Jazz Services National Touring Support Scheme Data 1992 – 2011

Total Page:16

File Type:pdf, Size:1020Kb

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 ........................ 10 4. MONTHLY STATISTICS 1992-2011 ............................................................................... 11 4.1 TABLE 6: Number of gigs by Month ....................................................................................... 11 4.2 TABLE 7: Number of gigs by Month as a Percentage 1992-2011 ......................................... 12 5. MUSICIAN QUESTIONNAIRES 1992-2011 .................................................................... 13 5.1 TABLE 8: General Questions (percentage agreed) ............................................................... 13 5.2 TABLE 9: Questions Relating to Quality of Access, PA and Piano ........................................ 14 6. VENUE DATA 1992-2011 ............................................................................................... 15 6.1 TABLE 10: Venue Popularity (with greater than 10 Gigs) 1996-2011 .................................... 15 6.2 TABLE 11: Venue Popularity (with greater than 5 Gigs) 2010/11 .......................................... 16 7. BANDS 1992-2011.......................................................................................................... 17 7.1 TABLE 12: Bands Awarded NTSS Grants 1992-2012 ........................................................... 17 Foreword Since 1992 Jazz Services has been operating a National Touring Support Scheme whose aim is to use the JSL Touring Scheme to promote musicians and bands of merit not readily promoted by the commercial sector and other agencies and to maximise attendance at these events and reflect Jazz Services equal opportunities policy. The policy is mainly geared to small groups and covers the full range of jazz music, idioms and styles. The purpose of the scheme is to To broaden touring opportunities for musicians and include the full range of styles of jazz and related music. To encourage musicians and musicians' representatives to seek national touring opportunities To support and vitalise small-scale touring which enables British musicians (primarily) to develop national audiences and profile. To gather data on venues to refresh JSL’s information data base To encourage promoters and musicians and help increase the audience for jazz To help the selected bands in their promotional efforts by organising and mailing press releases, advising on publicity and marketing and promoting the tours through Jazz UK magazine Awards are up to a maximum of £2,500 for a minimum of 6 dates. Applications to the scheme may be made by musicians/bandleaders who are resident in the UK. Please note that dates in Scotland, Wales and Northern Ireland taken together, can constitute a maximum of 15% of the total dates. The scheme is open to any genre of jazz. The scheme is not open to people in full-time education. The figures are divided into two groups: Activity in a given financial year i.e. all gigs that take place in a financial year and the accompanying data Bands that have been given funds in a financial year and the upshot of the activity from that, whether it happens in that financial year or another. Steve French has, over the years, assiduously grappled with collecting the data and the results have picked up year on year. Between 1992 and 2011 Jazz Services helped 893 bands to tour, playing 6,751 gigs to nearly half a million people, generating box office of £2.7 million and musicians’ fees of £2.8 million. Our grateful thanks go to all the promoters, bands and musicians who have accomplished so much for jazz in the UK and a final thank you to Steve French for diligently collecting and preparing the data in the following tables. Please note these are statistical tables. For the bigger picture, please see Jazz Services reports for 2009/10 and 2010/11. Chris Hodgkins Director 1st March 2012 1. General Activity: Financial Years 1992-2011 1.1 TABLE 1: Data Relating to the Financial Years April to March 1992/2011 These figures relate to activity in the