raga (2018)
 * PTP2008: Saint Abdullah, Stars Have Eyes (2018)
 * PTP2009: Nima Aghiani, REMS (2018)
 * PTP2010: Armand Hammer, Paraffin (2018)
 * PTP2011: Kepla & DeForrest Brown Jr., The Wages Of Being Black Is Death (2019)
 * PTP2012:
 * PTP2013: Dis Fig, PURGE (2019)
 * PTP2014: City & i.o, Spirit Volume (2019)
 * PTP2015: Yatta, Wahala (2019)
 * PTP2018: Saint Abdullah,	Where Do We Go, Now? (2020)
 * PTP2024: Ba Pace, Unmixedraw Vol.3: Food Water Shelter (2020)
 * PTP2025: Amani & King Vision Ultra, An Unknown Infinite (2020)
 * PTP2028: 9T Antiope, Placebo (2020)
 * PTP2030: H31r, Ve·loc·i·ty (2020)

KVU RELEASE // Amani & King Vision Ultra, An Unknown Infinite
 * Category:Electronic music organizations
 * Fact Mag PTP tags
 * Tiny Mix Tapes KVU tags
 * A Closer Listen PTP tags
 * The FADER PTP tags
 * Mixmag: "Trying to communicate": Dis Fig is baring her soul through music"
 * VICE: "Drawing on legacies of heavy music (metal, noise, and the like), and the history of musics of pain that stretch back even further, Geng and his friends use sound as a meditation of sorts, processing shared and individual memories and trauma through gnarled sounds."
 * Label founder Geng, who also goes by King Vision Ultra, has said that "PTP is an artist collective-slash-imprint that thrives on being multifaceted. [...] We weaponize things like noise or ASMR whispers or coded messages on a garment or YouTube playlists or rhythm or scent into tools for self and spiritual-preservation".
 * The WIRE: #408 // "Geng: The PTP founder reveals his cathartic new project King Vision Ultra") (look up)
 * The Brooklyn Rail: "Blood Memories: Matana Roberts at the Park Avenue Armory"
 * VICE: "Five Last-Minute Thanksgiving Recipes for Clueless Electronic Music Fans"
 * The WIRE: "Watch the video for King Vision Ultra’s “Swallow My Drowning Head"]
 * Pitchfork: Moor Mother: “This Week” [ft. Geng]


 * References

relative pitch scraaaaaatch

 * majority scratch → created Relative Pitch Records


 * Discography + Reviews


 * Peter Brötzmann/Fred Lonberg-Holm's Memories of a Tunicate


 * Zeena Parkins—Glass Triangle (Relative Pitch, 2019)


 * That Overt Desire of Object: Joëlle Léandre/Phillip Greenlief (Relative Pitch)


 * The Coandâ Effect: Tim Berne/Nasheet Waits (Relative Pitch)


 * Bind the Hand(s) That Feed: Michael Foster/Katherine Young/Michael Zerang (Relative Pitch)


 * Laubrock/Rainey, ...And Other Desert Towns
 * Rogers/Rupp/Schubert
 * Pavone, In The Action
 * Reid & Monico, The Mouser


 * The Zookeeper’s House: Jemeel Moondoc (Relative Pitch)


 * Nate Wooley's Battle Pieces II


 * Ingrid Laubrock & Tom Rainey, Utter


 * Old comrades Peter Brötzmann and Fred Lonberg-Holm reunite on Memories of a Tunicate


 * French cellist and sound artist Leila Bordreuil diffuses and distorts bowed lines in her Chicago debut (The Caustic Ballads)


 * Flaherty, Ironic Havoc


 * Alcorn, Soledad


 * References

RPR discography (list)
• Joey Baron, Just Listen (RPR1001, 2013)

• Joëlle Léandre / Phillip Greenlief, That Overt Desire Of Object (RPR1002, 2011)

• Vinny Golia Quartet, Take Your Time (RPR1003, 2011)

• Aych, As The Crow Flies (RPR1004, 2012)

• Michael Bisio & Matthew Shipp, Floating Ice (RPR1005, 2012)

• Way Out Northwest, The White Spot (RPR1006, 2012)

• Urs Leimgruber / Roger Turner, The Pancake Tour (RPR1007, 2012)

• Joe Morris / Agustí Fernández /, From The Discrete To The Particular (RPR1008, 2012)

• Jemeel Moondoc / Connie Crothers, Two (RPR1009, 2012)

• Joëlle Léandre & Jérôme Bourdellon, Evidence (RPR1010, 2013)

• Chris Abrahams & Magda Mayas, Gardener (RPR1011, 2013)

• Book Of Three (Taylor Ho Bynum, John Hébert, Gerald Cleaver), Continuum (RPR1012, 2013)

• Estamos Trio, People's Historia (RPR1013, 2013)

• Sifter (Mary Halvorson, Kirk Knuffke, Matt Wilson), Sifter (RPR1014, 2013)

• FPR, All At Once (RPR1015, 2013)

• Vinny Golia & Urs Leimgruber, Empiricism In The West (RPR1016, 2013)

• Jack Wright / Ben Wright, As If Anything Could Be The Same (RPR1017, 2014)

• Ingrid Laubrock & Tom Rainey, And Other Desert Towns (RPR1018, 2014)

• Paul Flaherty & Randall Colbourne, Ironic Havoc (RPR1019, 2014)

• Greg Cohen, Golden State (RPR1020, 2014)

• Bogan Ghost, Zerfall (RPR1021, 2014)

• Matthew Shipp Trio, Root Of Things (RPR1022, 2014)

• Stephen Gauci / Kirk Knuffke / Ken Filiano, Chasing Tales (RPR1023, 2014)

• Evan Parker & Sylvie Courvoisier, Either Or And (RPR1024, 2014)

• Mary Halvorson, Reverse Blue (RPR1025, 2014)

• Jemeel Moondoc, The Zookeeper's House(RPR1026, 2014)

• Michel Doneda, Everybody Digs Michel Doneda (RPR1027, 2014)

• Tomas Fujiwara Trio, Variable Bets (RPR1028, 2014)

• Joe Morris, Solos Bimhuis (RPR1029, 2015)

• Birgit Ulher & Leonel Kaplan, Stereo Trumpet (RPR1030, 2015)

• Nate Wooley, Battle Pieces (RPR1031, 2015)

• Susan Alcorn, Soledad (RPR1032, 2015)

• Dead Neanderthals, Worship The Sun (RPR1033, 2015)

• Leila Bordreuil & Michael Foster, The Caustic Ballads (RPR1034, 2016)

