Nils Landgren Funk Unit
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A Sleepin' Bee Press Release
NEWS RELEASE Contact: Ann Braithwaite (781) 259-9600 [email protected] Lauren Kinhan Pays Tribute to Legendary Vocalist Nancy Wilson in Transformative Fashion on the First All-Standards Album of her Career A Sleepin’ Bee uses Wilson’s iconic collaborations with Cannonball Adderley and George Shearing as the starting point for a unique take on the tribute album “Lauren Kinhan is… a tremendously gifted jazz singer.” – Christopher Loudon, JazzTimes "Her luscious, velvet voice is a good place to rest your weary head." – Ken Blanchard, Jazznote SD "A vocal tour de force" – Jazz Journal, Sally Evans-Darby CD Release Concerts: • November 8, 2017 – Red Room @ Café 939, WBGO Live Stream – Boston, MA • January 3, 2018 – JEN Convention – Inspiration Stage – Dallas, TX Whether on her own highly-acclaimed albums, as a 25-year member of the beloved vocal group New York Voices, or as co-founder of two diverse and inventive supergroups, Moss and JaLaLa, singer/songwriter Lauren Kinhan has always forged her own path as a performer, composer and improviser. With her latest, A Sleepin’ Bee (due out October 6 on her own Dotted i Records), Kinhan once again steers herself in unexpected directions with a new release that is at once the first all-standards collection of her career, a loving tribute to legendary vocalist Nancy Wilson, and unmistakably a Lauren Kinhan album – with all the unique perspective and idiosyncratic personality that has come to imply. If the sudden appearance of an album’s worth of standards in a catalogue dominated by original songs comes as a surprise, the process of its creation is just as atypical. -
Nils Landgren
Nils Landgren Redhorn Collection ACT 6013 -2 CD 1: The Funk Unit / CD 2: The Ballads German Release Date: October 10, 2014 Two hours musical enjoyment with Mr. Redhorn and "Siggi Loch gave me the power to surpass myself, Maceo Parker, Brecker Brothers, Joe Sample, Roy and that is bearing a lot of fruits now," Landgren Hargrove, Fred Wesley, Ray Parker Jr., Bernard summarises their joint success story, but he isn't only active Purdie, Till Brönner, Rigmor Gustafsson, Ida Sand, for ACT as a musician, he is also a producer and scout. Esbjörn Svensson, Lars Danielsson, Per Ruskträsk Through Funk Unit, Loch's attention was called to Esbjörn Johansson, Magnum Coltrane Price, Magnus Svensson, and the singers Viktoria Tolstoy, Rigmor Lindgren, Wolfgang Haffner, Michael Wollny, NDR Gustafsson and Ida Sand also came to ACT from Bigband amongst others. Landgren's sphere of activity. Today, ACT is the biggest exporter of jazz from Sweden; thanks in no small degree to Nils Landgren is a name that has become Landgren. synonymous with versatility, curiosity and vigour. Whether with his Funk Unit, his jazz ballad projects, big Mr. Redhorn is one of the most active live artists in bands or his countless other contributions as sideman, contemporary jazz, in part also thanks to his concert soloist and bandleader – the likable Swede with the bright management partner Karsten Jahnke Konzertdirektion. He red trombone has constantly been on the move for more averages 200 days a year on the road around the music than 30 years. He is one of the most successful European world, and is one of a small number of jazz artists who jazz musicians, born Värmland in 1956, Landgren has made reach an audience that by far transcends the jazz "scene", around 550 records and received a plethora of jazz awards without making personal or artistic compromises. -
Transkulturelle Verflechtungsprozesse in Der Vormoderne Das Mittelalter Perspektiven Mediävistischer Forschung
Transkulturelle Verflechtungsprozesse in der Vormoderne Das Mittelalter Perspektiven mediävistischer Forschung Beihefte Herausgegeben von Ingrid Baumgärtner, Stephan Conermann und Thomas Honegger Band 3 Wolfram Drews, Christian Scholl (Hrsg.) Transkulturelle Verflechtungsprozesse in der Vormoderne ISBN 978-3-11-044483-4 e-ISBN (PDF) 978-3-11-044548-0 e-ISBN (EPUB) 978-3-11-044550-3 Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.dnb.de abrufbar. © 2016 Walter De Gruyter GmbH Berlin/Boston Datenkonvertierung/Satz: Satzstudio Borngräber, Dessau-Roßlau Druck und Bindung: Hubert & Co. GmbH & Co. KG, Göttingen ♾ Gedruckt auf säurefreiem Papier Printed in Germany www.degruyter.com Inhaltsverzeichnis Wolfram Drews / Christian Scholl (Münster) Transkulturelle Verflechtungsprozesse in der Vormoderne. Zur Einleitung — VII Transkulturelle Wahrnehmungsprozesse und Diskurse Roland Scheel (Göttingen) Byzanz und Nordeuropa zwischen Kontakt, Verflechtung und Rezeption — 3 Lutz Rickelt (Münster) Zum Franken geworden. Zum Franken gemacht? Der Vorwurf der ‚Frankophilie‘ im spätbyzantinischen Binnendiskurs — 35 Kristin Skottki (Rostock) Kolonialismus avant la lettre? Zur umstrittenen Bedeutung der lateinischen Kreuzfahrerherrschaften in der Levante -
