CV ELDBJØRG RAKNES Singer, Composer, Lyricist, Ass
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Musikkoperatørene AS |
Best på MUSIKKOPERATØRENE AS Norsk Musikk NYHETER September 2017 / UKE 35 Følg oss på Facebook: http://tinyurl.com/3a2rhel og Twitter: http://twitter.com/Musopdf Nyheter 1. September: Bendik Brænne - The last great Country Swindle (cd & vinyl) Med den kanadiske alt-country stjerna Daniel Romano på laget kommer Bendik Brænne nå ut med sin tredje solo plate, The Last Great Country Swindle. Albumet er tuftet på et langt samarbeid med mariachi death surf orkesteret, Los Plantronics, og innøving og låtskrivingen til albumet har foregått på øvelokalet deres med kompet fra orkesteret, Lars Erik Larsen (bass) og Kjetil Johan Jakobsen (trommer). Ellers er det David Wallumrød på orgel, Martin Windstad på perkusjon. Den er innspilt hos Christian Engfelt, mikset av Dan Weston, og mastret av Greg Calbi. Bendik Brænne (f.1987 Bærum) vant spellemannsprisen i countryklassen for debutplaten sin «How to fake it in America» i 2013. Han ble også nominert i samme kategori for oppfølger albumet sitt, «Do you know who I think I am» året etter. Som saksofonist, pianist og arrangør har han medvirket på en mengde album, b.la for artister som Dumdum Boys, Kurt Nilsen, Amund Maarud, Odd Nordstoga, Greni og Jonas Alaska. Kommer fra: Bærum,Oslo Sjanger: Rock/pop / Americana Varenr: BXCD1701 | Pris: 1 CD JT | | Strekkode: 7041889505357 | Label: Bendix Varenr: BXLP1701 | Pris: 1 LP PX | | Strekkode: 7041889505340 | Label: Bendix For promo kontakt: [email protected] Kjetil Flatland - Hyttetankar Tanker fra en avsidesliggende hytte Etter sitt kritikerroste debutalbum “Ein song til deg” i 2015 er Kjetil Flatland nå klar med oppfølgeren; “Hyttetankar”. Tekstene er i all hovedsak skrevet på en avsidesliggende fjellhytte i Telemark, og han debuterer med dette med egenproduserte tekster. -
Windward Passenger
MAY 2018—ISSUE 193 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM DAVE BURRELL WINDWARD PASSENGER PHEEROAN NICKI DOM HASAAN akLAFF PARROTT SALVADOR IBN ALI Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East MAY 2018—ISSUE 193 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 NEw York@Night 4 Laurence Donohue-Greene: Interview : PHEEROAN aklaff 6 by anders griffen [email protected] Andrey Henkin: [email protected] Artist Feature : nicki parrott 7 by jim motavalli General Inquiries: [email protected] ON The Cover : dave burrell 8 by john sharpe Advertising: [email protected] Encore : dom salvador by laurel gross Calendar: 10 [email protected] VOXNews: Lest We Forget : HASAAN IBN ALI 10 by eric wendell [email protected] LAbel Spotlight : space time by ken dryden US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or VOXNEwS 11 by suzanne lorge money order to the address above or email [email protected] obituaries by andrey henkin Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Stuart Broomer, FESTIVAL REPORT Robert Bush, Thomas Conrad, 13 Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, CD ReviewS 14 Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Mark Keresman, Marilyn Lester, Miscellany 43 Suzanne Lorge, Marc Medwin, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Event Calendar 44 Andrew Vélez, Scott Yanow Contributing Writers Kevin Canfield, Marco Cangiano, Pierre Crépon George Grella, Laurel Gross, Jim Motavalli, Greg Packham, Eric Wendell Contributing Photographers In jazz parlance, the “rhythm section” is shorthand for piano, bass and drums. -
Jon Balke Book of Velocities
