38-536: Oleo is an album by New York Unit, consisting of tenor saxophonist George Adams , pianist John Hicks , bassist Richard Davis , and drummer Tatsuya Nakamura . It was recorded in 1989. The album was recorded at A&R Recording Studios in New York City, on January 29, 1989. Oleo was released by CBS/Sony in Japan. George Adams (musician) George Rufus Adams (April 29, 1940 – November 14, 1992)
76-460: A dialectical approach to such political stances by avant-garde artists and the avant-garde genre of art. Sociologically, as a stratum of the intelligentsia of a society, avant-garde artists, writers, architects, et al. produce artefacts — works of art, books, buildings — that intellectually and ideologically oppose the conformist value system of mainstream society. In the essay " Avant-Garde and Kitsch " (1939), Clement Greenberg said that
114-673: A Time. In 1976, Adams began to performing on and off with pianist McCoy Tyner until the late 1980s. The following year, George performed with trumpeter Marvin Hannibal Peterson at the Antibes Jazz Festival in Antibes, France. He appeared on Tyner's album The Greeting in 1978, alongside bassist Charles Fambrough and drummer Sonship. In 1979, Adams and Pullen began to co-lead a quartet with Dannie Richmond and bassist Cameron Brown. In December 1979, George recorded
152-565: A Wonderful World", "Moon River", and "Ol' Man River." 1988 also saw the release of the Phalanx album, In Touch. He died in New York at the age of 52 after an illness. He had been experiencing breathing difficulties for the last year. Adams and Don Pullen shared a musical vision and their quartet straddled the range from R&B to the avant-garde . (The quartet was sometimes known as the "George Adams–Don Pullen Quartet", and sometimes as
190-475: A cultural term, avant-garde identified a genre of art that advocated art-as-politics, art as an aesthetic and political means for realising social change in a society. Since the 20th century, the art term avant-garde identifies a stratum of the Intelligentsia that comprises novelists and writers, artists and architects et al. whose creative perspectives, ideas, and experimental artworks challenge
228-446: A different take on the bridge. The unison line of Adams and Scofield gives the overall melodic stance of the song more body and power. During his solo, Adams shadows Pullen's "sheets of sound" solo by performing with the same bravado and style. The addition of Scofield adds more of a foundation for George to work off of with the outcome being an even more confident melodic statement. The following year, Adams and Hannibal Peterson recorded
266-434: A form of music that combined rhythm and blues with jazz. In 1968, he decided to expand his career and move to New York City to participate in the city's growing jazz scene. A year later, George Adams toured with Roy Haynes, playing with him until 1973. Shortly after, he performed with Art Blakey , before joining Charles Mingus ' band. His partnership with Mingus lasted until 1976. George Adams' first appearance with Mingus
304-530: A member of the Mingus Dynasty at the Village Vanguard. In April 1985, Adams and Pullen recorded the album Live at Montmartre , but it wasn't released until 2000, and featured a guest appearance by guitarist John Scofield. The group is quite noteworthy on the song Well, I Guess We'll Never Know. After a brief introduction from Richmond, the ensemble goes into a variation of Rhythm Changes with
342-549: A post-modern time when the modernist ways of thought and action and the production of art have become redundant in a capitalist economy. Parting from the claims of Greenberg in the late 1930s and the insights of Poggioli in the early 1960s, in The De-Definition of Art: Action Art to Pop to Earthworks (1983), the critic Harold Rosenberg said that since the middle of the 1960s the politically progressive avant-garde ceased being adversaries to artistic commercialism and
380-556: A strident motif. He continues to utilize several different textures throughout the song, such as multiphonics, blues riffs and phrased melodic devices. The result of all this is a performance that includes a multitude of saxophone history into four and a half minutes. In 1980, Adams and Dannie Richmond recorded the album Hand to Hand for the Soul Note label. The album featured trombonist Jimmy Knepper, pianist Hugh Lawson and bassist Mike Richmond. In August 1980, Adams and Pullen recorded
