DOCSLIB.ORG

Anat Cohen Quartetinho, 3/7 2/10/20, 600 PM

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Anat Cohen Quartetinho, 3/7 2/10/20, 6�00 PM Miller Theatre's Jazz series presents the Anat Cohen Quartetinho, 3/7 2/10/20, 600 PM VIEW THIS EMAIL IN YOUR BROWSER FOR IMMEDIATE RELEASE PRESS CONTACTS February 10, 2020 Aleba Gartner, 212/206-1450 Tickets & Information: 212/854-7799 [email protected] millertheatre.com Lauren Bailey Cognetti, 212/854-1633 [email protected] “The lyric beauty of her tone, the easy fluidity of her technique, and the extroverted manner of her delivery make this music accessible to all.” — The Chicago Tribune Miller Theatre at Columbia University School of the Arts concludes its 2019-2020 Jazz series with Anat Cohen Quartetinho Saturday, March 7, 2020, 8:00 P.M. Miller Theatre (2960 Broadway at 116th Street) Tickets: starting at $25; Students with valid ID: starting at $7 https://mailchi.mp/alebaco/miller-theatre-presents-anat-cohen-quartetinho?e=076444d635 Page 1 of 7 Miller Theatre's Jazz series presents the Anat Cohen Quartetinho, 3/7 2/10/20, 600 PM Anat Cohen, photo by Shervin Lainez. Jazz Saturday, March 7, 2020, 8:00 P.M. Miller Theatre (2960 Broadway at 116th Street) Anat Cohen Quartetinho The charismatic and prolific GRAMMY-nominated clarinetist-saxophonist Anat Cohen returns with her expressive artistry and captivating stage presence. Cohen has earned accolades from audiences, critics, and peers alike, including “Clarinetist of the Year” by the Jazz Journalists Association every year since 2007. ARTISTS: Anat Cohen, clarinet & bass clarinet Vitor Gonçalves, accordion & piano Tal Mashiach, bass & guitar James Shipp, percussion, vibraphone, electronics https://mailchi.mp/alebaco/miller-theatre-presents-anat-cohen-quartetinho?e=076444d635 Page 2 of 7 Miller Theatre's Jazz series presents the Anat Cohen Quartetinho, 3/7 2/10/20, 600 PM Anat Cohen anatcohen.com An established bandleader and prolific composer, GRAMMY-nominated Anat Cohen has established herself as one of the primary voices of her generation on both the tenor saxophone and clarinet. Born in Tel Aviv, Cohen began clarinet studies at age 12 and played jazz on the clarinet for the first time in the Jaffa Conservatory’s Dixieland band. At 16, she joined the school’s big band and learned to play the tenor saxophone, which she later played in the Israeli Air Force band. Through a World Scholarship Tour, Cohen matriculated at Berklee College of Music in Boston in 1996. Three years later, she moved to New York and spent the following decade touring with Sherrie Maricle’s all-woman big band, The Diva Jazz Orchestra. She also worked in Brazilian groups including the Choro Ensemble and Duduka Da Fonseca Jazz Quintet, along with David Ostwald’s Gully Low Jazz Band, performing the music of Louis Armstrong. In 2014, she was the music director for the Newport Jazz Festival: Now 60, an all-star band that toured the U.S. for the festival’s 60th anniversary. In 2017, Cohen played all the major European festivals as part of the all-star, all-female band Artemis alongside artists including Renee Rosnes and Cécile McLorin Salvant. She has also toured in a duo with pianist Fred Hersch, as well as with Cuban singer Omara Portuondo. Cohen has performed for audiences at New York’s Village Vanguard, Jazz Standard, Iridium, The Jazz Gallery, and the JVC Jazz Festival. She has also appeared at the Chicago Jazz Festival, the Kennedy Center, San Francisco’s Yoshi’s, Boston’s Regattabar, the North Sea Jazz Festival, the Monterey Jazz Festival, and the Montreal Jazz Festival. Her July 2007 engagement at the Village Vanguard in New York was an historic one as she became the first female reed player and the first Israeli to headline at the club. Since 2005, Cohen has released a series of recordings as a bandleader on her Anzic Records label. Happy Song (Anzic), the debut album of the Anat Cohen Tentet, was released in 2017, followed by Live in Healdsburg, the debut duo recording of Cohen and Fred Hersch in 2018. In 2019, Cohen released three albums that received GRAMMY nominations: Triple Helix, Tentet’s second recording; Outra Coisa with Marcello Gonçalves; and Rosa Dos Ventos with Trio Brasileiro. She has also recorded four albums as part of the 3 Cohens Sextet with her brothers, saxophonist Yuval and trumpeter Avishai: One (2003), Braid (2007), Family (2011), and Tightrope (2013). Among her many awards and distinctions, Cohen was named Clarinetist of the Year by the Jazz Journalists Association every year since 2007. In DownBeat, she was named top clarinetist in both the readers and critics polls for multiple years, Rising Star in the soprano https://mailchi.mp/alebaco/miller-theatre-presents-anat-cohen-quartetinho?e=076444d635 Page 3 of 7 Miller Theatre's Jazz series presents the Anat Cohen Quartetinho, 3/7 2/10/20, 600 PM and tenor saxophone categories, and Jazz Artist of the Year. In 2009, she received the ASCAP Wall of Fame prize for composition and musicianship. Vitor Gonçalves vitorgoncalvesmusic.com Vitor Gonçalves is a pianist, accordionist, composer, and arranger from Rio de Janeiro, Brazil. After an illustrious career in Brazil, playing with such icons as Hermeto Pascoal, Maria Bethânia, Itiberê Zwarg, and many others, Gonçalves moved to New York City in 2012, where he currently resides. In addition to leading his own projects, Gonçalves collaborates with Anat Cohen, Vinícius Cantuária, Anthony Wilson, Cyro Baptista, and Yotam Silberstein, among others. Ensembles that he co-leads include SanfoNYa Brasileira and Regional de NY. Gonçalves performs regularly at Jazz at Lincoln Center, Jazz Standard, and The Jazz Gallery, and has played in jazz festivals and venues around the world, including Newport Jazz, Jazz à Vienne, Umbria Jazz Festival, Queen Elizabeth Hall in London, and the Coliseum in Lisbon, Portugal. He has been featured in NPR’s Jazz Night in America and The New York Times as a guest of Spok Frevo Orquestra. In 2017, Gonçalves released his debut album on Sunnyside Records, Vitor Gonçalves Quartet, featuring Dan Weiss (drums), Thomas Morgan (bass), and Todd Neufeld (guitar). He received two 2020 GRAMMY nominations, for Best Latin Jazz Album with Thalma de Freitas and for Best Large Jazz Ensemble Album with Anat Cohen Tentet. Tal Mashiach Tal Mashiach is a multi-instrumental performer and composer, and a prominent young voice in the Israeli music scene. In 2015, at the age of 21, Mashiach moved to New York after receiving a full scholarship from The New School for Jazz and Contemporary Music. Since then, he has performed and toured with artists including Avishai Cohen, Anat Cohen, Mulatu Astake, Jason Lindner, Ravi Coltrane, Marcus Gilmor, Roman Diaz, Shai Maestro, Gilad Hexelman, Nasheet Waits, among many others, at venues and festivals around the world including the Newport Jazz Festival, Montreal Jazz Festival, New York’s SummerStage and Winter Jazzfest, Lincoln Center, Jazz Standard, and Miller Theatre at Columbia University. In addition to his work as a sideman, Mashiach leads his own group https://mailchi.mp/alebaco/miller-theatre-presents-anat-cohen-quartetinho?e=076444d635 Page 4 of 7 Miller Theatre's Jazz series presents the Anat Cohen Quartetinho, 3/7 2/10/20, 600 PM TM Street Band. Born in 1993 in Harashim, Israel, he began playing classical guitar at the age of 11 and won many prizes including first prize in the national competition for classical guitar at the Jerusalem Academy for Music and Dance and the Excellence Scholarship of the America- Israel Cultural Foundation (AICF). In September 2011, Mashiach joined the Israeli Army program for excellent musicians. During that time, he started playing the double bass and studying classical music and