Jan Garbarek Sart Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Jan Garbarek Sart mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Sart Country: Germany Style: Free Jazz, Contemporary Jazz MP3 version RAR size: 1972 mb FLAC version RAR size: 1343 mb WMA version RAR size: 1695 mb Rating: 4.1 Votes: 106 Other Formats: VQF AIFF AA DMF ASF AAC MP4 Tracklist Hide Credits Sart 1 14:45 Written-By – Jan Garbarek Fountain Of Tears - Part I And II 2 6:03 Written-By – Jan Garbarek Song Of Space 3 9:39 Written-By – Jan Garbarek Close Enough For Jazz 4 1:59 Written-By – Arild Andersen Irr 5 7:15 Written-By – Jan Garbarek Lontano 6 2:12 Written-By – Terje Rypdal Companies, etc. Recorded At – Arne Bendiksen Studio Made By – EDC, Germany – 50969990 Credits Design [Cover Design] – B. & B. Wojirsch* Double Bass – Arild Andersen Engineer – Jan Erik Kongshaug Guitar – Terje Rypdal Percussion – Jon Christensen Photography By [Back Cover] – Björn A. Fossum Piano, Electric Piano – Bobo Stenson Producer – Manfred Eicher Tenor Saxophone, Saxophone [Bass], Flute – Jan Garbarek Notes This album was recorded on April 14 and 15, 1971, at the Arne Bendiksen Studio, Oslo. "ECM" typed in blue letters on disk Barcode and Other Identifiers Barcode: 0 42283 93052 0 Matrix / Runout (Variant 1): 00422 839 305-2 03 * 50969990 Matrix / Runout (Variant 2): 00422 839 305-2 02 * 50969990 Mastering SID Code: IFPO LV26 Other (Mould Text On Outer Ring): (As Logo): UNIVERSAL Other (Mould Text On Inner Ring): MADE IN GERMANY BY EDC Rights Society: GEMA SPARS Code: AAD Label Code: LC 2516 Other versions Category Artist Title (Format) Label Category Country Year Jan Garbarek / Bobo Jan Garbarek / Stenson / Terje Bobo Stenson / Rypdal / Arild ECM ECM 1015 ST Terje Rypdal / ECM 1015 ST Germany 1971 Andersen / Jon Records Arild Andersen / Christensen - Sart Jon Christensen (LP, Album) Jan Garbarek / Bobo Jan Garbarek / Stenson / Terje Bobo Stenson / Rypdal / Arild ООО none Terje Rypdal / Andersen / Jon none Russia Unknown "ДОРА" Arild Andersen / Christensen - Sart Jon Christensen (CD, Album, RE, Unofficial) Jan Garbarek / Bobo Jan Garbarek / Stenson / Terje ECM Bobo Stenson / ECM 1015, Rypdal / Arild Records, ECM 1015, Terje Rypdal / Germany 1989 839 305-2 Andersen / Jon ECM 839 305-2 Arild Andersen / Christensen - Sart Records Jon Christensen (CD, Album, RE) Jan Garbarek / Bobo Jan Garbarek / Stenson / Terje Bobo Stenson / Rypdal / Arild ECM ECM 1015 ST Terje Rypdal / ECM 1015 ST Germany Unknown Andersen / Jon Records Arild Andersen / Christensen - Sart Jon Christensen (LP, Album, RP) Jan Garbarek / Bobo Jan Garbarek / Stenson / Terje ECM Bobo Stenson / Rypdal / Arild UCCE-9050, Records, UCCE-9050, Terje Rypdal / Andersen / Jon Japan 2005 ECM 1015 ECM ECM 1015 Arild Andersen / Christensen - Sart Records Jon Christensen (CD, Album, Ltd, RE, Pap) Related Music albums to Sart by Jan Garbarek George Russell Sextet Feat. Jan Garbarek - Trip To Prillarguri Charlie Haden, Jan Garbarek, Egberto Gismonti - Magico Terje Rypdal - Terje Rypdal Jan Garbarek - Dis Jan Garbarek - Terje Rypdal - Bleak House Jan Garbarek Group - Wayfarer Terje Rypdal - What Comes After Art Lande, Jan Garbarek - Red Lanta Jan Garbarek / Ustad Fateh Ali Khan & Musicians From Pakistan - Ragas And Sagas.

