DOCSLIB.ORG

The Best of Polish Jazz

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Best of Polish Jazz PRESS INFO JAZZTOPAD FESTIVAL AND THE POLISH CULTURAL INSTITUTE NEW YORK present JAZZTOPAD FESTIVAL PRESENTS: THE BEST OF POLISH JAZZ WEDNESDAY, JUNE 21, 2017 - THURSDAY, JUNE 29, 2017 DIZZY’S CLUB COCA-COLA, NATIONAL SAWDUST, JOE’S PUB, THE JAZZ GALLERY, MILLENNIUM STAGE, TD VANCOUVER INTERNATIONAL JAZZ FESTIVAL, TD VICTORIA INTERNATIONAL JAZZ FESTIVAL “The Jazztopad Festival, a leading event of its kind in Poland…”– Nate Chinen, The New York Times “…top flight musicians will celebrate improvisation on stage in the homeland of Jazz, the United States…" – Bonnie Johnson, WICN “Colors of Jazz” “The Jazztopad Festival brings together the jazz movement that is happening in Europe to the USA…” – Tim Longo, Sneek City “…Jazztopad stands as an internationally renowned festival with a clearly defined ethos, one that combines a strong respect for the traditions and roots of the music with a progressive vision that provides a platform for the contemporary and innovative.” – Ian Patterson, All About Jazz For the third time, a special edition of Wroclaw’s Jazztopad Festival will be held in the United States and Canada, in partnership with the Polish Cultural Institute New York and with support from the Adam Mickiewicz Institute. This June, leading Polish jazz and contemporary music ensembles and artists Wójcinski/Szmanda Quartet, Stryjo, Marcin Masecki, Jerzy Rogiewicz, and the Lutoslawski Quartet will perform in New York, Washington DC, and Vancouver. Distinguished artists from previous editions of Jazztopad, including Erik Friedlander, Mark Feldman and Sylvie Courvoisier, will join the Polish musicians. Artists from Poland will play at the prestigious Jazz at Lincoln Center, at The Jazz Gallery, eclectic Joe’s Pub at The Public Theater, Millennium Stage at the Kennedy Center, and at the popular TD Vancouver International Jazz Festival. Mark Feldman and Sylvie Courvoisier will join the Polish musicians at the National Sawdust. Erik Friedlander will join forces with the Polish performers at The Jazz Gallery. Jazztopad Festival, the leading event of its kind in Poland, has organized its satellite editions all over the world (Japan, Turkey, South Korea). For over ten years, the festival has been commissioning music from some of the most important American artists including Wayne Shorter, Charles Lloyd, Jason Moran, William Parker, Vijay Iyer and Terence Blanchard. The international creative partnerships of Jazztopad include such prestigious organizations as Jazz at Lincoln Center, Monterey Jazz Festival, Kennedy Center, London Jazz Festival and LA Philharmonic. Live recordings from the festival have been released on ECM and Blue Note Records. The American edition of Jazztopad Festival will be above all an opportunity to discover the most important artists from the Polish contemporary jazz scene which has been a strongly recognizable brand in the world, both in terms of quality of festivals and the craft of artists. It will be also an occasion to hear music that has never been performed outside of Poland including premiere of Mark Feldman’s piece commissioned by Jazztopad. The American edition of the Jazztopad Festival is presented by the National Forum of Music, the Polish Cultural Institute New York, in collaboration with Jazz at Lincoln Center, National Sawdust, The Jazz Gallery, Joe’s Pub at the Public Theater, Millennium Stage at the Kennedy Center, TD Victoria Jazz Festival and TD Vancouver International Jazz Festival. Co-Partners: The Adam Mickiewicz Institute / Culture.pl, Embassy of the Republic of Poland in Washington, D.C. Schedule Jazztopad Festival Presents: The Best of Polish Jazz Wednesday, June 21, 2017 - Thursday, June 29, 2017 USA Wednesday, 21 June 2017, 6:00 pm Jazztopad Festival Presents: Marcin Masecki feat. Jerzy Rogiewicz: Ragtime Kennedy Center - Millennium Stage 2700 F Street, NW, Washington, DC 20566 Wednesday, 21 June 2017, 7:30 and 9:30 pm Jazztopad Festival Presents: Stryjo, Wójcinski/Szmanda Quartet Dizzy’s Club Coca-Cola / Jazz at Lincoln Center 10 Columbus Circle, 5th Floor New York, NY 10019 Thursday, 22 June 2017, 7:30 and 9:30 pm Jazztopad Festival Presents: Stryjo, Wójcinski/Szmanda Quartet Dizzy’s Club Coca-Cola / Jazz at Lincoln Center 10 Columbus Circle, 5th Floor New York, NY 10019 Friday, 