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Sounding Our Depths: The Music of Morgan Powell – by Ann Starr.
Available for purchase at Upper Hand Press.

Morgan Powell Music Manuscripts, 1958-2014 | The Sousa Archives and Center for American Music

Moving Away from the Center of Jazz: Thomas Wirtel, a.k.a. Thomas Shabda NoorAnn Starr, NewMusicBox, The Web Magazine from the American Music Center

Morgan Powell on the Creative Process: The Reality of Maborosi, Ann Starr, NewMusicBox, The Web Magazine from the American Music Center

Interview with Morgan Powell – Snake Babies: A Conversation, by Ann Starr, Perfect Sound Forever online music magazine

“…Through the processes of composing, performing, and hearing this music the bar is raised to a new level of what constitutes ‘creative’ music.”

— Jim McNeely, jazz pianist/composer

“…Powell’s music sits at the intersection of the experimental jazz tradition and the classical avant-garde…”

— Mark Stryker, music critic
Detroit Free Press

“Morgan Powell and I grew up in the same musically unpromising small west Texas town. I was struck by his inventiveness, his passion for music, and his discipline….. He had such qualities nearly fifty years ago, and he has them still.”

— Larry McMurtry, novelist

“Morgan’s music has soul, spirit, song, effect, guts. I listen to these tunes and I get about every emotional feeling you can get.”

— Don Owens, Professor of Music, Northwestern University

“What Powell’s done all those years, he’s done quietly, yet he’s one of the best in avant garde writing. He’s the king. He’s the fountainhead.”

— John Von Ohlen
*American jazz drummer
*Professor, Cincinnati Conservatory of Music
University of Cincinnati

I think it’s the third eye that [Powell’s] music engages, deep inside the head. Despite its frequent magnitude and volume, it is essentially introspective music, and will trick only the inattentive or fearful into thinking it extrovert…Not only does he create great sound, he scrupulously orders sound elements to make intense reactions available when they are unexpected or even resisted. Thus he composes in a large sense—composing, proposing, and suggesting to the listener possibilities for idea and emotion.

— Ann Starr

My compositions are not easily categorized. They combine jazz, free and structured improvisations and current classical musical traditions as well as those of the past. I try to avoid the traditional divisions between "high" and "low" or popular culture, in my choice of ideas, materials and methods.

For me, composition is gratifying work. Performance is exhilarating play. Whether composing or performing jazz, intricately composed works or free improvisation, making music continues to be a wonderful life of work and play.

When I was six years old, I was attracted to the trombone because of the beautiful sound my cousin Dub produced on his silver Buescher. Later, I discovered the trombone could be smooth, rough, ugly, sexy and much more. I eventually found my own voice as well as my best friends through playing the trombone.