Richard Vinton Quartet

Total Page:16

File Type:pdf, Size:1020Kb

Richard Vinton Quartet CONCIERTO GRATUITO CAN QUET ABRE A LAS 19:00 H Y EL CONCIERTO COMIENZA A LAS 20:00 H. LA COCINA ESTÁ ABIERTA DESDE LAS 19.00 H. FREE CONCERT CAN QUET OPENS AT 7 P.M. AND THE CONCERT STARTS AT 8 P.M. THE KITCHEN OPENS ON 7 P.M. RICHARD VINTON QUARTET EN CONCIERTO / IN CONCERT Ctra. Valldemossa-Deià, s/n. JAZZ 07179 - Deià - Illes Balears Sábado 14 de Octubre a las 20.00h Tel: (+34) 971 639 196 Saturday October 14th, 8 pm [email protected] www.restaurantecanquet.com @canquetdeya Abierto: Miércoles a Domingo 19:00 a 24:00 h Parking para Clientes Concierto GRATUITO / FREE Concert RICHARD VINTON piano RICHARD VINTON piano El conocido pianista, arreglista y educador nació en Florida, The well-known pianist, arranger and educator was born in Florida, USA. Apart EEUU. Aparte de sus Bachelors de Música del New England from his Music Bachelors of the New England Conservatory in Boston and his Conservatory en Boston y su Masters de Música de la University Masters of Music from the University of Miami he studied jazz piano and com- of Miami estudió jazz piano y composición en la Berklee College position at the Berklee College of Music and worked among others with the of Music y trabajó entre otros con the Mavericks y Tony Bennett. Mavericks and Tony Bennett. En Mallorca Richard ha colaborado con The Drifters (Son Amar), Richard, who lives in Mallorca since twenty years, has collaborated with The Drifters Come Fly With Me (Gran Casino Mallorca), Michelle McCain, (Son Amar), Come Fly With Me (Gran Casino Mallorca), Michelle McCain, Jaime An- Jaime Anglada, Conxa Buika, Cap Pella y la Orquestra Simfònica glada, Conxa Buika, Cap Pella and the Symphony Orchestra of the Balearic Islands. de les Illes Balears, entre otros. He is member of various musical groups, the pianist and musical director of Asunaro and has collaborated for years with Lynn Gaydosh and Aura Veus. XEMA BORRÁS trombón Es profesor de trombón y Jefe de Departamento de Jazz del XEMA BORRÁS trombone Conservatori Superior de les Illes Balears, es director de su In addition to being the Trombon Teacher and Head of the Jazz Department of Big Band, del Brass Ensemble y de la Jam Session Mensual the Conservatori Superior de les Illes Balears, he is also the director of his Big de este conservatorio. También es miembro de diversas Band, the Brass Ensemble and the Monthly Jam Session of this Conservatory. formaciones musicales y ha grabado varios trabajos disco- He is also a member of various musical groups, he realized several recordings gráficos con “Highlands Project. with “Highlands Project” and is well known for his concerts with Brazilian singer, Xema es colaborador en la Orquesta de Radio Televisión composer and guitarist Pedro Rosa. Española, Orquestra Simfònica de les Illes Balears, Orquesta Sinfónica de Galicia y la Orquesta Sinfónica de Xema has been a member of the Young National Orchestra of Spain and is co- Bilbao, entre otras. llaborator in many orchestras, among others the Spanish Radio Orchestra, Sym- phony Orchestra of the Balearic Islands, Galicia Symphony Orchestra, Ciudad de Granada Orchestra and Bilbao Symphony Orchestra. TONI CUENCA bajo Toni Cuenca realizó sus estudios de contrabajo el Conservatorio de Palma de Mallorca y en la London Bass School pero inició su TONI CUENCA bass carrera estudiando guitarra en el Conservatorio de Sabadell. Ade- Toni Cuenca did his double bass studies at the Palma de Mallorca Conserva- más estudió orquestación y composición en el Berklee College, tory and at the London Bass School but began his career studying guitar at y como director ha estado al frente de diversas orquestas sinfó- the Sabadell Conservatory. He also studied orchestration and composition at nicas europeas. Toni ha colaborado con celebres figuras del jazz Berklee