UNESCO Director-General Irina Bokova and UNESCO Goodwill Ambassador Herbie Hancock announce Ninth annual International Jazz Day
Executive Director of
The Honorable Honorary Consul Emeritus
the Consular Corps of Arizona
Enrique Melendez
JOIN US FOR THE JAZZ DAY AZ
ALFREDO MOLINA
WM. DOC JONES
2020 SCOTTSDALE JAZZ FESTIVAL
SCOTTSDALE MAYOR JIM LANE
INTERNATIONAL JAZZ DAY The Honorable Laura Machuca Arroba Consulate General of Ecuador
The Honorable Wolfgang Klien Consulate of the Republic of Austria
The Honorable Reginald Winssinger Consulate of the Kingdom of Belgium
The Honorable Richard Strand, MD Consulate of Belize
The Honorable Rosilane Novaes Consulate of the Federative Republic of Brazil
The Honorable John Larsen Consulate of the Kingdom of Denmark
The Honorable Kenneth “Patricio� Smith, Esq. Consulate of the Republic of Chile
The Honorable Slobodan Popovic Consulate of the Czech Republic
The Honorable Glenn Williamson Consulate of Canada
CELEBRATED IN 195 COUNTRIES The Honorable Steve Chucri Consulate of the Republic of Estonia
His Excellency Oscar Adolfo Padilla LamConsulate General of Guatemala
The Honorable Roberta Gentili-Purcel Consulate of the Italian Republic
The Honorable Gary R. Waissi, Ph.D.Consulate of the Republic of Finland
The Honorable Tony Banegas Consul of Honduras
The Honorable Kelly Moeur Consulate General of Japan
The Honorable Nathan J. Fidel Consulate of the French Republic
The Honorable Dr. Omer K. Reed Consulate of Iceland
The Honorable Dr. George R. Ayoub Consulate of the Lebanese Republic
The Honorable Paul Zygas, Ph.D. Consulate of the Republic of Lithuania
The Honorable Henry Victor Cappello Consulate of the Republic of Malta
The Honorable Alex Boemark Consulate of the Kingdom of Norway
The Honorable Fernande Hastert Kuykendall Consulate of the Grand Duchy of Luxembourg
The Honorable Jason Miko Consulate of the Republic of Macedonia
The Honorable Dr. Trond U. Honorable Jorge Mendoza Yescas Hegle Consulate General of Mexico Consulate of the Republic of Namibia
The Honorable Raul Osorio, MD Consulate of the Republic of Peru
The Honorable Bogumil N. Horchem 14725 N. Mariposa Court
The Honorable Ileana Alexandra Orlich, Ph.D. Consulate General of Romania
The Honorable Alfredo J. Molina Consulate of the Kingdom of Spain
The Honorable Dr. Werner Bonadurer Consulate of the Swiss Confederation
The Honorable Ruth Elizabeth Willis Consulate of the Seychelles
The Honorable Bob Walkup Consulate of the Republic of Korea
The Honorable Jeremy Torstveit, MD The Honorable Lars O. Consulate of the Democratic Socialist Lagerman, Esq Consulate of the Kingdom Republic of Sri Lanka of Sweden
The Honorable Taras Warvariv Honorary Consul of Ukraine
The Honorable Donald Henry MarshallHonorary Consulate of the United Kingdom
JAZZ IN AUSTRIA – A MELTING POT OF MUSICAL DIVERSITY https://www.musicexport.at/jazz-in-austria-a-melting-pot-of-musical-diversity/
IT IS THE VAST MUSICAL DIVERSITY THAT DISTINGUISHES TODAY’S AUSTRIAN JAZZ SCENE, PROVIDING ACCLAIM AND ATTENTION WELL BEYOND THE COUNTRY’S BORDERS.. REGARDLESS OF SUBGENRE, BE IT BASED ON MORE TRADITIONAL ROUTES, LARGER OR SMALLER INSTRUMENTATIONS, EXPERIMENTAL OR AVANT-GARDE NICHES, UNCONVENTIONAL OR GENRE-CROSSING MUSIC: ALL ARE CHARACTERIZED BY LIVELINESS, INNOVATION, AND CREATIVITY. IN TERM OF ARTISTRY AND MUSICAL SKILLS, THE AUSTRIAN JAZZ SCENE EASILY RANGES AMONG THE WORLD’S FINEST.
JAZZ FROM AUSTRIA The thing that sets the Austrian jazz scene apart these days, that for which it is known and valued even beyond it’s borders, is the immense musical diversity present here. Whether in the traditional formats, the large or small ensembles, the experimental or avant-garde, in every part of the jazz scene it is quite apparent that they are taking place in the middle of a lively and innovative creative climate. And it is happening at an artistic and technical level that can hold its own at an international level.
The history of jazz in Belgium starts with the Dinant instrument maker
Adolphe Sax, whose saxophone became part of military bands in New Orleans around 1900 and would develop into the jazz instrument par excellence. From then on the early history of jazz in Belgium virtually runs parallel to developments in the country of the birth of jazz, from the minstrel shows in the late 19th century until the first Belgian jazz album in 1927 and beyond. Two important people in Belgium largely influenced the development of jazz in those early years: Félix-Robert Faecq and Robert Goffin. The Belgian jazz history yielded many internationally known jazz musicians and composers such as the harmonica player and guitarist Toots Thielemans, guitarist Philip Catherine and the gypsy jazz guitarist Django Reinhardt. Present time[edit] Belgium has yielded a relatively high number of world-class jazz musicians: Philip Catherine, Steve Houben, Bert Joris, Charles Loos, Jean-Louis Rassinfosse, Michel Herr, Philippe Aerts, Peter Hertmans, Erwin Vann, Nathalie Loriers, Ivan Paduart, Phil Abraham, David Linx, Diederik Wissels, the Brussels Jazz Orchestra, Aka Moon... And the tradition is kept alive by a new generation of young and promising musicians in a variety of jazz styles: old-style mainstream, big band, bebop, all forms of modern jazz like the ‘’jazz rock’’, avant-garde and free improvisation, Latin jazz and electric Brazilian fusion, acid jazz, world jazz, etc.. Furthermore, musicians of the older generation who are still alive and kicking keep making notable records and are performing at a high level. Toots Thielemans for one is still prominent on the jazz scene. In 2009 he was one of the main attractions during the Night of the Proms in Antwerp, and in March 2010 he played eight shows at the Blue Note Festival in New York. Composer/ pianist Jef Neve, born in 1977, has quickly become a prominent figure of Belgian jazz, and his international reputation is still growing. The famous British jazz critic Stuart Nicholson wrote of him: “His very personal approach to the piano trio announces the arrival of a huge promising young musician that has the potential to become an important voice in the European jazz scene to be.”
