Cervantes Spanish Classes, Culture, Resources New York Winter 2017

Total Page:16

File Type:pdf, Size:1020Kb

Cervantes Spanish Classes, Culture, Resources New York Winter 2017 CERVANTES SPANISH CLASSES, CULTURE, RESOURCES NEW YORK WINTER 2017 EXHIBITIONS FROM ARGENTINA, COLOMBIA, PerezaguaMarina Andrés by Bonomo CHILE, MEXICO, SPAIN, US PHOTO: LITERATURE FROM MEXICO, SPAIN, US WORLD MUSICS FROM SPAIN SPANISH CINEMA SPECIAL EVENTS: THE CUBAN MOMENT THE FUTURE OF HISPANICS IN US WORLD MUSICS // MÚSICAS DEL MUNDO 211 EAST 49TH STREET. NEW YORK , NY 10017 TEL. 212 308 7720 cenny@cervantes.org newyork.cervantes.org EXECUTIVE OFFICE Ignacio Olmos, Executive Director Ariana Pérez-Castells, Administrative assitant ACADEMIC DEPARTMENT TEACHERS/INSTRUCTORS José Ignacio Callén, Head of Department Alejandra Parra (Mexico) Claudia Sabroso Alexander Pérez (Cuba) Gemma Baltasar Alicia Violán (Spain) Juan M. Hernández Ana Esteban (Spain) María Ahmad Carlos González (Mexico) Marta Hernández Ernesto Fedukovitch (Argentina) Fabián González (Argentina) CULTURAL AFFAIRS DEPARTMENT & COMMUNICATION Helio San Miguel (Spain) Ana Vázquez Barrado, Head of Department Irene Lozano (Spain) Soledad López Irma Cedeño (Dominican Republic) Andreea Preda Irma Romero (Mexico) Jordi Torres Javier Labrador (Cuba) Ramón Fernández Leonor Pons (Spain) Leyma López (Cuba) LIBRARY María José Muñoz (Spain) Paz V. de Troya, Head of Department Mariel Acosta (Argentina) W. Richard Heyer Marlenys Villamar (Cuba) Marta Fernández (Spain) ADMINISTRATION DEPARTMENT Mónica Flores (Argentina) Olga Huerta Mónica Parra (Colombia) Lucía Fernández Campos Nora Yepes (Colombia) Paula Martínez (Colombia) FACILITIES TECHNICIAN Pilar Caballero (Spain) Ramón Fernández Rafael Abolafia (Spain) Rosario Campos (Spain) RECEPTION Sarah Rubio (Spain) María J. Núñez Txemi Parra (Spain) Pedro Arango Vanesa Albertos (Spain) Vanesa Ramírez (Spain) Verónica Gálvez (Spain) Victoria Espada (Spain) Yurién Ribot (Cuba) 2 WELCOME / BIENVENIDOS WELCOME Instituto Cervantes kicks off this New Year with an exceptional cultural and academic program. The stand out series we have organized are: The Future Of Hispanics in the United States, and The Cuban Moment, but you will also find a range of exhibitions, concerts, film screenings and a new book club taking place in our library. For those who have chosen-among other new year’s resolutions-to learn or improve their Spanish language skills and become bilingual citizens in New York, we have an extensive program of courses for all levels and needs. Teachers of Spanish will also find a range of workshops and training sessions to further their professional career. Enjoy! El Instituto Cervantes arranca este nuevo año con un ambicioso programa cultural y académico, en el que destacan dos ciclos especiales: El Futuro de los Hispanos en los EE.UU. y el Momento actual de Cuba. Junto a ello, encontrarán una amplia variedad de exposiciones, conciertos, proyecciones cinematográficas y un nuevo club de lectura en nuestra biblioteca. Para quienes han decidido, entre sus propósitos para el nuevo año, aprender o mejorar su español y convertirse en ciudadanos bilingües en Nueva York, les ofrecemos una amplia programación de cursos de español de todos los niveles y para todas las necesidades. Y los profesores de español encontrarán también un variado programa de cursos de formación y perfeccionamiento docentes. ¡Que lo disfruten! IGNACIO OLMOS, EXECUTIVE DIRECTOR 4 5 CONTENTS / CONTENIDOS CONTENTS / CONTENIDOS CULTURAL EVENTS LIBRARY & ACADEMIC 09 FINE ARTS 27 THE FUTURE OF HISPANICS 57 CINEMA 67 ACADEMIC 10 Photography: IN THE UNITED STATES 58 MODERN (SPANISH) FAMILY 72 Spanish Courses dates The Island Allure of Cuba 28 Policy: ¿Por qué se