DOCSLIB.ORG

Polyrhythmics

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Polyrhythmics FOR IMMEDIATE RELEASE 31st Annual TD Vancouver International Jazz Festival PERFORMANCE WORKS SERIES, INNOVATION SERIES AT IRONWORKS & ROUNDHOUSE PERFORMANCE CENTRE SERIES Tickets at 10am at www.coastaljazz.ticketfly.com Telephone 1.888.732-1682 7 Concert Presentations during the Performance Works Series SOIL & "PIMP" SESSIONS June 25 Performance Works @ 9pm $35 All In For a group that calls themselves “death jazz”, Japan’s Soil & “Pimp” Sessions is pretty damn lively! Whether exploding off the stage at Glastonbury, Fuji Rock Festival, or a sweaty nightclub, Soil & “Pimp” Sessions are one of the most engaging live bands in jazz. Shamanic hype man Shacho plays the role of agitator while the group flat out slays, creating a feedback loop of energy between band and audience. It’s an ecstatic, almost aggressively entertaining molten mix that’s stirred up by Tabu Zombie trumpet, Motoharu sax, Josei piano, and the pulsing rhythm section of Akita Goldman bass, and Midorin drums. POLYRHYTHMICS June 27 Performance Works @ 9pm $35 All In “The controlled tempest of the Polyrhythmics is like manna from heaven” - The Stranger This hard-driving Seattle 8-piece’s taut, complex grooves and vividly cinematic instrumental imagery is going a long way towards redefining the term “funk” for 21st century audiences. A modern afrobeat/psych sound that recalls Fela Kuti, The Meters, and the sharpest of jam bands, “the group’s 32 limbs work in intricate harmony to generate a sophisticated slinkiness and expressive brassiness” (The Stranger). With Ben Bloom guitar, Grant Schroff drums, Nathan Spicer keys, Lalo Bello percussion, Jason Gray bass, Scott Morning trumpet, Elijah Clark trombone, Art Brown sax/flute. MOON HOOCH June 28 Performance Works @ 9pm $35 All In Moon Hooch’s early subway busking days were cut short by the NYPD after the double-sax and drum trio’s raw grooves incited some frenzied and decidedly disorderly commuter dance parties. Bedford Avenue station’s loss is our gain, as the electrifying group takes stages everywhere by storm. “Loud, proud, and deliriously unrefined” (Village Voice), Moon Hooch blazes through jagged groove-jazz with frenetic post-punk energy, ridiculous technical chops and a daredevil approach to extended technique (adding PVC tubes, traffic cones or whatever’s handy to the bells of their saxes). This is primordial art mischief at its best. With Mike Wilbur and Wenzi McGowen saxophones, James Muschler drums. ANA POPOVIC June 29 Performance Works @ 9pm $48 All In “The lady can flat out rip! Her Strat-driven blues variations range from high octane SRV-style throwdowns to electric slide- and-wah excursions to Ronnie Earl-inspired jazziness and acoustic Delta stomps.” - Guitar World With a soulful voice, scorching guitar chops, and heart-stopping stage presence, Serbian-born, Memphis-based Ana Popovic is a powerhouse of contemporary blues, rock, and electrifying funk. AllMusic praises her as a rare “triple threat: she is an excellent singer, an excellent guitarist, and an excellent songwriter.” Equally inspired by Albert King and WAR, Popovic’s smoking band Mo’ Better Love is stacked with some of Memphis’ hottest barnburners and boogie men. Contact: John Orysik/Media Director - [email protected] Coastal Jazz presents remarkable Vancouver concerts and opportunities to experience some of the best things to do in Vancouver. FOR IMMEDIATE RELEASE STEVE RILEY & THE MAMOU PLAYBOYS June 30 Performance Works @ 9pm $48 All In For almost 30 years, Grammy Award-winning master accordionist Steve Riley has been celebrating Cajun and Creole greats (such as Canray Fontenot, Willie Broussard and Boozoo Chavis) and pushing the envelope of his regional roots by mixing in newer flavours of ska, funk, country swing, and swamp rock. Singing in French and English, Riley’s soaring voice and infectious charisma steers crowds through bittersweet front porch waltzes, high-spirited dance hall barnburners and bluesy stomps. His hot-stepping Mamou Playboys whip up an unforgettable good time with their conversational