Marc Halbheer's 5Th Edişon -.:: Texit Music | Marc Halbheer
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Dani Felber Big Band Explosion – Glenn Gould Plays Bach (3-DVD-Box), Sony Thank You Fos Stabe Z Fehlt
Das Schweizer Jazz & Blues Magazin Nov./Dez. 6/2012 S Schweiz CHF 11.– / Deutschland € 5.90 / Österreich € 6.10 , ROOT ‚ N BLUES ‘‘ NN ''MMOORREE MICHEL Legrand HowlIN’ WolF Andreas VARADY MATTHIAS SPILLMANN OMRI ZIegele FABIAN Anderhub DAVE FEUSI & FRIends STRAYMONK LESTER MENEZES Don LI'S OrbITAL Garden MALI MUSIC IIRO RANTALA Sarah BÜCHI ANSON Funderburgh Andrew HILL URS LEImgruber ChrIS MARK SATTLER MAX FRANKL ED PARTYKA WIesendanger ORIOXY AUS DEM Innern MEHR ALS 80 CD-BESPRECHUNGEN JNM_06_2012_01_def.indd 1 26.10.12 09:41 Andreas Homoki wird nicht ruhen, das Opernhaus Zürich neuen Künstlern und neuen Besuchern zu öffnen. Qualität. Das verbindet uns mit dem Intendanten des Opernhauses Zürich. Als eine der weltweit erfolgreichsten Bühnen zeigt das Opernhaus Zürich seit Jahren Opern und Ballette auf höchstem Niveau. Andreas Homoki sichert mit Zuhören, präzisen Analysen und harmonischem Zusammenspiel des ganzen Ensembles künstlerische Spitzenleistungen, die ein breites Publikum begeistern. Unermüdliches Streben nach dem Besten und leidenschaftliches Teamwork kennzeichnen auch unsere Arbeit für alle Kunden in der Schweiz. Deshalb unterstützt UBS das Opernhaus Zürich seit 1987 als Partner. Bis Sie von der Nachhaltigkeit unseres Engagements überzeugt sind, dürfen Sie sich auf eines verlassen: Wir werden nicht ruhen www.ubs.com/sponsoring Die Verwendung von Namen oder sonstiger Bezeichnungen Dritter in dieser Werbung erfolgt mit der entsprechenden Genehmigung. © UBS 2012. Alle Rechte vorbehalten. 10157_Ad Andreas Homoki Opernhaus Bühne - Publication Jazz'n'More_2012_10_12.indd 1 10/15/2012 4:03:21 PM JNM_06_2012_02-03.indd 2 26.10.12 09:43 EDITORIAL INHALT Andreas Homoki wird nicht ruhen, das Opernhaus Zürich neuen Künstlern und neuen Besuchern zu öffnen. -
Here I Played with Various Rhythm Sections in Festivals, Concerts, Clubs, Film Scores, on Record Dates and So on - the List Is Too Long
MICHAEL MANTLER RECORDINGS COMMUNICATION FONTANA 881 011 THE JAZZ COMPOSER'S ORCHESTRA Steve Lacy (soprano saxophone) Jimmy Lyons (alto saxophone) Robin Kenyatta (alto saxophone) Ken Mcintyre (alto saxophone) Bob Carducci (tenor saxophone) Fred Pirtle (baritone saxophone) Mike Mantler (trumpet) Ray Codrington (trumpet) Roswell Rudd (trombone) Paul Bley (piano) Steve Swallow (bass) Kent Carter (bass) Barry Altschul (drums) recorded live, April 10, 1965, New York TITLES Day (Communications No.4) / Communications No.5 (album also includes Roast by Carla Bley) FROM THE ALBUM LINER NOTES The Jazz Composer's Orchestra was formed in the fall of 1964 in New York City as one of the eight groups of the Jazz Composer's Guild. Mike Mantler and Carla Bley, being the only two non-leader members of the Guild, had decided to organize an orchestra made up of musicians both inside and outside the Guild. This group, then known as the Jazz Composer's Guild Orchestra and consisting of eleven musicians, began rehearsals in the downtown loft of painter Mike Snow for its premiere performance at the Guild's Judson Hall series of concerts in December 1964. The orchestra, set up in a large circle in the center of the hall, played "Communications no.3" by Mike Mantler and "Roast" by Carla Bley. The concert was so successful musically that the leaders decided to continue to write for the group and to give performances at the Guild's new headquarters, a triangular studio on top of the Village Vanguard, called the Contemporary Center. In early March 1965 at the first of these concerts, which were presented in a workshop style, the group had been enlarged to fifteen musicians and the pieces played were "Radio" by Carla Bley and "Communications no.4" (subtitled "Day") by Mike Mantler. -
