Ike Quebec Bossa Nova Soul Samba Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Ike Quebec Bossa Nova Soul Samba mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Bossa Nova Soul Samba Country: US Released: 2009 Style: Bossa Nova, Smooth Jazz, Latin Jazz MP3 version RAR size: 1124 mb FLAC version RAR size: 1489 mb WMA version RAR size: 1850 mb Rating: 4.6 Votes: 578 Other Formats: RA DMF WAV AUD AHX MIDI AU Tracklist 1 Loie 3:10 2 Lloro Tu Despedida 3:00 3 Goin' Home 5:50 4 Me 'n You 6:00 5 Liebestraum 3:42 6 Shu Shu 3:30 7 Blue Samba 6:00 8 Favela 4:00 9 Linda Flor 3:30 10 Loie (Alternate Take) 3:34 11 Shu Shu (Alternate Take) 3:19 12 Favela (Alternate Take) 4:00 Companies, etc. Mastered At – AcousTech Mastering Credits Bass – Wendell Marshall Drums – Willie Bobo Guitar – Kenny Burrell Mastered By – Kevin Gray, Steve Hoffman Shekere [Chekere] – Gravin Masseaux Tenor Saxophone – Ike Quebec Notes Originally released in 1962. Barcode and Other Identifiers Barcode: 7 53088 41146 5 Other versions Category Artist Title (Format) Label Category Country Year Bossa Nova Soul BLP 4114 Ike Quebec Samba (LP, Album, Blue Note BLP 4114 US 1962 Mono) Blue Note, BST 84114, Bossa Nova Soul Groove Note BST 84114, 1038-1, GRV Ike Quebec Samba (LP, Album, Records, 1038-1, GRV US 2007 1038 RE) Groove Note 1038 Records BLP 4114 , BST Bossa Nova Soul BLP 4114 , BST Ike Quebec Blue Note US 1966 84114 Samba (LP, Album) 84114 Bossa Nova Soul Classic BST 84114 Ike Quebec Samba (LP, Mono, RE, BST 84114 US 2008 Records RM) Bossa Nova Soul CDP 7243 8 CDP 7243 8 Ike Quebec Samba (CD, Album, Blue Note US 1996 52443 2 2 52443 2 2 Ltd, RE) Related Music albums to Bossa Nova Soul Samba by Ike Quebec Coleman Hawkins - Desafinado: Bossa Nova & Jazz Samba Samba Nova - Same Charlie Byrd And His Bossa Nova Music - The Duck (O Pato) / Samba De Uma Nota So Antonio Carlos Jobim - The Original Bossa Nova George Shearing - Shearing Bossa Nova Nick Ayoub Avec / With Rosita Et Deno - Bossa Nova Jazz Crusaders - No Name Samba (Bossa Nova) / Tough Talk João Gilberto - Bossa Nova!.

Copy Link

Recommended publications

Ready Rudy? Full Score
Jazz Lines Publications Presents ready rudy? Arranged by duke pearson transcribed and Prepared by Dylan Canterbury full score jlp-7333 Music by Duke Pearson Copyright © 1965 Gailancy Music International Copyright Secured All Rights Reserved Logos, Graphics, and Layout Copyright © 2015 The Jazz Lines Foundation Inc. This Arrangement Has Been Published with the Authorization of the Estate of Duke Pearson. Published by the Jazz Lines Foundation Inc., a not-for-profit jazz research organization dedicated to preserving and promoting America’s musical heritage. The Jazz Lines Foundation Inc. PO Box 1236 Saratoga Springs NY 12866 USA duke pearson series ready rudy? (1966) Background: Duke Pearson was an important pianist, composer, arranger and producer during the 1960s and 1970s. He was born in Atlanta, Georgia in 1932 and played trumpet as well as piano with many local groups. After attending Clark College, he toured with Tab Smith and Little Willie John before he moved to New York City in January of 1959. Donald Byrd heard him, and Byrd was the leader of Pearson’s first recording session. Soon Pearson was playing with the Benny Golson-Art Farmer Jazztet. Pearson became the musical director for Nancy Wilson, as well as continuing to tour and record with Donald Byrd. In 1963, Blue Note Records producer and musical director Ike Quebec passed away, and Pearson became Blue Note’s A&R director, as well as make his own albums. Grant Green, Stanley Turrentine, Johnny Coles, Blue Mitchell, Hank Mobley, Bobby Hutcherson, Lee Morgan and Lou Donaldson all benefited from his arranging and producing skills. Albums that Pearson recorded under his own name ranged in instrumentation from trios to quintets, sextets and octets to choral ensembles.