Copy Link

Recommended publications

Bobo Stenson Trio Cantando
ECM Bobo Stenson Trio Cantando Bobo Stenson: piano; Anders Jormin:double-bass; Jon Fält: drums ECM 2023 CD 6025 177 5462 (1) Release: August 2008 “Cantando”, from the Spanish word for “singing”, is the title of a characteristically far- ranging programme by the resourceful Bobo Stenson Trio. Alongside group improvisation and new compositions (including two tunes by bassist Anders Jormin), the Swedish trio play “Love, I’ve Found You”, a standard which Stenson has loved in both Miles Davis and Wynton Kelly versions, back to back with the 1907 “Liebesode” of Alban Berg. Unexpected juxtapositions belong to this group’s methodology: on the “Serenity” album of 1999, Stenson already performed “Die Nachtigall, also from Berg’s “Sieben frühe Lieder” cycle. The trio play, twice, “Song of Ruth” by Czech composer Petr Eben, who died just a few weeks before this session. A piece originally scored for soprano and organ, it is transformed here. Astor Piazzolla’s intensely expressive tango “Chiqulin de Bachin”, dances at a sultry slow pace. Also from the Latin American corner: the supple “Olivia”, by Cuban songwriter and folk/protest singer Silvio Rodriguez, another Stenson Trio favourite. The lilting “Don’s Kora Song” is a tune Bobo often played during his long association with the late Don Cherry: “Don had a real affinity for West African music and was strongly inspired by it. When we travelled, there would often be tapes of music from Mali playing in the bus: the sound of that has been in my ears for years.” Cherry also used to tip Stenson off to rarer Ornette Coleman tunes, but the uncommon “A Fixed Goal” reached the pianist by another route.
[Show full text]
Spektrum Des Jazztrios
Spektrum des Jazztrios Konzepte und Kompositionen Maturitätsarbeit HS 2017/18 Manuel Eugster, 4g Betreuung Christoph Germann Kantonsschule Im Lee Winterthur, 08.01.2018 Inhaltsverzeichnis 1.Einleitung 3 2.Geschichte des Jazztrios 4 3.Stücke 6 3.1 October In Winterthur 6 3.2 Hypochondrische Unbelehrtheit 7 3.3 A Gaze Into The Abyss 9 4. Fazit 11 5. Danksagung 13 6. Bibliographie 14 7. Anhang 15 2 1. Einleitung Rastlos wüten Oscar Petersons Finger über die Tasten, über dem dichten Klangteppich seiner zwei Mitmusiker breitet er seine Soli aus, während Bill Evans tief vornüber gebeugt mit einer seinesgleichen suchenden harmonischen Raffinesse mit Scott Lafaro und Paul Motian die Grenzen des zeitgenössischen Jazz ausweitet. Da schwebt Esbjörn Svensson auf völlig neuen Höhen, getragen vom modalen Groove seiner Truppe, dem man sich nur schwer entziehen kann. In höchster Ekstase scheint auch Keith Jarrett zu sein, singend und zähnefletschend bearbeitet er die Tasten neben seiner durch die Jahre zusammen- geschweissten Rhythm Section. Eine völlig neue Definition von Kollektiv bilden daneben die drei Midwestler von „The Bad Plus“, die einem mit ihrem rockigen, energiegeladenen Sound die Haare zu Berge stehen lassen. Doch was haben all die genannten Musiker gemeinsam? Nun, das lässt sich scheinbar schnell beantworten. Alle erwähnten Jazzmusiker haben ihr Hauptaugenmerk auf das Klaviertrio gelegt. Das Klaviertrio ist eine im Jazz sehr typische Konstellation, in der das Klavier von einem Kontrabass und einem Schlagzeug begleitet wird. Auffallend sind natürlich vor allem die fehlenden Bläser oder Sänger. Im herkömmlichen Jazz gehörten diese drei Instrumente allesamt zur sogenannten Rhythm Section, das heisst, zur die Hauptstimme begleitenden Gruppe.
