R Onnie Scott's Jazz Club
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Ronnie Scott's Jazz C
GIVE SOMEONE THE GIFT OF JAZZ THIS CHRISTMAS b u l C 6 z 1 0 z 2 a r J e MEMBERSHIP TO b s ’ m t t e c o e c D / S r e e i GO TO: WWW.RONNIESCOTTS.CO.UK b n m e OR CALL: 020 74390747 n v o Europe’s Premier Jazz Club in the heart of Soho, London ‘Hugh Masekela Returns...‘ o N R Cover artist: Hugh Masekela Page 36 Page 01 Artists at a Glance Tues 1st - Thurs 3rd: Steve Cropper Band N Fri 4th: Randy Brecker & Balaio play Randy In Brasil o v Sat 5th: Terence Blanchard E-Collective e Sun 6th Lunch Jazz: Atila - ‘King For A Day’ m b Sun 6th: Ronnie Scott’s Jazz Orchestra e Mon 7th - Sat 12th: Kurt Elling Quintet “The Beautiful Day” r Thurs 10th: Late Late Show Special: Brandee Younger: A Tribute To Alice Coltrane & Dorothy Ashby Sun 13th Lunch Jazz: Salena Jones & The Geoff Eales Quartet Sun 13th: Dean Brown - Rolajafufu The Home Secretary Amber Rudd came up with Mon 14th - Tues 15th : Bettye LaVette Wed 16th - Thurs 17th : Marcus Strickland Twi-Life a wheeze the other day that all companies should Fri 18th - Sat 19th : Charlie Hunter: An Evening With publish how many overseas workers they employ. Sun 20th Lunch Jazz: Charlie Parker On Dial: Presented By Alex Webb I, in my naivety, assumed this was to show how Sun 20th: Oz Noy Mon 21st: Ronnie Scott’s Blues Explosion much we relied upon them in the UK and that a UT Tues 22nd - Wed 23rd: Hugh Masekela SOLD O dumb-ass ban or regulated immigration system An additional side effect of Brexit is that we now Thurs 24th - Sat 26th: Alice Russell would be highly harmful to the economy as a have a low strength pound against the dollar, Sun 27th Lunch Jazz: Pete Horsfall Quartet whole. -
Venerdì 8 Febbraio Ore 21.30 Teatro Miela Miela Music-Live RAY GELATO & the GIANTS (UK) 25 Years Together
Venerdì 8 febbraio ore 21.30 Teatro Miela Miela Music-live RAY GELATO & THE GIANTS (UK) 25 years together Ray Gelato & The Giants celebreranno il loro 25° anniversario con una serie di concerti speciali in Gran Bretagna e in tutta Europa e con un album live in uscita a Gennaio 2019. L’abbiamo portato per la prima volta a Trieste proprio all’inizio della sua carriera, negli anni ’90, ed ora siamo lieti di festeggiare questo anniversario con la platea del Teatro Miela riservata al ballo come nella “swinging” Trieste degli anni ’50. Sarà quindi una serata tutta swing da ballare per festeggiare i 25 anni di attività di questo fantastico ensemble. Ma non si devono preoccupare tutti quelli che non desiderano ballare, potranno prenotare i posti a sedere in galleria. Ray e la sua band di prim’ordine presentano sempre uno spettacolo ad alta energia che non smette mai di trascinare la folla e di farle battere i piedi. Il leggendario ‘Padrino dello Swing’ e la sua band hanno alle spalle una carriera illustre e di successo in tutto il mondo con Il risultato che Ray è stato paragonato a grandi come Cab Calloway e Louis Prima e definito “uno degli ultimi grandi intrattenitori jazz!”. In questi 25 anni Ray Gelato & The Giants hanno portato il loro special brand di Swing, Jazz e Rhythm and Blues agli appassionati di tutto il mondo, Da ricordare la partecipazione in diversi film come ad. es. Enigma con Jude Low, ed alcune serie televisive e campagne pubblicitarie come ad. es. quella di Levis Strauss. -
Hitchhiking: the Travelling Female Body Vivienne Plumb University of Wollongong
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 2012 Hitchhiking: the travelling female body Vivienne Plumb University of Wollongong Recommended Citation Plumb, Vivienne, Hitchhiking: the travelling female body, Doctorate of Creative Arts thesis, School of Creative Arts, University of Wollongong, 2012. http://ro.uow.edu.au/theses/3913 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Hitchhiking: the travelling female body A thesis submitted in fulfillment of the requirements for the award of the degree Doctorate of Creative Arts from UNIVERSITY OF WOLLONGONG by Vivienne Plumb M.A. B.A. (Victoria