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19 de dic. de 2018 · The Other Side of Air, the wholly superb recent album by the pianist/composer Myra Melford and her small ensemble Snowy Egret, is shimmering, pulsing proof of this.The project, the 27th album that ...
The Essential Myra Melford. Andrew Gilbert on April 19, 2021. Myra Melford doesn’t need a cast of collaborators to create spellbinding music. Alone at the piano she’s an orchestra, her left hand a thumping bass and rumbling percussion section, her chords gleaming brass, her mesmeric single lines wending to unexpected destinations.
7 de mar. de 2024 · Myra Melford and “be bread" to perform at the Vermont Jazz Center on Friday, February 14th at 4:00 PM . Pianist Myra Melford has a voice all her own, she is a an anachronism, a musician whose compositional and playing styles embrace free music, tight arrangements and strong melodies all within the context of a single musical composition.
23 de mar. de 2022 · Melford’s brilliant 2018 album The Other Side of Air, featuring the group she calls Snowy Egret, drew particular inspiration from Twombly and a kindred spirit, South African artist and animator William Kentridge. Her new release, For the Love of Fire and Water, extends this inquiry with an improvising all-star crew: Mary Halvorson on guitar ...
modifier - modifier le code - modifier Wikidata Myra Melford (née le 5 janvier 1957 à Evanston dans l’ Illinois) est une pianiste de jazz américaine . Elle enseigne actuellement [Quand ?] à l’ université de Californie à Berkeley . Biographie [modifier | modifier le code] Cette section est vide, insuffisamment détaillée ou incomplète. Votre aide est la bienvenue ! Comment faire ...
FOR THE LOVE OF FIRE AND WATER by MYRA MELFORD'S FIRE AND WATER QUINTET, released 01 May 2022 1. I 2. II 3. III 4. IV 5. V 6. VI 7. VII 8. VIII 9. IX 10. X Myra Melford: piano and melodica Mary Halvorson: guitar Susie Ibarra: drums and percussion Ingrid Laubrock: tenor and soprano saxophones Tomeka Reid: cello
8 de nov. de 2022 · Melford composed a suite for improvisers, inspired by a MoMA retrospective of Cy Twombly’s work — abstract art responding to abstract art. It opens with a solo statement, a tart greeting from Melford’s piano, rhythmic pulses and exploratory runs across the keyboard, until Reid’s cello joins in some two minutes later, answering Melford but also pushing someplace new.
