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	Encyclopedia: Ken Vandermark
		Ken Vandermark (born September 22, 1964 in Warwick, Rhode Island) is an American jazz saxophone and clarinet player.
		Ken Vandermark was born on September 22, 1964 in Warwick, Rhode Island and began playing trumpet in the fourth grade, switching to the tenor saxophone as a junior in high school.
		Ken Vandermark has been a significant part of the Chicago improvised music scene since 1992 when the Vandermark Quartet was formed (the group, which also included Kent Kessler, was selected for their contributions to music as “Chicagoans of the Year in the Arts: 1994” by the Chicago Tribune Jan. 1, 1995)).
	www.nationmaster.com /encyclopedia/Ken-Vandermark (527 words)

	www.jazzweekly.com \| Interviews
		KEN VANDERMARK: Well, I grew up in a household that was very much interested in music and in the arts in general.
		KEN VANDERMARK: I remember seeing Johnny Griffin quite a bit and that really made a big impression on me. I remember seeing him when Kenny Washington was really young.
		KEN VANDERMARK: Yeah, yeah, Mats, I really think, is an example of someone who has taken the most powerful aspects of the European playing and distilled them down into his own style.
	www.jazzweekly.com /interviews/vandermark.htm (3759 words)

	Ken Vandermark - FME: Arco y Flecha, Temporada 2004. Marzo, Barcelona \|\| Perfiles \|\| Tomajazz
		Ken Vandermark going to visit Barcelona to play with FME project for in a couple of concerts in Arco y Flecha's 2004 season.
		Ken Vandermark: FME will be performing material from our new album, underground (which is coming out on Okka disk at the start of may), as well as some new material which we will work on during the tour in Europe in order to prepare for a recording session this fall in Scandinavia.
		Ken Vandermark: Most of the funds have gone towards the large group projects: putting the peter brotzmann chicago tentet on the road in north america in 2000 and 2002, plus recording the band at the end of those tours; also organizing and recording the territory band projects.
	www.tomajazz.com /perfiles/temporada2004/vandermark_temporada2004_eng.htm (1421 words)

	KEN VANDERMARK
		His group, the Vandermark Five, was selected for inclusion in the sound aspect of the "Art in Chicago: 1945-1995" exhibition held at the Museum of Contemporary Art in that city from November 16, 1996 through March 23, 1997.
		The Vandermark 5 has always concentrated on live performance as a means to hone its skills and has played regularly since its inception (of special importance is their ongoing Tuesday night series at the Empty Bottle in Chicago that began in November of 1996).
		Kent can be heard on the Vandermark Five recordings on Atavistic: NRG Ensemble on ECM, Quinnah, Delmark, and Atavistic: FJF’s CD, Blowhard, the Georg Graewe Quartet CD, Melodie Und Rhythms (with Hamid Drake and Frank Gratkowski), and A Meeting in Chicago (with Joe McPhee and Ken Vandermark) on Okka Disk.
	www.billions.com /artists/kenv (1679 words)

	Ink 19 :: Target Or Flag :: THE YEAR IN VANDERMARK
		The first thing you need to know about Ken Vandermark is this: he is a very, very busy man. Vandermark is part of 14 groups that play together with some regularity.
		Vandermark is a lightning rod conducting energy to the far flung world of free jazz.
		The Vandermark 5 is the flagship of Ken's fleet.
	columns.ink19.com /tof/yearInVandermark.html (1314 words)

	Ken Vandermark- Chicago Gigs.com (Site not responding. Last check: 2007-11-06)
		Since his arrival in the Windy City in 1989, Ken has played tenor saxophone/clarinet in some of the most influential music groups of the decade including the NRG Ensemble (Delmark 485), DKV Trio, The Vandermark 5, and the Peter Brotzmann Chicago Tenet, just to name a few.
		Born on September 22, 1964 in Rhode Island, Ken Vandermark was exposed to Jazz and Classical music at an early age.
		Ken started playing trumpet in the 4th grade, but upon hearing Joe McPhee's "Tenor" album he decided to switch to playing tenor saxophone at age 17.
	www.chicagogigs.com /kenvandermark (395 words)