JAZZ WORTH READING: “THE BOSTON JAZZ CHRONICLES: FACES, PLACES and NIGHTLIFE 1937-1962″ Posted on February 20, 2014
From Michael Steinman’s blog JAZZ LIVES MAY YOUR HAPPINESS INCREASE. Jazz: where "lives" is both noun and verb JAZZ WORTH READING: “THE BOSTON JAZZ CHRONICLES: FACES, PLACES AND NIGHTLIFE 1937-1962″ Posted on February 20, 2014 Some of my readers will already know about Richard Vacca’s superb book, published in 2012 by Troy Street Publishing. I first encountered his work in Tom Hustad’s splendid book on Ruby Braff, BORN TO PLAY. Vacca’s book is even better than I could have expected. Much of the literature about jazz, although not all, retells known stories, often with an ideological slant or a “new” interpretation. Thus it’s often difficult to find a book that presents new information in a balanced way. BOSTON JAZZ CHRONICLES is a model of what can be done. And you don’t have to be particularly interested in Boston, or, for that matter, jazz, to admire its many virtues. Vacca writes that the book grew out of his early idea of a walking tour of Boston jazz spots, but as he found out that this landscape had been obliterated (as has happened in New York City), he decided to write a history of the scene, choosing starting and ending points that made the book manageable. The book has much to offer several different audiences: a jazz- lover who wants to know the Boston history / anecdotal biography / reportage / topography of those years; someone with local pride in the recent past of his home city; someone who wishes to trace the paths of his favorite — and some obscure — jazz heroes and heroines. -
Neglected Jazz Figures of the 1950S and Early 1960S New World NW 275
Introspection: Neglected Jazz Figures of the 1950s and early 1960s New World NW 275 In the contemporary world of platinum albums and music stations that have adopted limited programming (such as choosing from the Top Forty), even the most acclaimed jazz geniuses—the Armstrongs, Ellingtons, and Parkers—are neglected in terms of the amount of their music that gets heard. Acknowledgment by critics and historians works against neglect, of course, but is no guarantee that a musician will be heard either, just as a few records issued under someone’s name are not truly synonymous with attention. In this album we are concerned with musicians who have found it difficult—occasionally impossible—to record and publicly perform their own music. These six men, who by no means exhaust the legion of the neglected, are linked by the individuality and high quality of their conceptions, as well as by the tenaciousness of their struggle to maintain those conceptions in a world that at best has remained indifferent. Such perseverance in a hostile environment suggests the familiar melodramatic narrative of the suffering artist, and indeed these men have endured a disproportionate share of misfortunes and horrors. That four of the six are now dead indicates the severity of the struggle; the enduring strength of their music, however, is proof that none of these artists was ultimately defeated. Selecting the fifties and sixties as the focus for our investigation is hardly mandatory, for we might look back to earlier years and consider such players as Joe Smith (1902-1937), the supremely lyrical trumpeter who contributed so much to the music of Bessie Smith and Fletcher Henderson; or Dick Wilson (1911-1941), the promising tenor saxophonist featured with Andy Kirk’s Clouds of Joy; or Frankie Newton (1906-1954), whose unique muted-trumpet sound was overlooked during the swing era and whose leftist politics contributed to further neglect. -