University, N.Z.) School of Creative Arts, Faculty of Law, Humanities & the Arts. 2012 i CERTIFICATION I, Vivienne Plumb, declare that this thesis, submitted in partial fulfillment of the requirements for the award of Doctor of Creative Arts, in the Faculty of Creative Arts, School of Journalism and Creative Writing, University of Wollongong, is wholly my own work unless otherwise referenced or acknowledged. The document has not been submitted for qualifications at any other academic institution. Vivienne Plumb November 30th, 2012. ii Acknowledgements I would like to acknowledge the support of my friends and family throughout the period of time that I have worked on my thesis; and to acknowledge Professor Robyn Longhurst and her work on space and place, and I would also like to express sincerest thanks to my academic supervisor, Dr Shady Cosgrove, Sub Dean in the Creative Arts Faculty. Finally, I would like to thank the staff of the Faculty of Creative Arts, in particular Olena Cullen, Teaching and Learning Manager, Creative Arts Faculty, who has always had time to help with any problems. -
Jazzflitsmedewerker Herman Te Loo, Die Ook “Dat Moesten We Wel Doen
1 16de JAARGANG, NR. 301 25 JULI 2018 IN DIT EXTRA DIKKE ZOMERNUMMER: 1 NIEUWS 5 JAZZ OP PAPIER 6 JAZZ OP DE PLAAT Dexter Gordon, Daan Kleijn, Roelofs/Bennink, Jin Jim, Marius Beets, Ad Colen e.a. 11 NORTH SEA JAZZ FESTIVAL 16 GENT JAZZ FESTIVAL 18 JAZZ OP DE PLANKEN EN VERDER: 22 Bestsellers en tips Jazzcenter 24 Downbeat Critics Poll 2018 winnaars 26 Bijlage: Jazz in Beeld JAZZ FLITS 302 KOMT 20 AUGUSTUS UIT ONAFHANKELIJK JAZZPERIODIEK SINDS 2003 NIEUWS BOY EDGAR PRIJS 2018 VOOR JASPER VAN ‘T HOF Fay Claassen op Nederlandse tournee met Dutch Songbook Samen met het Jazz Orchestra of the Concertgebouw maakt zangeres Fay Claassen in het najaar een tournee door Nederland met haar programma ‘Dutch Songbook’. Dat is een ode aan het Ne- derlandse lied met werk van onder ande- ren Herman van Veen, Doe Maar, Ram- ses Shaffy en Rogier van Otterloo. In totaal twaalf concerten staan op de rol. De première met gasten is op 1 oktober in het Concertgebouw A’dam. Claassen voerde het ‘Songbook’ twee jaar geleden al uit in Duitsland – in het Nederlands - met de WDR Big Band. In september komt daar een live-cd van uit. Fay Claassen in Henny Vrientens ‘Is dit alles’: https://bit.ly/2ISdzfo Jasper van ‘t Hof bij de bekendmaking van de Boy Edgar Prijs in LantarenVenster, Rotterdam. (Foto: Joke Schot) Jazzmozaïek wordt Jazz & Mo’ Het Vlaamse blad Jazzmozaïek gaat Toetsenist Jasper van ’t Hof (70) krijgt de Boy Edgar Prijs voortaan door het leven als Jazz & Mo’. 2018. Dit werd 29 juni bekendgemaakt tijdens het eve- Het blad werd vorig jaar herfst volledig nement inJazz in LantarenVenster, Rotterdam. -
Roger Sadowsky Interview, Bass Guitar Magazine UK
ROGER THAT 028 BASS GUITAR MAGAZINE 028-030 Sadowsky_rev3JH.indd 28 13/07/2015 18:17 BASSISTS ROGER SADOWSKY Roger Sadowsky, one of the world’s leading bass luthiers, stopped by at the London Bass Guitar Show to talk to Mike Brooks about his bass building philosophy stroll around Olympia during the “I recommended a good fret job, shielding the London Bass Guitar Show can be electronics, a better bridge and a preamp – actually, a noisy experience to say the only the second bass preamp I had ever installed. I was least – yet on both days of this using a circuit by Stars Guitars from San Francisco, a year’s event back in March, group that had come out of the Alembic school. That’s A there was a tangible buzz: an what I gave Marcus – but within a year, they went out audible sound of hushed of business and Marcus’s preamp died! They told me mutterings between those in attendance. “It is him, when they were closing up that the closest thing to isn’t it?”... “Is that really him? Here in London?” what they were making was a Bartolini TCT preamp. Who could they have been talking about, you ask? I used that until 1990, when I wanted to create my Well, yes it was true – one of the premier luthiers outboard preamp box and Alex Aguilar [of Aguilar of the bass world was there at the London Bass fame] helped me to design my own circuit.” Guitar Show, and boy did Roger Sadowsky make a Back in those days, there was no internet or social splash. -