In 2012, there were three leading Belgian jazz magazines: Jazz’halo, Jazz Around (the French partner of Jazz’halo) and Jazzmozaïek, sponsored by the Flemish government. An important organization for the promotion of jazz was Centrum De Werf in Bruges, managed by Rik Bevernage. De Werf organizes jazz concerts, mainly for American and Belgian jazz musicians. According to jazz impresario Jos Demol, the publisher of Jazz’halo, the Belgian jazz scene is generally spoken strongly focused on American jazz.[7] Only a few musicians did their own thing and found their own way: Fred van Hove, Kris Defoort and Gilbert Isbin for example. Demol also noted little real interaction between clubs from different countries, although the differences are sometimes marked with stereotypes as “the clownish Italians”, “the romantic French”, “the ironic Dutch” and “the straightforward Germans”. According to Demol, Belgian jazz could benefit from a mutual influence of styles. The Brussels Jazz Orchestra big band orchestra wrote Belgian jazz history when at the end of March 2012 it was invited to a series of gigs in the famous New York Blue Note Jazz Club. Up to that date, only one Belgian had had the privilege, and that Belgian was, of course, Toots Thielemans. At the educational level, self-education that characterized previous generations, is now increasingly replaced by training in schools, at workshops and seminars. Several Belgian musicians are traveling to the United States to attend classes at Berklee College in Boston, the most famous jazz school in the world. Nowadays, jazz teaching is also organized in Belgium. At the initiative of Henri Pousseur, the Liège Conservatory organized a Jazz Seminar, which would run from 1979 to 1985. Many young emerging musicians were formed there, as well as in the class of Improvisation by Garrett List. Today, the Jazz Studio in Antwerp and the Brussels Conservatory provide jazz education at an advanced level. The international competition for young jazz ensembles and composers in Hoeilaart, “Europ Jazz Contest Hoeilaart” for a long time was the only significant Belgian jazz competition, but today there is also the contest “Jong Jazz Talent” (Young Jazz Talent) in Ghent
Jazz in Belize
2019 Belize International Jazz Festival Commences with a Bang The 2019 Belize International Jazz Festival started on Wednesday night with a bang as the Mexican Institute in Belize City was the venue for a jam session featuring Belizean and international musicians. It’s the fifth annual festival of this kind that seeks to develop a greater appreciation for the style of music that has grown over the years to combine cultural influences. Percussionists Dawn Drake joined Carlos Perrote and others. Karen Vernon, Organizer, Belize International Jazz Festival Belize International Jazz Festival - Southern Foreshore, Belize City, Belize - Rated 4.9 based on 18 Reviews “I am so looking forward to this festival....https:// ambergriscaye.com/forum/ubbthreads.php/topics/536563/2019-belize-international-jazz-festival.html Belizean music fans will now have opportunities over the course of the next 12 months to enjoy the genre. The first show of the Belize Jazz Fusion Culture Concert Series, (a year-long sequence of shows featuring a list of standards and contemporary musical renditions fused with Belize’s cultures in jazz style), is scheduled for Saturday, August 16th, 2014 at the Biltmore Best Western Hotel’s Riverwalk Room starting at 7:00 p.m., promises to be a treat. Brazilian jazzCombining elements of European and African traditions, jazz is a style of music that originated with African Americans in the early 20th century. It is characterized by its improvisatory nature, rhythmic vitality (i.e., “swing”) and emotional expressivenesBrazilian Jazz can refer to both a genre, largely influenced by Bossa nova, that exists in many nations and the jazz music of Brazil itself
The term “música instrumental Brasileira”, which literally means “Brazilian instrumental music”, is used in Brazil as a generalized term to refer to jazz as well as several instrumental forms of art music drawing on national styles such as choro, samba and bossa nova. The term’s ambiguity allows for the fact that Brazilian musicians themselves do not always have much in common with each other and might be willing to play in several genres. Terms for subgenres such as brazuca, ecm, and fusion are more specific to jazz. Brazilian musicians distinguish their jazzier or jazz instrumentals from those of Latin jazz. Jazz or jazzy-influenced music has at times been controversial for being seen as representing a foreign “contamination” of native forms like choro. On the other hand bossa nova, a jazz influenced form of Brazilian music, was popular among the upper-class and sometimes faced criticism for being “bourgeois.”[
Jazz in Canada
Combining elements of European and African traditions, jazz is a style of music that originated with African Americans in the early 20th century. It is characterized by its improvisatory nature, rhythmic vitality (i.e., “swing”) and emotional expressivenes Early History in Canada The earliest jazz musicians in Canada were of American origin and appeared on vaudeville stages and in cabarets in the mid-to-late 1910s. The Original Creole Orchestra, a New Orleans ensemble that included the cornetist Freddie Keppard, toured the Pantages circuit in Western Canada in 1914 and 1916, and Jelly Roll Morton performed in Vancouver cabarets as early as 1919 and as late as 1921. By then, the American pianists James “Slap Rags” White and Millard Thomas had settled in Montréal, where the size and concentration of the city’s black population in St-Henri led to the development of a thriving entertainment scene over the next 35 years (see also Black Music and Musicians in Canada). Scant evidence survives of the first Canadian jazz bands and musicians. The discographer Jack Litchfield has identified the pianist Harry Thomas as Canada’s earliest jazz musician on the basis of the improvisational content of Thomas’ ragtime recordings from 1916
.Jazz in Santiago Club de Jazz One of Latin America’s most established jazz venues (Louis Armstrong and Herbie Hancock are just two of the greats to have played here), this venerable club hosts local and international jazz, blues and big-band performers. Jump to Chilean Jazz - Chilean Jazz The practice of jazz is one of the most popular manifestations of popular music in Chile. The most regular tracks appear towards the 1920s around the figure of the composer, violinist and researcher Pablo Garrido, manager of the first ensembles and local jazz
The Story of Jazz in Prague Part 1 - Tracing a rich Jazz history from Czechoslovak star R.A. Dvorský to the energetic Ondřej Pivec Jazz has a definite presence in Prague. The Czech Republic has produced jazz musicians of international renown, the historic center has a number of clubs, and jazz festivals are held throughout the year. But where did it all start? First Republic Roots Jazz’s history in this country dates before the beginning of the First Republic, when ragtime and dixieland came to Europe. The first Czechoslovak jazz star of note was R.A. Dvorský who formed the Melody Makers in 1925 and later the Melody Boys in 1929. He played to Prague’s smart set at the Central Hotel, Lucerna, and Barrandov Studios. Karel Vlach’s band, Blue Music, were one of the leading acts of the thirties. Lastly, not list would be complete without the composer Jaroslav Ježek, who worked with the comedy duo Voskovec and Werich.. Viklický joined SHQ in 1974. In the same year he won first prize as best soloist in the Czech Amateur Jazz Festival. In 1976, he won a prize for playing at a festival for jazz pianists in Lyon and one for composition in Monaco for his piece “Zelený satén” (Green Satin). Viklický has also drawn on a variety of inspirations. His work can be unashamedly upbeat as in “Trochu Funky” (The Funky Way), which appears on Okno, or it can take a more serious turn such as the album Homage to Joan Miró. Viklický and Stívin have even teamed up to record an album together. One of the hardest-working musicians has to be Robert Balzar, who gigs regularly around the city. His album with John Abercrombie, Tales, garnered international attention.
