El Próximo Mes De Diciembre Inicia Bestia Festival

Total Page:16

File Type:pdf, Size:1020Kb

El Próximo Mes De Diciembre Inicia Bestia Festival México D.F., martes 24 de noviembre de 2015 EL PRÓXIMO MES DE DICIEMBRE INICIA BESTIA FESTIVAL Se realizará en el Lunario y en el foro principal del Auditorio Nacional Otras actividades se llevarán a cabo en la Biblioteca Vasconcelos y en la SAE Institute México Este encuentro musical, que llega a su tercera edición, está curado por John Zorn Tendrá un cierre espectacular con un cine-concierto del filme El Gabinete del Dr. Caligari, con música en vivo del Órgano monumental del Auditorio El encuentro internacional de música BESTIA Festival, que se ha distinguido por programar a los artistas más representativos de la escena avant-garde, jazz, rock, hardcore y música experimental, con propuestas y grupos que difícilmente se presentan en otros escenarios de México, arrancará a principios de diciembre, realizándose por primera vez en el Auditorio Nacional y en su foro alterno el Lunario. La curaduría de la edición de este año del Festival, que presentará el Ciclo John Zorn México, estará a cargo de este influyente artista de la escena avant-garde en Nueva York. Si bien este festival fue creado por iniciativa de Estudio Paraíso y Volumen ACHE, desde su primera edición lo ha dirigido Claudia Curiel; y en esta ocasión el encuentro ampliará su programación con el apoyo del Auditorio Nacional, quien participa como coorganizador y sede de la edición 2015, en la que participarán más de 25 músicos nacionales e internacionales de primer nivel para interpretar repertorio de Masada así como propuestas de jazz, rock e improvisación. El concierto de apertura de la tercera edición de BESTIA Festival se realizará en la Biblioteca Vasconcelos el viernes 4 de diciembre, en el que participarán dos ensambles mexicanos, seleccionados por Zorn: Dora Juárez con “Cantos de una diáspora” y Micro- Ritmia de Ernesto Martínez “Sincronario”, quienes han grabado en la disquera del artista (Tzadik). Como parte de las actividades académicas de este año, el mismo viernes se llevará a cabo un workshop de grabación y mezcla, con Marc Urselli, quien es el ingeniero de 1 sonido que viene con John Zorn para el concierto del Lunario. Urselli ha trabajado con los Rolling Stones, Mike Patton, Laurie Anderson y Lila Downs, entre otros. El sábado 5 se llevarán a cabo cuatro conciertos en el Lunario. La banda mexicana Klezmerson, liderada por Benjamín Shwartz, presentará el álbum recién grabado con John Zorn: Masada Book Two – The Book Angels. Por su parte, Abraxas –cuarteto neoyorquino conformado por Aram Bajakian y Eyal Maoz en guitarras eléctricas, Kenny Grohowski en la batería y Shanir Blumenkranz en el bajo eléctrico– interpretará Psychomagia. También estará presente Secret Chiefs 3, banda experimental del norte de California, colaboradores cercanos de Zorn –integrada por el guitarrista y compositor Trey Spruane (fundador de Mr. Bungle y Faith No More), Eyvind Kang en el violín, Ches Smith en la batería, Jason Schimmel en la guitarra, Matt Lebofsky en los teclados y Toby Driver en el bajo–, quienes tocarán Masada Book three – The Book Beriah. El cierre del concierto en el Lunario correrá a cargo del explosivo ensamble de rock, jazz e improvisación, Bladerunner, headliner de los festivales de jazz más importantes, como el Jazzaldia de San Sebastián, encabezado por John Zorn en el saxofón, el baterista maestro Dave Lombardo (ex Slayer, Fantômas) y el bajista y productor Bill Laswell. El Festival cerrará en grande su programación de este año en el máximo foro de