418-530: A working relationship with Gil Evans that lasted until 1978 that same year. Adams' first appearance with Evans was on his album The Gil Evans Orchestra Plays the Music of Jimi Hendrix , which was dedicated to the compositional efforts of rock guitarist Jimi Hendrix. The album features orchestral versions of songs such as Angel, Castles Made of Sand and Voodoo Child. George Adams continued to record with Gil Evans throughout 1975 by contributing to his album There Comes
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#1732787681603456-525: Is another definition of "Avant-gardism" that distinguishes it from "modernism": Peter Bürger, for example, says avant-gardism rejects the "institution of art" and challenges social and artistic values, and so necessarily involves political, social, and cultural factors. According to the composer and musicologist Larry Sitsky , modernist composers from the early 20th century who do not qualify as avant-gardists include Arnold Schoenberg, Anton Webern, and Igor Stravinsky; later modernist composers who do not fall into
494-638: Is facilitated by mechanically produced art-products of mediocre quality displacing art of quality workmanship; thus, the profitability of art-as-commodity determines its artistic value. In The Society of the Spectacle (1967), Guy Debord said that the financial, commercial, and economic co-optation of the avant-garde into a commodity produced by neoliberal capitalism makes doubtful that avant-garde artists will remain culturally and intellectually relevant to their societies for preferring profit to cultural change and political progress. In The Theory-Death of
532-546: Is not reducible to a kitsch style or reactionary orientation, but can instead be used to refer to artists who engage with the legacy of the avant-garde while maintaining an awareness that doing so is in some sense anachronistic. The critic Charles Altieri argues that avant-garde and arrière-garde are interdependent: "where there is an avant-garde, there must be an arrière-garde ." Avant-garde in music can refer to any form of music working within traditional structures while seeking to breach boundaries in some manner. The term
570-615: Is used loosely to describe the work of any musicians who radically depart from tradition altogether. By this definition, some avant-garde composers of the 20th century include Arnold Schoenberg , Richard Strauss (in his earliest work), Charles Ives , Igor Stravinsky , Anton Webern , Edgard Varèse , Alban Berg , George Antheil (in his earliest works only), Henry Cowell (in his earliest works), Harry Partch , John Cage , Iannis Xenakis , Morton Feldman , Karlheinz Stockhausen , Pauline Oliveros , Philip Glass , Meredith Monk , Laurie Anderson , and Diamanda Galás . There
608-405: The arts and literature , the term avant-garde (from French meaning ' advance guard ' or ' vanguard ' ) identifies an experimental genre or work of art , and the artist who created it, which usually is aesthetically innovative, whilst initially being ideologically unacceptable to the artistic establishment of the time. The military metaphor of an advance guard identifies
646-471: The "Don Pullen–George Adams Quartet".) After Adams' death, Pullen dedicated to his memory the 1993 CD Ode To Life , recorded by his African-Brazilian Connection, and in particular the ballad "Ah George, We Hardly Knew Ya". One of Adams' last recordings was America on the Blue Note label. This album consists of classic American songs like " Tennessee Waltz ", " You Are My Sunshine " and " Take Me Out to
684-522: The American Language poets (1960s–1970s). The French military term avant-garde (advanced guard) identified a reconnaissance unit who scouted the terrain ahead of the main force of the army. In 19th-century French politics, the term avant-garde (vanguard) identified Left-wing political reformists who agitated for radical political change in French society. In the mid-19th century, as
722-497: The Avant-Garde ( Teoria dell'arte d'avanguardia , 1962), the academic Renato Poggioli provides an early analysis of the avant-garde as art and as artistic movement. Surveying the historical and social, psychological and philosophical aspects of artistic vanguardism, Poggioli's examples of avant-garde art, poetry, and music, show that avant-garde artists share some values and ideals as contemporary bohemians . In Theory of
