tag:blogger.com,1999:blog-58429460998504301042024-03-13T04:06:48.543+02:00Jazz in AthensOur mission is to support, promote, enrich & reform the Jazz aesthetic and scene of Athens. Support our mission by posting your gigs, news, reviews, recommendations, your features & comments.Jazz in Athenshttp://www.blogger.com/profile/07542009548515299967noreply@blogger.comBlogger574125tag:blogger.com,1999:blog-5842946099850430104.post-70302113062423234662015-10-18T16:35:00.001+03:002015-10-18T16:35:23.515+03:0030s Anti-Recorded Music Ads<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Trebuchet MS, sans-serif;">You know the musical scores that accompany movies, amplifying the mood of each scene? These musical accompaniments used to be performed live in the movie theater by a band of talented musicians. As of 1927 and the release of the movie The Jazz Singer – in which synchronized sound was used for the first time – the bands’ services were no longer required.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">In 1930, according to The Smithsonian, the American Federation of Musicians came together to form the Music Defense League. The new organization’s goal was to defend the careers of musicians who would be displaced by the “robot music” being played to accompany movies.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The organization spent a staggering (for 1930, anyway) $500,000 on an ad campaign imploring the American public to refuse the “robot music” and insist on real, live humans on stages and in movie theaters.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The ads featured a robot as the representation of recorded music. In various pictures the evil robot seeks to wrestle music culture away from real artists, seduce an innocent young girl, and physically harm human musicians.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">According to the <a href="http://blogs.smithsonianmag.com/paleofuture/2012/02/musicians-wage-war-against-evil-robots/">Music Defense League</a>, this shift from live music to recorded music would only erode the country’s love of “real” art. The musicians strongly believed that this first step would lead humans away from their enjoyment of live music and usher in an era of “canned music.”</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">They were right, of course, to a certain point. After that time pre-recorded music slowly began to surpass live music in popularity. But today in our technology-loving society, we see this as a good thing because it allows more people access to a greater variety of music.</span></div>
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Jazz in Athenshttp://www.blogger.com/profile/07542009548515299967noreply@blogger.com1tag:blogger.com,1999:blog-5842946099850430104.post-78418398887844963772015-10-04T13:44:00.002+03:002015-10-04T13:45:23.408+03:00Djangofest Athens Gypsy Jazz festival 2015 <div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="background-color: #444444; color: white; font-family: Trebuchet MS, sans-serif;"><span style="line-height: 18.76px;">16-18 Οκτωβρίου 2015 , Άλσος Λαμπηδόνας στο Βύρωνα.</span><br style="line-height: 18.76px;" /><br style="line-height: 18.76px;" /><span style="line-height: 18.76px;">Η μεγάλη γιορτή της gypsy jazz και πάλι στην Αθήνα!</span><br style="line-height: 18.76px;" /><br style="line-height: 18.76px;" /><span style="line-height: 18.76px;">Πλησιάζει η ώρα για το 6ο Djangofest της Αθήνας!</span><br style="line-height: 18.76px;" /><span style="line-height: 18.76px;">Στις 16, 17, 18 Οκτωβρίου 2015 το γνωστό μας djangofest, επιστρέφει στο άλσος της Λαμπηδόνας στο Βύρωνα, κουβαλώντας όλες του τις δράσεις στις αποσκευές του!</span><br style="line-height: 18.76px;" /><span style="line-height: 18.76px;">Μεγαλύτερη από κάθε άλλη χρονιά φέτος η συμμετοχή των σχημάτων, πολλές και ποικίλες παράλληλες δράσεις για παιδιά και μεγάλους, μουσική και χορός, τρεις μέρες γιορτής με ελεύθερη είσοδο!</span><br style="line-height: 18.76px;" /><br style="line-height: 18.76px;" /><span style="line-height: 18.76px;">Από το 2010, που με αφορμή τα 100 χρόνια από τη γέννηση του Django Reinhardt, πραγματοποίηθηκε το πρώτο Djangofest της Αθήνας, έχουν περάσει 6 χρόνια, και πλέον το Djangofest , εί</span><span class="text_exposed_show" style="display: inline; line-height: 18.76px;">ναι ένα από τα μεγαλύτερα ανοιχτά φεστιβάλ στην Αθήνα, που αναμένεται με αγωνία κι ανυπομονησία από πολλούς κάθε φθινόπωρο!