College, and as a conductor he has been the head of several European y el flamenco como Paco de Lucía, Concha Buika, Peter Erskine, symphony orchestras. Alex Acuna o Gary Willis, entre muchos otros. Toni has collaborated with famous jazz and flamenco figures such as Paco de Lucía, Concha Buika, Peter Erskine, Alex Acuna or Gary Willis, among many SALVADOR FONT batería others. Con formación en Barcelona y Mallorca, Salvador Font es el baterista de referencia en el jazz local de Mallor- ca. En su intensa carrera ha colaborado con bandas y SALVADOR FONT drums músicos de renombre como Machine, Música Urbana, Salvador Font, who realized his studies in Barcelona and Mallorca, is the referen- Gary Burton Quartet, Percy Sledge, Orquestra Mirasol, ce drummer in local jazz in Mallorca. In his intense career he has collaborated Tito Puente, Wooddy Shaw, Georgie Fame, Jorge Pardo, with renowned bands and musicians such as Machine, Música Urbana, Gary entre otros. Salvador es además hijo del mítico Salvador Burton Quartet, Percy Sledge, Orquestra Mirasol, Tito Puente, Wooddy Shaw, Font “Mantequilla”, saxofonista y violinista de referencia Georgie Fame, Jorge Pardo, among others. en la historia del jazz nacional. Salvador is also the son of the legendary Salvador Font “Mantequilla”, saxopho- nist and violinist in the history of national jazz. RICHARD VINTON piano RICHARD VINTON piano El conocido pianista, arreglista y educador nació en Florida, The well-known pianist, arranger and educator was born in Florida, USA. Apart EEUU. Aparte de sus Bachelors de Música del New England from his Music Bachelors of the New England Conservatory in Boston and his Conservatory en Boston y su Masters de Música de la University Masters of Music from the University of Miami he studied jazz piano and com- of Miami estudió jazz piano y composición en la Berklee College position at the Berklee College of Music and worked among others with the of Music y trabajó entre otros con the Mavericks y Tony Bennett. Mavericks and Tony Bennett. En Mallorca Richard ha colaborado con The Drifters (Son Amar), Richard, who lives in Mallorca since twenty years, has collaborated with The Drifters Come Fly With Me (Gran Casino Mallorca), Michelle McCain, (Son Amar), Come Fly With Me (Gran Casino Mallorca), Michelle McCain, Jaime An- Jaime Anglada, Conxa Buika, Cap Pella y la Orquestra Simfònica glada, Conxa Buika, Cap Pella and the Symphony Orchestra of the Balearic Islands. de les Illes Balears, entre otros. He is member of various musical groups, the pianist and musical director of Asunaro and has collaborated for years with Lynn Gaydosh and Aura Veus. XEMA BORRÁS trombón Es profesor de trombón y Jefe de Departamento de Jazz del XEMA BORRÁS trombone Conservatori Superior de les Illes Balears, es director de su In addition to being the Trombon Teacher and Head of the Jazz Department of Big Band, del Brass Ensemble y de la Jam Session Mensual the Conservatori Superior de les Illes Balears, he is also the director of his Big de este conservatorio. También es miembro de diversas Band, the Brass Ensemble and the Monthly Jam Session of this Conservatory. formaciones musicales y ha grabado varios trabajos disco- He is also a member of various musical groups, he realized several recordings gráficos con “Highlands Project. with “Highlands Project” and is well known for his concerts with Brazilian singer, Xema es colaborador en la Orquesta de Radio Televisión composer and guitarist Pedro Rosa. Española, Orquestra Simfònica de les Illes Balears, Orquesta Sinfónica de Galicia y la Orquesta Sinfónica de Xema has been a member of the Young National Orchestra of Spain and is co- Bilbao, entre otras. llaborator in many orchestras, among others the Spanish Radio Orchestra, Sym- phony Orchestra of the Balearic Islands, Galicia Symphony Orchestra, Ciudad de Granada Orchestra and