DOCSLIB.ORG

Il Midrash Di Uri Caine Incontra I Fratelli Ebrei George &Ira Gershwin

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Il Midrash Di Uri Caine Incontra I Fratelli Ebrei George &Ira Gershwin Il Midrash di Uri Caine incontra i fratelli ebrei George &Ira Gershwin Questa sera il pianista proporrà al Ravello festival la sua riflessione sull’opera gershwiniana e una interpretazione particolare della Rhapsody in blue Di OLGA CHIEFFI Pianista e compositore, Uri Caine, nel corso degli ultimi vent’anni è stato in grado di conciliare il talento adamantino con una flessibile visione creativa, riuscendo spesso a fornire a molta grande produzione classica una nuova e rivelatrice luminosità, ma anche dimostrando di essere in grado di cogliere una vena umoristica inesplorata dal filone jazzistico. Era accaduto con Wagner, Bach (Variazioni Goldberg), Mozart, Schumann, Beethoven e Mahler. Per ciascuna di queste esperienze, Caine ha lavorato di cesello con grande rispetto per centrare il suo principale obiettivo che è, nel contempo, semplice ed estremamente complesso: disvelare l’essenza di quella musica. Questa sera, alle ore 21,45, Uri Caine ritornerà sul palcoscenico del Ravello Festival per un omaggio a George Gershwin materiale incandescente su cui ha svolto un lavoro di grande ricerca e contaminazione. La conferma, lampante, verrà il dopo il caos controllato prodotto ad inizio concerto dai musicisti. Il trillo e poi un singulto che frammenta il celebre glissando del clarinetto di Chris Speed annuncia una “Rhapsody in blue” distante da tutte le precedenti: la stessa strepitosa formazione chiamata in causa è una chiara cesura rispetto alle big band o alle grandi orchestre del passato. Cinque soli elementi, con Barbara Walker vocals e Theo Bleckmann vocals; Ralph Alessi alla tromba; Joyce Hammann al violino; Chris Speed al sax tenore e clarinetto; Mark Helias al basso e Jim Black alla batteria ed electronics, coadiuvano Caine al piano svariando tra sonorità latine, una fortissima influenza klezmer e richiami di avanspettacolo. E tutto questo si avverte in una versione originalissima della Rapsodia che venne notoriamente concepita da Gershwin come un affresco del melting pot della complessa realtà metropolitana americana. L’intento è quello di approfondire le radici ebraiche dell’autore, ma soprattutto abbattere una resistenza culturale: improvvisare sulla musica classica. La “Raphsody” è il trampolino ideale, uno spartiacque tra il jazz e la musica colta: innesta infatti in elementi classici arrangiamenti blues e jazz. E’ questa una pagina straordinariamente popolare in cui Gershwin impiega uno stile nel quale rientrano spesso formule melodiche tipiche della tradizione folk nord-americana, che è un autentico crogiuolo di culture. Una perfetta sintesi delle intenzioni, dei concetti e dei sentimenti che stanno all’ origine della composizione è stata suggerita dallo stesso autore: «Non trovai nuovi temi ma elaborai il materiale tematico già esistente nella mia mente e tentai di concepire una composizione integrale. L’ho costruita come una specie di caleidoscopio musicale dell’ America, col nostro miscuglio di razze, il nostro incomparabile brio, i nostri blues, la nostra pazzia metropolitana”. Seguirà un piccolo saggio del famoso song-book, di George Gershwin, una interessantissima summa dell’ universo esecutivo ed improvvisativo del compositore, con But not for me, Let’s call the whole thing off, J got rhythm, j’ve got a crush on you e Slap that bass, in una visione particolare e fantasiosa. Francesco Buzzurro the One Man Band Il docente di chitarra classica e jazz del Conservatorio “G.Martucci” si esibirà questa sera, nella Torre Vice Reale di Cetara, alle ore 21, ospite della XVIII edizione dei Concerti di Villa Guariglia in tour Di OLGA CHIEFFI Questa sera, il chitarrista siciliano Francesco Buzzurro