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23 January 2020
Ultima Thule 1319: 23 January 2020 No Track Title Composer Artist Album Label Catalogue Dur 1 Blue In Green Bill Evans + Miles Davis Miles Davis Kind of Blue Columbia 88697680571 5.27 Mingus Ah Um (50th Anniversary 2 Goodbye Pork Pie Hat Charles Mingus Charles Mingus Columbia CL 1370 4.46 Edition) 3 A Taste Of Honey Bobby Scott, Rick Marlow Lionel Hampton You Better Know It!!! Impulse! AS-78 2.43 Anouar Brahem, Dave Holland + Jack 4 Opening Day Anouar Brahem Blue Maqams ECM Records ECM-2850 7.01 DeJohnette 5 Migration Arve Henriksen Arve Henriksen Cartography ECM Records ECM-2086 5.41 6 Dreamtime Abdullah Ibrahim Abdullah Ibrahim The Balance Gearbox Records GB1554 4.06 7 The Nothing Changes The Kilimanjaro Dark Jazz Ensemble The Kilimanjaro Dark Jazz Ensemble The Kilimanjaro Darkjazz Ensemble Planet Mu ZIQ141CD 4.54 In the Wee Small Hours Of The 8 David Mann, Bob Hilliard Bill Frisell, Thomas Morgan Epistrophy ECM Records ECM-2626 6.55 Morning 9 It's Snowing on My Piano Bugge Wesseltoft Bugge Wesseltoft It's Snowing on My Piano ACT ACT-9620-2 5.02 10 My Heart Stood Still Lorenz Hart, Richard Rogers Kenny Burell Swingin' Blue Note GXF-3070 5.15 11 Gee Baby, Ain't I Good To You Diana Krall as above Midnight Blue Blue Note BLP-4123 4.23 Sonny Rollins + the Modern Jazz Sonny Rollins with the Modern Jazz 12 In A Sentimental Mood Duke Ellington Prestige PRLP 7209 3.21 Quartet Quartet 13 Where are You? Harold Adamson, Jimmy McHugh Sonny Rollins The Bridge RCA Victor LPM-2527 5.10 Beyond the Missouri Sky (Short 14 Message To A Friend Pat Metheney Pat Metheney + Charlie Haden Verve P2-37130 6.13 Stories) 15 Conciliation Yazz Ahmed Yazz Ahmed Finding My Way Home 5.20 16 Pannonica Thelonious Monk Thelonious Monk Thelonious Alone in San Francisco Riverside Records RLP-12-312 3.48 Thelonious Monk, Bernie Hanighen + 17 Round Midnight Miles Davis Round About Midnight Columbia CL-949 5.56 Cootie Williams Programme produced and presented by Jackson Day Executive Producer, George Cruickshank . -
THE SHARED INFLUENCES and CHARACTERISTICS of JAZZ FUSION and PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014
COMMON GROUND: THE SHARED INFLUENCES AND CHARACTERISTICS OF JAZZ FUSION AND PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master in Jazz Performance and Pedagogy Department of Music 2020 Abstract Blunk, Joseph Michael (M.M., Jazz Performance and Pedagogy) Common Ground: The Shared Influences and Characteristics of Jazz Fusion and Progressive Rock Thesis directed by Dr. John Gunther In the late 1960s through the 1970s, two new genres of music emerged: jazz fusion and progressive rock. Though typically thought of as two distinct styles, both share common influences and stylistic characteristics. This thesis examines the emergence of both genres, identifies stylistic traits and influences, and analyzes the artistic output of eight different groups: Return to Forever, Mahavishnu Orchestra, Miles Davis’s electric ensembles, Tony Williams Lifetime, Yes, King Crimson, Gentle Giant, and Soft Machine. Through qualitative listenings of each group’s musical output, comparisons between genres or groups focus on instances of one genre crossing over into the other. Though many examples of crossing over are identified, the examples used do not necessitate the creation of a new genre label, nor do they demonstrate the need for both genres to be combined into one. iii Contents Introduction………………………………………………………………………………… 1 Part One: The Emergence of Jazz………………………………………………………….. 3 Part Two: The Emergence of Progressive………………………………………………….. 10 Part Three: Musical Crossings Between Jazz Fusion and Progressive Rock…………….... 16 Part Four: Conclusion, Genre Boundaries and Commonalities……………………………. 40 Bibliography………………………………………………………………………………. -
Discourses of Decay and Purity in a Globalised Jazz World
