Jennie C. Jones – Score Against Sustained Ideas (Getragen) (2011) скачать в хорошем качестве

Jennie C. Jones – Score Against Sustained Ideas (Getragen) (2011)

Jennie C. Jones’ “Score Against Sustained Ideas (Getragen)” (2011), performed by Annie Gilbert (trombone), Reed Wallsmith (alto sax), Ben Cohen-Chen (tenor sax), Stephanie Lavon Trotter (piano), Sam Klapper (violin), Collin Oldham (cello), Shao Way Wu (bass), Gilly Ann Hanner (electric guitar), Juniana Lanning (electronics), Tim DuRoche (drums), and Matt Hannafin (percussion) at the Extradition Spring Concert 2025, held at Leaven Community in Portland, Oregon, USA, on Saturday, April 19, 2025. Jennie C. Jones is a noted visual artist who also works in sound, often designing sonic environments to accompany her exhibits. Her visual works frequently include musical motifs and bear titles reminiscent of musical compositions — for example “Score for Sustained Blackness,” “Segue Score,” “Score for Tenderness and Grace (Solo).” What’s usually left unclear is whether Jones uses musical vocabulary solely as an organizing device or if she intends that the works may also actually be interpreted musically. This particular work, however, was clearly intended for performance, having been solicited by mixed media and performance artist Clifford Owens for his 2011–12 MoMA exhibition “Anthology.” The score comprises three sections. Page 1 gives four action words (clap, hum, snap, move) highlighted in four different colors, along with the words’ many and varied dictionary definitions. Page 2 presents an adaptation of MoMA founding director Alfred H. Barr, Jr.’s famous 1936 chart showing the major influences and developments of modern art from the 1890s to the 1930s, eight elements of which Jones has highlighted in colors that match those associated with page 1’s action words. Pages 3–6 are the actual score to the piece, each page comprising 12 staves over which colored blocks of various sizes and lengths are overlaid, their hues matching those used on pages 1 and 2. Together, the score pages track the tensions that animate Jones’ whole artistic practice, reconciling her identity as a Black woman; her teen punk years in the Cincinnati suburbs; her career working in a minimalist style developed and dominated primarily by white men; and her commitment both to pure geometry, color, and measure and to the freedom and liberation of Black radical sonic practitioners such as John Coltrane, Roscoe Mitchell, Cecil Taylor, Pharaoh Sanders, and Milford Graves. Based in Portland, Oregon, Extradition is an ensemble and concert series that works at the intersection of composition and improvisation, deliberation and chance, clarity and silence. Performance photos by Glenn Sogge https://www.extraditionpdx.com Instagram @extradition_pdx   / theextraditionseries