frotan las patitas?, 79 Beginner Courses for Spanish Teachers 12 Caricature & Social Criticism: Antonio Garrigues-Walker Eduardo Aguirre by Álvaro Begines Aristide & Paquito D’Rivera & Juan Manuel Benítez Las ovejas no pierden el tren, 14 Contemporary Ceramics Art: 30 Economy & Energy: by Álvaro Fernández Armero 200 Years of Passion; Ramón Tamames & Juan Verde Azul y no tan rosa, by Miguel Ferrari Reinventing Tradition (Mexico) 32 Exhibitions, Literature & Social Life: Un novio para Yasmina, by Irene Cardoso 16 Painting, Photography, Prints & Posters: 32 Latin American Women in NY Truman, by Cesc Gay Memorias: Geography of a decade Chile 34 Daniel Alarcón, Carlos Aguasaco, Lyn Di Mi gran noche, by Álex de la Iglesia 1973-1983 Iorio & Lina Meruane 60 WOMEN IN THE SPOTLIGHT 36 AFEST: Encuentro de Escritoras Felices 140, by Gracia Querejeta Latinoamericanas en NY. Carmen 81 LIBRARY Loreak, by Jon Garaño & José Mari Goenaga Berenguer, Mariela Dreyfus, Alejandra 82 Library hours & General information Castillo, Mónica Ríos Los muertos van deprisa, by Ángel de la Cruz 38 The Success Stories of Latin También la lluvia, by Icíar Bollaín Americans in NYC. Boris Izaguirre Todos están muertos, by Beatriz Sanchís & Gabriel Rivera-Barraza 62 Science Fiction And Supernatural: New York Science Fiction and 41 PERFORMANCES Supernatural Film Festival 19 LITERATURE 42 Theatre: 20 CERVANTES, 400 YEARS Calderon’s Two Dreams 20 The Man Who Invented Fiction: 44 Concert: Álvaro Enrigue, Edith Grossman, Luisa Maria Güell 86 RENTALS Natasha Wimmer & William Egginton 46 Talk: 86 Information, facilities & contact 21 Don Quijote de Manhattan: La Lupe. Armando López 86 Gallery Mar Gómez Glez & Ignacio Olmos 47 WORLD MUSIC (Concerts) 86 Auditorium 22 El laberinto de Octavio Paz: 48 Antonio Lizana Band 87 Garden Eliot Weinberger & Diego Gómez Pickering 50 Josemi Carmona & Javier Colina 87 Multifunction Room 23 LIVE TO WRITE 52 Javier Limón 63 OPEN CULTURE - WORKSHOPS 24 Cuba en el corazón: Orlando Pardo Lazo 88 CALENDAR 64 We are Readers: & Rafael Pi Román 54 Carlos Núñez Así empieza lo malo, de Javier Marías 25 No voy a pedirle a nadie que me crea. 65 Wine Program at Instituto Cervantes Juan Pablo Villalobos 26 ESPAÑOL IN MOTION Perfiles del español estadounidense: Francisco Moreno Fernández 6 7 Welcome to the best place to learn Spanish Irene Lozano Teacher FINE ARTS PHOTO Verónica Gálvez & Irene Lozano Exhibition Verónica Gálvez Teacher Memorias THE ISLAND ALLURE OF CUBA PHOTO Miró painting from ARISTIDE & PAQUITO D’RIVERA (CUBA) 200 YEARS OF PASSION (MEXICO) Carlos David González, Sarah Rubio & Verónica Gálvez Verónica Sarah Rubio & González, Carlos David © Carlos David González, Sarah Rubion & Verónica Gálvez MEMORIAS 1973-83 (CHILE) 9 FINE ARTS / BELLAS ARTES FINE ARTS / BELLAS ARTES THE CUBAN MOMENT THURSDAY TALK & PHOTOGRAPHY FROM CUBA JAN THE ISLAND ALLURE OF CUBA 26 1858-1958 7:00 - 8:30 pm RAMIRO A. FERNÁNDEZ & RAÚL RUBIO General Admission: $10 CCCNY & ICNY Members: Free In Spanish PHOTO: Ramiro Fernández by Charles Ludeke PHOTOS: From Ramiro A. Fernández Collection An illustrated talk by Ramiro A. Fernández, featuring gems from his intensely A través de cientos de fotografías antiguas magníficamente conservadas, personal collection of photos and artefacts from Cuba, amassed with Ramiro A. Fernández, comentará las joyas de su colección personal, fruto professional expertise, visual insight and a decidedly cinematic flair. Through de un intenso quehacer profesional y de una visión cinematográfica, para hundreds of magnificently preserved vintage photographs and ephemera, recrearnos y celebrar la cultura, los ambientes y el encanto de la Isla, desde Island Allure celebrates the culture of high style that prevailed on the la época colonial, gracias a los primeros daguerrotipos, hasta la glamurosa Island from colonial times through 1958 -from the earliest 19th century Habana de los años 50 del siglo XX. daguerreotypes to shots of Havana’s glamorous heyday. This unique display of photographs, some of which will be shown in public for the first time, represents a century of Cuba’s history. 