Bilbao Symphony Orchestra. TONI CUENCA bajo Toni Cuenca realizó sus estudios de contrabajo el Conservatorio de Palma de Mallorca y en la London Bass School pero inició su TONI CUENCA bass carrera estudiando guitarra en el Conservatorio de Sabadell. Ade- Toni Cuenca did his double bass studies at the Palma de Mallorca Conserva- más estudió orquestación y composición en el Berklee College, tory and at the London Bass School but began his career studying guitar at y como director ha estado al frente de diversas orquestas sinfó- the Sabadell Conservatory. He also studied orchestration and composition at nicas europeas. Toni ha colaborado con celebres figuras del jazz Berklee College, and as a conductor he has been the head of several European y el flamenco como Paco de Lucía, Concha Buika, Peter Erskine, symphony orchestras. Alex Acuna o Gary Willis, entre muchos otros. Toni has collaborated with famous jazz and flamenco figures such as Paco de Lucía, Concha Buika, Peter Erskine, Alex Acuna or Gary Willis, among many SALVADOR FONT batería others. Con formación en Barcelona y Mallorca, Salvador Font es el baterista de referencia en el jazz local de Mallor- ca. En su intensa carrera ha colaborado con bandas y SALVADOR FONT drums músicos de renombre como Machine, Música Urbana, Salvador Font, who realized his studies in Barcelona and Mallorca, is the referen- Gary Burton Quartet, Percy Sledge, Orquestra Mirasol, ce drummer in local jazz in Mallorca. In his intense career he has collaborated Tito Puente, Wooddy Shaw, Georgie Fame, Jorge Pardo, with renowned bands and musicians such as Machine, Música Urbana, Gary entre otros. Salvador es además hijo del mítico Salvador Burton Quartet, Percy Sledge, Orquestra Mirasol, Tito Puente, Wooddy Shaw, Font “Mantequilla”, saxofonista y violinista de referencia Georgie Fame, Jorge Pardo, among others. en la historia del jazz nacional. Salvador is also the son of the legendary Salvador Font “Mantequilla”, saxopho- nist and violinist in the history of national jazz. CONCIERTO GRATUITO CAN QUET ABRE A LAS 19:00 H Y EL CONCIERTO COMIENZA A LAS 20:00 H.
Recommended publications
  • El Ritmo De Las Palabras: Concha Buika
    MUSIC El ritmo de las palabras: NEW YORK Concha Buika Wed, June 17, 2015 7:00 pm Venue Instituto Cervantes, 211 East 49th Street, New York, NY 10017 View map Phone: 212-308-7720 Admission Free admission, limited seating. RSVP required at [email protected] by Tuesday, June 16. More information Instituto Cervantes New York The Spanish Grammy winning artist Concha Buika will Credits ‘perform’ poems, stories and chants from her recent book, A Organized by the Consulate general of Spain in New York, Instituto los que amaron a mujeres difíciles y acabaron por soltarse. Cervantes New York and Books & Books. Born in Palma de Mallorca, Spain, as the daughter of African parents and hailed as a star in contemporary world music, jazz, flamenco, and fusion, Buika posesses a unique blend of influences as well as a remarkable voice –raw and smoky, but with a tenderness that hits right at the heart, vibrantly deploying her rich, sensual and husky instrument. In 2011, NPR listed her spellbinding sound among its 50 Great Voices, calling hers the voice of freedom. She has received multiple awards and nominations, such as Latin Grammys for Best Album and Best Production for Niña de Fuego and Best Traditional Tropical Album for El Último Trago, and she was nominated again in 2014 for Record of the Year for La Noche Más Larga and for Best Latin Jazz Album at the 2014 Grammy Awards. Book purchase necessary to attend. Book signing after the event. Embassy of Spain – Cultural Office | 2801 16th Street, NW, Washington, D.C. 20009 | Tel: (202) 728-2334 View this event online: https://www.spainculture.us/city/new-york/el-ritmo-de-las-palabras-concha-buika/ Created on 09/27/2021 | Page 1 of 1.