jazz. From 2012 to 2014, he studied at The Center for Jazz Studies at the Israel Conservatory of Music in Tel Aviv where he played in the Representations Big Band conducted by Yuval Cohen. During his studies, he performed at the Rostov Jazz Festival in Russia with the Chosen Ensemble conducted by Gilad Ronen. Mashiach was awarded AICF grants for jazz and classical music between 2006–2016, with an excellence grant in 2008/09 (classical guitar) and in 2014/15 (double bass). James Shipp jamesshipp.com James Shipp is a sought-after Brazilian percussionist and a multi-instrumentalist in bands both mostly-improvised and tightly arranged, a composer of music for experimental theater, and a producer of recordings, bringing to bear his knowledge of both acoustic and analog electronic instruments to a wide range of projects. As a leader, Shipp has been performing his mostly satirical songs solo and with his band since 2016. He is a member of the MakeSpeak Ensemble, a collaborative trio that composes and performs music for dance and theater. Since 2012, he has performed as a duo with trumpeter Nadje Noordhuis; they released their first album, Indigo, to audiences at the Wangeratta Festival of Jazz & Blues in Victoria, Australia. Shipps’ band Nós Novo, founded in 2007, took improvisors’ ears to traditional Irish repertoire and released Strange Sweethearts in America in 2009. Shipp currently tours with the Anat Cohen Tentet, Jean Rohe & The End of the World Show, Banda Magda, Nadje Noordhuis Quintet, and Christina Courtin (Pilot Violet). He has recorded and performed with Paquito d’Rivera, Kurt Elling, Snarky Puppy, Bokante, Kate McGarry, Becca Stevens, Bob Lanzetti, Kronos Quartet, and Sting. Shipp has been a bandleader, composer, producer, and workshop facilitator for Carnegie Hall’s social impact programs for the last decade, working with thousands of people of all https://mailchi.mp/alebaco/miller-theatre-presents-anat-cohen-quartetinho?e=076444d635 Page 5 of 7 Miller Theatre's Jazz series presents the Anat Cohen Quartetinho, 3/7 2/10/20, 600 PM ages in prisons, jails, hospitals, shelters, and schools throughout New York City.
Load more

Recommended publications
  • Becca Stevens Singer / Songwriter / Performer Biography
    BECCA STEVENS SINGER / SONGWRITER / PERFORMER BIOGRAPHY North Carolina bred, Brooklyn based singer/multi- instrumentalist Becca Stevens is a composer, bandleader, and educator. In her playing, singing, and writing, Stevens has a voice that can only be accurately described as her own. Her original music is hailed worldwide for its its intricate harmonies and rhythms subtly rooted in jazz and Irish Folk and West African music. Boundless in the elements from which she draws her inspiration, Stevens is known for her unique ability to craft exquisite and authentic compositions both for her own band, and for GRAMMY award winning artists who run the gamut of genre from Jacob Collier, to Michael League (Snarky Puppy), and most notably with folk legend David Crosby. Stevens is a member of Crosby’s Lighthouse Band whose album ‘Here If You Listen’ (BMG ‘18), features the distinct songwriting of its four members— Stevens, Crosby, League, and Michelle Willis. Stevens has received copious praise from the likes of The New York Times, was Downbeat Magazine’s 2017 Rising Star Female Vocalist, and was featured on NPR Music’s “Songs We Love”. She has toured the world performing with her band, and collaborating with peers such as Brad Mehldau, Kneebody, Esperanza Spalding, Billy Childs, Ambrose Akinmusire, Vijay Iyer, Taylor Eigsti, José James, Eric Harland, Gerald Clayton, Travis Sullivan’s Björkestra and many others. In 2015, Perfect Animal, the highly anticipated follow up to Weightless (Sunnyside), produced by engineer Scott Solter, was released on Universal Music Classics. Becca’s music is featured on Snarky Puppy’s Family Dinner, Vol.
