Anders Hagberg
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Arkivförteckning Rune Gustafssons Arkiv
Rune Gustafssons arkiv Svenskt visarkiv April 2013 Leif Larsson INLEDNING Rune Gustafsson ( 1933 – 2012 ) hörde sedan början av 1950-talet till en av Sveriges allra främsta jazzmusiker. Han började sin karriär hos trumslagaren Nils-Bertil Dahlander i Göteborg men flyttade några år senare till Stockholm. Under nästan hela fortsatta 1950-talet spelade han där tillsammans med Putte Wickman. Rune träffade 1959 Arne Domnérus som han sedan samarbetade med i många olika sammanhang. Under ett par årtionden var Rune Gustafsson en av våra mest anlitade studiomusiker som genom sin mångsidighet och flexibilitet passade in i de flesta situationer. Rune Gustafsson har bakom sig en rad egna skivor, bl. a. ”Move” som belönades med Orkesterjournalens Gyllene Skiva. Han har även varit involverad i flera andra produktioner som tilldelats denna utmärkelse. Under åren har RG samarbetat med en rad av jazzens internationella storheter, såsom Benny Carter, George Russel, Dizzy Gillespie, Stan Getz och Zoot Sims. Med den sistnämnde gjorde Rune två skivor, den sista ”In A Sentimental Mood” kom att bli Zoot Sims allra sista. Med sin mångsidighet har Rune också varit efterfrågad i många andra musikaliska sammanhang, både i Sverige och stora delar av världen, t.ex. Eng- land, USA, Sydamerika, Ryssland, Japan och Kina. 1997 erhöll Rune det allra första priset ur Albin Hagströms minnesfond i Kungliga musikaliska akademien med motiveringen: ”För en mer än fyrtiofemårig gärning som framstående jazzsolist och mångsidig studio musiker – en beundrad förebild och outtömlig inspirationskälla för generationer svenska elgitarrister. 1998 fick Rune Gustafsson Thore Ehrlings stipendium med motiveringen: ”En av de mångsidigaste musikerna inom svensk populärmusik och vår genom tiderna främste jazzgitarrist”. -
Listening to the Blindfold Tests: Olivia Wikle Digital Initiatives Librarian a Sonic Community of 20Th Century Jazz Artists University of Idaho Leonard Feather
Listening to the Blindfold Tests: Olivia Wikle Digital Initiatives Librarian A Sonic Community of 20th Century Jazz Artists University of Idaho Leonard Feather ❖ 1914-1994 ❖ Jazz critic, musician, composer, arranger, broadcaster, and producer Leonard Feather, 1970 Jazz Journalism Blindfold Tests ❖ Format: Feather played several selections of jazz pieces for a “blindfolded” jazz musicians, then asked them to identify who was playing ❖ Feather recorded, edited, and published (in writing) the musicians’ responses Leonard Feather with Max Roach, 1975 Blindfold Tests ❖ 1946-1994 ❖ Published in Jazz Magazines Metronome, Downbeat, Record Whirl, and JazzTimes ❖ Broadcast on Feather’s radio show, “Platterbrains” Louis Armstrong, 1955 Lionel Hampton & Leonard Feather, broadcasting from the summit on Knob. L.A., 1962 University of Idaho Blindfold Tests ❖ 1953-1986 ❖ 33 audio files ❖ Approximately 43 individual tests ❖ Files include misc. interviews, performances, and taped radio broadcasts “the best way to show what musicians really felt about music would be to subject them to an experience where they listened to what they were hearing, and then expressed their opinions. Obviously, they couldn’t be accused of prejudice if they didn’t know who it was they were listening to.” –Leonard Feather, “90 Months Behind a Blindfold,” Downbeat, June 30, 1954, 61. “Over decades, Feather embarrassed scores of musicians who thought that race or gender were audible, or that studio men can't improvise, or that big names are invariably identifiable.” –Gary Giddins “Leonard Feather Obituary,” 1994 Blindfold Tests in Downbeat ❖ 1951-1970: A pivotal time in jazz history Pearl Bailey and Louis Armstrong, 1965 Nesuhi Ertegun, Dave Lambert, Leonard Feather, Jack Teagarden, and Gene Lees LEONARD FEATHER: Well, ah, one thing that might surprise you, or it might not, is that all the records I played were made on the west coast. -
