NORTH SEA JAZZ
BEST FESTIVAL EVER!
LIKE EVERY YEAR!
IN THE CLUB
Montag sitze ich in Adam im neuen
NORTH SEA JAZZ CLUB
Ursächlich ist hierfuer eine Niederlaenderin,
deren Korrespondenz unten zitiert wird!
Nach dem sie ein Ticket fuer NSJF bot
und ich den Preis akzeptierte schob sie
plötzlich eine Mail rueber, dass sie anderweitig
einfacher Cash fuer das Ticket bekommen haette.
So suchte ich auf MARKTPLAATS.NL
nach neuen Anbietern und mailte jemand mit einem
Ticket fuer den NSJFCLUB an. Nicht ahnend,
dass FOURPLAY auch in ADAM am Sonntag und
am Montag spielte. Sonntag war aber fuer mich
absolut fuer NSJF reserviert. Und damit lag
auch in diesem Jahr goldrichtig!
Merke: Mein Leben waere ohne jene Konzerte
im KONGO mit leer und weitaus sinnloser!
Es gilt auch der Satz:
Mein Leben waere ohne NSJF und JAZZ
Vormals war FOURPLAY die Back-Up-Truppe um LEE RITENOUR. Einer der Top 25 Gitarristen. Eine LP von 1978/79 habe ich im Schrank.
Auf Youtube sehe ich CHUCK LOEB und FOURPLAY mit ..“BLUES“ .... Toll!
WIJNTUIN hatte ein Ticket
FOURPLAY ON SUNDAY – MERDE!
6. Juli 2012
Dear Tony Wijntuin,
your ticket is vallid for the nsj-club in Amsterdam.
I didn´t realize, that this is apart from nsjf
at the AHOY!
But I can make it to Adam on Monday.
If you sell at 50 Euro tickets also for
Monday - let me know ....
I had offered the documentation of a bank-transfer....
Tony Wijntuin via Marktplaats schrieb:
> Hello Heinzgerd,
> I don't sell the cards individualy, but I am willing to sell two for €50,-
> Please let me know.
> Kind regards,
The ticket is sold! but i know it not sold out already so you can buy a ticket at Ahoy because north sea isnt sold out this year. I hope you will make it because life should'nt be empty.
JOHN VAN RUTTEN
6 Juli 2012
please reserve a day-ticket for sunday, 8. juli 2012
I´m at 18 o´clock at the Ahoy
Entrance left is a ticket-office
I will send at 12 today via sms my correct mobile phone.
John via Marktplaats schrieb:
> heinz, if you can give me a call we can arrange the transfer
> is it for the tickets on sunday?
> is it one or two tickets?
> if we can manage to meet and we promise each other that we do have a deal than it is fine with me to pay at the transfer
> best regards!
hebt zojuist 1 tickets voor (o.a.) Fourplay featuring Chuck Loeb, Bob
James, Nathan E aangeschaft.
Download de e-ticket(s) door op de onderstaande link te klikken. Het e-ticket is een PDF document.
KLIK HIER OM DE E-TICKET(S) TE DOWNLOADEN
!! BELANGRIJK !!
Bewaar deze e-mail goed en zorg dat deze niet uitlekt!
Wat als u meerdere toegangskaarten hebt besteld?
TOP 10 JAZZ GUITARISTS
CHUCK LOEB (FOURPLAY)
Lianne La Havas
Michel Camilo 'Mano A Mano' Trio
AT NORTH SEA JAZZ CLUB ADAM
erstaunlich selbstbewusste feminine Erscheinung! Eine erstaunlich
selbstbewusste afrikanische Erscheinung! Sie spielt los im Geiste von
KING SUNNY ADE. Und sie spielt mit seinen
Fähigkeiten an der europäischen (?) Gitarre! Sie singt mit den
SALIF KEITA. Welche Inkarnation einer göttlichen Stimme?
Wenn diese SaengerInnen from AFRIQUE zum CONDAMBLE gehörten, dann ist das sehr anziehend. Das ist göttlich!
