June 2011 Vol

Total Page:16

File Type:pdf, Size:1020Kb

June 2011 Vol A Mirror and Focus for the Jazz Community June 2011 Vol. 27, No. 6 EARSHOT JAZZSeattle, Washington Jazz: The Second Century Concert series highlighting new music by resident ensembles Janet Putnam, Tom Baker, Mike Sentkewitz, Andrew Boscardin, Ryan Burke, Bruce Greeley Rob Hanlon, Andy Clausen, Dave Anderson, Devin Lowe, Brad Boal Dave Abramson, Paul Hoskin, Greg Campbell, Evan Woodle, Gus Carns Photo by Daniel Sheehan NOTES Jazz Journalists Association The gala raises funds for JJA edu- Jazz Awards to Recognize John cational efforts and activities aimed Gilbreath at developing new audiences for jazz. Pianist Randy Weston headlines the These include the eyeJAZZ video artist lineup for the fifteenth annual training program, audience enrich- Jazz Journalists Association (JJA) Jazz ment programs at jazz festivals and Awards gala, Saturday, June 11, 1pm- educational institutions, initiatives us- 5pm, ET, at City Winery in New York ing social media to activate under-ad- City. The Jazz Awards will stream as dressed segments of the potential jazz live video, viewable online (and later audience, and establishment of online archived) at JJAJazzAwards.org. Free platforms for jazz journalists. satellite parties convene to watch the Registration open for the Ev Stern awards in various cities, including here Jazz Workshop Summer Session in Seattle, as well as Berkeley, Boston, The July issue of this publication Nashville, Phoenix, Portland, and Open to All - Free will include a profile of Ev Stern, the Washington, DC. The Seattle satellite founder of the Jazz Workshop, cre- party is at Egan’s Ballard Jam House, ated in 1994 to nurture aspiring jazz June 11, 10am. Drop in that morning musicians of all ages, instruments, and to celebrate the designation of John abilities. Each quarter the Jazz Work- Gilbreath as a “Jazz Hero.” shop re-forms into small ensembles JJA Jazz Awards are presented in 39 and classes that meet weekly under categories encompassing jazz music, Stern’s direction at his Fremont home. presentation, and documentation. The Players also meet every other week JJA’s “Jazz Heroes” are activists, advo- with Stern for private or semi-private cates, altruists, aides, and abettors of lessons by appointment. There are jam th jazz who have had significant impact 9 Season’s Final Concert sessions, concerts, guest artists, and on their immediate locales. The 2011 other jazz activities. The summer ses- “Jazz Heroes” include Earshot Jazz Sunday, June 5, 6 pm sion begins July 5 and runs through Executive Director Gilbreath; Peggy August 28. Visit www.evstern.com Cafritz, supporting founder of the Ocho Pies Quartet for details on registration. You’ll need Duke Ellington School of the Arts Latin Rhythms plus to provide your contact info, musi- in Washington, DC; and Mike Reed, Jazz Originals and Standards cal background, and your schedule of Chicago-based drummer, bandleader, availability, and RSVP for the open and and music series and festival presenter. house too. Special Presentation The JJA Jazz Awards is the only Seattle Jazz Vespers broad-based, independent, interna- Jazz Night School Summer Scholarship Award tional celebration of jazz excellence. Programs Include Up Beat Girls Begun in 1997 as a collaboration be- Jazz Camp 10th Season begins October 2 tween the Jazz Journalists Association Jazz Night School’s summer pro- and Michael Dorf (then executive di- grams will run from June 20 through 100 Minutes of professional jazz rector of the Knitting Factory, now August 31. Located in southeast Seattle Family friendly concert | Free parking founder and CEO of City Winery), near Columbia City, Jazz Night School it has been produced annually since is held in a comfortable home setting Seattle First Baptist Church 1999 by the JJA as part of its effort to with three rooms for ensembles/class- 1111 Harvard Avenue (Seneca and Harvard on First Hill) increase awareness of jazz worldwide Seattle, WA (206) 325-6051 es, each equipped with acoustic piano, through writing, photography, audio/ video, and new media productions. www.SeattleJazzVespers.org/GO/SJV CONTINUED ON PAGE 22 2 • EARSHOT JAZZ • June 2011 EARSHOT JAZZ IN ONE EAR A Mirror and Focus for the Jazz Community KPLU Receives Service Award for Dave Doug- Executive Director John