1 Chapter Seven Cold Commodities: Discourses of Decay and Purity in a Globalised Jazz World Haftor Medbøe Since gaining prominence in public consciousness as a distinct genre in early 20th Century USA, jazz has become a music of global reach (Atkins, 2003). Coinciding with emerging mass dissemination technologies of the period, jazz spread throughout Europe and beyond via gramophone recordings, radio broadcasts and the Hollywood film industry. America’s involvement in the two World Wars, and the subsequent $13 billion Marshall Plan to rebuild Europe as a unified, and US friendly, trading zone further reinforced the proliferation of the new genre (McGregor, 2016; Paterson et al., 2013). The imposition of US trade and cultural products posed formidable challenges to the European identities, rooted as they were in 18th-Century national romanticism. Commercialised cultural representations of the ‘American dream’ captured the imaginations of Europe’s youth and represented a welcome antidote to post-war austerity. This chapter seeks to problematise the historiography and contemporary representations of jazz in the Nordic region, with particular focus on the production and reception of jazz from Norway. Accepted histories of jazz in Europe point to a period of adulatory imitation of American masters, leading to one of cultural awakening in which jazz was reimagined through a localised lens, and given a ‘national voice’. Evidence of this process of acculturation and reimagining is arguably nowhere more evident than in the canon of what has come to be received as the Nordic tone. In the early 1970s, a group of Norwegian musicians, including saxophonist Jan Garbarek (b.1947), guitarist Terje Rypdal (b.1947), bassist Arild Andersen (b.1945), drummer Jon Christensen (b.1943) and others, abstracted more literal jazz inflected reinterpretations of Scandinavian folk songs by Nordic forebears including pianist Jan Johansson (1931-1968), saxophonist Lars Gullin (1928-1976) bassist Georg Riedel (b.1934) (McEachrane 2014, pp. -
Offentlig Journal
Norsk kulturråd 13.01.2012 Offentlig journal Periode: 08-01-2012 - 12-01-2012 Journalenhet: Alle Avdeling: Alle Saksbehandler: Alle Notater (X): Nei Notater (N): Nei Norsk kulturråd 13.01.2012 Offentlig journal Periode: 08-01-2012 - 05/04081-8 I Dok.dato: Udatert Jour.dato: 11.01.2012 Arkivdel: PNKR Arkivkode: 321\Musikktiltak Tilg. kode: U Par.: Avsender: Samspill International Music Network - Miriam Segal Sak: Konsertserie Multi-Kulti 2006 Dok: Signert rapport og regnskap - Konsertserie Multi-Kulti 2006 Saksansv: Musikk / HS Saksbeh: Musikk / HS 05/04124-13 U Dok.dato: 14.12.2011 Jour.dato: 09.01.2012 Arkivdel: PNKR Arkivkode: 321\Fonograminnspillinger Tilg. kode: U Par.: Mottaker: Else-Marie Hauger Sak: Klassisk CD-utgivelse av Kristian Haugers musikk Dok: Utsettelsen innvilges ikke - Klassisk CD-utgivelse av Kristian Haugers musikk Saksansv: Musikk / TRB Saksbeh: Musikk / HEKO 06/06452-7 I Dok.dato: 21.12.2011 Jour.dato: 12.01.2012 Arkivdel: PNKR Arkivkode: 321\Billedkunst og kunsthåndverk Tilg. kode: U Par.: Avsender: Cultex - Gabriella Göransson Sak: Cultex - tekstil som krysskulturelt språk - prosjektstøtte billedkunst og kunsthåndverk 2006 Dok: Rapport og regnskap - Cultex - tekstil som krysskulturelt språk - prosjektstøtte billedkunst og kunsthåndverk 2006 Saksansv: Visuell kunst / KØ Saksbeh: Visuell kunst / KØ Side1 Norsk kulturråd 13.01.2012 Offentlig journal Periode: 08-01-2012 - 07/01431-5 U Dok.dato: 23.11.2011 Jour.dato: 09.01.2012 Arkivdel: PNKR Arkivkode: 321\Kunst og ny teknologi Tilg. kode: U Par.: Mottaker: PNEK - Produksjonsnettverk for Elektronisk Kunst - Hillevi Munthe Sak: Open Source Culture - kunst og ny teknologi 2007 Dok: Utbetaling, hele summen - Open Source Culture - kunst og ny teknologi 2007 Saksansv: Visuell kunst / IE Saksbeh: Visuell kunst / IE 07/01926-10 U Dok.dato: 12.01.2012 Jour.dato: 12.01.2012 Arkivdel: PNKR Arkivkode: 321\Rom for kunst Tilg. -
HANNA PAULSBERG Spiller På Mai:Jazz Med GURLS Og Vil Gjøre + FESTIVAL- Jazzen Mindre Selvhøytidelig
