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Jazz Services National Touring Support Scheme Data 1992 – 2011
Jazz Services National Touring Support Scheme Data 1992 – 2011 Presented By: Steve French Computer Consultant Jazz Services 132 Southwark Street London SE1 0SW Telephone: 0207 928 9089 Email: [email protected] Website: www.jazzservices.org.uk Facebook: British Jazz Twitter:@jazzservices 15th March 2012 Table of Contents FOREWORD ......................................................................................................................... 3 1. GENERAL ACTIVITY: FINANCIAL YEARS 1992-2011.................................................... 4 1.1 TABLE 1: Data Relating to the Financial Years April to March 1992/2011 .............................. 4 1.2 TABLE 1: Notes to the figures .................................................................................................. 5 2. BAND ACTIVITY: FINANCIAL YEARS 1992-2011 ........................................................... 6 2.1 TABLE 2: Data Relating to Band Award for Financial Years April to March 1992/2011 .......... 6 2.2 TABLE 2: Notes to the figures .................................................................................................. 7 3. REGIONAL STATISTICS 1992-2011 ................................................................................ 8 3.1 TABLE 3: Number of gigs by Financial Year and Region ........................................................ 8 3.2 TABLE 4: Gigs by Financial Year and Region as a Percentage 1992-2011 ............................ 9 3.3 TABLE 5: Number of gigs by Financial Year and Region as a % 1992-2011 ....................... -
The Free Music of Buenos Aires
I n Search O f Outside the festival circuit and distanced by economic upheaval Spaces the free music of Buenos Aires has developed its own survival tactics, from “The music we’ve chosen to play,” says multi-reed otherwise, enough at least to host some friends, his instrumentalist Luis Conde, “is a space where we’re horns and her Steinway baby grand, along with the performances in always standing in the midst of a crisis, a crisis of upright in the hallway, both inherited from her family. people’s homes to public the elements.” Improvised music is not for the faint Like him, she is in her early fifties and took a winding of heart, and in Buenos Aires, it seems, even less so. path to her practice as an improvisor, from an early happenings. By Jason Yet the music is flourishing there – the audiences at and extensive training in classical and contemporary Weiss. Photography by events I attended over a trip in 2016 were no smaller music, with studies at La Plata and in Scotland. For than at home in Brooklyn, and the music is every bit his part Conde started studying music intensively Angeles Peña as engaging. As in European or American cities, the when he was 26. To underline the precariousness of music survives on a DIY homemade spirit to subvert the experimental musician’s life in Argentina, Galante conventions and construct its own presence. Yet notes there is little state support for improvised the struggle is waged against greater odds. “We music, “nor for art practices that are hard to classify find our support in the vortex of the crisis, the like ours”. -
Post-World War II Jazz in Britain: Venues and Values 19451970
University of Plymouth PEARL https://pearl.plymouth.ac.uk Faculty of Arts and Humanities School of Society and Culture Post-World War II Jazz in Britain: Venues and Values 19451970 Williams, KA http://hdl.handle.net/10026.1/4429 10.1558/jazz.v7i1.113 Jazz Research Journal Equinox Publishing All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. [JRJ 7.1 (2013) 113-131] (print) ISSN 1753-8637 doi:10.1558/jazz.v7i1.113 (online) ISSN 1753-8645 Post-World War II Jazz in Britain: Venues and Values 1945–1970 Katherine Williams Department of Music, Plymouth University [email protected] Abstract This article explores the ways in which jazz was presented and mediated through venue in post-World War II London. During this period, jazz was presented in a variety of ways in different venues, on four of which