Scheen Jazzorkester Scheen Jazzork

Total Page:16

File Type:pdf, Size:1020Kb

Scheen Jazzorkester Scheen Jazzork Scheen Jazzorkester & Audun Kleive & Audun Kleive Scheen Jazzorkester Scheen Jazzorkester & Audun Kleive & Audun Kleive Scheen Jazzorkester part 2a 3:49 Audun Kleive - drums part 2a 3:49 Audun Kleive - drums part 2b 4:08 Guttorm Guttormsen - flute/clarinet/alto- and soprano saxophone & Audun Kleive part 2b 4:08 Guttorm Guttormsen - flute/clarinet/alto- and soprano saxophone drumpassiar 23 0:41 Soprano sax solo on track 5c Scheen Jazzorkester drumpassiar 23 0:41 Soprano sax solo on track 5c Scheen Jazzorkester & Audun Kleive part 3a 3:11 André Kassen - soprano- and tenor saxophone PoliturPassiarer part 3a 3:11 André Kassen - soprano- and tenor saxophone PoliturPassiarer part 3b 2:02 Soprano solo on tracks 2b & 8 part 3b 2:02 Soprano solo on tracks 2b & 8 part 3c 4:40 Jon Øystein Rosland - tenor saxophone part 3c 4:40 Jon Øystein Rosland - tenor saxophone part 3d 2:32 Tenor sax solo on track 3c part 3d 2:32 Tenor sax solo on track 3c drumpassiar 35 0:41 Line Bjørnør Rosland - clarinet/bass clarinet drumpassiar 35 0:41 Line Bjørnør Rosland - clarinet/bass clarinet part 5a 3:07 Clarinet passiar on tracks 5a & 5b part 5a 3:07 Clarinet passiar on tracks 5a & 5b part 5b 2:44 Finn Arne Dahl Hanssen - trumpet part 5b 2:44 Finn Arne Dahl Hanssen - trumpet part 5c 2:54 Thomas Johansson - trumpet part 5c 2:54 Thomas Johansson - trumpet drumpassiar 58 0:25 Magne Rutle – trombone drumpassiar 58 0:25 Magne Rutle – trombone part 8 6:01 Trombone solo on track 5b part 8 6:01 Trombone solo on track 5b drumpassiar 81 0:38 Benedikte Follegg Hol - trombone drumpassiar 81 0:38 Benedikte Follegg Hol - trombone part 1a 2:31 Åsgeir Grong - bass trombone part 1a 2:31 Åsgeir Grong - bass trombone PoliturPassiarer 169-2 LOS Losen Records part 1b 2:24 Rune Klakegg - piano part 1b 2:24 Rune Klakegg - piano PoliturPassiarer 169-2 LOS Losen Records Sondre Stordalen - guitar Sondre Stordalen - guitar Total Time: 42:28 Jan Olav Renvåg - bass Total Time: 42:28 Jan Olav Renvåg - bass All compositions by Audun Kleive. All arrangements by Magne Rutle and Audun Kleive. All compositions by Audun Kleive. All arrangements by Magne Rutle and Audun Kleive. Recorded March 2014 and January 2015 at Audiopol Skien, Norway by Espen Gjelstad Gundersen and Recorded March 2014 and January 2015 at Audiopol Skien, Norway by Espen Gjelstad Gundersen and Audun Kleive. Recording assistants Åsgeir Grong and Jan Olav Renvåg. Audun Kleive. Recording assistants Åsgeir Grong and Jan Olav Renvåg. Mastered by Bob Katz at Digital Domain, Florida, USA. Edited, mixed and produced by Audun Kleive. Mastered by Bob Katz at Digital Domain, Florida, USA. Edited, mixed and produced by Audun Kleive. Executive producer André Kassen and Odd Gjelsnes. Front cover photo: “Fighting Seagulls” by Kjersti Holst. Executive producer André Kassen and Odd Gjelsnes. Front cover photo: “Fighting Seagulls” by Kjersti Holst. Cover design by design holtmann. Scheen Jazzorkester receives funding from Norsk Kulturråd, Cover design by design holtmann. Scheen Jazzorkester receives funding from Norsk Kulturråd, Telemark Fylkeskommune and Sørnorsk Jazzsenter. Telemark Fylkeskommune and Sørnorsk Jazzsenter. © 2017 Losen Records www.losenrecords.no [email protected] ISRC: NO2NJ1669 LOS 169-2 © 2017 Losen Records www.losenrecords.no [email protected] ISRC: NO2NJ1669 LOS 169-2 All rights reserved. Unauthorized duplication, All rights reserved. Unauthorized duplication, public performance and broadcasting of the music public performance and broadcasting of the music on this CD is a violation of applicable laws. 7 090025 831690 on this CD is a violation of applicable laws. 7 090025 831690 Audun Kleive, September 2016 2016 September Kleive, Audun Whoever he performs with, Audun Kleive Kleive Audun with, performs he Whoever equalled out the roles in the band. We did did We band. the in roles the out equalled and clearly