sarà in concerto alle ore 21, nella Torre Vicereale di Cetara, ospite della XVIII edizione dei Concerti d’Estate di Villa Guariglia in tour, organizzati dal Cta di Vietri sul Mare, nella persona di Antonia Willburger, in collaborazione con la Provincia di Salerno, il Comune di Salerno, l’Ept, la Fondazione Cassa di Risparmio Salernitana, il Comune di Cetara, il Comune di Praiano, la Coldiretti-Campagna Amica e l’Associazione Amici dei Concerti di Villa Guariglia e il Conservatorio di Musica “Giuseppe Martucci” di Salerno. Definito da Ennio Morricone “tra i più grandi al mondo perché capace di far fruire a tutti la musica colta”, l’artista presenterà il live dal titolo “ONE MAN BAND”, in cui reinterpreterà con personali arrangiamenti, rileggendo il song-book di George Gershwin, evocando il tango moderno di Astor Piazzolla, passando per il linguaggio del grande Tom Jobim, con la sua immaginazione armonico-ritmica, e l’omaggio al grande Django Reinhardt, la mano sinistra del diavolo, il quale, “inventandosi” nuove diteggiature, con l’indice e il medio che scorreva la tastiera aumentando velocità e precisione, con l’anulare e il mignolo, parzialmente paralizzati, diventò precursore dell’uso delle ottave (poi divenute il “marchio di fabbrica” di Wes Montgomery) e prendendo dei semibarrè che arricchivano gli accordi di none e tredicesime e sui quali la portentosa mano destra eseguiva dei “rullii” secchi ed energici similari proprio a quelli di un rullante di batteria, rivoluzionò la chitarra jazz. Il M° Francesco Buzzurro non ci ha rivelato alcun titolo della scaletta: “ Il jazz è energia e mi lascerò guidare nella scelta dalle “good vibrations” emanate dal pubblico, che mi porterà a giocare con la mia chitarra”. Non mancheranno alcuni brani del suo nuovo disco di brani originali “Il quinto elemento”. Il progetto racchiude 12 composizioni per chitarra sola caratterizzate dal suo approccio “orchestrale” alla chitarra e da uno stile trasversale che fonde il mondo classico con il jazz e la musica popolare. L’autore ha suddiviso l’album in quattro cicli – tre brani per ciascun elemento – in cui la musica, divenuta quintessenza unificatrice grazie al suo linguaggio universale, è in grado di descrivere l’incanto, ma allo stesso tempo la potenza devastante, delle forze della natura. Francesco Buzzurro affianca alla passione per la musica classica una profonda ricerca nell’ambito del jazz. Entra nell’Orchestra Jazz Siciliana e condivide il palco con mostri sacri del jazz internazionale. Collabora con l’Orchestra Sinfonica Siciliana e con alcuni tra i più noti esponenti del pop italiano. È autore della colonna sonora della docu-fiction dei fratelli Muccino “Io Ricordo” e delle musiche per lo spettacolo teatrale di Gianfranco Jannuzzo “Girgenti Amore Mio”. Chitarrista di confine e fuori dagli schemi, tiene seminari unificati di chitarra classica e jazz all’University of Southern California di Los Angeles. Docente di Chitarra Jazz al Conservatorio di Salerno, tiene masterclass presso conservatori, scuole di musica e università italiane e straniere. Torrente chiede rinforzi a centrocampo di Fabio Setta SALERNO. Summit di mercato in casa granata. Al termine della gara amichevole contro il Foligno, il dg Fabiani e il tecnico Torrente hanno analizzato la situazione dell’organico granata. Il tecnico ha chiesto rinforzi soprattutto a centrocampo, reparto amggiormente scoperto anche dal punto di vista numerico. Con Castiglia inseguito dall’Arezzo, saranno almeno tre i calciatori che competeranno la linea mediana. Sciaudone e Bellomo sono due obiettivi caldissimi. La difficoltà è però trovare un’intesa per quanto riguarda l’ingaggio. Tra le operazioni minori da segnalare un nuovo contatto con il procuratore di Scarsella, prossimo a svincolarsi dal Lamezia. L’allenatore ha richiesto anche un difensore centrale, che potrebbe