Gilbreath composer and trumpeter Managing Director Karen Caropepe School of Jazz las and his six-piece electric ensemble, Local jazz and public broadcasting Keystone. Spark of Being screens June Earshot Jazz Editor Danielle Bias station 88.5 KPLU has received the 2 at 9:30pm and June 3 at 5pm at the Assistant Editor Schraepfer Harvey Service to America Award from the Harvard Exit. The Seattle Internation- Contributing Writers Andrew Bartlett, Bill National Association of Broadcasters al Film Festival runs through June 12. Barton, Nathan Bluford, Jessica Davis, John Education Foundation for its School For more information and to purchase Ewing, Steve Griggs, Schraepfer Harvey, of Jazz program. The award recognizes tickets, call 206-324-9996 or visit David Marriott, Peter Monaghan, Greg www.siff.net. Pincus, Eliot Winder outstanding community service by local broadcasters. KPLU created the School Sonarchy’s June Lineup Calendar Editor Schraepfer Harvey of Jazz project in 2005 to engage jazz Sonarchy is recorded live in the stu- Calendar Volunteer Tim Swetonic professionals with public high school Photography Daniel Sheehan dios at Jack Straw Productions, Seattle. jazz bands in Western Washington in Layout Karen Caropepe This hour-long broadcast features new a mentorship program, culminating in Mailing Lola Pedrini music and sound art made in the Pa- the production of a CD. In phase one cific Northwest. Sonarchy is now into Send Calendar Information to: of the mentoring program, each jazz 3429 Fremont Place #309 its sixteenth year of airing on KEXP musician practices with and coaches a Seattle, WA 98103 90.3 FM. Listen for the broadcast high school jazz band in preparation for fax / (206) 547-6286 every Sunday at midnight. The show phase two, which brings the jazz musi- email / [email protected] can be heard live at kexp.org and is cians and high school bands together Board of Directors Paul Toliver (president), available in its entirety for two weeks into the studio to record songs for a CD. Cuong Vu (vice-president), Lola Pedrini following the broadcast in several Sales from each year’s CD benefit local (treasurer), Hideo Makihara (secretary), streaming audio formats. Producer school music programs; over $50,000 Clarence Acox, George Heidorn, Kenneth W. Doug Haire mixes the live shows. So- Masters, Renee Staton, Richard Thurston has been raised since the program’s in- narchy is made possible by the efforts ception. The station will release KPLU Earshot Jazz is published monthly by and funding provided by Jack Straw School of Jazz – Volume 7 on June 7, 2011. Earshot Jazz Society of Seattle and is Productions. available online at www.earshot.org. Seattle International Film Festival June 5, Jeph Jerman leads the Ani- Subscription (with membership): $35 Enriched with Jazz mist Orchestra, an ensemble of ten, in 3429 Fremont Place #309 New this year for the Seattle Inter- an extraordinary improvisation using Seattle, WA 98103 national Film Festival is a highlight materials from nature. June 12, Pan- phone / (206) 547-6763 abrite offers analog synthesizers, beats, fax / (206) 547-6286 of a number of films that “intersect the world of music on all fronts: from and effects in service of the ambient Earshot Jazz ISSN 1077-0984 biopics and concert films to musicals drone. June 19, Dos(e) is highlighted Printed by Pacific Publishing Company and live events” in a track called “Face in a show recorded live at the Mars Bar © 2011 Earshot Jazz Society of Seattle the Music.” Wayne Horvitz com- in December 2003. This second set is posed the music for the film Marrow, a defining example of pushing jazz MISSION STATEMENT the second feature film from acclaimed music forward. Dos(e) is Joe Doria Earshot Jazz is a non-profit arts and service Northwest filmmaker Matt Wilkins. on Hammond B-3 and John Wicks organization formed in 1984 to cultivate a support The Northwest premiere of Marrow on drums. Finally, June 26, Kinski system for jazz in the community and to increase takes place June 1 at 7pm at Harvard bends their sonics into a new direction awareness of jazz. Earshot Jazz pursues its Exit. A second screening is at the Ad- while retaining massive sound pres- mission through publishing a monthly newsletter, sure. The band features Chris Martin presenting creative music, providing educational miral Theater in West