日本 Japan


场地 Venue


华侨城创意文化园北区B10现场

B10 Live, North District of OCT-LOFT



演出者 Artists
原田依幸 Yoriyuki Harada – 钢琴 Piano
望月英明 Hideaki Mochizuki – 低音提琴 Double Bass
石冢俊明 Ishizuka Toshiaki – 鼓 Drums
石冈秀雄 Tokioka Hideo – 次中音萨克斯 Tenor Saxophone


谈到日本一流的自由爵士乐队，原田依幸四重奏必定是一个不可忽略的名字。其核心人物原田依幸，是日本传奇爵士大乐团“生活向上委员会大管弦乐团”的创始人，被日本乐评人称为“怪兽”钢琴家，演奏时手指在琴键上疾驰如闪电。
原田依幸生于1948年，是一位自学成才的钢琴家。他在日本国立音乐大学学习的是单簧管，很快他就开始对古典音乐的条条框框感到不满。一毕业，原田依幸就和他的校友，同时也是即兴搭档梅津和时奔赴纽约，并以“生活向上委员会纽约支部”为名录制了他们的第一张专辑；1976年回国后，他们和森顺治、菊池隆共同组建了“集団疎開（集体疏散）”四重奏；2年后，他们集结了更多的乐手，将四重奏扩展为“生活向上委员会大管弦乐团”，以他们幽默的形象赢得了广大日本乐迷的喜爱。离开大乐团后，原田依幸和Andrew Cyrille、Tristan Honsinger、 Henry Grimes、Tobias Delius和富樫雅彦等众多爵士即兴乐手都有过合作。
然而，原田依幸从未依靠音乐为生，或者指望来自音乐产业的任何支持，因为他认为这会让事情变得很无聊。曾经在很长一段时间里，他保持在自己最喜欢的爵士俱乐部“アケタの店（明田的店）”里每月演出一次的频率。他说他很难频繁地进行演出，因为每次都需要一种特别的心境来支撑。他决定只在舞台上与这种乐器交流，所以甚至都没有属于自己的钢琴。
原田依幸曾说过：“我的音乐没有任何主旨，我也从不会去思考我的音乐。”但观众会久久回味他的演奏，即便他早已离席。

Yoriyuki Harada Quartet is lead by Yoriyuki Harada, the founder of Japanese legendary Jazz Orchestra “Seikatsu Kōjyō Iinkai Orchestra”. The quartet ascribed to the elite of Japanese free jazz scene. Japanese critics call him the Monster pianist. When he is on stage, his fingers dash on the keyboard like a lightning bolt.
Yoriyuki Harada (b. 1948) is a self-taught pianist. He graduated from the Kunitachi Music College as a clarinetist, but before long started feeling dissatisfaction with strict canons of classical music. Upon graduation, he and his schoolmate and improvisation partner Kazutoki Umezu went to New York, where they made their first recording in the name of Seikatsu Kōjyō Iinkai New York Branch. After returning to Japan in 1976, the two friends formed Shudan-Sokai quartet with Mori Junji and Kikuchi Takashi. Two years later they have gathered together other compatriots and the quartet grew into Seikatsu Kōjyō Iinkai Orchestra, the collective that earned recognition throughout Japan for its humorous appearances. After quitting his work in the Orchestra, Yoriyuki Harada collaborated with Andrew Cyrille, Tristan Honsinger, Henry Grimes, Tobias Delius, Togashi Masahiko and many other improvisers.
However, he has never tried to live on music or seek any type of support from the music industry because this would be boring. For almost 30 years Yoriyuki Harada has performed in Japan just once a month and only in his favorite venue jazz club Aketa-no-mise. According to the pianist, to appear more often would be difficult, because every performance requires a special inner state. He does not own piano, since he decided to come into contact with the instrument only on stage.
“Never have any motif in my music and I never think about my music,” says Harada. But the audiences chew on his performances long after they are over.

