Jazz Study Group – Tadasei http://tadasei.com/ Sun, 10 Oct 2021 05:19:20 +0000 en-US hourly 1 https://wordpress.org/?v=5.8 https://tadasei.com/wp-content/uploads/2021/04/tadasei-icon-150x150.png Jazz Study Group – Tadasei http://tadasei.com/ 32 32 Group ABC directors program to return to Ashland in 2022 – Medford News, Weather, Sports, Breaking News https://tadasei.com/group-abc-directors-program-to-return-to-ashland-in-2022-medford-news-weather-sports-breaking-news/ https://tadasei.com/group-abc-directors-program-to-return-to-ashland-in-2022-medford-news-weather-sports-breaking-news/#respond Sun, 10 Oct 2021 00:21:00 +0000 https://tadasei.com/group-abc-directors-program-to-return-to-ashland-in-2022-medford-news-weather-sports-breaking-news/

Clarinetist Julian Bliss will headlining when ABC Group performs next summer in Ashland, after a two-year pandemic detour. ABC photo

Irish fiddler and Riverdance star Haley Richardson will be a special guest artist in a return engagement with ABC in 2023. She was 13 when she first performed here in 2016. Courtesy photo

Jazz trombonist and former Dukes of Dixieland performer Harry Watters will be a guest artist at next summer’s ABC group concert. ABC Photo

American Band College will return to Ashland in 2022 for its annual 18-day summer clinic for group directors after a pandemic detour forced them online in 2020 and Puget Sound in 2021.

Summer clinics, each with two public concerts, are part of ABC’s master’s program.

Up to 200 people over the past few years, summer workshop attendees will perform at two venues in 2022 – a June 26 performance at the Craterian Theater and the traditional July 4 concert at Ashland High School Stadium with bonfires fireworks as a result. The group is also planning to participate in the July 4th Ashland Parade.

The program, founded by Max McKee of Ashland, recruits students from around the world for its three-year masters program. McKee is the executive director of the organization and his son Scott is the CEO.

Max McKee and his wife, Nell, recently returned from a five-week tour of Europe, including visits to Greece, London and Ireland.

During their stay in Greece, they registered with two ABC graduates (2003 and 2006) in Thessaloniki – Yiannis Kouokas and Nikos Chrysouhoou.

“They’re amazing,” McKee said. “Between them, they have more than 150 musicians in their two harmony orchestras. I have seen up close all the great things these two men have done for group music in Greece.

McKee said they are the go-to directors in Greece when it comes to group music and group festivals. They will be returning to Ashland next summer to conduct the July 4th concert.

The guest artists at the concert will be Julian Bliss on clarinet and Harry Watters on trombone. The two appeared with the ABC group during their Craterian concert in 2019.

Bliss, concert soloist and jazz artist, has recently performed with the Sao Paolo Symphony, the Royal Philharmonic Orchestra, the Paris Chamber Orchestra, the BBC Philharmonic Orchestra and the London Philharmonic. In 2012, he founded the Julian Bliss Septet, creating programs inspired by the great jazzman Benny Goodman.

Watters toured with the Dukes of Dixieland for four years and was in demand as a Bourbon Street musician during his graduate studies at the University of New Orleans, as a graduate assistant to Professor Ellis Marsalis. Today he performs internationally and has recorded a lot.

Guest composers will be Randall Standridge and Julie Giroux.

Standridge is a Marching Band Editor for Grand Mesa Music Publishers. He is sought after as a clinician, exercise designer and musical arranger. A resident of Jonesboro, Arkansas, he is also a freelance artist, photographer and writer.

Giroux, whose first published work for harmony orchestra was composed at the age of 13, now has over 100 credits for film, television and video games. She has collaborated with Martin Scorsese, Madonna, Celene Dion, Clint Eastwood, Michael Jackson, Harry Connick Jr. and many more. Nominated for Emmy Awards, Oscars and Golden Globes, she won three Emmy Awards.

On their recent trip to London, the McKees attended two performances of Riverdance celebrating 25 years. Riverdance fiddler Haley Richardson performed on an Irish-themed show with ABC in 2016 when she was 13.

“She’s one of the best fiddlers of all time,” McKee said. “Riverdance songwriter Bill Whelan created a five-minute segment in the production, featuring Haley solo on stage.”

The McKees took her out to dinner after one of the performances to finalize the details of her 2023 comeback appearance on ABC.