    [Show full text]
  • Estrella Morente Lead Guitarist: José Carbonell "Montoyita"
    Dossier de prensa ESTRELLA MORENTE Vocalist: Estrella Morente Lead Guitarist: José Carbonell "Montoyita" Second Guitarist: José Carbonell "Monty" Palmas and Back Up Vocals: Antonio Carbonell, Ángel Gabarre, Enrique Morente Carbonell "Kiki" Percussion: Pedro Gabarre "Popo" Song MADRID TEATROS DEL CANAL – SALA ROJA THURSDAY, JUNE 9TH AT 20:30 MORENTE EN CONCIERTO After her recent appearance at the Palau de la Música in Barcelona following the death of Enrique Morente, Estrella is reappearing in Madrid with a concert that is even more laden with sensitivity if that is possible. She knows she is the worthy heir to her father’s art so now it is no longer Estrella Morente in concert but Morente in Concert. Her voice, difficult to classify, has the gift of deifying any musical register she proposes. Although strongly influenced by her father’s art, Estrella likes to include her own things: fados, coplas, sevillanas, blues, jazz… ESTRELLA can’t be described described with words. Looking at her, listening to her and feeling her is the only way to experience her art in an intimate way. Her voice vibrates between the ethereal and the earthly like a presence that mutates between reality and the beyond. All those who have the chance to spend a while in her company will never forget it for they know they have been part of an inexplicable phenomenon. Tonight she offers us the best of her art. From the subtle simplicity of the festive songs of her childhood to the depths of a yearned-for love. The full panorama of feelings, the entire range of sensations and colours – all the experiences of the woman of today, as well as the woman of long ago, are found in Estrella’s voice.
    [Show full text]
  • Buika Vocals Dani De Morón Guitar Ramón Porrina Cajon Jose Manuel «Popo» Posada Oviedo Double Bass
    Autour du monde Lundi / Montag / Monday 23.03.2015 20:00 Grand Auditorium Buika vocals Dani de Morón guitar Ramón Porrina cajon Jose Manuel «Popo» Posada Oviedo double bass ~90’ sans entracte / ohne Pause Dans le cadre du «Printemps musical – Festival de Luxembourg» Coopération avec Luxembourg City Tourist Office, Events & Culture (LCTO) Buika & Band Richard Robert En 2008, sur la pochette de son album «Niña de fuego», Concha Buika, née María Concepción Balboa Buika, pose nue, assise de trois quarts dos, sa chevelure de jais tombant en éclaboussures sur la roche noire de ses épaules, telle une Vénus africaine sor- tant du bain. Aux journalistes qui viennent alors l’interviewer, l’Espagnole originaire de Guinée équatoriale, dans l’un de ces rires carnassiers qui, à intervalles réguliers, dévorent la fin de ses phrases, a coutume d’expliquer qu’elle a préféré se rhabiller pour partir à leur rencontre. Avant d’ajouter que c’est dans l’art du chant qu’elle aime avant tout s’exhiber dans le plus simple appa- reil. «La musique est le dernier endroit où j’ai envie de me travestir et de mentir, déclare-t-elle ainsi. Dans la vie, il existe plein de circonstances dans lesquelles je ne trouve pas nécessaire de dire la vérité. Mais quand je chante, je n’ai pas d’autre choix que de me dévoiler. La musique me per- met d’accéder à une certaine forme de liberté intérieure, que je chéris par- dessus tout et que je ne pourrais pas atteindre par le biais du mensonge.» Dans d’autres bouches, ces propos pourraient aisément passer pour une banale profession de foi, entonnée sur l’air mille fois rebattu de «Je suis forcément une grande chanteuse, puisque je vous ouvre mon cœur.» Mais il n’y a pas de chantage à la sincérité chez Buika, dont la voix granuleuse et perforante s’est forgée loin des scènes et des projecteurs, au contact brûlant du flamenco des gitans de Palma de Majorque, la ville où elle est née et a grandi, avant de s’acérer encore un peu plus à la flamme du blues, du funk ou de la soul.