	Wobbly Rail Records: Improvised Music and Free Jazz (Site not responding. Last check: 2007-11-06)
		Ken Vandermark may be the most prominent young reed player in the American avant garde today.
		Vandermark gigs constantly in the city and tours with various groups including the Ken Vandermark 5 and his DKV Trio.
		Though Vandermark says he was galvanized in the early 80’s specifically by a Joe McPhee record, he draws from more traditional players as well such as Coleman Hawkins and Ben Webster, and pays tribute to his musical forefathers of all stripes in his dedications.
	www.wobblyrail.com /vandermark.html (214 words)

	CMT.com : Ken Vandermark's Joe... : Biography
		Eyebrows were raised in the jazz world when it was announced that the relatively obscure and young Ken Vandermark was to receive a 1999 MacArthur "Genius" grant.
		Vandermark, just 35 at the time, was little-known outside of Chicago, and his music was not universally accepted to be as significant as musicians' like Taylor and Braxton.
		Vandermark began playing trumpet in fourth grade and then switched to tenor sax as a junior in high school.
	www.cmt.com /artists/az/vandermark_ken/bio.jhtml (325 words)

	Huge talent, small spotlight - The Boston Globe
		Ken Vandermark grew up in Natick, in a home where music was cherished.
		Vandermark returned to Boston in 1986 but soon left for Chicago, where he felt more of a connection with the jazz scene (and where he continues to live with his wife, Ellen, who is a pediatrician).
		Vandermark, though, says he is annoyed by the critics who ignore him and the ones who dismiss him out of hand based on what he's done in the past.
	www.boston.com /news/globe/living/articles/2005/09/18/huge_talent_small_spotlight (1158 words)

	The Vandermark 5 - Epitonic.com: Hi Quality Free and Legal MP3 Music (Site not responding. Last check: 2007-11-06)
		Vandermark's saxophone and clarinet parts are sensational in their detail and precision, while the rest of the ensemble has only grown tighter and more sophisticated.
		Vandermark's skills as a composer continue to grow in leaps and bounds with each release.
		The record is conceived as a series of homages to artists influential to Vandermark's musical development: composers Morton Feldman, Archie Shepp, Elvin Jones, Julius Hemphill, Stan Getz, Lester Young, and photographers Robert Capa and William Klein.
	www.epitonic.com /artists/thevandermark5.html (471 words)

	Jazz Institute of Chicago > Jazz Institute of Chicago - Jazz Articles > Chicagoan Ken Vandermark Awarded ...
		The popular quintet is an outlet for what Vandermark calls his "most interesting and complex" writing with only "about 80%" of the music being improvisation based on the compositions.
		Finally, Vandermark places his collaboration with the Swedish AALY Trio (Mats Gustafsson on reeds, Peter Janson on bass, and Kjell Nordeson on drums) somewhere between the DKV Trio and V5 on the spectrum of composition and improvisation.
		Vandermark is going to invest half of the grant to sustain himself and continue releasing recordings after the five years of his fellowship are over.
	www.jazzinstituteofchicago.org /Internal/Articles/tabid/43/ctl/ArticleView/mid/522/articleId/372/ChicagoanKenVandermarkAwardedMacArthurFellowship.aspx (1221 words)

	Ken Vandermark
		A powerhouse reedman and one of the leaders of the Chicago musical avant-garde, Vandermark was chosen Tribune Musical Man of the Year a few years back, and was picked "best musician of the year" in the New York-based jazz magazine Cadence.
		Vandermark has gradually grown more restrained, and developed increasing control of his previously full-throttle outbursts.
		Vandermark recently contributed to indie film Dutch Harbor's soundtrack, working with David Grubbs, Charles Kim, Doug McCombs, Jim O'Rourke, and Rick Rizzo.
	centerstage.net /chicago/music/whoswho/KenVandermark.html (196 words)

	village voice > music > The Vandermark 5's Airports for Light; Ken Vandermark's Furniture Music by Tom Hull
		The one with Vandermark, Dual Pleasure (Smalltown Supersound), is one of those improvised encounters where magic does happen—an intense, intimate, engaging clash of drums and reeds, each provoking the other.
		Vandermark's flagship band since 1996, and the main showcase for his writing, has been the Vandermark 5.
		Vandermark's dedications say much about his relationship to tradition, which he mines assiduously for ideas, but his development of those ideas, and his own style of play, are unique.
	www.villagevoice.com /issues/0401/hull.php (730 words)