actual financial year 1.2 TABLE 1: Notes to the figures 2. Band Activity: Financial Years 1992-2011 2.1 TABLE 2: Data Relating to Band Award for Financial Years April to March 1992/2011 Note that these figures relate to the financial activity of the bands chosen in that year 2.2 TABLE 2: Notes to the figures 3. Regional Statistics 1992-2011 3.1 TABLE 3: Number of gigs by Financial Year and Region These figures relate to activity in the actual financial year 3.2 TABLE 4: Gigs by Financial Year and Region as a Percentage 1992-2011 These figures relate to activity in the actual financial year 3.3 TABLE 5: Number of gigs by Financial Year and Region as a % 1992-2011 These figures relate to activity in the actual financial year 4. Monthly Statistics 1992-2011 4.1 TABLE 6: Number of gigs by Month These figures relate to activity in the actual financial year 4.2 TABLE 7: Number of gigs by Month as a Percentage 1992-2011 These figures relate to activity in the actual financial year 5. Musician Questionnaires 1992-2011 5.1 TABLE 8: General Questions (percentage agreed) These figures relate to activity in the actual financial year These are the results of the yes/no questionnaire aspects of the musician questionnaire (Word document of questionnaire available on request): 5.2 TABLE 9: Questions Relating to Quality of Access, PA and Piano These figures relate to activity in the actual financial year These are the questions relating to the quality of the Access to the venues, the quality of the PA (if applicable) and the quality of the piano (if applicable). These were given as marks out of 5. It’s important to note here that the current database accepts any value in this field, so needs to be addressed ASAP: RESPONSES AVERAGES PA PA Year Piano Piano Access Access Financial 1992-1993 88 79 65 2.8 2.7 2.6 1993-1994 128 119 74 3.7 3.2 3.2 1994-1995 105 96 57 3.6 3.5 3.2 1995-1996 125 115 104 3.3 2.8 2.2 1996-1997 235 235 234 3.0 2.4 1.6 1997-1998 292 292 292 3.4 2.9 2.0 1998-1999 216 216 216 3.4 2.8 1.7 1999-2000 222 222 219 3.4 2.6 2.3 2000-2001 240 203 151 3.5 3.3 3.0 2001-2002 266 215 150 3.3 3.1 2.8 2002-2003 371 305 208 3.5 3.4 3.2 2003-2004 310 275 147 3.6 3.5 3.0 2004-2005 396 329 226 3.7 3.5 2.9 2005-2006 364 358 323 3.8 3.0 1.3 2006-2007 398 398 393 3.7 3.2 2.3 2007-2008 334 335 334 3.4 2.7 1.5 2008-2009 391 389 388 3.8 3.0 2.1 2009-2010 400 399 398 3.7 3.2 1.6 2010-2011 393 393 393 3.7 3.3 1.8 6. Venue Data 1992-2011 6.1 TABLE 10: Venue Popularity (with greater than 10 Gigs) 1996-2011 These figures relate to activity in the actual financial year 6.2 TABLE 11: Venue Popularity (with greater than 5 Gigs) 2010/11 These figures relate to activity in the actual financial year Venue Gigs Vortex Jazz Club 13 Stoke by Nayland Hotel Golf & Spa 12 Dempseys 11 606 Club 11 Wakefield Sports Club 10 Bonington Theatre 10 Future Inn Cabot Circus Hotel 10 Komedia 9 Pizza Express Jazz Club 8 Jagz Club at the Station 7 Matt & Phred's Jazz Club 7 Millennium Hall 7 Hawth 6 Symphony Hall Foyer 6 Bridge Hotel 6 Campus West - Hawthorne Studio 6 The Chapel - No. 1 Shakespeare Street 6 Seven Artspace 5 St Giles Church - The Crypt 5 7. Bands 1992-2011 7.1 TABLE 12: Bands Awarded NTSS Grants 1992-2012 These figures relate to the NTSS Periods Gigs Band NTSSPeriod FinancialYear 1992-1993 01/07/1992 Charlie Hearnshaw Quartet 11 1992-1993 01/07/1992 Colville Collection 5 1992-1993 01/07/1992 Deirdre Cartwright Group 16 1992-1993 01/07/1992 Ed Jones Quintet 12 1992-1993 01/07/1992 Eddie Parker's Mister Vertigo 14 1992-1993 01/07/1992 Free in E 5 1992-1993 01/07/1992 Full Monte 4 1992-1993 01/10/1992 Hornweb 6 1992-1993 01/10/1992 Howard Riley - Elton Dean Quartet-Duo 7 1992-1993 01/10/1992 John Etheridge Quartet 17 1992-1993 01/10/1992 Kelvin Christiane Band 7 1992-1993 01/01/1993 Lammas (David Gordon) 11 1992-1993 01/01/1993 Perfect Houseplants 11 1992-1993 01/01/1993 Theo Travis Quartet 9 1992-1993 01/01/1993 Within the Word 3 1993-1994 01/04/1993 Billy Jenkins Voice of God Collective 5 1993-1994 01/04/1993 Christine
Recommended publications
  • 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.