ECM Jon Balke Book of Velocities Jon Balke: piano ECM 2010 CD 6025 173 2765 (8) Release: October 23rd, 2007 The cover photo of “Book of Velocities” was taken by Jon Balke from a moving car. “I like to test-listen to music while driving, and the camera was on the seat beside me. All I had to do was to grab it and shoot wildly, without looking at or through the camera. Next time I adjusted the programming of the camera for better results, and the time after that I understood more of the way light became graphic. And so a series of velocity pictures evolved.” As in photography, so in music on Balke’s first solo piano recording, a remarkable ‘book’ of 19 short pieces, grouped into four chapters and an epilogue. Music composed and developed, invented and improvised: exploring a whole vocabulary of ideas, techniques, rhythms, textures and sound-colours. The approach: the pianist sketches an idea at the piano, quite spontaneously, waits a few seconds and develops the idea through a series of takes – and then moves on to a new ‘chapter’. Balke calls it “a process of understanding by doing and not by pre-conceived ideas.” The outcome is also a result of the room, hour of the day, the piano, the light and so on.” Speed is part of the process: “Piano playing is in fact mainly about velocity. There is no more information going through the mechanics when a note is struck, than the sheer force of your finger hitting the ebony and ivory. -
Jan Erik Kongshaug
JAN ERIK KONGSHAUG THE OTHER WORLD ACT 9267-2 Release Date Germany: February 1999 Jan Erik Kongshaug is one of a handful of recording engineers whose name and work over the years has earned the respect and admiration of musicians and discerning jazz connoisseurs the world over. His work with Manfred Eicher of ECM records is memorable, and Kongshaug is now one of the most requested sound engineers in jazz. With the recording of his first CD at the age of fifty-four, Kongshaug is revealing to the jazz world that he is also a superb musician and composer. Jan Erik was born into a musical environment. His father was a well known guitarist in Norway, while his mother was a professional singer. When Jan Erik was seven, he began playing accordion; around the age of 14, he picked up the guitar. By the early 60's his inauences counted the likes of Barney Kessel, Wes Montgomery, and Kenny Burrell. After graduating from high school, Kongshaug began to study electrical engineering. He found himself gravitating towards sound engineering, and was soon working at the Arne Bendiksen Studio in Oslo. In 1970, ECM head Manfred Eicher came to Oslo to make a recording at the Bindiksen Studio with Jan Garbarek. Jan Erik Kongshaug was the recording engineer. The resulting album, „ric Pepperbird", was the beginning of a continuing musical relationship that has spanned almost thirty years. In 1978 Kongshaug started a five year period of freelancing. He began Aying to the States for three or four days every month to work as sound and mixing engineer at the legendary Power Station studio in New York City. -
Sidsel Endresen © Martin Sylvest Qua 27 De Abril Aplicando Ideias Pessoais
Jazz 27 Abril 2011 Ciclo “Isto é Jazz?” Comissário: Pedro Costa Sidsel Endresen © Martin Sylvest Qua 27 de Abril aplicando ideias pessoais. Tenho-me ins- Seim, um saxofonista particularmente 21h30 · Pequeno Auditório pirado no jazz e trabalhado com músicos ascético que faz Garbarek parecer um Duração: 1h00 · M12 de jazz, sobretudo devido à flexibilidade melro palrador, e Christian Wallumrod, e à abertura de pessoas como Django um partidário da EAI (de electro-acous- Bates, Jon Christensen e Nils Petter tic improvisation), todos eles figuras de Molvaer, mas quanto a aceitar essa tradi- topo daquilo a que, com pouca justeza ção o que digo é: ‘não, obrigado’.” dada a diversidade existente, se vem Ou seja, a resposta que Sidsel chamando “jazz nórdico”. Aliás, e por Endresen dá ao nome da série de mais experimental que seja a produção concertos em que está inserida nesta recente de Sidsel Endresen, é com essa sua vinda a Portugal, Isto é Jazz?, é área que mais habitualmente a identi- Voz Sidsel Endresen paradoxalmente dupla: “sim” e “não”. ficam os críticos que não sabem muito A explicação está em discos como Exile, bem o que fazer com ela. Nightsong, Merriwinkle e One, na sua Essa arrumação de prateleiras é assim associação com o compositor contem- desmistificada pela cantora: “Bom, Sem fiordes, ser que houvesse semelhanças com porâneo Rolf Wallin, com quem escreveu uma coisa é certa: o que nós fazemos alguns desses exemplos, e isso só me a ópera Lautleben, nas contribuições tem muito pouco que ver com fior- nem montanhas honra, mas fui avançando sempre. -