[Show full text]
Part 2 of Selected Discography
Part 2 of Selected Discography Milt Hinton Solos Compiled by Ed Berger (1949-2017) - Librarian, journalist, music producer, photographer, historian, and former Associate Director, Institute of Jazz Studies, Rutgers University. This is a chronological list of representative solos by Hinton as a sideman in a variety of settings throughout his career. Although not definitive, Milt was such a consistent soloist that one could cite many other equally accomplished performances. In some cases, particularly from the 1930s when bass solos were relatively rare, the recordings listed contain prominent bass accompaniment. November 4, 1930, Chicago Tiny Parham “Squeeze Me” (first Hinton recording, on tuba) 78: Recorded for Victor, unissued CD: Timeless CBC1022 (Tiny Parham, 1928–1930) January–March 1933, Hollywood Eddie South “Throw a Little Salt on the Bluebird’s Tail” (vocal) “Goofus” CD: Jazz Oracle BDW8054 (Eddie South and His International Orchestra: The Cheloni Broadcast Transcriptions) May 3, 1933, Chicago Eddie South “Old Man Harlem” (vocal) 78: Victor 24324 CD: Classics 707 (Eddie South, 1923–1937) June 12, 1933, Chicago Eddie South “My, Oh My” (slap bass) 78: Victor 24343 CD: Classics 707 (Eddie South, 1923-1937) March 3, 1937 Cab Calloway “Congo” 78: Variety 593 CD: Classics 554 (Cab Calloway, 1934–1937) January 26, 1938 Cab Calloway “I Like Music” (brief solo, slap bass) 78: Vocalion 3995 CD: Classics 568 (Cab Calloway, 1937–1938) August 30, 1939 Cab Calloway “Pluckin’ the Bass” (solo feature —slap bass) 78: Vocalion 5406 CD: Classics
[Show full text]
Vindicating Karma: Jazz and the Black Arts Movement
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2007 Vindicating karma: jazz and the Black Arts movement/ W. S. Tkweme University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Tkweme, W. S., "Vindicating karma: jazz and the Black Arts movement/" (2007). Doctoral Dissertations 1896 - February 2014. 924. https://scholarworks.umass.edu/dissertations_1/924 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. University of Massachusetts Amherst Library Digitized by the Internet Archive in 2014 https://archive.org/details/vindicatingkarmaOOtkwe This is an authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI. The bibliographic information for this thesis is contained in UMTs Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. Dissertation UMI Services From:Pro£vuest COMPANY 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Michigan 48106-1346 USA 800.521.0600 734.761.4700 web www.il.proquest.com Printed in 2007 by digital xerographic process on acid-free paper V INDICATING KARMA: JAZZ AND THE BLACK ARTS MOVEMENT A Dissertation Presented by W.S. TKWEME Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 W.E.B.
[Show full text]
QUASIMODE: Ike QUEBEC
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ QUASIMODE: "Oneself-Likeness" Yusuke Hirado -p,el p; Kazuhiro Sunaga -b; Takashi Okutsu -d; Takahiro Matsuoka -perc; Mamoru Yonemura -ts; Mitshuharu Fukuyama -tp; Yoshio Iwamoto -ts; Tomoyoshi Nakamura -ss; Yoshiyuki Takuma -vib; recorded 2005 to 2006 in Japan 99555 DOWN IN THE VILLAGE 6.30 99556 GIANT BLACK SHADOW 5.39 99557 1000 DAY SPIRIT 7.02 99558 LUCKY LUCIANO 7.15 99559 IPE AMARELO 6.46 99560 SKELETON COAST 6.34 99561 FEELIN' GREEN 5.33 99562 ONESELF-LIKENESS 5.58 99563 GET THE FACT - OUTRO 1.48 ------------------------------------------ Ike QUEBEC: "The Complete Blue Note Forties Recordings (Mosaic 107)" Ike Quebec -ts; Roger Ramirez -p; Tiny Grimes -g; Milt Hinton -b; J.C. Heard -d; recorded July 18, 1944 in New York 34147 TINY'S EXERCISE 3.35 Blue Note 6507 37805 BLUE HARLEM 4.33 Blue Note 37 37806 INDIANA 3.55 Blue Note 38 39479 SHE'S FUNNY THAT WAY 4.22 --- 39480 INDIANA 3.53 Blue Note 6507 39481 BLUE HARLEM 4.42 Blue Note 544 40053 TINY'S EXERCISE 3.36 Blue Note 37 Jonah Jones -tp; Tyree Glenn -tb; Ike Quebec -ts; Roger Ramirez -p; Tiny Grimes -g; Oscar Pettiford -b; J.C. Heard -d; recorded September 25, 1944 in New York 37810 IF I HAD YOU 3.21 Blue Note 510 37812 MAD ABOUT YOU 4.11 Blue Note 42 39482 HARD TACK 3.00 Blue Note 510 39483 --- 3.00 prev. unissued 39484 FACIN' THE FACE 3.48 --- 39485 --- 4.08 Blue Note 42 Ike Quebec -ts; Napoleon Allen -g; Dave Rivera -p; Milt Hinton -b; J.C.
