Today at JazzWax, the 1963 TV documentary of flutist and saxophonist Paul Horn... https://t.co/hS7dWN29K2 pic.twitter.com/LKXcUqBIF3— Marc Myers (@JazzWax) November 1, 2017
Tuesday, November 14, 2017
flutist and saxophonist #PaulHorn
Tuesday, June 27, 2017
Paul Horn's Jazz Impressions of CLEOPATRA
Friday, June 23, 2017
by Steven Cerra
Recent research has revealed that Antony and Cleopatra - one of history's most romantic couples - were not the great beauties that Hollywood would have us believe.
A study of a 2,000-year-old silver coin found the Egyptian queen, famously portrayed by a sultry Elizabeth Taylor, had a shallow forehead, pointed chin, thin lips and sharp nose.
On the other side, her Roman lover, played in the 1963 movie by Richard Burton, Taylor's husband at the time, had bulging eyes, a hook nose and a thick neck.
History has depicted Cleopatra as a great beauty, befitting a woman who as Queen of Egypt seduced Julius Caesar, and then his rival Mark Antony.
But the coin, which goes on show on Wednesday at Newcastle University for Valentine's Day, after years lying in a bank, is much less flattering about both famous faces.
read more at: http://jazzprofiles.blogspot.com.br/2017/06/paul-horns-jazz-impressions-of.html
Monday, March 14, 2016
Paul Horn: A 1961 Interview With John Tynan
Wednesday, March 9, 2016
"... you don't learn jazz in school. You don't learn it; you have to do it. You have to go out and learn jazz by playing. Jazz is a way of life, and you have to learn about it on the street, so to speak. But the training comes in by giving you the tools to work with." - Paul Horn, alto sax, flute and clarinet
“The Paul Horn album, entitled Something Blue, was obviously influenced by the Miles Davis album, and indeed the Paul Horn group was one of the first fully to explore the new territory opened by Miles.
Paul Horn's 'Dun-Dunnee', for instance, is a forty-bar AABA tune with but one chord or scale for the eight-bar A sections. (It can be thought of as either one long G7 chord or a mixolydian scale; that is, a scale starting on G using the white keys of the piano.)” - Bob Gordon, Jazz West Coast: The Los Angeles Jazz Scene of the 1950’s
“Though the Paul Horn Quintet has a readily identifiable sound through the blending of the leader's alto saxophone or flute with Richards' vibraphone, it is the writing rather than the instrumentation that lends these performances their most personal quality. Paul and his sidemen alike, instead of relying on horizontal melodic values alone, tend to create compositional structures in which the harmonic setting, and often the metric variations, are striking characteristics that give these works much of their originality of color and mood.” - Leonard Feather, The Sound of Paul Horn
“One final word: if you are not a musician and can't tell a bar from a saloon, don't let this deter you. As Paul cogently observed: ‘Any layman could listen to this music and tap his foot to it without knowing there is anything so different about our approach to time or meter.’ Then he thought a moment, smiled, and added a postscript: ‘Except, of course, the layman might wonder once in a while why his foot was out of step.’" - Leonard Feather, Profile of a Jazz Musician
Paul Horn [1930-2014] achieved international stardom as a musician who was recorded playing his flute in exotic and romantic settings such as the Great Pyramid of Egypt or the Taj Mahal in India.
His early years as a musician were spent in southern California where he also appeared in exotic and romantic Jazz settings as a member of the original Chico Hamilton Quintet which featured a cello and a guitar as the other lead instruments, playing flute behind poets and wordsmiths reading verse and lyrics to Jazz and on LP’s with the ethereal title of “Zen.”
He even formed his own quintet which played original music that combined both modes and unusual time signatures as the basis for improvisation [think Miles Davis’ Kind of Blue Meets Dave Brubeck’s Time Out].
One of the most detailed interviews about the Paul Horn Quintet and it inclusive approach to Jazz was written in 1961 by John Tynan who was an Associate Editor for Down Beat magazine at the time.
“In earlier days of jazz it was fashionabe in some allegedly responsible critical circles to over-venerate the hardy worthies who created tradition in their own time and owed little or nothing to formal musical schooling.
At the same time, the musically sophisticated jazz musician was regarded with squint-down-the-nose suspicion. It was an early manifestation of the lamentable tendency to place "sincerity" and "roots" above musicality and technical proficiency, thereby distorting aesthetic values.
read more: http://jazzprofiles.blogspot.com.br/2016/03/paul-horn-1961-interview-with-john-tynan.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed:+JazzProfiles+(Jazz+Profiles)
Friday, July 4, 2014
Grammy-winning jazz flutist Paul Horn dies at 84
By DERRIK J. LANG , AP Entertainment Writer
LOS ANGELES (AP) — Grammy-winning jazz flutist and New Age music pioneer Paul Horn has died. He was 84.
Horn's son, Marlen, says his father died Sunday in Vancouver, British Columbia, after a brief illness. He declined to provide further details.
Horn's career spanned five decades, 50 albums and five Grammy nominations. He performed in concert tours and recording sessions with such artists as Frank Sinatra, Tony Bennett, Nat King Cole, Miles Davis and Duke Ellington.
His album "Jazz Suite on the Mass Texts" won Grammys in 1966 for best original jazz composition and photographic cover album.
Horn's albums "Inside the Taj Mahal" and "Inside the Great Pyramid" laid the groundwork for the New Age music genre and earned him the nickname "Father of New Age Music."
read more: http://music.msn.com/music/article.aspx?news=876058>1=28102
Thursday, July 3, 2014
Sunday, May 5, 2013
Documentary: Paul Horn
Reprinted from http://jazzwax.com
Don't know much about Paul Horn? The 83-year-old flutist and saxophonist was a pioneer of mystical or New Age jazz in the late 1960s and beyond. But in the early '60s, Horn was straddling jazz and jazz-classical and beginning to nibble at the avant-garde. Reader Peter Campbell in Cairo, Egypt, sent along YouTube links to a fascinating hour-long Horn documentary, The Story of a Jazz Musician (1962).
The film was produced by David L. Wolper [pictured]—an early short-form documentary champion who specialized in packaging tight dramatic stories for television and the shorter attention spans of at-home audiences. A year later in 1963, his documentary based on The Making of the President, 1960 was aired on ABC just after Kennedy's death. Wolper's D-Day June 6, 1944 was considered groundbreaking when it aired in 1962.
In the '70s, Wolper pioneered a new format with even greater success—the mini series. Starting in 1974, Wolper flipped best-selling books into a multiday television extravaganzas. His productions included Lincoln, The Thorn Birds, North and South and Roots. And all of this is just a fraction of Wolper's lifetime of achievement. You'll find more at his official site here. Wolper died in 2010.
For now, a touching look at jazz flutist Paul Horn in 1962, directed by Ed Spiegel...
Used with permission by Marc Myers
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