23 June 2017, 7:30 pm Jazztopad Festival Presents: Marcin Masecki feat. Jerzy Rogiewicz: Ragtime Joe’s Pub at The Public The Public Theater 425 Lafayette Street (at Astor Place) New York, NY 10003 Saturday, 24 June 2017, 07:30 and 09:30 pm Jazztopad Festival Presents: Wójcinski/Szmanda Quartet with Erik Friedlander The Jazz Gallery 1160 Broadway, 5th Floor New York, NY 10001 Sunday, June 25 2017, 4:00 pm Jazztopad Festival Presents: Lutoslawski Quartet with Mark Feldman & Sylvie Courvoisier National Sawdust 80 N 6th St. Brooklyn, NY 11249 CANADA Wednesday, 28 June 2017, 8:30 pm Jazztopad Festival Presents: Wójcinski/Szmanda Quartet TD Victoria International Jazz Festival 345 Quebec Street, Victoria, BC V8V 1W4 Thursday, 29 June 2017, 2:30 pm Jazztopad Festival Presents: Wójcinski/Szmanda Quartet TD Vancouver International Jazz Festival 295 W 7th Ave, Vancouver, BC V5Y 1L9 More about the artists Wójcinski/Szmanda Quartet formed in 2015 (Szymon Wojcinski – piano, Maurycy Wojcinski – trumpet, Ksawery Wojcinski – double bass, Krzysztof Szmanda – drums) and immediately caught the attention of jazz fans. The idea of the quartet came from the three Wójcinski brothers: after years of independent activities in various line-ups they decided to create a new band and invited the esteemed drummer Krzysztof Szmanda to join. Their compositions rely on “an effortless, remarkably peaceful development of a theme, which then evolves into a parade of improvisation, but one that is still within the frames of composition, making the listener fall into a kind of trance.” Ksawery Wojcinski is a double bassist, composer, and a versatile musician with a great sensitivity to sound. His interests span from early music to contemporary improvisation. His collaborators include Charles Gayle, Uri Caine, Michael Zerang, Satoko Fujii, Nicole Mitchell, Tim Sparks, Ken Vandermark, Mats Gustafsson and Waclaw Zimpel. He is a member of several bands, has made a dozen recordings and performed at prestigious festivals in Poland and internationally. 2014 saw the release of his solo album The Soul. Krzysztof Szmanda graduated from the Fryderyk Chopin Academy of Music in Warsaw. Later, he continued his postgraduate studies at the USC Thornton School of Music in Los Angeles, where he mastered his skills with Peter Erskine, Leon “Ndugu” Chancler and Erik Forrester. He is the founder of the Poznan-based group Soundcheck, winner of numerous awards, including the International Jazz and Blues competition in Usti nad Labem (Czech Republic), and the Grand Prix at the Jazz on the Odra Festival in Wroclaw. Szymon Wojcinski is a pianist, composer, and arranger with a wide stylistic interest, from classical, through jazz, to contemporary improvised music. He reached the final of Jazz Juniors Festival in 2002 with the band Emergency. He has toured with Sylwia Bialas and Hans Peter Salentin with the European Jazz Ensemble. Maurycy Wojcinski is a jazz trumpeter, graduate of the Karol Lipinski Academy of Music in Wroclaw, where he is also a faculty member. He has collaborated with major Polish and international bands and performed with leading Polish and Japanese artists, among others. He is a winner of numerous Polish and international awards and competitions. Stryjo (Nikola Kolodziejczyk – piano, Maciej Szczycinski – double bass, Michal Bryndal – drums) breaks the scheme of a jazz trio and employs democracy and interaction in place of leadership and competition. After touring with original compositions, they gradually started to improvise whole concerts, inventing compositions as they went. When improvising, they go beyond the typical building blocks of a trio idiom with a linear storytelling. It is modern European jazz, referring to the roots of classical music, drawing inspiration from Polish folk music, flamenco, disco, punk, IDM and World Music. They have gathered critical acclaim and won several Polish music awards, including the Fryderyk award – a Polish counterpart to the American Grammy. Marcin Masecki is joined by drummer Jerzy Rogiewicz in a program of classic Ragtimes and stride- piano hits. The music of James P. Johnson, Fats Waller and Eubie Blake is presented along with their Polish counterparts Henryk Wars and Jerzy Petersburski. Ragtime is one of Masecki’s many facets. This year he released his fifth album of classical music (Chopin Nocturnes), he leads several