espectáculos de Reforma, con la Premier latinoamericana de la película más representativa del expresionismo alemán de 1920: El gabinete del Dr. Caligari. El domingo 6 de diciembre se proyectará una versión restaurada de este filme, digitalizada a color, cuya música será ejecutada en vivo por John Zorn, quien tocará el Órgano Monumental del Auditorio Nacional, que es el más grande de Latinoamérica y el séptimo en tamaño del mundo. Es un órgano tubular, cuyo rango sonoro es incluso mayor en graves y agudos a los de una orquesta sinfónica, ya que tiene 250 posibilidades tímbricas y posee además de los sonidos propiamente organísticos una gama de otros instrumentos, como flauta, viola, tuba, trombón, clarinete, entre otros. Este órgano será uno de los protagonistas principales de este cine-concierto. La premier internacional de la película se realizó el año pasado durante el Festival Internacional de Cine de Berlín, y también se presentó este año con la Filarmónica de París, por lo que su exhibición en el Auditorio Nacional es la premier latinoamericana. El gabinete del Dr. Caligari es una pieza fílmica clave para entender el expresionismo alemán en el cine de las primeras décadas del siglo XX. AUDIO CONFERENCIA DE PRENSA | 24 de noviembre 2015: https://goo.gl/avndbo FOTOS: https://www.hightail.com/download/ZWJYaXRIQVNwcFhtcXNUQw 2 BESTIA Festival presenta: Biblioteca Vasconcelos: Concierto acústico de apertura, viernes 4 de diciembre, 19:00 horas. Entrada libre, cupo limitado. SAE Institute México: Workshop, viernes 4 de diciembre, a partir de las 9:00 horas. Cupo limitado, previa inscripción http://mexico.sae.edu/ Lunario: Ciclo John Zorn, sábado 5 de diciembre, 21:00 horas. Boletos: $600 y $800. Auditorio Nacional: Cine-concierto de El gabinete del Dr. Caligari, con John Zorn, domingo 6 de diciembre, 19:00 horas. Boletos: $100, $250, $350 y $550. Boletos: Disponibles en taquillas del foro, sistema Ticketmaster y al teléfono 5325-9000. Más información: www.bestiafestival.com www.auditorio.com.mx/prensa/ www.lunario.com.mx/prensa/ DATOS CONTACTO PRENSA FESTIVAL BESTIA: Música Iván Coronel [email protected] Cine Itzuri Cabrera [email protected] 3 .
Recommended publications
  • John Zorn Artax David Cross Gourds + More J Discorder
    John zorn artax david cross gourds + more J DiSCORDER Arrax by Natalie Vermeer p. 13 David Cross by Chris Eng p. 14 Gourds by Val Cormier p.l 5 John Zorn by Nou Dadoun p. 16 Hip Hop Migration by Shawn Condon p. 19 Parallela Tuesdays by Steve DiPo p.20 Colin the Mole by Tobias V p.21 Music Sucks p& Over My Shoulder p.7 Riff Raff p.8 RadioFree Press p.9 Road Worn and Weary p.9 Bucking Fullshit p.10 Panarticon p.10 Under Review p^2 Real Live Action p24 Charts pJ27 On the Dial p.28 Kickaround p.29 Datebook p!30 Yeah, it's pink. Pink and blue.You got a problem with that? Andrea Nunes made it and she drew it all pretty, so if you have a problem with that then you just come on over and we'll show you some more of her artwork until you agree that it kicks ass, sucka. © "DiSCORDER" 2002 by the Student Radio Society of the Un versify of British Columbia. All rights reserved. Circulation 17,500. Subscriptions, payable in advance to Canadian residents are $15 for one year, to residents of the USA are $15 US; $24 CDN ilsewhere. Single copies are $2 (to cover postage, of course). Please make cheques or money ordei payable to DiSCORDER Magazine, DEADLINES: Copy deadline for the December issue is Noven ber 13th. Ad space is available until November 27th and can be booked by calling Steve at 604.822 3017 ext. 3. Our rates are available upon request.
