Tigran Biography Mar2011
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Tigran Hamasyan 2
PROFILE 5 days people are too busy on their phones and computers to look at the mountain, to look around them. I’m really interested in archeolo- gy and ancient ornaments” — don’t ask him why, he offers with a smile — “and there was this moment when I came across a 4000-year- old ceramic bowl from the Ararat Valley with impressions of the birds, trees and flowers the potter saw as he made it. I realised there is an art to observing.” While the album’s title track is all spacey vo- cals and ancient-to-future grooves, the song Egyptian Poet, with its changing vocal registers and swerving musical tempos, was inspired by a 4000-year-old book of poetry from Egypt. “I was fascinated by this book because it related so much to what is going on in the world now; back then it was all about love and power and hurt feelings too.” Crafted on a raw, ethereal sound- scape, Leninagone is a multi-layered, Russian- doll of a track that takes its melodic cue from late-19th-century Armenian piano music as it tells of the rise and fall of the Soviet Union, a historical event that had a profound impact on Armenia, a former component of the USSR. Hamasyan performing with the Ambitious, much? Another smile. “This Yerevan State Chamber Choir; music has a hint of the Russian Revolution Herbie Hancock, below [which kickstarted the Soviet Union], and from AMY T. ZIELINSKI/REDFERNS the way it’s arranged it is very much about Ar- menian folk influences as well as Caucasian me- Miles Davis, Wayne Shorter and Herbie Han- would say it is all about balancing body, mind lodies and Soviet classical music; creating a cock, him tapping the dashboard, me with my and spirit,” he adds, name-checking the contro- hybrid was part of Soviet ideology. -
BIO TIGRAN HAMASYAN in Its Ever-Evolving State, Jazz Invites Into
BIO TIGRAN HAMASYAN In its ever-evolving state, jazz invites into its fold imaginative artists who freely and courageously pursue their own vision, not only built on tradition but also infused with their own personality and passion. In the case of pianist/keyboardist Tigran Hamasyan, potent jazz improvisation fuses with the rich folkloric music of his native Armenia. Tigran is one of the most remarkable and distinctive jazz-meets-rock pianists of his generation. Tigran’s fresh sound is marked by an exploration of time signatures, charged dynamics, the shifting between acoustic and electric modes of expression, all undergirded by an affinity to the grind of heavy metal. Born in Gyumri, Armenia, in 1987, Tigran grew up in a household that was full of music—his father more of a rock fan while his uncle was a huge jazz buff. When he was just a toddler, Tigran gravitated to tape players and the piano instead of regular childhood toys, and by the time he was 3, he was working his way through figuring out songs on piano by the Beatles, Louis Armstrong, Led Zeppelin, Deep Purple, Black Sabbath and Queen. His jazz tastes early on were informed by Miles Davis’s fusion period, and then around the age of 10 when his family moved to Yerevan, he came to discover the classic jazz songbook under the aegis of his teacher Vahag Hayrapetyan, who had studied with Barry Harris. Tigran chose to study music. While he studied classical music at an Armenian high school geared toward music studies, Tigran continued to grow on his own as a jazz pianist. -
Disco Gu”Rin Internet