on stage. stage. on clearly and Audun Kleive, September 2016 2016 September Kleive, Audun Whoever he performs with, Audun Kleive Kleive Audun with, performs he Whoever equalled out the roles in the band. We did did We band. the in roles the out equalled and clearly on stage. stage. on clearly and few. a but name to Endresen Sidsel and to many of the musicians, and overall overall and musicians, the of many to the orchestra’s ability to communicate tightly tightly communicate to ability orchestra’s the few. a but name to Endresen Sidsel and to many of the musicians, and overall overall and musicians, the of many to the orchestra’s ability to communicate tightly tightly communicate to ability orchestra’s the in SJO! They must be contained. ;-) ;-) contained. be must They SJO! in Bang Jan Molvær, Petter Nils Balke, Jon familiar was approach written” “everything plan and play this way, and it did wonders for for wonders did it and way, this play and plan in SJO! They must be contained. ;-) ;-) contained. be must They SJO! in Bang Jan Molvær, Petter Nils Balke, Jon familiar was approach written” “everything PoliturPassiarer for wonders did it and way, this play and plan then! Of which there are many top contenders contenders top many are there which Of then! Rypdal, Terje as such giants homegrown Well, maybe it is. The classical classical The is. it maybe Well, the compositions. It was a lot of fun to think, think, to fun of lot a was It compositions. the then! Of which there are many top contenders contenders top many are there which Of then! Rypdal, Terje as such giants homegrown Well, maybe it is. The classical classical The is. it maybe Well, the compositions. It was a lot of fun to think, think, to fun of lot a was It compositions. the of course find space for soloists every now and and now every soloists for space find course of Mazur, Mike Stern and Pat Metheny, and and Metheny, Pat and Stern Mike Mazur, so allowing me to move more freely around in in around freely more move to me allowing so of course find space for soloists every now and and now every soloists for space find course of Mazur, Mike Stern and Pat Metheny, and and Metheny, Pat and Stern Mike Mazur, so allowing me to move more freely around in in around freely more move to me allowing so such as Mike Mainieri, Charles Lloyd, Marilyn Marilyn Lloyd, Charles Mainieri, Mike as such Bob Katz branded the music “classical”. “classical”. music the branded Katz Bob of the work the drummer traditionally does, does, traditionally drummer the work the of such as Mike Mainieri, Charles Lloyd, Marilyn Marilyn Lloyd, Charles Mainieri, Mike as such Bob Katz branded the music “classical”. “classical”. music the branded Katz Bob of the work the drummer traditionally does, does, traditionally drummer the work the of Audun has worked with international giants giants international with worked has Audun recording) this in partner sparring (and of a “large ensemble drummer” and do much much do and drummer” ensemble “large a of Audun has worked with international giants giants international with worked has Audun recording) this in partner sparring (and of a “large ensemble drummer” and do much much do and drummer” ensemble “large a of Photo: Freddy Augdal Wike Augdal Freddy Photo: Über-percussionist Kleive orchestrates. It’s David Fishel, October 2016 Photo: Freddy Augdal Wike Augdal Freddy Photo: engineer mastering why is that (besides the drums) would then act as a sort sort a as act then would drums) the (besides engineer mastering why is that (besides the drums) would then act as a sort sort a as act then would drums) the (besides Guttormsen, also on soprano sax. soprano on also Guttormsen, Maybe perfection. to parts different the two arms and two legs. The instruments instruments The legs. two and arms two Guttormsen, also on soprano sax. soprano on also Guttormsen, Maybe perfection. to parts different the what he does. Whether playing in an ultra- www.davidfishel.info