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Sonny Rollins, Quincy Jones

Sonny Rollins, Quincy Jones received the National Medal for the Arts from the hands of President Barack Obama, like Jacqueline Trescott reports (Washington Post ). The two jazz musicians were among 19 Americans who were honored by the White House through the National Medal for the Arts or the National Humanities Medal. The ceremony took place on 2 March. In Videon down the transfer to Quincy Jones at 15:00, transfer to Sonny Rollins is shown at 16:00.

Sonny Rollins and Quincy Jones received the National Medal for the Arts, from the hands of President Barack Obama, as Jacqueline Trescott reports ( Washington Post ). The two jazz musicians were among 19 Americans honored by the White House by either the National Medal for the Arts or the National Humanities Medal. The award ceremony took place at the White House on April 2nd already, Quincy Jones can be seen receiving his medal in the video below at 15:00; Sonny Rolins at 16:00.

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Sammelsuríum / Hodge-Podge

Melinda Bargreen speaks with Bobby McFerrin on his recent projects and how well we can strengthen the public's interest in music (Seattle Times ). --- We heard about the death of the Polish trumpeter Andrzej Pysbielski, the Danish trumpeter Jens Winther of the Danish Trombonist Erling Kroner, drummer Herman Ernest III (New Orleans Times-Picayune ) and the pianist Arnie Carruthers ( Spokesman-Review ).

Melinda Bargreen speaks to Bobby McFerrin about recent activities and how to engage the audience in music (Seattle Times ). --- We learned of the passing of the Polish trumpeter Andrzej Pysbielski, the Danish trumpeter Jens Winther, the Danish trombonist Erling Kroner, the drummer Herman Ernest III ( New Orleans Times-Picayune ), as well as the pianist Arnie Carruthers ( Spokesman-Review ).

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Till Brönner

Der Trompeter Till Brönner spricht darüber, warum er auch bei der zweiten Staffel der populären Casting-Show "X Factor" als Jurymitglied mit von der Partie ist ( Frankfurter Rundschau ). In seinen Konzerten stelle er immer eine gewisse musikalische Dynamik in den Vordergrund, die es sowohl dem Publikum wie auch den Musikern auf der Bühne erlaube, Spaß zu haben. Obwohl sein letztes Album Covern populärer Musik gewidmet war, sei die Improvisation doch Kern seiner musikalischen Ästhetik. Sein Zeitplan sei voll, und doch versuche er jeden Tag vier Stunden lang zu üben. Brönners Traum sei immer noch ein deutsches "House of Jazz", das sowohl eine Jazzakademie umfassen könnte wie auch ein "nationales, professionelles Jazz-Ensemble von Rang, auf das man als junger Jazzer hinarbeiten könnte, und das ebenso gefördert wird wie all die Symphonie- und Opernorchester".

German trumpeter Till Brönner talks about why he continues as jury member of the popular casting show "X Factor" ( Frankfurter Rundschau ). His concerts should always feature a certain musical dynamic which spurs on both the audience and the musicians on stage. Even though his last album featured mostly covers of popular songs improvisation is at the core of his musical aesthetics. His schedule is busy, but yet he tries to practice four hours a day. Brönner's dream is a German "House of Jazz", which would include an academy as well as a "national professional jazz ensemble which young musicians could aspire to and which is funded in similar fashion as all the symphony and opera orchestras".

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Duke Ellington

Während er sich das neue Mosaic-Boxset mit Duke Ellingtons aus den Jahren 1932-1940 anhört, erinnert sich Nat Hentoff daran, wie er Ellington zum ersten Mal als junger Reporter in Boston gehört hatte ( Wall Street Journal ). Duke, erklärt Hentoff, wollte nicht, dass seine Musik analysiert wird; er wollte, dass seine Hörer "sie als ein ganzes wahrnehmen". Ellington sei immer ein Schnellschreiber gewesen, berichtet Hentoff. Einmal habe er Harry Carney gefragt, wie ein Stück, das er noch nie gehört had, well, hot. Carney replied, "I do not know. He has just written up." Another time, Hentoff said the Duke, on what he eighth, when he was looking for new musicians for the band, and next to the "personality" Duke was one thing in particular: ". He must know how to listen"

Listening to the new Mosaic set of Duke Ellington's music from 1932-1940, Nat Hentoff remembers first hearing Ellington as a young reporter in Boston ( Wall Street Journal ). Duke, Hentoff explains, did not like his music to be analyzed, and he wanted his listeners "to open to it as a whole". Ellington as a fast writer, says Hentoff. He remembers how he asked Harry Carney about the name of a tune he did not know and Carney responded, "I don't know. He just wrote it." Another time Hentoff asked Duke what he looked for in new musicians for his band, and apart from "personality" Duke's main category was, "He has to know how to listen".

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Gene Krupa

Owen Edwards berichtet darüber, dass Gene Krupas Drumset als Schenkung der Jazzabteilung der Smithsonian Institution übergeben wurde ( Smithsonian Magazine ). In seinem Artikel erzählt Edwards die Lebens- und Wirkungsgeschichte Krupas und erklärt, wie es dazu kam, dass das Schlagzeug nun der Smithsonian gehört, wo bereits ein Set steht, das einst von Buddy Rich gespielt wurde.

Owen Edwards reports about Gene Krupa's drumset which was donated to the Smithsonian Institution's jazz collection ( Smithsonian Magazine ). In his article, Edwards relates the story of Krupa's life and music and how the drum set happened to be donated to the Smithsonian where it will join a set used by Buddy Rich.

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Freiburg

Die Freiburger Jazz & Rock Schule, die 1984 gegründet wurde, und die Freie Hochschule für Grafik-Design wollen zusammen die neue Hochschule für Kunst, Design und Populäre Musik gründen ( Badische Zeitung ). Das Akkreditierungsverfahren läuft, mit einer Entscheidung des Wissenschaftsrats ist für Sommer zu rechnen, und die new university, is scheduled this fall will receive their official recognition. In addition to training in these three sectors, the university plans also an area for interdisciplinary projects.

