DOCSLIB.ORG

October 2014 EARSHOT JAZZ FESTIVAL Welcome to the Earshot Jazz Festival, 2014!

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
October 2014 EARSHOT JAZZ FESTIVAL Welcome to the Earshot Jazz Festival, 2014! PROGRAM MASTERS, MONSTERS, & MENTORS OCTOBER 10 - NOVEMBER 11, 2014 Roy Hargrove Listen 9am-3pm weekdays on 88.5 FM 2 • EARSHOT JAZZ • October 2014 EARSHOT JAZZ FESTIVAL Welcome to the Earshot Jazz Festival, 2014! Seattle is home to one of the most a headline concert by the vibrant jazz scenes in the country – great Pharoah Sanders! but you already know that. Here at We’re going to kick this Earshot, we are absolutely jazzed to whole thing off with some unveil another exciting festival of big fun. Our opening events comprising what DownBeat 10/10 birthday celebration magazine has called, “Seattle’s most for Thelonious Monk, at important annual jazz event,” and Town Hall, features more the Seattle Times has named “…one than 20 fine Seattle jazz of the best jazz festivals in Ameri- artists in a remarkable ca.” program that clearly dem- DownBeat also likes that “Earshot onstrates both the breadth brings … adventurous voices, both and excellence of our re- near and far, to mix and match spected jazz community. with the national acts. Every year, And, there will be cake! the Earshot Jazz Festival disrupts You have got to join us for assumptions, gets in your face and this one! finds fresh synergies.” This year we’re Earshot Jazz is proud to JOHN GILBREATH PHOTO BY BILL UZNAY getting back in your face with syner- be a valued part of Se- Awards program each year to rec- gistic “Masters, Monsters, and Men- attle’s vibrant cultural community. ognize the achievements of Seattle’s tors” of jazz. We are honoring some Within this city’s world-renowned jazz artists. of the uncompromising creative music scene exists a treasured jazz All of our work thrives on quality, groundbreakers who have helped sensibility that draws international creative collaborations with individ- shape the jazz of today, and we’re attention. In the context of that vi- uals and organizations. We are grate- showcasing many of today’s creative brancy, Earshot produces one of the ful to our kind collaborators: Cor- artists, both near and far, who con- most distinctive jazz festivals in the nish College of the Arts, the Chapel tinue to move this fascinating music country, enriching this community Performance Space, EMP Museum, forward. And, as always, we are help- with one-of-a-kind concerts by some the Triple Door, Town Hall Seattle, ing to define the paths and expand of the world’s most important art- Northwest Film Forum, and the the possibilities for today’s emerging ists, and presenting Seattle artists in Royal Room, among others, for their artists and jazz students. a world-class festival setting. commitment to jazz and enthusias- This year’s festival includes some The non-profit Earshot Jazz orga- tic welcome of the Earshot Festival. seldom seen jazz legends, fascinat- nization presents nearly 100 events Special thanks to our dedicated sup- ing international artists, student en- throughout the year, and collabo- porters and major funders, and our sembles playing main-stage concerts, rates on many other initiatives, like huge love to George Heidorn for his main-stage concerts by some of to- the Art of Jazz at the Seattle Art Mu- valuable support over the years. day’s top artists, showcases of