Entertainment Everyday ONE. 「LIVE UNDER THE SKY」という70年代後半から90年代前半にかけて日本で開催されたJAZZイベントがある。
当時日本最大のJAZZイベントだった。 鯉沼ミュージックが主催し、日本たばこがスポンサーをしていた。 私はひょんなことから1987年のイベントに参加することになった。 There was a Jazz event called the live under the sky during late 70’s to early 90’s. This was one of the biggest jazz events in Japan. I happened to join this event as a member of staff. 富山太閤山ランドの会場。 そもそも私にしては珍しく読売ランドEASTで開催されていた1987年の第10回目の本イベントを見に行っていた。 ある日、私に電話がかかってきた。 As a matter of the fact, I went to see this event at Yomiuri Land East. I will remain my report at Toyama and Osaka here.
ビル・ラズウェル氏がドラムを演奏している。 Bill Laswell is playing drums for fun. ロナルド・シャノンジャクソン（ドラムス）と私。 Left:SHANKAR(Violin). ビル・ラズウェル氏がベースのチェックをしているBill Laswell is cheking his bass guitar. 生田朗氏。 Easy, Shannon - Fort Worth Weekly. Remembering Ronald Shannon Jackson (1940-2013).
Listen: A giant lived here. Ronald Shannon Jackson was born in Fort Worth on Jan. 12, 1940. He died here on Saturday, of leukemia, in the Riverside house his family first moved to in 1955 and where he had lived since 1996. Ronald Shannon Jackson. Another great one has sprung his mortal coil.
Drummer and composer Ronald Shannon Jackson died two days ago from leukemia at the age of 73. A master musician, considered an innovator of free jazz drumming and harmolodics, Jackson played in groups with Ornette Coleman, Albert Ayler, Cecil Taylor, James "Blood" Ulmer, as well as forming his own band, The Decoding Society. From Wikipedia: Renowned Fusion Drummer Ronald Shannon Jackson Passes. Ronald Shannon Jackson died at his home in Fort Worth, Texas, this past October 19.
Jackson was a renowned drummer, composer, and bandleader who supported some of the giants of avant-garde jazz, including Cecil Taylor, Ornette Coleman, and Albert Ayler. As a leader, he was instrumental in launching the careers of Bill Frisell, Billy Bang, Robin Eubanks, Vernon Reid, and Melvin Gibbs, among others. In recent years he continued pushing boundaries with adventurous players like Vijay Iyer, Joseph Bowie, and James “Blood” Ulmer. In the May 1991 issue of Modern Drummer magazine, Jackson responded to reader Derek Scruggs, who asked him about the origins of his “stuttering groove” at the beginning of the track “Howard Beach Memoirs,” from Power Tools’ 1987 album Strange Meeting. The drummer’s answer provides insight into his musical and personal priorities.
“The figure you refer to in the opening of ‘Howard Beach Memoirs’ is created by playing African flams. Ronald Shannon Jackson: Legend In the Shadows. This piece originally appeared in the January 2-8, 2003 edition of Fort Worth Weekly.
The haunting music wafts out of the black-painted frame house. The notes have no trouble negotiating the double layers of wrought-iron fence, surrounding first the porch and then the yard of Ronald Shannon Jackson’s home. The music elicits no whisper from what looks like an old school bell, or the myriad other bells and chimes hung on the porch enclosure, and raises nary a rustle from the dozens of potted plants that crowd the yard. The strange tunes float around the black 280Z parked in the driveway and out to a visitor on the sidewalk. Despite the chill of an October night, the front door stands open.
Follow the music down a hall whose walls are covered with snapshots and scrawled fragments of sheet music. Now a slight but solidly built man with spectacles picks up a strange instrument with multiple bells, like a Medusan version of a clarinet. Robert Christgau: CG: Ronald Shannon Jackson and the Decoding Society. Ronald Shannon Jackson Decoding Society Montreux 1983. R.I.P. Ronald Shannon Jackson. Ronald Shannon Jackson at Jazz Festival Montreux, 1983 The sad news of drummer Ronald Shannon Jackson’s passing reached the jazz world a few days ago.
When I seriously started to listen to jazz in the early eighties, I was a big fan of all the Ornette Coleman influenced Free Funk bands that were around then: Of course Ornette’s own Prime Time Band was number one, and I saw them several times. Then there were James Blood Ulmer’s different bands – and of course Shannon Jackson’s Decoding Society with it’s blend of disparate influences held together by the wonderful multifaceted drumming of Jackson. His name was known quite widely then as the Punk/New Wave scene in its ongoing search for something new turned to Harmolodic Free Funk for a while. Also quite widely known was Last Exit, the colloborative band consisting of Furor Teutonicus Peter Brötzmann on different reeds, guitarist Sonny Sharrock, bassist Bill Laswell and Jackson that literally made a lot of noise in the mid eighties.
