Some of CARMEN SOUZA and THEO PASCAL PRESS Quotes Over the Years See the Clipping At
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Press Kit Index
PRESS KIT INDEX P.2 DownBeat (**** star review) P.4 JazzTimes P.5 Aberdeen News (Howard Reich Best Of 2011) P.6 NYC Jazz Record P.7 Jazz Journal P.8 Jazz Police P.10 Step Tempest P.12 Financial Times P.13 O's Place P.14 Lucid Culture P.15 MidWest Record P.16 Blog Critics P.19 TMS9-3-jazz P.20 Jazz Magazine (French) P.21 Evasion Mag (French) P.25 Jazz Thing (German) P.26 Jazz Podium (German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
Präsentation Doc Forum Jan15
Kapverdische Musik. Künstlerische Ausdrucksform und Identitätsvermittler einer transkulturellen Gesellschaft Denise Schubert BetreuerInnen: Gerd Grupe, Helmut Brenner, Regine Allgayer-Kaufmann (Universität Wien) Gliederung 1. Kap Verden 1.1 Einführung 1.2 Kapverdische Migration 2. Orlando Pantera – Ein „Komet“ oder ein Mythos? 3. Theoretische Überlegungen 4. Methoden 5. Quellen 2/21 1.1 Einführung Die Republik Kap Verde befindet sich 450 km westlich des afrikanischen Kontinents. Graz, 17.01.2015 3/21 1.1 Einführung Von den 10 Inseln des Archipels sind 9 bewohnt. Einwohnerzahl: 500.000 Graz, 17.01.2015 4/21 Graz, 17.01.2015 5/21 1.1 Einführung Von den 10 Inseln des Archipels sind 9 bewohnt. Einwohnerzahl: 500.000 Kapverdier in der Diaspora: 700.000 Graz, 17.01.2015 6/21 1.1 Einführung Wirtschaft „Fuelled by strong external demand, tourism export receipts grew from USD 40 million in 2000 to USD 360 million in 2012 (an annual growth rate of 19%) [...].“ 7/21 1.2 Kapverdische Migration Die Migrationsprozesse der Insulaner unterteilen sich in drei Hauptzyklen. Portugal, Niederlande, Italien, Frankreich Senegal, Gambia USA,Niederlande, Spanien, Italien Argentinien Brasilien, São Tomé und Príncipé, Portugal, Mosambik, Guinea-Bissau, Angola, Timor 1600 1700 1800 1900 2000 Góis Pedro (2006) Graz, 17.01.2015 8/21 Graz, 17.01.2015 9/21 3. Orlando Pantera - Ein „Komet“ oder ein Mythos? Orlando Monteiro Barreto (1967-2001) Musikstile: Kinderlieder*, Batuku, Funaná, Tabanka, (Morna) Hörbeispiel A: traditioneller Batuku (Cidade Velha, 2014) Hörbeispiel B: Orlando Pantera „Dispedida“ (2000) (aus „Mais Alma“, Dokumentarfilm: Catarina Alves Costa, 2001) Graz, 17.01.2015 10/21 3. Orlando Pantera - Ein „Komet“ oder ein Mythos? ● Preis für junge Musiker „Orlando Pantera – Discoberta de talento Jovem“ ●Soziale Bildungseinrichtung „Centro Educativo de Orlando Pantera“ ● Generation Pantera (Mayra Andrade, Princezito, Mario Rui, Lura Criola u.a.) Graz, 17.01.2015 11/21 4. -
Dossier De Imprensa Carmen Souza "Kachupada" Culturgest 17 De Janeiro De 2014 Revista De Imprensa 22-01-2014
Dossier de Imprensa Carmen Souza "Kachupada" Culturgest 17 de janeiro de 2014 Revista de Imprensa 22-01-2014 1. (PT) - Jornal de Notícias, 17/01/2014, Carmen Souza em Lisboa e Viseu 1 2. (PT) - Diário de Notícias Online, 17/01/2014, Carmen Souza junta "Donna Lee" e funaná 2 3. (PT) - Cotonete Online, 17/01/2014, Carmen Souza: Concerto do Dia 4 4. (PT) - Portugal News - Better News Online, 17/01/2014, Carmen Souza apresenta Kachupada na 5 Culturgest 5. (PT) - Público Online, 17/01/2014, Canções de um jazz nascido em Cabo Verde 6 6. (PT) - Público, 17/01/2014, Canções de um jazz nascido em Cabo Verde 8 7. (PT) - RTP Online, 17/01/2014, Carmen Souza apresenta Kachupada na Culturgest 9 8. (PT) - RTP 1 - Jornal da Tarde, 17/01/2014, Carmen Souza está de regresso a Portugal 10 9. (PT) - TSF - Fila J, 17/01/2014, "Fila J" 11 10. (PT) - Sol - Guia TV & Espectáculos, 17/01/2014, Espectáculos e Exposições 12 11. (PT) - Destak, 16/01/2014, Carmen Souza a ver 14 12. (PT) - Diário de Notícias, 16/01/2014, Carmen Souza junta ´Donna Lee´ e funaná 15 13. (PT) - Diário de Notícias Online, 16/01/2014, Dívida das empresas públicas sobre 565 milhões com troika 16 14. (PT) - Diário de Notícias Online, 16/01/2014, Dívida das empresas públicas sobe 565 milhões com troika 20 15. (PT) - SIC Notícias - Cartaz, 16/01/2014, Sugestões 24 16. (PT) - Sábado - Tentações, 16/01/2014, Música 25 17. (PT) - Visão, 16/01/2014, Entrevista a Carmen Souza 27 18. -
X E D I Z I O