• Matthew Shipp Chamber Ensemble, The Gospel According To Matthew & Michael (RPR1035, 2015)

• Matana Roberts, Always. (RPR1036, 2015)

• Mette Rasmussen & Chris Corsano, All The Ghosts At Once (RPR1037, 2015)

• Jessica Pavone, Silent Spills (RPR1038, 2016)

• Pulverize The Sound, Pulverize The Sound (RPR1039, 2015)

• Michael Bisio, Accortet (RPR1040, 2015)

• Thollem, Wimberly, Nels Cline, Radical Empathy (RPR1041, 2015)

• Fujiwara, Ben Goldberg, Mary Halvorson, The Out Louds (RPR1042, 2016)

• Michael Bisio & Kirk Knuffke, Row For William O. (RPR1043, 2016)

• Corsano, Courvoisier, Wooley, Salt Task (RPR1044, 2016)

• Sylvie Courvoisier & Mary Halvorson, Crop Circles (RPR1045, 2017)

• Mazur & Neuringer, Diachronic Paths (RPR1046, 2016)

• Jemeel Moondoc & Hilliard Greene, Cosmic Nickelodeon (RPR1047, 2016)

• Ingrid Laubrock & Tom Rainey, Buoyancy (RPR1048, 2016)

• Catherine Sikora, Jersey (RPR1049, 2016)

• Joe Morris, Shock Axis (RPR1050, 2016)

• Perch, Hen, Brock, Rain, Live @ The Jazz Happening Tampere (RPR1051, 2016)

• Forebrace, Steeped (RPR1052, 2016)

• Tristan Honsinger, Nicolas Caloia, Joshua Zubot, In The Sea (RPR1053, 2017)

• Thollem & Rob Mazurek, Blind Curves And Box Canyons (RPR1054, 2017)

• JR3, Happy Jaz (RPR1055, 2017)

• John Butcher, John Edwards, Mark Sanders, Last Dream Of The Morning (RPR1056, 2017)

• Christian Lillinger & Tobias Delius, Dicht (RPR1057, 2017)

• Nate Wooley, Battle Pieces 2 (RPR1058, 2017)

• Fred Van Hove & Roger Turner, The Corner (RPR1059, 2017)

• Isabelle Duthoit & Franz Hautzinger, Lily (RPR1060, 2017)

• Magda Mayas & Jim Denley, Tempe Jetz (RPR1061, 2017)

• Ben Hall's Racehorse Names, The New Favorite Thing Called Breathing (RPR1062, 2018)

• Brandon Lopez, Matthew Nelson, Andria Nicodemou, Gerald Cleaver, The Industry Of Entropy (RPR1063, 2018)

• Kirk Knuffke & Ben Goldberg, Uncompahgre (RPR1064, 2018)

• Mark Nauseef, All In All In All (RPR1065, 2018)

• Stephanie Richards, Fullmoon (RPR1066, 2018)

• Rudi Mahall & Alexander von Schlippenbach, So Far (RPR1067, 2018)

• Tomeka Reid, Kyoko Kitamura, Taylor Ho Bynum, Joe Morris, Geometry Of Caves (RPR1068, 2018)

• Flamingo, LOUD (RPR1069, 2018)

• Tatakai Trio, Happī (RPR1070, 2018)

• Irene Aranda, Johannes Nästesjö, Núria Andorrà, Inner Core (RPR1071, 2018)

• Samara Lubelski & Bill Nace, Samara Lubelski / Bill Nace (RPR1072, 2018)

• Benjamín Vergara, Keefe Jackson, Jim Baker, Phil Sudderberg, The Hallowed Plant (RPR1073, 2018)

• Paul Rogers, Olaf Rupp, Frank Paul Schubert, Three Stories About Rain, Sunlight And The Hidden Soil (RPR1074, 2018)

• Fish-Scale Sunrise, No Queen Rises (RPR1075, 2018)

• Ingrid Laubrock, Tom Rainey, Utter (RPR1076, 2018)

• Michael Foster, Michael Zerang, Katherine Young, Bind The Hand(s) That Feed (RPR1077, 2018)

• James Brandon Lewis, An UnRuly Manifesto (RPR1078, 2019)

• Bruce Ackley, Fred Frith, Henry Kaiser, Aram Shelton, Unexpected Twins (RPR1079, 2019)

• Guillermo Gregorio & Brandon Lopez, 12 Episodes (RPR1080, 2019)

• Tomeka Reid / Filippo Monico, The Mouser (RPR1081, 2019)

• Jessica Pavone, In The Action (RPR1082, 2019)

• Eugene Chadbourne, Henry Kaiser, Wind Crystals: Guitar Duets By Wadada Leo Smith (RPR1083, 2019)

• Michel Doneda & Lê Quan Ninh, Thirty Ways To Avoid Talking (RPR1084, 2019)

• Paul Flaherty, Focused & Bewildered (RPR1085, 2019)

• Zeena Parkins & Wobbly, Triplicates (RPR1086, 2019)

• Baczkowski, Lopez, Corsano, Old Smoke (RPR1087, 2019)

• Christine Abdelnour & Chris Corsano, Quand Fond La Neige, Où Va Le Blanc? (RPR1088, 2019)

• Udo Schindler & Jaap Blonk, Hillside Talks (RPR1089, 2019)

• Hook, Line And Sinker, Fishy Business (RPR1090, 2019)

• Virginia Genta, Amplified Sopranino Sax (RPR1090EP, 2019)

• Tipple, Cartoon Heart (RPR1091, 2020)

• Masahiko Satoh, Otomo Yoshihide, Roger Turner, Sea (RPR1092, 2019)

• Ramon Lopez & Mark Feldman, Trappist-1 (RPR1093, 2019)

• Ig Henneman, Jaimie Branch, Anne La Berge, Dropping Stuff And Other Folk Songs (RPR1094, 2019)

• Joanna Mattrey, Veiled (RPR1095, 2020)

• Kyoko Kitamura, Joe Morris, Tomeka Reid, Taylor Ho Bynum, Geometry Of Distance (RPR1096, 2019)

• Nate Wooley, Battle Pieces 4 (RPR1097, 2019)

• Susan Alcorn, Leila Bordreuil, Ingrid Laubrock, Bird Meets Wire (RPR1098, 2021)

• Neuringer, Dulberger, Masri, Dromedaries II (RPR1099, 2020)

• John Blum & Jackson Krall, Duplexity (RPR1100, 2020)

• Estamos Trio, Dire Warnin (RPR1101, 2020)