ABC recently completed the purchase of a building in Ashland at the corner of Siskiyou Boulevard and Liberty, originally the Hillside Church.

The 6,000-square-foot structure will be remodeled to create high-density storage space for ABC’s music collection (now housed at Lincoln School), as well as a study area, rehearsal space and location. for musical preparation. The lower floor will be used to store equipment.

“We had architectural designs created for a new building to be placed on the Ashland School District property,” McKee said. “But the price of $ 1.3 million has increased to $ 3.2 million.” Rather than jeopardizing ABC’s endowment, they shifted gears.

“There is a small house on the property that we are going to rent out to help pay the bills,” he said.

A second house, donated by patron and supporter Gladys Wright, will be sold by ABC, cutting the cost of acquiring the church in half.

“Gladys and her husband, Al, have been mainstays of group music for 80 years,” McKee said. Al Wright died last year at the age of 104 and Gladys Wright is 96.

ABC is making arrangements with the Ashland School District to use the high school facilities as a rehearsal space, as in previous years.

Enrollers in the program learn from some of the country’s top technicians and clinicians during the three summer programs. About half of the three-year diploma work is done at home, between summers.

Applicants must complete six projects, two each year. They include work based on a five-hour entrance exam, audio and video recordings, and an in-depth final project covering their 20 favorite clinic sessions (out of over 150) and 30 favorite group tracks (out of over 150). nearly 400).

A one-day final exam for third-year registrants on July 5 completes the program each summer. It’s complete, to say the least. It includes a written exam; give introductory lessons to the clarinet, horn and snare drum to students who have never played instruments; and a diagnostic rehearsal as a band performs what McKee calls the BooBoo Concert.

“Each candidate leads one of four groups of 35 musicians of non-graduate masters candidates who have 25 specific mistakes to make,” he said. “The candidate has 12 minutes to find as many of these errors as possible.”

McKee has been passionate about wind band music for decades. He was a group director at SOU before founding the ABC Masters program in 1989.

ABC was first affiliated with SOU, then Sam Houston State University, and now Central Washington University in Ellensburg.

“It’s amazing for me to see the continued interest from so many of our 1,200 graduates,” McKee said. “To this day, we are still in contact with all but 75 of the group of 1,200.”

Contact Ashland writer Jim Flint at jimflint.ashland@yahoo.com.

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NOTE: SLEEP WITH AN OPEN IT! IT’S HORROR IN LITERATURE! + New music for the week of October 7, 2021 https://tadasei.com/note-sleep-with-an-open-it-its-horror-in-literature-new-music-for-the-week-of-october-7-2021/ https://tadasei.com/note-sleep-with-an-open-it-its-horror-in-literature-new-music-for-the-week-of-october-7-2021/#respond Fri, 08 Oct 2021 18:41:51 +0000 https://tadasei.com/note-sleep-with-an-open-it-its-horror-in-literature-new-music-for-the-week-of-october-7-2021/

Horror needs two things to survive. Believe it or not, you are not a monster, demon, or malicious individual. (But it helps).

We have all seen it. The opening of the film. Narration. The opening sequence. And then, embossed on the screen as a stamp of authenticity: Based on a true story. Now the chills are detected and ready, the nervousness begins to develop slowly and overwhelmingly, and your attention is glued to every detail.

Vampires officially begin in our study of literature in 1897 with Bram Stoker’s Dracula (it should also be noted that the work is written as diary entries) and on film with FW Murnau’s chilling Nosferatu in 1922. However, their existence dates back thousands of years. In 4000 BC, the ancient Sumerian civilization located in Mesopotamia (now southern Iraq, corresponding to the opening sequence of The Exorcist of 1973) lived in fear of the Ekimmu. Like Greek or Roman cultures, this fear could have been used as a means of control or an urban legend. Bodies that were not properly buried or those that died a violent death would have fallen prey to these blood-sucking demonic ghosts. In the cuneiform texts discovered and translated by R. Campbell Thompson, 50 text plates containing incantations have been found to eliminate “fever-sickness” and more symptoms.

As the vampire myth spreads throughout Europe, cultures from Eastern Europe (as you would expect) to Scotland have reports of these wandering spirits wreaking havoc in the villages where they once lived. So, the first initial fear was a horrible spirit that could possess you and lead to a life of damnation. Over thousands of years this has been amplified to include the fact that they somehow walk among us.