Fatoumata Diawara (aka Fatou) was born of Malian parents in the Ivory Coast in 1982. As a child she became a member of her father's dance troupe and was a popular performer of the wildly flailing didadi dance from Wassoulou, her ancestral home in western Mali. She was an energetic and headstrong girl and at the age of twelve her refusal to go to school finally prompted her parents to send her to live and be disciplined by an aunt in Bamako. She was not to see her parents again for over a decade.
Her aunt was an actress, and a few years after arriving, Fatou found herself on a film set looking after her aunt's infant child. The film's director was captivated by Fatou's adolescent beauty and she was given a one line part in the final scene of the film 'Taafe Fangan' ('The Power of Women'). This led to her being given a lead role by the celebrated director Cheick Omar Sissoko in his 1999 film 'La Genèse' (Genesis).
At the age of eighteen Fatou travelled to Paris to perform the classical Greek role of Antigone on stage. After touring with the production she returned to Mali where she was given the lead in Dani Kouyaté's popular 2001 film 'Sia, The Dream of the Python'. The film tells the story of a West African legend called Sia, a young girl who defies tradition. To many in Mali, Guinea, Senegal and Burkina Faso, Fatou is Sia thanks to the film's enormous success throughout the region.
Offers for further acting roles poured in but Fatou's family wanted her to settle down and marry and forced her to announce, live on Malian television, that she was abandoning her career as an actress.
In 2002 Jean-Louis Courcoult, the director of the renowned French theatre company, Royale de Luxe, travelled to Bamako to offer Fatou a part in his new production. An unmarried woman is considered a minor in Malian society so her family's permission was required. They refused. After much soul searching Fatou took the daring decision to run away and at Bamako airport she managed to board a plane for Paris, narrowly escaping the pursuit of the police who had been alerted to the girl's 'kidnapping'.
With Royal de Luxe Fatou performed a variety of roles around the world including tours in Vietnam, Mexico and throughout Europe. During rehearsals and quiet moments she took to singing backstage for her own amusement. She was overheard by the director and was soon singing solo during the company's performances. Encouraged by the reception from audiences she began to sing in Parisian clubs and cafes during breaks from touring. Here she met Cheikh Tidiane Seck the celebrated Malian musician and producer who invited her to travel with him back to Mali to work on two projects as chorus vocalist; 'Seya' the GRAMMY nominated album by Mali's star Oumou Sangaré and 'Red Earth' the GRAMMY winning Malian project by American jazz singer Dee Dee Bridgewater. When the albums were released Fatou toured worldwide as singer and dancer with both projects.
On her return to France Fatou took the role of Karaba in the popular touring musical 'Kirikou and Karaba'. She was encouraged to take the role by her friend Rokia Traore who also inspired her to take up the guitar: "To me it was a wonderful and daring thing: a Malian girl with an acoustic guitar. Why should the guitar be only for men?" Fatou bought herself a guitar and started to teach herself, and at the same time began to write down her own compositions.
She made the decision to dedicate herself to her passion, music. She worked to complete an album's worth of songs and started recording demos for which she composed and arranged all the titles, as well as playing guitar, percussion, bass and singing lead and harmony vocals. An introduction from Oumou Sangaré resulted in a record deal with World Circuit and the recording of her debut album.
Between recording sessions she found time to collaborate on Damon Albarn's Africa Express and contribute vocals to albums by Cheikh Lô, AfroCubism, Herbie Hancock's GRAMMY winning Imagine Project and Orchestra Poly-Rythmo de Cotonou.
Since the release of the highly acclaimed debut 'Fatou' (19 September 2011) Fatoumata has toured extensively with her band as well as with Damon Albarn, Tony Allen and Flea as part of the 'Rocket Juice and the Moon' project. As well as a live tour the group recorded an album of the same name (Released March, 2012).
Sie spielte im Duett mit
Eine würdige afrikanische Erscheinung. Und eine Stimme!
Ein Vergleich mit ihrer spirituellen Tochter Fatoumata
Diawara verbietet sich!
Ihr Album „Moussoulou“ war ein beispielloser Erfolg in Westafrika.