musicality and southwest Louisiana charm. GORDON GRDINA’S HARAM July 2 Performance Works @ 9pm $35 All In “The music’s backbone is traditional, but wild outbursts of free improvisation and subtle injections of noise make it quite unlike anything you’d hear in the shisha dens of Cairo or Baghdad.” - Georgia Straight A phenomenal culture-mashing juggernaut led by Gordon Grdina (Dan Mangan, Mark Helias) on Iraqi oud, Haram pays homage to traditional Arabic music while mixing elements of noise, electronic soundscape, and western free improv into their explosively self-expressive sound. With creative heavy-hitters JP Carter trumpet, Jesse Zubot violin, Kenton Loewen drums, Tommy Babin bass, Emad Armoush vocals, François Houle clarinet, Chris Kelly saxophone, Tim Gerwing, Liam MacDonald percussion. THE DAN BRUBECK QUARTET July 3 Performance Works @ 9pm $35 All In With his astonishingly textured solos and mastery of odd-time signatures and mind-boggling polyrhythms, JUNO Award- nominated drummer Dan Brubeck plays with “drama, potency and virtuosity” (DownBeat). His compelling new Vancouver- based group is a labour of familial love. Drawing from a songbook of music by his late parents—legendary pianist Dave and noted jazz lyricist Iola Brubeck—the Dan Brubeck Quartet brings out hidden gems from the vault and dives joyously into some classic tunes (Blue Rondo a la Turk, Take 5). Featuring soulful vocalist/bassist Adam Thomas whose easygoing authority evokes Louis Armstrong, tenor saxophonist Steve Kaldestad, and pianist Miles Black. 9 Concert Presentations during Innovation Series - Ironworks Choose any three shows from Innovation Series – Ironworks & Ironworks Late Night $46 All In. Available by telephone at 1.888.438.5200 THE THING June 24 @ 9:30pm $30 All In “The sheer power they generate from wood, metal, breath and muscle is stunning” - BBC Potent and uncompromising, The Thing’s high-energy immolation of genre renders free jazz, noise and garage rock into “a seething mass of molten bass saxophone, filthy fuzz bass and machine gun snare” (The Quietus). With a repertoire that ranges from Steve Lacy to the White Stripes and noise rock guerillas Lightning Bolt, The Thing is a sonic strike force of three of Scandinavian creative music’s most commanding and important figures. With Sweden’s Mats Gustafsson sax, live electronics, and Norwegians Ingebrigt Håker Flaten bass and Paal Nilssen-Love drums. Thanks to Swedish Arts Council, Norwegian Jazz Forum, Norsk Kulturråd – Arts Council Norway, Music Norway Contact: John Orysik/Media Director - [email protected] Coastal Jazz presents remarkable Vancouver concerts and opportunities to experience some of the best things to do in Vancouver. FOR IMMEDIATE RELEASE PEGGY LEE’S ECHO PAINTING June 25 @ 9:30pm $30 All In In celebration of her exceptional impact on the Vancouver creative music scene, Coastal Jazz has commissioned Peggy Lee to compose Echo Painting, an original suite of music for an exciting new ensemble. The cast of characters is the brainchild of Peggy Lee and Rainbow Robert, who had it in mind to present a new group that features and celebrates the voices of Vancouver creative music artists across the generations. With Brad Turner trumpet, John Bentley tenor sax, Dylan van der Schyffdrums , James Meger bass, Cole Schmidt guitar, John Paton saxes, Meredith Bates violin, Roderick Murray trombone, Bradshaw Pack pedal steel guitar. Jazztopad presents MARCIN WASILEWSKI TRIO "SPARK OF LIFE" June 26 @ 9:30pm $30 All In “His sense of musical space and his aural imagery are so fresh they are initially mysterious, then get more so.” - JazzTimes A Polish pianist/composer of cinematic and profoundly melodic originals, (and long-time collaborator with Tomasz Stanko), ECM artist Wasilewski’s superb off-book explorations reinforce his “growing reputation as a visionary improviser” (All About Jazz). Daring re-workings of Herbie Hancock, Ennio Morricone, The Police, and legendary Polish pianist and film music composer Krzysztof Komeda (Rosemary’s Baby) beautifully frame his Keith Jarrett-influenced lyricism alongside the spacious and deeply engaged