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Statements

Subject Item
dbr:Fred_Anderson_(musician)
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dbr:SoundDance
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dbr:George_E._Lewis
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rdfs:comment
SoundDance is a two-disc live album by pianist Muhal Richard Abrams. It was recorded at AACM concerts in New York City in October 2009 and September 2010, and released by Pi Recordings in 2011. The album was issued in celebration of Abrams's 80th birthday, and features two fully-improvised sets. The first set, recorded in 2009, pairs Abrams with saxophonist Fred Anderson, and is their first recording together despite their having known each other for over fifty years. (Anderson died in 2010; this may be his last recording.) The second set, recorded in 2010, pairs Abrams with George Lewis, who is heard on trombone and laptop.
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Spectrum
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2009
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0001-10-16
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2011
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live
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AACM concerts, New York City
dbo:abstract
SoundDance is a two-disc live album by pianist Muhal Richard Abrams. It was recorded at AACM concerts in New York City in October 2009 and September 2010, and released by Pi Recordings in 2011. The album was issued in celebration of Abrams's 80th birthday, and features two fully-improvised sets. The first set, recorded in 2009, pairs Abrams with saxophonist Fred Anderson, and is their first recording together despite their having known each other for over fifty years. (Anderson died in 2010; this may be his last recording.) The second set, recorded in 2010, pairs Abrams with George Lewis, who is heard on trombone and laptop. When asked about his role in the recording, Lewis stated that he spent time preparing sound files, but noted: "of course one cannot and should not attempt to account for every contingency in a performance of improvised music, since to eliminate those would be to destroy a large part of the sound; in other words, the contingencies, thinking, puzzles, blockages, conundrums, paradoxes and breakthroughs are embedded in the sound that audience and performers encounter at about the same moment. As I hear it, notes, timbres, melodies, durations, and the rest are carriers for a more complex symbolic signal that includes these higher-level elements that we all experience each day of our lives. Once musicians, critics, and audiences learn to understand this higher signal, the pleasures that result will allow listening to improvised music to be understood as a most elementally human form of interaction."
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