Oumou Sangare was born in Bamako, Mali in 1969. When Oumou was two years old, her father took a second wife and emigrated to Côte d'Ivoire, leaving Oumou's mother, who was pregnant at the time, and their three small children. The struggle to keep the family afloat was the backdrop to Oumou's childhood. Oumou's mother was a singer and her main source of income was the 'sumu' (wedding and baptism celebrations organised by women) or 'street parties' as Oumou calls them. "My mother's still a fighter" says Oumou. "She brought up six children on her own, with no money. Sometimes all she could find to feed us with was wild herbs." Oumou accompanied her mother to the sumus from the age of five, and very soon was in demand in her own right. She thrilled in the atmosphere of these parties, fired in equal measure by her passion for the music and by her desire to help her mother out by earning a little extra cash. By the age of thirteen Oumou had become the family breadwinner. "That's what has given me strength in my life. It was a very hard childhood and it gave me an incredible character. I can face up to any obstacle".
"At the age of eighteen, Lamine Sidibe, the director of Mali's Instrumental Ensemble, spotted me singing in the street. After that, I joined Bamba Dembélé's 'Djoliba Percussion' band (which also included a young Toumani Diabaté), and went with them on a European tour. I was the youngest singer in the troupe but I managed to make a niche for myself. On stage, the audience would be asking for more. That's how I learned to have confidence in myself. I was singing songs from Coumba Sidibé's repertoire." Oumou credits Coumba Sidibé, Wassoulou's famous female singer of the 70s and 80s, for teaching her the values of purity, simplicity and vocal freshness.
Oumou's mother is from Wassoulou, the remote forest region in the south of Mali which boasts a rich and distinctive culture. For hundreds of years, until the beginning of the 20th century with French colonial rule, it was Mali's Wassoulou hunters who were the protectors of the villages, the providers of food, and the healers. Still today they occupy a special place deep in the Malian psyche. Their music, played on a special six string harp, is believed to have magic powers that can protect hunters and tame even the most dangerous of animals. Wassoulou hunters' music was very different from the prevailing griot-based music of the dance bands. It had strong, hypnotic dance rhythms and in contrast to the Mandé griots, whose lyrics focus more on the wealthy and the powerful, Wassoulou the lyrics talk about more general aspects of life. Oumou's vision from the outset was to bring the power and charm of this music into her own songs.
"When I got back to Bamako I formed my own band, with a flute-player, a percussionist and a kamele ngoni (youth's harp) player. Then I appeared on ORTM (the national Malian Radio and Television Broadcasting Authority). The next day, an admirer sent me a brand new Yamaha Dan motorbike! That gave me the confidence to keep singing and follow my path"
Around this time she came into contact with the bass player and arranger Ahmadou Ba Guindo, leader of the legendary National Badema dance band which played traditional music on modern instruments. (Following his death in a car accident in 1991, Oumou paid tribute to Ahmadou Ba Guindo in the magnificent 'Saa Magni', which features on her album Ko Sira ('Modern Marriage'), released by World Circuit in 1993). Ahmadou gathered a group of musicians around Oumou including Aliou Traore who played western violin (and who had studied music in Havana, Cuba as a cultural exchange student) and the guitarist, Boubacar Diallo, who had also played in the National Badema. At the core of the group was a young Wassoulou kamele ngoni player named 'Benego' Brehima Diakite who has remained Oumou's main musical collaborator to this day. Oumou believes that "Today Benego is really the best player in the world, even of all time."
In 1989, after some persuasion - wary of the pitfalls that could await her if the album was not successful -, she recorded her first album Moussoulou ('Women'). It was recorded in Abidjan with arrangements by Ahmadou Ba Guindo and released on the 4th of January 1990, and it took West Africa by storm. She was 21 years old. Her songs talked openly about subjects that no one had dared express before in public in this fundamentally conservative society and caused endless debate amongst the Malian population. The album's messages were powerful - encouraging women to seek personal freedom to be themselves and have dignity, warning against the wrongs of polygamy and forced marriage and even covered the taboo subject of female sensuality, such as in her stunning hit song "Diaraby Nene" (the Shivers of Passion). This was all the more remarkable because of her chosen idiom - a slightly modernized version of the traditional, rural music of the enigmatic and mysterious Wassoulou hunters, delivered with a funk-driven pulse.