rhythm section of bassist Slawomir Kurkiewicz and drummer Michal Miskiewicz. “One of the best [trios] to appear on the European jazz scene in the past decade.” - The Guardian Thanks to the Jazztopad Festival in Wroclaw, Poland and the Polish Cultureal Institue in New York. MATS EILERTSEN TRIO June 27 @ 9:30pm $30 All In “Contemporary European jazz of the highest quality; understated and compelling, it is music that makes its point through eloquence and sensitivity.” – JazzWise One of Norway’s finest young players,bassist Mats Eilertsen is “a fount of robust tone and singing texture” (AllAboutJazz) who has played with Mathias Eick, Bobo Stenson, and Atomic’s Fredrik Ljungkvist. Drummer Thomas Strønen’s “ arsenal of clatter drives things with an abstracted, occasionally swinging groove” (BBC), while Dutch pianist Harmen Fraanje vocalizes as he plays, as though dictating sublime melodic imagination to his hands. This trio’s sound is “so intelligently crafted and beautifully distilled that it is nigh on perfect” (JazzJournal). June 27 Tom Lee Music Hall (Mats Eilertsen Trio Workshop) @ 1pm Free / Thanks to Music Norway ALEXANDER HAWKINS TRIO June 28 @ 9:30pm $30 All In “If Hawkins really is the future of jazz pianism, the future looks bright.” - Daily Telegraph One of the UK’s fastest rising stars and a Festival favourite, pianist Alexander Hawkins has played
Load more

Recommended publications
  • ALEXANDER HAWKINS TRIO 'Sounds Like All the Future Jazz You
    ALEXANDER HAWKINS TRIO 'Sounds like all the future jazz you might imagine without ever being able to conceive of the details' (The Guardian) Alexander Hawkins is a pianist, organist, composer and bandleader who is ‘unlike anything else in modern creative music’ (Ni Kantu) and whose recent work has reached a ‘dazzling new apex’ (Downbeat). Self-taught, he works in a vast array of creative contexts. His own highly distinctive soundworld is forged through the search to reconcile both his love of free improvisation and profound fascination with composition and structure. In 2012, he featured on the official ballot for the 75th Annual Downbeat Reader’s Poll in the organ category (as he had in 2010). The journal El Intruso voted him #1 in the keyboard category, and #5 in the piano category, in its 2010 poll; he also placed #4 in the keyboard category in 2011, and at #2 in 2012. His albums have for several years regularly featured in critics’ ‘end of year’ lists. Alongside his work as a bandleader, he regularly appears live and on record with many iconic figures of the music, including Louis Moholo-Moholo, Mulatu Astatke, and Joe McPhee. Other credits include Evan Parker, Wadada Leo Smith, Sonny Simmons, and Marshall Allen. He is also a collaborator in the Convergence Quartet with two important peers from the North American creative music scene – Taylor Ho Bynum and Harris Eisenstadt. He is increasingly also known for his writing, and in 2012 was chosen as a member of the first edition of the London Symphony Orchestra’s ‘Soundhub’ scheme for young composers.
    [Show full text]
  • 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]
  • 1 ANDREA TOFANELLI Resumè/Biography (UPDATED TO
    ANDREA TOFANELLI http://www.andreatofanelli.it https://en.wikipedia.org/wiki/Andrea_Tofanelli https://es.wikipedia.org/wiki/Andrea_Tofanelli https://it.wikipedia.org/wiki/Andrea_Tofanelli https://no.wikipedia.org/wiki/Andrea_Tofanelli https://ja.wikipedia.org/wiki/アンドレア・トファネッリ http://www.vecchi-tonelli.it/studiare-in-istituto/docenti/andrea-tofanelli.html https://scuolamusicafiesole.it/it/didattica/corsi-di-perfezionamento/214-didattica/corsi-di- base/it/didattica/docenti/809-andrea-tofanelli https://www.facebook.com/AndreaTofanelliTrumpet Resumè/Biography (UPDATED TO January, 2018) Andrea was born in Viareggio (Lucca, Italy) on July 26, 1965. Mentioned on Wikipe- dia in 5 languages and in many other music books and encyclopedias, he began to study music and trumpet in 1975 in the wind ensemble of his village Torre del Lago Puccini with some musicians close to Dean Benedetti, the famous italo-american jazz saxophonist mentioned in all official Charlie Parker biographies. In 1979, at the age of 14, Andrea started working locally with some professional big bands and commercial music groups, and in 1981 he began performing professionally in the classical music field too, while simultaneously attending the Conservatory at the "Istituto Musicale Pareggiato L. Boccherini" in Lucca (Italy). In 1987 Andrea finished his Conservatory studies with highest full marks, graduating cum laude. That same year he studied with Armando Ghitalla (soloist trumpet with the Boston Symphony Orchestra and teacher at the University of Michigan) and consolidated
