Eté 2020 Sur La Route Des Festivals
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Spirituals Et Gospel
SPIRITUALS ET GOSPEL un parcours dans les musiques sacrées afro-américaines. Médiathèque François Mitterrand Décembre 2010 1 Histoire des Négro-spirituals Les origines L'origine des Negro Spirituals remonte au temps de l'esclavage. Ces chants, empreints d'espoir et de ferveur religieuse, expriment tout le drame des populations africaines déracinées et vendues pour travailler dans les plantations du sud des Etats-Unis. Le Gospel est une création plus récente née dans les communautés noires américaines des grandes villes du Nord. Tout a commencé en 1619, lorsqu'un navire hollandais débarqua sur les côtes de Virginie les premiers esclaves africains. On trouva que ces hommes s'adaptaient bien au climat et qu'ils pouvaient être d'un excellent profit pour l'économie locale. Aussi d'autres navires négriers suivirent et, année après année, pendant plus de deux siècles, des centaines de milliers d'êtres humains furent arrachés à leur sol natal et transportés, dans des conditions effroyables, vers les rives américaines. Pendant la traversée. Gravure 1840 (Librairie du congrès) 2 L'esclavage fut à son apogée, au début du 19ème siècle, avec le développement du coton. En 1860 on comptait plus de quatre millions d'esclaves aux Etats Unis. La guerre de Sécession et l'influence des mouvements humanistes conduisirent à l'abolition de l'esclavage en 1865. Mais c'est à la même époque qu'apparut le Ku Klux Klan et les réactions ségrégationnistes. La lutte pour une complète et réelle liberté allait encore durer bien des années, jusqu'aux mouvements pour les droits civiques, entre 1960 et 1970, avec l'inoubliable figure de Martin Luther King. -
Dossier-De-Presse-Redonv4-6-Logos
© Jean-Michel NIRON Mot du Président : À l’occasion de la 7ème édition des Musicales de Redon, c’est près de 450 artistes que nous accueillerons en 2019, avec 23 concerts à la clé et 16 médiations prévus sur 12 communes du territoire de Redon. Nous avons souhaité cette année donner une orientation dominante à chacun des deux week -ends que comptera le festival. Aussi, le premier week-end sera consacré au piano, tandis que le second sera essentiellement tourné autour de la voix. La programmation respectera, ce qui est devenu notre ADN : le beau, la qualité, l’âme, la liberté, l’ouverture, la diversité, l’accessibilité et l’accueil d’esthétiques voisines, dans les deux dimensions de l’espace et du temps. Le Festival réservera encore cette année une large place à la jeunesse avec, entre autres, le Petit Festival « Enfants et Familles » lors duquel sera donnée la générale de l’opéra citoyen créé autour de la musique de Carmen et du Barbier de Séville, dans une initiative inédite portée auprès de tous les publics pendant plusieurs mois. Mais également « Musique pas Bête », une histoire qui encourage à écouter tous les styles, à être à l’écoute de nos corps, de nos émotions et du monde qui nous entoure avec, entre autre, des ateliers participatifs. De plus, le festival « Les Musicales de Redon » comptera plusieurs moments marquants, parmi lesqu els des concerts pédagogiques, des rencontres entre jeunes et artistes, la Henry de Sonis, fabrication de harpes en carton, des contes et concours comme chaque année. Nous Président du Conseil d’Administration, LES MUSICALES DE REDON. -
Reggie Washington 02
ALBUM DETAILS WORLDWIDE CD RELEASE NOVEMBER 7th, 2018 TRACKLISTING 01. Always Moving (1:13) REGGIE WASHINGTON 02. Fall (7:49) 03. Eleanor Rigby (3:37) 04. Half Position Woody (8:07) 05. Afro Blue (3:10) 06. E.S.P (9:27) « VINTAGE NEW ACOUSTIC » 07. Thoughts of Buckshot (0:58) 08. Footprints (9:29) 09. Moanin‘ (4:28) 10. B3 Blues 4 Leroy (9:44) 11. Always Moving (0:59) (Reprise Ending) PERSONAL REGGIE WASHINGTON acoustic & electric basses BOBBY SPARKS acoustic piano, Fender Rhodes, keyboards & organ FABRICE ALLEMAN saxophones E.J. STRICKLAND drums META DATA ARTIST: Reggie Washington TITLE: Vintage New Acoustic GENRE: Jazz LABEL: Jammin’colorS CATALOG NUMBER: JC18-007-2 UPC: 715235041031 STREET & RADIO ADD DATE: 7 November 2018 ABOUT REGGIE WASHINGTON Reggie Washington is an artist