[Show full text]
Discourses of Decay and Purity in a Globalised Jazz World
1 Chapter Seven Cold Commodities: Discourses of Decay and Purity in a Globalised Jazz World Haftor Medbøe Since gaining prominence in public consciousness as a distinct genre in early 20th Century USA, jazz has become a music of global reach (Atkins, 2003). Coinciding with emerging mass dissemination technologies of the period, jazz spread throughout Europe and beyond via gramophone recordings, radio broadcasts and the Hollywood film industry. America’s involvement in the two World Wars, and the subsequent $13 billion Marshall Plan to rebuild Europe as a unified, and US friendly, trading zone further reinforced the proliferation of the new genre (McGregor, 2016; Paterson et al., 2013). The imposition of US trade and cultural products posed formidable challenges to the European identities, rooted as they were in 18th-Century national romanticism. Commercialised cultural representations of the ‘American dream’ captured the imaginations of Europe’s youth and represented a welcome antidote to post-war austerity. This chapter seeks to problematise the historiography and contemporary representations of jazz in the Nordic region, with particular focus on the production and reception of jazz from Norway. Accepted histories of jazz in Europe point to a period of adulatory imitation of American masters, leading to one of cultural awakening in which jazz was reimagined through a localised lens, and given a ‘national voice’. Evidence of this process of acculturation and reimagining is arguably nowhere more evident than in the canon of what has come to be received as the Nordic tone. In the early 1970s, a group of Norwegian musicians, including saxophonist Jan Garbarek (b.1947), guitarist Terje Rypdal (b.1947), bassist Arild Andersen (b.1945), drummer Jon Christensen (b.1943) and others, abstracted more literal jazz inflected reinterpretations of Scandinavian folk songs by Nordic forebears including pianist Jan Johansson (1931-1968), saxophonist Lars Gullin (1928-1976) bassist Georg Riedel (b.1934) (McEachrane 2014, pp.
[Show full text]
Windward Passenger
MAY 2018—ISSUE 193 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM DAVE BURRELL WINDWARD PASSENGER PHEEROAN NICKI DOM HASAAN akLAFF PARROTT SALVADOR IBN ALI Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East MAY 2018—ISSUE 193 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 NEw York@Night 4 Laurence Donohue-Greene: Interview : PHEEROAN aklaff 6 by anders griffen [email protected] Andrey Henkin: [email protected] Artist Feature : nicki parrott 7 by jim motavalli General Inquiries: [email protected] ON The Cover : dave burrell 8 by john sharpe Advertising: [email protected] Encore : dom salvador by laurel gross Calendar: 10 [email protected] VOXNews: Lest We Forget : HASAAN IBN ALI 10 by eric wendell [email protected] LAbel Spotlight : space time by ken dryden US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or VOXNEwS 11 by suzanne lorge money order to the address above or email [email protected] obituaries by andrey henkin Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Stuart Broomer, FESTIVAL REPORT Robert Bush, Thomas Conrad, 13 Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, CD ReviewS 14 Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Mark Keresman, Marilyn Lester, Miscellany 43 Suzanne Lorge, Marc Medwin, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Event Calendar 44 Andrew Vélez, Scott Yanow Contributing Writers Kevin Canfield, Marco Cangiano, Pierre Crépon George Grella, Laurel Gross, Jim Motavalli, Greg Packham, Eric Wendell Contributing Photographers In jazz parlance, the “rhythm section” is shorthand for piano, bass and drums.