Seattle on June programs, identifying and filling career needs for 4 at 3:30pm. Spark of Being, by Bill on keyboards and guitar, Matthew jazz artists, increasing listenership, augmenting Morrison, is a re-telling of Mary Shel- Reid-Schwartz on guitar, keyboards, and complementing existing services and ley’s Frankenstein using archival foot- and flute, Lucy Atkinson on bass and programs, and networking with the national and age and educational films. The jazz effects, and Barrett Wilke on drums international jazz community. score was created in collaboration with and triggers. June 2011 • EARSHOT JAZZ • 3 CONGRATULATIONS Roosevelt and Mountlake Terrace High School Jazz Bands among the Best in the Nation By Danielle Bias race; outstanding piano to Chris McCarthy of Roosevelt; honor- Two Emerald City high able mention vocalist honors to school jazz bands took top Eric Reiman of Roosevelt and honors at Jazz at Lincoln the outstanding vocalist award Center’s sixteenth annual to Katherine Stuber also of Essentially Ellington High Roosevelt High School. Section School Jazz Band Compe- awards for outstanding reeds tition & Festival in New and trumpets went to Roos- York on May 15. At the evelt High School; outstanding awards ceremony, Jazz at trombones and rhythm sec- Lincoln Center’s Artistic tion awards were given to both Director Wynton Marsalis Roosevelt and Mountlake Ter- presented the second place race High School.
Recommended publications
  • Uva-DARE (Digital Academic Repository)
    UvA-DARE (Digital Academic Repository) Red Sonic Trajectories - Popular Music and Youth in China de Kloet, J. Publication date 2001 Link to publication Citation for published version (APA): de Kloet, J. (2001). Red Sonic Trajectories - Popular Music and Youth in China. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:08 Oct 2021 L4Trif iÏLK m BEGINNINGS 0 ne warm summer night in 1991, I was sitting in my apartment on the 11th floor of a gray, rather depressive building on the outskirts of Amsterdam, when a documentary on Chinese rock music came on the TV. I was struck by the provocative poses of Cui Jian, who blindfolded himself with a red scarf - stunned by the images of the crowds attending his performance, images that were juxtaposed with accounts of the student protests of June 1989; and puzzled, as I, a rather distant observer, always imagined China to be a totalitarian regime with little room for dissident voices.
    [Show full text]
  • Subjective (Re)Positioning in Musical Improvisation: Analyzing the Work of Five Female Improvisers *
    Subjective (Re)positioning in Musical Improvisation: Analyzing the Work of Five Female Improvisers * Marc Hannaford NOTE: The examples for the (text-only) PDF version of this item are available online at: h+p:,,www.mtosmt.org,issues,mto.10.12.1,mto.17.12.1.hanna ord.php 4E5WORDS: Feminist music theory, gender, improvisation, jazz, Shannon 7arne+, Caroline Davis, Ingrid 9aubrock, 9inda Oh, Anna Webber A7STRACT: This article analyzes the music o :ve emale improvisers. I employ these women’s lived experiences o discrimination as a basis or my analysis o improvisation in terms o what I call subjective (re)positioning. Given these women’s experiences o discrimination, trust means something ar richer than musically working together during per ormance. Trusting improvising partners create a conceptual space in which musicians are able to position and reposition themselves, thus expressing agency. Received March 2016 Volume 23, Number 2, June 2010 Copyright © 2017 Society for Music Theory A/B At a recent per ormance o improvised music at a venue in New 5ork, some musicians and I noticed that the cover o the March 2015 DWomen’s Eistory Month” issue o The New York Jazz Record eatured male pianist Vijay Iyer on the cover. Our jokes about dishpan hands soon gave way to melancholy: it seems that, despite some jazz progressivists, neo-classicists, and academics arguing that jazz is a site or the realization o egalitarian or democratic ideals ( 7urns 2004 , Fischlin 2012 , Nicholls 1012 ), there is still work to be done. (1) A1B This article analyzes music by composer,improvisers Shannon 7arne+, Caroline Davis, Ingrid 9aubrock, 9inda Oh, and Anna Webber in conjunction with interviews I conducted with each o them ( 7arne+ 1015 , Davis 2015 , 9aubrock 2015 , Oh 2015 , Webber 2015 ).