    [Show full text]
  • NYC Jazz Record
    execution. Added inventiveness is found on Dresser’s GLOBE UNITY: BRAZIL composition “Yeller Grace”, which blends “Yellow Rose of Texas”, “Amazing Grace” and the National Anthem into a barely recognizable yet fully engaging mix. And they show plenty of versatility, as piano and bass converse equally well within the sweeping, legato passages of “For My Mother” or the jarring, playful bounces of “Big Mama”. But the true highlight is their interplay on Dresser’s composition “Mattress on a Stick”, which leads with a breathtakingly lyrical bass introduction, over Moser’s sparse and haunting choice Patience of chords. Each tune was recorded straight to two Stéphane Kerecki/John Taylor (Zig-Zag Territoires) entirely clean, un-mixed tracks, the depth of the tones All Strung Out astounding, providing a truly intimate experience. Piano Masters Series, Vol. 2 Denman Maroney/Dominic Lash (Kadima Collective) Philippe Baden Powell (Adventure Music) Duetto Mark Dresser/Diane Moser (CIMP) For more information, visit outhere-music.com/zigzag, Tempo (feat. Eddie Gomez) Tania Maria (Naïve) by Sam Spokony kadimacollective.com and cimprecords.com. Moser and Constelação Brazilian Trio (Motéma Music) In these three albums, we find each piano/bass duo Dresser are at Cornelia Street Café Sep. 6th. See Calendar. by Tom Greenland approaching the world of free improvisation with The world’s fifth largest country, home of bossa different modes of thought and intensity. nova, samba and birthplace of Tom Jobim, Airto Patience, by French bassist Stéphane Kerecki and Moreira, Milton Nascimento and Hermeto Pascoal British pianist John Taylor, reveals the strong influence (to name only a few), Brazil has deeply impacted of the classic dynamic that once existed between jazz.
    [Show full text]
  • 9 Concert Presentations During the Innovation Series at Ironworks
    FOR IMMEDIATE RELEASE 32nd Annual TD Vancouver International Jazz Festival Announces INNOVATION SERIES AT THE IRONWORKS & ROUNDHOUSE PERFORMANCE CENTRE Tickets on sale now at www.coastaljazz.ticketfly.com Telephone 1.888.732-1682 Choose any 3 shows from Innovation Series- Ironworks & Ironworks Late Night $46 All In. Available by telephone at 1.888.438.5200 9 Concert Presentations during the Innovation Series at Ironworks DÁLAVA June 23 Innovation Series – The Ironworks at 9:30pm $30 All In Led by vocalist Julia Úlehla and guitarist Aram Bajakian (Lou Reed, John Zorn, Diana Krall), the “utterly captivating” (Vancouver Sun) Dálava takes Czech folk melodies transcribed over 100 years ago by Úlehla’s botanist/ethnomusicologist great-grandfather, Dr. Vladimir Úlehla, and places them in a compelling contemporary context. Cinematic and wide- ranging, the music of Dálava is beautifully rendered and hauntingly expressive. With Peggy Lee cello, Colin Cowan bass, Tyson Naylor keys, and Dylan van der Schyff drums, the groundbreaking Dálava offers a “stunning fusion of Middle European melody, rock energy, and scratchy avant-jazz textures” (Georgia Straight). Songlines recording artist- celebrating 25 years! DONNY MCCASLIN GROUP June 24 Innovation Series- The Ironworks at 9:30 pm $40 All In Three-time GRAMMY-nominated saxophonist/composer Donny McCaslin’s group collaborated on David Bowie’s masterful final album, Blackstar, matching its rugged, versatile, and “relentlessly intriguing” (NME) sound to Bowie’s immense artistry, generosity of spirit, and outright fearlessness. McCaslin’s “powerful left-field New York jazz band” (The Guardian) features Jason Lindner on keys, bassist Nate Wood, and Mark Guiliana, “a drummer around whom a cult of admiration has formed” (New York Times).
