Joseph Jarman
From Wikipedia, the free encyclopedia
| Joseph Jarman | ||
|---|---|---|
| Background information | ||
| Born | September 14, 1937 | |
| Origin | Pine Bluff, Arkansas, US | |
| Genre(s) | jazz | |
| Instrument(s) | reeds saxophone percussion |
|
| Years active | 1960s — present | |
| Associated acts |
Muhal Richard Abrams' Experimental Band Art Ensemble of Chicago Association for the Advancement of Creative Musicians Equal Interest |
|
Joseph Jarman (b. September 14, 1937 in Pine Bluff, Arkansas), is a jazz musician, composer and Shinshu Buddhist priest. He is perhaps best known as one of the first members of the Association for the Advancement of Creative Musicians and the Art Ensemble of Chicago.
Contents |
[edit] Biography
Jarman grew up in Chicago, Illinois. At DuSable High School he studied drums with Walter Dyett, switching to saxophone and clarinet when he joined the United States Army after graduation.[1] During his time there, he was part of the 11th Airborne Division Band for a year.[2]
[edit] The AACM and his solo band
After he was discharged from the army in 1958, Jarman attended Wilson Junior College, where he met bassist Malachi Favors Maghostut and saxophonists Roscoe Mitchell, Henry Threadgill, and Anthony Braxton. These men would often perform long jam sessions at the suggestion of their professor Richard Wang (now with Illinois University). However, this was looked down upon by the administration, due in part to the rising political climate surrounding the Vietnam War and strained race relations. [2] Mitchell introduced Jarman to pianist Muhal Richard Abrams, and Jarman, Mitchell, and Maghostut joined Abrams' Experimental Band, a private, non-performing ensemble, when that group was founded in 1961. The same group of musicians continued to play together in a variety of configurations, and went on to found the Association for the Advancement of Creative Musicians (AACM) in 1965.
Jarman's solo recording career began at this time with two releases on the Delmark Label which included non-conforming recording methods, such as spoken word and "little instruments", the latter a technique that Jarman and Mitchell would use to effectiveness in the Art Ensemble.[1] The band he fronted and used during these recordings between 1966 and 1968 included Charles Clark (bass), Christopher Gaddy (piano) and Thurman Barker (drums). However, in 1969 Clark and Gaddy both passed away and Jarman disbanded his group.
[edit] The Art Ensemble of Chicago and Equal Interest
Shortly after his bandmates Clark and Gaddy died in 1969, Jarman joined Mitchell, Maghostut and Lester Bowie (trumpet) in the Roscoe Mitchell Art Ensemble in 1967; the group would be later rounded out with the addition of Don Moye on drums. This band eventually became known as the Art Ensemble of Chicago (AECO). The group was known for being costumed on stage for different reasons; Jarman wore facepaint and has mentioned that it "was sort of the shamanistic image coming from various cultures."[3] The group moved to Paris in 1969 and lived there for many years in a commune that included Steve McCall, the great drummer who went on the form the jazz trio Air with Threadgill and bassist Fred Hopkins. In 1983, he moved to New York, New York from Chicago has lived there since that time.[3]
Jarman stayed with the Ensemble until 1993, when he left the group to focus on his spiritual practice, "a cleansing process" as he stated.[3] The move wasn’t announced at first, leading fans to speculate about Jarman’s health when he didn’t appear on stage for an AECO Thanksgiving weekend show at the Knitting Factory in 1994.[4] He didn't have anything to do with music until 1996, when his friend and fellow AACM peer Leroy Jenkins asked him to join a trio with him and Myra Melford in Chicago, which would eventually be called Equal Interest.[4] Looking back on those three years without music, Jarman commented that "I didn't realize it, but it actually depressed me in many ways."[2] He was then commissioned to write a chamber orchestra piece, which led him to the realization of how to incorporate his Buddhist teachings into his music. When Bowie died in 1999, Jarman rejoined the Art Ensemble, recorded the album The Meeting for Pi Recordings with them, and continues to be a member in the band to this day as well as performing as part of Equal Interest.
Along with the saxophone and clarinet, Jarman also plays (and has recorded on) nearly every member of the woodwind family, as well as a wide variety of percussion instruments. Aside from his work with relatively traditional jazz lineups, he has composed for larger orchestras and created multimedia pieces for musicians and dancers.
[edit] Spirituality
Jarman is most widely known for his musical accomplishments, but he has also been involved in the practice of Zen Buddhism and aikido. He began studying in 1990 and visited various monasteries in Eastern Asia, including Higashi Honganji Honzon in Kyoto, Japan. A few years later, he opened his own aikido dojo/zendo, Jikishinkan ("direct mind training hall")[3], in Brooklyn, New York.[4] He is currently a Jodo Shinshu priest, and holds a rank of godan (fifth degree black belt) in aikido.
[edit] References
- ^ a b Chris Kelsey. Joseph Jarman biography at All Music Guide. AllMusic.com. Retrieved on 2007-01-03.
- ^ a b c Fred Jung. A Fireside Chat with Joseph Jarman. Jazz Weekly. Retrieved on 2007-01-03.
- ^ a b c d Jason Gross (October 1998). Joseph Jarman. Perfect Sound Forever. Retrieved on 2006-01-02.
- ^ a b c Kurt Gottschalk. Joseph Jarman Interview. All About Jazz. Retrieved on 2007-01-03.