Seattle seum, the Bellevue Jazz Festival, and Enjoy the festival! Keep in touch jazz composers, pop-up saxophone others. We publish the 30-year-old and give us your feedback. Oh, and concerts to celebrate Adolphe Sax, Earshot Jazz newsletter each month, drop a donation in the kitty. Let’s creative collaborations, educational work to provide educational oppor- keep jazz alive and thriving in Se- workshops, rare and wonderful jazz tunities and advancements to the attle! films, lots of hometown heroes, and field, and present the Golden Ear – John Gilbreath, Executive Director October 2014 • EARSHOT JAZZ • 3 EARSHOT JAZZ 2014 FESTIVAL LINEUP FRIDAY, OCTOBER 10 FRIDAY, OCTOBER 17 THURSDAY, OCTOBER 23 Opening Celebration: Monk Thomas Marriott: Urban Greg Osby Quartet 10/10 Folklore PONCHO Concert Hall, Cornish College of the Arts, 8pm Town Hall Seattle, 8pm Tula’s Restaurant and Jazz Club, 7:30pm Larry Fuller Trio Amy Denio & OU FRIDAY, OCTOBER 24 Tula’s Restaurant and Jazz Club, 7:30pm Royal Room, 8pm Kareem Kandi Organ Trio SATURDAY, OCTOBER 11 Tula’s Restaurant and Jazz Club, 7:30pm SATURDAY, OCTOBER 18 Living Daylights | Syrinx Larry Fuller Trio Thomas Marriott: Tula’s Restaurant and Jazz Club 7:30pm Effect Urban Folklore Royal Room, 8pm John Seman’s Lil Coop Tula’s Restaurant and Jazz Club, 7:30pm Quintet | Gregg Belisle-Chi SATURDAY, OCTOBER 25 Chapel Performance Space 8pm Joe Lovano & Dave Douglas Barry Altschul 3dom Factor Quintet: Sound Prints SUNDAY, OCTOBER 12 PONCHO Concert Hall, featuring Lawrence Fields, Cornish College of the Arts, 8pm Tri Minh’s Quartet: Linda Oh, & Joey Baron SUNDAY, OCTOBER 26 Sounds from Hanoi Town Hall Seattle, 8pm PONCHO Concert Hall, Daniel Barry’s Celestial Cornish College of the Arts, 8pm William O. Smith: Rhythm Orchestra Compositions and Seattle Art Museum, 8pm MONDAY, OCTOBER 13 Improvisations WEDNESDAY, OCTOBER 29 Taylor McFerrin Chapel Performance Space, 8pm Triple Door, 7:30pm Eric Revis Quartet | Kate Oliver Groenewald Newnet SUNDAY, OCTOBER 19 Olson Sextet Tula’s Restaurant and Jazz Club, 7:30pm Lew Tabackin Trio | Ben EMP Level 3, 7:30pm TUESDAY, OCTOBER 14 Flocks Trio THURSDAY, OCTOBER 30 PONCHO Concert Hall, Carmen Lundy Group Cornish College of the Arts, 7:30pm Expansions: The Dave Triple Door, 7:30pm Liebman Group Boban & Marko Markovic PONCHO Concert Hall, WEDNESDAY, OCTOBER 15 Orkestar Cornish College of the Arts, 8pm Eric Vloeimans: Town Hall Seattle, 8pm FRIDAY, OCTOBER 31 Oliver’s Cinema MONDAY, OCTOBER 20 Chapel Performance Space, 8pm Royal Room Halloween Party Garfield High School Royal Room, 6/8/10PM THURSDAY, OCTOBER 16 Jazz Band Frank Catalano Quartet Bassekou Kouyate & Triple Door, 7pm Tula’s Restaurant and Jazz Club, 7:30pm Ngoni Ba WEDNESDAY, OCTOBER 22 Chad McCullough: Spin Triple Door, 7pm & 9:30pm Quartet Johnaye Kendrick Group Jacky Terrasson Trio Downstairs @ Town Hall Seattle, 8pm PONCHO Concert Hall, PONCHO Concert Hall, Schedule subject to change. Please check Cornish College of the Arts, 8pm Cornish College of the Arts, 8pm www.earshot.org for updates. 