While Roper is generally identified as a free improvisational figure, some of these tracks focus on composed sections. The wonderfully sensitive pianist Glenn Horiuchi appears often as an accompanist and collaborationist, both on piano and on shamisen, providing a somewhat Eastern feel to some of the pieces. Some tracks showcase Roper's advanced techniques, and others highlight contrasts in tone and timbre.
California-based tubaist William Roper is among an elite few of virtuosi who are capable of extending their instruments range and capabilities to previously unvisited terrain. The artist is also known for his involvement with legendary new music/modern jazz icons Anthony Braxton and James Newton amid stints with other notables who generally alter or extend the tried and true into novel frameworks for ition. With Juneteenth, his inaugural date as a leader, Roper injects his stunning technique into a series of pieces comprising elements of wit, whimsy and pathos . Really, this is what the album is about: finding and expressing freedom(s) within the context of structures. Even in slavery people do this.
Audio CD, June 4, 2001. to his interesting contemporary jazz release. William Roper has played and/or recorded with: Thelonious Monster, The Fibonaccis, the Los Angeles Philharmonic, Bobby Bradford, Anthony Braxton, the Clayton/Hamilton Jazz Orchestra, Vinny Golia, Glenn Horiuchi, Clay Jenkins, Yusef Lateef, James Newton, John Rapson, Adam Rudolph, Wadada Leo Smith, Horace Tapscott, Francis Wong and others
William Roper's new CD of music for solo tuba and tuba in mixed ensembles presents an unusual program of his own pieces and music written or arranged by friends. There are two works for tuba alone, one for tuba, piano, percussion, three for tuba and percussion and perhaps strangest of all, a piece for tuba, taiko, woodwinds and two shamisens. Juneteenth is Roper's debut album as a leader. Unlike his two previous releases as a co-leader, (free-improv projects) this is an album that melds improvisation with an appreciable amount of composition. It is about finding and expressing freedom(s) within the context of structures.
Black Child Legacy Campaign& JuneTEENth Festival 2017.
June 6, 1944, known as D-Day, allied troops landed on the beaches, an unpleasant day that started in the early morning hours in Normandy, France, and turned the tides of World War II. The effect was the beginning and the liberation of Western Europe and tanglement from Nazi control. Exhausted they'd given their lives and we remember them. Each soldier has their own story of the chaos; none are the same as they were moved by impulse of the moment. Their heroism and bravery displayed by troops has served as inspiration to all our Allied countries.
Genre: Classical: Contemporary. Tomato Sage Records announces its first release with William Roper's IF I RAN THE CIRCUS (TSCR-001), featuring compositions by Roper for solo instruments and small ensembles. IF I RAN THE CIRCUS is Roper's fourth project as a leader. His compositions most often combine substantial composed sections with extensive improvisation. His interest is in how performers will find and express freedom(s) within the context of structures
Redirected from William Roper (biographer)). William Roper (c. 1496 – 4 January 1578) was an English lawyer and member of Parliament. The son of a Kentish gentleman, he married Margaret, daughter of Sir Thomas More. He wrote a highly regarded biography of his father-in-law. William Roper the second was the eldest son of John Roper (d. 1524), Attorney-General to Henry VIII, and his wife Jane (died . 544), daughter and coheir of Sir John Fyneux, Chief Justice of King's Bench
|2||Pigs, Pigs, Oh! Those Tasty Pigs|
|3||The Perfect Construction of Decisive Moments|
|5||Dance of the Sophists|
|6||A Recondite State of Lorn|