Bass: Linda Oh (AU)

Опубликовано06.11.2018 в 23:42АвторGasar

Dave Douglas & Joe Lovano Sound Prints Quintet plays Power web-climat.rua jazz Festival 2012

If you have power, what can you do with it? The following transcript has been lightly edited for clarity and concision. What are some of the things that need to happen for there to be equality within the community? A lot of people have signed onto the code of conduct.

Many have thanked us for taking the initiative, and many have said that it is necessary. We speak about having certain moral standards around how to treat people. We put the code together because it seemed the best thing to do for this moment. The code itself is a reminder of the values we hold and how we ought to treat others.

This code is something that should be enforced; if a venue or institution chooses to take it on, they then have a responsibility to make sure it is carried out. Some institutions have posted the actual document on walls.

People have put it in their riders, as a reminder, in addition to their hospitality rider. To actually sit and read and talk through the code can give it more weight and more clarification. What do you think it will take for there to be equality within jazz?

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We all have different ideas around this. The best way for me to explain my perspective is by talking about how I came to the collective, coming up as a female Asian musician. Were we talking ten years ago, or even six or seven years ago, I would have really hesitated to be part of the collective and to speak about such topics. It was a difficult topic to approach. I wanted to be known for my art, my music, more than anything else.

Be the best at my instrument. I can lead by example and be the best I can be. One was when I was in an all-female combo, Sisters in Jazz.

It was super inspiring, and the mentors thought it would be good to talk about being some of the few females in a male-dominated field. And I had an inner eye-roll. Teach me a scale! That was one of the turning points for me. For the most part, people were cool with it, though some women were kind of opposed to having an all-female band.

Linda May Han Oh (born 25 August in Malaysia) is an Australian Jazz bassist and composer. Contents. 1 Biography; 2 Honors; 3 Discography (in selection).

The idea was to do workshops, clinics, performances, and so we did some for all-girl high schools. At one point, there was an all-boy school that expressed interest. This was thirteen years ago. But the concert got cancelled because people complained.

Why should an all-female band play for this school? They cancelled us and hired an all-male band. I had auditioned for the Manhattan School of Music in New York and it was time for me to leave anyway. So that was the end of that. Am I really excluding men? Is it wrong to focus on female musicians? That marked another turning point. It was incredible to work with Ms. Allen and to see what she was doing in that program.

That first year, we started at 8 a. I played six out of seven nights. Geri drove us there and dropped us back at home. There was a beautiful sense of community, and she did it so effortlessly. It made me tougher, even though at certain times it was a little much. Not everyone has my experience.

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What do you make of persistent stereotypes around women in jazz? Those stereotypes are getting old quickly. I have the right to not be offended, but I try to think about the reason the person said this. We did this show recently where we played more ballads in the set than hard-hitting tunes, and someone remarked that it worked really well because there were more females in the audience than usual.

That was his viewpoint; that was his take on things. I think that education—and exploring the notion of diversity and getting to know people—helps refute stereotypes. If that person met a lot more women similar to myself, his viewpoint would be different. The best thing to do is educate and encourage diversity so we can get to know people as individuals, rather than lumping people in groups.

Some people argue that women have a specific aesthetic, but I have to say that in one blindfold experiment someone thought I was Christian McBride. I was once told that I sounded great: What appeals to you about improvisation? How do I navigate it? You began as a classical musician. What was it like for you to go from playing notated music to playing extemporaneously? I started with the Yamaha method, and during my early years on piano it was a combination of classical piano and exploring other elements, like emotion and colors.

My early training was centered around that approach, and teachers encouraged us to improvise. When I was a little older—six, seven, and upwards—the focus shifted toward something more disciplined, more focused on executing repertoire. That shift was quite distinct.

By the time I got to mid-high school, I wanted a little more freedom of expression. Learning to improvise over a seven chord helped me learn what its function is. I was also influenced by various local musicians. There were a lot of great musicians in Perth whom I respect and who set a high standard for me.

They were going to expect as much from me as they were from the men. Is there a psychological shift or a shift in perspective that must take place in order to move between genres? I try to be as honest and sincere as I can be. I think that will inform, to some degree, your own individual voice, as opposed to being someone wears different hats. How do you approach a new solo or improvised piece?

The solo is a standalone thing in terms of the structure in which it operates. There has to be some sort of respect for the structure, or for the composition itself. This is, for me personally, paying respect to what a composer has done for a particular piece and its intention, rather than just the solo on its own.

I like to keep some sort of logic, interspersed with spontaneity, so there is a grounding element. What I really love about playing this music is a certain sense of resourcefulness. Resourcefulness, compromise—those are useful tools for good human beings. How does improvising inform the way you compose? I think they go hand-in-hand.

Perhaps they are more of a signature than a default. How would you describe the hallmarks of your sound? How has your musical sensibility or approach to playing evolved over time? One particular thing has to do with the upright bass. To a degree, some of that is compensating for being a woman. People will assume a woman is smaller in sound.

Born in Malaysia, raised in, Perth, Western Australia, Linda began playing piano, bassoon and at fifteen dabbled on electric bass playing jazz in high school.

I wanted to have a big, loud sound. Everyone wants to have presence. That was very important to me, having a full sound, having a good humph to the beat. One thing that has changed is the notion of having to pull so hard to get that sound.

I learned that through various interactions. Play to the room; I want to hear the quality of sound, not just volume. My husband, Fabian Almazan, and I have spoken a lot about being a professional musician but also having music as a culture. It seems like there can be a strange separation between the two when music becomes work.

I had some Asian friends, but we were never integrated into the Malaysian-Chinese community, but I also never felt like I was as integrated into that white Australian culture.

It was my dedication to her. She was someone I could relate to, and she encouraged me to pursue certain collaborations in Asia. One was in Gwangju, South Korea, and the group included myself, some traditional Korean musicians on percussion and haegeum, musicians living in Japan, and an Australian man who has moved back and forth to Korean to study Korean drumming.

Not everyone spoke the same language, so we would kind of communicate in a train:

If you have power, what can you do with it? The following transcript has been lightly edited for clarity and concision.

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{REPLACEMENT-(Зайцев.нет)-(}She has a percussive touch, graceful and sometimes aggressive, and she likes playing fast, walking or soloing or delivering a jagged ostinato. She cycled through piano, clarinet, and bassoon — studying each from the perspective of the European classical tradition — before eventually picking up the electric bass, an instrument she initially learned through the lenses of big-band jazz and the Red Hot Chili Peppers.

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