    [Show full text]
  • Джоð½ Зоñ€Ð½ Ð​лÐ
    Джон Зорн ÐÐ​ »Ð±ÑƒÐ¼ ÑÐ​ ¿Ð¸ÑÑ​ ŠÐº (Ð ´Ð¸ÑÐ​ ºÐ¾Ð³Ñ€Ð°Ñ„иÑÑ​ ‚а & график) The Big Gundown https://bg.listvote.com/lists/music/albums/the-big-gundown-849633/songs Spy vs Spy https://bg.listvote.com/lists/music/albums/spy-vs-spy-249882/songs Buck Jam Tonic https://bg.listvote.com/lists/music/albums/buck-jam-tonic-2927453/songs https://bg.listvote.com/lists/music/albums/six-litanies-for-heliogabalus- Six Litanies for Heliogabalus 3485596/songs Late Works https://bg.listvote.com/lists/music/albums/late-works-3218450/songs https://bg.listvote.com/lists/music/albums/templars%3A-in-sacred-blood- Templars: In Sacred Blood 3493947/songs https://bg.listvote.com/lists/music/albums/moonchild%3A-songs-without-words- Moonchild: Songs Without Words 3323574/songs The Crucible https://bg.listvote.com/lists/music/albums/the-crucible-966286/songs Ipsissimus https://bg.listvote.com/lists/music/albums/ipsissimus-3154239/songs The Concealed https://bg.listvote.com/lists/music/albums/the-concealed-1825565/songs Spillane https://bg.listvote.com/lists/music/albums/spillane-847460/songs Mount Analogue https://bg.listvote.com/lists/music/albums/mount-analogue-3326006/songs Locus Solus https://bg.listvote.com/lists/music/albums/locus-solus-3257777/songs https://bg.listvote.com/lists/music/albums/at-the-gates-of-paradise- At the Gates of Paradise 2868730/songs Ganryu Island https://bg.listvote.com/lists/music/albums/ganryu-island-3095196/songs The Mysteries https://bg.listvote.com/lists/music/albums/the-mysteries-15077054/songs A Vision in Blakelight
    [Show full text]
  • Some Notes on John Zorn's Cobra
    Some Notes on John Zorn’s Cobra Author(s): JOHN BRACKETT Source: American Music, Vol. 28, No. 1 (Spring 2010), pp. 44-75 Published by: University of Illinois Press Stable URL: http://www.jstor.org/stable/10.5406/americanmusic.28.1.0044 . Accessed: 10/12/2013 15:16 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of Illinois Press is collaborating with JSTOR to digitize, preserve and extend access to American Music. http://www.jstor.org This content downloaded from 198.40.30.166 on Tue, 10 Dec 2013 15:16:53 PM All use subject to JSTOR Terms and Conditions JOHN BRACKETT Some Notes on John Zorn’s Cobra The year 2009 marks the twenty-fifth anniversary of John Zorn’s cele- brated game piece for improvisers, Cobra. Without a doubt, Cobra is Zorn’s most popular and well-known composition and one that has enjoyed remarkable success and innumerable performances all over the world since its premiere in late 1984 at the New York City club, Roulette. Some noteworthy performances of Cobra include those played by a group of jazz journalists and critics, an all-women performance, and a hip-hop ver- sion as well!1 At the same time, Cobra is routinely played by students in colleges and universities all over the world, ensuring that the work will continue to grow and evolve in the years to come.
    [Show full text]
  • John Zorn. the Gift; Songs from the Hermetic Theatre (2001). Chimeras; Masada Guitars (2003)
    Brigham Young University BYU ScholarsArchive Faculty Publications 2008-01-01 John Zorn. The Gift; Songs from the Hermetic Theatre (2001). Chimeras; Masada Guitars (2003). Masada Recital; Magick (2004). Rituals (2005). Astronome; Masada Rock; Moonchild Christian T. Asplund [email protected] Follow this and additional works at: https://scholarsarchive.byu.edu/facpub Part of the Music Commons BYU ScholarsArchive Citation Asplund, Christian T., "John Zorn. The Gift; Songs from the Hermetic Theatre (2001). Chimeras; Masada Guitars (2003). Masada Recital; Magick (2004). Rituals (2005). Astronome; Masada Rock; Moonchild" (2008). Faculty Publications. 914. https://scholarsarchive.byu.edu/facpub/914 This Peer-Reviewed Article is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Faculty Publications by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. RecordingReviews 129 JohnZorn. TheGift; Songs from the Hermetic Theatre (2001). Chimeras;Mas- ada Guitars(2003). Masada Recital;Magick (2004). Rituals (2005). Astronome; MasadaRock; Moonchild (2006). Each of these recordings appears on John Zorn'sown label,Tzadik. Once the unrulyupstart, John Zorn is now a MacArthurfellow, whose formi- dable catalogdivides easily intoearly, middle, and late periods.The earlyperiod dates fromthe mid-1970s to themid-1980s, when Zorn pioneeredthe practice of "comprovisation,"a termused to describe"the making of new compositionsfrom recordingsof improvised material/'1 Ultimately, Zorn's comprovisationblurs the lines between active listenerand composer,since both createnew works when theyimpose structureon foundsonic material.His earlystructuralist-modernist approach to comprovisationproduced esoteric,often severely pointillist music, and evolved into thegame pieces of the late 1970s and early 1980s,culminating in themasterpiece of strategy,Cobra (1984), the last early-periodwork.