of rare breed who can play acoustic and electric basses, who can sing, who can mix Jazz, Funk & World Music while combining the life of leader and sideman. Reggie was a key participant in the Modern Jazz revolution of the 80’s and 90’s. He became known touring, recording and performing with Steve Coleman, Bran- ford Marsalis, Roy Hargrove, Chico Hamilton, Oliver Lake, Cassandra Wilson, Don Byron, Jean-Paul Bourelly, Lester Bowie, Meshell Ndegeocello to name a few. In 2005, Reggie began successfully touring with his own bands. They were a mix of American & European musicians such as Ravi Coltrane, Gene Lake, Stéphane Galland, Jef Lee Johnson, Erwin Vann, Jacques Schwarz-Bart, E.J. Strickland, Jozef Dumoulin, Matthew Garrison, Marcus Strickland, Jason Lindner, Poogie Bell and Ronny Drayton. TOUR DATES In 2015, Reggie started touring throughout Europe with his project “Rainbow Shadow - A tribute to Jef Lee Johnson“ featuring guitarists Marvin Sewell or Da- VINTAGE NEW ACOUSTIC vid Gilmore, drummer Patrick Dorcéan & DJ Grazzhoppa on turntables. -
Du 1Er Au 8 Août 2020 15E Anniversaire. Edition Spéciale, « Déconfinée »
Du 1er au 8 août 2020 15e anniversaire. Edition spéciale, « déconfinée » CONCERTS EN PLEIN AIR, RETRANSMIS, ANIMATIONS, ATELIERS, DEGUSTATIONS… www.festival1001notes.com ALEXANDRE THARAUD, ALEXANDRE KANTOROW, THIBAULT CAUVIN, ROSEMARY STANDLEY, DOM LA NENA, ISABELLE GEORGES, SIMON GHRAICHY, LUCIENNE RENAUDIN -VARY, FELICIEN BRUT, JEAN RONDEAU, MARIE-AGNES GILLOT, GASPARD DEHAENE, LE CONCERT IDEAL, LAURE FAVRE KAHN, THE CURIOUS BARDS, ARTUAN DE LIERREE, MIKHAIL RUDY… CONTACT PRESSE : Laura FANTONI _ 06 20 37 15 37 / [email protected] « Dès le début du confinement, 1001 Notes a décidé d’agir pour remonter le moral des français et leur apporter au quotidien une bulle d’évasion. Cette période particulière nous a obligé à nous réinventer et à nous dépasser. C’est ainsi que sont nés « Aux Notes Citoyens », des concerts gratuits en streaming, pour toute la famille, visibles depuis le site internet du festival, la plateforme Youtube et les réseaux sociaux. Un remède qui a fait ses preuves pour lutter contre la morosité. Forts de cette nouvelle expérience, nous avons imaginé avec notre équipe de choc, constituée d’artistes, de techniciens et de bénévoles, une édition totalement modifiée, déconfinée, solidaire et novatrice pour fêter les 15 ans du festival. Du 1er au 8 août, 1001 Notes propose une programmation riche et éclectique réunissant les plus grands artistes de la scène classique mais aussi des artistes issus du spectacle vivant, chanteurs, danseurs et comédiens. Deux scènes installées au Parc du Mazeau à Saint Priest Taurion accueilleront jusqu’à 250 personnes. Foodtrucks, produits locaux ainsi qu’un espace découverte et bien-être viendront compléter cette édition spéciale. -
The Carroll News
John Carroll University Carroll Collected The aC rroll News Student 3-26-1976 The aC rroll News- Vol. 58, No. 18 John Carroll University Follow this and additional works at: http://collected.jcu.edu/carrollnews Recommended Citation John Carroll University, "The aC rroll News- Vol. 58, No. 18" (1976). The Carroll News. 552. http://collected.jcu.edu/carrollnews/552 This Newspaper is brought to you for free and open access by the Student at Carroll Collected. It has been accepted for inclusion in The aC rroll News by an authorized administrator of Carroll Collected. For more information, please contact [email protected]. St. Pat's Festivities Extend Into Week-long Celebration R~ .\1ary \ nne Garvey serve more than 5000 glasses of A hypnotist in the Rat on The luck of the Irish prevailed beer Thursday and a two band Student as Carroll students celebrated St. High winds and snow flurries Union Mixer on Friday rounded Patrick's Day with a week of forced the cancellation of the out the week. The mixer also festivities The Irish Club United Irish Societies of Greater provided the setting for the 2nd initialed the St. Pat's activities Cleveland's parade downtown, annual IPT chugging contest. with a night of entertainment in but CarroU students remained The lBG's won in the organiza the Rat Bar on March 15th . Linda undaunted bv the weather and tional category, beating the O'Malley. Sean Moore and Gerri the quad supplied the site for a IPT's by an eighth of a glass. The Gunn provided the music, which mini ·parade at 4: 15. -
