I would like to publicly thank the following individuals for their support and generosity! Without their help and contributions to both this project and my performing career, I would not be where I am today!

Individuals

Owen Anderson

Collin Banko

Nate Bliton

John Colagioia

AJ Coppola

Gabe Fadale

Robert Gable

Carolyn Goodwin

Stephen Jackson

Steve Mathews 

Stathis Mavrommatis

Anna Meadors                

Hayley Myrhre

Angel Negrin

Kathy O'Connor

Perry Roth

Jay Senese

Isaac Shankler

Scott Sharon

Phillip Sink

Sara Sipes

Max Steinmetz

Susanna

Jeffery Vickers

David Vickerman

Nancy Walker

Bart Walters

Evan Weixel

Nathan Weixel

Corporate Sponsors

David Marc Alterman

William Conlin

Thomas Deneuville

Dr. and Mrs. Anthony Deutsch

Jane Linker

Matthew Kobberstad

Keith McWhorter

John Nielson

Kim Reece

Ariyo Shahry

Hello! 

This is a performance clip of me (taken by a fan) of JacobTV's "Buku" at the Athens Cine Bar/Theater on June 8, 2011. I have had SO MUCH fun performing this work!

URL: http://www.youtube.com/watch?v=fWWzVHCqmmc

A Little About The Work

This work "Buku" was written for (and performed by) Dutch saxophonist Arno Bornkamp in 2006 and is a tribute to legendary jazz musicians Charlie Parker, Canonball Adderley, and Art Pepper.

How does this relate to Minimalism?

Electronics (and tape delay systems) play a crucial part in the development of the of Minimalism. Beginning with such composers as La Monte Young and Philip Glass, musicians of this genre sought out new ways to express themselves. Using such electrical components as delay and pitch alteration, Minimalist composers were able to escape the confines of Western tonal harmony and address larger philosophical issues such as Time.

While JacobTV's music most certainly is "tonal" and can be described using Western harmonic nomenclature, one can best hear the influence of the Minimalist tradition through the rhythmic and temporal interactions between the saxophonist (performed live) and the electronic tape (pre-recorded).

Conclusion

Thank you very much for checking out this project!

Hart Linker

Hello!

I just wanted personally thank each and every individual who has given a financial contribution AND/OR sent me an email/called me to find out more about the project!

I wanted to submit to you all a sample program from the 2011 Baltimore (Mount Vernon) Flower Mart! I had the great honor of both being able to play in the Exhibition Wing of the George Peabody Library AND perform Philip Glass's Gradus!

Again,

Thank you all very much for both your financial contributions and overall support of this project!

Hart Linker

What is on the video?

This video is an excerpt of Philip Glass's Gradus for solo saxophone. This particular performance took place in Goodwin Hall on the campus of the Peabody Institute of the Johns Hopkins University.

Background on Philip Glass's Gradus:

Gradus for solo saxophone (originally for soprano saxophone), was written especially for saxophonist Jon Gibson in 1968. The work is divided up into "Part I" and "Part II" and is one of the best examples of Glass's compositional style.

What should I listen for in the video?

Although the video is only a one minute excerpt of Glass's Gradus (the total length of the work is around 10 minutes in length), I think that it is very good representation of Glass's use of the temporal element to dictate a work's overall form structure.

While many people argue that minimalism is a "stagnant" and "boring" form of music, I believe that the best way to experience minimalist music is to step away from the conventional strategy of judging a work based only on the harmonic and melodic content.

In his liner notes for "Music in 12 Parts: Parts 1 and 2", Glass stated that:

          "In undertaking a work of this length it was my intention to confront directly the problem of musical scale (or time). It may happen that some listeners, missing the usual musical structures (or landmarks) by which they are used to orient themselves, may experience some initial difficulties in actually perceiving the music. However, when it becomes apparent that nothing happens in the usual sense, but that, instead, the gradual accretion of musical material can and does serve as the basis of the listener's attention, then he can perhaps discover another mode of listening- one in which neither memory nor anticipation have a place in sustaining the texture, quality or reality of the musical experience. It is hoped that one would then be able to perceive the music as a "presence", freed of dramatic structure, a pure medium of sound."

- Citation for this quote:

Phillip Glass, "Liner Notes, Music in 12 Parts: Parts 1 and 2" (London:Virgin Records, CA2010, 1977),n.p.

Concluding Remarks

Thank you so very much for your support and consideration!

By reading this brief summary and viewing this video excerpt, you are helping me to educate and spread the word about both Philip Glass's saxophone works and music!

Saxophonist Hart Linker