Danish jazz
Danish Jazz goes back to 1923 when Valdemar Eiberg formed a jazz orchestra and recorded what are thought to be the first Danish jazz records in August 1924 (“I’ve Got a Cross-Eyed Papa” and “In Bluebird Land”). However, jazz in Denmark is typically first dated to 1925, when bandleader Sam Wooding toured in Copenhagen with an orchestra. This was the first time most Danes had heard jazz music. Some prominent early Danish jazz musicians include Erik Tuxen who formed a jazz band and later was named conductor of the Danish Radio Symphony Orchestra; Bernhard Christensen, an art music composer who incorporated jazz elements into his pieces, and Sven Møller Kristensen, who was the lyricist for many of Bernhard Christensen’s pieces and who wrote a book on jazz theory in Danish.
History[edit] In the 1930s, jazz became quite popular in Denmark; major figures of the period include pianist Leo Mathisen, violinist Svend Asmussen, trombonist Peter Rasmussen, saxophonist Kai Ewans, bassist Niels Foss, and pianist/vibraphonist Kjeld Bonfils. Many of these musicians played in Valdemar Eiberg’s band. Jazz went underground in 1940 as a result of the Nazi occupation of Denmark when jazz was discouraged by the regime. Nevertheless, it continued to be performed and recorded, even more so as Danish musicians began to fill the void created by the lack of foreign players touring through the area. Musicians such as Eiberg, Bonfils and Asmussen (who played in a band together), along with Uffe Baadh, Bruno Henriksen and Bertel Skjoldborg continued to make jazz music as a form of political protest. Many singers, such as Freddy Albeck, Ingelise Rune, and Raquel Rastenni, found it necessary to escape to Sweden in the later years of the occupation.[1]
Following World War II, Danish jazz musicians began to split into an older guard, which maintained the style of traditional New Orleans jazz, and newer musicians who favored the bebop style of Charlie Parker and Dizzy Gillespie that was emerging in America. The former were represented by musicians such as pianist Adrian Bentzon, trombonist Papa Bue, and trumpeter Theis Jensen, while the latter included saxophonist Max Brüel, bassist Erik Moseholm, drummer Uffe Baadh and trumpeter Jørgen Ryg. In the early 1960s, a club called the Jazzhus Montmartre opened in Copenhagen, which was intended to recreate the atmosphere of jazz clubs in Paris and New York City. It became a major venue for both Danish and American jazz musicians. Many American jazz players moved to Copenhagen from the 1950s when Stan Getz and Oscar Pettiford moved there. They were followed by Dexter Gordon, Kenny Drew, and Ben Webster in the 1960s, and Duke Jordan, Horace Parlan, Ed Thigpen, Bob Rockwell, and Thad Jones (who became the leader of the DR Big Band in 1977) in subsequent decades. Kenny Drew formed a trio with Alex Riel and Niels-Henning Ørsted Pedersen which became a staple at Jazzhus Montmartre. In the 1960s, Danish musicians began to explore free jazz with saxophonist John Tchicai as the most prominent proponent. In parallel, a more mainstream wing evolved, including saxophonist Jesper Thilo. As rock music became more popular in the 1970s, jazz’s popularity waned, but it continues to be supported in venues such as the Copenhagen Jazzhouse and the annual Copenhagen Jazz Festival. The organization JazzDanmark,[2] funded by the Danish government, works to promote jazz in Denmark and Danish jazz abroad. Danish jazz history -The official website of Denmark
Jazz In Ecuador
The Jazz Society of Ecuador is a volunteer society of musicians, music teachers, and jazzenthusiasts whose purpose is to present live jazz performances throughout Ecuador. Currently, there are over 2,100 active members of which over 900 live in Cuenca. ABOUT THE JAZZ SOCIETY OF ECUADOR The Jazz Society of Ecuador is a volunteer society of musicians, music teachers, and jazz enthusiasts whose purpose is to present live jazz performances throughout Ecuador. Currently, there are over 2,100 active members of which over 900 live in Cuenca. The Jazz Society of Ecuador was founded and is underwritten by New York pianist, Jim Gala (www.jimgala.com). Mission Statement “To add jazz to the cultural assets of Ecuador, to educate and nurture aspiring Ecuadorian musicians in the art of improvisation, to create a venue for them to perform before a live audience, to promote jazz events and festivals throughout Ecuador, and to welcome musicians from other countries to participate in our mission while enjoying the unique beauty and charm of Ecuador.” JSE Achievements During the past five years, The Jazz Society of Ecuador provided Cuenca, Guayaquil, & Quito with over 1000 live jazz performances, and has presented, and promoted over 100 Ecuadorian musicians. The Jazz Society of Ecuador also provides free musical instruction in the art of improvisation to Ecuadorian music students and compensation to those who perform at our live events. The Jazz Society of Ecuador is helping Cuenca to become regarded internationally as “The Greenwich Village of Ecuador”, and more and more American, Canadian, European, and Asian tourists are making their travel decisions based on the fact that Cuenca has a real, dynamic, and growing jazz scene.