The Freiburg-based Jazz & Rock School, a private jazz school founded in 1984, and the Freiburg School for Graphic Design & the Arts will join and become a School for the Arts, Design and Popular Music ( Badische Zeitung ). Their application for government approval is expected this summer, and the new school could then be formally established in the fall. Apart from specific courses in the three thematic fields, the school plans for a department interdisciplinary projects.

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Sammelsurium / Hodge-Podge

Will Friedwald reported that the record collection of the late last year Chicago radio host Dick Buckley will be auctioned ( Wall Street Journal ). --- Dorian Lynskey has a book on the history of protest songs written and looks in an extract from it on Billie Holiday's "Strange Fruit", which he called the "first great protest song" (The Guardian ). --- Sylvia Pfeiffer talks to the pianist Eddie Palmieri on past and current projects ( Independent Weekly ). --- Laura Barnett talks to the singer Johnny Mathis on the secrets of his art, Critics of rap music and his favorite musician (The Guardian ). --- We learned that fancy clothes, jewelry, paintings and books of the recently deceased singer Lena Horne to be sold by their heirs ( Seattle Times ). --- Martin Johnson talks to the singer Tessa Souter about their lives and their careers and their current projects ( Wall Street Journal ). --- Reinhard Palmer reported on the Munich club Mr. B's ( Süddeutsche Zeitung ) and Thomas Sulczyk on the signal box in Hamburg, whose jazz program will be complemented by future cabaret, comedy and Low German ( Hamburger Abendblatt ). --- Wir lasen vom Ableben des Pianisten Bill Triglia ( Hackensack Record ), des Trompeters Niel Parker ( Los Angeles Times , Variety ) und des Bassisten David Shapiro.

Will Friedwald reports about the late Chicago radio DJ Dick Buckley's record collection being for auction ( Wall Street Journal ). --- Dorian Lynskey has written a book about the history of protest songs and in this excerpt looks at Billie Holiday's "Strange Fruit" as "the first great protest song" ( The Guardian ). --- Sylvia Pfeiffenberger talks to pianist Eddie Palmieri about past and present projects ( Independent Weekly ). --- Laura Barnett talks to the singer Johnny Mathis about the secrets of his art, about critics, rap music and his favorite musicians ( The Guardian ). --- Martin Johnson talks to the singer Tessa Souter about her life and her carreer as well as about her current projects ( Wall Street Journal ). --- We learn that fancy gowns, jewelry, fine art and books belonging the late Lena Horne are to be sold by her estate ( Seattle Times ). --- Reinhard Palmer reports on the Munich-based club Mr. B's ( Süddeutsche Zeitung ), and Thomas Sulczyk reports on the club signal box in Hamburg, Which will feature cabaret, comedy and Low German dialect besides jazz evenings ( Hamburger Abendblatt ). --- We read about the passing of pianist Bill Triglia ( Hackensack Record ), the trumpeter Niel Parker (Los Angeles Times , Variety ) and the bassist David Shapiro.

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Clint Eastwood

Judge Michael talks to the film director Clint Eastwood, who once said, jazz and Western were perhaps the only two truly American art forms ( Wall Street Journal ). Eastwood tells how he came by Fats Waller-plates his mother to jazz, from his visits to the clubs with traditional and modern jazz in the area around San Francisco in the 1940s, where he heard Charlie Parker several times . Judge recaps Eastwood's jazz-related movies, and Eastwood said that jazz musicians were "pioneers of integration, because it judged the jazz people according to their abilities, and this at a time when they were often judged by very different things - social status , color, etc ". Despite all the difficulties that the Jazz had to go through, white Eastwood: "It is this melting pot of races and cultures called America, which gives jazz its great strength."

Judge Michael talks to the motion picture director Clint Eastwood, who once claimed jazz and westerns to perhaps be the only true American art forms ( Wall Street Journal ). Eastwood talks about his initiation to jazz through his mother's Fats Waller records, his visits to both traditional and modern jazz clubs in the Bay area into the 1940s where he saw Charlie Parker several times. Judge recapitulate Eastwood jazz-related pictures, and Eastwood explains that jazz musicians "were pioneers of integration, because you were judged by your ability in an era when people were judging people by a lot of other things - social factors, color, etc it's the racial and cultural melting pot of "For all the difficulties jazz had to go through, Eastwood says." America that 'gives jazz its great power'.

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Buster Cooper

Josh Gauntt reported the 81-year-old trombonist Buster Cooper, who played in the 1960s in the Duke Ellington Orchestra, and still in his home town of St . Petersburg, Florida occurs ( baynews9 ) Cooper, who also worked with other well-known bandleaders, said that was the job at Ellington is a unique opportunity for him.; Then he got any job without audition.

Josh Gauntt reports about the 81 year old trombonist Buster Cooper who had worked with Duke Ellington in the 1960s and is still playing in his native St. Petersburg, Florida ( baynews9 ). Cooper who then worked with other name bands explains that having been part of Ellington's orchestra was a lifetime opportunity; after it he never again had to play auditions.

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Istanbul

Susan Fowler visited Istanbul, describing the fresh and lively jazz scene in the city (New York Times ). She speaks with saxophonist Yahya Dai, explaining that there is a among the young Turks growing interest in jazz there. The pianist selenium Gulun provides a development. 12 years ago they might have given 12 concerts a year, last October there were 12 concerts in the month was. They are however also true that especially older musicians were not as optimistic as they are. Fowler describes the atmosphere of mostly small clubs and speaks to two club owners, of which told her of that jazz evenings with him yet would merely have as wide an audience and must endorse his restaurant to the club. Finally, Fowler speaks with Pelin Opcin, the artistic director of the Istanbul Jazz Festival, is grateful that the public still supported the music, all since a time when "the scene was not yet saturated with so many events and the public yearned for such shows." Gulun writes, Fowler, sing their own Turkish texts, but, as their own musical traditions of Turkey, the jazz idiom of the country has affected (and that's it!), Unfortunately we do not learn from their article.