essere una sua vecchia conoscenza. Si tratta di Borghese dello Spezia, che Torrente ha avuto alle sue dipendenze prima al Genoa Primavera, poi a Gubbio e infine a Bari. La società ligure è propensa a lasciarlo partire e quella granata ad accoglierlo, magari con imbastendo uno scambio con Trevisan che ha chiesto di essere ceduto e che non sembra aver convinto molto Torrente. Con Mancosu della Casertana c’è già un’intesa di massima soltanto da formalizzare. Più difficile rivedere Negro, con cui non c’è un accordo dal punto di vista economico. Fabiani tiene bloccato l’attaccante Maniero, l’anno scorso al Catania, in attesa di vedere come andrà a finire la vicenda Calil. Il calciatore è oggetto di una corte serrata da parte del Foggia. L’offerta del club dauno però non soddisfa dal punto di vista economico la Salernitana. Calil resterebbe volentieri a Salerno, pronto a sacrificarsi anche in ruolo di esterno nel tridente offensivo che non sembra certo adorare. Chiaramente se la società gli farà capire che non rientrerà nei piani tecnici, sicuramente sarà proprio lui a chiedere di andare via. Nel frattempo la richiesta di prolungare il contratto, in scadenza a giugno 2017, non è stata recepita dalla società che per strategia, consolidata negli anni, è solita portare a scadenza i propri calciatori per poi valutarne effettivamente la conferma. Cinque reti al Foligno: bene Bovo e Calil FOLIGNO 2 SALERNITANA 5 Foligno (4-3-1-2): Ranieri; Bellomo (46′ Ubaldi), Cavitolo (46′ Pauselli), Del Colle (46′ Politelli), Gennari (46′ Burini), Calzola (46′ Laloni, 77′ Fermanelli), Montanari (46′ Fiordiani), Esposito (46′ Cirillo), Di Paola (46′ Fondi), Veneroso (46′ Giambi), Candelori (46′ Kawashima). All: Giunti. Salernitana (4-3-3): Strakosha (11’ Liverani, 46’ Strakosha); Colombo (Pollace 60′), Lanzaro (Tuia 60′), Trevisan (Bocchetti 60′), Franco (Tarallo 66′); Moro (Grillo 79′), Pestrin (Castiglia 60′), Bovo (Nappo 71′); Gabionetta (Di Fraia 89′), Eusepi (Martiniello 66′), Calil (Perrulli 60′). A disposizione: Esposito, Ronchi. Allenatore: Torrente.
Load more

Recommended publications
  • Program Features Don Byron's Spin for Violin and Piano Commissioned by the Mckim Fund in the Library of Congress
    Concert on LOCation The Elizabeth Sprague Coolidge Foundation The McKim Fund in the Library of Congress "" .f~~°<\f /f"^ TI—IT A TT^v rir^'irnr "ir i I O M QUARTET URI CAINE TRIO Saturday, April 24, 2010 Saturday, May 8, 2010 Saturday, May 22, 2010 8 o'clock in the evening Atlas Performing Arts Center 1333 H Street, NE In 1925 ELIZABETH SPRAGUE COOLIDGE established the foundation bearing her name in the Library of Congress for the promotion and advancement of chamber music through commissions, public concerts, and festivals; to purchase music manuscripts; and to support musical scholarship. With an additional gift, Mrs. Coolidge financed the construction of the Coolidge Auditorium which has become world famous for its magnificent acoustics and for the caliber of artists and ensembles who have played there. The McKiM FUND in the Library of Congress was created in 1970 through a bequest of Mrs. W. Duncan McKim, concert violinist, who won international prominence under her maiden name, Leonora Jackson, to support the commissioning and performance of chamber music for violin and piano. The audiovisual recording equipment in the Coolidge Auditorium was endowed in part by the Ira and Leonore Gershwin Fund in the Library of Congress. Request ASL and ADA accommodations five days in advance of the concert at 202-707-6362 [email protected]. Due to the Library's security procedures, patrons are strongly urged to arrive thirty min- utes before the start of the concert. Latecomers will be seated at a time determined by the artists for each concert. Children must be at least seven years old for admittance to the chamber music con- certs.