760-473: The Avant-Garde ( Theorie der Avantgarde , 1974), the literary critic Peter Bürger looks at The Establishment 's embrace of socially critical works of art as capitalist co-optation of the artists and the genre of avant-garde art, because "art as an institution neutralizes the political content of the individual work [of art]". In Neo-avantgarde and Culture Industry: Essays on European and American Art from 1955 to 1975 (2000), Benjamin H. D. Buchloh argues for
798-697: The Avant-Garde (1991), Paul Mann said that the avant-garde are economically integral to the contemporary institutions of the Establishment, specifically as part of the culture industry . Noting the conceptual shift, theoreticians, such as Matei Calinescu , in Five Faces of Modernity: Modernism, Avant-garde, Decadence, Kitsch, Postmodernism (1987), and Hans Bertens in The Idea of the Postmodern: A History (1995), said that Western culture entered
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#1732787681603836-678: The Ballgame " as well as a few original songs that articulate Adams' positive view of his country and the gifts it had given him. It also includes " The Star-Spangled Banner " and " America the Beautiful ". Adams was a member of the band that played Epitaph by Charles Mingus. With Phalanx With Gil Evans With Craig Harris With Roy Haynes With Cecil McBee With Charles Mingus With New York Unit With Don Pullen With James Blood Ulmer With McCoy Tyner With Ravi Shankar Avant-garde In
874-570: The age of eleven and switched to tenor saxophone in high school. Later on, he went study at the Clark College and got lessons on flute by Wayman Carver . As a teenager, George Adams frequently gained performance experience by playing with local R&B bands. In 1961, he accompanied singer Sam Cooke on a tour. At this point, Adams was based out of Cleveland where he spent a great deal of time studying and working with organ trios alongside pianist and organist, Bill Doggett . The two men played
912-505: The album Earth Beams. The ensemble demonstrated its best on the album's title track. Adams' immediate performance provides a great deal of melodic presence throughout the song. George's deep resonance helps to thicken the harmonic quality of the song. The fundamentals of the ensemble are also anchored perfectly by Dannie Richmond. In 1983, Adams started to expand on his career as a sideman by recording with trombonist Craig Harris on his album Black Bone. The following year, George recorded as
950-453: The album More Sightings for the Enja label. In 1987, George recorded the album Where Were You? with the group Orange Then Blue. It featured trumpeter Ken Cervenka, trombonist Peter Cirelli and French horn player Gunther Schuller, amongst others. He then became a member of the band Phalanx that same year, alongside drummer Rashied Ali, bassist Sirone and guitarist James Blood Ulmer and released
988-484: The album Paradise Space Shuttle with his personal quintet that featured pianist Ron Burton, drummer Al Foster, bassist Don Pate and percussionist Azzedin Weston. Adams' contributions to his ensemble were best heard on Paradise Space Shuttle 's title track. After a brief introduction, he enters the arrangement playing a disjointed and primal melody. He then plays a more traditional bebop figure before supplementing it with
1026-481: The album, Original Phalanx. In 1988, Richmond died and the Adams/Pullen group briefly replaced him with drummer Lewis Nash, then disbanded. Adams then formed a new quartet with Cameron Brown, Hugh Lawson and drummer Gregory Hutchinson. The same year, George recorded an album of ballads and spirituals entitled Nightingale , alongside Lawson, Sirone and drummer Victor Lewis. The album features renditions of "What
1064-458: The artistic vanguard oppose high culture and reject the artifice of mass culture , because the avant-garde functionally oppose the dumbing down of society — be it with low culture or with high culture . That in a capitalist society each medium of mass communication is a factory producing artworks, and is not a legitimate artistic medium; therefore, the products of mass culture are kitsch , simulations and simulacra of Art. Walter Benjamin in