Susan Fowler visits Istanbul and looks at the city's new vibrant jazz scene ( New York Times ). She talks to saxophonist Yahya Dai who explains that there is a growing interest among the young Turks for jazz. The pianist selenium Gulun sees a development as well. 12 years ago she played 12 gigs in a year, last October, it was the same number in one month. She also concedes that older musicians are not as optimistic as her. Fowler relates the atmosphere of relatively small clubs and talks to two club owners, one of whom explains that the jazz he offers does not yet attract too many customers and that his restaurant supports the club. Finally, Fowler talks to Pelin Opcin, director of the Istanbul Jazz Festival who is grateful for a continuing support from the audience since a time when "the scene was not so saturated with too many events and the audience was craving for such shows". Gulun, writes Fowler, sings her own jazz lyrics in Turkish, but how Turkey's own music has influenced the country's jazz idiom (and it has!), she does not explain in her article.

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Fred Katz

Chris Barton spricht mit dem 92-jährigen Cellisten Fred Katz, der in den 1950er Jahren bei den klassischen Westcoast-Aufnahmen Chico Hamiltons dabei war, mit Lena Horne und Tony Bennett gearbeitet hat und am Cal State Fullerton Kurse in Anthropologie, schamanischer Magie und Religion gab ( Los Angeles Times ). Katz, der sich 1990 von seinen Lehraufträgen zur Ruhe setzte, wird an diesem Wochenende mit einem Konzert geehrt, von dem er annimmt, dass es sein letztes sein wird, weil er "diese ganze Auftreterei für zu viel Aufstand" hält. Katz komponiere immer noch jeden Tag, Musik, die, wie Barton schreibt, mit Leichtigkeit zwischen den Welten des Jazz und der Klassik wechsele.

Chris Barton talks to the 92 year old cellist Fred Katz who had recorded on Chico Hamilton's classic West Coast albums, worked with Lena Horne and Tony Bennett, and taught courses in anthropology, shamanic magic and religion at Cal State Fullerton ( Los Angeles Times ). Katz who retired from teaching in 1990 will be featured and honored in a concert this weekend which he expects to be his last concert, as he "finds the act of performing too much of a hassle". Katz still composes everyday, music which, as Barton writes, shifts easily from jazz to classical.

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NEA Jazz Master Awards

US-Präsident Obama hat seinen Haushaltsentwurf für Submitted in 2012, which is proposed, "the Jazz Masters Award from the National Endowment for the Arts to emphasize," as Patrick Jarenwattananon reported ( A Blog Supreme / NPR ). The NEA Jazz Masters award is a new (and far more general) ceremony, which NEA American Artists of the Year honor replaced, said Jarenwattananon. All in all, wants to reduce the President organized by the NEA, state arts funding by 22 million dollars, as one can read in the budget ( White House budget proposal for 2012 ; the relevant passage is on page 113).

The budget proposal for 2012 President Obama suggested "Propose to eliminate the National Endowment for the Arts' Jazz Masters award", as Patrick Jarenwattananon reports ( A Blog Supreme / NPR ). The NEA Jazz Masters honor is to be replaced by a new (and much more general) NEA American Artists of the Year honor, explains Jarenwattananon. All in all, the president plans to reduce the NEA funding by $22 million, as can be seen in the budget ( White House budget proposal for 2012 ; go to page 113).

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Anthony Davis

George Varga spricht mit dem Pianisten und Komponisten Anthony Davis, der am 20. Februar 60 Jahre alt wird ( San Diego Union-Tribune ). Davis hätte in seiner Jugend fast mit der Rockband The Grateful Dead gespielt, als einige deren Mitglieder den 20 Jahre alten Studenten in einem Club hörten und beeindruckt waren. Seine Eltern bestanden aber darauf, dass er seinen Abschluss machte, und Davis meint rückblickend: "Vielleicht haben meine Eltern damit mein Leben gerettet", weil nämlich "fast jeder Pianist der Dead sich irgendwann eine (tödliche) Überdosis setzte". Davis spricht über den Einfluss von Thelonious Monk sowie über verschiedene Bücher, die ihn darauf brachten, sich intensiver mit dem Operngenre auseinanderzusetzen. Varga resümiert Davis' Karriere, seine Zusammenarbeit mit Wadada Leo Smith und anderen sowie seine eigenen Projekte, especially his opera "X, The Life and Times of Malcolm X", "Under the Double Moon", "Tania," "Amistad," "Wakonda's Dream" and "Lilith". At present he is working on several new opera projects, including one playing that in the wake of the Cuban revolution. "

George Varga talks to the pianist and composer Anthony Davis, who will turn 60 on February 20th ( San Diego Union-Tribune ). Davis nearly joined the Grateful Dead when members of the band heard the 20-year-old student at a club and were impressed. His parents insisted on him finishing school, and Davis comments, "maybe my parents saved my life", as "nearly every piano player in the Dead (fatally) OD'd. Davis talks about the influence of Thelonious Monk and some of the readings that got him interested in opera. Varga sums up Davis's career through collaborations with Wadada Leo Smith and others and his own projects, especially his operas, "X, The Life and Times of Malcolm X", "Under the Double Moon", "Tania," "Amistad," " Wakonda's Dream "and" Lilith ". Currently he works on several new operas, including one set in the wake of the Cuban revolution. "

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Sammelsurium / Hodge-Podge

In Buffalo, New York was the home of trumpeter Elvin Shepherd, who played together until his death in 1995, with many jazz greats and as a teacher Grover Washington Jr. is, saved from demolition and is now a jazz museum for the City of Buffalo to be converted ( WKBW ). --- We learned in the last week of the death of the trumpeter Allen Smith (San Francisco Chronicle ), the critic Charles Graham, who published in the 1950s and 1960s, a hi-tech column in the magazine Down Beat, the trumpeter Don Ferrara, who on 18 Passed away in January, and the pianist George Shearing, we an obituary on 15 February dedicated. Died on the night of February 14 also William Geipel, longtime operator of the Frankfurt Jazz Cellar ( Frankfurter Neue Presse ). An exclusive obituary by Michael Rieth found on our obituary page .

