DOCSLIB.ORG

03.22 Dossier Ijd19

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
03.22 Dossier Ijd19 DOSSIER DE PROGRAMACIÓN CONCIERTOS BARCO C/ Barco 34. DOMINGO 28 DE ABRIL • COSMOSOUL JAM <M> Tribunal 23:55h. 9€ con copa / 6€ con consumición mínima. #Jazz #Soul www.barcobar.com DOMINGO 5 DE MAYO • THE BURNING SHOES JAM 23:55h. 9€ con copa / 6€ con consumición mínima.. #Jazz #Soul BOGUI JAZZ C/ Barquillo 29. VIERNES 26 DE ABRIL • JAZZIN’ WITH JOHN O’BRIEN & ALEX OTHEGUY SEXTET <M> Chueca / Alonso 20:30h. 12€ Anticipada /15€ en taquilla. #Jazz. Martínez • T.J.JAZZ SINGS BILLIE HOLIDAY 23h. 15€ Anticipada /18€ en taquilla. #Jazz. www.boguijazz.com SÁBADO 27 DE ABRIL • CREATIVA JUNIOR BIG BAND 12h. PRECIO POR CONFIRMAR. #Jazz. • SWINGIN’ 20:30h. 15€ Anticipada /18€ en taquilla. #Jazz. • T.J.JAZZ SINGS BILLIE HOLIDAY 23h. 15€ Anticipada /18€ en taquilla. #Jazz. DOMINGO 28 DE ABRIL • DOMINGO J. SANCHEZ “DEEP EMOTIONS TOUR” 18:30h. 12€ Anticipada /15€ en taquilla. #Jazz. • JAZZ JAM SESSION 21h. 8€. #Jazz. LUNES 29 DE ABRIL • LUCÍA REY TRÍO 21h. 12€ Anticipada /15€ en taquilla. #Jazz. MARTES 30 DE ABRIL • SHEILA JORDAN TRIO 21h. 20€ Anticipada /25€ en taquilla. #Jazz. MIÉRCOLES 1 DE MAYO • SHEILA JORDAN TRIO 21h. 20€ Anticipada /25€ en taquilla. #Jazz. JUEVES 2 DE MAYO • CUARTETO EUROPA 21h. 12€ Anticipada /15€ en taquilla. #Jazz. VIERNES 3 DE MAYO • DAVE LIEBMAN TRIO 20:30h. PRECIO POR CONFIRMAR. #Jazz. • TRASTESTRIO 23h. PRECIO POR CONFIRMAR. #Jazz. SÁBADO 4 DE MAYO • CANAL STREET JAZZ BAND 20:30h. PRECIO POR CONFIRMAR. #Jazz. • GUITARRISTAS ON FIRE 23h. PRECIO POR CONFIRMAR. #Jazz. DOMINGO 5 DE MAYO • JOSEPH SIANKOPE QUARTET 18:30h. PRECIO POR CONFIRMAR. #Jazz. • JAZZ JAM SESSION 21h. 8€. #Jazz. %2 CAFÉ BERLÍN C/ Costanilla de los VIERNES 26 DE ABRIL • LUCÍA REY TRÍO Ángeles, 20 20:30h apertura de puertas / 21h concierto. Anticipada: 12! / Taquilla: 15!. Jazz. " <M> Callao / San Bernardo www.berlincafe.es SÁBADO 27 DE ABRIL • SHEILA BLANCO & MAD SAX BIG BAND PRESENTAN SWIGHITS! 20:30h apertura de puertas / 21h concierto. Anticipada: 12! / Taquilla: 15!. Jazz. CASA PATAS C/ Cañizares 10. DEL 26 AL 27 DE ABRIL • JOSÉ BARRIOS Y TOÑI ESTEPA <M> Tirso de Molina Dos pases: 20:00h y 22:30h. 40! con copa. #Flamenco #Jazz$ www.casapatas.com DEL 29 DE ABRIL AL 4 DE MAYO • MÓNICA FERNÁNDEZ Y CRISTIAN PÉREZ (INVITADA AROA FERNÁNDEZ) Lunes y martes: 22:30h. De miércoles a sábado dos pases: 20:00h y 22:30h. 40! con copa. #Flamenco #Jazz CLAMORES C/ Alburquerque 14. LUNES 29 DE ABRIL • MARK LETTIERI (US) <M> Bilbao 20:30h. 18! anticipada / 21! taquilla. Jazz. " www.salaclamores.es MARTES 30 DE ABRIL • KANDACE SPRINGS (US) 22:30h. 22! anticipada / 26! taquilla. Jazz. " MIÉRCOLES 1 DE MAYO " • AMARO FREITAS TRÍO (BR) 18:30h. 15! anticipada / 18! taquilla. Jazz. " • CMQ BING BAND 22:30h. 12! anticipada / 15! taquilla. Jazz. " JUEVES 2 DE MAYO " • FEDERICO NATHAN PROJECT (UR) 17h. 12€ anticipada / 15€ taquilla. Jazz. • JOSH DION PARIS MONSTER (US) 21h. 16€ anticipada / 20€ taquilla. Jazz. VIERNES 3 DE MAYO • AP BIG BAND FEAT JAVIER BOTELLA 22:30h. 12! anticipada / 15! taquilla. Jazz. " SÁBADO 4 DE MAYO • TRIBUTO A NINA SIMONE CON ERIN CORINE 22:30h. 12! anticipada / 15! taquilla. Jazz. " DOMINGO 5 DE MAYO • LUIS CASADO TRÍO 17h. 10€ anticipada / 12€ taquilla. Jazz. • JVERA QUARTET 21h. 10€ anticipada / 12€ taquilla. Jazz. %3 EL DESPERTAR C/ Torrecilla del Leal 18. VIERNES 26 DE ABRIL • SHIVA QUARTET <M> Antón Martín 22h y 23h. 6!. Jazz. " www.cafeeldespertar.com SÁBADO 27 DE ABRIL • ¡ZAS TRÍO! “EL SAXO DE COLTRANE” 22h y 23h. 8!. Jazz. " VIERNES 3 DE MAYO • THE CAROL HANDS & ROBIN SOUND 22h y 23h. 6!. Jazz. " SÁBADO 4 DE MAYO • PEDRO OJESTO FLAMENCO JAZZ TRÍO 23h. Entrada Libre. Jazz. " EL INTRUSO C/ Augusto Figueroa 3. DOMINGO 5 DE MAYO • RE BIG BAND PRESENTA LEYENDAS DEL <M> Chueca / Gran Vía MAMBO POR CONFIRMAR www.intrusobar.com EL JUNCO Plaza de Santa Bárbara 10. VIERNES 3 DE MAYO • FATBEAT! <M> Alonso Martínez 22h. Entrada con consumición 10!. Jazz. www.eljunco.com GALILEO GALILEI C/ Galileo 100. SÁBADO 27 DE ABRIL • WSA BIG BAND & WS3G BIG BAND <M> Islas Filipinas 12h. 12! Anticipada /15! en taquilla. Niños 8!. Jazz. " www.salagalileogalilei.com SÁBADO 27 DE ABRIL • JORGE PARDO 21h. 15! Anticipada /18! en taquilla. Jazz. MARULA C/Caños Viejos, 3 VIERNES 26 DE ABRIL • THE BREITNERS <M> La Latina 22:30h. 8€ Anticipada / 9€ en taquilla con consumición. Jazz. https://marulacafe.com JUEVES 2 DE MAYO " • CATCAKE JAM 23h. 5€. Jazz. MOE SÁBADO 27 DE ABRIL • LOCOMOTORA BIG BAND Av.Alberto de Alcocer, 32 22h. 10!. Jazz. " <M> Cuzco /Colombia MIÉRCOLES 1 DE MAYO • JAZZ JAM SESSION http://moeclub.com/ 22h. Entrada libre. #JazzFusion #Swing #Bebop #JamSession. %4 CC. Carril del Conde. HORTALEZA VIERNES 26 DE ABRIL • CANAL STREET JAZZ BAND 19h. Entrada libre hasta completar aforo. #Jazz #NewOrleans " AC RECOLETOS %5 CONFERENCIAS, EXPOSICIONES Y OTROS JAZZ Y MÁS Calle de la Palma, 28 DEL 26 DE ABRIL AL 5 DE MAYO • EXPOSICIÓN PERMANENTE ILUSTRACIONES DE LUIS ALVES ICONOS DE LA MÚSICA NEGRA <M> TRIBUNAL JAZZ Y MÁS" http://jazzymas.com/ DEL 26 DE ABRIL AL 5 DE MAYO • EXPOSICIÓN FOTOGRÁFICA DE ERNESTO CORTIJO BALLESTEROS: CÉCIL MCLORIN SALVANT: UN MILAGRO PARA EL JAZZ VOCAL JAZZ Y MÁS" SÁBADO 27 DE ABRIL • SHOWCASE DE DANIEL JUÁREZ "TALES FROM SOME OF THOSE LANDS" 19:30h. JAZZ Y MÁS. Entrada libre hasta completar aforo." LUNES 29 DE ABRIL • CONFERENCIA "80 AÑOS" DEL SELLO BLUE NOTE - CONFERENCIANTE: ALEXIS ANDRAL. 19:30h. JAZZ Y MÁS. Entrada libre hasta completar aforo." $ MARTES 30 DE ABRIL • CONFERENCIA "LA INTERNACIONALIDAD DEL JAZZ" en colaboración con la ESCUELA CREATIVA DE MUSICAS MODERNAS - CONFERENCIANTE: FERNANDO ORTIZ DE URBINA " 19:30h. AUDITORIO DE LA ESCUELA CREATIVA. Patrocinada por los vinos "Déjate Besar" Gratis hasta completar aforo " MIÉRCOLES 1 DE MAYO • AUDICIÓN Y TERTULIA "EL JAZZ EN LOS AÑOS 40" - COORDINACIÓN: FERNANDO ORTIZ DE URBINA " 13h. JAZZ Y MÁS. Entrada libre hasta completar aforo." JUEVES 2 DE MAYO • CONFERENCIA AFRICA Y EL JAZZ - CONFERENCIANTE ENRIQUE DE ALVA 19:30h. JAZZ Y MÁS. Entrada libre hasta completar aforo." VIERNES 3 DE MAYO • PRESENTACIÓN DEL LIBRO "UNA CHICA SIN SUERTE" "BIG MAMA" THORNTON - Con la presencia de la autora NOEMÍ SABUGAL. 