Nils Landgren Funk Unit ›Funk Is My Religion‹
NILS LANDGREN FUNK UNIT ›FUNK IS MY RELIGION‹ New Album ›Funk is my Religion‹ available on May 28th via ACT Back in 1994 when Nils Landgren started up his Funk Unit, there were those who asked whether there was actually any need for Swedish funk. After seventeen years, ten albums and several hundreds of concerts, the question has basically answered itself: to find the most fired-up take on this music anywhere, a sound which is inextricably welded into soul, rhythm and blues and jazz, and in which all of the instruments – and the vocals too – have an irresistible rhythmic urgency about them, this is definitely the band to see and hear. And if one turns to the pioneers, godfathers and grandees of the funk world – Maceo Parker and Fred Wesley, the musical prime movers behind James Brown, Ray Parker Jr., or Joe Sample from the Crusaders – then there’s no need to look any further: each and every one of them has played with the Funk Unit. And the Funk Unit’s story is far from over. Not even this pandemic was going to hold back their eleventh album. »Originally we wanted to record at Palma Studios in Mallorca, but Corona put a stop to that,« Nils Landgren explains. »Then we decided we’d record at »Redhorn District« in Bad Meinberg, but nothing was working in Germany either. So what should we do. Give up? The Funk Unit? No chance! I asked my friend Björn Yttling if we could go to his Ingrid Studio in Stockholm, and he said »No problem.« A few days before the session, the Swedish authorities decided that no more than eight people could assemble indoors at once. -
Ystad Sweden Jazz Festival 2018!
VÄLKOMMEN TILL/WELCOME TO YSTAD SWEDEN JAZZ FESTIVAL 2018! Kära jazzvänner! Dear friends, Vi känner stor glädje över att för nionde gången kunna presentera It is with great pleasure that we present, for the ninth time, en jazzfestival med många spännande och intressanta konserter. a jazz festival with many exciting and interesting concerts – a mix Megastjärnor och legendarer samsas med unga blivande stjärnor. of megastars, legends and young stars of tomorrow. As in 2017, we Liksom 2017 använder vi Ystad Arena för konserter vilket möjliggör will use Ystad Arena as a venue to enable more people to experience för fler att uppleva musiken. I år erbjuder vi 44 konserter med drygt the concerts. This year we will present over 40 concerts featuring 200 artister och musiker. Tillsammans med Ystads kommun fortsätter more than 200 artists and musicians. In cooperation with Ystad vi den viktiga satsningen på jazz för barn, JazzKidz. Barnkonserterna Municipality, we are continuing the important music initiative for ges på Ystads stadsbibliotek. Tre konserter ges på Solhällan i Löderup. children, JazzKidz. The concerts for children will be held at Ystad Bered er på en magisk upplevelse den 5 augusti, då vi erbjuder en unik Library. There will be three concerts at Solhällan in Löderup. And, konsert vid Ales stenar, på Kåseberga, i soluppgången. get ready for a magical experience on 5 August, when we will Jazzfestivalen arrangeras sedan 2011 av den ideella föreningen present a unique sunrise concert at Ales stenar, near Kåseberga. Ystad Sweden Jazz och Musik i Syd i ett viktigt och förtroendefullt The jazz festival has been arranged since 2011 by the non-profit samarbete. -
Nils Landgren Christmas with My Friends Short Biographies
NILS LANDGREN CHRISTMAS WITH MY FRIENDS SHORT BIOGRAPHIES Nils Landgren – trombone, vocals The man with the red trombone is always on the look out for new challenges. This is what has made Nils Landgren one of the most creative, many-sided and also most successful artists to be currently found in the European jazz scene. With "Mr Redhorn" you don't only associate the frenetic celebrated concerts of his groovy Funk Unit, you also know him from his intimate duos with Esbjörn Svensson where they would rework Swedish folk songs, from his chamber concerts of religious music, from his collaborations with big bands or as a sensitive interpreter of ballads. Since 1994 he has been under contract to the ACT Label from Munich, releasing over this period 15 albums in his own name. Eight have received the golden German Jazz Award, with two even going platinum! Meanwhile, his role as producer of Swedish singers Rigmor Gustafsson and Viktoria Tolstoy has brought him two further gold awards. Viktoria Tolstoy – vocals Her “-clear voice, that is simply ” as the Berlin-based “”once put it, has found Tolstoy a place in the hearts of audiences far from the habitat of the Elk. In 1997 the – then 22 year-old – recorded the phenomenal album White Russian under the guidance of Esbjörn Svensson. The melodious pop-jazz on this release made her a star and lifted her into the charts in Sweden, yet it was hardly available outside her homeland. The move to ACT in 2004 enabled her to break into the international scene. Her first two albums for ACT Shining On You (ACT 9701-2) and My Swedish Heart (ACT 9705-2) have both received a German Jazz Award; her third album Pictures of Me (ACT 9712-2) has been released in fall 2006. -
