Swedish Jazz Pianist Joel Lyssarides Chooses Pindify for His Release Concert at the Stockholm Jazz Festival

Total Page:16

File Type:pdf, Size:1020Kb

Swedish Jazz Pianist Joel Lyssarides Chooses Pindify for His Release Concert at the Stockholm Jazz Festival Press release Stockholm 2019-10-10 Swedish jazz pianist Joel Lyssarides chooses Pindify for his release concert at the Stockholm Jazz Festival The digital platform Pindify has significantly increased its number of users since last spring. The World-renowned Swedish jazz pianist Joel Lyssarides recently joined Pindify to gather his fans and followers and build a solid community on the platform. Joel Lyssarides is performing an album release concert at Södra Teatern on the 13th of October, as a part of Stockholm Jazzfestival. The concert will be recorded and later streamed on Pindify. Pindify is the new digital marketplace for lifestyle, entertainment, and media, where creatives, artists, and influencers can manage their content, fan relationships, and earn revenue. The earnings can be made through subscriptions, e-commerce, and built-in platform features like sponsorships, co- ownerships, and donations. Pindify, which was founded by Christoffer Wallin, was officially launched in 2018, and in Q4 of 2019, Pindify will launch on the international scene with an offensive global marketing campaigns in collaboration with Chimney Group and Tailify. “Pindify is a great platform for me and my fans. On Pindify I can nurture the relationship with my most loyal fans and listeners and at the same time work with sounds and visuals,” says Joel Lyssarides, 27, jazz pianist and composer. His performance at the Stockholm Jazz festival is also the release concert for his album “A Better Place.” This album follows his debut album “Dreamer,” which has more than 2.5 million streams on Spotify. ”A Better Place” was written in a short period of time, Jazz pianist Joel Lyssarides compared to Lyssarides’ debut album, which took Photo: Karl Gabor much longer to produce. The concert is presented by Stockholm Jazz Festival in collaboration with Swedish Radio P2, Steinway & Sons and Pindify. Pindify, founded by CEO Christoffer Wallin, and officially launched in 2018, is a digital marketplace for arts and media providers. Pindify’s marketplace is an innovative platform that allows providers of arts and media to earn revenue via subscriptions, sponsorships, donations, and fan engagement. Every provider on Pindify creates and brands their portfolio(s) where they can share and organize their free and premium content and collaborate with other providers who use the platform and gain wider exposure. Fans of Pindify Providers gain access to exclusive offers, e-commerce, early access, and can participate in a community that values their favorite artist’s premium content. Pindify headquarters are located in Stockholm, Sweden with offices in Gothenburg, Lviv, Ukraine, and Salt Lake City, Utah, USA. “The creative process of this album was very different from my previous one, where I could pick and choose from songs that I had had years to complete. This time the music was created during mere hours over the course of a few evenings. There is a magic in the moment when improvising that I’ve found difficult to recreate afterwards. “A Better Place” consists mostly of written down improvisations and then recorded with the trio without further processing. I think one tends to make better musical decisions on the spot, instead of at the desk where time is unlimited,” says Lyssarides. Joel Lyssarides’ concert at Södra Teatern in Stockholm will also be recorded and broadcasted by Swedish Radio. The radio station also nominated Lyssarides for ”Musician of the Year.” The concert will be accessible on Lyssarides’ Pindify portfolio following his performances and broadcasts. “Pindify’s versatility is a very good fit for me as an artist. I look to make myself and my profession more available to my audience,” says Joel Lyssarides. After the performance on the 13th of October Joel Lyssarides will hold an artist talk at “Groggen” in the lobby of Södra Teatern. Pre-listening link to ”A better place” For more information, please contact Lars Sjögrell, Press & Pr Officer, tfn. +46 (0)702 69 53 00 [email protected] Henrik Björlin, Management & PR 4 Joel Lyssarides, tfn. +46 708 240 319 [email protected] Christoffer Wallin, CEO Pindify, tfn. +1 (801) 649 8389 [email protected] For press credentials please contact Annika Krusensten på tfn +46 (0)737 13 17 50 [email protected] www.pindify.com Pindify, founded by CEO Christoffer Wallin, and officially launched in 2018, is a digital marketplace for arts and media providers. Pindify’s marketplace is an innovative platform that allows providers of arts and media to earn revenue via subscriptions, sponsorships, donations, and fan engagement. Every provider on Pindify creates and brands their portfolio(s) where they can share and organize their free and premium content and collaborate with other providers who use the platform and gain wider exposure. Fans of Pindify Providers gain access to exclusive offers, e-commerce, early access, and can participate in a community that values their favorite artist’s premium content. Pindify headquarters are located in Stockholm, Sweden with offices in Gothenburg, Lviv, Ukraine, and Salt Lake City, Utah, USA. .