Board of Directors Jim Gala, Yari Correa (Cuenca), Walt Szymanski (Quito), Francisco Echeverría (Guayaquil) Honorary Directors (Prominent jazz musicians who have endorsed The Jazz Society of Ecuador) Herbie Hancock, Chick Corea, Branford Marsalis, Ron Carter, Charles Lloyd, Eddie Gomez, Charles McPhearson, John Patitucci, Joe La Barbara, Chuck Israels The Jazz Society Café The Jazz Society Café is the performance venue of The Jazz Society of Ecuador in Cuenca, Ecuador. Location The Jazz Society Café located on the 2nd floor (upstairs) of La Viña Italian restaurant, 5-101 Luis Cordero y Juan Jaramillo, Cuenca, Ecuador (map). La Viña provides the food & beverages using the same menu & prices as downstairs, and has a reputation for serving authentic Italian cuisine and pizza as the owner/chef is from Italy. Days & Hours The Café is open Wednesdays through Saturdays from 6:30pm to 10pm. The music begins at 7:30pm. Reservations and our Schedule of Events Email jazzsocietyofecuador@gmail.com to make a reservation and you will receive our weekly schedule of events.
Jazz In El Salvador
Se viene la séptima edición de El Salvador Jazz Festival Por séptimo año consecutivo se realiza El Salvador Jazz Festival, la fiesta más grande del jazz en tierras salvadoreña, una presentación de Club Shriners, bajo la producción de Promusica que se realizará del 26 de febrero al 27 de abril. Con la participación de artistas nacionales e internacionales, donde se podrán disfrutar de más de 12 conciertos bajo conceptos de calidad internacional en múltiples sedes de entrada gratuita para el público en general. El Salvador Jazz Festival en su séptima edición no sería posible sin el apoyo de patrocinadores, colaboradores, media partners, Embajadas y entidades culturales internacionales tales como: La Embajada de Alemania, Suiza, Austria, Guatemala, Canadá, Honduras, Nicaragua, Argentina, Costa Rica, Panamá, El Foro Cultural Alemán, La Alianza Francesa de San Salvador y el Centro Cultural Español.
Jazz In Estona
Biggest jazz festival in the Baltics - Jazzkaar - Visit Estonia
Estonia 100 has taken Estonian Jazz all-over Europe To celebrate the 100th birthday of the Republic of Estonia, jazz concerts organised by the Estonian Jazz Union and Jazzkaar have taken place in Belgium, England, Finland, and Germany.
There have been over 10,000 concert visitors from all over Europe at more than 40 concerts. Personal contact has been made with a lot of them due to the interactive booths Estonians put up at all festivals and concerts. In addition, the LoLa project, which started last autumn at the gathering of the European Foreign Ministers Assembly has been continuing this summer in Baku, Azerbaijan and will have the third part coming up in autumn on the 1st of October. LoLa program is a unique technology, which has such low latency due to what it is possible to play live music using the program. For example the concert, which took place in Tallinn last year was held like this that three musicians played ‘’My Funny Valentine’’ in Tallinn and two other musicians played with them from Minsk, Belarus. Tallinn International Festival Jazzkaar (19.-28.04.2019) is the biggest jazz festival in the Baltics, taking place since 1990. The festival has been awarded with the quality mark of the European Festivals Association EFFE. Estonian music industry has chosen Jazzkaar as „the best music festival in Estonia”. In 2018 over 26 000 people all over Estonia visited Jazzkaar’s spring concerts.
JAZZ IN PORI JAZZ Pori Jazz in 2012 Pori Jazz is a large international jazz festival, held annually during the month of July in the coastal city of Pori (a population of 82,809 in January 2010), Finland. It is one of the oldest and best known jazz festivals in Europe, having been arranged every year since 1966.[
History
The first, 2-day-long Pori Jazz Festival was held at the Kirjurinluoto island in July 1966 with 1500 visitors. Audiences grew from year to year and the duration of the festival was also increased. Between 1975 and 1984 it became established as a four-day event. Since 1985 the festival has lasted nine days with audiences numbering from 50,000–60,000. In the early 1990s the numbers reached 100,000 visitors and in 21st century about 120,000–160,000 people are visiting the festival every summer.[2] In 2014 Pori Jazz had its 49th edition and is already planning its 50th anniversary in 2015. At the moment Pori Jazz Festival is the biggest, best known and most popular summer event in Finland. The first festival was based on acoustic jazz but little by little electric jazz and other rhythm music, blues, soul, funk, hip-hop and the rich Cuban and Brazilian music took foot. Now Pori Jazz offers a broad contingent of the world’s leading artists ranging from long-established figures to up-and-coming stars. About 70 per cent of the program is admission free. Pori Jazz has managed to keep in the lead among Finnish and international festivals for already over 45 years. The festival atmosphere in particular, created by the music, people, fine services and unique milieu, is second to none and highly appreciated among the visitors. The festival has become an experience the visitors want to repeat every summer. There are over 100 concerts in 11 different venues during 9 festival days. A special Pori Jazz Kids Festival is also arranged for children.
Jazz In Finland
A short history of Finnish jazz The German-Russian music tradition
The word “jazz” was first used in Finland in 1919 (Haavisto 1996: 6). However, for many years its meaning remained somewhat vague. Perhaps the main reason for this was that it was very difficult to get any foreign records. Thus, the Finnish bands really did not know how to play jazz because they did not have enough opportunities to listen to foreign bands. In the late 1920s the word “jazz” signified something modern and cosmopolitan in Finland. It quite often referred to any kind of music where the band included drums. The German “Lärmjazz”, with its noisy sound effects, was quite popular also in Finland. The most difficult aspect of jazz for Finnish musicians was its rhythm. During the 19th century, Finland had been quite closed tied with both the German and the Russian music tradition. The Finns had been used to German marches and Russian melancholy waltzes and romances, and Finnish musicians had been playing music with an emphasis on the first and third beat of the measure. Although some Finnish dance bands had sheet music in their repertoire that could be regarded as jazz, these tunes did not rhythmically sound much like jazz when the bands performed them. Therefore, a very important year for Finnish jazz is 1926, when S/S Andania arrived in Helsinki. Several members of the ship’s band, the Andania Yankees, spoke or at least understood Finnish. The band stayed in Helsinki for a couple of months, and thus Finnish musicians were able to hear the very same tunes that they have had in their own repertoire “played at appreciably slower, yet superbly swinging tempos, creating a spiritual awakening of sorts within their midst” (Haavisto 1996: 12). The “real” Finnish jazz Until this point, Finnish jazz had been based to a large degree on the emulation of foreign models. The 1960s brought forth a new generation who created original music which combined American tradition and Finnish influences. Talented young musicians like Esa Pethman, Heikki Sarmanto, Eero Koivistoinen and Henrik Otto Donner, were musically well trained. They were true professionals who did not have to play dance music for a living. Henrik Otto Donner (trumpet) These young musicians have heard Miles, Coltrane and Coleman play in Helsinki. They started to compose truly original compositions, combining hard bop, modal and free jazz with Finnish folk music, and even classical music. Esa Pethman’s album “The Modern Sound of Finland” (1965) is a perfect example of this new musical language. Pethman’s jazz compositions are influenced by both Finnish folk tunes and the Finnish romantic composers of the 1910’s. https://www.musiikkiarkisto.fi/oa/artikkelit/finnish-jazz-history.php
JAZZ IN PARIS FRANCE Where To Hear Jazz In Paris – The Best Jazz Clubs & Festivals
It’s said that jazz music was introduced in Paris by black American soldiers stationed here in World War I; and there’s a true history behind that assertion. During that First War a New York regiment composed solely of black soldiers, named the 369th Infantry, was sent to Europe. However, since white American soldiers refused to serve with them, the 369th was assigned to the French Army, who were less concerned with race. The regiment served with distinction. The 369th Infantry also had a band, led by a musician named Jim Europe. (We’re not making this up.) As the regiment marched, the band played — not just military marches, but current music like ragtime and a nascent form of jazz. The band played for both military and civilian audiences. According to Visit Paris, “In the aftermath of the Great War, the nightclubs of the French capital were full of Afro-American musicians who also fought in the war and remained in Europe to enjoy the good life.” Thus, the jazz craze took hold in Paris, where great jazz is still being played in festivals and in clubs around the city.