instruments The legs. two and arms two album, album, Guttorm veteran and Pomona interpret to all after was idea the but patterns and moves that spread out between between out spread that moves and patterns album, album, Guttorm veteran and Pomona interpret to all after was idea the but patterns and moves that spread out between between out spread that moves and patterns effect on the recently released Losen Records Records Losen released recently the on effect improvisations, lengthy many not are on “inside” my drum-set; the different different the drum-set; my “inside” on effect on the recently released Losen Records Records Losen released recently the on effect improvisations, lengthy many not are on “inside” my drum-set; the different different the drum-set; my “inside” on ophonist André Kassen, heard to such great great such to heard Kassen, André ophonist half found it`s way to this album. There There album. this to way it`s found half goes what harmonically and rhythmically ophonist André Kassen, heard to such great great such to heard Kassen, André ophonist half found it`s way to this album. There There album. this to way it`s found half improvisational duet setting or in tightly and goes what harmonically and rhythmically - sax as such soloists for space intermittent about 85 minutes playing time, but only only but time, playing minutes 85 about My first idea was to compose/arrange both both compose/arrange to was idea first My - sax as such soloists for space intermittent about 85 minutes playing time, but only only but time, playing minutes 85 about My first idea was to compose/arrange both both compose/arrange to was idea first My The music is largely scored but there is is there but scored largely is music The parts, 9 has originally concert The The music is largely scored but there is is there but scored largely is music The specifically composed pieces for 13 musicians SJO commissioned this work inparts, 9 2013,has originally fullconcert The cally trained musicians and jazz musicians.
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]
  • Programme 2009 the Abel Prize Ceremony 19 May 2009 Procession Accompanied by the “Abel Fanfare” Music: Klaus Sandvik
    Programme 2009 The Abel Prize Ceremony 19 May 2009 Procession accompanied by the “Abel Fanfare” Music: Klaus Sandvik. Performed by three musicians from the Staff Band of the Norwegian Defence Forces Their Majesties King Harald and Queen Sonja enter the hall Soroban Arve Henriksen (trumpet) (Music: Arve Henriksen) Opening by Øyvind Østerud President of the Norwegian Academy of Science and Letters Eg veit i himmerik ei borg Trio Mediæval, Arve Henriksen (Norwegian folk tune from Hallingdal, arr. Linn A. Fuglseth) The Abel Prize Award Ceremony Professor Kristian Seip Chairman of the Abel Committee The Committee’s citation His Majesty King Harald presents the Abel Prize to Mikhail Leonidovich Gromov Acceptance speech by Mikhail Leonidovich Gromov Closing remarks by Professor Øyvind Østerud President of the Norwegian Academy of Science and Letters Till, till Tove Trio Mediæval, Arve Henriksen, Birger Mistereggen (percussion) (Norwegian folk tune from Vestfold, arr. Tone Krohn) Their Majesties King Harald and Queen Sonja leave the hall Procession leaves the hall Other guests leave the hall when the procession has left to a skilled mathematics teacher in the upper secondary school is called after Abel’s own Professor Øyvind Østerud teacher, Bernt Michael Holmboe. There is every reason to remember Holmboe, who was President of the Norwegian Academy of Science and Letters Abel’s mathematics teacher at Christiania Cathedral School from when Abel was 16. Holmboe discovered Abel’s talent, inspired him, encouraged him, and took the young pupil considerably further than the curriculum demanded. He pointed him to the professional literature, helped Your Majesties, Excellencies, dear friends, him with overseas contacts and stipends and became a lifelong colleague and friend.
