Jazz En España
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Nieuwsbrief XIV – Mei 2014
Nieuwsbrief XIV – mei 2014 Bibliotheek Koninklijk Conservatorium Antwerpen Nieuws uit de boekentoren Nieuwtjes uit de bibliotheek, de zangeres van ‘This World Today is A Mess’ en een selectie van de recente aanwinsten, dat vindt u allemaal in deze nieuwsbrief. Berichten uit de bibliotheek - Het tijdschrift Dans. Magazine voor dans in Vlaanderen wijdde in zijn eerste nummer van 2014 een pagina aan de danscollectie in onze bibliotheek. Onder de titel Een tempel der wijsheid. De bibliotheek van het Antwerpse Conservatorium wordt de danscollectie op de uitleendienst en in de leeszaal voorgesteld. Het slot van het artikel wil ik u niet onthouden: ‘Zowel in de leeszaal als in de bibliotheek [bedoeld is de uitleendienst] werken vriendelijke en behulpzame mensen die je op tal van vragen kunnen antwoorden. Wie op zoek is naar een specifiek werk kan op de website van het conservatorium de database van de bibliotheek raadplegen, om er zeker van te zijn niet van een kale reis terug te komen. Hoe dan ook is een bezoek aan beide tempels van artistieke wijsheid meer dan de moeite waard! Er is altijd wel een of andere ontdekking te doen, voor zij die van dans, architectuur, theater en/of muziek houden.’ En zo hoort u het eens van iemand anders. - Historische opera- en balletpartituren gedigitaliseerd i.s.m. een Amerikaanse universiteit en Internet Archive Nadat er eerder een twintigtal historische operapartituren uit onze collectie werden gescand en via Internet Archive digitaal raadpleegbaar werden gemaakt (zie Nieuwsbrief XII), ondergingen de voorbije maanden nog een tachtigtal historische opera- en balletpartituren uit onze bibliotheek dezelfde behandeling. -
Skain's Domain – Episode 5
Skain's Domain – Episode 5 Skain's Domain Episode 5 - April 20, 2020 0:00:01 Moderator: Wynton, you're ready? 0:00:02 Wynton Marsalis: I'm ready. 0:00:03 Moderator: Alright. 0:00:06 WM: I wanna thank all of you for joining me once again. This is Skain's Domain, we're talking about subjects significant and trivial, with the same intensity and feeling. We're gonna talk tonight... I'm gonna start off by talking about a series we're gonna start, which is, "How to develop your ability to hear, listen to music." I think that for many years, me and a great seer of the American vernacular, Phil Schaap, argued about the importance of music appreciation. We tend to spend a lot of time with musicians, talking about music, and we forget about the general audience of listeners, so I'm gonna go through 16 steps of hearing, over the time. I'm gonna be announcing when it is, and I'm just gonna talk about the levels of hearing from when you first start hearing music, to as you deepen your understanding of music, and you're able to understand more and more things, till I get to a very, very high level of hearing. Some of it comes from things that we all know from studying music and even what we like, what we listen to, but also it comes from the many different experiences I've had with great musicians, from the beginning. I can always remember hearing when I was a kid, the story of Ben Webster, the great balladeer on tenor saxophone. -
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. -
Eddie Who? - Eddie Harris Amerikansk Tenorsaxofonist, Født 20.10.1934 I Chicago, IL, D
Eddie Who? - Eddie Harris Amerikansk tenorsaxofonist, født 20.10.1934 i Chicago, IL, d. 5.11.1996 Sanger og pianist som barn i baptistkirker og spillede senere vibrafon og tenorsax. Debuterede som pianist med Gene Ammons før universitetsstudier i musik. Spillede med bl.a. Cedar Walton i 7. Army Symphony Orchestra. Fik i 1961 et stort hit og jazzens første guldplade med filmmelodien "Exodus", hvad der i de følgende år gav ham visse problemer med accept i jazzmiljøet. Udsendte 1965 The in Sound med bl.a. hans egen komposition Freedom Jazz Dance, som siden er indgået i jazzens standardrepertoire. Spillede fra 1966 elektrificeret saxofon og hybrider af sax og basun. Flirtede med rock på Eddie Harris In the UK (Atlantic 1969). Spillede 1969 på Montreux festivalen med Les McCann (Swiss Movement, Atlantic) og skrev 1969-71 musik til Bill Cosbys tv-shows. Spillede i 80'erne med bl.a. Tete Montoliu og Bo Stief (Steps Up, SteepleChase, 1981) og igen med Les McCann. Som sideman med bl.a. Jimmy Smith, Horace Silver, Horace Parlan og John Scofield (Hand Jive, Blue Note, 1993). Optrådte trods sygdom, så sent som maj 1996. Indspillede et stort antal plader for mange selskaber, fra 80'erne mest europæiske. Med udgangspunkt i bopmusikken udviklede Harris sine eksperimenter til en meget personlig stil med umiddelbart genkendelig, egenartet vokaliserende tone, fra 70'erne krydret med (ofte lange), humoristisk filosofisk/satiriske enetaler. Følte sig ofte underkendt som musiker og satiriserede over det i sin "Eddie Who". Kilde: Politikens Jazz Leksikon, 2003, red. Peter H. Larsen og Thorbjørn Sjøgren There's a guys (Chorus) You ought to know Eddie Harris .. -
