CONNECTING THE WORLD THROUGH JAZZ JAZZ MUSICIANS AND ELITE JEWELER JOIN FORCES
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 Hou ben, 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 Or chestra, 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.
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 teach ing 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.
JAZZ FROM AUSTRIA
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.
Jazz in Belize
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
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.”
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
2019 Belize International Jazz Festival Commences with a Bang
The history of jazz in Belgium
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 appar ent 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.
JAZZ IN AUSTRIA – A MELTING POT OF MUSICAL IThttps://www.musicexport.at/jazz-in-austria-a-melting-pot-of-musical-diversity/DIVERSITYISTHEVASTMUSICALDIVERSITYTHATDISTINGUISHESTODAY’SAUSTRIAN JAZZ SCENE, PROVIDING ACCLAIM AND ATTENTION WELL BEYOND THE COUNTRY’S BORDERS.. RE GARDLESS OF SUBGENRE, BE IT BASED ON MORE TRADITIONAL ROUTES, LARGER OR SMALLER INSTRUMENTATIONS, EXPERIMENTAL OR AVANT-GARDE NICHES, UNCONVEN TIONAL OR GENRE-CROSSING MUSIC: ALL ARE CHARACTERIZED BY LIVELINESS, INNOVA TION, AND CREATIVITY. IN TERM OF ARTISTRY AND MUSICAL SKILLS, THE AUSTRIAN JAZZ SCENE EASILY RANGES AMONG THE WORLD’S FINEST.
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 Fore shore, Belize City, Belize - Rated 4.9 based on 18 Reviews “I am so looking forward to this isesSaturday,ofTheBelizeanambergriscaye.com/forum/ubbthreads.php/topics/536563/2019-belize-international-jazz-festival.htmlfestival....https://musicfanswillnowhaveopportunitiesoverthecourseofthenext12monthstoenjoythegenre.firstshowoftheBelizeJazzFusionCultureConcertSeries,(ayear-longsequenceofshowsfeaturingaliststandardsandcontemporarymusicalrenditionsfusedwithBelize’sculturesinjazzstyle),isscheduledforAugust16th,2014attheBiltmoreBestWesternHotel’sRiverwalkRoomstartingat7:00p.m.,promtobeatreat.
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 pro motion 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 musi cians did their own thing and found their own way: Fred van Hove, Kris Defoort and Gilbert Isbin for exam ple. 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.
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.
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 improvisa tional content of Thomas’ ragtime recordings from 1916
Early History in Canada
Jazz in Canada
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?
Combining elements of European and African traditions, jazz is a style of music that originated with Afri can Americans in the early 20th century. It is characterized by its improvisatory nature, rhythmic vitality (i.e., “swing”) and emotional expressivenes
Club de Jazz
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 concen tration 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).
.Jazz in Santiago
First Republic Roots
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 Chris tensen’s pieces and who wrote a book on jazz theory in Danish.
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 Vosk ovec 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 DanishDanishattention.jazzJazzgoesbackto
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 manifesta tions 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
Brazilian musicians distinguish their jazzier or jazz instrumentals from those of Latin jazz.
The Story of Jazz in Prague
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 Bra zilian music, was popular among the upper-class and sometimes faced criticism for being “bourgeois.”[
InHistory[edit]the1930s,jazzbecame
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 musi cians 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 Henrik sen 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]
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.
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Jazz In Ecuador
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 deci sions based on the fact that Cuenca has a real, dynamic, and growing jazz scene.
ABOUT THE JAZZ SOCIETY OF ECUADOR
The Jazz Society of Ecuador is a volunteer society of musicians, music teachers, and jazzenthusiasts whose pur pose 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 is a volunteer society of musicians, music teachers, and jazz enthusiasts whose pur pose 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).
Honorary (ProminentDirectorsjazzmusicians 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
TheLocationJazzSociety 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
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 JazzDan mark,[2] funded by the Danish government, works to promote jazz in Denmark and Danish jazz abroad. Danish jazz history -The official website of Denmark
The Jazz Society Café
Jazz In Estona
“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 fes tivals throughout Ecuador, and to welcome musicians from other countries to participate in our mission while enjoying the unique beauty and charm of Ecuador.”
Biggest jazz festival in the Baltics - Jazzkaar - Visit Estonia Estonia 100 has taken Estonian Jazz all-over Europe
The Jazz Society Café is the performance venue of The Jazz Society of Ecuador in Cuenca, Ecuador.
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 Diz zy 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 Amer ican 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
JSE DuringAchievementsthepastfive 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.
Jim Gala, Yari Correa (Cuenca), Walt Szymanski (Quito), Francisco Echeverría (Guayaquil)
Mission Statement
Jazzevents. In El Salvador Se viene la séptima edición de El Salvador Jazz Festival
Board of Directors
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.
Pori Jazz in 2012
& Festivals
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 Finn ish 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.
JAZZ IN PORI JAZZ
Henrik Otto Donner (trumpet)
These young musicians have heard Miles, Coltrane and Coleman play in Helsinki. They started to com pose 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 WhereJAZZhttps://www.musiikkiarkisto.fi/oa/artikkelit/finnish-jazz-history.php1910’s.INPARISFRANCEToHearJazzInParis–TheBestJazzClubs
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 audienc es 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 word “jazz” was first used in Finland in 1919 (Haavisto 1996: 6). However, for many years its mean ing 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.
A short history of 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 Koivistoin en and Henrik Otto Donner, were musically well trained. They were true professionals who did not have to play dance music for a living.
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.
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 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 con tingent 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 visi tors. 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
TheHistoryfirst,2-day-long
Jazzchildren. In Finland
The German-Russian music tradition
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 Europe an 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.
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 festi vals in Europe, having been arranged every year since 1966.[
The “real” Finnish jazz
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.
Rhapsodycity. in bleu: a history of jazz in Paris
JAZZ IN AmericanInternationalGUATEMALAJazzFestival2019artistsJamieOusley&FloridaInternational
HONDURAS
REYKJAVÍK JAZZ FESTIVAL- THE BEST IN ICELANDIC MUSIC
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 ...
As part of our support for cultural activities, the Public Affairs Section organized visits by the Ameri can 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 securi ty and JAZZprosperity.IN
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.
To understand the strength and the speed with which Italian jazz has spread throughout the United States in recent years, beginning with a com parison 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 charac teristics. 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 andnewsofjazz 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 Caf iso, 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.
University Jazz Faculty Band accompanied by Rosse Aguilar Barrascout, Guatemalan saxophonist, participated in the 19th IGA Jazz Festival.
Introducing the Italian Side of Jazz Music
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. Accord ing 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
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.
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.
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:
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.
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.
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, Char lie 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.
Beirut International Jazz Day 2019
Big In Japan: A History Of Jazz
The Skopje Jazz Festival is a jazz festival held in Skopje, North Macedonia, since 1982.
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.
The music market in Japan—second only to the U.S. in terms of revenue—generates more than two-billion dol lars 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.
Jazz In MALTA
Macedonian jazz”
One Child At A Time
SCOTTSDALE JAZZ FESTIVAL jazzdayaz.com