• Samara Lubelski, Partial Infinite Sequence (RPR1102, 2020)

• Tim Berne & Nasheet Waits, The Coandă Effect (RPR1103, 2020)

• Peter Brötzmann & Fred Lonberg-Holm, Memories Of A Tunicate (RPR1104, 2020)

• Alex Ward, Frames (RPR1105, 2020)

• Alex Ward Item 4, Where We Were (RPR1106, 2020)

• Birgit Ulher & Franz Hautzinger, Kleine Trompetenmusik (RPR1107, 2020)

• Brad Henkel & Jacob Wick, Lovely Bag You Have (RPR1108, 2020)

• MoE with Mette Rasmussen and Ikuro Takahashi, Painted (RPR1109, 2020)

• gabby fluke-mogul, threshold (RPR1110, 2021)

• Susan Alcorn Quintet, Pedernal (RPR1111, 2020)

• Leap Of Faith, Principles Of An Open Future (RPR1112, 2020)

• Signe Emmeluth, Hi Hello I'm Signe (RPR1113, 2021)

• Frode Gjerstad & Isach Skeidsvoll, Twenty Fingers (RPR1114, 2021)

• Two Much (Reut Regev & Igal Foni), Never Enough (RPR1115, 2021)

• Hermione Johnson, Tremble (RPR1116, 2020)

• Schubert, Schlippenbach, John Blum, Forge (RPR1117, 2020)

• Zeena Parkins, Mette Rasmussen, Ryan Sawyer, Glass Triangle (RPR1118, 2021)

• Jooklo Trio, It Is What It Is (RPR1119, 2020)

• Magda Mayas' Filamental, Confluence (RPR1120, 2021)

• Michel Doneda, Frédéric Blondy, Tetsu Saitoh, Spring Road 16 (RPR 1121, 2021)

• Barre Phillips, John Butcher, Ståle Liavik Solberg, We Met - And Then (RPR 1122, 2021)

• López Trio, Live At Roulette (RPR1123, 2021)

• Liz Allbee, Rille (RPR1124, 2021)

• Ava Mendoza, New Spells (RPR1125, 2021)

• Robbie Avenaim, Chris Abrahams, Jim Denley, Weft (RPR 1126, 2021)

• Cranes (Matthias Müller, Eve Risser, Christian Marien, Formation < Deviation (RPR1127, 2021)

• Jessica Pavone, When No One Around You is There but Nowhere to be Found (RPR1128, 2022)

• Violeta García & Chris Pitsiokos, Uanmortaim (RPR1129, 2021)

• Alex Zethson Ensemble, Some Of Them Were Never Unprepared (RPR1130, 2021)

• Ingrid Laubrock, Tom Rainey, Counterfeit Mars (RPR1131, 2022)

• Steph Richards with Joshua White, Zephyr (RPR1132, 2021)

• Cecilia Lopez, Red (RPR1133, 2021)

• Gregg Belisle-Chi Performing The Music Of Tim Berne, Koi (RPR1134, 2021)

• Cath Roberts & Olie Brice, Conduits (RPR1135, 2022)

• Lisa Ullén, Elsa Bergman, Anna Lund, Space (RPR1136, 2022)

• Masked Pickle, 7 (RPR1137, 2022)

• Child Of Illusion, Khimaira (RPR1138, 2022)

• Matthew Bourne & Emil Karlsen, The Embalmer (RPR1139, 2022)

• Kaluza & Roder, Am Frankfurter Tor (RPR1140, 2022)

• gabby fluke-mogul, Love Songs (RPR1141, 2022)

• Forbes Graham, Another Day, Another Vector (RPR1142, 2022)

• Joanna Mattrey & gabby fluke-mogul, Oracle (RPR1143, 2022)

• Reid, Kitamura, Bynum, Morris, Geometry Of Trees (RPR1144, 2022)

• Tamio Shiraishi, 月 (Moon) (RPR1148, 2022)

• Pulverize The Sound, Black (RPR1157, 2022)

• Kelsey Mines, Look Like (RPR1158, 2022)

• Fred Moten, Brandon López, Gerald Cleaver, Moten / López / Cleaver (RPR1159, 2022)

• Dimitriadis, Axel Dörner, Freedman, Parkins, Williams, BeingFive (RPR1161, 2022)

• Erin Rogers, Dawntreader (RPRSS001, 2019)

• Masayoshi Urabe, What Hasn't Come Here, COME! (RPRSS002, 2019)

• Tamio Shiraishi, Sora (RPRSS003, 2020)

• Chris Pitsiokos, Speak In Tongues (RPRSS004, 2020)

• Erin Rogers, 2000 Miles (RPRSS005, 2021)

• Michael Foster, The Industrious Tongue Of Michael Foster (RPRSS006, 2022)

• Violeta García, Fobia (RPRSS007, 2022)

• Amidea Clotet, Trasluz (RPRSS008, 2022)

• Robbie Lee, Prismatist (RPRSS009, 2021)

• Aaron Burnett, Correspondence (RPRSS010, 2022)

• Masayo Koketsu, Fukiya (RPRSS011, 2022)

• Chris Pitsiokos, Art of the Alto (RPRSS012, 2022)

• Sakina Abdou, Goodbye Ground (RPRSS013, 2022)

• Marta Warelis, A Grain Of Earth (RPRSS014, 2022)

• Don Malfon, Mutable (RPRSS015, 2022)

• Jon Lipscomb, Conscious Without Function (RPRSS016, 2022)

• Alexandra Grimal, Refuge (RPRSS017, 2022)

• Matthew Wright with Samples Of Evan Parker, Toma Gouband And Mark Nauseef, Locked Hybrids (RPRDL001, 2020)

• Close Scrape (Matthew Wright, Adam Linson), CUTOUT (RPRDL002, 2021)

• Biliana Voutchkova & Michael Zerang, The Emerald Figurines (RPRDL003, 2022)

• Biliana Voutchkova & Leila Bordreuil, The Seventh Water (RPRDL004, 2022)

• Kelsey Mines, To Actually Create Everywhere (RPRDL005, 2022)

• Biliana Voutchkova & Joanna Mattrey, Like Thoughts Coming (RPRDL006, 2022)

• Biliana Voutchkova & Susana Santos Silva (RPRDL007, 2022)

• Biliana Voutchkova & Tomeka Reid (RPRDL008, 2022)

• Biliana Voutchkova & Jeff Surak, The Truth About The Key (RPRDL009, 2022)


 * References

george e. lewis scraaaaaatch
most now in George E. Lewis → "Discography"; eventual goal = stand-alone "George Lewis complete works" page.