bands of different sizes and genres (the jazz sextet Profesjonalizm, the brass band Polonezy), he performs as soloist with classical orchestras (Arte dei Suonatori, Capella Cracoviensis, Poznan Philharmonia) and works with a great variety of musicians in improvised concerts (Ziv Ravitz, Barry Guy, Tomasz Stanko). He is also a curator of musical events, including last summer’s Transkrypcje Festival in Warsaw, focusing on modern transcriptions of Beethoven’s Symphonies. Masecki is regularly invited to festivals and ensembles as a composer. Recently, his new piece for choir and big band, “We Are Crying,” was premiered at Wroclaw’s Jazztopad Festival. In all his projects, Masecki elegantly fuses the different styles he works in, blurring the line between so-called high art and entertainment. Since 2010 he was been working closely with Jerzy Rogiewicz, drummer, pianist and composer. Their last collaboration
Load more

Recommended publications
  • Acclaimed Drummer-Composer John
    Bio information: THE CLAUDIA QUINTET Title: SUPER PETITE (Cuneiform Rune 427) Format: CD / DIGITAL RELEASE DATE: JUNE 24, 2016 Cuneiform promotion dept: (301) 589-8894 / fax (301) 589-1819 email: joyce [-at-] cuneiformrecords.com (Press & world radio); radio [-at-] cuneiformrecords.com (North American & world radio) www.cuneiformrecords.com FILE UNDER: JAZZ / POST-JAZZ Acclaimed Drummer-Composer John Hollenbeck Pens Rich, Complex Tunes for an Era of Short Attention Spans on The Claudia Quintet's 8th album – Super Petite – a Potent Package that Condenses Virtuoso Playing and a Wealth of Ideas into Ten Compact Songs Short doesn’t necessarily mean simple. Drummer-composer John Hollenbeck acrobatically explores the dichotomy between brevity and complexity on Super Petite, the eighth release by the critically acclaimed, proudly eccentric Claudia Quintet. The oxymoronic title of the band’s newest album on Cuneiform Records captures the essence of its ten new compositions, which pack all of the wit and virtuosity that listeners have come to expect from the Claudia Quintet into the time frame of radio-friendly pop songs. As always, Hollenbeck’s uncategorizable music – which bridges the worlds of modern jazz and new music in surprising and inventive ways - is realized by Claudia’s longstanding line-up: clarinetist/tenor saxophonist Chris Speed, vibraphonist Matt Moran, bassist Drew Gress, and accordionist Red Wierenga. Over the course of 19 years and 8 albums, the band has forged an astounding chemistry and become expert at juggling mind-boggling dexterity with inviting emotion and spirit. Like the band’s name, the title Super Petite originated as an affectionate nickname for one of the band’s fans.
    [Show full text]
  • Jazz in Poland. Improvised Freedom | Pol-Int
    Pol-Int MONOGRAPHIE Jazz in Poland. Improvised Freedom Beitrag vom: 16.03.2016 Rezension von Dr. Lisa Jakelski Redaktionell betreut von Dorothea Traupe Poland in the 1950s and 1960s boasted a jazz scene of remarkable vibrancy. State-sponsored festivals in Sopot and Warsaw gave audiences the chance to hear jazz performers from all over the world. Local groups crafted their own sound, releasing seminal recordings such as the Krzysztof Komeda Quintet's Astigmatic (1966). The sounds of jazz permeated the films of Andrzej Wajda and Roman Polański. An important part of Poland's cultural and social history during the post-Stalin Thaw, jazz remains a lively element in the country's contemporary musical life. Igor Pietraszewski's Jazz in Poland: Improvised Freedom investigates Polish jazz as both a historical and present- day phenomenon. The second in the Jazz Under State Socialism Series edited by Gertrud Pickhan and Rüdiger Ritter, this book is part of an ongoing effort to understand the significance of jazz in the cultures and societies of East-Central Europe. Pietraszewski is ideally placed to carry out such a study. His experiences as a jazz saxophonist and board member of the Jazz on the Odra Festival in Wrocław give him an insider's insight into the musical world he describes. His training as a sociologist, on the other hand, enables him to approach his subject with an outsider's detachment. Pietraszewski draws on survey responses, interviews, print and other media sources, and scholarship by sociologists and cultural historians in an analysis that proceeds systematically from theory to data.