    [Show full text]
  • Årsmelding SNJS 2017 Inkl. Regnskap
    ÅRSMELDING og REGNSKAP 2017 for stiftelsen Innhold 1 Organisasjon, stiftere og formål side 1 2 Styre, styremøter og administrasjon side 1 3 Forutsetninger for drift – økonomi side 1 4 Sekretariat, arbeidsmiljø, likestilling side 2 5 Aktiviteter 2017 side 2 5.1 Sørnorsk Ungdomsstorband (SNUS) side 2 5.2 Ungdomsmønstringen ”Framtida i norsk jazz” side 3 5.3 Produksjons- og aktivitetsstøtte /Ad hoc støtte side 3 5.4 Pedagogiske tiltak side 4 5.5 Turneer og formidling av jazzkonserter side 4 5.6 Jazzklubbene side 4 5.7 Jazzfestivaler i regionen side 5 5.8 Scheen Jazzorkester side 6 5.9 Sørnorsk jazzsenter-prisen side 7 5.10 Sørnorsk jazzsenters musikermøte side 7 6 Strukturelle og økonomiske vilkår. side 7 6.1 Sørnorsk jazzsenter – sluttord side 7 Årsberetning til regnskap 2017 side 8 Resultatregnskap 2017 side 10 Balanse 2017 side 11 Noter til regnskapet for 2017 side 12 Prosjektregnskap 2017 side 13 Revisjonsberetning 2017 side 15 Sørnorsk Ungdomsstorband, Universitetet i Agder, Kristiansand 14.05.17 Bilder / fotografer: Forsiden: Sørnorsk Ungdomsstorband Foto: Privat Side 2: Sørnorsk Ungdomsstorband september 2017. Foto: Privat Side 2: Sørnorsk Ungdomsstorband, Universitetet i Agder, Kristiansand 14.05.17 Foto: Privat Side 3: Sørnorsk og Nordnorsk Ungdomsstorband, Skien 12.11.17 Foto: Privat Side 3: Ensemble Eliassen: Framtida i norsk jazz 2017. Konsert på Kafé K 10.05. Foto: Privat Side 6: Scheen Jazzorkester. Foto: Stian Herdal Side 7: Audun Kleive, Buddypristildeling. Foto: Niklas Lello Årsmelding 2017 1. Organisasjon, stiftere og formål 1. Inger Haugan Aasland Aust-Agder musikkråd 2. Jan Eriksen Mandal Jazzklubb Organisasjon 3. Renate Thauland Kristiansand Jazzvesen Stiftelsen Sørnorsk jazzsenter er registrert i 4.
