Elliot Levin

 

USA

 

 

 

 

Poetry & Alternatif / Expérimental / Jazz

 

 

 

 

 

 

Label various- ESP-Disk, CIMP, FMP, etc.

 

              

 

 

 

JAZZ – FREE JAZZ

 

 

 

« O – G » Genius In-Genuity

 

The funk of sweat and

 spunk- pungent

  (behind the lox)

  in a mobile transit

   dump box… flocks

  of pre-dawn jaunt jox…

        (and jills)

   sock into the Jersey

    bouyant tunnel vision

   fills… feels… thrills…

  and other daily ills, with

   wills to killjoy, Jubal

    lent shills, and

     shallying dalliance with

      uber-after-hour parlance

       and fast-break-dance

        to float

         askance…

The passive/aggressive

 stance of post-Giuliani

  classical pseudo-elite

New-York-Uza

    guardians…

     sweet wafts

    of ex-Jap-a-triot

   tiny-femme-tenor-titans…

    Zoot Simmering..

     in dinner with

      Drac-Al-Cohn-ian

       stand- sex-Getz it!

        mob rule protocal…

         quietly storming

          the M-Base-ment

           roost-a-farian

            dread into the dawn’s

             early might have been

              a lovely way to spend

               an odd even-ing era.

    To hear a…Rhapsodic

     tear inflated… in the

      dyna-saur-mic rap-stated

       phrase-e-o-logic

        if slightly dated

         comi-ironic patter

        and patois of gold grey

         matter of fact, over

          moldy fiction of

           pictionary proof

            in the pudding

           of the « get it » head set

             truth of aged youth.

Aloof in a lofty

   truce, or consequence

     of Goth-am- ic

      Voo- doo- Wop venue envy…

       group

            mind

                melded,

                       mastered

             when we… can best

              recollectand recognize

               and respect

            O – G – genius-in-genuity

             and in-genuousness…

              in gratuity

               and perpetuity…

                and (for days)

                 just us for all

           in a one-hit-won-der-ful world

                   of praise.

                                            (12/23/10)

 

 

       

Elliott Levin performs with his trio, featuring Jason Fraticelli on bass and Ed Watkins on drums, and talks up the Philly avant garde scene.

 

 

 

 

 

 

Elliott Levin plays Eric Dolphy at Rutgers University in Camden, NJ 3.10.07

 

 

 

 

 

www.Poetry.LA — Philadelphia-based poet and jazz musician Elliot Levin performs in a feature appearance at Beyond Baroque, Venice, California. (2/10/08)

 

 

 

 

 

www.myspace.com/elliottlevin

 

 

 

 

 

 

 

 

 

 

 

______________________________

Musicien de Jazz et poète américain. Levin a grandi à Philadelphie, mais a étudié la musique et l’écriture créative sur la côte ouest à l’Université de l’Oregon. Il a pris des leçons privées avec un ancien saxophoniste de l’Orchestre de Philadelphie, Michael Guera, et s’est lancé dans des recherches plus poussées avec le grand pianiste de jazz, Cecil Taylor. Claire Polin fut  l’instructeur principal de Levin pour la flûte.

Il donne actuellement des concerts dans le monde entier. Levin fait beaucoup de lui, met du cœur dans ses improvisations au saxophone ténor et à la flûte. Il a aussi une carrière très active en tant que poète publié et il aime à combiner les deux esthétiques dans ses performances, à la grande joie du public.

Présent sur des scènes de performance poétique, il a joué avec Miguel Algarin, Gloria Tropp, Mbali Umoja, Marty Watt, et Frank Messina. Levin a publié plusieurs livres de ses vers, bien accueillis dans des publications telles que le LA Weekly, Beat Blue Jacket, The Painted Word, Po ‘Fly, Vital Pulse,etc. En 1999, Levin a été présenté à un certain nombre de festivals de jazz européens. Il a reçu de nombreux  prix dont :   de la part deNew American Radio à New York, du Conseil des Arts de Pennsylvanie, etc.

***

If one was to believe descriptive snippets, the thing to do when Elliott Levin approaches is find a place to hide. In a worst case scenario, try to climb a tree — at least, that is the advice hikers would receive about the oncoming approach of something « ferocious…frenzied…bearlike. » However, the comparison with bears is based on the size and appearance of the Philadelphia performer, while the other adjectives are filling one of their more esoteric purposes in the English language, attempting to describe just what it is free jazz performers do when they blow into their horns. Whatever it is, Levin does a lot of it, on tenor saxophone and flute. He also has a quite active career as a published poet and likes to combine the two aesthetics in his performances, much to the delight of the growing live poetry audience and to the chagrin of hipsters who insist jazz poetry is a form of torture, worse than cold showers. Other listeners might find the entire free jazz experience itself torture, in which case it’s back to the beginning as far as advice regarding Levin: there is nothing watered-down or weak about his performances, no attempt to make the music a bit more accessible to the novices, tender-hearted or just plain wimpy. He also doesn’t seem to play music as if it was connected to some kind of career strategy, other than to just play all the time. Besides playing professionally with a variety of groups, embarking on semi-regular journeys around the country, he also jams. No description of the Philly jazz scene exists that does not include something along the lines of « And Elliott Levin has been known to sit in, buggin’ out with his sax and flute… » A Philadelphia drummer described Levin as « the guy that calls you at two in the morning, wanting you to haul your drums over to some jam session. »

Levin grew up in Philly, but studied music and creative writing on the west coast at the University of Oregon. He took private lessons with a former Philadelphia Orchestra saxophonist, Michael Guera, and embarked on further research with the great jazz pianist, Cecil Taylor, in whose groups Levin has also performed. Claire Polin is Levin’s primary instructor on flute. The weekend grocery list of Levin credits includes playing with Harold Melvin & the Blue Notes for a decade as the saxophonist in the Sound of Philadelphia band, as well as with Odean Popes’ Saxophone Choir, Tyrone Hill, Don Preston, Scram!, New Ghost, Atzilut (Fourth World), Talking Free Bebop, and various collaborations with bassist Jamaladeen Tacuma. Levin’s gigs with Taylor included the groups Phthongas and Unit Core Ensemble, and he can be heard on the Taylor FMP album Live in Berlin. On the poetry scene he has performed with Miguel Algarin, Gloria Tropp, Mbali Umoja, Marty Watt, and Frank Messina. Levin has published several books of his verse, which also appears in publications such as L.A. WeeklyBlue Beat JacketThe Painted WordPo’ FlyVital Pulse, and Poets and Prophets. In 1999, Levin was featured at a number of European jazz festivals. He has received awards from New American Radio in New York, 5he City of Los Angeles Cultural Affairs Department, the Pennsylvania Council for the Arts, and the California Endowment for the Humanities.

 

Discography:
2009 
Elliott Levin Meets the Seesaw Ensemble
2009 
Elliott Levin and the Black Lodge Ensemble
2008 
Summer Rise/Summer Set . . . Summaries
2003 
Opportunities & Advantages
1999 
Fine Intensity

Articles similaires

Tags

Partager