#cooper moore

[hockeytown-gifs]

If sports didn't exist... 1 - Detroit Red Wings - July 2023

[chryzocyon]

Some OC designs I made for me and @separationarc's werewolf story!

I tried using a pixel brush I found but idk if I'll stick with it.

[chez-mimich]

DIGITAL PRIMITIVES. Ho da poco intrapreso la lettura dell’ultimo libro di Roberto Calasso, “I geroglifici di Sir Thomas Browne” e mi piace ricordare questo suo grandioso pensiero: “L’arte è il perfezionamento della natura: se il mondo fosse come lo era al sesto giorno, ci sarebbe ancora il caos: la natura ha fatto un mondo e l’arte ne ha fatto un altro. In breve le cose sono tutte artificiali, poiché la natura è l’arte di Dio...” Ieri sera nell’ex-caserma Passalacqua di Novara, i “Digital Primitives” sembravano arrivati proprio sul finire del sesto giorno. È stato Riccardo Cigolotti a volerli portare a Novara Jazz e aveva ragione poiché sono come una forza della natura, solo che fanno jazz. Diffiicle dire quale jazz, forse faremmo prima a dire che fanno musica, quella che viene dalle viscere e si sposa con l’intelligenza. Il mio professore di filosofia all’università, Franco Fornari, amava ricordare che la prima musica che il feto “ascolta” è quella della battito del cuore della madre, e di questo si tratta, quella musica ancestrale, fatta di ritmo, di assonanze e dissonanze, come assonante e dissonante è la natura. Potremmo naturalmente cogliere gli echi funk, blues, dub, persino folk, ma non servirebbe affatto a definire quello che Assif Tsahr al sax, Chad Taylor alla batteria e Cooper Moore al basso e voce, hanno messo in piedi in una ex-caserma. Si scrive spesso di molti gruppi che cercano le radici della musica jazz; si, spesso le cercano, ma ho qualche dubbio che le trovino. I “Digital Primitives” non solo le hanno trovate, ma le hanno elaborate e portate a compimento con un sound indescrivibilmente bello, convincente, inquieto e incalzante. Così la batteria di Chad Taylor, già sentita qualche settimana fa al Piccolo Coccia con Jaimie Branch, sostiene l’andamento carsico del sax free di Assif Tsahar. Discorso a sé merita Cooper Moore, uno sciamano del jazz come pochi altri, creatore dei suoi stessi strumenti, un basso elettrico composto da due sole corde, percosso con le bacchette, pizzicato con le dita o fatto vibrare con un archetto, un flauto ottavino fatto con un tubo, una specie di banjo da “hobo”, una chitarra senza cassa acustica fatta di chiodi e di legni che smbrano raccattati in una discarica dell’ultima periferia del mondo e con una voce che ripete come in un mantra l’onomatopea, “jazz” con una chiara allusione alla “poesia visiva” fatta di musica, parole, gesti. C’è di tutto e di più in questa indimenticabile serata d’autunno in una ex-caserma che sembra l’interno di un “besetz” berlinese dove tanti ragazzi, quelli di “SerMais”, società di responsabilità civile, lavorano a progetti di grande impegno sociale. Ma c’è anche il progetto della musica in carcere, quello dell’Orchestra di periferia, composta di migranti che ha debuttato proprio un anno fa come ci racconta Corrado Beldi. Ci dispiace per chi non c’era...

[dustedmagazine]

Alan Braufman – The Fire Still Burns (Valley of Search)

How many venerated free jazz classics get a four-plus decades later minted sequel? Composer/improviser Alan Braufman registers in that select number with The Fire Still Burns, a follow-up to his 1975 album Valley of Search. As with that earlier since rarified effort, the new album finds him surrounded by ace compatriots, though only Cooper Moore is an alumnus of yore. Young lion James Brandon Lewis does dynamic duty as front line foil on tenor while veteran bassist Ken Filiano and drummer Andrew Drury shore up the rhythm section. Different band, comparable fire.