    [Show full text]
  • Kultura Muzyczna W Polsce D
    Katarzyna Janczewska-Sołomko KULTURA MUZYCZNA W POLSCE DWUDZIESTOLECIA MIĘDZYWOJENNEGO (NA PRZYKŁADZIE NAGRAŃ) Skrót Rok 1919 jest – jak wiadomo – ważny dla historii Europy, w tym także dla historii Polski. Był to początek funkcjonowania krajów w nowych granicach geograficznych, w nowych warunkach politycznych, ze świadomością początków nowej ery i możliwości istnienia w okolicznościach pokojowych. Dwudziestolecie międzywojenne było w Polsce okresem wielkich przemian; oznaczało między innymi odbudowę instytucji niezależnych od obcej ingerencji, a także zmianę potrzeb w sferze kultury. Prężnie działały czołowe instytucje kultury (Filharmonia Warszawska, Opera Warszawska), duże ożywienie związane było z organizacją pierwszych konkursów międzynarodowych: w 1927 r. im. F. Chopina i w 1935 – im. H. Wieniawskiego. W Polsce koncertowali czołowi polscy artyści (m.in. Ignacy Jan Paderewski, Artur Rubinstein, Ignacy Friedman, Bronisław Huberman, Henryk Szeryng, Ewa Bandrowska-Turska, zaczyna swoją wspaniałą karierę Witold Małcużyński) i wielu wybitnych wykonawców z zagranicy. Powstają liczne chóry i zespoły instrumentalne. W repertuarze koncertowym coraz częściej pojawiają się utwory m.in. Karola Szymanowskiego i innych polskich twórców tego okresu. Lata 1919-1939 w Polsce to także okres rozkwitu teatrzyków i kabaretów, spośród najbardziej znane to Morskie Oko oraz Qui pro quo. Na potrzeby polskich odbiorców do piosenek obcej proweniencji autorzy często tworzyli nowe teksty i utwór zaczynał żyć własnym życiem; w niepamięć szedł autor oryginału… Mistrzami polskich wersji tekstów zagranicznych byli Marian Hemar, Andrzej Włast, Emanuel Schlechter, a także Julian Tuwim i inni. Teatrzyki i kabarety lansowały przeboje, ale było to głównie zasługą wykonawców; legendarna Hanka Ordonówna, Tola Mankiewiczówna, Zofia Terné, Mira Zimińska, Eugeniusza Bodo , Mieczysław Fogg – to tylko niektórzy z nich. Ponadto istniały chóry rewelersów, spośród których najbardziej popularny był Chór Dana, kierowany przez Władysława Daniłowskiego, psed.
    [Show full text]
  • John Zorn : Jak Być Żydowskim Postmodernistą (Albo Postmodernistycznym Żydem)?