    [Show full text]
  • Uncorrected Proof
    18 Almodóvar ’ s Global Musical Marketplace Kathleen M. Vernon On December 11, 2007 Pedro Almodóvar convened a news conference at the Reina Sofía Museum in Madrid to celebrate the release of the double CD B.S.O. Almodóvar (Banda Sonora Original, original film score) during which he also announced the beginning of shooting for his seventeenth feature film, Los abrazos rotos / Broken Embraces (2009). Lest his audience fail to have noted the consistent imbrication of music and cinema, song and story in his body of work, the director called attention to this linkage in his words of introduction: “Las canciones en mis películas son parte esencial del guión . [T]ienen una función drámatica y narrativa, son tan descriptivas como los colores, la luz, los decorados, o los diálogos” (The songs in my films are an essential part of the script. They have a dramatic and narrative function; they are as descriptive as the use of color, lighting, scenery or dialogue) (Almodóvar 2007 ). Rather than attempting to illustrate the accuracy of these comments, the goal of this chapter is to explore the global contours of the texts and contexts of the larger Almodovarian creative universe, focusing less on the films themselves than on what we might call the Almodóvar discography. Thus the Almodóvar I propose to study is not the film director contemporary of a Lars von Trier, Quentin Tarantino or Gus Van Sant but instead the musician-producer- transcultural impresario whose fellow practitioners are Ry Cooder, Paul Simon and David Byrne or even Almodóvar ’ s own collaborator, Caetano Veloso. This model of the cultural entrepreneur also recalls the longstanding comparisons between Almodóvar and Andy Warhol, who in his multiple roles of “painter and sculptor, rock promoter, film producer, advertiser, starmaker and stargazer” is described by Juan A.
    [Show full text]
  • Charles Armstrong 24 October 2012 Linguistics Research Thesis Advisor: Prof
    Charles Armstrong 24 October 2012 Linguistics Research Thesis Advisor: Prof. Aaron Dinkin Vox Evocative: Pinpointing a possible sociological strategy for the typing of the phonatory and articulatory features of a singing genre Introduction The human singing voice. Discrepancies in the quantification and description of the work of our vocal cords offer a seemingly eternal source of academic discord. Despite the ubiquity of familiarity with singing voices, scientists and listeners alike seem to still perpetuate these massive discrepancies over the shared experience of listening to singing voices. One might expect a phenomenon almost as accessible as observing the blueness of the sky to have a consensual academic explanation. However, despite the amount of attention paid to the phenomenon of human singing by scientists and listeners around the world, much discordance and attention remains over how to describe and quantify this experience. Maybe this aforementioned academic conflict over quantitative and qualitative evaluations of the singing voice owes to the sheer acoustic diversity of human singing voices. If singing voices and styles were more homogenous objective entities, maybe the work of voice scientists and critical listeners would be simpler. Works of science fiction, even popular cartoons like Dexter's Laboratory and Family Guy, beg the comparison of voice scans to fingerprints. Just like the right voice evokes a response in these fictitious scanning machines, certain vocal qualities tend to evoke certain evaluations by humans. The ubiquity of references such as the ones from the described cartoons makes a case for the existence of a common latent acceptance of the unique and evocative qualities of the human voice.
    [Show full text]
  • Mariza Vocals António Neto Portuguese Guitar Pedro Jóia Acoustic Guitar Nando Araújo Double Bass Vicky Marques Drums, Percussion
    Autour du monde Vendredi / Freitag / Friday 11.10.2013 20:00 Grand Auditorium Mariza vocals António Neto Portuguese guitar Pedro Jóia acoustic guitar Nando Araújo double bass Vicky Marques drums, percussion ~90’ sans entracte / ohne Pause Backstage 18:45 Salle de Musique de Chambre Film: Mariza and the Story of Fado by Simon Broughton (2006) (VO E, P / ST E) – 58’ «Uma estranha forma de vida» Mariza Agnès Pellerin Mariza est très vite devenue au Portugal et dans le monde glo- balisé de la world music, un véritable phénomène, dont les pres- tations sur scène ont tout de suite dépassé le simple concert de fado. Sa carrière fulgurante l’a hissée en l’espace de quelques an- nées seulement au sommet des records de ventes et de succès. Son premier album Fado em mim lancé en 2001, sera édité dans 32 pays par la firme hollandaise World Connection alors qu’il était initialement prévu en autoédition. Au Portugal, il est ven- du en quelques semaines à plus de dix mille exemplaires. Deux ans plus tard, son deuxième album, Fado curvo, produit par Carlos Maria Trindade, musicien du groupe Madredeus, devient Disque d’or au Portugal et donne lieu à une tournée mondiale d’une ampleur rarement égalée par un artiste portugais. En 2003 toujours, la BBC Radio 3 consacre Mariza meilleure artiste eu- ropéenne de l’année, dans la catégorie world music. L’année sui- vante, Pedro Santana Lopes, alors maire de Lisbonne, fera écho à cette aura internationale en la nommant ambassadrice de la candidature du fado au patrimoine culturel oral et immatériel de l’humanité de l’Unesco aux côtés de Carlos do Carmo.