    [Show full text]
  • Dave Douglas/Marcus Rojas Duo
    Solos and Duos Series Glenn Siegel, Program Director 15 Curry Hicks, 100 Hicks Way (413) 545-2876 University of Massachusetts [email protected] Amherst, MA 01003 www.fineartscenter.com THE 2008 SOLOS & DUOS SERIES PRESENTS: Dave Douglas/Marcus Rojas Duo The Solos & Duos Series, produced by the Fine Arts Center at the University of Massachusetts at Amherst, concludes its 7th season with a duo concert by trumpeter Dave Douglas and tuba player Marcus Rojas on Thursday, November 20, in Bezanson Recital Hall at 8:00pm. Dave Douglas is widely recognized as one of the most important and original American musicians to emerge from the jazz and improvised music scene of the last decade. His collaborations as a trumpeter read like a who's who of important contemporary artists: John Zorn, Joe Lovano, Bill Frisell, Don Byron, Steve Lacy, Anthony Braxton, Myra Melford, Andy Bey, Trisha Brown, Henry Grimes, Tom Waits, Rabih Abou-Khalil, DJ Olive, Ikue Mori, Han Bennink, Misha Mengelberg, Uri Caine, Roswell Rudd, Andrew Cyrille, Marc Ribot, Karsh Kale, Mark Dresser, Marty Ehrlich, and many others. For the past half decade Dave Douglas has repeatedly been named trumpeter, composer, and jazz artist of the year by such organizations as the New York Jazz Awards, Down Beat, Jazz Times, and Jazziz. Dave Douglas is “an original thinker blessed with a seemingly bottomless well of intriguing ideas,” writes Howard Reich. Since 1993, Douglas has released 21 albums of original music, and has appeared on over one hundred recordings. His 2000 album “Soul on Soul”, was voted “Album of the Year” by DownBeat.
    [Show full text]
  • Slash. Uri Caine's Mahler
    Interdisciplinary Studies in Musicology 13,2013 © PTPN & Wydawnictwo Naukowe UAM, Poznań 2013 ADAM POPRAWA Institiute of Polish Philology, University of Wroclaw Slash. Uri Caine’s Mahler ABSTRACT: In recent years, artistic projects combining a wide array of musical styles, such as jazz interpretations of classical music or orchestral arrangements of rock songs, have enjoyed considerable popularity. As their authors were focused mainly on sales profits, the artistic value of their works was often highly disputable. Nevertheless, some outstanding achievements in that field have also been made, among them reinterpretations of classical repertoire - Bach, Beethoven, Mozart, Schumann, and, above all, Mahler - by American pianist Uri Caine. He recorded several CDs containing new ver­ sions of Mahler’s entire works or their excerpts. Sometimes Caine’s music moves far away from the originals, though such artistic experiments are always well-grounded and aesthetically convincing. Caine’s reinterpretations of Mahler have also some (auto)biographical overtones. KEYWORDS: Uri Caine, blurred genres, reinterpretation, Jewish cultural tradition A warehouseman Gladyshev, one of the characters in Vladimir Voinovich’s novel, inspired by Michurin’s and Lysenko’s achievements, decided to grow a new plant which was to have been a combination of a potato and a to­ mato. Such a crop should bring a double benefit as in the near future it would be possible to pick tomatoes off the top and to dig up potatoes at the bottom of the same plant. Gladyshev named this cross using an acronym PUKS which stood for the ‘Put’ k Sotsialismu’ [Path to Socialism], ‘The experiments [...] have not as yet produced any useful results, however, some characteristic features of PUKS have already appeared: the leaves and stalks of Gladyshev’s plant were sort of potato­ like, the roots, one the other hand, looked definitely like those of a tomato’1.
