Music Program
 

Friday, March 10, 2006 — Saturday, March 11, 2006 at 8:00 p.m.

$15 general admission, $10 members/students/seniors

To learn more about the benefits of becoming a member, please click here.

Co-sponsored/co-presented by:
The National Endowment for The Arts

William Parker Buffalo Orchestra

 

Presented at:
Hallwalls, Asbury Hall

"It is the role of the artist to incite political, social, and spiritual revolution, to awaken us from our sleep and never let us forget our obligations as human beings, to light the fire of human compassion. Sounds that enlighten are infinite. We can put no limit to joy, or on our capacity for love." – William Parker

Hallwalls is pleased to announce the week-long residency (as part of HARP, the Hallwalls Artisit in Residence Project) with the unstoppable life-force known as William Parker. Mr. Parker will spend his time in Buffalo working with local musicians and artists to create a unique performance developed in rehearsals throughout the week.

Featuring:
William Parker - director, composition, bass, tuba, etc.
Gordon Allen - trumpet
Greg Horn - trumpet
Gabriel Gutierrez - trumpet/percussion
Michael Hermanson - trombone
Jim Whitefield - trombone
Dan Carr - trombone/tuba
Mike Allard - alto sax
Matt Thomas - tenor sax
Rey Scott - soprano/baritone sax, flute
Steve Baczkowski - baritone/tenor sax, b.clarinet
Leif Nicklas - acoustic bass
Greg Piontek - acoustic bass/cello
Bernard Kunz - electric guitar
Stuart Fuchs - electric guitar
Joe Rozler - piano
Preach Freedom - voice/percussion
Ringo Brill - Afro-Caribbean percussion
Ravi Padmanabha - drums, Indian percussion
Dave Phillips - percussion
John Bacon - drums
Paul Kozlowski - performance
Pat Cain - performance
Barret Gordon - performance
Lenny Ziolkowski - performance
Franklin LaVoi - puppets/performance
Pat Hall - dance/performance
Amy Taravella - dance/performance
and more

In ‘95 the Village Voice characterized William Parker as "the most consistently brilliant free jazz bassist of all time." However from the beginning of his career Mr. Parker has commanded a unique degree of respect from fellow musicians. In 1972 at the age of 20, Parker quickly became the bass player of choice among his peers. Within a short time he was asked to play with older, established musicians such as Ed Blackwell, Don Cherry, Bill Dixon, Milford Graves, Billy Higgins, Sunny Murray, etc. In 1980 he became a member of the Cecil Taylor Unit, in which he played a prominent role for over a decade.

As Steve Greenlee of the Boston Globe stated in July 2002, “William Parker has emerged as the most important leader of the current avant-garde scene in jazz.” He is working in many of the more important groups in this genre, some of the most prestigious being his own, i.e. The Curtis Mayfield Project, Little Huey Creative Orchestra, In Order to Survive, William Parker’s Quartet and other groups. Mr. Parker is one of the most important composers in our time period, he is also a poet whose words are beginning to be heard in various media: in print, in song and in his theatre piece, Music and the Shadow People.

“He [William Parker] is something of a father figure,” stated Larry Blumenfeld in a New York Times article. “He has looked for and encouraged young talent and has been a mentor to some of the younger musicians. Most importantly, for Mr. Parker, has been the workshops / performances for young people that he has conducted, both in the USA and in Europe. This has been for him amongst some of his most important work and greatest successes.”

LOOKING FOR COOKIE GILCREST. William Parker free jazz bassist performs with his Orchestra. Music and words by William Parker pieces include; (PRELUDE), (HOJIKU), (DRUM ROLL), (LOOKING FOR GILCREST), (DEATH OF DEATH), (FANFARE), (HERBIE CANT SEEM TO LET IT GO), (COSMIC MARCH), (SOUND PAINTING), (POEM FOR JUNE JORDAN), (COSMIC YESTERDAY), (COSMIC ANGEL), (DOSON NGONI), (PRAYER)


Some publications related to this event:
March, 2006 - 2006

 
 
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Sat. 11-2
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IN THE GALLERY
from Jan. 10, 2020
through Feb. 28, 2020
 

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Katie Bell’s exhibition is a site-specific installation conceived of as a one-act drama starring anonymous artifacts. Functioning like a theatrical set, the gallery holds static characters that reference the interior architecture of corporate and commercial spaces. Sculptural objects are often fractured or untethered to a contextual structure. Functioning as a whole, the individual artefacts are a nod to players on a stage, held captive in space and time.