X EDIZIONE NORAJAZZ.IT comunicato stampa X EDIZIONE Pula, Teatro Romano di Nora 1-3-8-10 agosto Ultimi preparativi per l’INTERNATIONAL NORA JAZZ FESTIVAL che quest’anno festeggia i suoi primi dieci anni brindando assieme a quattro artiste di fama mondiale. Sul palcoscenico del teatro antico di Nora, dall’1 al 10 agosto, andranno in scena: ROBERTA GAMBARINI, una delle poche vocalist non americane per due volte candidata ai Grammy. CATHERINE RUSSELL, una delle più importanti jazz singers della scena internazionale. MAYRA ANDRADE, protagonista di uno stile che unisce afrobeat, jazz, folk, tradizione capoverdiana. CYRILLE AIMÉE, tra le più apprezzate vocalist europee in terra d’America. C’è una contagiosa gioia di vivere nelle voci di Roberta Gambarini, Catherine Russell, Mayra Andrade e Cyrille Aimée, le quattro artiste protagoniste del nuovo cartellone di concerti chiamate a festeggiare, dall’1 al 10 agosto, la decima edizione dell’International Nora Jazz Festival. Voci grintose, abbaglianti, dai forti vibrati, che fondono blues, pop, morna e afrobeat per poi sciogliersi ineluttabilmente nel jazz. Un’edizione come sempre organizzata dall’Associazione Enti Locali per lo Spettacolo e dal Comune di Pula, che si terrà nella straordinaria atmosfera del teatro antico di Nora. Un appuntamento che si affida al fascino e al mistero dell’universo femminile per invitare il suo affezionato pubblico a quattro serate di gran classe. Palcoscenico tra i più potenti e suggestivi dell’Europa festivaliera, nato sotto il segno della ricerca e della qualità, nella prima decade di agosto Nora Jazz propone un calendario di artiste destinate ad arricchire il parterre di ospiti di fama mondiale che, anno dopo anno, sceglie il festival pulese come unica tappa esclusiva dei suoi tour in Sardegna. -
CARMEN.Maquia
SECTIONS MAGAZINE EVENTS ALERTS RADIO NEWSLETTER LINKS ABOUT US ADVERTISE NOTE: NJ Stage is not affiliated with this event. For ticket info, please contact the venue directly. Ballet Hispanico: CARMEN.maquia Facebook Twitter Print Email Pinterest More Sat, March 21, 2020 @ 7:30pm Category: dance Victoria Theater @ New Jersey Performing Arts Center (NJPAC) One Center Street Newark, NJ 07102 Ballet Hispánico, the nation’s premier Latin dance organization, brings its celebrated CARMEN.maquia, a sensual, full-length work created by Spanish choreographer Gustavo Ramírez Sansano, inspired by Bizet’s beloved opera. Fueled by physically charged choreography that fuses contemporary dance with Spanish paso doble and flamenco, CARMEN.maquia takes its cues from the 1845 novella by Prosper Mérimée and the 1875 opera by Georges Bizet. The ballet tells the dramatic story of Carmen, a spirited gypsy, and her love triangle with the doting Don Jose, an army officer, and Escamillo, a bullfighter. In his version, Sansano reimagines Carmen in a Picasso-inspired setting, with a white, canvas-like set and sculptural costumes made to evoke the inside of traditional flamenco attire. Bizet’s classic score remains the soundtrack, in the form of various orchestral versions with no vocals. Currently under the artistic direction of Eduardo Vilaro, Ballet Hispánico tours worldwide with a diverse repertory by some of the foremost choreographers of our time as well as emerging artists. The company is acclaimed for works that fuse Latin dance with classical and contemporary techniques to create a new style in which theatricality and passion propel every move. “Ballet Hispánico shows what it is to be Latino in the modern world,” says The Financial Times. -
Connection/Separation
Friday, February 12, 2021 | 4 PM MANHATTAN SCHOOL OF MUSIC OPERA THEATRE Tazewell Thompson, Director of Opera Studies presents Connection/Separation Featuring arias and scenes from Carmen, Così fan tutte, Die Zauberflöte, La clemenza di Tito, L’elisir d’amore, Le nozze di Figaro, Les pêcheurs de perles, and Lucio Silla A. Scott Parry, Director MSM Opera Theatre productions are made possible by the Fan Fox and Leslie R. Samuels Foundation and the Joseph F. McCrindle Endowment for Opera Productions at Manhattan School of Music. Friday, February 12, 2021 | 4 PM MANHATTAN SCHOOL OF MUSIC OPERA THEATRE Tazewell Thompson, Director of Opera Studies presents Connection/Separation Featuring arias and scenes from Carmen, Così fan tutte, Die Zauberflöte, La clemenza di Tito, L’elisir d’amore, Le nozze di Figaro, Les pêcheurs de perles, and Lucio Silla A. Scott Parry, Director Myra Huang, Vocal Coach & Pianist Kristen Kemp, Vocal Coach & Pianist Megan P. G. Kolpin, Props Coordinator DIRECTOR’S NOTE In each of our lives—during this last year especially—we may have discovered ourselves in moments of wanting, even needing some sort of human connection, but instead finding separation by any number of barriers. In the arias and scenes that follow, we witness characters in just this kind of moment; searching for meaningful contact yet being somehow barred from achieving it. Through circumstance, distance, convention, misunderstanding, pride, fear, ego, or what have you, we may find ourselves in situations similar to the characters in this program, while looking forward to the days when connection can be more easily achieved and separation the exception to the rule. -