Marcus Miller | Afrodeezia
Marcus Miller | Afrodeezia Musiker-Ikonen gibt es wie Sand am Meer. Insbesondere gefühlte 1 Million Super-Mega-Hyper und Überstars aus der jüngsten U- Musik lassen sich finden. Kaum ein Newcomer, der nicht nach dem erstem Geräusch-Ausstoß als solcher gelisted ist. Erschreckend, was sich meine Kinder – eigentlich Jugendliche mit immensem Musikkonsum- alles so anhören und was ich davon verächtlich in die Plastikmüllkiste wegdrücke. Generationenproblem? Wahrscheinlich. Für Musikbesessene, wie ich es bin, gibt es aber zum Glück diese grandiosen musikalischen Rückzugsorte, ohne die mein Tag nicht auskommt. Also einmal mehr: Marcus Miller. Marcus Miller ist in erster Linie Musiker, Multiinstrumentalist, Komponist, Arrangeur und Produzent, einer der Einflußreichen bei Jazz, Fusion und vielseitiger populärer Musik. Darüber hinaus zählt er zu der Riege der stilprägenden Bassisten wie Stanley Clarke, Viktor Bailey† oder Billy Sheehan , die es fabulös geschafft haben, das Erbe von Ray Brown, Ron Carter, Charles Mingus und Jaco Pastorius (um nur einige zu nennen) in unsere modernen Zeiten zu übersetzen. Avantgarde? Aber sicher. Und immer gut zu hören, nie abgehoben. Marcus Miller war 21 Jahre alt, als man ihn als wichtigen Begleiter von Miles Davis erstmals wahrgenommen hat, das ist fast 40 Jahre und gute 20 Solo-Alben her. Seine Mitwirkungen an den Veröffentlichungen anderer Künstler sind Legion. Die nun vorgestellte CD Afrodeezia stammt bereits aus dem Jahre 2015 und ist wieder einmal etwas Besonderes vom Bassisten: „Was mir am meisten am Herzen lag“, sagt Miller, „war zu den Quellen der Rhythmen, die unser musikalisches Erbe so reich machen, zurückzugehen, ihnen wie Fußspuren zu folgen, von ihren Ursprüngen in Afrika den ganzen Weg bis in die USA. -
October 2020 2020 EARSHOT JAZZ DIGITAL FESTIVAL Feeling the Spirit
Since 1984, Earshot Jazz has been Seattle’s major ambassador of jazz – presenting jazz masters and important new artists, supporting the local scene, and educating young and old about the joys of jazz – all thanks to contributions from folks like you. Make a donation TODAY www.earshot.org/donate 206-547-6763 All photos by Daniel Sheehan taken at the 2018 Earshot Jazz Festival. Top: Brian Blade, Kate Olson, Jovino Santos Neto, Logan Richardson, Jazzmeia Horn, Bill Frisell, Ryan J. Lee, Maria Schneider. Middle: Regina Carter, Jasnam Daya Singh, Tia Fuller, Wayne Horvitz, Burniss Travis, Roosevelt High School Jazz Band, Myra Melford, Joel Ross. Bottom Row: Dawn Clement, Johnaye Kendrick, Jay Thomas, Jen Shyu, Keyon Harrold, Caroline Davis, Donovan Kranzler-Lewis, Mark Turner. 2 • EARSHOT JAZZ • October 2020 2020 EARSHOT JAZZ DIGITAL FESTIVAL Feeling the Spirit Welcome to the 2020 edition of the time, president Earshot Jazz Festival. We’re proud to Barack Obama celebrate Seattle’s place in the dy- referred to jazz namic world of jazz with a festival as “fearless and that reflects both the circumstances true” and an and the spirit of these extraordinary “honest reflec- times. tion of who Building this year’s program on we are in this the tangible pillars of Listen, Learn, time.” All of and Improvise; we’ve also focused the artists on the artistic expression on the essen- this year’s festi- tial fourth corner of jazz’s founda- val bring a great tion: Feel. Beneath the technical depth of skill brilliance that we’ve come to expect and expressive in today’s artists, the essence of the spirit to the music is in the personal expression stage, though of the artist and its impact on the few have so rig- listener. -
Where Reasonable Meets Rebel