<br />Μέσα σε αυτά τα 6 χρόνια κατόρθωσε να αγκαλιάσει αλλά και να αγκαλιαστεί, ένα κοινό , συνεχώς αυξανόμενο, να δώσει στη gypsy jazz μουσική τη θέση της στην καλλιτεχνική πραγματικότητα της χώρας μας, να αναδείξει μουσικούς και σχήματα, χορευτές, να ακουστεί στα ραδιόφωνα, να ασχοληθεί ο τύπος μαζί του.<br />Και πάνω από όλα να αποδείξει ότι είναι εφικτές τέτοιες προσπάθειες , απόλυτα αυτοδημιουργημένες και αυτοοργανωμένες , όταν υπάρχει διάθεση αλληλεγγύης και εθελοντισμού, κέφι, μεράκι, όρεξη και πείσμα!<br /><br />Σε πείσμα λοιπόν των δύσκολων αυτών καιρών αλλά ταυτόχρονα και με τεράστια όρεξη και κέφι, επιλέγοντας και πάλι τον αγαπητό χώρο της Λαμπηδόνας γιατί χαρακτηρίζει απόλυτα και ολοκληρώνει την εικόνα και τη μορφή που είχαμε όλοι από την αρχή για το φεστιβάλ στο μυαλό μας, δίνουμε το νέο μας ραντεβού για τις 16, 17, 18 Οκτώβρη κάτω από την σκιά των πεύκων και των αστεριών για μια ακόμη γιορτή της gypsy jazz!<br /><br />Το Djangofest gypsy jazz festival στην Ελλάδα αποτελεί μια πρωτοβουλία μουσικών που ασχολούνται με την gypsy jazz μουσική και φίλων αυτής. Ως αυτό-οργανωμένη εκδήλωση, πραγματοποιείται με την ενέργεια των μουσικών και εθελοντών που συμμετέχουν, με την υποστήριξη της Plenty projects και τη φιλοξενία του Κοινωνικού Πολιτιστικού Κέντρου της Λαμπηδόνας.<br />Όλοι οι συντελεστές συμμετέχουν αφιλοκερδώς και η είσοδος είναι ελεύθερη. Οι δαπάνες καλύπτονται από τα αναψυκτικά και ποτά που διατίθενται στο χώρο.<br /><br />Συμμετέχουν τα σχήματα(με αλφαβητική σειρά):<br /><br />-Αντώνης Πρίφτης Quartet<br />-Diminuita “Le petit big band”<br />-Djangotropia<br />-Groovin' high (Πάτρα)<br />-Manouche Drome<br />-Night and day (Πάτρα)<br />-SwingAzoo<br />-SwingEs<br />-Τea for 3<br />-The Ghost Notes<br />-Troi Mat<br />-Trio Taπί<br /><br />Με το χορό και το κέφι τους, αλλά και ανοιχτά μαθήματα για όλους, συμμετέχουν οι χορευτικές ομάδες (με αλφαβητική σειρά):<br />-Αhens Lindy Hop <a href="http://l.facebook.com/l.php?u=http%3A%2F%2Fwww.athenslindyhop.com%2F&h=0AQF4E9wR&enc=AZNm2FqkahNN0-mT2b973aP8O0JCcNt7rfbl9SelAZi57eT0vFA7_3o3ahaPyawxlrk&s=1" rel="nofollow nofollow" style="cursor: pointer; text-decoration: none;" target="_blank">www.athenslindyhop.com</a><br />-Athens Swing Cats <a href="http://l.facebook.com/l.php?u=http%3A%2F%2Fwww.athensswingcats.com%2F&h=hAQGoKciB&enc=AZP2ndVIQ9yzfh7RLuDqHbXXnZNDUh1yV_iOdBwZ_zyS7wIF-xiE4XEwZYYua8N_Y-0&s=1" rel="nofollow nofollow" style="cursor: pointer; text-decoration: none;" target="_blank">www.athensswingcats.com</a><br />-Rhythm Hoppers <a href="https://www.facebook.com/%CE%9C%CE%B1%CE%B8%CE%AE%CE%BC%CE%B1%CF%84%CE%B1-Swing-%CE%A7%CE%BF%CF%81%CE%BF%CF%8D-Lindy-Hop-434295256663363/timeline/?ref=hl" rel="nofollow" style="cursor: pointer; text-decoration: none;">https://www.facebook.com/<wbr></wbr><span class="word_break" style="display: inline-block;"></span>Μαθήματα-Swing-Χορού-Lindy-<wbr></wbr><span class="word_break" style="display: inline-block;"></span>Hop-434295256663363/<wbr></wbr><span class="word_break" style="display: inline-block;"></span>timeline/?ref=hl</a><br /><br />Παράλληλα με τις εμφανίσεις, έκθεση χειροποίητων οργάνων με έμφαση στις gypsy κιθάρες. Φέτος για πρώτη φορά στην έκθεση συμμετέχουν κατασκευαστές χειροποίητων συστυμάτων ήχου.<br />Συμμετέχουν (με αλφαβητική σειρά) :<br /><br />-Gabojo pickups <a href="http://l.facebook.com/l.php?u=http%3A%2F%2Fwww.gabojo.com%2F&h=4AQGalfQ3&enc=AZMgunmiywoBoefB4OQXNkHsUhEXsU6jrEBC-ZibRrK_KTTtOJXiH78LngtiQ9iPryo&s=1" rel="nofollow nofollow" style="cursor: pointer; text-decoration: none;" target="_blank">www.gabojo.com</a><br />- Leveller Guitars <a href="http://l.facebook.com/l.php?u=http%3A%2F%2Fwww.levellerguitars.com%2F&h=dAQGdjrR-&enc=AZNdvmi6Pndn7kpDKtZflnuBqMukBO_h9T7ke7RRku-21UfasAlNFoAqItdmUFIkTMI&s=1" rel="nofollow nofollow" style="cursor: pointer; text-decoration: none;" target="_blank">www.levellerguitars.com</a><br />-Mamais Guitars <a href="http://www.mamaisguitars.com/" rel="nofollow nofollow" style="cursor: pointer; text-decoration: none;" target="_blank">www.mamaisguitars.com</a><br />-Rm Acoustics <a href="http://l.facebook.com/l.php?u=http%3A%2F%2Fwww.rmacoustics.com%2F&h=FAQERp7s_&enc=AZP6p66m_-iUoRbhjnf-eVDlC6hgu4eBQu4dxm1caQorEfef8f2KjfO1RF9KckT_WIg&s=1" rel="nofollow nofollow" style="cursor: pointer; text-decoration: none;" target="_blank">www.rmacoustics.com</a><br />- Tσiganize Ιt guitars <a href="http://l.facebook.com/l.php?u=http%3A%2F%2Fwww.goulielmos-guitars.gr%2F&h=sAQECW0DD&enc=AZMeUGXgyc7wMrA1eFsK72cVbeoN-2eM1qulkZWvvuqe0vUYxexiuatBvhBXHYYSQTs&s=1" rel="nofollow nofollow" style="cursor: pointer; text-decoration: none;" target="_blank">www.goulielmos-guitars.gr</a><br />-Xορδόφωνον <a href="http://l.facebook.com/l.php?u=http%3A%2F%2Fwww.hordofonon.com%2F&h=6AQFCQPj5&enc=AZOsCbdfn-S1-6Hey4vjdAwcLBJSAZo_nRfkZ2-xcvTi_al0SAnD0UTvQJphWCIUCuw&s=1" rel="nofollow nofollow" style="cursor: pointer; text-decoration: none;" target="_blank">www.hordofonon.com</a><br /><br />Στο φεστιβάλ θα πραγματοποιηθούν ακόμη:<br />-ανοιχτά μαθήματα gypsy jazz κιθάρας με τον Γιώργο Παπαδογιάννη (Diminuita) και τον Δημήτρη Πολίτη (The Ghost Notes)<br />-ανοιχτά μαθήματα gypsy jazz βιολιού με τον Σέργιο Χρυσοβιτσάνο (Gadjo Dilo) και τον Στέργιο Λούστα (Swingtime Quintet, Θεσσαλονίκη)<br />-ανοιχτά μαθήματα χορού από όλες τις ομάδες που συμμετέχουν<br />-κουκλοθέατρο και διαδραστικό κυνήγι θησαυρού για παιδιά<br />-προβολή του ντοκιμαντέρ “The genious of Django Reinhardt” και της ταινίας “Swing” του Τόνι Γκατλίφ<br />-dj set από τους Rhythm Hoppers , την Μαργαρίτα Στεργίου και την Ευδοκία Πρέκα<br />-κοινωνική κουζίνα<br /><br />DJANGOFEST 2015<br />16, 17, 18/10<br />Άλσος Λαμπηδόνας , Βύρωνας<br />Έναρξη δραστηριοτήτων<br />Παρασκευή 16/10 από τις 18.00<br />Σάββατο 17/10 από τις 12.00<br />Κυριακή 18/10 από τις 12.00<br />Είσοδος ελεύθερη σε όλες τις δράσεις<br /><br />Το αναλυτικό πρόγραμμα θα ανακοινωθεί σύντομα</span></span></div>
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Jazz in Athenshttp://www.blogger.com/profile/07542009548515299967noreply@blogger.com0tag:blogger.com,1999:blog-5842946099850430104.post-84328544404172752222015-09-09T17:38:00.000+03:002015-09-09T17:38:49.934+03:00Sound of Silence<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Trebuchet MS, sans-serif;">"The Sound of Silence" is a song by singer-songwriter duo Simon & Garfunkel. Written in February 1964 by Paul Simon in the aftermath of the 1963 assassination of John F. Kennedy, the song propelled the group to mainstream popularity. An initial version preferred by the band was remixed and sweetened, and has become known as "the quintessential folk rock release". In the U.S., it was the duo's second most popular hit after "Bridge Over Troubled Water".</span><br />
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Jazz in Athenshttp://www.blogger.com/profile/07542009548515299967noreply@blogger.com0tag:blogger.com,1999:blog-5842946099850430104.post-83342957762212980892015-09-07T15:00:00.000+03:002015-09-07T15:00:36.210+03:00Musicophilia<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Trebuchet MS, sans-serif;">We love the work of neuroscientist and prolific author Oliver Sacks, whose latest book, The Mind’s Eye, was one of our favorite brain books last year. But some of his most compelling work has to do with the neuropscyhology of how music can transform our cognition, our behavior, and our very selves. In Musicophilia: Tales of Music and the Brain, Revised and Expanded Edition, Sacks explores the most extreme of these transformations and how simple harmonies can profoundly change lives. From clinical studies to examples from pop culture — did you know that Ray Charles believed he was “born with the music inside [him]“? — Sacks delivers a fascinating yet remarkably readable tale that tells the story, our story, of humanity as a truly “musical species.”</span><br />
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Jazz in Athenshttp://www.blogger.com/profile/07542009548515299967noreply@blogger.com0tag:blogger.com,1999:blog-5842946099850430104.post-31717991984888642012015-09-06T17:53:00.000+03:002015-09-06T17:53:52.351+03:00Jazz Music Glossary<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Trebuchet MS, sans-serif;"><b>A Section</b>: The first section of a tune, typically 8 bars; the main theme.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>AABA:</b> The most common form in pop music. Typical of songs by Gershwin, Cole Porter, Harold Arlen, etc. See Song Form.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Alteration</b>: The raising or lowering of a tone by a half-step, from its diatonic value in a chord. In Jazz usage, the fifth and ninth may be raised (augmented) or lowered (diminished); the fourth (or eleventh) may be augmented; the thirteenth may be diminished. The expression 'diminished seventh' is used solely as the name of a chord. Of course, in general music theory, any interval may be augmented or diminished.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Altered scale:</b> The dominant 7th scale with a lowered 9th, raised 9th, raised 11th, no fifth, and lowered 13th, along with the usual root, 3rd and 7th. So-called because every possible alteration has been made.