Rhapsody in bleu: a history of jazz in Paris Jazz music has infused Paris since the Great War. Building on the genre’s rich, politically influential and often serendipitous history, an evocative jazz scene still resonates in the French capital today, thriving in fantastically atmospheric venues such as ancient stone cellars. Clubs across the city stage exhilarating concerts and free-wheeling jam sessions that run deep into the night, while jazz is celebrated at festivals year-round and often in some magical open-air settings.
JAZZ IN GUATEMALA International Jazz Festival 2019
American artists Jamie Ousley & Florida International University Jazz Faculty Band accompanied by Rosse Aguilar Barrascout, Guatemalan saxophonist, participated in the 19th IGA Jazz Festival. As part of our support for cultural activities, the Public Affairs Section organized visits by the American artists who, in addition to participating in public events such as this festival, also contribute to the musical formation of young people and children from Guatemalan schools and universities. The more opportunities young people have to participate in art and music, societies have more security and prosperity.
JAZZ IN HONDURAS
Mission: Create a positive example in culture, through the energy generated by music! Hibriduz is a Honduran jazz Big Band based in Tegucigalpa, the group was founded in 2004 by Brian Pagoaga, Jonathan Alarcón, Oscar Rossignoli, Yúnior Velásquez, Jose Antonio Velásquez and Esaú Velásquez, in Combo format, all of them at that time students from the National School of Music, who decide on their own initiative to venture into this concept of Jazz, in band they have contributed many incredible musicians such as Dany Morales (DEP), and many more ... Hibriduz Jazz has been a school for different musicians of the country, where each one of them has left its mark, of its founders 2 musicians still integrate the band; Brian Pagoaga (Trumpet), Jonathan Alarcón (Drums), currently, in Big Band format presents this great cast:
REYKJAVÍK JAZZ FESTIVAL- THE BEST IN ICELANDIC MUSIC The Reykjavík Jazz Festival starts 9 August at 5 pm with a Jazz parade which goes from the store Lucky Records in the center of Reykjavík. The programme is varied and includes many great musicians. The festival is held at Harpa Concert Hall and is on for five days, the final day is Sunday 13 August. The festival celebrates the Icelandic jazz scene as well as featuring collaborative projects and international stars. This is 28th time it is held and it is dedicated to presenting the best in Icelandic Music. The Reykjavík Jazz Festival is organized by the FIH Jazz Department, assisted by FIH cultural fund, The City of Reykjavik and the State Fund for Music. Festival pass for the whole festival and day tickets can be bought here.
Introducing the Italian Side of Jazz Music Even though Jazz was born in New Orleans, the genre has been influenced by artists from all over the world, including Italy. Jazz in Italy has grown tremendously in the past twenty years, especially in the United States, with the support of more frequent performances by Italian jazz musicians, like those taking part in the Umbria Jazz Festival. To understand the strength and the speed with which Italian jazz has spread throughout the United States in recent years, beginning with a comparison will suffice. Up until 10 or 15 years ago, in the major record stores in New York (and at that time, there were many), there was a small shelf in the jazz section with “European Jazz” written above it. This meant that all the jazz records arriving from Europe were sold on that shelf. Today, the situation is drastically different. Jazz from other countries is so widespread in the United States that many artists, at least the most notable, are held in the same regard as those who form an integral part of American jazz. As a result, in the United States, jazz is beginning to be thought of as not solely exclusive to American culture, but that it is a musical language that belongs to everyone. Thus, everyone is able to use it and modify it according to their own cultural characteristics. How did all this happen? The response, on the one hand, is simple, and on the other, more complex. First of all, it must be said that the level of skill and creativity of European musicians has grown immensely in recent years. Secondly, there was the continually growing impact of the media that facilitated the dispersal rate of news and of jazz that came from across the Atlantic. So where does Italian jazz stand in this process of expansion? It ranks fairly high, I would say. Jazz in Italy grew tremendously in the past twenty years. It is true that there were good musicians even before that time, but no one could ever dream of having international fame like that of today’s Enrico Rava, Stefano Bollani, Paolo Fresu, Enrico Pieranunzi, Danilo Rea, Dado Moroni, Francesco Cafiso, or Roberta Gambarini, just to name a few. Our jazz musicians have not only gained an enviable technical capacity, but the ingenuity of their creations is now recognized by all, even by an audience less familiar with the genre’s technicalities. What differentiates Italian jazz from American jazz? First and foremost, the approach to this music’s tradition. At one time, our jazz musicians copied the American jazz model, even if sometimes they managed to be original. There wa a great deal of reverence in dealing with that music genre, and there was the fear of being unable to match the great masters.
