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Unissons ! RYTHME, MUSIQUE ET DANSE, COMPOSONS ENSEMBLE AUTOUR DE AKZAK L’IMPATIENCE D’UNE JEUNESSE RELIÉE CRÉATION FATTOUMI/LAMOUREUX 2020
UnisSONS ! RYTHME, MUSIQUE ET DANSE, COMPOSONS ENSEMBLE AUTOUR DE AKZAK L’IMPATIENCE D’UNE JEUNESSE RELIÉE CRÉATION FATTOUMI/LAMOUREUX 2020 © Laurent Philippe DANSE PREAC DANSE DE FRANCHE-COMTÉ Direction FATTOUMI/LAMOUREUX 12E SÉMINAIRE NATIONAL DU PÔLE DE RESSOURCES POUR L’ÉDUCATION ARTISTIQUE ET CULTURELLE DU JEUDI 6 AU SAMEDI 8 FÉVRIER 2020 Salle des Fêtes, 11 place de la République, 90000 Belfort SOMMAIRE Présentation du PREAC 3 Le 12e séminaire national PREAC 2020 4 • Contexte - à propos de la pièce AKZAK • Fil rouge • Objectifs Déroulé 5 Notes d’intention des interventions 6 Biographies des intervenants 8 Les participants 11 Informations pratiques 19 Remerciements 20 Contacts •2 PRÉSENTATION DU PREAC Les PREAC – Pôles de ressources pour l’éducation artistique et culturelle – sont des instances partenariales dont les missions sont doubles : • La formation de formateurs pour les publics Éducation et Culture • La production de ressources transférables nationalement pour développer des projets d’éducation artistique et culturelle (EAC) En savoir plus : www.reseau-canope.fr/pole-de-ressources-pour-leducation- artistique-et-culturelle Le PREAC Danse Franche-Comté fait partie des six PREAC danse et des 38 PREAC à l’échelle du territoire national, tous domaines artistiques confondus. Dans le cadre de ses missions de formation, il propose deux types d’activités : un séminaire national de trois jours (biannuel) et des ateliers en région (quatre à cinq par an). Le PREAC Danse est placé sous la double autorité du Recteur de région académique -
Robert GADEN: Slim GAILLARD
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Robert GADEN: Robert Gaden -v,ldr; H.O. McFarlane, Karl Emmerling, Karl Nierenz -tp; Eduard Krause, Paul Hartmann -tb; Kurt Arlt, Joe Alex, Wolf Gradies -ts,as,bs; Hans Becker, Alex Beregowsky, Adalbert Luczkowski -v; Horst Kudritzki -p; Harold M. Kirchstein -g; Karl Grassnick -tu,b; Waldi Luczkowski - d; recorded September 1933 in Berlin 65485 ORIENT EXPRESS 2.47 EOD1717-2 Elec EG2859 Robert Gaden und sein Orchester; recorded September 16, 1933 in Berlin 108044 ORIENTEXPRESS 2.45 OD1717-2 --- Robert Gaden mit seinem Orchester; recorded December 1936 in Berlin 105298 MEIN ENTZÜCKENDES FRÄULEIN 2.21 ORA 1653-1 HMV EG3821 Robert Gaden mit seinem Orchester; recorded October 1938 in Berlin 106900 ICH HAB DAS GLÜCK GESEHEN 2.12 ORA3296-2 Elec EG6519 Robert Gaden mit seinem Orchester; recorded November 1938 in Berlin 106902 SIGNORINA 2.40 ORA3571-2 Elec EG6567 106962 SPANISCHER ZIGEUNERTANZ 2.45 ORA 3370-1 --- Robert Gaden mit seinem Orchester; Refraingesang: Rudi Schuricke; recorded September 1939 in Berlin 106907 TAUSEND SCHÖNE MÄRCHEN 2.56 ORA4169-1 Elec EG7098 ------------------------------------------ Slim GAILLARD: "Swing Street" Slim Gaillard -g,vib,vo; Slam Stewart -b; Sam Allen -p; Pompey 'Guts' Dobson -d; recorded February 17, 1938 in New York 9079 FLAT FOOT FLOOGIE 2.51 22318-4 Voc 4021 Some sources say that Lionel Hampton plays vibraphone. 98874 CHINATOWN MY CHINATOWN -
Tin Pan American Roots Music
Tin Pan american roots music Band Members: CD Sales Jesse Selengut vocals / trumpet / piano Early Jazz and Americana (2007) 11,808 Steve Wood vocals / acoustic bass Alice McNulty (2008) 2,850 Hound’s Tooth (2009) 8,134 Pete Smith vocals / resophonic guitar Underdogs and Thundercats (2011) 8,875 Anders Zelinski drums The Home Bartender’s Songbook (2011) 6,640 Yes Yes Yes (2015) 1,562 City Life (2017) 432 Musical Style: TOTAL CD SALES 40,301 American roots music featuring elements of jazz, blues, county and rock. Distribution: City of Origin: • Regional Distribution through BEST BUY Tin Pan is based out New York City and Izmir, • Online distribution with through CDbaby, Turkey iTunes, and Digstation.com Performances Highlights: Additional Data: • US Open at Arthur Ashe Stadium - opening • Over 150 live performances per year. ceremonies