Oktober-Programm
Österreichische Post AG, Sponsoring Post, GZ: 02Z033277 S, Abs.: Porgy & Bess, Graf-Starhemberg-Gasse 1a, 1040 Wien, Ausgabe 04/2020 porgy.at H LAST MINUTE CHANGES H LAST MINUTE CHANGES H H H MITTWOCH, 23. SEPTEMBER 20:30 LAST MINUTE CHANGES CHRISTINA ZURBRÜGG Editorial QUARTET (CH/A) Nach so viel kulturpolitischer Kritik, die an dieser Stelle artikuliert CHRISTINA ZURBRÜGG: VOCALS, ACCORDION wurde, darf hier auch einmal gelobt werden: Bereits vor längerer RINA KAÇINARI: CELLO, VOCALS Zeit angekündigt, gab es ab Anfang Juli dann tatsächlich den MICHAEL HUDECEK: TENOR SAXOPHONE, sogenannten „NPO-Fonds“, also jenen Topf, aus dem gemeinnüt- GUITALELE, VOCALS zige Vereine Struktur- und Fixkosten (teil-)refundiert bekommen. DAVID MANDLBURGER: GUITAR, VOCALS LAST MINUTE CHANGES Dazu braucht man natürlich valide Zahlen, die von H Rechnungsprüfer*innen und Steuerberater*innen abgesegnet H werden müssen. Das alles haben wir natürlich brav gemacht, den LAST MINUTE CHANGES Antrag an einem Donnerstag abgeschickt, schon tags darauf kam die offizielle Bestätigung, dass unser Antrag genehmigt wurde und – man höre und staune – am Montag war die Hälfte des zugesagten Geldes bereits auf dem Konto! Fazit: Hat zwar lang gedauert, ging dann aber schlussendlich sehr schnell. Vielen Dank dafür, das gibt zumindest eine mittelfristige Perspektive für eine Saison, die wohl die komplizierteste und mühsamste der P&B-Geschichte werden wird. Und diese Mühsal hat bereits begonnen – mit mehr oder weniger LAST MINUTE CHANGES kurzfristigen Absagen von vertraglich fixierten und bereits im H H Verkauf befindlichen bzw. bereits veröffentlichten Konzerten auf- LAST MINUTE CHANGES grund spontan geänderter Reisebestimmungen. Um dem jazzin- teressierten Publikum eine Sicherheit zu bieten, können wir versi- Christina Zurbrügg ist bekannt für ihre einzigartige Kombination chern, dass wir alle nach dem „lockdown“ gekauften Tickets für von Songwriting mit Gesang, Rap und zeitgemäßem Jodeln. -
TOSHIKO AKIYOSHI NEA Jazz Master (2007)
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. TOSHIKO AKIYOSHI NEA Jazz Master (2007) Interviewee: Toshiko Akiyoshi 穐吉敏子 (December 12, 1929 - ) Interviewer: Dr. Anthony Brown with recording engineer Ken Kimery Dates: June 29, 2008 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript 97 pp. Brown: Today is June 29th, 2008, and this is the oral history interview conducted with Toshiko Akiyoshi in her house on 38 W. 94th Street in Manhattan, New York. Good afternoon, Toshiko-san! Akiyoshi: Good afternoon! Brown: At long last, I‟m so honored to be able to conduct this oral history interview with you. It‟s been about ten years since we last saw each other—we had a chance to talk at the Monterey Jazz Festival—but this interview we want you to tell your life history, so we want to start at the very beginning, starting [with] as much information as you can tell us about your family. First, if you can give us your birth name, your complete birth name. Akiyoshi: To-shi-ko. Brown: Akiyoshi. Akiyoshi: Just the way you pronounced. Brown: Oh, okay [laughs]. So, Toshiko Akiyoshi. For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 Akiyoshi: Yes. Brown: And does “Toshiko” mean anything special in Japanese? Akiyoshi: Well, I think,…all names, as you know, Japanese names depends on the kanji [Chinese ideographs]. Different kanji means different [things], pronounce it the same way. And mine is “Toshiko,” [which means] something like “sensitive,” “susceptible,” something to do with a dark sort of nature. -