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Augmented</b>: Raised by a half-step. See 'Alteration'.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Augmented 7th (+7):</b> A dominant 7th chord with a raised 5th added. The name is misleading because it is not the 7th that is augmented.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Axe:</b> One's instrument. Even said of the voice.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>B Section</b>: Same as bridge.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Back-beat:</b> Beats 2 and 4 in 4/4 time, particularly when they are strongly accented. A term more used in rock 'n roll.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Ballad: </b>A slow tune. Ballad playing is replete with its own idiomatic devices.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Bebop:</b> The style of Jazz developed by young players in the early 40s, particularly Parker, Gillespie, Kenny Clarke, Charlie Christian and Bud Powell. Small groups were favored, and simple standard tunes or just their chord progressions were used as springboards for rapid, many-noted improvisations using long, irregular, syncopated phrasing. Improv was based on chordal harmony rather than the tune. The 'higher intervals' of the chords (9th, 11th and 13th) were emphasized in improv and in piano chord voicings, and alterations were used more freely than before, especially the flatted 5th & augmented 11th. The ground beat was moved from the bass drum to the ride cymbal and the string bass, and the rhythmic feel is more flowing and subtle than before. Instrumental virtuosity was stressed, while tone quality became more restrained, less obviously 'expressive'.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Block Chords:</b> A style of piano playing, developed by Milt Buckner and George Shearing, with both hands 'locked' together, playing chords in parallel with the melody, usually in fairly close position. It is a technical procedure requiring much practice, and can sound dated if the harmonies are not advanced enough. Also called locked hands.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Blow:</b> The usual term for 'improvise.' It has a more mystical aura. Also, simply to play an instrument.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Blowing changes</b>: The chords of a tune, particularly those intended specifically for improvising which may vary somewhat from the changes of the head. Sometimes written on a separate page.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Blues</b>: (1) A form normally consisting of 12 bars, staying in one key and moving to IV at bar 5. (2) A melodic style, with typical associated harmonies, using certain 'blues scales', riffs and grace notes. (3) A musical genre, ancestral to Jazz and part of it. (4) A feeling that is said to inform all of Jazz.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Boogie (boogie-woogie)</b>: A style of piano playing very popular in the thirties. Blues, with continuous repeated eighth note patterns in the left hand and exciting but often stereotyped blues riffs and figures in the right hand.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Break</b>: A transitional passage in which a soloist plays unaccompanied.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Bridge:</b> The contrasting middle section of a tune, especially the 'B' section of an AABA song form. Traditionally, the bridge goes into a different key, often a remote key. Thelonious Monk once remarked that the function of a bridge is 'to make the outside sound good'.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Broken time</b>: A way of playing in which the beat is not stated explicitly. Irregular, improvised syncopation. Especially applied to bass and drum playing.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Cadence:</b> A key-establishing chord progression, generally following the circle of fifths. A turnaround is one example of a cadence. Sometimes a whole section of a tune can be an extended cadence. In understanding the harmonic structure of a tune, it's important to see which chords are connected to which others in cadences.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">CESH: Contrapuntal Elaboration of Static Harmony, a foolish term used in some Jazz textbooks. The use of moving inner voices to give propulsion to a chord that lasts for a while.