BTMSQ

RESERVA

PERICO SAMBEAT:
"Hay que tocar con generosidad"

Un sustancioso artículo publicado en La Factoría del Ritmo, donde Perico Sambeat es entrevistado por Charly Parka.

Internet, SGAE, nuevas músicas, flamenco, improvisación, Coltrane, .... Las respuestas de uno de los mejores músicos de nuestras tierras.

http://www.lafactoriadelritmo.com/fact21/entrevis/articulo.php?articulo=9

DATABASE: http://dram.nyu.edu/dram/Performer/9025

DATOS: http://www.answers.com/topic/billy-tipton-memorial-saxophone-quartet

Billy Tipton Memorial Saxophone Quartet


Biography by Jason Ankeny

Experimental jazz outfit the Billy Tipton Memorial Saxophone Quartet originally comprised saxophonists Amy Denio, Jessica Lurie, Marjorie DeMuynck, and Barbara J. Marino in collaboration with drummer Will Dowd. Named in honor of musician Tipton — a longtime veteran of the jazz circuit who only in death was revealed to have been a woman who spent her life passing as a man — the ensemble issued their debut LP, Saxhouse, in 1992. By the release of Box three years later, DeMuynck and Dowd had been replaced by saxophonist Maya Johnson and drummer Pam Barger. Make It Funky God followed in 1997; Denio left the lineup the next year, and the Billy Tipton Memorial Saxophone Quartet soon dissolved.

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The BTMSQ is named for Billy Tipton, a pianist and band leader of the swing era who lived her life as a man in order to gain acceptance as a musician. Personnel: Amy Denio, Marjorie de Muynck, Jessica Lurie, Barbara J. Marino (saxophones). The Billy Tipton Memorial Saxophone Quartet is made up of four women who are based in Seattle, Washington. Released six years after the group came together, this debut album presents the quartet as a fully developed outfit. On SAXHOUSE, strong writing abounds, especially from Amy Denio, who's responsible for the bulk of the material. The jazz and funk pieces strut and hop along refreshingly, but the real delights are the forays into more outre musical territory. Bulgarian, Klezmer and other Eastern European folk styles coexist naturally and proudly with the more contemporary Western strains. So naturally, in fact, that it seems like a bunch of dancing cousins have come to visit.


Product Details



Key Information

Artist
Billy Tipton Memorial Saxophone Quartet



Record Label
Knitting Factory Works



Genre
Jazz Instrument



Subgenre
Avant-Garde/Downtown



Release Date
August 15, 1993



Number of Discs
1



Angelina Baldoz, trumpet; Pamela Barger, drums; Billy Tipton Memorial Saxophone Quartet, Performing Group; Amy Denio, alto saxophone; Maya Johnson, tenor saxophone; Jessica Lurie, alto saxophone; Barbara Marino, baritone saxophone

AMY DENIO

Biography by Greg Prato

Seattle-based composer, vocalist and multi-instrumentalist (proficient at accordion, saxophone, clarinet, bass, and guitar) Amy Denio has issued several albums as a solo artist, as well as a member of several other outfits. Born on June 9, 1961, Denio studied music at both Hampshire College in Amherst, Mass, and Colorado College during the early '80s, before forming her own label, Spoot Music, in 1986, and issuing a cassette-only debut, No Bones. Subsequently, Denio has performed and appeared on albums alongside countless artists, including the Billy Tipton Memorial Saxophone Quartet, the Tone Dogs (which included Soundgarden drummer Matt Cameron), (EC) Nudes, the Danubians, and Curlew, to name but a few. In addition to playing with others, Denio also continued to sporadically issue solo albums, including 1991's Birthing Chair Blues, 1999's Greatest Hits, and 2000's Tattoo (Pat Graney Dance Company, Soundtrack Series No. 1). Having performed throughout North America, as well as Europe, South America, Japan, and Bombay, Denio has also been commissioned to compose music for others, including Italian National Radio, David Dorfman Dance Company, Relache Ensemble, Berkeley Symphony, The New York Festival of Song, Die Knodel, and UMO Ensemble, among others. Denio has received numerous accolades for her cutting edge music, including being named one of "Rock's 10 Smartest, strongest women" by Elizabeth Vincentelli in Request Magazine.

Jessica Lurie

Biography by Joslyn Layne

Jessica Lurie played alto and tenor in the Billy Tipton Memorial Saxophone Quartet, which performed and recorded from the early '90s until 1997 and released three albums, on the Knitting Factory, New World and Horn labels. Lurie also composes and has received commissions and grants for works for multi-media, dance, and film from the NEA, the Saros Foundation, and from various Northwest arts groups. The Seattle-based musician has performed with bassist Arne Livingston and drummer Dale Fanning in the group Living Daylights and the band released an album on Liquid City in 1998 called 500 Pound Cat. Lurie has worked with many inventive and eclectic-minded musicians, including Wayne Horvitz, Eugene Chadbourne, Sleater-Kinney, Frank Pahl, and Eyvind Kang. Lurie also helped organize and stage the Tonehole Festival, an annual adventurous music festival in Washington. The close of the '90s found Lurie performing Bulgarian music and occasionally collaborating with former Billy Tipton Memorial bandmate, Amy Denio.