As leader / co-leader

 * 1976: George Lewis – Solo Trombone Record (Sackville)
 * 1978: George Lewis – Monads-Triple Slow Mix-Cycle-Shadowgraph, 5 (Sextet) (Black Saint; recorded 1977)
 * 1978: Anthony Braxton / George Lewis Duo – Elements of Surprise (Moers; recorded 1976)
 * 1979: George Lewis – Homage to Charles Parker (Black Saint)
 * 1979: George Lewis / Douglas Ewart – Jila Save! Mon. - The Imaginary Suite (Black Saint; recorded 1978)
 * 1980: Company (Derek Bailey, Dave Holland, Lewis, Evan Parker) – Fables (Incus)
 * 1981: George Lewis – Chicago Slow Dance (Lovely; recorded 1977)
 * 1982: Derek Bailey / George Lewis / John Zorn – Yankees (Charly)
 * 1985: Misha Mengelberg / Steve Lacy / George Lewis / Harjen Gorter / Han Bennink – Change of Season (Music Of Herbie Nichols) (Soul Note)
 * 1987: Mengelberg / Lacy / Lewis / Ernst Reÿseger / Bennink – Dutch Masters (Soul Note)
 * 1988: John Zorn / George Lewis / Bill Frisell – News for Lulu (hat Hut)
 * 1992: Zorn / Lewis / Frisell – More News for Lulu (hat Hut; recorded 1989)
 * 1993: George Lewis – Voyager (Avant)
 * 1993: George Lewis – Changing With the Times (New World)
 * 1994: Anthony Braxton & George Lewis – Donaueschingen (Duo) 1976 (hatART; recorded 1976)
 * 1994: R. Anderson, C. Harris, G. Lewis, G. Valente – Slideride (hat Hut)
 * 1996: Vinny Golia / George Lewis / Bertram Turetzky – Triangulation (Nine Winds)
 * 1998: George Lewis & Miya Masaoka – The Usual Turmoil and Other Duets(Music & Arts; recorded 1997)
 * 1998: George E. Lewis & Bertram Turetzky – Conversations (Incus)
 * 2000: George Lewis – Endless Shout (Tzadik; recorded 1995-1997)
 * 2001: George Lewis / The NOW Orchestra – The Shadowgraph Series: Compositions for Creative Orchestra (Spool; recorded 1999)
 * 2002: Evan Parker / George Lewis – From Saxophone & Trombone (PSI)
 * 2006: George Lewis – Sequel (For Lester Bowie) (Intakt; recorded 2004)
 * 2006: Muhal Richard Abrams / George Lewis / Roscoe Mitchell – Streaming (Pi)
 * 2009: J. Léandre & G. Lewis – Transatlantic Visions (RogueArt)
 * 2009: George Lewis / Marina Rosenfeld – Sour Mash (Innova)
 * 2009: Glasgow Improvisers Orchestra & George Lewis – Metamorphic Rock (Iorram)
 * 2011: George Lewis – Les Exercices Spirituels (Tzadik; recorded 2008-2010)
 * 2014: "George Lewis / Wadada Leo Smith / John Zorn – Sonic Rivers (Tzadik)
 * 2016: George Lewis & International Contemporary Ensemble – The Will to Adorn (Tundra)
 * 2016: George Lewis & Splitter Orchester – Creative Construction Set™ (Mikroton)
 * 2017: Ensemble Dal Niente & George Lewis – Assemblage (New World Records)
 * 2019: Kimmig-Studer-Zimmerlin & George Lewis – Kimmig-Studer-Zimmerlin & George Lewis (ezz-thetics)
 * 2019: George Lewis / Roscoe Mitchell – Voyage And Homecoming (RogueArt)
 * 2020: George Lewis – Rainbow Family (1984) (Carrier; recorded 1984)
 * 2021: George Lewis – The Recombinant Trilogy (New Focus; recorded 2016-2020)
 * 2021: Joelle Léandre / George Lewis / Pauline Oliveros – Play As You Go (Trost; recorded 2014)


 * side-person
 * 1985: Evan Parker (w/ Lewis, Barry Guy, Paul Lytton), Hook, Drift & Shuffle (Incus)
 * 1987: Joe Sachse with David Moss, Lewis, Berlin Tango (Jazzwerkstatt)
 * 1986: Live at Taktlos with Irene Schweizer (Intakt)
 * 1988: The Storming of the Winter Palace with Schweizer, Maggie Nicols, Joëlle Léandre, Günter Sommer (Intakt)

scratch
George E. Lewis discography start

Listed by Scaruffi:
 * Rue Dunois Juillet (1983), 5.5/10
 * Slideride (1994), 5.5/10
 * Triangulation (1996), 5.5/10
 * Triangulation II (2003), 5/10
 * Transatlantic Visions (2006), 5.5/10
 * Metamorphic Rock (2007), 6.5/10
 * Creative Construction Set (2015), 7/10
 * Shift (2016), 5.5/10
 * Assemblage (2016), 6.5/10
 * Voyage and Homecoming (2018), 6/10
 * Breaking News/ Studio Dan (2018), 6/10


 * References

braxton: currently cut
note: this is material i've cut from (& not yet confirmed/rewritten for) the Anthony Braxton article that seems to be true &/or potentially relevant; not including false/vague/irrelevant cuts or material that's been rewritten. i'm doing an overhaul & in order to get down template removed anything that was plagiarized & most that lacked sources. // priority for adding refs = TITLES; i've lightly-edited & left the copy in-article for relevance, but it lacks sources & needs fact-checking. [a source (formula titles, code, + 47 for vocational school relevance)]


 * instruments // He plays many types of saxophone (soprano, alto, tenor, baritone, bass, contrabass, sopranino, C-melody, mezzo-soprano) and clarinet (E-flat, B-flat, contrabass), in addition to flute, alto flute, and piano. // ref


 * Wesleyan // He taught music composition and music history, with a concentration on the avant-garde, as well as leading ensembles in performances of his compositions.


 * Kelvin Compositions (?) // In the Kelvin compositions, "Braxton replaces chord changes with complex, rhythmic patterns which, in turn, orient the character and phrasing of the improvisations."


 * reception / classification // At AllMusic, Chris Kelsey wrote that Braxton's approach to music is experimental and theoretical and shares characteristics with 20th century classical music and composers such as John Cage and Karlheinz Stockhausen. Trumpeter Wynton Marsalis said Braxton's music isn't jazz. Kelsey called it "art music". Braxton called it "creative music". He has said that he is not a jazz musician. But he has also said, "even though I have been saying I'm not a jazz musician for the last 25 years; in the final analysis, an African-American with a saxophone? Ahh, he's jazz!"


