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23-461: Sacred Ceremonies was issued by TUM as part of a series of box sets honoring Wadada Leo Smith's 80th birthday. It is unique in that it brings together Smith, a member of the first generation of musicians to come out of Chicago's Association for the Advancement of Creative Musicians (AACM) in the 1960s, Graves, a veteran of New York City's free jazz movement during the same era, and Laswell, who played

46-468: A gift from the universe." Kevin Le Gendre of Jazzwise commented: "For the most part the pace is anything but frantic, and the medium tempo enables the spikes of energy and emphasis to be heard and felt all the more clearly. The brooding, skulking character of some of the songs occasionally squares the circle between Electric Miles and dub, but it is precisely the lack of expected guitars or keys that gives

69-556: A lack of performance venues and sometimes indifferent audiences. From 1969 the AACM organised a music education program for inner-city youths. In the 1960s and 1970s AACM members were among the most important and innovative in all of jazz, though the AACM's contemporary influence has waned some in recent years. Many AACM members have recorded widely: in the early days on the Delmark Records Avant Garde Jazz series and later on

92-415: A major role in the downtown scene of the 1970s. The album is dedicated to the memory of Graves, who died in early 2021. Smith stated: "Bill and I had the great pleasure of recording this special duet/trio project with Milford Graves and dedicate this music to him... Milford was one of the greatest master drummers of our times, who reshaped the way rhythms are played on the drum-set. We will miss him and so will

115-547: A national gig guide, a jazz-on-film page, feature articles, and a review section that evaluates new musical releases, DVDs , books, and live performances. News stories also feature on the Jazzwise magazine website. Jazzwise instructs new jazz writers through its ongoing intern scheme and The Write Stuff workshops held each November during the London Jazz Festival . In 2006 Jazzwise editor Jon Newey won Journalist of

138-569: Is a nonprofit organization , founded in 1965 in Chicago by pianist Muhal Richard Abrams , pianist Jodie Christian , drummer Steve McCall , and composer Phil Cohran . The AACM is devoted "to nurturing, performing, and recording serious, original music," according to its charter. It supports and encourages jazz performers, composers and educators. Although founded in the jazz tradition, the group's outreach and influence has, according to Larry Blumenfeld, "touched nearly all corners of modern music." By

161-462: Is a legendary figure in Free Jazz, but his importance is not relegated to the past... Sacred Ceremonies illustrate[s] that he is an incredibly powerful and relevant contemporary voice... [it] amplifies Smith's unique voice by matching him with two other towering figures." Association for the Advancement of Creative Musicians The Association for the Advancement of Creative Musicians ( AACM )

184-547: Is no less potent. And when Smith, Laswell and Graves perform together on Sacred Ceremonies' final disc, a sort of philosophical fervor electrifies the sonic discussions of myth, justice and healing energies." In a review for All About Jazz , Karl Ackermann wrote: "Smith, Graves... and Laswell come from diverse experiences and significant achievements in music... The three define virtuosity and, in these various pairings, they eclipse genre and approach with unconventional ideas, beautifully executed." AAJ' s Mike Jurkovic noted that

207-625: The Black Artists Group (BAG) of St. Louis, Missouri . The AACM has received aid from the MacArthur Foundation and has a strong relationship with Columbia College . A Power Stronger Than Itself: The AACM and American Experimental Music by George E. Lewis , has been published by the University of Chicago Press (May 2008). In 2015, a 50-year retrospective exhibition of art, music and group-related artifacts, entitled, "Free at First",

230-567: The Black Saint/Soul Note and India Navigation labels, and to a lesser extent on the Arista Records and ECM labels. The musical endeavors of members of the AACM often include an adventurous mixing of avant-garde jazz, classical, and world music. The AACM also ran a school, The AACM School of Music, with classes in all areas taught by members of the AACM. The AACM also had a strong relationship with an influential sister organization,

253-517: The 1960s, jazz music was losing ground to rock music, and the founders of the AACM felt that a proactive group of musicians would add creativity and outlet for new music. The AACM was formed in May 1965 by a group of musicians centered on pianist Muhal Richard Abrams , who had organized the Experimental Band since 1961. The musicians were generally steadfast in their commitment to their music, despite

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276-659: The Year at the Parliamentary Jazz Awards . In 2007, Jazzwise won two awards – Best Jazz Publication at the Parliamentary Jazz Awards and Best Jazz Publication at the Ronnie Scott's awards. In 2009, Jazzwise writer Kevin Le Gendre won Journalist of the Year at the Parliamentary Jazz Awards . In 2010, Jazzwise won Best Jazz Publication for the second time, gig guide editor Mike Flynn won Journalist of

