#uk jazz ensemble

[burlveneer-music]

Sean Khan presents the Modern Jazz & Folk Ensemble - exactly what it says

With the brand new single 'Solid Air' (featuring Rosie Frater-Taylor), we announce the eponymous album from 'The Modern Jazz & Folk Ensemble', out on 24 May on Acid Jazz. It follows the release of two singles ‘I’ve Got a Feeling’ (with Jacqui McShee) and the spellbinding version of Nick Drake’s ‘Parasite’ (featuring Kindelan), Led by the trail blazing London based saxophonist Sean Khan, the album pays tribute to the sounds of the late ‘60s and early ‘70s folk revival, recast and reimagined in a jazz setting, with featured guest vocalists, including compositions by Pentangle, Sandy Denny, John Martyn and Nick Drake. Featured singers include the legendary Pentangle lead singer Jacqui McShee, acclaimed singer-guitarist Rosie Frater-Taylor on the back of her recently released and critically acclaimed ‘Featherweight’ album on Cooking Vinyl, plus emerging artist Kindelan from vibrant Leeds folk and jazz scene. Sean Khan is known as one of the UK’s premier saxophonists, driven by a serious work ethic and urge to create new sounds. The Modern Jazz and Folk Ensemble is his follow up to Supreme Love: A Journey Through John Coltrane released on BBE Records. His distinctive playing can be heard throughout, as he successfully connects the dots between Coltrane and Nick Drake.

[ozkar-krapo]

Jan STEELE / ZIZ! ENSEMBLE

"Desert Island Dusks"

(LP. Les Disques Du Soleil & De l'Acier. 1986) [GB]

[miasiegert]

How Cats Casting Often Works (Summer Stock)

So due to request, explaining how casting works for many regional productions of CATS. NOTE: I am not discussing ANYONE I work with, anyone I've worked with past-tense, any production I've done. This is a general explanation of how summer stock works and how incredibly difficult it is for the director/choreographer to make decisions. Because, surprisingly, the director doesn't get auditions for each character! They have to choose from already cast actors! WHAT? Yup, that's Summer stock!

The actors are contracted to do about four shows for a theatre to last for their summer season. This is subject to change, sometimes actors have to leave (injury, illness, Broadway offers (yes, that happens!)), but for those shows the bulk of the actors are already cast! So someone can't hold auditions for Mistoffelees or Victoria. They need to go with who's already there (very talented! But they might have different skillsets!)

The director needs to assess the actors, some of whom they know, many of whom they don't and see reels but a lot of instagram, and they must compare them to the entire summer stock cast to decide what's best.

For example, if someone is not a singer but a great dancer, they might be someone like Mistoffelees, Victoria, Pouncival. If someone's got an incredible belt, they might be Bombalurina. Usually Bombalurina and Cassandra are coin tosses and REALLY hard decisions (you really need a good actor for Cass to be so aloof and hold the poses). If there's a soprano, usually the more classically trained one who is not a dancer will be Jellylorum. If someone's an incredible tapper, they'll be Jenny!

You get the double threats for the ones who dance and sing (Munkustrap, Skimble) and those might be some that'd be considered for different roles--Mungo and Rumple are always double-threats but often triple threat because of acting. If someone's a rock singer, they'd be Tugger because it's HARD to do that. If someone can turn and has a strong ballet/jazz background, they're Mistoffelees (which is how one can end up with a 6'2" Mistoffelees and very panicked costume designers who have 3 weeks to create TWO full new costumes from scratch to fit their height! What, no, I'm not talking about us, what gave you that impression?).

Then there are triple threats, ones who can dance, sing, AND act, like Demeter and Munkustrap. Those are HARD roles. It doesn't always end up like that because of who's available, which is NOT shade towards any actor--when contracted for a season, they are given the best possible role to highlight their ability.

For Macavity, it's usually one of the largest dancers because of the Munk and Alonzo lift and someone who is a very lyrical mover.

This does not mean that Plato will do the lift with Victoria in the Ball. The lift goes to the person who is the best at doing lifts in the cast. US Tour V had Eddie (who was Alonzo) doing the lift because he was the best. One of the Australian tours had (surprisingly) Tumblebrutus do the lift! Yes, really!

In the US, Mungo and Rumple are usually the same size for the double cartwheels and we are very confused as to major height differences in the UK. I mean clearly it works but it's significantly harder when one's not as balanced so that's taken into consideration (Mungo NEEDS to do some tumbling).

Ensemble is where it's REALLY tough. A lot of times people assume the ensemble members are the ones who are hidden/not as good. That's absolutely false. The ensemble members ALWAYS are swings and understudy multiple roles. They need to be prepared to jump in on the spot in case of illness or injury, such as an onstage injury (there was a horrific one on the US Tour once where Pouncival had to take over during Mistoffelees as the actor broke his foot during the turns). A lot of the BEST dancers are put in the back and random spots because in order to make a good show that's cohesive, you need to have what looks like a fully in sync production. The ensemble holds everyone together and are critical for the show to be a success.

Cats is one of the rare shows where, with the fandom, since they're all their own characters, they are recognized for each thing but often not the why!

Also some characters might randomly be seen because some of the wonderful donors might have walk ons! Without donors, many regional productions would not exist! So if you see a cat that's maybe sitting around in the background, catting around, not dancing/not singing, you should 10000% appreciate them because without them, there'd be no show! Patrons are super important and it's an honor to give them some GREAT costumes to wear (and super fun for them to be cats!)

I hope that helps explain how casting works in many productions of summer stock and how difficult it is! Also did you know most productions only have one week to rehearse??? Wichita had three weeks, I believe, but most are only one, it's true!!!

Let me know if you have any questions!

