All artists filed by last name under Q, R and S :
A chapbook of poetry. a city whole of everything, trembled /each structure wind a beating heart / breathing into society sails by wealth / breathing out sighs of unearthly excess /a desert posture retained /now a city vincible — Selection taken from ‘a city’. Continue reading
Esther Schor’s poems live where the poet who must choose-rhyme and rhythm; the wayward fortunes of travel, art and myth-meets the given of everyday life: children and comets, punchlines and snow. In her formal sequence, ‘Cumbria,’ enduring ruins and rocks of the Lake District tell us our own frailty; they speak of ‘Death / how it comes and goes, how a cry / becomes speech, turns to a whisper.’ In the title poem, two narrators take us to Sumatra in the late 18th century. The “Hills of Holland” is a truly ambitious work by an extremely talented writer. Continue reading
Luci Shaw was born in 1928 in London, England, and has lived in Canada, Australia and the U.S.A. A 1953 high honors graduate of Wheaton College in Illinois, she became co-founder and later president of Harold Shaw Publishers, and since 1988 has been a Writer in Residence at Regent College, Vancouver, Canada. Shaw is a frequent retreat facilitator and leads writing workshops in church and university settings. She has lectured in North America and abroad on topics such as art and spirituality, the Christian imagination, poetry-writing, and journal-writing as an aid to artistic and spiritual growth. Continue reading
This is a meditation in poetry on the ‘bodiness’ — the physicality — of all things: our bodies and how they change, the salmon and their life cycle, trees, flowers, the earth, everything caught in the mystery of time. The book contains a series of poems on the life cycle of Pacific Northwest salmon that was a City of Seattle public arts project, and poems from the libretto of a musical piece by noted composer Janice Gitech, ‘Navigating the Light’. — Patricia Monaghan Continue reading
“This is a beautiful example of the difference between influence and imitation: Bird never did this thing that he inspired Harry to do. Harry got a feeling from Bird and it took him to something completely original. It’s also the kind of line of influence that particularly moves and delight me: a singer, inspired by a saxophone player, comes up with a new conception with shattering implications for singers and instrumentalists alike.” — Andy Fite, Village Life 1992 Continue reading
It is possible for music to be both beautiful and challenging as evidenced on THE WAY I AM by the vocalizing of Satin, who performs in a series of duets with pianist Crothers or guitarist Fite. The beauty comes from the delightful voice of Satin, who sings eight standards that are dripping with love. She conveys warmth and passion through her singing… (Satin) skirts through these love songs displaying all the romance and eloquence the tunes hold. The challenge comes from the instrumental side of the equation. Crothers… excels with probing solos… Her dense patterns underlining Satin’s voice and her own explorations add considerable substance to the duets. Fite… contributes a challenging ring to his… duets with Satin. His playing adds lyricism to the songs… Love is in the air with Satin at the mike…. The three form two delightful teams. – Frank Rubolino, Cadence February 2000. Continue reading
“He is a true ‘Jazz Singer,’ meaning someone who uses their voice as an instrument instead of merely interpreting lyrics… A flair for dramatic scale-climbing improvisations, and a silken singing voice that can tell a story. Bob Casanova is a talent.”- Jerome Wilson, Cadence Magazine Continue reading
Noquestion about it, this is the most challenging music on the list. This isn’t background music. You can’t put it on and walk away from it.” – Bob Snyder, WRST-FM Continue reading
“The most striking aspect of the music they create is their ability to communicate their individuality while blending into a functioning, cohesive ensemble. This requires a considered approach to the question of “…the nature aand relations of being…” in a democratic group context — thus ontology. Maintaining an individual identity while coalescing into such a satisfying ensemble, and simultaneously creating such a high level of musical quality and surprise, is the true challenge of jazz. The degree to which these four musicians succeed on “Ontology” is refreshing and rare.” — Art Lange, June 19999 (from liner notes) Continue reading
“Swish” reissues Crothers’ 1982 duets with Max Roach, who is definitely not a student of the Tristano school of passive drumming. The relative freedom of the duet setting fits the tension and energy of Crothers’ uninhibited playing much better. Roach is always fascinating in a duet, where he expands his role, occupying the open spaces in unexpected, always musical ways. Here, he focuses on different elements of the drum kit with each piece to give the largely improvised performances their distinctive character. The ways in which Roach reacts to and provokes Crothers are reminiscent of Roach’s Historic Concerts (1979) duets with Cecil Taylor. — Jon Andrews, Downbeat — August 1994 Continue reading