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28 13 2018 JUIN JUILLET 38 e ÉDITION JAZZAVIENNE.COM 1 PARTENAIRES ET MÉCÈNES PARTENAIRES Pour la 38e fois, Jazz à Vienne vous invite pour Jazz à Vienne would like to invite you to a INSTITUTIONNELS e 16 jours de fête. Au fil des années, Jazz à 16-day party for its 38th outing. Jazz à Vienne 38 Vienne est devenu l’un des plus importants has become one of the biggest festivals in France ÉDITION festivals en France avec plus de over the years with over 200,000 festivalgoers. Every year we do our utmost to bring you a social 200 000 ­festivaliers.­À­chaque­édition,­tout­ and open atmosphere on both the festival’s many est fait pour vous accueillir dans un état stages and throughout the city that buzzes with Entre légendes du jazz et découvertes d’esprit de partage et de rencontres, sur les the countless events. musicales, les partenaires du festival sont différentes scènes du festival, mais aussi dans heureux de fêter avec vous cette nouvelle toute­la­ville­qui­vibre­au­rythme­de­nombreux­ WHATEVER YOU LIKE édition de Jazz à Vienne. événements. Every year Jazz à Vienne pays tribute to jazz music with combinations, encounters, evolutions and Between jazz legends and musical discoveries, POUR TOUS LES GOÛTS challenges. This form of music isn’t static; it’s festival partners are glad to celebrate with you Jazz­à­Vienne­veut­chaque­année­rendre­ constantly evolving. That’s what makes it was it is; this new edition of Jazz à Vienne. POUR TOUS ­hommage­à­la­musique­jazz,­faite­de­ past, present and future. Jazz à Vienne strives to mélanges, de rencontres, d’évolutions et de set a benchmark for this artistic expression by LES GOÛTS, paris.­Cette­musique­n’est­pas­figée,­elle­se­ exploring all its forms with enjoyment, quality and discovery in every one. The line-up reflects construit en permanence. C’est là son essence, TOUS this ambition. 2018 is going to be another good son­histoire­et­son­avenir.­Jazz­à­Vienne­se­ one with must-sees such as a symphonic tribute veut­le­symbole­de­cette­expression­artistique­ to Nat King Cole by Gregory Porter and the Lyon LES ÂGES, en­explorant­toutes­les­formes,­avec­comme­ National Orchestra, the one-off appearance of the PARTENAIRES point­commun,­le­plaisir,­la­qualité­et­la­décou- incredible Jeff Beck, the much-anticipated return RÉSEAUX TOUS LES verte. La programmation musicale traduit cette of Morcheeba and the anniversaries of Rhoda ambition.­2018­s’annonce­encore­comme­un­ Scott and Ron Carter. BUDGETS grand­cru­avec­notamment­l’hommage­à­Nat­ King­Cole­en­symphonique­par­Gregory­Porter­ WHATEVER YOUR AGE et­l’Orchestre­national­de­Lyon,­la­venue­excep- Jazz à Vienne also works to introduce jazz in all its glory to young people. This year sees events tionnelle du très rare Jeff Beck, le retour tant for children such as the Jazz for Kids project and attendu­de­Morcheeba­et­les­anniversaires­de­ courses for budding musicians join the schedule. Rhoda­Scott­et­de­Ron Carter. WHATEVER YOUR BUDGET POUR TOUS LES ÂGES The prices at the Roman Theatre, the only venue Jazz à Vienne se doit aussi de faire découvrir you have to pay for at the festival, haven’t changed PARTENAIRES MÉDIAS la­richesse­du­jazz­aux­plus­jeunes.