C4 ST. LOUIS AMERICAN • JANUARY 2 - 8, 2014 Marco broad – or too narrow. When enemy of progress.” POTPOURRI Thompson NEW YEAR we don’t see the results we’ve It made me think of a and Inez Ross predicted and presented on friend who sat out spin class visit at their our vision board, we throw in because she put her workout Continued from C1 law office Continued from C1 the towel and call it a year. bag together in the dark and Christmas Party After a week of note-sifting her T-shirt didn’t match her musical performances by Dirty year.” After much agony and head-scratching, my New yoga pants. Mugs and En Vogue. about being completely Year’s resolution column It took a whole year, but There were many familiar overwhelmed by this epic fell victim to the same fate Rebeccah’s single sentence and new faces enjoying the “New Year, New You” for that my actual New Year’s hit home in a way that has me music, food, gourmet desserts 2014, abandoning the whole resolutions have suffered for ready to take on 2014 with and top-shelf drinks. The idea seemed like the only the past 25 years. a renewed sense of purpose. lines at the photo booths were sensible option. I was so discouraged that I didn’t spend the past week constant, but everyone was Sound familiar? I went back and read some drafting up unreasonable self- enjoying the party pictures. I don’t know about key points from previous contracts rooted in ridiculous Just to name a few of the anyone else, but this whole conversations with Rebeccah expectations with the guests I ran into: Gabrielle process mirrored my annual Bennett – as I do from time common theme of deprivation and Tony Davis Sr., David New Year’s resolutions to time – to encourage and and sacrifice. -
I Think We're All Writing Very Politically Charged Music
JAZZ 9 Garcia, 26, sitting in her local cafe in New horn-fuelled West African sound. There’s the American art form. (For his sold-out gig at Cross, southeast London, a vibrant creative I THINK WE’RE hip-hop and Afrobeat influenced Ezra Collec- London’s Roundhouse, Washington brought hub that includes Peckham and Deptford and tive, which picked up the British jazz act of the Hutchings onstage to improvise fierce sax happening DIY club/jam nights with names ALL WRITING year award at the recent Jazz FM Awards. And squalls alongside him). such as Steez and Steam Down, at which the Maisha ensemble, with Garcia on sax and London is one of the world’s most culturally acclaimed Californian saxophonist and band VERY POLITICALLY flute alongside guitarist Shirley Tetteh, blending integrated cities; little wonder, then, that sounds leader Kamasi Washington was spotted during free jazz over West African rhythms and serving from Britain’s former colonies are being his recent visit to the capital. CHARGED MUSIC, it up with raw spiritual intensity. This isn’t jazz as embraced — reclaimed — by the scene. “The press are calling it new but we’ve been we know it, if jazz as we know it is doo-wop and Perhaps inevitably, with the spectre of Brexit, doing this for a while,” she continues, her head- WHETHER WE LIKE black tie and the Great American Songbook, but wildly unpopular among British youth, looming phones around her neck, her laptop on the then the album’s musical director, Shabaka large, and the effects of the Windrush immi- table in front of her. -
Eif.Co.Uk +44 (0) 131 473 2000 #Edintfest THANK YOU to OUR SUPPORTERS THANK YOU to OUR FUNDERS and PARTNERS
eif.co.uk +44 (0) 131 473 2000 #edintfest THANK YOU TO OUR SUPPORTERS THANK YOU TO OUR FUNDERS AND PARTNERS Principal Supporters Public Funders Dunard Fund American Friends of the Edinburgh Edinburgh International Festival is supported through Léan Scully EIF Fund International Festival the PLACE programme, a partnership between James and Morag Anderson Edinburgh International Festival the Scottish Government – through Creative Scotland – the City of Edinburgh Council and the Edinburgh Festivals Sir Ewan and Lady Brown Endowment Fund Opening Event Partner Learning & Engagement Partner Festival Partners Benefactors Trusts and Corporate Donations Geoff and Mary Ball Richard and Catherine Burns Cruden Foundation Limited Lori A. Martin and Badenoch & Co. Joscelyn Fox Christopher L. Eisgruber The Calateria Trust Gavin and Kate Gemmell Flure