    [Show full text]
  • No Country for Black Women Tipografía: L&O Ilustración De Cubierta: Goyo Rodríguez Creativo Al Cuidado De La Edición: Olaya García Silvia Albert Sopale
    No Country for Black Women tipografía: l&o ilustración de cubierta: Goyo Rodríguez Creativo al cuidado de la edición: olaya garcía Silvia Albert Sopale No Country for Black Women In collaboration with Maria Eugenia Santa Cruz, Carolina Torres Topaga and Laura Freijo Justo Translated and introduced by Paola Prieto López krk ediciones · 2019 With the poem “Me gritaron negra” by Maria Eugenia Santa Cruz Th is project has received funding from the European Union’s Horizon 2020 research and innovation programme under the Marie Skłodowska-Curie grant agreement Nº 675378. © Silvia Albert Sopale © de la traducción Paola Prieto López © de esta edición Krk Ediciones www.krkediciones.com Álvarez Lorenzana, 27. Oviedo isbn 978-84-8367-648-6 Depósito legal as-1370-2019 Grafi nsa. Oviedo Contents Introduction Paola Prieto López. 9 no country for black women 1. Sleep Little Black Child . 27 2. At recess . 31 3. In class . 34 4. Hop-Scotch . 36 5. Her parents . 38 6. Th e Story of the First Boyfriend . 39 7. Africa . 48 8. Th e Great-Grandmother’s House . 50 9. Th e Return . 53 — 7 — paola prieto lópez Introduction The play Th e relevance of the play No Country for Black Wome n by Silvia Albert Sopale, aside from its un- deniable artistic and cultural value, lies in being the fi rst attempt, or one of the fi rst attempts, to represent through theatre the experiences of the Afro-Spanish community, a concept which until recently was not even part of the popular imaginary and which, even today, continues to be used timidly despite the grow- ing presence of this group in Spain.
    [Show full text]
  • Una Voz Desgarradora Buika Por HUMPHREY INZILLO FOTOGRAFÍA DEL DISCO VIVIR SIN MIEDO
    MÚSICA (F-CULTURAL) Conchauna voz desgarradora Buika Por HUMPHREY INZILLO FOTOGRAFÍA DEL DISCO VIVIR SIN MIEDO Ante el reencuentro de la cantante afroespañola con el público quiteño, a fines de abril en el Teatro Nacional Sucre, repasamos una trayectoria que incluye discos notables y colaboraciones con Pedro Almodóvar, Chucho Valdés y Javier Limón. 48 MundoDiners / revistamundodiners.com ABRIL 2017 Podríamos esbozar miles de razones suburbano, filo-marginal. “De mi infan- visto tres veces en directo y en cada ocasión que hacen de Concha Buika una cantante cia recuerdo rasguños, frío y mucha copla, hay sorpresas. Creo que lo que más me gus- extraordinaria, sabiendo que estas líneas que salía de las ventanas, de los pasillos. Y ta es cómo se apropia de una canción, como que leerán a continuación se desvane- mucha miseria. Detrás de un pellizco hay si hubiera sido escrita para ella”. cen ante su presencia en el escenario. Las dolor y detrás de cada caricia, placer. No presentaciones en vivo de esta cantante pretendo engañarme: mi infancia fue te- La copla es el mensaje mallorquí, de ascendencia africana, están rrible, pero súper divertida”, recordó hace dotadas de una potencia que ostenta la un tiempo. El paisaje incluía asentamientos Fue en el año 2000 que Buika, quien tam- energía de un camión de doble acoplado gitanos y allí fueron sus primeros contactos bién ha incursionado en las letras y la foto- transitando a toda velocidad por una ruta con el duende flamenco. “Los gitanos me grafía, irrumpió en las bateas con su primer infinita. Una aplanadora llena de sensibili- enseñaron mucho.
