Programa Cultural Del Festival De Jazz
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Richard Vinton Quartet
CONCIERTO GRATUITO CAN QUET ABRE A LAS 19:00 H Y EL CONCIERTO COMIENZA A LAS 20:00 H. LA COCINA ESTÁ ABIERTA DESDE LAS 19.00 H. FREE CONCERT CAN QUET OPENS AT 7 P.M. AND THE CONCERT STARTS AT 8 P.M. THE KITCHEN OPENS ON 7 P.M. RICHARD VINTON QUARTET EN CONCIERTO / IN CONCERT Ctra. Valldemossa-Deià, s/n. JAZZ 07179 - Deià - Illes Balears Sábado 14 de Octubre a las 20.00h Tel: (+34) 971 639 196 Saturday October 14th, 8 pm [email protected] www.restaurantecanquet.com @canquetdeya Abierto: Miércoles a Domingo 19:00 a 24:00 h Parking para Clientes Concierto GRATUITO / FREE Concert RICHARD VINTON piano RICHARD VINTON piano El conocido pianista, arreglista y educador nació en Florida, The well-known pianist, arranger and educator was born in Florida, USA. Apart EEUU. Aparte de sus Bachelors de Música del New England from his Music Bachelors of the New England Conservatory in Boston and his Conservatory en Boston y su Masters de Música de la University Masters of Music from the University of Miami he studied jazz piano and com- of Miami estudió jazz piano y composición en la Berklee College position at the Berklee College of Music and worked among others with the of Music y trabajó entre otros con the Mavericks y Tony Bennett. Mavericks and Tony Bennett. En Mallorca Richard ha colaborado con The Drifters (Son Amar), Richard, who lives in Mallorca since twenty years, has collaborated with The Drifters Come Fly With Me (Gran Casino Mallorca), Michelle McCain, (Son Amar), Come Fly With Me (Gran Casino Mallorca), Michelle McCain, Jaime An- Jaime Anglada, Conxa Buika, Cap Pella y la Orquestra Simfònica glada, Conxa Buika, Cap Pella and the Symphony Orchestra of the Balearic Islands. -
El Ritmo De Las Palabras: Concha Buika
MUSIC El ritmo de las palabras: NEW YORK Concha Buika Wed, June 17, 2015 7:00 pm Venue Instituto Cervantes, 211 East 49th Street, New York, NY 10017 View map Phone: 212-308-7720 Admission Free admission, limited seating. RSVP required at [email protected] by Tuesday, June 16. More information Instituto Cervantes New York The Spanish Grammy winning artist Concha Buika will Credits ‘perform’ poems, stories and chants from her recent book, A Organized by the Consulate general of Spain in New York, Instituto los que amaron a mujeres difíciles y acabaron por soltarse. Cervantes New York and Books & Books. Born in Palma de Mallorca, Spain, as the daughter of African parents and hailed as a star in contemporary world music, jazz, flamenco, and fusion, Buika posesses a unique blend of influences as well as a remarkable voice –raw and smoky, but with a tenderness that hits right at the heart, vibrantly deploying her rich, sensual and husky instrument. In 2011, NPR listed her spellbinding sound among its 50 Great Voices, calling hers the voice of freedom. She has received multiple awards and nominations, such as Latin Grammys for Best Album and Best Production for Niña de Fuego and Best Traditional Tropical Album for El Último Trago, and she was nominated again in 2014 for Record of the Year for La Noche Más Larga and for Best Latin Jazz Album at the 2014 Grammy Awards. Book purchase necessary to attend. Book signing after the event. Embassy of Spain – Cultural Office | 2801 16th Street, NW, Washington, D.C. 20009 | Tel: (202) 728-2334 View this event online: https://www.spainculture.us/city/new-york/el-ritmo-de-las-palabras-concha-buika/ Created on 09/27/2021 | Page 1 of 1. -
Estrella Morente Lead Guitarist: José Carbonell "Montoyita"
Dossier de prensa ESTRELLA MORENTE Vocalist: Estrella Morente Lead Guitarist: José Carbonell "Montoyita" Second Guitarist: José Carbonell "Monty" Palmas and Back Up Vocals: Antonio Carbonell, Ángel Gabarre, Enrique Morente Carbonell "Kiki" Percussion: Pedro Gabarre "Popo" Song MADRID TEATROS DEL CANAL – SALA ROJA THURSDAY, JUNE 9TH AT 20:30 MORENTE EN CONCIERTO After her recent appearance at the Palau de la Música in Barcelona following the death of Enrique Morente, Estrella is reappearing in Madrid with a concert that is even more laden with sensitivity if that is possible. She knows she is the worthy heir to her father’s art so now it is no longer Estrella Morente in concert but Morente in Concert. Her