Big In Japan: A History Of Jazz The music market in Japan—second only to the U.S. in terms of revenue—generates more than two-billion dollars in sales annually. Enthusiasts and collectors of jazz recordings had long ago discovered that Japan’s robust music scene, and the now virtual accessibility to products have made the country a go-to resource for hard-tofind releases. Among the Japanese pressings of American artists, various retail outlets offer vinyl rarities such as Oscar Peterson’s Nigerian Marketplace (Jive, 1982), recorded in July 1981 at the Montreux Jazz Festival, the mono version of Erroll Garner Plays (Ember/Tokuma, 1976) or The Complete Keynote Collection (Nippon Phonogram, 1986). Included in this massive twenty-one LP box set are Coleman Hawkins, Teddy Wilson, Lennie Tristano, Lester Young, Benny Carter, Milt Hinton and Lionel Hampton; all mono recordings from the 1940s. One could also purchase Miles Davis’ Sketches of Spain (Classic Records, 1994) for two-hundred and fifty US dollars. The demand for Japanese market jazz recordings is based on a number of factors. Some Japanese manufactures claim that in the 1970s and 1980s American record labels frequently contracted with pressing companies that used recycled or cheap vinyl to press their records, resulting in poor sound quality. Toshiba—one of three major record manufacturers in 1950s Japan—began producing a number of red vinyl pressings. From the mid-1950s through the mid-1970s these so-called “Everclean” pressings were designed to be less susceptible to the build-up of static electricity and, thus, not as likely to accumulate dust. But the red vinyl discs were reserved for specific recordings, only a small number of which were reissues of American jazz albums. Special consideration for these pressings were also given to the most popular international rock bands of the time -The Beatles, Pink Floyd and so on. Still, the market for American jazz, inside of Japan, was—and continues to be—a lucrative one though the roots of jazz in that country have sturdy ties to its native artists.
Beirut International Jazz Day 2019 For the 7th consecutive year Beirut International JAZZ DAY takes place in Lebanon. Every year they encourage Lebanese bands to participate and this year they are collaborating with the Embassy of Switzerland bringing François Lindemann. Under the Patronage of UNESCO, the Ministry of Culture, the Ministry of Tourism, and in collaboration with the Embassy of Switzerland in Lebanon, the Lebanese Cultural Festivals Association and the Beirut Jazz Festival are organizing the 7 th edition of the Beirut International Jazz Day, on April 30 at Beirut Souks, where free concerts will take place with the participation of Switzerland and the Nu-Bass 6tet. One of the important highlights of this year’s edition is the participation of Switzerland through the “ethno-jazz” group Nu-Bass 6tet, a band of six musicians coming from different parts of the world like France, Tunisia, Switzerland (German and French part) and India. Having a big experience in improvisation and musical interaction, and great skills on their respective instruments, piano, drums, table, oud and a rare combination of two contrabass, they play all over the world since many years.
Macedonian jazz”
The Skopje Jazz Festival is a jazz festival held in Skopje, North Macedonia, since 1982. Although the festival promotes a genre which seems distant from its own culture and traditions, it attracts large audiences and receives attention in the Balkans and the rest of Europe. Musicians who have performed at the festival include Marshall Allen, Art Ensemble of Chicago, Anthony Braxton, Brazilian Girls, Ray Charles, Zoran Madzirov, Stanley Clarke, Ornette Coleman, Chick Corea, Al Di Meola, Gotan Project, Charlie Haden, Herbie Hancock, Dave Holland, Maria Joao, D. D. Jackson, Rabih Abou-Khalil, Vlatko Stefanovski, Theodosii Spassov, Simon Kiselicki, John McLaughlin, Pat Metheny, Youssou N’Dour, Tito Puente, Gregory Porter, Toni Kitanovski, Sierra Maestra, Goce Stevkovski, McCoy Tyner, and Joe Zawinul. The festival is part of the European jazz network and the European Forum of World Music festivals.
Jazz In MALTA The Malta Jazz Festival The Malta International Jazz Festival takes place in July of every year. A line-up of top international and Maltese artists present an eclectic mix of jazz styles from the current musical scene. JazzfestIn the past, world famous artistes have performed to numerous crowd s under a summer star-lit sky during this festival. Such names as John Scofield, Al Di Meola, Chick Corea, Dee Dee Bridgewater, Cubanismo, Petrucciani, Betty Carter, Joe Zawinul etc have performed here. The beauty of the Grand Harbour by night is truly magical and tremendously evocative. One shall quote Mike Stern himself, who said while playing for his audience at this venue: ‘I have never played in a postcard before’. The festival takes place over three nights at Ta’ Liesse in Valletta. Entrance is at a nominal charge with concessions for students and elderly citizens, as well as block ticket offers. For updates visit our events calendar or the Festival’s website www.maltajazzfestival.org For more information contact: Festivals Malta Casa Scaglia, 16, Triq Mikiel Anton Vassalli, Valletta, Malta Tel: 356 2339 7000 Email: info@artscouncilmalta.org Website: www.festivalsmalta.com
Jazz In Mexico Considering its neighboring relationship with the United States of America, one could easily assume that jazz must have been known in Mexico since the origins of this music. Indeed, factors such as the geographical closeness and the Hispanic heritage present in this music, added to the African, American, and European elements that originated it, seem to indicate that Mexico provided the perfect environment for a rapid development of the genre. Nevertheless, this has not been the case. Mexican history since the late nineteenth century, and particularly since the early twentieth, has undergone many problems and conflicts -including a bloody civil war known as the Mexican Revolution (1910-1917.) These conflicts brought in not only poverty and social instability, but also an adverse environment for cultural development, especially concerning the incorporation of foreign elements into Mexican culture, and, very particularly, regarding the U.S., for which a hostile atmosphere against the “Gringo” had arisen. Jazz music, however, was performed in Mexico even before 1920. Period newspapers provide evidence of this. the cultural wealth. The early recordings, for example, can be traced back to the late 2Os. This fact alone is quite an achievement considering that, due the factors mentioned above, technology has always arrived late to Mexico.
JAZZ IN NAMIBIA Namibia’s int’l Jazz festival promotes Windhoek as entertainment destination: official Namibia is scheduled to host the 8th edition of the annual International Windhoek Jazz Festival on Nov. 2 in the capital city, Windhoek. The host, Windhoek, on Thursday confirmed that legendary South African songstress, Yvonne Chaka Chaka will grace the show as the main act and will be supported by performances from Vusi Nova and Garth Taylor from South Africa, as well as Portugal’s Cicero Lee. The patron of the event and member of parliament, Katrina Hanse-Himarwa at a recently held launch event said, the festival continues to contribute to the establishment of Windhoek’s status as a diverse, vibrant and artist-friendly city. “Jazz music in Namibia possesses some of our most talented entertainers,” she added. City Windhoek Municipality councilor, Teckla Uwanga on behalf of the city mayor confirmed that the event promotes Windhoek as a progressive city, a destnation for world-class entertainment, which innovated through cultural diversity.
JAZZ IN NORWAY
How Norway Funds A Thriving Jazz Scene Did you hear about the Italian gallery owner who burned his gallery’s paintings last year — with the cooperation of the painters? It was a sort of desperate smoke signal to his government; a means of protesting funding cuts. If there haven’t been similar protests in the U.S. lately, it could be because we’re used to declining arts funding.