This leads to the second necessary detail of horror: those who believe and those who disbelieve. To put it simply, if an entire village in the Balkans believed in vampires and they just didn’t go out at night, vampires would likely be in danger of extinction without any casualties. However, with belief groups versus disbelief, there is more than the nature of the conflict. There is mistrust and disbelief in everyone around you.

It is fitting that the Enlightenment led us to the grandeur and imagination of romantic literature around 1798. However, it is also fitting that these flights of fantasy could take another darker direction and give birth to the Gothic novel. Horror first hit the shores of England with Matthew Lewis’ The Monk in 1796. The monk Ambrosio is tempted by a couple of women, the virtuous Antonia, daughter of an illicit union and already widowed, and Mathilde, who joins the monastery disguised as a boy and appears in a painting in Ambrosio’s room as the Madonna. Beyond its natural romanticism, the more sinister characters are more memorable. Samuel Taylor Coleridge (whose poem Cristabel will also be listed as an inspiration for this branch of literature) would praise Lewis’ portrayal of Mathilde, while her struggle with the earthly and the supernatural would lead to over novels in its controversial wake.

And that’s how the Gothic novel began to take shape. Dark, gloomy and atmospheric works with conflicts and power issues over nature would attract a new readership: women. Romantic (and rival) writers John William Polidori, Percy Bysshe Shelley, his wife Mary Shelley and Lord Byron would challenge themselves to write the best Gothic novel on Lake Geneva during the rainy summer of 1816. Mary Shelley wins the competition with the classic 1818 novel Frankenstein; or, The Modern Prometheus, but Polidori’s 1819 novel The Vampyr will actually create more Gothic works and provide the model for the vampire novel. From a fragment of a story Lord Byron may have told, Polidori woven fact and fiction into a story so believable it would later be cited in the history of vampires.

However, again, there are those who believe and do not believe. The French author and librarian Charles Nodier adapted Polidori into a play in 1820 (Le Vampire) and then in 1826 followed in the footsteps of Shelley’s tale (Le Monstre et le Magicien). Alexandre Dumas will write several bestsellers following the escapades of his vampire Lord Ruthven (soon the archetype of a certain Count), and Leo Tolstoy will create a village besieged by vampires who then turn against each other in The Family of Vourdalak (later part of Mario Bava’s 1963 horror trilogy, Black Sabbath). Oddly enough, when Dumas’ play returned to England as The Vampire in 1852, none other than Queen Victoria wrote that it was “very trashy”.

With reality now officially questioned, the vampire romance is unfolding in a variety of directions. Carmilla by Sheridan Le Fanu presents a female vampire in 1872. The 1879 Captain Vampire written by Marie Lizet places a vampire in the midst of the horrors of war. And in the United States, Uriah D’Arcy creates The Black Vampire. However, the so-called “vampire craze” peaked when Stoker released Dracula in 1897. Excluding all of the camp and the different circumstances and existences of the famous bloodsucker, Dracula made it simple, mysterious, and always disturbing. Written in the midst of an epidemic of syphilis and tuberculosis in England, Dracula has brought the vampires back to their hometown of Eastern Europe and all of those societal changes to subtext. Not only does Stoker make it intensely real, but he also sees it as a disease. His notes detail the myth and folklore of Transylvania, and he creates Abraham Von Helsing, the archenemy who perhaps believes to the point of madness.

With such a straight-line narrative, Dracula opened up a myriad of possibilities as both a transitory and a seminal work in literature. Those who read it were free to interpret the characters as they saw fit. For example, Lucy Westenra was a victim turned vampire. This transformation created a realm of possibility dating back to The Monk where she (or any character for that matter) was a kidnapper, intruder, traitor, or could just fall back on themselves as if under a spell. With this set of endless possibilities and the archetypes firmly in place, it’s no wonder Dracula defines vampires to this day.

Whether you believe it as a reader or spectator, the myth extends even further into small American towns (Stephen King’s Salem’s Lot), contemporary communities where they live almost sympathetic lives (Anne Rice’s Interview With a Vampire) or a post-nuclear world (Vampire Hunter D). And to think of it, it’s all based on a true story.

Mik Davis is the record store manager at T-Bones Records & Cafe in Hattiesburg.