voice, difficult to classify, has the gift of deifying any musical register she proposes. Although strongly influenced by her father’s art, Estrella likes to include her own things: fados, coplas, sevillanas, blues, jazz… ESTRELLA can’t be described described with words. Looking at her, listening to her and feeling her is the only way to experience her art in an intimate way. Her voice vibrates between the ethereal and the earthly like a presence that mutates between reality and the beyond. All those who have the chance to spend a while in her company will never forget it for they know they have been part of an inexplicable phenomenon. Tonight she offers us the best of her art. From the subtle simplicity of the festive songs of her childhood to the depths of a yearned-for love. The full panorama of feelings, the entire range of sensations and colours – all the experiences of the woman of today, as well as the woman of long ago, are found in Estrella’s voice. -
Buika Vocals Dani De Morón Guitar Ramón Porrina Cajon Jose Manuel «Popo» Posada Oviedo Double Bass
Autour du monde Lundi / Montag / Monday 23.03.2015 20:00 Grand Auditorium Buika vocals Dani de Morón guitar Ramón Porrina cajon Jose Manuel «Popo» Posada Oviedo double bass ~90’ sans entracte / ohne Pause Dans le cadre du «Printemps musical – Festival de Luxembourg» Coopération avec Luxembourg City Tourist Office, Events & Culture (LCTO) Buika & Band Richard Robert En 2008, sur la pochette de son album «Niña de fuego», Concha Buika, née María Concepción Balboa Buika, pose nue, assise de trois quarts dos, sa chevelure de jais tombant en éclaboussures sur la roche noire de ses épaules, telle une Vénus africaine sor- tant du bain. Aux journalistes qui viennent alors l’interviewer, l’Espagnole originaire de Guinée équatoriale, dans l’un de ces rires carnassiers qui, à intervalles réguliers, dévorent la fin de ses phrases, a coutume d’expliquer qu’elle a préféré se rhabiller pour partir à leur rencontre. Avant d’ajouter que c’est dans l’art du chant qu’elle aime avant tout s’exhiber dans le plus simple appa- reil. «La musique est le dernier endroit où j’ai envie de me travestir et de mentir, déclare-t-elle ainsi. Dans la vie, il existe plein de circonstances dans lesquelles je ne trouve pas nécessaire de dire la vérité. Mais quand je chante, je n’ai pas d’autre choix que de me dévoiler. La musique me per- met d’accéder à une certaine forme de liberté intérieure, que je chéris par- dessus tout et que je ne pourrais pas atteindre par le biais du mensonge.» Dans d’autres bouches, ces propos pourraient aisément passer pour une banale profession de foi, entonnée sur l’air mille fois rebattu de «Je suis forcément une grande chanteuse, puisque je vous ouvre mon cœur.» Mais il n’y a pas de chantage à la sincérité chez Buika, dont la voix granuleuse et perforante s’est forgée loin des scènes et des projecteurs, au contact brûlant du flamenco des gitans de Palma de Majorque, la ville où elle est née et a grandi, avant de s’acérer encore un peu plus à la flamme du blues, du funk ou de la soul. -
Jazzweek with Airplay Data Powered by Jazzweek.Com • November 30, 2009 Volume 6, Number 2 • $7.95
JazzWeek with airplay data powered by jazzweek.com • November 30, 2009 Volume 6, Number 2 • $7.95 Jazz Album No. 1: Jeff Hamilton Trio Smooth Album No. 1: Jessy J True Love Symbiosis (Capri) (Peak) World Music No. 1: Various Artists Daptone Smooth Single No. 1: Jessy J “Tropical Gold (Daptone) Rain” (Peak) Jazz Album Chart .................... 3 Jazz Radio Currents .................. 8 Smooth Jazz Album Chart ............. 4 Jazz Radio Panel ................... 11 Smooth Singles Chart ................. 5 Key Non-Monitored Jazz Stations . 12 World Music Album Chart.............. 6 Smooth Jazz Current Tracks........... 13 Jazz Add Dates ...................... 7 Smooth Jazz Station Panel............ 