Also I saw the comment asking about how we make warmers; I don't know how to reply to a reblog (sorry I am not smart at social media). Some day, we can go through a basic tutorial. But learn how to cast on/cast off, knit, purl, and stretchy decrease (tutorials online). It's SUPER easy, just time consuming... oh so time consuming. As for fluffy warmers, we use a LOT of different yarns, always at least double-strand, sometimes quadruple, lots of eyelash yarn, and while David does NOT do this, for my warmers, I will always use scraps if I'm doing the strays. Cats are mottled IRL. They won't be consistent. David likes having three colors per costume. I... am a bit more wild... yet strangely it's my muted costumes that people seem to be talking about here (buttercup Jellylorum for example!). Oh. And always Magical Misto will have black leg warmers with purple sparkles hidden in them. That's my thing. I give characters certain colors. Misto is purple, Tumble is blue.

BACK TO WRITING! I made today's deadline but PUSHING ON so I have less tomorrow!

[cherrylng]

100 Albums To Understand Muse - Part 12 [STYLE Series #004 - Muse (August 2010)]

THE SMITHS Hatful of Hollow (1984) Morrissey's lyrics and quirky verses are laced with literature and sharp humour, while Marr's guitar is subtle and bold. At their core, this was one of the most important UK indie/guitar-pop bands of the 1980s. This album is an edit of early singles AB sides + studio shows, and includes ‘Please, Please, Please Let Me Get What I Want’, covered by Muse. -I

THE SOFT MACHINE Volume Two (1969) The second masterpiece by a representative of the Canterbury sound. Songwriter Kevin Ayers left the band and Hugh Hopper joined to create a more experimental jazz-rock sound. The thrilling ‘Hibou, Anemone and Bear’ and the vivid interplay between the various parts is truly exciting. Robert Wyatt's voice is also excellent. -S

SONIC YOUTH Dirty (1992) A lucid alternative rock album by Sonic Youth with Butch Vig of Nevermind (Nirvana), full of sharp sounds in sync with the atmosphere of 1992, with many direct melodies for their work, and recommended as an introduction to Sonics. Ian MacKaye of Fugazi also joined the band. -K

STEVE REICH Music For 18 Musicians (1978) Matthew's 33 dubbing sessions for Glorious were influenced by contemporary music giant Reich. This is a 1976 release, a well-organised ensemble of 18 musicians, including four pianos and four female chorus members, as well as violins, cellos and other stringed instruments. It is minimalist music, but its richness of flavour is boundless. -M

SUEDE Suede (1993) The band drove a wedge between 1992 and 1993 with a series of three sensational singles (included on their debut album) that were steeped in traditional British melancholy and decadence, driving a new wedge into the UK scene at a time when US alternative music was taking the lead. The entwining of the bewitching voice of Brett Anderson and the brilliant, poetic and at the same time passionate guitar of Bernard Butler is a masterpiece. -I

SUN RA Disco 3000 (1978) Although the title says ‘disco’, this is not disco music. It is an improvised, experimental session that defies categorisation and falls into the category of ‘jazz’ but is not orthodox jazz. If you want to listen to this magnificent masterpiece that expresses the universe through sound now, we recommend the two-disc set that includes unreleased audio. -M

SYSTEM OF A DOWN Toxicity (2001) Eccentric mixed metal from an Armenian-American band. Their second album, released in 2001, was their big breakthrough. Singer Serge also invited Muse to join his label and cited Absolution in the shortlist awards, where he was a selector. Matthew, on the other hand, has also acknowledged their influence. -H

30 SECONDS TO MARS A Beautiful Lie (2005) Led by the handsome actor Jared Leto, the band's romantic, emo guitar rock has a lot in common with Muse. On their second album, their biggest hit to date, the band tried their hand at an epic, story-telling concept that could be likened to progressive rock. A series of single hits were released, mainly on US rock radio stations. -H

[dustedmagazine]

Joe Goddard — Harmonics (Domino)

Photo by Louise Mason

Hot Chip’s Joe Goddard enlarges a euphoric, body-moving electronic aesthetic on this third solo album by inviting in collaborators, and though results vary, the best of these partnerships are extraordinary.

Some of these meetups are not surprising, as when Alexis Taylor and Al Doyle turn up for “Mountains.” Here a plurality of Hot Chip join in a blippy, boppy, spirit quest that asks existential questions amid rave-y bursts of synth and drum machine. Wild Beasts’ Hayden Thorpe, too, seems like a natural choice in “Summons,” executing wild operatic arcs of melody atop grumbling synth bass and pounding keyboards. But a couple of tracks featuring Goddard discovery Findia fall flat; they’re not terrible but feel a bit like by-the-numbers dance pop.

In fact, the further Goddard gets away from what you might expect, the better these cuts work. It’s the oddball entries that catch your ear.  Tom McFarland, of the UK dance-pop ensemble Jungle, flutters soulfully over eerie, trebly keyboard auras in “Ghosts,” stretching words into fluid glissandos. McFarland, perhaps reflecting the title, is a spare, spectral presence, but the chorus kicks in with a gospel weight and certainty, a triumph over frailty and doubt. The jazz saxophone player and pop collage-ist Alexander DePlume is another unexpected choice, blowing in over the glitchy flicker of “Revery” with slow, vibrato-laced tones, a florid, faintly old fashioned sound in an electronic forest. But the best of all is “Miles Away,” an unearthly mesh of the Guinean singer Falle Nioke’s resonating tones and the chiming of mbira. If there were a whole album of just this, I’d be all in, 100%.

Goddard sometimes tinged his old band’s tunes with melancholy taking the vocals, for instance, on the moody, soulful “Hungry Children,” but Harmonics reaches for positive affirmation. “Progress,” aided by Ibibio Sound System’s Eno Williams, percolates with good feelings. Its heavily effected vocals soaring over pulsing, tonally intricate Konono 1-style percussion and swinging brass. It lifts off effortlessly and takes you with it.

In the end, it feels wrong to call this album a solo record, since it is defined and elevated by the people Goddard works with. He’s been adventurous in seeking out partners, choosing some familiar ones and some that no one would have predicted, and the risks, especially, have paid off.  