    [Show full text]
  • HANNA PAULSBERG Spiller På Mai:Jazz Med GURLS Og Vil Gjøre + FESTIVAL- Jazzen Mindre Selvhøytidelig
    INNBLIKK FESTIVAL INNSIKT KRONIKK Er det helt uproblematisk at mange Les alt om årets artister. Sterkt Terje Mosnes skriver om historien Musikkanmelder Audun Vinger jazzmusikere velger å spille pop­ program med stor variasjon på rundt utgivelsen av Bendik mener at jazzfestivaler kan være musikk? MaiJazz 2017. Hofseths IX. alt annet enn nedstøvet. ET MAGASINnote: FOR MAI:JAZZ 2017 OG STAVANGER JAZZFORUM #01 2017 PORTRETT HANNA PAULSBERG Spiller på Mai:Jazz med GURLS og vil gjøre + FESTIVAL- jazzen mindre selvhøytidelig. PROGRAM Original. Analog. Eksepsjonell. KJÆRE NABO TIL SCANDIC STAVANGER CITY Technics Direct Drive SL- 1200G Vet du at det ligger et fordelskort og venter på deg? For alle som vil nyte vinyl slik vinyl skal nytes. Den er kanskje ikke det billigste alternativet, men likevel er den verdt hver eneste krone. Scandic Friends gir deg gode tilbud på overnatting samt 20 % rabatt på mat i Varmen Bar og Restaurant i helgene. Ta med venner, familie eller naboen til mat som måtte friste fra À la carte-menyen i Varmen Bar og Restaurant. NABOKORT I tillegg har vi også et Nabokort. Husk at hos oss venter gode stoler og fristende servering på deg etter en handledag på byen eller en slentretur i sentrum. Bar & Restaurant Følg oss på Facebook for oppdatering av hva som skjer i Varmen Bar og Restaurant. STAVANGER CITY Velkommen! Vågsgata 7, 4306 SANDNES | M 900 16 116 | www.avarer.no scandichotels.no - garantert best pris STAVANGER CITY LEDER DET ER I SAMSPILLET MAGIEN OPPSTÅR RELASJONER Hove West er blant Norges ledende på totalproduksjoner OG FORANDRING bestående av både lyd, lys, audiovisuelt utstyr og sceneutstyr.
    [Show full text]
  • Jack Dejohnette's Drum Solo On
    NOVEMBER 2019 VOLUME 86 / NUMBER 11 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert.
    [Show full text]
  • Arve Henriksen Cartography
    ECM Arve Henriksen Cartography Arve Henriksen: trumpets, voice, field recordings. With Jan Bang: live sampling, beats, dictaphone, programming; Audun Kleive; percussion; David Sylvian: voice, samples, programming; Helge Sunde: string arrangements, programming; Eivind Aarset: guitars; Lars Danielsson: double-bass, Erik Honoré: synthesizer, samples; Arnaud Mercier: treatments; Trio Mediaeval: voice sample; Vérène Andronikof: vocals; Vytas Sonndeckis: vocal arrangement (collective personnel) ECM 2086 6025 178 0116 (5) Release: October 2008 The uniquely lyrical, liquid and mellifluous sound of Arve Henriksen’s trumpet has had an important supportive role to play on a number of ECM recordings of the last decade. Amongst them – Christian Wallumrød’s “No Birch”, “Sofienberg Variations”, “A Year from Easter” and “The Zoo is Far”, Trygve Seim’s “Different Rivers”, “The Source and Different Cikadas” and “Sangam” , Jon Balke’s “Kyanos”, Sinikka Langeland’s “Starflowers”, Frode Haltli’s “Passing Images”, Arild Andersen’s “Elektra” ... albums which between them represent a very broad range of musical possibilities. In each context, however, Henriksen has proven to be both a highly-distinctive and uncommonly adaptive player. This versatility provides a subtext for the present disc, which pools a shifting cast of creative musicians from diverse genres including jazz, electronica, ambient and classical music and the world of the remix. Ex-pop singer David Sylvian makes two appearances reading his own texts, Ana Maria Friman sings fragments of William Brooks’s “Anima Mea” and the voices of the Trio Mediaeval emerge, sampled, on “recording Angel”. Guitarist Eivind Aarset, and drummer Audun Kleive loom out of the mix, and Ståle Storløkken, Arve’s colleague from noise/rock/improv band Supersilent, has a cameo on “Famine’s Ghost”.