INNBLIKK FESTIVAL INNSIKT KRONIKK Er det helt uproblematisk at mange Les alt om årets artister. Sterkt Terje Mosnes skriver om historien Musikkanmelder Audun Vinger jazzmusikere velger å spille pop program med stor variasjon på rundt utgivelsen av Bendik mener at jazzfestivaler kan være musikk? MaiJazz 2017. Hofseths IX. alt annet enn nedstøvet. ET MAGASINnote: FOR MAI:JAZZ 2017 OG STAVANGER JAZZFORUM #01 2017 PORTRETT HANNA PAULSBERG Spiller på Mai:Jazz med GURLS og vil gjøre + FESTIVAL- jazzen mindre selvhøytidelig. PROGRAM Original. Analog. Eksepsjonell. KJÆRE NABO TIL SCANDIC STAVANGER CITY Technics Direct Drive SL- 1200G Vet du at det ligger et fordelskort og venter på deg? For alle som vil nyte vinyl slik vinyl skal nytes. Den er kanskje ikke det billigste alternativet, men likevel er den verdt hver eneste krone. Scandic Friends gir deg gode tilbud på overnatting samt 20 % rabatt på mat i Varmen Bar og Restaurant i helgene. Ta med venner, familie eller naboen til mat som måtte friste fra À la carte-menyen i Varmen Bar og Restaurant. NABOKORT I tillegg har vi også et Nabokort. Husk at hos oss venter gode stoler og fristende servering på deg etter en handledag på byen eller en slentretur i sentrum. Bar & Restaurant Følg oss på Facebook for oppdatering av hva som skjer i Varmen Bar og Restaurant. STAVANGER CITY Velkommen! Vågsgata 7, 4306 SANDNES | M 900 16 116 | www.avarer.no scandichotels.no - garantert best pris STAVANGER CITY LEDER DET ER I SAMSPILLET MAGIEN OPPSTÅR RELASJONER Hove West er blant Norges ledende på totalproduksjoner OG FORANDRING bestående av både lyd, lys, audiovisuelt utstyr og sceneutstyr. -
Pdf Document
100 YEARS OF RECORDED SOUND INSIDE THE ARCTIC CIRCLE: Music Collections at the National Library of Norway, Rana Division Trond Valberg (Senior Archivist, National Library of Norway)* The National Library of Norway, Rana Division (hereafter NB Rana), was founded in 1989 when Parliament passed its latest Legal Deposit Act. The decision to choose a location 1,000 km north of the capital was a political one. In connection with the establishment of NB Rana it was decided to build a huge storage vault blasted into the mountain. The constant rock temperature of 9°C during every season makes it suitable for long-term storage of different kinds of material. There are 42,000 metres of shelves on four floors, and we have already prepared for another storage vault. The mountain vaults can resist all conventional bombs. To some extent it is important to know the origin of our institution to understand the development of the collections and associated activities. In addition to its state-of-the art storage facilities, much focus has been made on building a good technical infrastructure. We have a fully- equipped conservation laboratory and a recording studio that can handle most analogue and digital formats. Our digital mass storage system became fully operational in 2001, serving both legal deposit documents and historical material. On the subject of finance, though, I have to add that due to our budget we have barely spent any money on buying records or CDs. Since NB Rana is not open to the general public, our services can only be accessed online or by contacting the staff by phone or in other ways. -
Årsmelding 2010 Copyright © 2011 by Norsk Kulturråd All Rights Reserved Utgitt Av Norsk Kulturråd I Kommisjon Hos Fagbokforlaget
NORSK KULTURRÅD Årsmelding 2010 Copyright © 2011 by Norsk kulturråd All rights reserved Utgitt av Norsk kulturråd i kommisjon hos Fagbokforlaget Grafisk produksjon: John Grieg AS, Bergen Omslagsdesign ved forlaget Forsidebilde: Fra Vegard Vinge og Ida Müllers oppsetning av Vildanden. Foto: Magnus Skrede. Sideombrekking: Laboremus Sandefjord AS Redaksjon: Janne Stang Dahl og Mari Johansen Sekretariatfunksjonen til Fond for lyd og bilde og Statens kunstnerstipend er administrativt tilknyttet og samlokalisert med Norsk kulturråd. Fond for lyd og bilde og Statens kunstnerstipend har egne styrende organ og gir ut egne årsmeldinger. Norsk kulturråd Grev Wedels plass 1 Postboks 8052 Dep N-0031 Oslo Tlf: +47 22 47 83 30 Faks: +47 22 33 40 42 www.kulturrad.no Innhold Innledning .............................................. 