Muhal Richard Abrams
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| Muhal Richard Abrams | |
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| Background information | |
| Born | September 19, 1930 |
| Origin |  Chicago, Illinois, USA |
| Genre(s) | Modern Creative, Free jazz, Post Bop |
| Occupation(s) | Musician Bandleader Composer |
| Instrument(s) | Piano Clarinet Cello |
| Years active | 1950s – Present |
| Label(s) | Black Saint Delmark Pi Recordings |
Muhal Richard Abrams (born September 19, 1930, in Chicago, Illinois)[1] is an American educator, administrator, composer, arranger, clarinetist, cellist, and jazz pianist in the Modern Creative and Free jazz mediums. Abrams compresses both contemporary and traditional ideas into lean, elegant pieces.[2]
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[edit] Biography
Abrams attended DuSable High School in Chicago. By 1946, he decided to enroll in music classes at Roosevelt University. “I didn’t get too much out of that, because it wasn’t what I was hearing in the street,” he says. “I decided to study on my own. I don’t know why, but I’ve always had a natural ability to study and analyze things. I used that ability, not even knowing what it was (it was just a feeling) and started to read books. From there, I acquired a small spinet piano and started to teach myself how to play the instrument and read the notes - or, first of all, what key the music was in. It took time and a lot of sweat. But I analyzed it and before long I was playing with the musicians on the scene. I listened to Art Tatum, Charlie Parker, Thelonious Monk, Bud Powell and many others and concentrated on Duke and Fletcher Henderson for composition. Later I got scores and studied more extensive things that take place in classical composition and started to practice classical pieces on the piano, as I do now.”[3]
Abrams' first gigs were playing the blues, R&B, and hard bop circuit in Chicago and working as a sideman with everyone from Dexter Gordon and Max Roach to Ruth Brown and Woody Shaw. In 1950 he began writing arrangements for the King Fleming Band, and in 1955 played in the hard-bop band Modern Jazz Two + Three, with tenor saxophonist Eddie Harris. After this group folded he kept a low profile until 1961, when he organized the Experimental Band in 1962, a contrast to his earlier hard bop venture in its use of free jazz concepts. This band, with its fluctuating lineup, evolved into the Association for the Advancement of Creative Musicians (AACM), emerging in May 1965 with Abrams as it president. Rather than playing in smoky night clubs, AACM members often rented out theatres and lofts where they could perform for attentive and open-minded audiences. The album Levels and Degrees of Light (1967) was the landmark first recording under Abrams' leadership. On this set, Abrams is joined by the saxophonists Anthony Braxton, Maurice McIntyre, vibraphonist Gordon Emmanuel, violinist Leroy Jenkins, bassist Leonard Jones and vocalist Penelope Taylor.
Abrams also played with saxophonists Eddie Harris, Dexter Gordon, and other more bop-oriented musicians during this era.
Abrams moved to New York permanently in 1975 where he was a factor in the local Loft Jazz scene. In 1983, he established the New York chapter of the Association for the Advancement of Creative Musicians.
In the 1970s, Abrams has composed for symphony orchestras, string quartets, solo piano, voice, and big bands in addition to making a series of larger ensemble recordings that include harp and accordion.[4] He is a widely influential artist, having played sides for many musicians early in his career, releasing important recordings as a leader, and writing classical works such as his "String Quartet #2" which was performed by the Kronos Quartet, on November 22, 1985, at the Carnagie Recital Hall in New York City.[5] He has recorded extensively under his own name (frequently on the Black Saint label) and as a sideman on others' records. Notably regarding the latter he has recorded with Anthony Braxton Duets 1976 on Arista Records, Marion Brown and Chico Freeman.
He has recorded and toured the United States, Canada and Europe with his orchestra, sextet, quartet, duo and as a solo pianist. His musical affiliations is a "who's who" of the jazz world, including Max Roach, Dexter Gordon, Eddie "Lockjaw" Davis, Art Farmer, Sonny Stitt, Anthony Braxton, The Art Ensemble of Chicago, Eddie Harris and many others. In 1990 Abrams won the Jazzpar Prize an annual Danish prize within jazz.
[edit] Selected discography
| Year | Title | Genre | Label | |
|---|---|---|---|---|
| 2007 | Vision Towards Essence (Live) | Jazz | Pi | |
| 2005 | Streaming | Jazz | Pi | |
| 2001 | The Visibility of Thought | Jazz | Mutable Music | |
| 1996 | Open Air Meeting | Jazz | New World | |
| 1995 | Song for All | Jazz | Black Saint | |
| 1933 | Family Talk | Jazz | Black Saint | |
| 1989 | The Hearinga Suite | Jazz | Black Saint | |
| 1984 | View from Within | Jazz | Black Saint | |
| 1983 | Rejoicing with the Light | Jazz | Black Saint | |
| 1978 | Lifea Blinec | Jazz | Novus | |
| 1975 | Sightsong | Jazz | Black Saint | |
| 1975 | Things to Come from Those Now Gone | Jazz | Delmark | |
| 1969 | Young at Heart/Wise in Time | Jazz | Delmark | |
| 1967 | Levels and Degrees of Light | Jazz | Delmark |
[edit] Footnotes
- ^ Larkin, Colin. The Guinness Encyclopedia of Popular Music, Guinness, page 47, (1995) - ISBN 978-1-56159-176-3
- ^ Lyons, Leonard. The Great Jazz Pianists: Speaking of Their Lives and Music, Da Capo Press, page 54, (1989) - ISBN 978-0-306-80343-7
- ^ All About Jazz: Muhal Richard Abrams
- ^ Schoenberg, Loren. The Npr Curious Listener's Guide to Jazz, Perigee, page 85, (2002) - ISBN 978-0-399-52794-4
- ^ Kronos Quartet
