Furthermore, as part of its 24th year of jazz presentations, the organization recently hosted a pair of musicians who both have appeared in Ann Arbor with their own groups a total of four times each. As such, it was a natural evolution to find bassist Dave Holland and percussionist Zakir Hussain joining forces at the Michigan Theater for a pan-ethnic presentation that bristled with excitement and offered sustenance for the soul. Without exaggeration, Holland and Hussain assembled a true supergroup comprised of both jazz and Indian musicians, namely Chris Potter on saxophones, Sanjay Divecha on guitar, Louiz Banks on piano and keyboards, Gino Banks on drums, and vocalist Shankar Mahadevan. Seated cross legged on a riser surrounded by his tabla drums, Hussain led the cast with precision and joyous abandon in a manner that easily connected with the audience. Over the course of about two and a half hours and eleven numbers, it became quite apparent that this ensemble was having as much fun as the sold out crowd who seemed to hang on their every note. Opening with “Shadows,” Potter’s soprano brought a jazz-inflected tone to the proceedings, even managing to recall the standard “Caravan” in spots. Another Louiz Banks original, “Dove” also sported a jazzy outlook, first via the composer’s sparkling Jarrette-esque piano introduction and then with Potter’s advanced tenor blowing. Hussain even got in on the act, his conga type groove recalling the type of fills guys like Ray Barretto played on those hard bop records of the ’60s. Like so much of the evening, there was an ebb and flow to the program, which was balanced by different sized groupings that allowed for musical socializing among friends. Instead, they seemed to listen intently to one another, allowing the spirit of the moment to dictate their own musical route.
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Died tragically in While his documentaries shot under communist occupation until the mid s were propaganda productions, his later feature films broke with the schematic formula and subtly pointed out the drawbacks of a politicised approach to labour. Having gained a reputation as a great documentary maker, he managed to create works that were inscribed into the socialist realism pattern but at the same time opposed it.
Munk claimed that his films were “a response to the official tone of the documentaries of the time, to their laconic, over-optimistic tone. I tried to show issues that had been made banal, I wanted to show the hardship, sacrifice, heroism, beauty of everyday work”. Having played an unquestionably important role in Polish documentary filmmaking, Andrzej Munk the director of Eroica, Bad Luck and the unfinished Passenger, films which have entered the canons of Polish classics, next to Andrzej Wajda , was the main author of the restoration-oriented trend in Polish cinema dubbed the “Polish school”.
Con oltre partecipanti provenienti da tutto il mondo Jazzahead! è la piattaforma “must-go” nel settore jazz. Enterprise Europe Network in collaborazione con Jazzahead! organizza le sessioni di matchmaking per facilitare l’incontro e riunire i potenziali partner commerciali della scena jazz
Which social media platforms should your business focus on? How are companies making money from social media? In this session we let sparks fly, trading passionate opinions on pricing, the secondary market and whether supply-and-demand can ever be properly reconciled. From side-stages to opening slots to last-minute roster replacements, the festival experience can be a boon to exposure-hungry talent looking for a break in front of the biggest crowds of their career.
Rights holders are pushing for an agenda that provides fair remuneration and respects the rights of creators. What are the key issues at stake? How likely is it that pro-creators legislation will be passed? Is there a convergence in the way different parts of the world approach similar issues? A group of experts from creators’ organizations, record labels, music publishing and rights societies will share their views on how to move the copyright agenda forward.
Featuring live performances by nominated artists and special guests. Whose Show Is It, Anyway? Different parties think they should have the hammer when it comes to control of ticket revenues, sponsorship deals, branding and lucrative premium access cash-cows like luxury boxes.
Jazzahead! Highlights: 5 New Bands From Europe
Showcase application period for jazzahead! Exhibitors, co-exhibitors and professional participants registered for all days, can hand in applications online. The music program which takes place during the trade fair is comprised of a total of 40 by international juries selected short concerts. In these showcases, bands have the opportunity to put themselves before a public ranging from top professionals to individual visitors who have bought themselves day tickets.
The showcasing bands and artists will be announced at the end of January
Die diesjährige jazzahead! steht ganz im Zeichen der Kunst & Musik aus der Schweiz, in Form von Showcases, Konzerten in den Clubs und an der Galanacht, Ausstellungen sowie verschiedenen Performances am jazzahead!:// – Kampagnen.