    [Show full text]
  • «An Evening with Pat Metheny» Feat. Antonio Sánchez, Linda May Han Oh & Gwilym Simcock
    2017 20:00 24.10.Grand Auditorium Mardi / Dienstag / Tuesday Jazz & beyond «An evening with Pat Metheny» feat. Antonio Sánchez, Linda May Han Oh & Gwilym Simcock Pat Metheny guitar Antonio Sánchez drums Linda May Han Oh bass Gwilym Simcock piano Pat Metheny photo: Jimmy Katz Pat Metheny, au-delà de la guitare Vincent Cotro « J’ai atteint un point où j’ai tant composé que tout n’est qu’une grande composition. Avec Antonio, Lina et Gwilym, nous allons explorer cette composition pour en faire, je l’espère, quelque chose de vraiment grandiose ». Pat Metheny, présentation du concert lors du festival Jazz sous les Pommiers, mai 2017 Né en 1954 dans le Missouri, Patrick Bruce Metheny découvre à onze ans Miles Davis puis Ornette Coleman et commence la guitare à douze ans, après s’être essayé à la trompette et au cor. Il écoutera et décortiquera les solos de Wes Montgomery, Kenny Burrell ou Jim Hall et se produira dès quinze ans avec les meilleurs musiciens dans les clubs de Kansas City. Alors qu’il se passionne pour John Coltrane et Clifford Brown, il rencontre Gary Burton en 1974, année de son explosion sur la scène internationale. Aux côtés du vibraphoniste, il développe ce qui deviendra sa caractéristique : une articulation plutôt relâchée et flexible habituellement observée chez les « souffleurs », combinée à une sensibilité harmonique et rythmique très développée. Son premier disque avec Jaco Pastorius et Bob Moses en 1976, « Bright Size Life », réinvente en quelque sorte la tradition sous des apparences de modernité, pour une nouvelle génération de guitaristes. On voit apparaître sa passion pour la musique d’Ornette Coleman qui se manifestera largement ensuite et jusqu’à aujourd’hui.
    [Show full text]
  • The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters
    4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBoRAh F. RUTTER, President CONCERT HALL Monday Evening, April 16, 2018, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters TODD BARKAN JOANNE BRACKEEN PAT METHENY DIANNE REEVES Jason Moran is the Kennedy Center Artistic Director for Jazz. This performance will be livestreamed online, and will be broadcast on Sirius XM Satellite Radio and WPFW 89.3 FM. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 2 THE 2018 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, Kennedy Center Artistic Director for Jazz With remarks from JANE CHU, Chairman of the National Endowment for the Arts DEBORAH F. RUTTER, President of the John F. Kennedy Center for the Performing Arts The 2018 NEA JAzz MASTERS Performances by NEA Jazz Master Eddie Palmieri and the Eddie Palmieri Sextet John Benitez Camilo Molina-Gaetán Jonathan Powell Ivan Renta Vicente “Little Johnny” Rivero Terri Lyne Carrington Nir Felder Sullivan Fortner James Francies Pasquale Grasso Gilad Hekselman Angélique Kidjo Christian McBride Camila Meza Cécile McLorin Salvant Antonio Sanchez Helen Sung Dan Wilson 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18
    [Show full text]
  • Jazzweek with Airplay Data Powered by Jazzweek.Com • January 30, 2012 Volume 8, Number 8 • $7.95