10 11 FINE ARTS / BELLAS ARTES FINE ARTS / BELLAS ARTES THE CUBAN MOMENT TUESDAY TALK & SCREENING PREMIERE F E B ARISTIDE Y SUS TRES ORILLAS 07 FILM, CARICATURE & SOCIAL CRITICISM 7:00-8:30pm WITH PAQUITO D’RIVERA AND ARISTIDE General Admission: $10 ICNY & CCCNY Members: Free RSVP Mandatory: bec2cultny@ cervantes.es In Spanish PHOTO: Aristide // PHOTO: Paquito D’Rivera Ubaldo Medina’s 2016 documentary highlights the career of legendary Cuban Los momentos más relevantes de la trayectoria del legendario caricaturista caricaturist Arístides Pumariega in Cuba, Colombia and Miami. We will be Arístides Pumariega en Cuba, Colombia y Miami conforman la trama de este celebrating the New York premiere of the film at Instituto Cervantes along documental dirigido por Ubaldo Medina en 2016. Celebraremos su estreno with its protagonist and the renowned Cuban musician Paquito D’Rivera. neoyorquino en el Instituto Cervantes junto a su protagonista, Aristide y The artists will take us trough Aristide’s life, one of the most prolific artists of su amigo y mítico músico cubano Paquito D’Rivera. Ambos artistas, tras la his generation and whose work takes on most manifestations of the plastic proyección, harán un recorrido por la vida de Pumariega, uno de los artistas arts, journalism and performing arts. After the screening they will hold a más prolíficos de su generación, cuya obra abarca todas las manifestaciones conversation with the audience. de las artes plásticas, el periodismo y el mundo del espectáculo. The event will be accompanied by a small exhibition of some of his most Complementa la charla y el estreno neoyorquino de la película, una pequeña iconic caricatures. muestra de algunas de las caricaturas más representativas de Aristide. 12 13 FINE ARTS / BELLAS ARTES FINE ARTS / BELLAS ARTES From: MEXICAN CONTEMPORARY CERAMICS WEDNESDAY 200 YEARS OF PASSION FEB
Recommended publications
  • Skain's Domain – Episode 5
    Skain's Domain – Episode 5 Skain's Domain Episode 5 - April 20, 2020 0:00:01 Moderator: Wynton, you're ready? 0:00:02 Wynton Marsalis: I'm ready. 0:00:03 Moderator: Alright. 0:00:06 WM: I wanna thank all of you for joining me once again. This is Skain's Domain, we're talking about subjects significant and trivial, with the same intensity and feeling. We're gonna talk tonight... I'm gonna start off by talking about a series we're gonna start, which is, "How to develop your ability to hear, listen to music." I think that for many years, me and a great seer of the American vernacular, Phil Schaap, argued about the importance of music appreciation. We tend to spend a lot of time with musicians, talking about music, and we forget about the general audience of listeners, so I'm gonna go through 16 steps of hearing, over the time. I'm gonna be announcing when it is, and I'm just gonna talk about the levels of hearing from when you first start hearing music, to as you deepen your understanding of music, and you're able to understand more and more things, till I get to a very, very high level of hearing. Some of it comes from things that we all know from studying music and even what we like, what we listen to, but also it comes from the many different experiences I've had with great musicians, from the beginning. I can always remember hearing when I was a kid, the story of Ben Webster, the great balladeer on tenor saxophone.