ISCOGRAPHIE de ROGER GUÉRIN D Par Michel Laplace et Guy Reynard ● 45 tours ● 78 tours ● LP ❚■● CD ■●● Cassette AP Autre prise Janvier 1949, Paris 3. Flèche d’Or ● ou 78 Voix de son Maitre 5 février 1954, Paris Claude Bolling (p), Rex Stewart (tp), 4. Troublant Boléro FFLP1031 Jacques Diéval et son orchestre et sex- 5. Nuits de St-Germain-des-Prés ● ou 78 Voix de son Maitre Gérard Bayol (tp), Roger Guérin (cnt), ● tette : Roger Guérin (tp), Christian Benny Vasseur (tb), Roland Evans (cl, Score/Musidisc SCO 9017 FFLP10222-3 Bellest (tp), Fred Gérard (tp), Fernard as), George Kennedy (as), Armand MU/209 ● ou 78 Voix de son Maitre Verstraete (tp), Christian Kellens (tb), FFLP10154 Conrad (ts, bs), Robert Escuras (g), Début 1953, Paris, Alhambra « Jazz André Paquinet (tb), Benny Vasseur Guy de Fatto (b), Robert Péguet (dm) Parade » (tb), Charles Verstraete (tb), Maurice 8 mai 1953, Paris 1. Without a Song Sidney Bechet avec Tony Proteau et son Meunier (cl, ts), Jean-Claude Fats Sadi’s Combo : Fats Sadi (vib), 2. Morning Glory Orchestre : Roger Guérin (tp1), Forhenbach (ts), André Ross (ts), Geo ● Roger Guérin (tp), Nat Peck (tb), Jean Pacific (F) 2285 Bernard Hulin (tp), Jean Liesse (tp), Daly (vib), Emmanuel Soudieux (b), Aldegon (bcl), Bobby Jaspar (ts), Fernand Verstraete (tp), Nat Peck (tb), Pierre Lemarchand (dm), Jean Paris, 1949 Maurice Vander (p), Jean-Marie Guy Paquinet (tb), André Paquinet Bouchéty (arr) Claude Bolling (p), Gérard Bayol (tp), (tb), Sidney Bechet (ss) Jacques Ary Ingrand (b), Jean-Louis Viale (dm), 1. April in Paris Roger Guérin (cnt), Benny Vasseur (as), Robert Guinet (as), Daniel Francy Boland (arr) 2. -
100 Titres Sur Le JAZZ — JUILLET 2007 SOMMAIRE
100 TITRES SUR LE JAZZ À plusieurs époques la France, par sa curiosité et son ouverture à l’Autre, en l’occurrence les hommes et les musiques de l’Afro-Amérique, a pu être considérée, hors des États-Unis, comme une « fille aînée » du juillet 2007 / jazz. Après une phase de sensibilisation à des « musiques nègres » °10 constituant une préhistoire du jazz (minstrels, Cake-walk pour Debussy, débarquement d’orchestres militaires américains en 1918, puis tour- Hors série n nées et bientôt immigration de musiciens afro-américains…), de jeunes pionniers, suivis et encouragés par une certaine avant-garde intellectuelle et artistique (Jean Cocteau, Jean Wiener…), entrepren- / Vient de paraître / nent, dans les années 1920, avec plus de passion que d’originalité, d’imiter et adapter le « message » d’outre-Atlantique. Si les traces phonographiques de leur enthousiasme, parfois talentueux, sont qua- CULTURESFRANCE siment inexistantes, on ne saurait oublier les désormais légendaires Léon Vauchant, tromboniste et arrangeur, dont les promesses musica- les allaient finalement se diluer dans les studios américains, et les chefs d’orchestre Ray Ventura, (qui, dès 1924, réunissait une formation de « Collégiens ») et Gregor (Krikor Kelekian), à qui l’on doit d’avoir Philippe Carles Journaliste professionnel depuis 1965, rédacteur en chef de Jazz Magazine (puis directeur de la rédaction à partir de 2006) et producteur radio (pour France Musique) depuis 1971, Philippe Carles, né le 2 mars 1941 à Alger (où il a commencé en 1958 des études de médecine, interrompues à Paris en 1964), est co-auteur avec Jean-Louis Comolli de Free Jazz/Black Power (Champ Libre, 1971, rééd. -
Flamenco Sketches”
Fyffe, Jamie Robert (2017) Kind of Blue and the Signifyin(g) Voice of Miles Davis. PhD thesis. http://theses.gla.ac.uk/8066/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten:Theses http://theses.gla.ac.uk/ [email protected] Kind of Blue and the Signifyin(g) Voice of Miles Davis Jamie Robert Fyffe Submitted in fulfilment of the requirements for the Degree of Doctor of Philosophy School of Culture and Creative Arts College of Arts University of Glasgow October 2016 Abstract Kind of Blue remains one of the most influential and successful jazz albums ever recorded, yet we know surprisingly few details concerning how it was written and the creative roles played by its participants. Previous studies in the literature emphasise modal and blues content within the album, overlooking the creative principle that underpins Kind of Blue – repetition and variation. Davis composed his album by Signifyin(g), transforming and recombining musical items of interest adopted from recent recordings of the period. This thesis employs an interdisciplinary framework that combines note-based observations with intertextual theory. -