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Changes</b>: (1) The chords of a tune. 'Playing' or 'running' the changes means using suitable scales, etc., over each given chord of the tune. Determining the exact changes to use is a big part of preparing a tune for performance. (2) Rhythm Changes (q.v.) for short.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Channel</b>: An old term for the bridge.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Chase: </b>Two soloists, such as the trumpet and sax, taking alternating 4-bar phrases (or 8, or 2). See Trading 4s.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Chart:</b> (1) Any musical score. (2) A special type of score, used by Jazz musicians. Only the melody line, words (if any) and chord symbols are given. Clef, key signature and meter are given once only, at the beginning. The standards of musical notation and calligraphy are low. Details are often scanty or inaccurate, which encourages the musician to amend and elaborate the chart for his own purposes. Every Jazz musician has his own book of miscellaneous charts. Also see "Lead Sheet".</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Chops</b>: Technical ability, to execute music physically and to negotiate chord changes. Distinct from the capacity to have good ideas, to phrase effectively and build a solo.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Chord:</b> The harmony at a given moment. Loosely, a group of 3 or more notes played together. Strictly, a chord is the basic unit of harmony, regarded abstractly as having a given root and specifying some other tones at certain intervals from the root, without regard to the actual voicing of the notes on the piano (see Voicing and Scale).</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Chord tone</b>s: The root, third, fifth and seventh of a chord, as opposed to extensions.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Chromatic:</b> Pertaining to or derived from the chromatic scale, which includes all 12 tones to the octave. Chromatic harmony is a vague term referring either to the use of many altered tones in the chord, or to the use of chromatic root-movement in between the given chords.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Chorus</b>: One complete cycle of a tune, one time through from top to bottom.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Close voicing</b>: One in which the chord tones are bunched together, generally within an octave range.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Coda:</b> (1) A portion of a tune which seems like a tail, or extra measures, added to the last A section. It is repeated for every chorus, however. (2) An ending for a tune, used only once after the final chorus. There is often confusion in written charts as to whether a coda is 'every time' or 'out-chorus only'. Some charts, to save space, are written so that the tune appears to have a coda, but it's really just a normal part of the tune.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Cool</b>: The style of the early 50s, taken up by many white musicians and popular on college campuses. The basis was bebop, but the fastest tempos were not used and the sound was quiet and understated. Miles Davis was one of the main originators.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Counting off:</b> Giving the tempo and meter by counting aloud.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Cross-rhythm:</b> A passage in which a different meter is temporarily expressed or implied, while the prevailing meter continues underneath (see meter). Not particularly a Jazz term, but cross-rhythms are universal in Jazz performance. In ballad playing, for example, there is commonly a triplet-quarter-note rhythm that implicitly continues through the 4/4 meter and is "tapped-into" from time to time.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Crush:</b> On the piano, a half-step played simultaneously.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Diatonic</b>: The contrary of 'chromatic'. Said of melody or harmony using only the unaltered major (or sometimes minor) scale.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Dig</b>: To appreciate a player's expression.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Diminished:</b> Lowered by a half-step. See 'Alteration'.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Diminished triad</b>: Triad composed of two stacked minor thirds, root, minor third, and diminished fifth.