    [Show full text]
  • Paolo Fresu & Uri Caine
    PAOLO FRESU & URI CAINE Paolo Fresu: tpt, flh & effects – Uri Caine: p, Fender Rhodes el. p Today The duo composed by Paolo Fresu and Uri Caine is the story of the successful meeting of two great personalities of modern jazz. It’s a sort of alternative version of the many projects that look at the most traditional standards of the jazz history for their repertoire, but here they are without a net as the choice of materials is actually dangerous due to its enormous popularity. Contrary to what might seem, it’s not easy at all to perform compositions that are the magma and the sign of jazz history. The duo approaches this game with surprising simplicity, managing to deliver the feeling that drives this extraordinary music. The meeting of these two musicians is one of the most interesting events of the jazz world: Fresu lyrical and dreamy trumpet, his melancholy trademark timbre perfectly matches Uri Caine’s piano full of quotations ranging from the American songbook to the blues to mainstream jazz to avant-garde and classical music, which Caine has revisited according to his personal view in many of his projects in the last ten years. Two real omnivorous artists in its true sense. So much so that each “concert” has spread in a series of 3 or 4 consecutive nights each covering a specific theme. A few years ago at Umbria Jazz Winter the duo performed for 4 distinctive nights each with a different theme of repertoire The first night was dedicated to classical baroque music, the second to jazz standards, the third to popular music (including rock and pop) and the last one to tracks that had been composed by the duo and that had been included in the two albums released by Emi/BlueNote in the previous years.
    [Show full text]
  • NOVEMBER 2012 Jazz History Is Made at Eubie Live!
    NOVEMBER 2012 Jazz History Is Made At Eubie Live! . 1 Joseph Howell: Jazz Clarinet Now . 3 John Coltrane Tribute Concert . 5 Sam King and Company Rule at Jazzway . 6 BALTIMORE JAZZ ALLIANCE Jazz Jam Sessions . 8 WEAA’s CD Pick of the Month . 9 BJA’s Redesigned Website Unveiled . 9 BJA Products and Discounts . 10 Ad Rates and Member Sign-up Form . 11 Cultural Happy Hour at Mark Cottman’s Gallery . 12 VOLUME IX ISSUE XI THE BJA NEWSLETTER WWW.BALTIMOREJAZZ.COM Jazz History Is Made At Eubie Live! he scariest thing about Hugh Masekela is that he almost gave up the trumpet. He had been playing for four years when he first listened to TClifford Brown, a trumpet king in the 1950s, and thought there was no hope for a boy from South Africa to blow a horn the way Brown could. Of course, more than half a century later, Masekela was the reason for more than a hundred people to crowd into the fourth floor of the Eubie Blake Center the evening of Oct. 21st, taking seats in overflow rows made up of metal chairs. He was joined on stage by good friend and legendary Charm City pianist, Larry Willis; the two of them, one trumpet, one piano, played a fifteen-tune set. As Masekela told showgoers early in the night, the music he and Willis were playing was what they had learned in the 1960s and 1970s. The duo first met at the Manhattan School of Music in the first half of the 1960s—where Willis had originally been a voice major singing opera and wearing powdered wigs that made him look like George Washington, so Masekela says.