Jazz Sur Le Vif
Jazz sur le vif ÉMILE PARISIEN & VINCENT PEIRANI DUO DANIEL HUMAIR QUARTET SAMEDI 9 JUIN 20H Daniel Humair © Olivier Degen En soixante ans de carrière, depuis son arrivée à Paris en 1958, Daniel Humair a joué avec toute la planète jazz. En quartette avec trois interlocuteurs aussi créatifs que virtuoses, le trompettiste Fabrice Martinez, le guitariste Marc Ducret et le contrebassiste Bruno Chevillon, le batteur célèbre ce soir son quatre-vingtième anniversaire. Et pour que la fête soit complète, deux de ses jeunes partenaires préférés, le saxophoniste Émile Parisien et l’accordéoniste Vincent Peirani, ouvrent la soirée. ÉMILE PARISIEN/VINCENT PEIRANI DUO Daniel Humair a côtoyé et travaillé avec des artistes légendaires comme Don Byas, Émile Parisien saxophone soprano Lucky Thompson, Kenny Dorham, Bud Powell, Oscar Pettiford, Chet Baker ou Eric Vincent Peirani Dolphy. Depuis la fin des années 1950, Daniel Humair multiplie les collaborations accordéon ponctuelles et de longue date avec, notamment, le pianiste René Urtreger et le contrebassiste Pierre Michelot (le célèbre trio HUM), le pianiste Martial Solal, ou - Entracte - encore le violoniste Jean-Luc Ponty et l’organiste Eddy Louiss avec lesquels il forme le trio HLP. Le trio qu’il réunit ensuite avec François Jeanneau et Henri Texier est DANIEL HUMAIR QUARTET considéré comme l’un des catalyseurs de la nouvelle scène du jazz en France dans les années 70. Tout en continuant sa carrière de free-lance, Daniel Humair Daniel Humair batterie invente, avec Joachim Kühn et Jean-François Jenny-Clark, un trio équilatéral qui Fabrice Martinez trompette lui permet de développer pleinement sa conception de la batterie et son activité de compositeur. -
Enrico Crolla “Henri”
1 The GUITAR of ENRICO CROLLA “HENRI” Solographers: Christian Dangleterre & Jan Evensmo Last update: June 20, 2020 2 Born: Napoli (Naples), Italy, Feb. 26, 1920 Died: Paris, Oct. 17, 1960 Introduction: What Oslo Jazz Circle knew about French jazz when I grew up there can be summed up with one name: Django Reinhardt. It took my good friend and guitarist Jon Larsen, the motor and godfather behind the string swing rejuvenation in the 1980s, to point out that France had so much more to offer with regard to jazz guitar. Henri Crolla is a perfect example! History: Born to a family of itinerant Neapolitan musicians, he moved with his family to Porte de Choisy in France 1922 following the rise of fascism in Italy. One of his neighbours was a young Django Reinhardt, with whose family he became close. He died in Paris from lung cancer (ref. Wikipedia). 3 HENRI CROLLA SOLOGRAPHY JOSEPH REINHARDT ET SON ENSEMBLE Paris, April 1944 Claude Laurence alias Andre Hodeir (vln), Joseph Reinhardt solo (g), G.Milpat alias Henri Crolla (g), Marcel Fabre (b), Pierre Fouad (dm), Odette Pacou (vo). Two titles were recorded for French Decca, but no guitar soli by HC. LEO CHAULIAC TRIO Paris, July 2-4, 1946 Leo Chauliac (p), Henri Crolla (g), Emmanuel Soudieux (b). Gerard Levecque (cl), Pierre Fouad (dm) added on some titles. Fourteen titles were recorded for French Pacific 5000-5006, four have been available (5003-5004): 1544-2 Three Little Beans Solo 32 bars. (FM) 1545-2 Bouncing Boogie Woogie Solo 24 bars. (M) 1547-2 Margie Solo 32 bars. -
Tigran Hamasayan and Members of the Yerevan Chamber Choir Bring 'Luys I Luso' to Royce Hall Saturday April 30