19:30h. JAZZ Y MÁS. Entrada libre hasta completar aforo." SÁBADO 4 DE MAYO • PRESENTACIÓN DEL MICRORRELATO "MIDNIGHT SPECIAL” DE JUAN JOSÉ FLORES premio del Concurso Internacional "Ramos Ópticos" al mejor relato de jazz. Con la presencia del autor y regalaremos a todos los presentes el libro con el relato del ganador y finalista, cortesía de la EDITORIAL "MENOSCUARTO" 19:30h. JAZZ Y MÁS. Entrada libre hasta completar aforo." DOMINGO 5 DE MAYO • PRESENTACIÓN DEL LIBRO "CARLA BLEY" DE AMY C. BEAL POR ALEXIS ANDRAL 19:30h. JAZZ Y MÁS. Entrada libre hasta completar aforo." %6 BAILE MAD FOR SWING Vario emplazamientos SÁBADO 4 DE MAYO • MAD FOR RETIRO www.madforswing.es 12h. Gratuito. #Baile social #Jazz #Swing" DOMINGO 5 DE MAYO • PASEA SWING 12h. Gratuito. #Baile social #Swing EKOSwing VIERNES 26 DE ABRIL Y 3 DE MAYO • BAILE SOCIAL Y CLASE EN EL EKO Calle del Anade, 10 <M> Oporto / Urgel 21:30h. Entrada Libre. #Baile #Swing #Baile social http://eslaeko.net/ SWING MANIACS C/ Magdalena, 7-9 DEL 27 AL 28 DE ABRIL • ¡SKYE AND FRIDA EN MADRID 2019! <M> Antón Martín / Tirso de #Baile #Festival #Swing " Molina skyeandfrida.swingmaniacs.com Espacio Vecinal Montamarta C/ Montamarta, 7 LUNES 29 DE ABRIL • SWING EN MONTAMARTA <M> Alsacia 19:30h. 2,5!. #Práctica de baile #Baile #Swing #Rock&Roll www.evmontamarta.org Animal Jazz Teatro del barrio LUNES 29 DE ABRIL • MALDITOS LUNES C/ Zurita, 20 21:30h. Gratuito. #Práctica de baile #Baile #Swing #Rock&Roll <M> Lavapiés teatrodelbarrio.com Big Mama Swing LUNES 29 DE ABRIL • I’M BEGINNING TO SEE THE LIGHT C/ Sebastián Elcano, 12 22:10h. 3!. #Baile #Swing #Baile social #Manouche" $ <M> Embajadores MARTES 30 DE ABRIL • BIG MARTES bigmamaswing.com 22:10h. 3!. #Baile #Swing #Baile social #Manouche Blanco y Negro Studio Ya´sta Club JUEVES 2 DE MAYO • SWING MADRID NIGHT c/ Valverde, 10 22h. 7€. #Baile #Swing #Baile social #Jazz. #Blues #Rock&Roll <M> Chueca wwww.blancoynegrostudio. com %7 DETALLE CONCIERTOS COSMOSOUL JAM SALA BARCO - DOMINGO 28 DE ABRIL$ 23:55h. 9! con copa / 6! con consumición mínima. #Jazz #Soul Cosmosoul nos trae una de las mejores Jam Session de Madrid. Aunque residen en España la formación mezcla a la perfección tres continentes y cinco países distintos. Este crisol cultural representa el alma del grupo. Cinco elementos originales para una mezcla perfecta. Alana Sinkëy, cantante portuguesa de origen guineano; Abel Calzetta, guitarrista argentino; Akin Onasanya, batería y percusionista nigeriano; Manuel Pablo Sanz, bajista madrileño; y el teclista napolitano Sergio Salvi son los componentes de Cosmosoul, un quinteto que nace de la fusión de los diferentes perfiles musicales de sus integrantes. Con un estilo propio y actual representan a la perfección una época de globalización y de vuelta a las raíces para conseguir avanzar más lejos. Y además pone de acuerdo a críticos musicales y listas de ventas. Cosmosoul es un proyecto que enamora y gusta allí a donde va cautivando a un amplio público. Cosmosoul es un grupo que se entrega a pleno en sus directos. “Para plasmar la energía que se genera en los directo en este disco ha sido vital aprovechar la receptividad de nuestro público para consolidar las canciones”. THE BURNING SHOES JAM SALA BARCO - DOMINGO 5 DE MAYO$ 23:55h. 9! con copa / 6! con consumición mínima. #Jazz #Soul The Burning Shoes es una banda de versiones única, versátil, fundada en Londres a principios de 2015 por el baterista madrileño Chema Sacristán y liderada por el prestigioso y conocido trio vocal madrileño Emeterians (Felipe Martins, María Martins e Ignacio Carbó).