    [Show full text]
  • Uri Caine's Mahler: Jazz, Tradition, and Identity
    twentieth-century music 4/2, 229–255 © 2008 Cambridge University Press doi:10.1017/S1478572208000522 Printed in the United Kingdom Uri Caine’s Mahler: Jazz, Tradition, and Identity BJÖRN HEILE Abstract Although Uri Caine first made his mark as a relatively straight-ahead jazz pianist – ‘roots’ to which he returns regularly – he has, arguably, become most famous with his often controversial versions of works from the ‘classical music’ canon. These recompositions, which often involve a host of other styles from Latin to dub, are usually regarded as examples of postmodern eclecticism. While this view is certainly valid, it needs to be complemented by more detailed analysis of both Caine’s artistic methods and their aesthetic and ideological implications. Among his work on classical composers, Caine’s engagement with Gustav Mahler is the most sustained. The result of this engagement is not an exercise in ‘crossover’ or ‘jazzed-up’ Mahler, but a radical reinterpretation of Mahler’s music that situates it as a Jewish voice within the cultural cross-currents of fin-de-siècle Central Europe. Through this reference to Mahler, Caine constructs a Jewish tradition within jazz that complements but does not compete with jazz’s overwhelmingly African-American heritage. What emerges is a pluralistic subjectivity in which different cultural identities and traditions are negotiated in an equal and open dialogue. Style and Identity The title of this article, ‘Uri Caine’s Mahler’, is ambiguous. Its wording parallels that of ‘Bruno Walter’s Mahler’ and ‘Leonard Bernstein’s Mahler’, thus alluding to noteworthy performances of Mahler’s work. But we are as likely to speak of ‘Luciano Berio’s Mahler’ and, for that matter, ‘Arnold Schoenberg’s Mahler’, denoting, respectively, a compositional use (in the third movement of Berio’s Sinfonia) and an arrangement (Schoenberg’s orchestrations of Mahler’s Lieder eines fahrenden Gesellen for the Verein für musikalische Privataufführungen).
    [Show full text]
  • Ecco Il Jazz Nascosto Nel Vecchio Mahler
    24SPE06A2407 ZALLCALL 11 22:57:34 07/23/98 Venerdì 24 luglio 1998 6 l’Unità2 GLI SPETTACOLI/MUSICA Genova, sorprendente concerto di Uri Caine che svela le radici klezmer del compositore Nomine Desderi direttore Regio di Torino Ecco il jazz nascosto Sarà Claudio Desderi,cantan- te, direttore d’orchestra e già direttore del Teatro Verdi di Pisa, è stato nominato diret- tore artistico del Teatro Regio di Torino, in sostituzione di Claudio Majer, dimissionario nel vecchio Mahler da marzo e ora al San Carlo di Napoli.Lohacomunicatoieri GENOVA. Tempo addietro, conver- (con lui Keith Jarreth arretra a ciò intatta. Cresciuti nella New York violino di Mark Feldman, il con- il sovrintendente Giorgio sando con John Zorn, gli accennavo che in effetti è: un intrattenitore a della radical jewish culture (il gan- trabbasso di Michael Formanek, il Balmas, che ha scelto Desderi al fatto che oggi il jazz può forse con- cinque stelle), ma così accademico glio musicale forse più propulsivo sax di Dave Binney, la tromba di come «uomo nato nel teatro, siderarsi tramontato come genere e intellettualizzato da suggerire, e dirompente di questa fine seco- Ralph Alessi, la batteria del giova- che ha cominciato a cantare a musicale specifico, ma che, nondi- appunto, l’immagine lo) questi musicisti de- nissimo ed entusiasta Jim Black, la 26 anni e che quindi conosce meno,lasciaallanostraepocaun’ere- di un crepuscolo. L’e- vono tutto al jazz radi- consolle di Dj Olive. Li unisce lavitadiunteatroeiproble- dità imprescindibile e di straordina- satto contrario è suc- La scena radicale cale dal quale derivano quella mentalità di cui sopra, l’in- midichivilavora».
    [Show full text]
  • Uri Caine and Mark Helias for Jazz and the Brandenburg Concertos 7-18-19
    Interview of Uri Caine and Mark Helias for Jazz and the Brandenburg Concertos, interviewed by Dan Ouellette, July18, 2019 ● Dan Ouellette - The topic of the day is the Brandenburg Concerto. Why did you do the fifth [on the Proms 2018: The Brandenburg Project]? ● Uri Caine - The Swedish Chamber Orchestra decided to do a project where they chose composers that had to write to the same instrumentation, and [chose the Fifth for me] because the fifth had such a famous long cadenza for keyboard--or for harpsichord [when it was composed in 1721]. ● Mark Helias - Harpsichord. ● Uri Caine - They said, “You take the fifth.” And so, the way that the fifth is built, the string orchestra is the group, and then, the solo is the keyboard, flute, and violin. And so, it’s sort of like a contrast between the three soloists and the five--and then, the rest of the group. A lot of the Brandenburg Concertos have that aspect--it’s like the beginnings of the idea of the concerto, where you had the individual fighting against the group, and the group sort of punctuates what the individuals play, regurgitates it in different ways, comments on it. But, the soloists are the ones that are taking the ideas from the group and moving it forward. And it also, just from a dramatic point of view, gives the soloists like they're out there in the front. And the rest of the group is supporting them. For me, when I first started getting into Bach as a teenager, the third Brandenburg was the one that I gravitated to because I just happened to get the score for that.