    [Show full text]
  • 59Th Annual Critics Poll
    Paul Maria Abbey Lincoln Rudresh Ambrose Schneider Chambers Akinmusire Hall of Fame Poll Winners Paul Motian Craig Taborn Mahanthappa 66 Album Picks £3.50 £3.50 .K. U 59th Annual Critics Poll Critics Annual 59th The Critics’ Pick Critics’ The Artist, Jazz for Album Jazz and Piano UGUST 2011 MORAN Jason DOWNBEAT.COM A DOWNBEAT 59TH ANNUAL CRITICS POLL // ABBEY LINCOLN // PAUL CHAMBERS // JASON MORAN // AMBROSE AKINMUSIRE AU G U S T 2011 AUGUST 2011 VOLUme 78 – NUMBER 8 President Kevin Maher Publisher Frank Alkyer Managing Editor Bobby Reed Associate Editor Aaron Cohen Contributing Editor Ed Enright Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Assistant Theresa Hill 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough Atlanta: Jon Ross; Austin: Michael Point, Kevin Whitehead; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Or- leans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D.
    [Show full text]
  • The Jazz Rag
    THE JAZZ RAG ISSUE 140 SPRING 2016 EARL HINES UK £3.25 CONTENTS EARL HINES A HIGHLY IMPRESSIVE NEW COLLECTION OF THE MUSIC OF THE GREAT JAZZ PIANIST - 7 CDS AND A DVD - ON STORYVILLE RECORDS IS REVIEWED ON PAGE 30. 4 NEWS 7 UPCOMING EVENTS 8 JAZZ RAG CHARTS NEW! CDS AND BOOKS SALES CHARTS 10 BIRMINGHAM-SOLIHULL JAZZ FESTIVALS LINK UP 11 BRINGING JAZZ TO THE MILLIONS JAZZ PHOTOGRAPHS AT BIRMINGHAM'S SUPER-STATION 12 26 AND COUNTING SUBSCRIBE TO THE JAZZ RAG A NEW RECORDING OF AN ESTABLISHED SHOW THE NEXT SIX EDITIONS MAILED 14 NEW BRANCH OF THE JAZZ ARCHIVE DIRECT TO YOUR DOOR FOR ONLY NJA SOUTHEND OPENS £17.50* 16 THE 50 TOP JAZZ SINGERS? Simply send us your name. address and postcode along with your payment and we’ll commence the service from the next issue. SCOTT YANOW COURTS CONTROVERSY OTHER SUBSCRIPTION RATES: EU £20.50 USA, CANADA, AUSTRALIA £24.50 18 JAZZ FESTIVALS Cheques / Postal orders payable to BIG BEAR MUSIC 21 REVIEW SECTION Please send to: LIVE AT SOUTHPORT, CDS AND FILM JAZZ RAG SUBSCRIPTIONS PO BOX 944 | Birmingham | England 32 BEGINNING TO CD LIGHT * to any UK address THE JAZZ RAG PO BOX 944, Birmingham, B16 8UT, England UPFRONT Tel: 0121454 7020 FESTIVALS IN PERIL Fax: 0121 454 9996 Email: [email protected] In his latest Newsletter Chris Hodgkins, former head of Jazz Services, heads one item, ‘Ealing Jazz Festival under Threat’. He explains that the festival previously ran for eight Web: www.jazzrag.com days with 34 main stage concerts, then goes on: ‘Since outsourcing the management of the festival to a private contractor the Publisher / editor: Jim Simpson sponsorships have ended, admission charges have been introduced and now it is News / features: Ron Simpson proposed to cut the Festival to just two days.