4 • EARSHOT JAZZ • October 2014 SATURDAY, NOVEMBER 1 SATURDAY, NOVEMBER 8 Seattle Repertory Jazz Roosevelt High School Orchestra “Quincy and Ray Jazz Band The Bass Church The Bass Church The Bass Church The Northwest double bass specialists The Northwest double bass specialists The Northwest double bass specialists on Jackson Street” Roosevelt High School Auditorium, Nordstrom Recital Hall, 7:30pm 7:30pm www.basschurch.com www.basschurch.com www.basschurch.com Frank Catalano Quartet Anton Schwartz Quintet Tula’s Restaurant and Jazz Club, 7:30pm Tula’s Restaurant and Jazz Club, 7:30pm Jacob Fred Jazz Odyssey | McTuff Bad Luck | Scott Cutshall / Sales, Rentals, Sales, Rentals, Sales, Rentals, Royal Room, 8pm John Gross Duo Repairs, Restorations, Repairs, Restorations, Repairs, Restorations, Vermillion Art Gallery & Bar, 8pm Lessons Lessons Lessons Battle Trance Convenient North Seattle Location Convenient North Seattle Location Convenient North Seattle Location Chapel Performance Space, 8pm SUNDAY, NOVEMBER 9 (206)784-6626 (206)784-6626 (206)784-6626 SUNDAY, NOVEMBER 2 Racer Sessions + 9716 Phinney Ave. N. 9716 Phinney Ave. N. 9716 Phinney Ave. N. Café Racer, 8pm Seattle, WA. 98103 Seattle, WA. 98103 Seattle, WA. 98103 Seattle Repertory Jazz ~by appointment only~ ~by appointment only~ ~by appointment only~ Orchestra “Quincy and Ray MONDAY, NOVEMBER 10 on Jackson Street” Miguel Zenón Quartet Kirkland Performance Center, 2pm PONCHO Concert Hall, Industrial Revelation | Ted Cornish College of the Arts, 8pm The Bass Church The Bass Church The Bass Church Poor, Cuong Vu, Pete Rende The Northwest double bass specialists The Northwest double bass specialists The Northwest double bass specialists TUESDAY, NOVEMBER 11 EMP Level 3, 7:30pm WwEww.EbassKchuDrch.AcomY S www.basschurch.com www.basschurch.com True Blues: Corey Harris & Earshot Jazz Festival Wrap- Alvin Youngblood Hart up Party Musicquarium @ Triple Door, 7:30pm Triple Door, 7pm & 9:30pm 9am CAR AVAN Sales,global Rentals,beats Sales, Rentals, Sales, Rentals, MONDAY, NOVEMBER 3 Repairs, Restorations, Repairs, Restorations, Repairs, Restorations, Crystal Beth & the Boom EARSHOT JAZZ Lessons Lessons Lessons Convenient North Seattle Location Convenient North Seattle Location Convenient North Seattle Location Boom Band noon THOM HARTMANN Barboza, 8pm FILMS (206)784-6626PROGRAM (206)784-6626 (206)784-6626 9716 Phinneyprogressive Ave. N. talk 9716 Phinney Ave. N. 9716 Phinney Ave. N. TUESDAY, NOVEMBER 4 For more information visit Seattle, WA. 98103 Seattle, WA. 98103 Seattle, WA. 98103 Seattle Women’s Jazz http://www.nwfilmforum.org/live/ ~by appointment only~ ~by appointment only~ ~by appointment only~ page/series/3238 Orchestra featuring Grace 3pm MUSIC + IDEAS Kelly global beats/news features GRID featuring Jen Triple Door, 7:30pm Gilleran and Christian Hal Galper Trio w/ Jeff The Bass Church The Bass Church The Bass Church Pincock The Northwest double bass specialists The Northwest double bass specialists The Northwest double bass specialists Johnson & John Bishop Oct 18 5pm DEMOCRACY NOW! PONCHO Concert Hall, wwwprogressive.basschur cnewsh.com www.basschurch.com www.basschurch.com Cornish College of the Arts, 8pm The Case of the Three- THURSDAY, NOVEMBER 6 Sided Dream Sax in the City Oct 19 6pm Sales,HARD Rentals, KNOCK RADIO Sales, Rentals, Sales, Rentals, Various times, locations, artists Repairs,urban Restorations, culture Repairs, Restorations, Repairs, Restorations, Sound of Redemption: Lessons Lessons Lessons FRIDAY, NOVEMBER 7 Convenient North Seattle Location Convenient North Seattle Location Convenient North Seattle Location The Frank Morgan Story Anton Schwartz Quintet Oct 20 (206)784-6626 (206)784-6626 (206)784-6626 Tula’s Restaurant and Jazz Club, 7:30pm 9716 Phinney Ave.