In today’s strained environment for arts support, the funding wonderland of Norway can incite jealousy. Yes, Norway is an oil-rich country; it also allots a respectable percentage of its oil wealth to pioneering art, making it a model for exactly what well-spent money for the arts can engender. Especially in jazz. Public support has helped the country’s improvised-music scene expand from a handful of artists in the late ‘60s to a thriving network of recording, performing and educational opportunities today. It’s not perfect, of course; I’ll address some chinks in Norway’s funding armor. But the country’s improvised music flourishes largely on public support. It’s a cliché to refer to a “Nordic tone” in Norwegian jazz. Many still do, ascribing the geography of fjords and mountains to even the most urban musical productions. But if a single tone underlies Norwegian improvised music, it’s probably the sound of jingling kroner.
JAZZ IN PERU
Why a Jazz Lima Festival in Peru? We´re Asociación de Jazz de Lima, a group of people that believes in the music power of transformation and connection, and more if that music is jazz. That’s why we want to bring jazz to kids, young people and adults of different social conditions, as a tool to increase tolerance and integration in our country. With your support we will be able to continue creating and disseminating #jazzmadeinperu with its own refinements and fusion that makes it ours.
JAZZ IN POLAND The prolific history of Polish Jazz may seem inaccessible for foreigners: so many characters, so many musicians and various streams of jazz music. If you want to get started on Polish jazz and discover the story of Komeda, Stańko or Seifert, try out Culture.pl’s Foreigners Guide to Polish Jazz. Polish Jazz is approaching its 100th anniversary. What makes the history of Polish Jazz so unique is its role in the quest for democracy and political freedom during the communist period and its being deeply rooted in Polish traditional culture. In the 20th century, jazz was in the avant-garde of democratic processes in Poland and was strongly linked with all genres of art that struggled for artistic independence. The difficult circumstances of the communist period and the need to redefine its position after the political transformation left no space for stagnation.
JAZZ IN ROMANIA
French group Nouvelle Vague, known for their bossa-nova arrangements, will perform on June 30 at the Jazz in the Park Festival, in the western Romania city of Cluj-Napoca. The festival takes place between June 21 and July 1 in several locations in Cluj-Napoca, namely the Central Park, the Hungarian Opera House, and the yard of the Art Museum. Nouvelle Vague adds to a lineup that includes Juan de Marcos Afro Cuban All Stars, Richard Bona, Nik Bartsch’s Ronin, Soweto Kinch, Alfa Mist, Sona Jobarteh, Bill Laurance, The Herbaliser, Forq, Fanfare Ciocârlia, Gallowstreet, Superpoze, Koffie, and many more. The Cluj festival will also feature four concerts covering the past 100 years of Romanian music. Each concert focuses on a period in music history and tackles various genres, such as classical music, the jazz of the communist period or contemporary jazz.
JAZZ IN SEYCHELLES Jazz makes a comeback on the local Seychelles scene The jazz scene has been a dormant giant for a number of years in Seychelles, but the giant is soon to be awakened with the hosting of the “Jazz Festival Soiree. Jazz makes a comeback on the local Seychelles scene The jazz scene has been a dormant giant for a number of years in Seychelles, but the giant is soon to be awakened with the hosting of the “Jazz Festival Soiree 2015” on Friday, February 27, at the Espace building. Organizers Seychelles and a public relations, conference & events management company in collaboration with the Culture Department of the Ministry of Tourism & Culture is hoping to promote jazz on the local scene. This will be an avant-goût to check the public’s response, in line with the United Nations Educational Scientific and Cultural Organization’s (UNESCO) International Jazz day on April 30. Starting in the late 90s, a jazz festival was once popular and organized on a large scale in Seychelles. Accomplished local musicians along with those coming in from neighboring islands and South Africa performed at the National Theatre, Creole Institute, and outside the national library. The crowd kept building up each year, and the Seychellois public was developing an appreciation of the rhythmic element of the jazz genre. Jazz Festival Soiree 2015 represents a revival where guests can expect performances by the likes of Fabquartet, Zenith Band, Intimate Sound, and Jerry Souris, to name just a few. The festival will end with a jam session and also a souvenir photo session on stage with the groups. Representatives from different tourism establishments will also attend this spectacular event, and this will allow them to see some local jazz bands in action and might be useful to them during their functions. Middle-aged jazz and classical music lovers are the targeted audience. The event is open to the general public, and there will be refreshments on sale. For those seeking a more exclusive experience out of this soiree, they can purchase a VIP pass, whereby they can expect to be served with wine and a platter of cheese/grapes and assorted canapés. This is a rare opportunity to appreciate the mood and ticklish sensations associated with a live performance of the jazz music genre, and should not be missed. Seychelles is a founding member of the International Coalition of Tourism Partners (ICTP) . Jazz and blues lovers are expected to be enthralled during a festival that will take place at the Plas Kreativ at the car park of the International Conference Centre of Seychelles (ICCS) on Saturday from 7 p.m in Victoria. Galen Bresson, the chief executive of the Creative Industries and National Events Agency (CINEA), said: “After years that the jazz festival was missing on annual programmes, we found it necessary to put such event early on CINEA’s calendar of activities.”
JAZZ IN SOUTH KOREA
How A Korean Jazz Festival Found A Huge Young Audience It was like discovering a parallel reality. After completing a sponsored trip to South Korea for music professionals in October, I stayed in the country, striking out on my own. I grabbed a train to the Jarasum International Jazz Festival, a couple hours from Seoul, and arrived in the middle of a set by the international power pairing of Paolo Fresu, Omar Sosa and Trilok Gurtu. I did a double take — and then a triple take. A huge audience of mostly twentysomethings was smiling and dancing, showing big love for the music. I looked around for a plausible explanation. Was a K-pop video being projected on a screen near the jazz trio? No, a festival volunteer explained — the crowd’s enthusiasm was all for the improvising trumpeter, pianist and percussionist onstage. Younger people, he said: They like jazz. “Stepping onstage at the Jarasum Jazz Festival is like stumbling into an alternate universe where jazz is suddenly young, hip, sexy and cool,” says Joshua Redman, the celebrated American saxophonist. After Redman performed at Jarasum a few years ago, festival director In Jae-jin remembers the saxophonist saying he wanted to take half of the audience home to the U.S. In has gotten used to hearing that sort of thing. “Actually, so many international guests are so surprised to see the young audience in Korea, especially for this festival,” In says. “Wherever you attend jazz festivals, normally the audience is over 50 or even 60, but at my festival they are in their 20s and 30s.”