for men’s final match • Member of Music Under New York Arts for • Appearances at Joe’s Pub for SOLD OUT crowds. Transit Program • Two performances at the Guggenheim Museum, • Festival Performances include the HOWL one of them in the Main Rotunda festival, the Williamsburg Jazz Festival, the • Michael Bloomberg’s Musical Guest MUNY Jazz Festival, The Cape Cod Jazz • Host band for the Shorty Awards, performance Festical with MC Hammer • Television appearances on The Today Show, • Performance at the Louis Armstrong House NY1, Fox News, ABC News, ESPN Museum • Radio appearances on WOR FM, WKCR (The • Performacne at Teatro Nuovo in Milan, Italy musician’s show) and WVBR (Ithaca, NY) • Corporate clients include Google, and Time Warner Contact Information: TIN PAN 718.913.9755 [email protected] www.tinpanband.com Like Ray Charles and Tom Waits hanging out in New Orleans TIN PAN • 47-50 41st Street #5a • Sunnyside, NY 11104 CONTACT: 718.913.9755 • [email protected] • tinpanband.com Tin Pan american roots music PRESS CLIPS: The New York Times: “I love this music! I love the dancing! I love it! [...} A strong, bluesy voice full of heart. -
Youn Sun Nah Biographie English 2013
YOUN SUN NAH Born on August 28, 1969 in Seoul/Korea Youn Sun Nah grew up in a musical family: her father was a conductor, her mother a classical singer. She made her musical debut as a singer at age 23 with a concert with the Korean Symphony Orchestra, and went on to perform in numerous Korean musicals on a national stage, for which she has received numerous awards. However, she did not find that musical environment fulfilling. She decided to go to Paris in 1995 to study jazz and French chanson at the CIM school (one of the oldest jazz schools in Europe), at the National Music Institute of Beauvais, and at the Nadia and Lili Boulanger Conservatory. Her innate talent for jazz revealed itself when she started playing in Parisian jazz clubs with her group, the Youn Sun Nah 5tet. She made her rounds on the Paris club scene, performances that would earn her invitations to work with many famous musicians. Youn Sun Nah made strong showing in a number of jazz competitions like La Défense, St. Maur, and Montmartre. She became the buzzword in theatres and festivals all over France, while also performing in Korea, essentially managing simultaneous careers in two countries. Producing five albums in six years, she held numerous performances in France, Europe, and in Asia including Korea. Such vigorous activity would earn her an award as “Best Artist” in the Crossover category in Korea in 2004. The same year, the release of So I Am... was widely celebrated by French audiences as well as the press, who regarded her as one of the most remarkable singers of this generation. -
JELLY ROLL MORTON's
1 The TENORSAX of WARDELL GRAY Solographers: Jan Evensmo & James Accardi Last update: June 8, 2014 2 Born: Oklahoma City, Oklahoma, Feb. 13, 1921 Died: Las Vegas, Nevada, May 25, 1955 Introduction: Wardell Gray was the natural candidate to transfer Lester Young’s tenorsax playing to the bebop era. His elegant artistry lasted only a few years, but he was one of the greatest! History: First musical studies on clarinet in Detroit where he attended Cass Tech. First engagements with Jimmy Raschel and Benny Carew. Joined Earl Hines in 1943 and stayed over two years with the band before settling on the West Coast. Came into prominence through his performances and recordings with the concert promoter Gene Norman and his playing in jam sessions with Dexter Gordon.; his famous recording with Gordon, “The Chase” (1947), resulted from these sessions as did an opportunity to record with Charlie Parker (1947). As a member of Benny Goodman’s small group WG was an important figure in Goodman’s first experiments with bop (1948). He moved to New York with Goodman and in 1948 worked at the Royal Roost, first with Count Basie, then with the resident band led by Tadd Dameron; he made recordings with both leaders. After playing with Goodman’s bigband (1948-49) and recording in Basie’s small group (1950-51), WG returned to freelance work on the West Coast and Las Vegas. He took part in many recorded jam sessions and also recorded with Louie Bellson in 1952-53). The circumstances around his untimely death (1955) is unclear (ref. -
