#Maestro Virtuoso Martin

[teardownit]

DIY legendary op-amp Big Muff

Welcome to my guitar effects workshop! Today, we will study the circuit and history of the pedal, which is copied and improved by dozens, if not hundreds of companies and masters. And, of course, we will build and listen to our own copy.

Almost every audio signal processing effect in electric guitar music and analog synthesis was born from faulty equipment or setup.

I believe the fuzz effect's history began the same day the history of rock 'n' roll began. In 1951, five years before he met his future wife and vocalist Tina, Ike Turner, founder of The Kings Of Rhythm, recorded a song named after an Oldsmobile 88.

More precisely, in honor of the innovative Rocket 88 engine installed on this luxurious, stylish muscle car.

Before recording, the Fender Bassman amplifier Ike was using was dropped, and a tube exploded.

So, instead of a pure bluesy guitar sound, the buzzing sound of the future came out of the speakers. The ensemble played rhythm and blues, but rock and roll sounded.

In 1961, virtuoso session musician and unusual guitar enthusiast Grady Martin recorded the bass solo for Marty Robbins's song Don't Worry through the channel of a tube mixing console that turned out to be faulty. However, not only did this not spoil the solo, which was left on the record and made it onto vinyl, but it was the beginning of a new guitar sound.

To repeat this sound, Orville "Red" Rhodes, known for his iconic Velvet Hamer pickups, created the first custom effect in a box plugged between the guitar and the amp input. Pedal-style effect boxes were invented later.

In 1962, the great Nokie Edwards, whom the Japanese call the King of Guitars, specifically used the fuzz "box" for the first time, the very one created by Red Rhodes, when recording a guitar riff. It was the single The 2000 Pound Bee by The Ventures.

Be sure to listen to this masterpiece song. The fuzz gives the composition a unique space. Each note of the guitar flashes like a firework spark.

Next up. Who hasn't heard (I Can't Get No) Satisfaction by The Rolling Stones? In this song, Keith Richards used the first commercial Gibson/Norlin Maestro FZ-1 Fuzz-Tone, released already in a pedal body.

And the much more famous smiling, round-faced Dallas-Arbiter Fuzz Face is, of course, associated with Jimi Hendrix, the virtuoso who took the art of electric guitar playing to a whole new level.

And finally, David Gilmour used the Electro Harmonix Big Muff in his masterpiece solo Comfortably Numb. This is the very pedal we are going to study and assemble today.

But first things first.

In 1967, Mike Matthews, a young IBM computer sales manager, electronic engineer, and musician and producer who had worked with Chuck Berry, among others, was impressed by the song Satisfaction, played on the radio even more often than it is now. The demand for fuzz pedals was great, and they were assembled in New York City by a single music equipment repair engineer, William Berko, in his shop, ABCO Sound, on 48th Street, in single copies.

Bill suggested that Mike work together, and every couple of weeks, they handed Alfred Dronge, the founder of Guild Guitar Company, a few hundred assembled pedals that went by the name Foxey Lady.

These were Mosrite Fuzzrite pedals based on the Gibson Fuzz-Tone circuit. It differs from Fuzz Face in that the second knob does not control negative feedback, i.e., gain. Still, it is a crossfader between the signals from the first and second transistors.

In other words, the knob mixes the amplified clean signal of the guitar with the distorted signal after limiting. It allows the musician to find the right balance between them. Another iconic pedal, the Klon Centaur, works similarly.

Note that the first transistor is a buffer in the original Maestro FZ-1 Fuzz-Tone. It is included in the emitter follower circuit and completely repeats the shape and voltage of the input signal. The foot switch short-circuits the output of the distorted signal.

This is simple, effective, and guaranteed to eliminate distortion of the clean signal. Still, the entire voltage gain becomes the task of a single Q2 transistor, which, for this reason, must have a high gain. In the 1960s, such transistors had to be carefully selected from many (as boutique pedal builders still do).

Instead, the Mosrite Fuzzrite uses the first transistor in a common emitter circuit, which gives voltage gain and reduces the second transistor requirements but distorts the buffered signal.

In 1968, Mike Matthews released his first guitar gear, LPB-1 Linear Power Booster, under his brand, Electro-Harmonix. The founder of the company was 26 years old at the time.

The developer of the LPB-1 was the brilliant inventor Robert Myer, who worked at Bell Telephone Laboratories. And the purpose of this silver box was not to overdrive an amplifier. Back then, guitar amps had a big headroom for clean, loud sound, and the concept of overdrive didn't exist yet, although there was fuzz.

The Linear Power Booster allowed you a long, sustained tone by amplifying the weak signal of the then-current pickups. And prolongated sustain was especially demanded from electric guitars.

An acoustic guitar cannot have a long sustain because it gives the energy of string vibrations to the air. That's how it works. But an electric guitar, especially a solid-body guitar like the Fender Stratocaster and even more so a Gibson Les Paul with a glued-in neck, gives only a signal to the amplifier through the pickups. That's why a note can sound much longer, especially if the signal is processed properly.

The second EHX product was the Muff Fuzz. Still not a pedal, in the same box as the LPB-1 Booster Sustainer, same one switch and one knob, only with an output socket instead of an output jack on the body.

Today, this device is available as a pedal, called EHX Muff Overdrive Nano. Then, the circuit is a Fuzz Face without a distortion control potentiometer but with added limiting diodes. So, in sound terms, it's more of an overdrive than a fuzz.

Muff Fuzz version on operational amplifiers is also produced. Here, we can immediately see that this is a pure overdrive, with only the name of the fuzz.

What if the developer combines the Sustaining and Overdrive effects, LPB-1 and Muff Fuzz, into one pedal? That is, create a pedal with three-stage gain and diode limiting on the third stage?

That would be the Big Muff. Like the Muff Fuzz, it exists in transistorized and op-amp versions. I will build the op-amp version from a DIY kit from Landtone.

I really like DIY kits from this company, but today, they missed the hole placement. The jack plane should be almost adjacent to the top wall of the case; otherwise, you can't install the PCB. Here, it is offset in height by more than 3 mm.

The holes are drilled the way they should be on the blue pedal, but on the silver pedal, the holes are offset.

I had to work with a drill and a file.

In the end, the board fit into the case, but it was ugly. I can't gift or sell such a pedal. (You can, of course, fill the extra part of the hole with a "cold welding" type compound, then sand it down, but it's a lot of work with no guarantee that the compound won't fall off).

Therefore, it is more reliable to buy kits where the holes are not drilled and drill them yourself. Out of 7 Landtone kits, I found offset holes only in two, and such a significant offset, which does not allow the installation of the PCB, only in one of these cases.

And now you can hear what the fantastic Big Muff fuzz distortion sounds like, with its really great sustained tone, as well as watch the pedal's assembly process.

The EHX Big Muff and its many versions, clones, and mods today continue to lead the way among the most beloved and sought-after pedals among guitarists and bassists of all styles, from metal to ambient.

Thanks for your attention! I'm going to build the kit from the last photo. On its PCB, there is space for two dual op-amps, while Big Muff has one dual op-amp and the second one single. That's why the next project promises to be no less, even more interesting.

[meine-wenigkeit-gerhard-martin]

Der süddeutsche Aufnahme…, Verzeihung: AuSnahme-Gitarrist GERHARD MARTIN studierte ab 1991 13 Sylvester lang “Elektro-KLAMPF-Therapie”, “Metallurgie”, musikalische Dramatik & Ausdrucksformen”, “Dreschmörtologie” und “Speed-Blast-Kunde”  an der Akazie für einbildende Künste & Lebenskünstler, der Hochnäsigenschule Sandhaufen (in Upper-Ullgoy).

Sein Konzertexamen absolvierte er zusammen mit dem Trio “TOLLHAUS” 1994 in Abwesenheit des Trios als Gesamtes, unter tosendem Beileid, sowie mit >summa cum laude<. Am Schlagwerk wäre zu hören gewesen: Maestro Daniel Robert Oelbauer, & an der Gitarra secundanta hätte debutiert: der Aspirant Alexander Reck, der eigentlich Andreas Reck heißt,...aber solch’ Kleinlichkeit ist schließlich ein wenig kleidsamer Zug.

Nach Wegfall seiner 2 einzigen Konzertmitstreiter (im selben Jahr) entschied sich Gerhard Martin für eine Solo-Karriere als unbekannter Alleinunterhalter.

Während eine kurzen Schaffensperiode streifte auch “ein anderer Alexander” seine Pfade, von welchselbigem allerdings leider der Familienname nicht hysterisch verbrieft, verbürgt & überliefert ist.

Maestro Martins Mentor wurde alsbald Dipl. Ing. Ton-Techn. Harald “Schorsch” Stangl vom Conservatorium “Pörl of Pörpl” in Bäd Oberdorf, bei welchem er auch promovierte, rumprobierte & brillierte.

Hier & in jener Unzeit entstanden auch Maestro Martins wichtigste Hauptwerke & Referenzstücke, und zwar namentlich unter dem Pseudo-anonym: “Wahnmache / Mahnwache”, für welches der Name legendäres Programm wurde.

Bereits als frühkindliches Genie fiel Gerhard Martin nicht sonderlich auf  als “der Guntarrespieler von Mecksiko” mit seiner PLASTIK-Stratocaster made in China.

Es folgten prägende Erfahrungen mit des Vaters selbstgebauter >BÖHMAT-EXPRESS<-Heimbau-Orgel , sowie einem Keyboard-Kursus bei Honore Monsignore Günter Kielwein & Partnern.

Schon hier zeigte sich sein kaum erträgliches brachliegendes Potential. Das änderte sich jedoch schlaganfallartig, ab einer jugendlichen Begegnung mit Werken des Orchesters “Helloween” aus Hamburg, sowie dem Bay-Area-Orchestra of San Francisco: “Metallica”, mit deren legendären Virtuosen his Honorable, Mr. Prof. Dr. Dr. Kirk Hammet, und weiters dem Maestro di Cantata e Gitara, Sir James Allan Hetfield, im Verbund mit deren neuaufkommenden Impulsen musikalischer Umorientierung…von BACH gen KRACH.

Fortan herrschte eine kaum spürbare neue zeitgenössische Stoßrichtung in der schöngeistigen Musik: die hohe Schule des “Dresch Mörtels”, welcher sich Maestro Martin sogleich unumwunden mit Leib und Seele verschrieb & befleissigte…nicht-sahnend, daß er dareinst selber einer ihrer größten Vertreter würden werde.

Von großem blinden Eifer & einer Aufbruchsstimmung musikalischen, jugendlichen “Sturm & Dranges” ergriffen, belegte Maestro Martin Seminare mit Songbooks und Langspielplatten von namhaften Koryphäen wie: Sir Maestro Michael “Olga” Algar, den erwähnten Herren Hammet/Hetfield und dem wohl unerreichten Meister aller Kassen, his Horrible, Sir Prof. Dr. Dr. Jimi Hendrix.

Die Befähigung, ein ordentliches eigenes SOLO zu komponieren oder zu spielen, blieb ihm, Gerhard Martin, dennoch gleichwohl Zeit seines Lebens nicht beschieden…ja gar verwehrt.

Welche Tragikweite.

Der Meister selbst gibt sich indes demütigst:

“Ein KONZERTmusiker oder LIVE-Musiker wohnt mir wahrlich NICHT inne.”, sagt der unverschämt bescheidene Virtuose ,unverfroren.

“An mir ist eher ein Kompostiteur & STUDIOmusiker verlorengegangen…und nicht wieder aufgetaucht.”, so der sympathisch-selbstbeweihräuchernde, bestechend-bestechliche, gewinnend-verliererhafte Edelschnösel.

WAHRHAFTIG:

Er wird dareinst als begnadigter Kompost-nist in die anale Geschichte eingehen…als “Akkordarbeiter” und als R-Schöpfer unzähliger verzichtbarer Werke !

Lobpreiset ihn & frohlocket jauchzend….bevor Euch vielleicht Besseres dazu einfällt mit Eurer Zeit !!!

Opus Alpha bis Omega des Meisters nach Knöchelverzeichnis:

History and Purpose of Wahnmache/ MahnWache: ———————————————————————————

Founded around 1991 by Gerhard Martin (Guitar & Keyboard & Drums) & Daniel Robert Oelbauer (Drums & Violin) as „TOLLHAUS“ (T.od  O.hne  L.angfristig  L.ebenswerte  H.offnung  A.ll  U.nseres  S.eins ), while studying in the Gymnasium Sonthofen. Our first and only public Concert (Winter 1994) took place WITHOUT us, since we were NOT informed about it right in time. As NOBODY could be found for playing the bass, the „Band“ never grew to bigger extent than 3 men (additional Guitar-Player Andreas Reck joined in late 1993). And 1994 had been the year of the tacit disbandment, too. The project just diverged without comment. Some „easy & silly listening“-Folk-Rock-Band took the name TOLLHAUS for their Band…and I named my solo-project „WahnMache / MahnWache“ as an equivocation to the German word for a „political or admonishing vigil“ and the „making of madness“. It now is a solo-project, but it does not necessarily NEED to stay one, right ? ;-) Please help to develop these recordings into full wholesome songs with any instrument that would help to complement the expression of it. Strongly demanded would be Drums and Bass …but any other instrument is wellcome, too, as far as it can be useful to transport the emotional message of this music MORE, or in a new and interesting way. Please, let me know, WHAT your interpretation and supplement of my music will sound like. OK ?

Gerhard „Gerre“ Martin

Hört Euch gerne meine eigenen Musikkompositionen an:  d°-°b

Feel free to listen to my self-made Compositions: d°-°b

Große & ausdrucksstarke “Stil-Falt”:

“Von BACH bis KRACH” haben stilistisch vielfältige Einflüsse ihren Niederschlag & ihren Eingang in meine Kompositionen gefunden.

