2006 NDF Brochure.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

2006 NDF Brochure.Pdf Key funders of the Sponsors of the Supporters of the North Devon Festival North Devon Festival North Devon Festival 2 Gorgeous @ Flower Croft MUSI C• DANC E•THEATR E• NATUR E• FAYRES 11 The Quay Restaurant & Bar 62 The Bank Barnstaple Heritage Centre Barnstaple Pannier Market Bicclescombe Park Bideford Bay Holiday Park Bideford Pannier Market Biketrail Fremington Booker Cash & Carry Braddicks Holiday Centre Brushwood Design Ltd Project part financed by the European Union Carlton Hotel Claytons Clifftop Café Combe Martin Wildlife Park Four Seasons Restaurant Hockings Ice Cream Ilfracombe Carlton Hotel s Ilfracombe Tandoori c i h p Just Office a r G Kafé Karumba n e k i A Kev’s Kabs y b Lundy Island Co d e n Marsdens Cottage Holidays g i s e D Marwood Hill Gardens North Devon College North Devon Gazette North Devon Marketing Bureau NDDC Car Parks Dept North West Devon Leader + Philip J Milton & Company Ltd Predator Riverton House & Lakes Skern Lodge South West Lakes Trust North Devon Festival North Devon Festival Subway is delivered by SWH Ltd The Queen’s Theatre, The Milky Way Adventure Park Boutport Street, Barnstaple The Old Custom House Restaurant North Devon EX31 1SY The Sands Café Bar Box Office: 01271 32 42 42 West Buckland School William Hill northdevonfestival.org Woolacombe Bay Holiday Parcs Zena's Restaurant For all the latest details of events visit northdevonfestival.org Over 200 events in more than 60 towns and villages The North Devon Devon Travelwise Festival is rapidly To protect our establishing itself as a beautiful environment, major UK festival. It is please carshare or a celebration of the use public transport rich and diverse wherever possible. cultural life of North Tel: 08700 11 11 99 Devon, with a wide or visit range of activities carsharedevon.com reflecting the character of the region. First Traveline The Festival is unique Public transport info: in the UK as it includes Tel 0870 608 2 608 not only top quality traveline.co.uk arts and entertainment, North Devon but also many events Shopmobility associated with the & Leisuremobility people and the place - those things which Tel: 01271 328 866 residents and visitors love about the natural beauty of the area. To find out more about North Devon’s attractions and accommodation providers, simply visit: northdevon.com North Devon Festival An enlarged pdf This year our brochure 90% of waste is version of this The Queen’s Theatre, is again printed on recycled and has brochure is available Boutport Street, environmentally environmental as a download from Barnstaple friendly paper. All accreditation to ISO northdevonfestival.org North Devon EX31 1SY material is from 14001. Please continue renewable resources this process, pass this Box Office: from fully sustainable brochure on or recycle 01271 32 42 42 forests, bleaching is it when you have northdevonfestival.org elemental chlorine free, finished with it. guide to over 200 events in more than 60 towns & villages Throughout June Thurs 1 to Wed 7 Thurs 8 to Wed 14 Thurs 15 to Wed 21 Thurs 22 to Fri 30 Associated events date, event page date, event page date, event page date, event page date, event page date, event page Festival map 34 Festival at the Theatres Music & Dance Festival at the Theatres Festival at the Theatres Music & Dance 1 The Reduced Shakespeare 8 Acoustic Triangle 24 17 Summer Charity 22 The Canterbury Tales 52 28 May Mayfest 66 Barnstaple Fringe 9 Company 13 9-11 Lynton & Lynmouth Variety Concert 43 23 Seth Lakeman 55 12-13 July