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| R E L E A S E D E T A I L S >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> |
| ----------------------------- <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< |
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| Warren_Smith_and_The_Composers_Workshop_Ensemble-Warren_Smith_and_The |
| --------------------------------------------------------------------- |
| |
| Artist______________ Warren Smith & The Composer's Workshop Ensemble |
| Title_______________ Warren Smith & The Composer's Workshop Ensemble |
| Label_______________ Claves Records |
| Genre_______________ Jazz |
| Year________________ 1995 |
| Release Date________ 2021-03-15 |
| Street Date_________ 1995-00-00 |
| Source______________ WEB |
| Encoder_____________ MP3 / LAME |
| Quality_____________ CBR 320kbps 44.1kHz |
| Size________________ 276.7MiB |
| Playtime____________ 2:00:47 |
| URL_________________ https://amazon.com/dp/B00HBKS4HS/ |
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| |
| Disc 1: |
| 01. Sub Structure 04:51 |
| 02. Hello Julius 04:11 |
| 03. Blues For E.L.C. 06:07 |
| 04. Lament 10:53 |
| 05. Blues By Monk 11:46 |
| 06. Ecorah Suite 09:58 |
| 07. Cool Eddie 12:07 |
| |
| Disc 2: |
| 01. Chisai Sake Kao 07:33 |
| 02. Introduction To The Blues 05:29 |
| 03. We've Been Around 02:56 |
| 04. Screamer 06:41 |
| 05. I Know The Scenery By Heart 06:54 |
| 06. Cricket Song Poem 12:20 |
| 07. Love In The Open Suite 19:00 |
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| R E L E A S E N O T E S >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> |
| ------------------------- <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< |
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| The Composer's Workshop Ensemble has been in existence since 1960. In |
| the beginning the musicians rehearsed at the studio of well-known |
| musicologist Dr. Leonard Goins until they moved to Warren I. Smith's |
| own small music studio "WIS", which was located in an apartment |
| building on Manhattan's 21st Street between 7th and 8th Avenues. |
| |
| For years on every Sunday evening, the Composer's Workshop Ensemble |
| would meet here to jam. Visitors to the studio were always swept away |
| by the tree and friendly atmosphere that ruled at these |
| get-togethers. Years later the ensemble moved to the nearby "Chelsea |
| Performing Arts Studio WIS" at 153 West 21st Street, where concerts |
| also took place. |
| |
| The ensemble's style can be summarized as contemporary orchestral |
| with certain characteristics from experimental jazz (sometimes |
| referred to as Contemporary Black Art). Similarities to the Black Art |
| of Sun Ra and the sonorities of Gil Evans can also be heard. There |
| are, in fact, a number of connections to these two musicians, such as |
| a periodic exchange of band members - Warren Smith, for example, |
| frequently performed as a percussionist with Gil Evans. |
| |
| Over the course of years the Composer's Workshop Ensemble became an |
| institution in the New York jazz scene, where experimentation could |
| freely take place without the constraints of the popular market. The |
| ensemble, as a rule, does not make musical concessions; its members |
| are free to "play out" their ideas, to generate new sounds that might |
| later take shape in everyday music. |
| |
| Although the Workshop Ensemble rarely performed in concert, they did |
| record a number of LP'S from the late 60's to the early 80's. Two of |
| these recordings appeared on the New York label Strata East (SE8 |
| 1972-3, SES 7422), one was recorded tor Music Company (KRS-1006), and |
| another recording was made for Baystate, Japan (RVJ-601 3). The group |
| also appeared as the accompanying ensemble for Van Peeples on A&M |
| Records (SP 4161). |
| |
| This is the re-release of the first three of these LPs (the most |
| important, musically speaking), with the unmistakable, warm, |
| orchestral sound of the ensemble, its penchant tor percussiveness and |
| its outstanding soloists. Among the eminent soloists that appear on |
| this recording are Howard Johnson, Jimmy Owens, Bross Townsend, |
| George Barrow, Jack Jeffers, Garnett Brown, and the deceased Julius |
| Watkins, the godfather of the French horn - a unique constellation |
| which makes these recordings a must for collectors. |
| |
| Warren Smith himself said of the ensemble and the recordings: |
| |
| "The group started in 1960 primarily because my friends and l were |
| frustrated by the lack of write charts and scheduled weekly |
| rehearsals. Jack Jeffers, Coleridge Perkinson and I were the main |
| organizers and contributors at this time. My writing consisted mainly |
| of taking arrangements I liked (by Horace Silvers, Gerald Wilson and |
| others) off the records and orchestrating then to fit our needs. We |
| gave our first concert in December 1962 at the Carnegie Recital Hall. |
| Since that time, we've managed to perform at least once each year in |
| concert. Thus the title: "We've been around". |
| |
| "The Composer Workshop Ensemble was organized to create an outlet for |
| a group of musicians to perform non-commercial music. The group is |
| dedicated to playing compositions that perpetuate the art of Black |
| music and also give performers a creative outlet with which to |
| express themselves. The outlet is one rarely found on the American |
| scene". |
| |
| "My objectives are to express myself in a group concept thru musical |
| composition and improvisation. We want to sound human with all the |
| imperfection and beauty on a living thing. To accomplish this |
| everyone in the band must be involved. The rhythm section must |
| phrase, sing, harmonize, use dynamics; the horns must punch, push or |
| hold back the motions. We try to breathe, cry, laugh and shout |
| together, realizing that an unified effort is much more powerful than |
| a single voice - no matter how brilliant" |
| |
| |
| Recorded between 1968-1982. |
| |
| |
| YOU KNOW YOU HAVE TO BUY THIS SHIT IF YOU LIKE IT RIGHT?! |
| |
| |
| . . |
| |\/\/| |
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