    [Show full text]
  • Keeping the Tradition Y B 2 7- in MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar
    June 2011 | No. 110 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Dee Dee Bridgewater RIAM ANG1 01 Keeping The Tradition Y B 2 7- IN MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar It’s always a fascinating process choosing coverage each month. We’d like to think that in a highly partisan modern world, we actually live up to the credo: “We New York@Night Report, You Decide”. No segment of jazz or improvised music or avant garde or 4 whatever you call it is overlooked, since only as a full quilt can we keep out the cold of commercialism. Interview: Cooper-Moore Sometimes it is more difficult, especially during the bleak winter months, to 6 by Kurt Gottschalk put together a good mixture of feature subjects but we quickly forget about that when June rolls around. It’s an embarrassment of riches, really, this first month of Artist Feature: Orrin Evans summer. Just like everyone pulls out shorts and skirts and sandals and flipflops, 7 by Terrell Holmes the city unleashes concert after concert, festival after festival. This month we have the Vision Fest; a mini-iteration of the Festival of New Trumpet Music (FONT); the On The Cover: Dee Dee Bridgewater inaugural Blue Note Jazz Festival taking place at the titular club as well as other 9 by Marcia Hillman city venues; the always-overwhelming Undead Jazz Festival, this year expanded to four days, two boroughs and ten venues and the 4th annual Red Hook Jazz Encore: Lest We Forget: Festival in sight of the Statue of Liberty.
    [Show full text]
  • Eddie Who? - Eddie Harris Amerikansk Tenorsaxofonist, Født 20.10.1934 I Chicago, IL, D
    Eddie Who? - Eddie Harris Amerikansk tenorsaxofonist, født 20.10.1934 i Chicago, IL, d. 5.11.1996 Sanger og pianist som barn i baptistkirker og spillede senere vibrafon og tenorsax. Debuterede som pianist med Gene Ammons før universitetsstudier i musik. Spillede med bl.a. Cedar Walton i 7. Army Symphony Orchestra. Fik i 1961 et stort hit og jazzens første guldplade med filmmelodien "Exodus", hvad der i de følgende år gav ham visse problemer med accept i jazzmiljøet. Udsendte 1965 The in Sound med bl.a. hans egen komposition Freedom Jazz Dance, som siden er indgået i jazzens standardrepertoire. Spillede fra 1966 elektrificeret saxofon og hybrider af sax og basun. Flirtede med rock på Eddie Harris In the UK (Atlantic 1969). Spillede 1969 på Montreux festivalen med Les McCann (Swiss Movement, Atlantic) og skrev 1969-71 musik til Bill Cosbys tv-shows. Spillede i 80'erne med bl.a. Tete Montoliu og Bo Stief (Steps Up, SteepleChase, 1981) og igen med Les McCann. Som sideman med bl.a. Jimmy Smith, Horace Silver, Horace Parlan og John Scofield (Hand Jive, Blue Note, 1993). Optrådte trods sygdom, så sent som maj 1996. Indspillede et stort antal plader for mange selskaber, fra 80'erne mest europæiske. Med udgangspunkt i bopmusikken udviklede Harris sine eksperimenter til en meget personlig stil med umiddelbart genkendelig, egenartet vokaliserende tone, fra 70'erne krydret med (ofte lange), humoristisk filosofisk/satiriske enetaler. Følte sig ofte underkendt som musiker og satiriserede over det i sin "Eddie Who". Kilde: Politikens Jazz Leksikon, 2003, red. Peter H. Larsen og Thorbjørn Sjøgren There's a guys (Chorus) You ought to know Eddie Harris ..