The house of the trumpeter Elvin Shepherd, who until his death in 1995 performed with many of the jazz greats and who taught musicians such as Grover Washington Jr. has been saved from demolition and is now being planned to be transformed into a museum for the rich jazz history of Buffalo ( WKBW ). --- We learned of the passing of the trumpeter Allen Smith ( San Francisco Chronicle ), the critic Charles Graham who in the 1950s and 1960s held a Down Beat column on high fidelity, the trumpeter Don Ferrara who died already on January 18th, as well as the pianist George Shearing whose obituary we published on February 15th. On February 14th we also lost Willi Geipel who for many years managed Frankfurt's famous "Jazzkeller" jazz club ( Frankfurter Neue Presse ). An extensive obituary by Michael Rieth (in German) can be found on our obituary page .

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George Shearing

Der Pianist George Shearing starb in New York im Alter von 91 Jahren. Shearing wurde blind in South-London geboren und begann seine Karriere in den 1930er Jahren in britischen Bands, spielte u.a. in der Band des Geigers Stéphane Grappelli. Bald entwickelte er im Spiel mit Blockakkorden einen wiedererkennbaren Personalstil, den er dem Einfluss Milt Buckners zuschreibt, dess Pianisten the Lionel Hampton Orchestra. In 1947 he moved to the United States, where he and his quintet, which featured a new openness harmonic, melodic catchiness and a very specific group sound, sometimes both at the Jazz had a larger audience as well as a great success. In 1949, his recording of "September in the Rain" is a best-selling hit, his composition "Lullaby of Birdland" from 1952 became a jazz standard that has been sung by many famous artists and recorded. Jack Kerouac's Beat generation novel "On the Road" contains a long passage of the "Old God Shearing dedicated. In the 1970s and 1980s, the pianist was often in a duo with singer Mel Torme on. Shearing was considered highly known for his wit and humor and throughout the jazz community. He followed attentively what did the fellow Sun I myself remember having seen him once in the audience of a concert of his fellow pianists Ellis Larkins, totally immersed in the music and the magic of the Larkins'schen beguiling harmonies, as were the others had always been by his own obituaries. Washington Post , Los Angeles Times , San Francisco Chronicle, The Guardian , Frankfurter Rundschau .

The pianist George Shearing, died in New York at the age of 91st The South-London born blind musician had started his career in British bands in the late 1930s, playing among others in the band of violinist Stéphane Grappelli. He supposedly developed his signature locked-hands piano style for which he credits Milt Buckner who played piano in the Lionel Hampton orchestra. In 1947 he moved to the United States where within two years he was very successful with his quintet, which featured a harmonic openness and melodic smoothness and a specific, completely new group sound that appealed to the jazz as well as to a broader audience. He had a hit with his 1949 recording of "September in the Rain", and his composition "Lullaby of Birdland" from 1952 became a jazz standard sung and played my many name artists. Jack Kerouac's Beat generation novel "On the Road" had an extended passage dedicated to "Old God Shearing". In the 1970s and 1980s the pianist often performed in duo with the singer Mel Tormé. Shearing was known for his wit and humor, and respected by everybody in the jazz community. He followed what his colleagues were doing, and I remember seeing him in the audience at a concert by Ellis Larkins years ago, totally absorbed in the music, enthralled by Larkins' harmonic magic as others had always been by his own. Obituaries: Washington Post , Los Angeles Times , San Francisco Chronicle , The Guardian , Frankfurter Rundschau ..



The George Shearing Quintet plays "Swedish Pastry" (above) and "Conception" (bottom) with Joe Roland on vibraphone, Chuck Wayne on guitar, John Levy on bass and Denzil Best drums.

The George Shearing Quintet performing "Swedish Pastry" (above) and "Conception" (below) with Joe Roland on vibraphone, Chuck Wayne on guitar, John Levy on bass and Denzil Best on drums.

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Grammy: And the winners are...

The Grammy ceremony is over and Esperanza Spalding won spanked before Popkollegen wie Justin Bieber die Kategorie "best new artist". Der Grammy Website  zufolge sind die Gewinner im Jazzbereich: Best Contemporary Jazz Album: Stanley Clarke: "The Stanley Clarke Band"; Best Jazz Vocal Album. Dee Dee Bridgewater: "Eleanora Fagan (1915-1959): To Billie With Love From Dee Dee"; Best Improvised Jazz Solo: Herbie Hancock: "A Change Is Gonna Come" aus dem Album "The Imagine Project"; Best Jazz Instrumental Album, Individual or Group: James Moody: "Moody 4B"; Best Large Jazz Ensemble Album: Mingus Big Band: "Mingus Big Band Live At Jazz Standard"; Best Latin Jazz Album: Chucho Valdés And The Afro-Cuban Messengers: "Chucho's Steps". Die Komposition "It's What I Do" des Saxophonisten Kirk Whalum gewann in der Kategorie Best Gospel Song. --- Christopher John Farley spricht mit Esperanza Spalding über ihren Grammy und über ihre Hoffnung, dass ihr Gewinn die Ohren der Menschen für all die Dinge öffnen möge, die in der Jazzwelt passieren ( Wall Street Journal ). --- Erfolgreich sein hat auch seine Nachteile, wie Esperanza Spalding merken musste, als nach der Bekanntgabe ihres Grammy-Gewinns in der Kategorie "best new artist" ihre Wikipedia-Seite gehackt und von unglücklichen Justin-Bieber-Fans verunstaltet wurde ( Gawker ).