1102-472: The artists and writers whose innovations in style, form, and subject-matter challenge the artistic and aesthetic validity of the established forms of art and the literary traditions of their time; thus, the artists who created the anti-novel and Surrealism were ahead of their times. As a stratum of the intelligentsia of a society, avant-garde artists promote progressive and radical politics and advocate for societal reform with and through works of art. In
1140-490: The avant-garde push the aesthetic boundaries of societal norms , such as the disruptions of modernism in poetry, fiction, and drama, painting, music, and architecture, that occurred in the late 19th and in the early 20th centuries. In art history the socio-cultural functions of avant-garde art trace from Dada (1915–1920s) through the Situationist International (1957–1972) to the postmodernism of
1178-416: The category of avant-gardists include Elliott Carter , Milton Babbitt , György Ligeti , Witold Lutosławski , and Luciano Berio , since "their modernism was not conceived for the purpose of goading an audience." The 1960s saw a wave of free and avant-garde music in jazz genre, embodied by artists such as Ornette Coleman , Sun Ra , Albert Ayler , Archie Shepp , John Coltrane and Miles Davis . In
Oleo (New York Unit album) - Misplaced Pages Continue
1216-416: The cultural values of contemporary bourgeois society . In the U.S. of the 1960s, the post–WWII changes to American culture and society allowed avant-garde artists to produce works of art that addressed the matters of the day, usually in political and sociologic opposition to the cultural conformity inherent to popular culture and to consumerism as a way of life and as a worldview . In The Theory of
1254-514: The essay " The Work of Art in the Age of Mechanical Reproduction " (1939) and Theodor Adorno and Max Horkheimer in the Dialectic of Enlightenment (1947) said that the artifice of mass culture voids the artistic value (the aura ) of a work of art. That the capitalist culture industry (publishing and music, radio and cinema, etc.) continually produces artificial culture for mass consumption, which
1292-596: The essay "The Artist, the Scientist, and the Industrialist" (1825), Benjamin Olinde Rodrigues 's political usage of vanguard identified the moral obligation of artists to "serve as [the] avant-garde" of the people, because "the power of the arts is, indeed, the most immediate and fastest way" to realise social, political, and economic reforms. In the realm of culture, the artistic experiments of
1330-535: The mediocrity of mass culture , which political disconnection transformed being an artist into "a profession, one of whose aspects is the pretense of overthrowing [the profession of being an artist]." Avant-garde is frequently defined in contrast to arrière-garde , which in its original military sense refers to a rearguard force that protects the advance-guard. The term was less frequently used than "avant-garde" in 20th-century art criticism. The art historians Natalie Adamson and Toby Norris argue that arrière-garde
1368-593: The rock music of the 1970s, the "art" descriptor was generally understood to mean "aggressively avant-garde" or "pretentiously progressive". Post-punk artists from the late 1970s rejected traditional rock sensibilities in favor of an avant-garde aesthetic. Whereas the avant-garde has a significant history in 20th-century music, it is more pronounced in theatre and performance art, and often in conjunction with music and sound design innovations, as well as developments in visual media design. There are movements in theatre history that are characterized by their contributions to
1406-498: Was an American jazz musician who played tenor saxophone , flute and bass clarinet . He is best known for his work with Charles Mingus , Gil Evans , Roy Haynes and in the quartet he co-led with pianist Don Pullen , featuring bassist Cameron Brown and drummer Dannie Richmond . He was also known for his idiosyncratic singing. George Adams was born in Covington, Georgia , on April 29, 1940. He first started playing piano at
1444-454: Was on Mingus Moves with Ronald Hampton, Dannie Richmond, and Don Pullen in 1973. Later on, Adams went to perform in Mingus at Carnegie Hall, Changes One and Changes Two. He also appeared on Mingus Moves (1973) and other albums. 1975, while touring Europe with Mingus, he made his first recordings under his own name with Don Pullen, Dannie Richmond and bassist David Williams. Adams also began
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