Recommended publications
  • Discourses of Decay and Purity in a Globalised Jazz World
    1 Chapter Seven Cold Commodities: Discourses of Decay and Purity in a Globalised Jazz World Haftor Medbøe Since gaining prominence in public consciousness as a distinct genre in early 20th Century USA, jazz has become a music of global reach (Atkins, 2003). Coinciding with emerging mass dissemination technologies of the period, jazz spread throughout Europe and beyond via gramophone recordings, radio broadcasts and the Hollywood film industry. America’s involvement in the two World Wars, and the subsequent $13 billion Marshall Plan to rebuild Europe as a unified, and US friendly, trading zone further reinforced the proliferation of the new genre (McGregor, 2016; Paterson et al., 2013). The imposition of US trade and cultural products posed formidable challenges to the European identities, rooted as they were in 18th-Century national romanticism. Commercialised cultural representations of the ‘American dream’ captured the imaginations of Europe’s youth and represented a welcome antidote to post-war austerity. This chapter seeks to problematise the historiography and contemporary representations of jazz in the Nordic region, with particular focus on the production and reception of jazz from Norway. Accepted histories of jazz in Europe point to a period of adulatory imitation of American masters, leading to one of cultural awakening in which jazz was reimagined through a localised lens, and given a ‘national voice’. Evidence of this process of acculturation and reimagining is arguably nowhere more evident than in the canon of what has come to be received as the Nordic tone. In the early 1970s, a group of Norwegian musicians, including saxophonist Jan Garbarek (b.1947), guitarist Terje Rypdal (b.1947), bassist Arild Andersen (b.1945), drummer Jon Christensen (b.1943) and others, abstracted more literal jazz inflected reinterpretations of Scandinavian folk songs by Nordic forebears including pianist Jan Johansson (1931-1968), saxophonist Lars Gullin (1928-1976) bassist Georg Riedel (b.1934) (McEachrane 2014, pp.
    [Show full text]
  • Swedish Stories? Culturally Dependent Perspectives on Jazz Improvisation As Storytelling
    Swedish stories? Culturally dependent perspectives on jazz improvisation as storytelling Bjerstedt, Sven Published in: Jazz Perspectives DOI: 10.1080/17494060.2015.1125938 2015 Document Version: Publisher's PDF, also known as Version of record Link to publication Citation for published version (APA): Bjerstedt, S. (2015). Swedish stories? Culturally dependent perspectives on jazz improvisation as storytelling. Jazz Perspectives, 9(1), 3-25. https://doi.org/10.1080/17494060.2015.1125938 Total number of authors: 1 General rights Unless other specific re-use rights are stated the following general rights apply: Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Read more about Creative commons licenses: https://creativecommons.org/licenses/ Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. LUND UNIVERSITY PO Box 117 221 00 Lund +46 46-222 00 00 Jazz Perspectives ISSN: 1749-4060 (Print) 1749-4079 (Online) Journal homepage: http://www.tandfonline.com/loi/rjaz20 Swedish Stories? Culturally Dependent Perspectives on Jazz Improvisation as Storytelling Sven Bjerstedt To cite this article: Sven Bjerstedt (2015) Swedish Stories? Culturally Dependent Perspectives on Jazz Improvisation as Storytelling, Jazz Perspectives, 9:1, 3-25, DOI: 10.1080/17494060.2015.1125938 To link to this article: http://dx.doi.org/10.1080/17494060.2015.1125938 Published online: 06 Jan 2016.