更多信息 More Information
https://www.facebook.com/yoriyuki.harada.1

立陶宛 Lithuania



场地 Venue


华侨城创意文化园北区B10现场

B10 Live, North District of OCT-LOFT



演出者 Artists
Vladimir Chekasin – 萨克斯 Saxophones / 单簧管 Clarinet
Vladimir Tarasov – 鼓 Drums / 打击乐器 Percussion


Vladimir Chekasin和Vladimir Tarasov，两位立陶宛的国宝级艺术家。作为传奇的加列宁三重奏（Ganelin Trio / GTCh）的成员，他们与“俄罗斯新音乐之父”Vyacheslav (Slava) Ganelin共同缔造了立陶宛爵士的黄金年代，奠定了维尔纽斯爵士乐派（Vilnius Jazz School）的基础。他们被认为是世界上最伟大的自由爵士乐团之一。
2014年，Slava Ganelin携新加列宁三重奏（Slava Ganelin, Alexey Kruglov, Oleg Yudanov）参演第四届OCT-LOFT国际爵士音乐节，同时也是首次献演亚洲，那场历史性演出的场景仍在我们胸中激荡；时隔四年，另外两位元老以二重奏的形式来到爵士节的舞台。一段传奇在这里隔空重聚，原来这场美梦还未苏醒。

Vladimir Chekasin
萨克斯手、作曲家、导演及教师，立陶宛爵士乐界最具影响力的人物之一，维尔纽斯爵士乐派的中流砥柱。在俄罗斯的斯维尔德洛夫斯克出生的他，于1971年定居立陶宛并加入了加列宁三重奏，担任其乐手长达17年（1971-1987）。包括他自己的乐团以及和其他艺术家合作的作品在内，Vladimir Chekasin参与的专辑已超过60张。他最著名的电影原声作品，要数为导演Pavel Lungin 1990年影片《的士布鲁斯》（43届戛纳电影节最佳导演奖）创作的配乐。在2013年9月，Vladimir Chekasin被授予“为维尔纽斯及立陶宛贡献”奖章。此外，他还曾在Birštonas爵士音乐节获奖，并曾被立陶宛音乐家协会授予“金唱片“奖。

Vladimir Tarasov
Tarasov出生于俄罗斯阿尔汉格尔斯克，从1968年起定居维尔纽斯。作为一名作曲家、打击乐手和视觉艺术家，他多年来与包括立陶宛交响乐团在内的众多爵士和学院派音乐代表有过合作，也为各种乐团、电影和戏剧创作音乐。1971年至1986年间，他是加列宁三重奏的成员。包括三重奏、他个人及与其他众多艺术家和乐团的合作在内，他一共参与录制了超过100张专辑。2009年，他在莫斯科荣膺“凯旋奖”，是俄罗斯授予在文学和艺术领域获得最杰出成就的人物的独立奖项；2016年，他获得立陶宛国家文化艺术奖。“Vladimir Tarasov是拥有世所罕见之精湛技艺的鼓手。从指钹到镲片，他每一次触碰那些繁复多样的乐器，都散发出感官的愉悦。”（Nat Hentoff，美国《华尔街日报》）

Two of the most influential artists in Lithuania, Vladimir Chekasin and Vladimir Tarasov share the glorious years of collaboration as a trio with Vyacheslav (Slava) Ganelin. The legendary Trio has nurtured the aesthetics of the Vilnius jazz school and was arguably the world’s greatest free jazz ensemble. And this time, the duo will be performing on the exact stage of OCT-LOFT Jazz Festival, where historical moments happened when the new Ganelin Tio(Slava Ganelin, Alexey Kruglov, Oleg Yudanov) gave their first ever live performance in Asia 4 years ago.

Vladimir Chekasin
Saxophonist, composer, director and pedagogue, and one of the most influential Lithuanian jazz figures. He is the backbone of the Vilnius Jazz School. Born in Sverdlovsk, Chekasin settled in Lithuania in 1971, and attended the Ganelin Trio for 17 years(1971-1987). Chekasin’s discography amounts to over 60 albums, recorded with his own ensembles and various other performers. His best known pieces for movies is composition for “Taxi Blues”(1990) by Pavel Lungin (Best Director Award at 43th Cannes Film Festival). In September 2013, Chekasin was decorated with the medal “For Contributions to Vilnius and the Nation”. Moreover, he is a laureate of Birštonas Jazz Festival, and Gold Disc from the Lithuanian Musicians’ Union.

Vladimir Tarasov
Born in Arkhangelsk, Tarasov settled in Lithuania in 1968. As a composer, percussionist and visual artist, he has for many years collaborated with both jazz and academic music representatives, including the Lithuanian Symphonic Orchestra, and composed for orchestra, film and theatre. From 1971 to 1986, he was the member of GTCh. With the Trio and many other artists and orchestras he has recorded more than 100 records and CDs including numerous solo performances. In 2009, Vladimir Tarasov received the Triumph Prize in Moscow – Russia’s independent prize for the highest achievements in the literature and art. He was awarded Lithuania’s National Culture and Arts Prize in 2016. “Vladimir Tarasov, a drummer of rare subtlety and cunning, takes sensual delight in the very touch of his extensive array of instruments, from finger chimes to cymbals.” (Nat Hentoff “The Wall Street Journal”, USA)

美国 U.S.A.