 * Ghost Trance Music (direct quote from source): "One can think of GTM as a musical super-highway — a META-ROAD — designed to put the player in the driver's seat, drawing his or her intentions into the navigation of the performance, determining the structure of the performance itself.”


 * Echo, Echo Mirror House Musics // Braxton wrote Echo in 2007 and performed it in 2009 at Wesleyan University where he was a teacher. During the performance every musician in an ensemble of six to twenty people held an iPod that contained Braxton's discography. All of them hit play on their iPods as the performance began to broadcast old works into the live performance.


 * performance / live recording (not *final* GTM performance, but possibly significant?) // Many of the earliest Ghost Trance recordings were released on his Braxton House label. His final Ghost Trance compositions were performed with a "12+1tet" at Iridium club in New York City in 2006. The four-night residency was recorded and released in 2007 by Firehouse 12.


 * performance / live recording // He toured in France, and some concerts were recorded, such as a performance in Châtellerault on March 11, 1972.


 * References

anthony braxton scraaaaaatch
chunk o'scratch → template clearing + majority rewrite of Anthony Braxton article


 * Current overview + areas to expand

TO REVIEW: '''Magicpiano's "What is a good composer article?"

(from my own progress notes on Braxton talk page) // Organization is somewhat improved, but the career section badly needs subheadings for significant works & developments (most notably, I think, his signing to Arista Records); more broadly, the overview of his projects & recordings is mostly just lists of personnel rather than a big-picture overview of how his work, reception, & collaborations changed over time. I'm going roughly by the Wikiproject Musicians article guidelines, which note that "usually significant works are dealt with as a sub-section of the Career/History section, so they remain in chronological order"; this is currently (30 July 2021) a bit muddled, but I do think the compositional systems should probably stay in a separate section (though it needs work).


 * Early life // siblings; cousin who introduced him to the AACM, CORE, etc.
 * Education and military service // Wilson Jr College (meeting Roscoe Mitchell, Jack DeJohnette, et al.); Fifth Army Band (discovered Arnold Schoenberg, played clarinet & alto, cont'd lessons w/ Gell); Eighth Army Band, incl. recordings off-base in Seoul
 * Early career (1965–1973) // 1965 return to Chicago + intro to the AACM seems like a defining year; also incl. 1967 origins of Creative Construction Company, 1968 debut, 1969 recording of For Alto & time in Paris with CCC, post-Paris crashing w/ Ornette Coleman + chess hustling, 1970 joining Circle, 1971 *release* of For Alto (there seems to be a lot of confusion about this release date…)
 * Career, Arista Records (1974–1982); a few sources:
 * Mike Heffley's "liner notes" (extensive historical essay) to The Complete Arista Recordings
 * Mike Heffley's "liner notes" (extensive historical essay) to The Complete Arista Recordings
 * Mike Heffley's "liner notes" (extensive historical essay) to The Complete Arista Recordings
 * Mike Heffley's "liner notes" (extensive historical essay) to The Complete Arista Recordings


 * Career as educator (1985–2013) // likely not its own section, but had a big impact on his work, esp. given difference in financial means/stability, resources, etc.––incl. 1985 Mills College, 1990 Wesleyan, retiring on 2013 Doris Duke Performing Artist Award
 * MacArthur + Tri-Centric Foundation (1994)
 * Influence / reception // incl. relationship with designation as solely jazz artist & genre shifts over time? Might also incl. notable students such as Tyshawn Sorey, Mary Halvorson, Taylor Ho Bynum, & André Vida; source:


 * Musicianship // incl. instruments played on significant recordings
 * Personal life // marriage to Nickie Singer (1975); children Terri Braxton (?), Tyondai Braxton (1978), Keayr Braxton (~1981), Donari Braxton (1982)


 * rough timeline
 * 1945 born, overview family/school/interests, awareness of racial violence
 * ~1956 discovers Ahmad Jamal
 * Chicago Vocational High School (in a couple interviews says he played clarinet bc there weren't saxophones?)
 * Chicago Music College w/ Jack Gell
 * wilson jr (met Roscoe Mitchell, Jack DeJohnette)
 * 1963 Fifth Army Band (discovered Arnold Schoenberg, played clarinet & alto, cont'd lessons w/ Gell)
 * 1965 South Korea w/ 8th (recordings off base, in Seoul)
 * 1966 back to Chicago, Roosevelt University, Congress of Racial Equality (CORE)
 * 1966 AACM
 * 1967 ? formed CCC w/ violinist Leroy Jenkins & trumpeter Leo Smith
 * 1968 debut // nominally jazz, unconventional instrumentation (largely sax/trumpet/violin) (ref'd radano 115?)
 * 1969 For Alto
 * 1969 Paris w/ CCC
 * back to Chicago, crashes w/ Ornette Coleman & hustles chess
 * 1970 circle
 * 1973 that crew et al. on his Conference of the Birds
 * 1974 signed to Arista Records, popular af; sources to check:

While signed to Arista Records, he recorded quartet albums with Dave Holland on bass, Barry Altschul or Jerome Cooper on drums, and Kenny Wheeler on trumpet or George E. Lewis on trombone; // New York, Fall 1974, featuring a saxophone quartet with Julius Hemphill, Oliver Lake, and Hamiet Bluiett, a duet with electronic musician Richard Teitelbaum, and a quartet with Kenny Wheeler, Dave Holland, and Jerome Cooper, on one track featuring Leroy Jenkins. // was awarded the 1977 DownBeat Critics' Poll Album of the Year for Creative Orchestra Music 1976
 * 1975 gets married (Nickie Singer)
 * sometime around here (?) Terri Braxton born
 * 1977 Newsweek (!!!): "the most innovative force in the world of jazz"
 * ...also 1977: people start getting fussy
 * 1978 Tyondai Braxton born
 * ~1981 Keayr Braxton born
 * 1982 dropped by Arista, Donari Braxton born
 * stuff gets marvelously weird
 * 1994 MacArthur + Tri-Centric Foundation
 * 2006 The world premiere of his "Composition No. 19 for 100 Tubas"
 * 2013 Doris Duke Performing Artist Award + retire from Wesleyan
 * 2014 NEA Jazz Master

discography sources
 * http://www.restructures.net/BraxDisco/BraxDisco.htm (+ texts
 * https://jazzdiscography.com/Artists/Braxton/brax-1962-1969.php
 * Contemporary Black Biography

3 compositions + for alto

Braxton has released hundreds of recordings and compositions since For Alto's recording in 1969 (and subsequent release on Delmark Records in 1971), and he has become even more explicit about the irony of naming his debut as if it comprised works within a singular "jazz": many parts were independently composed by "collage" techniques; the track "titles" are graphics and their formulaic abbreviations (e.g., "N-M488-44M-Z)

philosophies of music, language music, notation, &c

diverse compositional methods and cross-genre body of work

Braxton has repeatedly rejected the dichotomy of American jazz (as marked by improvisation) and European contemporary classical music (as the realm of composition), though his music is often located by those coordinates. He instead identifies as a "trans-idiomatic" composer ...