    [Show full text]
  • 2016 Featured Musician: Benny Carter 100 S
    Bimonthly Publication of the Central Florida Jazz Society BLUE MAR/APR 2016 VOLUME 20, ISSUE 1 NOTES Jazz Appreciation Month (fondly known as “JAM”) was created at the Smithsonian National Benny Carter, known simply as “King” to his fellow Museum of American musicians, was a largely self-taught musician who History in 2002 to herald became one of founding fathers of big band swing and celebrate the music. Early in his career, Carter arranged and extraordinary heritage and composed scores for Fletcher Henderson, Benny history of jazz for the entire Goodman, Chick Webb, and McKinney’s Cotton month of April. JAM is Pickers, as well as for his own highly respected intended to stimulate and orchestras. Carter was also known as a pioneer in encourage people of all breaking down racial boundaries in jazz. In 1937, ages to participate in jazz – Carter led the first interracial, multi-national to study the music, attend orchestra while living in Europe. After his three-year concerts, listen to jazz on residency in Europe, which was dedicated to radio and recordings, read spreading jazz throughout the continent, Carter books about jazz, and settled down in Los Angles, where he become one of more. the first African Americans to compose music for films and television. The main message of JAM is that jazz is for http://americanhistory.si.edu/smithsonian-jazz/jazz-appreciation-month everyone, everywhere. The Jazz Journalists May 15 Association is working with local jazz organizations to John Orsini Sax Quartet name “Jazz Heroes” in The swinging-est jazz arrangements you’ll hear anywhere! some two dozen cities and regions around the U.S.
    [Show full text]
  • Norway's Jazz Identity by © 2019 Ashley Hirt MA
    Mountain Sound: Norway’s Jazz Identity By © 2019 Ashley Hirt M.A., University of Idaho, 2011 B.A., Pittsburg State University, 2009 Submitted to the graduate degree program in Musicology and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy, Musicology. __________________________ Chair: Dr. Roberta Freund Schwartz __________________________ Dr. Bryan Haaheim __________________________ Dr. Paul Laird __________________________ Dr. Sherrie Tucker __________________________ Dr. Ketty Wong-Cruz The dissertation committee for Ashley Hirt certifies that this is the approved version of the following dissertation: _____________________________ Chair: Date approved: ii Abstract Jazz musicians in Norway have cultivated a distinctive sound, driven by timbral markers and visual album aesthetics that are associated with the cold mountain valleys and fjords of their home country. This jazz dialect was developed in the decade following the Nazi occupation of Norway, when Norwegians utilized jazz as a subtle tool of resistance to Nazi cultural policies. This dialect was further enriched through the Scandinavian residencies of African American free jazz pioneers Don Cherry, Ornette Coleman, and George Russell, who tutored Norwegian saxophonist Jan Garbarek. Garbarek is credited with codifying the “Nordic sound” in the 1960s and ‘70s through his improvisations on numerous albums released on the ECM label. Throughout this document I will define, describe, and contextualize this sound concept. Today, the Nordic sound is embraced by Norwegian musicians and cultural institutions alike, and has come to form a significant component of modern Norwegian artistic identity. This document explores these dynamics and how they all contribute to a Norwegian jazz scene that continues to grow and flourish, expressing this jazz identity in a world marked by increasing globalization.