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https://www.myspace.com/gerhard-martin  

https://www.myspace.com/gerhard.martin  

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https://www.reverbnation.com/musician/gerhard_martin  

https://www.orfium.com/profile/wahnmache-mahnwache/  

https://www.orfium.com/profile/mahnwache-wahnmache/  

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https://www.twine.fm/WahnmacheMahnwache  

https://www.twine.fm/MahnwacheWahnmache  

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http://www.last.fm/de/user/WahnMache  

http://www.last.fm/de/user/Gerhard-Martin  

http://www.laut.de/User/Wahnmache-Mahnwache-57105  

http://www.metal-archives.com/bands/WahnMache_-_MahnWache/3540416849  

http://www.metal-archives.com/artists/Gerhard_Martin/679837  

http://static.metal-archives.com/~metalarc/board/viewtopic.php?f=1&t=116026&start=80  

>>This one is very awesome, since the band is called “WahnMache / MahnWache”<<

>> Wow ! Love this one. Their music isn’t too bad, either. <<

http://www.bandnamen.de/w.htm

13 Wahnmache/Mahnwache-Music-Videos:

https://www.youtube.com/playlist?list=PLqwPjRzTey7XU4mYpLRSyVcUTakF-iGFe  

https://www.youtube.com/watch?v=Ryb_x4to0OE&list=PLqwPjRzTey7XU4mYpLRSyVcUTakF-iGFe&index=1  

Download ALL Wahnmache/Mahnwache-Songs (as mp3-files) HERE !!!:

SÄMTLICHE Wahnmache/Mahnwache-Stücke (als mp3-Dateien) hier zum Herunterladen !!!:

Télécharger TOUTES les Chansons de Wahnmache-Mahnwache (mp3) ICI !!!:

https://www.dropbox.com/sh/bnz7h83mttvthis/AAA2HdfmtKO9-k5shZuMRU-ga?oref=e  

https://www.dropbox.com/sh/hg2qm7a09hd52l4/AAAfhoxvhRGwwzS5PrtBF2Lma?dl=0  

- - - - - - - - - - - - - - - - - - - - - - - - - - METAL-ARCHIVES.com: http://www.metal-archives.com/bands/WahnMache_-_MahnWache/3540416849

Unlisted discography: (some of these albums are referred to as not yet having been finalized):

- “Unbeirrbare Irre / Auf der Suche nach dem "guten Wahnsinn”“ (Full-length with 14 tracks) - "GrößenWahnmaßung / Das Mensch ist Selbstgerechtfertigung” (Full-length with 19 tracks) - “Gibt es ein Leben VOR dem Tod ?” - “Wider-Geburt (born-against)” - “Echtzeit ?” (Parts 1 & 2 / Double-LP ) - “Kraft meines Atems” - “Daran stirbt man leider nicht” - “Friendly Fire (Terror in Lichtgestalt)” - “Hinfällig (Den Toten gelingt nichts mehr)” - “lebendig tot (Wenn Tote sich durch’s Leben schleppen)” - “SLBSTVRSTMMLNG” - “Liebesirrungen (Flugzeuge im Hirn) (EP)

"Wahnmache” and “Mahnwache” are German and translate to “rabble-rousing” and “picket/solemn vigil”, respectively.

http://www.metal-archives.com/bands/WahnMache_-_MahnWache/3540416849

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———————————————————————————————————–

Download ALL Wahnmache/Mahnwache-Songs (as WAV-files) HERE !!!:

SÄMTLICHE Wahnmache/Mahnwache-Stücke (als WAV-Dateien) hier zum Herunterladen !!!:

Télécharger TOUTES les Chansons de Wahnmache-Mahnwache (WAV.) ICI !!!:

Daran stirbt man leider nicht :

https://drive.google.com/drive/folders/1_mgOjrBDZ7oo16JWg8BFiIyqF2tVH7Rj?usp=sharing

Gibt es ein Leben VOR dem Tod ? :

https://drive.google.com/drive/folders/1HRYIqCX4bQyotqbNrUzDRpKOi49Vgl6T?usp=sharing

Echtzeit ?  (Teil 1) :

https://drive.google.com/drive/folders/1VRmNaOcJI1L4y7o3HvHX20hJIRnOUl_X?usp=sharing

Echtzeit ?  (Teil 2) :

https://drive.google.com/drive/folders/1kHc3KsVEpfVEI4b1CfLZXgavOw7ylqEC?usp=sharing

GrößenwAhnmaßung (Das Mensch ist Selbstgerechtfertigung) :

https://drive.google.com/drive/folders/1RydPl-Oe9yJ7pYn6LPAnsHk22uJW5JPa?usp=sharing

unbeirrbare Irre (Auf der Suche nach dem GUTEN Wahnsinn) :

https://drive.google.com/drive/folders/1FNUrLPjscM24yapibBKGE2a4Y84ultkK?usp=sharing

WIDER-Geburt (born against) :

https://drive.google.com/drive/folders/1mpJgFCpzwlvxihyOFBiymJBZ0ZI_4i9l?usp=sharing

Kraft meines Atems :

https://drive.google.com/drive/folders/1IrOyS2LkMUAkupFe6Q_C6rr2V85JbsSW?usp=sharing

LiebesIrrungen (Flugzeuge im Hirn) :

https://drive.google.com/drive/folders/1sCO6NuAP4yW-8hT21PQbp2VDndQ0X1At?usp=sharing

friendly Fire (Terror in Lichtgestalt) :

https://drive.google.com/drive/folders/1iqtbqg6wbkgBvPqSSwJl4zob4N4zTazo?usp=sharing

lebendig tot  <nur Gitarre & Synths>  :

https://drive.google.com/drive/folders/1_CVrjFOa2-baydsxq8dUP2Ik3yu4ul0H?usp=sharing

lebendig tot (Wenn Tote sich durch’s Leben schleppen) :

https://drive.google.com/drive/folders/1wIbO9dT_qFIeKDZ2-vVUVZjXueS7tw3l?usp=sharing

SLBSTVRSTMMLNG  (slf-mtltn) :

https://drive.google.com/drive/folders/1bFiDXLKNfqsgxtpE6f32g-Pj8kzVhCtq?usp=sharing

Hinfällig  (Den Toten gelingt nichts mehr) :

https://drive.google.com/drive/folders/1yQOMluAB2TWBkp9LbD9d45FAu07w1CFG?usp=sharing

Werdegang & Absicht von Wahnmache/ MahnWache: —————————————————————————————

Gegründet um etwa 1991 herum, von Gerhard Martin ( Gitarren & Keyboard & Schlagzeug) & Daniel Robert Oelbauer ( Schlagzeug & Violine/Geige), als “TOLLHAUS” (T.od   O.hne  L.angfristig  L.ebenswerte  H.offnung  A.ll  U.nseres  S.eins ), während der Schulzeit am Gynmasium Sonthofen.

Unser erstes und einziges öffentliches Konzert (Winter 1994) fand OHNE uns statt, da wir NICHT rechtzeitig darüber informiert wurden.

Weil NIEMAND als Bass-Spieler gefunden werden konnte, wuchs die “Band” nie größer heran, als 3 Männer ( der zusätzliche Neueinsteiger-Gitarrist Andreas Reck kam später im Jahr 1993 mit hinzu).

Und 1994 war auch das Jahr der stillschweigenden Auflösung. Das Projekt verlief sich ohne ausdrücklichen Schlußpunkt.

Eine alberne “Easy-Listening-FOLK-ROCK-Gruppe” trat mit unserem Bandnamen “TOLLHAUS” öffentlich in Erscheinung…. und ich taufte mein (jetzt) Solo-Projekt  "Wahnmache/Mahnwache". Es ist nunmehr ein Einzel-Projekt , aber es braucht ja nicht notwendigerweise eines zu bleiben, oder ? ;-)

Bitte hilf, diese Aufnahmen zu ganzen, kompletten (instrumentalen) Musikstücken weiterzuentwickeln, mit jedwedem Instrument, welches die Ausdrucksfähigkeit ergänzen oder sogar erweitern helfen könnte. Besonders gefragt wären Schlagzeug und Bass … aber auch jedes andere Instrument ist willkommen, solange es die emotional-gedankliche Botschaft dieser Musik vermitteln kann, oder in einer neuen , interessanten Art & Weise bereichern kann.

Bitte laßt mich wissen, WIE Eure Interpretation und Erweiterung meiner Musik-Aufnahmen sich anhören würden. OK ?

Gerhard “Gerre” Martin

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Download ALL Wahnmache/Mahnwache-Songs (as WAV-files) HERE !!!:

SÄMTLICHE Wahnmache/Mahnwache-Stücke (als WAV-Dateien) hier zum Herunterladen !!!:

Télécharger TOUTES les Chansons de Wahnmache-Mahnwache (WAV.) ICI !!!:

Daran stirbt man leider nicht :

https://drive.google.com/drive/folders/1_mgOjrBDZ7oo16JWg8BFiIyqF2tVH7Rj?usp=sharing

Gibt es ein Leben VOR dem Tod ? :

https://drive.google.com/drive/folders/1HRYIqCX4bQyotqbNrUzDRpKOi49Vgl6T?usp=sharing

Echtzeit ?  (Teil 1) :

https://drive.google.com/drive/folders/1VRmNaOcJI1L4y7o3HvHX20hJIRnOUl_X?usp=sharing

Echtzeit ?  (Teil 2) :

https://drive.google.com/drive/folders/1kHc3KsVEpfVEI4b1CfLZXgavOw7ylqEC?usp=sharing

GrößenwAhnmaßung (Das Mensch ist Selbstgerechtfertigung) :

https://drive.google.com/drive/folders/1RydPl-Oe9yJ7pYn6LPAnsHk22uJW5JPa?usp=sharing

unbeirrbare Irre (Auf der Suche nach dem GUTEN Wahnsinn) :

https://drive.google.com/drive/folders/1FNUrLPjscM24yapibBKGE2a4Y84ultkK?usp=sharing

WIDER-Geburt (born against) :

https://drive.google.com/drive/folders/1mpJgFCpzwlvxihyOFBiymJBZ0ZI_4i9l?usp=sharing

Kraft meines Atems :

https://drive.google.com/drive/folders/1IrOyS2LkMUAkupFe6Q_C6rr2V85JbsSW?usp=sharing

LiebesIrrungen (Flugzeuge im Hirn) :

https://drive.google.com/drive/folders/1sCO6NuAP4yW-8hT21PQbp2VDndQ0X1At?usp=sharing

friendly Fire (Terror in Lichtgestalt) :

https://drive.google.com/drive/folders/1iqtbqg6wbkgBvPqSSwJl4zob4N4zTazo?usp=sharing

lebendig tot  <nur Gitarre & Synths>  :

https://drive.google.com/drive/folders/1_CVrjFOa2-baydsxq8dUP2Ik3yu4ul0H?usp=sharing

lebendig tot (Wenn Tote sich durch’s Leben schleppen) :

https://drive.google.com/drive/folders/1wIbO9dT_qFIeKDZ2-vVUVZjXueS7tw3l?usp=sharing

SLBSTVRSTMMLNG  (slf-mtltn) :

https://drive.google.com/drive/folders/1bFiDXLKNfqsgxtpE6f32g-Pj8kzVhCtq?usp=sharing

Hinfällig  (Den Toten gelingt nichts mehr) :

https://drive.google.com/drive/folders/1yQOMluAB2TWBkp9LbD9d45FAu07w1CFG?usp=sharing

——————————————————————————————————————————————————————————————————————

[giallofever2]

New by Arrow Video

RELEASE DATE 23/09/2019

MACABRE VISIONS: THE FILMS OF MARIO BAVA (BLU-RAY)

Mario Bava BOX LIMITED EDITION CONTENTS:

High Definition Blu-ray (1080p) presentations of all nine films

Original lossless mono Italian and English soundtracks

English subtitles for the Italian soundtracks

Optional English subtitles for the deaf and hard of hearing for the English soundtracks

Alternative cuts of Black Sunday, The Girl Who Knew Too Much, Black Sabbath, A Bay of Blood, Baron Blood, Lisa and the Devil and Rabid Dogs

Audio commentaries on every film by Bava biographer and expert Tim Lucas

Numerous interviews with critics, cast and crew members

Mario Bava: Maestro of the Macabre, a documentary profile of the director, hosted by Mark Kermode and featuring interviews with Joe Dante, John Carpenter and Tim Burton

The Devil’s Daughter, a video essay by critic Kat Ellinger

Multiple introductions by author and critic Alan Jones

Yellow, Semih Tareen’s short film homage to Bava’s cinema

Multiple theatrical trailers and TV spots

Limited edition packaging featuring original theatrical artwork

Collector’s souvenir hardcover book featuring writing by Matt Bailey, Alan Jones, Kier-La Janisse, David Cairns, Tim Lucas, Travis Crawford, Glenn Kenny, Adrian Smith, Jay Slater, Oliver James, Stephen Thrower, Peter Blumenstock, Michael J. Carroll and Helen Mullane

And much, much more!

Production Year: 1960

Region Code: B

UK Rating: 18

Running Time: 806

Number of Discs: 9

Language: Italian / English

Subtitles: English / English SDH

Audio: 1.0 mono

Aspect Ratio: 1.66:1 / 1.85:1

Colour: 1.0 mono

The legendary Mario Bava has inspired generations of filmmakers, including names as wide-ranging as Martin Scorsese, Tim Burton and Guillermo Del Toro. With their virtuoso photography and budget-belying visual effects, his films transcend their unassuming origins and played a vital role in shaping the horror movie as we think of it today. This exclusive collection from Arrow Video gathers together nine films from Bava’s diverse catalogue – including gothic horrors, giallo thrillers and even a real-time crime drama.