    [Show full text]
  • Printmakers Presspack
    THE PRINTMAKERS “In the old days, this band would have had the words “All-Stars” in their name. Every one of them is a leading figure in British contemporary jazz. Together, they create 10 evocative sound-pictures of places and times. It’s remarkable how just five instruments and voice can suggest space and depth as they do.” Dave Gelly, The Observer The word supergroup is common currency, especially in the rock world. Jazz, of course, has its fair share of supergroups too. Sometimes, one supergroup comes along that really is very special indeed. The Printmakers is such a group. The group formed at the instigation of Steve Mead at The Manchester Jazz Festival several years ago and since then has gone from strength to strength. Award winning Nikki Iles is one of the heroines of British jazz. She has made an invaluable contribution to the jazz scene in this country and beyond, while also making a very personal musical statement in many groups, not least her own superb Anglo-American trio with Rufus Reid and Jeff Williams. Grammy nominated and ECM recording artist Norma Winstone MBE, pioneering innovator of the voice, has been a leading light in European music for many years. She collaborated with Kenny Wheeler and John Taylor in Azimuth, described by Richard Williams as “one of the most imaginatively conceived and delicately balanced of all contemporary chamber jazz groups“. She has also worked with Fred Hersch, Steve Swallow, Jimmy Rowles, Mike Gibbs and Ralph Towner. She has had a resurgence recently, with three superb award winning ECM releases in collaboration with European musicians, Klaus Gesing and Glauco Venier.
    [Show full text]
  • 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.
    [Show full text]
  • Downbeat.Com April 2011 U.K. £3.50
    £3.50 £3.50 U.K. PRIL 2011 DOWNBEAT.COM A D OW N B E AT MARSALIS FAMILY // WOMEN IN JAZZ // KURT ELLING // BENNY GREEN // BRASS SCHOOL APRIL 2011 APRIL 2011 VOLume 78 – NumbeR 4 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Associate Maureen Flaherty 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] Classified Advertising Sales Sue Mahal 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, John McDonough, Howard Mandel Atlanta: Jon Ross; Austin: Michael Point, 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: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz,
    [Show full text]
  • Freier Download BA 67 Als
    BAD 67 ALCHEMY 1 Martin Büsser gewidmet 1968 - 2010 2 WHAT A DIFFERENCE A NIGHT MAKES Ah, Serenade kommt tatsächlich von sereno. Weil sie unter heiterem Himmel stattfindet. Der 10. August 2010 ist so ein Abend, ideal, um ihn beim WÜRZ- BURGER HAFENSOMMER mit dem PORTICO QUARTET zu genießen. Vier le- ger gekleidete Jungmänner entern die schwimmende Bühne hinter dem Heiz- kraftwerk und beginnen, die genial verhuschten Federwölkchen über uns abzu- malen. Duncan Bellamy an den Drums, Milo Fitzpatrick am Kontrabass, Nick Mul- vey klöppelt auf etwas, das sich Hang Drums nennt und aussieht wie drei Wok- pfannen und Jack Wyllie bläst abwechselnd Tenor- und Sopranosaxophon. Sie präsentieren ihr Isla-Programm und wenige Takte genügen, um auf den voll be- setzten Treppenstufen zu begreifen, warum die Londoner für den Mercury Prize 2008 nominiert waren, auf Peter Gabriels Label Real World publizieren und eu- ropaweit als Darlings herumgereicht werden. Der melodische Sound des Hang, einer Percussion-Novität von Panart in Bern, verbreitet mit repetitiven, harmoni- schen Mustern aus nur einer Handvoll Tönen die Wärme und den hypnotischen Sog von Trinidad-Steel-Drums, erinnert stellenweise an Harfenarpeggios, mit bloßen Händen gespielt auch an eine Mbira. Das Quartett lässt in seinen Mustern Debussy und Nyman mit Tortoise vexieren. Fitzpatrick zupft warme Bassriffs. Bellamy tickelt, tüpfelt und wischt dazu funkelnde und federleichte Beats. Und schon ist jeweils der schönste Groove beieinander, etwa bei ‚Dawn Patrol‘ mit seinem simplen Pizzikatodrive, in den Wyllie hell und sanglich betörend einfädelt. Der Clou sind jedoch klangliche Accessoires, die er mit Delay- und Loop-Effekten unterlegt, einfach das Klacken der Klappenmechanik, lang gezogene oder kas- kadierende Dauertöne, das Fiepen einer Melodica.