Marjorie DeMuynck

Music Credits de la película Crocodile Tears (1997)

Crocodile Tears (1997) Music
Compositora e intérprete keyboards/ saxophone

y

Álbum: There's No Place Like Ohm
Artist: Analemma



Marjorie DeMuynck (Didjeridu), Marjorie DeMuynck (Duduk), Marjorie DeMuynck (Native American Flute), Marjorie DeMuynck (Sound Design), Will Dowd (Keyboards), Will Dowd (Engineer), Will Dowd (Mixing), Will Dowd (Sound Design), Orville Johnson (Banjo), Orville Johnson (Guitar (Electric)), Analemma (Producer)

Track Title Time Composers Performers Big Beat (2:32) Iva Bittová Billy Tipton Memorial Saxophone Quartet Fat Bearded Lady Walks the Tightrope (3:19) Billy Tipton Memorial Saxophone Quartet Saxhouse (3:59) Marjorie de Munynck Billy Tipton Memorial Saxophone Quartet Salvatore (3:14) Amy Denio, Chip Doring Billy Tipton Memorial Saxophone Quartet Spanish Eye (4:37) Amy Denio Billy Tipton Memorial Saxophone Quartet Sabiha (4:09) Jessica Lurie Billy Tipton Memorial Saxophone Quartet Frailoch (3:15) Traditional Billy Tipton Memorial Saxophone Quartet I Will Be Sad (5:15) Amy Denio Billy Tipton Memorial Saxophone Quartet Woman of Lukovit (3:49) Traditional Billy Tipton Memorial Saxophone Quartet Bus Horn Concerto [Live] (14:36) Billy Tipton Memorial Saxophone Quartet



Amy Denio (Arranger), Amy Denio (Sax (Alto)), Marjorie DeMuynck (Sax (Alto)), Marjorie DeMuynck (Sax (Soprano)), Marjorie DeMuynck (Sax (Tenor)), Michael Dorf (Executive Producer), Michael Dorf (Layout Design), Will Dowd (Drums), Will Dowd (Drums (Snare)), Ben Goldfarb (Editing), Jessica Lurie (Sax (Alto)), Jessica Lurie (Sax (Tenor)), Barbara J. Marino (Sax (Alto)), Barbara J. Marino (Sax (Baritone)), Billy Tipton Memorial Saxophone Quartet (Main Performer), David W. Brenner (Layout Design), Ned Ahrens (Photography), Helena Rogers (Photography)

TOBI STONE

Billy Tipton Memorial Saxophone Quartet Genre: Jazz

Active: '90s

Major Members: Tobi Stone, Sue Orfield, Jessica Lurie, Amy Denio

JazzContemporary Jazz











Instruments



Saxophone

gRUPO: REPTET Biography by David Jeffries

The Seattle-based jazz ensemble Reptet formed in 1999 with a statement of purpose: "To compose, interpret and improvise music that inspires growth through freedom and discipline." Drummer John Ewing had been playing in different bands with varying styles before he started to look for musicians willing to play jazz and improvised music exclusively. Through open jam sessions he eventually found a stable group of performers with future Reptet pianist Stefan Nelson joining the group in late 1999. Audience response was enthusiastic and the group started getting offers for gigs from numerous local jazz venues. Saxophonist Tobi Stone joined in the summer of 2000, and with bassist Evan Flory-Barnes joining in 2001, Reptet had its most stable lineup. Monktail Creative Music Concern issued the group's self-titled debut CD in 2003.

SUE ORFIELD

Sue Orfield

SAX TENOR

Member Of Billy Tipton Memorial Saxophone Quartet

La increíble historia de BILLY TIPTON. El otro yo

http://www.sololiteratura.com/berti/bertilaincreible.htm

La increíble historia de BILLY TIPTON. El otro yo

Por Eduardo Berti

Página 30, Buenos Aires, abril de 2001





La muerte de un discreto pianista de jazz llamado Billy Tipton, ocurrida a la edad de 74 en la pequeña ciudad norteamericana de Spokane, Washington, fue una de las noticias más espectaculares del año 1989, no porque Tipton fuese un músico de renombre sino porque, una vez hallado su cadáver por los médicos, se descubrió que en verdad era una mujer que había vivido haciéndose pasar por hombre desde los diecinueve años de edad.

Cuando la ambulancia llegó al domicilio de Tipton, un sábado de enero de 1989, su hijo adoptivo William estaba esperándola para transladar a Billy de urgencia al hospital más cercano. Su padre llevaba un año separado de Kitty, su tercera esposa. Los médicos desplegaron la camilla, tendieron allí el cuerpo débil del músico y un enfermero le abrió la camisa del pijama para poder revisarlo. "Hijo", le preguntó a William, "¿tu padre se hizo un cambio de sexo?". Durante casi cuatro décadas, nadie --excepto el propio Tipton-- había visto aquel torso desnudo, ni siquiera sus mujeres. "Me quedé con la mente en blanco", contó William, años más tarde. "Pensé que estaba alucinando o algo por el estilo". El lunes, muerto ya Tipton, la autopsia determinó que el cuerpo correspondía al de una mujer biológicamente normal. Alguien del hospital llamó por teléfono al periódico local para ofrecer la primicia. La viuda, Kitty, quiso impedir el escándalo, mandó cremar el cadáver e hizo una visita al jefe de redacción del diario local para pedirle que respetara su privacidad familiar. El jefe le prometió no publicar nada hasta después del entierro.