Our journey through the maestro’s output begins with Black Sunday, the ground-breaking gothic shocker that defined the Italian horror film, before launching the “giallo” phenomenon with the twisty The Girl Who Knew Too Much. Up next is a triple bill of terror with the gruesome anthology Black Sabbath, followed by a further slice of the macabre with the spine-tingling Kill, Baby… Kill! Next, Bava channels his inner Agatha Christie with the Ten Little Indians-inspired Five Dolls for an August Moon, followed by the proto-Friday the 13th slasher A Bay of Blood (aka Twitch of the Death Nerve). Bava then returns to his horror stomping ground with the twisted and atmospheric Baron Blood and his surreal classic Lisa and the Devil – widely considered to be his masterpiece. The collection concludes with Rabid Dogs (aka Kidnapped), a gritty, frenetic crime thriller that grabs the viewer by the throat and refuses to let go.

This stunning collection represents one of Italian cinema’s unsung heroes at the height of his creativity, ably assisted by a diverse and talented cast of cult actors, including Barbara Steele (The Pit and the Pendulum), Telly Savalas (Kojak), John Saxon (Tenebrae), Edwige Fenech (Strip Nude For Your Killer), Erika Blanc (The Night Evelyn Came Out of the Grave) and Boris Karloff (The Comedy of Terrors). Whether you’re a newcomer to these films or experiencing them for the umpteenth time, Macabre Visions: The Films of Mario Bava is a must-have addition to your library.

[brainstormngo-blog]

Mat Ricardo hits back at the Peep Show star’s attack on street performers.

David Mitchell, in his groundbreaking ‘rich white guy finds things to whinge about to a deadline’ column in The Observer last weekend, spaffed out 1,000 words about his hatred of street performers. I’m a street performer. Have been for thirty years. So I was curious about what, exactly, about my artform had so irked Mr Mitchell.

Was it, perhaps, the beautifully egalitarian way a street show is open to any and everyone? It’s one of the very few forms of entertainment to truly be able to say this – with a busker’s audience, there’s no admission charge, nor a preferred type of audience member.

The price of a ticket is simply a desire to watch, and everyone is welcome, and treated equally. Street performers are experts at making their work accessible to the young and the old alike, those that understand the language spoken, and those that don’t. You don’t even have to have any money to watch – those who can pay, cover those that are unable to – it’s a beautiful thing. Socialist, populist theatre.

Maybe he found the artform too broad. Street performing offers a cocktail of disciplines and artforms unmatched anywhere else. Wander down Edinburgh’s Royal Mile during the Fringe and buskers might come in the shapes of Japanese slapstick maestros, Australian hula-hoopers, Spanish clowns, Dutch magicians, American acrobats, and, if you see me, a British juggler in a fantastic suit.

And did he really just call us ‘hippies’? What kind of half-assed dad-insult is that, in 2018? Hippies haven’t been a thing since before David was in public school. You’ll find no hippies among our number – just international theatre makers, globally recognised physical comedy virtuosos, world class circus performers, and dozens of other hard-to-categorise artists who travel the world entertaining audiences in theatres, clubs, festivals, and, yes, on streets. Ironically, given his distaste for people who work on the street, perhaps David likes his shows a little more pedestrian.

No, of course that’s not it. He’s very clear about why he doesn’t like buskers. It’s not about us, it’s about him. He is, he says, very anti-group fun. Always a peachy quality for a comedian, that. But there’s more. He talks about being a Finge performer himself, a few years back, handing out flyers and struggling to sell any tickets, then seeing people like me having Fun on the streets with huge crowds and seething as he watched.

Oh babe, that’s just the Fringe – everyone struggles sometimes. You weren’t failing because you weren’t any good. You were failing because people didn’t care. The street performers that made you ball your little fists, though? They were succeeding because they were good. They’re masters of an artform you don’t seem to respect enough to really understand. Which is a shame, because despite your stated assumption that we’re all twats, we’re actually pretty lovely, so perhaps if you’d said hi, you might have learned a few tricks that could have helped you fill your venue.

In his column, David says that street performers have big crowds because people know the show is free. Nope. They have big crowds because over years, often decades, of honing one of the last remaining Fringe theatre forms, they’ve learned how to charm passing strangers, conjure a theatre from cobblestones, and deliver something that people enjoy so much, that many of them voluntarily choose to donate money at the end, when they could so easily, not.

Being a street performer trains you in bulletproof stagecraft, improvisation, timing, tight scripting, stage presence, and fearlessness, in a way nothing else can. Just ask people like Eddie Izzard, Penn & Teller, Robin Williams, Steve Martin, and dozens of other household names, all of whom developed their unique performing styles on the streets.

Only an idiot judges a show by its venue, and that’s double-true at the Edinburgh Fringe.

My feeling is that David figured buskers are an easy target. Glorified beggars, right? I mean, if your punches are going to be this lazy, you need to be throwing them down, not up. His grumpy middle-aged man schtick is played out and obvious, and if not carefully managed can easily come across as elitist assholery.

Look, we’re all entitled to our opinions, but to be so lame and mean-spirited about one of the few remaining elements of beautiful, chaotic, surprising Fringe spirit? Seems like a waste of a column. I mean, what kind of person, with such a fantastic platform in the national press, uses it to whinge about a whole artform, that millions of people enjoy, just because they once had a shitty day at the fringe.

David, are you a baddie?

Underneath David’s free column which people only like because it’s free, there’s a little bonus paragraph. It’s from the Guardian itself. It suggests that if the reader enjoyed the piece, we might want to consider contributing some money. Guess we’re not so different, after all.

Mat Ricardo Versus The World is on at City Cafe, Edinburgh Fringe Festival, at 12.30pm. He has added an extra show at the Counting House at 6.40pm on Monday. Unsurprisingly, it’s a pay-what-you-want show….

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Hey, David Mitchell, only an idiot judges a show by its venue… – Mat Ricardo Mat Ricardo hits back at the Peep Show star's attack on street performers. David Mitchell, in his groundbreaking ‘rich white guy finds things to whinge about to a deadline’ column in…

[tararira2020]

| ART |

LA PANAMERICANA

Ya con la dirección de David Lipszyc, a partir de 1968, la institución establece nexos con el Instituto Di Tella. De manera significativa, se organiza la Bienal Internacional (1968) y forma parte de una serie de estrategias de limitación de la historieta. De hecho, la incorporación de una imagen pop de la Gioconda como eslogan de la escuela se produce durante estos años. Su diseñador, Pino Migliazzo,1 destaca: “Sabía lo que en otros lugares se estaba haciendo en cuanto a gráfica fresca, joven”. De allí que no resultaba extravagante el ejercicio de desacralización: “Fue natural pensar en un símbolo tan divulgado como la Gioconda, imagen de la cual se habían hecho marcas populares como en los envases de dulce de membrillo y batata, de pastillas o de púas para discos” (Milas, 1989).

En la EPA daban sus cursos de dibujo los más destacados del medio, personalmente y por correspondencia2. En el último tramo de la década del cincuenta, dada la situación crítica por la que atravesaban, algunos profesionales optan por dedicarse a la docencia. Dar Clases en algunas de las academias de dibujo que proliferaban por entonces constituyó un recurso viable y, al mismo tiempo, prestigioso para los “maestros”. La promoción respondía a un circuito virtuoso que resultaba fecundo: “Los que entraban a la Panamericana se encontraban con Breccia o con Pratt, y más que eso no se podría tener. Se creó una especie de fanatismo, eran como ídolos” (Garaycochea, 2007).

En efecto, la EPA contaba con un plus, un cuerpo de profesores de renombre fue reunido para dar lecciones a los aficionados. Dibujantes como Alberto Breccia y Hugo Pratt resultaban figuras célebres que atraían la admiración de los adolescentes entusiastas. En este sentido, destaca Roberto Fontanarrosa: “Yo nunca llego a publicar historieta seria. Incluso hice un curso por correspondencia de los 12 famosos artistas de la Escuela Panamericana de Arte subyugado, más que nada, por la presencia de Pratt (Fontanarrosa, en Fiore, 2008). Asimismo, José Muñoz subraya el interés que estos “maestros” despertaban entre los aprendices y evoca sus años como estudiante en la EPA:

Tenia 12 años y mis viejos me llevaron allí, a la calle Paraná al 600. era un departamento minúsculo de dos ambientes. Justo en ese momento, Pratt estaba terminando su ciclo lectivo, yo quería aprender con Pratt porque estaba poseído por su trabajo. Pero él estaba terminando, sólo alcance a verlo, tostado, buen mozo, italiano de importación. Estaba con una camisa blanca, bien tostado, era mās o menos Hollywood para mí (Muñoz, 2007).

De manera ejemplar, la revista Dibujantes fomentó, a través de sus sucesivos números, la idea de que en la EPA “estaban los mejores”. Bajo el eslogan “12 famosos artistas harán posible que usted tenga una carrera exitosa”3 se alentó a los lectores a que comprasen el prestigioso curso. En lugar de resaltar la dificultad, se evidencia que la fortuna es posible si se siguen las instrucciones. El comprador del método es presentado como "un privilegiado entre miles de aficionados:

Ahora, enteramente por un nuevo y único método de estudio por correspondencia, usted y todo joven, hombre o mujer con talento artístico puede prepararse para una exitosa y lucrativa carrera artística. Doce exitosos artistas, actualmente los mejores y los más conocidos dibujantes, han reunido sus conocimientos para preparar un nuevo, más efectivo estudio por correspondencia: el Curso de los Famosos Artistas (…). Y es un gran privilegio, sin duda alguna, estar capacitado para estudiar un curso preparado por ellos.

(…)

Cuando todo es carencia, los avales mínimos son sumamente estimulantes. Lo que garantiza el curso es un método para alcanzar un bagaje de conocimientos formales; y, aunque la mayor parte de los aspirantes no logren convertirse en “artistas”, al menos accederán a un diploma que los habilite a tentar suerte en otras profesiones: “Es el derecho de todo niño tener la oportunidad de ser bien nacido y bien educado, y aquellos que privan a los niños de estos derechos están ciertamente contrayendo una grave deuda con el Destino” (Lipszyc 1957). A pesar de la promoción de un circuito competente, Alberto Breccia plantea la necesidad de establecer otro tipo de contacto entre discípulos y maestros, ya no mediatizados por las instituciones. Y deja testimonio de su incomodidad frente a la diplomatura o formalización del oficio:

Jamás propicié los cursos por correspondencia, que siempre me parecieron una porquería. Yo fui profesor con los alumnos en el aula y jamás tuve la veleidad de que estaba enseñando a dibujar simplemente enseñaba los conceptos. Para canalizar lo que cada uno tenía adentro. Algunos de los muchachos que fueron alumnos míos hoy trabajan bien: José Muñoz, Rubén Sosa, Leopoldo Durañona, Lito Fernández, Mandrafina (...). Para ser un dibujante hay que saber dibujar y para mostrar lo que uno sabe lo mejor es una buena carpeta y no un diploma (Breccia, 1980: 150).

El caso sirve para ejemplificar que hay “maestros”, con trayectorias singulares, que se apartan de la determinación que impone la institución academicista. Breccia entiende la creación en términos de autonomía estética y ejercicio experimental. Su posición de “artista maldito” le impide ubicarse en el lugar de “correa de transmisión” del saber profesional. En contraposición, desde el curso de los “12 famosos” se hacía resaltar el valor de estar diplomado, como si ello fuera aval suficiente para un porvenir venturoso: “Observe el diploma (…) es su pasaporte para una excitante carrera artística, es su medalla de honor para mayores oportunidades”.

A través de Dibujantes se busca prevenir al ingenuo de los habituales engaños en los que incurren las “academias falsas”. Mientras se busca exaltar la seriedad de la Panamericana, se observa que otras escuelas prometen “salida laboral inmediata”, pero no cumplen con las expectativas: “Todos los días llegan a nuestra casa dibujos de dibujantes diplomados, por tal o cual escuela, en donde se evidencia la más absoluta ignorancia del dibujo. Esto no puede seguir así. PEDIMOS Y EXIGIMOS al Ministerio de Educación que se reglamenten o por lo menos se revisen los ‘cursos’ de dibujos de todas las escuelas de dibujo del país [...]. Las BUENAS escuelas nada tienen que temer, y sí las que sólo procuran hacer pingues negocios aprovechándose de los aficionados” (Dibujantes, marzo de 1957).

En síntesis, el método de la EPA compensaba (al menos parcialmente) la desventaja inicial de quienes no tuvieron en el entorno familiar acceso a una educación cultural más amplia. Como veremos en el siguiente capítulo, si el Di Tella operó como un espacio para el ejercicio de la vanguardia, la Panamericana desempeñó un rol integrador entre el arte, el oficio y el mercado. Para entonces, la profesión habrá alcanzado nuevos perfeccionamientos.

____________________________________

1 Pino Migliazzo ejerció como docente en la EPA entre 1966 y 1972. En 1983, Martin Mazzei se encargaría del diseño del frente de la academia, pintando junto a Emmo Rosi, Luis Torres, y un grupo de estudiantes, una imagen ampliada de la Gioconda en la sede de Belgrano (Milas, 1989: 21).

2 Además de cursos de dibujo de historieta (aunque no de guión) la escuela dictaba “Ilustración Periodística y Publicitaria”, “Dibujo y pintura”, “Diseño gráfico”, “Decoración de Interiores”, “Fotografía artística” “Historia de las Artes Contemporáneas” y diversos talleres. La institución contaba con filiales en Brasil y en Perú.

3 El curso de los famosos artistas costaba $890 y, dado el importe que esta suma representaba para la época, se podía adquirir y pagar en mensualidades. El curso completo constaba de 120 lecciones e incluía cinco especialidades; junto a las entregas se brindaba una carpeta para archivar y una “carpeta-caja” para conservar los trabajos prácticos. Estaba dividido en 15 meses de estudio. Se incluía material como hojas para lápiz, cartulinas y bolsas con membrete para enviar los trabajos a la EPA. El comprador recibía pruebas y cada mes debía remitirlas a la dirección postal de la Escuela para su evaluación.