Load more

Recommended publications
  • Seeing (For) Miles: Jazz, Race, and Objects of Performance
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2014 Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park anderson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, and the American Studies Commons Recommended Citation anderson, Benjamin Park, "Seeing (for) Miles: Jazz, Race, and Objects of Performance" (2014). Dissertations, Theses, and Masters Projects. Paper 1539623644. https://dx.doi.org/doi:10.21220/s2-t267-zy28 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park Anderson Richmond, Virginia Master of Arts, College of William and Mary, 2005 Bachelor of Arts, Virginia Commonwealth University, 2001 A Dissertation presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Doctor of Philosophy American Studies Program College of William and Mary May 2014 APPROVAL PAGE This Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Benjamin Park Anderson Approved by T7 Associate Professor ur Knight, American Studies Program The College
    [Show full text]
  • PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
    PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized.
    [Show full text]
  • December 1992
    VOLUME 16, NUMBER 12 MASTERS OF THE FEATURES FREE UNIVERSE NICKO Avant-garde drummers Ed Blackwell, Rashied Ali, Andrew JEFF PORCARO: McBRAIN Cyrille, and Milford Graves have secured a place in music history A SPECIAL TRIBUTE Iron Maiden's Nicko McBrain may by stretching the accepted role of When so respected and admired be cited as an early influence by drums and rhythm. Yet amongst a player as Jeff Porcaro passes metal drummers all over, but that the chaos, there's always been away prematurely, the doesn't mean he isn't as vital a play- great discipline and thought. music—and our lives—are never er as ever. In this exclusive interview, Learn how these free the same. In this tribute, friends find out how Nicko's drumming masters and admirers share their fond gears move, and what's tore down the walls. memories of Jeff, and up with Maiden's power- • by Bill Milkowski 32 remind us of his deep ful new album and tour. 28 contributions to our • by Teri Saccone art. 22 • by Robyn Flans THE PERCUSSIVE ARTS SOCIETY For thirty years the Percussive Arts Society has fostered credibility, exposure, and the exchange of ideas for percus- sionists of every stripe. In this special report, learn where the PAS has been, where it is, and where it's going. • by Rick Mattingly 36 MD TRIVIA CONTEST Win a Sonor Force 1000 drumkit—plus other great Sonor prizes! 68 COVER PHOTO BY MICHAEL BLOOM Education 58 ROCK 'N' JAZZ CLINIC Back To The Dregs BY ROD MORGENSTEIN Equipment Departments 66 BASICS 42 PRODUCT The Teacher Fallacy News BY FRANK MAY CLOSE-UP 4 EDITOR'S New Sabian Products OVERVIEW BY RICK VAN HORN, 8 UPDATE 68 CONCEPTS ADAM BUDOFSKY, AND RICK MATTINGLY Tommy Campbell, Footwork: 6 READERS' Joel Maitoza of 24-7 Spyz, A Balancing Act 45 Yamaha Snare Drums Gary Husband, and the BY ANDREW BY RICK MATTINGLY PLATFORM Moody Blues' Gordon KOLLMORGEN Marshall, plus News 47 Cappella 12 ASK A PRO 90 TEACHERS' Celebrity Sticks BY ADAM BUDOFSKY 146 INDUSTRY FORUM AND WILLIAM F.
    [Show full text]
  • Jimmy Raney Thesis: Blurring the Barlines By: Zachary Streeter
    Jimmy Raney Thesis: Blurring the Barlines By: Zachary Streeter A Thesis submitted to the Graduate School-Newark Rutgers, The State University of New Jersey In partial fulfillment of the requirements for the degree of Master of Jazz History and Research Graduate Program in Arts written under the direction of Dr. Lewis Porter and Dr. Henry Martin And approved by Newark, New Jersey May 2016 ©2016 Zachary Streeter ALL RIGHT RESERVED ABSTRACT Jimmy Raney Thesis: Blurring the Barlines By: Zach Streeter Thesis Director: Dr. Lewis Porter Despite the institutionalization of jazz music, and the large output of academic activity surrounding the music’s history, one is hard pressed to discover any information on the late jazz guitarist Jimmy Raney or the legacy Jimmy Raney left on the instrument. Guitar, often times, in the history of jazz has been regulated to the role of the rhythm section, if the guitar is involved at all. While the scope of the guitar throughout the history of jazz is not the subject matter of this thesis, the aim is to present, or bring to light Jimmy Raney, a jazz guitarist who I believe, while not the first, may have been among the first to pioneer and challenge these conventions. I have researched Jimmy Raney’s background, and interviewed two people who knew Jimmy Raney: his son, Jon Raney, and record producer Don Schlitten. These two individuals provide a beneficial contrast as one knew Jimmy Raney quite personally, and the other knew Jimmy Raney from a business perspective, creating a greater frame of reference when attempting to piece together Jimmy Raney.