...and has developed a philosophy of "world creativity" and African, trans-African, trans-European, and Asian "vibrational dynamics" in his Tri-Axium Writings.

...who works with "notation as practiced in black improvised creativity", where it functions "as both a recall-factor as well as a generating factor".

// "world creativity" // Braxton has also discussed his work through lenses such as Japanese painting // "African/trans-African vibrational dynamics, as well as corresponding to the greater implications of the trans-European and Asian vibrational dynamics" // 9 Compositions + Ghost Dance/Trance Music, indigenous ritual, "The Ghost Dance music, when it was put together, that came about in a time after the American Indian had been decimated, 98 percent of their culture destroyed..."

// the relationship of chess to music: "it's the movement of forces in space" (from Forces in Motion)

A prolific composer with a vast body of cross-genre work, the MacArthur Fellow and National Endowment for the Arts Jazz Master has since released hundreds of recordings and compositions, including music guided by graphic scores and mathematical equations; his many collage works, some including stylistic techniques associated with gospel and country music; the first six of the twelve-opera series he calls the Trillium Opera Complex; Echo Echo Mirror House Music, in which musicians "play" iPods containing the bulk of Braxton's oeuvre; a composition "for 100 Tubas"; collaborations with artists working in avant-rock music; and what Rolling Stone calls "a vast and complex multimedia universe that at this point can only really be classified as Braxtonia".

12 types // variable, principle, parameter, prompt, "classification", "relationship", vocabulary, framework, structure


 * additional refs


 * CR 2008 (Margasak):


 * NYT 2016 (Ratliff): // He is releasing three boxed sets of new music on April 1 ... Quintet [Tristano] 2014 + Trillium J + 3 Compositions [EEMHM] 2011 (Echo Echo Mirror House) // Twenty-three of those teaching years, ending in 2014, were at Wesleyan University // Some of his students — the guitarist Mary Halvorson, the cornetist Taylor Ho Bynum, the saxophonist André Vida, the drummer Tyshawn Sorey


 * CB 2012 (Stewart):


 * NYT 2010 (Chinen): "Improvisational and Atmospheric Dialogues: A Tribute to an Avant-Gardist" // Tri-Centric Modeling: Past, Present and Future (65th bday / festival)


 * NYT 2019 (SCWalls, feature): "Anthony Braxton Composes Together Past, Present and Future" // Each act of a "Trillium" opera tells a different story, while using the same cast of singers, who rotate roles. Playing with stock genres — including elements of gangster noir, futuristic dystopia and cutthroat boardroom intrigue — has given Mr. Braxton the chance to explore ideas regarding cultural progress (or lack thereof). But gonzo, satirical humor often leavens the fundamental seriousness, in both sound and word. // Later this month, Mr. Braxton’s label is releasing a 12-album set of his "Syntactical Ghost Trance Music." // Graphic notation elements //


 * BC 2018 (SCWalls, overview): A Guide to Anthony Braxton’s Robust Jazz Discography on Bandcamp


 * NYT 2019 (just ref): "Miller Theater Unveils Its 20th Composer Portraits Series"


 * Fred Moten (2003): "Jurisgenerative grammar (for alto)" in The Oxford Handbook of Critical Improvisation Studies, Volume 1 (Ed. George E. Lewis & Benjamin Piekut)


 * Moten (2018) "Refuge, Refuse, Refrain" in The Universal Machine


 * John Corbett (1994) //


 * Steve Lehman (2005): "I Love You With An Asterisk: African-American Experimental Music and the French Jazz Press, 1970-1980" in ''Critical Studies in Improvisation'


 * References

tyshawn sorey scraaaaaatch
chunk o'scratch → majority rewrite of Tyshawn Sorey


 * Background / Early life & education

2012 All About Jazz Interview: Tyshawn Sorey: Composite Reality
 * Sorey has, to date [26 June 2012], composed 160 works and is now private instructor of composition and improvisation at the New School for Jazz and Contemporary Music.
 * When Sorey was about eight, he started to take trombone lessons, which became one of the first instruments he gained proficiency in. "This guy Fields Howard was the first to show me the ropes, which ultimately led me to become a student of the Newark Community School of the Arts. That wasn't too far where I was going to school at the time. I was there on scholarship and I got mostly classical lessons, just basic trombone lessons and learning how to read music."
 * Sorey's first shot at the drum set came by way of Newark musician and educator Michael Cupolo. "I was around 13 or 14"
 * "[Cupolo] showed me the Charlie Parker Omnibook, where I first learned "Ornithology," which was the first tune I really learned how to improvise on."
 * By 1999, Sorey had gained considerable experience learning the ins and outs of jazz drumming, participating in youth jazz programs and studying with figures like Kenny Washington and Billy Hart.
 * at William Paterson University [he] missed the initial deadline for the jazz track. He decided to apply the classical track on trombone ... Sorey eventually got into the jazz program
 * Sorey's early drum and percussion mentors at William Paterson // John Riley: African music and Indian music + the Royal Hartigan book of African rhythms + books on Hindustani and Carnatic music
 * Sorey's post-graduate career was filled with noteworthy engagements as a drummer, ranging from Dave Douglas's NOMAD ensemble to Vijay Iyer.
 * Sorey continued to flesh out the concept of the Oblique songbook with early inceptions of the group. ... "I didn't really think about creating a body of this music until I started playing it regularly in about 2005 at Zebulon [in Brooklyn]," says Sorey. "I had done it as a senior recital at WPUNJ in 2004, which went okay.
 * he visited Japan in 2006 ... "my interest in Zen Buddhism began" // "Permutations for Solo Piano" // "a 43-minute piano work that's an homage to Morton Feldman"

// was a part of the New Jersey Performing Arts Center Jazz for Teens program while attending
 * In 1999, he was awarded a New Jersey Performing Arts Center Star-Ledger Scholarship


 * career during pandemic


 * 2021: New York Times feature


 * 2021: Tyshawn Sorey: The Busiest Composer of the Bleakest Year


 * 2020: The New Yorker's Notable Performances and Recordings of 2020 // In 2020, premieres of two of Sorey's concertos––“For Marcos Balter,” featuring violinist Jennifer Koh with the Detroit Symphony, and “For Roscoe Mitchell, with cellist Seth Parker Woods performing alongside the Seattle Symphony.


