DOCSLIB.ORG

Download Press Release (PDF)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

www.losenrecords.no www.musikklosen.no 7090025831041 [email protected] LOS 104-2 LOS Fax. + 47 22 19 81 82 81 19 22 47 + Fax. March 11, 2011 11, March Tel. +47 22 19 82 82 82 82 19 22 +47 Tel. Release: MusikkLosen Ole Mathisen Ole Enjoy a day in Sylling with us. with Sylling in day a Enjoy (“Systems Init,” “Paolo Entrante”) - the music was flowing from the first note on. on. note first the from flowing was music the - Entrante”) “Paolo Init,” (“Systems immediate and exploratory. So much so that we decided to include the recorded soundcheck soundcheck recorded the include to decided we that so much So exploratory. and immediate It was really wonderful to have the opportunity to record with Per and Paolo; our rapport was was rapport our Paolo; and Per with record to opportunity the have to wonderful really was It how we all hear music and approach music making. music approach and music hear all we how Jon Christensen, and sound engineer Jan Erik Kongshaug; 5 guys that have strongly influenced influenced strongly have that guys 5 Kongshaug; Erik Jan engineer sound and Christensen, Jon CD to the “founding fathers” of Norwegian Jazz: Jan Garbarek, Terje Rypdal, Arild Andersen, Andersen, Arild Rypdal, Terje Garbarek, Jan Jazz: Norwegian of fathers” “founding the to CD was released, a recording that changed Norwegian Jazz forever. We would like to dedicate this this dedicate to like would We forever. Jazz Norwegian changed that recording a released, was 2010 marks 40 years since the seminal album “Afric Pepperbird,” by the Jan Garbarek group group Garbarek Jan the by Pepperbird,” “Afric album seminal the since years 40 marks 2010 to MIDI devices and various processors, no overdubs. no processors, various and devices MIDI to atmospheres and textures were created in real time, triggered from our instruments with pitch pitch with instruments our from triggered time, real in created were textures and atmospheres Per and I had, in addition, decided to explore our respective electronic set-ups. All electronic electronic All set-ups. electronic respective our explore to decided addition, in had, I and Per exemplify these ideas, with tempos and melodic lines being completely fluid and malleable. malleable. and fluid completely being lines melodic and tempos with ideas, these exemplify wise, and harmonically. The compositions “Elastics,” “Depth Conditioning,” and “Buoyancy” “Buoyancy” and Conditioning,” “Depth “Elastics,” compositions The harmonically. and wise, adaptability - about stretching the music in a variety of ways: dynamically, emotionally, time time emotionally, dynamically, ways: of variety a in music the stretching about - adaptability to communicate, and, as the title of the album suggests, this music is about flexibility and and flexibility about is music this suggests, album the of title the as and, communicate, to composition, when to return to specific written material etc. I believe this enhanced our ability ability our enhanced this believe I etc. material written specific to return to when composition, our instincts and musical sensibilities in terms of cuing when to enter a new section within a a within section new a enter to when cuing of terms in sensibilities musical and instincts our An interesting feature of Per’s studio