    [Show full text]
  • Why Jazz Still Matters Jazz Still Matters Why Journal of the American Academy of Arts & Sciences Journal of the American Academy
    Dædalus Spring 2019 Why Jazz Still Matters Spring 2019 Why Dædalus Journal of the American Academy of Arts & Sciences Spring 2019 Why Jazz Still Matters Gerald Early & Ingrid Monson, guest editors with Farah Jasmine Griffin Gabriel Solis · Christopher J. Wells Kelsey A. K. Klotz · Judith Tick Krin Gabbard · Carol A. Muller Dædalus Journal of the American Academy of Arts & Sciences “Why Jazz Still Matters” Volume 148, Number 2; Spring 2019 Gerald Early & Ingrid Monson, Guest Editors Phyllis S. Bendell, Managing Editor and Director of Publications Peter Walton, Associate Editor Heather M. Struntz, Assistant Editor Committee on Studies and Publications John Mark Hansen, Chair; Rosina Bierbaum, Johanna Drucker, Gerald Early, Carol Gluck, Linda Greenhouse, John Hildebrand, Philip Khoury, Arthur Kleinman, Sara Lawrence-Lightfoot, Alan I. Leshner, Rose McDermott, Michael S. McPherson, Frances McCall Rosenbluth, Scott D. Sagan, Nancy C. Andrews (ex officio), David W. Oxtoby (ex officio), Diane P. Wood (ex officio) Inside front cover: Pianist Geri Allen. Photograph by Arne Reimer, provided by Ora Harris. © by Ross Clayton Productions. Contents 5 Why Jazz Still Matters Gerald Early & Ingrid Monson 13 Following Geri’s Lead Farah Jasmine Griffin 23 Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions Gabriel Solis 36 “You Can’t Dance to It”: Jazz Music and Its Choreographies of Listening Christopher J. Wells 52 Dave Brubeck’s Southern Strategy Kelsey A. K. Klotz 67 Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s Gerald Early 83 Ella Fitzgerald & “I Can’t Stop Loving You,” Berlin 1968: Paying Homage to & Signifying on Soul Music Judith Tick 92 La La Land Is a Hit, but Is It Good for Jazz? Krin Gabbard 104 Yusef Lateef’s Autophysiopsychic Quest Ingrid Monson 115 Why Jazz? South Africa 2019 Carol A.
    [Show full text]
  • The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters
    4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBoRAh F. RUTTER, President CONCERT HALL Monday Evening, April 16, 2018, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters TODD BARKAN JOANNE BRACKEEN PAT METHENY DIANNE REEVES Jason Moran is the Kennedy Center Artistic Director for Jazz. This performance will be livestreamed online, and will be broadcast on Sirius XM Satellite Radio and WPFW 89.3 FM. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 2 THE 2018 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, Kennedy Center Artistic Director for Jazz With remarks from JANE CHU, Chairman of the National Endowment for the Arts DEBORAH F. RUTTER, President of the John F. Kennedy Center for the Performing Arts The 2018 NEA JAzz MASTERS Performances by NEA Jazz Master Eddie Palmieri and the Eddie Palmieri Sextet John Benitez Camilo Molina-Gaetán Jonathan Powell Ivan Renta Vicente “Little Johnny” Rivero Terri Lyne Carrington Nir Felder Sullivan Fortner James Francies Pasquale Grasso Gilad Hekselman Angélique Kidjo Christian McBride Camila Meza Cécile McLorin Salvant Antonio Sanchez Helen Sung Dan Wilson 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18
    [Show full text]
  • Programs Around the World in Areas Pertinent to the Study of Media Ecology
    The Twenty-First Annual Convention of the Media Ecology Association June 17-20, 2020 Goals of the MEA • To promote, sustain, and recognize excellence in media ecology scholarship, research, criticism, application, and artistic practice. • To provide a network for fellowship, contacts, and professional opportunities. • To serve as a clearinghouse for information related to academic programs around the world in areas pertinent to the study of media ecology. • To promote community and cooperation among academic, private, and public entities mutually concerned with the understanding of media ecology. • To provide opportunities for professional growth and development. • To encourage interdisciplinary research and interaction. • To encourage reciprocal cooperation and research among institutions and organizations. • To provide a forum for student participation in an academic and professional environment. • To advocate for the development and implementation of media ecology education at all levels of curricula. 2020 Executive Board President: Paolo Granata, University of Toronto Vice President: Peggy Cassidy, Adelphi University Vice President-Elect: Adriana Braga, Pontifícia Universidade Católica do Rio de Janeiro Treasurer: Paul A. Soukup, SJ, Santa Clara University Recording Secretary: Cathy Adams, University of Alberta Executive Secretary: Fernando Gutiérrez, Tecnológico de Monterrey Historian: Matt Thomas, Kirkwood Community College Internet Officer: Carolin Aronis, Colorado State University EME Editor-in-Chief: Ernest Hakanen, Drexel University