The Grammy celebration is over, and Esperanza Spalding won the category "best new artist" ahead of Justin Bieber and other popular artists. According to the Grammy website , other jazz winners are: Best Contemporary Jazz Album: Stanley Clarke: "The Stanley Clarke Band"; Best Jazz Vocal Album. Dee Dee Bridgewater: "Eleanora Fagan (1915-1959): To Billie With Love From Dee Dee"; Best Improvised Jazz Solo: Herbie Hancock: "A Change Is Gonna Come" from the album "The Imagine Project"; Best Jazz Instrumental Album, Individual or Group: James Moody: "Moody 4B"; Best Large Jazz Ensemble Album: Mingus Big Band: "Mingus Big Band Live At Jazz Standard"; Best Latin Jazz Album: Chucho Valdés And The Afro-Cuban Messengers: "Chucho's Steps". Saxophonist Kirk Whalum's "It's What I Do" was voted Best Gospel Song. --- Christopher John Farley talks to Esperanza Spalding about her about her Grammy and hope "people realize that there are a lot of things happening in the jazz world that they may not know about" ( Wall Street Journal ) . --- To be successful so has its downfalls, as Esperanza Spalding had to learn when her Wikipedia entry was changed by unhappy fans of Justin Bieber who in the category "best new artist" ( Gawker ).

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Grammy Nominations: Darcy James Argue / Dee Dee Bridgewater

patch Nick talks about how surprised the composer Darcy James Argue of the nomination of his big band album "Infernal Machines" have been for a Grammy in the category "best large jazz ensemble ( Winnipeg Free Press ) was. Argue talks about his influences from jazz and indie rock, about the problems, a tour for his eighteen-piece band Secret Society to organize, the fact that he must work in two (after all, music-related) day jobs to survive, and how it feel for him most likely will, take part in an event in LA: "As a jazz musician because you feel almost like an anthropologist in a different world - a world in which people actually make money with their music." --- Charles J. Gans meets another for a Grammy-nominated artist, dedicated to the singer Dee Dee Bridgewater , whose latest album Billie Holiday in the category of best jazz vocal album "was nominated ( ABC News ). Bridgewater talks about how important it was to keep the tradition of jazz in the 21st century alive as she was influenced as a child of Ella Fitzgerald, which they called "the definition of a jazz singer" means, as well as the fact that there is a while lasted until the art of Billie Holiday's could understand for themselves.

Nick Patch reports that the composer Darcy James Argue was surprised by bis big band's album "Infernal Machines" being nominated for a Grammy for "best large jazz ensemble" ( Winnipeg Free Press ). Argue talks about his influences from both the world of jazz and indie-rock, about the difficulties of setting up tours with his 18-piece big band Secret Society, about the fact that he has to hold two (music-related) day jobs to make a living, and about how it probably will feel to go to Sunday's L.A. event: "As a jazz musician, it's almost like you're an anthropologist in a different world — in the world where people actually make money in music." --- Charles J. Gans meets with another Grammy nominee, the singer Dee Dee Bridgewater Whose album dedicated to Billie Holiday was nominated for best jazz vocal album ( ABC News ). Bridgewater explains how important it is to keep the tradition of jazz music alive in the 21st century, how as a kid she already was influenced by Ella Fitzgerald, whom she Consider the "definition of a jazz singer" and how it took a while for her to really appreciate the art of Billie Holiday.

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Grammy Nominations: Esperanza Spalding / Vijay Iyer

Both Esperanza Spalding as well as Vijay Iyer were nominated for a Grammy, "best instrumental album" Spalding in the category "best new artist and for Iyer. In an interview with the Associated Press (New York Times ) erzählt Esperanza Spalding , wie aufregend es für sie gewesen sei, zu erfahren, dass ihre Musik weit mehr Leute erreiche, als sie selbst gedacht hatte. Sie spricht über ihr Album "Chamber Music Society" und verrät, dass sie sich für die Grammy-Show ein neues Kleid kaufen, ansonsten aber bleiben werde, wie sie ist ("Ich nehme immer noch die U-Bahn..."). Im Gespräch mit Mark Wedel ( Kalamazoo Gazette ) spricht Vijay Iyer über das öffentliche Interesse, das eine Grammy-Nominierung mit sich bringe, über seine musikalische Entwicklung bis hin zu dem Punkt, an dem er etwas erreicht hatte, "was Leute so interessierte, dass sie mich dafür bezahlten".  Finally, he talks about how people of Indian descent in the U.S., "Although Americans are full, but only now can fully participate in American culture and American life." Aseem Chhabra also spoke with Iyer, who said that the Grammy award for jazz even on Sunday afternoon and will not be televised ( The Times of India ).

Both Esperanza Spalding and Vijay Iyer were nominated for a Grammy, Spalding for "best new artist" and Iyer for best instrumental album. " In conversation with The Associated Press (New York Times ), Esperanza Spalding talks about how exciting it was for her to find out "that on a broader scale people were aware of my music". She also talks about her album "Chamber Music Society", and reveals that she will buy a new dress for the Grammys but will otherwise remain who she is ("I still take the subway..."). In conversation with Mark Wedel ( Kalamazoo Gazette ), Vijay Iyer talks about the public interest a Grammy nomination brings, about his musical developments that finally led him to "something that people would actually hire me to do". He also talks about people with an Indian background "who are fully American, but are only now being able to fully participate in American culture and life". Aseem Chhabra, as well, talks to Iyer, who explains that the Grammy for jazz will be given out Sunday afternoon and not be televised ( The Times of India ).

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Rez Abbasi

JD Considine talks to the guitarist Rez Abbasi on influences of Joe Pass and his own Indian-American origin ( The Globe and Mail ). As the saxophonist Rudresh Mahanthappa and Vijay Iyer, the pianist Abbasi had grown up in an Indian-American environment, "how can something so not influence your music? Abbasi talks about how jazz musicians usually use Indian ragas as a kind of scale of they improvise, but that in Indian music the notes of a raga have different value, and there are specific rules for how these things have to be played. " Despite these influences, writes Considine, shine his music not too ostentatious ethnic timbres. He was looking more like "the essence of things," according to where his influences come from, "the essence to take that and apply it to my own thing."