ÅRSMELDING 2019 20192019STIFTELSEN2019 MIDTNORSK JAZZSENTER (MNJ) Heidi Skjerve (Trondheim Voices) • Foto: Christina Undrum • Foto: Voices) Heidi Skjerve (Trondheim
1 mnj.no ÅRSMELDING 2019 20192019STIFTELSEN2019 MIDTNORSK JAZZSENTER (MNJ) Heidi Skjerve (Trondheim Voices) • Foto: Christina Undrum • Foto: Voices) Heidi Skjerve (Trondheim 2 3 mnj.no mnj.no INNHOLD: ORGANISASJON Kommentar: Stiftelsen Midtnorsk jazzsenter, stiftet 05.12.1997, SørTrøndelag og NordTrøndelag er fra 1.januar har organisasjonsnummer 979 602 669. 2018 slått sammen til det nye fylket Trøndelag. MIDTNORSK Vedtektene bør derfor oppdateres. JAZZSENTER STIFTERE / OPPRETTERE FRA SIDE Norsk jazzforum STYREARBEID Musikkonservatoriet i Trondheim, NTNU Styret hadde tre styremøter og behandlet 23 Molde International Jazz Festival saker i 2019. Blant sakene nevnes særlig: 03 Trondheim Jazzforum • Oppfølging av den pågående regionreformen LOKALISERING • Evaluering av den regionale turneordningen Midtnorsk jazzsenter er lokalisert i Dokkparken • Trondheim Jazz Expo 2019 TRONDHEIM 4 i Trondheim og har kontorfellesskap med Dokk • Vertskap for Norsk jazzforums landsmøte 2019 JAZZORKESTER huset Scene AS, Trondheim kammermusikk • Utdeling av støttemidler til musikere og FRA SIDE festival, Trondheim Jazzforum og Trondheim arrangører i regionen Jazzfestival. STYRETS MEDLEMMER 2019: 06 FORMÅL Styret i Stiftelsen Midtnorsk jazzsenter består av I vedtektenes § 2 er formålet med MNJ beskrevet følgende sju styremedlemmer med personlige slik: ”Stiftelsen Midtnorsk jazzsenter skal fremme varamedlemmer: kulturtilbudet innen jazzmusikk i Trondheim og TRONDHEIM regionen bestående av de tre midtnorske Styreleder: Per Axel Koch VOICES fylkene Møre og -
PARMAJAZZ FRONTIERE FESTIVAL 2014 Oltre I Confini, Ascolti XIX Edizione 4 Novembre - 2 Dicembre
con il contributo di FONDAZIONE MONTE DI PARMA, FONDAZIONE CARIPARMA, COMUNE DI PARMA, REGIONE EMILIA-ROMAGNA, PROVINCIA DI PARMA, DALLARA AUTOMOBILI con il contributo e l’ospitalità di BANCA MONTE PARMA in collaborazione con ISTITUZIONE CASA DELLA MUSICA, AMBASCIATA DI NORVEGIA, RIKSKONSERTENE/CONCERTS NORWAY, NORWEGIAN ACADEMY OF MUSIC, FONDAZIONE TEATRO DUE, CONSERVATORIO “A. BOITO” DI PARMA, ASSOCIAZIONE REMO GAIBAZZI, UNIONE PARMENSE DEGLI INDUSTRIALI, IBIS STYLES PARMA TOSCANINI, SHAKESPEARE LIVE MUSIC RESTAURANT CAFÈ & CATERING, CIRCOLO ARCI ZERBINI con il Patrocinio dell’UNIVERSITÁ DEGLI STUDI DI PARMA e i media partner RAI RADIO 3 TAPIRULAN PARMAJAZZ FRONTIERE FESTIVAL 2014 Oltre i Confini, Ascolti XIX edizione 4 Novembre - 2 Dicembre A Giorgio Gaslini Ufficio Stampa Studio alfa – tel e fax 06.8183579 – [email protected] Resp. Ufficio Stampa e P.R. Lorenza Somogyi Bianchi – cell. 333.4915100 A Giorgio Gaslini Maestro e amico «La musica è per l’uomo. La musica nasce dall’uomo per l’uomo. «A noi interessa l’uomo totale. «Siamo quindi per la sintesi di tutte le culture e quindi per la fusione di tutti i linguaggi musicali. «Poiché totale significa anche passato oltreché presente e futuro, non poniamo limite all’uso di linguaggi musicali del passato. «Totale non significa caos. Significa non tralasciare ciò che anche per un solo uomo conta, e operare per un tutto futuro, al vertice di un’evoluzione del mondo; significa intuire, desiderare e sollecitare l’avvento, attraverso i processi storici di un uomo totale. «Ci appare superato ogni dogmatismo stilistico limitato a culture specifiche e ci dichiariamo per l’assunzione di tutte le culture musicali in un unico atto libero di creazione espressiva. -
Curriculum Vitae
curriculum vitae Kjetil Traavik Møster musiker Skanselien 15 5031 Bergen mob. (+47) 90525892 e-post: [email protected] web: www.moester.no medlem av Gramart, Norsk Jazzforum f. 17/06/76 Bergen, Norge. UTDANNELSE: 2006-2012: Master i utøving jazz/improvisasjon, Norges Musikkhøgskole 1998-2002: Cand. mag. fra NTNU, Musikkonservatoriet i Trondheim, jazzlinja 3-års utøvende musikerutdanning (fordelt på 4 år) 1-års praktisk-pedagogisk utdanning (fordelt på to år) 1996-1997: Musikk grunnfag med etnomusikologi fordypning, NTNU, Universitetet i Trondheim 1995-1996: Sund Folkehøgskole, jazzlinga Annen utdannelse Examen artium, musikklinja, Langhaugen