    [Show full text]
  • Jorge Pardo: Huellas Featuring the Juanito Pascual Trio
    MUSIC Jorge Pardo: Huellas featuring WASHINGTON, D.C. the Juanito Pascual Trio Thu, November 17, 2016 7:30 pm Venue Former Residence of the Ambassadors of Spain, 2801 16th Street NW, Washington, DC 20009 View map Credits Presented by SPAIN arts & culture with the support of the Permanent Observer Mission of Spain to the OAS. Image by Angel Vicente Legendary saxophonist Jorge Pardo comes to D.C. this November as part of his U.S. tour for a unique evening of jazz and flamenco featuring the Juanito Pascual Trio. Whoever loves Jazz, loves Jorge Pardo. Whoever loves Flamenco, loves Jorge Pardo. Those who have a passion for music must love Jorge Pardo because he chants through his flute, is able to let his saxophone complain, enjoys the rhythm and passes his magic on to his instruments. Jorge Pardo, saxophone and flute player, is one of the most outstanding and consistent revelations of the flamenco jazz fusion. He, together with Paco de Lucía and Camarón de la Isla, helped forging a new musical language melding jazz and flamenco. His playing style has become a referential point. He shared ideas, music and experiences during 20 years, with the master of flamenco guitar, Paco de Lucia. During these years of tours, records and coexistence, they created a new musical language known as Flamenco Jazz or Flamenco Fusion. This music had a strong flamenco nature and was composed also off classic works and world rhythms. His discography extends beyond 20 recordings as leader. He also collaborated and exchanged experiences with other artists all over the world, such as Chick Corea, Paco de Lucía, Tete Montoliu, Marcus Miller, Pat Metheny, etc.
    [Show full text]
  • La Recepción Del Jazz Moderno En Barcelona En Los Años 1940: La Aportación De Tete Montoliu
    nova série | new series 6/2 (2019), pp. 323-350 ISSN 2183-8410 http://rpm-ns.pt La recepción del jazz moderno en Barcelona en los años 1940: La aportación de Tete Montoliu Teresa Luján Conservatorio Superior de Música de Navarra Departamento de Jazz lujan.montoya@gmail.com Resumo Este artigo analisa as controvérsias suscitadas pela recepção do bebop no meio jazzístico espanhol, com particular ênfase na figura do pianista Tete Montoliu, que nasceu e desenvolveu a sua carreira musical em Barcelona, cidade reconhecida, especialmente nessa altura, como a capital do jazz espanhol. Com esse objectivo, e após uma breve contextualização da atmosfera do jazz em Barcelona no final da década de 1940, discutimos as ideias abordadas por Montoliu num artigo publicado em 1950, «Defensa del be- bop», na forma de um comentário que se baseia em pesquisa documental e numa análise crítica. Este artigo de Montoliu, até agora muito pouco explorado, constitui uma importante crónica sobre o seu tempo, abordando tanto aspectos musicais como estéticos e sociológicos. Palavras-chave Jazz; Barcelona; Bebop; Controvérsias; Tete Montoliu. Abstract This article analyses the controversies generated within the Spanish jazz environment within the context of the reception of bebop, with particular emphasis on the figure of the pianist Tete Montoliu, who was born and developed his musical career in Barcelona, a city that has always been the capital of Spanish jazz, and especially at that time. To this end, and after a brief contextualization of the jazz atmosphere of Barcelona in the late 1940s, the ideas that emerge from the article published by Montoliu in 1950 «Defensa del be-bop» are discussed, within a form of a commentary, and based on a documented discourse and a critical analysis.