Art Works Grants
National Endowment for the Arts — December 2014 Grant Announcement Art Works grants Discipline/Field Listings Project details are as of November 24, 2014. For the most up to date project information, please use the NEA's online grant search system. Art Works grants supports the creation of art that meets the highest standards of excellence, public engagement with diverse and excellent art, lifelong learning in the arts, and the strengthening of communities through the arts. Click the discipline/field below to jump to that area of the document. Artist Communities Arts Education Dance Folk & Traditional Arts Literature Local Arts Agencies Media Arts Museums Music Opera Presenting & Multidisciplinary Works Theater & Musical Theater Visual Arts Some details of the projects listed are subject to change, contingent upon prior Arts Endowment approval. Page 1 of 168 Artist Communities Number of Grants: 35 Total Dollar Amount: $645,000 18th Street Arts Complex (aka 18th Street Arts Center) $10,000 Santa Monica, CA To support artist residencies and related activities. Artists residing at the main gallery will be given 24-hour access to the space and a stipend. Structured as both a residency and an exhibition, the works created will be on view to the public alongside narratives about the artists' creative process. Alliance of Artists Communities $40,000 Providence, RI To support research, convenings, and trainings about the field of artist communities. Priority research areas will include social change residencies, international exchanges, and the intersections of art and science. Cohort groups (teams addressing similar concerns co-chaired by at least two residency directors) will focus on best practices and develop content for trainings and workshops. -
Uptown Conversation : the New Jazz Studies / Edited by Robert G
uptown conversation uptown conver columbia university press new york the new jazz studies sation edited by robert g. o’meally, brent hayes edwards, and farah jasmine griffin Columbia University Press Publishers Since 1893 New York Chichester, West Sussex Copyright © 2004 Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin All rights reserved Library of Congress Cataloging-in-Publication Data Uptown conversation : the new jazz studies / edited by Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin. p. cm. Includes index. ISBN 0-231-12350-7 — ISBN 0-231-12351-5 1. Jazz—History and criticism. I. O’Meally, Robert G., 1948– II. Edwards, Brent Hayes. III. Griffin, Farah Jasmine. ML3507.U68 2004 781.65′09—dc22 2003067480 Columbia University Press books are printed on permanent and durable acid-free paper. Printed in the United States of America c 10 9 8 7 6 5 4 3 2 1 p 10 9 8 7 6 5 4 3 2 1 contents Acknowledgments ix Introductory Notes 1 Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin part 1 Songs of the Unsung: The Darby Hicks History of Jazz 9 George Lipsitz “All the Things You Could Be by Now”: Charles Mingus Presents Charles Mingus and the Limits of Avant-Garde Jazz 27 Salim Washington Experimental Music in Black and White: The AACM in New York, 1970–1985 50 George Lewis When Malindy Sings: A Meditation on Black Women’s Vocality 102 Farah Jasmine Griffin Hipsters, Bluebloods, Rebels, and Hooligans: The Cultural Politics of the Newport Jazz Festival, 1954–1960 126 John Gennari Mainstreaming Monk: The Ellington Album 150 Mark Tucker The Man 166 John Szwed part 2 The Real Ambassadors 189 Penny M. -
Wherever They Play, Boney Fields and the Bone's Project Leave Behind Them a Lasting Impression. Like a High Energy Gunpowder T