    [Show full text]
  • Chick Willis Uk £3.25
    ISSUE 163 WINTER 2020 CHICK WILLIS UK £3.25 Photo by Merlin Daleman CONTENTS Photo by CHRISTMAS STOCKING FILLERS Merlin Daleman CHICK WILLIS pictured at the Birmingham Jazz Festival. Chick makes an appearance in a new feature for Jazz BIG BEAR RECORDS CD OFFER Rag. We link up with Henry’s Blueshouse in Birmingham to EXCLUSIVELY FOR READERS OF THE JAZZ RAG present Henry’s Bluesletter (pages 32-33) ALL CDS £8 EACH OR THREE FOR £16 INCLUDING P&P 4 FESTIVAL IN TIME OF PLAGUE Birmingham, Sandwell and Westside Jazz Festival goes ahead 5 THE VIRUS IN NUMBERS JAZZ CITY UK VOLUME 2: THE JAM SESSIONS 6 ‘A TRUE NEW ORLEANS CHARACTER’ Coroner/trumpeter Frank Minyard Howard McCrary Various Artists Various Artists Lady Sings Potato Head 7 I GET A KICK OUT OF… Moments Like This Jazz City UK Volume 2 Jazz City UK Volume 1 The Blues Jazz Band Promoter John Billett Laughing at Life Stompin’ Around 8 COMPETITION: LOUIS ARMSTRONG 9 GOODBYE TO A STAR Roger Cotterrell on Peter King 11 BBC YOUNG JAZZ MUSICIAN OF THE YEAR 12 SUPERBLY SWINGING Alan Barnes remembers Dick Morrissey Remi Harris Trio Tipitina King Pleasure & Nomy Rosenberg Django’s Castle 14 FRENCH BOOGIE STAR Ninick Taking Care of The Biscuit Boys Nomy Rosenberg Trio with Bruce Adams Ron Simpson profiles Ben Toury Business Live At Last Swing Hotel du Vin 16 50 BY LOUIS Scott Yanow’s choice FIND US ON FACEBOOK 18 ROY WILLIAMS IN PICS The Jazz Rag now has its own Facebook page. For news of upcoming festivals, gigs and releases, 20 REFLECTING DREAMS Marilyn Mazur interviewed by Ron Simpson features from the archives, competitions and who knows what else, be sure to ‘like’ us.
    [Show full text]
  • NJA British Jazz Timeline with Pics(Rev3) 11.06.19
    British Jazz Timeline Pre-1900 – In the beginning The music to become known as ‘jazz’ is generally thought to have been conceived in America during the second half of the nineteenth century by African-Americans who combined their work songs, melodies, spirituals and rhythms with European music and instruments – a process that accelerated after the abolition of slavery in 1865. Black entertainment was already a reality, however, before this evolution had taken place and in 1873 the Fisk Jubilee Singers, an Afro- American a cappella ensemble, came to the UK on a fundraising tour during which they were asked to sing for Queen Victoria. The Fisk Singers were followed into Britain by a wide variety of Afro-American presentations such as minstrel shows and full-scale revues, a pattern that continued into the early twentieth century. [The Fisk Jubilee Singers c1890s © Fisk University] 1900s – The ragtime era Ragtime, a new style of syncopated popular music, was published as sheet music from the late 1890s for dance and theatre orchestras in the USA, and the availability of printed music for the piano (as well as player-piano rolls) encouraged American – and later British – enthusiasts to explore the style for themselves. Early rags like Charles Johnson’s ‘Dill Pickles’ and George Botsford’s ‘Black and White Rag’ were widely performed by parlour-pianists. Ragtime became a principal musical force in American and British popular culture (notably after the publication of Irving Berlin’s popular song ‘Alexander’s Ragtime Band’ in 1911 and the show Hullo, Ragtime! staged at the London Hippodrome the following year) and it was a central influence on the development of jazz.