JD Considine talks to the guitarist Rez Abbasi about his influences through Joe Pass as well as his South Asian heritage ( The Globe and Mail ). Like saxophonist Rudresh Mahanthappa and pianist Vijay Iyer, Abbasi grew up in a South Asian household, "so how could this not influence the music"? Abbasi talks about how jazz musicians usually work with ragas by just treating them as scales to improvise on, but that in Indian music "the notes of a raga are prioritized, with specific rules on how things are to be played". Despite such influences, writes Considine, his music does not "carry a sort of overt 'ethnic flavour'". Rather, he is "looking for the essence of stuff", is trying to feel where his influences are coming from, "take the essence of that, and apply it to my own thing".

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Either/Orchestra

Will Friedwald spricht mit dem Saxophonisten Russ Gershon, der vor etwa 25 Jahren das Either/Orchestra gegründet hatte ( Wall Street Journal ). Gershon berichtet, dass die Wahl des Namens vor allem auf die Diversität der Musik anspiele; jeder Bezug auf den Essay "Either/Or" des Philosophen Søren Kierkegaard wäre "rein unterbewusst". Es war auf jeden Fall ein Wortspiel, das hängen blieb. Wann immer er für die Band schreibt, versucht er sich vorzustellen, was ihn als Mitglied des Publikums bei Interesse halten würde. Seine größte Inspiration sei Duke Ellington, und eine Art für ihn, Ellingtons Ästhetik näher zu kommen, sei es gewesen, die Band so viele Konzerte wie nur irgend möglich spielen zu lassen, so "dass die Musik eine Art zweiter Natur wurde and we could play with her. "Today, they play only" a concert every couple weeks. "Recently, he was fascinated by ancient Ethiopian records, and brought his band to an invitation to Ethiopia, where in 2005 her" Live in Addis recorded.

Will Friedwald saxophonist Russ Gershon to the talks who had formed the Either / Orchestra some 25 years ago ( Wall Street Journal ). Gershon says the choice of name was to describe the diversity of the band's music, any reference to the essay "Either / Or" by philosopher Soren Kierkegaard would have been "purely subconscious." It was a pun that stuck. In writing for the band he always tries to imagine what would keep him interested if he were part of the audience. His big inspiration has always been Duke Ellington, and one way to get close to Ellington's aesthetic was for the band to play as much as possible so "that the music became second nature and we could take chances with it". Nowadays they play "a concert every few weeks or so". A recent fascination had been old Ethiopian recordings, resulting in arrangements that landed the band an invitation to perform in that country and record its 2005 album "Live in Addis".

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Die Diskussion um Weiterbildungsstudiengang Jazz in Frankfurt (siehe unseren Eintrag vom 29. Januar 2011) geht weiter. Am heutigen Mittwoch berichtet der Hessische Rundfunk in einer Sendung über the situation, interviewed students and academics. And in the show announcement, the potential impact of the closure decision will once again made it very clear ( hr-online ). Rebecca Berg, co-founder of the initiative Jazz-Or-No, the fight for the reintroduction of a jazz course at the university, is interviewed by Melanie Welters ( Journal Frankfurt ). And here is the response of the university, which argued that the Frankfurt Jazz life could still be difficult probably harm the setting of a trial offer that only 6 students who did not live for the most part in Frankfurt, the community ( Journal Frankfurt ). --- End of October 2010, the Jazz Institute Darmstadt organized together with the Friends of Jazz in Darmstadt and the church of Darmstadt a workshop in which the singer Gabriele Hasler, with over 90 singers mostly worked out without great jazz experience an afternoon program in which the voices of participants to a "sound bath of 100 votes (including the title) were. Videos of the evening performance, are now seen on YouTube (Part 1 , Part 2). --- Klaus Peter Frank talks to Manfred Rehm about the jazz club Birdland in Neuburg an der Donau, 20 years ago found its present home in Hofapothekenkeller on Karlsplatz I ( Donaukurier ). --- Hans Hielscher hear some new CDs of singers and discusses also the glamor of vocal jazz, evident in the covers of Vogue-enabled albums ( Spiegel Online ). --- Marc Myers talks to the Blue giant BB King about life on the road "(Wall Street Journal ). --- Larry Blumenfeld speaks with the alto saxophonist Steve Wilson, who celebrates his 50th birthday with fellow with the Jazz Standard in New York (Wall Street Journal ). --- Edward Rothstein visited the exhibition on the history of the legendary Apollo Theater, which is at the Museum of the City of New York shows ( New York Times ). --- Wir erfuhren vom Ableben des britischen Schlagzeugers Tony Levin, des Rock-/Bluesgitarristen Gary Moore ( The Independent , The Guardian [1], The Guardian [2]) und der Sängerin Mary Cleere Haran ( New York Times ).

The discussion about the closure of the jazz department at the Frankfurt Conservatory continues (see our entry for January 29, 2011). Today, Hessen radio will bring a half-hour feature dedicated to the situation, including interviews with students and representatives of the conservatory. The announcement of the program emphasizes once more the possible effects of the conservatory's decision ( hr-online ). Rebecca Berg, one of the founders of the initiative Jazz-Or-No which tries to reinstall a jazz department at the conservatory, is interviewed by Melanie Welters ( Journal Frankfurt ). Here is the response from the conservatory which argues, Frankfurt jazz life cannot possibly be much affected by the closure of a program which only attracted 6 students, most of whom didn't even live in Frankfurt ( Journal Frankfurt ). --- In late October 2010 the Jazzinstitut Darmstadt together with a local jazz initiative and the main city church organized a workshop, in which singer Gabriele Hasler and 90 singers most of whom had little improvisation experience worked to create a program in which the individual voices of the participants became a "sound bath of 100 voices" (this also was the title of the evening). Videos of the evening performance can be watched on YouTube ( Part 1 , Part 2 ). --- Klaus Peter Frank talks to Manfred Rehm about the jazz club Birdland in Neuburg on the Danube River in Southern Germany, a club which moved into its present site in the historic cellar of the Hofapotheke (Royal pharmacy) 20 years ago ( Donaukurier ). --- Hans Hielscher listens to some new vocal CDs and focuses on the glam-appeal of today's vocal jazz artists as it presents itself on the cover art of some of their albums ( Spiegel Online ). --- Marc Myers talks to blues giant B.B. King about life "on the road" ( Wall Street Journal ). --- Larry Blumenfeld talks to the alto saxophonist Steve Wilson, who celebrates his 50th birthday with musicians who shared his path at New York's Jazz Standard ( Wall Street Journal ). --- Edward Rothstein attends the exhibition about the legendary Apollo Theater which opened at the Museum of the City of New York ( New York Times ). --- We learned of the passing of British drummer Tony Levin, the rock / blues guitarist Gary Moore ( The Independent , The Guardian [1], The Guardian [2]) and the singer Mary Cleere Haran ( New York Times ).