JAZZ IN SPAIN
At the beginning of Blake Edwards’ comedy film The Party, Peter Sellers appears as a wounded bugler who heroically blows his horn to warn the troops on his side of an ambush. His passion for music gets the best of him, however, and unperturbed he launches upon an improvised bugle recital, even when friend and foe start shooting at him to make him be quiet... Such persistence reminds one of the situation of jazz in Spain, which often seems about to vanish, surviving among small groups and in tiny clubs, only to step into in the limelight in the festival season in the summer and autumn. In other words, there is a lot more jazz in Spain than one might think and to give you a rough idea of how this music stands at present in this country, for reasons of space I’ll just present a brief outline, omitting mention of many interesting musicians, cities and clubs that form an important part of the scene here. I’ll begin with a little story that explains why jazz hasn’t flourished more in Spain. When jazz became massively popular elsewhere with the appearance of the big bands and ballrooms, in our country a civil war was getting under way and, curiously enough, the authorities on both sides disliked this music, one side considering it “foreign and barbaric” while the other held it to be a clear expression of “American imperialism”. Then, after the Spanish Civil War, jazz music became all but forbidden here, so the revolution marked by bebop, hard bop and everything else in their wake went practically unnoticed in Spain. Indeed, the whole wide-ranging musical movement which caused jazz to win such a large following in central and northern Europe just barely took root in our country.
JAZZ IN SRI LANKA
The mission of Jazz Journeys is to bring young professional jazz artists from America together with global communities through educational outreach, interactive workshops, and performances, in an effort to enrich and expand a global community for jazz through performance, education, and advocacy. Why jazz? Jazz is a fundamentally ideal genre for musical diplomacy. Improvisation celebrates personal freedom and encourages individual expression, diversity, and finding common ground. Jazz musicians also fulfill all nine national standards for music education, including improvising melodies, performing alone and with others, reading and composing music, analyzing and describing music, and understanding music in relation to history and culture. Jazz provides a unique lens that allows people from very different cultures to see each other with crystal clarity. Jazz Journeys seeks to utilize the best up-andcoming talent from America who excel at performance and have a passion for teaching. Many of these artists, although highly educated and experienced, may have never had the opportunity to perform an international audience. Jazz Journeys: Sri Lanka is working in conjunction with the US Embassy in Colombo, Sri Lanka, as well as MusicMatters Sri Lanka.
JAZZ IN SWEDEN
Sweden’s Entwined History with American Jazz
Sweden might not be the first thing that comes to mind when thinking about jazz but for music lovers in the know Sweden has a very entwined history with American jazz and the story behind it is as fascinating as the music. Sweden was one of the first European countries to embrace jazz. In fact, as early as the 1920s, Swedish musicians started getting excited about the new music coming from America and right from the start Swedish jazz was heavily influenced by the American sound. But while Swedish jazz reflected American jazz, it wasn’t a copy — Swedes developed their own distinctive sounds. The first Swedish jazz records were produced in the 1930s, with Sonora Records starting to record Swedish jazz in 1936. One of the leading jazz musicians early on was bassist Thore Jederby, who led small groups of musicians under the name Swing Swingers. Another influential band from that time was The Paramount Orchestra, which funded its trip to New York City by playing on the ocean liner that took them there.
JAZZ IN SWITZERLAND Swiss jazz it up worldwide
Switzerland’s diverse cultural mix has long preserved a special place for jazz music. Young artists are breaking through and building solid reputations as some of the most innovative musicians on the international jazz scene.
Just a few years ago Colin Vallon used to play piano in tiny jazz clubs in the Swiss provinces where they used to pass a hat round after the show. Today the 33-year-old gives concerts in the most prestigious halls in Paris and Berlin. For years the young pianist from Lausanne, who trained at the Swiss Jazz School in Bern, accompanied other artists. Then in 2011 he got his breakthrough when the Colin Vallon Trio made their debut on the legendary jazz label ECM with the album Rruga. Vallon is not the only Swiss artist who has managed to make an international name for himself on the competitive contemporary jazz scene. Jazz in Switzerland The history of jazz music in Switzerland dates back to the 1920s when the first recordings were made and dance orchestras formed. At the time jazz was seen as form of rebellion and escape for young people from rigid bourgeois life.
JAZZ IN UKRAINE
The fall and rise of jazz in Ukraine
It’s around 100 years since the Jazz Age hit the United States with its spirit of freedom and improvisation. But the movement has hardly touched down in Ukraine, after years of Soviet repression and, sadly, a lack of widespread interest. Some Ukrainian jazz-lovers, however, including legendary musician Oleh Skrypka, are trying to push it into the spotlight by making records. Radio host Oleksiy Kohan is famous for organizing concerts and inviting top performers to Kyiv for the festival at the end of October. The story of jazz in Ukraine began in the 1920s with composer Bohdan Wesolowsky of Stryi in Lviv oblast and Russian-language crooner Pyotr Leschenko from Kherson. But the onset of World War II eventually sent Wesolowsky and his music to Canada. Leschenko fell victim to the ban on jazz imposed during Stalin’s Terror, when anything considered free or decadent immediately invited suspicion. “Jazz is open-minded music for open-minded people,” said Kyiv-based historian Daniel Porcedda. “You can’t put a wild animal into a small cage.” In Canada, Wesolowsky continued to write tango, rumba, foxtrot and waltz-inspired jazz music with Ukrainian lyrics until his death in 1971. Leschenko, despite experiencing a brief revival of his music in Odesa in the mid-1940s, eventually faded into oblivion. For a quarter of a century, jazz all but ceased to exist in the Soviet Union
JAZZ IN UNITED KINGDOM
Jazz in Britain is usually said to have begun with the British tour of the Original Dixieland Jazz Band in 1919. That stated, British popular music aficionados in the 1920s generally preferred the terms “hot”or “straight” dance music to the term “jazz”. British jazz is a form of music derived from American jazz. It reached Britain through recordings and performers who visited the country while it was a relatively new genre, soon after the end of World War I. Jazz began to be played by British musicians from the 1930s and on a widespread basis in the 1940s, often within dance bands. From the late 1940s British “modern jazz”, highly influenced by American bebop, began to emerge and was led by figures such as John Dankworth and Ronnie Scott, while Ken Colyer, George Webb and Humphrey Lyttelton emphasised New Orleans, Trad jazz. From the 1960s British jazz began to develop more individual characteristics and absorb a variety of influences, including British blues, as well as European and World music influences. though this form of music has remained a minority interest within the UK itself.