Jazz Meets World 2017 - Jarní Koncerty
Jazz Meets World 2017 - jarní koncerty IDAN RAICHEL - PIANO SONGS (Izrael) Idan Raichel - klavír, klávesy, perkuse, zpěv 08.03.2017 od 19.30 Divadlo u hasičů, Římská 45, Praha 2 Jedna z největších ikon izrealské hudební scény opět v Praze. Po vystoupeních s kvartetem Idan Raichel Project a se souborem Touré- Raichel Collective tentokrát se představí se sólovým programem. Idan, který posledních 12 let působil jako kapelník Idan Raichel Projektu, se rozhodl udělat odvážný nový krok, který považuje za přirozený, na který se velice těší a který hodlá uvést na světové scény v roce 2017. Idan slibuje, že posluchačům sdělí živě a zasvěceně, co se mu přihodilo během posledních 12 let a podělí se s nimi o to, jak své melodie a písně komponoval, než začaly kolovat světem jako společná díla a koncerty. Po svém posledním turné s 30 vyprodanými klavírními koncerty se rozhodl, že je na čase, aby se naplno věnoval sólovým koncertům (klavír a zpěv). Na těchto koncertech uslyšíme písně jeho celé kariéry včetně skladeb z posledního alba At The Edge Of The Beginning. Idanovy koncerty budou jedno vzrušující a lákavé sólo zvukového & hlasového zážitku, ale protože se nechce vzdát své oblíbené hudební spolupráce, byl by rád, kdyby v každém městě našel hostujícího muzikanta třeba pro duo. Idan Raichel byl nedávno vyznamenán Ústavem Martina Luthera Kinga za to, že upozorňuje na problémy minorit. Aktivně se angažuje v uprchlických otázkách, v boji nových přistěhovalců s problémy identity a za změnu a vliv migrační politiky ve světě. TAMARA OBROVAC QUARTET (Chorvatsko) Tamara Obrovac - zpěv Matija Dedić- klavír Žiga Golob - kontrabas Krunoslav Levaćić - bicí 13.03.2017 od 19:30 Novoměstské radnice, Velký sál, Karlovo nám 1/23, Praha 2 Komponující vokalistka a flétnistka Tamara Obrovac z chorvatského města Puly je jednou z nejpůsobivějších umělců na chorvatské hudební scéně. -
Migrations: the Making of America Festival Programming by Genre March 9—April 15, 2019 Music
MIGRATIONS: THE MAKING OF AMERICA FESTIVAL PROGRAMMING BY GENRE (Presented by Carnegie Hall unless otherwise noted) MARCH 9—APRIL 15, 2019 MUSIC Saturday, March 9 at 5:45 PM Live from Here with Chris Thile Chris Thile, Host, Mandolin, and Vocals Additional artists to be announced Stern Auditorium / Perelman Stage at Carnegie Hall 57th Street and Seventh Avenue | Manhattan carnegiehall.org Opening Carnegie Hall’s Migrations: The Making of America festival, Chris Thile leads an evening of traditional Scots, Irish, and American folk music—including old-time and bluegrass—that explores the evolution of these traditions and their continued impact on one another. This event will be broadcast live and distributed nationwide by American Public Media. Chris Thile is the holder of the 2018–2019 Richard and Barbara Debs Composer’s Chair at Carnegie Hall. _______ Saturday, March 9 at 7 PM Global Mashup: Bollywood Meets Global Roots Blues Falu Hazmat Modine Flushing Town Hall 137-35 Northern Boulevard | Queens flushingtownhall.org Starting with dance lessons, a set by each band, and then a jam session between the two, we’re mashing up two cultures on one stage with an open dance floor! The series opens with Falu, an internationally recognized Indian vocalist whose quartet combines traditional roots with inventive rock, mashing with Hazmat Modine, distillers of American music melded with African, Central Asian, Caribbean, and Eastern European influences. Presented by Flushing Town Hall. Migrations: The Making of America Festival, March 9–April 15, 2019, Page 2 of 40 Sunday, March 10 at 2 PM From the Yiddish Rialto to the Silver Screen Safra Hall at the Museum of Jewish Heritage 36 Battery Place | Manhattan nytf.org | 212-213-2120 This concert aims to bring lost and forgotten Yiddish works to today’s audiences. -
Aaron SACHS: Frank SACKENHEIM: Fats SADI: Eddie SAFRANSKI