is that there are no sight lines. We had to rely entirely on on entirely rely to had We lines. sight no are there that is studio Per’s of feature interesting An session. written especially for this place. All the music on this album was composed specifically for this this for specifically composed was album this on music the All place. this for especially written bucolic setting not far from the cities of Drammen and Oslo. My piece, “Syllinghymne, “ was was “ “Syllinghymne, piece, My Oslo. and Drammen of cities the from far not setting bucolic of Sylling, Norway, nestled between mountains at the end of lake Tyrifjorden - a spectacular spectacular a - Tyrifjorden lake of end the at mountains between nestled Norway, Sylling, of On a beautiful day in June 2010, the three of us went into Per’s basement studio in the village village the in studio basement Per’s into went us of three the 2010, June in day beautiful a On Ole Mathisen – Per Mathisen – Paolo Vinaccia / Elastics. Elastics. / Vinaccia Paolo – Mathisen Per – Mathisen Ole Ole Mathisen Per Mathisen Paolo Vinaccia and broadcasting of the music on this CD is a violation of applicable laws. applicable of violation a is CD this on music the of broadcasting and All rights reserved. Unauthorized duplication, public performance performance public duplication, Unauthorized reserved. rights All Per Mathisen Per ISRC: NO2NJ1004. Made in Norway. in Made NO2NJ1004. ISRC: Paolo Vinaccia Paolo © 2011 Losen Records www.losenrecords.no [email protected] [email protected] www.losenrecords.no Records Losen 2011 © Ole Mathisen Ole LOS 104-2 LOS and broadcasting of the music on this CD is a violation of applicable laws. applicable of violation a is CD this on music the of broadcasting and Vinaccia MathisenPaolo MathisenPer Ole 831041 090025 7 LOS 104-2 LOS All rights reserved. Unauthorized duplication, public performance performance public duplication, Unauthorized reserved. rights All LOS 104-2 LOS ISRC: NO2NJ1004. Made in Norway. in Made NO2NJ1004. ISRC: © 2011 Losen Records www.losenrecords.no [email protected] [email protected] www.losenrecords.no Records Losen 2011 © LOS 104-2 LOS Ole Mathisen Ole Vinaccia Paolo Mathisen Per Total Time 52.15 Time Total Coverdesign: www.studiosju.no Coverdesign: Front cover photo: Finn Aasum Finn photo: cover Front Losen Records LOS 104-2 LOS Losen Records 4.33 Himmelhvelving 11 Artists and Norwegian Musicians Union Musicians Norwegian and Artists 10 Kicks Ab Ab Kicks 10 This recording is supported by Fund For Performing Performing For Fund by supported is recording This ELASTICS Losen Records LOS 104-2 7.07 09 Channeling Channeling 09 Coverdesign: www.studiosju.no Coverdesign: Executive producer: Odd Gjelsnes Odd producer: Executive 6.32 08 Pols Pols 08 Total Time 52.15 Time Total Front cover photo: Finn Aasum Finn photo: cover Front 104-2 LOS Records Losen ELASTICS ELASTICS Mastered by Andy VanDette at Masterdisk, NYC Masterdisk, at VanDette Andy by Mastered 4.24 07 Buoyancy Buoyancy 07 Artists and Norwegian Musicians Union Musicians Norwegian and Artists Mixed by Ole at The Courthouse, NYC Courthouse, The at Ole by Mixed 4.29 06 Rabbagast Rabbagast 06 11 Himmelhvelving 4.33 Himmelhvelving 11 This recording is supported by Fund For Performing Performing For Fund by supported is recording This ELASTICS Paolo and Per Ole, by produced and Recorded 6.03 