    Michał Wandzilak, Mariusz Czubaj John Zorn : jak być żydowskim postmodernistą (albo postmodernistycznym Żydem)? Kultura Popularna nr 3 (45), 18-27 2015 18 kultura popularna 2015 nr 3 (45) Michał Wandzilak, Mariusz Czubaj John Zorn: jak być żydowskim postmodernistą (albo postmoderni- stycznym Żydem)? - - - - - DOI: 10.5604/16448340.1198419 Michał Wandzilak, Mariusz Czubaj J o h n Z o r n 19 Michał Wandzilak – Dla każdego czytelnika, choćby pobieżnie zaznajomionego z dorobkiem Johna (ur. 1989) absolwent Zorna, próba analitycznego ujęcia dokonań tego twórcy zwiastować musi Akademii Muzycznej im. nadciągającą lawinę komplikacji. Chociaż rozmaici autorzy coraz częściej Stanisława Moniuszki w Gdańsku w klasie for- mierzą się z tym karkołomnym zadaniem na łamach naukowych publikacji, tepianu jazzowego oraz niewątpliwie zasłużona w badaniach jest szara strefa internetowych stron Instytutu Kultury Uniwer- i blogów poświęconych tematyce muzycznej. Tam stawiano pierwsze kroki sytetu Jagiellońskiego. Muzyk (gra między inny- : na drodze do wydobycia sensu, przeniknięcia, zrozumienia często bardzo mi w zespole Świetliki). nieprzystępnych dzieł Johna Zorna. Czemu więc tak prominentny twórca Mariusz Czubaj – awangardy ciągle znajduje się na peryferiach piśmiennictwa muzycznego? (ur. 1969) profesor A także – dodajmy – na marginesie refleksji kulturoznawczej i antropolo‑ antropologii kultury na gicznej, chociaż jego twórczość (o czym będzie tu mowa) ukazuje, w rzadko Uniwersytecie Huma- nistycznospołecznym spotykanej gęstości, dylematy kultury współczesnej.
    [Show full text]
  • Джоð½ Зоñ€Ð½ Ð​лÐ
    Джон Зорн ÐÐ​ »Ð±ÑƒÐ¼ ÑÐ​ ¿Ð¸ÑÑ​ ŠÐº (Ð ´Ð¸ÑÐ​ ºÐ¾Ð³Ñ€Ð°Ñ„иÑÑ​ ‚а & график) The Big Gundown https://bg.listvote.com/lists/music/albums/the-big-gundown-849633/songs Spy vs Spy https://bg.listvote.com/lists/music/albums/spy-vs-spy-249882/songs Buck Jam Tonic https://bg.listvote.com/lists/music/albums/buck-jam-tonic-2927453/songs https://bg.listvote.com/lists/music/albums/six-litanies-for-heliogabalus- Six Litanies for Heliogabalus 3485596/songs Late Works https://bg.listvote.com/lists/music/albums/late-works-3218450/songs https://bg.listvote.com/lists/music/albums/templars%3A-in-sacred-blood- Templars: In Sacred Blood 3493947/songs https://bg.listvote.com/lists/music/albums/moonchild%3A-songs-without-words- Moonchild: Songs Without Words 3323574/songs The Crucible https://bg.listvote.com/lists/music/albums/the-crucible-966286/songs Ipsissimus https://bg.listvote.com/lists/music/albums/ipsissimus-3154239/songs The Concealed https://bg.listvote.com/lists/music/albums/the-concealed-1825565/songs Spillane https://bg.listvote.com/lists/music/albums/spillane-847460/songs Mount Analogue https://bg.listvote.com/lists/music/albums/mount-analogue-3326006/songs Locus Solus https://bg.listvote.com/lists/music/albums/locus-solus-3257777/songs https://bg.listvote.com/lists/music/albums/at-the-gates-of-paradise- At the Gates of Paradise 2868730/songs Ganryu Island https://bg.listvote.com/lists/music/albums/ganryu-island-3095196/songs The Mysteries https://bg.listvote.com/lists/music/albums/the-mysteries-15077054/songs A Vision in Blakelight
    [Show full text]
  • 1St International Zbigniew Seifert Jazz Violin Competition / PROGRAM
    / PROGRAM 1st International Zbigniew Seifert Jazz Violin Competition 16th – 19th July 2014 / Lusławice, Kraków A Competition held under the Honorary Patronage of the President of the Academy of Music in Cracow, in cooperation with the “Emanations” Festival and the Summer Jazz Festival at Piwnica pod Baranami. Organizer: Partners: The Competition project has been made possible by the financial support of the Ministry of Culture and National Heritage, the Małopolska Province and Kraków City Council. Media Patrons: 2 1st International Zbigniew Seifert Jazz Violin Competition 16 JULY 2014 7 pm The European Krzysztof Penderecki Centre for Music in Lusławice semifinal auditions 17 JULY 2014 7 pm The European Krzysztof Penderecki Centre for Music in Lusławice semifinal auditions 18 JULY 2014 7 pm The European Krzysztof Penderecki Centre for Music in Lusławice final auditions 19 LIPCA 2014 r. 7 pm Manggha Museum of Japanese Art and Technology in Cracow gala concert www.seifertcompetition.com 3 n love with the music of John Coltrane, he originally took up the saxophone, and soon afterwards - set up ZBIGNIEW his first ensemble, the Zbig- Iniew Seifert Quartet, where he played with Jan Jarczyk, Jan Gonciarczyk and Janusz SEIFERT Stefański. Uncompromising and very daring in their artistic AN ICON OF THE JAZZ VIOLIN aims from the very start, they won the 2nd (1968) and then the Born in Cracow, he was associated with that city almost 1st (1969) prize at the Jazz on throughout his life. It was there that he completed primary and the Oder Festival, while Seifert secondary music schools and where he graduated from the himself took individual prizes.