    [Show full text]
  • Logging Songs of the Pacific Northwest: a Study of Three Contemporary Artists Leslie A
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 Logging Songs of the Pacific Northwest: A Study of Three Contemporary Artists Leslie A. Johnson Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC LOGGING SONGS OF THE PACIFIC NORTHWEST: A STUDY OF THREE CONTEMPORARY ARTISTS By LESLIE A. JOHNSON A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester, 2007 The members of the Committee approve the Thesis of Leslie A. Johnson defended on March 28, 2007. _____________________________ Charles E. Brewer Professor Directing Thesis _____________________________ Denise Von Glahn Committee Member ` _____________________________ Karyl Louwenaar-Lueck Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS I would like to thank those who have helped me with this manuscript and my academic career: my parents, grandparents, other family members and friends for their support; a handful of really good teachers from every educational and professional venture thus far, including my committee members at The Florida State University; a variety of resources for the project, including Dr. Jens Lund from Olympia, Washington; and the subjects themselves and their associates. iii TABLE OF CONTENTS ABSTRACT .................................................................................................................
    [Show full text]
  • Discourses of Decay and Purity in a Globalised Jazz World
    1 Chapter Seven Cold Commodities: Discourses of Decay and Purity in a Globalised Jazz World Haftor Medbøe Since gaining prominence in public consciousness as a distinct genre in early 20th Century USA, jazz has become a music of global reach (Atkins, 2003). Coinciding with emerging mass dissemination technologies of the period, jazz spread throughout Europe and beyond via gramophone recordings, radio broadcasts and the Hollywood film industry. America’s involvement in the two World Wars, and the subsequent $13 billion Marshall Plan to rebuild Europe as a unified, and US friendly, trading zone further reinforced the proliferation of the new genre (McGregor, 2016; Paterson et al., 2013). The imposition of US trade and cultural products posed formidable challenges to the European identities, rooted as they were in 18th-Century national romanticism. Commercialised cultural representations of the ‘American dream’ captured the imaginations of Europe’s youth and represented a welcome antidote to post-war austerity. This chapter seeks to problematise the historiography and contemporary representations of jazz in the Nordic region, with particular focus on the production and reception of jazz from Norway. Accepted histories of jazz in Europe point to a period of adulatory imitation of American masters, leading to one of cultural awakening in which jazz was reimagined through a localised lens, and given a ‘national voice’. Evidence of this process of acculturation and reimagining is arguably nowhere more evident than in the canon of what has come to be received as the Nordic tone. In the early 1970s, a group of Norwegian musicians, including saxophonist Jan Garbarek (b.1947), guitarist Terje Rypdal (b.1947), bassist Arild Andersen (b.1945), drummer Jon Christensen (b.1943) and others, abstracted more literal jazz inflected reinterpretations of Scandinavian folk songs by Nordic forebears including pianist Jan Johansson (1931-1968), saxophonist Lars Gullin (1928-1976) bassist Georg Riedel (b.1934) (McEachrane 2014, pp.