    [Show full text]
  • Other Minds 19 Official Program
    SFJAZZ CENTER SFJAZZ MINDS OTHER OTHER 19 MARCH 1ST, 2014 1ST, MARCH A FESTIVAL FEBRUARY 28 FEBRUARY OF UNEXPECTED NEW MUSIC Find Left of the Dial in print or online at sfbg.com WELCOME A FESTIVAL OF UNEXPECTED TO OTHER MINDS 19 NEW MUSIC The 19th Other Minds Festival is 2 Message from the Executive & Artistic Director presented by Other Minds in association 4 Exhibition & Silent Auction with the Djerassi Resident Artists Program and SFJazz Center 11 Opening Night Gala 13 Concert 1 All festival concerts take place in Robert N. Miner Auditorium in the new SFJAZZ Center. 14 Concert 1 Program Notes Congratulations to Randall Kline and SFJAZZ 17 Concert 2 on the successful launch of their new home 19 Concert 2 Program Notes venue. This year, for the fi rst time, the Other Minds Festival focuses exclusively on compos- 20 Other Minds 18 Performers ers from Northern California. 26 Other Minds 18 Composers 35 About Other Minds 36 Festival Supporters 40 About The Festival This booklet © 2014 Other Minds. All rights reserved. Thanks to Adah Bakalinsky for underwriting the printing of our OM 19 program booklet. MESSAGE FROM THE ARTISTIC DIRECTOR WELCOME TO OTHER MINDS 19 Ever since the dawn of “modern music” in the U.S., the San Francisco Bay Area has been a leading force in exploring new territory. In 1914 it was Henry Cowell leading the way with his tone clusters and strumming directly on the strings of the concert grand, then his students Lou Harrison and John Cage in the 30s with their percussion revolution, and the protégés of Robert Erickson in the Fifties with their focus on graphic scores and improvisation, and the SF Tape Music Center’s live electronic pioneers Subotnick, Oliveros, Sender, and others in the Sixties, alongside Terry Riley, Steve Reich and La Monte Young and their new minimalism.
    [Show full text]
  • BIO MATHIAS EICK Norwegian Trumpeter/Multi-Instrumentalist
    BIO MATHIAS EICK Norwegian trumpeter/multi-instrumentalist Mathias Eick is a thoughtful, ambient-leaning jazz musician. Born in 1979, Eick has performed with a variety of name players and is a member of the Trondheim Jazz Orchestra and the progressive jazz/electronic ensemble Jaga Jazzist. As a trumpeter, Eick is much in the tradition of such players as Kenny Wheeler, Chet Baker, Miles Davis, and Enrico Rava. Eick released his solo debut album 'The Door' on ECM in 2008. That same year he was also featured on guitarist Jacob Young's ECM release 'Sideways'. In 2011, Eick returned to his solo work with the more contemporary pop- oriented album 'Skala'. Third album on ECM - 'Midwest' - followed in 2015 and the latest release – ‘Ravensburg’ came out on ECM in 2018. While his earlier editions and musicianship have been characterized by a life spent travelling, constantly heading towards new goals and destinations, the album Ravensburg witnesses a mature artist finding his unique and distinguished musical expression. The album is a voyage back home, a reflection on his life situation, with music as an important impetus and his family as a foundation. About Ravensburg he muses: “My inspiration has been my family, my beloved, my little children who never stop to amaze me, and all the emotional situations we experience on the stage where we mostly hang around, that is home”. To Eick his life consists of jigsaw puzzle pieces. Thousands of them. Like those he and his siblings were given each Christmas by their German grandmother from the jigsaw puzzle town, Ravensburg.