    [Show full text]
  • Lasa Journal Sont Disponibles Sure Demande
    laSa• International Association of Sound and Audiovisual Archives Association Internationale d' Archives Sonores et Audiovisuelles Internationale Vereinigung der Schall- und Audiovisuellen Archive laSa• journal (formerly Phonographic Bulletin) no. 11 June 1998 IASA JOURNAL Journal of the International Association of Sound and Audiovisual Archives IASA Organie de I' Association Internationale d' Archives Sonores et Audiovisuelle IASA . Zeitschchrift der Internationalen Vereinigung der Schall- und Audiovisuellen Archive IASA Editor: Chris Clark, The British Library National Sound Archive, 96 Euston Road, London NWI 2DB, UK. Fax 44 1714127413, e-mail chris.clark@bl.uk Reviews and Recent Publications Editor: as for Editor (pending new appointment) The IASA Journal·is published twice a year and is sent to all members of IASA. Applications for membership of IASA should be sent to the Secretary General (see list of officers below). The annual dues are 25GBP for individual members and 100GBP for institutional members. Back copies of the IASA Journal from 1971 are available on application. Subscriptions to the current year's issues of the IASA Journal are also available to non-members at a cost of 35GBP. Le IASA Journal est pub lie deux fois l'an et distribue Ii tous les membres. Veuilliez envoyer vos demandes d'adhesion au secreta ire dont vous trouverez I'adresse ci-dessous. Les cotisations anuelles sont en ce moment de 25GBP pour les membres individuels et 1000BP pour les membres institutionelles. Les numeros precedeentes (Ii partir de 1971) du lASA Journal sont disponibles sure demande. Ceux qui ne sont pas membres de I' Assooc iat ion puevent obtenir un abonnement du IASA Journal pour I'annee courante au cout de 35GBP.
    [Show full text]
  • Jazz En España
    El sello discográfico de RNE, RTVE-Música, pone en marcha una colección, que bajo el titulo general de “Jazz en España”, trata de recopilar, reorganizar y optimizar el acervo jazzístico de nuestro archivo histórico, así como intentar promocionar las últimas iniciativas del jazz contemporáneo. Los dos primeros álbumes de esta colección están dedicados a Tete Montoliu, el pianista y compositor más internacional del ámbito jazzístico, y al saxofonista Pedro Iturralde, pionero en la fusión de jazz y flamenco. El jazz pertenece a ese tipo de músicas, que, aunque tengan su origen localizado en un lugar determinado del planeta, rebasan esos límites y se convierten en sonidos nómadas, que, al final, acaban siendo propie- dad de la Humanidad. El jazz es una música nacida a principios del siglo XX, en Estados Unidos, a partir del contacto de dos cultu- ras: la de África y la de Europa. De África tomó el fol- clor de los negros llevados a América como esclavos; de Europa, algunos cantos religiosos y marchas milita- res. Las características formales son el aspecto rítmico (el swing, o balanceo, y el ritmo sincopado) y la impro- visación, elemento fundamental que determina el pre- dominio de la ejecución sobre la partitura. Con el paso Giras, grabaciones, recitales y festivales fueron del tiempo, lo que empezó siendo una música folkló- una costante en la vida de Tete Montoliu. rica, reducida al área del Mississippi, se convirtió en una de las manifestaciones artísticas más importantes El fenómeno mereció desde el primer momento la del siglo XX. atención de Radio Nacional de España y Televisión Española, que, con sus grabaciones, han incrementa- En España, existe una tradición de aficionados y músi- do notablemente el fondo de su archivo sonoro.