The true impact of 'Moussoulou' is still hard to gauge. The release of this cassette with its striking, deceptively simple and direct sound rocketed the previously unknown Oumou Sangare to huge fame and notoriety and its unprecedented success meant it provided a non-stop, all-enveloping soundtrack to Bamako's homes, markets, shops, cars and buses.
The cassette was brought to the attention of Nick Gold of World Circuit Records by Ali Farka Touré, and Gold witnessed the phenomenon during a trip to Bamako in 1991. "You couldn't escape that music. And you didn't want to. It was everywhere. As soon as you left a café where they were playing it, the baton was taken up by a passing car and then the next market stall. I spent that week in Bamako hearing Oumou wherever I went. And I mean EVERYWHERE."
Later that year World Circuit released 'Moussoulou' internationally to great acclaim and she has continued to record for the label ever since. Oumou has enjoyed a long and illustrious career, touring internationally and becoming recognised as the greatest female African star of her generation. She is known as the "songbird of Wassoulou" and an ambassador for the music of Mali, quite an achievement for an output of just five extraordinary albums in a twenty-year career.
Through records like 'Ko Sira' and 'Worotan' (meaning 10 kola nuts - the price given by a groom's parents in exchange for a bride), Oumou has continued to sing about the issues close to her heart, encouraging better conditions for women in society. After becoming a mother herself, she also focuses on her desire to defend children who are in difficult circumstances.
During the last twenty years she has noticed a lot of changes. "Mali has developed considerably. Today, the female population outnumbers the male. Women now play a greater role in Mali's development. It is hard for a country to move forward without its women. We have to have freedom of speech, the freedom to express ones self, to love and to choose a husband. Democracy is working. The people of Mali are free. As an artist, I am also free to say what I think."
She fights fiercely against female circumcision. "I think the country has made progress regarding female circumcision. When it was decided to abolish the practice, people were singing in the streets. The law is respected now. I think people are aware of the problems it causes. And I opened the way, to a certain extent. A lot of people now ask me for advice. The women of Mali and other African countries still continue the fight. I've shown them what they can do. I always encourage them, and I provide an example. I've sung hard to support them. My fight has always been positive, otherwise I would have quickly been discouraged. And I get a lot of support these days: 'We're with you!'"
At home in Bamako, where Oumou has remained very close to her audience, greeted and recognised wherever she goes, there is an air of natural sincerity about her that is completely genuine. "I feel relaxed here, I don't need security. I'm friends with everyone. People are always stopping me for a chat. My fans look after me," she explains, laughing, as if to ward off the inaccessible image of a star of her calibre. "I'm not allowed to make mistakes here in Mali. It's what dictates my career abroad. It's also why I take my own sweet time. I once sang on the soundtrack to Oprah's film 'Beloved'. That gave me some ideas. I would love to make a film. I'd like to play the kind of woman that would set a good example. It would be a childhood dream taken care of, for me."
Although she may have a superstar status at home, she never forgets where she came from, or the virtues of a humble background. In October 2003 she was appointed as global Ambassadress of the Food and Agriculture Organisation of the United Nations (FAO), a role that forms part of the FAO's struggle against famine. She also plays an active role in Mali's Mother and Children Association, donating millet, milk and rice to mothers in need. She believes it is the duty for those who are 'born under a lucky star' to provide for others less fortunate than them.
In recent years she has been focusing on setting up in business. The Hotel Wassulu was built in response to the Malian government's appeal to provide more hotel accommodation for visitors to the Africa (football) Cup of Nations, which was hosted in Bamako in 2002. However, Oumou also finds it useful for accommodating the large groups of visitors and friends from abroad that she meets on her travels, from New York to Paris. "I gave it that name because I wanted Wassoulou to be engraved in the memory of all Malians and it made me proud to be able to help create jobs for people"
Oumou created an initiative in 2006 to import cars from China. "I make the most of my fame. My name sells things. With Oum Sang, I launched my own brand of car. The President of Mali was so pleased that he even came to a special opening ceremony of the car showroom to cut the ribbon!"