La Bienal Internacional de la Historieta en el Di Tella

(…) Por otra parte, la experiencia se propuso posicionar la historieta como campo de interpelación semiológica, Una tradición ligada a disciplinas como la sociología, el estructuralismo, la psicología y la crítica literaria encontró en el medio un inusitado interés. Las gacetillas publicadas son elocuentes al respecto.

Se le dio a las charlas y conferencias el carácter de “simposio y mesas redondas y disertaciones”, siguiendo una tradición académica habitual. Las indagaciones sobre la experiencia, la técnica y el lenguaje fueron los temas centrales: “Aspectos del lenguaje de la historieta” (Alicia Páez y Norma Berthol), “Tácticas retóricas en la historieta (Armando Sercovich), “Observaciones diferenciales sobre el lenguaje” (Oscar Masotta), “Las artes visuales en la historieta” (Jorge Romero Brest), “La historieta que hay que hacer” (Héctor Oesterheld), “Significación de la anatomía en el dibujo” (Burne Hogart), “La historieta en la sociedad de consumo” (Luis Gasca), “Patoruzú” (Oscar Steimberg), “Reflexiones sobre mi experiencia” (Alberto Breccia) y “Peanuts” (Carlos Sluski).

Tal enfoque no fue tan bien recibido por los historietistas que veían de buen grado que sus obras se mostraran en una institución legitimada, pero no que hicieran de ellas un terreno fértil para la crítica de mesa redonda y la disertación intelectual. Es sintomática la mirada del dibujante Enrique Breccia:

Cuando el semiólogo Masotta hizo LD y comenzó a analizar la historieta desde la semiología, se pudrió todo... No creo que tenga tanta trascendencia como para que se hagan libros, análisis sociológicos (…). Una vez fui a una charla a la que me invitó Saccomanno y donde estaban Oscar Steimberg, un jesuita, Guillermo y Broccoli. ¡Se hablaron tantas boludeces! Yo, que era el único historietista -los demás eran estudiantes que anotaban y anotaban- y sabía que todo lo que decían era mentira. Todo verso.1

En última instancia, lo que estaba en juego era el rol del crítico de historietas, por entonces una figura ausente en el campo. Una posición similar a la referida, pero acentuando la tensión arte y mercado, es la que sostiene el dibujante Hugo Pratt:

Un crítico debe informarse, No tiene derecho a ser naif, ingenuo. Yo sí puedo hacerme el naif porque soy autor. Y hubo críticos que dijeron cosas tontas, entonces me dedique a atacar críticos también. Y me valí de la pintura para hacerlo, para demostrarles que uno puede. Fue después que Roy Lichtenstein ampliara cien veces un cuadrito de historieta e hiciera con eso un cuadro. Era un acto de piratería, y yo pensé que si él podía hacer cuadros con historietas, yo podía hacer historietas con cuadros. Entonces pinté óleos ampliando desmesuradamente fragmentos de De Chirico (Sasturain, 2004: 41).

En efecto, a principios de los sesenta, junto a las señales de tránsito, los afiches publicitarios, las estrellas cinematográficas y los discos de vinilo, el cómic popular y comercial fue utilizado por el artista Roy Lichtenstein para producir arte pop. Su técnica es analizada por Oscar Masotta en El pop art (1967), para detectar los códigos y las significaciones que poseen las obras de varios artistas de la “segunda ola” de la Escuela de Nueva York. El crítico destaca positivamente la “técnica de la redundancia” (propia del lenguaje del cómic) que utiliza Lichtenstein, mientras que, en la cita precedente, Pratt califica la pintura del artista como “un acto de piratería”.

El tono de esta querella permite trazar un rasgo generalizado: la correspondencia entre el pop y la historieta no era entendida en los mismos términos por artistas, intelectuales e historietistas.2 Lichtenstein utiliza aquellas historietas que se destacan por su carácter estereotipado y no por su cualidad estética. De allí que su obra se torne interesante en términos artísticos cuando hace uso de historietas mediocres o estéticamente pobres. En otros términos, Lichtenstein utiliza las historietas como banco de imágenes de la cultura de masas norteamericana y las interviene para quebrar cánones, reaccionar frente a movimientos pictóricos y posicionarse en la vanguardia de nuevas formaciones.

En tanto que los gestores de la Bienal acogían la idea de discutir sobre técnica y lenguaje, los historietistas abrazaron una causa de mercado ligada a su condición como profesionales. Para los autores y editores el interés residía en ser “puro presente”: el aquí y ahora de sus condiciones profesionales. A propósito, Subraya Oesterheld:

Recuerdo el comentario final que hice para mí mismo: aquello mostraba en la Argentina la muerte de una hermosa época. Porque la exposición era en el 68 y la última historieta que había en exhibición era del 63. Y, si había algún joven dibujante mostrando algo, tenía tantas influencias de Breccia que no era cosa nueva, no aportaba nada (Saccomanno y Trillo: 1980: 112).

Y coincide Juan Sasturain:

El Di Tella del sesenta y ocho en la Argentina no es un reflejo de lo que pasa en el país, no es culturalmente representativo. Es un reflejo de Europa. La historieta argentina en 1968 estaba muerta. ¡Lo decía el viejo Breccia! ¡Se cagaba de hambre! Oesterheld no tenía un mango, laburaba para los chilenos haciendo una basura porque no tenía trabajo. El fenómeno Di Tella no era el resultado de la cultura popular masiva en la Argentina, fue un rescate teórico, un fenómeno especular (Sasturain, 2002).

Asimismo, los guionistas Carlos Tillo y Cuille Emo Saccomano destacaron:

Se dice que, cuando en octubre de 1968 la historieta argentina entró en los amplios y luminosos salones del Instituto Di Tella, en la Primera Bienal de la Historieta, la historieta argentina estaba aletargada si no muerta. Los trabajos que allí se exponían correspondían a una década atrás. Ninguna de las cosas recientes que colgaban de las paredes decían mucho de sí (Saccomanno y Trillo, 1980: 172).

La Primera (y última) Bienal involucró, al menos un aspecto clave: en la Argentina la actividad cultural se remite a “instancias de consagración externas y, al mismo tiempo interioriza criterios exteriores de valoración” (Sigal, 1991:34). Su organización siguió el mismo patrón de interés que ya se había manifestado en Europa. De allí que fue una actividad compatible con la actividad que se concentraba en el Di Tella. Probablemente, su límite más caro haya sido no pensar al campo en su propia historicidad, en su contexto latinoamericano, sino en relación a otras experiencias y producciones. La Bienal se realiza en un momento en el que el tono celebratorio con el que el arte argentino esperaba ser colocado en el primer mundo fue dejando paso al desencanto. Esta concepción de una producción “a destiempo” con respecto a “avances” que se venían dando en Europa y Estados Unidos obstruía la posibilidad de pensar las vanguardias en sus propios términos.

Pero mientras que una mirada eurocéntrica sólo revela al evento en su carácter deslucido y tardío, otro punto de vista permite ver que, si bien la Bienal reprodujo un fenómeno europeo, presentó, al mismo tiempo, sus rasgos específicos. En un momento en que la historieta no pasaba por su etapa más esplendorosa, los esfuerzos de los organizadores arrojaron resultados productivos. Finalmente, los vínculos realizados en los viajes de Masotta y las innumerables cartas gestionadas durante casi un año habían alcanzado su propósito: la Bienal “superó” en calidad y en cantidad a su predecesora, la exhibición en el Palacio del Louvre. Masotta desde Nueva York, ya anticipaba su éxito en una carta dirigida a Romero Brest:

Mi trabajo aquí sigue produciendo resultados excelentes, me refiero al material que voy consiguiendo. Y, si ustedes me apoyan desde ahí (y tengo que reconocer que lo hacen), la muestra de octubre superará bastante a la del Louvre. Por ejemplo, voy comparando paso a paso nuestro material con el material de que ellos disponían (lo hago comparando con el catálogo) y, efectivamente, estamos ganando. Nos llevan ventajas sólo en cuestiones muy materiales, como por ejemplo el espacio de que disponían (los salones del Museo de Arte Decorativo son más grandes que los del Instituto Di Tella). Pero aun en esto: si el diseño y la disposición de los stands en medio de las salas del Di Tella se hace con inteligencia, yo creo que no vamos a poder, entonces, envidiarles nada. La otra ventaja (esta, insalvable por el momento) se cuenta en términos de sabiduría. Ellos saben más que nosotros. Esto es porque cuentan con instituciones dedicadas al estudio de la historieta y la comunicación masiva (...). Pero aquí también confío en que usted apoyará ahí, a mi vuelta, digo, la idea de crear un Centro de Comunicaciones de Masa. Sin ese Centro, Romero, se nos recordará como habilidosos y como sensitivos (tenemos, efectivamente, un bastante reinado sentido histórico de la oportunidad), pero no como gente seria.3

Es evidente que el entusiasmo de Masotta es más un gesto voluntarista (“estamos ganando”) que un diagnóstico de resultados ponderables. La comparación es sintomática: la historieta formaba parte (en términos de centro/periferia) del afán de modernización de esos años.

- En: Laura Vázquez, El oficio de las viñetas. La industria de la historieta argentina, Paidós, 2010.

_______________________________________

1 Y continúa más adelante: “El jesuita explicaba una secuencia de Marco Mono, la historieta de Trillo que dibujé para “HURRA” y bueno... Era una secuencia que yo hago lo más simple posible como una cortesía con el lector, para no complicarle la vida. Y el tipo le daba vueltas y le metía cosas raras. Por ahí dice: “A los cuadritos les vamos a decir ‘íconos’ y los globos ‘sintagmas’ y ya con eso cagó todo. ¿Sabés qué? Le quitan el encanto” (Entrevista realizada por Martín García a Enrique Breccia, publicada en Fierro, Ediciones de la Urraca, año I, Nº 11, julio de 1985, p. 43).

2 “Se hicieron bienales de la historieta, se realizaron exhaustivos análisis “(...); uno disfruta una historieta cuando es lector de historietas. Por eso pensamos que el pop y el camp no le han hecho tan bien al género, aunque tampoco lo han perjudicado. Simplemente son dos cosas distintas" (Bróccoli y Trillo, 1971: 103). Y destaca Andrés Cascioli: “Fue un gesto típico del Di Tella rescatar experiencias extrañas, como alguna vez el pintor Lichtenstein hizo un cuadro con una historieta. Lo hicieron más que nada como una cosa que les servia a ellos y en ese momento. Me parece que a la historieta no la entendieron nunca los intelectuales” (Cascioli, 2007). También Alberto Breccia hizo referencia a la distancia entre la cultura pop y la historieta (Breccia, 1988).

3 “Quisiera pedirle, o recordarle, la importancia de algunos puntos para cuya solución usted y solo usted es la persona ideal: 1) Cuestión embajadas. Hay que conseguir pasajes. En especial de la embajada francesa. De Francia hay que invitar por lo menos a cuatro personas. Y entre ellas al director cinematográfico Alain Resnais (estudioso de la historieta) (...). Por lo menos habría que invitar de aquí a tres dibujantes: esto daría más alcance popular a la muestra. Llevaríamos los más conocidos y famosos. Gente que puede intervenir en mesas redondas, y que puede dibujar en público. Es el caso del figurón de Al Capp. 3) Le pido (y le encargo) que no se olvide de llamar a Torre Nilsson. El ya está avisado por una carta mía. Yo lo he invitado a dirigir la parte de la Bienal dedicada al Cine. Hay que conseguir películas: él lo puede hacer. Además es inteligente y buen discutidor, elemento esencial para las discusiones y mesas redondas (...). Sin más, un saludo verdaderamente cordial: Oscar Masotta”. Nueva York, 8 de abril de 1968. Fuente: Archivos Di Tella.

[clubdecine2000]

"El pedazo de vida, supervivencia, desmoronamiento, amistad, autodestrucción, amor y muerte que acaba de filmar este retratista de las emociones, este hombre que parece saber la hostia de cosas esenciales sobre el anverso y el reverso de los seres humanos, rebosa intensidad y discursos torrenciales (...) un maravilloso director de cine, un equilibrista que avanza por la cuerda floja más arriesgada, amenazada por el rídiculo y el vacío verborreico, pero que consigue sortear esos peligros y llegar al final de la meta con su tesoro íntegro. Aristarain dirige la partitura y la orquesta con el pulso, el coraje y el talento de un maestro. La orquesta está formada por cuatro virtuosos que además de técnica también ponen su alma."

[ultraisabarrosmartins1978]

Festival de Inverno de Campos do Jordão ganha versão online 🎷

Os fãs de música clássica ficaram meio chateados com o adiamento da 51ª edição do tradicional Festival de Inverno de Campos do Jordão para janeiro de 2021. Em compensação, o evento resolveu nos presentear com uma série de concertos online, transmitidos entre os dias 20 de julho e 2 de agosto no canal da TV Cultura no YouTube.

Presença ilustre em várias edições do festival, a orquestra Jazz Sinfônica Brasil recebe vários cantores talentosos e gabaritados para a série de concertos online em comemoração ao seu aniversário de 30 anos.

Entre os artistas que você pode conferir dividindo o palco com a orquestra, estão Toquinho, Carlinhos Brown, Lenine, Olivia e Francis Hime e Diogo Nogueira.

#DicaCatraca: descubra as melhores lives em cartaz ❤

Outro destaque da programação são gravações dos concertos de abertura do festival, que contam com a participação de grupos como as orquestras Filarmônica de Goiás e Sinfônica de Barra Mansa.