Jorge Pardo: Huellas Featuring the Juanito Pascual Trio
MUSIC Jorge Pardo: Huellas featuring WASHINGTON, D.C. the Juanito Pascual Trio Thu, November 17, 2016 7:30 pm Venue Former Residence of the Ambassadors of Spain, 2801 16th Street NW, Washington, DC 20009 View map Credits Presented by SPAIN arts & culture with the support of the Permanent Observer Mission of Spain to the OAS. Image by Angel Vicente Legendary saxophonist Jorge Pardo comes to D.C. this November as part of his U.S. tour for a unique evening of jazz and flamenco featuring the Juanito Pascual Trio. Whoever loves Jazz, loves Jorge Pardo. Whoever loves Flamenco, loves Jorge Pardo. Those who have a passion for music must love Jorge Pardo because he chants through his flute, is able to let his saxophone complain, enjoys the rhythm and passes his magic on to his instruments. Jorge Pardo, saxophone and flute player, is one of the most outstanding and consistent revelations of the flamenco jazz fusion. He, together with Paco de Lucía and Camarón de la Isla, helped forging a new musical language melding jazz and flamenco. His playing style has become a referential point. He shared ideas, music and experiences during 20 years, with the master of flamenco guitar, Paco de Lucia. During these years of tours, records and coexistence, they created a new musical language known as Flamenco Jazz or Flamenco Fusion. This music had a strong flamenco nature and was composed also off classic works and world rhythms. His discography extends beyond 20 recordings as leader. He also collaborated and exchanged experiences with other artists all over the world, such as Chick Corea, Paco de Lucía, Tete Montoliu, Marcus Miller, Pat Metheny, etc. -
La Recepción Del Jazz Moderno En Barcelona En Los Años 1940: La Aportación De Tete Montoliu
nova série | new series 6/2 (2019), pp. 323-350 ISSN 2183-8410 http://rpm-ns.pt La recepción del jazz moderno en Barcelona en los años 1940: La aportación de Tete Montoliu Teresa Luján Conservatorio Superior de Música de Navarra Departamento de Jazz [email protected] Resumo Este artigo analisa as controvérsias suscitadas pela recepção do bebop no meio jazzístico espanhol, com particular ênfase na figura do pianista Tete Montoliu, que nasceu e desenvolveu a sua carreira musical em Barcelona, cidade reconhecida, especialmente nessa altura, como a capital do jazz espanhol. Com esse objectivo, e após uma breve contextualização da atmosfera do jazz em Barcelona no final da década de 1940, discutimos as ideias abordadas por Montoliu num artigo publicado em 1950, «Defensa del be- bop», na forma de um comentário que se baseia em pesquisa documental e numa análise crítica. Este artigo de Montoliu, até agora muito pouco explorado, constitui uma importante crónica sobre o seu tempo, abordando tanto aspectos musicais como estéticos e sociológicos. Palavras-chave Jazz; Barcelona; Bebop; Controvérsias; Tete Montoliu. Abstract This article analyses the controversies generated within the Spanish jazz environment within the context of the reception of bebop, with particular emphasis on the figure of the pianist Tete Montoliu, who was born and developed his musical career in Barcelona, a city that has always been the capital of Spanish jazz, and especially at that time. To this end, and after a brief contextualization of the jazz atmosphere of Barcelona in the late 1940s, the ideas that emerge from the article published by Montoliu in 1950 «Defensa del be-bop» are discussed, within a form of a commentary, and based on a documented discourse and a critical analysis. -
Ted Heath (Bandleader) from Wikipedia, the Free Encyclopedia