I focus: New Orleans-style jazz commonly performed for the same audiences in Rhythm Clubs and in concert halls (as shown by George Webb’s Dixielanders at the Red Barn public house and the King’s Hall); clubs hosting different styles of jazz on different nights of the week that brought in different audiences (such as the 100 Club on Oxford Street); clubs with a fixed stylistic ideology that changed venue, taking a regular fan base and musicians to different locations (such as Ronnie Scott’s Jazz Club); and jazz in theatres (such as the Little Theatre Club and Mike West- brook’s compositions for performance in the Mermaid Theatre). -
Peter Johnston 2011
The London School Of Improvised Economics - Peter Johnston 2011 This excerpt from my dissertation was included in the reader for the course MUS 211: Music Cultures of the City at Ryerson University. Introduction The following reading is a reduction of a chapter from my dissertation, which is titled Fields of Production and Streams of Conscious: Negotiating the Musical and Social Practices of Improvised Music in London, England. The object of my research for this work was a group of musicians living in London who self-identified as improvisers, and who are part of a distinct music scene that emerged in the mid-1960s based on the idea of free improvisation. Most of this research was conducted between Sept 2006 and June 2007, during which time I lived in London and conducted interviews with both older individuals who were involved in the creation of this scene, and with younger improvisers who are building on the formative work of the previous generation. This chapter addresses the practical aspects of how improvised music is produced in London, and follows a more theoretical analysis in the previous chapters of why the music sounds like it does. Before moving on to the main content, it will be helpful to give a brief explanation of two of the key terms that occur throughout this chapter: “free improvisation” and the “improvised music field.” “Free improvisation” refers to the creation of musical performances without any pre- determined materials, such as form, tonality, melody, or rhythmic feel. This practice emerged out of developments in jazz in the late 1950s and early 1960s, particularly in the work of Ornette Coleman and Cecil Taylor, who began performing music without using the song-forms, harmonic progressions, and steady rhythms that characterized jazz until that time. -
The Alan Skidmore Quintet Once Upon a Time...Mp3, Flac
The Alan Skidmore Quintet Once Upon A Time.... mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Once Upon A Time.... Country: UK Released: 1970 MP3 version RAR size: 1113 mb FLAC version RAR size: 1898 mb WMA version RAR size: 1480 mb Rating: 4.9 Votes: 613 Other Formats: MPC DMF VOC AU AA FLAC DXD Tracklist Hide Credits Once Upon A Time A1 Written-By – Surman* Majaera A2 Written-By – Oxley* The Yolk A3 Written-By – Taylor* Old San Juan B1 Written-By – Warren* Free For Al B2 Written-By – Surman* Image B3 Written-By – Surman* Companies, etc. Printed By – Clout & Baker Ltd. Credits Bass – Harry Miller Design [Cover] – Roi Castle Drums – Tony Oxley Engineer – Bill Price, David Grinsted* Flugelhorn – Kenny Wheeler Liner Notes – Roger Eames Piano – John Taylor Producer – Peter Eden Tenor Saxophone – Alan Skidmore Notes The back cover shows an "indicator hole" to let the inner sleeve peep through: blue = stereo, red = mono. Cover: Deram Nova Label: Decca Nova Other versions Category Artist Title (Format) Label Category Country Year The Alan Once Upon A CDSML 8406 Skidmore Time.... (CD, Album, Vocalion CDSML 8406 UK 2005 Quintet RE, RM) The Alan Once Upon A Deram, SDN 11 Skidmore SDN 11 UK 1970 Time.... (LP, Album) Decca Quintet The Alan Once Upon A DL 3004 Skidmore Deram DL 3004 Japan 1970 Time.... (LP, Album) Quintet The Alan Once Upon A UCCM-9256, Deram, UCCM-9256, Skidmore Time.... (CD, Album, Japan 2008 SDN 11 Deram SDN 11 Quintet RE, RM, Pap) Comments about Once Upon A Time.... - The Alan Skidmore Quintet Vutaur Just what you'd expect from the musicians involved (quite a stellar all-star British jazz cast of talent in fact), this is at the not quite free-jazz end of Ian Carr's Nucleus type sound, vaguely Canterbury- esque in its textures and mood, but lacking the rock edge that would have made it interesting for me. -