14 Jazz Birthdays November 30 December 9 December 14 Jack Sheldon (1931) Bob Scobey (1916) Budd Johnson (1910) Johnny Dyani (1945) Donald Byrd (1932) Ted Buckner (1913) December 1 Jimmy Owens (1943) Clark Terry (1920) Jimmy Lyons (1933) December 10 Cecil Payne (1922) Jaco Pastorius (1951) Ray Nance (1913) Phineas Newborn (1931) Jerome Cooper (1946) December 2 Bob Cranshaw (1932) Dan Barrett (1955) Charlie Ventura (1916) Franco Ambrosetti (1941) Wynton Kelly (1931) Dianne Schuur (1953) December 15 Ole Amund Gjersvik (1963) Stan Kenton (1911) December 3 Billy Butler (1925) Sylvia Syms (1919) December 11 Gene Quill (1927) Herbie Nichols (1919) McCoy Tyner (1938) Barry Harris (1929) Webster Young (1932) December 12 Curtis Fuller (1934) Eddie Barefield (1909) December 4 Dannie Richmond (1935) Frank Sinatra (1915) Russell Jacquet (1917) Eddie Palmieri (1936) Jim Hall (1930) Bob Dorough (1923) December 16 Dennis Charles (1933) Dodo Marmarosa (1925) Andy Razaf (1895) Andy LaVerne (1947) Joe Williams (1928) Toshiko Akiyoshi (1929) Turk Murphy (1915) December 5 Grover Washington, Jr. -
Lawrence Today, Volume 91, Number 1, Fall 2010 Lawrence University
Lawrence University Lux Lawrence Today 10-1-2010 Lawrence Today, Volume 91, Number 1, Fall 2010 Lawrence University Follow this and additional works at: http://lux.lawrence.edu/lawrencetoday © Copyright is owned by the author of this document. Recommended Citation Lawrence University, "Lawrence Today, Volume 91, Number 1, Fall 2010" (2010). Lawrence Today. Book 3. http://lux.lawrence.edu/lawrencetoday/3 This Book is brought to you for free and open access by Lux. It has been accepted for inclusion in Lawrence Today by an authorized administrator of Lux. For more information, please contact [email protected]. From the President Dear Lawrentians, Much like the students who graduate from Lawrence University the fore the remarkable achievements of Lawrence University, its each year, this institution, too, is on a path of continuous students and faculty. transformation. The core remains unchanged — an abiding commitment to the ideals of liberal learning — and our mission In 2010, we are very proud that considerable progress has been statement and educational philosophy are the anchors to the made in the past five years and that our work is producing university’s traditions and reason for being, providing guidance to distinguished results. We have significant momentum on our side the administration and faculty as we move into the second decade as we welcome the Class of 2014. of the millennium. Because transformation is an unending process, not a task to be Lawrence today, however, is not your grandfather’s (or grandmother’s) checked off a list when completed, it is safe to say we are eager Lawrence University and it should not be so. -
XI Seminario De Jazz Ciudad De a Coruña
del 27 de junio al 2 julio de 2011. Fecha límite de entrega el 23 de junio 2011. del 27 de junio al 2 julio 2011. Fecha límite entrega XI Seminario de jazz ciudad A Coruña Provincia: Localidad: CP: Teléfono: E-mail: Dirección: y apellidos: Nombre CONTENIDOS Instrumento, improvisación, canto, combos, Big Band, XI Seminario de jazz armonía, arreglo y composición. PROFESORADO OBJETIVOS DIRECTOR DEL SEMINARIO: ciudad de A Coruña Convertir el Seminario de Jazz, de la Escuela Municipal de del 27 de junio al 2 julio de 2011 Música de A Coruña, en una cita anual para los amantes JOSE ACUÑA. de este estilo de música. Guitarra y bajo. Ofrecer una alternativa educativa, creando un foro de encuentro entre destacados profesionales y jóvenes músicos, donde compartir experiencias, en una semana SCOTT STROMAN. de jornada intensiva, para la posterior creación y Trombón y voz. desarrollo musical. ¿A QUIEN VA DIRIGIDO? JEAN TOUSSAINT. A estudiantes, a jóvenes músicos y a profesores Saxofón. interesados en mejorar, ampliar o perfeccionar su formación musical, académica y profesional, en las materias de Ios distintos estilos musicales. NIKKI ILES. Piano. CUOTAS Y CONDICIONES DE INSCRIPCIÓN El precio del Seminario es de: - 80 euros para los alumnos de la Escuela Municipal de BRIAN ABRAHAMS. Música de A Coruña. Batería y percusión. - 160 euros para los alumnos externos. Se abonarán en la C.C. de Novacaixagalicia: 2091-0008-10-3040017168, indicando en el concepto Firma Fecha: Instrumento: DNI: Fecha de nacimiento: "Seminario de Jazz". El recibo de ingreso en el banco, junto con el Boletín de Inscripción deberán entregarse en la Administración de la Escuela Municipal de Música de A Coruña. -
Jazzweek with Airplay Data Powered by Jazzweek.Com • May 10, 2010 Volume 6, Number 24 • $7.95