NEW THIS WEEK

BAD BAD NOT GOOD – Talk Memory

[LP/CD](Innovative Leisure / XL)

For ten years, this Canadian instrumental group has sown this fertile ground between Funk and Jazz. Never too much one or the other, they managed to weave beautiful collaborations with Tyler The Creator and Kendrick Lamar, while finding their own voice with other guest singers (Samuel T. Herring of Future Islands, notably and effectively ) and themselves. For “Talk Memory,” they bring in a host of up-and-coming musicians, including Brandee Younger and Karriem Riggins, and longtime cult favorites Arthur Verocai and Laraaji. What once looked like jazz now sounds very laconic and futuristic.

SLOW DOWN, MOLASSES – Minor deaths

[LP](No CAN)

With so much “indie rock” suddenly becoming so flabby and resembling each other, this Saskatoon quartet blows through the doors with a white-hot Sonic Youth-ish burner. Slow Down, Molasses is quick to add a slow-burning instrumental streak to their songs (“I Need The Darkness”), but it only improved the atonal harmony when they make their grand and glorious comeback. . “Son of Titanic” is a catchy And You Will Know Us By The Trail Of Dead style guitar flurry that only needs a minute to build up the rousing burst of Yo La-style “Some Fine Action” Tengo. While it sounds like weird bedfellows on paper, it’s the magic of Slow Down, Molasses – whether in their carefully orchestrated compositions or between them, the emotional push is never lost. An exceptional start.

ALIEN WEAPONS – Tangaroa

[LP/CD](Napalm)

In metal, there is a growing tendency for bands to use instruments and song ideas from their cultures within the confines of a guitar-based explosion (usually). Like the Mongolian / Tuvan rock of The Hu (“Wolf Totem”), Maori band Alien Weaponry is about to write their songs in their native language. What’s fascinating is how much this trio borrows from the almost mechanical streaky sound of modern Alt. Metal to tell these organic stories. Like Gojira’s “Fortitude”, their best tracks are drum-filled, rough and harmonic rams (“Hatupatu” who, chased by a witch, screams loud enough to open a mountain) or an out of tune Nu Metal that is indigenous to their people. . (“Buried Underground.”) At only 18 years old, Alien Weaponry has a lot more myths to share and metallic grooves to wield.

JEAN COLTRANE – Supreme Love: Living in Seattle

[LP/CD](Impulse)

Wizard John Coltrane probably reached his true peak on the landmark 1964 recording of “A Love Supreme” – an album that still deserves careful study and feels ahead of its time. The problem with this historic streak is that Coltrane rarely performed the entire work live after its release. Until a few years ago, the only performance recorded live was at a French festival in July 1965. Later that year, on September 30, Coltrane and his band performed at the Penthouse in Seattle, WA. . Saxophonist Joe Brazil was not only on hand to perform with the band on “Afro-Blue” (captured on the 1971 album “Live In Seattle”), but he also recorded the entire show. Despite 3.5 hours of music recorded for the original album, and a few other songs that reappeared on various reissues over the years, the Brazil tape remained in his private collection until his passing in 2008. Now, for the first time. never can you hear the entirety of “A Love Supreme” from that 1965 night.

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Madeleine Peyroux and Paula Cole to fill the Green Music Center with songs https://tadasei.com/madeleine-peyroux-and-paula-cole-to-fill-the-green-music-center-with-songs/ https://tadasei.com/madeleine-peyroux-and-paula-cole-to-fill-the-green-music-center-with-songs/#respond Thu, 07 Oct 2021 13:41:35 +0000 https://tadasei.com/madeleine-peyroux-and-paula-cole-to-fill-the-green-music-center-with-songs/

Seeing great talent is fun, but meeting two great talent in the same show is even better.

Two powerful singer-songwriters, Madeleine Peyroux and Paula Cole, took to the stage on Thursday, October 14 at the Green Music Center, performing some of their most beloved songs.

The duo toured together, each with equal billing. But so far, they haven’t shared the stage at the same time.

“We each have our own set to sing along to, but I’d love to break that wall and do a song with her,” Cole said in a recent phone interview.

Later that same day, in a separate interview, Peyroux supported the idea.

“It’s the nicest thing Paula could have said,” Peyroux said.

So who knows? By the time they reach Rohnert Park, they can have an elaborate duo.

The two singers met through mutual friends in the music business.

“We have a similar circle of musician friends,” Peyroux said. “Currently, we have the same manager. We work more and more with the same people.