O festival também transmite esses e outros concertos icônicos por meio da TV Cultura e da Rádio Cultura FM. Além de algumas apresentações da Jazz Sinfônica, estão previstos espetáculos da OSESP – Orquestra Sinfônica do Estado de São Paulo. Para conferir essa programação, basta acessar este site aqui.

Festival de Inverno de Campos do Jordão

Consagrado como um dos mais importantes eventos de música clássica no país, o festival foi criado em 1970 por Luis Arrobas Martins, então Secretário Estadual da Fazenda.

O evento é inspirado no Festival de Tanglewood, dos Estados Unidos, e já atraiu centenas de músicos virtuosos e mundialmente conhecidos como os maestros Marin Alsop e Carlos Kalmar; os pianistas Nelson Freire e Ewa Kupiec ; o trompetista Ole Edvard Antonsen; os violoncelistas Antonio Meneses e Johannes Mosere; e os violinistas Boris Brovtsyn e Sarah Chang .

As duas próximas edições do evento estão programadas para acontecer em 2021, entre os 2 e 31 de janeiro e de 26 de julho a 1º de agosto.

Jazz Sinfônica Brasil 

Criada em 1989 pelo saudoso maestro Cyro Pereira (1929-2011), a Jazz Sinfônica Brasil nasceu de uma ideia proposta pelo músico Arrigo Barnabé, que, na época, era Secretário da Cultura do Estado de São Paulo. O grupo é formado por cerca de 70 músicos que  promovem uma mistura incrível entre música popular brasileira, clássica e jazz.

Confira a programação de concertos online:

20 de julho, às 19h – 46º Festival de Inverno de Campos do Jordão | Abertura (2015)

21 de julho, às 19h – Jazz Sinfônica Brasil e Carlinhos Brown (2019)

22 de julho, às 19h – 41º Festival de Inverno de Campos do Jordão | Abertura (2010)

23 de julho, às 19h – Jazz Sinfônica Brasil e Toquinho (2019)

24 de julho, às 19h – 44º Festival de Inverno de Campos do Jordão | Abertura (2013)

27 de julho, às 19h – Jazz Sinfônica Brasil e Lenine (2019)

28 de julho, às 19h – 50º Festival de Inverno de Campos do Jordão | Orquestra Filarmônica de Goiás (2019)

29 de julho, às 19h – Jazz Sinfônica Brasil e Olivia e Francis Hime (2019)

30 de julho, às 19h – 50º Festival de Inverno de Campos do Jordão | Orquestra Sinfônica de Barra Mansa (2019)

31 de julho, às 19h – Jazz Sinfônica Brasil e Diogo Nogueira (2019)

Quer mais música boa? Dá uma olhada:

Veja também: Pitty lança programação de lives com música, bate-papo e surpresas

Veja também: Montreux Jazz Festival disponibiliza shows históricos de graça

Festival de Inverno de Campos do Jordão ganha versão online

publicado primeiro em como se vestir bem

[bernardfranciskyle]

REVIEW: Soothe - Shambhu

The Third of a Trilogy.  Shambhu’s most fully realized album to date is a cohesive, soothing journey with complex arrangements and extraordinary guest artists.

Shambhu’s new album, Soothe, is being released on 1 February 2017. In his third release, Shambhu maintains his acclaimed consistencies throughout - high production values, stellar musicians who shine, complex acoustic guitar writing and virtuoso playing, prominent horns, Indian influences from his Vedic spiritual practice, and reflective, emotional tones of a personal journey that is powered by the beauty of Nature. His style and spirit shine through, recognizable and fulfilling. New in this third release are vocalizations, including a track with lyrics written by singer Kristin Hoffmann. And a brilliant appearance by jazz fusion saxist/English horn virtuoso Paul McCandless.

Shambhu’s core team once again features artists who have graced his prior albums, Sacred Love and Dreaming of Now: percussionist Jeff Haynes, Indian bansuri flutist Ravichandra Kulur, wind players George Brooks and Premik Russell Tubbs, pianist Frank Martin, and bassist Michael Manring.

Each of the nine tracks on Soothe stands out as worthy of radio play, showcasing a brilliance of musicianship.

Knowingness (track 1) - vocalization by Kristin Hoffmann.  Kristin is a marvelous addition to Shambhu’s sonic collaborators, evoking yearning while maintaining the beauty of stillness.  Indian bansuri flute maestro Ravichandra Kulur also sets a haunting tone for this soulful opening track.

Time Travel (2) - Premik Tubb’s saxophone talent shines through while Shambhu provides amazing guitar layering and a triumphant ending to this track. Days Like Falling Stars (3) - Legendary reed player Paul McCandless (Oregon, Paul Winter, Bela Fleck) offers a timeless and inspiring performance of one of Shambhu’s most sweeping melodies. Paul adds amazing touches to any song he has embraced. Shambhu’s reputation and respect enable the recruiting of such well-regarded artists. Devotion Tears (4) - Over twenty years of guidance of a guru radiates throughout this track, a quiet contemplation on what devotion means and the emotions it can bring as a result.  Shambhu proves here that everything emerges from the Soul. Prelude 2 (5) - This track surprises in mid-section of the album …and why not!   Shambhu’s arrangement of Gershwin’s Prelude 2 is tasty, indeed. Bassist Michael Manring brings listeners into a “jazzy” space underpinning the colorful interplays between Shambhu and east-west fusion soprano saxist George Brooks. Shambhu ought to be considered a composer-arranger first, adroit in the use of guitar as a canvas for arrangements and songs.  

Through New Eyes (6) - The interplay of Paul on English horn and Ravichandra’s flute is delightful, creating a song with strong resonance. Gaia Sweet Divine (7) - Tabla, voice and bansuri flute star, while the bass playing is brilliant, producing a stunning tribute to Gaia. Soothe (8) - The title track is a song of humility and thankfulness, featuring Shambhu on multi-layered guitars with tasty vocal textures— probably to be selected as the favorite song of the album by most listeners, reflecting everything loved about Shambhu’s melodies and guitar playing. Walking Through a Dream (9) - Brings the listener home, as if each prior selection was just walking through a wonderful dream perfected by Shambhu. Of note, Shambhu produced Soothe with the talented guitarist/composer Todd Boston who was remarkably accomplished in recording and engineering the project. For audiophiles, Soothe is a sonic achievement that is easily on par with his prior two releases. Soothe arrives as a third in a trilogy of albums by Shambhu that aim to architect beautifully listenable music as a pure expression of his spirit. Each reflects the highest grade musicianship with distinctive, creative songs and arrangements that deliver a perfect listening journey under his stewardship.

Soothe, this latest album, is the lingering proof of the masterful talent of Shambhu.

ShambhuMusic.com Shambhumusic.bandcamp.com Facebook - @shambhumusichome Twitter - @shambhumusic Instagram - @shambhumusic

http://shambhumusic.bandcamp.com/album/soothe

http://www.shambhumusic.com/soothe-new-cd

https://www.amazon.com/dp/B01N2OIEA2/ref=cm_sw_r_tw_dp_x_5.bGybY0EE9W4

[footballghana]

FEATURE: Jay-Jay Okocha-African maestros

Maestros are typically defined as midfielders who are able to control games with their creativity, similarly to how a conductor directs a musical performance. Maestros can flip games on their head with their trickery and technical ability. They are players with an uncanny ability to move the ball, whether it be by slaloming through defences or picking out passes that turned heads.

Maestros are a bit of a dying breed in football today, especially with the phasing out of the traditional number 10 role, but they made many of us fall in love with football. The likes of Ronaldinho and Zidane come to mind when considering world football’s greatest maestros, but what about the Africans?

In this series we will reminisce on Africa’s greatest maestros with words and video – and for this episode, Tosin Holmes dishes on his comptatriot Jay-Jay Okocha.

Back in the days when fans were allowed at stadiums the world gathered for a Joseph Yobo testimonial, and four 45 minutes, it became a Jay-Jay Okocha exhibition. The former PSG and Bolton Wanderers star dazzled, regaling the world with his gift, unleashing magic reminiscent of the Great Wizard of Oz.

Okocha would begin his act by sending a nonchalant no-look pass laced with pure arrogance in the path of Ahmed Musa, then he’d beat Yobo and Stephen Appiah with an upper body feint, before providing a blinding assist for Emmanuel Emenike, by splitting the defence in two, leaving the forward with the goalkeeper to beat. It was pure filth. Not many footballers in their forties would boast a full highlight reel, playing forty-five minutes in a colleague’s testimonial. So good, they named him twice.

Perhaps the most gifted African to never win her individual gong, the CAF African Footballer of the Year, Okocha was otherworldly every time he stepped onto the lush green of the pitch or when he had the ball at his feet. Exhibitions, Leagues, Cups, International Competitions, nothing missed out on Jay Jay. The opposition wasn’t his business either, he cared less. When Brazil came to town in 2003 as Nigeria celebrated the opening of her National Stadium, then captain, Okocha twisted, twirled and dazzled, leaving everyone in awe at his grace, The Eagles lost 3-0, but the scoreline mattered not, it was all about his brilliance.

After all, another of his virtuoso performances had come in another defeat, a 4-1 hiding by Denmark at the France 1998 World Cup. Wearing blonde hair, Okocha would torment Soren Colding time and again whenever he drifted left, enchanting him with stepovers and feints, the Right Back barely coped.

Jan Heintze, the Left Back wasn’t left out, getting his own dose of the mercurial number 10 when he sold him a dummy. It simply was hard to see such talent leave the World Cup so early. Thomas Helveg, Marc Rieper and Martin Jorgensen all felt the dizziness Okocha’s skills induced.

He was a handful, but not enough to put Nigeria in the plate for the Quarters. His three crosses into the box caused all sorts of problems, while his shots kept rising like smoke from freshly burning tyres. Many rightly fell aggrieved that had the chance he put on a plate for Kanu were converted, the game would turn out differently.

Such animosity wasn’t there at the AFCON in 2000, where JJ cleared everyone’s doubts with his final performance. The shots were decisive this time, where he rammed home a screamer. Again, Nigeria would lose, on penalties to Cameroon, however, all these were sandwiched in between another two gracious performances at the AFCON, both against then reigning Champions, Ivory Coast in 1994, and Cameroon ten years later.

Nostalgia filled the air in the latter when Okocha held an entire continent spellbound as he stood behind a free kick just outside the box with time ebbing away. His gait over the ball, he would take his customary short run-up before unleashing a curler into the top right corner, one that left Idris Carlos Kameni for dead.

On both occasions, he’d run the game like a choir master directing his orchestra. The game was at his mercy, the beats and tones his to choose. The ball was his servant, subservient and willing to do anything its master sent him simply because of how it was revered. Not once, did a football fail Jay Jay, not once, he never attempted a skill and failed at it, it was as effortless as breathing air.  This was the maestro.

His shock arrival in Greater Manchester in 2002 after the World cup was solely because he wanted the freedom to run the game, dictate the tune. Bolton gave him what other top teams in the land couldn’t and they paid dearly for it. Arsenal’s Ray Parlour perhaps is still searching for the ball Okocha flicked over him at the corner flag as the clock wound down, bewildered, he stood in awe as his tormentor walked away.

Not even the grit and intelligence of Paul Scholes and Roy Keane could stop him, leaving Scholes in a heap as he swatted him away like a fly, Keane’s ankles probably snapped when Okocha sold him a dummy, only to return, shimmy and then dummy him again, it was the appetizer. He’d deal both dangerous hands as they sought to end the show, hypnotizing them like the magicians from “Now They See Me”, only that they couldn’t touch.

It was angelic, and yet Jose Angel of Aston Villa wasn’t left out, as Jay Jay flicked the ball over him not once but twice in what was a 5-2 success as Bolton attained the League Cup final. They’d lose to Middlesbrough, but Okocha had the Trotters dreaming, only that in this case he wasn’t selling them as he had did opponents.

Oliver Kahn could attest to the Angelic wizardry of the maestro, who dragged him all through the Karlsruher penalty box as one would treat a mop, an arrowing experience for one of the greatest goalkeepers of the game. It was a statement from the black man who had received racist treatment on his arrival, embarrassing opposition at every turn. Talent didn’t recognize color.

It is why in the colours of Fenerbache, he remains the man, the only one to score in four successive league clashes against Galatasaray, achieving the feat in the 1996-97 and 97-98 season. Nobody has since, nobody did before. His wicked free kicks; be it bending like a banana, or curling it past the wall, in those fixtures swung momentum the way of the Blue and Yellow either at the Sukru Saracoglu or the Turk Telkom arena. He needed no introduction, it was his home. He was the “Saha Buyucusu”, the wizard of the pitch. Everywhere was his home.

By the time he turned up in France post 1998 World Cup to become one of Africa’s highest earners abroad, Bordeaux particularly would feel his wrath, The stage for his debut, Okocha had barely played four minutes when he left everyone in the stadium mouths aghast.

He received the ball, diced two players like pineapples before thundering home from 25 yards. He’d score a goal akin to Marco Van Basten’s impossible angle strike against the same opponent a year later, standing in front of the Parisian faithful, who worshipped him as the god that he was. Okocha is a deity, had he been born Brazilian or European, he would have been in the GOAT debate. Such was his brilliance. Even those in Enugu would attest.

source: africanfootballhq.com

source: https://footballghana.com/

[perfumesimportadostop]

Mensagem do Dia 16/06/2020 - Um Simples Dever

Mensagem do Dia 16/06/2020 – Um Simples Dever

Afirma-se que o verdadeiro virtuoso ignora que o é. Para ele, o que realiza é perfeitamente natural. Dizem-nos os Espíritos superiores que toda a eterna felicidade se contém no preceito: Amai-vos uns aos outros.