[Show full text]
Charles Ruggiero's "Tenor Attitudes": an Analytical Approach to Jazz
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2016 Charles Ruggiero's "Tenor Attitudes": An Analytical Approach to Jazz Styles and Influences Nicholas Vincent DiSalvio Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation DiSalvio, Nicholas Vincent, "Charles Ruggiero's "Tenor Attitudes": An Analytical Approach to Jazz Styles and Influences" (2016). LSU Doctoral Dissertations. 1. https://digitalcommons.lsu.edu/gradschool_dissertations/1 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. CHARLES RUGGIERO’S “TENOR ATTITUDES”: AN ANALYTICAL APPROACH TO JAZZ STYLES AND INFLUENCES A Written Document Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Nicholas Vincent DiSalvio B.M., Rowan University, 2009 M.M., Illinois State University, 2013 May 2016 For my wife Pagean: without you, I could not be where I am today. ii ACKNOWLEDGEMENTS I would first like to thank my committee for their patience, wisdom, and guidance throughout the writing and revising of this document. I extend my heartfelt thanks to Dr. Griffin Campbell and Dr. Willis Delony for their tireless work with and belief in me over the past three years, as well as past professors Dr.
[Show full text]
Sonny Clark: Melody and Melancholy
ESSAY Ss SONNY CLARK: MELODY AND MELANCHOLY Sam Stephenson Drugs and Jazz I first heard Sonny Clark’s piano in the floating, hornlike style, but it was Clark’s winter of 1999 in a coffee shop in Raleigh, piano playing that cast a spell. There was a North Carolina. The house stereo was natural, effortless quality to Clark’s right- playing a jazz record that featured gui- handed solo runs—the hypnotic trickle tar, piano, bass, and drums. I am a seri- of a mountain spring—yet his calm, light ous jazz fan, but I’d never heard anything touch was haunted by melancholy blues. quite like this, a remarkable blend of deep I began devouring all of Clark’s record- blues and relaxed, ventilated swing. The ings, some of which are available only in tattooed and pierced barista showed me Japan. From 1957 to 1962, he was docu- the two-CD set, Grant Green: The Com- mented on thirty-one studio recordings, plete Quartets with Sonny Clark, recorded by twenty-one as a sideman and ten as a leader, Blue Note Records in December 1961 and before dying of a heroin overdose in Janu- January 1962. I knew Green was a guitar- ary 1963 at the age of thirty-one. Most of ist from St. Louis, Missouri, who had a Clark’s recorded work is as singular as the 169 sessions with Green; his presence on piano his two surviving sisters, a number of his creates not only the sound of one instru- childhood friends, and many musicians, as ment but also an atmosphere.