    [Show full text]
  • Møteinnkalling KU 020211
    Møre og Romsdal fylkeskommune Møteinnkalling Utval: Kulturutvalet Møtestad: Møterom 102 Fylkeshuset i Molde Dato: 02.02.2011 Tid: 10:30 Forfall skal meldast til ekspedisjonen i kulturavdelinga, tlf 71 25 88 33, som kallar inn varamedlem. Varamedlem møter berre ved spesiell innkalling. Side 1 Saksnr Innhold Uoff KU-1/11 Årsrapport for kulturavdelinga 2010 - hovudrapport til kulturutvalet KU-2/11 Rapportering handlingsplan kultur 2010 KU-3/11 Handlingsplan kultur 2011 KU-4/11 Retningslinjer for tildeling av Tahiti-prisen KU-5/11 Søknad om driftsmidlar til Atlanten Kunstisbane KU-6/11 Tildeling Kunstnarstipend 2010 KU-7/11 Budsjett 2011 - driftstilskot til frivillige organisasjonar og kulturinstitusjonar KU-8/11 Fråsegn ny idrettsmelding KU-9/11 Evaluering av knutepunkta Olavsfestdagane i Trondheim og Molde Internasjonale Jazz Festival - høyring RS-1/11 Rekneskapsoversikt kulturutvalet 2010 RS-2/11 Kopi: Statstilskot for 2011 - tilskotsbrev - Teatret Vårt RS-3/11 Kopi: Statsbudsjettet 2011 - tilskotsbrev - Nordmøre museum RS-4/11 Kopi: Statsbudsjettet 2011 - tilskotsbrev - Sunnmøre Museum RS-5/11 Kopi: Statsbudsjettet 2011 - tilskotsbrev - Romsdalsmuseet RS-6/11 Kopi: Statsbudsjettet 2011 - tilskotsbrev - Kulturkvartalet RS-7/11 Kopi: Statsbudsjettet 2011 - tilskotsbrev - Nynorsk kultursentrum RS-8/11 Kopi: Statsbudsjettet - statstilskudd 2011 - Operaen i Kristiansund RS-9/11 Statstilskot til freda bygg og anlegg, kap 1429, post 72.2 for 2010 - freda stabbur på Åsskard, gbnr. 88/1, Surnadal kommune, omdisponering av tilskot frå våningshus
    [Show full text]
  • Cool Trombone Lover
    NOVEMBER 2013 - ISSUE 139 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM ROSWELL RUDD COOL TROMBONE LOVER MICHEL • DAVE • GEORGE • RELATIVE • EVENT CAMILO KING FREEMAN PITCH CALENDAR “BEST JAZZ CLUBS OF THE YEAR 2012” SMOKE JAZZ & SUPPER CLUB • HARLEM, NEW YORK CITY FEATURED ARTISTS / 7:00, 9:00 & 10:30pm ONE NIGHT ONLY / 7:00, 9:00 & 10:30pm RESIDENCIES / 7:00, 9:00 & 10:30pm Fri & Sat, Nov 1 & 2 Wed, Nov 6 Sundays, Nov 3 & 17 GARY BARTZ QUARTET PLUS MICHAEL RODRIGUEZ QUINTET Michael Rodriguez (tp) ● Chris Cheek (ts) SaRon Crenshaw Band SPECIAL GUEST VINCENT HERRING Jeb Patton (p) ● Kiyoshi Kitagawa (b) Sundays, Nov 10 & 24 Gary Bartz (as) ● Vincent Herring (as) Obed Calvaire (d) Vivian Sessoms Sullivan Fortner (p) ● James King (b) ● Greg Bandy (d) Wed, Nov 13 Mondays, Nov 4 & 18 Fri & Sat, Nov 8 & 9 JACK WALRATH QUINTET Jason Marshall Big Band BILL STEWART QUARTET Jack Walrath (tp) ● Alex Foster (ts) Mondays, Nov 11 & 25 Chris Cheek (ts) ● Kevin Hays (p) George Burton (p) ● tba (b) ● Donald Edwards (d) Captain Black Big Band Doug Weiss (b) ● Bill Stewart (d) Wed, Nov 20 Tuesdays, Nov 5, 12, 19, & 26 Fri & Sat, Nov 15 & 16 BOB SANDS QUARTET Mike LeDonne’s Groover Quartet “OUT AND ABOUT” CD RELEASE LOUIS HAYES Bob Sands (ts) ● Joel Weiskopf (p) Thursdays, Nov 7, 14, 21 & 28 & THE JAZZ COMMUNICATORS Gregg August (b) ● Donald Edwards (d) Gregory Generet Abraham Burton (ts) ● Steve Nelson (vibes) Kris Bowers (p) ● Dezron Douglas (b) ● Louis Hayes (d) Wed, Nov 27 RAY MARCHICA QUARTET LATE NIGHT RESIDENCIES / 11:30 - Fri & Sat, Nov 22 & 23 FEATURING RODNEY JONES Mon The Smoke Jam Session Chase Baird (ts) ● Rodney Jones (guitar) CYRUS CHESTNUT TRIO Tue Cyrus Chestnut (p) ● Curtis Lundy (b) ● Victor Lewis (d) Mike LeDonne (organ) ● Ray Marchica (d) Milton Suggs Quartet Wed Brianna Thomas Quartet Fri & Sat, Nov 29 & 30 STEVE DAVIS SEXTET JAZZ BRUNCH / 11:30am, 1:00 & 2:30pm Thu Nickel and Dime OPS “THE MUSIC OF J.J.