Ninth Periodic Report Submitted by Cabo Verde to CEDAW
CEDAW/C/CPV/9 Distr.: General 9 February 2018 Original: English ADVANCE UNEDITED VERSION Committee on the Elimination of Discrimination against Women Ninth periodic report submitted by Cabo Verde under article 18 of the Convention, due in 2017* [Date received: 9 February 2018] * The present document is being issued without formal editing. Note: The present document is being circulated in English, French and Spanish only. CEDAW/C/CPV/9 Contents Page List of Abbreviations ........................................................................................................................ 3 Introduction ..................................................................................................................................... 5 I. Implementation of recommendations ..................................................................................... 5 Recommendation 1: Parliament ...................................................................................................... 5 Recommendation 2: Visibility of the Convention, the Optional Protocol and the Committee’s General Recommendations ............................................................................................................................ 6 Recommendation 3: National human rights institution .................................................................... 6 Recommendation 4: National machinery for the advancement of women ....................................... 7 Recommendation 5: Temporary special measures .......................................................................... -
How to Play in a Band with 2 Chordal Instruments
FEBRUARY 2020 VOLUME 87 / NUMBER 2 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. -
Basques in the Americas from 1492 To1892: a Chronology
Basques in the Americas From 1492 to1892: A Chronology “Spanish Conquistador” by Frederic Remington Stephen T. Bass Most Recent Addendum: May 2010 FOREWORD The Basques have been a successful minority for centuries, keeping their unique culture, physiology and language alive and distinct longer than any other Western European population. In addition, outside of the Basque homeland, their efforts in the development of the New World were instrumental in helping make the U.S., Mexico, Central and South America what they are today. Most history books, however, have generally referred to these early Basque adventurers either as Spanish or French. Rarely was the term “Basque” used to identify these pioneers. Recently, interested scholars have been much more definitive in their descriptions of the origins of these Argonauts. They have identified Basque fishermen, sailors, explorers, soldiers of fortune, settlers, clergymen, frontiersmen and politicians who were involved in the discovery and development of the Americas from before Columbus’ first voyage through colonization and beyond. This also includes generations of men and women of Basque descent born in these new lands. As examples, we now know that the first map to ever show the Americas was drawn by a Basque and that the first Thanksgiving meal shared in what was to become the United States was actually done so by Basques 25 years before the Pilgrims. We also now recognize that many familiar cities and features in the New World were named by early Basques. These facts and others are shared on the following pages in a chronological review of some, but by no means all, of the involvement and accomplishments of Basques in the exploration, development and settlement of the Americas. -
Carmen Souza
