Michel Camilo Tomatito Juan Luis Guerra
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PRESS RELEASE Jazz the Week up with Latin American Music From
PRESS RELEASE FOR IMMEDIATE RELEASE Date: 14 June 2019 Jazz the Week Up with Latin American Music from Michel Camilo and Ernest Martinez Izquierdo Swire Denim Series: Jazz with Michel Camilo (14 & 15 June) [14 June 2019, Hong Kong] The Hong Kong Philharmonic Orchestra (HK Phil) is excited to have Dominican jazz pianist and composer Michel Camilo and his Grammy-award winning partner, conductor Ernest Martinez Izquierdo, bringing a jazzy evening to the Hong Kong audience. In this Latin jazz concert, Michel Camilo’s Piano Concerto no.1 will be presented in Hong Kong for the first time together with Gershwin’s all-time favourite Rhapsody in Blue at the Hong Kong City Hall Concert Hall on 14 & 15 June. Underpinning the evening is the Hong Kong premiere of Michel Camilo’s Piano Concerto no.1. The three-part fantasia showcases Camilo’s superhuman keyboard virtuosity with a tropical tint. The work encompasses traditions from his own background while echoing early 20th composers such as Stravinsky and Copland. Argentinean composer Ginastera is acclaimed for infusing national elements with modernism. Inspired by the life on the ranches in Argentina, the Estancia Suite has colourful orchestration and bold harmonies. Combined with a large complement of percussion instruments, conductor Ernest Martinez Izquierdo invites you on a dancing journey to Argentina. “While Camilo plays 'the ink' of Gershwin's scores [Rhapsody in Blue], he embellishes the works with grooves and accents.” --- Billboard The night will be concluded by the pulsating Rhapsody in Blue, Gershwin’s most popular concert work. With the trademark glissando opening by the clarinet, be ready to swing with Camilo’s groovy playing. -
PASIC 2010 Program
201 PASIC November 10–13 • Indianapolis, IN PROGRAM PAS President’s Welcome 4 Special Thanks 6 Area Map and Restaurant Guide 8 Convention Center Map 10 Exhibitors by Name 12 Exhibit Hall Map 13 Exhibitors by Category 14 Exhibitor Company Descriptions 18 Artist Sponsors 34 Wednesday, November 10 Schedule of Events 42 Thursday, November 11 Schedule of Events 44 Friday, November 12 Schedule of Events 48 Saturday, November 13 Schedule of Events 52 Artists and Clinicians Bios 56 History of the Percussive Arts Society 90 PAS 2010 Awards 94 PASIC 2010 Advertisers 96 PAS President’s Welcome elcome 2010). On Friday (November 12, 2010) at Ten Drum Art Percussion Group from Wback to 1 P.M., Richard Cooke will lead a presen- Taiwan. This short presentation cer- Indianapolis tation on the acquisition and restora- emony provides us with an opportu- and our 35th tion of “Old Granddad,” Lou Harrison’s nity to honor and appreciate the hard Percussive unique gamelan that will include a short working people in our Society. Arts Society performance of this remarkable instru- This year’s PAS Hall of Fame recipi- International ment now on display in the plaza. Then, ents, Stanley Leonard, Walter Rosen- Convention! on Saturday (November 13, 2010) at berger and Jack DeJohnette will be We can now 1 P.M., PAS Historian James Strain will inducted on Friday evening at our Hall call Indy our home as we have dig into the PAS instrument collection of Fame Celebration. How exciting to settled nicely into our museum, office and showcase several rare and special add these great musicians to our very and convention space. -
Hybridity and Identity in the Pan-American Jazz Piano Tradition
