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Catalog ID: MNSCS 008
Squidco Product Code: 4039
Packaging: Jewel Tray
Recorded on November 6th, 2000.
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• Show Bio for Vinny Golia
"As a composer Vinny Golia (born March 1, 1946) fuses the rich heritage of Jazz, contemporary classical and world music into his own unique compositions. Also a bandleader, Golia has presented his music to concert audiences in Europe, Canada, Mexico, Japan, Australia, New Zealand and the United States in ensembles varying dramatically in size and instrumentation. Mr. Golia has won numerous awards as a composer, including grants from The National Endowment of the Arts, The Lila Wallace Commissioning Program, The California Arts Council, Meet the Composer,Clausen Foundation of the Arts, Funds for U.S. Artists and the American Composers Forum. In 1982 he created the on-going 50 piece Vinny Golia Large Ensemble to perform his compositions for chamber orchestra and jazz ensembles.
A multi-woodwind performer, Vinny's recordings have been consistently picked by critics and readers of music journals for their yearly "ten best" lists. In 1990 he was the winner of the Jazz Times TDWR award for Bass Saxophone. In 1998 he ranked 1st in the Cadence Magazine Writers & Readers Poll and has continually placed in the Downbeat Critic's Poll for Baritone & Soprano Saxophone. In 1999 Vinny won the LA Weekly's Award for "Best Jazz Musician". Jazziz Magazine has also named him as one of the 100 people who have influenced the course of Jazz in our Century. In 2006 The Jazz Journalists Association honored him with a Lifetime Achievement Award.
Golia has also contributed original compositions and scores to Ballet and Modern Dance works, video, theatrical productions, and film. As an educator Vinny has lectured on music & painting composition, improvisation, Jazz History, The History of Music in Film, CD & record manufacturing and self-production throughout the United States, Europe, Mexico, New Zealand and Canada. He currently teaches at California Institute of the Arts. In 1998 Golia was appointed Regent's Lecturer at the University of California at San Diego. In 2009 Vinny Golia was appointed the first holder of the Michel Colombier Performer Composer Chair at Cal Arts.
Vinny has been a featured performer with Anthony Braxton, Henry Grimes, John Carter, Bobby Bradford, Joelle Leandre, Leo Smith, Horace Tapscott, John Zorn, Tim Berne, Bertram Turetzky, George Lewis, Barre Phillips, The Rova Saxophone Quartet, Patti Smith, Harry "the Hipster" Gibson, Eugene Chadburne, Kevin Ayers, Peter Kowald, John Bergamo, George Gruntz Concert Jazz Band, Misha Mengelberg, Han Bennick, Lydia Lunch, Harry Sparrney and the Los Angeles Philharmonic Orchestra amongst many others."-Vinny Golia Website (http://www.vinnygolia.com/bio.html)
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1. Joined To The Songs Of Ancestry (For Davige) 5:23
2. Back To The Interstate (Dedication Ben Stone) 5:06
3. Ape And The Spotted Salamander 8:55
4. Darkwood Plinth 7:53
5. Collapse Of The Crane 9:03
6. Rictus Of Revenge 9:27
7. Mamona Of The Stairs 5:42
8. That's Just Billy Talk 6:27
9. The Last One Was What The First One Should Be 9:04
sample the album:
"Vinny Golia's clarinet is as sweet as birdsong, and it's astonishing to read that this is his first solo recording for twewnty years. He sticks to Bb Clarinet here, which makes a welcome change from the multi-instrumentalism which is so often a means of keeping a perceived risk of boredom at bay in solo reeds projects. Another choice soloists often make is to record either brief "haiku" (o most offputting term) or extremely long, structureless jams. It's easy to see why both routes are tempting ones to take, but this disk cotains nine medium-long tracks (broadly between five and ten minutes) which in itself is actually quite unusual. Pieces of this length require some identity of their own, but also some development beyond the sketchiness of the short form. Fortunately Golia is adept at improvising at this length. He has a flowing, apparently easy melodicism and a timbral palette which ranges from round notes which taste of umamu all the way to crashing multiphonics andultra-high-pitch squeaks. None of these more avant techniques is used for mere punctuation or dramatic effect, however; Golia has a little of Steve Lacy in his playing, and he's a singer first and foremost. It's great to hear a solo reeds album which doesn't feel under pressure to be a manifesto or a calling-card. Although he's not as well-known as he ought to be, Golia's voice is a well-established one by now and the self-assurance on show here is as impresssive as the virtuosity. Highly recommended."-Richard Cochrane
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