Jennifer Kelly

[thatrickmcginnis]

BOBBY McFERRIN, TORONTO 1988

Bobby McFerrin was about to have his life changed when I photographed him in the spring of 1988. McFerrin had been developing his unique vocal style for years before he released his first album in 1981, and he had released two more well-reviewed records before Simple Pleasures and its massive hit single was released in 1988. "Don't Worry, Be Happy" would win three Grammy, top the Billboard Top 100 and win gold records in the US, UK, Sweden and Denmark. (It would go platinum in Germany.) But its reputation as a one-hit wonder and a novelty record made it stand out uncomfortably in McFerrin's career, and he rarely if ever performs the whole song in concerts any more.

Bobby McFerrin comes from a musical family - his mother was a singer and teacher and his father an operatic baritone - and he was famous for his vocal skills before the hit that changed his life, bringing a capella and vocalese back into jazz over a decade after it had its heyday in the '50s and early '60s with acts like Lambert, Hendricks and Ross. Influenced by Keith Jarrett's improvisations, he has performed and recorded with jazz luminaries like Chick Corea, Herbie Hancock, the Marsalis brothers and Tony Williams, and he guest conducts symphony orchestras all over the world. In the last few years he has focused on working with vocal ensembles, on record and at a weekly session he holds at a venue in Berkeley, California.

I still have no idea why Bobby McFerrin was moved to mug constantly during my portrait session with him back in 1988, and with time I have also forgot where this was shot and who I was working for. What I do know was that McFerrin restlessly pulled faces for most of the shoot, and that the memory of being unable to control my subject cast a shadow over this session - so much that I skipped it altogether when I was going through my files for my old blog several years ago. Since then, however, the strangeness of these photos has papered over whatever lingering memory I might have had, and legendary Welsh photographer Chalkie Davies recently told me that McFerrin did the same thing with him. So this is probably the first time these photos have been seen since whoever hired me for this assignment published them, nearly forty years ago.

[pratanumindpowerdevelopment]

online music classes for students of keyboard, harmonica, flute, spanish guitar for students in usa, uk, australia, canada, uae

Here are some ideas for online music classes tailored for students learning the keyboard, harmonica, flute, and Spanish guitar, targeting students in the USA, UK, Australia, Canada, and UAE:

General Ideas

Introduction to Music Theory

Basic concepts of music theory applicable to all instruments.

Understanding scales, chords, and rhythm.

Instrument-Specific Techniques

Detailed tutorials on playing techniques for each instrument.

Exercises to improve finger placement, breath control (for flute and harmonica), and strumming patterns (for guitar).

Genre-Based Classes

Exploring different music genres such as classical, jazz, rock, and pop for each instrument.

Learning iconic songs from various genres.

Performance Skills

Techniques for solo and ensemble performances.

Stage presence and overcoming performance anxiety.

Music Appreciation

History and evolution of each instrument.

Introduction to famous musicians and their work.

Keyboard Classes

Beginner to Advanced Keyboard Techniques

Step-by-step lessons from basic scales to advanced arpeggios.

Incorporating electronic music production.

Playing by Ear and Improvisation

Techniques to develop the ability to play songs by ear.

Improvisation skills for jazz and contemporary music.

Classical and Contemporary Repertoire

Learning pieces from different eras, from Baroque to modern-day compositions.

Arranging and composing for the keyboard.

Harmonica Classes

Blues Harmonica Techniques

Basics of blues harmonica playing.

Bending notes and playing with a band.

Breath Control and Advanced Techniques

Exercises to improve breath control and stamina.

Advanced techniques like overblowing and tongue-blocking.

Harmonica in Various Music Styles

Exploring the role of harmonica in folk, rock, and jazz.

Learning songs and solos in different styles.

Flute Classes

Classical Flute Techniques

Lessons on breath control, embouchure, and finger positioning.

Playing classical pieces from different periods.

Jazz and Improvisation for Flute

Introduction to jazz scales and improvisation.

Playing along with jazz standards.

World Music for Flute

Exploring flute music from different cultures.

Techniques for playing non-Western scales and styles.

Spanish Guitar Classes

Flamenco Guitar Techniques

Basics of flamenco guitar, including rasgueado and picado techniques.

Learning traditional flamenco pieces.

Fingerstyle and Classical Guitar

Fingerstyle techniques for playing solo guitar pieces.

Classical guitar repertoire and techniques.

Popular and Contemporary Guitar

Learning popular songs and modern guitar techniques.

Songwriting and composing for the guitar.

Marketing and Structuring Your Classes

Interactive Online Platform

Utilizing video conferencing tools for live lessons.

Offering recorded sessions for flexible learning.

Customized Learning Paths

Creating personalized learning plans based on skill level and goals.

Providing feedback and progress tracking.

Global Community and Events

Organizing virtual recitals and jam sessions.

Creating an online community for students to interact and collaborate.

Potential Blog Topics

Top Tips for Mastering the Keyboard/Harmonica/Flute/Guitar Online

How to Choose the Right Instrument for Your Music Journey

The Benefits of Learning Music Online: A Global Perspective

Exploring Different Music Genres Through Your Instrument

The Future of Music Education: Online Classes for Global Students

By offering a diverse range of classes and engaging content, you can attract students from various countries and help them excel in their musical pursuits.

contact pratanu banerjee 91-8017517171

[afrontier-jp]

afrontier

今年21年目を迎えるライブ+DJイベント「afrontier(アフロンティア)」が、JZ Bratに初登場！ ライブには、常に新たな境地を切り拓いてきたレジェンド・ベースプレイヤー濱瀬元彦が、約9年ぶりにアフロンティアのステージへ。清水玲(manipulation、b)、岡部洋一(per)と共に圧倒的な世界観を精緻かつ壮大に再現するライブは、見逃せない内容となるだろう。