Hybridity and Identity in the Pan-American Jazz Piano Tradition by William D. Scott Bachelor of Arts, Central Michigan University, 2011 Master of Music, University of Michigan, 2013 Master of Arts, University of Michigan, 2015 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2019 UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by William D. Scott It was defended on March 28, 2019 and approved by Mark A. Clague, PhD, Department of Music James P. Cassaro, MA, Department of Music Aaron J. Johnson, PhD, Department of Music Dissertation Advisor: Michael C. Heller, PhD, Department of Music ii Copyright © by William D. Scott 2019 iii Michael C. Heller, PhD Hybridity and Identity in the Pan-American Jazz Piano Tradition William D. Scott, PhD University of Pittsburgh, 2019 The term Latin jazz has often been employed by record labels, critics, and musicians alike to denote idioms ranging from Afro-Cuban music, to Brazilian samba and bossa nova, and more broadly to Latin American fusions with jazz. While many of these genres have coexisted under the Latin jazz heading in one manifestation or another, Panamanian pianist Danilo Pérez uses the expression “Pan-American jazz” to account for both the Afro-Cuban jazz tradition and non-Cuban Latin American fusions with jazz. Throughout this dissertation, I unpack the notion of Pan-American jazz from a variety of theoretical perspectives including Latinx identity discourse, transcription and musical analysis, and hybridity theory. -
Michel Camilo Trio & Luxembourg Jazz Orchestra Michel Camilo Trio Michel Camilo Piano Ricky Rodríguez Bass Mark Walker Drum
2018 20:00 20.11.Grand Auditorium Mardi / Dienstag / Tuesday Jazz & beyond / iPhil 13–17 ans Michel Camilo Trio & Luxembourg Jazz Orchestra Michel Camilo Trio Michel Camilo piano Ricky Rodríguez bass Mark Walker drums Luxembourg Jazz Orchestra Ernie Hammes conductor, trumpet Steve Greisch, David Ascani, Jitz Jeitz, Laurent Pierre, Georges Sadeler saxophone Melvin Burger, Serge Bausch, Carlo Nardozza, Patrice Lerech trumpet Jan Kamp, Laurent Lemaire, Jacques Reuter, Alex Brisbois trombone Eric Durrer percussion ~90’ sans pause iPhil Action n° 2: Artist talk Discussion with Ernie Hammes 19:00 Salle de Répétition II D’Knipserten Le célèbre caricaturiste allemand Der renommierte deutsche Karika- Martin Fengel (connu notamment turist Martin Fengel (bekannt u. a. pour ses contributions dans le aus dem Zeit-Magazin) begleitet Zeit-Magazin) ponctue les pro- die Abendprogramme der Saison grammes du soir de la saison 2018/19 mit Momentaufnahmen 2018/19 d’instantanés sur le thème zum Thema geräuschvollen Stö- des nuisances sonores dans les rens im Konzertsaal. Lassen Sie salles de concert. Laissez-vous sich durch die vergnügliche Dar- inspirer par cette présentation stellung zu rücksichtsvollem Musik- ludique, pour savourer la musique genuss inspirieren. en toute tranquillité. « L’âge d’or du jazz » Guillaume Bregeras Sous ses mains, le clavier tremble, incandescent. Une à une, les touches dansent, chahutent comme des enfants intrépides. Dans leur savante chorégraphie, elles révèlent l’un des pianistes les plus doués de sa génération, et le plus complet jamais sorti de République dominicaine. La perle des Caraïbes qui partage sa terre avec Haïti a produit moins de musiciens de renom que ses cousines cubaine ou portoricaine, mais possède une histoire artistique tout aussi riche. -
Sammy Figueroa Full
Sammy Figueroa has long been regarded as one of the world’s great musicians. As a much-admired percussionist he provided the rhythmical framework for hundreds of hits and countless recordings. Well-known for his versatility and professionalism, he is equally comfortable in a multitude of styles, from R & B to rock to pop to electronic to bebop to Latin to Brazilian to New Age. But Sammy is much more than a mere accompanist: when Sammy plays percussion he tells a story, taking the listener on a journey, and amazing audiences with both his flamboyant technique and his subtle nuance and phrasing. Sammy Figueroa is now considered to be the most likely candidate to inherit the mantles of Mongo Santamaria and Ray Barretto as one of the world’s great congueros. Sammy Figueroa was born in the Bronx, New York, the son of the well-known romantic singer Charlie Figueroa. His first professional experience came at the age of 18, while attending the University of Puerto Rico, with the band of bassist Bobby Valentin. During this time he co-founded the innovative Brazilian/Latin group Raices, which broke ground for many of today’s fusion bands. Raices was signed to a contract with Atlantic Records and Sammy returned to New York, where he was discovered by the great flautist Herbie Mann. Sammy immediately became one of the music world’s hottest players and within a year he had appeared with John McLaughlin, the Brecker Brothers and many of the world’s most famous pop artists. Since then, in a career spanning over thirty years, Sammy has played with a -