    [Show full text]
  • Catalogue Film-Making Process
    21 23 WHEN 01 EAST 18 MEETS WEST organized by with the support of 21 23 0118 under the patronage of in partnership with 2018 partners QENDRA KOMBETARE E KINEMATOGRAFISE ALBANIAN NATIONAL CENTER OF CINEMATOGRAPHY FCL partner LST partners in collaboration with database with the technical support of Savoia Excelsior Palace WHEN EAST MEETS WEST Film Centre of Montenegro FCL partner JANUARY 21/23, 2018 Film Center Serbia Polish Film Institute Finnish Film Foundation organized by Greek Film Centre In collaboration with Icelandic Film Centre Fondo Audiovisivo Friuli Venezia Giulia Confartigianato Udine Kosovo Cinematography Center Trieste Film Festival/Alpe Adria Cinema Estonian Film Institute Macedonian Film Agency EWA European Women’s Audiovisual Nordic Film & TV Fund with the support of Network Norwegian Film Institute Creative Europe - MEDIA Programme Festival Scope Slovenian Film Centre MiBACT - Direzione Generale per il Flow Postproduction Swedish Film Institute Cinema Heretic Asterisk Creative Europe Desk Bulgaria CEI (Central European Initiative) Hot Docs Creative Europe Desk Croatia Regione Autonoma del Friuli Venezia Laser Film Creative Europe Desk Denmark Giulia Lithuanian Film Centre Creative Europe Desk Finland MIA Creative Europe Desk Italia under the patronage of National Film Centre of Latvia Creative Europe Desk Norway OLFFI Eurimages Creative Europe Desk Serbia Producers Network - Marché du Film Creative Europe Desk Slovenia in partnership with Creative Europe Desk Sweden database EAVE Maia workshops LST partners Eventival Midpoint
    [Show full text]
  • Is This Jazz? Newport Jazz Festival ’17
    Is This Jazz? Newport Jazz Festival ’17 Cecile McLorin Salvant, credit: Norman Grant The jazz world descended upon Newport to see some of the music’s legends as well as many of its rising stars. As is always the case with such events, the hardest part of the weekend was catching a significant portion of each great set before running full speed to another stage to try and catch the next historic moment that could be unfolding. It was tough to get it all in, but here are some of the highlights. The festival kicked off Friday with a stellar set from the Jimmy Greene Quartet on the Fort stage. Greene — the saxophonist and band leader — took his quartet through a set of terrific originals, including the flowing groove of “Second Breakfast” off his latest release Flowers. Later on, Cecile McLorin Salvant and the Aaron Diehl Trio took the stage and shattered minds with their beautiful and complex arrangements, including her profound version of “Wives And Lovers.” Having a soft spot for the New Orleans clarinet style, Evan Christopher’s Clarinet Road & New Orleans Brass was a much- appreciated addition to the Quad stage with a killer band, locked-in swing and loose group improvisations. The day closed out with Joey DeFrancesco + The People, who were by far the funkiest, most swinging band of the day. DeFrancesco is a monster organ player who demonstrated why he has redefined how the instrument is approached. After leaving the Fort I headed over to watch Rhiannon Giddens and Trombone Shorty each play very different, but equally excellent sets at the Tennis Hall of Fame.