The Hard Bop Trombone: an Exploration of the Improvisational Styles of the Four Trombonist Who Defined the Genre (1955-1964)
Graduate Theses, Dissertations, and Problem Reports 2019 The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964) Emmett Curtis Goods West Virginia University, [email protected] Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the Music Performance Commons Recommended Citation Goods, Emmett Curtis, "The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964)" (2019). Graduate Theses, Dissertations, and Problem Reports. 7464. https://researchrepository.wvu.edu/etd/7464 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964) Emmett C. Goods Dissertation submitted to the School of Music at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Trombone Performance H. -
The Avant-Garde in Jazz As Representative of Late 20Th Century American Art Music
THE AVANT-GARDE IN JAZZ AS REPRESENTATIVE OF LATE 20TH CENTURY AMERICAN ART MUSIC By LONGINEU PARSONS A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2017 © 2017 Longineu Parsons To all of these great musicians who opened artistic doors for us to walk through, enjoy and spread peace to the planet. ACKNOWLEDGMENTS I would like to thank my professors at the University of Florida for their help and encouragement in this endeavor. An extra special thanks to my mentor through this process, Dr. Paul Richards, whose forward-thinking approach to music made this possible. Dr. James P. Sain introduced me to new ways to think about composition; Scott Wilson showed me other ways of understanding jazz pedagogy. I also thank my colleagues at Florida A&M University for their encouragement and support of this endeavor, especially Dr. Kawachi Clemons and Professor Lindsey Sarjeant. I am fortunate to be able to call you friends. I also acknowledge my friends, relatives and business partners who helped convince me that I wasn’t insane for going back to school at my age. Above all, I thank my wife Joanna for her unwavering support throughout this process. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS .................................................................................................. 4 LIST OF EXAMPLES ...................................................................................................... 7 ABSTRACT -
Jazz at the Crossroads)
MUSIC 127A: 1959 (Jazz at the Crossroads) Professor Anthony Davis Rather than present a chronological account of the development of Jazz, this course will focus on the year 1959 in Jazz, a year of profound change in the music and in our society. In 1959, Jazz is at a crossroads with musicians searching for new directions after the innovations of the late 1940s’ Bebop. Musical figures such as Miles Davis and John Coltrane begin to forge a new direction in music building on their previous success earlier in the fifties. The recording Kind of Blue debuts in 1959 documenting the work of Miles Davis’ legendary sextet with John Coltrane, Cannonball Adderley, Bill Evans, Paul Chambers and Jimmy Cobb and reflects a new direction in the music with the introduction of a modal approach to composition and improvisation. John Coltrane records Giant Steps the culmination of the harmonic intricacies of Bebop and at the same time the beginning of something new. Ornette Coleman arrives in New York and records The Shape of Jazz to Come, an LP that presents a radical departure from the orthodoxies of Be-Bop. Dave Brubeck records Time Out, a record featuring a new approach to rhythmic structure in the music. Charles Mingus records Mingus Ah Um, establishing Mingus as a pre-eminent composer in Jazz. Bill Evans forms his trio with Scott LaFaro and Paul Motian transforming the interaction and function of the rhythm section. The quiet revolution in music reflects a world that is profoundly changed. The movement for Civil Rights has begun. The Birmingham boycott and the Supreme Court decision Brown vs. -
For Additional Information Contact the Archives Center at 202.633.3270 Or
