An analysis of the bass playing of Scott LaFaro as part of the Bill Evans Trio 1959 - 1961

<p>Scott LaFaro is widely regarded as a highly interactive bass player, and within the context of the Bill Evans Trio it is commonly believed he was able to cast aside the traditional time keeping role of the jazz bassist. His considerable reputation seems to rest on this understanding, but as this exegesis aims to show, the general understanding of his legacy within jazz history is open to question More broadly, this exegesis highlights the fact that any claims about his legacy are supported by very limited analysis of his techniques and approaches, rendering any absolute portrayal of LaFaro misleading. This exegesis aims to provide a thorough analysis of LaFaro’s performances within the Bill Evans Trio. By analysing a representative sample of his work in that context, I hope to discover common techniques and traits that LaFaro employed on a regular basis and which characterise his unique approach to bass playing within a small jazz ensemble. With the identification of these characteristics, a clearer picture of Scott LaFaro can begin to emerge, as can a more accurate understanding of his legacy.</p>

An analysis of the bass playing of Scott LaFaro as part of the Bill Evans Trio 1959 - 1961

<p>Scott LaFaro is widely regarded as a highly interactive bass player, and within the context of the Bill Evans Trio it is commonly believed he was able to cast aside the traditional time keeping role of the jazz bassist. His considerable reputation seems to rest on this understanding, but as this exegesis aims to show, the general understanding of his legacy within jazz history is open to question More broadly, this exegesis highlights the fact that any claims about his legacy are supported by very limited analysis of his techniques and approaches, rendering any absolute portrayal of LaFaro misleading. This exegesis aims to provide a thorough analysis of LaFaro’s performances within the Bill Evans Trio. By analysing a representative sample of his work in that context, I hope to discover common techniques and traits that LaFaro employed on a regular basis and which characterise his unique approach to bass playing within a small jazz ensemble. With the identification of these characteristics, a clearer picture of Scott LaFaro can begin to emerge, as can a more accurate understanding of his legacy.</p>

Navigating the Advent of Human-Machine Teaming

The objective of this panel was to discuss issues related to human-machine (or human-agent) teaming (HMT). Panelists were selected to represent diverse interests and backgrounds (i.e., defense, industry, and academia). Chris Brill provided opening remarks to frame the discussion and introduce the panelists. He then raised several questions related to HMT, such as what is HMT, what level of autonomy is required for HMT, and how do we develop trust in autonomous teammates that learn, change, and potentially, individuate. Missy Cummings built on the issue of learning systems, addressing challenges of certifying systems that, as a function of learning, may cease to be known quantities. Bill Evans spoke to the need for transparency in human-agent teaming. Joseph Lyons addressed social factors in HMT. Peter Hancock detailed his concerns about whether forays into HMT are even advisable, particularly as doing so may lead to dehumanization, or worse, volitional demotion of humans from our current status as apex lifeforms on Earth. Lastly, Kevin Oden expanded the discussion of trust in autonomous systems, while also providing thoughts on how to best leverage human capabilities in the context of HMT. The panel then turned to facilitated discussion with panelists and audience members, constituting the majority of the session time. The session concluded with panelists summarizing their thoughts on how HF/E professionals can or should play a role in the advent of HMT.

Personal Spin J

Bill Evans Trio: My Foolish Heart Propellerheads: History Repeating The Carla Bley Band: The Lord Is Listenin’ To Ya, Hallelujah! Glenn Gould: The Idea of North from Solitude Trilogy Tom Waits: Tom Traubert’s Blues Richard Strauss: Traumlicht from Drei Männerchöre Richard Wagner: Parsifal Gavin Bryars Ensemble: ...

A música francesa reconfigurada no jazz modal de Bill Evans

Embora seja senso comum que a música francesa, especialmente a do século XX, tenha exercido influência no estilo improvisatório do pianista de jazz norte-americano Bill Evans (1929-1980), a importância deste papel é raramente abordada em estudos bem fundamentados. Estes dois pontos - música francesa e Evans - oferecem uma oportunidade para investigar suas diversas relações musicais, desde paralelos e interseções a ecletismos específicos, os quais podem assimilar, adaptar e individualizar uma dada fonte. Implícitos aí estão os "cruzamentos" e transformações de gênero, cultura, identidade nacional e linha do tempo, assim como as questões de influência; discute-se aqui a natureza e mutabilidade dos materiais musicais. Busco mostrar a riqueza e significado destas interações em dois estudos de caso: aspectos de Kind of blue (DAVIS, 1959) e Peace Piece (EVANS, 1958), em conexão com Chopin (enquanto francês adotado), Ravel e Messiaen. Por meio dos textos de RAVEL (1928) e outros, argumento que, particularmente com o repertório francês, Evans descobriu uma afinidade e catalisador para suas prioridades de improvisação: lirismo, linhas polifônicas, uma rica paleta de 7as e 9as, texturas requintadas, voicings e timbres - um veículo para sua expressividade e imaginação. Da mesma forma, é intrigante observar como uma música francesa relativamente velha tenha sobrevivido e se reconfigurado - como um camaleão - dentro de um novo contexto do pós-guerra.

O Jazz de Bill Evans: formação, influências, obras e estilo composicional

Estudo estilístico sobre a música do compositor e pianista norte-americano Bill Evans. Inclui um contexto sobre os pianistas, compositores (eruditos e populares) e o teórico do jazz George Russell, que marcaram sua formação musical. A análise de 19 obras selecionadas de Bill Evans revela características estilísticas relacionadas ao estilo/andamento, métrica, tonalidade, forma, duração, ritmo harmônico, linguagem harmônica e outros detalhes relevantes.

Competing Philosophies in John McGahern's That They May Face the Rising Sun

This essay takes up the challenge of Joe Cleary's provocative characterisation of John McGahern's work as naturalism that retreats into pessimistic fatalism by instead considering Rising Sun as the end-point of a career-long journey fraught with Kierkegaardean implications. Kierkegaard's concept of infinite resignation in Fear and Trembling is noted in McGahern's characters Bill Evans and Johnny Murphy, but John Quinn raises ethical problems soluble only by considering the co-existent presence of precepts from Marcus Aurelius’ Meditations. This Stoicism, it is argued, is Aurelian through the prism of O Criomhthain's An tOileanach, which McGahern greatly admired, so the characters are religiously Catholic and simultaneously philosophically Stoic in response to the harsh landscapes that order their lives. The inhabitants of this lakeside community lead messy spiritual lives that are Stoic and Kierkegaardean, with the Catholic Church continuing to be an important source of ritual. This eclectic but harmonious combination represents a hopeful new mode of life as play, exemplified by Jamesie, which is worth passing on. Rising Sun can thus be read as the end of a Kierkegaardean transition from infinite resignation to exulting in finitude through a vision of the absurd.