    [Show full text]
  • Jazz Appreciation Month
    A Report on the Ninth Annual Jazz Appreciation Month April 2010 Jazz Appreciation Month Mission and Vision Jazz Appreciation Month provides leadership to advance the field of jazz and promote it as a cultural treasure born in America and celebrated worldwide. Vision Statement -The Smithsonian‘s National Museum of American History will work collaboratively with JAM Partners and Supporters worldwide to fulfill JAM‘s mission by: -Making jazz fun and accessible for all. -Highlighting the music‘s rich legacy and vibrant place in contemporary life and cultural diplomacy. -Making jazz relevant and cool for today‘s youth. -Using the Smithsonian‘s vast jazz collections, exhibits and research resources to develop education/ performance events that teach the public about the roots of jazz, its masters and the music. -Preserving the heritage of jazz and entertaining the public with classical and rarely heard jazz music performed by the Smithsonian Jazz Masterworks Orchestra and others. -Building the music‘s future by inspiring, training and highlighting the next generation of jazz performers, edu- cators, and appreciators. -Making jazz synonymous with ideals of freedom, creativity, innovation, democracy, cultural diversity, and au- thenticity. Table of Contents Notes from the American Music Curator……………………………………………………………….1 Notes from the JAM Program Director………………………………………………………………....2 Notes from the Smithsonian Jazz Masterworks Executive Producer…………………………………...3 JAM Task Force and Committees……………………………………………………………………....4 Executive Summary…………………………………………………………………………………….5
    [Show full text]
  • Instructor Bios USA
    ANDRES VADIN Los Angeles, California Guitarist Born in Cuba, Andres Vadin’s talent spans many different genres while highlighting the flamenco guitar as a universal instrument with no boundaries — a breathtaking fusion of traditional and contemporary interpretations, often infused with Cuban, Arabic, and jazz influences. Vadin graduated from the Guillermo Tomas and Almadeo Roldan Conservatory of Music in Habana. He began studying music at the age of 10 and won first prize in the Almadeo Roldan music competition at the age of 12. Vadin has played for some of the most talented flamenco artists known today, including Antonio Carmona, José Antonio Rodríguez, and Maria Juncal. He has also collaborated on Latin Grammy-nominated albums twice — in 2005 with Aceituna sin Hueso on the album Cuba Le Canta A Serrat and in 2017 with Oskar Cartaya on the album Bajo Mundo. He has toured throughout the world performing with Concha Buika, Faramarz Aslani, Wadih Al Safi, Billy Cobhan, and in festivals such as WOMAD, Glastonbury, Montreal International Jazz Music Festival, and at rock legend Steve Vai’s Big Mama Jama Jam-a-thon. His work as a session musician includes the movie soundtracks for “Whale of a Tale” and “Bel Canto.” One of his great passions is teaching music and he partners on a regular basis with Barrio Music, an L.A. based organization that provides music education to children in neighborhoods in L.A. Vadin is endorsed by Godin and Bartolex Guitars. DIEGO “EL NEGRO” ALVAREZ Los Angeles, California Studio/Independent Percussionist Diego "El Negro" Alvarez, born in Venezuela, is a master cajón player.