 * 2020: New York Times, "...The People Who Put Orchestras Online" // the Detroit Symphony Orchestra; premiere “For Marcos Balter,” featuring the violinist Jennifer Koh


 * 2020: Mills College Composer in Residence livestream piano solos


 * awards / best-ofs / ~accolades~


 * Cycles of My Being // Tyshawn Sorey, Terrance Hayes, Lawrence Brownlee // co-commission with Opera of Chicago, Opera Philadelphia, Carnegie Hall
 * John Holiday to Headline Tyshawn Sorey’s ‘Save the Boys’ on Opera Philadelphia Channel 2/12/21 // Frances Ellen Watkins Harper
 * Radhe Radhe: Rites of Holi


 * 2016: Opera Philadelphia New York Times Best Classical Music of 2016 // Josephine Baker: A Portrait // 2016 Ojai Music Festival


 * 2016: The Chicago Reader's 10 Best Jazz of 2016 // "Tyshawn Sorey's devastatingly gorgeous The Inner Spectrum of Variables ... one of the year's most arresting and ambitious recordings. Sorey's ensemble includes pianist Cory Smythe and bassist Chris Tordini, joined by three remarkable string players: violinist Fung Chern Hwei, violist Kyle Armbrust (brother of Spektral Quartet violist Doyle), and cellist Rubin Kodheli"


 * 2017: The New York Times’ Best Live Jazz Performances of 2017: Tyshawn Sorey Stone Residency, with Jen Shyu // Sorey "about to release his powerful new record, “Verisimilitude,” when he settled in for a five-day run at the Stone"


 * 2017: The New Yorker's Ten Notable Recordings of 2017: Verisimilitude


 * 2018: The New Yorker's Notable Recordings of 2018: Pillars (was included in...)


 * 2019: The New Yorker's ten Notable Performances of 2019 // The Tyshawn Sorey Trio, with pianist Cory Smythe and bassist Chris Tordini // trio's performance March 29th, 2019 performance at the Kennedy Center was included in The New Yorker's ten "Notable Performances of 2019".

2014, 2016, 2017, 2018, 2019 // NPR Music Jazz Critics Polls

chicago reader / margasak // 2014, 2016, 2017


 * misc links


 * 2017, NYT: "Tyshawn Sorey in Residency at the Stone" // "On Saturday, his 36th birthday, he will be joined by John Zorn, the Stone’s founder and a pungent saxophonist, for an extended duo."


 * 2009: The Village Voice on Koan


 * 2014: The New York Times: Drummers’ Choices: Setting the Beat, Calling the Tune


 * 2016: The Inner Spectrum of Variables on WQXR


 * 2017: PopMatters on Verisimilitud


 * 2017: Verisimilitude on Pitchfork


 * 2018: Pillars @ Bandcamp Daily


 * artsfuse.org Review: Tyshawn Sorey’s “Pillars” — Like Nothing You Have Heard Before


 * 2019: Alloy on All About Jazz


 * 2020: NYT // Sorey on George Lewis in "The African-American Art Shaping the 21st Century" // ‘The Will to Adorn’Composition by George E. Lewis (2011) / Tyshawn Sorey: “The Will to Adorn,” based on an essay by Zora Neale Hurston where she talks about embellishment as crucial to black people’s self-expression, deals with this notion of adornment in a way where he is decorating decorations. Through the way the chords are fashioned and varied, Lewis’s music speaks to this concept in pretty much all of his work, whether it is electronic, electroacoustic or acoustic. / Rather than time, George does it with the concept of timbre, instrumental timbres and things like that, and how they can all group together to create this otherworldly soundscape.


 * oblique-i


 * A New Job At Wesleyan, A New Album And A New Direction For Drummer Tyshawn Sorey


 * TYSHAWN SOREY: MUSIC AND MINDFULNESS
 * Tyshawn Sorey Keeps His Ears and Imagination Open
 * An Interview with Tyshawn Sorey
 * AllMusic.com credits
 * 2021 livestream


 * https://www.nytimes.com/2020/11/05/learning/how-have-you-collaborated-from-a-distance-during-the-pandemic.html
 * https://www.nytimes.com/2015/12/11/arts/music/best-classical-recordings-2015.html
 * https://www.nytimes.com/2018/04/27/arts/music/classical-music-youtube.html
 * https://www.newsounds.org/story/tyshawn-sorey-composes-chaos-inner-spectrum-variables/
 * https://www.newyorker.com/magazine/2017/07/10/tyshawn-sorey-defeats-preconceptions
 * https://annenbergcenter.org/blog/5-questions-with-tyshawn-sorey
 * https://www.newsounds.org/story/tyshawn-sorey-composes-chaos-inner-spectrum-variables/


 * References

tomeka reid scraaaaaatch

 * scratch → majority rewrite of Tomeka Reid
 * priority: organize / complete discography

ava mendoza scraaaaaatch

 * scratch → created Ava Mendoza
 * priority: organize / complete discography

irabagon scraaaaaatch

 * most scratch → created Jon Irabagon
 * 2012: The New Yorker, "Dec. 6-7: Jon Irabagon, a saxophonist of prodigious technique, fronts three different bands, including a trio with the lauded drummer Barry Altschul, to celebrate the release of two new records, “I Don’t Hear Nothin’ But the Blues Volume 2: Appalachian Haze” and “Unhinged,” as well as the launch of his new label, Irabbagast Records."


 * Stone Residency // The New Yorker, "Hard charging and, when the mood strikes him, plenty loquacious, the tenor saxophonist Irabagon has been a mainstay of Mostly Other People Do the Killing, the merry pranksters of jazz. Reflecting his eclectic artistic nature, this residency finds Irabagon mixing it up with six very distinct bands, from a blues unit and an organ trio to an interactive combo, with the bassist Mark Helias and the drummer Barry Altschul, and a new-jazz quintet, featuring the trumpeter Tim Hagans, the pianist Uri Caine, and the drummer Tyshawn Sorey."