Enjoy! Ronald Shannon Jackson: Legend In the Shadows. Entertainment Everyday ONE. Easy, Shannon - Fort Worth Weekly. Legend Shadows - Fort Worth Weekly. Shannon Jackson’s jazz drumminghas brought worldwide fame— and hometown obscurity.
The haunting music wafts out of the black-painted frame house. The notes have no trouble negotiating the double layers of wrought-iron fence, surrounding first the porch and then the yard of Ronald Shannon Jackson’s home. The music elicits no whisper from what looks like an old school bell, or the myriad other bells and chimes hung on the porch enclosure, and raises nary a rustle from the dozens of potted plants that crowd the yard. The strange tunes float around the black 280Z parked in the driveway and out to a visitor on the sidewalk. Despite the chill of an October night, the front door stands open. Follow the music down a hall whose walls are covered with snapshots and scrawled fragments of sheet music. Mr. Ronald Shannon Jackson Guest Book: sign their guest book, share your condolences, or read their obituary at Star-Telegram.
Fort Worth drummer Ronald Shannon Jackson dead at 73. By Preston Jones and Sarah Bahari pjones@star-telegram.com sbahari@star-telegram.com Update: The memorial for Ronald Shannon Jackson will be from 7-8:30 p.m.
Oct. 24 at Bakers Funeral Home, 301 E Rosedale St. in Fort Worth. Ronald Shannon Jackson, Drummer Who Fused Funk, Rock, Free Jazz, Dies at 73. Oct 20, 2013 5:38pm (Credit: Philip Ryalls/Redferns/Getty Images) Ronald Shannon Jackson, the drummer whose furious fusion of free jazz, rock, funk and punk broke musical barriers, has died in Fort Worth, Texas, after a battle with leukemia.
He was 73. He performed with jazz giants Charles Mingus, Betty Carter, Jackie McLean, Joe Henderson, Kenny Dorham, McCoy Tyner, Herbie Hancock, Wayne Shorter, Ray Bryant, Stanley Turrentine, Albert Ayler, Cecil Taylor, and Ornette Coleman, and then turned around as a leader and helped bring up a whole new generation. Jackson’s bands The Decoding Society and Power Tools were the proving ground for an astonishing list of young musicians, including guitarists Bill Frisell, James “Blood” Ulmer, Vernon Reid and Jef Lee Johnson; sax players Byard Lancaster, Eric Person and James Carter; violinists Billy Bang and Akbar Ali; bass player Melvin Gibbs; and trombone player Robin Eubanks.
“My mother played piano and organ at St. Ronald Shannon Jackson dead, free jazz drummer with Last Exit. "He's the slam-bangingest drummer since Elvin Jones", schrieb die New Yorker "Village Voice" 1983 über Ronald Shannon Jackson.
Und auch wenn "slam-banging" nicht die Sorte Wort ist, die leicht im Wörterbuch zu finden ist, so ist doch anzunehmen, dass gemeint ist: Ronald Shannon Jackson konnte ganz schön reinhauen. Es war aber natürlich nicht seine einzige Qualität, was man schon daran sieht, dass er mit Größen der Jazz-Avantgarde wie Cecil Taylor, Albert Ayler und Ornette Coleman zusammenspielte. FOR 2 DIVERSE BANDS, SWINGING'S THE MUTUAL GOAL. IF there is one hallmark of new ''progressive'' jazz, it is a willingness to redefine ''progress.'' Like today's visual art, it synthesizes ideas from all over, without preconceptions about history or geography - the stylistic blinders are off. ''We're coming from a world music as opposed to one kind of beat,'' said the drummer-composer Ronald Shannon Jackson, who will be leading his sextet, the Decoding Society, tonight and tomorrow at the Public Theater, 425 Lafayette Street.
Another brilliant player and writer, the tenor saxophonist David Murray, is leading his octet through Saturday at Sweet Basil, 88 Seventh Avenue South. The two bands could not sound more different; half of the Decoding Society's instruments are electric, while the lineup of the David Murray Octet is all acoustic. But both agree on a single goal: to swing. Mr. Ronald Shannon Jackson, Avant-Garde Drummer, Dies at 73. Holy Ghost: Rare & Unissued Recordings (1962–70) The Allmusic review by Thom Jurek states that "Revenant's amazing package certainly adds weight and heft to the argument for Ayler's true place in the jazz pantheon, not only as a practitioner of free jazz but as one of the music's true innovators...
What Revenant has accomplished is to shine light into the darkened corners of myth and apocrypha; the label has added flesh-and-bone documented history to the ghost of a giant. Ayler struggled musically and personally to find and hold onto the elusive musical/spiritual balance that grace kissed him with only a few times during his lifetime—on tape anyway. But the quest for that prize, presented here, adds immeasurably to both the legend and the achievement".[2] All compositions by Albert Ayler except as indicated Disc One. Ronnald Shannon Jackson and The Decoding Society-Man Dance. Detroit, Michigan 1941: ft. Ronald Shannon Jackson and the Decoding Society (Erri Moments) Drummer & Composer Ronald Shannon Jackson Dies at 73. Jackson recorded more than 20 albums as a leader and served as a sideman with such pioneers of jazz’s avant-garde as Cecil Taylor, Ornette Coleman and Albert Ayler. (The drummer was in fact the only musician to work with all three.)