    [Show full text]
  • Piano Bass (Upright And/Or Electric)
    January 2017 VOLUME 84 / NUMBER 1 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Managing Editor Brian Zimmerman Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Markus Stuckey Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 jenr@downbeat.com Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 ritched@downbeat.com OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com editor@downbeat.com CUSTOMER SERVICE 877-904-5299 / service@downbeat.com CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: 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 Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael Weintrob; North Carolina: Robin Tolleson; Philadelphia: David Adler, Shaun Brady, Eric Fine; San Francisco: Mars Breslow, Forrest Bryant, Clayton Call, Yoshi Kato; Seattle: Paul de Barros; Tampa Bay: Philip Booth; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Belgium: Jos Knaepen; Canada: Greg Buium, James Hale, Diane Moon; Denmark: Jan Persson; France: Jean Szlamowicz; Germany: Detlev Schilke, Hyou Vielz; Great Britain: Brian Priestley; Japan: Kiyoshi Koyama; Portugal: Antonio Rubio; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert.
    [Show full text]
  • Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor Saxophone Musical Vocabulary
    Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. BOBBY HUTCHERSON NEA Jazz Master (2010) Interviewee: Bobby Hutcherson (January 27, 1941 – August 15, 2016) with his wife Rosemary Hutcherson Interviewer: Anthony Brown with recording engineer Ken Kimery Date: December 8-9, 2010 Repository: Archives Center, National Museum of American History Description: Transcript, 60 pp. Brown: Today is December 8th, 2010. Bobby Hutcherson: Oooo, December 8th. Brown: This is the Smithsonian NEA Jazz Oral History interview with Bobby Hutcherson in his home in Montero, California. Good afternoon, Bobby. Hutcherson: Good afternoon. Brown: It’s indeed a pleasure to be here, be in your home and be able to talk to you, one of my heroes for so many years, a fellow Californian. If we could just start by you stating your full name at birth and your birth place and birth date, please. Hutcherson: Robert Howard Hutcherson. I was born January 27, 1941, in Los Angeles, but I grew up in Pasadena, California. Brown: But you say you were born in Los Angeles. Hutcherson: Um-hmm. Brown: Is that where your parents were living at the time of your birth? For additional information contact the Archives Center at 202.633.3270 or archivescenter@si.edu 1 Hutcherson: No. It was – they were living in Pasadena, but a lot of my relatives were living in Los Angeles, Watts and stuff like that. So it worked out, because they could be there. My mom had me very late in her life, in those days, and so it was better for my father to take my mother to the Los Angeles hospital, because he was – his work, he was a bricklayer.
    [Show full text]
  • The Improvisational Language of Niels-Henning Ørsted Pedersen
    THE IMPROVISATIONAL LANGUAGE OF NIELS-HENNING ØRSTED PEDERSEN: A PERFORMANCE STUDY Craig Butterfield, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS December 2008 APPROVED: Jeff Bradetich, Major Professor Lynn Seaton, Minor Professor Joseph Klein, Committee Member Terri Sundberg, Chair of the Division of Instrumental Studies Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Butterfield, Craig. The improvisational language of Niels-Henning Ørsted Pedersen: A performance study. Doctor of Musical Arts (Performance), December 2008, 69 pp., 103 musical illustrations, works cited, 20 titles. Thirteen original transcriptions and subsequent analysis of improvised solos performed by Niels-Henning Ørsted Pedersen. The transcriptions are analyzed in three categories: harmonic vocabulary, technical devices, and motivic use. Pervasive harmonic and melodic themes are presented and compared with phrases from improvisers such as Sonny Rollins and Charlie Parker, as well as compositions by J.S. Bach and Johannes Brahms. Observations from the transcriptions regarding performance practice and techniques unique to Pedersen as well as the influence of the physical characteristics of the double bass are discussed. Pedersen’s use of motivic development within a single solo is analyzed. Copyright 2008 by Craig Butterfield ii TABLE OF CONTENTS Page Chapters 1. INTRODUCTION ...................................................................................................1 2. ORIGINAL TRANSCRIPTIONS ...........................................................................4 All the Things You Are Beautiful Love Blues for Perla Falling in Love with Love Have You Met Miss Jones I Fall in Love too Easily I Love You Lover Man Oleo Someday My Prince Will Come Stella by Starlight There Is No Greater Love You Look Good to Me 3.