    [Show full text]
  • Liebman Expansions
    MAY 2016—ISSUE 169 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM DAVE LIEBMAN EXPANSIONS CHICO NIK HOD LARS FREEMAN BÄRTSCH O’BRIEN GULLIN Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East MAY 2016—ISSUE 169 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : Chico Freeman 6 by terrell holmes [email protected] Andrey Henkin: [email protected] Artist Feature : Nik Bärtsch 7 by andrey henkin General Inquiries: [email protected] On The Cover : Dave Liebman 8 by ken dryden Advertising: [email protected] Encore : Hod O’Brien by thomas conrad Editorial: 10 [email protected] Calendar: Lest We Forget : Lars Gullin 10 by clifford allen [email protected] VOXNews: LAbel Spotlight : Rudi Records by ken waxman [email protected] 11 Letters to the Editor: [email protected] VOXNEWS 11 by suzanne lorge US Subscription rates: 12 issues, $40 Canada Subscription rates: 12 issues, $45 In Memoriam 12 by andrey henkin International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or money order to the address above CD Reviews or email [email protected] 14 Staff Writers Miscellany David R. Adler, Clifford Allen, 37 Duck Baker, Fred Bouchard, Stuart Broomer, Thomas Conrad, Ken Dryden, Donald Elfman, Event Calendar 38 Philip Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo, Suzanne Lorge, Marc Medwin, Ken Micallef, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Andrew Vélez, Ken Waxman Tracing the history of jazz is putting pins in a map of the world.
    [Show full text]
  • 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]
  • 132 New on Maybe Monday
    New on INTAKT RECORDS www.intaktrec.ch One marker of bassist Michael Formanek's creativity and versatility is the range of distinguished musicians of several generations he's worked with. While still a teenager in the 1970s he toured with drummer Tony Williams and saxophonist Joe Henderson. Starting in the '80s he played long stints with Stan Getz, Fred Hersch and Freddie Hubbard. Formanek is also a composer and leader of various bands. One of his principal recording and international touring vehicles has been his acclaimed quartet with Tim Berne, Craig Taborn and Gerald Cleaver. His occasional groups include the 18-piece all-star Ensemble Kolos- sus, roping in many New York improvisers he works with. Currently his primary focus is the Michael Formanek Elusion Quartet with Tony Malaby, Kris Davis, and Ches Smith. In putting together the Elusion Quartet, interpreting his music with these specific musicians, Michael Formanek says he sought “a more direct connection to emotions: mine, theirs and the listener’s.” Hank Shteamer writes in the liner notes: "As one zeroes in on the details of Time Like This, it's clear that this sort of emotional immediacy permeates the album. You hear it in Kris Davis’ flowing, balletic solo on “A Fine Mess”; in Tony Malaby's ululating tenor cries on “The Soul Goodbye”; in Ches Smith’s raucous grooves on “That Was Then”; or the leader’s poised, sinewy lines on “Culture of None.” Elusive? MicHaeL FOrManek Certainly. But as this album proves, under the right conditions, with the eLusiOn QuarTeT right personnel, it’s still out there." Der New Yorker Bassist und Komponist Michael Formanek präsen- TIME LIKE THIS tiert mit seinem Elusion Quartett ein neues, wegweisendes Projekt.