The Big Battle & Jazz, blues, country & folk including: 2 Mickey Rooney 16 Music Festival 25 21 Tony Hawks 51 28 14 by 3 - Last of the The Big Night Out 67 Acoustic Ladyland, 3 Stan Tracey & Gwyneth Herbert 18 9 Tarka Line Jazz Train 26 Summer Wine 62 Craig Milverton, Music & Dance Sport & Leisure 6 Eliza Carthy and 10-11 ArtsAlive 28 29 Lesley Garrett 63 Eugene Bridges, 16-17 Royal Philharmonic 26 Apri l- 2 May North Devon The Ratcatchers 20 10 James Taylor Quartet 32 Michael Roach, Orchestra 44 Music & Dance & Exmoor Walking & 7 Ardal O’Hanlon 21 10 Artavian Baroque 32 Zoot Money, 17 AJ’s Big Band 46 23 Street Heat 53 Cycling Festival 66 11 Mike Westbrook, Papa George, Music & Dance 17 Wild West Country 47 24 North Devon Sinfonia 54 29 Apri l- 1 May Landmark The Village Band Project 38 Alex Christaki, 2 Broomhill Jazz Night 17 17- 18 Smash! 50 23- 25 Martin Carthy 58 Beer Festival 66 14 Helena 38 Westbrook Trio, 3 Alma Flamenco 16 21 999 50 24-25 Two Moors Festival 30 Jun e- 23 July Combe Martin 13 Now & Then Song Cycle 39 Absentee, 6 This Farming Life 21 21 Ballet workshops 52 Garden Party 58 Music & Comedy Festival 66 Acoustic Triangle 7 Space Ritual 21 Visual Arts & Literature 26 David Owen Norris Visual Arts & Literature Touring Theatre & Fayres 9 ND Schools Film Festival 24 Masterclass 61 Visual Arts & Literature Visual Arts & Literature 16 Digital Photography 27-29 May Westward Ho! 9-18 Photographic Exhibition 28 26 David Owen Norris Recital 61 27 May-18 June ND College 6 Ma y- 4 June Workshop 45 Potwalloping Festival 66 T 10 Jun e- 9 July 28 Local Bands Night 63 D U Students Final Exhibitions 8 Colin Allbrook 10 17 Bonanza of Craft 44 E 13-16 July Hatherleigh S O 100 Devon Potters 29 30 Tarka Line T K K K K T E H Ten Fold 9 26 Ma y-11 June 17 Visual Art A Festival 67 I E E E E G N N 10-11 Bishop’s Music Train 60 C E E E E U Billy Childish 9 In The Mix 10 Workshop 59 15 July Pilton E U 1 2 3 4 Tawton Art Festival 32 30 Ga Ga 63 O O V J W W W Appledore Crafts 1-4 Appledore Visual W 16-19 Art Trek 46 Green Man Festival 67 S R 10 Ghost! Cat Weatherill 33 E S H Company 10 Arts Festival 12 Visual Arts & Literature T 10 Visual Art Workshop 59 Touring Theatre & Fayres A Natural Environment Coasts from the College 10 3 Visual Art Workshop 59 23-25 Art on the Rocks 54 11 Arts & Crafts Market 29 16 A Midsummer Night’s Dream 42 7-9 July Chittlehampton Art from the Park 11 7 Ottakar’s Supper Club 20 24 Jun e-19 July Sharing a View 59 11 The Seaside Storybus 36 16 The Gold Rush 45 Flower Festival 67 Seize the Moment 11 24 Visual Art Workshop 59 Touring Theatre & Fayres 11 Walk in the Woods 10 17-18 South Molton The Big Picture 11 3 Barnstaple Heritage Day 17 12-17 St Nectan’s Festival Week 36 Olde English Fayre 45 Touring Theatre & Fayres Clive Bowen Showcase 11 13 Writers’ Evening 37 18 Town Criers Competition 26 23 Midsummer Mischief 53 3 Jun e-2 July Small Sport & Leisure 14 Schools Literary Day 37 18 Combe Martin 24- 25 St John’s Fair, Witheridge 59 Picture Show 16 2 Knights & Princesses 12 Strawberry Fayre 47 24 Goodleigh Fun Day 60 5 Jun e- 9 July Sheds on the 3-4 The Mill Climbing Festival 17 Touring Theatre & Fayres 21-23 Masquerade 50 26 Jun e- 2 July Brannockstown Seashore 20 4 ND Sports & Classic Car Run 19 8- 9 The Wind Thing 24 Festival 61 13 Jun e- 6 July Art & Design 10-18 Ilfracombe Sport & Leisure Natural Environment 27-28 Cliffhanger 62 Summer Show 37 Victorian Celebration 26 16-18 GoldCoast Oceanfest 42 1 Discover Nature Day 11 10-11 Burrington Festival 33 20 North Devon Swimming Gala 47 Sport & Leisure 4 Music & Dance 2-4 Straw Bale Building 