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Wynton Marsalis

Kevin Berger spoke with Wynton Marsalis ( Los Angeles Times ), although he quickly notes that a conversation with Marsalis is more from listening than speak out. Marsalis tells him that he had to endure but a lot of criticism during his career that he never much agreed that it had made him stronger, on the contrary, "aggressive". He learned from Elvin Jones, he explained that once, when someone tells him what he was playing, would certainly not like each replied, "You should start it, because like we will not stop playing it. "

Kevin Berger talks to Wynton Marsalis ( Los Angeles Times ), although he finds out that a conversation with Marsalis' is more listening than talking. " Marsalis talks about how criticism Which He had a lot of to endure during his career, never bothered him much but rather made him stronger, "more aggressive". He learned from Elvin Jones, he explains, when somebody told him that a lot of people might not like what he was doing, replied, "They better start liking it, because we're going to keep on playing."



Bibliography on Wynton Marsalis

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Jutta Hipp / Paul Kuhn

publish in our Jazz letter from the archive of the Jazz Institute Darmstadt us in February, a recent discovery: two completed questionnaires, in which Hans Blüthner, in the 1930s, one of the founders of the Berlin hot clubs, the two Pianist Jutta Hipp and Paul Cohen in 1952 asks biographical details he needed for his entries in the Italian "Enciclopedia del jazz" that was published in 1953. Both questionnaires were filled out by the musicians in person, includes new biographical information, especially when Hipp identifies the influence of Lennie Tristano, which she later - as we are told that Jutta Hipp-expert Katja von Schuttenbach - always a little denied .

In our February Jazz Letter from the archives at the Jazz Institute Darmstadt we published a recent find: two questionnaires that the late Hans Blüthner, critic and in the 1930s one of the co-founder of the Berlin Hot Club, had sent to the pianists Jutta Hipp and Paul Kuhn in 1952 in preparation for a biographic entry into the Italian "enciclopedia del jazz" published in 1953. Both questionnaires, filled out by the two musicians in person, reveal some new biographic information, especially in -- as Jutta Hipp expert Katja von Schuttenbach told us -- Hipp acknowledging the influence of Lennie Tristano, something which she later tended to deny.



Bibliography on Jutta Hipp


Bibliography on Paul Kuhn

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Peter Brötzmann

The German free-jazz legend Peter Brötzmann will celebrate their 70th birthday until early March, but Julian Weber uses the opportunity ever to a portrait of tenor saxophonist (the daily newspaper ). Brötzmann music was always meant as a social and a musical statement, and the fact that he never deviated from his line, had brought him over the years, many young listeners. Brötzmann was originally want to be painter, then studied graphics and became assistant to the Fluxus artist Nam June Paik. In jazz, it had done to him at that time the music of Ornette Coleman, Don Cherry and Eric Dolphy. Although his music have always understood as a political statement, it was a part of the Left in the late 1960s as too elitist. When free jazz, he says, " is about thoughts and feelings move somewhere else" . In his Chicago Tentet he plays with a lot of young American musicians in a project to get along without public subsidies - a small miracle, as he says.

German free jazz legend Peter Brötzmann will only celebrate his 70th birthday in early March, but Julian Weber already takes the occasion for a portrait of the tenor saxophone player ( the daily newspaper ). Brötzmann's music was meant as a social and a musical statement, and his nonconformist attitude over the years has earned him many young listeners. Brötzmann originally wanted to become a painter, then a graphic artist, and then he got to know the fluxus artist Nam Jun Paik and became his assistant. In jazz he was drawn to the music of Ornette Coleman, Don Cherry and Eric Dolphy. Even though he understood his music as a political statement, the political left in the late 1960s saw his music as being too elitist. Free jazz, he says, means to move your thoughts and feelings somewhere else. In his Chicago Tentet he plays with much younger American musicians, a project without public funding, a miracle, as he calls it.



Bibliography on Peter Brötzmann

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The Erteguns

J. Freedom du Lac

reported on the legendary but little-known jam sessions, Ahmed and Nesuhi Ertegun, the sons of the Turkish Ambassador to the United States in the 1930s and 1940s, the Embassy organized, to which they invited their favorite musicians ( Washington Post ). The current Turkish ambassador now organizes six concerts (by invitation only), which are reminiscent of the Jazz past the building. Du Lac recalled Ertegun as "the Code of Conduct in the segregated Washington pushed over by black musicians the main entrance of the house welcomed. "There is no official list of musicians who visited the Ertegun, but from contemporary articles in the Washington Post and photos by Bill White Gottlieb at the Library of Congress you want them, in any case, Lester Young, Benny Carter, the boogie-woogie pianist Meade Lux Lewis, the Blue size Leadbelly and members of the bands of Count Basie and Duke Ellington were..

J. Freedom du Lac reports about the legendary yet little known jam sessions Ahmed and Nesuhi Ertegun , sons of the Turkish Ambassador to the United States, held at the Washington Embassy in the 1930s and 1940s inviting their favorite musicians ( Washington Post ). The current Turkish Ambassador organizes six invitation-only concerts to commemorate the jazz legacy of the building. Du Lac recalls how the Erteguns "flouted the conventions of segregated Washington by welcoming black musicians through the front door". There is no record of who visited the Erteguns, but from articles in the Washington Post and photos by Bill Gottlieb at the Library of Congress, "the cumulative guest list probably included [Lester] Young, [Benny] Carter, boogie-woogie pianist Meade Lux Lewis, blues giant Leadbelly, and members of the Count Basie and [Duke] Ellington bands".