JazzWeek with airplay data powered by jazzweek.com • May 10, 2010 Volume 6, Number 24 • $7.95 Jazz Album No. 1: Catherine Russell, Inside Smooth Album No. 1: Sade, Solider of Love This Heart Of Mine (World Village/Harmonia (Sony) Mundi USA) World Music No. 1: Ana Tijoux, 1977 Smooth Single No. 1: Bernie Williams, (Nacional) “Ritmo De Otono” (w/ Dave Koz) (Reform/ Rock Ridge) JazzWeek Summit 2010: Register now at http://summit.jazzweek.com/ Jazz Album Chart .................... 3 Jazz Add Dates ...................... 7 Smooth Jazz Album Chart ............. 4 Jazz Radio Currents .................. 8 Smooth Singles Chart ................. 5 Jazz Radio Panel ................... 11 World Music Album Chart.............. 6 Smooth Jazz Current Tracks........... 13 Smooth Jazz Station Panel............ 14 Jazz Birthdays May 10 May 18 May 25 Mel Lewis (1929) Big Joe Turner (1911) Jimmy Hamilton (1917) Ahmed Abdullah (1947) Kai Winding (1922) Marshall Allen (1924) May 11 May 19 Phil Ranelin (1939) King Oliver (1885) George Auld (1919) Wallace Roney (1960) Irving Berlin (1888) Cecil McBee (1935) May 26 J C Higginbotham (1906) Sonny Fortune (1939) Shorty Baker (1914) Carla Bley (1938) Tom Scott (1948) Miles Davis (1926) May 12 May 20 Lew Tabackin (1940) Gerald Wiggins (1922) Jimmy Blythe (1901) May 27 Gary Peacock (1935) Bob Florence (1932) Albert Nicholas (1900) May 13 Charles Davis (1933) Bud Shank (1926) Maxine Sullivan (1911) Rufus Harley (1936) Ramsey Lewis (1935) Gil Evans (1912) Ralph Peterson (1962) Niels-Henning Ørsted-Pedersen (1946) Woody -
Uncorrected Proof
18 Almodóvar ’ s Global Musical Marketplace Kathleen M. Vernon On December 11, 2007 Pedro Almodóvar convened a news conference at the Reina Sofía Museum in Madrid to celebrate the release of the double CD B.S.O. Almodóvar (Banda Sonora Original, original film score) during which he also announced the beginning of shooting for his seventeenth feature film, Los abrazos rotos / Broken Embraces (2009). Lest his audience fail to have noted the consistent imbrication of music and cinema, song and story in his body of work, the director called attention to this linkage in his words of introduction: “Las canciones en mis películas son parte esencial del guión . [T]ienen una función drámatica y narrativa, son tan descriptivas como los colores, la luz, los decorados, o los diálogos” (The songs in my films are an essential part of the script. They have a dramatic and narrative function; they are as descriptive as the use of color, lighting, scenery or dialogue) (Almodóvar 2007 ). Rather than attempting to illustrate the accuracy of these comments, the goal of this chapter is to explore the global contours of the texts and contexts of the larger Almodovarian creative universe, focusing less on the films themselves than on what we might call the Almodóvar discography. Thus the Almodóvar I propose to study is not the film director contemporary of a Lars von Trier, Quentin Tarantino or Gus Van Sant but instead the musician-producer- transcultural impresario whose fellow practitioners are Ry Cooder, Paul Simon and David Byrne or even Almodóvar ’ s own collaborator, Caetano Veloso. This model of the cultural entrepreneur also recalls the longstanding comparisons between Almodóvar and Andy Warhol, who in his multiple roles of “painter and sculptor, rock promoter, film producer, advertiser, starmaker and stargazer” is described by Juan A. -
Charles Armstrong 24 October 2012 Linguistics Research Thesis Advisor: Prof
Charles Armstrong 24 October 2012 Linguistics Research Thesis Advisor: Prof. Aaron Dinkin Vox Evocative: Pinpointing a possible sociological strategy for the typing of the phonatory and articulatory features of a singing genre Introduction The human singing voice. Discrepancies in the quantification and description of the work of our vocal cords offer a seemingly eternal source of academic discord. Despite the ubiquity of familiarity with singing voices, scientists and listeners alike seem to still perpetuate these massive discrepancies over the shared experience of listening to singing voices. One might expect a phenomenon almost as accessible as observing the blueness of the sky to have a consensual academic explanation. However, despite the amount of attention paid to the phenomenon of human singing by scientists and listeners around the world, much discordance and attention remains over