In the Bamako market places, you can even find 'Oumou Sangaré Rice'. I don't make any money out of it, but I help make sales of Malian rice. People like to have my name on the things they need. I've also got my own farm in Baguineda, near the river, about forty kilometres from Bamako. The main crops are oranges, mandarins and a lot of maize.
But her business activities don't stop her from singing. This naturally energetic woman is sometimes away performing for three months without a break. She appears almost all over Africa, from Morocco to South Africa, by way of Nigeria and Burkina Faso. And when she's at home in Bamako, if she's not being asked to perform at private ceremonies, she'll be found singing at the Hotel Wassulu at the weekends. Oumou also continues to perform at selected dates around the world.
In 2003 she promoted the release of the 2CD collection simply titled 'Oumou', a retrospective look at her career to date. The album features 12 of the best tracks from her first three World Circuit albums, plus 8 tracks previously unreleased on CD (including 6 tracks from the best-selling Mali cassette 'Laban'). The tour included an incredible performance at WOMAD that was hailed by critics as one of the best in the festival's history. 2004 found her performing at "Global Divas" in a show that also featured Tracey Chapman at the Hollywood Bowl in the US. That year was rounded off with an amazing, live duet on French TV with the multi-Grammy winning R&B superstar Alicia Keys. This year she is invited to perform at Harvard University's celebrations to mark the 60th year since the Universal Declaration of Human Rights. In 2009, as well as headlining at the Segou festival in Mali, she will be coming to Europe for a series of dates.
On stage her natural presence, huge charisma, irrepressible energy and joie de vivre is very much in evidence. Yet it's her voice that holds you spellbound. "Here in Mali, everyone knows the way instruments sound naturally. And singing, for me, is a natural truth. I've always known how to manipulate my voice. It's still the same after twenty years, even if I've often sung too much in my life, sometimes going on tour for two or three months without a break."
Oumou's latest album "Seya",(Joy) released in 2009,has taken around two or three years to come to fruition. "I choose my songs very carefully. I learn how to put them across first on the stage." Her music is bold, seductive, funky and vibrant, but it's her lyrics that open people's eyes. "For me, the lyrics are more important than the melody. I write almost all my own words. I also perform the classics of Malian tradition. I draw a lot of inspiration from what happens in society. As soon as I see or feel something, I write it down. I say what I want, and what I think, because I am a free woman. I believe that my music has had an impact on the life of African women." "It's true that when I sing it's joyful but in amongst that joy I always take the opportunity to slip in messages that educate my nation."
Oumou continues the battle to encourage equality between men and women and sings about universal themes in life such as love, death, destiny, respect for each other, hope and harmony, not forgetting a couple of light-hearted tunes about the fun things in life. "The track 'Seya' is about a girl who has a good time. She brings joy. It's dedicated to my tailors and my stylists and those that dye the cloth. I wanted to show the courage of Malian women. They radiate every colour on this earth. I go to them for my hand-printed outfits in 'bazin' and 'tissu wax' fabrics. I give a lot of my clothes away, I don't keep them." Which explains why you hardly ever see Oumou in the same outfit twice.
Standing almost six foot tall, she is an elegant and feminine woman, sure of her taste and with a huge love of fashion. In one day, Oumou might change her look several times. She delights in surprising people, one moment the American R&B star, the next a dynamic businesswoman, or then again a real Malian diva in her traditional boubou. She bursts out laughing. "I possess the art of metamorphosis. In a boubou or in jeans, I'm unrecognisable."
An icon and role model for modern women she is both keen to encourage and embrace new ideas through her music whilst at the time she holds a deep respect for tradition and those who came before her. In the late 1990s she sought out the reclusive Wassoulou music innovator Alatta Brouleye. It was Brouleye who provided the instrument that propelled Wassoulou music to its initial urban popularity with his creation of the kamelngoni in the 1960s. The instrument was an adaptation of the traditional donso ngoni and it became known as the youth's harp because of its popularity with the young and such was its break with tradition that it was initially banned in Wassoulou villages by the elder hunters. Oumou managed to persuade Brouleye into a Bamako studio in 1998 to record his only cassette shortly before he died. On the track 'Donso' on her latest album 'Seya' she uses the traditional donso ngoni in a song that pays tribute to her father with whom she was finally reconciled in 2002 on his return to Bamako.