12 5 11 Twelfth Night 36 25 Cancer Research UK Seize the Moment 11 2 Dunsland Walk 13 Natural Environment 15-17 Jack, Russell and the Race for Life 60 3 Wistlandpound Wander 17 18 Oldenburg Coastal Cruise 46 Sport & Leisure Beanstalk 39 4 Have a go Day 18 21 Night Flights 51 Natural Environment 13 Ma y-1 July Sport & Leisure 22 Country Skills Day 52 Surf’s Up!, Exhibition 8 9 North Devon Junior Schools 24 Family Science Day 54 Swimming Gala 25 24 Recycle Day 55 10 Experience Carriage Driving 32 24 Dry Stone Walling 58 11 Ruby Run Half Marathon 36 24- 25 The Woolsery Weekend 58 13-14 Tag Rugby Festival 37 24- 25 Health & Harmony W’kend 59 25 Heddon Family Fun Day 59 Natural Environment 27-28 Tractor & Trailer Rides 61 8 Earth Chant Day 25 10 Wildlife Ponds 27 10 Birds for Beginners on Bikes 33 10 Roadford Ramble 33 13 Clovelly Cruise 37 14 Heddon Valley Butterfly Walk 38 Surf's Up! Barnstaple Discover the history, the art and the science of surfing at this major Fringe touring exhibition Jazz, blues, country, folk and comedy • Museum of Barnstaple & North Devon • Sat 13 May - Sat 1 July • Venues in Barnstaple Town Centre • Admission: FREE • Throughout June Learn how a wave is formed, check Barnstaple Fringe once again brings you top out the origins of surf culture in the UK quality artists in informal settings. and much more. Artists and bands confirmed to date include The exhibition website is packed with Acoustic Ladyland, Westbrook Trio, Acoustic information and resources to enable Triangle, Absentee, Dusty Sound System, Craig primary and secondary schools to Milverton’s ZZ Bop, Eugene Hideaway Bridges, make the most of this opportunity. Michael Roach, Zoot Money, Papa George, Alex Christaki, Rory Ellis, Les Barker, plus more… The exhibition will also feature work on the North Devon scene by Braunton Venues for the 2006 Fringe include the Queen's Community College, and there'll be Theatre & its Gallery Café, Marshals, The Olive l the opportunity to add your bit to Branch, Barnstaple Parish Church, Zena's e b e North Devon's surf story.
Recommended publications
  • Post-World War II Jazz in Britain: Venues and Values 19451970
    University of Plymouth PEARL https://pearl.plymouth.ac.uk Faculty of Arts and Humanities School of Society and Culture Post-World War II Jazz in Britain: Venues and Values 19451970 Williams, KA http://hdl.handle.net/10026.1/4429 10.1558/jazz.v7i1.113 Jazz Research Journal Equinox Publishing All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. [JRJ 7.1 (2013) 113-131] (print) ISSN 1753-8637 doi:10.1558/jazz.v7i1.113 (online) ISSN 1753-8645 Post-World War II Jazz in Britain: Venues and Values 1945–1970 Katherine Williams Department of Music, Plymouth University [email protected] Abstract This article explores the ways in which jazz was presented and mediated through venue in post-World War II London. During this period, jazz was presented in a variety of ways in different venues, on four of which I focus: New Orleans-style jazz commonly performed for the same audiences in Rhythm Clubs and in concert halls (as shown by George Webb’s Dixielanders at the Red Barn public house and the King’s Hall); clubs hosting different styles of jazz on different nights of the week that brought in different audiences (such as the 100 Club on Oxford Street); clubs with a fixed stylistic ideology that changed venue, taking a regular fan base and musicians to different locations (such as Ronnie Scott’s Jazz Club); and jazz in theatres (such as the Little Theatre Club and Mike West- brook’s compositions for performance in the Mermaid Theatre).