    [Show full text]
  • John Zorn Marathon Royce Triple Threat Featuring Abraxas, Secret Chiefs 3 & Bladerunner & the Hermetic Organ
    John Zorn Marathon Royce Triple Threat featuring Abraxas, Secret Chiefs 3 & Bladerunner & The Hermetic Organ Sat, May 2 ROYCE TRIPLE THREAT 8pm – Abraxas: Psychomagia Royce Triple Threat Aram Bajakian Guitar Royce Hall Eyal Maoz Guitar 8pm Kenny Grohowski Drums RUNNING TIME: Shanir Blumenkranz Gimbri Approximately 3 hours; Two intermissions Intermission The Hermetic Organ 9pm – Secret Chiefs 3: Masada Book Two Royce Hall Trey Spruance Guitar Midnight Eyvind Kang Violin Ches Smith Drums RUNNING TIME: Approximately 45 minutes; Jason Schimmel Guitar No intermission Matt Lebofsky Keyboards Toby Driver Bass PRE-SHOW TERRACE EVENT: Round-Robin Duets: Intermission A Musical Improvisation 6:30 pm 10pm – Bladerunner Inspired by John Zorn’s improvisational John Zorn Sax techniques, a group of UCLA student Bill Laswell Bass musicians play a round-robin of s Dave Lombardo Drums pontaneous duets, culminating in a group imrov-jam session. THE HERMETIC ORGAN John Zorn Solo Organ Improvisations CAP UCLA SPONSOR: Supported in part by the Andrew W. Mellon Foundation ABOUT THE PROGRAM Although organ was Zorn’s first instrument (he often credits Lon Chaney MEDIA SPONSOR: in The Phantom of the Opera as a primal influence), in 2011 the saxophone great surprised even his hardcore fans by initiating a new series of solo organ concerts in churches around the world. The music is breathtaking, and distinguished by a spiritual mood that only a huge pipe organ like Royce Hall’s Skinner can create. A perfect outlet for Zorn’s dramatic sense of color and contrast, this performance reveals the composer’s mind at work in all its permutations.
    [Show full text]
  • John Zorn and the Construction of Jewish Identity Through Music
    HARVARD JUDAICA COLLECTION STUDENT RESEARCH PAPERS No.7 Studies in Jewish Musical Traditions Insights from the Harvard Collection of Judaica Sound Recordings Edited by Kay Kaufman Shelemay Professor of Music Harvard University '. HARVARD •COLLEGE LIBRARY Cambridge, Massachusetts 2001 Free Improvisation: John Zorn and the Construction of Jewish Identity through Music Michael Scott Cuthbert In early 1993, the Japanese record company Eva released a new disc of pieces by a composer best known for his work in free jazz, avant-garde "classical" music, and film scoring.! Taking its title from the night of violence against Jewish people, their businesses, and their property which occurred in Nazi Germany on November 9 and 10, 1938, Kristallnacht was John Zorn's first musical exploration of his Jewish heritage. After working with a group of musicians, most of whom he had little or no prior recorded collaboration with, Zorn built on the success of this project by turning in a new direction in his creative life. Quickly founding his own Hebrew-titled record company, encouraging other Jewish musicians to embrace their ethnic and religious heritage, and releasing in quick succession a CD series of Klezmer-flavored tunes, John Zorn's seemingly abrupt decision to visibly take up his cultural identity has gained him not only fans in the Jewish and free jazz worlds, but also critics and accusations of ethnic profiteering. This paper examines the underlying assumptions, aims, and methods for achieving these goals in Zorn's recent Jewish work through statements made by the composer, and reception by his fans and critics, but primarily through his recorded legacy.