­Cette­ for 4 years. We’ve also introduced a special rate for année, l’offre s’étoffe avec notamment des 15-25 year olds to encourage them to come to the animations en direction des enfants avec le Roman Theatre. But Jazz à Vienne is so much more projet Jazz for Kids et un développement des than just its main stage. The general public can see formations pour les futurs musiciens. over 200 groups perform for free during the 16-day event. From noon to late at night, Jazz à Vienne is POUR TOUS LES BUDGETS open to everyone and free. It’s a challenge and a Les­tarifs­du­Théâtre­Antique,­unique­scène­ source of pride putting on this event that we hope to be popular and available to as many people as payante­du­festival,­n’ont­pas­été­modifiés­ popular. depuis 4 ans. En parallèle, nous favorisons l’accès­au­Théâtre­Antique­en­créant­un­tarif­ So, welcome everyone and enjoy the festival! jeunes pour les 15-25 ans. Mais Jazz à Vienne ne se résume pas à sa scène principale. Pendant 16 jours, ce sont plus de 200 groupes qui­sont­proposés­au­public­en­accès­libre.­ Depuis­midi­jusqu’à­tard­dans­la­nuit,­Jazz­ PARTENAIRES DE PROJETS à­Vienne­est­accessible­à­tous,­gratuitement.­ //­Auditorium­de­Lyon­//­Buffet­Crampon­//­Bureau­export­//­Centre­d’Art­Contemporain­ C’est une fierté et un défi de porter cet La­Halle­des­Bouchers­//­Coopération­France-Québec­//­CRR­de­Lyon­//­ENM­Villeurbanne­ ­événement,­que­nous­souhaitons­populaire­ Thierry­Kovacs,­président de Jazz à Vienne // Festival International de la Bande Dessinée d’Angoulême // Festi Jazz International de Rimouski­//­Gagajazz­//­Goethe­Institut­//­I-music-school­//­La­Petite­Académie­//­Le­Manège­ et­ouvert­au­plus­grand­nombre. Samuel­Riblier,­directeur //­Le­Périscope­//­Les­Abattoirs­SMAC­//­Le­Trente­//­Les­Bibliothèques­de­Vienne­//­MJC­Vienne­/­ coordinateur artistique Ludothèque­//­Musée­gallo-romain­de­Saint-Romain-en-Gal­//­Ninkasi­//­Pôle­Métropolitain Alors­bienvenue­à­tous­et­bon­festival ! Benjamin­Tanguy,­ //­Rhino-Jazz­//­Sampa­Jazz­Festival­//­Sciences-Po­Lyon­//­TCL-Sytral­/­Keolis­//­Théâtre­de­Vienne­ © J. Mona //­Théâtre­du­Vellein­//­XJAZZ­Festival­­ 1 LEXIQUE >­ (fx)­ou­(pad) :­effets MUSICAL/ >­ (g) :­guitare >­ (goc) :­davul JAZZ GLOSSARY >­ (hca) :­harmonica >­ (k)­ou­(kbd) :­claviers­ OF MUSIC électroniques/ electronic keyboard >­ (kora) :­kora LES ABRÉVIATIONS À VIENNE >­ (luth) :­luth D’INSTRUMENTS QUE VOUS TROUVEREZ DANS >­ (machines) :­machines LES DIFFÉRENTS LINE-UP >­ (mand) :­mandoline ARTISTIQUES VOUS SONT >­ (mc) :­maître­de DÉTAILLÉES ICI : cérémonie/master of ceremony 2018 The abbreviations of music instruments that >­ (org) :­orgue/organ you will read in the artistic >­ (oud) :­oud line ups are detailed here: >­ (p) :­piano >­ (perc­corp) :­ >­ (arr) :­arrangement percussions corporelles/ >­ (as) :­saxophone­alto body percussion >­ (banjo)­ou­(bj) :­banjo >­ (perc) :­percussion >­ (bcl) :­clarinette­basse >­ (prog) :­ >­ (b)­ou (bg) :­guitare­basse programmations >­ (bgl) :­bugle >­ (sampler) :­ ­/­4­SCÈNES­PRINCIPALES,­4­AMBIANCES­ 4 >­ (bkv)­ou­(backing­voc) :­ échantilloneur ­/­AUTRES­PROJETS­ 7 chœurs/chorus >­ (sax)­ou­(s) :­saxophone / PROGRAMMATION 2018 9 >­ (bs) :­saxophone­ >­ (scat) :­scat baryton/baritone­sax. >­ (ss) :­saxophone­ >­ (bsax) :­saxophone­ soprano © Brüno ­/­CARAVAN’JAZZ­ 73 basse/bass sax. >­ (ssph) :­sousaphone ­/­LES­MUSAÏQUES­ 75 >­ (cb) :­contrebasse >­ (synth) :­synthétiseur ­/­LETTRES­SUR­COUR­ 77 >­ (cga) :­conga >­ (tb) :­trombonne ­/­CINÉMA­#8 79 >­ (cl) :­clarinette >­ (tbl) :­tablas ­/­TRAITS­DE­JAZZ­ET­CONCERT­DESSINÉ 80 >­ (cm-s) :­saxophone >­ (tim) :­timbales/timpani ­/­EXPOSITIONS­&­SALONS 83 >­ (compos) :­ >­ (tp)­ou­(t) :­trompette ­/­RÉSONANCES­MÉTROPOLITAINES 85 compositions >­ (ts) :­saxophone­ténor ­/­L’ACADÉMIE 87 >­ (dir) :­direction­musicale >­ (vln) :­violon ­/­JAZZ­FOR­KIDS 89 >­ (dms) :­batterie/drums >­ (va) :­violon­alto/ ­/­CLUB­JAZZ­ENTREPRISES 91 >­ (elg) :­guitare­électrique alto violin ­/­L’ÉQUIPE 93 >­ (elp) :­piano­électrique >­ (vb) :­vibraphone ­/­LES­BÉNÉVOLES 95 >­ (fiddle) :­fiddle >­ (vlc) :­violoncelle/cello Jazz à Vienne / 21, rue des Célestes – 38200 Vienne ­/­INFOS­PRATIQUES 99 >­ (voc)­ou­(v) :­ tél. +33 (0)4 74 78 87 87 / [email protected] / www.jazzavienne.com ­/­OFFREZ­UNE­NOTE­DE­JAZZ 101 >­ (fl)­ou­(f) :­flûte Directeur­de­la­publication­Samuel­Riblier­ chant/vocal Coordinateur­artistique­Benjamin­Tanguy ­/­VENIR­AU­FESTIVAL 102 >­ (zarb) :­tombac/zarb Coordination­éditoriale­Isabelle­Jeanpierre­avec­Claire­Gaillard,­Chloé­Cibert,­ ­/­VENEZ­EN­TRAIN ! 103 Léa­Maillot,­Quentin­Thomé,­Christophe­Toni,­Emilie­Escargueil-Cech ­/­VOUS­RESTAURER 107 Textes­Théâtre­Antique­Robert­Lapassade­/­Traduction­Aténao Illustration­de­couverture­©­Brüno­/­Identité­graphique­Aude­Perrier­ / BILLETTERIE 108 Conception­graphique­Frédérick­Dubouchet /­Impression­Vincent­Imprimeries­–­Tours­ ­/­CASHLESS 109 Licences :­N°1/­1097615,­N°2/­1097616,­N°3/­1097617­ © Jazz à Vienne Mai 2018, tous droits réservés. ­/­VISITE­GUIDÉE 111 Programme­sous­réserve­de­modifications ­/­PLAN 113 © R. Picard 2 LES SCÈNES / VENUES © P. Corvaisier ©­R.­Alouche ©­R.­Alouche THÉÂTRE ROMAN CLUB JAZZ ANTIQUE THEATRE DE MINUIT MIX / 15 SOIRÉES / 15 NIGHTS / 7 500 PLACES / 7 500 SEATS Le­Club­de­Minuit­est­une­scène­d’after­du­ Le­Jazz­Mix­est­une­scène­d’after­du­festival­Jazz­ / 78 000 SPECTATEURS EN 2017 / 78 000 SPECTATORS IN 2017 festival Jazz à Vienne. Il alterne sa program- à Vienne. Il alterne sa programmation avec le / TOUS LES THÈMES DU JAZZ / JAZZ OF ALL KINDS mation­avec­le­Jazz­Mix.­Écrin­du­Club­de­ Club­de­Minuit.­Au­Théâtre­de­Vienne,­le­Jazz­ Minuit,­le­Théâtre­de­Vienne,­construit­en­1782­ Mix­est­une­sorte­de­laboratoire­des­possibles­ Construit­entre­40­et­50­après­J.-C.,­le­Théâtre­ Vienne’s Roman Theatre was built in 40-50AD et­classé­aux­monuments­historiques,­a­ avec­des­concerts­hors­des­sentiers­battus.­ Antique­de­Vienne­est­considéré­comme­l’un­ and seen as the largest in Roman Antiquity. conservé­son­architecture­d’origine­et­offre­ Toujours­en­recherche­des­talents­de­demain­ des­plus­importants­de­l’Antiquité­romaine.­ As the festival’s main and only payable stage, tout­le­charme­d’une­salle­à­l’italienne.­Depuis­ et­avide­de­créations­éclectiques­et­uniques,­le­ the Roman Theatre can accommodate up to plusieurs années, Jazz à Vienne investit ce Jazz­Mix­propose­une­ouverture­allant­du­jazz­ Scène­phare­et­seule­scène­payante­du­ 7500 people. The biggest jazz performers have théâtre­pour­y­proposer­des­soirées­acous- vers­les­autres­genres­musicaux. festival,­le­Théâtre­Antique­peut­accueillir­ appeared here since 1981 including Miles Davis, 7500 personnes.­Depuis­1981,­de­nombreux­ Stan Getz, Claude Nougaro, Michel Petrucciani, tiques­privilégiant­la­découverte­et­l’écoute­ Jazz Mix is a Jazz à Vienne Festival “after-party” grands­musiciens­de­jazz­s’y­sont­produits­tels­ Ella Fitzgerald, Sonny Rollins, Lionel Hampton, dans­une­ambiance­intimiste­et­à­la­découverte­ venue.