05 Syllinghymne 5.10 Syllinghymne 05 7.07 Ab Kicks 10 Executive producer: Odd Gjelsnes Odd producer: Executive Recorded June 7, 2010 7, June Recorded ELASTICS Elastics 04 6.32 Channeling 09 Mastered by Andy VanDette at Masterdisk, NYC Masterdisk, at VanDette Andy by Mastered 4.32 03 Depth Conditioning 5.10 Conditioning Depth 03 4.24 Pols 08 Mixed by Ole at The Courthouse, NYC Courthouse, The at Ole by Mixed Paolo Vinaccia: Drums, Percussion Drums, Vinaccia: Paolo 02 Paolo Entrante 1.26 Entrante Paolo 02 4.29 Buoyancy 07 Recorded and produced by Ole, Per and Paolo and Per Ole, by produced and Recorded and multiple effects multiple and 01 Systems Init 2.47 Init Systems 01 6.03 Rabbagast 06 Recorded June 7, 2010 7, June Recorded Per Mathisen: Acoustic bass, (el.bass on track # 1) 1) # track on (el.bass bass, Acoustic Mathisen: Per 05 Syllinghymne 5.10 Syllinghymne 05 Ole Mathisen: Tenor saxophone and multiple effects multiple and saxophone Tenor Mathisen: Ole 4.32 Elastics 04 Paolo Vinaccia: Drums, Percussion Drums, Vinaccia: Paolo 104-2 LOS LosenRecords 03 Depth Conditioning 5.10 Conditioning Depth 03 Elastics and multiple effects multiple and 02 Paolo Entrante 1.26 Entrante Paolo 02 Per Mathisen: Acoustic bass, (el.bass on track # 1) 1) # track on (el.bass bass, Acoustic Mathisen: Per 01 Systems Init Init 2.47 Systems 01 Ole Mathisen: Tenor saxophone and multiple effects multiple and saxophone Tenor Mathisen: Ole Ole Mathisen Per Mathisen Paolo Vinaccia Paolo Mathisen Per Mathisen Ole Elastics Elastics Elastics Ole Mathisen Per Mathisen Paolo Vinaccia Paolo Mathisen Per Mathisen Ole Vinaccia Paolo Mathisen Per Mathisen Ole Ole Mathisen Per Mathisen Paolo Vinaccia Paolo Mathisen Per Mathisen Ole Ole Mathisen Per Mathisen Paolo Vinaccia Paolo Mathisen Per Mathisen Ole Vinaccia Mathisen Paolo Mathisen Per Ole 1 Systems Init. Ole Mathisen, Ole Mathisen Publishing (ASCAP/TONO) Per Mathisen (TONO) 2 Paolo Entrante. Ole Mathisen, Ole Mathisen Publishing (ASCAP/TONO) Paolo Vinaccia (TONO) Jan Garbarek, Terje Rypdal, 3 Depth Conditioning. Ole Mathisen, Ole Mathisen Publishing (ASCAP/TONO) On a beautiful day in June about stretching the music in Jan Garbarek, Terje Rypdal, 1 Systems Init. Ole Mathisen, Ole Mathisen Publishingabout (ASCAP/TONO) stretching the music in Arild Andersen, Jon Chris- 4 Elastics. Ole Mathisen, Ole Mathisen Publishing (ASCAP/TONO) 2010, the three of us went a variety of ways: dynamically, Arild Andersen, Jon Chris- Per Mathisen (TONO)On a beautiful day in June a variety of ways: dynamically, tensen, and sound engineer into Per’s basement studio in emotionally, time wise, and tensen, and sound engineer 5 Syllinghymne. Ole Mathisen, Ole Mathisen Publishing (ASCAP/TONO) 2 Paolo Entrante. Ole2010, Mathisen, the three Ole of Mathisenus went Publishingemotionally, (ASCAP/TONO) time wise, and Jan Erik Kongshaug; 5 guys the village of Sylling, Norway, harmonically. The compo- Jan Erik Kongshaug; 5 guys Paolo Vinaccia (TONO)into Per’s basement studio in harmonically. The compo- that have strongly infl uenced 6 Rabbagast. Per Mathisen (TONO) nestled between mountains at sitions “Elastics,” “Depth that have strongly infl uenced the village of Sylling, Norway, sitions “Elastics,” “Depth how we all hear music and ap- 3 Depth Conditioning.
Recommended publications
  • Discourses of Decay and Purity in a Globalised Jazz World

