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Grabacion video de Electric Ascension performance de John Coltrane’s Ascension




Amigos, Larry Ochs – Rova Saxophone Quartet, me escribe solicitando apoyo para el projecto de filmacion de la actuación de Ascension que se ofrecerá  el  September 7, aniversario de la grabación original de la obra, en el  Guelph jazz Festival, cerca de  Toronto.  Se necesitan 30 mil dólares y se han recaudalado poco mas de 20 mil, elplazo es el 23 de julio, se espera que aficionados como nosotros contribuyan para que esto se lleve a cabo. Vuestro apoyo de $10 dólares o mas  puede que sea lo necesario para que esto ocurra.  Mas detalles en este sitio:
Gracias,  Roberto Barahona
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Dear Roberto,Well, you were a supporter of Electric Ascension, the CD, so you should definitely hear about the potential lElectric Ascension, the DVD,  we are trying to raise the funds for right now. Excuse me for not thinking to ask you sooner if you knew about this.Do you know what Kickstarter is? Since you’re down in Chile much of the time, you may be unaware of this new phenomenon. Chekc out the copy in red at the bottom of this letter. And/or go to our website on Kickstarter. the link is just below in a following paragraph.
The Kickstarter campaign I am involved with now is a collaboration with film-maker John Rogers at Ideas in Motion, and I think it’s one that really matters.  John Rogers and I want to make a pristine multi-camera shoot of “Electric Ascension” on September 7, a performance at the 2012 Guelph jazz Festival near Toronto. We want to give the music the same respect the San Francisco Symphony would give Beethoven or Phillip Glass, were they filming a performance
We believe that the concert video will further establish that Coltrane’s late work was visionary, and it will intimately show—in five-camera living color—just how powerful and inclusive the music that grew out of that 1960s free-jazz era can be. And we think that this is the time, with luminaries like Nels Cline, Fred Frith, Hamid Drake, Carla Kihlstedt and Jenny Scheinman in the band.
Our Kickstarter campaign is  doing well: over two-thirds of the way to the goal we set for the campaign. But we have a ways to go. Especially as most of the donations on Kickstarter are in the $25 to $75 range. While every donation matters, I’m hoping you might pick this particular time to be a key supporter. It would be great to see your name among the credits in the concert film.   Please take a look at the nine-minute video at the Kickstarter site and see how you feel.  Our Kickstarter site link is:   http://kck.st/MAzbMx.
Ultimately any donation you make will be appreciated, especially if you also mention this campaign on your blog/website/on radio, or by sending emails to friends…. It means other people  will see your name on the “pledge list”. And I think it matters who is on that list. As a three-time donor on Kickstarter myself, one of the things I look at when I’m not sure about a project is the list of the project’s pledge names.  So you know: whatever works for you at this time works for us. But the kind of art-music  we play mitigates against a
super-large response in terms of numbers of donors, thus the need for key supporters.
The text at the site is also informative, if you have time to read it. But there is a shorter explanation of how we came to be spending time on Kickstarter trying to raise the funds for a multi-camera shoot in September.  John Rogers has been making a documentary on Ascension and its influence on later musicians like all of us, making that for about four years. In winter 2010,  Rogers said (paraphrasing): ‘we can talk all we want about this music, but if people don’t hear it for themselves they won’t “know.”’  Then last winter Jon Raskin sent me the link to the Berlin Symphony “digital concert hall.” (http://www.digitalconcerthall.com/ ). There I saw a concert video of Messiaen’s Turangalila Symphony.  And in this at times super-dense piece, every single solo, lead line, and ensemble passage was accompanied by a close-up of the person or section that was playing it, all seamlessly edited together. It was just so much easier to hear the music; it blew me away. At that point I understood what could happen in Guelph. We could have close-ups in Electric Ascension of each mini-ensemble, each soloist, etc. It would really and finally document the power and the beauty of this under-appreciated Coltrane piece and the sometimes less than respectful attitude towards the music that followed in its wake in the seventies and beyond.
Stay tuned,
Larry Ochs

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