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Musica Y Musicos De Latinoamerica Y El Mundo

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Musica Y Musicos De Latinoamerica Y El Mundo Música y músicos de Latinoamérica y el mundo THE MOSHIER-LEBRUN COLLECTIVE, ensamble de jazz (Estados Unidos) Sábado 11 de mayo de 2013 ·6:00p.m. Bogotá, Sala de Conciertos Biblioteca Luis Ángel Arango - ~ BANCO DE LA REPÚBLICA B I BL I OTECA LU I S ÁNGEL ARANGO Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. TOME NOTA Los conciertos iniciarán exactamente a la hora indicada en los avisos de prensa y en el programa de mano. Llegar con media hora de antelación le permitirá ingresar al concierto con tranquilidad y disfrutarlo en su totalidad. Si al momento de llegar al concierto éste ya ha iniciado, el personal del auditorio le indicará el momento adecuado para ingresar a la sala de acuerdo con las recomendaciones dadas por los artistas que están en escena. Agradecemos se abstenga de consumir comidas y bebidas, o fumar durante el concierto, con el fin de garantizar un ambiente adecuado tanto para el público como para los artistas. Durante el transcurso del concierto por favor mantenga apagados sus equipos electrónicos, incluyendo teléfonos celulares, buscapersonas y alarmas de reloj . Esto ayuda a crear un ambiente propicio para disfrutar la música. Por respeto a los derechos de autor de los compositores e intérpretes, no está permitido realizar grabaciones de audio o video ni tomar fotografías durante el concierto. Los conciertos realizados en la Sala de Conciertos de la Biblioteca Luis Angel A rango están autorizados por la Dirección Administrativa de la Secretaria de Gobierno de Bogotá, mediante la Resolución 051 del15 de febrero de 2013 Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. Josh Moshier, piano; Mike Lebrun, saxofón tenor; John Tate, bajo y Jeremy Cunningham, batería. Josh Moshier y Mike Lebrun tuvieron una visión: hacer música de jazz regida por el espíritu de la canción y dirigida 1 a la generación del nuevo milenio. Fue así que, en 2007, fundaron su propia agrupación. En 2009, el guitarrista John Moulder, proveniente de Chicago, se unió a la banda en calidad de invitado frecuente y colaborador. Desde entonces, el grupo ha ofrecido numerosas presentaciones en The Green Mili, Andy's Jazz Club y la Jazz Showcase, así como conciertos en Washington D.C., Nueva York y San Francisco. En 2009, el Sello OA2 Records lanzó Joy Not Jaded, su primera producción discográfica. En 2011 , la banda presentó en el Chicago Cultural Center la premier de la música de cámara de Studs Terkel Project, compuesta gracias a una beca de Chamber Music America por Josh Moshier. Esta presentación fue considerada por el Chicago Tribune "una W obra de notable gracia lírica e inteligente composición" y "un salto hacia adelante". Su más reciente proyecto se titula The Local Colorists, un EP digital disponible en iTunes, Amazon y Spotify. Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. La banda JOSH MOSHIER, piano Ha trabajado como músico acompañante junto a Milton Suggs, Larry Brown, John Moulder y Dara Tucker. En la actualidad dirige el Wheaton College Jazz Ensemble y es miembro de la Chicago Jazz Composers Collective. MIKE LEBRUN, saxofón tenor Compositor, multitalento e intérprete de instrumentos de caña, a Mike se le ha escuchado en presentaciones de música pop con Guster and The Temptations. JOHN TATE, bajo Ha cultivado una fuerte reputación en el área de Chicago gracias a sus trabajos junto a artistas como Fareed Haque, Steve Coleman, Dan Trudell y Van Freeman. Actualmente reside en Brooklyn, N .Y. , estudia en la Juilliard School junto a Ron Carter y mantiene sus actividades en la escena musical neoyorquina. JEREMY CUNNINGHAM, batería Nació en Cincinnati, Ohio. En su adolescencia, conoció al famoso trompetista Brad Goode y se convenció de seguir estudios de jazz e improvisación en 2 el College Conservatory of Music de Cincinnati (CCM), donde actualmente es docente. Durante sus estudios tomó clases privadas con Art Gore, Marc Wolfley y John Van Ohlen, y con los percusionistas James Culley y Rusty Burge. Luego de concluir sus estudios, Jeremy inició giras junto al grupo lsWhat?! de Napoleon Maddox, así como con la Jan Justice Band tocando en diversos clubes y festivales a lo largo y ancho de los Estados Unidos. Con lsWhat?! también estuvo de gira por Francia y Estonia. Desde que se mudó a Chicago en otoño de 2009, Jeremy ha tocado con Van Freeman, Chris Foreman, Dan Trudell, Dave Miller, Caroline Davis, y muchos otros. Además, es miembro de Blacktet de Marquis Hill , del Rebecca Sullivan Quintet, el Sam Macy Trio, la James Johnston Band, y el Mike Allemana Quartet. Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. PROGRAMA Jamba MIKE LEBRUN (n . 1985) Saturnine JOSH MOSHIER (n . 