    [Show full text]
  • "World Music" and "World Beat" Designations Brad Klump
    Document généré le 26 sept. 2021 17:23 Canadian University Music Review Revue de musique des universités canadiennes Origins and Distinctions of the "World Music" and "World Beat" Designations Brad Klump Canadian Perspectives in Ethnomusicology Résumé de l'article Perspectives canadiennes en ethnomusicologie This article traces the origins and uses of the musical classifications "world Volume 19, numéro 2, 1999 music" and "world beat." The term "world beat" was first used by the musician and DJ Dan Del Santo in 1983 for his syncretic hybrids of American R&B, URI : https://id.erudit.org/iderudit/1014442ar Afrobeat, and Latin popular styles. In contrast, the term "world music" was DOI : https://doi.org/10.7202/1014442ar coined independently by at least three different groups: European jazz critics (ca. 1963), American ethnomusicologists (1965), and British record companies (1987). Applications range from the musical fusions between jazz and Aller au sommaire du numéro non-Western musics to a marketing category used to sell almost any music outside the Western mainstream. Éditeur(s) Canadian University Music Society / Société de musique des universités canadiennes ISSN 0710-0353 (imprimé) 2291-2436 (numérique) Découvrir la revue Citer cet article Klump, B. (1999). Origins and Distinctions of the "World Music" and "World Beat" Designations. Canadian University Music Review / Revue de musique des universités canadiennes, 19(2), 5–15. https://doi.org/10.7202/1014442ar All Rights Reserved © Canadian University Music Society / Société de musique Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des des universités canadiennes, 1999 services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne.
    [Show full text]
  • Dennis Chambers
    IMPROVE YOUR ACCURACY AND INDEPENDENCE! THE WORLD’S #1 DRUM MAGAZINE FUSION LEGEND DENNIS CHAMBERS SHAKIRA’S BRENDAN BUCKLEY WIN A $4,900 PEARL MIMIC BLONDIE’S PRO E-KIT! CLEM BURKE + DW ALMOND SNARE & MARCH 2019 GRETSCH MICRO KIT REVIEWED NIGHT VERSES’ ARIC IMPROTA FISHBONE’S PHILIP “FISH” FISHER THE ORIGINAL. ONLY BETTER. The 5000AH4 combines an old school chain-and-sprocket drive system and vintage-style footboard with modern functionality. Sought-after DW feel, reliability and playability. The original just got better. www.dwdrums.com PEDALS AND ©2019 Drum Workshop, Inc. All Rights Reserved. HARDWARE 12 Modern Drummer June 2014 LAYER » EXPAND » ENHANCE HYBRID DRUMMING ARTISTS BILLY COBHAM BRENDAN BUCKLEY THOMAS LANG VINNIE COLAIUTA TONY ROYSTER, JR. JIM KELTNER (INDEPENDENT) (SHAKIRA, TEGAN & SARA) (INDEPENDENT) (INDEPENDENT) (INDEPENDENT) (STUDIO LEGEND) CHARLIE BENANTE KEVIN HASKINS MIKE PHILLIPS SAM PRICE RICH REDMOND KAZ RODRIGUEZ (ANTHRAX) (POPTONE, BAUHAUS) (JANELLE MONÁE) (LOVELYTHEBAND) (JASON ALDEAN) (JOSH GROBAN) DIRK VERBEUREN BEN BARTER MATT JOHNSON ASHTON IRWIN CHAD WACKERMAN JIM RILEY (MEGADETH) (LORDE) (ST. VINCENT) (5 SECONDS OF SUMMER) (FRANK ZAPPA, JAMES TAYLOR) (RASCAL FLATTS) PICTURED HYBRID PRODUCTS (L TO R): SPD-30 OCTAPAD, TM-6 PRO TRIGGER MODULE, SPD::ONE KICK, SPD::ONE ELECTRO, BT-1 BAR TRIGGER PAD, RT-30HR DUAL TRIGGER, RT-30H SINGLE TRIGGER (X3), RT-30K KICK TRIGGER, KT-10 KICK PEDAL TRIGGER, PDX-8 TRIGGER PAD (X2), SPD-SX-SE SAMPLING PAD Visit Roland.com for more info about Hybrid Drumming. Less is More Built for the gigging drummer, the sturdy aluminum construction is up to 34% lighter than conventional hardware packs.