    [Show full text]
  • 2019 Creative Works Award CD: Brother Gone Associate Professor Andrew Lilley
    2019 Creative Works Award CD: Brother Gone Associate Professor Andrew Lilley Brother Gone comprises original compositional works recorded for jazz septet. The project came about through various collaborations with the Arts Foundation in Sweden. Swedish jazz musicians have strong roots in the Afro-American jazz tradition and this resonates with the South African context where the style of jazz music is also heavily influenced by this tradition. Key innovators like John Coltrane and Thelonious Monk became powerful influences in modelling some of our greatest players like Abdullah Ibrahim, Winston Mankuku and Bheki Mseleku. The title track of the album speaks directly to this lineage, making reference to the collective brotherhood in jazz and to those who have passed (gone), their legacies carried forward to produce something new. Titles like 'Epilogue' and 'Dedication' speak for themselves and 'Home Roots' particularly taps into that aspect of the heritage, which finds its origins in the rhythms of Africa. 'Song for Bheki' is written for South African pianist Bheki Mseleku whose contribution to South African jazz music is extensive. The compositions on the album have attracted international status with 'Song For Bheki’ being awarded finalist for the original song in the 21st Annual USA Songwriting Competition (2016). Recording a project of this nature requires much time and significant funds. The final release is a product of a multi-staged process in which the actual recording (the artistic moment) is only one part of the final artistic product. The music is typically written and composed over a period of time and performed as part of the creative and explorative improvisatory expression in jazz.
    [Show full text]
  • Noam Lemish Dissertation Final Submission Truly
    Israeli Jazz Musicians in the International Scene: A Case Study of Musical Transculturation in Contemporary Jazz Performance and Composition by Noam Lemish A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts in Performance Faculty of Music University of Toronto © 2018 Copyright by Noam Lemish ii Israeli Jazz Musicians in the International Scene: A Case Study of Musical Transculturation in Contemporary Jazz Performance and Composition Noam Lemish Doctor of Musical Arts in Performance Faculty of Music University of Toronto 2018 ABSTRACT This dissertation is a case study of musical transculturation in jazz performance and composition through the examination of the practices of Israeli jazz musicians who began to operate on the international jazz scene starting in the 1990s. An impressive number of Israeli jazz performers have received widespread exposure and acclaim over the last twenty years. Artists such as Omer Avital (bass), Anat Cohen (woodwinds), Avishai Cohen (bass) among many others have successfully established themselves on a global scale, creating music that melds various aspects of American jazz with an array of Israeli, Jewish and Middle-Eastern influences and those from numerous other non- Western musical traditions. While each musician is developing his or her own approach to musical transculturation, common threads connect them all. Unraveling these entangled sounds and related discourses lies at the center of my study. While this is the first comprehensive study of the contributions
    [Show full text]
  • Outstanding Azerbaijanis
    A-PDFOutstanding Split DEMO : Purchase Azerbaijanis from www.A-PDF.com to remove the watermark 22 www.irs-az.com The One Without EqualNatavan FAIQ THE life of A GENIUS, as A RUle, is SHort AND traGic. MaYBE THis is THE reasoN WHY THEY are so GENeroUS IN THeir creative work AND WHY THEY are IN SUCH A HUrrY to pass THE treasUres of THeir spirit to THeir off- spriNG - treasUres Not alwaYS valUed IN life. VAGif MUstafaZadeH was Not AN EXceptioN… www.irs-az.com 23 Outstanding Azerbaijanis Young Vagif Vagif Mustafazade and David Koyfman ecollections of him mix up of the of the world of George Gershwin to two feelings - pride and bitter- Union, because he has not complet- the visible urban forms of his com- ness. Pride in the composer, ed higher education’… position Bu gün (Today), from the R I remember his smile very well. I plays by Thelonious Monk to the experimental pianist and musician with a name which critics link in prin- remember how he took his daugh- incomprehensible dept of harmony ciple to a new direction in jazz based ter to school - this was sometime of Seven Beauties by Gara Garayev. on an Azerbaijani tonal system. But in the middle of the 70s. It is nec- In these movements Mustafazadeh the bitterness does not require deci- essary to see how he said farewell trusts in himself: neither in one thing, phering. to her - during the whole long day, nor in parts of seconds does he lose News of his demise was heard how he bent down, carefully laced the subtle mastery of the improviser, like thunder from heaven! Vagif, with up her boots and adjusted the hair- carefully intertwining the originality his unique a little guilty smile and his grip in her hair… Finally, kissed her and freshness of his musical style in constant leather jacket adorning the cheek and moved off repeatedly the fabric of the classic works of jazz’.