    [Show full text]
  • Al160207osa Market Coastal Towns
    EEC/07/63/HQ Environment, Economy and Culture Overview/Scrutiny Committee 5 March 2007 Market and Coastal Towns Report of the Director of Environment, Economy and Culture 1. Summary In January 2006, members received a report on the draft Devon Sites and Premises Strategy and as a result expressed concern about the shortage of premises for smaller businesses. It was resolved that a further report be submitted, which covered economic development issues relating to Market Towns, including the availability of sites for relocation of small businesses and the Market and Coastal Town initiative (MCTi). This report concentrates on work undertaken in association with the MCTi pending further analysis of specific matters relevant to business premises. 2. Background In the South West, the MCTi commenced in 2000 and was led by the Regional Development Agency, Countryside Agency and English Heritage, with support from many other bodies. The scheme received greater emphasis following the incidence of Foot and Mouth Disease and a number of towns adversely affected were included in the programme. Since October 2004, delivery of the initiative has been charged to the Market and Coastal Towns Association (MCTA). This is an independent organisation largely funded by the Regional Development Agency, English Heritage and Big Lottery Fund. The initiative is a community based regeneration programme focusing on the preparation, by local people, of a long term Community Strategic Plan covering the social, economic, environmental and cultural features of their town and its hinterland. The MCTA delivers capacity building support to communities, enabling them to prepare the plans and develop their skills and organisational capacity while sharing good practice with others.
    [Show full text]
  • Our Plan’, a New Strategic Plan for West Devon
    Shaping our communities to 2031 Regulation 19 Publication Version February 2015 West Devon - A Leading Rural Council Foreword Welcome to ‘Our Plan’, a new strategic plan for West Devon. Whilst the Core Strategy was a plan for future growth and development to take us from 2006 to 2026, since it was written planning policy has undergone some significant changes as set out in the National Planning Policy Framework (NPPF) and we need to ensure our plans are fit for purpose and in conformity with this national policy. This new plan also has to cover a wider range of issues that go beyond traditional planning policy and it makes more sense to write a new plan rather than try and amend the existing ones. Therefore, ‘Our Plan’ will be the overarching strategic plan for the Borough of West Devon up to 2031. Developing a new plan is always challenging and it is often controversial with different sectors and individuals in our communities understandably seeing things from their own view point. However, we need to remember that we are planning for the communities of tomorrow not just for ourselves today. What we do now will have a significant impact on how people live their lives in West Devon in the future. Our biggest challenge is enabling growth and providing much needed homes and jobs whilst, at the same time, protecting the beautiful place that is West Devon - no mean feat as I’m sure you can appreciate. To do this we have gathered and considered evidence about local need and the views and comments shared by you and a wide range of partners during the process have helped us to shape a plan that we believe takes account of local needs and aspirations.
    [Show full text]
  • Music Outside? the Making of the British Jazz Avant-Garde 1968-1973
    Banks, M. and Toynbee, J. (2014) Race, consecration and the music outside? The making of the British jazz avant-garde 1968-1973. In: Toynbee, J., Tackley, C. and Doffman, M. (eds.) Black British Jazz. Ashgate: Farnham, pp. 91-110. ISBN 9781472417565 There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/222646/ Deposited on 28 August 2020 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk Race, Consecration and the ‘Music Outside’? The making of the British Jazz Avant-Garde: 1968-1973 Introduction: Making British Jazz ... and Race In 1968 the Arts Council of Great Britain (ACGB), the quasi-governmental agency responsible for providing public support for the arts, formed its first ‘Jazz Sub-Committee’. Its main business was to allocate bursaries usually consisting of no more than a few hundred pounds to jazz composers and musicians. The principal stipulation was that awards be used to develop creative activity that might not otherwise attract commercial support. Bassist, composer and bandleader Graham Collier was the first recipient – he received £500 to support his work on what became the Workpoints composition. In the early years of the scheme, further beneficiaries included Ian Carr, Mike Gibbs, Tony Oxley, Keith Tippett, Mike Taylor, Evan Parker and Mike Westbrook – all prominent members of what was seen as a new, emergent and distinctively British avant-garde jazz scene. Our point of departure in this chapter is that what might otherwise be regarded as a bureaucratic footnote in the annals of the ACGB was actually a crucial moment in the history of British jazz.