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Diminished seventh (º7)</b>: Chord composed of 4 notes, stacked in minor thirds. The symbol is a small raised circle. Since an additional minor third on top will be the octave of the bottom note, inversions of a º7 will have the same interval structure in other words, they will also be diminished 7th chords in their own right. The extensions of a º7 are a ninth (or whole step) above each chord tone. Effective modern voicing requires using at least one extension; plain º7 chords sound remarkably old-fashioned. If the chord tones and extensions are put together within an octave, the diminished scale results. Often called just 'diminished' with '7th' being implied.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Diminished Scale:</b> A scale of 8 notes to the octave in alternating whole-steps and half-steps. There are just three different diminished scales. Quite a complicated system of voicings and motivic patterns for diminished has been developed by modern players.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Dot time</b>: A cross-rhythm based on dotted quarter notes, extending through a passage.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Double time</b>: A tempo twice as fast, with the time feel, bar lines and chords moving at twice the speed.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Double time feel</b>: A time feel twice as fast, so that written eighth notes now sound like quarter notes, while the chords continue at the same speed as before.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Eight to the bar</b>: Continuous eighth-note rhythm, as in boogie-woogie left hand patterns.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Extensions:</b> The ninth, eleventh and thirteenth of a chord.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Fake Book: </b>A collection of Jazz charts, published without paying royalties and thus illegal (not in the Public Domain.) For decades, a book called '1000 Standard Tunes' circulated; you can still see its grossly simplified charts, written three to a page. Some 25 years ago the "Real Book" appeared, out of the Berklee School of Music, with some 400 tunes in excellent calligraphy. This has become the standard and all Jazz musicians are expected to have a copy. More recently a number of legal fake books have been published. The best is The Ultimate Jazz Fakebook.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Free:</b> Without rules. Especially, improvising without regard to the chord changes, or without any chord changes. Usually there is an implied restriction in 'free' playing preventing one from sounding as if chord changes are being used.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Free Jazz:</b> A style of the early and middle sixties, involving 'free' playing and a vehement affect. It was originally associated with black cultural nationalism. Sometimes two drummers and/or two bass players were used. Some free Jazz was not very good, and some who played it later denounced it, but the style became an ingredient in future styles.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Fusion</b>: A style developed in the late 60s by Wayne Shorter, Herbie Hancock, Miles Davis, Chick Corea and others, partly as a reaction to the eclipse of Jazz on the music scene by rock. Incorporated elements of rock into Jazz and made greater use of repetition and non-improvised passages. Harmonic language was simplified; key feeling tended to be established by repetition rather than harmonic movement. Straight-8 time and a strong back-beat predominated.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Front: </b>'In front' means before the top, as an intro.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Front line:</b> The horn players in a combo, those who aren't in the rhythm section.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Grand Staff</b>: The treble and bass staves together.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Go out</b>: Take the final chorus, end.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Groove:</b> An infectious feeling of rightness in the rhythm, of being perfectly centered. This is a difficult term to define. A Medium Groove is a tempo of, say, 112, with a slinky or funky feeling.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Ground beat:</b> The basic metric beat, most often in quarter-notes, whether explicitly stated or not.