场地 Venue


华侨城创意文化园北区B10现场

B10 Live, North District of OCT-LOFT



演出者 Artist

William Parker – 低音提琴 Double Bass / 双簧片 Double Reed / 尺八 Shakuhachi

William Parker是一位来自纽约的低音提琴手、即兴演奏家、作曲家、作家和教育家，被《村声（The Village Voice）》评价为“有史以来最出色，且始终保持着一流水准的自由爵士贝斯手”。
William Parker 1952年出生于纽约市布朗克斯。虽然他曾师从Jimmy Garrison、Richard Davis和Wilbur Ware并学习过传统的爵士，但却从未以古典乐手的身份接受过正式的训练。他1971年进入乐坛，活跃在Studio We、Studio Rivbea、Hilly’s on The Bowery以及The Baby Grand等场地的舞台上；20岁时，他已迅速成为了纽约实验爵士圈里炙手可热的低音提琴手，并与诸如Ed Blackwell、Don Cherry、Bill Dixon、Milford Grave、 Billy Higgins及Sunny Murray这样声名显赫的音乐家同台演出；1980年，他加入了Cecil Taylor Unit，并在其后的十余年里担任着重要的角色。
在其事业伊始，他便在同僚与乐评人之中受到了高度尊重，也长期活跃于世界各地音乐节的舞台上。他的妻子，舞者、诗人Patricia Nicholson Parker在纽约创立了一年一度的Vision Festival——世界首屈一指的，集合了实验音乐（尤其是自由爵士/先锋爵士）、艺术、电影和舞蹈的音乐节。William Parker是该音乐节的组织者之一。在与美国的艺术家合作之外，他亦与欧洲即兴音乐场景有着深刻的联系，与诸如Peter Kowald、Peter Brötzmann、Han Bennink、Tony Oxley、Derek Bailey、John Tchica、 Louis Sclavis和Louis Moholo等有过合作。
迄今为止，William Parker已发行了超过150张专辑。除此之外，他还出版了6本书，教育和指导了无数年轻的音乐家和艺术家。Parker目前活跃的乐队包括Little Huey Creative Music Orchestra、In Order to Survive、Raining on the Moon和Stan’s Hat Flapping in the Wind，以及与Hamid Drake、Kidd Jordan和Cooper-Moore组成的Cosmic Mountain Quartet。

William Parker is a bassist, improviser, composer, writer, and educator from New York City, heralded by The Village Voice as, “the most consistently brilliant free jazz bassist of all time.”
William Parker (1952-) was born in the Bronx, New York City. He was not formally trained as a classical player, though he did study with Jimmy Garrison, Richard Davis and Wilbur Ware and learned the tradition. He entered the music scene in 1971, playing at Studio We, Studio Rivbea, Hilly’s on The Bowery, and The Baby Grand. By the age of 20, Parker quickly became a highly sought after bassist in the New York City experimental jazz scene, playing with established musicians such as Ed Blackwell, Don Cherry, Bill Dixon, Milford Graves, Billy Higgins, and Sunny Murray. In 1980, he became a member of the Cecil Taylor Unit, in which he played a prominent role for over a decade.
Since the beginning of his career, William Parker has commanded a unique degree of respect from his fellow musicians and critics alike, and regularly appeared at music festivals around the world. His wife, dancer and poet Patricia Nicholson Parker founded the annual Vision Festival(the world’s premier festival of experimental music – typically free jazz/avant-garde jazz, art, film and dance) in New York City, and William Parker is also one of the organizer. In addition to his work with artists in the United States, he has developed a strong relationship with musicians in the European improvised music scene such as Peter Kowald, Peter Brötzmann, Han Bennink, Tony Oxley, Derek Bailey, John Tchicai, Louis Sclavis, and Louis Moholo.
In addition to recording over 150 albums, he has published six books and taught and mentored hundreds of young musicians and artists. Parker’s current bands include the Little Huey Creative Music Orchestra, In Order to Survive, Raining on the Moon, Stan’s Hat Flapping in the Wind, and the Cosmic Mountain Quartet with Hamid Drake, Kidd Jordan, and Cooper-Moore.