    [Show full text]
  • Final Thesis.Pdf
    An Investigation of the Impact of Ensemble Interrelationship on Performances of Improvised Music Through Practice Research by Sarah Gail Brand Canterbury Christ Church University Thesis submitted for the Degree of Doctor of Philosophy 2019 Abstract In this thesis I present my investigation into the ways in which the creative and social relationships I have developed with long-term collaborators alter or affect the musical decisions I make in my performances of Improvised Music. The aim of the investigation has been to deepen the understanding of my musical and relational processes as a trombonist through the examination of my artistic practice, which is formed by experiences in range of genres such as Jazz and contemporary music, with a current specialty in Improvised Music performance. By creating an interpretative framework from the theoretical and analytical processes used in music therapy practice, I have introduced a tangible set of concepts that can interpret my Improvised Music performance processes and establish objective perspectives of subjective musical experiences. Chapter one is concerned with recent debates in Improvised Music and music therapy. Particular reference is made to literature that considers interplay between performers. Chapter two focuses on my individual artistic practice and examines the influence of five trombone players from Jazz and Improvised Music performance on my praxis. A recording of one of my solo trombone performances accompanies this section. It concludes with a discussion on my process of making tacit knowledge of Improvised Music performance tangible and explicit and the abstruse nature of subjective feeling states when performing improvisation. This concludes part one of the thesis.
    [Show full text]
  • South Molton Christmas Markets Late Night Shopping
    Assuming that the Coronavirus Lockdown ends on 2nd December, South Molton is ready for Christmas! South Molton Christmas Markets in the Pannier Market on Fridays 4th, 11th and 18th December 4-8pm Normal Country Pannier Markets continue on Thursdays and Saturdays except Boxing Day Late Night Shopping As the festive season approaches not only are the South Molton businesses getting very Christmassy they are making sure everyone will be able to shop safely. Strong support from the South Molton com- munity has ensured that our businesses and small independents remain "open for business". Indeed, we have welcomed to the high street Atlas, a life style shop selling an exciting mix from homewares new and old to an organic skin care range. Also the hairdressers Ego, in their wonderful new premises and the new owners of the Cheese Larder. To promote "good Cheer" and ease the stress and pain of battling the big high street South Molton shops will be opening their doors for Late Night Shopping on December 4th, 11th and 18th until 7.30pm. By working together we can have a great Christmas. REMEMBER! Keep washing your hands regularly, wear a face covering in enclosed spaces and stay at least 2 metres apart - or 1 metre with a face covering or other precautions. THANKS! Riverside Caravan & Camping Park Christmas Bookings Now Being Taken Join our Nursery Open Term Times 2 Courses - £18.50 Monday-Friday 0800 to 1700 3 Courses - £23.00 15 hours Early Years funding To Include Tea or Coffee & FREE Toddler Group on Mince Pies OPEN UNTIL 8pm Wednesdays 9.15 to 10.30 EVERY WEEKDAY UNTIL Book Now: email: prepadmin 01769 579269 23rd DECEMBER @westbuckland.com relax@ www.westbuckland.com exmoorriverside.co.uk Sean & Kate's gardening services Help with Lambing The National Sheep Association (NSA) is pleased Hedge cutting, small tree removal, shrub pruning, to announce the opening of its much valued NSA border planting and maintenance, lawn mowing Lambing List for the 2020/2021 lambing season.
    [Show full text]
  • Marching Song
    MARCHING SONG/THE MIKE WESTBROOK CONCERT BAND SIDE THREE Marching Song Notes PERSONNEL DETAILS : musicians involved : SIDE ONE Marching Song Notes TRANSITION 3:01 HOORAY ! WALTZ Mike Westbrook —_ piano HOORAY! 6:24 trumpet solo: Holdsworth side one: side three: (Westbrook) Westbrook Dave Holdsworth trumpet, fluegel horn (Westbrook) alto solo: Osborne Through the city streets the crowd cheers its There is a lull in the fighting. The soldiers, HOME 9:44 trombone solo: — Griffiths Bowen, Fisher, Holdsworth, Lowther Kenny Wheeler trumpet, fluegel horn crowd sounds: Bill Price heroes, off to the glory of war, young, anonymous instruments in the conflict, relax and (Westbrook) bass duet: Miller, Griffiths, Gibbs, Rutherford, Harvey, Fry Greg Bowen trumpet LANDSCAPE 15:28 flute solo: Living invincible, drunk with patriotic pride, gleaming become human—individuals who can laugh, Lawrence Surman, Osborne, Warren, Skidmore, Tony Fisher trumpet (Westbrook) bass duet; Miller, in the sun. love, dream of beautiful things that, threatened, ROSIE 6:36 trumpet solo: Holdsworth Smith, Living (Hooray only) Phillips Landscape; here the conflict will take place. But are most precious. But the shadow of war is Henry Lowther trumpet (Westbrook) Miller, Lawrence, Jackson, Marshall Ronnie Hughes trumpet Sax. duet: Surman, human events are no more than momentary there, and they prepare for what must come. Part PRELUDE 4:43 woodwind: Living, of them yearns for battle. HOME, TENSION Malcolm Griffiths trombone Osborne interruptions in the earth's cycle. (Surman) Osborne, as above but Hughes replaces Fisher Paul Rutherford trombone WALTZ 5:54(for Joanna) soprano solo: Surman Skidmore LANDSCAPE, TRANSITION, ROSIE side two: Side four: Mike Gibbs trombone (Westbrook) TENSION 4:38 PRELUDE, TARNISHED, MEMORIAL When the soldier moves into the landscape, he saxophone duet: Surman, Waiting for the inevitable, the dark hours are full Eddie Harvey trombone (Surman) Westbrook Skidmore of tormented visions, and unbearable memories Tom Bennellick french horn SIDE TWO is a being from another world.