Load more

Recommended publications
  • Here I Played with Various Rhythm Sections in Festivals, Concerts, Clubs, Film Scores, on Record Dates and So on - the List Is Too Long
    MICHAEL MANTLER RECORDINGS COMMUNICATION FONTANA 881 011 THE JAZZ COMPOSER'S ORCHESTRA Steve Lacy (soprano saxophone) Jimmy Lyons (alto saxophone) Robin Kenyatta (alto saxophone) Ken Mcintyre (alto saxophone) Bob Carducci (tenor saxophone) Fred Pirtle (baritone saxophone) Mike Mantler (trumpet) Ray Codrington (trumpet) Roswell Rudd (trombone) Paul Bley (piano) Steve Swallow (bass) Kent Carter (bass) Barry Altschul (drums) recorded live, April 10, 1965, New York TITLES Day (Communications No.4) / Communications No.5 (album also includes Roast by Carla Bley) FROM THE ALBUM LINER NOTES The Jazz Composer's Orchestra was formed in the fall of 1964 in New York City as one of the eight groups of the Jazz Composer's Guild. Mike Mantler and Carla Bley, being the only two non-leader members of the Guild, had decided to organize an orchestra made up of musicians both inside and outside the Guild. This group, then known as the Jazz Composer's Guild Orchestra and consisting of eleven musicians, began rehearsals in the downtown loft of painter Mike Snow for its premiere performance at the Guild's Judson Hall series of concerts in December 1964. The orchestra, set up in a large circle in the center of the hall, played "Communications no.3" by Mike Mantler and "Roast" by Carla Bley. The concert was so successful musically that the leaders decided to continue to write for the group and to give performances at the Guild's new headquarters, a triangular studio on top of the Village Vanguard, called the Contemporary Center. In early March 1965 at the first of these concerts, which were presented in a workshop style, the group had been enlarged to fifteen musicians and the pieces played were "Radio" by Carla Bley and "Communications no.4" (subtitled "Day") by Mike Mantler.
    [Show full text]
  • Snarky Puppy's Eye-Popping New Animated Video Is a Surreal Visual
    Snarky Puppy’s Eye-Popping New Animated Video Is A Surreal Visual Adventure 68-date 2019 World Tour currently hits 19 countries, more shows to be added Watch the video for “Bad Kids to the Back” here New album Immigrance out March 15th on GroundUP Music February 22, 2019 – Inspired by films like Richard Linklater’s Waking Life, Ralph Bakshi’s American Pop and Disney’s 1937 classic Snow White and the Seven Dwarfs, the surreal video for Snarky Puppy’s “Bad Kids To The Back” utilizes rotoscoped visuals to turn an in-studio performance into one of the wildest animated videos you will see this year. Animator/co-director Michaël Alcaras drew frame-by-frame over live footage of the band recording the song in studio (shot by the video’s other co- director, Stella K), and turned it into an eye-popping four minutes and forty-five seconds. The Snarky horn section suddenly have animal heads; band members shoot lasers from their eyes and tall buildings dance along to the song’s hypnotic grooves. “Bad Kids to the Back,” a “crisp, strutting” (Rolling Stone) track written by Snarky Puppy member Justin Stanton, comes from the group’s upcoming album Immigrance, out March 15th on GroundUP Music. A global touring dynamo who have played to thousands of fans at shows on six continents, Snarky Puppy will embark on another ambitious world tour in 2019. This weekend, the band will be accompanied by the Los Angeles Philharmonic at Walt Disney Concert Hall in Los Angeles before officially kicking off the 68-date world tour April 11th in Osaka, Japan.