    [Show full text]
  • JOHN SURMAN Title: FLASHPOINT: NDR JAZZ WORKSHOP – APRIL '69 (Cuneiform Rune 315-316)
    Bio information: JOHN SURMAN Title: FLASHPOINT: NDR JAZZ WORKSHOP – APRIL '69 (Cuneiform Rune 315-316) Cuneiform publicity/promotion dept.: (301) 589-8894 / fax (301) 589-1819 email: joyce [-at-] cuneiformrecords.com [Press & world radio]; radio [-at-] cuneiformrecords.com [North American radio] www.cuneiformrecords.com FILE UNDER: JAZZ One of Europe’s foremost jazz musicians, John Surman is a masterful improvisor, composer, and multi-instrumentalist (baritone and soprano sax, bass clarinet, and synthesizers/electronics). For 45 years, he has been a major force, producing a prodigious and creative body of work that expands beyond jazz. Surman’s extensive discography as a leader and a side man numbers more than 100 recordings to date. Surman has worked with dozens of prominent artists worldwide, including John McLaughlin, Chick Corea, Chris McGregor’s Brotherhood of Breath, Dave Holland, Miroslav Vitous, Jack DeJohnette, Terje Rypdal, Weather Report, Karin Krog, Bill Frisell, Paul Motian and many more. Surman is probably most popularly known for his longstanding association with the German label ECM, who began releasing Surman’s recordings in 1979. Surman has won numerous jazz polls and awards and a number of important commissions. Every period of his career is filled with highlights, which is why Cuneiform is exceedingly proud to release for the first time ever this amazing document of the late 60s 'Brit-jazz' scene. Born in Tavistock, in England, Surman discovered music as a child, singing as soprano soloist in a Plymouth-area choir. He later bought a second- hand clarinet, took lessons from a Royal Marine Band clarinetist, and began playing traditional Dixieland jazz at local jazz clubs.
    [Show full text]
  • Drums • Bobby Bradford - Trumpet • James Newton - Flute • David Murray - Tenor Sax • Roberto Miranda - Bass
    1975 May 17 - Stanley Crouch Black Music Infinity Outdoors, afternoon, color snapshots. • Stanley Crouch - drums • Bobby Bradford - trumpet • James Newton - flute • David Murray - tenor sax • Roberto Miranda - bass June or July - John Carter Ensemble at Rudolph's Fine Arts Center (owner Rudolph Porter)Rudolph's Fine Art Center, 3320 West 50th Street (50th at Crenshaw) • John Carter — soprano sax & clarinet • Stanley Carter — bass • William Jeffrey — drums 1976 June 1 - John Fahey at The Lighthouse December 15 - WARNE MARSH PHOTO Shoot in his studio (a detached garage converted to a music studio) 1490 N. Mar Vista, Pasadena CA afternoon December 23 - Dexter Gordon at The Lighthouse 1976 June 21 – John Carter Ensemble at the Speakeasy, Santa Monica Blvd (just west of LaCienega) (first jazz photos with my new Fujica ST701 SLR camera) • John Carter — clarinet & soprano sax • Roberto Miranda — bass • Stanley Carter — bass • William Jeffrey — drums • Melba Joyce — vocals (Bobby Bradford's first wife) June 26 - Art Ensemble of Chicago Studio Z, on Slauson in South Central L.A. (in those days we called the area Watts) 2nd-floor artists studio. AEC + John Carter, clarinet sat in (I recorded this on cassette) Rassul Siddik, trumpet June 24 - AEC played 3 nights June 24-26 artist David Hammond's Studio Z shots of visitors (didn't play) Bobby Bradford, Tylon Barea (drummer, graphic artist), Rudolph Porter July 2 - Frank Lowe Quartet Century City Playhouse. • Frank Lowe — tenor sax • Butch Morris - drums; bass? • James Newton — cornet, violin; • Tylon Barea -- flute, sitting in (guest) July 7 - John Lee Hooker Calif State University Fullerton • w/Ron Thompson, guitar August 7 - James Newton Quartet w/guest John Carter Century City Playhouse September 5 - opening show at The Little Big Horn, 34 N.
