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Results for "Nana Vasconcelos"
State and Mainstream: The Jazz Ambassadors and the U.S. State Department
by Karl Ackermann
The Cold War that began in 1947 and ran for forty-four years, had jazz music as its primary deterrent to global tensions, and it did more to foster good will between the U.S. and global citizens than any previous program launched by the U.S. Department of State. Jazz music, even in its Golden Age, was seldom ...
Yacine Boularès: Coltrane by way of Descartes
by Ludovico Granvassu
Saxophonist Yacine Boularès took the road less travelled to discover and develop his passion for jazz. After graduating in philosophy from the prestigious Sorbonne University in Paris, he felt the urge to put into practice the notions of aesthetics he had researched for his dissertation. Following his studies at Paris' Conservatoire National Supérieur de Musique and ...
French Connections - The Jazzdor Experience
by Henning Bolte
Jazzdor is a French festival with two annual editions. The main part is held in the Strasbourg area (France) in November and the other one in Berlin (Germany) in June. Both editions present a considerable number of bilateral and multilateral collaborations; an essential part of the festival's philosophy and policy. The Strasbourg festival is ...
Basilio Sulis: Ai Confini tra Sardegna e Jazz
by Paolo Peviani
Basilio Sulis, storico direttore artistico del festival Ai Confini tra Sardegna e Jazz, è deceduto questa mattina, 11 Novembre 2020. Visionario e anticonformista, ironico e penetrante, appassionato e al tempo stesso lucidamente disincantato, era un acuto osservatore dei fenomeni musicali, culturali, sociali. Lo ricordiamo ripubblicando questa intervista, raccolta nel corso dell'edizione 2017 del ...
Dominic Miller: Silent Light
by Mark Sullivan
Classical guitarist Dominic Miller makes his ECM debut with a largely solo program. It's a gentle, lyrical affair, reflecting his experience living in Argentina, the United States, England, and France, as well as decades of international touring as a working musician. The Brazilian influence is especially strong in pieces like opener “What You Didn't Say" and ...
Balé Folclórico de Bahia at Zellerbach Hall
by Harry S. Pariser
Balé Folclórico de BahiaZellerbach HallCal PerformancesBerkeley, CaliforniaMarch 5, 2017 “Dance is the most universal art that we have. During the primitive era we danced for the sun, wind and rain. Dance was the first expression of the human race and it is the most universal language. We are able to ...
Five Classic ECM Titles in High Res
by John Kelman
If ever there were a label that deserved to have its catalog released in a high resolution format, it's Munich's ECM Records. Since its inception in 1969, the multiple award-winning record label headed by producer Manfred Eicher has truly redefined how, initially, jazz and improvised music recordings could--and, at least for some, perhaps should--sound. Attention to ...
Things We Like: Ottobre 2016
by AAJ Staff
Finito il mese di ottobre, riprendiamo la vecchia rubrica “Things We Like," dove, un po' per passione e un po' per gioco, descriviamo le cose (musicali e non) che ci rimarranno impresse del mese appena trascorso. Alberto Bazzurro Ottobre, mese pre-referendario per eccellenza (non quel referendum...), si porta generalmente appresso una caterva ...
Ferenc Snetberger: In Concert
by Mark Sullivan
Hungarian classical guitarist Ferenc Snétberger makes his ECM debut with a live solo guitar recording, surely the most demanding and revealing format for any guitarist. His music is the product of diverse stylistic influences: starting with jazz, but then a strong classical music influence, followed by exposure to Brazilian, South American, and flamenco guitar music. Snétberger ...
John Abercrombie on ECM - Part 1: Through the '80s
by Budd Kopman
Now that the The First Quartet set of recordings by guitarist/composer John Abercrombie from 1979-1981 has been released, it is as good a time as any to explore Abercrombie's career on ECM as a leader/co-leader, plus some his work as a sideman. There is a famous epithet from Bill Evans: “Jazz is not a ...