Skole 1995 ARBEID SOM MUSIKER: Har arbeidet som utøvende musiker siden år 2000, og er involvert i diverse prosjekter, bl.a. følgende: - Møster! (startet sommeren 2010) med Ståle Storløkken – orgel/keyboards, Nikolai Eilertsen – el.bass, Kenneth Kapstad – trommer. CD-utgivelse 2013, 2014, 2015 - Møster/Edwards/Knedal Andersen Friimprovisasjonstrio med John Edwards og Dag Erik Knedal Andersen, jevnlig turnéring fra høsten 2013 - Kjetil Møster med BIT20 Ensemble Skrev og fremførte et 30 minutters stykke for 16 stemmer pluss seg selv som solist for BIT20 Ensemble våren 2013 - Kjetil Møster Solo (Kongsberg Jazzfestival 2005, Soddjazz 2006, konserter i Norge 2004, 2005, 2006, 2010, 2011, Moldejazz 2011, turné i Skandinavia 2011, CD-utgivelse 2011) - The Heat Death Friimprovisasjonstrio med Martin Kuchen, Mats Äleklint, Ola Høyer og Dag Erik Knedal Andersen. Turnéring fra 2012, planlagt CD-utgivelse på portugisiske Clean Feed november 2015. - Kjetil Møster Sextet (startet sommeren 2006 i forbindelse med tildelingen av IJFO Jazz Talent Award. Inkluderer Anders Hana, gitar, Per Zanussi og Ingebrigt Håker Flaten, el. og kontrabass, Kjell Nordeson og Morten J. -
Norway's Jazz Identity by © 2019 Ashley Hirt MA
Mountain Sound: Norway’s Jazz Identity By © 2019 Ashley Hirt M.A., University of Idaho, 2011 B.A., Pittsburg State University, 2009 Submitted to the graduate degree program in Musicology and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy, Musicology. __________________________ Chair: Dr. Roberta Freund Schwartz __________________________ Dr. Bryan Haaheim __________________________ Dr. Paul Laird __________________________ Dr. Sherrie Tucker __________________________ Dr. Ketty Wong-Cruz The dissertation committee for Ashley Hirt certifies that this is the approved version of the following dissertation: _____________________________ Chair: Date approved: ii Abstract Jazz musicians in Norway have cultivated a distinctive sound, driven by timbral markers and visual album aesthetics that are associated with the cold mountain valleys and fjords of their home country. This jazz dialect was developed in the decade following the Nazi occupation of Norway, when Norwegians utilized jazz as a subtle tool of resistance to Nazi cultural policies. This dialect was further enriched through the Scandinavian residencies of African American free jazz pioneers Don Cherry, Ornette Coleman, and George Russell, who tutored Norwegian saxophonist Jan Garbarek. Garbarek is credited with codifying the “Nordic sound” in the 1960s and ‘70s through his improvisations on numerous albums released on the ECM label. Throughout this document I will define, describe, and contextualize this sound concept. Today, the Nordic sound is embraced by Norwegian musicians and cultural institutions alike, and has come to form a significant component of modern Norwegian artistic identity. This document explores these dynamics and how they all contribute to a Norwegian jazz scene that continues to grow and flourish, expressing this jazz identity in a world marked by increasing globalization. -
Fmqautumn 2016 3 FMQ :: Autumn 2016
Olavi Louhivuori Physical and Gender equality : : p. 6 cultural in music environments – unfinished of music business? : : p. 12–43 : : p. 44–53 Finnish Music Quarterly FMQAutumn 2016 Contents :: EditorialBY ANU AHOLA Autumn 2016 3 3 Editorial 4 News :: FMQ 6 Beyond genre BY Wif Stenger on Olavi Louhivuori Aural landscapes, sonic mindscapes AUTUMN 12 The voice of freedom BY Andrew Mellor on Outi Tarkiainen 2016 14 Collective resonance BY Merja Hottinen on Nathan Riki Thomson The foundation of every culture consists of the natural environment and the customs and beliefs of the community living in it. These basic elements 18 Spaces and pigeonholes BY Hanna Isolammi shape each other constantly, sometimes in surprising ways. In this issue Jussi Puikkonen on Susanna Mälkki we explore the relationship between music and environment, both natural and cultural. What traces, influences and meanings of the environment do 20 The North in music BY Andrew Mellor the people who create, consume and study music find in it today? 