    [Show full text]
  • Snarky-Puppy-Immigrance-Press-Release 732.48
    Snarky Puppy Releasing Moodier, Raw New Album Immigrance March 15th 2019 on GroundUP Music 2019 Tour Dates – UK Tour Announcement 25th Feb. Group performs with L.A. Philharmonic at Walt Disney Concert Hall Feb 23. World tour begins in April Multiple GRAMMY-winners host 3rd annual GroundUP Music Festival in Miami Beach February 8-10 Listen to new song ‘Xavi’ here Pre-order Immigrance here Snarky Puppy, the three-time GRAMMY-winning genre-defying collective, will release their new album Immigrance on March 15th via GroundUP Music. Like their last album, 2016’s GRAMMY-winning Culcha Vulcha, Immigrance is a studio project, and it features most of the same musicians. And though it shares that project’s ace musicianship and dynamic, kinetic spirit, it is also rawer and moodier than its predecessor. Several of the compositions put a new-found emphasis on delivering simpler, streamlined impact, and bassist, composer and bandleader Michael League, as producer on the album, left in the tiny flubs and unvarnished textures that accompany great organic performances. Immigrance is also all about movement. “The idea here is that everything is fluid, that everything is always moving and that we’re all in a constant state of immigration,” explains League, who founded Snarky Puppy in 2003 and has helmed it into one of the most popular, virtuosic and influential bands of the current jazz and instrumental-music renaissance. “Obviously the album’s title is not without political undertones.” But Immigrance doesn’t aim to scold or condescend; rather, its mission is one of uplift, a testament to what humanity can achieve when cultures are able to come together without fear.
    [Show full text]
  • Snarky Puppy Snarky Puppy Snarky Puppy
    SNARKY PUPPY GENRE: ELECTRIC JAZZ/FUNK/INSTRUMENTAL Displaying a rare and delicate mixture of sophisticated composition, harmony and improvisation, Fusion-influenced jam band Snarky Puppy make exploratory jazz, rock, and funk. Formed in Denton, Texas in 2004, Snarky Puppy feature a wide-ranging group of nearly 40 musicians known affectionately as “The Fam,” centered around bassist, composer and bandleader Michael League. Comparable Artists: Medeski, Martin & Wood, Brad Mehldau, Weather Report, Steely Dan AWARDS • 2014 Grammy winner for “Best R&B Performance” • Voted “Best Jazz Group” in Downbeat’s 2015 Reader’s Poll/Cover of February 2016 issue •“Best New Artist” and “Best Electric/Jazz-Rock/Contemporary Group/Artist” in Jazz Times 2014 Reader’s Poll PRESS • “Emotionally heroic compositions…At the heart of Snarky Puppy’s music lies an incredible humanity,…a soulful appeal for fans of all ages” – Electronic Musician • “This 12-piece collective stands out with furious commitment to defying musical categories. The music is no joke.” – LA Times • Featured in the New York Times, NPR, Los Angeles Times, Washington Post, Relix, SF Weekly, Modern Drummer, and more TOUR • Played over 300 performances over the last two years on four continents • Snarky Puppy are devoted to music education holding clinics and workshops with students in-between international tourdates PEAK PERFORMANCE • Their last album, Sylva, garnered a #1-chart debut simultaneously on both Billboard’s Jazz and Heatseekers Charts • Snarky Puppy streaming music fans are primarily paid/premium subscribers to services such as Spotify, Google Play and Apple Music and listen on desktop and mobile devices (49%/51% split) • All of Snarky Puppy’s albums are recorded 100% live often with in-studio audiences present DEMO Male (82%)/Female (18%) Age: 18-34 (73%) http://www.impulse-label.com/ LINKS OFFICIAL WEBSITE 222,852 fans 30.8K followers 62.8K followers 28K 91K (Snarky Puppy) (GroundUP Music).