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Half-diminished </b>( Ø ): The chord with a minor third, a lowered (diminished) fifth, and a minor seventh. Formally called 'minor 7 flat 5'. This chord probably evolved from the IV minor 6th chord, which was common in the swing period; if its sixth is taken to be the root, a half-diminished chord results. The symbol is a small O with a diagonal slash. It is most often the harmony of the ii in a ii-V-I progression in a minor key. Two different scales have been commonly used for this chord; one with a flat 9th, the 'locrian', and one with an unflatted ninth, the latter scale being more modern.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Half time:</b> A tempo half as fast.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Half time feel:</b> A time feel half as fast, while the chords go by in the same amount of time. Occurs in the intro to Chick Corea's Tones for Joan's Bones.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Hard Bop:</b> The style of the late 50s, engineered by Horace Silver, Art Blakey, etc. Still essentially Bebop, the style used hard-driving rhythmic feel and vehement, biting lines and harmony drenched with urban blues, rhythm 'n blues and gospel. Original compositions were stressed over the old standards used in Bebop, ranging from simple riff-based blues to elaborate compositions, sometimes using whole-tone scales. Hard Bop had a black, street flavor, a reaction, in part, to the intellectuality of the Cool School.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Harmonic rhythm:</b> The structural organization of chord progressions in time; the rate at which the chords pass by. Since this may not be related to the rhythms of the actual notes, it is an abstract concept.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Head:</b> The first (and last) chorus of a tune, in which the song or melody is stated without improvisation or with minimal improvisation.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Hip (or Hep)</b>: Keenly aware of or knowledgeable about life's developments, especially in the arts. "Hipness is what it is. But sometimes hipness is what it ain't..."</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Hipster (or Hepster):</b> One who is Hip (or Hep.)</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Horn:</b> A wind instrument; or any instrument.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Improvisation</b> (improv): The process of spontaneously creating fresh melodies over the continuously repeating cycle of chord changes of a tune. The improviser may depend on the contours of the original tune, or solely on the possibilities of the chords' harmonies, or (like Ornette Coleman) on a basis of pure melody. The 'improv' also refers to the improvisational section of the tune, as opposed to the head.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Inner voice:</b> A melodic line, no matter how fragmentary, lying between the bass and the melody.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Interlude: An additional section in a tune, especially one between one person's solo and another's. The Dizzy Gillespie standard A Night In Tunisia has a famous interlude.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Intro</b> (Introduction): A composed section at the beginning of a tune, heard only once.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Inversion:</b> (1) In traditional music theory, a chord with a note other than the root in the bass. (2) With regard to any particular voicing, especially a left-hand rootless voicing, a rearrangement of the voicing by moving the bottom note up an octave. Or, any one octavewise arrangement of a voicing.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Jazz:</b> (1) A style of American music that originated in New Orleans circa 1900, characterized by strong, prominent meter, improvisation, distinctive tone colors and performance techniques, and dotted or syncopated rhythmic patterns. (2) In a big band chart, a rhythm indication for medium to up-tempo swing (as opposed to latin).</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Jazz Standard: </b>A well-known tune by a Jazz musician. See Standard.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Jive: </b>the jargon of hipsters.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Jump:</b> A very fast 4/4, usually in a dance-band context.