さらに、US現行ジャズの名門＜Ropeadope＞からリリースした2ndアルバム「ANOTHER TOWN」が国内外で高い評価を受けている鍵盤奏者・唐沢寧によるジャズ・クロスオーバーユニットn’sawa-saracaがアフロンティアに初参加。ジャズの枠を超えた自由なイマジネーションが織りなす音楽体験が期待される。

また、各々がシーンに影響力を持つ存在に成長したアフロンティアの核ともいえるJun Morita、TOJO、Takeshitaの3人に加えて、新進気鋭の作編曲家/鍵盤奏者であり選曲家としても活躍中の武田吉晴によるDJ、そしてアフロンティアのビジュアルを長年支えてきたTASUKEのVJと、魅力的なコラボレーションが実現した。

この夜、渋谷の街に誕生する極上の音楽空間を、それぞれのスタイルで存分にご堪能���ださい。

2024年8月3日(土) Open / Start 17:00（21:30終演予定）入替なし JZ Brat SOUND OF TOKYO 〒150-0031 東京都渋谷区桜丘町26-1 セルリアンタワー東急ホテル2階 Tel 03-5728-0168 https://www.jzbrat.com [濱瀬元彦] 濱瀬元彦 (Ba) 清水玲 (Manipulation,Ba) 岡部洋一 (Per) [n’sawa-saraca] 唐沢寧 (Pf,Key) 井上オサム (Ts) 長谷陽介 (Ds) 大塚義将 (Ba) Jun Morita (DJ) TOJO (DJ) Takeshita (DJ) 武田吉晴 (DJ) TASUKE (VJ) isao osada (Organizer) MUSIC CHARGE 一般席 予約 ¥ 5,800 当日 ¥ 6,300 S席（ステージ最前列）予約 ¥ 6,800 当日 ¥ 7,300 ※税込・サービス料別 ※＋1ドリンク ※小学生半額　中学生通常 5月8日(水) 14時～ Web先行予約開始 (https://www.jzbrat.com)   5月15日(水) 14時～ 電話予約開始 (03-5728-0168 平日14～18時)   ※Live+DJイベント ※着席型のイベントとなります ※ライブ中は着席での観覧にご協力ください ※ドリンクは、バーカウンターにてキャッシュオンでご提供します ※お食事はお席でのご提供となります ※未就学児の入場はご遠慮ください ※イベントに関する詳細はアフロンティア公式サイトをご覧下さい https://afrontier.com/

濱瀬元彦    2008年より自身の楽曲を人力で再現するユニット「濱瀬元彦 E.L.F Ensemble」を結成し、ライブ演奏活動を再開。MOTOHIKO HAMASE  Technodrome Variant [New Mix in 2021]（2022/10/01）のリリース後、2023年からは濱瀬元彦名義で、デジタルと生演奏の融合による形式のワンマンLIVEを行なっている。ステージの魅力は、他に類をみないオリジナル曲と、6弦フレットレスベースによる先進のインプロヴィゼーション。本ユニットで初めて再現できるようになった楽曲や、近年作曲のアルバム未収録曲もある。今なお進化を続けている濱瀬元彦の音楽を、高純度でリアルタイムに体感できる貴重な機会。

濱瀬元彦  Electric Bass 

1952年～。慶応義塾大学中退。1976年よりベース奏者として日本を代表するジャズ・グループで活躍。その後、ソロ活動を開始し、5つのソロアルバムを発表。音楽理論書では『ブルー・ノートと調性』『チャーリー・パーカーの技法』ほか。2018年に欧州の音楽市場ニーズに応え、新レコーディング盤『INTAGLIO』『REMINISCENCE』。 

2022年、『Technodrome（1993年）』の再構築・新ミックス版として『Technodrome variant』をリリースした。

清水 玲  Manipulation/Electric Bass 

大学在学中にプロ活動を開始。川本真琴、松浦亜弥、藤本美貴、モーニング娘、TRFなどのレコーディングやコンサートに参加。StudioLung「スラッピング・スタイル・ベース科」インストラクター。濱瀬元彦の2018年『INTAGLIO』『REMINISCENCE』に、レコーディング、ミキシング、マスタリングのエンジニアとして参加。2022年『Technodrome variant』でも、ミキシング、マスタリングのエンジニアとして参加している。​

​岡部洋一  Percussion 

​​1962年東京都出身。高校時代からパーカッションの演奏を始める。早稲田大学に在学中にラテン音楽やロックのサークルに出入りし、プロとしての活動を開始。歌謡曲のバックや、ブラジル音楽、ジャズなど幅広く演奏する。濱瀬元彦の2018年新レコーディング盤『REMINISCENCE』に参加している。

n'sawa-saraca

2008年より唐沢寧（key）のプロジェクトとして活動開始。

2014年1stアルバム“forest dance”をリリース。

2020年2ndアルバム“another town”をアメリカ名門レーベルRopeadope recordsよりリリース。U.Kラジオ番組“JazzFM”はじめ、ポーランド、アメリカ、カナダ、ドイツ、フランス、南アフリカ、セルビア等のラジオ番組で紹介される。

jazzを基調に独創的なイマジネーションを自由に表現。会場ごと“another town”の世界へ旅するLIVEをお楽しみください。 

唐沢寧（key） 

井上オサム（ts） 

長谷陽介（ds） 

大塚義将（b）   https://www.nsawa-saraca.com/ 

森田潤 Jun Morita  

電子楽器奏者、DJ。ユーロラックの自動演奏に即興を組み合わせたパフォーマンスでライブ活動中。φonon等より作品を多数発表。24年最新作はアルトーを題材にした鈴木創士との共作『MUSIQUE DE LA CRUAUTÉ』。DJとしてワールド、ジャズ、エレクトリック・サウンドにコミット。SP盤復刻のマスタリングにも携わる。山崎春美のTACO、宇川直宏とのGRAVESTYLE、バンド編成のOmega f2;kに参加。 

TOJO (afrontier)  