Capítulo XXVI SACRIFICIOS ESPIRITUALES DEL SACERDOCIO NEOTESTAMENTARIO
I N D I C E 18. El Tabernáculo .........................................................................................................339 19. Las Cortinas ...............................................................................................................401 20. Los Corchetes ...........................................................................................................420 21. Las Lazadas ...............................................................................................................438 22. Las tablas y las barras ...........................................................................................465 23. El altar de bronce ....................................................................................................483 24. EL Atrio .......................................................................................................................520 25. El real sacerdocio del Nuevo Testamento.....................................................536 26. Sacrificios espirituales del sacerdocio neotestamentario……………...544 27. Funciones del real sacerdocio ...........................................................................556 28. Visión general de las vestiduras sacerdotales ...........................................568 29. El efod ..........................................................................................................................580 30. El pectoral .................................................................................................................593 -
Grammy Latinos 2015
XVI Entrega Anual del Latin GRAMMY 2015 1 Grammy Latinos 2015 La artista mexicana Natalia Lafourcade se llevó cinco galardones, mientras que Juan Luis Guerra consiguió el de álbum del año La cantautora mexicana Natalia Lafourcade ha sido la triunfadora de la XVI entrega anual del Grammy Latino al obtener cinco galardones, pese a que Juan Luis Guerra se llevó la categoría estelar de álbum del año, con «Todo tiene su hora». Lafourcade, quien estaba nominada en seis categorías, se llevó de principio a fin la ceremonia gracias a su álbum «Hasta la raíz», que realizó al lado de Leonel García. La cantautora mexicana ganó en las categorías de mejor ingeniería de grabación, mejor canción de rock, mejor canción alternativa, mejor grabación del año y mejor canción del año. Natalia Lafourcade con sus múltiples premios durante la gala de los XVI Latin GRAMMY. Otro de los favoritos en esta edición junto con Lafourcade, el artista español Alejandro Sanz, se tuvo que conformar con el Grammy Latino a mejor álbum vocal contemporáneo por «Sirope». A su vez, el cantautor mexicano Leonel García, quien también estaba nominado en seis categorías, sólo obtuvo las de mejor canción del año y mejor canción alternativa, ambos en colaboración con Lafourcade. Juan Luis Guerra, quien ganó en álbum tropical contemporáneo y en canción tropical por «Tus besos», se convirtió en la sorpresa en la parte final de la ceremonia al llevarse el premio de mejor álbum del año por «Todo tiene su hora». «Quiero compartir este premio con los demás nominados. Es un gran placer siempre estar con ustedes. -
LBMO.Com - Latin Beat Magazine - Latin Music Magazine - Reviews