© Matthieu FAURE – Brenda TURNNIDGE Wherever they play, Boney Fields and The Bone’s Project leave behind them a lasting impression. Like a high energy gunpowder trail, dispensing a cross of blues and funk which unites and rallies the masses in a heavenly musical communion. Fronted by the dynamic, trumpet player, singer/songwriter Boney Fields, the combo has gained a bigger and bigger following. The bowler-hatted musician has come a long way since founding his own band, ten years ago. If he comes from Chicago Blues, he has expanded the contours with an iron willed determination. A lover of soul, groove, jazz, Boney Fields knows, as do certain other musicians of his generation, that the life of blues exists through constant evolution and rejuvenation. With humility and conviction, he follows his own path finding his own originality on the way. A man resolutely of his time, yet also immersed in the heritage of his musical forefathers, Boney Fields proves that the blues still has some great days ahead of it. Romain GROSMAN (Vibrations – Jazz News – Les Inrocks …) CHANGING FOR THE FUTURE BIOGRAPHY Boney Fields hails from the Chicago ghetto, where he was born at the end of the fifties. In his family, some played blues, others gospel. He studied jazz at In 1999 he produced « Hard Work » his college choosing the trumpet, « cause I first self produced album. An loved Louis Armstrong » he recalls. atmosphere « Blaxploitation » soul-blues Amongst his favourite artists : James horns : the musician wrote most of the Brown, Tina Turner and Otis Redding. tracks. Soon after, he started hanging out in the On 2003’s « Red Wolf » released under blues clubs in the « Windy City ». -
P. Boulez Anthèmes 1 (1992) 11’ 1925 – 2016 Per Violino Solo
P. Boulez Anthèmes 1 (1992) 11’ 1925 – 2016 per violino solo Ekaterina Valiulina _violino “La conoscenza e l’apertura verso altre discipline artistiche sono una parte essenziale del mio progetto come compositore. Penso che l’interdisciplinarità sia fondamentale per qualunque forma d’arte ed è per questo che, quando mi è stato proposto il progetto dell’opera “Il giardino della vita”, ho accettato con grande entusiasmo. Per comporre le musiche mi sono ispirato principalmente al bellissimo testo di Gilberto Isella; dai suoi dialoghi e dalle sue immagini ho iniziato a sviluppare tutto il materiale musicale e drammatico. Insieme con il testo, l’opera prova ad entrare nel processo creativo dell’architetto catalano Antoni Gaudí, cercando di comprendere le sue relazioni con tematiche poetiche come il rapporto con la madre, con la natura o con la creazione, anche attraverso l’uso di metafore, simbologie o allegorie. Su questo immaginario ho scritto la partitura. Vuole essere una musica per tutti, trasparente e apparentemente semplice, che riempie gli spazi architettonici e dà energia all’azione scenica”. José María Sánchez-Verdú J.M. Sánchez-Verdú Il Giardino della vita 46’ *1968 (2016, opera commissionata da 900presente) per due attori, un soprano, un bambino, coro di voci bianche e otto strumentisti I. Scena II. Scena III. Scena Libretto di Gilberto Isella Antoine Gianella _Gaudí bambino Antonio Zanoletti _Gaudí anziano Margherita Coldesina _la madre Alice Rossi _l’Angelo Settore prosa della RSI Claudio Laiso _regia radiofonica Francesca Giorzi _produzione Controluce Teatro d’Ombre Regia: Alberto Jona Messinscena: Controluce Teatro d'Ombre Sagome originali: Cora De Maria con la collaborazione di Anna Guazzotti Impianto scenico: Jenaro Meléndrez Chas Costumi: Sita Singh Design Luci: Simona Gallo con Elena Campanella, Alice De Bacco, Marco Intraia Ensemble 900 del Conservatorio Arturo Tamayo _direttore Ensemble del Coro Clairière Brunella Clerici _direttrice José M. -
20 Years of Progress S Professor of the Year S Mayor Teresa Isaac
TTSpringransylvaniaransylvania 2003 UNIVERSITY MAGAZINE Collaborative Research Students benefit from working with professors 20 Years of Progress ■ Professor of the Year ■ Mayor Teresa Isaac ’76 There are FacesI Remember… Alumni Weekend 2003 April 25-27 There are many faces you remember from your days at Transylvania.Though some have changed, you won’t want to miss the opportunity to renew acquaintances with your classmates, friends, and faculty members during Alumni Weekend 2003. Highlights include a golf outing, an afternoon at Keeneland, the Pioneer Hall of Fame dinner and induction of new members, TGIF kick- off party, alumni luncheon, class reunion receptions and dinners, campus tours, and educational seminars. An invitation with a detailed schedule is being mailed to alumni. This