90年代前半にDJとしてのキャリアをスタート。都内クラブ、カフェやライブハウスなどで活動後、2003年、トランペッターでありオーガナイザーでもあるオサダイサオに見出され、Motion Blue yokohamaを拠点としたクラブジャズイベント『afrontier』に参加。その後は『afrontier』のレジデントDJとして、国内外の様々なアーティストと共演。Blue Note TOKYO関連イベント、来日アーティストのフロントアクト、数々のリリースパーティーに抜擢される。その他サルサやUKジャズダンス等のダンスイベントから、カフェやレストラン、ホテルのラウンジイベントまで、活動の場は多岐にわたる。また、ジャズミュージシャンやダンサーを相手にその場で選曲をするなど、セッションの経験もあり、アーティスト側からの信頼も厚い。近年はバレアリック・シーンからの招請によりシーンを代表する来日アーティストのサポートDJ、およびイベントへの出演と、DJ遍歴を重ねている。2019年5月、Takeshitaとの共同コンパイルによるアフロンティアのコンピレーション・アルバム「Blue Brick Lover」をTHINK! RECORDSよりリリース。2020年、DJ Angelオーガナイズのオンライン・サルサ・DJイベント『SHINES』に出演、運営をサポートし、国内外から視聴者を集め好評を得る。  ジャジーかつエキゾチックな音を基調に、時空間を横断するクロスオーバーなDJスタイル。ドラマティックでストーリー性のある選曲を得意とする。 

Takeshita (afrontier)   90年代後半から青山BLUEなどの都内クラブやカフェ・レストランetcを中心にイベント企画及びDJ活動に精力的に取り組み、2003年からはMotion Blue yokohamaにてジャズイベント『afrontier』のレジデントDJとして参加、活動範囲を全国区へと広げた。ラテンを中心とした新旧ワールドミュージックからジャズ、現行のダンスミュージックを現場によって使い分けている。Eddie Palmieri, Larry Harlow, Jorge Benjour, Joyceの来日公演サポートをはじめ、国内外のミュージシャン/DJとの共演歴も多く、第一ホテル東京ラウンジなど商業施設のBGM選曲なども手掛けてきた。2019年5月、TOJOとの共同コンパイルによる、アフロンティア新作コンピレーション・アルバム「Blue Brick Lover」をTHINK! RECORDSよりリリース！

武田吉晴  Yoshiharu Takeda 作曲家。鍵盤楽器を中心に、各種楽器演奏、録音からミックス、マスタリングまで行い、ジャズやワールドミュージックを探求し音楽を制作している。ソロアルバム「Aspiration」2018年、「Before The Blessing」2022年他、久保田麻琴、鈴木惣一朗(ワールドスタンダード)、Chari Chariの作品に楽曲提供など。カフェ・アプレミディなどで選曲など様々な形で音楽、リスナーとの接点を持つ。

TASUKE 1974年生まれ。アートディレクター・モーショングラフィックスアーティスト・VJ

主に映画・テレビ番組のオープニングタイトル映像のディレクションをメインワークとする。VJとしては2000年から、VJユニットNitro Movieのメンバーとして、キャリアをスタートする。2002年からtasuke名義で南青山のloopで行われていた、「VORTECHS」のレギュラーVJをはじめ、代官山UNIT・Motion Blue Yokohaha・ageHaでプレイ、国内外の様々なアーティストと共演。2007年にはドイツのカッセルでDJピエールがオーガナイズするイベント、Tokyo NightにゲストVJとして出演。現在は2002年からオサダイサオがオーガナイズするジャズイベント、afrontierでレギュラーVJとして第1回から出演している。 

<ORGANIZER>

isao osada   

80年代初頭からプロのトランペッターとして音楽活動を始める。93年にCLUB JAZZ UNIT 『O.M.U』のファーストアルバムをリリース、欧州14ヶ国を始め米国にて発売される。以降インターナショナルジャズフェスティバルへの出演、ヨーロッパライブツアーを行う傍ら、国内ではミスターチルドレンのツアーサポートを含め、数多くのレコーディングにソロプレイヤーとしても作品を残すなど、ジャンルにとらわれることなく精力的に活動。2002年からは自身のバンド演奏を行っていた横濱赤レンガ倉庫のジャズクラブ「Motion Blue yokohama」にて『afrontier』のイべント・オーガナイザーとしても活動。2008年には同イベントのコンピレーションCD『isao osada presents “afrontier” 12 colours to 7 seas』、2019年には『Blue Brick Lover』をリリース。都内各所で「Dj,Vj,Live」を組み込んだ新たな空間プロデュースにも精力的に力を注いでいる。 

[swingbeatevents]

The Ultimate Guide to Hiring a Wedding Swing Band in London

1. Finding the Right Fit: Swing Beat Quartet London

The key to a successful wedding swing band experience lies in finding the right ensemble that resonates with your vision. Boasts a plethora of talented musicians, but for that authentic swing sound, consider a Swing Beat Quartet London. Renowned for their impeccable style and infectious energy, a Swing Beat Quartet promises to transport your guests to the golden age of jazz, ensuring an evening filled with toe-tapping rhythms and timeless melodies.

2. Setting the Mood: Jazz Corporate Function Band London

While swing music sets the stage for romance and celebration, it's essential to consider the overall atmosphere you wish to create. For corporate functions or formal affairs, a Jazz Corporate Function Band London offers a seamless blend of sophistication and entertainment. With their versatile repertoire and polished performance, these bands effortlessly elevate any event, leaving a lasting impression on clients, colleagues, and guests alike.

3. Making Memories: Wedding Swing Band London

Your wedding day is a reflection of your unique love story, and what better way to celebrate than with a bespoke musical experience? A Wedding Swing Band London brings a touch of vintage glamor to your festivities, ensuring that every moment is infused with joy and romance. Whether you envision a romantic ballad for your first dance or a lively swing number to get the party started, a talented wedding swing band will tailor their set list to suit your preferences, creating memories that will last a lifetime.