how to describe and quantify this experience. Maybe this aforementioned academic conflict over quantitative and qualitative evaluations of the singing voice owes to the sheer acoustic diversity of human singing voices. If singing voices and styles were more homogenous objective entities, maybe the work of voice scientists and critical listeners would be simpler. Works of science fiction, even popular cartoons like Dexter's Laboratory and Family Guy, beg the comparison of voice scans to fingerprints. Just like the right voice evokes a response in these fictitious scanning machines, certain vocal qualities tend to evoke certain evaluations by humans. The ubiquity of references such as the ones from the described cartoons makes a case for the existence of a common latent acceptance of the unique and evocative qualities of the human voice. -
Mariza Vocals António Neto Portuguese Guitar Pedro Jóia Acoustic Guitar Nando Araújo Double Bass Vicky Marques Drums, Percussion
Autour du monde Vendredi / Freitag / Friday 11.10.2013 20:00 Grand Auditorium Mariza vocals António Neto Portuguese guitar Pedro Jóia acoustic guitar Nando Araújo double bass Vicky Marques drums, percussion ~90’ sans entracte / ohne Pause Backstage 18:45 Salle de Musique de Chambre Film: Mariza and the Story of Fado by Simon Broughton (2006) (VO E, P / ST E) – 58’ «Uma estranha forma de vida» Mariza Agnès Pellerin Mariza est très vite devenue au Portugal et dans le monde glo- balisé de la world music, un véritable phénomène, dont les pres- tations sur scène ont tout de suite dépassé le simple concert de fado. Sa carrière fulgurante l’a hissée en l’espace de quelques an- nées seulement au sommet des records de ventes et de succès. Son premier album Fado em mim lancé en 2001, sera édité dans 32 pays par la firme hollandaise World Connection alors qu’il était initialement prévu en autoédition. Au Portugal, il est ven- du en quelques semaines à plus de dix mille exemplaires. Deux ans plus tard, son deuxième album, Fado curvo, produit par Carlos Maria Trindade, musicien du groupe Madredeus, devient Disque d’or au Portugal et donne lieu à une tournée mondiale d’une ampleur rarement égalée par un artiste portugais. En 2003 toujours, la BBC Radio 3 consacre Mariza meilleure artiste eu- ropéenne de l’année, dans la catégorie world music. L’année sui- vante, Pedro Santana Lopes, alors maire de Lisbonne, fera écho à cette aura internationale en la nommant ambassadrice de la candidature du fado au patrimoine culturel oral et immatériel de l’humanité de l’Unesco aux côtés de Carlos do Carmo. -
No Country for Black Women Tipografía: L&O Ilustración De Cubierta: Goyo Rodríguez Creativo Al Cuidado De La Edición: Olaya García Silvia Albert Sopale
No Country for Black Women tipografía: l&o ilustración de cubierta: Goyo Rodríguez Creativo al cuidado de la edición: olaya garcía Silvia Albert Sopale No Country for Black Women In collaboration with Maria Eugenia Santa Cruz, Carolina Torres Topaga and Laura Freijo Justo Translated and introduced by Paola Prieto López krk ediciones · 2019 With the poem “Me gritaron negra” by Maria Eugenia Santa Cruz Th is project has received funding from the European Union’s Horizon 2020 research and innovation programme under the Marie Skłodowska-Curie grant agreement Nº 675378. © Silvia Albert Sopale © de la traducción Paola Prieto López © de esta edición Krk Ediciones www.krkediciones.com Álvarez Lorenzana, 27. Oviedo isbn 978-84-8367-648-6 Depósito legal as-1370-2019 Grafi nsa. Oviedo Contents Introduction Paola Prieto López. 9 no country for black women 1. Sleep Little Black Child . 27 2. At recess . 31 3. In class . 34 4. Hop-Scotch . 36 5. Her parents . 38 6. Th e Story of the First Boyfriend . 39 7. Africa . 48 8. Th e Great-Grandmother’s House . 50 9. Th e Return . 53 — 7 — paola prieto lópez Introduction The play Th e relevance of the play No Country for Black Wome n by Silvia Albert Sopale, aside from its un- deniable artistic and cultural value, lies in being the fi rst attempt, or one of the fi rst attempts, to represent through theatre the experiences of the Afro-Spanish community, a concept which until recently was not even part of the popular imaginary and which, even today, continues to be used timidly despite the grow- ing presence of this group in Spain.