The Evolution of the Baritone Saxophone in Jazz History
THE BARITONE CHRONOLOGY a study of the baritone saxophone evolution in jazz history Piersimone Crinelli Degree Project, Master of Fine Arts in Music, Improvisation Spring Semester 2015 Degree Project, 30 higher education credits Master of Fine Arts in Music, Improvisation Academy of Music and Drama, University of Gothenburg Spring Semester 2015 Author: Piersimone Crinelli Title: The baritone chronology – a study of the baritone saxophone evolution in jazz history Supervisor: Per Anders Nilsson Examiner: Anders Tykesson ABSTRACT This project investigates the history of the baritone saxophone. The role of the baritone saxophone as a soloist instrument has historically often been overshadowed by the tenor or the alto saxophone. Even if important innovations have been made by many great baritonists during the years, no extensive literature regarding the baritone saxophone is to be found. My aim with this Masters´ thesis is to trace the history of the baritone saxophone from its invention until the modern era, around the 80´s. My research questions are: which innovations have been done on the baritone saxophone in the previous century regarding sound, phrasing and articulation? Is there a relation between the first baritone players in jazz history and the modern ones? My purpose is to contribute to the literature regarding the baritone saxophone, creating a chronology of the most influential soloists in jazz music. My aim is also to find methods that could be helpful in a correct approach to the instrument. In addition to this, I have analyzed the ways in which the greatest baritonists have influenced my personal musical background, thus creating a link to my own artistic profile. -
99 English Summary.Indd
ENGLISH SUMMARY E N G L I S H S U M M E R Y År 2004 gav Posten ut en serie postkort med Hagström-gitarrer som motiv. 1 E N G L I S H S U M M E R Y 2 ”HAGSTRÖM – MUSIC FOR MILLIONS” By Mikael Jansson © The Author and Uppsala Publishing House 2006 E N his is a summary in English of the content of this book, intended to Tguide the non-Swedish speaking reader through the history of the G Hagström music company, starting with founder Albin Hagström’s birth L in 1905 and to present day. There is also a complete set of translated captions. Thanks to Katarina Toborn for checking my translation. I Uppsala, Sweden, October 2006 S Mikael Jansson H S U M M E R Y LIST OF PICTURES Jan Runefelt (painting) 2 Arne Johansson 18 Hagströms arkiv/Anders Barke 4 Franz Ferdinand 144 Hagströms arkiv 8, 12, 28, 40 3 Albin Hagström in his 20s. The young entrepreneur ready to go into business. E N G L I S H S U M M E R Y 4 1905–1929 lbin Hagström was born on May 25, 1905 in Orsa, Sweden. The E Afollowing year, his family moved to the nearby Älvdalen village, where his father served as a forester. It seems that the young Albin was N very interested in accordions even as a child. A farmhand at the family G farm had a friend who was an able accordionist, and he taught Albin the basics of playing. -
JAZZ På CD & LP Jazz/Blues På Vinyl
BibliotekJAZZ Film o. Musik, på Kulturhuset CD & StadsteaternLP Jazz/Blues på vinyl A JAZZ PIANO ANTHOLOGY A 608 From ragtime to free jazz (insp. 1921-71) ..........................................................1921-71 ABELEEN, Staffan A 177 Svit cachasa. Staffan Abeleen, Lars Färnlöf & Radiojazzgruppen ..................... 1973 A 772 Sweet Alva ........................................................................................................... 1974 ABERCROMBIE, John A 1238 Timeless ........................................................................................................... 1974 ADAMS, George A 1593 Earth beams. Med Don Pullen Quartet .............................................................. 1981 A 1950 Lifeline. Med Don Pullen Quartet ....................................................................... 