E nos convidam a amparar os nossos irmãos, abandonando a feia chaga do egoísmo. Algumas almas nobres entenderam muito bem essa lição. Em recente entrevista, o maestro João Carlos Martins…

[republicstandard]

The Religion of Socialism is the Opium of the elitist Archbishop Welby

Justin Welby spent this week cuddling up to Britain’s trade unions with emetic chumminess. Raising his clenched fist in a sanctified Stalinist salute, the Archbishop of Canterbury delivered a fiery podium-thumping speech to the Trades Union Congress, exposing himself as a full Monty socialist.

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Welby and oratory have never been bedfellows. On the whole, His Grace’s addresses resemble the crayon doodlings of toddlers, admired by doting parents. If you’re looking for “four score and seven years ago” or “blood, toil, tears and sweat” or “I’ve been to the mountaintop” look not to Lambeth Palace, where only limp lettuce grows. Welby is more a maestro at the “here a quack, there a quack, everywhere a quack quack” brand of sermonizing.

Not any more. Overnight, the posh Etonian morphed into a rough Elijah calling down fire on the priests of Baal; Wonga and Amazon. Rhetorical flourishes flew like tongues of fire: there was prophet Amos letting “justice roll down like waters”; there was militant Mary sending “the rich empty away”; there was Martin Niemöller’s “First they came for the socialists, and I did not speak out—Because I was not a socialist”.

Sparking alliterations jumped out like little hobgoblins, working their charm on the congregation of his newfound comrades. Welby spoke of a “free fire zone” and the “cradle of chaos”. There was a flash of Martin Luther King when the Archbishop climaxed with “Today I dream that governments, now and in the future, put church-run food banks out of business. I dream of empty night shelters!” Even God and Jesus made a couple of dazzling appearances.

Welby was wonderfully eloquent, lucid, consistent, reasoned and as passionate as a Black Pentecostal preacher. The Archbishop, who uses the e-word as infrequently as Halley’s comet putting in an appearance, railed with righteous indignation against the “gig economy” and “zero hour contracts” as “the reincarnation of an ancient evil”.

The audience of social justice warriors erupted with a thunderous standing ovation. The Tories responded by weeping and gnashing their teeth. Like the jealous scribes and Pharisees, they accused the new Chrysostom of “parroting Labour policy”.

“What has His Grace been smoking? Is it the opiate of socialism with its illusion of equality and its delusion of a prefabricated utopia made by human hands? Or is His Grace high on the Holy Spirit and heralding the beginning of a new Pentecost for Britain?” I asked myself, as I watched his virtuoso performance. “Bravo, bravissimo, Your Grace!” I cheered.

Has Welby been souping up his rhetorical skills with high-octane oratorical fuel from Aristotle? For a public speaker to be truly persuasive, he must have ethos (personal character), pathos (put the audience into a certain frame of mind) and logos (the proof, or apparent proof, provided by the words of the speech logos), says Aristotle. He wrote:

“Persuasion is achieved by the speaker’s personal character when the speech is so spoken as to make us think him credible.”

Let’s give Welby an A for pathos. For logos, let’s be generous and grade him B+. He uses a number of biblical texts to promote “social justice” without recognizing the serious methodological pitfalls in comparing the agrarian economy of biblical times – where it was not easy to create wealth unless you exploited others and took their fair share – with the modern economy of the free market.

Welby’s reading of the Bible assumes the economics of the fixed pie – the size of the pie is fixed and there is only one pie. In a capitalist economy, there is no limit to the number of pies that can be baked and wealth can be created ex nihilo without impoverishing others. But Welby is too blinded by his dogma of equality of outcomes to see this difference.

When it comes to ethos, Welby’s grade would plummet like a nightmarish day at the stock exchange. If we were to be fair, we’d mark him D for credibility. Why? The buzzword most frequently recurring in his speech is “justice” – he uses it nineteen times. This is followed by “power” (or “powerful”), his other pet word – he hammers it home 16 times.

As a string of sex abuse victims will testify – they have knelt on the stone pavement outside Lambeth Palace until their knees bled and pleaded for Welby to do justice. Welby has stared as unblinkingly as the Buddha from beneath his vulturine eyelids, but the victims are still waiting, still crying for justice.

Without a shred of evidence, Welby maintained that the saintly and courageous Bishop George Bell had molested a little girl over half a century ago. Even after a high-level inquiry exonerated Bell, Welby failed to do justice to the dead bishop. In real life, Welby and justice have never been on talking terms.

On the other hand, Welby and power have been closer than Biggles and Ginger. Time and again I have demonstrated how no organization in the British Isles has its hierarchy as corrupted by power and as unaccountable to congregations or shareholders as the archbishops and bishops in the Church of England.

A day before preaching taxes and Trotsky to the TUC, Welby said that all industries should have unions to ensure that employers acted fairly. Come again, Your Grace? How about starting a union for clergy in your own backyard – didn’t you know thousands of your clergy have been registering with Unite because you and your bully bishops have accumulated absolute power?

The Church of England will forge new links with trade unions in order to hold businesses to account, says Welby. Pray, Archbishop, who will hold the Church of England to account? The media did it this morning when it exposed the hypocrisy of the Archbishop’s address after it emerged that the Church of England uses zero hours contracts and invests in Amazon. In fact, the Church’s stake in Amazon is one of the 20 most valuable investments held by its multi-billion-pound fund! “Woe to you Welby, hypocrite!” we hear Jesus saying.

In terms of his credibility, what has Welby ever done for the working classes of this country? The worst atrocity in recent years has been the industrial scale rape and sexual abuse of white, working-class girls almost entirely perpetrated by Pakistani Muslim men. Welby and his bishops have done the very thing Pastor Niemöller so glowingly highlighted:

“Then they came for the white working class girls, and I did not speak out—Because I was not a member of the working class”.

When the deplorables of this country voted for Brexit, Welby sneered at them, making common cause with the globalists in the back alleys of Brussels.

For decades, the Church of England has drifted far from the laboring classes of this great land. And the laborers, like sheep without a shepherd, have deserted the Church of England and turned to the trade unions for succor and salvation. With Welby championing their cause by bearding the lion in his own den, how can they not submit to Jesus as Saviour and return to the Ecclesia Anglicana?

After all, isn’t Welby the spiritual shepherd joining forces with secular shepherds of the trade unions like Frances O’Grady and Len McCluskey who love their working class sheep, live like them, and receive wages equal to the average sheep? Aren’t the working classes singing hosannas to their secular shepherds?

You’re not serious, are you? “Over the past twenty years, trade unions in Britain, Canada, and the USA – three countries sharing similar labor market institutional frameworks – have had a difficult time maintaining, let alone advancing, membership rates,” concede Alex Bryson and Raphael Gomez in Representing Workers: Trade Union Recognition and Membership in Britain. Though the unions are still the largest voluntary organizations in Britain, research reveals that only between two-fifths and one-half of workers say that they would unionize if a union were available to them.

“Union membership appeared to be in a downward spiral which was, if anything, gathering momentum. The TUC lost three million affiliated members between 1980 and 1987,” observes Prof W. Hamish Fraser in A History of British Trade Unionism, 1700-1998. In fact, 78 percent of young workers never want to join a union. Welby’s failing church does have something in common with the unions!

Like the bishops of Welby’s church, the leaders of Britain’s trade unions have turned out to be ravenous wolves disguised as good shepherds. Equality? Welby earns a princely income of over £65,000 pa compared to a vicar who is paid around £23,000 pa. Bishops are paid almost double the income of their curates.

William Fittall, the senior-most official at Church House, got £153,000 – after a £4,000 rise in 2012. One employee at the Church Commissioners pocketed £239,000 after a £6,000 rise. Six persons at the Church Commissioners are paid over £100,000. Eight were paid over £70,000, of whom two received more than £100,000. Blatantly contradicting Welby’s mantra of equality, the highest paid employee in the Archbishops’ Council earned seven times more than the lowest paid in the organization!

The fat cats in the trade unions are no different. 45 public sector trade union bosses receive more than £100,000 a year in salary and benefits. This places them within the top 5 percent of earners in the UK and in the category of “wealthy” as defined by Labour Party’s Shadow Chancellor, John McDonnell. The General Secretary of the National Association of Head Teachers pocketed £161,548. This places him in the top one percent of earners in the UK.

In Britain, taxpayers subsidize public sector unions. We pay for the astronomical salaries that fund the lavish lifestyles of many trade union bosses. How dare they and Welby condemn “corporate greed” when they themselves are earning so much more than the average worker they claim to represent?

Workers undeniably benefit from representation. But the working class in Britain have recognized that they don’t benefit from being represented by fat cat limousine socialists who attack capitalism under the guise of workers rights. They have seen how like Welby, the TUC pushes a globalist pro-immigration line which demonizes indigenous British workers as fascist and racist when they ask for real representation.

Welby speaks of protecting the vulnerable. But the unions have waged war against the most defenseless of all human beings – the unborn child. The TUC has a shameful campaign to extend abortion rights and are “fighting for a modern abortion law fit for the 21st century”. Their extreme demands include making abortion legally available at the request of the woman at any time of the pregnancy and the removal of the requirement for counseling and two doctors.

They even want early abortions to be carried out in GPs surgeries by trained nurses. They are calling for a ban on “misleading advertising of crisis pregnancy services operated by groups opposed to abortion”. In 2015, they even opposed a proposed ban on the sex-selective abortions of girls because of their gender. Women’s rights, eh? If abortion is murder, Welby’s comrades are cold-blooded murderers seeking to exterminate the most defenseless of our society.

Aristotle spoke of courage as the greatest of all virtues but did not include it in his qualifications of a good speech. If we include courage, Welby will surely fail, because you don’t have to be bold to preach socialism garnished with biblical misquotations to a bunch of die-hard Marxists. If socialists sang, one could speak of Welby preaching to the choir!

Who does the TUC represent? It's not the working class and underclass of white Britons. It’s most certainly not Christians who have been persecuted in the workplace for their convictions. I spoke to Christian Concern to check if the TUC have done anything to defend the rights of Christians.

Andrea Minichiello Williams, Chief Executive of the Christian Legal Centre, which is valiantly contending for Christians facing discrimination in the workplace, said:

“Trade unions have rarely, if ever, been of any real use in supporting the Christians we’ve assisted in workplace disputes. They are often actively hostile to the Christian view on sexual ethics or bioethics and they don’t understand the motivation of Christians – that, if forced, they must serve God rather than man. So when they do provide help, it is usually to preserve the person’s job by appeasing the employer. They have not typically stood up for Christian freedoms – in fact, they have often encouraged employees to make concessions and thereby undermine possible challenges under the Equality Act.”

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Welby said that Christians should follow Jesus’s example and be “skeptical of accumulation of power”. If we should be skeptical of the accumulation of power (will Welby explain how that is following Christ’s example?) then we should be skeptical of a powerful church teaming up with a powerful socialist organization.

The unions once represented the people who worked the mines and docks. They now represent the powerful vested interests of the globalists. That is why they vigorously oppose Brexit. The TUC represents globalism under the cloak of workers’ rights. So why does the Arch-communist of Canterbury sign up with them? Power. We should be skeptical of Comrade Justin Welby.

from Republic Standard | Conservative Thought & Culture Magazine https://ift.tt/2CWLo1a via IFTTT

[jazzworldquest-blog]

USA: Jack Kleinsinger’s Highlights In Jazz New York’s Announces its 46th Season

  Jack Kleinsinger’s Highlights In Jazz New York’s Longest Running Jazz Concert Series   Announces its 46th Season Four exciting 2018 concerts you won’t want to miss! Plus, surprise special guest at all shows. Long-time favorites and first-timers will jam together all season long, at this popular jazz concert series. Guitarist Russell Malone 2018 Honoree

All Shows At Tribeca Performing Arts Center Borough of Manhattan Community College 199 Chambers Street, New York, NY 10007 Box Office 212-220-1460 www.tribecapac.org In four stellar concerts featuring some of the brightest lights in jazz today, 2018’s Highlights In Jazz series brings together a multitude of beloved jazz musicians spanning generations and styles. You’ll hear unforgettable performances from nonagenarians Jimmy Heath, Bucky Pizzarelli and Dick Hyman, youthful sensations Dominick Farinacci and Peter and Will Anderson, and mainstream mainstays including Russell Malone, Steve Turre, George Cables, Houston Person, and many more. Gathering top musicians across generations and genres is a hallmark of Highlights In Jazz, and a goal of producer Jack Kleinsinger. “All-star jams are my stock-in-trade--bringing musicians together to play with people they don’t play with every night of the week. The audience gets to hear something different from what they’ll hear in the clubs,” Kleinsinger notes. “We’re blessed to have so many great musicians in New York, and I like to include a variety of younger artists and veterans.” Surprise special guest are another trademark of every concert in the series, from the very first Highlights In Jazz presentation in the early 1970s. There’s always at least one unannounced top-flight musician scheduled to appear, plus there are often special guest who surprise even Kleinsinger. “I’ll see someone in the audience and bring them up, or sometimes someone will come backstage to say hello and I’ll ask them to play. Once, Gerry Mulligan was in the house, and he walked up the aisle to the stage, playing his horn.”  