    [Show full text]
  • Booking Agency Info
    Kristin Asbjørnsen www.kristinsong.com Singer and songwriter Kristin Asbjørnsen is one of the most distinguished artists on the vibrating extended music scene in Europe. During the last decade, she has received overwhelming international response among critics and public alike for her unique musical expression. 2018 saw the release of Kristin’s Traces Of You. Based on her assured melodic flair and poetic lyrics, Kristin has on this critically acclaimed album explored new fields of music. Vocals, kora and guitars are woven creatively into a meditative and warm vibration, showing traces of West African music, lullabyes and Nordic contemporary jazz. Lyrical African ornaments unite in a playful dialogue with a sonorous guitar universe. Kristin sings in moving chorus with the Gambian griot Suntou Susso, using excerpts of her poems translated into Mandinka language. During 2019 Kristin will be touring in Europe in trio with the kora player Suntou Susso and guitarist Olav Torget, performing songs from Traces Of You, as well as songs from her afro-american spirituals repertoire. Kristin is well known for her great live-performances and she is always touring with extraordinary musicians. The Norwegian singer has featured on a number of album releases, as well as a series of tours and festival performances in Europe. Her previous solo albums I’ll meet you in the morning (2013), The night shines like the day (2009) and Wayfaring stranger (2006) were released across Europe via Emarcy/Universal. Wayfaring stranger sold to Platinum in Norway. Kristin made the score for the movie Factotum (Bukowski/Bent Hamer) in 2005. Kristin collaborates with the jazz pianist Tord Gustavsen (ECM).
    [Show full text]
  • Downbeat.Com March 2014 U.K. £3.50
    £3.50 £3.50 U.K. DOWNBEAT.COM MARCH 2014 D O W N B E AT DIANNE REEVES /// LOU DONALDSON /// GEORGE COLLIGAN /// CRAIG HANDY /// JAZZ CAMP GUIDE MARCH 2014 March 2014 VOLUME 81 / NUMBER 3 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editor Ed Enright Designer Ara Tirado Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes Editorial Intern Kathleen Costanza Design Intern LoriAnne Nelson ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Pete Fenech 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene
    [Show full text]
  • Stylistic Evolution of Jazz Drummer Ed Blackwell: the Cultural Intersection of New Orleans and West Africa
    STYLISTIC EVOLUTION OF JAZZ DRUMMER ED BLACKWELL: THE CULTURAL INTERSECTION OF NEW ORLEANS AND WEST AFRICA David J. Schmalenberger Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Percussion/World Music Philip Faini, Chair Russell Dean, Ph.D. David Taddie, Ph.D. Christopher Wilkinson, Ph.D. Paschal Younge, Ed.D. Division of Music Morgantown, West Virginia 2000 Keywords: Jazz, Drumset, Blackwell, New Orleans Copyright 2000 David J. Schmalenberger ABSTRACT Stylistic Evolution of Jazz Drummer Ed Blackwell: The Cultural Intersection of New Orleans and West Africa David J. Schmalenberger The two primary functions of a jazz drummer are to maintain a consistent pulse and to support the soloists within the musical group. Throughout the twentieth century, jazz drummers have found creative ways to fulfill or challenge these roles. In the case of Bebop, for example, pioneers Kenny Clarke and Max Roach forged a new drumming style in the 1940’s that was markedly more independent technically, as well as more lyrical in both time-keeping and soloing. The stylistic innovations of Clarke and Roach also helped foster a new attitude: the acceptance of drummers as thoughtful, sensitive musical artists. These developments paved the way for the next generation of jazz drummers, one that would further challenge conventional musical roles in the post-Hard Bop era. One of Max Roach’s most faithful disciples was the New Orleans-born drummer Edward Joseph “Boogie” Blackwell (1929-1992). Ed Blackwell’s playing style at the beginning of his career in the late 1940’s was predominantly influenced by Bebop and the drumming vocabulary of Max Roach.