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Aaron SACHS: "Clarinet & Co" Phil Sunkel, Bernie Glow -tp; Frank Rehak -tb; AARON SACHS -cl,ts; Gene Allen -bs; Nat Pierce - p; Aaron Bell -b; Osie Johnson -d; recorded February 18 and 21, 1957 in New York 33134 RONDO BLUES 3.45 Rama RLP 1004 33135 JUST SICK BLUES 2.54 --- 33136 BLUE SOPHISTICATE 4.02 --- 33137 CONVERSATION 2.39 --- 33138 MONA'S KIMONA 4.01 --- 33139 COUNTRYFIELD 3.46 --- 33140 WIGGINS 3.26 --- Aaron Sachs -cl,ts; Hal Overton -p; Jimmy Raney -g; Aaron Bell -b; Osie Johnson -d; recorded March 04, 1957 in New York 33141 GORME HAS HER DAY 3.07 --- 33142 I CAN'T BELIEVE 2.58 --- 33143 HAL'S LOFT 2.43 --- 33144 NANCY 3.22 --- ------------------------------------------ Frank SACKENHEIM: "WDR3:Jazz.Cologne" Frank Sackenheim Trio: Frank Sackenheim -ts; Henning Gailing -b; Jonas Burgwinkel -d; recorded July 10, 2005 in Funkhaus Wallrafplatz, Köln 77097 DEIN IST MEIN GANZES HERZ 7.55 Aircheck 77098 L.O.V.E. 5.22 --- 77099 RED ROSES 8.16 --- 77100 SPEAK LOW 11.40 --- 77101 ICH BIN VON KOPF BIS FUSS AUF LIEBE EINGESTELLT 7.53 --- 77102 GAMES THAT LOVERS PLAY 8.05 --- ------------------------------------------ Fats SADI: "Ensadinado" Fats Sadi -vib; Jimmy Woode -b; Francy Boland -p; Kenny Clarke -d; recorded March 21, 1966 in Köln 16279 NIGHT LADY 4.18 Saba SB15111 16280 ENSADINADO 4.46 --- 16281 GOODBYE 3.16 --- 16282 THE SAME 5.06 --- 16283 ALL OF YOU 3.24 --- 16284 -
Jeff Rupert Saxophone Master Class
Jeff Rupert Saxophone Master Class I Saxophone Assembly and maintenance Holding the instrument. The neck and mouthpiece assembly. Checking key mechanisms. Checking for leaks, and clogged vents. Maintaining the lacquer. Setting the instrument down. II Posture The Back and neck. Legs and knees. III Breathing and Breath flow Inhaling. Exhaling. Breath solfège IV The Oral Cavity and the Larynx. V Embouchures for playing the saxophone. Variance in embouchure technique. The embouchure and breathing. VI Daily Routines for practicing the saxophone. Daily routines and rituals. Playing the mouthpiece. Playing the mouthpiece with the neck. Overtone exercises. VII Articulation Single tonguing. Doodle tonguing. Alternate articulations specific to jazz. Double tonguing. VIII Practice patterns for scales. Scales and Arpeggios Major, minor (dorian, natural minor, ascending jazz melodic minor, harmonic minor) and diminished. Resources for jazz scales. IX Equipment Different horns. Mouthpieces. Reeds. Ligatures. Neckstraps. X Resources for saxophonists Recordings. Web resources. Books and educational CD's and DVD's. Saxophonists in jazz and pop music. XI Conclusion. ©2009 Rupe Music Publishing 001 saxophone master class, Jeff Rupert pg2 I Saxophone Assembly and maintenance Neck and mouthpiece assembly: Putting the saxophone together is something we've all been doing since day one. It may seem trite to even address assembly of the instrument, but its been a common flaw not to develop good habits. I've seen broken mouthpieces, bent rods and necks several times from seasoned professionals who should have known better! This is precisely why its important to develop good habits when putting your instrument together. Prior to putting the mouthpiece on the neck, make certain that the cork is lubricated. -
Primary Sources: an Examination of Ira Gitler's
PRIMARY SOURCES: AN EXAMINATION OF IRA GITLER’S SWING TO BOP AND ORAL HISTORY’S ROLE IN THE STORY OF BEBOP By CHRISTOPHER DENNISON A thesis submitted to the Graduate School-Newark Rutgers University, The State University of New Jersey In partial fulfillment of the requirements of Master of Arts M.A. Program in Jazz History and Research Written under the direction of Dr. Lewis Porter And approved by ___________________________ _____________________________ Newark, New Jersey May, 2015 ABSTRACT OF THE THESIS Primary Sources: An Examination of Ira Gitler’s Swing to Bop and Oral History’s Role in the Story of Bebop By CHRISTOPHER DENNISON Thesis director: Dr. Lewis Porter This study is a close reading of the influential Swing to Bop: An Oral