    [Show full text]
  • Julyissuesingle.Pdf
    The Independent Journal ofCreative Improvised Music cadence Vol 38 No3 JUL AUG SEP 2012 The New York City Jazz Record EXCLUSIVE CONTENT ON JAZZ & IMPROVISED MUSIC IN NEW YORK CITY COMPETITIVE & EFFECTIVE ADVERTISING: [email protected] SUBSCRIPTIONS AND GENERAL INFO: [email protected] FOLLOW US ON TWITTER: @NYCJAZZRECORD www.nycjazzrecord.com Cadence The Independent Journal of Creative Improvised Music July - August - September 2012 ABBREVIATIONS USED Vol. 38 No. 3 (401) IN CADENCE Cadence ISSN01626973 is published quarterly online acc: accordion and annually in print by as: alto sax Cadence Media LLC, bari s : baritone sax P.O. Box 282, Richland, OR 97870 b cl: bass clarinet bs: bass sax PH 315-289-1444 bsn: bassoon cel: cello Email: [email protected] cl: clarinet cga: conga www.cadencejazzmagazine.com cnt: cornet d: drums Subscriptions: 1 year: el: electric First Class USA: $65 elec: electronics Outside USA : $70 Eng hn: English horn PDF Link and Annual Print Edition: $50, Outside USA $55 euph: euphonium Coordinating Editor: David Haney flgh: flugelhorn Copy Editors: Kara D. Rusch, Jeffrey D. Todd flt: flute Transcriptions: Colin Haney, Paul Rogers, Rogers Word Fr hn: French horn Services g: guitar Art Director: Alex Haney hca: harmonica Crosswords: Ava Haney Martin kybd: keyboards Promotion and Publicity: Tiffany Rozee ldr: leader Advisory Committee: ob: oboe Jeanette Stewart org: organ Colin Haney perc: percussion Robert D. Rusch p: piano Abe Goldstein pic: piccolo rds: reeds ALL FOREIGN PAYMENTS: Visa, Mastercard, Pay Pal, and ss: soprano sax Discover accepted. sop: sopranino sax POSTMASTER: Send address change to Cadence Magazine, P.O. synth: synthesizer Box 282, Richland, OR 97870 ts: tenor sax © Copyright 2012 Cadence Magazine tbn: trombone Published by Cadence Media, LLC.
    [Show full text]
  • Ugly Beauty: John Zorn and the Politics of Postmodern Music
    Kevin McNeilly- Ugly Beauty: John Zorn and the Politics of Postm... http://muse.jhu.edu.remote.libproxy.wlu.ca/journals/postmodern_cul... Ugly Beauty: John Zorn and the Politics of Postmodern Music Kevin McNeilly © 1995 PMC 5.2 1. I wish to look at a particular postmodern achievement, the music of composer John Zorn, in order to assess both the nature of a political praxis and to "define" the postmodern pragmatically, in the practice of art rather than only in theory. Zorn's music does something palpable to its listeners, or at least incites them to a form of action, of awakening; it activates the listener in a manner that a great deal of conventional and commercially-produced music, when it casts itself as soother or anaesthetic, does not. But Zorn achieves this affectivity, ironically, by exploiting and exploding both convention and commercial form. 2. Form itself, in so far as it is tied both to social production and aesthetic convention, provides a correlative for the dialectic of the social and aesthetic spheres, and thus offers an inroad into the problem of a postmodern praxis. Music, Jacques Attali asserts, manifests by its very nature as an "instrument of understanding," a "new theoretical form" (Noise 4). Music, that is, as Attali understands it, can provide a viable, fully realized conjunction of the theoretical and the practical, a form of theorizing which coincides with a formal practice.1 To grasp the practice of music, then, within a postmodern context, is in some sense to arrive at a theoretical position vis-a-vis the postmodern, especially--as the aesthetic delimitation of music as a sphere of cultural activity is broadened to encompass the theoretical--toward a decidedly political praxis (cf.