 * Rufus Reid Big Band // The New Yorker

dreamcrusher scraaaaaatch

 * scratch → created dreamcrusher
 * add post-panopticon vinyl coverage

weasel walter scraaaaaatch

 * chunk o'scratch → majority rewrite of Weasel Walter

features


 * 2012, VICE: "Brain Melters - Weasel Walter." // metal, noise, and free jazz // "Weasel is one of the musicians today most faithful to no-wave's roots. ... his label ugEXPLODE! has released forgotten no-wave geniuses like Jack Ruby, current audio assaulters like White Suns, and Weasel's own projects like Cellular Chaos." /// "Since [Opulence, w/ Halvorson], Weasel moved from Oakland to New York. He’s been primarily playing bass, often with Marc Edwards ... Cellular Chaos, which features the two with Ceci Moss"

cellular chaos


 * 2013, PF: "The frantic slam of NYC quartet Cellular Chaos draws a bit on the no-wave leanings of their guitarist Weasel Walter (disclaimer: he wrote the forward to my book on no-wave) as well as the quivering frenzy of his excellent 1990s band Lake of Dracula. ... singer Admiral Grey ... band's self-titled debut”

luttenbachers


 * 2017, TMT // The Flying Luttenbachers reform for first shows in 10 years // Weasel Walter (drums), Tim Dahl (bass guitar), Chris Welcome (guitar) // "The Flying Luttenbachers ceased being a thing in 2007 after Weasel Walter, the project’s frontman and only consistent member, recorded Incarceration By Abstraction almost entirely solo."


 * 1999, NYT // "The Flying Luttenbachers, from Chicago, have never made clear whether their meshing of death-metal and free-jazz is serious or a joke ... obvious lineage back to the No Wave movement of the late 70's"


 * 2005, NYT // "eccentrics like the Melvins and the Flying Luttenbachers were acting on the belief that heavy music was compatible with an avant-garde sensibility."

refs/rep


 * 2007, NYT // Glenn Branca, "The 2007-2008 Season for the 21st Century Philharmonic"


 * 2009, VICE // Hawnay Troof's Vice Cooler: "Weasel Walter didn't see me and threw his drum and it knocked me out. I had to go to the hospital and get eight stitches."

ugEXPLODE label + mastering


 * 2014, VICE // no-wave "Jack Ruby ... fading into obscurity. That changed in 2011 when Lunch’s Retrovirus guitarist-in-crime and No Wave authority Weasel Walter was handed over a then-discovered tape of Jack Ruby’s VU/Stooges-damaged genius. Walter expertly spruced it up and released its crud-dripping, proto-everything anthemry—punk, no wave, and noise—via his now-defunct ugEXPLODE label."

releases


 * 2012, VICE: "Brain Melters - Weasel Walter." // "[Walter & Halvorson] released an amazing record together called Opulence"

performance: tyshawn sorey, lydia lunch, halvorson/evans


 * 2017, NYT // "Mr. Sorey [@ stone residency] will mostly be on percussion or behind the drum set, though he’ll play piano and synthesizer on Friday as part of a quartet that also includes Peter Evans (trumpet), Tim Dahl (bass) and Weasel Walter (drums)."


 * 2018, NYT // "LYDIA LUNCH RETROVIRUS AND SLOPPY JANE ... [Lunch] persists with Retrovirus ... Weasel Walter on guitar, Tim Dahl on bass and Bob Bert on drums."


 * 2015, NY // "on this special tour, Lunch pairs with Weasel Walter, Swans’ Algis Kizys, and the onetime Sonic Youth drummer Bob Bert for “Retro/Virus”


 * 2013, NYT // "Lydia Lunch and Retrovirus ... her band of downtown celebrities that includes Bob Bert of Sonic Youth, Algis Kizys of Swans and Weasel Walter."


 * 2012, NY // "Cellular Chaos (featuring the Flying Luttenbachers’ Weasel Walter)"


 * 2011, NYT // "Mary Halvorson on guitar, Peter Evans on trumpet and Weasel Walter on drums ... Mr. Walter melts together free jazz and death metal."


 * 2011, NYT // Weasel Walter, Mary Halvorson, and Peter Evans // “Electric Fruit,” an arrestingly unsettled new album on Thirsty Ear. Weasel Walter is the oldest of the bunch, a blunt-force, spasmodic drummer whose old band, the Flying Luttenbachers, briefly included a member of the current Deerhoof roster. (That would be Mr. Rodriguez.) ... This is synapse-overload music, a riot of split-second negotiations, but these musicians give it a strong, flinty clarity."


 * 2011, NYT // @ the stone w/ mary halvorson


 * lead

Weasel Walter (born Christopher Todd Walter, May 18, 1972) is an American multi-instrumentalist, composer, improviser, producer, and founder of ugEXPLODE Records. Walter's work has been informed by styles, techniques, and traditions of music including no wave, free improvisation, free jazz, extreme metal, punk, noise rock, new music, and the broadly "experimental". Known for being "challenging and unrelenting", Walter was once described as "a splinter lodged beneath the fingernail" of the Chicago music scene.

He has performed as leader and sideperson in a number of bands, including Cellular Chaos and Lydia Lunch Retrovirus, and founded The Flying Luttenbachers. Walter has worked with Marshall Allen, John Butcher, Tim Dahl, Peter Evans, Mary Halvorson, Henry Kaiser, Joe Morris, Jim O'Rourke, Evan Parker, Elliott Sharp, Ken Vandermark, and William Winant as well as bands including Sharon Cheslow, Bobby Conn, Cheer-Accident, Cock E.S.P., Curse of the Birthmark, Erase Errata, Harry Pussy, Lair of the Minotaur, Quintron, The Chicago Sound, The Scissor Girls, U.S. Maple, and XBXRX. He has produced albums by AIDS Wolf, Arab on Radar, Glenn Branca, Burmese, Lydia Lunch, Coachwhips, and Total Shutdown, and his label ugEXPLODE has

Glenn Branca called Walter "one of the greatest rock composers who ever lived".


 * discography

@ discography sandbox


 * References

misc scratch links

 * 2017 Uproxx (RK / feature): Precious Home, ‘Precious Art’: Exploring Rozwell Kid’s West Virginia
 * 2018 Uproxx (RK / vid): Premiere: Rozwell Kid’s Bizarre ‘Boomerang’ Video Was Made By Their Fans
 * 2017 Pitchfork (RK / PA)
 * 2015 Pitchfork (RK / TS)
 * 2016 Stereogum (RK / GG)


 * References