We also provide valuable networking and considered business matching opportunities; by setting out to understand the goals and objectives of exporting managers prior to our events, we aim to connect them with relevant international industry. The intention was to advance Australian music export activities at key international market events. This was achieved by: Centralising efforts across national, state and territory funding agencies and commercial operators on behalf of the Australian contemporary music sector; Raising the profile and visibility of Australian artists and industry in key international markets; and Facilitating the introduction of buyers and sellers of music.
Developing and delivering networking events that connect international buyers with Australian industry. The sit down meal is placed like a wedding, so that the Australian delegates are strategically seated next to an industry type they have specified when completing their App profiles. The Australian showcasing artists are given an opportunity to meet with the international speakers and buyers in tailored One-On-One 20 minute meetings. This will include coordinating meeting space and schedules where needed, branding, staffing the stand and hosting a drinks reception or other networking session to attract interest.
The formats for each day include Round Table think- tank type sessions and quick-fire five minute speed meetings, all developed to facilitate introductions and broker business connections with people and companies from around the world. The session topics are often informed by upcoming international activity.
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Sign in to view read count Editor’s Note: Each month Silver profiles one of the store’s favorite products for AAJ, and offers special incentives for AAJ readers to purchase products, either in store or online. Google “ipod moped portend” and you’ll find many copies of a recent Associated Press article that predicts the demise of high-end audio in favor of the convenience of compressed digital files. While it was nice to see my name in lights, the reviewer focused on my comments about the downsides to compressed music and unfortunately did not speak at all to some of the options I showed him for getting the most of out your iPod, including the new Fatman iTube from Roth Audio.
Or shoot flames from the tailpipe
Daarnaast werk ik ook als co-organisator van buitenlandse matchmaking evenementen zoals de Jazzahead in Bremen en de GamesMatch in Keulen om de deelname van Nederlandse bedrijven te entameren en resultaten te ://?trk=pub-pbmap.
All Nordic countries are included in the VWP and, as a rule, citizens from these countries are almost always accepted after application. If the applicant undergoes any significant change of personal details eg change of citizenship, change of gender, etc then they have to re-apply. Otherwise, as long as the ESTA is valid it can be used for multiple visits.
The application form is filled out online via the US Embassy website, and is followed up by an interview. If your application is approved, you will receive a visa within a week. This kind of visas are specifically designed for artists and entertainers coming to perform in the US. You can apply for the P or O visa at your US embassy. The employment authorization process needs to be supported by a petitioner in the US — for instance, a record label or an agent, but technically any person based in the US can do it.
This puts the employment authorization process fully in the hands of your US petitioner. The agreements and sponsorship deals vary, but usually they require the sponsor to set up an employment agreement with the employer s in the US and put together a petition for employment authorization. Once your petition is approved — i.
Musik Indonesia Jadi Daya Tarik Pengunjung JazzAhead 2017 di Bremen
Mabel tells Stanford about her failed summer romances and realizes how long it’s probably been since her Grunkle has scored himself a girlfriend. Matchmaking ensues, and Ford bumps into an old friend of his. Added “Operation” to title for the lovely Hanzura!
· IPA Craiova, Ro 4 Europe Investing in Future 26 Matchmaking at jazzahead! Bremen (Germany) May 28 Matchmaking event for Safety, Security and Emergency Kortrijk (Belgium) June 2 / 8 05 Futurallia Istanbul Brokerage Event Istanbul (Turkey)
JazzUK hands over the baton: In a sector with many diverse and disparate organisations and individuals, Jazz Services was the only entity to provide authoritative comment based on objective analysis. Despite substantially diminished funds, JazzUK initiated the hugely successful 4Jazz festival in Coventry, substantially funded by corporate sponsorship matching Arts Council funding.
Identifying the opportunity for more touring and international connections, JazzUK created a consortium of jazz musicians, promoters and agents, together with music industry bodies such as BASCA, PRS for Music and Musicians Union to promote British jazz at JazzAhead in Bremen, the foremost international forum for jazz, an unrivalled opportunity for the UK jazz scene to embrace International opportunities.
However, securing funding that supports on-going operational costs for industry-wide activities that, for example, pay for salaries of suitably qualified and experienced people, has become increasingly difficult. Central to its work was the provision of information online. The Jazz Services website was a unique and comprehensive resource covering everything from gig listings to advice for venues and promoters helping to increase jazz audiences.
Its Online Music Business Resource helped musicians manage their careers with information and advice on finance, law, marketing, digital marketing, copyright tour organisation, and included information on visas, work permits, tax and advice on all the challenges that musicians face. Jonathan Robinson, programme Director, MusicTank said: JCS ran as a promoting and touring organisation with the main aim of establishing a national centre for jazz. The National Jazz Centre went into liquidation in By the late s, with the exception of Jazz Action, the regional organisations had had Arts Council funding withdrawn and been wound up.