    [Show full text]
  • 2015 NEA Jazz Masters 2015 NATIONAL ENDOWMENT for the ARTS
    2015 NEA Jazz Masters 2015 NATIONAL ENDOWMENT FOR THE ARTS 2015 Fellows Carla Bley George Coleman Charles Lloyd Joe Segal NEA Jazz Masters 2015 Contents Introduction ..............................................................................1 A Brief History of the Program ................................................2 Program Overview ...................................................................5 2015 NEA Jazz Masters............................................................7 Carla Bley .......................................................................................8 George Coleman............................................................................9 Charles Lloyd ...............................................................................10 Joe Segal ......................................................................................11 NEA Jazz Masters, 1982–2015..............................................12 NEA Jazz Masters Awards Ceremony ...................................14 Pianist Jason Moran and guitarist Bill Frisell perform 2014 NEA Jazz Master Keith Jarrett’s “Memories of Tomorrow” at the 2014 awards concert. Photo by Michael G. Stewart The NEA is committed to preserving the legacy of jazz not just for this ”generation, but for future generations as well. ” IV NEA Jazz Masters 2015 IT IS MY PLEASURE to introduce the 2015 class of NEA Jazz Masters. The NEA Jazz Masters awards—the nation’s highest recognition of jazz in America—are given to those who have reached the pinnacle of their art: musicians
    [Show full text]
  • Is This Jazz? Newport Jazz Festival '17: Where to Start
    Is This Jazz? Newport Jazz Festival ’17: Where To Start On Friday, August 5, the world’s best jazz artists will once again make their yearly pilgrimage to Fort Adams for another exciting Newport Jazz Festival. Over the past few years, the festival has been stepping up the line-ups and has done an amazing job of balancing the old guard with the young lions, simultaneously showing how this music has gotten to where it is and where it’s headed next. The diversity of groups and sounds is no less prevalent this year, with what has to be one of the more stacked bills in recent history. While we may not be able to hit on every “must see” act in this feature, here is a glimpse into who to watch out for and the sets you’ll probably be running to. For the past few years, Snarky Puppy has been a relentless force in the international jazz scene. Formed in 2003 by composer/bassist Micheal League, this powerhouse ensemble has performed thousands of shows across six continents, and has collaborated with Lalah Hathaway, Laura Mvula, Salif Keïta, David Crosby, N’Dambi, Becca Stevens and Jacob Collier. Their intricately arranged and flawlessly executed charts are as stunning as the whirlwind improvisations traded off throughout the group. I can’t say this enough: Cécile McLorin Salvant is the best jazz vocalist working today and absolutely one of the all-time heavies. Her melodic phrasing and command of the depths of her voice are truly unmatched. Beyond her once-in-a-generation talent, her band is loaded with chops, giving this ensemble an edge in crafting unique interpretations of old favorites and outstanding originals and letting Salvant’s voice stretch and dance above the music swirling around her.
    [Show full text]
  • Snarky Puppy
    Snarky Puppy Michael League / Bass and Band Leader Jason “JT” Thomas / Drums Nate Werth / Percussion Shaun Martin / Keyboards Justin Stanton / Keyboards and Trumpet Jay Jennings / Trumpet Chris Bullock / Tenor Saxophone and Flute Chris McQueen / Guitar Zach Brock / Violin with special guest Alina Engibaryan / Vocals and Piano Sunday Evening, September 8, 2019 at 7:00 Hill Auditorium Ann Arbor Opening Performance of the 141st Annual Season 26th Annual Jazz Series This evening’s performance is supported by Michigan Engineering, Elaine and Peter Schweitzer, and Imagine Fitness & Yoga. This evening’s performance is funded in part by JazzNet Endowment Fund. Media partnership provided by WEMU 89.1 FM, WDET 101.9 FM, and Ann Arbor’s 107one. Special thanks to Ellen Rowe and the U-M Department of Jazz & Contemporary Improvisation for their participation in events surrounding this evening’s performance. Snarky Puppy appears by arrangement with Royal Artist Group. In consideration of the artists and the audience, please refrain from the use of electronic devices during the performance. The photography, sound recording, or videotaping of this performance is prohibited. PROGRAM This evening’s program will be announced by the artists from the stage. There will be one intermission following Alina Engibaryan’s opening set. 3 ARTISTS The last four years have brought dramatic University of North Texas’ jazz studies changes for Snarky Puppy. After a decade program. Three years later, a serendipitous of relentless touring and recording in all intersection with the gospel and R&B but complete obscurity, the Texas-bred/ community in Dallas transformed the New York-based quasi-collective suddenly music into something funkier, more direct, found itself held up by the press and and more visceral.