1981 A 2119 Live at Village Vanguard. George Adams - Don Pullen Quartet ........................ 1983 ADAMS, Pepper A 785 Ephemera ........................................................................................................... 1973 A 966 Julian ........................................................................................................... 1975 A 1697 Reflectory ........................................................................................................... 1978 ADDERLEY, Cannonball A 260 Somethin' else ..................................................................................................... 1958 A 1176 Coast to coast .....................................................................................................1959-62 -
"V Ära Giganter Stortrivs"
BuILETTN NUMMER 2, tulr 2oot.Åna.e "V ära giganter stortrivs" Arne Domnörus och Alice Babs tackar varandra. Fotograf Harley Bardh Duke Ellington Society of Sweden, DESS rssN 1400-8831 DESS c/o Göran Walldn Redaktionsgrupp: Postgiro 71 63 75 - 7 Skogstorpsvägen 39, 191 39 Sollentuna. Bo Holmqvist, Alf Lav€r, Göran Wall€n Teiefon/fax bostad: 08-96 52 34 E-post: [email protected] DESS medlemsavgift Pay to: Account no: 284 083 992 Vid köp av Azure-kassetter och CD är per kalenderår: Svenska Handelsbanken Clearino na. ÄQ17 använd vårt Postsiro ll 63 75 - 7 lnom Norden 150 se ss kr SWIFT: hand Postgironr. för prenumeration Membership outside Scan- for onward transmission av DEMS Irån Belgien är Pg 433 27 36-0 dinavia $ 25 pro annum. to DESS Summertime! Sommaren är här och det känns härligt att ha lite mer tid att lyssna OBS! på musik utomhus och med grammofonen som hjälp i hemmet på I dagens Bulletin finns det ett påstående som strider mot alla tidigare semestem. Våren avslutades annars med en riktig hötdare! AIice Babs uppfattningar i diskografiväg beträffande Bubber Miley. Dessa frå- och Arne Domn€rus bjöd på en underbar fest på Hotell Anglais. Se gor har ventilerats för och emot sen åtminstone 10 år tillbaka. Förfat- rapporte- artikeln i detta nummer av Bulletinen där Barbro Matsson tarna hävdar nu att BM inte finns med i orkestern vid inspelningen rar från mötet. Det var svårt att hitta en dag som passade Alice under den 16 1929. Det r enbart två trumpetare i orkestern och i hennes besök i Sverige den här gången, men det gick till slut bra ianuari studion och det var Arthur Whetsol och Freddie Jenkins. -
1. William Dessau Collection
WILLIAM DESSAU COLLECTION Jesper Thilo & Bent Jædig Quintet WDC 1 Cph., Nytorv, May 3, 1987, Radio Jazz’ åbningsdag, PR musikere: JEspEr Thilo, ts, BEnt Jædig, ts, NiEls JørgEn SteEn, p, OlE SkippEr MoEsgaard, b, SvEnd Erik NørrEgaard, dr. 1. TollbridgE (ColEman Hawkins) 2. Doxy (Sonny Rollins) 3. Just FriEnds (John KlEnnEr) 4. What’s NEw (Bob Haggart) 5. Anthropology (GillEspiE/ParkEr) Radioens Big Band & Benny Carter WDC 2 Cph., MontmartrE, March 29, 1989, BEn WEbster PrisfEst, DR musikere: Bl. a. JEns WinthEr, Lars TogEby?, tp, VincEnt Nilsson, tb, JEspEr Thilo, as,cl, Jan zum VohrdE, fl, BEnt Jædig, ts, OlE Kock HansEn, p, Mads Vinding?, b, LEnnart Gruvstedt?, dr, BEnny Carter,as, cond, Henrik Wolsgaard IvErsEn, m.c. 1. WhEn Lights ArE Low (BC) 2. Symphony In Riffs (BC) 3. Hello (BC) 4. RemEmbEr (BC) 5. Day By Day (BC) 6. ThE GroovE Merchant (JEromE Richardson) 7. A LittlE Bit At A TimE (BC) 8. Coalition (BC) 9. Easy MonEy (BC) 10. SouvEnir (BC) NB FindEs ikkE i radioarkivEt. Bent SchjærFF & Gerhard Sieling WDC 3 Cph., MennEskEr MødEs: Søndagsgæsten, 1984 (?), DR musikere: BEnt Schjærff, p, GErhard SiEling, cl. 1. Poor Butterfly 2. InterviEw om dEn sEnE swingtid 1 3. Body And Soul 4. BluEs (trickindspilning) 5. Out Of NowhErE Lee Konitz & Butch Lacy WDC 4 Aarhus, BEnt J, Juni 1987, PR musikere: LeE Konitz, as, Butch Lacy, p. 1. Invitation (KapEr) 2. I’ll RemEmbEr April 3. LovEr Man Waltz 4. I RemEmbEr You 5. BubblEs, BanglEs and BEads 6. Just FriEnds 7. Darn That DrEam (van HeusEn) 8. In Your Own SwEEt way (Brubeck) 9. -
