Richard davis flute biography template
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Culture Currents (Vernaculars Speak)
Richard Davis presiding over a bass camp for young musicians.
As a bassist, Richard Davis was the essence of eloquence. Whether playing pizzicato or arco, few could match his way of choosing just the right notes, of leaving just enough space for a soloist to breathe in, or of pushing the edge of careening freedom with a dramatic sense of momentum, song, and swing.
Richard DAVIS (bass, electric bass) &#; USA.
Paris IV. Centre Georges Pompidou.
And so, the wide world of jazz, and of classical music, lost a great voice in his passing on September 6, at age
He was an extraordinarily gracious man, yet he had a prodigious strength of backbone and character, which only grew more impressive in advancing years.
His vast experience and wisdom could play a leading role in advancing racial relations.
This doubtlessly drew from the great respect he possessed from musicians of all races.
Yet he knew how difficult and ongoing the stru
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Richard Davis: An Orchestral Man
RICHARD DAVIS Richard Davis: an orchestral man ALTHOUGH HE LOVES THE FLUTE, IT IS THE SOUND OF THE WHOLE RICHARD DAVIS’ S PASSION. HAVING PLAYED WITH THE BBC PHILHARMONIC ORCHESTRA FOR TWO DECADES, HE SHARES WITH LIS LEWIS HIS INSIGHTS INTO THE SECRETS OF ORCHESTRAL PLAYING, THE IMPACT OF A GREAT dirigent AND THE INSPIRATION HE DRAWS FROM THE ORCHESTRAL REPERTOIRE. ORCHESTRA THAT IS R BY LIS LEWIS fervour he has for several strands of music – not just for flute playing. Many themes emerged, with Richard finding his main inspiration in orchestral music, opera and the conductors and musicians that play them. He seems to be constantly striving for better ways of doing things, whether it is by finding ways of playing that interpret the music more fully or by practising the flute at unusual times of day! Richard ‘adores the orchestral repertoire’, and the individual and combined timbres of the orchestral instruments. ‘The colours!’ he exclaims. ‘I spend
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Transitional Technology
A lot happened in a short period of time.
Dizzy Gillespie and Coleman Hawkins record the first bebop, “Woody ‘n You” and a few other tunes, beginning the era of art for art’s sake in jazz
Miles Davis records the first hardbop, “Walkin,’” where the interactive rhythm section swings as hard as a big band
Eric Dolphy records Out to Lunch, a benchmark in high-modernism: jazz as esoteric chamber music
Some of this is simply the story of the bass. In the ‘40s the bassist seldom had the power to make much of a difference, especially on record. For Miles Davis in the ‘50’s, the bass mattered: Percy Heath to Paul Chambers to Ron Carter is an epic sequence. Eventually, only one bassist could have played on Dolphy’s mid-‘60’s Out to Lunch, Richard Davis.
Davis and Dolphy connected because they both loved avant-garde European music. Dolphy was into Varèse, while there’s a unprecedented press quote somewhere, “Richard Davis is Igor Stravinsky’s favor