5 Tildelinger og innkjøp ........................... 26 Allmenne kulturformål ............................. 26 Kunst og publikum ................................. 6 Rom for kunst .......................................... 27 Barne- og ungdomskultur ......................... 29 Råd og utvalg ......................................... 7 Andre formål ............................................ 34 Billedkunst og kunsthåndverk................... 37 Administrasjonen .................................. 11 Musikk ..................................................... 49 Scenekunst................................................ 80 Kommunikasjonsvirksomhet ................ 13 Litteratur ................................................. -
Jack Dejohnette's Drum Solo On
NOVEMBER 2019 VOLUME 86 / NUMBER 11 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert. -
Arve Henriksen Cartography
ECM Arve Henriksen Cartography Arve Henriksen: trumpets, voice, field recordings. With Jan Bang: live sampling, beats, dictaphone, programming; Audun Kleive; percussion; David Sylvian: voice, samples, programming; Helge Sunde: string arrangements, programming; Eivind Aarset: guitars; Lars Danielsson: double-bass, Erik Honoré: synthesizer, samples; Arnaud Mercier: treatments; Trio Mediaeval: voice sample; Vérène Andronikof: vocals; Vytas Sonndeckis: vocal arrangement (collective personnel) ECM 2086 6025 178 0116 (5) Release: October 2008 The uniquely lyrical, liquid and mellifluous sound of Arve Henriksen’s trumpet has had an important supportive role to play on a number of ECM recordings of the last decade. Amongst them – Christian Wallumrød’s “No Birch”, “Sofienberg Variations”, “A Year from Easter” and “The Zoo is Far”, Trygve Seim’s “Different Rivers”, “The Source and Different Cikadas” and “Sangam” , Jon Balke’s “Kyanos”, Sinikka Langeland’s “Starflowers”, Frode Haltli’s “Passing Images”, Arild Andersen’s “Elektra” ... albums which between them represent a very broad range of musical possibilities. In each context, however, Henriksen has proven to be both a highly-distinctive and uncommonly adaptive player. This versatility provides a subtext for the present disc, which pools a shifting cast of creative musicians from diverse genres including jazz, electronica, ambient and classical music and the world of the remix. Ex-pop singer David Sylvian makes two appearances reading his own texts, Ana Maria Friman sings fragments of William Brooks’s “Anima Mea” and the voices of the Trio Mediaeval emerge, sampled, on “recording Angel”. Guitarist Eivind Aarset, and drummer Audun Kleive loom out of the mix, and Ståle Storløkken, Arve’s colleague from noise/rock/improv band Supersilent, has a cameo on “Famine’s Ghost”. -
The Ultimate On-Demand Music Library
2020 CATALOGUE Classical music Opera The ultimate Dance Jazz on-demand music library The ultimate on-demand music video library for classical music, jazz and dance As of 2020, Mezzo and medici.tv are part of Les Echos - Le Parisien media group and join their forces to bring the best of classical music, jazz and dance to a growing audience. Thanks to their complementary catalogues, Mezzo and medici.tv offer today an on-demand catalogue of 1000 titles, about 1500 hours of programmes, constantly renewed thanks to an ambitious content acquisition strategy, with more than 300 performances filmed each year, including live events. A catalogue with no equal, featuring carefully curated programmes, and a wide selection of musical styles and artists: • The hits everyone wants to watch but also hidden gems... • New prodigies, the stars of today, the legends of the past... • Recitals, opera, symphonic or sacred music... • Baroque to today’s classics, jazz, world music, classical or contemporary dance... • The greatest concert halls, opera houses, festivals in the world... Mezzo and medici.tv have them all, for you to discover and explore! A unique offering, a must for the most demanding music lovers, and a perfect introduction for the newcomers. Mezzo and medici.tv can deliver a large selection of programmes to set up the perfect video library for classical music, jazz and dance, with accurate metadata and appealing images - then refresh each month with new titles. 300 filmed performances each year 1000 titles available about 1500 hours already available in 190 countries 2 Table of contents Highlights P. -
