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William Parker & Albert Mangelsdorff Print

Yurii Yermolenko

Ukraine

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About The Artwork

Yury Ermolenko, ''William Parker'' - Facevinyl - THE BIG COLLECTION - №4, side II, 2013, acrylic on vinyl. The History of Jazz and Blues. Yury Ermolenko, ''Albert Mangelsdorff'' - Facevinyl - THE BIG COLLECTION - №4, side I, 2013, acrylic on vinyl. The History of Jazz and Blues. William Parker (born January 10, 1952) is an American free jazz double bassist, multi-instrumentalist, poet and composer. Parker was born in the Bronx, New York City. He was not formally trained as a classical player, though he did study with Jimmy Garrison, Richard Davis, and Wilbur Ware and learned the tradition. Parker is one of few jazz bassists who frequently plays arco. He also plays several other instruments from around the world, including the West African kora. While Parker has been active since the early 1970s; he has had a higher public profile since the early 1990s. He is a prominent and influential musician in the New York City experimental jazz scene, and has regularly appeared at music festivals around the world, including the Guelph Jazz Festival in southern Ontario. Parker first came to public attention with pianist Cecil Taylor. He has long been a member of saxophonist David S. Ware's quartet and in Peter Brötzmann's groups. Parker also played with various other groups that included Paul Murphy (who would fill in for Philly Joe Jones) whenever he was in town shopping for new drum sticks. He is a member of the cooperative Other Dimensions In Music. Together with his wife, Patricia Nicholson Parker, he organizes the annual Vision Festival in New York City. The album Sound Unity by the William Parker Quartet was chosen as one of Amazon.com's Top 100 Editor's Picks of 2005. His August 2008 CD Double Sunrise over Neptune was listed as one of the top 10 2008 (through end of August) Jazz CDs at Amazon. Also released in 2008, Petit Oiseau was chosen as one of the best jazz disks of 2008 by The Wall Street Journal, the BBC's Radio Three, The Village Voice, and PopMatters. In 2006, Parker was awarded the Resounding Vision Award from Nameless Sound. In March 2007, his book, Who Owns Music?, was published by buddy's knife jazzedition in Cologne, Germany. Who Owns Music? assembles his political thoughts, poems, and musicological essays. In June 2011, Parker's second book, Conversations, a collection of interviews with notable free jazz musicians and forward thinkers, mainly from the African-American community, was published by Rogue Art. Albert Mangelsdorff (September 5, 1928 – July 25, 2005) was one of the most accredited and innovative trombonists of modern jazz who became famous for his use of multiphonics. Mangelsdorff was born in Frankfurt. He was given violin lessons as a child and was self-taught on guitar in addition to knowing trombone. His brother, alto saxophonist Emil Mangelsdorff, introduced him to jazz during the Nazi period (a time when it was forbidden in Germany). After the war Mangelsdorff worked as a guitarist and took up trombone in 1948. In the 1950s Mangelsdorff played with the bands of Joe Klimm (1950–53), Hans Koller (1953–54) (featuring Attila Zoller), Jutta Hipp (1954–55), as well as with the Frankfurt All Stars (1955–56). In 1957 he led a hard bop quintet together with Joki Freund which was the nucleus of the Jazz-Ensemble of Hessian Broadcasting (with Mangelsdorff as its musical director until 2005). In 1958 he represented Germany in the International Youth Band appearing at the Newport Jazz Festival. In 1961 he recorded with the European All Stars (further recording in 1969). In the same year he formed a quintet with the saxophonists Heinz Sauer, Günter Kronberg, and bassist Günter Lenz and drummer Ralf Hübner which became one of the most celebrated European bands of the 1960s. In 1962 he also recorded with John Lewis ("Animal Dance"). After touring Asia on behalf of the Goethe-Institut in 1964 his quintet recorded the album "Now Jazz Ramwong" later that year which made use of Eastern themes. He also toured the USA and South America with the quintet. After Mangelsdorff's involvement in the European free jazz movement Kronberg left and the quartet remained (1969–71). During the early seventies the quartet was revived with Sauer, Buschi Niebergall and Peter Giger (1973–76). At the same time Mangelsdorff was exploring the new idiom with Globe Unity Orchestra, but also with many other groups (e.g. the trio of Peter Brötzmann). Around that time he turned to multiphonics, long solistic playing and experimental sounds. He performed as unaccompanied trombonist in an impressive concert set. In the 1970s he made first solo recordings and collaborated with Elvin Jones (1975, 1978), Jaco Pastorius and Alphonse Mouzon (1976), John Surman, Barre Phillips and Stu Martin (1977) and others. In 1975 he was co-founder of the United Jazz and Rock Ensemble that existed for more than 30 years, and recorded duo albums with Wolfgang Dauner (from 1981). In 1976 Mangelsdorff started teaching jazz improvisation and style at Dr. Hoch's Konservatorium in Frankfurt. In the 1980s and 1990s Mangelsdorff continued to perform in solo and small settings, also playing with the Reto Weber Percussion Ensemble and Chico Freeman. Together with French bassist Jean-François Jenny Clark he founded the German-French jazz ensemble. In the 1990s he was also touring and recording with pianist Eric Watson, bass player John Lindberg and drummer Ed Thigpen and a second quartet with Swiss musicians and Dutch cellist Ernst Reijseger. In 1995 he replaced George Gruntz as musical director for the JazzFest Berlin. Since 1994 the Union of German Jazz-Musicians awards a regular prize in Mangelsdorff's honor, the Albert-Mangelsdorff-Preis. In 2007 the album Folk Mond & Flower Dream was re-released on CD. This album, produced by Horst Lippmann in 1967, was the last recording of the Albert Mangelsdorff Quintett. For more than twenty years the original master tapes of the recording seemed to be lost until they were found in spring 2007 in the archives of Horst Lippmann.