New York Meets Vienna
Magazin der Gesellschaft der Musikfreunde in Wien März 2005 New York meets Vienna Dave Liebman: Zu Wien pflegt er zweifellos eine partikuläre Beziehung. Nicht nur weil er hier – beginnend mit „Lookout Farm“ 1974 im Jazzland – bereits häufig gastiert hat, nein: Wien beherbergt mit dem Porgy & Bess auch jenen Club, von dem er erst kürzlich, im letzten seiner dreimal jährlich verschickten E-Mail-Newsletter, erneut bekannte, dieser sei sein weltweiter Favorit unter den Jazzetablissements. Nun gastiert Dave Liebman mit mehreren Programmen im Magna Auditorium des Musikvereins. Der Mann, der solcherart eine besondere Wien-Affinität zum Ausdruck bringt, ist weit herumgekommen: Dave Liebmans Name hat Rang und Klang in der internationalen Jazz- Community. Als Saxophonist, Komponist und auch als Pädagoge hat er Spuren in der Geschichte hinterlassen, um noch in der Gegenwart Akzente zu setzen. Dave Liebman, das ist jener New Yorker Haudegen, der noch bei den Giganten des Jazz gelernt hat. John Coltrane war es, der den Jugendlichen für jene Musik begeisterte und ihm im persönlichen Kontakt Anregungen mit auf den Weg gab. Zum gemeinsamen Spiel reichte es freilich nicht: Denn als jene Lichtgestalt der sechziger Jahre, Konsensfigur für Avantgardisten und gemäßigte Modernisten, 1967 im Alter von nicht einmal 41 Jahren starb, war Liebman gerade 20 Jahre alt. Lehrling bei Miles Davis Höhere Weihen sollte der in einer liberalen jüdischen Familie in Brooklyn Aufgewachsene durch sein Engagement in der Band des ehemaligen Coltrane-Schlagzeugers Elvin Jones (den er in seinem Nachruf 2004 als eigentlichen musikalischen „Vater“ bezeichnete) erhalten, wie auch durch Miles Davis himself: 1972 als Ersatz für den kurzfristig ausgefallenen Carlos Garnett zu einem Aufnahmetermin für das Meisterwerk „On The Corner“ ins Studio gerufen, gehörte Liebman 1973/74 der Band des genial-schwierigen Trompeters nach dessen Umorientierung hin zum Rock-Jazz an – und erlebte in diesen knapp eineinhalb „Lehrlingsjahren“ (Liebman), die u. -
Kontakt: [email protected] Dorotheergasse 10 a – 1010 Wien (Vienna) +43 / 1 / 515 03 - 49
Kontakt: [email protected] Dorotheergasse 10 A – 1010 Wien (Vienna) +43 / 1 / 515 03 - 49 mathias rüegg (*1952 Zürich) (https://www.mathiasrueegg.com) „Meine Tonsprache bezeichne ich als Romantik aus der Sicht von heute, unter Einbeziehung aller musikalischen Entwicklungen seither.“ (mathias rüegg) 1952 in Zürich geboren und in Schiers (GR) aufgewachsen. 1974-76 Musikstudium in Graz 1977 Gründung und Leitung des Vienna Art Orchestra (bis zu dessen Ende 2010 1993 Gründung und Leitung des Jazzclubs Porgy & Bess bis 1995 1997 Gründung und Leitung des Hans Koller Preises bis zu dessen Ende 2010 Seit 2013 Zusammenarbeit mit Lia Pale © Claus Peuckert mathias rüegg wurde 1952 in Zürich geboren. Er machte seinen Abschluss als Primarschullehrer und unterrichtete zunächst an verschiedenen Sonderschulen. Von 1973 bis 1975 studierte er in Graz klassische Komposition & Jazzklavier und übersiedelte 1976 nach Wien, wo er freiberuflich als Pianist arbeitete. Der Soloarbeit müde geworden, gründete er 1977 das Vienna Art Orchestra (VAO), für das er praktisch alle Programme schrieb. Von 1983 bis 1987 leitete er zusätzlich den Vienna Art Choir. Er schrieb u.a. Auftragskompositionen für Jazzformationen wie der NDR Big-Band, SDR Big-Band, UMO Big-Band Helsinki, der Swedish Radio Jazz Group & der RTV Big Band Slovenia. Klassische Aufträge u.a. für die Wiener Symphoniker, Basler Sinfonietta, Ensemble Kontrapunkte, Die Reihe, Deutsche Kammerphilharmonie, Orchestre de la Normandie Basse, Opus Novum & L’Orchestra della Svizzera Italiana. Als Leiter internationaler Workshops fungierte er u.a. in Wien, Köln, Hannover, Berlin, Bern & Trento. rüegg komponierte Film- und Theatermusiken im Rahmen seiner Zusammenarbeit mit George Tabori und dem Wiener Serapionstheater. Spezielle Projekte zwischen Musik und Literatur verbanden ihn 1983 bis 1990 mit dem Wiener Lyriker Ernst Jandl. -
