Born: October 5, 1925 | Died: June 16, 2010 Primary Instrument: Trumpet
Bill Dixon has been a driving force in the advancement of contemporary American Black Music for more than 45 years. His pioneering work as a musician and organizer in the early 1960’s helped lay the foundation for today’s creative improvised music scene in New York and beyond. In 1964, he founded the all-star artists collective, the Jazz Composers’ Guild, and produced and organized The October Revolution in Jazz, an unprecedented New York festival that helped put the so-called “new thing” on the cultural map.
A mentor to countless musicians, through both his teaching and his role as a producer for Savoy Records, Dixon turned his focus to education in the late 1960’s, serving for nearly 30 years on the faculty at the prestigious Bennington College, where he founded the historic Black Music Division in 1973. ...
--Bill Meyer, DownBeat
...Dixon has fashioned a work around which new formal paradigms will need to be constructed.
Dixon’s music explodes category: it is neither free nor through-composed, though elements of both
approaches are often discernible. I hope this fine addition to his discography, coupled with a renewed
interest in his work, will allow more of Dixon’s orchestral compositions to be performed by equally
--Marc Medwin, Signal to Noise
...Dixon opens up space and the musicians play it.
--Philip Clark, The Wire
...the process of searching for a sound, both as an individual musician, or as a composer, is an ongoing
process that leads to the creation of a certain type of music palpably, viscerally distinguishable from
music that does not. Bill Dixon is nothing short of a master when it comes to this concept of sound,
and at his age and stature is unique in his ability to offer us an incredibly refined vision of this different
approach to sound and music.
--Dan Melnick, Soundslope
The 13-part suite creates an ebb-and-flow effect, with the reeds and horns surging by turns amid
throbbing drum rolls and calmly snaking solo lines. The work's centerpiece, the 23-minute Sinopia, is
where Dixon best makes his presence felt as something other than conductor. It leaves room for some
intimate dialogues between instrumentalists, but there's no missing the leader's entrance. With
puckered blurts, upper-register trills, and rubbery bleats -- most of them enhanced with ghostly delay
-- he stalks across the landscape, his utterances punctuating the arrangement like shadow puppets
dancing across an illuminated screen. And even when the piece is more geared toward an ensemble
sound -- which, to be fair, is most of the time -- Dixon shines brightly with his mastery of
--Peter Margasak, Chicago Reader