Oumou is an artist who is proud of her country and its diverse cultures, now recognised and appreciated throughout the world. "Mali is a country of oral tradition, which explains why music and society here are part of each other. The 32 different ethnic groups here each have their own well-developed culture. They don't need each other to make good music, even though cross-fertilisation is always good. There should still be a lot more recognition for Malian music. I deeply respect each individual artist in Mali. Our potential is incredible. Mali and its music embody the symbol of a free and victorious Africa."
*Note on spelling of Wassoulou/ Wasulu.
Wassulu is the Bambara spelling.
Wassoulou is the French spelling.
Gitarrenarbeit im Geist von KING SUNNY ADE
und eine goettliche, afrikanische Stimme ...
Es gibt so viel aufzuarbeiten ...
a) Die Meldungen der Presse
c) die Foto-Gallery
e) Haben diese afrikanischen Sistas aus MALI und COTE D´ IVOIRE etwas zu tun mit
CONDAMBLE und ORISHAS????? Eine religionsphänomenische Exkursion ...,
die durchaus im Herzen des wundergläubigen NT landen kann ...
f) Vermutlich hat die frz. Kolonisation diese Luxus-Weibchen geboren?
Dann wuerde auch im Boesesten der Samen fuer das Wunder verborgen sein ....
P.s. Meine neue Errungenschaft: PIPPI TO GEL
ist wirklich segensreich ...
und der Kaese aus GORINCHEM schmeckt formidabel ...
so meine SOLALA - Geschwister ...
HEUTIGE KNALLERMELDUNG: SF VECHTEL
Die Schlachten gegen FUERSTENAU stehen fest:
Hab gerade die Termine
für die neue Saison bekommen.
Am 09.09 um 15 Uhr in Fürstenau und
am 10.03 um 15 Uhr in Vechtel.
WORT DIESER ZEIT
AMORE PER IL GELATO
So gesehen von AitschJie in einer Eisdiele in Harlem.
Toller Verkäufer, der mit Inbrunst eine einzige
Bolletje kredenzt ....
PIPPI TO GEL
Der Autonomade machte in den Niederlanden neue
Erfahrungen. Besonders wichtig war der Test
des PIPPI-TO-GEL-Konverters. Das Ding funktioniert
und ist recht geruchsarm.
Weiterhin überlege ich, wie eine Leselampe
(Bergwerkslampe) aussehen sollte? Und ein
Lesegerät wäre praktisch (SONY PRS T1)
streamt Inhalte von meinem READER CALIBRE
(EBOOKS) auf den READER ....
Lianne La Havas
Was fuer ein Stimmchen? Sie stammt aus London
und hat einen Hit in Great Britain.
Einige weibliche Fans in den 18ern und 20ern
waren gekommen. „I´m proud to play this
festival! I can´t greifen fassen mein Glück....!“
Hoofdredactie blog: live vanuit NSJF 1
Als mieren kruipen we rond, in de gangen, zalen en krochten van het North Sea complex. Het is dus….best wel druk (druk genoeg?), in ieder geval gezellig en stampvol muziek die ertoe doet. Sven Hammond Soul opende scherp, hij had er zin in en als dit de toon zet voor deze editie, komt t wel goed. Bram Stadhouders, de jonge gitarist met de MCN compositieopdracht, trad dus op met 8 leden van het Nederlands Kamerkoor. Heel ruimtelijk en open, aldus Jan Jasper Tamboer. Overweldigend mooi. Jazzism’s Angelique van Os zag de Tunische ud-speler Dhafer Youseff met zijn Quartet een even verstilde als opzwepende performance geven, vol overgave.