"Músico de jazz pasó toda su vida escondiendo un fantástico secreto", fue el titular del 31 de enero. Las agencias se encargaron de diseminar la noticia y hasta el New York Times publicó un obituario de Tipton. Invitada a varios talk shows de tevé, Kitty aseguró que había vivido en la ignorancia del secreto porque Billy y ella no mantenían relaciones sexuales "dado su pésimo estado de salud". Para entonces, la familia Tipton estaba partida en dos: de un lado Kitty y William; del otro John y Scott, los hijos mayores, también adoptados. La enemistad llegó a tal extremo que, después de la cremación, se dividieron las cenizas en dos urnas, una para cada parte. "Vaya ironía", escribió un periodista, "hasta el final hubo dos Billy Tiptons".

.........SIGUE

Billy Tipton biography Suits Me by Diane Wood Middlebrook, 1998 Dust jacket

http://www.sololiteratura.com/berti/bertilaincreible.htm

La increíble historia de BILLY TIPTON. El otro yo

Por Eduardo Berti

Página 30, Buenos Aires, abril de 2001

Billy Tipton Plays Hi-Fi on Piano, 1957

http://andrejkoymasky.com/liv/fam/biot2/tipt1.html

Billy Tipton was actually born Dorothy Lucile Tipton in Oklahoma City. Her father was an aviator and car racer, while her mother was a housewife. Her parents divorced when she was only four years old, and Dorothy was sent to live with her aunt in Kansas City.

This move was vital in developing Dorothy's interesting future. Her aunt began to teach her piano and a love for music. In the 1920s, Kansas City had a big jazz scene, that by the age of 16, was already influencing Dorothy. She began attending jazz clubs, and knew playing piano and saxophone would be in her future.

At age eighteen, Dorothy Tipton decided to audition in several jazz clubs throughout the area. Unfortunately, the club owners all told her the same thing. She was a very talented artist, but they simply would not hire a female. It was at this point in 1933 that Dorothy, with the help of her cousins, became Billy Tipton.

Billy Tipton was careful to leave as little legal documents as possible. He finished highschool, but failed to request graduation documents, as though already planning to leave his female birth identity behind. Early in his career, even when most of his friends still knew that he was female bodied, he obtained legal documents listing him as male... again indicating that he planned to live his entire life as a man.

She taped her chest, cut her hair, and wore a suit to her next audition. As Billy Tipton, Dorothy Tipton not only received the job but quickly became a success.

In order to keep playing jazz, without suffering from discrimination or judgment, Dorothy continued to live as a man for the rest of her life. After playing saxophone for several bands, she believed she had the talent to begin her own group. During the 1950s, Billy began the Billy Tipton Trio with childhood friend Lou Raines and musician Bill Pierson.

The Trio became a quartet with the addition of bass player Ron Kilde in 1954. In 1956, the group got a big break. A Tops Records agent heard the Trio in Santa Barbara and decided to sponsor their first album. Sweet Georgia Brown, was quickly followed by their second album Billy Tipton plays HiFi on the Piano.

In 1958, Billy Tipton and the band were offered a chance at national fame. The band was granted the position as house band in Reno, backing famous artists such as Liberace. Billy, against the desires of the other members, turned the job down to work at a booking agency and to play at night. It is believed Billy feared the fame would reveal her "cross-dressing, lesbian lifestyle."

She did not seek fame per se, but rather ran from it. Billy Tipton simply desired to be free from scrutiny and free to play jazz. Residing in Spokane Washington with her family for many years, Billy played only occasionally in local night clubs.

There is some debate whether the many romances in Billy's life began as a cover, or whether she was truly a lesbian. Billy was said to have had five "Mrs. Tiptons", women who though records have not been found, lived with Billy as man and wife. Even these woman, along with her three adopted sons remained unaware of Billy's identity as a woman.

Astounding as it may seem, Billy was able to keep her secret until his death. "She kept her breasts bound by elastic bandages, explaining that her ribs had been broken in a car accident and the bandages helped prevent pain. Sexually, he made love only in the dark, often half-clothed and was deft at the use of a prosthetic device."

Tipton died in 1989 and was "outed" by the coroner. Soon after, people speculated as to why a "woman" would live fifty-six years as a man, not telling even his wife and kids! The notion that he was transgendered did not enter their thoughts

All of Billy's wives stressed the fact that Billy was not fond of physical affection, and they simply accepted that as part of the relationship. After the discovery, friends and family members, though obviously shocked, only had kind words to say about Billy. One of the sons responded, that he will only think of his father "simply as Dad."

Source: http://www-music.duke.edu/jazz_archive/artists/tipton.billy/01/ - et alii

http://www.jerryjazzmusician.com/linernotes/wood.html