更多信息 More Information
http://www.williamparker.net

美国 U.S.A.

场地 Venue
华侨城创意文化园北区A3+ A3+, North District of OCT-LOFT

影片信息 Movie Information
导演 Director：Alan Roth
时长 Length：60 分钟 60 mins
年份 Year：2001
语言 Language：英语 English
字幕 Subtitle：无 None

《Inside Out In The Open》是一部时长1小时的纪录片，聚焦兴起于20世纪60年代早期的爵士乐的革命性发展。它拓宽了节奏、声音、和声和集体即兴的边界，并有着难能可贵的开放性与深邃的情感。本片围绕十一位音乐人的采访展开，期间穿插着他们以及众多其它音乐人的作品。
音乐的即兴创作是一个延续至今的传统，它充满了创造性的能量，并不断影响着新一代的年轻听众。受访音乐人向镜头诉说他们的创作过程和启蒙及影响的来源，以及关于60年代的“初代”自由爵士音乐人的记忆。这些内容不管是对最新一代的音乐人还是任何喜爱创作的人来说，都振奋人心而充满指引意义。
历史上深入探究自由爵士及其音乐家的相关纪录片寥寥无几，来自美国的此类影片则更少。2001年在电视上播出的由Ken Burns导演的十部系列纪录片《爵士》，不仅忽略了许多自由爵士音乐家，还对他们为爵士乐做出的贡献作出了负面评论。
因此，《Inside Out in The Open》是一部对爵士乐历史做出了不可忽视的重大贡献的影片。

在影片中受访的音乐家有：
Marion Brown、Roswell Rudd、John Tchicai、Alan Silva、Burton Greene、Joseph Jarman、Baikida Carroll、William Parker、Daniel Carter、Matthew Shipp和Susie Ibarra。
在影片演出镜头里的音乐家有：
Denis Charles、Glenn Spearman、Wilber Morris、Joseph Jarman、Peter Brötzmann、John Tchicai、Sun Ra and his Arkestra、In Order To Survive (成员包括William Parker、Cooper-Moore、Rob Brown、Susie Ibarra)、Other Dimensions In Music (成员包括Roy Campbell、Daniel Carter、Rashid Bakr、William Parker和Matt Shipp)、Baikida Carroll和Reggie Workman等。

关于Alan Roth
《Inside Out in The Open》是Alan Roth的第一部长篇纪录片作品。现居纽约布鲁克林的他仍在进行许多其他的电影项目，包括故事性影片和纪录片。Alan Roth发现在此之前有关自由爵士的纪录片实在屈指可数，而这部处女作正是他表达对其之热爱的倾心之作。
Alan Roth也参与制作了纪录片《7 Days In September》，该影片呈现了911事件在纽约市的余波，曾多次在美国A+E电视网和影院中播放。他也是美国PBS出品的纪录片《Parliament-Funkadelic: One Nation Under A Groove》的助理制片，该影片记录了George Clinton和他领衔的美国传奇放克乐队Parliament-Funkadelic的故事。他还经常作为摄像师参与各种工作，包括参与拍摄由著名厨师Anthony Bourdain主持的、美国美食频道出品的《A Cook’s Tour》系列影片。

Inside Out In The Open is a 60-minute documentary focusing on the revolutionary developments in jazz music that evolved in the early 1960s, expanding the boundaries in rhythm, sound, harmonics, and collective improvisation, with an expansive openness and deep emotion. The film revolves around interviews with eleven musicians, whose words are complemented by their music and that of many other musicians.
Free improvisational music is a tradition that continues to this day, filled with creative energy and affecting newer and younger listeners. The voices of the musicians, speaking about creating music, their influences, memories of the 60s from the first generation, are exciting and instructive to the newest of musicians and to anyone interested in the creative process.
Only a few films have examined this music and their musicians, especially films from the United States. The 10-part “Jazz” documentary on public television by Ken Burns in 2001 not only ignored most of the musicians of this genre, but also gave negative criticism of their contributions.
Inside Out In The Open is therefore a significant contribution to the history of jazz music.