	CD Review of Ken Vandermark - Design in Time on Delmark @ jazzreview.com
		The thought of two drummers and a saxophonist as intense as Ken can be was a little daunting, but not to worry; the music is very involving and even downright accessible.
		Ken often lays out for goodly stretches and allows Barry and Mulvenna to fill the soundstage which they do with aplomb.
		Ken, at times, sounds so relaxed in this setting that it can be hard to tell what's improvised and what is written.
	www.jazzreview.com /cdreview.cfm?ID=1927 (434 words)

	OkkaDisk: Ken Vandermark: Interview
		Like his audience, Vandermark is interested in moving beyond categorization in music, comfortably integrating seemingly divergent genres into his jazz style, even moving completely outside the genre at times.
		In 1992 Vandermark found kindred spirits in drummer Michael Zerang and bassist Kent Kessler, with whom he formed the Vandermark Quartet.
		Whatever the audience’s motivation, Vandermark and other like-minded players are pointing jazz in new directions that are both beholden to its history, but reaching well beyond its traditional parameters.
	www.okkadisk.com /articles/cmj61598.html (879 words)

	Vandermark "Design in Time" (Site not responding. Last check: 2007-11-06)
		Ken Vandermark was recognized for an astounding decade of music-making by receiving the prestigious MacArthur Foundation "genius" grant.
		While forging a sound of the future Vandermark has retained a healthy respect for his musical elders, and the Sound in Action Trio (featuring Vandermark on tenor sax and clarinet) is built around one of them; former Sun Ra drummer Robert Barry.
		Ken Vandermark also appears on the NRG Ensemble's This Is My House.
	delmark.com /delmark.516.htm (173 words)

	WNUR Interview: Ken Vandermark's Joe Harriott Project, 5/1/98
		John: [laughs] Thanks, Ken. This was released in the early sixties, about '63 is when it came out in the states, at the beginnings of psychedelia or just pre-psychedelia.
		I know from talking to Evan Parker that he was an important influence, not necessarily in terms of the specifics of the music, but in terms of what he was interested in, and the fact that he was there doing these things in a fairly hard situation.
		Ken: Yeah, he's not taken seriously as a composer at all, and he should be.
	www.wnur.org /jazz/artists/vandermark.ken/interview-19980501.html (2072 words)

	Ink 19 :: Steam/The Vandermark 5/Spaceways Incorporated
		Vandermark is in familiar territory here, playing with bandmates in the Vandermark 5, Tim Mulvenna (drums) and Kent Kessler (bass).
		The Vandermark 5 is Ken Vandermark's compositional playground.
		Ken Vandermark has set a consistently high standard for himself, and it's well rewarding to hear him try to reach it.
	www.ink19.com /issues/october2000/wetInk/musicS/steamTheVandermark.html (622 words)

	SoundsGood Interview: Ken Vandermark
		Ken gives us the story on his collaborations with Superchunk and Portastatic, on what it was like recording with saxaphone legend Joe McPhee the first time, on his unbelievable tour schedule, and on the surprising downsides of winning a prestigious MacArthur prize.
		Ken Vandermark: I grew up in the Boston area, went to college at McGill University in Montreal studying film and communications, moved to Boston after graduating in 1986, and then went to Chicago in the fall of 1989.
		August: Three concerts with The Vandermark 5 in Chicago; a concert at the Oslo jazz festival with School Days/Atomic on the 12th; a concert with Peter Brotzmann and Mats Gustafsson at the Mulhouse jazz festival in France on the 28th; concert with The Crisis Ensemble at the Chicago jazz festival on the 30th.
	soundsgoodradio.net /INTERVIEWS/kv.html (3094 words)

	Jazzmatazz Review - School Days - Crossing Division
		Ken (on tenor sax) and Bishop start in unison, then they imrovise in counterpoint and Vandermark has a strong tenor solo.
		After two minutes the sax and trombone state the theme in unison, then Vandermark has a bluesy tenor sax solo which goes into overdrive at the end with fast playing and the use of overtones.
		Vandermark's tune has a Monk-sounding melody and is dedicated to Monk-influenced pianist Mal Waldron.
	home.att.net /~jazzmatazz/reviews.p/R0104e.html (432 words)

	Ken Vandermark - Jazz Bulletin Board
		Ken Vandermark was born on September 22, 1964 in Warwick, Rhode Island and began playing trumpet in the fourth grade, switching to the tenor saxophone at age 16.
		Ken was selected as one of the "Chicagoans of the Year in the Arts: 1994" by the Chicago Tribune (Jan. 1, 1995) for his work with the Vandermark Quartet.
		His group the Vandermark 5 was selected for inclusion the "Art In Chicago: 1945-1995" exhibition held at the Museum of Contemporary Art in that city from Nov. 16, 1996 to Mar. 23, 1997.
	forums.allaboutjazz.com /showthread.php?t=5438 (5219 words)