    [Show full text]
  • Ortad. Y Indice
    a c i s ú m e d s a r o d a e r c creado ras de úsic a www.migualdad.es/mujer creadoras de úsic a © Instituto de la Mujer (Ministerio de Igualdad) Edita: Instituto de la Mujer (Ministerio de Igualdad) Condesa de Venadito, 34 28027 Madrid www.inmujer.migualdad.es/mujer e-mail: [email protected] Idea original de cubierta: María José Fernández Riestra Diseño cubierta: Luis Hernáiz Ballesteros Diseño y maquetación: Charo Villa Imprime: Gráficas Monterreina, S. A. Cabo de Gata, 1-3 – 28320 Pinto (Madrid) Impreso en papel reciclado libre de cloro Nipo: 803-10-015-2 ISBN: 978-84-692-7881-9 Dep. Legal: M-51959-2009 Índice INTRODUCCIÓN 9 EDAD MEDIA: MÚSICA, AMOR, LIBERTAD 13 Blanca Aller Nalda DAMAS Y REINAS: MUSICAS EN LA CORTE. RENACIMIENTO 29 Mª Jesús Gurbindo Lambán LABERINTOS BARROCOS 41 Virginia Florentín Gimeno MÚSICA, AL SALÓN. CLASICISMO 55 María José Fernández Riestra “COMO PRUEBA DE MI TALENTO”. COMPOSITORAS DEL SIGLO XIX 69 María Jesús Fernández Sinde TIEMPOS DE VANGUARDIA, AIRES DE LIBERTAD. LAS COMPOSITORAS DE LA PRIMERA MITAD DEL SIGLO XX 89 Gemma Solache Vilela COMPONIENDO EL PRESENTE. SONIDOS FEMENINOS SIN FRONTERAS 107 Ana Alfonsel Gómez Bibliografía y Discografía 125 Libreto 151 7 Introducción En el curso académico 2006-2007, siete profesoras de Música de Educación Secun- daria llevaron a cabo un proyecto que, tanto por su planteamiento pedagógico y didáctico como por su rigor, belleza e interés, llamó la atención del Instituto de la Mujer. Algunas de estas profesoras, que habían coincidido en un Tribunal de Oposiciones al Cuerpo de Profesorado de Enseñanza Secundaria por la especialidad de música, for - maron un Grupo de Trabajo para que el alumnado investigara la composición musi - cal también como obra femenina.
    [Show full text]
  • Carla Bley Wurde Im Kalifornischen Oakland Geboren Und Lebt Heute in Den Catskill Mountains Im US-Bundes- Staat New York
    Bley, Carla Carla Bley wurde im kalifornischen Oakland geboren und lebt heute in den Catskill Mountains im US-Bundes- staat New York. Mit verschiedenen Bands, kammermusi- kalischen Ensembles und Orchestern hat sie die ganze Welt bereist, vor allem Europa und Südostasien. Als „composer-in-residence“ war sie unter anderem beim Glasgow Festival und wurde in die Essener Philharmo- nie eingeladen. Biografie Carla Bley wurde am 11. Mai 1936 als Lovella May Borg in Oakland, Kalifornien, als Tochter zweier Musiker gebo- ren. Bei ihrem Vater Emil Borg erhielt sie ersten Klavier- und Orgelunterricht und begleitete bereits im Alter von vier Jahren Hochzeiten und Begräbnisse. Mit acht Jah- ren verweigerte sie jeden weiteren Unterricht (Carla Bley betrachtet sich selbst als Autodidaktin). Im selben Jahr starb ihre Mutter Arline Borg. Fünfzehnjährig brach sie die Schule ab und jobbte in einem Plattenladen. Zusätzli- ches Geld verdiente sie mit Auftritten in örtlichen Piano- Bars. Insbesondere die Musik Erik Saties, die sie zufällig Carla Bley im Radio gehört hatte, beschäftigte ihre Fantasie. Carla Bley 1957 verließ sie Kalifornien und ging nach New York, wo Geburtsname: Carla Lovella Borg sie sich Carla Borg nannte. In den einschlägigen Jazz- clubs der Stadt nahm sie diverse Jobs von der Zigaretten- * 11. Mai 1936 in Oakland, Kalifornien, USA verkäuferin bis zur Tischfotografin an, um so die großen Musiker live hören zu können: „That is where I learned Komponistin, Pianistin, Organistin, Bandleaderin, everything“, sagte sie über diese intensive Zeit, in der sie Improvisateurin, Arrangeurin, Musik-Verlegerin, alles wie einen Schwamm aufgesogen habe (Frank Oteri, Herausgeberin On Her Own. New York, 2003, S.