    [Show full text]
  • All the World's a Song: Shakespeare Series Assembly on Jazz
    teacher resource guide assembly series all the world’s a song: shakespeare on jazz An interview with Daniel Kelly about the performance Award-winning composer and pianist Daniel Kelly takes Daniel Kelly, composer and pianist Frederick Johnson, vocalist Sarah Elizabeth Charles, vocalist Shakespeare’s words and moves them into jazz renditions in Award-winning composer and pianist Daniel Kelly’s music has Frederick Johnson has spent the past 35 years presenting Sarah Elizabeth Charles is a rising New York City vocalist/ this amazing performance of jazz vocalists Frederick Johnson been declared “powerfully moving” by Time Out New York. He international concerts seminars on the power of creative composer. She has worked and studied with artists such as and Sarah Elizabeth Charles. Such Shakespearean standards has performed with GRAMMY®-winning jazz legends Michael expression as a tool for personal well-being and healing. An George Cables, Geri Allen, Nicholas Payton, Sheila Jordan, as the “Double, double toil and trouble” verses from Macbeth Brecker and Joe Lovano, hip-hop star Lauryn Hill, modern accomplished vocalist and percussionist, he is recognized Jimmy Owens and Carmen Lundy. Sarah has performed at The (Act 4, Scene 1) and the beautiful poetry “I Do Wander classical giants Bang on a Can All-Stars, and many others. internationally as one of the world’s greatest vocal jazz White House, Carnegie Hall’s Weill Recital Hall, Gillette Stadium Everywhere” from A Midsummer Night’s Dream (Act 2, Scene 1) Kelly toured Southeast Asia and India as a part of the Kennedy improvisers and one of the world’s most passionate and as a National Anthem singer for the New England Patriots, are given new life by being put to jazz.
    [Show full text]
  • Trevor Tolley Jazz Recording Collection
    TREVOR TOLLEY JAZZ RECORDING COLLECTION TABLE OF CONTENTS Introduction to collection ii Note on organization of 78rpm records iii Listing of recordings Tolley Collection 10 inch 78 rpm records 1 Tolley Collection 10 inch 33 rpm records 43 Tolley Collection 12 inch 78 rpm records 50 Tolley Collection 12 inch 33rpm LP records 54 Tolley Collection 7 inch 45 and 33rpm records 107 Tolley Collection 16 inch Radio Transcriptions 118 Tolley Collection Jazz CDs 119 Tolley Collection Test Pressings 139 Tolley Collection Non-Jazz LPs 142 TREVOR TOLLEY JAZZ RECORDING COLLECTION Trevor Tolley was a former Carleton professor of English and Dean of the Faculty of Arts from 1969 to 1974. He was also a serious jazz enthusiast and collector. Tolley has graciously bequeathed his entire collection of jazz records to Carleton University for faculty and students to appreciate and enjoy. The recordings represent 75 years of collecting, spanning the earliest jazz recordings to albums released in the 1970s. Born in Birmingham, England in 1927, his love for jazz began at the age of fourteen and from the age of seventeen he was publishing in many leading periodicals on the subject, such as Discography, Pickup, Jazz Monthly, The IAJRC Journal and Canada’s popular jazz magazine Coda. As well as having written various books on British poetry, he has also written two books on jazz: Discographical Essays (2009) and Codas: To a Life with Jazz (2013). Tolley was also president of the Montreal Vintage Music Society which also included Jacques Emond, whose vinyl collection is also housed in the Audio-Visual Resource Centre.
    [Show full text]