History of the Transition of Jazz in the 1940s by Ira Gitler. The first section addresses the large role oral history plays in the dominant bebop narrative, the reasons the history of bebop has been constructed this way, and the issues that arise from allowing oral history to play such a large role in writing bebop’s history. The following chapters address specific instances from Gitler’s oral history and from the relevant recordings from this transitionary period of jazz, with musical transcription and analysis that elucidate the often vague words of the significant musicians. The aim of this study is to illustratethe smoothness of the transition from swing to bebop and to encourage a sense of skepticism in jazz historians’ consumption of oral history. ii Acknowledgments The biggest thanks go to Dr. Lewis Porter and Dr. -
Barney Kessel Collection Finding Aid (PDF)
University of Missouri-Kansas City Dr. Kenneth J. LaBudde Department of Special Collections NOT TO BE USED FOR PUBLICATION TABLE OF CONTENTS Biographical Sketch …………………………………………………………………… 3 Scope & Content …………………………………………………………………… 5 Series Notes …………………………………………………………………………… 6 Container List: Series I: Correspondence …………………………………………………… 9 Incoming, Dated …………………………………………………… 9 From Maurice J. Summerfield …………………………………… 33 Incoming, Undated …………………………………………………… 35 Incoming, Unsigned & Undated …………………………………… 37 Blank Envelopes …………………………………………………… 37 Outgoing, Dated …………………………………………………… 38 To Maurice J. Summerfield …………………………………………… 43 Outgoing, Undated …………………………………………………… 44 Outgoing, Unsigned & Undated …………………………………… 44 Correspondence Including Photographs …………………………… 45 Series II: Personal Documents …………………………………………… 46 Biographies …………………………………………………………… 46 Marriage Documents …………………………………………………… 46 Obituaries …………………………………………………………… 47 Series III: Seminar …………………………………………………………… 48 Business …………………………………………………………… 48 Promotional Material …………………………………………………… 48 Notes …………………………………………………………………… 49 Correspondence …………………………………………………… 49 Questionnaires …………………………………………………… 50 Series IV: Promotional Material …………………………………………… 51 Flyers …………………………………………………………………… 51 Press Releases …………………………………………………… 52 Programs & Booklets …………………………………………………… 53 Interview Transcripts …………………………………………………… 55 Reviews …………………………………………………………… 55 Oversized Posters …………………………………………………… 56 Series V: Notes …………………………………………………………… 57 Notebooks …………………………………………………………… -
Action TRIO BAROLO Yves ROUSSEAU "Wanderer Septet" J Azz GRIBOUJAZZ Gilles BARIKOSKY Quartet
Cha rleville 2018/2019 Action TRIO BAROLO YVES ROUSSEAU "WANDERER SEPTET" J azz GRIBOUJAZZ GILLES BARIKOSKY QUARTET STÉPHANE KERECKI "FRENCH TOUCH" JEAN-BAPTISTE BERGER "PERSUASIVE MUSIC" TEXIER - MARGUET QUARTET "FOR TRAVELLERS ONLY" YOUN SUN NAH DOCK IN ABSOLUTE TRIO BAROLO Mardi 9 octobre AUDITORIUM CONSERVATOIRE ARDENNE MÉTROPOLE TRIO BAROLO Rémy POULAKIS : accordéon et chant lyrique Francesco CASTELLANI : trombone et chant Philippe EUVRARD : contrebasse vec leur son unique, entre jazz, opéra et musique du monde, les musiciens du trio Barolo nous embarquent Adans un voyage musical autour de la Mare Nostrum de leurs origines. On ferme les yeux, on se sent voyager dans un film de Fellini avec comme seuls bagages l’émotion, l’humilité, la musicalité et la générosité. Les trois musiciens de Barolo sont taillés pour les rencontres, le partage et le rêve. Ce qui frappe d’emblée, c’est le caractère unique du son du groupe, dû à l’orchestration peu commune et à l’apport des voix de Rémy et de Francesco. « C’est, dit Philippe, le principal compositeur du groupe, un espace de liberté incroyable puisqu’il photo Niko Rodamel n’existe pas de formation de ce type dans le paysage. Ce qui nous relie tous les trois en plus de la musique, c’est de porter dans nos origines l’histoire des migrations européennes : la musique comme un passeport des peuples de l’errance ! ». L’association entre trombone, accordéon, chant et contrebasse s’avère des plus judicieuses... Le Trio ne cesse de creuser dans l'ombre des timbres de salutaires percées affirmatives