    [Show full text]
  • Al Via Taggia in Jazz
    1 Al via Taggia in Jazz di Alice Rinaldi – 14 Luglio 2016 – 18:23 Taggia. Prende il via stasera Taggia in Jazz. Alle 21.30 in piazza Trinità, nel cuore della città, inizia ufficialmente la tre giorni, dal 14 al 16 luglio, di grande musica offerta da artisti molto famosi nel panorama jazzistico internazionale. Ma ecco chi saranno i grandi artisti di questa edizione: Prima serata, giovedì 14 luglio: Il progetto musicale “Timelin3” composto da Maxx Furian(batteria), Federico Malaman(basso), Alberto Bonacasa(piano) nasce dalla comune passione per il jazz e le sue contaminazioni che dagli anni ’40 ad oggi hanno segnato un’ evoluzione stilistica sempre originale ed innovativa attingendo a quanto di più caratteristico le tradizioni musicali di altre culture potevano offrire per ampliare e stimolare quei musicisti che volessero sperimentare e spingersi oltre i canoni della tradizione. La formazione propone un repertorio di brani originali dove si evidenziano le diversità ritmiche, armoniche e melodiche che hanno influenzato nel tempo questo affascinante percorso musicale del jazz. Seconda serata, venerdì 15 luglio: Luca Dell’Anna piano e tastiere, Mimmo Valente sax, Daniele Epifani chitarra, Ivo Barbieri basso elettrico e Giorgio Di Tullio drum. Riviera24 - 1 / 2 - 27.09.2021 2 Terza ed ultima serata, sabato 16 luglio: Jim Mullen: Dotato di una tecnica davvero straordinaria che lo vede usare solo il pollice (come Wes Montgomery), Jim Mullen e’ considerato uno dei piu’ importanti chitarristi della scena Internazionale, avendo suonato con Brian Auger negli Oblivion Express negli anni ’70 e successivamente con gli Average White Band e collaborato con Michael Brecker, Hamish Stuart, Herbie Mann, Gene Harris, Paul McCartney, Liane Carroll, Pino Palladino, Clare Teal, tra gli altri.
    [Show full text]
  • Kent Jazz News Comes out in September
    NEW KENT free by post And members of Medway JazzSo- News from Kent/U.K. Autumn 2014 ciety December 2013 The Derek Nash Jazz / Funk Extravaganza Coming to Kent September 19 At the Anchorians Ruby Club Darland Ave, Gillingham Derek is always a welcome visitor to Medway, and he never fails to excite and get your feet tapping weather you wish or not. So we can expect a night to remember, some great funk and swinging jazz, fast and furious but also slow with feeling on ballads. Make a note in your diary and make sure you come Derek Nash Early. (see What Where When) CC Les Freres Smith C C Les Freres Smith, are returning after their last tour in 2012, if you heard them, and wish to see them again, or missed then in 2012, now is your second chance. CC Les Freres Smith are a 12 piece Afrobeat band from Paris who are coming to the UK for a 3 date tour C C in action at one of their concerts in October 23-25. See What Where When Greg Abate Published by Medway Jazz Society Established 1997 KJN is published four times a year. Page 3, What-When-Where. Plus newsletter in between issues of KJN. 4, This and That. Join Medway Jazz Society. Receive our newsletter + Kent Jazz 5, Jazz in London ‘London Jazz News. Festival’ For Jazz news, information, listings. 6 Jazz around the UK All of this, and more can be found on our on internet site. www.medwayjazz.co.uk 7 to 10, Listings Please send your letters, information, 11 Blasts form the past 1, The to the above address, or Email Fred Cogger Band [email protected] Deadline for Winter issue, November 12 Jazz in Kent 2 Advertising on the internet You can advertise on the our website 13 Two exciting bands-appearing at www.medwayjazz.co.uk Two Traditional jazz, £5 quarter page ad A5 Page per 14 Blasts from the past Don Rendell month Sextet send your copy to me.