299-723: The Year, and CD reissues reviewer Alyn Shipton won Broadcaster of the Year. In 2012, editor Jon Newey won the Parliamentary Jazz Award for Journalist of the Year for a second time, and in January 2013, Jazzwise won the Best Jazz Media Accolade at the Jazz FM awards. Jazzwise was initially part of Jazzwise Publications Limited . The Jazzwise brand and magazine were acquired in February 2013 by MA Business & Leisure,

322-423: The album documents "an event sharing sacred, indisputable truths (not alternate facts) about ourselves, our actions and the debris we've left behind," and commented: "Where Graves's percussion and Smith explore the spiritual rhythms that tie us all together, Laswell's bass and Smith investigate the ambiance between moments, the delicate shifts of light in the ether that either set us straight or knock us off-kilter and

345-413: The avant-garde and free jazz elements at work here, Sacred Ceremonies is the sound of Smith drifting forward, grabbing inspiration from his surroundings and feeding them into his horn as he continues a music career that has lasted close to 50 years now. It's the sound of a never-ending search." Richard Gehr of Relix noted that the album "serves as testament to the percussive genius of Graves... and to

368-431: The fancy titles may reinforce them; for others, its intensities and mutual communing will signify an important summary of achievement." In an article for PopMatters , John Garratt described the album as "a special document of musical kinship as well as a bold take on improvised music," and stated: " Sacred Ceremonies is classified as 'jazz' by default, but only broad strokes will do in the descriptive department. For all

391-701: The fore, which recede, which compromises are made. It's a fascinating study in the ways master musicians with their own voices adapt to different contexts." Writing for Jazz Trail , Filipe Freitas stated: "With these three extraordinary explorers, the improvisation can go anywhere as they discover as they go. Sometimes magical and ravishing, sometimes intriguing and dark, the music immerses the listeners in angular forms that are consistently good from start to finish." A reviewer for Monarch Magazine wrote: "On Sacred Ceremonies, three masters go deeply, fearlessly and transcendently into this mysterious, magnificent thing we call music, and come up with an offering that feels like

414-399: The late-period brilliance of Smith," and commented: "The two... duet albums contain beautifully austere dialogues that pay off in the joyful, bubbling swing of the trio in full spiritual flight." Point of Departure' s Chris Robinson remarked: "What most stands out about Sacred Ceremonies is how the music and interpersonal dynamics shift in the different configurations – which traits come to

437-415: The music a far less dense yet nonetheless penetrating quality." In a review for Jazz Weekly , George W. Harris noted that Smith "sounds fresher and stronger than ever," and remarked: "The most amazing fact of this ambitious collection is that it actually works, always keeping your attention. It must be taken in small doses, but each bite is quite filling." Rock and Roll Globe' s Todd Manning wrote: "Smith

460-463: The performers live. The AACM was part of an artistic movement on the South Side of Chicago that included AFRICobra (African Commune of Bad Relevant Artists) and other collectives. (largely complete through at least 2015) Jazzwise Jazzwise is a British monthly magazine focused on jazz , launched in 1997. The magazine covers a range of jazz sub-genres and provides news coverage,

483-532: The tectonic whispers that declare us fruitful, wasteful or just harvesting memes." The Free Jazz Collective' s Nick Ostrum remarked: "From his earliest days in with Anthony Braxton, the AACM, or in his own solo expeditions, Smith has carved out his own singular space in such environments. His trumpet alternates between impeccable clarity and bluesy decay... The result is utterly mesmerizing." Nigel Jarrett of Jazz Journal wrote: " Sacred Ceremonies will probably confirm sceptics of free jazz in their prejudices, and

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506-428: The world." Writing for DownBeat , Dave Cantor stated: "Listening to Smith and Graves assess history on 'Baby Dodds In Congo Square,' it's difficult to keep track of the drummer's polyrhythms, as the trumpeter narrates the importance of both the titular place and the musician. It's the sound of selflessness. When in duets with Laswell, the information being transmitted about song dedicatees Tony Williams or Donald Ayler

529-576: Was held at the DuSable Museum of African American History . The AACM has been on the forefront of the avant-garde since its inception in 1965. Anthony Braxton , Henry Threadgill , and the Art Ensemble of Chicago pushed the boundaries of jazz and challenged the avant-garde classical movement led by John Cage . Concerts were heavily improvised, and many AACM members created scores that blended music, geometry, painting, and ciphers to be interpreted by

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