For more information visit us: https://swingbeatevents.weebly.com/blog/the-ultimate-guide-to-hiring-a-wedding-swing-band-in-london

[burlveneer-music]

Awen Ensemble - Cadair Idris - folk-inflected jazz from Leeds; echoes of Joni

Awen Ensemble are a Leeds based contemporary jazz collective. The 7 piece outfit take inspiration from modal tradition, spiritual jazz, and folk music from around the globe, creating compositions that are melodically focused and groove driven. Featuring a vibraphone, spoken word and a Celtic mystique, Awen Ensemble bring a unique offering to the jazz table. 

[votava-records]

Eparapo - Black Lives Matter (feat. Dele Sosimi)

Album: From London To Lagos (Remixes) [EP]

Wah Wah 45s are proud to present a new set of remixes, as well as originals released on vinyl for the very first time, from Afrobeat supergroupEparapo. Having come togetherduring the unprecedented events of the pandemic and the Black Lives Matter movement, and despite being a project born from the privations of lockdown, their music is ultimately an expression of hope, resilience & resurgence.

The word "eparapo" means "join forces" in Yoruba, the language of Afrobeat. It's also the title of a track by the late, greatTony Allen- drummer for Afrobeat legendFela Kutiand lifelong friend and mentor of our very own "Afrobeat Ambassador",Dele Sosimi. Not only did Tony help to invent Afrobeat, he always looked for ways to push the boundaries, never content with recreating what had gone before but constantly expanding and developing the genre. This project hopes to pay homage to his legacy, and that of Fela Kuti himself. Its aim is to innovate, fuse and diversify while still retaining the essence of the music.

The force behind Eparapo is bassist, composer & producerSuman Joshi.He has been a member of Dele Sosimi's Afrobeat Orchestra for nearly a decade and has performed on stage with the likes of Tony Allen, Seun Kuti, Ginger Baker & Laura Mvula. He is also bassist with UK jazz ensemble Collocutor and fusion project Cubafrobeat.

Featured vocalist on both original tracks, and remixes, is the aforementioned Dele Sosimi - keyboard player and musical director for Fela's Egypt 80 as well as Wah Wah 45s recording artist on both his solo material and the recent collaboration with house music producer, Medlar.

The rest of the group comprises of bandleader ofAfrik Bawantuand percussionist for Ibibio Sound Machine and Keleketla,Afla Sackey; highly rated UK jazz vocalistSahra Gure; saxophonist, composer, producer and bandleader of the renowned forward thinking jazz outfit Collocutor,Tamar Obsorn; keyboard player, producer and front man for Lokkhi Terra and Cubafrobeat,Kishon Khan; one of the UK's finest and most in demand trumpeters,Graeme Flowers, who has played with Quincy Jones, Gregory Porter and many more; trombonist for Bellowhead and mainstay of Dele's Afrobeat Orchestra,Justin Thurgur; and finally drummer for Steamdown and Sons of Kemet, as well as the man behind the Nache project,Eddie Wakili Hick.

From London To Lagoswas inspired by a talk given by writerRoberto Savianoat the Hay Book Festival in 2016, just before the Brexit referendum. In it he described the UK as the "most corrupt country in the world". This was a reminder of how the leaders of so-called developed countries, conveniently suffering from colonial amnesia, still point disparagingly at the rest of the world and talk of "endemic corruption" and "Banana Republics". All the while the ill-gotten gains of organised crime syndicates, corrupt multinationals and military juntas across the globe are funnelled through financial centres such as London. Same trouble, different methods, greater scale. Of course the best way to divert the population from all this is to find distractions such as populist leaders who declare their countries "world beating" and scapegoats such as refugees, immigrants and other members of the underclasses. It has always been thus but it doesn't always have to be so.

This track was once more recorded remotely during lockdown and features an all star lineup of world class musicians from the UK Afrobeat and jazz scenes. Members of the Dele Sosimi Afrobeat Orchestra, Keleketla, Sons of Kemet and beyond have come together to create this powerhouse of a band. They encapsulate the meaning of "eparapo" and "join forces'' to fight a common enemy in the shape of corrupt and divisive ideologies.

Black Lives Matterwas obviously inspired by the movement of the same name and was the first track to be released by Eparapo in late 2020. Dele's voice tell the story slave ships leaving West Africa in the fifteenth century, the brutal conditions that were experienced on board, and the continued suffering of the African diaspora today. As always, half of the artist's income for this song will be donated to the NAACP - a civil rights organisation in the United States, created for the advancement of black people by means of following judicial policies.

[prnanayarquah]

MUSICAL FUSION: Slovenia joins Ghana in Wiyaala's Lioness Kingdom

New Post has been published on https://plugzafrica.com/musical-fusion-slovenia-joins-ghana-in-wiyaalas-lioness-kingdom/

MUSICAL FUSION: Slovenia joins Ghana in Wiyaala's Lioness Kingdom

The Yaga yaga’s from Slovenia are travelling to Funsi a small town in the Upper West Region for a musical and cultural exchange with local musicians and Wiyaala. Besides enjoying the traditional African vibe of the Upper West, they will jam and rehearse for three landmark concerts, firstly performing an inaugural concert at Wiyaala’s Arts Centre and then moving to Accra to perform two back to back concerts on the 26th and 27th of January at the Alliance Francaise Af Accra and the +233 jazz bar and grill

This groundbreaking Afro-Euro collaboration was inspired by Wiyaala’s invitation to the Yaga Yagas to enjoy the Upper West Region’s unique attractions and hospitality, not forgetting the opportunity to bring together the contrasting musical styles and influences of their respective continents.

The Ghana/Slovenia collaboration began in May 2019 after Wiyaala received an invitation from the Ministry of Foreign and European Affairs of Slovenia to perform at an Africa Day celebration in the capital city Ljubljana. Wiyaala was introduced to four classically trained Jazz fusion musicians from Ljubljana for the gig and they immediately hit it off musically and became firm friends.