    [Show full text]
  • Dossier De Presse
    rec tdic iph cseé uqp, luoJ Dossier de presse ieuo e"rn rAMH qka uas iDrs laie stfl eral saS tb cir oJea naev cvta oaei c"nl t,cl éqo ,uma aipv ulae tegc onp bril aeé pgdt tieh isDo sthr érae Fefd oae uvr reYt tcoi hlus West ose rmes lufd http://www.amr-geneve.ch/amr-jazz-festival dseo (itn Compilation des groupes du festival disponible sur demande qcPt uiaB Contact médias: Leïla Kramis [email protected], tél: 022 716 56 37/ 078 793 50 72 aeo tnla AMR / Sud des Alpes rsob 10, rue des Alpes, 1201 Genève iAFa T + 41 22 716 56 30 / F + 41 22 716 56 39 èbrM mdea eosa 35e AMR Jazz Festival – dossier de presse 1 mul oM., nbH Table des matières I. L’AMR EN BREF....................................................................................................................................... 3 II. SURVOL DES CONCERTS..................................................................................................................... 4 III. DOSSIERS ARTISTIQUES..................................................................................................................... 5 PARALOG.............................................................................................................................................. 5 JOE LOVANO QUARTET...................................................................................................................... 7 PLAISTOW........................................................................................................................................... 10 J KLEBA............................................................................................................................................
    [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]
  • Masarykova Univerzita Filozofická Fakulta Ústav Germanistiky, Nordistiky a Nederlandistiky Bakalářská Diplomová Práce
    Masarykova univerzita Filozofická fakulta Ústav germanistiky, nordistiky a nederlandistiky Bakalářská diplomová práce 2016 Ivana Královcová Masarykova univerzita Filozofická fakulta Ústav germanistiky, nordistiky a nederlandistiky Skandinávská studia Ivana Královcová Specifika norské jazzové scény Bakalářská diplomová práce Vedoucí práce: Vojtěch Procházka, MA 2016 2 Prohlašuji, že jsem tuto diplomovou práci vypracovala samostatně s využitím uvedených pramenů a literatury. V Brně, dne 30. 4. 2016 …………………………………………………. 3 Poděkování Na tomto místo bych ráda poděkovala svému vedoucímu Vojtěchu Procházkovi, MA za vedení a cenné připomínky, Mgr. Janu Přibilovi, DiS. za pomoc se zdroji, dále pak Milošovi Winklerovi a MgA. Vilému Spilkovi za konzultaci, sestře Mgr. Drahoslavě Kráčmarové za korekturu textu a celé své rodině za podporu při studiu. 4 Obsah 1. Úvod .................................................................................................................................... 7 2. Jazz - vymezení pojmu ........................................................................................................ 9 2.1 Co je jazz ...................................................................................................................... 9 2.1.1 Metrorytmika: princip beatu .............................................................................. 10 2.1.2 Improvizace ........................................................................................................ 11 2.2 Free-jazz: vymezení pojmu .......................................................................................
    [Show full text]
  • Genevieve Lacey
    GENEVIEVE LACEY My childhood was spent in stories and gardens. My mother’s garden held our games and discoveries, adventures real and imagined. We navigated our botanical world by touch and smell, as well as by sight. We came to understand in tangible ways how the rhythms of the seasons, changes in light and temperature, drought, frost and wind, all shaped our landscape, and our lives within it. Everything born in the garden went back into its earth, and we learnt that things die, as well as flourish. The garden taught us to be patient, to wait and observe. How to be still and silent. How it is to be small amid something wildly alive and impersonal. When I was eight, a gifted teacher plants. Visiting their earthly paradise introduced me to Jacob van Eyck. some years ago, I found myself thinking She told me the story of him playing of Jacob and his Pleasure Garden, and his recorder while wandering through the way history and emotions can speak a place called a Pleasure Garden. to each other across time and place. The poetry of that lodged deep, Suddenly, stories began to converge. and I felt a strong affinity with Jacob. The fact that he was born in the Our Pleasure Garden sets Jacob’s sixteenth century, on the other side exquisite blooms in a new environment. of the world, was of no consequence. We collected material from Melbourne His music was real to me, as was he. to Bermagui, Utrecht to Kristiansand, back and forth to Lambley – improvised We’ve been companions ever since, melodies and textures, birdsong from Jacob and I.
    [Show full text]