1986) The Second Handers MIKE LEBRUN Helpmeet JOSH MOSHIER We Wi/1 Go And... MIKE LEBRUN 3 Known Unknowns JOSH MOSHIER Sister Winter SUFJAN STEVENS (n . 1975) Eleven Toe Waggle MIKE LEBRUN The Gambler JON DEITEMYER (n . 1982) Who Sha/1 Excel Them? JOSH MOSHIER CONCIERTO No. 30 Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. Jazz en Chicago Notas al programa por Luis Daniel Vega Apostada en la orilla sur del lago Michigan, Chicago es una ciudad que, al lado de Nueva York, Nueva Orleans, San Francisco y Kansas City, ha jugado un papel destacado en la interpretación, grabación y evolución artística del jazz en Norteamérica. Cruce de caminos, floreciente nudo ferroviario, vial y aéreo, la llamada "ciudad ventosa" atrajo a miles de trabajadores de todo el país durante los dos primeros tercios del siglo XX, situación que coincidió con la gran migración de los afroamericanos de los estados del sur hacia el norte; entre ellos se encontraban muchos músicos exiliados de Storyville, el famoso barrio de Nueva Orleans que fue clausurado en 1917 por el Secretario de Marina, quien consideró que la vida licenciosa constituía un grave peligro moral para las tropas estadounidenses que se preparaban para la Primera Guerra Mundial. Aunque en 1906 pianistas como Tony Jackson y Jelly Roll Morton ya habían estado en Chicago experimentando las posibilidades estilísticas del ragtime, no fue sino hasta la década de 1920 que la gran demanda en el mercado del entretenimiento musical -estimulada por la creación de numerosos clubs, cafés, cabarés, restaurantes, music halls y dancings- propició que el 4 particular sonido proveniente de Nueva Orleans se transformase en un estilo nuevo en el que se destacaron figuras tan llamativas de la historia del jazz como Freddie Keppard, King Oliver, Louis Armstrong y Earl Hines. De hecho, y de forma paradójica, las obras maestras del que hoy conocemos como "jazz de Nueva Orleans" fueron grabadas en Chicago, pues allí aparecieron los primeros sellos que facilitaron el prensado y la difusión de discos a precios muy cómodos. Por ejemplo, entre 1925 y 1928, Louis Armstrong junto a sus Hot Five y sus Hot Seven grabó los discos clásicos para el sello Okeh, al igual que el pianista Earl Hines. Por su lado, el clarinetista Jimmy Noone y su Apex Club Orchestra dejó para la posteridad placas para el sello Vocalion que hoy son raras piezas de colección. También durante esos años dorados, la Creole Jazz Band de King Oliver se hizo famosa en el Lincoln Garden de la calle 31, y posteriormente, los Red Hot Peppers de Jelly Roll Morton prensaron para Victor y Bluebird un par de vinilos que los inmortalizaron. Consolidada una industria discográfica que floreció entre 1930 y 1950 con el mítico sello Chess -sin el cual el blues eléctrico no habría tenido una casa y el rock 'n' rol/ no habría existido (ver recuadro)-, en Chicago se afianzó una escuela de apasionados músicos blancos que, reunidos en combos como los Chicago Rhythm Kings, la Cascade's Band y la Condo's Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. Chicagoans, emprendieron un camino paralelo al estilo Nueva Orleans, que se diferenció por la utilización de fórmulas europeas y elementos extraídos del folclor hillbilly y el skiffle. Esta escuela de los llamados "Chicagoans"­ entre los que se recuerda a Eddie Candan, Bix Beiderbecke, Bud Freeman, Pee Wee Russell y Mezz Mezzrow- anunció el jazz de los años treinta y presentó al mundo la quintaesencia del género: el saxofón. El blues en Chicago Durante los años treinta , en Chicago se originaron prolongaciones del blues como resultado de una dinámica similar a la de los estilos instrumentales surgidos de Nueva Orleans. De los arquetipos rústicos de bluesman clásicos como Blind Lemon Jefferson, Big Bill Bronzy, Tampa Red y Lonnie Johnson, emergen, por un lado, formas pianisticas llijiiJWIIIIIiii!II!!A.. Iill como el boogie boggie, explotado por Albert Ammons, Meade • Lux Lewis y Big Maceo. Por otro, nace un b/ues urbano y eléctrico que durante los años cincuenta se impone a través de Chess y Vee Jay, dos sellos que se especializan en una nueva forma del blues, violenta, melodramática y pegajosa. Nombres como Muddy Waters, Sonny Boy Williamson, Buddy Guy, Freddie King, El more James, Chuck Berry y Otis Spann, entre muchos otros, evolucionan un folclore rural y proletario que ejercerá una poderosa influencia en el rack ·n· rol/ británico y norteamericano de los años sesenta. A principios de los años treinta, los estilos surgidos de Nueva Orleans pasaron de moda y la Gran Depresión limitó la actividad musical. Asimismo, 5 la mayoría de los protagonistas más entusiastas de la escena inició el éxodo hacia Nueva York, ciudad donde se centralizó la actividad del jazz. No obstante, músicos y orquestas continuaron tocando en Chicago hasta la cristalización, en la década de los sesenta, de la movida avant garde, que surgió como respuesta política a la discriminación.
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