Music Outside? the Making of the British Jazz Avant-Garde 1968-1973
Banks, M. and Toynbee, J. (2014) Race, consecration and the music outside? The making of the British jazz avant-garde 1968-1973. In: Toynbee, J., Tackley, C. and Doffman, M. (eds.) Black British Jazz. Ashgate: Farnham, pp. 91-110. ISBN 9781472417565 There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/222646/ Deposited on 28 August 2020 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk Race, Consecration and the ‘Music Outside’? The making of the British Jazz Avant-Garde: 1968-1973 Introduction: Making British Jazz ... and Race In 1968 the Arts Council of Great Britain (ACGB), the quasi-governmental agency responsible for providing public support for the arts, formed its first ‘Jazz Sub-Committee’. Its main business was to allocate bursaries usually consisting of no more than a few hundred pounds to jazz composers and musicians. The principal stipulation was that awards be used to develop creative activity that might not otherwise attract commercial support. Bassist, composer and bandleader Graham Collier was the first recipient – he received £500 to support his work on what became the Workpoints composition. In the early years of the scheme, further beneficiaries included Ian Carr, Mike Gibbs, Tony Oxley, Keith Tippett, Mike Taylor, Evan Parker and Mike Westbrook – all prominent members of what was seen as a new, emergent and distinctively British avant-garde jazz scene. Our point of departure in this chapter is that what might otherwise be regarded as a bureaucratic footnote in the annals of the ACGB was actually a crucial moment in the history of British jazz. -
The New York City Jazz Record
BEST OF 2020 BEST OF 2020 BEST OF 2020 BEST OF 2020 BEST OF 2020 BEST OF 2020 THE NEW YORK CITY JAZZ RECORD BEST OF 2020 BEST OF 2020 BEST OF 2020 BEST OF 2020 BEST OF 2020 BEST OF 2020 MUSICIANS OF THE YEAR ALBUMS OF THE YEAR MISCELLANEOUS CATEGORIES OF THE YEAR LAKECIA BENJAMIN (saxophone) JUHANI AALTONEN, JONAS KULLHAMMAR, JUHANI AALTONEN, JONAS KULLHAMMAR, TIM BERNE (saxophone) CHRISTIAN MEAAS SVENDSEN, CHRISTIAN MEAAS SVENDSEN, SOLO RECORDINGS BOXED SETS UNEARTHED GEMS ILMARI HEIKINHEIMO— ILMARI HEIKINHEIMO— MATS GUSTAFSSON (saxophone) CHRIS CORSANO—Mezzaluna (Catalytic Sound) PAUL DESMOND—The Complete 1975 Toronto Recordings ART BLAKEY & THE JAZZ MESSENGERS— The Father, the Sons & The Junnu (Moserobie) The Father, the Sons & The Junnu (Moserobie) (Mosaic) Just Coolin’ (Blue Note) JAMES BRANDON LEWIS (saxophone) SIGURD HOLE—Lys / Mørke ( Light / Darkness ) (s/r) DANIEL BINGERT—Berit in Space (Moserobie) PETER EVANS—Into the Silence (More is More-Old Heaven) HERMIONE JOHNSON—Tremble (Relative Pitch) CHARLES LLOYD—8: Kindred Spirits (Live From the Lobero) ELLA FITZGERALD—The Lost Berlin Tapes (Verve) CHARLES LLOYD (saxophone) (Blue Note) LUCA T. MAI—Heavenly Guide (Trost) LONDON JAZZ COMPOSERS ORCHESTRA— COLLOCUTOR—Continuation (On The Corner) FIRE! ORCHESTRA—Actions (Rune Grammofon) MODERN JAZZ QUINTET KARLSRUHE/ That Time (Not Two) MATTHEW SHIPP—The Piano Equation (Tao Forms) FOUR MEN ONLY—Complete Recordings (NoBusiness) CHARLES MINGUS—@ Bremen 1964 & 1975 (Sunnyside) ANDREA KELLER—Journey Home (s/r) DAVID KRAKAUER/KATHLEEN TAGG— UP-AND-COMERS OF THE YEAR CHARLIE PARKER—The Mercury & Clef 10-Inch LP ALAN WAKEMAN—The Octet Broadcasts (1969 and 1979) Breath & Hammer (Table Pounding) Collection (Verve) EMMET COHEN (piano) JON-ERIK KELLSO—Sweet Fruits Salty Roots (Jazzology) LATIN RELEASES (Gearbox) CHARLES LLOYD VARIOUS ARTISTS—Not Two.. -
Dec. 22, 2015 Snd. Tech. Album Arch
SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) Affinity-Affinity S=Trident Studio SOHO, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R=1970 (Vertigo) E=Frank Owen, Robin Geoffrey Cable P=John Anthony SOURCE=Ken Scott, Discogs, Original Album Liner Notes Albion Country Band-Battle of The Field S=Sound Techniques Studio Chelsea, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) S=Island Studio, St. Peter’s Square, London (PARTIAL TRACKING) R=1973 (Carthage) E=John Wood P=John Wood SOURCE: Original Album liner notes/Discogs Albion Dance Band-The Prospect Before Us S=Sound Techniques Studio Chelsea, London. (PARTIALLY TRACKED. MIXED: SOUND TECHNIQUES A-RANGE) S=Olympic Studio #1 Studio, Barnes, London (PARTIAL TRACKING) R=Mar.1976 Rel. (Harvest) @ Sound Techniques, Olympic: Tracks 2,5,8,9 and 14 E= Victor Gamm !1 SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) P=Ashley Hutchings and Simon Nicol SOURCE: Original Album liner notes/Discogs Alice Cooper-Muscle of Love S=Sunset Sound Recorders Hollywood, CA. Studio #2. (TRACKED: SOUND TECHNIQUES A-RANGE) S=Record Plant, NYC, A&R Studio NY (OVERDUBS AND MIX) R=1973 (Warner Bros) E=Jack Douglas P=Jack Douglas and Jack Richardson SOURCE: Original Album liner notes, Discogs Alquin-The Mountain Queen S= De Lane Lea Studio Wembley, London (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R= 1973 (Polydor) E= Dick Plant P= Derek Lawrence SOURCE: Original Album Liner Notes, Discogs Al Stewart-Zero She Flies S=Sound Techniques Studio Chelsea, London. -
JOHN SURMAN Title: FLASHPOINT: NDR JAZZ WORKSHOP – APRIL '69 (Cuneiform Rune 315-316)
Bio information: JOHN SURMAN Title: FLASHPOINT: NDR JAZZ WORKSHOP – APRIL '69 (Cuneiform Rune 315-316) Cuneiform publicity/promotion dept.: (301) 589-8894 / fax (301) 589-1819 email: joyce [-at-] cuneiformrecords.com [Press & world radio]; radio [-at-] cuneiformrecords.com [North American radio] www.cuneiformrecords.com FILE UNDER: JAZZ One of Europe’s foremost jazz musicians, John Surman is a masterful improvisor, composer, and multi-instrumentalist (baritone and soprano sax, bass clarinet, and synthesizers/electronics). For 45 years, he has been a major force, producing a prodigious and creative body of work that expands beyond jazz. Surman’s extensive discography as a leader and a side man numbers more than 100 recordings to date. Surman has worked with dozens of prominent artists worldwide, including John McLaughlin, Chick Corea, Chris McGregor’s Brotherhood of Breath, Dave Holland, Miroslav Vitous, Jack DeJohnette, Terje Rypdal, Weather Report, Karin Krog, Bill Frisell, Paul Motian and many more. Surman is probably most popularly known for his longstanding association with the German label ECM, who began releasing Surman’s recordings in 1979. Surman has won numerous jazz polls and awards and a number of important commissions. Every period of his career is filled with highlights, which is why Cuneiform is exceedingly proud to release for the first time ever this amazing document of the late 60s 'Brit-jazz' scene. Born in Tavistock, in England, Surman discovered music as a child, singing as soprano soloist in a Plymouth-area choir. He later bought a second- hand clarinet, took lessons from a Royal Marine Band clarinetist, and began playing traditional Dixieland jazz at local jazz clubs. -
Barre Phillips (Bass) Album Title (Format): Arcus (Cd) Label (Country) (Catalog Number): Maya Recordings (UK) (MCD9101) Release Date: 1991 Duration: 6:56
Barre Phillips American bassist (October 27, 1934—) Track listing 1. title: Sundance personnel: Barre Phillips (bass) album title (format): Arcus (cd) label (country) (catalog number): Maya Recordings (UK) (MCD9101) release date: 1991 duration: 6:56 1 2. title: p.s.-Te Queremos personnel: Barre Phillips (bass), Joëlle Léander (bass), William Parker (bass), Tetsu Saitoh (bass) album title (format): After You Gone – A Memorial Concert for Peter Kowald (cd) label (country) (catalog number): Les Disques Victo (Canada) (VICTO cd 091) release date: 2004 duration: 6:40 3. title: Don’t Save personnel: Barre Phillips (bass), Derek Bailey (guitar) album title (format): Figuring (cd) label (country) (catalog number): Incus Records (UK) (CD 05) release date: 1990 duration: 10:10 4. title: Key Finder personnel: Barre Phillips (bass, voice), Keiji Haino (guitar, voice) album title (format): Etching in the Air (cd) label (country) (catalog number): PSF Records (Japan) (PSFD 74) release date: 1996 duration: 3:11 5. title: Death of Rationalism personnel: Barre Phillips (bass), Keiji Haino (guitar), Sabu Toyozumi (percussion) album title (format): Two Strings Will Do It (cd) label (country) (catalog number): PSF Records (Japan) (PSFD 45) release date: 1994 duration: 8:21 6. title: Mountainscapes 1 personnel: Barre Phillips (bass), John Sherman (sax, clarinet, synthesizer), Dieter Feichtner (synthesizer), Stu Martin (drums, synthesizer) album title (format): Mountainscapes (cd) label (country) (catalog number): ECM Records (Germany) (ECM 1076) release date: 1976 duration: 5:53 7. title: The Rugged Cross personnel: Barre Phillips (bass), Jacques Demierre (piano), Urs Leimgruber (sax) album title (format): ldp cologne (cd) label (country) (catalog number): psi Records (UK) (psi 05.03) release date: 2005 duration: 12:50 2 8. -
Varsity Jazz
Varsity Jazz Jazz at Reading University 1951 - 1984 By Trevor Bannister 1 VARSITY JAZZ Jazz at Reading University 1951 represented an important year for Reading University and for Reading’s local jazz scene. The appearance of Humphrey Lyttelton’s Band at the University Rag Ball, held at the Town Hall on 28th February, marked the first time a true product of the Revivalist jazz movement had played in the town. That it should be the Lyttelton band, Britain’s pre-eminent group of the time, led by the ex-Etonian and Grenadier Guardsman, Humphrey Lyttelton, made the event doubly important. Barely three days later, on 3rd March, the University Rag Committee presented a second event at the Town Hall. The Jazz Jamboree featured the Magnolia Jazz Band led by another trumpeter fast making a name for himself, the colourful Mick Mulligan. It would be the first of his many visits to Reading. Denny Dyson provided the vocals and the Yew Tree Jazz Band were on hand for interval support. There is no further mention of jazz activity at the university in the pages of the Reading Standard until 1956, when the clarinettist Sid Phillips led his acclaimed touring and broadcasting band on stage at the Town Hall for the Rag Ball on 25th February, supported by Len Lacy and His Sweet Band. Considering the intense animosity between the respective followers of traditional and modern jazz, which sometimes reached venomous extremes, the Rag Committee took a brave decision in 1958 to book exponents of the opposing schools. The Rag Ball at the Olympia Ballroom on 20th February, saw Ken Colyer’s Jazz Band, which followed the zealous path of its leader in keeping rigidly to the disciplines of New Orleans jazz, sharing the stage with the much cooler and sophisticated sounds of a quartet led by Tommy Whittle, a tenor saxophonist noted for his work with the Ted Heath Orchestra. -
Sendung, Sendedatum
WDR 3 Jazz, 25. November 2015 African Heartbeat – Der Schlagzeuger Louis Moholo 22:00 – 23:00 Stand: 23.11.2015 E-Mail: [email protected] WDR JazzRadio: http://jazz.wdr.de/ Moderation: Bert Noglik Redaktion: Bernd Hoffmann Laufplan 1. Dorkay House K: Dudu Pukwana BLUE NOTES Ogun CD OGCD 24; LC: 03519 CD: Blue Note Legacy: Live In South Afriac 1964 4:20 2. Travelling Somewhere K: Chris McGregor THE CHRIS MCGREGOR GROUP Fledg'ling FLED 3059 CD: Very Urgent 6:14 3. Ismite Is Might K: Chris McGregor BROTHERHOOD OF BREATH Ogun CD OGCD 001; LC 0351 CD: Brotherhood Of Breath - Live At Willisau 4:28 4. Khanya Apho Ukhona K: Louis Moholo-Moholo LOUIS MOHOLO OCTET Intakt CD 009; LC 03519 CD: Louis Moholo - Spirits Rejoice! 7:46 5. Blues For Nick K: Dudu Pukwana BLUE NOTES Ogun CD OGCD 028; LC 0351 CD: Blue Notes For Johnny 4:39 6. I'll Look All Over Afrika For You K: Traditionrell LOUS MOHOLO VIVA LA BLACK Ogun CD OGCD 006; LC 0351 CD: Louis Moholo - Viva La Black - Freedom Tour (Live In South Africa 1993) 3:30 7. Sonke K: Pheto LOUIS MOHOLO - MOHOLO SEPTET Ogun CD OGCD 018; LC 0351 CD: Louis Moholo - Bra Louis - Bra Tebs 5:42 Dieses Manuskript ist ausschließlich zum persönlichen, privaten Gebrauch bestimmt. Jede weitere Vervielfältigung und Verbreitung bedarf der ausdrücklichen Genehmigung des WDR. 1 WDR 3 Jazz, 25. November 2015 African Heartbeat – Der Schlagzeuger Louis Moholo 22:00 – 23:00 Stand: 23.11.2015 E-Mail: [email protected] WDR JazzRadio: http://jazz.wdr.de/ 8.