    [Show full text]
  • Magic Triangle Jazz Series Timeline
    Close to the Music 25 Years of Magic Triangle Jazz Series Close to the Music 25 Years of Magic Triangle Jazz Series February 2014 WMUA 91.1 FM and the Fine Arts Center University of Massachusetts Amherst Concept and Project Director: Priscilla Page Founding Director of Magic Triangle: Glenn Siegel Book and Cover Design: Rebecca Neimark, Twenty-Six Letters Magic Triangle Posters: Ryan O’Donnell Contributing Writers: John Bracey, Jason Robinson, Ed Hazell Contributing Photographers: Jim Gipe, Ed Cohen, Maurice Robertson, Ben Barnhart, Parthasarathi Valluri, Frank Ward !!!"\$%&'()*%$(%'"*+,-,&./*('/&$.0% Magic Triangle archives are housed in the UMass Special Collections and University Archives, W.E.B. DuBois Library. Information at: 1((23--0/4'&'5"6,&))"%76-)2*+00- . Front Cover: Jonathan Finlayson, April 26, 2012, photo: Parthasarathi Valluri Back Cover: Bezanson Recital Hall, April 26, 2012, photo: Maurice Robertson © 2014 All Rights Reserved Glenn Siegel would like to thank: Dr. Fred Tillis, Director Emeritus of the UMass Fine Arts Center, !1+8\')(826(8/$)(/(6(/+$&08'%)+6'*%)84%1/$78+6'8%$(16)/&),"89+4%'(&8:$+;8<+6$7/$.8=/'%*(+'8+<8>%!8 WORLD Theater, for giving me entré to the world of presenting via the Bright Moments Festival and the Black Musicians Conference. Dr. Willie Hill and the entire FAC staff, for their unwavering sup- port. The jazz djs of WMUA-91.1FM. The Pioneer Valley is blessed to have a college radio station so *+,,/((%78(+8'%&08,6)/*&087/?%')/(5"8@+48A$(/08<+'8$6'(6'/$.8(1%8B%'/%)8(1'+6.18/()8\')(87%*&7%"8C58 beloved Priscilla Page, she hatched this book idea, and was its shepherd.
    [Show full text]
  • Electronium:The Future Was Then
    BAM 2013 Next Wave Festival #Electronium Brooklyn Academy of Music Alan H. Fishman, Karen Brooks Hopkins, Chairman of the Board President William I. Campbell, Joseph V. Melillo, Vice Chairman of the Board Executive Producer Adam E. Max, Vice Chairman of the Board Electronium:The Future Was Then Produced by BAM In association with Questlove and Richard Nichols BAM Howard Gilman Opera House Oct 25 & 26 at 8pm Approximate running time: two hours including one intermission Ahmir “Questlove” Thompson Kirk Douglas Jeremy Ellis — Live Drum Machine How To Dress Well Rahzel Sonnymoon Emily Wells Metropolis Ensemble conducted by Andrew Cyr BAM 2013 Next Wave Festival sponsor Viacom is the BAM 2013 Music Sponsor Commission support for Electronium provided by The Virginia B. Toulmin Foundation Electronium Metropolis Ensemble conducted by Andrew Cyr: Kristin Lee, violin (concertmaster) Francisco Fullana, violin Karen Kim, viola Hiro Matsuo, cello Mellissa Hughes, soprano Virginia Warnken, alto Geoffrey Silver, tenor Jonathan Woody, bass-baritone ADDITIONAL PRODUCTION CREDITS Arrangements by Daniel Felsenfeld, DD Jackson, Patrick McMinn and Anthony Tid Lighting design by Albin Sardzinski Sound engineering by John Smeltz Stage design by Alex Delaunay Stage manager Cheng-Yu Wei Electronium references the first electronic synthesizer created exclusively for the composition and performance of music. Initially created for Motown by composer-technologist Raymond Scott, the electronium was designed but never released for distribution; the one remaining machine is undergoing restoration. Complemented by interactive lighting and aural mash-ups, the music of Electronium: The Future Was Then honors the legacy of the electronium in a production that celebrates both digital and live music interplay.
    [Show full text]