Media Alert Tuesday, March 01, 2016 Contact: Ashley Eckenweiler [email protected] Tigran Hamasayan and Members of the Yerevan Chamber Choir bring ‘Luys i Luso’ to Royce Hall Saturday April 30 Center for the Art of Performance at UCLA (CAP UCLA) is proud to present the only United States tour stop for Tigran Hamasayan with “Luys i Luso,” a spellbinding exploration of Armenian sacred music, featuring the prodigiously gifted pianist with members of Yerevan Chamber Choir performing in Royce Hall Saturday April 30 at 8 p.m. Tickets ($19-$59) are available now via cap.ucla.edu, Ticketmaster and the UCLA Central Ticket office at 310.825.2101. “Luys i Luso” – “Light from Light” – is Tigran Hamasyan’s first ECM album. Repertoire includes Armenian hymns, sharakans and cantos from the 5th to the 20th century, all newly arranged for voices and improvising pianist by Hamasyan himself. The album was recorded in Yerevan last October, and produced by Manfred Eicher. Tigran Hamasayan has long been deeply interested in Armenian sacred music, increasingly drawn to its “incredibly beautiful melodies… Over the years the idea to do an entire album with Armenian sacred music had been building and growing in my mind. About two and a half years ago I began to work on the first arrangements.” Ideas about repertoire have evolved along the way. “At one point I thought about doing an album devoted to Mesrop Mashtots, the 5th century saint, composer and linguist. But the working process led me to think more broadly about it, and I decided that the album should be of mixed repertoire. -
Paris Noir: Race and Jazz in Post-War Paris
Paris Noir: Race and Jazz in Post-War Paris Essential Questions: Why was Paris a jazz capital after World War II? Why did black Americans (particularly writers and jazz musicians) live in Paris after World War II during decolonization? What were the push and pull factors of African American migration to post-World War II Paris? How did Sidney Bechet link New Orleans jazz to Paris? What influence did Paris have on bop? How are jazz and jazz people naturally transnational? How do you listen to jazz? The importance of listening Obtaining a jazz vocabulary Understanding and appreciating major movements in jazz Understanding and appreciating the life and sounds of jazz innovators Historical context of jazz Objectives: Explain how Paris became the center of African American culture after World War II despite France’s decolonization policy. Determine the factors that transformed Jazz into a transnational and interracial music. Assess the relevancy of the post-World War II African American writers . Historical Context Based On: *Paris Noir: African Americans in the City of Light by Tyler Stovall *Jazz Diasporas: Race, Music and Migration in Post-World War II Paris by Rashida K. Bragg *France and Its Empire Since 1870 by Alice L. Conklin, Sarah Fishman, Robert Zaretsky Year Zero: A History of 1945 by Ian Burma Historical context presented by Marcie Hutchinson Paris: A New Black Community • Who- African American Writers, Artists Musicians • What- African American expatriate community • Where- Left Bank (Latin Quarter and Saint-Germain-des-Prés • -
Earl Rudolph Powell “Bud”
1 The PIANO of EARL RUDOLPH POWELL “BUD” Solographers: James Accardi & Jan Evensmo Last update: June 3, 2020 2 Born: NYC. Sept. 27, 1924 Died: NYC. Aug. 1, 1966 Introduction: Oslo Jazz Circle was originally based on the swing era (with Chu Berry as the primary idol), but a heavy minority managed to achieve equally high status for bebop and other modern forms. Bud Powell was discovered early, and personally I bought my first Blue Note LPs as a teenager. Bud Powell also played in Metropol Jazzclub, Oslo, Sept. 24-27 with Bjørn Pedersen (b), Jon Christensen (dm). I wa s there and remember how he looked ahead with a glassy stare when playing, almost like he did not know where he was. But sometimes he looked at his watch to the right of the keyboard, and after 45 minutes he stopped abruptly, even if the tune was not finished! An unforgettable experience for all of us! History: From 1940 BP took part in