    [Show full text]
  • 2011 Program Guide
    June 24 - July 3 2011 Coastaljazz.ca 1.855.985.5000 “Trying to explain music is like trying to dance architecture.” - Thelonious Monk - For the love of music. TD is proud to help connect people and music in communities across Canada. Proud sponsor of TD Vancouver International Jazz Festival June 24 – July 3, 2011 www.coastaljazz.ca pure desire hugo boss maxmara bcbgmaxazria dkny aIx armani exchange judith and charles michael kors apple & 125 premium shops and services Complimentary Parking While You Shop Canada Line Oakridge & 41st Avenue Station . 41st & Cambie . oakridgecentre.com welcome to the festival 2011 According to jazz guitarist Bill Frisell, music is a place where anything is possible, where all kinds of people can come together, and anything can happen. At TD, we couldn’t agree more. For the eighth consecutive year, TD is pleased to present the 2011 TD Vancouver International Jazz Festival, an event that showcases the diversity and entertainment of music by talented artists from Canada and around the world. What better way to bring people together in communities across the country than to share in the love of great music! That’s why TD is proud to be the title sponsor of several major music festivals across Canada from Victoria to Halifax. It’s exciting to be part of an event that celebrates artists and we’re thrilled that you are joining the celebration. Great festivals don’t happen without great people, so we’d like to thank everyone involved in making the 2011 TD Vancouver International Jazz Festival a hit – from the volunteers and organizers, to the talented featured artists and thousands of music lovers who join us every year.
    [Show full text]
  • Music and Performing Arts in Graz, Austria, April 11-14, 2019, 18 Months from Now
    Jazz Jazz Welcome A warm welcome to the over 140 delegates of more than thirty nationalities, to the Fifth International Rhythm Changes Conference. Rhythm Changes ran from 2010 till 2013, as part of the Humanities in the European Research Area’s (HERA) theme, ‘Cultural Dynamics: Inheritance and Identity’, a joint research programme funded by thirteen national funding agencies to ‘create collaborative, trans-national research opportunities that will derive new insights from humanities research in order to address major social, cultural, and political challenges facing Europe’. Our fi rst Conference, Jazz and National Identities, was in Amsterdam, 2-4 September 2011. Rhythm Changes II was themed Rethinking Jazz Cultures, (Salford, 11-14 April 2013). The third Conference, Jazz Beyond Borders, was in Amsterdam again (4-7 September 2014). Conference Four, Jazz Utopia was held at Birmingham City University, 14-17 April 2016, and now we are back in Amsterdam for our fi rst lustrum, with Re/Sounding Jazz. Mark your calendars for Rhythm Changes Six, which will take us to the oldest Jazz Research Institute in Europe, at the University of Music and Performing Arts in Graz, Austria, April 11-14, 2019, 18 months from now. On behalf of the Conference Team Walter van de Leur Head of the Fifth Rhythm Changes Conference Beyond Jazz Jazz Borders Jazz Conference Conference Amsterdam 2014 Birmingham 2016 4 September - 7 September 14 April - 17 April -3- Schedule Thursday 31 August 2017 - Conservatorium van Amsterdam 14.00-15.30 Europeana Collections introduction Adrian Murphy (Blue Note, open to the public) Hosted by the Dutch Jazz Archive (NJA), Siena Jazz Archive, and Jazzinstitut Darmstadt 15.30-16.00 Coffee break (Mezzo) 16.00-18.00 European Jazz Archives Round Table (Blue Note, invitees only) 18.00-20.30 Rhythm Changes Conference Registration and Drinks (Mezzo).