[Show full text]
Downbeat.Com March 2014 U.K. £3.50
£3.50 £3.50 U.K. DOWNBEAT.COM MARCH 2014 D O W N B E AT DIANNE REEVES /// LOU DONALDSON /// GEORGE COLLIGAN /// CRAIG HANDY /// JAZZ CAMP GUIDE MARCH 2014 March 2014 VOLUME 81 / NUMBER 3 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editor Ed Enright Designer Ara Tirado Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes Editorial Intern Kathleen Costanza Design Intern LoriAnne Nelson 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 Associate Pete Fenech 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, Aaron Cohen, 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
[Show full text]
Groovyvol. 54
ＫＪＦＣ (九谷ジャズファンクラブ )会報 www.kjfc.info ＧＲＯＯＶＹVOL. 54 2012.6.23 ジャズ喫茶・ライブハウスの話題ハービー・ハンコック研究 1 ＣＯＮＴＥＮＴＳ〔連載〕ジャズ喫茶・ライブハウスの話題第 2 回 Kjfc2ndAlt ・・・ 1 ハービー・ハンコック研究・第 202020 回回回/ 回///高木信哉高木信哉高木信哉・・・ 6 〔例会レポート〕 8 フィリー城石井宏一紅我蘭堂 Y.S. Y.T Kjfc2ndAlt 他表紙及び本文中イラスト制作（一部ロゴマーク除く）・・・・・水戸守敬一郎無断転載はかたくお断りいたします。印刷・製本：文京堂東京都文京区本駒込 1－10 －4 電話 03 －3941 －4508 ジャズ喫茶・ライブハウスの話題第２回 Kjfc2ndAlt 新宿「新宿「BIRDLANDBIRDLANDBIRDLAND」」」」ジャズ喫茶、アメリカのジャズ･クラブの名前シリーズ４回目は、新宿二丁目にあった「BIRDLAND」。マスターは酋長と呼ばれていたそうですが、二度目に行った時はもう店はありませんでした。「BIRDLAND」という名前のお店は今でも赤坂他各地にありますね。チャーリー・パーカーのニックネームに因んで命名されたニューヨークの BIRDLAND ではカウント・ベイシー、コルトレーン、アート・ブレーキーほか多くの録音が残されています。ピー・ウィー・マーキットのかん高い声の MC が耳に残ります。ジョージ・シアリングの「ララバイ・オブ・バードランド」は名曲、名演です。人気のあった BIRDLAND も６５年にはロックの波に押されて閉店になりました。しかしながら閉店から２１年後の１９８６年にニューヨークの BIRDLAND は再開を果たしています。チャーリー・パーカーは BIRDLAND について”The Jazz Corner Of The World”と言ったそうです。自由が丘と大阪の「５自由が丘と大阪の「５SPOTSPOTSPOT」」」」ジャズ喫茶、アメリカのジャズ･クラブの名前シリーズ５回目は、当然「FIVE SPOT」です。東京の自由が丘にジャズ評論家いソノ・てルヲ氏が経営されていたライブハウス「５SPOT」がありました。店内にはジャズメンを描いた大きな絵が何枚も掲げられていました。大阪万博があった時に初めて大阪に行きました。その時に行ったジャズ喫茶がやはり「５SPOT」でした。マッチを見ると道頓堀と心斎橋にありますが、どちらに行ったか覚えていません。道頓堀店の地下には「ARGO」というレストランもありました。ニューヨークの「FIVE SPOT」でのライブ録音はエリック・ドルフィーやセロニアス・モンクやペッパー・アダムスなどにあります。カーティス・フラーの「BLUES ette」に入っている、ベニー・ゴルソンが作曲した「Five Spot After Dark」もまた名曲、名演だと思います。原宿原宿原宿の原宿のののJAZZ CLUBCLUB「「「「KEYSTONEKEYSTONE KORNERKORNER」」」」サンフランシスコのジャズ・クラブ「Keystone Korner」が１９９１年に「Keystone Korner Tokyo」として原宿にもできました。早速その年にマル・ウォルドロンの演奏を聴きに行きました。その後アニタ・オディも出たので行きたかったのですが、行きそびれたので残念でした。このクラブはあまり長くは続かなかったようです。マッチ箱は無いのでメンバーズ・カードです。サンフランシスコの「Keystone
[Show full text]
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana
[Show full text]
Joe Henderson: a Biographical Study of His Life and Career Joel Geoffrey Harris
University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 12-5-2016 Joe Henderson: A Biographical Study of His Life and Career Joel Geoffrey Harris Follow this and additional works at: http://digscholarship.unco.edu/dissertations © 2016 JOEL GEOFFREY HARRIS ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School JOE HENDERSON: A BIOGRAPHICAL STUDY OF HIS LIFE AND CAREER A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Arts Joel Geoffrey Harris College of Performing and Visual Arts School of Music Jazz Studies December 2016 This Dissertation by: Joel Geoffrey Harris Entitled: Joe Henderson: A Biographical Study of His Life and Career has been approved as meeting the requirement for the Degree of Doctor of Arts in the College of Performing and Visual Arts in the School of Music, Program of Jazz Studies Accepted by the Doctoral Committee __________________________________________________ H. David Caffey, M.M., Research Advisor __________________________________________________ Jim White, M.M., Committee Member __________________________________________________ Socrates Garcia, D.A., Committee Member __________________________________________________ Stephen Luttmann, M.L.S., M.A., Faculty Representative Date of Dissertation Defense ________________________________________ Accepted by the Graduate School _______________________________________________________ Linda L. Black, Ed.D. Associate Provost and Dean Graduate School and International Admissions ABSTRACT Harris, Joel. Joe Henderson: A Biographical Study of His Life and Career. Published Doctor of Arts dissertation, University of Northern Colorado, December 2016. This study provides an overview of the life and career of Joe Henderson, who was a unique presence within the jazz musical landscape. It provides detailed biographical information, as well as discographical information and the appropriate context for Henderson’s two-hundred sixty-seven recordings.
