17 September 1883
4 March 1963 (aged 79)
There are apparently two entries for William Carlos Williams. One is the poet, mentioned below as #2.
Atlanta's William Carlos Williams is a group whose musical output defies easy categorization. Avant-gard only hints at the influences of the band - which include rock, free form jazz, and fusion. Like the modernist American poet from whom the band took its name, William Carlos Williams is prolific, original and creative. And, after two short releases on the Brave Scout label, William Carlos Williams presents their debut full-length release, White Women, on Atlanta's new ShoeString Records.
Formed by musicians whose backgrounds range from jazz to death metal, William Carlos Williams meld their diverse styles into a whole sound which is greater than the sum of its parts. The band was founded in 1995 by saxophonist Rob Mallard (ex-60 cycle Hum and The Golden Sparkle band), bassist Andrew Burnes (ex-bassist for The Gold Sparkle Band and Barel), guitarists Rob Perham (ex-Bunnieslope) and Wes Daniel (ex-Steamboat), and drummer Stewart Voegtlin (who previously played in several death metal bands). William Carlos Williams made Mallard's Studio 204 their regular practice space, and it is there, in the heart of Atlanta s Cabbagetown neighborhood, that the band found its musical direction.
The name of the band's debut album, White Women, is a shout out to what Mallard calls, "a group of people who mean an inexplicable amount to us and our music." Mallard also adds: "Ours is not an album meant to make you feel happy, just feel good - catharsis for us, catharsis for you. Music exists primarily through its powers as a healing force. It has the ability to take people to a place where they may see inside themselves, be at peace and chuckle in spite of it. Albums are also something cool for the child in us to bring to show and tell. Listen to the track "The Shame of Man" and see if you can avoid feeling the depth of the sorrow expressed in this simple song. Or take the energetic rabble in "Stuck In Traffic" as we address the pitiful tragedy that life can be as epitomized by rush hour after rush hour and the fact that some relish that time as their time alone."
White Women was recorded by Mallard on an 8 track analog tape in his Studio 204. It features twelve diverse tracks, some mixed by Mallard at Studio 204, and some by Shachar Oren at Casino Studio. For the making of these recordings, the band was joined by their friends Eugene Chadbourne, Coleman Lewis (of Smoke), Danette Haser (of Pineal Ventana),Scott Herren (of Delarosa and Seely), Michael Murphy, Casey Reeves, Manuel Domingo, Molly Baroco, Jason Wagoner, Rodney Mills, Michael Weil and Michael Lindsey.
The band regularly tours the Southeast and the East coast (including packing the house at The Knitting Factory in NYC), and will be touring in support of the White Women, their debut release.
Dr. William Carlos Williams (sometimes known as WCW) (September 17, 1883 – March 4, 1963), was an American poet closely associated with Modernism and Imagism.
Williams was born in Rutherford, New Jersey, a town near the city of Paterson. His father was an English immigrant, and his mother was born in Puerto Rico. He attended public school in Rutherford, New Jersey until 1897, then was sent to study at Château de Lancy near Geneva, Switzerland, the Lycée Condorcet in Paris, France, for two years and Horace Mann School in New York City. Then, in 1902, he entered the University of Pennsylvania Medical School. During his time at Penn, Williams befriended Ezra Pound, Hilda Doolittle (H.D.) and the painter Charles Demuth. These friendships supported his growing passion for poetry. He received his M.D. in 1906 and spent the next four years in internships in New York City and in travel and postgraduate studies abroad (e.g., at the Univ. of Leipzig where he studied pediatrics). He returned to Rutherford in 1910 and began his medical practice, which lasted until 1951. Ironically, most of his patients knew little if anything of his writings and instead they viewed him as an old-fashioned doctor who helped deliver over 2,000 of their children into the world.
Williams is best known for his poem The Red Wheelbarrow, which is considered the model example of the Imagist movement's style and principles (see also This Is Just To Say). He also coined the Imagist motto "no ideas but in things." However, Williams did not personally subscribe to Imagist ideas, which were more a product of Ezra Pound and H.D.. Williams is more strongly associated with the American Modernist movement in literature, which rejected European influences in poetry in favor of regional dialogues and influences. In particular, his call for more regionalism in American literature came on the heels of his brief collaboration with Ezra Pound in editing an early draft of T.S. Eliot's epic poem The Waste Land. T.S. Eliot's poem exemplified what Williams disliked about European influences on American poetics.
#2 -The album I have is called White Women. I thought it was a poetry reading by the poet above when I bought it for two dollars in the used bin. Turns out, it's one of my favorite records by a "free jazz" type band from god knows where. I don't know if they're together anymore, but White Women has made me feel great feelings. The album encompasses every human emotion. I don't know anything about them, but I've listened to them hundreds of times.
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