Katherine McVicker succeeded in pulling a rabbit out of the hat last year. In September, , the veteran jazz agent decided to hang her own shingle out, opening her own booking agency Music Works International, based in Reading, about 12 miles north of Boston. Southard had launched his company 18 months previously, and offered McVicker a job. She began as an administrator. She left IMN for two years to live in Minnesota.
A very, very big book.
Matchmaking at jazzahead! – find new business contacts and cooperation partners! After the successful events in the past, jazzahead! is again organizing matchmaking sessions to facilitate networking and to bring together interested potential business ://+planen.
View all announcements A brunette in high-waisted denim shorts and a black felt hat thrust her iPhone towards the stage. She recorded four seconds of grainy video that was swiftly uploaded to Snapchat with — Methyl Ethel! She scanned the room and then beckoned her friends towards the door. Eager not to miss bands playing the same time slot, the girls couldn’t even wait for Methyl Ethel’s song to finish before moving on to the next thing.
And the fact their social medium of choice was a sharing app that destructs the image within seconds after it has been viewed is metaphorical perfection. Perhaps, “that’s the business of music today” would be just as correct. And South by Southwest is arguably the most important microcosm of that universe. Amid the swirl of fans eager to find their new favourite band is the throng of industry, trying to capture the one act among thousands that might endure beyond its second Snapchat sentence, prolong that and snatch their share.
Bedroom beginnings Sitting in Brush Square Park, just outside the Austin Convention Centre, Webb, 28, and his bandmates, Chris Wright, 25, and Thom Stewart, 22, pick at the grass as they pass around a rolled cigarette and a short pour of whiskey. It’s their second gig of the humid day and they’re dripping with sweat.
But by now it’s also their final day and Webb, eight shows out of nine down, says he is “elated” to be almost finished. Music fans in the crowd at Spotify House, which is one of over official gig venues dotted throughout the centre of Austin, Texas.
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In lieu of an abstract, here is a brief excerpt of the content: Transatlanticism as Dutch National Spectacle: There is no relationship between them. Except for an inner electricity which results from the simple fact of their being crowded together.
· Apply now for the inJazz Matchmaking sessions. 9 June One of the fixed networking moments during inJazz are the [ ] Early Bird tickets: last chance! Dutch inJazz at Jazzahead! 15 March The 12th edition of Jazzahead! will take place from 27 [ ] Early bird tickets on sale now!
As well as being a window on Mengelberg’s music and unique personality, it was an introduction to the impact the Fluxus movement and neo-Dada had on the rise of the European jazz avant-garde in the s and ’70s. In the manner of Jazz em Agosto programming, it picked up on notes from the preceding weekend, wherein Mengelberg had appeared as accompanist and commentator in the film Eric Dolphy: That night the Taylor Ho Bynum Sextet launched its set with a piece called “Miscellaneous,” both title and piece a key to Bynum’s aesthetic, which employs symmetrical and asymmetrical elements to develop hives of contrast.
Bynum was joined in this group by Matt Bauder on clarinet and tenor saxophone, Jessica Pavone on viola and electric bass though on this night the electric bass went unplayed , drummer Tomas Fujiwara and guitarists Mary Halvorson and Evan O’Reilly. The guitarists are in a sense emblematic of Bynum’s patterning, even visually: What’s most arresting here is the way that Bynum’s weave of composed and improvised elements keeps summoning up interstitial stage textures long abandoned to jazz history.
Thus a sudden harmonic maelstrom of voices can give way to one of Fujiwara’s animated polyrhythmic solos odd shades of Gene Krupa or Bauder’s athletic equivalent to Charlie Ventura’s “Bop for the People. While Phillips could recall a world in which an array of non-jazz musical work presented itself to the apprentice, Bynum could cite current Ivy League tuition fees. The trio of Memorize the Sky is unusual in several regards.
Saxophonist and clarinettist Matt Bauder, bassist Zach Wallace and percussionist Aaron Siegel have been working together since student days in Ann Arbor, Michigan in the ’90s, so it’s an unusually longstanding musical relationship. Different still is the trio’s music, which runs counter to anything you might expect from a tenor-bass-drums trio: The dominant group mode is a beautiful drone, repeated bass tremolos, the repeated rub of a large horizontal bass drum, a tenor saxophone with circular breathing and odd oscillating tones and percussive key-pad noises, sometimes augmented with electronics.