    [Show full text]
  • Slipstream Radio with Dwb on Monday, October 2, 2017
    Playlist: SlipStream Radio with dwb on Monday, October 2, 2017 Time Artist Song Title Album Label Year 6:08 am benjamin booker “right on you” witness ato 2017 6:11 am mandingo griot society w/ don cherry “sounds from the bush” soul of a nation soul jazz 2017 6:13 am bernie worrell “x-factor” blacktronic science 6:25 am kate bush “army dreamers” never for ever parlophone 1980 6:28 am chuck berry “oh louisiana” have mercy 6:33 am snoop lion “lightners up” reincarnated 6:36 am monophonics “all together” in your brain ubiquity 2012 6:44 am the rolling stones “can't you hear me knocking” sticky fingers rolling stones 1971 records 6:53 am chelsea wolfe “16 psyche” hiss spun sargent house 2017 6:57 am deer tick “jumpstarting” vol 2 partisan 2017 7:00 am hazel dickens and alice gerrard “two soldiers” hazel & alice 7:04 am the clash “ghetto defendent” combat rock epic 1982 7:10 am buddy guy “tramp” sweet tea 7:14 am benjamin clementine “phantom of aleppovile” i tell a fly (new) virgin 2017 7:20 am shigeto “detroit pt ii” 12" portage garage 2017 sounds 7:31 am david mcknight “strong men” soul of a nation soul jazz 2017 7:42 am baby cortez “it's your thing” the isley brothers way t neck 7:46 am keith jarrett with charlie haden, paul “mortgage on my soul” birth atlantic 1972 motian, dewey redman 7:54 am billy bang sextet “petty tryrants” the fire from within soul note 1985 7:55 am oliver nelson “i hope in time a change will come” black, brown and beautiful flying dutchman 1970 8:02 am ornette coleman trio “unknown” 5.14.66, manchester free trade is
    [Show full text]
  • An Evening with Marc Ribot: Silent Movies (Solo) and Los Cubanos Postizos
    An evening with Marc Ribot: Silent Movies (solo) and Los Cubanos Postizos Fri, Nov 21 PROGRAM Royce Hall Silent Movies—solo set 8pm Marc Ribot Guitar/Vocals Intermission RUNNING TIME: Approximately 2 hours; Marc Ribot y Los Cubanos Postizos Marc Ribot Guitar, Vocals One intermission Anthony Coleman Keys Brad Jones Bass EJ Rodriguez Percussion Roberto Rodiguez Drums ABOUT THE ARTISTS MARC RIBOT – GUITAR/VOCALS Marc Ribot, who the New York Times describes as “a deceptively articulate artist who uses inarticulateness as an expressive device,” has released over 20 albums under his own name over a 30-year career, exploring everything from the pioneering jazz of Albert Ayler to the Cuban son of Arsenio Rodríguez. His latest solo release, Silent Movies (Pi Recording 2010) has been described as a “down-in-mouth-near master piece” by the Village Voice and has MEDIA SPONSOR: landed on several Best of 2010 lists including the LA Times and critical praise across the board. 2013 saw the release of “Your Turn” (Northern Spy), the sophomore effort from Ribot’s post-rock/noise trio Ceramic Dog, and 2014 saw the monumental release: “Marc Ribot Trio Live at the Village Vanguard” (Pi Recordings), documenting Marc’s first headline and the return of Henry Grimes at the historical venue in 2012 already included on Best of 2014 lists including Downbeat Magazine. Rolling Stone points out that “Guitarist Marc Ribot helped Tom Waits refine a new, weird Americana on 1985’s Rain Dogs, and since MESSAGE FROM THE CENTER: then he’s become the go-to guitar guy for all kinds of roots-music adventurers: Robert Plant and Alison Krauss, Elvis Costello, John We are extremely fortunate here at the Center to Mellencamp.” Additional recording credits include Neko Case, regularly present, collaborate with and support artists Diana Krall, Elton John/Leon Russell’s The Union, Solomon Burke, who defy simple categorization, who often cannot be John Lurie’s Lounge Lizards, Marianne Faithful, Joe Henry, Allen confined to a single presentation format.