Download the Tenor Saxophone of Mikkel
1 The TENORSAX of MICHAEL FLAGSTAD “MIKKEL” Solographer: Jan Evensmo Last update: Aug. 18, 2017 2 Born: Oslo, April 23, 1930 Died: Oslo, June 29, 2005 Introduction: Mikkel Flagstad was a highly respected tenor saxophonist in the Norwegian jazz community. It should be mentioned that he was the nephew of the famous opera singer Kirsten Flagstad. His possibilities for a great career were cut short by having to remove one lung. Personally I never heard him play, but I met him in trying to identify the tenorsax soli with the Kjell Karlsen orchestra, a very kind and pleasant man. History: With Tage Wilford's orkester ca. 1945, school band at Riis 1945-46 (cl, as), professional musician 1946-70, with Hans Backe, Kjell Johansen's orchestra in Åsgårdstrand and touring Sweden 1948. Touring with Per Asplin same autumn, several jobs with Karl Otto Hoff a.o., in Den Norske Swing Klubb's orchestra 1949. One of the first to play real bebop in Norway. Led own bebop band autumn 1949 but no recordings exist. Played with Egil Monn-Iversen's orchestra 1951. Played with Ragnar Robertsen's and Kjell Johansen's experimental band 1952 (heavily influenced by Lennie Tristano) but left for Sweden later that year to work for Simon Brehm. Illness brought MF back to Norway in 1954, but one year later he was active again, with "Norsk Jazzelite" and Kjell Johansen's Radioband in 1955. Worked with Alf Søgaard and Aage Kjelstrup at Restaurant Humlen 1955-57. Illness brought MF back to Norway in 1954, but one year later he was active again, with "Norsk Jazzelite" and Kjell Johansen's Radioband in 1955. -
Meet Some of the Swinging Swedes
DO N BI 1 I NEWS-FEATURES Chicago, November 30, 195 Bouquet To Sweden Meet Some Of The Swinging Swedes By LEONARD FEATHER of Prestige records here, sounded New Tork—In a hastily-prepared, schnapps-splattered dis exactly like the Shearing quintet. patch from Stockholm which appeared in the Aug. 10 Beat, About 30, he’s from way up in Prestige Buys A this roving reporter promised to acquaint you at a later date, north Sweden, got a good educa tion at a school for the blind, both biographically and photographically, with some of the plays organ and good classics. Swedish Sides young Man who make the Swedish ---------- Looks like a young Charles Laugh jau picture so astonishingly bright 1 ton and has a similarly caustic New York—Swedish jazz wil to every visiting American. personality. get a big boost in the U.S.-as a On most instruments Sweden of- Was the big hit at the inter result of a series of deals recent!' fers a choice of several major tal national jazz festival held in Paris completed by Prestige records. ents. but for the present I’d like in 1949. Has blind wife and house In addition to the sides cut b to introduce mainly those who were maid, two siirhted children. Under Leonard Feather in Stockholm, re first-place winners in the poll con cently issued on a Prestige LP, th pseudonym "Hammond Olsen,” has ii ducted recently by Estrad. for made very successful comic corny same label will soon present which 25 Swedish jazz critics did duets, Twelfth St. -
Hans Backenroth Long Press English 2018
”One of the best bass players I’ve played with during my whole 60 year old career” - Junior Mance, pianist NYC - ”Hans Backenroth is maybe the best bass player Sweden has ever developed” - Arne Domnérus, altosax and clarinet, Swedish jazz legend Hans Backenroth (born in Karlstad 1966) Began to play classical guitar when he was 8 years old and 3 years later he started to play electric Bass. In 1985 he took up douBle Bass, inspiried By Bassists Paul Chambers, Ray Brown, Scott LaFaro and Niels-Henning Ørsted-Pedersen. Hans moved to Stockholm in 1986 for studies at Birkagården Music college, followed by 3 more years in the jazz department of the Royal College Of Music, Stockholm where he graduated in 1990. In 1991 Hans Backenroth got the offer to participate in a 4 week tour of the USA and Canada