The Final BBC Young Jazz Musician 2020
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Jazzlondonlive July 2019
01/07/2019 PIZZAEXPRESS LIVE, HOLBORN 20:30 02/07/2019 TOULOUSE LAUTREC, KENNINGTON 19:30 02/07/2019 VORTEX JAZZ CLUB, DALSTON 20:30 £10.00 JAZZLONDONLIVE JULY 2019 £17.50 FREE ENTRY THREEBOP Ella Hohnen-Ford (vcls), Rosina Bullen (vcls) , THE VINCE DUNN ORCHESTRA FAYE PATTON PIANO BAR & RESTAURANT Faye Patton (Vocals, Piano & Guitar) will be Luca Manning (vcls) , David Swan (pno) , Seth 01/07/2019 ARCHDUKE, WATERLOO 19:30 FREE Tackaberry (bs) , Boz Martin-Jones (drs) 01/07/2019 THE OXFORD TAVERN, KENTISH TOWN showcasing a range of originals from her catalogue, some standards, and some new JOE BICKERSTAFF SOLO PIANO 20:30 £8/£5 MUSICIANS compositions. Expect soaring, bluesy vocals, 02/07/2019 RONNIE SCOTT'S, SOHO 23:30 £10 blistering piano hooks, glittering guitar riffs and 01/07/2019 RONNIE SCOTT'S, SOHO 19:30 £35 - £50 MATT HOME QUARTET ROELLA OLORO QUINTET'S LATE SHOW DEBUT Matt Home(drums), Steve Fishwick (trumpet), smooth vibes. JOE STILGOE AND HIS MIGHTY BIG BAND MAIN Alex Bryson (piano), Jeremy Brown (double PRESENTED BY ALEX GARNETT LATE LATE SHOW bass) 02/07/2019 BULL'S HEAD, BARNES 20:00 £10 ADV & Roella Oloro - Piano, Sylvan Biscoe - Tenor Sax, SHOW Joseph Oti - Trumpet, Isobella Burnham - Bass, Tom Richards -Saxophone, Mike Lovatt -Trumpet, £12 ON THE DOOR Wilf Cameron Marples - Drums Martin Shaw -Trumpet, Billy Adamson -Guitar, 01/07/2019 TROUBADOUR, EARL’S COURT 20:30 FREE DANA ALI BAND BLUES & SOUL Tom Farmer -Bass, Callum Au -Trombone, Pete EVENT Dana Ali, vcls, Dave Hewitt, bass, Dave Punshon, North -Trombone, Andy Wood -
Spencer Sunshine*
Journal of Social Justice, Vol. 9, 2019 (© 2019) ISSN: 2164-7100 Looking Left at Antisemitism Spencer Sunshine* The question of antisemitism inside of the Left—referred to as “left antisemitism”—is a stubborn and persistent problem. And while the Right exaggerates both its depth and scope, the Left has repeatedly refused to face the issue. It is entangled in scandals about antisemitism at an increasing rate. On the Western Left, some antisemitism manifests in the form of conspiracy theories, but there is also a hegemonic refusal to acknowledge antisemitism’s existence and presence. This, in turn, is part of a larger refusal to deal with Jewish issues in general, or to engage with the Jewish community as a real entity. Debates around left antisemitism have risen in tandem with the spread of anti-Zionism inside of the Left, especially since the Second Intifada. Anti-Zionism is not, by itself, antisemitism. One can call for the Right of Return, as well as dissolving Israel as a Jewish state, without being antisemitic. But there is a Venn diagram between anti- Zionism and antisemitism, and the overlap is both significant and has many shades of grey to it. One of the main reasons the Left can’t acknowledge problems with antisemitism is that Jews persistently trouble categories, and the Left would have to rethink many things—including how it approaches anti- imperialism, nationalism of the oppressed, anti-Zionism, identity politics, populism, conspiracy theories, and critiques of finance capital—if it was to truly struggle with the question. The Left understands that white supremacy isn’t just the Ku Klux Klan and neo-Nazis, but that it is part of the fabric of society, and there is no shortcut to unstitching it. -
Mastermind and Celebrity Mastermind Invitation to Tender
BBC’s Mastermind and Celebrity Mastermind Invitation To Tender (ITT) 10 September 2018 Production of Mastermind and Celebrity Mastermind Contract for 2 years commencing with delivery in July 2019 ITT SUMMARY1 The BBC is inviting producers to tender for the production of Mastermind and Celebrity Mastermind. Mastermind and Celebrity Mastermind are long-running, successful BBC series at the heart of the BBC Two and BBC One schedules. The contract to produce Mastermind and Celebrity Mastermind is offered on a work-for-hire basis and all IP remains with the BBC. The contract, including 31 episodes of Mastermind and 10 episodes of Celebrity Mastermind per year, is for 2 years commencing with delivery in July 2019. John Humphrys will continue to present both shows. The current tariff for Mastermind and Celebrity Mastermind is an average of £36,0412 per episode or £2,955,362 for both series across the 2 years, funded by the BBC public service. The Production must remain Out of London, with a preference for one of the BBC’s centres for quiz content in Salford, Scotland or Northern Ireland. Schedule of key stages* ITT Published 10 September 2018 Tender eligibility closes 21 September 2018 Longlist notified 5 October 2018 Face to face meeting 19 October 2018 Tender submissions 14 November 2018 Shortlist notified 3 December 2018 Interviews 17 December 2018 TUPE Conversations 10 January 2019 Award decision announced 14 February 2019 Transmission from August 2019 * all dates are subject to change and Tenderers will be notified of any changes Tender eligibility Producers bidding on their own or in partnership will be considered. -
Anti-Zionism and Antisemitism Cosmopolitan Reflections