    [Show full text]
  • John Zorn Tap (Book of Angels Volume 20) Mp3, Flac, Wma
    John Zorn Tap (Book Of Angels Volume 20) mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Rock Album: Tap (Book Of Angels Volume 20) Released: 2013 Style: Contemporary Jazz MP3 version RAR size: 1473 mb FLAC version RAR size: 1478 mb WMA version RAR size: 1984 mb Rating: 4.8 Votes: 430 Other Formats: VOX APE ADX MP1 MMF MP3 AC3 Tracklist 1 Mastema 7:20 2 Albim 9:07 3 Tharsis 5:54 4 Sariel 11:10 5 Phanuel 10:56 6 Hurmiz 6:13 Credits Acoustic Guitar, Electric Guitar, Baritone Guitar, Sitar [Sitar Guitar], Tiple [Tiples], Bass, Piano, Keyboards, Marimba [Orchestrionic Marimba], Bells [Orchestra Bells], Bandoneon, Percussion, Electronics, Flugelhorn – Pat Metheny Composed By, Executive-Producer – John Zorn Design – Chippy , Heung-Heung Chin Drums – Antonio Sanchez Executive-Producer – John Zorn Executive-Producer, Liner Notes – Bob Hurwitz* Illustration – L. B.*, Jarrault* Liner Notes – John Zorn, Pat Metheny Mastered By – Ted Jensen Mixed By – Pete Karam Producer [Associate Producer] – Kazunori Sugiyama Producer, Arranged By – Pat Metheny Recorded By – Pat Metheny Notes 24bit/96khz Related Music albums to Tap (Book Of Angels Volume 20) by John Zorn Pat Metheny With Christian McBride & Antonio Sanchez - Day Trip Pat Metheny w/ Christian McBride & Antonio Sanchez - Day Trip John Zorn - Brian Marsella Trio - Buer: Book Of Angels Volume 31 John Zorn - The Song Project Live At Le Poisson Rouge Pat Metheny - Secret Story John Zorn - Nova Express Quintet - Andras (Book Of Angels Volume 28) John Zorn - Dreamachines Pat Metheny - Orchestrion John Zorn - The Satyr's Play / Cerberus John Scofield & Pat Metheny - I Can See Your House From Here.
    [Show full text]
  • Marc Ribot Biography
    Noise Inc 225 S. 3rd Street #21 | Brooklyn NY 11211 | 718.772.5155 | [email protected] ARTIST MANAGEMENT Mary HO Marc Ribot Biography Marc Ribot (pronounced REE-bow) was born in Newark, New Jersey in 1954. As a teen, he played guitar in various garage bands while studying with his mentor, Haitian classical guitarist and composer Frantz Casseus. After moving to New York City in 1978, Ribot was a member of the soul/punk Realtones, and from 1984 - 1989, of John Lurie's Lounge Lizards. Between 1979 and 1985, Ribot also worked as a side musician with Brother Jack McDuff, Wilson Pickett, Carla Thomas, Rufus Thomas, Chuck Berry, and many others. Rolling Stone points out that “Guitarist Marc Ribot helped Tom Waits refine a new, weird Americana on 1985's “Rain Dogs”, and since then he's become the go-to guitar guy for all kinds of roots-music adventurers: Robert Plant and Alison Krauss, Elvis Costello, John Mellencamp.” Additional recording credits include Soloman Burke, Marianne Faithful, Arto Lindsay, Caetano Veloso, Laurie Anderson, Susana Baca, McCoy Tyner, The Jazz Passengers, John Lurie’s The Lounge Lizards, Medeski, Martin & Wood, Jamaaladeen Tacuma, Cibo Matto, James Carter, Vinicio Capposella (Italy), Auktyon (Russia), Vinicius Cantuaria, Sierra Maestra (Cuba), Alain Bashung (France), Marisa Monte, Allen Ginsburg, Madeleine Peyroux, Sam Phillips, and more recently Joe Henry, Allen Toussaint, Norah Jones, Akiko Yano, The Black Keys, Jeff Bridges, Jolie Holland, Elton John/Leon Russell and many others. Ribot frequently collaborates with producer T Bone Burnett, most notably on Alison Krauss and Robert Plant's Grammy Award winning "Raising Sand" and regularly works with composer John Zorn.
    [Show full text]