Their musical chemistry continued to flourish as they embarked on a European tour during the summer of 2019, gracing stages at renowned festivals such as Afro-Pfingsten Festival in Switzerland, Riddu Riđđu Festivála in Norway, and Welcome to The Village in the Netherlands. Their performances garnered positive acclaim, cementing their status as a compelling musical ensemble.

The COVID-19 pandemic interrupted their musical endeavours and it wasn’t until 2022 that the band (by now known as Wiyaala & The Yaga Yagas) reunited for the Kamfest Festival in Slovenia. This reunion rekindled their creative fire, leading them to embark on a collaborative recording project in April 2023. The album, titled “Segerege (The Elephant’s Ears Are On Fire),” with 11 songs inspired by the traditional melodies and songs of Wiyaala’s homeland in the Upper West Region of Ghana.

Recorded live at Studio Metro in Ljubljana, the project is currently in its final mixing and mastering stages, with an expected release in the first half of 2024. The band’s lineup is as diverse as their music: Wiyaala, the charismatic vocalist, guitarist and percussionist from Funsi, Ghana.

Miha Petric, the Slovenian guitarist and award winning composer. Jošt Lampret, the Slovenian bass player, composer, and arranger. Nejc Skofic, the talented Slovenian jazz pianist and composer. Žiga Kožar, the versatile Slovenian drummer, with experience across many musical styles. The collaboration represents a fusion of cultures, genres, and talents, offering a fresh and captivating musical experience that transcends borders and genres.

ABOUT THE LIONESS KINGDOM

Famed international travel bloggers, Drew Binsky & Wodemaya’s 2020 visit to Funsi prompted Wiyaala to renovate a couple of rooms in unused missionary buildings to accommodate her guests in some comfort. After the visit, Wiyaala saw potential and created 16 guest rooms with individual bathrooms and a restaurant.

Not satisfied she went on to build a stage, borehole, an Arts Centre, a recording/rehearsal studio and a traditional film village. More works are said to be in progress. Other famous visitors to the Lioness Kingdom include John Dramani Mahama, Jon Benjamin (former UK Ambassador to Ghana), Thomas Naadi BBC, Berla Mundi, DW Africa, KING AYISOBA

Photo Credit: Peter Giodani

[whatsonmedia]

Unmissable Musical Moments in January 2024

As the curtain rises on the musical scene in the first week of January 2024, an eclectic array of artists promises to transform the cultural landscape, bringing rhythm, soul, and laughter to audiences. From the soulful vibes of Betcha to the timeless R&B tunes of Alexander O’Neal, this weeklong musical journey offers something for every taste.

Betcha

Betcha is a London-based band known for their soulful and eclectic sound. They blend elements of R&B, funk, and pop, creating a fresh and modern approach to their music.

When: Wednesday 03 January 2024

Where: Sofar Sounds – Liverpool Street, London, UK

Time: Doors open: 20:00

Ticket: £23.00

Alexander O’Neal

Alexander O’Neal is an American R&B singer and songwriter. He gained prominence in the 1980s with hits like “Criticize” and “Fake.” O’Neal’s soulful voice and smooth delivery have made him a respected figure in the music industry.

When: Thursday 04 January 2024

Where: Jazz Cafe, Camden, UK

Time: Doors open: 19:00

Ticket: £35.00

Romare

Romare is the stage name of British electronic music producer Archie Fairhurst. His music often incorporates elements of jazz, African rhythms, and electronic beats. Romare’s unique sound has earned him recognition in the electronic music scene.

When: Friday 05 January 2024

Where: Phonox, London, UK

Time: Doors open: 22:00

Ticket: £10.00 – £15.00

Googoosh

Googoosh is an iconic Iranian singer and actress born in 1950. Known for her powerful vocals and emotional performances, she made a triumphant return to the stage in the early 2000s after a hiatus during the Islamic Revolution. With a career spanning decade, Googoosh remains a symbol of resilience and cultural impact in Persian music and cinema.

When: Saturday 06 January 2024

Where: Beacon Theatre, New York (NYC), NY, US

Time: Doors open: 20:00

Ticket: US $86.00 – US $357.00

Peter Himmelman

Peter Himmelman is an American singer-songwriter and composer, born on November 23, 1960. Known for his diverse musical talents, spanning rock, folk, and pop, he has released numerous albums with introspective lyrics. Himmelman has also made contributions as a composer for film and television.

When: Sunday 07 January 2024

Where: The Venice West, Venice, CA, US

Time: Doors open: 20:00

Ticket: US $20.00

Billy Pod

Billy Pod, the artistic moniker of Greek-born drummer and musician Vasileios Podaras, currently calls London, UK, his home. In 2019, he released the album “Drums to Heal Society,” propelling Vasileios Podaras into a prominent position among the emerging generation of international drummers. The album not only showcases his formidable drumming skills but also highlights his prowess as a composer and director of musical ensembles.

When: Monday 08 January 2024

Where: Pizza Express Jazz Club – Soho, London, UK

Time: Doors open: 20:00

Ticket: £15.00

Jay Chou

Jay Chou is a Taiwanese musician, singer, and actor. He is a renowned figure in the Chinese music industry, known for his versatility in combining various musical genres. Chou has also achieved success in the film industry with roles in movies like “Initial D” and “The Green Hornet.”

When: Tuesday 09 January 2024

Where: The O2, London, UK

Time: Doors open: 18:30

[filamentzine]

Tilemachos Moussas

Α piece of music that needs to be played loud

Iron Maiden - The Trooper

A piece of music that moves you forward

Pat Martino - Boundaries

A piece of music that gets stuck in your head 

John Dowland - Flow My Tears

A piece of music that makes you want to dance

Kim Wilde - Keep Me Hanging On

A piece of music that makes you feel badass

Sex Pistols - Anarchy in the UK

A piece of music that you remember from your childhood 

Status Quo - In The Army Now

A piece of music that reminds you your hometown 

Ζαφείρης Μελάς - Γεια σου μάνα Σαλονίκη

The piece of music you’ve listened to the most

Αττίκ/Κάκια Μένδρη - Μαραμένα τα γούλια και οι βιόλες

Tilemachos Moussas is an Athens based composer, guitarist, multi-instrumentalist, educator. He invests in the creation and performance of subversive music, from instant composing and avantgarde. He creates, performs and produces experimental music and opera that fuses the musicality of speech, poetry, classical music, jazz and electronic sound art. He is a founding member of music theater company, ODC Ensemble and has presented his music across Europe and internationally and released multiple albums. 