together with the swedish clarinet virtuoso Putte Wickman and his quartet (as a replacement for the great Bass player Red Mitchell). On that tour Hans also began to play with the legendary Swedish alto saxophonist/clarinettist Arne Domnérus – a relationship that lasted for 16 years! Since the mid nineties Hans has Been a first call Bass player in Sweden/Scandinavia and has played with almost all the Swedish jazz legends & artists like: Kjell Öhman, Arne Domnérus, Bernt Rosengren, Bengt HallBerg, Nisse Sandström, Putte Wickman, Rune Gustafsson, Alice BaBs, Jan Lundgren, Esbjörn Svensson, Monica Zetterlund, Malena Ernman, Olle Adolfsson, Sven-Bertil TauBe, Helen Sjöholm, Nils Landgren, Rolf Ericson, Red Mitchell’s Communication, Swedish Radiojazzgroup, -
Mini Biographies
MINI-BIOGRAPHIES by Mike Baggetta Derek Bailey (1932---), guitarist. Started out playing jazz in his hometown of Sheffield, England. Moved to London in 1966 to pursue free jazz with Evan Parker and Paul Rutherford and became a progenitor of free or what he called "non-idiomatic" improvisation. Member of Tony Oxley's sextet 1968---73 and founded record label Incus with Oxley and Evan Parker in 1970. Began Company Week from 1976, which featured rotating personnel, and has performed throughout the world in solo, duo, and various small ensembles. Author of Improvisation: Its Nature and Practice in Music. Ronnie Ball (1927---84), pianist. Led sessions with Ronnie Scott in England before moving to NYC in 1952 to study with Lennie Tristano. Worked with Chuck Wayne, Lee Konitz, and Dizzy Gillespie. Recorded with Hank Mobley, Art Pepper, and Kenny Clarke. In late 1950s performed with Warne Marsh, Buddy Rich, Kai Winding, Gene Krupa, and Roy Eldridge. In early 1960s performed with Chris Connor and recorded with Al Cohn, Zoot Sims, and Kenny Dorham in Rio de Janeiro. Joey Baron (1955---), drummer. Began playing drums in childhood, self-taught. 1985---95 member of Bill Frisell trio. Also performed with Dizzy Gillespie, Tony Bennett, Chet Baker, Art Pepper, Stan Getz, Lee Konitz, Joe Lovano, David Bowie, the Los Angeles Philharmonic, Phillip Glass, John Abercrombie, Pat Martino, Jim Hall, John Scofield, and Marc Johnson. Member of John Zorn's Naked City and Masada. Leads own groups Down Home with Ron Carter, Arthur Blythe, Frisell, and Killer Joey with Steve Cardenas, Brad Shepik, and Tony Scherr. -
Discography to Swingin' Swedes
Discography to Swingin’ Swedes This discography presents the American issues of recordings made in Sweden. The records are organized by the year in which they were issued in the United States. At the end of the document a list of contents can be found. 1950 Futurama 3011 Reinhold Svensson 1949-05-24 Sonora 7448, 7449 (disc no) (78) Reinhold Svensson (p), Putte Wickman (cl), Roland Bengtsson (b), Georg Oddner (dr) I'm Getting Sentimental over You / I Surrender Dear Futurama, 3013 Reinhold Svensson, 1949-05-24 Sonora 7448, 7449 (disc no) (78) Reinhold Svensson (p), Putte Wickman (cl), Roland Bengtsson (b), Georg Oddner (dr) Memories of Paris / There's a Small Hotel New Jazz 821 Arne Domnérus 1950 1949-08-20 Metronome MR 9B / (78) M10A Labeled as Arne Damnerus; Also issued on Prestige PRLP 134 Arne Dommnérus (cl), Ulf Linde (vib), Gösta Theselius (p), Leppe Sundevall (b), Jack Norén (dr) I've got my love to keep me warm / Body and Soul New Jazz 824 Reinhold Svensson 1950-02-14 Metronome MR 64A / MR 65A (78) Once in a While recorded on 1950/02/16 Ulf Linde (vib), Reinhold Svensson (p), Rolf Berg (g), Gunnar Almstedt (b), Anders Burman (dr) Dinah/Once in a while New Jazz 826 Reinhold Svensson 1950-02-16 Metronome MR 66A / MR 67A (78) also released on prlp 106 Ulf Linde (vib), Reinhold Svensson (p), Rolf Berg (g), Gunnar Almstedt (b), Anders Burman (dr) Sweet and Lovely/My Blue Heaven New Jazz 831 Arne Domnérus 1950-03-15 Metronome MR 74A / MR 75A (78) 'Cool Boy' is 'Chloe' (N Moret), as noted by Metronome and 'Flipped' is 'Stuffy' (C Hawkins);