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. HANK JONES NEA Jazz Master (1989) Interviewee: Hank Jones (July 31, 1918 – May 16, 2010) Interviewer: Bill Brower Date: November 26-27, 2004 Repository: Archives Center, National Museum of American History Description: Transcript, pp. 134 Hank Jones: I was over there for about two and a half weeks doing a promotional tour. I had done a couple of CDs; one was with my brother Elvin and Richard Davis, the bass player. They made – – I think they made two releases from that date. And I did another date with Jack DeJohnette and John Patitucci. But, these two albums were the objects of the promotion. I mean, they promote very, very heavily everyday. I must have had 40 interviews and about 30 record signings at the record shops, plus all of the recording. We did seven concerts and people inevitably want the records, CDs of the concert for us to sign. I have a trio over there, with Jimmy Cobb and John Fink. It was called, “The Great Jazz Trio.” It was not my name, but the Japanese have special names for everything, you know? That's only one in a series of tree others which he called the great jazz trio. The first one was Ron Carter, Tony Williams and myself. But, there had been a succession of different changes in personnel. It changed about six times. The current one was Jimmy Cobb and Dave Fink--Oh, the cookies have arrived and not a minute too soon. -
Martin Brygmann Bates Delight Mp3, Flac, Wma
Martin Brygmann Bates Delight mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Pop Album: Bates Delight Country: Denmark Released: 2017 MP3 version RAR size: 1685 mb FLAC version RAR size: 1642 mb WMA version RAR size: 1217 mb Rating: 4.2 Votes: 107 Other Formats: DXD MP4 AAC VOC MPC DMF MP1 Tracklist Hide Credits Safe And Sound A1 Arranged By [Orchestral Arrangement] – Pål SvenreClarinet – Magnus LindgrenGuitar [Solo] – Ulf WakeniusTrumpet [Solo Plunger Trumpet] – Karl OlanderssonTuba – Calle Jakobsson Sleepwalking A2 Acoustic Guitar – Esbjörn Öhrwall, Mattias TorellArranged By [String Arrangement] – Ulf & Henrik Janson*Slide Guitar [Electric] – Jack Pearson Five In The Morning Acoustic Guitar – Esbjörn Öhrwall, Mattias TorellArranged By [String Arrangement] – Ulf & A3 Henrik Janson*Twelve-String Guitar [Electric] – Esbjörn ÖhrwallVoice [Evil Laughter] – Douglas Felix Brygmann Driving A4 Acoustic Guitar – Esbjörn Öhrwall, Mattias TorellArranged By [String Arrangement] – Ulf & Henrik Janson*Backing Vocals [Additional] – Cornelia Brygmann, Sørine Lykke Brygmann Me Myself And My Suitcase A5 Arranged By [Orchestral Arrangement] – Vince Mendoza Dive Alto Saxophone – Johan ChristofferssonArranged By [Horn Arrangement] – Magnus B1 LindgrenTenor Saxophone, Baritone Saxophone – Magnus LindgrenTrombone – Magnus WiklundTrumpet – Stefan Persson Little Miss Peculiar B2 Acoustic Guitar – Esbjörn ÖhrwallArranged By [String Arrangement] – Ulf & Henrik Janson*Slide Guitar [Resonator Slide Guitar] – Jack Pearson Probably Plastic Alto Saxophone – Johan -
1959 Jazz: a Historical Study and Analysis of Jazz and Its Artists and Recordings in 1959
GELB, GREGG, DMA. 1959 Jazz: A Historical Study and Analysis of Jazz and Its Artists and Recordings in 1959. (2008) Directed by Dr. John Salmon. 69 pp. Towards the end of the 1950s, about halfway through its nearly 100-year history, jazz evolution and innovation increased at a faster pace than ever before. By 1959, it was evident that two major innovative styles and many sub-styles of the major previous styles had recently emerged. Additionally, all earlier practices were in use, making a total of at least ten actively played styles in 1959. It would no longer be possible to denote a jazz era by saying one style dominated, such as it had during the 1930s’ Swing Era. This convergence of styles is fascinating, but, considering that many of the recordings of that year represent some of the best work of many of the most famous jazz artists of all time, it makes 1959 even more significant. There has been a marked decrease in the jazz industry and in stylistic evolution since 1959, which emphasizes 1959’s importance in jazz history. Many jazz listeners, including myself up until recently, have always thought the modal style, from the famous 1959 Miles Davis recording, Kind of Blue, dominated the late 1950s. However, a few of the other great and stylistically diverse recordings from 1959 were John Coltrane’s Giant Steps, Ornette Coleman’s The Shape of Jazz To Come, and Dave Brubeck’s Time Out, which included the very well- known jazz standard Take Five. My research has found many more 1959 recordings of equally unique artistic achievement.