If their approaches to music are quite different, they both admit an affinity for jazz. Peyroux and Cole also feel a kinship and the duty to defend women.

“When I listen to Paula talk about what interests her, I feel the same,” Peyroux said. “Musically, she is very different from me, much more technically advanced as a singer, much more studied as a musician. I think I could have a better understanding of the blues, because I spent more time on early blues, urban blues, and modern blues.

During this tour, Peyroux celebrates a special reissue of his 2004 album, “Careless Love”, including his rendition of “Dance Me to the End of Love” by Leonard Cohen. When the album was initially released, it drew comparisons with Billie Holiday, Ella Fitzgerald, and Edith Piaf.

Originally from Athens, Georgia, Peyroux grew up in New York and California. When she was 13, Peyroux’s parents divorced and she moved with her mother to Paris. Two years later, she began to sing with street musicians in the Latin Quarter.

She joined a vintage jazz group called the Riverboat Shufflers, then The Lost Wandering Blues and Jazz Band, with whom she toured in Europe. She sang vintage jazz and blues songs before achieving mainstream success with “Careless Love”.

Peyroux said she felt a special affinity for early 20th century singers, from Bing Crosby to Frank Sinatra to Billie Holiday.

“I like to sing simple things and use my phrasing,” she said. “I think I should only write a song if I can’t find a classic song that says what I’m talking about. “

For his part, Cole performed his 1996 album “This Fire”, including the hits “Where Have All the Cowboys Gone?” and “I Don’t Want to Wait”, which was the theme song for the hit television series “Dawson’s Creek”.

“Where have all the cowboys gone?” With its slightly sardonic lyrics – “I’m going to wash the dishes / While you’re going to have a beer” – has been hailed as an ironic and ironic study of gender stereotypes by many, but misinterpreted by others as nostalgic and anti-feminist.

Unlike some songwriters who end up feeling that their other work is overshadowed by their greater success, Cole loves the song and thinks audience perception has shifted.

“I think the song is better understood by the younger generation now,” she said. “I love the song. It’s mine. I wrote it.”

However, Cole’s career is more than just one song.

“The hits were gratifying, but also a little alarming,” she said. “Labels haven’t worked for me, not a label, nickname or genre. I am constantly advancing musically. You have to grow and listen to your inner call.

In 2013, Cole joined the singing faculty at Berklee College of Music and worked there for seven years. She remains involved at Berklee as a guest researcher in performance studies.

Earlier this year, Cole released his 10th studio album, “American Quilt,” performing a selection of classic songs.

Cole feels, like Peyroux, that they are quite different in their performance but that they still have similar musical tastes.

“I also have a deep jazz influence,” said Cole. “Madeleine and I have a lot in common.

You can reach Editor-in-Chief Dan Taylor at dan.taylor@pressdemocrat.com or 707-521-5243. On Twitter @danarts.

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Cimafunk’s quest to create a nation under one groove https://tadasei.com/cimafunks-quest-to-create-a-nation-under-one-groove/ https://tadasei.com/cimafunks-quest-to-create-a-nation-under-one-groove/#respond Wed, 06 Oct 2021 20:38:20 +0000 https://tadasei.com/cimafunks-quest-to-create-a-nation-under-one-groove/

A few months ago at a recording studio in Tallahassee, Florida, Cuban singer and songwriter Cimafunk was engaged in a climactic meeting of minds with Parliament-Funkadelic leader George Clinton when they stumbled upon a fascinating connection between African American and African American. Cuban music.

Cimafunk, born Erik Iglesias Rodríguez, played the 1950s smash “Los Marcianos”, which immediately delighted Clinton, who liked the song’s melody so much that he recorded an anthemic cover titled “Groovealliegiance” for the classic by Funkadelic from 1978 “A nation under a groove. ” But Clinton, who had created an Afro-futuristic cottage industry with his band’s elaborate costumes and stage props, had no idea the song was about Martians coming to Havana to dance cha cha cha.

“I was saying, brother, you wrote this song about the mothership and all this connection and you didn’t know that?” Cimafunk, 32, recalled in a video interview last week, standing in front of a South Florida building surrounded by palm trees and lush grass. “All these people like Pérez Prado, Chano Pozo, all this madness has marked,” he added, referring to Cuban musical innovators. “It not only penetrated the instruments, but also the vocal rhythms.”