Youandmeagainsttheworld.Pdf (9.000Mb)
FORORD Denne oppgaven har sitt utspring i kjærlighet til en musikkgenre, og etter hvert kjærlighet til miljøet rundt akkurat denne genren. Det var sånn den ble til. En stor takk til alle i miljøet som har kommet med talløse oppmuntringer underveis i prosessen med oppgaven, og som har bidratt med informasjon og synspunkter, stort og smått. Og for at miljøet finnes, selv om det var ukjent for meg veldig lenge og jeg trodde jeg var omtrent den eneste i verden som likte denne type musikk. Uten at tre travle popstjerner hadde stilt velvillig opp, hadde oppgaven manglet et viktig aspekt og svært viktig innsikt fra musikkverdenen som ikke menigmann uten videre kan ta del i. Tusen takk til dem for at de tok seg tid til å prate med meg og for at de trodde på prosjektet mitt. Gjennom sin musikk og sine bidrag til oppgaven har de vært en viktig kilde til både inspirasjon og motivasjon. 2 KAPITTELOVERSIKT 1. Innledning med problemstilling side 4 2. Metode side 7 3. Musikkindustrien – og media side 11 3.1 Musikk på radio side 15 3.2 Musikk på tv side 16 4. Symbolsk kapital i forskjellige kulturelle felt side 17 4.1 Bourdieu – ulike former for kapital side 18 4.2 Sosiale og kulturelle felt side 19 4.3 Symbolsk makt side 21 4.4 Subkulturell kapital side 22 5. En kort historie om synth side 26 6. Subkultur – i et teoretisk perspektiv side 29 6.1 Synth som subkultur side 32 7. Bandpresentasjoner side 45 7.1 Apoptygma Berzerk – In This Together side 45 7.2 Combichrist – This Shit Will Fcuk You Up side 58 7.3 Gothminister – Happiness in Darkness side 68 8. -
G \ Music Week UNI Lakes on Publishers In
FOR EVERYONE IN THE BUSINESS OF MUSIC K/W • -g \ music week UNI lakes on publishers in Europe BMG and Sony are understood to be to the outcome." ■ïiM'iiimiïM If Universal werecalled successful for a eut.in iow- "If you look at the factUniversal that collection says, tlesupporting with publishers Unh/ersal over Music songwriting in its bat- tibonA spokesman department for confirmed the EC's that compe- the toering the thelevel continental of the UK rate European -which ratehas eachsocieties record get and 9.2% see from what the the sale record of acrossroyalties continental paid on Europe.sales of records complaint had been received. "We tribunalstood at battle 8.5% ofsince 1991 the - BPI/MCPSthe major thatcompanies get that get, amount." there are not many firmedUniversal last week Music that International it bas made con- a careful examination and that is what thanrecord eSOm companies a year. could save more communityBut sources dismiss within talk the of apublishing "cartel". Commission,formai complaint accusi to ng thethe publishersEuropean royalty as percentage of dealer prlce. arguing. It is understoodthat Biem opérâtesthat Universal a cartel is Oneare queryingpublishing the sourceBiem cartel,says, when,"They -Biem through - of acting mechanical as a cartel. rights body an BO-page document delivered earii- writers'the UK, royaltieswhich opérâtes for record under sales a dif- in nessbecause without the payingmajor thecannot royalties do busi- and ofIFPI course, cartel. they These have two been cartels part ofhave the Tuesday,In a astatement UMI spokesman issued said,last déclinéser this summer; to comment. a Sony Althoughspokesman a férentBiem rate.mechanical But it does royalty affect rate the to roy-the thatnant Biemposition, is thusin contravention abusing its ofdomi- the done business for many years and International"We can confirm has that filed Universal a complaint Music ingBMG whether source to says make it isa stillformai consider- state- that,Treaty by Of insisting Rome.