[Show full text]
John Kelman All About Jazz
Live at Belleville Arild Andersen | ECM Records (2008) By John Kelman The general international perception of Norway's jazz scene as "Nordic Cool," is, like most generalizations, inevitably distanced from truth. Atomic, The Coreand Motif may possess no shortage of heat, but ECM has undeniably helped define that unmistakable Norwegian aesthetic. One of the "big four," brought to international attention in the early 1970s alongside guitarist Terje Rypdal, saxophonist Jan Garbarek, and drummer Jon Christensen, bassist Arild Andersen's ECM releases have largely avoided the kind of burning improvisational energy of his powerful trio disc Triptykon (1973), with Garbarek and Finnish drummer Edward Vesala. Live at Belleville—Andersen's first live album for ECM since his equally potent but stylistically different Molde Concert (1982)—recalls Triptykon's fiery intensity, but also reflects the same assimilation of traditional Norwegian music of albums including Sagn (1991). Live at Belleville is, like Triptykon, a trio date, featuring expat Italian drummer Paolo Vinaccia and Scottish saxophonist Tommy Smith. Andersen couldn't have made better choices. When Smith graduated from Berklee College of Music in the 1980s, his sound was a cogent combination of Jan Garbarek's biting tone and Michael Brecker's Americanized soulfulness. Since then his voice has become his own, but Garbarek and Brecker still loom and, while Garbarek's Mai Jazz 2008performance in Stavanger, Norway made clear he's still capable of edgy spontaneity, Smith has stayed more clearly within definable jazz borders, playing with a stunning combination of measured lyricism and inspired improvisational abandon. Vinaccia, a Norwegian resident for over 20 years, works regularly with Andersen and Rypdal, heard on the bassist's Electra (ECM, 2005) and guitarist's Vossabrygg(ECM, 2006).
[Show full text]
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.
[Show full text]
Jan Erik Kongshaug
JAN ERIK KONGSHAUG THE OTHER WORLD ACT 9267-2 Release Date Germany: February 1999 Jan Erik Kongshaug is one of a handful of recording engineers whose name and work over the years has earned the respect and admiration of musicians and discerning jazz connoisseurs the world over. His work with Manfred Eicher of ECM records is memorable, and Kongshaug is now one of the most requested sound engineers in jazz. With the recording of his first CD at the age of fifty-four, Kongshaug is revealing to the jazz world that he is also a superb musician and composer. Jan Erik was born into a musical environment. His father was a well known guitarist in Norway, while his mother was a professional singer. When Jan Erik was seven, he began playing accordion; around the age of 14, he picked up the guitar. By the early 60's his inauences counted the likes of Barney Kessel, Wes Montgomery, and Kenny Burrell. After graduating from high school, Kongshaug began to study electrical engineering. He found himself gravitating towards sound engineering, and was soon working at the Arne Bendiksen Studio in Oslo. In 1970, ECM head Manfred Eicher came to Oslo to make a recording at the Bindiksen Studio with Jan Garbarek. Jan Erik Kongshaug was the recording engineer. The resulting album, „ric Pepperbird", was the beginning of a continuing musical relationship that has spanned almost thirty years. In 1978 Kongshaug started a five year period of freelancing. He began Aying to the States for three or four days every month to work as sound and mixing engineer at the legendary Power Station studio in New York City.
[Show full text]
The Singing Guitar
August 2011 | No. 112 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Mike Stern The Singing Guitar Billy Martin • JD Allen • SoLyd Records • Event Calendar Part of what has kept jazz vital over the past several decades despite its commercial decline is the constant influx of new talent and ideas. Jazz is one of the last renewable resources the country and the world has left. Each graduating class of New York@Night musicians, each child who attends an outdoor festival (what’s cuter than a toddler 4 gyrating to “Giant Steps”?), each parent who plays an album for their progeny is Interview: Billy Martin another bulwark against the prematurely-declared demise of jazz. And each generation molds the music to their own image, making it far more than just a 6 by Anders Griffen dusty museum piece. Artist Feature: JD Allen Our features this month are just three examples of dozens, if not hundreds, of individuals who have contributed a swatch to the ever-expanding quilt of jazz. by Martin Longley 7 Guitarist Mike Stern (On The Cover) has fused the innovations of his heroes Miles On The Cover: Mike Stern Davis and Jimi Hendrix. He plays at his home away from home 55Bar several by Laurel Gross times this month. Drummer Billy Martin (Interview) is best known as one-third of 9 Medeski Martin and Wood, themselves a fusion of many styles, but has also Encore: Lest We Forget: worked with many different artists and advanced the language of modern 10 percussion. He will be at the Whitney Museum four times this month as part of Dickie Landry Ray Bryant different groups, including MMW.