Jack Kleinsinger’s  HIGHLIGHTS IN JAZZ 2018

  46th year

The new season kicks off with the Highlights In Jazz 46th Anniversary Gala, featuring the Bucky Pizzarelli Trio with guitarist Russell Malone, and bassist Martin Pizzarelli. Acclaimed vocalist Kevin Mahogany and his band share the bill at this all-star show. At 92 years old, guitar virtuoso Bucky Pizzarelli has a lot of musical history under his fingers: He’s played with renowned favorites including Benny Goodman, George Barnes, Stephane Grappelli, Frank Sinatra, the Tonight Show band, and Paul McCartney. Bucky Pizzarelli was on the bill of the very first Highlights In Jazz concert way back in the 1970s, and has returned to the series many times since. Throughout his career Bucky remained in the top-rank of most in-demand studio musicians, but for this seasoned pro, playing for an audience is the ultimate pleasure. Joining the maestro on stage at 2018’s Highlights In Jazz season opener will be fellow guitarist Russell Malone, a six-string master in his own right. Russell credits Wes Montgomery and George Benson as early influences, but has such a distinctive style you’d never mistake him for anyone else. With more than a dozen albums as a leader, Russell has shown he knows his way around standards and originals. This versatile guitarist has performed with Ron Carter, Sonny Rollins, Dianne Reeves and other jazz icons. Featured bassist Martin Pizzarelli proves the apple didn’t fall far from the talented family tree: He is Bucky Pizzarelli’s son and renowned guitarist John Pizzarelli’s brother. Long recognized as among the top vocalists in jazz today, thanks to his expressive baritone voice, Kevin Mahogany knows his way around everything from swing to bop to blues to ballads. He’s proved his range over and over at clubs and festivals around the globe and on albums, as he turns his creativity to interpreting Motown hits, paying tribute to Charles Mingus, or exploring tunes inspired by the timeless pairing of John Coltrane and Johnny Hartman. You won’t want to miss this event! Thursday, February 22, 2018- 8 P.M.

Highlights In Jazz - 46th Anniversary Gala

-Bucky Pizzarelli Trio with Russell Malone and Martin Pizzarelli -Kevin Mahogany Plus surprise special guest!  Mark your calendar for other concerts scheduled for the 2018 Highlights In Jazz season: Thursday, March 22, 2018- 8 P.M.

The Millennials Meet The Masters

Featuring saxophonists Peter and Will Anderson, trumpeter Dominick Farinacci, drummer Jimmy Cobb, bassist Buster Williams, trombonist Steve Turre, and pianist George Cables, plus surprise special guest! Thursday, May 10, 2018- 8 P.M.

Dick Hyman and Friends

Pianist Dick Hyman, trombonist, Wycliffe Gordon, bassist Jay Leonhart, saxophonist Ken Peplowski, drummer/vibraphonist Chuck Redd, and surprise special guest! Thursday, June 21, 2018- 8 P.M.

Salute to Russell Malone

Guest of Honor: guitarist Russell Malone, plus saxophonists Jimmy Heath and Houston Person, drummers Lewis Nash and Willie Jones III, trumpeter Jeremy Pelt, guitarist Gene Bertoncini, vibraphonist Steve Nelson, bassist Luke Sellick, and surprise special guest! In producing the Highlights In Jazz series, Jack Kleinsinger is living the dream. Early on, he booked legendary jazzmen such as Buddy Rich and Dizzy Gillespie, “I idolized these guys growing up, and never dreamed I’d work with them, I never thought this would happen,” Jack reveals. To this day, “That feeling is still there. It doesn’t get any better than this for a fan.” Schedule subject to change without notice. Visit the The UNF Jack Kleinsinger Highlights in Jazz Archive

All Shows At BMCC TRIBECA Performing Arts Center  Borough of Manhattan Community College 199 Chambers Street, New York, NY 10007 http://tribecapac.org By car take FDR Drive south to end, through underpass onto West Street,  north to Chambers. By Subway take 1, 2, 3, 9, A, C, E, J or M train to Chambers or N, R to City Hall stop. Walk west on Chambers. Box Office 212-220-1460 Ticket Prices $50.00 $45.00 (student rate with valid ID) or by mail order. Tickets can be purchased in advance at the box office. You are now able to use your credit card at the Tribeca PAC Box Office located on 199 Chambers Street, or by calling (212) 220-1460 and now online at Tickets.Tribecapac.org Please send a check made payable to: Highlights In Jazz Please mail orders to: Highlights In Jazz 
 7 Peter Cooper Road, Apt. 11E  New York NY 10010 (Please enclose a self-addressed, stamped envelope) http://ift.tt/2jmTLF9.org Highlights in Jazz Media Contact Jim Eigo Jazz Promo Services 272 State Route 94 South #1 Warwick, NY 10990-3363 Ph: 845-986-1677 / Fax: 845-986-1699 Cell / text: 917-755-8960 Skype: jazzpromo jim@jazzpromoservices.com http://ift.tt/1dvRi4z

  via Blogger http://ift.tt/2jyMVNO

[rockandblognet]

Historia de MSG (The Michael Schenker Group)

Historia de MSG (Michael Schenker Group) en Rock and Blog la carrera de uno de los más grandes de Hard Rock y Heavy. El señor Michael Schenker.

Aprovechando el regreso del maestro Michael Schenker a nuestro país vamos a relanzar este artículo en el que hacemos un recorrido por la carrera del guitarrista.

Vamos hacer un fantástico viaje por la historia de  MSG (The Michael Schenker Group) como respuesta a las peticiones que han llegado a la redacción de que hagamos un articulillo de la otra vida, o la principal, del genio alemán como continuacion a nuestro anterior repaso a su etapa Mcauley Schenker Group, ahí va

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Un poco de historia

Todos sabemos, y si no os lo cuento brevemente, que Michael es quien es gracias a su hermano Rudolf, el de los Scorpions, que le metió el gusanillo de la guitarra, convenció a sus padres para que le dejaran entrar en esto del Rock, el alcohol ya hacía estragos en su cuerpo y en su mente, e hizo también que entrara en The Scorpions.

Con Scorpions se formó, con UFO se hizo grande (de esas dos bandas hoy no toca hablar). Era tan grande que bandas como KISS, Ozzy, al que le hizo el favor y acabó la gira en la que murió Randy Rhoads, Deep Purple, etc, quisieron ficharlo, pero él, por su carisma, personalidad, talento y calidad, apostó por su proyecto, Michael Schenker Group. Así arranca la historia de MSG

Su estilo

Esta etapa, la primera, la última, la de siempre, se define de manera muy sencilla y con dos palabras, Hard Rock. Hard Rock clásico, con mayúsculas, con una base rítmica sólida, con pegada, y que acompaña, de manera magistral a unas guitarras maravillosas, a un nivel categoría Dios, como en los juegos de Arcade.

También hay altos y bajos, no lo vamos a negar, 30 años dan para mucho, pero lo que sí es seguro es que en todos y en cada uno de los temas, Michael hace un gran trabajo, no hay lugar a la improvisación: los riffs, origen y base de cada tema, marcados, jevis, las guitarras rítmicas que son las auténticas melodías y unos solos de virtuoso.

Distintas formaciones un mismo Schenker

La historia de MSG está marcada por los distintos vocalistas. La guinda al pastel la ponen siempre los cantantes, más o menos reconocidos, con más o menos nivel, pero que encajan a la perfección y hacen, junto a esas guitarras rítmicas, auténticas maravillas con las melodías.

Con todas estas características van cayendo canción a canción, disco a disco, hasta encumbrar al alemán al Olimpo de los dioses del heavy, y hacerlo referencia y guía de cualquier músico o amante de la música.

Discografía

Y así, y uno a uno, van cayendo discos y discos:

The Michael Schenker Group. 1980.

El disco debut, con Gary Barden a la voz, Simon Phillips a la batería, Mo Foster al bajo, Billy Sheehan prefirió abandonar el proyecto, se llevaban fatal él y el rubio alemán, y Don Airey a los teclados.

1.      Armed and Ready 2.      Cry for the Nations 3.      Victim of Illusion 4.      Bijou Pleasurette 5.      Feels Like a Good Thing 6.      Into the Arena 7.      Looking Out From Nowhere 8.      Tales of Mystery 9.      Lost Horizons

The Michael Schenker Group. UK. 1981

Otro disco de los grandes, y con la formación clásica, o la que más le aguantó, la misma con la que hizo el disco en directo One Night At Budokan.

Ready to Rock

Attack of the Mad Axeman

On and On

Let Sleeping Dogs Lie

But I Want More

Never Trust a Stranger

Looking for Love

Secondary Motion

  Assault Attack. 1982.

Mi favorito, con el gran Grahan Bonnet a las voces, Ted McKenna a la batería, Chris Glen, el único que parece aguantarle, al bajo, y Tommy Eyre a las teclas.

Bonnet, a pesar del discazo que hicieron, duró poco en la banda, no se aguantaban, incluso Schenker llegó a renegar del disco y, cuando volvió Barden a la banda, intentó grabarlo de nuevo con sus voces. La discográfica no le dejó, menos mal.

Assault Attack

Rock You To The Ground

Dancer

Samurai

Desert Song

Broken Promises

Searching For A Reason

Ulcer

Built To Destroy. 1983

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  Vuelve a cantar Gary Barden y Andy Nye sustituye a Tomy Eyre a las teclas, la base rítmica se mantiene.

A pesar de tener buenos temas, no llegó a tener el éxito esperado, y podría considerarse como el final de esta primera etapa tan grandiosa.

I’m Gonna Make You Mine

Time Waits

Systems Failing

Rock Will Never Die

Red Sky

Rock My Nights Away

Captain Nemo

Dogs of War

Still Love That Little Devil

Written In The Sand. 1996.

Tras estar dando un poco de tumbos, y después de Contraband, otro proyecto que a pesar de su calidad, pasó sin pena ni gloria, retomó su banda con este magnífico, y desconocido Written In The Sand, un disco que navega en los medios tiempos y tiene unas melodías maravillosas que tanto guitarra y Leif Sundin, a la voz, hacen que estés en el cielo. Completan la banda Shane Gaalaas a la batería y Barry Sparks al bajo.

Brave New World

Essence

Cry No More

Back to Life

Written in the Sand

Love Never Dies

I Will Be There

Take Me Through the Night

Down the Drain

I Believe

  The Unforgiven. 1999.

Recluta para este disco a Kelly Keeling. Para la base rítmica y los teclados cuenta con Shane Gaalaas a la batería, John Onder al bajo y Seth Bernstein a los teclados. Guitarras magníficas, como siempre, pero que no acaba de lucir.

Rude Awakening

The Mess I’ve Made

In and Out of Time

Hello Angel

Fat City N.O.

Tower

Pilot of Your Soul

Forever and More

Turning Off the Emotion

Live for Today

Illusion

The Storm

Beware Of Scorpions. 2001.

Tras acabar con Kelly Keeling, recluta a las voces a Chris Logan a las voces, Jeff Martin a la batería y Reverend Jones al bajo.

El título del disco, ten cuidado con los escorpiones, creó cierta polémica, ¿hay algún mensaje en él para su primera banda, y en concreto, para su hermano?

No Turning Back

My Time’s Up

Fallen the Love

Because I Can

How Will You Get Back

Blinded By Technology

Age of Ice

Standin’ on the Road

Sea of Memory

On Your Way

Reflection of Your Heart

Roll It Over

Eyes of a Child

Arachnophobiac 2003

Segundo disco con Chris Logan, pero cambia la base rítmica, una vez más. Jeremy Colson a la batería y Stu Hamm al bajo.

Evermore

Illusion

Arachnophobiac

Rock ‘N Roll Believer

Into The Sands Of Time

Weathervane

Over Now

One World

Break The Cycle

Alive

Fatal Strike

Tales Of Rock And Roll. 2006.

Disco “especial” por el 25º aniversario, con canciones inéditas, en el que además del cantante “oficial”, Jari Tiura, cantan todos los cantantes que han pasado por su line up. Jeff Martin, batería, Pete Way, bajo, y Wayne Findlay, completan el combo.

The Ride

Setting Sun

Angel Of Avalon

Dreams Inside

Dust To Dust

Voice Of My Heart

Journey Man

Big Deal (False Alarms)

St. Ann

Shadow Lady

Love Trade

Human Child

Bitter Suite

Blind Alley

Freedom

Life Vacation

Rock ‘N’ Roll

Tell A Story

Life Goes On

In the Midst of Beauty 2008

Vuelta a los ochenta, y no solo por la formación que ejecuta el disco, Michael recupera a los miembros que le hicieron grande, Gary Barden, Phillips y Airey, y recluta al bajo a otro de la vieja guardia, Neil Murray, también por el aire y estructura de los temas, que recuerdan a su primera gran época.

City Lights

Competition

I Want You

End of the Line

Summer Days

Night to Remember

Wings of Emotion

Come Closer

Cross of Crosses

Nana

I Am the One

Ride on My Way

  Y si diez discos te parecen pocos, también tiene muchos discos en directo, One Night At Budokan, de lo mejorcito que se ha hecho nunca en directo, bastantes recopilatorios, otros tantos instrumentales, y su proyecto actual, Temple Of Rock, en el que sus nuevas composiciones son interpretadas por varios artistas.

A disfrutarlo

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  Ahí van, como siempre, pildoritas para que vuestras orejas sonrían:

//www.youtube.com/watch?v=Yoj2KzxkPw0

//www.youtube.com/watch?v=YY0iePVIoK0

//www.youtube.com/watch?v=jSaNGxFSYGA

//www.youtube.com/watch?v=2efPDDgNKwI

//www.youtube.com/watch?v=5HZOcSeYLyg

//www.youtube.com/watch?v=_6DPhwakMYQ

//www.youtube.com/watch?v=lzdcOgnCFzI

//www.youtube.com/watch?v=ZrzWJyNJUuI

//www.youtube.com/watch?v=m3lY20x4RDg

//www.youtube.com/watch?v=5bDaXZc8feE

     Artículo realizado por Ape

Rock On!