    [Show full text]
  • HANNA PAULSBERG Spiller På Mai:Jazz Med GURLS Og Vil Gjøre + FESTIVAL- Jazzen Mindre Selvhøytidelig
    INNBLIKK FESTIVAL INNSIKT KRONIKK Er det helt uproblematisk at mange Les alt om årets artister. Sterkt Terje Mosnes skriver om historien Musikkanmelder Audun Vinger jazzmusikere velger å spille pop­ program med stor variasjon på rundt utgivelsen av Bendik mener at jazzfestivaler kan være musikk? MaiJazz 2017. Hofseths IX. alt annet enn nedstøvet. ET MAGASINnote: FOR MAI:JAZZ 2017 OG STAVANGER JAZZFORUM #01 2017 PORTRETT HANNA PAULSBERG Spiller på Mai:Jazz med GURLS og vil gjøre + FESTIVAL- jazzen mindre selvhøytidelig. PROGRAM Original. Analog. Eksepsjonell. KJÆRE NABO TIL SCANDIC STAVANGER CITY Technics Direct Drive SL- 1200G Vet du at det ligger et fordelskort og venter på deg? For alle som vil nyte vinyl slik vinyl skal nytes. Den er kanskje ikke det billigste alternativet, men likevel er den verdt hver eneste krone. Scandic Friends gir deg gode tilbud på overnatting samt 20 % rabatt på mat i Varmen Bar og Restaurant i helgene. Ta med venner, familie eller naboen til mat som måtte friste fra À la carte-menyen i Varmen Bar og Restaurant. NABOKORT I tillegg har vi også et Nabokort. Husk at hos oss venter gode stoler og fristende servering på deg etter en handledag på byen eller en slentretur i sentrum. Bar & Restaurant Følg oss på Facebook for oppdatering av hva som skjer i Varmen Bar og Restaurant. STAVANGER CITY Velkommen! Vågsgata 7, 4306 SANDNES | M 900 16 116 | www.avarer.no scandichotels.no - garantert best pris STAVANGER CITY LEDER DET ER I SAMSPILLET MAGIEN OPPSTÅR RELASJONER Hove West er blant Norges ledende på totalproduksjoner OG FORANDRING bestående av både lyd, lys, audiovisuelt utstyr og sceneutstyr.
    [Show full text]
  • Pdf Document
    100 YEARS OF RECORDED SOUND INSIDE THE ARCTIC CIRCLE: Music Collections at the National Library of Norway, Rana Division Trond Valberg (Senior Archivist, National Library of Norway)* The National Library of Norway, Rana Division (hereafter NB Rana), was founded in 1989 when Parliament passed its latest Legal Deposit Act. The decision to choose a location 1,000 km north of the capital was a political one. In connection with the establishment of NB Rana it was decided to build a huge storage vault blasted into the mountain. The constant rock temperature of 9°C during every season makes it suitable for long-term storage of different kinds of material. There are 42,000 metres of shelves on four floors, and we have already prepared for another storage vault. The mountain vaults can resist all conventional bombs. To some extent it is important to know the origin of our institution to understand the development of the collections and associated activities. In addition to its state-of-the art storage facilities, much focus has been made on building a good technical infrastructure. We have a fully- equipped conservation laboratory and a recording studio that can handle most analogue and digital formats. Our digital mass storage system became fully operational in 2001, serving both legal deposit documents and historical material. On the subject of finance, though, I have to add that due to our budget we have barely spent any money on buying records or CDs. Since NB Rana is not open to the general public, our services can only be accessed online or by contacting the staff by phone or in other ways.