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    DIMANCHE 20 NOV. Andrea Michelutti, SAMEDI 26 NOV. 15H30 RENCONTRE AUTOUR DE 16H Patrick Cabon AUDITORIUM Duke Ellington avec AUDITORIUM & Gary Brunton invitent PAUL ARMA Claude Carrière PAUL ARMA Joe Magnarelli Claude Carrière, l’une des grandes voix du jazz de France Musique, a pendant des années marqué les auditeurs par son extraordinaire érudition. 2011 1993, Greenwich Village, New York : un club de Jazz ouvre ses portes, Orateur captivant, il a choisi de nous parler de Duke Ellington, dont il 17 ≥ 27 NOV. le « Smalls Jazz Club ». Il devient très vite le rendez-vous incontournable interprète le soir au piano plusieurs mélodies. Certaines sont sublimes : de la scène new-yorkaise, où se produit une nouvelle génération « Sophisticated Lady », « In a sentimental mood », « Prelude to a kiss », d’artistes, dont Brad Mehldau ou encore Norah Jones. « Solitude »… Elles sont à classer parmi les incontournables du XXe siècle. PLACE AU Joe Magnarelli est des leurs. Il est aujourd’hui l’un des trompettistes Claude Carrière nous fait découvrir la genèse de ces merveilleuses américains les plus sollicités. Un son bien spécifi que, chansons sur lesquelles les plus grandes voix du jazz, d’Ella Fitzgerald une interprétation mélodique et inspirée, lui ont permis d’acquérir © Pierre de Kermel à Nat King Cole, ont bâti leur gloire… Passionnant ! DR une réputation mondiale. L’album qu’il a enregistré avec le sextet de Ray Barretto Time Was, Time Is a été nominé aux Grammy 20H30 CHAMBER JAZZ QUINTET Awards. En tant que leader, il a enregistré pas moins de huit albums, www.ville-antony.fr régulièrement salués par la critique.
  • DB Music Shop Must Arrive 2 Months Prior to DB Cover Date

    DB Music Shop Must Arrive 2 Months Prior to DB Cover Date

    05 5 $4.99 DownBeat.com 09281 01493 0 MAY 2010MAY U.K. £3.50 001_COVER.qxd 3/16/10 2:08 PM Page 1 DOWNBEAT MIGUEL ZENÓN // RAMSEY LEWIS & KIRK WHALUM // EVAN PARKER // SUMMER FESTIVAL GUIDE MAY 2010 002-025_FRONT.qxd 3/17/10 10:28 AM Page 2 002-025_FRONT.qxd 3/17/10 10:29 AM Page 3 002-025_FRONT.qxd 3/17/10 10:29 AM Page 4 May 2010 VOLUME 77 – NUMBER 5 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Kelly Grosser ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 www.downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Austin: Michael Point; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D.
  • Productive Strategies for Poor Rural Households to Participate

    Productive Strategies for Poor Rural Households to Participate

    Productive Strategies for Poor Households to Participate Successfully in Global Economic Processes First draft Country Report for Senegal to the IDRC By Bara Gueye1 1 INTRODUCTION Objective The overall objective of the study is to prepare an agenda of priority research for the IDRC Rural Poverty and Environment Programme Initiative (RPE) within the theme “productive strategies for poor households to participate successfully in the global economic process”. The RPE’s mission is to contribute to the development of networks, partnerships and communities of practices, in order to strengthen institutions, policies and practices that enhance the food, water and income security of the poor, including those living in fragile or degraded uplands and coastal ecosystems. Short description of the methodology; The methodological process used to carry out this study combined a set of 4 complementary phases: 1 An inception phase aimed at refining the conceptual framework of the study, defining the research scope, carrying out a literature review and drafting an inception report to inform the following phases 2 Six regional scans carried through desk reviews to have an overview of socio-economic development issues of relevance of the study and to identify relevant themes that can potentially feed into regional research agendas. Identification of current research and potential partner institutions was also part of the regional scans. 3 Country level investigations carried in the pilot countries selected in each one of the six sub- regions. Country case studies were based on participatory stakeholders’ analysis with the aim of validating the regional scans reviews. An important component of the country case studies was to make an assessment of the relevance of the research themes and if necessary to propose new themes.
  • David Liebman Papers and Sound Recordings BCA-041 Finding Aid Prepared by Amanda Axel

    David Liebman Papers and Sound Recordings BCA-041 Finding Aid Prepared by Amanda Axel

    David Liebman papers and sound recordings BCA-041 Finding aid prepared by Amanda Axel This finding aid was produced using the Archivists' Toolkit November 30, 2018 Describing Archives: A Content Standard Berklee Archives Berklee College of Music 1140 Boylston St Boston, MA, 02215 617-747-8001 David Liebman papers and sound recordings BCA-041 Table of Contents Summary Information ................................................................................................................................. 3 Biographical/Historical note.......................................................................................................................... 4 Scope and Contents note............................................................................................................................... 4 Arrangement note...........................................................................................................................................4 Administrative Information .........................................................................................................................5 Controlled Access Headings..........................................................................................................................6 Collection Inventory...................................................................................................................................... 7 Scores and Charts...................................................................................................................................