    [Show full text]
  • Music Reading Read the Passage, the E-Mail and the Festival Guide. the Glastonbury Festival Is an Unforgettable Sight. for Three
    Music Reading Read the passage, the e-mail and the festival guide. The Glastonbury Festival is an unforgettable sight. For three days, 280 hectares of peaceful farm country in the beautiful Somerset Valley become a vast, colourful tent city. The Glastonbury Festival is Britain's largest outdoor rock concert, and it attracts crowds of more than 100,000 people. It has six separate stages for musicians to play on. It has eighteen markets where fans can buy things. It has its own daily newspaper and is even broadcast live on television. It also raises large amounts of money for several charities, including Greenpeace and the Campaign for Nuclear Disarmament. Glastonbury is just one of many events on the international music festival calendar each year. For dance music fans, there's Creamfields, the Essential Festival and Homelands - all in the UK. Rock fans have Roskilde Festival in Denmark, Fuji Rock and Summer Sonic in Japan, and the Livid Festival and the Big Day Out in Australia. And the crowds just keep getting bigger. In fact, the size of some of these festivals is causing problems. Since the deaths of nine people at Roskiide in 2000 and the death of a young woman at the 2001 Big Day Out, festival organisers and local police have been working together to make sure festival-goers stay safe. Despite these tragic events, festivals are more popular than ever. And it's not just about the music. It's about making new friends and partying non-stop for days at a time. It's about dancing till you can't stand up anymore and then crashing in someone else's tent.
    [Show full text]
  • Maye.Pdf), Version Vom 20.09.2007
    Samples Online-Publikationen des Arbeitskreis Studium Populärer Musik. 6. 2007. (www.aspm-samples.de/Samples6/maye.pdf), Version vom 20.09.2007 ERIC DOLPHYS ITALIENISCHES ERBE: DAS BASSKLARINETTENSPIEL DES JAZZMUSIKERS GIANLUIGI TROVESI Annette Maye Eric Dolphy verhalf der Bassklarinette, die seit den 1920er Jahren im Jazz nahezu in Vergessenheit geraten war, in den späten 1950er und 1960er Jahren zu neuem Ansehen. Mit ungeheurer physischer Kraft und wild- emotionalem Ausdruck holte er sie heraus aus ihrem Schattendasein und ließ die Zuhörer glauben, sie würden ein völlig neues Instrument hören. Seine größten Erfolge feierte Dolphy zu Lebzeiten in Europa. Das euro- päische Publikum wie auch die hiesigen Musikerkollegen zeigten sich offen für seine Musik. Beispielhaft nachvollziehbar ist dies an der holländischen Rhythmusgruppe mit Misha Mengelberg (Klavier), Jacques Schol (Bass) und Han Bennink (Schlagzeug), die Dolphy 1964 auf seiner letzten Konzertauf- nahme (LP Last Date) in Hilversum begleitete; sie fügen sich mühelos seinen Ideen, sind offen für Neuerungen und agieren dennoch als gleichberechtigte Mitspieler. Bert Noglik (2003: 14) schreibt über Dolphys Einfluss auf die europäischen Zeitgenossen: »Die Begegnung mit Eric Dolphy ― sei es im gemeinsamen Spiel oder als Zuhörer ― beeindruckt und beeinflusst eine ganze Generation europäischer Jazzmusiker und Jazzfans.« Und Joachim- Ernst Berendt (2001: 293) bekräftigt: »Dolphys Bassklarinetten-Spielweise hat schnell Schule gemacht, stärker als in den USA noch in Europa, wo viele Musiker - meist Saxophonisten - außer- dem noch Bassklarinette blasen. So haben der Holländer Willem Breuker, der Engländer John Surman, die Deutschen Gunter Hampel, Bernd Konrad und Wollie Kaiser und der Italiener Gianluigi Trovesi das Dolphy-Erbe in eigener Weise weiterentwickelt.« Unabhängig von der Stilistik steht noch heute jeder, der im Jazz Bassklari- nette spielt, unter dem Einfluss Dolphys.
    [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]