	MAGNET Interview: Ken Vandermark
		Another in a series of Vandermark 5 progressions, The Color Of Memory (Atavistic) is far from some kind of Proustian conceit or a collection of reflections on jazz’s past.
		Instead, it represents Chicago saxophonist Ken Vandermark’s way of getting at new ideas, as with the movement from boppish noir at the start of “Burn Nostalgia” (a song dedicated to, of all people, the much more traditionalist ’50s alto-sax player Art Pepper) to a rhythmic breakdown on the out passage.
		For Vandermark, jazz is a liquid construction, music that moves in ripples and waves rather than serving as portraiture—moments in time, caught in time.
	www.magnetmagazine.com /interviews/vandermark.html (2008 words)

	Ken Vandermark - Page 5 - Jazz Bulletin Board
		Ken is filtering what he's hearing through his own sensibility, even though Ornette's ideas have little to do with John, as he's quite possibly not even aware of them, and he's certainly far from working in that tradition, now or ever.
		Ken wrote: "One of the big problems the writers are faced with is the fact that almost all the musicians that are playing this music now, my age and younger, are influenced by and have played many, many different kinds of music- not just jazz other forms of improvised music.
		I love bar gigs, too, Ken, but in the 70's when Anthony Braxton was artist in residence at Michigan State University (and Gary Lane, or Laine, was broadcasting on WKAR in East Lansing) and Roscoe Mitchell was living in Bath, right outside of MSU, the whole trip was as a concert vibe.
	forums.allaboutjazz.com /showthread.php?t=5438&page=5&pp=20 (7110 words)

	Salon Arts & Entertainment \| Genius
		In fact, he says he plans to use some of his $265,000 windfall to release some albums since the labels he deals with are so small that they can't always afford to keep up with his recording schedule.
		Vandermark is a solid composer and improviser, but more importantly, he's the linchpin of the Chicago music scene -- or, rather, the linchpin that holds a whole bunch of Chicago music scenes together.
		Even if Vandermark's rehearsal schedule is the size of the Chicago white pages, his versatility isn't his genius.
	www.salon.com /ent/log/1999/06/30/vandermark (430 words)

	Silkheart Records presents the New American Jazz. (Site not responding. Last check: 2007-11-06)
		This is their debut on disc and it is quite a major event, particularly since they are joined by another significant contributor to new jazz improvisation in the shape of Ken Vandermark.
		I was in the audience with Mats as he listened to Ken for the first time, playing with the Unheard Music Quartet (a group that never recorded before splitting up a year later), and I remember how enthusiastic he was about Ken's playing, straight away.
		Vandermark's compositions and Gustafsson's structure and the Charlie Haden and Ayler pieces are used as diving platforms rather than gang-planks.
	www.silkheart.se /cgi-bin/cgiwrap/silk/silk.cgi?shcd149 (1156 words)

	Underground + Gambit : Ken Vandermark : CD Reviews : One Final Note
		While such statements might be a tad hyperbolic, the fact of the matter is that regardless of what some may claim, Vandermark is an artist who consistently attempts to explore different avenues and seeks to further his art, like a seasoned chess player plotting his next move.
		Vandermark's dedication to Joe Morris, "Two (for Joe Morris)", follows a looser pattern, with the composer's percussive bass clarinet reacting amid the fray.
		In sum, while neither of these discs might be considered "Essential Vandermark", they both offer a glimpse at two pieces of the puzzle that are not only worthy, but also highlight the richness of Vandermark's art.
	www.onefinalnote.com /reviews/v/vandermark-ken/underground.asp (1113 words)

	Club Cafe Calendar (Site not responding. Last check: 2007-11-06)
		Since June of 2001, Ken Vandermark (reeds), Nate McBride (bass) and Paal Nilssen-Love (drums) have literally, been dropping the jaws of audiences here and abroad.
		FME is likely one of the most adventurous projects of all Ken Vandermark's work.
		Vandermark 5 (Ken Vandermark, Kent Kessler, Tim Daisy, Dave Rempis and Fred Lonberg-Holm).
	www.clubcafelive.com /calendar.asp?id=9&year=2005&index=22 (347 words)

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