    [Show full text]
  • Jazz: a Celebration of Freedom
    Two Freedoms, Two Independences 61 Megan Roy Will Jazz: A Celebration of Freedom Introduction Jazz has long been a symbol of freedom in the United States. Born out of racial strife and ethnic tension, this art form provided an escape and opportunity for those living in a post-Civil War America. Developed around the turn of the 20th century in New Orleans, jazz gained popularity and began to change, adjusting to the current cultural climate while maintaining its meaning of freedom and personal independence. A message like this could not be contained, and soon spread around the globe across radio airwaves and by means of traveling musicians. Many nations welcomed this music that bore the mark of freedom, but few embraced it as exuber- antly as Poland. After the fallout from the Second World War, the Polish nation was thrown into the dark ages of communism. It was during this time that jazz was clung to as a symbol of freedom, and a means of individual expression. Adopted and fostered by Polish musicians, jazz began to take on new and different sounds, eventually leading to the invention of a uniquely Polish style. The purpose of this article is to investigate why jazz stands as a symbol of freedom in both the American and Polish cultures, and how the ideas of freedom and independence are expressed through this music in each country. Historical and Cultural Context Jazz is considered a truly American invention, one that emerged in the late nine- teenth century largely due to the mixing of various peoples and the tension that resulted from the American Civil War.
    [Show full text]
  • Conference Faculty Jason Adler
    Conference Faculty Jason Adler...................................................................................................................................... 1 Mark A. Cohen................................................................................................................................ 2 Hon. Linda Kuczma ........................................................................................................................ 3 Hon. Pauline Newman .................................................................................................................... 4 Carlos Aboim .................................................................................................................................. 5 Kenneth R. Adamo.......................................................................................................................... 6 Themi Anagnos ............................................................................................................................... 7 Ian Ballon ........................................................................................................................................ 8 Patrick G. Burns .............................................................................................................................. 9 Christopher V. Carani ................................................................................................................... 10 Charisse Castagnoli ......................................................................................................................
    [Show full text]
  • TT-2019-Versie 11
    PROGRAM PROGRAM SUBJECT TO CHANGE FRIDAY JULY 12 FOR LATEST CHANGES, CHECK: WWW.NORTHSEAJAZZ.COM 15:00 15:30 16:00 16:30 17:00 17:30 18:00 18:30 19:00 19:30 20:00 20:30 21:00 21:30 22:00 22:30 23:00 23:30 00:00 00:30 AHOY OPEN: 14:30 BURT AMAZON DIANA KRALL BACHARACH GILBERTO GIL GARY BARTZ CHUCHO VALDES STEVE GADD BAND ANOTHER EARTH ORQUESTA AKOKÁN HUDSON featuring RAVI COLTRANE JAZZ BATÁ & CHARLES TOLLIVER CURTIS NILE HARDING RAG’N’BONEMAN JOE JACKSON TOWER OF POWER JOSÉ JAMES LEAN ON ME BLOOD ORANGE ANITA BAKER JACOB BANKS MAAS with NOORDPOOL ORKEST MAKAYA McCRAVEN ARTIST IN RESIDENCE BRAXTON COOK UNIVERSAL BEINGS ROBERT GLASPER THE INTERNET CONGO with BRANDEE YOUNGER with CHRIS DAVE, DERRICK HODGE and JOEL ROSS and special guest YASIIN BEY CONGO SON SWAGGA SON SWAGGA THEON CROSS THEON CROSS SQUARE VERSIE 11 - 26 JUNI 2019 15:00 15:30 16:00 16:30 17:00 17:30 18:00 18:30 19:00 19:30 20:00 20:30 21:00 21:30 22:00 22:30 23:00 23:30 00:00 00:30 JOHN ZORN PRESENTS BAGATELLES MARATHON featuring MASADA, SYLVIE COURVOISIER and MARK FELDMAN, MARY HALVORSON QUARTET, CRAIG TABORN, NIK BÄRTSCH’S DARLING TRIGGER, ERIK FRIEDLANDER and MIKE NICOLAS, JOHN MEDESKI TRIO, NOVA QUARTET, GYAN RILEY and JULIAN LAGE, RONIN BRIAN MARSELLA TRIO, IKUE MORI, KRIS DAVIS, PETER EVANS, ASMODEUS DAFNIS PRIETO RYMDEN CHRISTIAN SANDS BUGGE WESSELTOFT BEN WENDEL BOB REYNOLDS MADEIRA BIG BAND TRIO DAN BERGLUND, SEASONS BAND GROUP feat.
    [Show full text]