Lee Konitz & Joey Baron dan: je moet het maar durfen, deze bijzondere combi drums en sax. Een a twee nummers moet geen probleem zijn maar zelfs voor deze nestors was dit te veel van t goede. Elke noot is raak, maar het was te weinig afwisselend , dynamisch en avontuurlijk.
Terwijl Hiatt wat oude deuntjes ertegenaan gooide, sprak funkoloog Stokkink met Kiwanuka, backstage en confronteerde deze met zijn evenbeeld van vele jaren her: Nolan Porter. Michael kon er wel om lachen. En trad later in de veel te grote Maas hal op, te fors voor zijn intieme songs, hoewel de band met 2 drummers hem pittig ondersteunde. Stem en gitaarspel vond ik bijzonder genoeg, hij is de hype zeker waard maar in een betere setting. En een eerste hoogtepunt noteerde ik, samen met andere Jazzism-medewerkers, bij het concert van Gregory Porter. Het grootse van deze zanger zit m in de warmte van zijn stemgeluid, gecombineerd met het feit dat hij zijn meer dan uitstekende band volop de ruimte wist te geven. Hij wist het klein te houden en tegelijk hierin groots te groeien. Daarmee tilde hij zijn performance boven ales en iedereen uit, wat een held!
Ik sluit nu af en ga verder genieten, ben je er niet bij, geniet dus mee.
Paul Evers/ hoofdredacteur Jazzism
Joshua Redman voert
North Sea Jazz aan
Joshua Redman en Bram Stadhouders vervullen speciale taken op het komende North Sea Jazz Festival, dat zich afspeelt van 6 tot en met 8 juli in Ahoy Rotterdam. De Amerikaanse tenorsaxofonist is Artist in Residence, de uit Tilburg afkomstige gitarist Bram Stadhouders is de MCN Compositieopdracht North Sea Jazz 2012 toegekend.
Bram Stadhouders gaat zijn compositieopdracht gestalte geven binnen een nieuwe compositie, die hij schreef voor gitaar, toetsen, slagwerk en acht zangers van het Nederlands Kamerkoor. Stadhouders (1987) is de jongste musicus ooit, die de MCN Compositieopdracht North Sea Jazz in handen kreeg. De jury beschouwt Bram Stadhouders ‘als een van de meest interessante opkomende improviserende musici van Europa. Met zijn gitaar en technologie verkent hij de grenzen tussen ambient, hedendaagse elektronische muziek en vrij geïmproviseerde jazz’.
Elk jaar benoemt het North Sea Jazz Festival (NSJF) een musicus als Artist in Residence. Dit jaar is dit Joshua Redman, een belangrijke vertegenwoordiger van de neobop uit de jaren negentig van de vorige eeuw. Redman, zoon van de eveneens zeer bekende Dewey Redman, treedt elke festivaldag op. Vrijdags doet hij dat met het Nederlandse Metropole Orkest, een dag later maar liefst twee keer met respectievelijk James Farm en het Joshua Redman Axis Quartet (Nederlandse première) en zondags met The Bad Plus.
Het festival kent dit jaar drie actuele thema’s, die alle betrekking hebben op nieuwe ontwikkelingen binnen de jazz. Want het NSJF mag dan al jaren de naam hebben dat jazz een steeds minder belangrijke plek inneemt, met de thema’s ‘Jazz in the Third Space’, ‘New Urban Jazz’ en ‘Clean Feed Records’ wil het festival deze bewering het hoofd bieden.
Het eerste thema drukt de internationale ontwikkeling van jazz uit. Met ‘Third Space’ wordt naast huis en werk een derde ruimte genoemd, waarin de mens van nu kan reizen: internet en andere digitale ontwikkelingen. Ook binnen de jazz bestaan nauwelijks nog grenzen tussen musici. De volgende namen die naar NSJF komen getuigen daarvan: Wolter Wierbos en Tobias Klein, Dinuk Wijeratne en Eric Vloeimans, Tom Rainey Trio met Ingrid Laubrock en Mary Halvorson en Oguz Büyükberber met Simon Nabatov.
RINUS VAN DER HEIJDEN
TO A CHILD DANCING ..