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Reviews http://www.latinbeatmagazine.com/reviews.html Home |Features | Columns |Hit Parades | Rev iews | Calendar |News |LB Style |Contacts | Shopping | E-Back Issues OCTOBER 2011 ISSUE PICK OF THE MONTH MARACA AND HIS LATIN JAZZ ALL STARS Reencuentros (Descarga Sarl) Recorded live at El Gran Teatro de La Habana’s García Lorca Concert Hall (in Havana, Cuba) on January 12, 2010, the latest offering of bandleader/flutist/composer Orlando Valle, better known as “Maraca” takes us on a journey of the 20th Century’s music of Cuba and the Caribbean. Armed with his magical flute, Maraca is accompanied by an all-star cast drawn from the world of Latin jazz: Horacio “El Negro” Hernández (drums), Giovanni Hidalgo (congas, timbal, batá), David Sánchez (sax), Hugh Fraser (trombone), Harold López-Nussa (piano), Feliciano Arango (bass), Julio Padrón Cintron Band Live (trumpet), Yusef Díaz (keyboards), Enrique Lazaga (güiro), and Human Nature Sayaka (violin), plus the participation of Orquesta de Cámara de La Habana (Havana Chamber Windows Media Orchestra). Maraca revisits classics such as Camerata en Guaguancó (a Guido López-Gavilán Quicktime composition), Serenata Cubana (an Ignacio Cervantes piece), and the Latin jazz anthem Manteca hereby offering one of the best contemporary version of this Pozo/Gillispie classic, performed by a quartet comprised of congas, drums, bass, and flute. As a matter of fact, Vanelis Maraca shines on his flutes throughout most of this concert, as well as via his original scores, Como Lo Extraño including the standouts Afro, Danzón Siglo XXI, and Nueva Era, but it’s his vision of this unique Windows Media production that truly sets him apart from many of his peers. -
Michel Camilo
This pdf was last updated: Jan/07/2011. Michel Camilo A pianist of tremendous technique and agility, Camilo's mixture of his native Caribbean rhythms with traditional jazz harmony enthrals audiences all over the world. In association with Redondo Music (USA). Line-up Michel Camilo - piano Also available: Duo with Tomatito, Duo with Chucho Valdes, Michel Camilo Trio Germany and Austria only! On Stage: 1-3 Travel Party: 2-4 Website www.michelcamilo.com Biography He is a composer and pianist extraordinaire. He is a bandleader, lecturer, and visiting professor. He is a chart- topping producer, a Grammy, Latin Grammy and Emmy award winner. He is the recipient of his native country's highest civilian honors. Michel Camilo is all of these things and more, wrapped in a human being of boundless enthusiasm, musical passion, and love of life. Michel Camilo is a pianist and composer from Santo Domingo, Dominican Republic. He is known as a great jazz, Latin and classical pianist with superb technical ability, and has played and recorded with many world-famous musicians. Michel lists some of his main influences as Chick Corea, Keith Jarrett, Oscar Peterson, Bill Evans, and Art Tatum. The artistry and virtuosity of Michel Camilo bridges the genres of Jazz, Classical, Popular and World music. He is a pianist with a brilliant technique and a composer who flavors his tunes with the spice of Caribbean rhythms and jazz harmonies. To see him perform live is to witness the energy of a tropical storm being unleashed on 88 keys. Academy Award-winning filmmaker Fernando Trueba, who featured Camilo in his documentary film Calle 54, says: 'Michel Camilo is one of the top all-around musicians. -
Expulsiones Exprés De Inmigrantes
2 I Ocio Latino Gobierno dominicano hará un estrecho seguimiento sobre el caso de su compatriota agredido Ocio Latino.-Un grupo de diplomáticos Una de las personas que participan en el dominicanos mantuvieron una reunión con suceso, una mujer que va de paisano y que la representantes de la Comisaría General de campaña identifica con una agente de Policía Extranjería y Fronteras para solicitar informa- Nacional, lanza el puño contra la zona en la ción con respecto al ciudadano dominicano que se encuentra el deportado en reiteradas que fue tratado con violencia durante su ocasiones. El vídeo se graba desde detrás, deportación, según el vídeo que se difundió por lo que el respaldo de los asientos impide en las redes sociales y que ha causado “per- apreciar dónde impactan los golpes. plejidad, desazón y deseos de justicia” en la sociedad dominicana, según manifiestan en La última imagen muestra como esta mujer un comunicado enviado a Ocio Latino desde señala directamente al teléfono con el que el la Embajada de la República Dominicana en pasajero está filmando toda la operación para Madrid. pedir a personal de la tripulación que le impida seguir grabando. La intención es conocer exactamente lo que sucedió durante el vuelo, donde según el La investigación de los hechos está en curso vídeo, de 1:52 minutos de duración, se apre- y los oficiales dominicanos podrán hacer un cia como cuatro personas, una de las cuales estrecho seguimiento del caso, informan en el lleva un chaleco identificativo de agente de comunicado oficial. policía y otro el uniforme, están reduciendo al supuesto inmigrante a deportar sobre su Las autoridades dominicanas han expresado asiento ante la mirada de dos miembros de la su preocupación, pero también su absoluta tripulación y varios pasajeros. -