    [Show full text]
  • University-Based Music Training and Current South African Musical Praxis: Notes and Tones
    African Studies Quarterly | Volume 16, Issue 2 | March 2016 University-Based Music Training and Current South African Musical Praxis: Notes and Tones MADIMABE GEOFF MAPAYA Abstract: Music pedagogy places a premium on written notation, sometimes to the detriment of orality. This, in the main, explains the disjuncture between South African university-based music education and music praxis obtaining within black communities. It is for this reason that most African students coming from an oral tradition background struggle to adjust quickly enough to make a success of their university study periods. Those who eventually succeed often are “over-educated,” thus ending up estranged from their musical communities; or “mis- or over- educated” for most of the local music industry career requirements. This paper aims to appraise the pros and cons of university-based music training in relation to South African musical praxis. It does so through engaging various contemporary qualitative research methodologies largely predicated on the grounded theory framework. Data was collected through interviews with individual black African musicians. The sampling procedure was purposive in that it sought to capture abstractions and explications from predetermined sets of musicians; university-educated on the one hand, and the “self-taughts” on the other. After inductive analysis of data, the study clarifies what seems to shape music skill acquisition in South Africa; scant regard for local music industries and community settings; and the impact of the sudden availability
    [Show full text]
  • 25 CITIES Where Jazz THRIVES
    >> Profiles of 25 CITIES Where Jazz THRIVES FEBRUARY 2019 DOWNBEAT 43 Jon Batiste performs at the 2017 New Orleans Jazz & Heritage Festival. (Photo: Erika Goldring) Houston native James Francies, seen here at the 2016 Winter Jazzfest in New York City, is signed to the label Blue Note, which released his debut, Flight, on Oct. 18. STEVEN SUSSMAN NYC: STILL THE CAPITAL During the past century, three cities— Cotton Club; the legendary Carnegie Hall con- Coltrane runs the ShapeShifter Lab in Brooklyn, New Orleans, Chicago and New York— certs of Benny Goodman and Duke Ellington; said that living in the metropolis created open- played leading roles in the development Bird, Dizzy and Miles on 52nd Street in the ings for him that he just wouldn’t have had else- of jazz. In the 21st century, however, 1940s and 1950s; the legendary live recordings of where. “When I was younger, I would play any- New York reigns as the world’s undis- Thelonious Monk at the Five Spot. time, anyplace, whoever called. Each of those puted jazz capital, an essential place for The 52nd Street jazz scene is just a memory things, in almost every case, led to something jazz musicians to make their bones. As now, but today’s New York still boasts the leg- else; that led to something else; that led to the singer and Chicago native Kurt Elling endary Village Vanguard and a dozen other thing on the big stage that paid lots of money. recently told DownBeat, “If you’re a jazz clubs in Greenwich Village, including The Blue And they tend to emanate from these little musician, you
    [Show full text]
  • Mountain Sound: Norway's Jazz Identity by © 2019 Ashley Hirt M.A., University of Idaho, 2011 B.A., Pittsburg State University
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by KU ScholarWorks Mountain Sound: Norway’s Jazz Identity By © 2019 Ashley Hirt M.A., University of Idaho, 2011 B.A., Pittsburg State University, 2009 Submitted to the graduate degree program in Musicology and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy, Musicology. __________________________ Chair: Dr. Roberta Freund Schwartz __________________________ Dr. Bryan Haaheim __________________________ Dr. Paul Laird __________________________ Dr. Sherrie Tucker __________________________ Dr. Ketty Wong-Cruz The dissertation committee for Ashley Hirt certifies that this is the approved version of the following dissertation: _____________________________ Chair: Date approved: ii Abstract Jazz musicians in Norway have cultivated a distinctive sound, driven by timbral markers and visual album aesthetics that are associated with the cold mountain valleys and fjords of their home country. This jazz dialect was developed in the decade following the Nazi occupation of Norway, when Norwegians utilized jazz as a subtle tool of resistance to Nazi cultural policies. This dialect was further enriched through the Scandinavian residencies of African American free jazz pioneers Don Cherry, Ornette Coleman, and George Russell, who tutored Norwegian saxophonist Jan Garbarek. Garbarek is credited with codifying the “Nordic sound” in the 1960s and ‘70s through his improvisations on numerous albums released on the ECM label. Throughout this document I will define, describe, and contextualize this sound concept. Today, the Nordic sound is embraced by Norwegian musicians and cultural institutions alike, and has come to form a significant component of modern Norwegian artistic identity.
    [Show full text]