    JazzWeek with airplay data powered by jazzweek.com • January 30, 2012 Volume 8, Number 8 • $7.95 Jazz Album No. 1: Jimmy Owens, The Monk Smooth Album No. 1: Boney James, Contact Project (IPO) (Verve Forecast) World Music No. 1: Novalima, Karimba (Esl) Smooth Single No. 1: Acoustic Alchemy, “Marrakesh” (Heads Up) JazzWeek relaunch: crowdfunding with perks at http://www.indiegogo.com/jazzweek Jazz Album Charts .................... 3 Jazz Add Dates ....................... 7 Smooth Jazz Album Charts .............4 Jazz Radio Currents ................... 8 Smooth Singles Charts ................. 5 Jazz Radio Panel .................... 11 World Music Album Charts .............. 6 Smooth Jazz Current Tracks............ 13 Smooth Jazz Station Panel............. 14 Jazz Birthdays January 30 February 10 February 20 Roy Eldridge (1911) Chick Webb (1909) Jimmy Yancey (1898) Bobby Hackett (1915) Larry Adler (1914) Bobby Jaspar (1926) Ahmed Abdul-Malik (1927) Sir Roland Hanna (1932) Nancy Wilson (1937) Tubby Hayes (1935) Rufus Reid (1944) Anthony Davis (1951) February 1 Lawrence “Butch” Morris (1947) February 21 Sadao Watanabe (1933) February 12 Al Sears (1910) Joe Sample (1939) Paul Bascomb (1912) Tadd Dameron (1917) February 2 Mel Powell (1923) Nina Simone (1933) Eddie “Lockjaw” Davis (1922) Bill Laswell (1955) Warren Vache (1951) Sonny Stitt (1924) February 13 February 22 Stan Getz (1927) Wingy Manone (1900) Rex Stewart (1907) James “Blood” Ulmer (1942) Wardell Gray (1921) Buddy Tate (1913) February 3 February 14 February 24 Lil Armstrong (1898)
    [Show full text]
  • BIO TIGRAN HAMASYAN in Its Ever-Evolving State, Jazz Invites Into
    BIO TIGRAN HAMASYAN In its ever-evolving state, jazz invites into its fold imaginative artists who freely and courageously pursue their own vision, not only built on tradition but also infused with their own personality and passion. In the case of pianist/keyboardist Tigran Hamasyan, potent jazz improvisation fuses with the rich folkloric music of his native Armenia. Tigran is one of the most remarkable and distinctive jazz-meets-rock pianists of his generation. Tigran’s fresh sound is marked by an exploration of time signatures, charged dynamics, the shifting between acoustic and electric modes of expression, all undergirded by an affinity to the grind of heavy metal. Born in Gyumri, Armenia, in 1987, Tigran grew up in a household that was full of music—his father more of a rock fan while his uncle was a huge jazz buff. When he was just a toddler, Tigran gravitated to tape players and the piano instead of regular childhood toys, and by the time he was 3, he was working his way through figuring out songs on piano by the Beatles, Louis Armstrong, Led Zeppelin, Deep Purple, Black Sabbath and Queen. His jazz tastes early on were informed by Miles Davis’s fusion period, and then around the age of 10 when his family moved to Yerevan, he came to discover the classic jazz songbook under the aegis of his teacher Vahag Hayrapetyan, who had studied with Barry Harris. Tigran chose to study music. While he studied classical music at an Armenian high school geared toward music studies, Tigran continued to grow on his own as a jazz pianist.