Baden-Württemberg 2021
Christoph Neuhaus JAZZ AWARD Baden-Württemberg 2021 Artists JAZZ Festivals Baden-Württemberg 2021 Venues Labels Universities of Music Welcome Petra Olschowski Baden-Württemberg‘s jazz scene is both steeped in tradition and modern, rooted in the region and yet internationally wide reaching, and is therefore an important part of culture in the state. With over sixty venues, numerous festivals, creative labels and a wealth of experimental musicians, Baden-Württemberg‘s jazz scene again and again shows its importance as a driving cultural force. The cultural life has been virtually uneventful for the past year. And yet the organisers and musicians have been working on new ideas – which could hardly be seen or heard from the outside. For many performing artists, music and jazz are an important part of life which they just cannot and do not want to give up. Christoph Neuhaus, whom we award with the Baden-Württemberg Jazz Award 2021, was also creative during the pandemic. He had been working hard on his new album „Ramblin Bird“, which was released in March 2021. Imprint Editor This brochure provides interesting details about this year‘s jazz award winner. Ad- Baden-Württemberg Ministry of Science, Research and Arts, Stuttgart ditionally, it gives you an up-to-date overview of the multi-faceted jazz scene in Ba- Graphics, Layout den-Württemberg. You‘ll also learn more about the local musicians, the festivals, venu- Jazzverband Baden-Württemberg e.V. es and labels in this brochure. Furthermore, it briefly describes the promotion lines for Texts Baden-Württemberg Ministry of Science, Research and Arts, Stuttgart jazz and the training opportunities in the field. -
By Ken Waxman
INTERVIEW a whole program for such great musicians. In a solo concert you carry the whole evening on your shoulders, the space belongs to you. When you play with more musicians you share that space; in a way you take a Pierre step back, you just play what has to be played. As a drummer you’re there to give pulse, dynamics, fire and color to the band. TNYCJR: You also at one time played a very extensive kit. Do you still use that set-up? r e l Favre PF: Yes, there were times where I tried to play full h i Z melodies on the drums and I came on stage with all s a e r (CONTINUED ON PAGE 36) d n A y b o JEFF WILLIAMS QUARTET t o John Hébert, Duane Eubanks, John O’Gallagher h P by Ken Waxman Friday March 30th at 9:00 & 10:30 Cornelia Street Cafe 29 Cornelia Street (212) 989-9319 During a career of more than 55 years, drummer Pierre Paiste & Sohn, as your secretary? Favre, who turns 75 in June, has been a constantly innovating musician. One of the first Swiss players to PF: I met Irène Schweizer in Zurich during a concert. embrace free music in the late ’60s, since then he’s explored She told me she was looking for a job, and I asked her a variety of musical concepts: from giving solo percussion to work for me as I needed a secretary. At first we concerts to composing notated works and collaborating with would play together occasionally after work and after folkloric-influenced improvisers. -
French Stewardship of Jazz: the Case of France Musique and France Culture