Details & Dimensions

Print:Giclee on Fine Art Paper

Size:10 W x 10 H x 0.1 D in

Size with Frame:15.25 W x 15.25 H x 1.2 D in

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Yurii Yermolenko – A Master of Fine Arts (MFA), author of special, large-scale, monumental picturesque projects, set designer, art director (musical video), music video director, photographer, Facevinyl & RapanStudio Founder and CEO. Born in 1973 Kiev (Ukraine) Lives and works in Kiev. "LIVE PAINTING" One will never forget works painted by artist Yurii Yermolenko. They carry a rave of color, flexibility of motifs, and a very special reality. - Yurii, how long have you been living for painting? Creation of a painting, the plot, the canvas – is this an outburst of emotions, or reflection of your world outlook? - I believe that I began to live for painting even before I was born. The birth of a painting on canvass most of all resembles a rite, when you are led by some creative ecstasy, intuition. It should be noted however that the period preceding the creation of a painting is very interesting. Here, an entirely different scheme works, involving a great deal of analysis, collection of information, anthropological studies, maybe, travelling. - Your paintings are distinguished for intense colors. Does this reflect your temper, or the desire to add colors to everyday routine? - In the first place, it reflects my temper of an artist and a painter. When you paint a picture, it should sound in colors, as a good musical composition, this is the main thing. - You have a unique technique of execution – the images are smudgy and distinct at a time. What stands behind it? - I like it when a painting represents a deep picturesque space, full of special light, as if in a dream, in which, images can breathe and vibrate. - Who, or what, inspires you? - My dear muse, my angel of inspiration protects and helps me. And as far as the projects are concerned, they may be triggered by a beautiful dream or a journey. - What really encourages you – criticism, or commendation? - I am encouraged not by criticism or commendation, but by angels of inspiration. Criticism or commendation take place post factum, as a response to a work of art; both are helpful; the worst thing is when there is no response at all. - Please, tell us about your creative plans. - I will continue experimenting with techniques. By the way, my another project was a pure experiment with "flower-dotted" fabric – this decorative pattern dictates the figurative space. MAGIC WOMAN magazine, Culture (section)

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