24 Natural born preachers BY Janne Flinkkilä This question prompted further questions: How does a language envi- on Radiopuhelimet ronment manifest itself in music? Why does performing a concert in the natural environment seem to enhance the experience? And what about 26 10 Finnish songs about and inspired by nature BY Matti Nives the evolution of music: is music essential for human beings, biologically speaking? 28 Taking Note: Naturally good music BY Juha Torvinen Although definitive answers cannot be found for all these questions, 30 Nature’s concert halls BY Heidi Horila it is obvious that creating and experiencing music are always affected by on the force of nature in Finnish music events nature, by nurture and by the culture we live in. -
Emily Dickinson in Song
1 Emily Dickinson in Song A Discography, 1925-2019 Compiled by Georgiana Strickland 2 Copyright © 2019 by Georgiana W. Strickland All rights reserved 3 What would the Dower be Had I the Art to stun myself With Bolts of Melody! Emily Dickinson 4 Contents Preface 5 Introduction 7 I. Recordings with Vocal Works by a Single Composer 9 Alphabetical by composer II. Compilations: Recordings with Vocal Works by Multiple Composers 54 Alphabetical by record title III. Recordings with Non-Vocal Works 72 Alphabetical by composer or record title IV: Recordings with Works in Miscellaneous Formats 76 Alphabetical by composer or record title Sources 81 Acknowledgments 83 5 Preface The American poet Emily Dickinson (1830-1886), unknown in her lifetime, is today revered by poets and poetry lovers throughout the world, and her revolutionary poetic style has been widely influential. Yet her equally wide influence on the world of music was largely unrecognized until 1992, when the late Carlton Lowenberg published his groundbreaking study Musicians Wrestle Everywhere: Emily Dickinson and Music (Fallen Leaf Press), an examination of Dickinson's involvement in the music of her time, and a "detailed inventory" of 1,615 musical settings of her poems. The result is a survey of an important segment of twentieth-century music. In the years since Lowenberg's inventory appeared, the number of Dickinson settings is estimated to have more than doubled, and a large number of them have been performed and recorded. One critic has described Dickinson as "the darling of modern composers."1 The intriguing question of why this should be so has been answered in many ways by composers and others. -
Årsmelding NJS 2020
Foto: Francesco Saggio 09.10 Sky Music – En hyllest til Terje Rypdal ÅRSMELDING 2020 JAN - FEB - MAR MAR - APR - MAI - JUN PROGRAMMER 2020 RETUR Mathias Eick Quintet • Stian Westerhus V • Broen Ayumi Tanaka Trio • Marc Ribot Ceramic Dog Moskus • Jaimie Branch • Hedvig Mollestad - Ekhidna Hildo • Sylvie Courvoisier Trio • Jazzmeia Horn Patricia Barber • Jeff Parker and the New Breed Julian Lage Trio • Natalie Sandtorv - Neon Ion ÅRSMELDING Tonbruket • Gard Nilssen’s Supersonic Orchestra Trygve Seim - Sangam • Céline Bonacina Fly Fly Mary Halvorson & Bill Frisell • Kaba Orchestra Mike Stern & Jan Gunnar Hoff Group • Becca Stevens Lucia Cadotsch Speak Low • Monty Alexander Trio Maria Kannegaard Trio • Petter Wettre • Koma Saxo Terje Rypdal Conspiracy • Tord Gustavsen Trio LILJA • John Scofield Trio feat. Swallow & Stewart 2020 VÅREN 2020 www.nasjonaljazzscene.no VÅREN 2020 www.nasjonaljazzscene.no 04. ÅRET SOM HAR GÅTT 09. KONSERTÅRET 2020 17. ANSATTE OG STYRE 19. ØKONOMI 20. REGNSKAP 03 ÅRET SOM HAR GÅTT Nasjonal jazzscene - Victoria hadde en meget god start på 2020. 11. januar til 11. mars står igjen som en av våre sterkeste perioder. Mange konserter solgte flere billetter enn ventet, og særlig gledelig var det å se et økende publikumstall på de smalere konsertene. Programmet i denne perioden hadde en flott bredde, fra unge talenter til etablerte verdensstjerner, fra storbandfrijazz, kunstpop, elektrojoik til mainstream. 12. mars ble det brått slutt. Dette var starten på, for oss som for alle andre, en krevende tid. I en uoversiktlig og ukjent situasjon satte vi i hovedsak i gang med å flytte konserter for å gi så mange artister som mulig en ny konsertdato.