Anti-Zionism and Antisemitism Cosmopolitan Reflections David Hirsh Department of Sociology, Goldsmiths, University of London, New Cross, London SE14 6NW, UK The Working Papers Series is intended to initiate discussion, debate and discourse on a wide variety of issues as it pertains to the analysis of antisemitism, and to further the study of this subject matter. Please feel free to submit papers to the ISGAP working paper series. Contact the ISGAP Coordinator or the Editor of the Working Paper Series, Charles Asher Small. Working Paper Hirsh 2007 ISSN: 1940-610X © Institute for the Study of Global Antisemitism and Policy ISGAP 165 East 56th Street, Second floor New York, NY 10022 United States Office Telephone: 212-230-1840 www.isgap.org ABSTRACT This paper aims to disentangle the difficult relationship between anti-Zionism and antisemitism. On one side, antisemitism appears as a pressing contemporary problem, intimately connected to an intensification of hostility to Israel. Opposing accounts downplay the fact of antisemitism and tend to treat the charge as an instrumental attempt to de-legitimize criticism of Israel. I address the central relationship both conceptually and through a number of empirical case studies which lie in the disputed territory between criticism and demonization. The paper focuses on current debates in the British public sphere and in particular on the campaign to boycott Israeli academia. Sociologically the paper seeks to develop a cosmopolitan framework to confront the methodological nationalism of both Zionism and anti-Zionism. It does not assume that exaggerated hostility to Israel is caused by underlying antisemitism but it explores the possibility that antisemitism may be an effect even of some antiracist forms of anti- Zionism. -
19.05.21 Notable Industry Recognition Awards List • ADC Advertising
19.05.21 Notable Industry Recognition Awards List • ADC Advertising Awards • AFI Awards • AICE & AICP (US) • Akil Koci Prize • American Academy of Arts and Letters Gold Medal in Music • American Cinema Editors • Angers Premier Plans • Annie Awards • APAs Awards • Argentine Academy of Cinematography Arts and Sciences Awards • ARIA Music Awards (Australian Recording Industry Association) Ariel • Art Directors Guild Awards • Arthur C. Clarke Award • Artios Awards • ASCAP awards (American Society of Composers, Authors and Publishers) • Asia Pacific Screen Awards • ASTRA Awards • Australian Academy of Cinema and Television Arts (AACTS) • Australian Production Design Guild • Awit Awards (Philippine Association of the Record Industry) • BAA British Arrow Awards (British Advertising Awards) • Berlin International Film Festival • BET Awards (Black Entertainment Television, United States) • BFI London Film Festival • Bodil Awards • Brit Awards • British Composer Awards – For excellence in classical and jazz music • Brooklyn International Film Festival • Busan International Film Festival • Cairo International Film Festival • Canadian Screen Awards • Cannes International Film Festival / Festival de Cannes • Cannes Lions Awards • Chicago International Film Festival • Ciclope Awards • Cinedays – Skopje International Film Festival (European First and Second Films) • Cinema Audio Society Awards Cinema Jove International Film Festival • CinemaCon’s International • Classic Rock Roll of Honour Awards – An annual awards program bestowed by Classic Rock Clio -
The History of Women in Jazz in Britain
The history of jazz in Britain has been scrutinised in notable publications including Parsonage (2005) The Evolution of Jazz in Britain, 1880-1935 , McKay (2005) Circular Breathing: The Cultural Politics of Jazz in Britain , Simons (2006) Black British Swing and Moore (forthcoming 2007) Inside British Jazz . This body of literature provides a useful basis for specific consideration of the role of women in British jazz. This area is almost completely unresearched but notable exceptions to this trend include Jen Wilson’s work (in her dissertation entitled Syncopated Ladies: British Jazzwomen 1880-1995 and their Influence on Popular Culture ) and George McKay’s chapter ‘From “Male Music” to Feminist Improvising’ in Circular Breathing . Therefore, this chapter will provide a necessarily selective overview of British women in jazz, and offer some limited exploration of the critical issues raised. It is hoped that this will provide a stimulus for more detailed research in the future. Any consideration of this topic must necessarily foreground Ivy Benson 1, who played a fundamental role in encouraging and inspiring female jazz musicians in Britain through her various ‘all-girl’ bands. Benson was born in Yorkshire in 1913 and learned the piano from the age of five. She was something of a child prodigy, performing on Children’s Hour for the British Broadcasting Corporation (BBC) at the age of nine. She also appeared under the name of ‘Baby Benson’ at Working Men’s Clubs (private social clubs founded in the nineteenth century in industrial areas of Great Britain, particularly in the North, with the aim of providing recreation and education for working class men and their families). -
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. -