Berklee-educated, Braufman honed his chops in the loft scene of 1970s Manhattan, running with aforementioned Cooper Moore, William Parker, David S. Ware and others. The performance spaces that were their creative Petrie dishes soon fell prey to gentrification and Braufman decamped to other locales, eventually settling in Salt Lake City. He and Cooper Moore kept in touch through the intervening decades, rekindling their partnership through performance. A recording project felt like a natural complement and Braufman set about enlisting a new ensemble to not so much pick up where the original one left off, but instead comment on the now through sound.

Both albums evince a strong Don Cherry influence with the borders between individual Braufman-scripted pieces blurred into two larger suite-like structures that recall the late trumpeter’s side-long medleys on albums for the Blue Note label. Free leaning excursions like the rapid clip “No Floor No Ceiling” alternate with more tune-girded ventures like the effervescent, backbeat-powered “Morning Bazaar” and “City Nights.” Such enthusiastically syncopated rhythmic elements point to the leader’s open-minded stance to incorporating conventional elements right alongside more emancipated ones.

“Home,” which concludes the initial morning suite cycle, builds from a bold repeating unison riff that has the horns breaking off into soulful successive solos over another churning Drury-driven backbeat and Cooper Moore-crafted piano fills. “Creation,” which launches the B-side evening-designated suite, toes a similar balance between tumult and traction while “Alone Again” veers surprisingly close to jazz contemporary balladry. Braufman’s sound and approach have broadened and there’s arguably more polish and poise to this later venture, but the embers still glow brightly making the title chosen still feel apposite as an assignation.

Derek Taylor

[halas1]

Digital Primitives – live at Levontin 7 

Digital Primitive are: Cooper Moore, Chad Tylor and Assif Tzahar.

“I wouldn’t count on hearing another one like this anytime soon but for now it’s the freshest thing around.” (Brain Morton – WIRE) ““phantastic” is too small a word. So is “excellent” and even “amazing”. These superlatives, wild and right as they are, downplay the show of “Digital Primitives” as they do not express the main feeling that arouse in the lucky ones who saw them in action – happiness in the face of the rare meeting with music in its most pure and free manifestation. Music that emerged from a deep, primal even childish place, where the accepted distinctions between simple and abstract, serious and eccentric, accessible and esoteric seem artificial and fake.” (HA’ARETZ -Ben Shalev)

[ia-wrestle]

2016-17 Northern Iowa Team Preview

Dylan Peters will begin the season ranked No. 2 by Flowrestling (Tony Rotundo photo) We head into the 2016-17 season with a pretty firm grasp on what head coach Doug Schwab’s Northern Iowa lineup will look like, thanks in large part to the team returning four ranked starters from last year, and also gaining the advantage of several promising wrestlers looking to make their way into full-time…

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[ia-wrestle]

Cooper Moore the only wrestler from Iowa in Flo's 165 rankings

Cooper Moore makes it 6 straight Panthers in Flo’s preseason rankings Make it six-for-six for UNI as Doug Schwab’s Panther Train will be leaving the station with the first six wrestlers in the lineup in Flowrestling’s preseason rankings. Moore will also be UNI’s second top ten wrestler, as he comes in No. 10 in the rankings. Having dealt with several injury issues throughout his career, Moore has…

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[ia-wrestle]

IA Wrestle Midlands Preview

IA Wrestle Midlands Preview @MidlandsChamps

125: #2 Thomas Gilman (Iowa) – returning runner-up #6 Ronnie Rios (Oregon State) #7 Dylan Peters (UNI) #9 David Terao (American) #10 Tim Lambert (Nebraska) #14 Ryan Milhoff (Oklahoma) #16 Josh Rodriguez (NDSU) – 5th in 2014 Kyle Larson (ISU) Nathan Boston (ISU) Leighton Gaul (UNI) Iowa Hawkeye Thomas Gilman is going to enter this tournament the all likely favorite to win his second Midlands title…

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