Pentecostal Music in the Public Square: the Christian Songs and Music of Juan Luis Guerra
Te Asbury Journal 72/1: 60-77 © 2017 Asbury Teological Seminary DOI: 10.7252/Journal.01.2017S.05 Kelly J. Godoy de Danielson and Robert Danielson Pentecostal Music in the Public Square: The Christian Songs and Music of Juan Luis Guerra Abstract This article explores the issue of contextualization of music in Latin America, particularly through the lens of Pentecostal singer-songwriter Juan Luis Guerra and his story of healing and conversion. Instead of leaving the pop music scene that had made him famous, he chose instead to stay in pop music and introduce Pentecostal Christian songs into his secular albums and concerts. This is a continuation of a long history of creative contextualization by Pentecostal musicians in sharp contrast to mainline Protestants who still primarily rely on translations of English hymns and music in a world where music is an integral part of the culture. Keywords: music, Pentecostalism, Juan Luis Guerra, contextualization, Latin America Kelly J. Godoy de Danielson is a M.A. in Biblical Studies student at Asbury Theological Seminary. She is a native of El Salvador, where she grew up and worked as an English-as-a-Second-Language teacher in the public schools. Her father worked in radio, and so she developed an interest in Latin American popular music and its role in Hispanic culture. She continues to be interested in how language intersects with theology, both in biblical languages and in modern languages in today’s context. Robert Danielson is an affliate professor at Asbury Theological Seminary and is the Scholarly Communications Librarian for the Seminary. -
Introduction to Afro-Caribbean Performance
By Professor Tonatiuh Vázquez Vilchis – tonatiuhvazquez.com Introduction to Afro-Caribbean Performance Claves Africa Bembe/Abakúa 1 Caribbean Islands 2 Son Clave 3-2 (A) 3 Rumba Clave 3-2 (B) 4 2 Introduction to the Afro-Cuban Performance Brazil 5 Bossa Nova 6 North America 7 New Orleans 7.1 By Professor Tonatiuh Vázquez Vilchis – tonatiuhvazquez.com Percussion “Son” Conga 1 Fingers Fingers Fingers Palm Abajo (down) basic pattern normally played in soft and quiet sections, introductions, solo beginnings, etc. 2 2.1 4 Introduction to the Afro-Cuban Performance Arriba (up) variation of the basic pattern usually played at strong sections, climax, etc. 3 3.1 By Professor Tonatiuh Vázquez Vilchis – tonatiuhvazquez.com Timbal Abajo (down) 1 1.1 Arriba (up) 2 2.1 6 Introduction to the Afro-Cuban Performance Bongó Abajo (down) 1 1.1 Arriba (up) 2 2.1 By Professor Tonatiuh Vázquez Vilchis – tonatiuhvazquez.com Percussion to Drums Abajo (down) 1 1.1 Arriva (up) 2 2.1 8 Introduction to the Afro-Cuban Performance Bass 1 1.1 2 2.1 3 (Mambo) By Professor Tonatiuh Vázquez Vilchis – tonatiuhvazquez.com 3.1 (Mambo) 2 chords per measure 4 10 Introduction to the Afro-Cuban Performance Piano Piano voicings featuring 3rds and 7ths 1 Dm7 G7 CΔ è Dm7 G7 CΔ Piano Montuno Rebeca Mauleon 1 1.1 2 By Professor Tonatiuh Vázquez Vilchis – tonatiuhvazquez.com 2.1 Luis Marin 3 3.1 Piano, Tres Cubano and Guitar 4 4.1 12 Introduction to the Afro-Cuban Performance 2 chords per measure 5 Melody By Professor Tonatiuh Vázquez Vilchis – tonatiuhvazquez.com 14 Introduction to the Afro-Cuban Performance Some Latino-American Rhythms/Styles Brazil Argentina Peru Venezuela Samba Tango Lando Joropo Bossa Nova Chacarera Festejo Merengue Venezolano Baião Zamba Marinera Gaita Partido Alto Vals Chorinho Colombia Panama Puerto Rico Rep.