    [Show full text]
  • Årsmelding 2010 Copyright © 2011 by Norsk Kulturråd All Rights Reserved Utgitt Av Norsk Kulturråd I Kommisjon Hos Fagbokforlaget
    NORSK KULTURRÅD Årsmelding 2010 Copyright © 2011 by Norsk kulturråd All rights reserved Utgitt av Norsk kulturråd i kommisjon hos Fagbokforlaget Grafisk produksjon: John Grieg AS, Bergen Omslagsdesign ved forlaget Forsidebilde: Fra Vegard Vinge og Ida Müllers oppsetning av Vildanden. Foto: Magnus Skrede. Sideombrekking: Laboremus Sandefjord AS Redaksjon: Janne Stang Dahl og Mari Johansen Sekretariatfunksjonen til Fond for lyd og bilde og Statens kunstnerstipend er administrativt tilknyttet og samlokalisert med Norsk kulturråd. Fond for lyd og bilde og Statens kunstnerstipend har egne styrende organ og gir ut egne årsmeldinger. Norsk kulturråd Grev Wedels plass 1 Postboks 8052 Dep N-0031 Oslo Tlf: +47 22 47 83 30 Faks: +47 22 33 40 42 www.kulturrad.no Innhold Innledning .............................................. 5 Tildelinger og innkjøp ........................... 26 Allmenne kulturformål ............................. 26 Kunst og publikum ................................. 6 Rom for kunst .......................................... 27 Barne- og ungdomskultur ......................... 29 Råd og utvalg ......................................... 7 Andre formål ............................................ 34 Billedkunst og kunsthåndverk................... 37 Administrasjonen .................................. 11 Musikk ..................................................... 49 Scenekunst................................................ 80 Kommunikasjonsvirksomhet ................ 13 Litteratur .................................................
    [Show full text]
  • In the Country in the Country
    In The Country SSSunsetSunset Sunrise ACT 9549548 888----2222 VeröffentlichungsdaVeröffentlichungsdatumtumtumtum:: 222222.0.0.0.02222....2012012013333 Angesichts der Vielzahl herausragender norwegischer Musiker Was den dreien bemerkenswert geligelingt:ngt: So ist schon das vergisst man gerne, wie wenig Einwohner das Land hat und Eröffnungsstück „Birch Song“ zunächst durchdrungen vom wie klein und vernetzt die Musikszene ist. Vielleicht haben typisch süßen, chromatischen Moll der nordischen Musik, von norwegische Jazzer deswegen seit jeher keine Edvard Grieg über Jan Garbarek bis zu Esbjörn Svensson – Berührungsängste. Mal ist man mit den Kollegen von der bis die anfangs zarte, fast klassische Melodie in bedrohliche, Klassik unterwegs, mal macht man bei einem Pop-Projekt mit, von quietschenden Geräuschen und dunklen Akkordgewittern man kennt sich ja. Ein gutes Beispiel ist der Pianist Morten durchzogene, schließlich in Stille auslaufende Untiefen Qvenild. Der 33-Jährige aus Kongsberg, der in einer Bigband abgleitet. „Birch“ steht ja auch nicht nur für Birke, sondern begann, bevor er an der Norwegischen Musikhochschule in auch für die zur Züchtigung benutzte Birkenrute und damit für Oslo Jazz studierte, hat seither bei bemerkenswert Schmerz, wie Qvenild heiter anmerkt. Auch „Derrick“, das nur unterschiedlichen Bands gespielt. Das Spektrum reicht vom vage von der Fernsehserie inspirierte Stück, kontrastiert sein akustischen Metal-Jazz-Quartett „Shining“ und den Jazzrock- zunächst fast mechanistisch eingeführtes Thema mit einem Bands „Jaga Jazzist“ und „The National Bank“ der Brüder Lars unwirklichen Klick-Laut, bis es in einen federnden, von und Martin Horntveth über die Pop-Truppe „Ostenfor Sol“ bis Akkordschlägen befeuerten Groove umkippt. zu den Formationen der Sängerin Solveig Slettahjell („Slow Motion Quintet“) und Susanna Wallumrod („Susanna and the Selbst wenn Qvenild den Flügel klanglich verfremdet und Magical Orchestra“).