    [Show full text]
  • Currículum Vitae
    CURRÍCULUM VITAE GENI BARRY (vibraphone/marimba) c/ Font Florida 10 Tel. (+34) 934 254 781 Barcelona 08004 genibarry@yahoo.es www.genibarry.com Few musicians can boast of being voted ‘Spain’s best vibraphonist’ and without doubt he is one of the best on the old continent, nor of ‘having been for many years the right hand man of the patriarch of Catalan jazz, Tete Montoliu (Jamboree Barcelona). These and other comments can be found under ‘Representativo’ on his website. Born in Barcelona he was introduced to jazz at an early age. Surrounded by jazz musicians and private teachers, he learned harmony and jazz language, although his education has in the main been autodidactic. His most influential teachers have been Tete Montoliu and Bobby Hutcherson, but he believes that he is constantly learning from the great musicians that accompany him. He has written a treatise of terminology and technique “MANUAL PRÁCTICO DE JAZZ” (Practical jazz handbook) (Editorial Mitre), He has also contributed articles on technique and opinion in “Revista de jazz”, ”Guitarra Actual” and the no longer published “Megadrums”. As a professional of the robotics industry, he built his own concert-sized vibraphone. He furthered his studies in harmony and combo arranging through ‘Trinity College London’, he was awarded a Licentiate in Music Performance with distinction. Gaining 93% , the highest mark in Spain in his speciality. He is a teacher of vibraphone, harmony and combo en ‘La Escuela superior de Musica Jam Session’ in Barcelona. MUSIC AND STYLE: he plays with be-bop and hard-bop, incorporating Latin Jazz and Funky in his own arrangements.
    [Show full text]
  • A B C D E F Principle Performerrecording
    A B C D E F Principle PerformerRecording DateInstrument Other Performers Matrix &/or Orig Release My Source Loveable and Sweet, Sounds of Yester Year Hylton, Jack 7-Feb-30 voc/big band Pat O'Malley (v), Billy Ternent (tenor and arr) Bb-18652-2-3, HMV (e)B-5777 DS0Y624 Rosebery, Arthur 15-Feb-30 voc/big band Len Lees (v) Rosebery piano, Rust say aug band Parlophone R-595 Will Friedwald Gibbons, Carroll 19-Feb-30 piano piano with violin and clarinet HMV B3347 Amazon.com Song ID: 223115498 Ambrose, Bert 22-Feb-30 voc/big band Sam Browne (v) Bert Amrbose MB-941-3, Dec M-118, M-402 Will Friedwald Hylton, Jack 25-Feb-30 voc/big band Pat O'Malley (v) 12in Concert Transcription, Victor 36027-A John Leifert Carlisle, Elsie Mar-30 voc Jay Wilbur and his Orch 1713-R2. Dominion C307 Radio Sweetheart No. 1, ASV CD AJA 5282 Hughes, Spike 12-Mar-30 voc/big band Spike Hughes (b) Val Rosing (dr and vocals) MB1056-1, F1703, Retrieval FG407 Will Friedwald Michael Thomas, http://www.mgthomas.co.uk/Soundfiles/Britis Pete Mandell and His Rhythm Masters, Jack Plant h%20Dance/Pete%20Mandell/Pete%20Mande Mandell, Pete 5-May-30 voc/big band (v) mx. # 904-4 Victory 231 ll%20-%20Body%20And%20Soul.mp3 Sam Browne (v) and his Gyspy Orch Hal Swain Alfredo, Gil 26-May-30 voc/big band vocal??? 89796-2, EBR 1348, Edison Bell Radio 1348 Will Friedwald Whiteman, Paul 10-Sep-30 voc/big band Jack Fulton (v) 150788-3,Col 2297-D, DC-177 Will Friedwald: ASV 5291 (Say it With Music) More than you Know Box Office Recordings Morgan, Helen 12-Sep-30 voc Leonard Joy (arr.
    [Show full text]