    [Show full text]
  • Comunicat "Dăm Tonul Culturii"
    Secţiunea on air a Festivalului “Viaţa e Frumoasă” la Radio România Cultural! „Dăm tonul culturii” este sloganul sub care Radio România Cultural nu doar reflectă viaţa culturală, ci devine un actor al acesteia! Teatrul de Operetă și Musical „Ion Dacian”, companie care apar ț ine de Opera Na ț ională Bucureș ti, organizează cea de-a VI-a ediţie a Festivalului “Viaţa e Frumoasă”, care are şi anul acesta o componentă radiofonică ce aduce magia spectacolului muzical în casele ascultătorilor de pe tot cuprinsul ţării. La scurt timp după ce s-a încheiat secţiunea on air a Festivalului Naţional de Teatru, începe secţiunea on air a festivalului „Viaţa e frumoasă”, difuzată între 7 şi 17 noiembrie 2013 de la 23.00 la 24.00 pe frecvenţele din întreaga ţară ale Radio România Cultural şi on line pe www.radioromaniacultural.ro Vă aşteptăm timp de 11 zile, la ore precise... la întâlniri memorabile cu opereta, musical-ul şi alte genuri muzicale îndrăgite! Programul secţiunii on air a festivalului „Viaţa e frumoasă” va fi următorul: 07.11.2013 23,00-23,50 Latin Grammy Award Buika "Niña de fuego" Deşi „Niña de fuego” a fost doar nominalizat la Premiile Grammy la categoria „albumul anului 2008”, discul semnat Buika (pe numele adevărat Concha Buika) pledează intens pentru ancestalitatea muzicii flamenco. Radăcinile africane ale artistei, dublate de pulsul etosului sonor spaniol din zona Palma de Mallorca argumentează limpede expresia internaţională a muzicii fără graniţe 08.11.2013 23,00-23,50 Brazilan Lounge Va fi o chimie sonoră echilibrată între tradiţionalul latino - brazilan, chillout , şi downtempo.
    [Show full text]
  • Jetzt Nupro® Aktivboxen Testen!
    25 Mehr Klangfaszination! Ein!üsse. Concha Buika, 43, hat eine wechselhafte Biogra"e: Ihre Eltern kom- Pop/Live men aus Äquatorialguinea, sie ist in Pal- ma de Mallorca aufgewachsen und lebt Die Kölner Band Erdmöbel geht auf mittlerweile in Miami. Sie hat eine Ehe Weihnachtstour. #.!". München, (.!". ® zu dritt geführt, bevor sich ihre Wege Plauen, ).!". Kassel, &.!". Duisburg, Jetzt nuPro trennten. Sie wollte eigentlich Schlag- !'.!". Hamburg, !!.!". Worpswede, zeugerin werden, kam aber als weibli- !".!". Berlin, !*. und !%.!". Köln, "'.!". cher Drummer nirgendwo unter und Darmstadt. "ng deshalb an zu singen. Sie ist mit Aktivboxen Nina Simone, Amy Winehouse, Billie England hat es besser. Ob es die Holiday und Edith Piaf verglichen wor- Beatles und die Rolling Stones waren, den, was einerseits Quatsch ist, weil ihre Punk oder New Wave, die Smiths, Prefab testen! Stimme ganz anders klingt. Andererseits Sprout oder die Happy Mondays, Brit- ist es nicht völlig falsch, denn auch Bui- pop oder Retromania: Nach Großbritan- kas Musik lebt von ihrer gleichzeitigen nien schaut der popbegeisterte Deutsche Verletzlichkeit und Stärke. Ihre letzte seit Jahrzehnten mit Neid. Auch die Auf- Platte wurde sogar für einen Grammy regung um die Nummer eins an Heilig- nominiert. „Vivir Sin Miedo“ (über- abend und um den großen Weihnachts- setzt: „Leben ohne Angst“) ist nun ihr song des Jahres, die die Briten jedes Jahr + Österreich achtes Album, trotz des spanischen Ti- aufs Neue umtreibt, fehlt hierzulande. Gratisversand tels singt Buika zum Großteil auf Eng- Dafür haben wir Erdmöbel, eine Band in Deutschland lisch. Es ist eine ganz eigenartige Welt- aus Köln. Der Name kommt aus der musik, die Buika aus allen möglichen DDR, angeblich ein Synonym für Särge.
    [Show full text]