[Show full text]
Norway's Jazz Identity by © 2019 Ashley Hirt MA
Mountain Sound: Norway’s Jazz Identity By © 2019 Ashley Hirt M.A., University of Idaho, 2011 B.A., Pittsburg State University, 2009 Submitted to the graduate degree program in Musicology and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy, Musicology. __________________________ Chair: Dr. Roberta Freund Schwartz __________________________ Dr. Bryan Haaheim __________________________ Dr. Paul Laird __________________________ Dr. Sherrie Tucker __________________________ Dr. Ketty Wong-Cruz The dissertation committee for Ashley Hirt certifies that this is the approved version of the following dissertation: _____________________________ Chair: Date approved: ii Abstract Jazz musicians in Norway have cultivated a distinctive sound, driven by timbral markers and visual album aesthetics that are associated with the cold mountain valleys and fjords of their home country. This jazz dialect was developed in the decade following the Nazi occupation of Norway, when Norwegians utilized jazz as a subtle tool of resistance to Nazi cultural policies. This dialect was further enriched through the Scandinavian residencies of African American free jazz pioneers Don Cherry, Ornette Coleman, and George Russell, who tutored Norwegian saxophonist Jan Garbarek. Garbarek is credited with codifying the “Nordic sound” in the 1960s and ‘70s through his improvisations on numerous albums released on the ECM label. Throughout this document I will define, describe, and contextualize this sound concept. Today, the Nordic sound is embraced by Norwegian musicians and cultural institutions alike, and has come to form a significant component of modern Norwegian artistic identity. This document explores these dynamics and how they all contribute to a Norwegian jazz scene that continues to grow and flourish, expressing this jazz identity in a world marked by increasing globalization.
[Show full text]
Arild Andersen Electra
ECM Arild Andersen Electra Arild Andersen: bass, loops; Arve Henriksen: trumpet; Eivind Aarset: guitars; Paulo Vinaccia, Patrice Héral: drums, percussion; Nils Petter Molvær: drum machines; Savina Yannatou, Chrysanthi Douzi, Elly-Marina Casdas, Fotini-Niki Grammenou: vocals ECM 1908 CD 6024 982 4337 (4) Release: April 18th 2005 “Thine is a fatal course of grief, passing ever from due bounds into a cureless sorrow; wherein there is no deliverance from evils. Say, wherefore art thou enamoured of misery?” Sophocles, Electra Like so many of the Greek tragedies, Sophocles’ “Electra”, with its themes of endurance of suffering and chains of bloody retribution, remains as pertinent in the 21st century as it was when it was first staged, around 420 B.C. It was with this in mind that Greek theatre director Yannis Margaritis, who counts filmmakers Angelopoulos and Tarkovsky among his major influences, asked Norwegian bassist Arild Andersen for a “very modern” score for his new presentation of the tale of the young woman “whose life is a torrent of woes dread and dark, a torrent that surges through all the months.” For this work with the Spring Theatre group, presented under the auspices of the Cultural Olympiad 2001-2004, Arild Andersen rounded up Norwegian and Greek associates old and new, guiding them through a spacious soundscape, conceived and produced by the bassist at a variety of locations. Andersen, 60 this year, regards “Electra” as a summing up of the directions he has taken in recent years, with an emphasis on structure and arrangement. Greece has been increasingly important in Arild Andersen’s itinerary over the last decade.