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Freunde

Artzig

war der Sohn des Zeitzer Parteisekretärs.

In den 50ziger Jahren gab es ihn noch, den bescheidenen Parteisekretär, in einer Wohnung im Erdgeschoss einer kleinen Villa.

Artzig war mein Freund.

Man at that time had no advantage of it. He was my friend because he was special. The special was his head, an egghead, concoct suitable special things.

I also concocted.

match peaks in the hollow key with rubber and nails detonated. An attempt blew up the keys and parts of my thumb. Pfeiffer UnkrautEx air, more beautiful than some rocket today, mini water bottles with carbide bombs, black powder of saltpeter, charcoal and sulfur, 75:15:10 mixed.

Artzig concocted better.

Silberacetylid He produced a bomb. The falls on wet and had to be carefully dried. He used to the stove. Once went wrong that the family had tinnitus for three days. Another time had run its chlorine production out of control. The family fled from the apartment.

age of 14, we discovered the drugs.

dried chestnut leaves we smoked in the Shells of shotgun cartridges (of shooting) and 90% drank alcohol in the laboratory of Artzig.

age of 16 he was expelled from our school, then we parted ways.

from "post-war years in the East", ISBN 978-3-8372-0715-6

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verschiedene Wege

Kindergarten 1951

The father goes to work, except on Sunday.

The mother goes to work, except on Sunday.

The child is in kindergarten, except on Sunday.

The kindergarten is new, along a muddy playground.

the feet of women and children are dirty, especially in the rain.

Die Frauen beschweren sich bei der Partei.

Die Genossen pflastern einen Weg, die Füße bleiben sauber.

Einzelne Kinder kommen nicht mehr,

ihre Eltern wählten den Weg nach Drüben.

Micha von Schlover

aus "Nachkriegsjahre in the East ", ISBN 978-3-8372-0715-6

Inurl:/view.shtml French Stains

Zeitgeschichte 2

June 45

After two months of activity of American forces used German administrative organs are preparing the Communists of the sub-district Zeitz of the CP on the invasion of Soviet troops from

you choose the main responsibilities.

preparation of the comrades and the general public on the invasion the Soviet army

-Immediate occupation of all municipal functions and fellow anti-fascists

formation of a workers' militia to protect the population and of all property in front of fascist elements

Circular 13th June 1945 to all local communist groups of the sub-district hot is this:

".... In all likelihood, the American authorities a few hours before the arrival of the Red Army to leave the city. This brief span that remains for us is to immediately take advantage of our interest, which means all municipal functions are to take over immediately. ...

. ... Almost three days, it was the days between the withdrawal of American troops and the withdrawal of the Soviet army on 1 July 1945, exercised the comrades of the Communist Party and the Antifa the sole power in the city and county of ....

.... The workers' militia took over police duties in Zeitz. Since not enough small arms were present, some of the comrades was equipped with hunting rifles ... ..

. ... Comrade Max Kirmse was the commander of Soviet troops in Zeitz appointed chief of police. "

from "History of the County Party organization Zeitz of the SED," Volume 1

in "post-war years in the East", ISBN 978-3-8372-0715-6

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Zeitgeschichte 1

April 45

The last grenade explosions and shots other weapons are hardly died away. The horrors of the last nights of bombing still swing in after us. The traffic is paralyzed. Zeitz is torn apart by the senseless bridge blast in a northern and a southern part. The swastika has lost his position of power for good. But still no one knows what will happen and what will happen. Soon a small group has taken the initiative energetic men, and soon life begins to roll again. After a few days of rain already pulsates back thousands of hands, the life and reconstruction begins.

from "967-1945 chronicle of Zeitz"

of Dr. Schmied corner

in "post-war years in the East", ISBN 978-3-8372 -0715-6

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Warum wir glauben

There are no unbelievers

The World is infinite. It is unimaginably large and consists of unimaginably tiny particles but, seemingly have complex interactions. Our brain is limited, the possibilities of our mind into it. With this limited sense, man can only parts of reality, and recognize it only imperfectly.

edited his findings and stores it in order to be able to use profitably in the future. He calls it science if its rules do under the same conditions are always the same results.

Unfortunately, these fragments revealed no knowledge of the frame where the man with the challenges his life could be based. Without this picture, which guides him through life, man is helpless and disoriented. He must be confirmed by experience or science parts of the recognition by parts for which he has no confirmation of his complete picture of the world. The content of these parts consists of unconfirmed assumptions, by their human-made or received in the family, religious or ideological community. And so every man has in his picture of the world unconfirmed shares, to which he can "only" believe.

With the development of human knowledge, some assumptions are confirmed by the experience and erhalten damit den Status von Wissenschaftlichkeit. Aus ihrer Anwendung kann künftig Nutzen gezogen werden. Andere Annahmen (die Erde ist eine Scheibe) erweisen sich als falsch und werden durch Annahmen (die Erde ist eine Kugel) ersetzt, die bessere Erklärungen für die gemachten Erfahrungen ( u.a. Weltumsegelung) ergeben. Das Problem ist also nicht, dass es Annahmen gibt. Das Problem ist der Umgang mit den Annahmen, wenn neue Erkenntnisse gegen sie sprechen, es für diese neuen Erkenntnisse bessere Annahmen (im Sinne der zukünftigen Verwendbarkeit) oder schon durch die Erfahrung bestätigte Regeln gibt. Menschen, die sich neuen Erkenntnissen verschließen, um ihre Jahrhunderte oder Jahrtausende alten Annahmen behalten zu dürfen, can not wait to live in the same prosperity as people who use the new information.

And so passed religions and ideologies, the declaration of the reality field by field scientists. But even in reality you still have an infinite range of interpretation. Their true strength lies in the assumptions for which there can be no proof or evidence to the contrary. It lies in the explanations of the meaning of our life, our death and its aftermath. It is the responsibility of the why.

Micha von Schlover