[Show full text]
Contemporary Carioca: Technologies of Mixing in A
Con tempo C o n t e m p o r a r y raryC a r i o c a Cari oca ontemporary CCarioca Technologies of Mixing in a Brazilian Music Scene Frederick Moehn Duke University Press Durham anD LonDon 2012 © 2012 Duke University Press All rights reserved. Printed in the United States of America on acid-free paper ♾ Designed by Kristina Kachele Typeset in Quadraat and Ostrich Sans by Tseng Information Systems, Inc. Library of Congress Cataloging- in- Publication Data appear on the last printed page of this book. Duke University Press gratefully acknowledges the support of Stony Brook University, which provided funds toward the publication of this book. For Brazil’s musical alchemists ontents Illustrations ix C Preface xi Acknowledgments xxiii Introduction 1 1 Marcos Suzano: A Carioca Blade Runner 25 2 Lenine: Pernambuco Speaking to the World 55 3 Pedro Luís and The Wall: Tupy Astronauts 92 4 Fernanda Abreu: Garota Carioca 130 5 Paulinho Moska: Difference and Repetition 167 6 On Cannibals and Chameleons 204 Appendix 1: About the Interviews, with a List of Interviews Cited 211 Appendix 2: Introductory Aspects of Marcos Suzano’s Pandeiro Method 215 Notes 219 References 245 Discography 267 Index 269 llustrations Map of Rio de Janeiro with inset of the South Zone 6 1 “mpb: Engajamento ou alienação?” debate invitation xii 2 Marcos Suzano’s favorite pandeiro (underside) 29 I 3 Marcos Suzano demonstrating his pandeiro and electronic foot pedal effects setup 34 4 A common basic samba pattern on pandeiro 48 5 One of Marcos Suzano’s pandeiro patterns 49 6 Marcos
[Show full text]
Jazzflits 01 09 2003 – 01 03 2021
1 19de JAARGANG, NR. 354 22 MAART 2021 IN DIT NUMMER: 1 BERICHTEN 5 JAZZ OP PAPIER Jeff Gold: ‘Sittin' in’. 6 JAZZ OP DE PLAAT Grégoire Maret & Jazz Station Big Band, Masabumi Kikuchi, Machine Mass Sextet, Christian Pabst, Jeremy Pelt e.a. EN VERDER (ONDER MEER): 12 Ike Quebec (Erik Marcel Frans) 17,5 J AAR JAZZFLITS 01 09 2003 – 01 03 2021 NR. 355 KOMT 5 APRIL UIT ONAFHANKELIJK JAZZPERIODIEK SINDS 2003 BERICHTEN Chris Barber overleden De Britse ‘trad jazz’-trombonist en band- leider Chris Barber is op 2 maart overle- den. Hij was 90 jaar oud en leed aan dementie. Barber bracht honderden opnames uit, verkocht miljoenen platen en gaf meer dan 15.000 concerten in vijftig verschillende landen. Barber ging twee jaar geleden met pensioen. Een impressie van Jazz Middelheim 2010. (Foto: Joke Schot) ‘J AZZ MIDDELHEIM MOET KUNNEN DOORGAAN’ Het festival Jazz Middelheim, dat op 14 en 15 augustus in Antwerpen staat gepland, moet kunnen doorgaan. Dat vindt Bertrand Flamang, de organisator van het festival. Hij rekent erop dat na de zomer de vaccinatiecampagne is beëindigd en is ervan overtuigd dat hij maatregelen kan treffen om een coronaveilig festival te organiseren. Chris Barber. (Persfoto) “Die blik op de toekomst is niet optimistisch of opportunistisch omdat ik organisator ben van een festival. Ik vind dat objectief Wim en Ria Wigt waren meer dan vijftig en realistisch. De (Belgische, red.) overheid heeft een jaar de jaar zijn manager en brachten meer dan 25 platen uit van The Chris Barber Band tijd gehad om een vaccinatiecampagne op te zetten.
[Show full text]