    [Show full text]
  • The Community Justice Court in Plymouth the Community Justice Court in Plymouth Has Now Been Operation for Over a Year
    Issue 3 – December 2008 Welcome to the third Community Justice Update. Eighteen months since the start of the project there has been a great deal of change and exciting developments. This brief newsletter provides you with an update on the progress made in both elements of the Community Justice Initiative Explaining the Community Justice Initiative in 2008 and onwards We are still running the Community Justice Initiative through a project management structure, with a multi-agency Steering Group providing a decision-making forum. The Senior Responsible Officer for the Initiative has changed from David Gentry to Steve Cross (Head of Operations, Her Majesty’s Courts Service). Changes to the national Community Justice Programme now means work locally is split into two elements: innovation (including problem solving) and community engagement. Innovation The Community Justice Initiative Steering Group has recently agreed to expand the Community Justice Court principles to cases from across the city of Plymouth. This will remove the ‘two tier’ system. Further innovation such as: community impact statements pilot (Devon and Cornwall) and supporting life events problem solving model (Cornwall). Community Engagement Her Majesty’s Courts Service (HMCS) are required to increase community engagement by Magistrates’ across the country. In Devon and Cornwall a new member of staff, Tori Tweedie, is doing this. Tori joined the Local Criminal Justice Board (LCJB) support team in August 2008 and you can read more about her, and the work she is involved in, later in this newsletter. The Community Justice Court in Plymouth The Community Justice Court in Plymouth has now been operation for over a year.
    [Show full text]
  • Mike Westbrook, Bright As Fire, a Recording of Jazz Settings of Blake
    REVIEW Mike Westbrook, Bright As Fire, a recording of jazz settings of Blake Anthony J. Harding Blake/An Illustrated Quarterly, Volume 15, Issue 2, Fall 1981, pp. 97-98 97 Mike Westbrook. Bright As Fire, a recording of jazz settings of Blake. London: Original Records. Released and distributed in the U.S.A. and Canada by Europa Records, Orlando, Florida. $8.98. Reviewed by Anthony J. Harding. lake died singing: but there have been few intensity of "London," "A Poison Tree" is played attempts to celebrate his genius musically, for sheer fun as a diabolic tango. Alan Wakeman's B by comparison with the large number of tenor sax growls menacingly; Kate Westbrook's illustrated commentaries and facsimile editions now hoydenish diction is just right for the exaggerated available. Mike Westbrook's Bright as Fire is a malice of this poem. The tango rhythm accelerates new album of jazz settings of Blake's poetry, and to a contemptuous closing flourish. it earns its title with Blakean vigor and a rare Blakean sense of satirical fun. "Holy Thursday" (the one from Experience) is the longest track on the album. The poem itself is The first two tracks each open with a piano sung to a simple accompaniment of piano and cello, solo, hymnlike and slightly portentous in the manner but there is a long and highly inventive jazz of Alan Price, but the lines from Jerusalem (Plate epilogue. Clarinet, bass and drums are joined by 27:19-34, 103-06, and Plate 86:1-10) are delivered saxophones and tenor horn, playing lamenting, by Phil Minton with ecstatic conviction.