informal jam sessions at Minton’s Playhouse, New York, where he came under the tutelage and protection of Thelonious Monk and contributed to the emerging bop style. By 1942-44, when he played in the band of Cootie Williams, he had already developed his individual style in most of its essentials. After sustaining a head injury during a racial incident in 1945, he suffered the first of many nervous collapses, which were to confine him to sanatoriums for much of his adult life. Thereafter, in the late 1940s and early 1950s, he appeared intermittently in New York clubs with leading bop musicians or in his own trio. -
Le Festival D'uzeste Et La Compagnie Lubat 1978-1990
Université de Paris-I Panthéon-Sorbonne Centre d'Histoire Sociale (CHS) Le festival d'Uzeste et la Compagnie Lubat 1978-1990 Philippe Ogilvie Volume I Mémoire de maîtrise d'histoire culturelle Directeurs : Pascal ORY et Pascale GOETSCHEL 2005 1 INTRODUCTION 6 CHAPITRE I PRÉHISTOIRE ET MYTHES FONDATEURS 15 A) Bernard Lubat. Généalogie d’un musicien 17 1) D’Uzeste à Paris, « l’élève doué » 17 Un petit bourg des landes girondines 17 L’Estaminet 18 Une enfance musicienne rurale : « l’élan politico-musico-artisanal » 18 Bernard Lubat, musicien atypique et étonnant 20 2) La révolution du jazz 21 Un « débutant » affamé… 21 Le « virus du jazz » 23 B) De l’individu Lubat à la Cie Lubat 26 1) Au gré des rencontres un collectif va se former 26 2) Pratiques et discours 29 C) A Uzeste « Bernard Lubat invite… » 33 CHAPITRE II 1979-1984. UZESTE MUSICAL 37 A) 1979-1981. Un festival qui se réinvente chaque année 37 1) 1979, nouveau cru… 38 Chroniques du festival 38 Le vrai festival inaugural ? 41 Noël : et revoilà la compagnie… 43 2) 1980. L’implantation s’organise … 44 Premières fondations 44 Le festival grandit 46 3) 1981, une page obscure 49 Changements de cap 50 Noël 1981 52 B) Le tournant de 1982 54 1) Le projet prend sa vraie dimension territoriale : mégalocantonale 54 Un administrateur ambitieux 54 Des objectifs affichés 55 Implantation locale : une équipe permanente 57 Des subventions conséquentes 58 2) Un festival d’envergure, transdisciplinaire et multipiste 60 3) L’action à l’année 67 C) 1983-1984. Développements et appronfondissements 69 1) -
Press Release 20.09.2018
Press release 20.09.2018 Part of the proceeds of Tigran Hamasyan's Los Angeles performance benefit COAF The famous pianist and composer Tigran Hamasyan will perform at the University of California, Los Angeles (UCLA), on October 14. The theme of the concert to be held at the Center for Performing Arts (CAP) is For Gyumri. This is the title of the latest album of the master of musical improvisation, who will present the works of the collection in the hall. 10% of the proceeds from the University’s solo concert will go to the Children of Armenia Foundation (COAF). COAF’s Board of Directors takes care of all the administrative expenses of the Fund, and 100% of the donations made by benefactors will directly go and serve the implementation of the programs. "The leading role of the Children of Armenia Foundation in the development of rural communities was especially strengthened by the opening of the technologically innovative COAF SMART Center in the Lori region," mentioned Dr. Garo Armen, the Founder and the Managing Director of COAF. We highly value the partnership with CAP UCLA based on the same values and mission. We are thankful for donating a part of the concert proceeds to COAF. And we are especially grateful to Tigran Hamasyan for his efforts to improve the quality of life of children in the homeland. ” Pianist Tigran Hamasyan has always tried to bring positive changes in Armenia with his dedication and has joined the Children of Armenia Foundation to encourage youngsters. Born in Gyumri, Tigran Hamasyan is recognized as one of the most significant and unique jazz-rock pianists of his generation.