ARTS LYRICS SONG
Später hat Angelo Branduardi William Butler Yeats mit einer musikalischen Bearbeitung einiger seiner Balladen und Gedichte ein besonderes Denkmal gesetzt. Dazu gehören u. a. „To a Child Dancing in the Wind“, „The Fiddler of Dooney“ und „The Lake Isle of Innisfree“. Die Übersetzung ins Italienische besorgte Luisa Zappa Branduardi.
Jetzt Tanz tanzen im Sand;
und nicht behandeln Sie Heilung,
Wind wenn macht Geräusche,
welche Notwendigkeit besteht?
Jetzt Tanz, trocknet die Haare, triefend nass sie Salz;
Du bist so jung und noch nicht wissen Sie, jetzt Tanz.
Sie der Narr Sieg nicht wussten,
oder der Verlust von Neugeborenen Liebe, noch warum die besten geht weg und das Korn lässt zu binden.
Jetzt tanzen dort tanzen im Sand, Sie behandeln Sie nicht des Windes; Sie müssen nicht befürchten, wenn Sie jetzt zu schreien, was braucht es gibt
A Una Bambina Che Danza Nel Vento
(To A Child Dancing In The Wind)
A Una Bambina Che Danza Nel Vento Songtext :
Ora danza là, danza sulla sabbia;
e non ti curare del vento,
non ti curare se fa rumore il mare,
che bisogno c'è?
Ora danza là, asciuga i tuoi capelli,
gocce di sale li hanno bagnati;
tu sei così giovane e ancora non conosci,
ora danza là.
Tu il trionfo dello sciocco non sai,
o la perdita dell'amore appena nato,
nè perchè mai il migliore se ne va
e lascia il grano da legare.
Ora danza là, danza sulla sabbia,
tu non ti curare del vento;
non devi temere se ora vuol gridare,
che bisogno c'è
Als sie mich umschlang mit zärtlichem Pressen,
Da ist meine Seele gen Himmel geflogen!
Ich ließ sie fliegen, und hab unterdessen
Den Nektar von ihren Lippen gesogen.
Ende des Tages
Unter blassem lichte schwärmend
Tanzt und stürzet ohne grund
Sich das leben schamlos lärmend ..
Doch sobald am himmelsrund
Wonnevoll die nacht sich breitet
Alles – auch der hunger – ruht ·
Alles – auch die schmach – vergleitet;
Sagt der dichter: nun ists gut!
Gierig flehen meine glieder
Wie mein geist die ruhe nieder
Von unseligem traum zerwühlt ..
Will mich auf den rücken strecken
Eingehüllt in eure decken –
Finsternisse die ihr kühlt!
Der alte Storch wird nun begraben.
Ihr Kinder lernt im Unterricht,
Warum wir dies und jenes haben,
Und es verbreitet sich das Licht.
Zu meiner Zeit, du große Güte!
Da herrschte tiefe Geistesnacht.
Man ahnte manches im Gemüte
Und hat sich selber was gedacht.
Mich lehrte dieses kein Professer;
Nur eine gute, dicke Magd
Nahm meine Unschuld unters Messer
Und machte auf dieselbe Jagd.
Ihr Unterricht war nicht ästhetisch,
Im Gegenteil, sehr weit entfernt.
Und doch, wenn auch nicht theoretisch,
Ich hab' es ziemlich gut gelernt.
BEST COVERAGE OF NSJF
Eine runde, bauchige Trommel war faszinierend
im Duett mit dem Banjo.
FOTO | COLLETTIVOPIRANHA
BIOS OF JAZZ MUSICIANS
Auf Youtube(CUTETUBE) spotte ich
LOVE & ARTHUR LEE 2001
..“A HOUSE IS NOT A MOTEL“
YES! He can call out my name!“
Und ich spotte super Covers von:
HOBO FROM MUSCOGEE
AitschJie hat den roten Umschlag von SPRINGER bekommen????
gut bezahlt wird, müsste man ihm fast raten:
Talk to your doctor. I would.
P.s. Hier der Niederlaendische Zimmermann ....
TANGO | MILANO
2012 © AITSCHJIE