    [Show full text]
  • NJA British Jazz Timeline with Pics(Rev3) 11.06.19
    British Jazz Timeline Pre-1900 – In the beginning The music to become known as ‘jazz’ is generally thought to have been conceived in America during the second half of the nineteenth century by African-Americans who combined their work songs, melodies, spirituals and rhythms with European music and instruments – a process that accelerated after the abolition of slavery in 1865. Black entertainment was already a reality, however, before this evolution had taken place and in 1873 the Fisk Jubilee Singers, an Afro- American a cappella ensemble, came to the UK on a fundraising tour during which they were asked to sing for Queen Victoria. The Fisk Singers were followed into Britain by a wide variety of Afro-American presentations such as minstrel shows and full-scale revues, a pattern that continued into the early twentieth century. [The Fisk Jubilee Singers c1890s © Fisk University] 1900s – The ragtime era Ragtime, a new style of syncopated popular music, was published as sheet music from the late 1890s for dance and theatre orchestras in the USA, and the availability of printed music for the piano (as well as player-piano rolls) encouraged American – and later British – enthusiasts to explore the style for themselves. Early rags like Charles Johnson’s ‘Dill Pickles’ and George Botsford’s ‘Black and White Rag’ were widely performed by parlour-pianists. Ragtime became a principal musical force in American and British popular culture (notably after the publication of Irving Berlin’s popular song ‘Alexander’s Ragtime Band’ in 1911 and the show Hullo, Ragtime! staged at the London Hippodrome the following year) and it was a central influence on the development of jazz.
    [Show full text]
  • Addendum to the Second Printing
    APPENDIX EIGHT ADDENDUM TO THE SECOND PRINTING Gordon Beck Quartet: BBC Sessions 1968 On 7 December 1967 the Gordon Beck Trio – from Samantha Blake at the BBC Written Archive a regular recording and performing unit with Centre, I investigated, using first the BBC Genome Gordon on piano, Jeff Clyne on bass and Tony online resource (vintage Radio Times listings) then Oxley on drums – added John McLaughlin on Gordon Beck’s BBC ‘artist file’ and the Programme- guitar and recorded Experiments With Pops, which as-Broadcast (PasB) files for relevant shows. While was released in January 1968. It is possible, from no musicians’ names appear in Gordon’s artist Melody Maker adverts, to identify four gigs around file for any of the various units with which he London by the ‘Gordon Beck Quartet’, with the broadcast during 1968 – and he was a frequent musicians named, between 17 March and 2 May visitor to BBC studios at the time – it seems clear 1968. There may have been others. There were, that John McLaughlin was the fourth member of though, plenty of Gordon Beck Trio gigs going on the Gordon Beck Quartet on a series of broadcasts in the same period and also Gordon Beck Quartet backing singers Mark Murphy and Joy Marshall, gigs involving saxophonist Pete King as the fourth for the programmes Night Ride, Late Night Extra member. and Jazz Club spanning March to May 1968. Somehow, during research for Bathed In Remarkably, around four hours of music (71 Lightning and again for Echoes From Then, I compositions) was recorded during the sessions failed to look into the possibility of any BBC with Mark Murphy – three hours 45 minutes recordings by the Gordon Beck Quartet.
    [Show full text]
  • Historical Notes Relating to Bideford's East-The-Water Shore Volume 2 (19Th C.) R
    Historical Notes relating to Bideford's East-the-Water Shore Volume 2 (19th C.) R. I. Kirby Last updated 27 Apr 2021 (DRAFT) Page 1 of 86 © R I Kirby Historical Notes relating to Bideford's East-the-Water Shore (Volume 2) Contents of the volumes The contents of the three volumes are as follows: • Volume 1, Introductory material and Pre-history to 18th C. • Volume 2, 19th C. • Volume 3, 20th C. to present. Last updated 27 Apr 2021 Page 2 of 86 © R I Kirby Historical Notes relating to Bideford's East-the-Water Shore (Volume 2) Contents of Volume 2 (19th C.) Contents of the volumes.......................................................................................................................2 19th Century..........................................................................................................................................9 1800s early half, the exodus to the Empire......................................................................................9 1800, Bideford's 67 vessels..............................................................................................................9 1800, a wretched and dirty place.....................................................................................................9 c. 1802, clay exports to Staffordshire dwindle................................................................................9 1802, a light to guide ships across the bar.....................................................................................10 1803, coasters from London..........................................................................................................10
    [Show full text]