year for the first time, you can register on-line through a secure site using your Visa or MasterCard. Go to www.transy.edu/alumni.html, click on the Reunions/Alumni Weekend link, and then choose Register On-line. Plan now to get together with lots of friendly faces in April. TransylvaniaUNIVERSITY MAGAZINE SPRING/2003 Features 2 20 Years of Progress Transylvania has prospered during the remarkable 20-year tenure of President Charles L. Shearer 5 Beyond the Classroom Students benefit from research projects that help 2 them expand their knowledge, prepare for the future 8 A Rich Learning Experience Kentucky Professor of the Year award recognizes Jack Furlong’s extraordinary teaching abilities 10 Leading Lexington New urban-county mayor Teresa Isaac ’76 draws 5 strength from Transylvania ties and heritage 12 The Realization of a Dream Edward Eckenhoff ’66 is president and CEO of a nationally ranked rehabilitation center Departments 10 14 Around Campus 22 Sports Alumni News and Notes 23 Class Notes 25 Alumni Profile: Julie Dodd ’72 28 Alumni Profile: Jim Parrott ’89 29 Marriages, births, obituaries on the cover Director of Public Relations: Sarah A. -
Tommy Sands Concert, Location to Be Announced
Folk Music Society of New York, Inc. July-August 2007 vol 42, No.7 July 9 Mon FMSNY Exec. Board Meeting; 7:15pm location tba 10 Tue Sea Music: Robbie O'Connell+ NY Packet; 6pm, South Street Seaport 14 Sat Chantey Sing at Seamen’s Church Institute, 8pm 15 Sun Singing Party on Staten Island at Helen Levin’s; 2 pm 17 Tue Sea Music: Anne Price + NY Packet; 6pm, South Street Seaport 29 Sun John Roberts House Concert, 1:30pm in Sparrowbush, NY August 1WedFolk Open Sing 7 pm in Brooklyn 4 Sat Sing and Swim Party at the Cohens’; Queens 11 Sat Chantey Sing at Seamen’s Church Institute, 8pm. 26 Sun Picnic/Sing, noon at Ritchie-Pickow home, Port Washington 29 Wed Newsletter Mailing, 7pm in Jackson Heights ( Queens) September 5WedFolk Open Sing, 7pm in Brooklyn 10 Mon FMSNY Exec. Board Meeting 7:15pm location tba. 14 Fri Sacred Harp Workshop; Plymouth Church, Brooklyn Hts. 15 Sat All Day Singing (Sacred Harp); 9:30am-3:30pm; Plymouth Church, Brooklyn Hts 15 Sat Chantey Sing at Seamen’s Church Institute, 8pm. 16 Sun Sacred Harp Sing at St. Barts: 2:30pm. 23 Sun Tommy Sands concert, location to be announced. 30 Sun Woody Rediscovered, 4 pm, Upper West Side Details next pages; Table of Contents Society Events details ...........2-4 Repeating Events ..................12 From the Editor, ................... 4 Calendar Location Info ...........13 Topical Listing of Events ......... 5 Festival Listings ...................15 Folk Music Society Info .......... 6 Falcon Ridge Ad ..................21 Fall Weekend Reservation ........ 7 Round Robin Songfest Ad .......22 Weekend Help Wanted ........... -
Oral History Interview with Bill T. Jones, 2018 March 23
Oral history interview with Bill T. Jones, 2018 March 23 Funded by the Keith Haring Foundation. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Bill T. Jones on March 23, 2018. The interview took place in New York, NY, and was conducted by Svetlana Kitto for the Archives of American Art, Smithsonian Institution. This interview is part of the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project. Bill T. Jones and Svetlana Kitto have reviewed the transcript. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview SVETLANA KITTO: Alright. This is Svetlana Kitto interviewing Bill T. Jones in his office at New York Live Arts, in the neighborhood of Chelsea, New York, New York, on March 23, 2018, for the Visual Art and AIDS Epidemic Oral History Project, for the Archives of American Art, Smithsonian Institution. This is card number one. So, we're going to start just by you telling me where and when you were born, and a little bit about your early life. Okay? BILL T. JONES: Yeah. Mm-hmm [affirmative]. SVETLANA KITTO: Okay. BILL T. JONES: Yes. I was born on February 15, in Bunnell, Florida, in 1952. I am 10 of a family of 12. My mother and father were agricultural workers in the South, who then decided, as an entrepreneurial gesture, to do this thing which was big money at that time for African Americans.