    [Show full text]
  • Le Jazz Et L'orient
    Classe de Terminale Option Facultative Baccalauréats 2015 et 2016 Le Jazz et l’Orient Programme officiel : Les cinq pièces présentées ci-dessous forment un des trois ensembles du programme limitatif du baccalauréat. Chacune évoque de façon singulière le dialogue des cultures, celles de l’Orient et du bassin méditerranéen et celles du jazz occidental, lui-même issu d’une histoire partant de l’Afrique noire et passant par l’Amérique du nord avant d’investir la globalité du monde occidental. La durée cumulée exceptionnellement longue de ces cinq pièces s’explique par l’esthétique même des cultures dont elles sont issues. Si les formes sont le plus souvent simples, le discours mélodique, le travail du phrasé ou encore l’ornementation exigent quant à eux un temps important pour se développer et permettre à l’auditeur d’en prendre la mesure. Les quatre problématiques du programme de terminale (l’œuvre et son organisation, l’œuvre et ses pratiques, l’œuvre et l’histoire, l’œuvre, la musique et les autres arts) pourront aisément être mobilisées pour réfléchir ces musiques, mesurer leur originalité et développer des pratiques musicales originales. Les œuvres : • Ibrahim Maalouf, They don’t care about us, in album Diagnostic • Rabih Abou-Khalil, Mourir pour ton décolleté, in album Songs for Sad Women • Avishai Cohen, Aurora, in album Aurora • Jasser Haj Youssef, Friggya, in album Sira • Marcel Khalifé, Caress, in album Caress Plan du cours : Cours 1 : Le Jazz et ses caractéristiques musicales Cours 2 : L’Art de l’Orient Cours 3 : L’Orient et la Musique Cours 4 : Ibrahim Maalouf, They don’t care about us Cours 5 : Rabih Abou-Khalil, Mourir pour ton décolleté Cours 6 : Avishai Cohen, Aurora Cours 7 : Jasser Haj Youssef, Friggya Cours 8 : Marcel Khalifé, Caress Le Jazz et l’Orient Page !1 sur !26 Mathias Charton Classe de Terminale Option Facultative Cours 2 : L’Art de l’Orient 1.
    [Show full text]
  • Program Features Don Byron's Spin for Violin and Piano Commissioned by the Mckim Fund in the Library of Congress
    Concert on LOCation The Elizabeth Sprague Coolidge Foundation The McKim Fund in the Library of Congress "" .f~~°<\f /f"^ TI—IT A TT^v rir^'irnr "ir i I O M QUARTET URI CAINE TRIO Saturday, April 24, 2010 Saturday, May 8, 2010 Saturday, May 22, 2010 8 o'clock in the evening Atlas Performing Arts Center 1333 H Street, NE In 1925 ELIZABETH SPRAGUE COOLIDGE established the foundation bearing her name in the Library of Congress for the promotion and advancement of chamber music through commissions, public concerts, and festivals; to purchase music manuscripts; and to support musical scholarship. With an additional gift, Mrs. Coolidge financed the construction of the Coolidge Auditorium which has become world famous for its magnificent acoustics and for the caliber of artists and ensembles who have played there. The McKiM FUND in the Library of Congress was created in 1970 through a bequest of Mrs. W. Duncan McKim, concert violinist, who won international prominence under her maiden name, Leonora Jackson, to support the commissioning and performance of chamber music for violin and piano. The audiovisual recording equipment in the Coolidge Auditorium was endowed in part by the Ira and Leonore Gershwin Fund in the Library of Congress. Request ASL and ADA accommodations five days in advance of the concert at 202-707-6362 [email protected]. Due to the Library's security procedures, patrons are strongly urged to arrive thirty min- utes before the start of the concert. Latecomers will be seated at a time determined by the artists for each concert. Children must be at least seven years old for admittance to the chamber music con- certs.
    [Show full text]
  • Full Biography
    FULL BIO For forty years, pianist/composer and Fulbright Scholar ARMEN DONELIAN has distinguished himself in 25 countries as a performer, recording artist, master class leader and with his published writings. Donelian’s music is a distinctive blend of 20 influences including his Armenian origin, his Classical technique, and his association with some of the biggest names in Jazz. And, according to Metronom Magazine (1986), he achieves this fusion In such a natural way that one can tell it’s a master’s work. “The best time to learn music,” says Davis and John Coltrane. “Folk, Rock, Dixieland, Jazz, Church, Show and Society music – I played pianist Armen Donelian, “is when you’re them all while growing up,” says Donelian. young, while the brain synapses are still open and fresh. I started playing by ear “In college, I made money by accompanying when I was 5 or 6, and started classical theater and dance classes, providing cocktail music piano lessons when I was about 7 at the at a restaurant on campus and playing and Westchester Conservatory of Music. I arranging for an 8-piece Jazz/Rock band. After was lucky to have parents who supported graduation, I had no gigs, no direction, and lived at my musical aspiration.” home for a few months. My ex-girlfriend’s mother told me, ‘Armen, nothing is going to happen unless As a child, Armen absorbed the sound of you make it happen.’ Armenian, Turkish, Greek and Middle Eastern music at social gatherings and “So, after graduating from Columbia University in from records his father played at home.
