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  1. en.wikipedia.org › wiki › MemorophiliaMemorophilia - Wikipedia

    The album features a solo piano piece and three different ensembles: the Vijay Iyer Trio ( M-Base saxophonist Steve Coleman joins the trio on two tracks), the electric funk quartet Poisonous Prophets, and the improvising quintet Spirit Complex, with AACM trombonist George Lewis and Asian Improv instigator Francis Wong. [1]

  2. Jazz, avant-garde, M-Base. Occupation (s) Musician, composer, bandleader. Instrument (s) Saxophone. Labels. JMT, Pangaea, Novus, BMG, Label Bleu, Pi. Steve Coleman (born September 20, 1956) [1] is an American saxophonist, composer, bandleader and music theorist. In 2014, he was named a MacArthur Fellow .

  3. 30. Apr. 1995 · Memorophilia. Solo piano, trio, quartets, quintet. With Steve Coleman, Francis Wong, George Lewis, Kash Killion, Liberty Ellman, Jeff Bilmes, Elliot Kavee, Jeff Brock, and Brad Hargreaves. “vibrant with an Ellingtonian elegance… thoughtfully conceived and gorgeously executed.”. – The Montclarion.

  4. 18. Sept. 2023 · The trio's groovy, barenaked songs work pretty well, the album's opener "Relativist's Waltz", recorded by the trio with participation from M-Bass ideologist sax player Steve Coleman, is absolute killer (Coleman participates on one more trio song, "Off The Top", as well).

  5. 24. Mai 2021 · Since releasing his 1995 debut album Memorophilia, on San Francisco-based AsianImprov, Iyer has emerged as an era-defining jazz artist. He’s earned numerous commissions and awards, including a 2013 MacArthur “Genius” Fellowship and the Alpert Award in the Arts. In the end, he made peace with academia, taking on the Franklin D ...

  6. 7. März 2014 · Both appeared on Mr. Iyer’s first album, “Memorophilia,” in 1995. (A ruminative ballad from that album, “Spellbound and Sacrosanct, Cowrie Shells and the Shimmering Sea,” reappears on ...

  7. The presence on this album of Wong, Steve Coleman, and George Lewis of the Association for the Advancement of Creative Musicians (AACM) represents a confluence of radical schools of musical thought that Iyer is at pains to discuss in his comprehensive (and beautifully written) liner notes.