Equity Delar Interview Quections

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".