This month in Uncommon Sonorities: Jacques Coursil, Ingram Marshall
Published by Natasha February 28th, 2008 in Music, Reviews, Uncommon Sonorities.
[Text by Aaron P. Tate; from the Ithaca Times]
New music aficionados in Ithaca will be pleased by what is on offer this week. On Wednesday, trumpeter Jacques Coursil will perform in the first of two events hosted by Cornell devoted to his music and thought. Free and open to the public, his first performance will be on Wednesday, Feb. 27, in Barnes Hall, at 8pm. The program is an ambitious one, featuring trumpet, voice, and video projections.
For those unfamiliar with his music, Coursil is an example of someone who managed to achieve success in both the worlds of avant-garde jazz and academia. In the late 1960s and early 1970s Coursil was deeply involved in the free jazz world flourishing in New York City at the time. Born in Paris, Coursil came to New York in 1965, at the age of 28, and entered a cosmos rich with explosive possibilities. Looking back over that period from today’s vantage point, we can sketch a sense of Coursil’s contributions by mentioning a few of the legends with whom he played: Sunny Murray, Marion Brown, Albert Ayler, Bill Dixon, Anthony Braxton, and Sun Ra, among others.
Coursil has described the period spent in NYC as one in which he averaged three hours of sleep a night, owing to his immersion in the rehearsal spaces, warehouses, and jazz clubs active at the time. Coursil played on a number of records from the period too, including two widely regarded releases on the ESP label. The first was Sunny Murray’s self-titled debut, the second was Frank Wright’s second ESP album, Your Prayer. Coursil also recorded his own album for ESP with Marion Brown in 1967, but for various reasons, the album was not released. In 1975, Coursil left New York to study linguistics in Paris, and in years subsequent to his Paris education, he has worked as a professor and theorist in the West Indies, and more recently, at Cornell.
In the summer of 2005, Coursil reemerged on the musical stage with an album for John Zorn’s label, Tzadik, entitled Minimal Brass, which he followed in the summer of 2007 with an assemblage of music and text entitled Clameurs (Sunnyside).
Anyone with an interest in jazz history, the poetics of improvisation, and literary theory will want to attend Wednesday night’s event in order to hear his combination of solo trumpet and recitation of texts by Frantz Fanon and Édouard Glissant; and there will be projections of poetics texts on screens to further complicate the experience. Coursil will also be giving a lecture on Friday, 4:30pm, at the A.D. White House, entitled “The Semiology of Improvisation,” in which he will discuss issues of process and aesthetics in relation to the question of improvisation.
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On Friday evening, electronic composer and Yale composition professor Ingram Marshall [pictured above] will be present for the performance of his highly regarded “Fog Tropes,” which will be performed as part of the Cornell Electroacoustic Music Center’s leap day concert in Barnes Hall at 8pm. The concert will be a rare opportunity to hear a number of classic electronic compositions.
Along with Marshall’s piece, Mario Davidovksy’s stunning and historically important “Synchronism #6″ for piano and tape will be played. Charles Dodge’s “Any Resemblance Is Merely Coincidental,” as well as a selection from Stockhausen’s “intuitive music,” will also be featured.
Marshall will be present not only for the performance, but also for open rehearsals in Barnes at 1:30pm, which will be free and open to the public. Marshall is one of the figures who witnessed the development of electronic music as a student at Columbia University but who also explored minimalism and non-western music in subsequent years. He studied composition with Vladimir Ussachevsky and Bülent Arel at Columbia, for example, but also trained with gamelan master K.A.T. Wasitodipura in Indonesia in the early 1970s, alongside Charlemagne Palestine. Marshall has continued to compose during the intervening decades, giving us pieces such as “Fog Tropes,” “Gradual Requiem,” and “Hidden Voices.”
“Fog Tropes,” which will be performed Friday evening, has an interesting compositional history. It was constructed in 1980 in the San Francisco bay area entirely from field recordings of fog horns, marine sounds, and related sonic imagery. The next year, at the behest of composer John Adams, Marshall composed music to be played in accompaniment to the tape piece for a performance in San Francisco, the result of which was the provocative and sumptuous web of field-recorded sounds set to time-based instrumental parts that Ithacans will be able to hear for themselves in concert this weekend.
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