03/31/2018 Daily Program Listing II 02/05/2018 Page 1 of 124 Start Title Thu, Mar 01, 2018 Subtitle Ster
Daily Program Listing II 43.1 Date: 02/05/2018 03/01/2018 - 03/31/2018 Page 1 of 124 Thu, Mar 01, 2018 Title Start Subtitle Distrib Stereo Cap AS2 Episode 00:00:01 Great Decisions In Foreign Policy NETA (S) (CC) N/A #903H China: The New Silk Road China is the second largest economy in the world, and it's expected to bump the U.S. out of the top rank in less than a decade. Beijing is increasingly looking beyond China's borders, toward investment in Asia and across the world. What does China's massive One Belt One Road initiative mean for America? 00:30:00 In Good Shape - The Health Show WNVC (S) (CC) N/A #508H 01:00:00 The Lowertown Line. APTEX (S) (CC) N/A #124H Bruise Violet 01:30:00 Songs at the Center APTEX (S) (CC) N/A #110H Artists: Tim Easton, Talisha Holmes, Nathan Bell, Mark Brinkman, and hosted by songwriter Eric Gnezda. Tim Easton was nominated twice in the 9th Annual Independent Music Awards, including for Best Americana Song. Originally from Akron, he is now based in Nashville. He tours worldwide. He recently re-released his first album, Special 20, on vinyl. He sings "Elmore James." Talisha Holmes is known for her intimacy and energy as a performer. She has opened for Dwele, John Legend, Styx, Stephanie Mills, Ohio Players and others. With an eclectic style fusing jazz, blues, folk, rock and choral music, Talisha performs regularly with the Columbus Jazz Orchestra. She sings "Follow Me." Nathan Bell composed the music for The Day After Stonewall Died, a movie that was awarded first prize at the 2014 Cannes Short Film Festival. -
Sheku Kanneh-Mason
Sheku Kanneh-Mason Sheku Kanneh-Mason is the 2016 BBC Young Musician, a title he won with a stunning performance of the Shostakovich Cello Concerto at London’s Barbican Hall with the BBC Symphony Orchestra. In April 2017, Sheku returned to the hall for another performance of the concerto, this time with the National Youth Orchestra and Carlos Miguel Prieto after which the Guardian wrote that “technically superb and eloquent in his expressivity, he held the capacity audience spellbound with an interpretation of exceptional authority” and the Telegraph acknowledged “what a remarkable musician he already is, bringing other- worldly tone to the haunting slow movement and displaying mature musicianship in his handling of the extended cadenza” Only eighteen years old, Sheku’s international career is developing very quickly with engagements in the 2017/18 and 2018/19 seasons including the CBSO, the Philharmonia Orchestra at the Newbury Spring Festival, a return to the Royal Liverpool Philharmonic, Zurich Tonhalle Orchestra, Barcelona Symphony, Netherlands Chamber Orchestra (his debut at the Concertgebouw), Los Angeles Chamber Orchestra (Sheku’s concerto debut in North America), Louisiana Philharmonic, and the Seattle and Atlanta symphonies. He will also return to the BBC Symphony Orchestra to perform the Elgar Concerto in his hometown of Nottingham and make his debut at the Vienna Konzerthaus with the Japan Philharmonic. In recital, Sheku has several concerts across the UK with highlights over the next two seasons including his debuts at Kings Place as part of their Cello Unwrapped series, Milton Court, and Wigmore Hall. He will also perform a series of concerts in Canada in December 2017, and further recitals at the Zurich Tonhalle, and the Lucerne Festival. -
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. -
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. -
Nicola Benedetti Interview: ‘It’S Hard When You Feel You’Re Doing Your Part, but Others Aren’T Doing Theirs’
Nicola Benedetti interview: ‘It’s hard when you feel you’re doing your part, but others aren’t doing theirs’ As she launches her new album, the star violinist is frustrated at the restrictions on live performance, but is determined to bring music to the masses regardless Nicola Benedetti at Royal Albert Hall - 21 September 2013 – by Allan Beavis by Jessica Duchen 15/07/2021 Some people quit when faced with lockdown. Others don’t. When the pandemic abruptly smothered live music, the violinist Nicola Benedetti threw her considerable energy into finding new ways to connect people online to music and, through that, to one another. Now the Scottish star soloist is preparing for a Prom, where she will perform Prokofiev’s Violin Concerto No. 2 with the National Youth Orchestra of Great Britain and, at last, a real, live audience. That should make the thrill for the NYOGB youngsters in the Royal Albert Hall even greater. “After a year and a half, with so much cancelled and no opportunity to get together, can you imagine how excited they’re going to be?” Benedetti enthuses. To say that musicians have felt frustrated and dispirited these past months is not saying enough. This summer, sports began to be allowed massive audiences, while theatres and concert halls were hobbled by continued social distancing. Benedetti does not mince her words: “It’s difficult when you see the football with 40,000 to 60,000 people gathering just in official numbers in official venues, never mind millions in the streets, and you look at musicians’ restrictions in that context.