          //www.rockandblog.net/noticias/mcauley-shenker-group-repasamos-sus-discos/

  Historia de MSG (The Michael Schenker Group) was originally published on Rock and Blog

[sfjazz]

Zakir Hussain Honored with Achievement Award at SFJAZZ - DownBeat

http://downbeat.com/news/detail/zakir-hussain-honored-with-achievement-award-at-sfjazz

Zakir Hussain Honored with Achievement Award at SFJAZZ

LIVE, TERENCE BLANCHARD, SNARKY PUPPY, JOE LOVANO, JOSHUA REDMAN, STEFON HARRIS, SFJAZZ COLLECTIVE, ZAKIR HUSSAIN

By Yoshi Kato   I  Jan 24, 2017   12:59 PM

Zakir Hussain (center, with tabla) performs with members of the Kronos Quartet members David Harrington (left), John Sherba, Hank Dutt and Sunny Yang at SFJAZZ in San Francisco on Jan. 18. (Photo: Marshall Lamm)

Producing and presenting a multi-act show with limited rehearsal time and a broad repertoire can be a tricky proposition. That SFJAZZ in San Francisco was able to pull off a program worthy of an official live recording or an all-star tour for its 2017 gala on Jan. 18 was certainly impressive.  

On a night characterized by glamour and dramatic bouts of rain, the musical choices showcased for both the host venue SFJAZZ Center, which had its grand opening on Martin Luther King Day 2013, and SFJAZZ’s 33-year history. The event, which honored percussionist Zakir Hussain with a Lifetime Achievement Award and benefited the organization’s artistic and educational efforts, even included a few surprises. Continuity and community emerged as two themes on the set list and bandstand.

SJFJAZZ Collective double bassist Matt Penman opened the concert with a hypnotically steady groove. He was soon joined by tabla virtuoso Hussain and a rhythmic trio of Collective member Obed Calvaire on drums and former Collective drummer Eric Harland and previous SFJAZZ Resident Artistic Director (RAD) John Santos on percussion.

Tenor saxophonist David Sánchez slowly walked down the stage left stairs to the ground floor while playing an extended introduction to his “Canto #1,” the piece he wrote for the Collective’s 2016–’17 season.

Afterwards, Gala Chair Timothy Dattels spoke briefly about SFJAZZ’s mission and accomplishments and gave a quick overview of Hussain (whom he called “an architect of the global music scene”) before introducing SFJAZZ Founder/Artistic Director Randall Kline. Kline expounded on the organization before bringing to the stage another San Francisco musical institution, the Kronos Quartet, which played R.D. Burman’s “Tonight Is The Night” with Hussain.

From there, the instrumentation was switched up throughout the night. The Collective performed member Miguel Zenón’s arrangement of “Nardis” by Miles Davis, the artist whose repertoire is being explored by the octet this season. Tenor saxophonists and ex-Collective members Joe Lovano and Joshua Redman burned through the former’s “Blackwell’s Message” with Penman, Harland and Santos.

The gala concert also served as an overture of sorts to the four nights of Season 5 Celebration shows, with the bulk of the musicians returning the following four nights to spotlight the legacies of Tony Williams, Joe Henderson, Bobby Hutcherson and John Handy, who all lived or live in the greater San Francisco area.

“Lil’ B’s Waltz” by Collective co-founder Hutcherson, was performed by Collective alumnus Stefon Harris on vibraphone and prior SFJAZZ RAD Bill Frisell on guitar, along with Zenón, Penman, Harland and Santos. The strings and percussion arrangement gave one of the late vibraphone/marimba maestro’s signature compositions an atypical chamber jazz aesthetic.

Vocalist Mary Stallings, a San Francisco native and 2011 SFJAZZ Lifetime Achievement Award recipient, sang “Angel Eyes” while backed by a quartet of Harland, Penman and Sánchez, who had a haunted, noirish solo. Wayne Shorter, who was recognized with an SFJAZZ Lifetime Achievement Award in 2008 and whose work was interpreted by the Collective during that 2008–’09 season, was represented by his “Footprints” with Redman and trumpeter/former RAD Terence Blanchard on the front line.

Commissioned by SFJAZZ in 1991, late drummer Williams’ “Rituals” featured the Kronos Quartet (which performed its premiere), Cindy Blackman Santana in the composer’s drumming role and Simon in place of Herbie Hancock. Blackman Santana, who curated and led the following night’s Williams tribute show, started with an intense and flowing unaccompanied exploration on her toms.

Kline referenced the great collective group with Lovano, Frisell and the late drummer Paul Motian before revealing that a trio with the two surviving members plus Harland would perform a medley of the late drummer’s “Dance” and “It Should’ve Happened A Long Time Ago.” Blanchard gave a fiery quartet reading of “Caravan” with his former bandmates Simon and Harland as well as Penman, while alto saxophonist Handy, who was honored in concert on Jan. 15, and Hussain performed a duo version of his “Alamo Suite, Part 2.”

A video about Hussain (directed by Anisa Qureshi, his daughter) with testimonials by everyone from banjo ace Béla Fleck to reedist Charles Lloyd to San Francisco Symphony Music Director/Conductor Michael Tilson Thomas preceded Grateful Dead drummer Mickey Hart speaking at length about his longtime friend and collaborator, whom he said is both a master and a lifelong student. (“A master student,” Hussain quipped.)

“I am not worthy of this, but I hope I’m worthy of the blessings it contains,” Hussain replied when receiving the SJAZZ Lifetime Achievement Award.

The spirit of community extended to the AfterJam dance. Snarky Puppy replaced the late Sharon Jones & The Dap Kings and featured rock legend David Crosby on three songs.

For the final, extended number, Blanchard, Harland, Calvaire and SFJAZZ Collective members Sean Jones (trumpet) and Robin Eubanks (trombone) all sat in, expanding the nonet to nearly the size of a standard big band. Blanchard even switched to Fender Rhodes after soloing on trumpet and joining the expanded horn section as the crowd hollered and shimmied past midnight. DB

[jazzworldquest-blog]

USA: Mariah Parker's Indo Latin Chamber Jazz Ensemble Performs at SF International Arts Festival June 3, 2017

FOR IMMEDIATE RELEASE                                                                                                                    4/1/2017 Contact: Ancient-Future.Com Records 1-415-459-1892 • info@ancient-future.com View online with photos and video: http://ift.tt/2peOuoIpressReleases/170603_ILCJQ_sfiaf.html Mariah Parker's Indo Latin Chamber Jazz Sextet at SFIAF Featuring Paul McCandless (woodwinds), Matthew Montfort (scalloped fretboard guitar), Jim Hurley (violin), Sascha Jacobsen (bass) and Ian Dogole (percussion) Mariah Parker's Indo Latin Chamber Jazz Sextet Hi-Res Photo (1 MB, 4.6"x3"): According to Latin Beat Magazine, "Parker and friends blend the rhythmic syncopations of Latin jazz music with the entrancing, asymmetrical meters of East Indian rhythms resulting in first-class world music." Paul Liberatore of the Marin Independent Journal says they "fuse Latin rhythms with influences from South America and India with a dash of straight-up American jazz… an intoxicating blend of East and West."  This chamber variation of the ensemble with its emphasis on strings will explore new compositions as well as rearrangements of existing work. Saturday, June 3, 2017, 6:00 PM San Francisco International Arts Festival Gallery 308, Fort Mason San Francisco, CA 94109 Adm.: $25 gen., $12.50 under 18. Students with ID and seniors, $4 off cover price. Early bird tickets until March 31 from $12.50. Venue website: www.sfiaf.org Poster (3.7MB): http://ift.tt/2pY6HoF.com/pdfs/sfiaf_flyer_060317.pdf Mariah Parker's Releases on Ancient-Future.Com Records Indo Latin Jazz Live in Concert (New Release) Indo Latin Jazz Live in Concert Cover Hi-Res Photo (1.1MB): Indo Latin Jazz Live in Concert (Ancient-Future.Com AF-20142) In 2009, Mariah Parker launched her Indo Latin Jazz Ensemble with a sold-out debut concert at Yoshi's in Oakland, California. Mariah’s new release for AncientFuture.com records, “Indo Latin Jazz Live in Concert,” captures the magic of that first performance, as well as subsequent Northern California concerts at the Freight & Salvage in Berkeley, the Throckmorton Theater in Mill Valley and a studio session at Bob Weir's TRI Studios in San Rafael. These multi-track live recordings were painstakingly mixed and mastered over a seven-year period by veteran Ancient Future producer Matthew Montfort. "This is sophisticated stuff, an album of global fusion performed by a group with character, charisma and the confidence that comes across when world-class musicians at the top of their games come together and create magic in the here and now of a live performance." — Marin Independent Journal "Exuberant, exotic and inventive, Mariah Parker’s talented combo breathes new life into Latin jazz and hints at the interesting journey ahead." — The Progressive Aspect Sangria Sangria Cover Hi-Res Photo (1.9MB, 1500 px sq): http://ift.tt/2nYsYB9images/sangriacvr1500sq.jpg Sangria (Ancient-Future.Com AF-2017) This debut recording features her original compositions that draw musical inspiration from Brazil, Cuba, Spain, and India, and includes musicians from the bands Ancient Future, Oregon, Sun Ra, and Herbie Hancock's Headhunters. Sangria received airplay on over 468 New World, Jazz and Latin jazz radio programs, and earned over 365 reviews and media placements, including two songs that ascended to the Smooth Jazz Now Top 100 Songs of 2009 chart. Video Youtube Video of Samba in Seven Mariah Parker's Indo Latin Jazz Ensemble performs 'Sol de Barcelona' at the Throckmorton Theatre, Mill Valley: https://youtu.be/7r4AJuipGVQ

Bios Mariah Parker (composition, piano, santur) Mariah Parker. Hi-res photo for print by Ross Pelton (6 x 4 jpg, 1.8 MB): http://ift.tt/2peOuoIimages/Mariah_Parker_3069_by_Ross_Pelton_6x4.jpg Mariah Parker  has been playing music from the time she could reach the keys on the grand piano in her family home. While completing her degree in music at UC Santa Cruz, she worked with ethnomusicologist Fred Lieberman and drummer Mickey Hart on the “Planet Drum” project and became fascinated with the possibilities of bridging musical concepts from different traditions. She has performed her original compositions in festivals in the US and Europe. A gifted composer and band leader, she released her first solo recording of her compositions, “Sangria,” in February of 2009. This release received extensive airplay and critical acclaim worldwide. “Dazzling…. Parker’s subtle and sensuous sounds reflect exotic flavors of India, the Middle East and Latin America.” — Palo Alto Daily News Mariah Parker with santur (a Persian manual ancestor to the mechanical piano). Hi-res photo for print by Ross Pelton (5 x 4 jpg, 1.6 MB): http://ift.tt/2nYsYB9images/mariah_santur_300dpi5x4.jpg Paul McCandless (Reed Virtuoso) During a distinguished career spanning three decades, Grammy-winning woodwind virtuoso Paul McCandless has brought a soaring lyricism to his playing and composing that has been integral to the ensemble sound of two seminal world music bands, the original Paul Winter Consort and the relentlessly innovative quartet, Oregon. A gifted multi-instrumentalist, McCandless has specialized in an unusually broad palette of single and double reed instruments that reflect his grounding in both classical and jazz disciplines. Matthew Montfort (Scalloped Fretboard Guitar) Recently recognized as one of the world's 100 Greatest Acoustic Guitarists, Montfort is the leader of the innovative world fusion group Ancient Future, and a pioneer of the scalloped fretboard guitar. In 2012, he was added to the 100 Greatest Acoustic Guitarists list at DigitalDreamDoor.com, joining luminaries such as Michael Hedges, Chet Atkins, John Fahey, and John Renbourn. Montfort has recorded with legendary world music figures ranging from Bolivian panpipe master Gonzalo Vargas to tabla maestros Swapan Chaudhuri and Zakir Hussain. He has performed concerts worldwide, including the Festival Internacional de la Guitarra in Spain and the Mumbai Festival at the Gateway of India in Bombay. Jim Hurley (violin) Influenced profoundly by South Indian violinist L. Shankar, Jim incorporates styles from bebop to zydeco, European classical to Zairean soukous. He has been musical director and composer for several theater productions, including an entire score in the Balinese gamelan style. His compositions have received widespread acclaim and extensive airplay. Live TV appearances include Saturday Night Live (with Queen Ida) and CNN's Showbiz Tonight (with Dan Hicks). He has toured Europe and Japan and performed at numerous major music festivals, including the New Orleans Jazz and Heritage Festival, the Philadelphia Folk Festival, and the Monterey Jazz Festival. Sascha Jacobson (acoustic bass) In addition to leading his own group, the Modern Art Quintet, which plays his original works, Sascha has performed with Rita Moreno, Hugh Jackman, Martin Short, Bonnie Raitt, Randy Newman among others. He has served on the faculty at Humboldt State University, Laney College, Golden Gate Bass Camp, and the Sequoia Chamber Music Festival. Sascha is in demand as a performer, composer, and arranger with commissions from the San Francisco Arts Council, San Jose Chamber Orchestra, San Jose Dance, San Jose Youth Symphony and SF Friends of Chamber Music. Ian Dogole (global percussion) For nearly 30 years, Ian Dogole has articulated his vision of Global Fusion Music as a multipercussionist, bandleader, educator, recording artist, composer and producer. He has released seven recordings as a band leader, and has recorded and performed with artists such as Hamza el Din, Tito La Rosa, and Alex DeGrassi. His instrumental array includes drums and melodic instruments from Africa, South America, the Middle East and Asia. He has received numerous grants, including a Jazz Performance Fellowship from the National Endowment for the Arts, and multiple grants from the San Francisco Friends of Chamber Music. 87 Word Radio Announcement On Saturday, June 3, at 6 pm, Mariah Parker and her Indo Latin Chamber Jazz Quintet will perform as part of the San Francisco International Arts Festival. The concert features Mariah Parker on piano and santur, Paul McCandless on woodwinds, Matthew Montfort on scalloped fretboard guitar, Sascha Jacobsen on bass, Jim Hurley on violin, and Ian Dogole on global percussion. The event will be held at Gallery 308 in Fort Mason.For more information, visit www.sfiaf.org. Admission is $25 general, and $12.50 for those under the age of 18. via Blogger http://ift.tt/2pYiiDX