    [Show full text]
  • Susanna & the Magical Orchestra
    “Trail of souls”: In The Country, Knut Reiersrud and Solveig Slettahjell, 2016 1 out of 4 Technical rider PA- system: Equipment quality: Sound equipment must be of high standard and free from audible noise. Mixing desk must be placed centrally in a good listening position in the audience area (NOT IN THE FAR BACK CORNER ETC.) to ensure good control possibilities. Sound system must be rigged and tested for functionality before the artist arrives for set-up and sound check. A local system engineer must be available for the artist’s own engineer at all times from sound check to end of concert. Sound system: High quality, powerful, active PA system with sub woofers covering all audience areas with uniform and undistorted sound (Pref. EAW, D&B, Meyer, L’acoustic or similar). The system must be stereo. Mono is not accepted. Monitor system: 6 wedges on 6 separate aux sends. EQ on every output. Monitors are mixed from FOH. IMPORTANT! The musicians must have accurate and powerful monitors (no exceptions!), for example d&b M2 or MAX (not MAX12) or similar cabinets from EAW or Meyer Sound. Mixing console: Minimum 29 microphone channels (check input list). If analog: We prefer MIDAS, Soundcraft or similar, with minimum 4 band input-EQ (2 sweep mid-filters) and high-pass filters on all inputs. min. 10 auxes (6 pre, 4 post fader). If Digital mixing console: Soundcraft Vi4/Vi6 or Yamaha CL5 or other similar desks. (Soundcraft Si- series or Yamaha LS9 are not accepted). Please contact us beforehand on brand and model to make sure we can use the console for this project.
    [Show full text]
  • Acoustic Guitar Songs by Title 11Th Street Waltz Sean Mcgowan Sean
    Acoustic Guitar Songs by Title Title Creator(s) Arranger Performer Month Year 101 South Peter Finger Peter Finger Mar 2000 11th Street Waltz Sean McGowan Sean McGowan Aug 2012 1952 Vincent Black Lightning Richard Thompson Richard Thompson Nov/Dec 1993 39 Brian May Queen May 2015 50 Ways to Leave Your Lover Paul Simon Paul Simon Jan 2019 500 Miles Traditional Mar/Apr 1992 5927 California Street Teja Gerken Jan 2013 A Blacksmith Courted Me Traditional Martin Simpson Martin Simpson May 2004 A Daughter in Denver Tom Paxton Tom Paxton Aug 2017 A Day at the Races Preston Reed Preston Reed Jul/Aug 1992 A Grandmother's Wish Keola Beamer, Auntie Alice Namakelua Keola Beamer Sep 2001 A Hard Rain's A-Gonna Fall Bob Dylan Bob Dylan Dec 2000 A Little Love, A Little Kiss Adrian Ross, Lao Silesu Eddie Lang Apr 2018 A Natural Man Jack Williams Jack Williams Mar 2017 A Night in Frontenac Beppe Gambetta Beppe Gambetta Jun 2004 A Tribute to Peador O'Donnell Donal Lunny Jerry Douglas Sep 1998 A Whiter Shade of Pale Keith Reed, Gary Brooker Martin Tallstrom Procul Harum Jun 2011 About a Girl Kurt Cobain Nirvana Nov 2009 Act Naturally Vonie Morrison, Johnny Russel The Beatles Nov 2011 Addison's Walk (excerpts) Phil Keaggy Phil Keaggy May/Jun 1992 Adelita Francisco Tarrega Sep 2018 Africa David Paich, Jeff Porcaro Andy McKee Andy McKee Nov 2009 After the Rain Chuck Prophet, Kurt Lipschutz Chuck Prophet Sep 2003 After You've Gone Henry Creamer, Turner Layton Sep 2005 Ain't It Enough Ketch Secor, Willie Watson Old Crow Medicine Show Jan 2013 Ain't Life a Brook
    [Show full text]