Jackson’s band the Decoding Society, formed in 1979, incorporated contemporary elements such as rock, funk and dance and included, at various times, such now well-known players as Billy Bang, Byard Lancaster, Zane Massey, David Fiuczynski, Jef Lee Johnson, Melvin Gibbs, Robin Eubanks and Vernon Reid. Jackson was born in Ft. Worth on Jan. 12, 1940. His mother was a church organist and singer while his father was the proprietor of Ft. Ronald Shannon Jackson Ornette Coleman Primtime. Ronald Shannon Jackson, Vernon Reid, Melvin Gibbs - Encryption Bimhuis Amsterdam June 9, 2011. Ronald Shannon Jackson - The Beast - Live in Paris, France - Rennes Jazz Festival. Wadada Leo Smith's Golden Quartet-Tabligh; Cuneiform, 2008. Ronaldshannonjackson.com. I was born and raised in Fort Worth, Texas in 1940. Both my parents were music lovers.
My mother played piano and organ at St. Andrew’s Methodist Church, and worked as a schoolteacher. My father owned the only black-owned local record store and jukebox business. On one side of my family is Curtis Ousley (who became famous as King Curtis). I began playing professionally in Dallas with members of the Ray Charles band, and worked in Fort Worth, Houston, New Haven, and Bridgeport before moving to New York City in 1966. Powertools ~ Wadamlaw Island. 1984 MD interview: Ronald Shannon Jackson.
Here are some excerpts from an interview I reread many times on the long bus rides on drum corps tour, about the great avant-garde (that's where he's typically filed, anyway) drummer Ronald Shannon Jackson. From the March, 1984 issue of Modern Drummer, written by Chip Stern. What he had to say about the bass drum and about cymbals was particularly compelling to me- at one point I wouldn't rest until I got hold of a 14" Paiste Rude. Some other people noticed it, too, because years later that line ended up in publicity for the Rude reissues. THE BASS DRUM "It's a funny thing," Jackson explains, "because the way I got to jazz was through records; you couldn't see any of those people live where I grew up.
Recording technology wasn't nearly as advanced as what we've got today, so when you listened to those records you never heard the bass drum. The storyteller: Ronald Shannon Jackson. Right now my listening compass points to Ronald Shannon Jackson, specifically the Decoding Society LPs Mandance (’82) and Barbeque Dog (’83). Above you'll find a contemporary performance by the band, which then featured Vernon Reid and Melvin Gibbs; the piece is "Yugo Boy" (from Barbeque Dog), which, strangely, doesn't appear on the live album sourced from this same gig. Jackson's drumming fascinates me in general, but during this period, he really homed in on a concept and sounded as much like himself as he ever has, if that makes any sense. I love the way he fixates on these particular pet feels and juxtaposes them in a modular way. One of the feels in question is that beat you hear him playing at the beginning of "Yugo Boy. " Jackson has a manic way of going at the hi-hat, just hammering on those sixteenth notes, working up to an open-cymbal release at the end of every measure; meanwhile his bass-drum foot does a stylishly simple dance.
P.S. P.P.S. P.P.P.S. Ronald Shannon Jackson in Dallas, Texas. The Knitting Factory. Ronald Shannon Jackson - Live at the Knitting Factory, 1999. RONALD SHANNON JACKSON music. Decode Yourself (with The Decoding Society)Ronald Shannon JacksonJazz Rock/Fusion Review by js (Easy Money) Special Collaborator Honorary Collaborator / Retired Admin — First review of this album — When this album came out in the mid 80s Ronald Shannon Jackson was making a timely but not quite successful attempt to tie together many disparate musical trends of that time period; including a return to free jazz, early hip-hop drum machine patterns, post-punk thrash guitar jams and an eclectic approach to fusion that defied the bland uniform 'fuzak' of the early 80s. Unfortunately the 80s (there's a song on here called Software Shuffle) was all about electronic drums, and this album has that Simmons sound in abundance.
In fact the crash bang of the garbage can lids on every downbeat on Thieves Market is enough to drive anyway crazy, or crazy enough to get up and move to the next song. The influence of Ornette Coleman's 'free-funk' Prime Time ensemble (Jackson was a founding member) is large. Powertools ~ Wadamlaw Island. Ronald Shannon Jackson - Christmas Woman.
Night In Seville - Decoding Society. Ronald Shannon Jackson - The Beast - Live in Paris, France - Rennes Jazz Festival. Cymbata's Channel. More from the Decoding Society performance in... Ronald Shannon Jackson, What Spirit Say, (DIW 1995) Probably my all time favorite Jackson recording, just because James Carter and Jef Lee Johnson rock the house. Carter loves extended technique, big tone and big solos, and I think his style actually works best with a strong funk backing groove. Cymbata's Channel. Cymbata's Channel.