    [Show full text]
  • Master's Recital: Isaac Schwartz
    University of Northern Iowa UNI ScholarWorks Dissertations and Theses @ UNI Student Work 5-2020 Master's recital: Isaac Schwartz Isaac Schwartz University of Northern Iowa Let us know how access to this document benefits ouy Copyright ©2020 Isaac Schwartz Follow this and additional works at: https://scholarworks.uni.edu/etd Part of the Composition Commons, and the Music Performance Commons Recommended Citation Schwartz, Isaac, "Master's recital: Isaac Schwartz" (2020). Dissertations and Theses @ UNI. 1032. https://scholarworks.uni.edu/etd/1032 This Open Access Thesis is brought to you for free and open access by the Student Work at UNI ScholarWorks. It has been accepted for inclusion in Dissertations and Theses @ UNI by an authorized administrator of UNI ScholarWorks. For more information, please contact [email protected]. Copyright by ISAAC SCHWARTZ 2020 All Rights Reserved MASTER’S RECITAL: ISAAC SCHWARTZ An Abstract Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music Isaac Schwartz University of Northern Iowa May 2020 This Study by: Isaac Schwartz Entitled: Master’s Recital: Isaac Schwartz has been approved as meeting the thesis requirement for the Degree of Master of Music Date Chris Merz, Chair, Recital Committee Date Dr. Michael Conrad, Recital Committee Member Date Dr. Alexander Pershounin, Recital Committee Member Date Dr. Jennifer Waldron, Dean, Graduate College This Recital Performance by: Isaac Schwartz Entitled: Master’s Recital: Isaac Schwartz Date of Recital: April 8, 2020 has been approved as meeting the thesis requirement for the Degree of Master of Music Date Chris Merz, Chair, Recital Committee Date Dr. Michael Conrad, Recital Committee Member Date Dr.
    [Show full text]
  • The Bad Ass Pulse by Martin Longley
    December 2010 | No. 104 Your FREE Monthly Guide to the New York Jazz Scene aaj-ny.com The THE Bad Ass bad Pulse PLUS Mulgrew Miller • Microscopic Septet • Origin • Event Calendar Many people have spoken to us over the years about the methodology we use in putting someone on our cover. We at AllAboutJazz-New York consider that to be New York@Night prime real estate, if you excuse the expression, and use it for celebrating those 4 musicians who have that elusive combination of significance and longevity (our Interview: Mulgrew Miller Hall of Fame, if you will). We are proud of those who have graced our front page, lamented those legends who have since passed and occasionally even fêted 6 by Laurel Gross someone long deceased who deserved another moment in the spotlight. Artist Feature: Microscopic Septet But as our issue count grows and seminal players are fewer and fewer, we must expand our notion of significance. Part of that, not only in the jazz world, has by Ken Dryden 7 been controversy, those players or groups that make people question their strict On The Cover: The Bad Plus rules about what is or what is not whatever. Who better to foment that kind of 9 by Martin Longley discussion than this month’s On The Cover, The Bad Plus, only the third time in our history that we have featured a group. This tradition-upending trio is at Encore: Lest We Forget: Village Vanguard from the end of December into the first days of January. 10 Bill Smith Johnny Griffin Another band that has pushed the boundaries of jazz, first during the ‘80s but now with an acclaimed reunion, is the Microscopic Septet (Artist Feature).
    [Show full text]