{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/3r0pr7n896/manifest","type":"Manifest","label":{"en":["The Enigmatic David Izenson"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","metadata":[{"label":{"en":["Agent"]},"value":{"en":["Ben Young (Presenter)","William Schurk (Chair)","Michael Biel (Videographer)","Leah Biel (Videographer)"]}},{"label":{"en":["Date"]},"value":{"en":["2015-05-28 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Video","Audio"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eDavid Izenson (1932-1979) remains a singular stylist in the broad field of free jazz and 20th century avant-garde music. He was one of the very few jazz-spectrum players to have specialized in bowing the acoustic bass viol, often exchanging legato expressions for the traditional pulsed flow of time. His talent in especially this capacity recommended him as a new and special flavor in Ornette Coleman's mid-1960s groups. Izenson s musicality came from an entirely different source than most in jazz. Growing up in Pittsburgh in the WWII years, he was a synagogue cantor; through age thirty, his primary musical distinction was as a classical bass symphony player. Izenson s legacy in creative music belongs principally to radically re-envisioning the bass s supporting role in Coleman s ensembles. More obscure is a world that Izenson struggled to manifest and document: his own composing in a realm that overlaps jazz, electro-acoustic music, and folk. David Izenson and recordist Jerry Newman were friends, which led to the informal recording at Stereo Sound of many such pieces. In addition to these works, Izenson s tape library chronicles numerous precious episodes from Coleman's touring life and brings important insight to the role of virtuosity in the emerging free jazz/electro-acoustic classical world of the 1960s. The presentation will use significant unpublished examples from the Izenson collection to illustrate his enigmatic creativity and unusual career arc, while also giving an overview of the issues encountered in the ongoing cataloging, restoration, and transfer of his recorded legacy.\u003c/p\u003e"]}},{"label":{"en":["Language"]},"value":{"en":["English"]}},{"label":{"en":["Publisher"]},"value":{"en":["Association for Recorded Sound Collections"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}}],"summary":{"en":["\u003cp\u003eDavid Izenson (1932-1979) remains a singular stylist in the broad field of free jazz and 20th century avant-garde music. He was one of the very few jazz-spectrum players to have specialized in bowing the acoustic bass viol, often exchanging legato expressions for the traditional pulsed flow of time. His talent in especially this capacity recommended him as a new and special flavor in Ornette Coleman's mid-1960s groups. Izenson s musicality came from an entirely different source than most in jazz. Growing up in Pittsburgh in the WWII years, he was a synagogue cantor; through age thirty, his primary musical distinction was as a classical bass symphony player. Izenson s legacy in creative music belongs principally to radically re-envisioning the bass s supporting role in Coleman s ensembles. More obscure is a world that Izenson struggled to manifest and document: his own composing in a realm that overlaps jazz, electro-acoustic music, and folk. David Izenson and recordist Jerry Newman were friends, which led to the informal recording at Stereo Sound of many such pieces. In addition to these works, Izenson s tape library chronicles numerous precious episodes from Coleman's touring life and brings important insight to the role of virtuosity in the emerging free jazz/electro-acoustic classical world of the 1960s. The presentation will use significant unpublished examples from the Izenson collection to illustrate his enigmatic creativity and unusual career arc, while also giving an overview of the issues encountered in the ongoing cataloging, restoration, and transfer of his recorded legacy.\u003c/p\u003e"]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},"provider":[{"id":"https://arsc.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Association for Recorded Sound Collections"]},"homepage":[{"id":"https://arsc.aviaryplatform.com/","type":"Text","label":{"en":["Association for Recorded Sound Collections"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/121/726/small/ARSC_conf_2015_Young_video_thmb.jpg?1675379828","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1505/collection_resources/48700/file/121726","type":"Canvas","label":{"en":["Media File 1 of 2 - open-uri20210821-32762-17vs69a.mp4"]},"duration":1997.33333,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/121/726/small/ARSC_conf_2015_Young_video_thmb.jpg?1675379828","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1505/collection_resources/48700/file/121726/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1505/collection_resources/48700/file/121726/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/121/726/original/open-uri20210821-32762-17vs69a.mp4?1629579356","type":"Video","format":"video/mp4","duration":1997.33333,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1505/collection_resources/48700/file/121726","metadata":[]}]}],"annotations":[]},{"id":"https://arsc.aviaryplatform.com/collections/1505/collection_resources/48700/file/255729","type":"Canvas","label":{"en":["Media File 2 of 2 - ARSC_conf_2015_Young_audio.mp3"]},"duration":2015.35478,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1505/collection_resources/48700/file/255729/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1505/collection_resources/48700/file/255729/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/255/729/original/ARSC_conf_2015_Young_audio.mp3?1730747533","type":"Audio","format":"audio/mpeg","duration":2015.35478,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1505/collection_resources/48700/file/255729","metadata":[]}]}],"annotations":[]}]}