[Show full text]
Masarykova Univerzita Filozofická Fakulta Ústav Germanistiky, Nordistiky a Nederlandistiky Bakalářská Diplomová Práce
Masarykova univerzita Filozofická fakulta Ústav germanistiky, nordistiky a nederlandistiky Bakalářská diplomová práce 2016 Ivana Královcová Masarykova univerzita Filozofická fakulta Ústav germanistiky, nordistiky a nederlandistiky Skandinávská studia Ivana Královcová Specifika norské jazzové scény Bakalářská diplomová práce Vedoucí práce: Vojtěch Procházka, MA 2016 2 Prohlašuji, že jsem tuto diplomovou práci vypracovala samostatně s využitím uvedených pramenů a literatury. V Brně, dne 30. 4. 2016 …………………………………………………. 3 Poděkování Na tomto místo bych ráda poděkovala svému vedoucímu Vojtěchu Procházkovi, MA za vedení a cenné připomínky, Mgr. Janu Přibilovi, DiS. za pomoc se zdroji, dále pak Milošovi Winklerovi a MgA. Vilému Spilkovi za konzultaci, sestře Mgr. Drahoslavě Kráčmarové za korekturu textu a celé své rodině za podporu při studiu. 4 Obsah 1. Úvod .................................................................................................................................... 7 2. Jazz - vymezení pojmu ........................................................................................................ 9 2.1 Co je jazz ...................................................................................................................... 9 2.1.1 Metrorytmika: princip beatu .............................................................................. 10 2.1.2 Improvizace ........................................................................................................ 11 2.2 Free-jazz: vymezení pojmu .......................................................................................
[Show full text]
BOBO STENSON TRIO [email protected] & HERMES ENSEMBLE T +32 (0)3 248 28 28 F +32 (0)3 248 28 00 OLV
2010-2011 architectuur theater dans muziek 2010-2011 blauwe zaal grote podia deSingel Desguinlei 25 / B-2018 Antwerpen ma vr 10 19 uur / za 16 19 uur BOBO STENSON TRIO www.desingel.be [email protected] & HERMES ENSEMBLE T +32 (0)3 248 28 28 F +32 (0)3 248 28 00 OLV. KOEN KESSELS WO 10 NOV 2010 deSingel is een kunstinstelling van de Vlaamse Gemeenschap en geniet de steun van hoofdsponsor mediasponsors 2010-2011 JAZZ @ NEW MUSIC FOLLOW THE SOUND 2010 MATT DARRIAU’S PARADOX TRIO BOURNE-KANE-DAVIS & GUESTS WO 13 OKT 2010 COURTOIS-DEFOORT-WIERBOS ERNST GLERUM ‘EX MACHINA’ DÖRNER-SCHRÖDER-THOMAS-STEIDLE DO 14 OKT 2010 JACQUES COURSIL QUARTET SIDSEL ENDRESEN & HAKON KOMSTAD HUNTSVILLE & XAVIER CHARLES VR 15 OKT 2010 TONY OXLEY B3B MEETS GUY-GUSTAFSSON-STRID GERRY HEMINGWAY ZA 16 OKT 2010 BOBO STENSON TRIO & HERMES ENSEMBLE OLV. KOEN KESSELS WO 10 NOV 2010 DAVID LIEBMAN GROUP VR 3 DEC 2010 VIJAY IYER & HERMES ENSEMBLE & E-XXI OLV. STEVEN VERHAERT WO 16 FEB 2011 inleiding Kevin Voets / 19.15 uur / blauwe foyer begin 20.00 uur pauze omstreeks 20.40 uur einde omstreeks 21.50 uur teksten programmaboekje Kevin Voets coördinatie programmaboekje deSingel & Diederik Verstraete BOBO STENSON TRIO BOBO STENSON piano ANDERS JORMIN contrabas JON FÄLT drums HERMES ENSEMBLE KOEN KESSELS muzikale leiding ANDERS JORMIN (°1957) Scores of Winterlight (2007, herwerkt in 2010) Winter Solstice Frozen Branches Bombycilla Garrulus Melting Snow pauze BOBO STENSON TRIO Jazz Set onder meer composities van Silvio Rodrigues, Carl Nielsen, Omette Coleman en Anders Jorin gelieve uw GSM uit te schakelen HANS ABRAHAMSEN (°1952) Schnee (2006) Canon 1a De inleidingen kan u achteraf beluisteren via www.desingel.be Canon 1b Selecteer hiervoor voorstelling/concert/tentoonstelling van uw keuze.
[Show full text]