Featured Interviews:
Marion Brown, Roswell Rudd, John Tchicai, Alan Silva, Burton Greene, Joseph Jarman, Baikida Carroll, William Parker, Daniel Carter, Matthew Shipp, Susie Ibarra
Featured Artists:
Denis Charles, Glenn Spearman, Wilber Morris, Joseph Jarman, Peter Brötzmann, John Tchicai, Sun Ra and his Arkestra, In Order To Survive (William Parker, Cooper-Moore, Rob Brown, Susie Ibarra), Other Dimensions In Music (Roy Campbell, Daniel Carter, Rashid Bakr, William Parker, with Matt Shipp),Baikida Carroll, Reggie Workman and more.

About Alan Roth
Inside Out In The Open was the first feature documentary by filmmaker Alan Roth. Mr. Roth lives in Brooklyn, New York, where he continues to work on many other projects, both dramatic and documentary. This first film was a labor of love for Mr. Roth, who realized that there was only a handful of documentaries about this music.
Roth is a former career postal worker from Cleveland, Ohio, where he also was a labor/political activist, as well as active in artistic circles. Much of his creative work has been connected to projects that concern human rights, from a political perspective to a health issues program, and culture. A recent contribution was directing and editing a dramatic story of women, their men, and the fight against HIV infection. This video was the centerpiece of a major study hosted by Rutgers University and funded by the National Institutes of Health.
Roth was also one of the filmmakers in 7 Days In September about the aftermath of September 11, 2001, in the city of New York. That documentary was broadcast several times on the A&E Television Networks and in theatres. He also was associate producer of the PBS documentary Parliament-Funkadelic: One Nation Under A Groove, about George Clinton and the group Parliament-Funkadelic. Often hired as a cameraperson, Roth also shot part of the Food Network series A Cooks Tour with chef Anthony Bourdain.

更多信息 More Information
http://www.insideoutintheopen.net/

场地 Venue
华侨城创意文化园北区A3+ A3+, North District of OCT-LOFT

主讲人 Speaker
Steve Holtje（美国 U.S.A. ）
ESP-Disk’经理，作曲家，即兴演奏者
Manager of ESP-Disk’, composer and improvisor

语言 Language
英语 English
现场配有翻译 With English-Chinese interpreter

“ESP-Disk’只听艺术家的。”——这句掷地有声的厂牌座右铭，概括了ESP-Disk’哲学，被印在了他们发行的每一张作品上。
自成立之日起，ESP-Disk’的目标即是给予旗下艺人彻底的艺术自由，让其不受阻于任何唱片公司的干涉和商业期望。它出版过的唱片在爵士，尤其是自由爵士的历史中具有重大意义。此外，你还能在其中找到前卫音乐、即兴摇滚、迷幻民谣、原型朋克等领域里最出色的作品。
ESP-Disk’于1963年在纽约开业，坐落于第五大道156号12楼，并发行了一张世界语（Esperanto）唱片，厂牌也由此得名。那年年底，ESP-Disk’创办人Bernard Stollman听了Albert Ayler的演奏，并计划为他出版唱片。随后的18个月里，ESP-Disk’录制和发行了45张专辑，其中大部分出自此前不为人知的自由即兴音乐家。
其中最具代表性的“例外”，便是Ornette Coleman 和Paul Bley，这两位早在50年代就已闻名于世。在ESP-Disk’首次以乐队核心身份发表作品的音乐家包括Albert Ayler、 Gato Barbieri、Marion Brown、Burton Greene、Patty Waters、Henry Grimes、Charles Tyler、Sunny Murray、 Milford Graves、Sonny Simmons、Ronnie Boykins和Frank Wright等，其中多位迅速被Impulse! 和Columbia等知名厂牌发掘并出版了作品。
ESP-Disk’旗下的摇滚乐队The Fugs和Pearls Before Swine分别创作出了《Kill for Peace》和《Uncle John》等影响力巨大的反越战歌曲。他们的作品经过口耳相传一炮而红，专辑迅速上升到各大流行排行榜的前列，获得无数好评。唱片业一夜之间开始争相私造他们的“靴子腿”黑胶，而ESP-Disk’则再没有收到更多他们的订单。
在美国，ESP-Disk’重点关注的新音乐并未引起重视，在欧洲和日本却受到热捧，因此ESP-Disk’授权在这些地区售卖它的唱片。尽管分销商已纷纷转向购买“靴子腿”，厂牌创办者Bernard Stollman依然坚持制作唱片，其市场逐渐消失殆尽，直到1975年再无资金支持。此后的17年里，那些承载着出色作品的录音带一直被封存在保险箱里。作为一名律师，Stollman最终找到了工作，任职纽约州首席检察官助理直到1991年退休。
2005年，ESP-Disk’重新开始运营，多数唱片可通过其官网或多国零售商购买，也可从iTunes、eMusic、Rhapsody（现Napster）等下载。