Grossart The Castansa Trust Donald and Louise MacDonald Professor Ludmilla Jordanova Cullen Property Anne McFarlane Niall and Carol Lothian The Peter Diamand Trust Strategic Partners The Negaunee Foundation Bridget and John Macaskill The Evelyn Drysdale Charitable Trust The Pirie Rankin Charitable Trust Vivienne and Robin Menzies Edwin Fox Foundation Michael Shipley and Philip Rudge David Millar Gordon Fraser Charitable Trust Keith and Andrea Skeoch Keith and Lee Miller Miss K M Harbinson's Charitable Trust The Stevenston Charitable Trust Jerry Ozaniec The Inches Carr Trust Claire and Mark Urquhart Sarah and Spiro Phanos Jean and Roger Miller's Charitable Trust Brenda Rennie Penpont Charitable Trust Festival -
Snarky Puppy – Live at the Royal Albert Hall
Snarky Puppy – Live At The Royal Albert Hall (50:22 + 48:57, 2 CD, 3 LP, GroundUp Music, 2020) Erstaunlich, welche Acts abseits des allgemeinen Mainstreams mittlerweile die Royal Albert Hall füllen. Es gibt also doch noch Hoffnung für den guten Geschmack. Das formidable amerikanische Musikerkollektiv Snarky Puppy um Bandleader Michael League machte auf seiner Tour im letzten Jahr ebenfalls in der altehrwürdigen Veranstaltungsstätte in London Halt. Bei diesem Livealbum stand logischerweise der Fokus auf dem letzten Studioalbum „Immigrance„, welches gleich mit sechs Songs vertreten ist. Die Setlist fokussiert sich trotz der inzwischen recht umfangreichen Diskografie der Amerikaner neben dem Material von ‚Immigrance‘ lediglich auf weiteres Material aus den Alben „We Like It Here“ (2014), „Culcha Vulcha“ (2016), sowie überraschenderweise zwei Songs aus der wesentlich jazzigeren Frühphase „The World Is Getting Smaller“ (2007), die aber wesentlich luftiger und dem sonstigen Material angepasst daherkommen. Warum sich Snarky Puppy über die Jahre mittlerweile eine recht breite, teils altersmäßig sehr junge Fanbasis erspielt haben, liegt vor allem im differenzierten Stilmix begründet, der sich eben recht weit außerhalb des reinen Jazz bzw. Jazz Rocks bewegt. Da sind Elemente aus Rock, Funk, R&B, Soul, Latin, Electronic oder World Music zu vernehmen, zudem vorangetrieben durch feingliedrige, mitreißende Rhythmik und sehr lässiges Feeling. Die sehr große Besetzung versteht sich immer als Einheit und z.B. trotz der vierfachen(!) Keyboardpower wirkt hier nichts überladen, sondern immer exakt auf den Punkt gebracht. Zudem gelingt es, moderne Klangästhetik mit herrlich analogen Sounds aus den Keyboardburgen zu vereinen, die bisweilen durch messerscharfe Bläsersätze gewürzt werden. Die Band interpretiert das Songmaterial im Vergleich zu den Ursprungsversionen keineswegs anders oder bricht die Songstrukturen komplett auf, dafür werden jedoch die Soloparts beliebig verändert bzw. -
The Evolution of Ornette Coleman's Music And
DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY by Nathan A. Frink B.A. Nazareth College of Rochester, 2009 M.A. University of Pittsburgh, 2012 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Nathan A. Frink It was defended on November 16, 2015 and approved by Lawrence Glasco, PhD, Professor, History Adriana Helbig, PhD, Associate Professor, Music Matthew Rosenblum, PhD, Professor, Music Dissertation Advisor: Eric Moe, PhD, Professor, Music ii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Copyright © by Nathan A. Frink 2016 iii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Ornette Coleman (1930-2015) is frequently referred to as not only a great visionary in jazz music but as also the father of the jazz avant-garde movement. As such, his work has been a topic of discussion for nearly five decades among jazz theorists, musicians, scholars and aficionados. While this music was once controversial and divisive, it eventually found a wealth of supporters within the artistic community and has been incorporated into the jazz narrative and canon. Coleman’s musical practices found their greatest acceptance among the following generations of improvisers who embraced the message of “free jazz” as a natural evolution in style.