    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.
  • Windward Passenger

    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.
  • John Kelman All About Jazz

    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).
  • HANNA PAULSBERG Spiller På Mai:Jazz Med GURLS Og Vil Gjøre + FESTIVAL- Jazzen Mindre Selvhøytidelig

    HANNA PAULSBERG Spiller På Mai:Jazz Med GURLS Og Vil Gjøre + FESTIVAL- Jazzen Mindre Selvhøytidelig

    INNBLIKK FESTIVAL INNSIKT KRONIKK Er det helt uproblematisk at mange Les alt om årets artister. Sterkt Terje Mosnes skriver om historien Musikkanmelder Audun Vinger jazzmusikere velger å spille pop­ program med stor variasjon på rundt utgivelsen av Bendik mener at jazzfestivaler kan være musikk? MaiJazz 2017. Hofseths IX. alt annet enn nedstøvet. ET MAGASINnote: FOR MAI:JAZZ 2017 OG STAVANGER JAZZFORUM #01 2017 PORTRETT HANNA PAULSBERG Spiller på Mai:Jazz med GURLS og vil gjøre + FESTIVAL- jazzen mindre selvhøytidelig. PROGRAM Original. Analog. Eksepsjonell. KJÆRE NABO TIL SCANDIC STAVANGER CITY Technics Direct Drive SL- 1200G Vet du at det ligger et fordelskort og venter på deg? For alle som vil nyte vinyl slik vinyl skal nytes. Den er kanskje ikke det billigste alternativet, men likevel er den verdt hver eneste krone. Scandic Friends gir deg gode tilbud på overnatting samt 20 % rabatt på mat i Varmen Bar og Restaurant i helgene. Ta med venner, familie eller naboen til mat som måtte friste fra À la carte-menyen i Varmen Bar og Restaurant. NABOKORT I tillegg har vi også et Nabokort. Husk at hos oss venter gode stoler og fristende servering på deg etter en handledag på byen eller en slentretur i sentrum. Bar & Restaurant Følg oss på Facebook for oppdatering av hva som skjer i Varmen Bar og Restaurant. STAVANGER CITY Velkommen! Vågsgata 7, 4306 SANDNES | M 900 16 116 | www.avarer.no scandichotels.no - garantert best pris STAVANGER CITY LEDER DET ER I SAMSPILLET MAGIEN OPPSTÅR RELASJONER Hove West er blant Norges ledende på totalproduksjoner OG FORANDRING bestående av både lyd, lys, audiovisuelt utstyr og sceneutstyr.
  • Årsmøtesak-4-Årsmelding-2010.Pdf

    Årsmøtesak-4-Årsmelding-2010.Pdf

    Årsmelding 2010 Østnorsk jazzsenter I 2010 arrangerte 33 jazzklubber på Østlandet 1 056 konserter for mer enn 80 000 publikummere. Østnorsk jazzsenter fordelte kr 1 476 000,- i arrangørstøtte til disse aktivitetene. Østnorsk jazzsenters arbeid tar utgangspunkt i Norsk kulturråds utredning «Improvisasjon satt i system« fra 1995 som igjen har bakgrunn i Stortingsmelding nr 61 (1991/92) «Kultur i tiden». Senteret har som formål på ideelt grunnlag å spre kunnskap om og øke forståelsen og interessen for jazz og beslektede kunstformer, samt å legge til rette for lokal aktivitet innenfor musikksjangeren i fylkene Oslo, Akershus, Buskerud, Vestfold, Østfold, Hedmark og Oppland. Østnorsk jazzsenter er et regionalt kompetansesenter for jazz med arbeidsoppgaver innen formidling, opplæring og informasjon. Senteret samarbeider med jazzmiljøene i samtlige sju fylker i regionen, og legger til rette for at jazzmusikk er tilgjengelig for et størst mulig publikum på Østlandet. Kompetanseutvikling og oppbygging av et velfungerende støtte- og serviceapparat for det frivillige og profesjonelle jazzliv i regionen er sentrale arbeidsoppgaver for senteret. Østnorsk jazzsenter er organisert som en forening, og styres av et årsmøtevalgt styre. Senteret er medlem i landsorganisasjonen Norsk jazzforum, og samarbeider med de fire andre regionale jazzsentrene. Medlemmer i Norsk jazzforum som er lokalisert i de sju Østlandsfylkene er medlem i Østnorsk jazzsenter, og har stemme- og møterett på jazzsenterets årsmøter. Forside: Svans t.v. Shotgun Foto © Eivind Kaasin 2
  • Jan Erik Kongshaug

    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.
  • Keeping the Tradition Y B 2 7- in MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar

    Keeping the Tradition Y B 2 7- in MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar

    June 2011 | No. 110 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Dee Dee Bridgewater RIAM ANG1 01 Keeping The Tradition Y B 2 7- IN MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar It’s always a fascinating process choosing coverage each month. We’d like to think that in a highly partisan modern world, we actually live up to the credo: “We New York@Night Report, You Decide”. No segment of jazz or improvised music or avant garde or 4 whatever you call it is overlooked, since only as a full quilt can we keep out the cold of commercialism. Interview: Cooper-Moore Sometimes it is more difficult, especially during the bleak winter months, to 6 by Kurt Gottschalk put together a good mixture of feature subjects but we quickly forget about that when June rolls around. It’s an embarrassment of riches, really, this first month of Artist Feature: Orrin Evans summer. Just like everyone pulls out shorts and skirts and sandals and flipflops, 7 by Terrell Holmes the city unleashes concert after concert, festival after festival. This month we have the Vision Fest; a mini-iteration of the Festival of New Trumpet Music (FONT); the On The Cover: Dee Dee Bridgewater inaugural Blue Note Jazz Festival taking place at the titular club as well as other 9 by Marcia Hillman city venues; the always-overwhelming Undead Jazz Festival, this year expanded to four days, two boroughs and ten venues and the 4th annual Red Hook Jazz Encore: Lest We Forget: Festival in sight of the Statue of Liberty.
  • Jack Dejohnette's Drum Solo On

    Jack Dejohnette's Drum Solo On

    NOVEMBER 2019 VOLUME 86 / NUMBER 11 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [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, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert.
  • Norway's Jazz Identity by © 2019 Ashley Hirt MA

    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.
  • Arild Andersen Electra

    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.
  • Masarykova Univerzita Filozofická Fakulta Ústav Germanistiky, Nordistiky a Nederlandistiky Bakalářská Diplomová Práce

    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 .......................................................................................
  • Årsberetning 2017–2018

    Årsberetning 2017–2018

    Norsk forening for komponister og tekstforfattere Årsberetning 2017–2018 www.nopa.no Norsk forening for komponister og tekstforfattere Årsberetning 2017–2018 Innhold Årsberetning 1. Styret og generalforsamling side 12 2. Administrasjonen side 12 3. Medlemmer side 13 2017–2018 4. Tillitsvalgte side 15 5. Musikkpolitisk arbeid side 23 6. Samarbeidspartnere side 35 7. Tilskudd til skapende virksomhet side 38 8. Arrangement side 49 9. Priser side 58 10. For medlemmer side 62 11. Forvaltningsselskaper og andre virksomheter side 65 12. Regnskap side 69 Vedlegg I NOPAs regnskap 2017–18 side 72 II Revisjonsberetning side 79 III Desisorrapport side 81 Bildene på forsiden er tatt av: Lasse Fløde, Janne Rugland, Stian Andersen, Mette Randem, Bjørn Molstad, Andreas Ulvo, Marius Viken, Ruben Rygh og Johannes Selvaag 2 3 Norsk forening for komponister og tekstforfattere Årsberetning 2017–2018 Årsberetning 2017–2018 For perioden 26. april 2017–24. april 2018 Ny musikk og nye sangtekster er med på å gi landet vårt felleskap, identitet og solidaritet lokalt, nasjonalt og internasjonalt. Komponisten, tekstforfatteren og verket utgjør det første leddet i den musikalske nærings kjeden. En av NOPAs viktigste oppgaver er å løfte frem det norske repertoaret. MARI OG MODDI: Mari Boine og Pål Moddi Knutsen skapte et uforglemmelig øyeblikk 5 gjennom deres samtale på NOPA-seminaret på Havna. Foto: Marthe Vee Norsk forening for komponister og tekstforfattere Årsberetning 2017–2018 Kjære NOPA-medlemmer Siden forrige årsmøte har vår forening fylt 80 år. Vi har hatt Sammen med GramArt laget NOPA kampanjen #utenmusikk særlig fokus på å løfte frem repertoaret medlemmene har for å rette oppmerksomheten mot innholdet i loven.