关于Steve Holtje
Steve Holtje与Peter Schubert、Max Lifchitz、Christopher Hatch一同在哥伦比亚大学学习音乐理论。在90年代，他曾为著名的意大利爵士唱片公司Black Saint和Soul Note工作。在那里，他帮助了自由爵士萨克斯手Charles Gayle获得签约，并让其参与了Sun Ra在Soul Note的最后一次录音。转行音乐新闻业后，他为摇滚杂志《CREEM》、当代音乐杂志《The Wire》和爵士杂志《JAZZIZ》等撰稿，并编写了书籍《MusicHound Jazz:：爵士乐必备唱片指南》。2010年，Steve Holtje重新投入音乐商业领域并与加入了ESP-Disk’，两年后担任经理一职。创始人Bernard Stollman于2015年逝世后，他继续为Stollman运营ESP-Disk’，为厂牌带来了包括自由爵士钢琴家Matthew Shipp和前卫歌手Fay Victor在内的一系列新的音乐家。Steve Holtje同时也是一名作曲家、即兴演奏者，他曾为两部电影创作过配乐。

“The artists alone decide what you will hear on their ESP-Disk’.” – A philosophy summed-up the ESP-Disk’ motto, printed on their every release.
From the beginning, ESP-Disk’s goal has been to provide its recording artists with complete artistic freedom, unimpeded by any record company interference or commercial expectations. The label’s discography is important in the history of jazz, especially free jazz. You will also find the finest recordings of avant-garde, improvised rock, psychedelic folk, proto-punk and other unique sounds.
ESP-DISK’ opened for business in New York City in 1963 on the 12th floor of 156 Fifth Avenue, releasing an Esperanto album (hence the label’s name). Near the end of that year, owner Bernard Stollman heard Albert Ayler and made plans to record him. There followed a prolific 18-months in which 45 albums were recorded and released, mostly featuring previously unknown free improvisational artists. The main exceptions were Ornette Coleman and Paul Bley, both of whom had gained global recognition during the 1950’s. Artists who made their debuts as leaders on ESP-Disk’included Albert Ayler, Gato Barbieri, Marion Brown, Burton Greene, Patty Waters, Henry Grimes, Charles Tyler, Sunny Murray, Milford Graves, Sonny Simmons, Ronnie Boykins, and Frank Wright. Several of these artists were then quickly sought out and recorded by the Impulse! and Columbia labels.
ESP-Disk’s rock groups, The Fugs and Pearls Before Swine, wrote and recorded powerful statements against the war in Viet Nam (“Kill for Peace” by The Fugs and “Uncle John” by Pearls Before Swine) and their records rose quickly towards the top of the pop charts, through word of mouth. Overnight, the record industry began bootlegging their LPs and no further orders reached ESP-Disk’.
The new music that was the major focus of the label was ignored in the U.S., while it was celebrated in Europe and Japan, where licensing agreements were made. Bernard Stollman, who had founded ESP-Disk’, continued to produce records, although his distributors had shifted to purchasing bootlegs of these recordings, and his market had vanished, He treaded water until 1975, when the label ran out of funding. The master tapes were stored in safe deposit boxes, where they remained for 17 years. Stollman, a lawyer, eventually found employment as an Assistant Attorney General of the State of New York, and retired in 1991.
In 2005, ESP-Disk’ resumed manufacturing, and now, many of the titles are available from retailers in many countries or by online order directly from its official website, or by download from iTunes, eMusic, Rhapsody（now Napster） and others. 

About Steve Holtje
Steve Holtje studied music theory with Peter Schubert, Max Lifchitz and Christopher Hatch at Columbia. In the ’90s he worked for noteworthy Italian jazz labels Black Saint and Soul Note, where he helped get Charles Gayle a contract and attended the last recording session of Sun Ra. Switching to music journalism, he wrote for CREEM, The Wire, and JAZZIZ and edited MusicHound Jazz: The Essential Album Guide. He moved back to the business side of music and joined ESP-Disk’ in 2010, becoming the label’s manager in 2012. Since the passing of ESP-Disk’ founder Bernard Stollman in 2015, Mr. Holtje has continued to run the label for the Stollman estate, bringing artists including Matthew Shipp and Fay Victor to the label. Mr. Holtje is also a composer and improvisor who has scored two movie soundtracks.

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