    [Show full text]
  • Big Band of Rtv Slovenia
    ECCO F E AT U R I N G THE BIG BAND OF RTV SLOVENIA LJUBLJANA, 28 SEPTEMBER 2016 — KINO ŠIŠKA — ABOUT ECCO THE EUROPEAN CONTEMPORARY COMPOSERS ORCHESTRA ECCO is an ECSA project dedicated to performing and promoting contemporary art music and to reaching new audiences. It operates as a network of active ensembles, orchestras and young professionals, supporting the creative dialogue between composers and performers and offering young professionals the opportunity to develop their skills with ensembles experienced in performing contemporary music on an international level. For this first edition of anECCO Big Band concert, the Big Band of RTV Slovenia will perform ten different pieces written by composers from seven different European countries that were selected by the ECCO Artistic Committee. Pieces are received via a call to all ECSA member societies and are carefully selected to reflect the cultural and aesthetical diversity of European art music in the 21st century. The ECCO concert, and other cultural projects organised by ECSA, are aimed at increasing the visibility of ECSA and all issues connected to the status of contemporary music creators. The Big Band of RTV Slovenia, conducted by Sigi Feigl, will tonight perform works by Michel Herr (BE), Jukka Linkola (FI), Outi Tarkiainen (FI), Piotr Wróbel (PL), Matjaž Mikuletič (SI), Nikki Iles (UK), Mark Lockheart (UK), Helge Sunde (NO), Krešimir Herceg (HR) and Klemen Smolej (SI). The European Commission support for the production of this publication does not constitute endorsement of the contents which reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein.
    [Show full text]
  • CHRIS Mcgregor Politics
    the early hours - about music, art and, of cour. e, South African CHRIS McGREGOR politics. They all yearned to return to their homeland. The stresses took their toll; Mick died in 1965, Mongezi in 1975, Johnny in 1986 and now Chris. (Harry died, following a car crash, j...- 1983.) At his funeral in Lot-Et-Garone, South West France, on MlY 29th, it seemed that the entire local population turned out to paj homage.' * * * * * McGregor albums still available include; 'Blue Notes In Concert', Vol. I - Ogun OG220: 'Procession - Brotherhood of Breath Live in Toulouse - Oglln 524; 'Blue Notes For Johnny', Ogun 532: 'Blue otes For Mongezi (Double Album) Ogun 00112. Other Ogun releases in the pipeline are 'Brotherhood of Breath Uve at Willisan', OGRD 001 and 'In His Good Time' (solo), OGCD 003. Also available is 'Country Cooking', VirginfVenture, VE17 (CD, LP/Cassette). he death of Chris McGregor, pianist, arranger, composer and band leader of distinction, came as a terrible shock. Avid AU the above are available from Cadillac Records, 180 Shaftesbury collector and enthusiastic follower of Chris's Blue Notes and Avenue, WC2, (Tel: 071-836 3646) or from the specialist shops, T Dobell's, Mol.e and Ray's. his Brotherhood of Breath, Jack Docherty, rates them as the two of the finest bands ever to play in the UK. A benefit is to be held at the 100 Club, 100 Oxford Street, Wl, on Chris was born on Christmas Eve, 1936, in a Church of Scotland Monday, July 30th at 7.30 till late. It will be all South African Mission, in Umtata, Trans.kei Province, South Africa.
    [Show full text]
  • LCCM Is a Specialist Higher Education College for Creative People
    Prospectus 2018/19 LCCM is a specialist higher education college for creative people. We are the only independent college in the UK offering degrees in music, words, along with a postgraduate degree in creative entrepreneurship. Welcome to LCCM 07 About Us 08 Partnerships 10 Campus and location 14 Life at LCCM 16 Meet your tutors 18 Alumni 28 Courses Undergraduate BMus (Hons) Music Performance & Production 36 BA (Hons) Music Industry Management 38 BA (Hons) Creative Music Technology 40 BA (Hons) Creative & Professional Writing 42 Cert HE Music Performance 44 Cert HE Creative Music Practice 46 Postgraduate MA Creative Entrepreneurship 50 Other Courses Music Development Programme 54 Student Support 56 How To Apply? 58 Open Days 60 School and College Visits 62 Scholarship 63 Contact Information 64 CONTENT I am delighted to welcome you to our prospectus for 2018-9. It is an exciting time for everyone at LCCM. We have moved into our landmark new building and invested significantly in upgrading our musical equipment, computer labs, Principal, recording studios, performance spaces and Darius Khwaja areas for general study. Our ethos remains unchanged however. LCCM is all about preparing you for a life and career in the creative industries learning from the best tutors in the business. Taught by leading figures in the music and publishing industry, we help our students to create or engage in new work that will be taken seriously. We regularly introduce students to producers, managers and artists looking for musicians. Our graduates work at leading music companies like Domino and Live Nation or are founding members of bands such as Husky Loops and Whilk and Misky.
    [Show full text]