    [Show full text]
  • The Snarky Puppy Songbook
    Notes from Michael “Binky” written and arranged by Michael League transcribed by Chris McQueen recorded on groundUP, GroundUP Music / Ropeadope Records 2012 “Binky” was actually the first of the batch of new songs set to be recorded on groundUP. I think it came from the Afro-beat craze that had been dominating my current hometown of Brooklyn, New York (the working title was “Afropup”). Everyone that was cool had an Afro-beat band. I was not cool. I figured that the least I could do was write an Afro-beat song, and “Binky” was my attempt at it. As is normally the case with compositional intentions, I got distracted and the song drifted out of the desired direction into some strange other realm. We rehearsed it for the first time at Nate’s tiny apartment in Denton, Texas, during a tour in May of 2011. It was MUCH faster, and listening back to it now, feels a little more Afro-beatish that way. One of the most interesting things about the recording of this song on “groundUP” is Nate, Marcelo, and Keita’s very intricate and well-thought-out percussion parts. They interact with the bass line in an integral way… sliding them over even by an eighth or quarter note affects the groove massively. If you know Nate, you know how much he thinks about this stuff. Similar to the structure of the song “Flood” on Tell Your Friends, the hip-hop-ish outro to “Binky” is a metric permutation of previously stated musical material. I know that sounds really nerdy, but I can’t think of any other way to say it.
    [Show full text]
  • Carla Bley Trio
    Bûhem sedmé dekády minulého století absolvovala evropská turné Nadaãní fond PJF • AB Studio Praha • za finanãní podpory Carla Bley Trio s kapelou, kterou vedl Jack Bruce, ale po jejím rozpadu se zaãala vûno- Olomouckého kraje a Statutárního mûsta Pfierova vat vlastním projektÛm s ansámblem, ve kterém hráli mj. Gary Valen- Je to neuvûfiitelné, ale teprve po zhruba ãtyfiech desetiletích umû- XXIX. âESKOSLOVENSK¯ JAZZOV¯ FESTIVAL lecké kariéry vstoupí poprvé na ãeské pódium jedna z nejoriginálnûj- te, Tony Dagradi, Michael Mantler, Bob Stewart, Steve Slagle, D. Shar- ‰ích dam svûtové jazzové scény. Na Matûjské jazzové pouti 2012 pfied- pe a Steve Swallow. V následujících ‰esti letech koncertovala v Evropû, staví své trio pianistka, varhanice, skladatelka a umûlecká vedoucí Japonsku i ve Spojen˘ch státech a obohatila svou diskografii o nová komorních i velk˘ch kapel Carla Bley. alba (napfi. Dinner Music, European Tour 1977, Musique Mecanique, Social Studies). V osmdesát˘ch letech zaznamenala její rostoucí umûleckou prestiÏ pfiedev‰ím Evropa, ale její skladby zaznû- ly také na festivalu New Music America nebo na koncertech Spoleã- nosti pro komorní hudbu pfii Lincolnovû centru. V tomto období vyda- la dal‰í desky, jako napfi. Heavy Heart, I Hate To Sing, Night-Glo, Carla Carla, Sextet, Fleur Carnivore ad. Poté, co se na zaãátku devadesát˘ch let roze‰la s Michaelem Mant- lerem, pfierostlo její dosavadní partnerství se Stevem Swallowem rámec Matûjská jazzová pouÈ ryze hudebních sympatií. Ve svazku se skvûl˘m basistou a skladate- Bley lem proud její neutuchající kompoziãní invence je‰tû zmohutnûl, o ãemÏ – festivalov˘ prolog svûdãí jak big bandové nahrávky (The Very Big Carla Bley Band, Mûstsk˘ dÛm Pfierov – velk˘ sál Big Band Theory, The Carla Bley Big Band Goes to Church, Looking For America, Appearing Nightly, Carla’s Christmas NEDùLE 19.30 Carols), tak alba rÛzn˘ch komorních seskupení (napfi.
    [Show full text]
  • Karen Mantler by Karen Mantler
    Karen Mantler by Karen Mantler I was conceived by Carla Bley and Michael Mantler at the Newport Jazz Festival in 1965. Born in 1966, I was immediately swept into the musician's life on the road. After having checked me at the coatroom of the Berlin Jazz Festival, to the horror of the press, my parents realized that I was going to have to learn to play an instrument in order to be useful. But since I was still just a baby and they couldn't leave me alone, they had to bring me on stage with them and keep me under the piano. This is probably why I feel most at home on the stage. In 1971, when I was four, my mother let me have a part in Escalator Over The Hill and the next year I sang on another of her records, Tropic Appetites. By 1977 I had learned to play the glockenspiel, and I joined the Carla Bley Band. I toured Europe and the States with her several times and played on her Musique Mecanique album. After playing at Carnegie Hall in 1980, where I tried to steal the show by pretending to be Carla Bley, my mother fired me, telling me "get your own band". I realized that I was going to have to learn a more complicated instrument. After trying drums, bass, and flute, which I always lost interest in, I settled on the clarinet. I joined my elementary school band and quickly rose to the head of the clarinet section. The band director let me take the first improvised solo in the history of the Phoenicia (a small town near Woodstock, NY) elementary school.
    [Show full text]