CARMEN SOUZA Carmen Souza was born 27 years ago in Lisbon within a Christian family of Cape Verdeans. She grew up in a mixed language environment of Creole, the Cape Verde dialect her parents spoke at home, and Portuguese, always surrounded by the Cape Verdean way of life. In her teens she sang professionally in a Lusophone Gospel Choir and later participated in several projects ranging through such musical genres as Funk, Soul, Jazz and World music. Being a strongly spiritual person, Carmen always saw music as her mission and felt privileged to have the opportunity to express herself through it, working hard every day to deserve that opportunity. Musicians like Luis Morais, Theo Pas'cal, Ella Fitzgerald, Joe Zawinul, Herbie Hancock, Keith Jarret, Diana Krall, etc, are definitely those that truly inspire her evolution and search for a unique personal style. Theo Pas'cal, her producer and mentor and one of the best bass players in Portugal, discovered her talent and introduced Carmen to Jazz, Fusion and other contemporary sounds that markedly influenced her musical development. In 2003, Carmen began working with Theo on the compositions that would be included on her début album Ess ê nha Cabo Verde. Carmen wanted to create a new sound, in her ancestor’s dialect Creole, that would mix traditional African and Cape Verde rhythms like Batuke, Morna, Cola djon, and others, with her jazz contemporary influences, in a totally intimate and acoustic vibe, different from the traditional festive environment of Cape Verdean sounds. Ess ê nha Cabo Verde, was released two years later in 2005 to critical acclaim and led to her international breakthrough performance at the WOMAD at Reading Festival of the same year. -
Fascinating New Disc...Souza Infuses Silver's Repertoire with A
CARMEN SOUZA | PRESS QUOTES «fascinating new disc...Souza infuses Silver’s repertoire with a few Cape Verdean creole musical idioms, such as funaná (an accordion-powered dance music) and the rhythmically rubato and social-conscious coladeira, as well as Northern Brazil's pulsating duple-metered dance music, baião. She glides thorough these styles and in between sings in Portuguese, English and creole with supple ease and superb invention.» ~ John Murph, 4**** Downbeat Magazine (USA) «What Souza creates is more than a fusion of two worlds, it´s simply beautiful music…It's hard to imagine a more moving homage to one of her heroes.» ~ Gonçalo Frota, 4**** Songlines Magazine (UK) «The Silver Messengers' delivers as the ultimate tribute» ~ Imran Mirza, 4**** UKVIBE.org (UK) «In the interpretation of these songs she changes in a breath-taking speed from scat singing to virtuoso rapping and back» ~ AUDIO Magazine (DE) 4**** «...she and her musicians put a Latin slant on everything but manage to keep the essence of Horace's music intact» ~ JazzJornal (UK) 3*** 'SOUL SEARCHING: 'Superb from Carmen Souza' Marl bank (UK) «Her voice, singing technic, her grace and knowledge make her jazz loved worldwide... A super CD» ~ FOLKMAGAZIN (DE) «Carmen Souza her fellow musicians thrill the listener immediately and guarantee a very special musical enjoyment...Outstanding!» ~ WEGOTMUSIC.DE (DE) «I was really surprised by the Portuguese-Cape Verdean singer Carmen Souza, who, with The Silver Messengers, brings a particularly beautiful tribute to the legendary American-Cape Verdean jazz pianist, singer and composer Horace Silver.» ~ Heaven Magazine (NL) «The band are terrific. -
Cape Verde and Brazil Musical Connections
Cape Verde and Brazil Musical Connections Juliana Braz Dias Universidade de Brasília / University of Pretoria Introduction The insertion of Brazilian music in contexts outside of the country is no lon- ger a novelty. Indeed, the media often reports on these musical flows. For instance, newspapers and specialized magazines have played a crucial role in highlighting the presence of Brazil on the international stage through reports on Grammy Awards won by Brazilian musicians (namely, Sérgio Mendes, Milton Nascimento, Gilberto Gil, Caetano Veloso e João Gilberto). Another example is the increased visibility of concerts featuring Brazilian artists in other countries, such as the Brazilian Day in New York, which attracts more than a million people to the streets of that city – above all Brazilians, but also North-Americans and migrants from other countries. However, it should be noted that the presence of Brazilian music outside of the country’s borders is not necessarily related to the global cultural indus- try, neither to the impact of recent migration processes. Musical exchanges involving Brazilian musicians have been going on for some time, in multiple ways, following diverse routes and movements of people. In this article, I focus on a particular trajectory that some forms of Brazilian music have taken. I refer to the Atlantic flows that allowed for the arrival of music and musicians from Brazil to Cape Verde, deeply influencing musical productions in the archipelago. Adopting an anthropological ap- proach, I seek to engage with discourses articulated by Cape Verdeans on the role of “Brazilian music” (as they understand it) and its relationship to the music produced in Cape Verde.