ABSTRACT Title: FRENCH STEWARDSHIP OF JAZZ: THE CASE OF FRANCE MUSIQUE AND FRANCE CULTURE Roscoe Seldon Suddarth, Master of Arts, 2008 Directed By: Richard G. King, Associate Professor, Musicology, School of Music The French treat jazz as “high art,” as their state radio stations France Musique and France Culture demonstrate. Jazz came to France in World War I with the US army, and became fashionable in the 1920s—treated as exotic African- American folklore. However, when France developed its own jazz players, notably Django Reinhardt and Stéphane Grappelli, jazz became accepted as a universal art. Two well-born Frenchmen, Hugues Panassié and Charles Delaunay, embraced jazz and propagated it through the Hot Club de France. After World War II, several highly educated commentators insured that jazz was taken seriously. French radio jazz gradually acquired the support of the French government. This thesis describes the major jazz programs of France Musique and France Culture, particularly the daily programs of Alain Gerber and Arnaud Merlin, and demonstrates how these programs display connoisseurship, erudition, thoroughness, critical insight, and dedication. France takes its “stewardship” of jazz seriously. FRENCH STEWARDSHIP OF JAZZ: THE CASE OF FRANCE MUSIQUE AND FRANCE CULTURE By Roscoe Seldon Suddarth Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2008 Advisory Committee: Associate Professor Richard King, Musicology Division, Chair Professor Robert Gibson, Director of the School of Music Professor Christopher Vadala, Director, Jazz Studies Program © Copyright by Roscoe Seldon Suddarth 2008 Foreword This thesis is the result of many years of listening to the jazz broadcasts of France Musique, the French national classical music station, and, to a lesser extent, France Culture, the national station for literary, historical, and artistic programs. -
Evolving Processes Fredy Studer
Fredy Studer Evolving Processes by Ken Micallef ollowing in the lineage of European drumming masters Pierre Favre and Han Bennink, Swiss-born Fredy Studer has deftly employed Ftouch, tone, texture, noise, and rhythm in service of highly drum- centric music that, regardless of its avant-garde nature, communicates a rare sense of sincerity and humanity. Active on the European avant-jazz and classical scenes since the late 1960s, Studer was a founding member of the influe tial, freewheeling fusion group OM, and has toured and tracked albums with such iconic musicians as Dave Holland, Miroslav Vitous, Joe Henderson, Rainer Brüninghaus, Markus Stockhausen, Charlie Mariano, George Gruntz, Franco Ambrosetti, and Christy Doran. Along the way, he’s ceaselessly explored out-rock, jazz, folk, psychedelia, blues, fusion, rhythm ’n’ blues, bebop, funk, contemporary classical, and open-improvisation terrain. Among the dozens of albums Studer has recorded are the landmark 1977 ECM release Percussion Profiles with Jack DeJohnette, Dom Um Romão, Pierre Favre, Dave Friedman, and George Gruntz, and Favre’s 1984 release Singing Drums, featuring Paul Motian and Naná Vasconcelos, both of which expanded the then-current rhythmic consciousness. Other projects featuring Studer and Favre are the Four in Time drum quartet, with Daniel Humair and Fritz Hauser, and the long-running Drum Orchestra duo. Along the way Studer has also interpreted the percussive masterworks of 20th-century classical composers Steve Reich, John Cage, and Edgard Varèse. Coinciding with his long-term consultancy with Paiste cymbals, Studer followed his own artistic muse, exploring unusual situations and challenging concepts in music, life, and drumming.