Ted Heath (bandleader) From Wikipedia, the free encyclopedia Background information Birth name George Edward Heath Also known as Ted Born 30 March 1902 Wandsworth, South London, England Died 18 November 1969 (aged 67) Virginia Water, Surrey, England Genres Big Band, jazz Occupation(s) Bandleader, composer Instruments Trombone Years active 1916–1969 Labels Decca, London George Edward "Ted" Heath (30 March 1902 – 18 November 1969) was a British musician and big band leader. He led Britain's greatest post-war big band recording more than 100 albums which sold over 20 million copies. Considered the most successful band in Britain during the 1950s, it remained in existence as a ghost band long after Heath died, surviving in such a form until 2000. Musical beginnings After playing tenor horn at the age of six, encouraged by his father, the leader of the Wandsworth Town Brass Band, Heath later switched to trombone. Earning a living for his family in the post-war years he, and his brother Harold with three other musicians, formed a band that played to commuters outside London Bridge Station before winding their way along the streets in London to a location outside the Queen’s Hall Gardens venue. It was here that Heath’s professional career began as he was spotted on the street and asked to play with the Jack Hylton Band who had a residence there. He did not last long, not having the experience required, but it gave him the ambition to pursue a career as a professional musician. 1920s His first real band gig was with an American band on tour in Europe – the Southern Syncopation Orchestra – which had an engagement in Vienna, Austria and needed a trombone player. -
Lasa Journal Sont Disponibles Sure Demande
laSa• International Association of Sound and Audiovisual Archives Association Internationale d' Archives Sonores et Audiovisuelles Internationale Vereinigung der Schall- und Audiovisuellen Archive laSa• journal (formerly Phonographic Bulletin) no. 11 June 1998 IASA JOURNAL Journal of the International Association of Sound and Audiovisual Archives IASA Organie de I' Association Internationale d' Archives Sonores et Audiovisuelle IASA . Zeitschchrift der Internationalen Vereinigung der Schall- und Audiovisuellen Archive IASA Editor: Chris Clark, The British Library National Sound Archive, 96 Euston Road, London NWI 2DB, UK. Fax 44 1714127413, e-mail [email protected] Reviews and Recent Publications Editor: as for Editor (pending new appointment) The IASA Journal·is published twice a year and is sent to all members of IASA. Applications for membership of IASA should be sent to the Secretary General (see list of officers below). The annual dues are 25GBP for individual members and 100GBP for institutional members. Back copies of the IASA Journal from 1971 are available on application. Subscriptions to the current year's issues of the IASA Journal are also available to non-members at a cost of 35GBP. Le IASA Journal est pub lie deux fois l'an et distribue Ii tous les membres. Veuilliez envoyer vos demandes d'adhesion au secreta ire dont vous trouverez I'adresse ci-dessous. Les cotisations anuelles sont en ce moment de 25GBP pour les membres individuels et 1000BP pour les membres institutionelles. Les numeros precedeentes (Ii partir de 1971) du lASA Journal sont disponibles sure demande. Ceux qui ne sont pas membres de I' Assooc iat ion puevent obtenir un abonnement du IASA Journal pour I'annee courante au cout de 35GBP. -
J2P and P2J Ver 1
spotlight on rhythm and blases THE BILLBOARD FEBRUARY 4, 1956 REG MARSHALL AGENCY 1519 Crossroads of the World Hollywood Major Agencies Booking JOHNNY ROBINSON AGENCY RHYTHM -BLUES NOTES 1645 N. LaBrea By PAUL ACKERMAN Los Angeles Take a look at the best -selling sus! blues chanter- gbhnny Cook. Rhythm & Blues Talent SHAW ARTISTS CORP. pop chart this week -virtually half Good Inck's the word! Happy 565 Fifth Avenue of the disks are covers of rhythm Harold Globenfelt, ÍCGST, Fresno, New York 17 and blues records -or in some cases Calif., has taken over the "House ASSOCIATED BOOKING MILTON DEUTSCH AGENCY Faye Adams the original r. &b. versions. It of Blues" show, formerly handled shows r. medium has by Kay. CORPORATION 9157 Sunset Boulevard Annisteen Allen the &b. stay- Andy Globenfelt is on ing power and stability as an in- seven days a week -the only r. &b. m745 Frith Avenue Los Angeles Sue Allen The Barons gredient in the pop business. In deejay in the area with such a New York GALE AGENCY INC. Oscar Black addition to those on the charts, heavy schedule. Kay has switched The Dominos (Billy Ward) 48 West 48th Street Richard Berry there are quite a few others known to c.&w. and pop shows.... Bob The Flamingos New York 36 Otis Blackwell to be selling strongly in the pop Monroe, WCAM, Camden, N. J., Freddie Mitchell Ork R. &B. Charles Brown market even tho they have not yet picking up new listeners with his The Platters Lavern Baker Olive Brown made the pop chart. -