Tilemachos has received the International "Music Theater Now 2018" Award and has been awarded the 1st Prize at the Be Festival of Birmingham. 

He is a PhD Candidate & he also holds a Master of Music in "Jazz Performance & New Technologies, Musical Studies Department, UOA.  

www.moussas.com

[independentartistbuzz]

7 FROM THE WOMEN: MISHA PENTON

Misha Penton is an amazingly versatile artist known for her work as a singer, composer, and filmmaker. 

She has been recognised for her unique blend of art song, sound poetry, and chamber electronica. Her upcoming projects include the release of a music video titled “Earthshine” in celebration of the winter solstice 2023, along with a performance and release party in collaboration with Sawyers Yard Houston, where she is based.

Additionally, she has a forthcoming EP inspired by a 19th century fairytale book in the works. 

Misha’s diverse body of work has been featured at prestigious institutions such as the Museum of Fine Arts Houston, Dallas Museum of Art, and Rothko Chapel. She has worked closely with influential mentors in voice, opera, and experimental voice, including Lois Alba, Kathleen Kaun, Katherine Ciesinski, and Richard Armstrong, and has collaborated with organisations like Houston Grand Opera, Liminal Space Contemporary Music Ensemble and the Quartus Chamber Players.

Penton holds a BA in Music from Skidmore College, as well as an MFA in Interdisciplinary Arts from Goddard College, and a PhD in voice and composition from Bath Spa University UK. 

We caught up with Misha for an Exclusive Interview below! 

What Have You Been Working to Promote Lately?

“Earthshine” is my new single and music video. The work celebrates the winter solstice season, the longest night of the year. This dark and introspective time is a pause before the lengthening days bring us toward summer. I love the idea of going inward and engaging with stillness before the beginning of a new cycle. Earthshine is the dim glow on the darkened part of a crescent moon — the reflected sunlight from Earth shining on the night side of the moon. My music video and song conjures the subtle illuminating energies of beautiful things unseen or unnoticed. I created “Earthshine” to honor the cycle of the seasons. I often work creatively with the wheel of the year: the solstices, equinoxes, and moon phases. Noticing these cycles taps into the ebb and flow of natural energies. I sometimes feel caught up in our fast-paced and chaotic digital world. Observing the waxing and waning of the moon or remembering the tilt of the earth and the changing angle of the sun feels grounding.

2. Please tell us about your favorite song written, recorded or produced by another woman and why it’s meaningful to you.

So many! I’ll choose “Moments of Pleasure” by Kate Bush from The Red Shoes. The lyrics capture fleeting, beautiful images of her life with a rip-your-heart out vibe. And her singing is intimate and deeply connected to the emotional experience — “Just being alive / It can really hurt / And these moments given / Are a gift from time / Just let us try / To give these moments back / To those we love / To those who will survive.”

3. What does it mean to you to be a woman making music/in the music business today and do you feel a responsibility to other women to create messages and themes in your music?

My music is about following my creative vision and that’s what I encourage other artists to do. Stay inspired by surrounding yourself with others committed to their unique journeys, only do projects worthy of your time, skills, and attention (in other words, say “No” a lot) and always honor your work.            

4. What female artists have inspired you and influenced you?

Björk, Kate Bush, and Annie Lennox, for their unique music, musicianship, embrace of technology, and beautifully crafted and singular images. Meredith Monk, for her innovative vocal compositions and large-scale theatrical performances that blend classical, folk, and experimental music. Cathy Berberian, the mid 20th century contemporary classical and opera singer—she’s the grandmother of vocal new music and avant-garde singing. Diamanda Galas who is utterly unique, stunning, and fearless. And of course, the soul, blues, jazz, and R&B greats like Nina Simone, Aretha Franklin, Ella Fitzgerald — and artists who took up their mantle like India Arie, Alicia Keys, Lauryn Hill, and H.E.R. There are so many amazing artists—too many to list!                                                                                                        

5. Who's Your Favorite Female Icon (dead or alive) and why?

Audrey Hepburn. Funny Face with Fred Astaire is probably my favorite of her movies. It’s set in NYC and Paris in the 1950s and features the Gershwin classics, “How Long Has This Been Going On?” and “’S Wonderful.” There’s a great scene set in a bohemian coffeehouse in Greenwich Village and another where she floats down the Daru staircase at the Louvre in a red Givenchy gown. She embodied elegant and fashionable stardom (she was a muse of Hubert de Givenchy). She was also an activist and humanitarian, working with UNICEF and raising awareness of global children’s needs.                                                         

6. What was the most challenging thing you have had to face as a female artist?

Challenges or unfair professional situations usually evoke my anger and I’ve used that anger as a catalyst to create my own work. I only do projects that are a good fit for me artistically and personally. In the past, I’ve worked with men who were immature and not nearly as hard-working and intensely creative as I am. My work deserves far better—so I strive to create an ideal environment for my work, myself. Don’t take any sh*t from anyone. Do your own thing and you’ll find the right creative tribe.                             

7. Finally – Where can we find you online? Website | Instagram | Facebook |

Spotify | Apple Music | Bandcamp | Misha on Streaming Platforms

Misha has been praised for her ability to create immersive musical experiences, incorporating layered voices, swirling guitars, and electronic textures. Her collaborative efforts with other artists contribute to the richness of her work, showcasing a diverse range of influences and creative approaches.

We look forward to hearing more from her in the upcoming year!