Steve Coleman

Steve Coleman (born the September 20th 1956) is a American Saxophoniste , improviser, Compositeur and leader of group.

Biography

Born with Chicago, Illinois, Coleman with New York in 1978 settled. In spite of the formation of many groups during its career, its principal group Steve Coleman and Five Elements begins in 1981 and is always active today.

It is one of the founders of the movement Mr.-Bases, it directed several groups and recorded massively. Initially influenced by the Saxophonist S Charlie Parker, Sony Rollins, John Coltrane, the legend of Chicago Von Freeman and Bunky Green, Coleman played and recorded with Thad Jones, Sam Rivers, the beater Doug Hammond, Cecil Taylor, Abbey Lincoln and Dave Holland. It also incorporated many folk elements of the African Diaspora, amalgamated with musical ideas influenced by old concepts Métaphysique S. It stated that its principal concern is the use of the music as a language of sound symbols, used to express the nature of the existence of the Man.

The work of Coleman in the Years 1990, as for example Black Science is unusual in its metric indefinite. He asks each musician to play in metric different, generally, itself irregular like 7/4 or of the 11/4. The music while resulting has a feeling Funk, but with a melody, harmonic and rhythmic freedom. This resemblance deteriorated to the pop music brought to Coleman of new public which it did not feel reluctant to seek, like an interview in Downbeat Magazine describes it where it quotes itself answering the owner of a club which wanted punk (or another style with the mode) " It is what us jouons". The culminating point of this period, the disc The CAT off Mad Phat (fringe zones), recorded in studio and public, approaches the funk by the use of metric regular while keeping a very imaginative aspect melody and harmonic suitable for Coleman.

Coleman is not agreement for the use of categories for the description of the music. In particular, it does not use the term of Jazz. Preferring a more organic approach of the music, it uses the term spontaneous Composition. According to Coleman that prolongs the work of the musicians of formerly, who tried to express by their music the various visions of reality that they perceive. And it is for him the conducting force of much of “so-called” innovations in the music (and consequently in other fields). It estimates that the various tools and fields of research which one uses (physical, metaphysical, numbers, language, music, dance, astronomy etc) are all in relation and present a Corps holistic of work. The various forms which its music revet are not only inspired intuitively, but intuitively and logically determined by the human perception of the " Large Travail" (i.e. the creation of Nature by the Universal Spirit). Although this can seem a goal of great scale, it occupied the spirits of the Men during millenia.

One of the first method that Coleman uses to create its music is related to two concepts: The Crowned Geometry (the use of forms to express natural principles symbolically), and the Energy (potential of change and change itself of the phenomenon physical, metaphysical, and psychic, of which the Life, the Growth, etc). Coleman uses various types of musical structures to symbolize the Crowned Geometry and of the particular types of musical movements to refer to the various stages of Energy. In any event, the concept of Changement seems to be the central point of its theory. According to him, it is the Change between the various musical stuctures which is important and not sructures themselves. In that, he contradicts many currently taught musical theories. Coleman thinks that it is through the spontaneous composition that these ideas can be best expressed, without worrying about appearances external stylistics. One of its expressions is: " it is the movement which is important".

These ideas, although rare, are not new in the music. Musicians of all cultures worked on these concepts as recent writings describe it on the music. Famous musicians like Jean-Sebastien Bach, Béla Bartók and John Coltrane shared the same ideas.

Discography

Motherland Pulsates off (JMT Productions, 1985)
One the Edge Tomorrow (1986)
World Expansion (JMT Productions, 1986)
Sine die (PANGÆA, 1987)
Rhythm People (The Resurrection Off Creative Black Civilization) (RCA Schallplatten GMBH, 1990)
Black Science (Novus, 1990)
Rhythm In Mind (BMG, 1991)
Drop Kick (1992)
Phase Space (DIW Records, 1992)
The CAT off Mad Phat (Fringe Zones) (RCA Schallplatten GMBH, 1993)
has Bruises 3 off Cities (BMG, 1994)
Def Trance Beat (Modalities Of Rhythm) (BMG Victor Inc. 1994)
Myths, Modes and Means (1995)
The Way off the Cipher (BMG, 1995)
Curves off Life (BMG, 1995)
The Sign and The Seal (1996)
Genesis (1997)
The Opening off The Way (1997)
The Sonic Language off Myth (1998)
The Rise To Light (1999)
Resistance Is Futile (Double CD) (Blue Label, 2001)
Alternate Dimension Series I (Not One Label, 2002)
One The Rising Off The 64 Paths (Blue Label, 2002)
Lucidarium (Blue Label, 2003)
Elements off One (DVD documentary one Steve Coleman) (2004)
Weaving Symbolics (Double CD/DVD) (Blue Label, 2005)
Invisible Paths: First Scattering (Tzadik, 2007)

See too

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