Guest Recital, the Arvay/Younglove Duo, April 9, 2017 Lawrence University
Lawrence University Lux Conservatory of Music Concert Programs Conservatory of Music 4-9-2017 5:00 PM Guest Recital, The Arvay/Younglove Duo, April 9, 2017 Lawrence University Follow this and additional works at: http://lux.lawrence.edu/concertprograms Part of the Music Performance Commons © Copyright is owned by the author of this document. Recommended Citation Lawrence University, "Guest Recital, The Arvay/Younglove Duo, April 9, 2017" (2017). Conservatory of Music Concert Programs. Program 151. http://lux.lawrence.edu/concertprograms/151 This Concert Program is brought to you for free and open access by the Conservatory of Music at Lux. It has been accepted for inclusion in Conservatory of Music Concert Programs by an authorized administrator of Lux. For more information, please contact [email protected]. Guest Recital Kostis Hassiotis, oboe Anthony Padilla, piano Sunday, April 9, 2017 1:00 p.m. Harper Hall At the Village (1980) Dinos Constantinides Andante (b. 1929) Aboio (1970) Osvaldo Lacerda Moderato (1927-2011) Temporal Variations (1936) Benjamin Britten Theme (1913-1976) Oration March Exercises Commination Chorale Waltz Polka Resolution INTERMISSION Suite Héllenique for oboe (orig. saxophone) and piano (1951) Pedro Iturralde Kalamatianós (b. 1929) Funky Valse Kritis Sonata for oboe and piano (1951) Kishio Hirao I. Moderato (1907-1953) Don Quijote y Dulcinea for oboe and cembalo (1960) György Ránkyi Andantino espressivo e rubato (1907-1992) Allegretto grazioso e capriccioso Kostis Hassiotis, oboe Anthony Padilla, piano PROGRAM NOTES At the Village (1980), Dinos Constantinides At the Village for oboe and piano is the first movement of the composer’s Mountains of Epirus, transcribed for the above instruments. -
Piano Bass (Upright And/Or Electric)
January 2017 VOLUME 84 / NUMBER 1 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Managing Editor Brian Zimmerman Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Markus Stuckey Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [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; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael Weintrob; North Carolina: Robin Tolleson; Philadelphia: David Adler, Shaun Brady, Eric Fine; San Francisco: Mars Breslow, Forrest Bryant, Clayton Call, Yoshi Kato; Seattle: Paul de Barros; Tampa Bay: Philip Booth; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Belgium: Jos Knaepen; Canada: Greg Buium, James Hale, Diane Moon; Denmark: Jan Persson; France: Jean Szlamowicz; Germany: Detlev Schilke, Hyou Vielz; Great Britain: Brian Priestley; Japan: Kiyoshi Koyama; Portugal: Antonio Rubio; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert. -
Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor Saxophone Musical Vocabulary
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. BOBBY HUTCHERSON NEA Jazz Master (2010) Interviewee: Bobby Hutcherson (January 27, 1941 – August 15, 2016) with his wife Rosemary Hutcherson Interviewer: Anthony Brown with recording engineer Ken Kimery Date: December 8-9, 2010 Repository: Archives Center, National Museum of American History Description: Transcript, 60 pp. Brown: Today is December 8th, 2010. Bobby Hutcherson: Oooo, December 8th. Brown: This is the Smithsonian NEA Jazz Oral History interview with Bobby Hutcherson in his home in Montero, California. Good afternoon, Bobby. Hutcherson: Good afternoon. Brown: It’s indeed a pleasure to be here, be in your home and be able to talk to you, one of my heroes for so many years, a fellow Californian. If we could just start by you stating your full name at birth and your birth place and birth date, please. Hutcherson: Robert Howard Hutcherson. I was born January 27, 1941, in Los Angeles, but I grew up in Pasadena, California. Brown: But you say you were born in Los Angeles. Hutcherson: Um-hmm. Brown: Is that where your parents were living at the time of your birth? For additional information contact the Archives Center at 202.633.3270 or [email protected] 1 Hutcherson: No. It was – they were living in Pasadena, but a lot of my relatives were living in Los Angeles, Watts and stuff like that. So it worked out, because they could be there. My mom had me very late in her life, in those days, and so it was better for my father to take my mother to the Los Angeles hospital, because he was – his work, he was a bricklayer.