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Latin:</b> (1) Afro-Cuban, Brazilian or other South American-derived. There are many special terms used in Latin music and I haven't tried to include them here. (2) Played with equal eighth notes as opposed to swung (see swing def. 2). Also 'straight-8'. The feel of bossa novas and sambas.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Lay out</b>: Not play. See stroll.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Left hand rootless voicing ('LHRV'):</b> A close-position voicing without a root, played mainly in the octave of middle C. In a style perfected by Bill Evans, these left-hand chords are sprinkled in irregular syncopations under the right-hand melody. The absence of roots both frees the bass player and allows a richer harmony in the voicing. This has become the mainstream style of left-hand playing.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Lead Sheet:</b> A form of music notation that specifies the melody & harmony (and sometimes the lyric) of a tune. The melody is written in modern Western music notation and the harmony is specified with chord symbols above the staff. A single selection from a Fake Book is also referred to as a lead sheet. Also see "Chart".</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Legit</b>: The Jazz musician's somewhat ironic term for music, or a gig, that is not Jazz.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Line:</b> (1) A melody of successive, single notes. (2) A composed melody over predetermined chord changes, such as 'a line on Cherokee'. (3) One of the different voices, such as the bass or the melody.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Line-up:</b> The personnel of a band.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Long Meter:</b> A chart in 4/4 time is said to be written in long meter when a written eighth-note feels like a quarter-note, and a written half-measure feels like a whole measure. In this way, for example, a 64-bar tune can be written as if it were a 32-bar tune, which may make it easier to read. The term, though useful, is little-known.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Lydian:</b> A major scale or chord with a raised 4th; the mode of the major scale built on 4. Regarded as the most fundamental Jazz scale by influential theorist George Russell.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Lydian Dominant:</b> A dominant 7th scale with a raised 4th (11th). One of the fundamental forms of the dominant chord; also sometimes called 'lydo-mixian'. The scale/chord most appropriate for non-V dominants, such as II7 or bVII7.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Mainstream</b>: The style of Jazz regarded by the average player as today's norm, as opposed to fusion, rock, avant-garde, etc.; sometimes the term implies a somewhat conservative, relatively diatonic vocabulary exemplified by Oscar Peterson. Mainstream Jazz is in a highly evolved state, having incorporated virtually the entire harmonic language of 20th century tonal music. In timbre, phrasing, form and rhythmic feel mainstream Jazz still rests on a basis of Bebop, which is why 'modern' Jazz is considered to have started with Bebop in the early 40s.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Medium</b>: One of the standard Jazz tempos, neither 'up' nor 'ballad'.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Melodic minor:</b> In Jazz, a scale with a minor 3rd but a major 6th and 7th (both up and down). This scale and its modes (Altered, Half-diminished and Lydian Dominant are the familiar ones) make up a realm called melodic minor harmony. Also called 'tonic minor'.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Melody: Specifically</b>, the topmost line or voice.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Meter:</b> A basic music term, but sometimes not fully understood. The organization of the beats of time (or ground beat), moving at a certain rate (the tempo), into groupings which are heirarchical, that is, there is a unit of a stated number of beats (the bar) which includes strong and weak beats in an organized pattern. All this is implied by a 'meter' of 4/4, 3/4, etc.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Modal:</b> (1) Said of a section, or a whole tune, having static harmony (using one chord) and using scales from a particular mode, most typically the Dorian. (2) Having a key feeling derived not from dynamic chord progressions (like circle-of-fifths) but rather from repetition, monotony, and weight. (3) Loosely, a harmonic style that is diatonic and makes use of quartal harmony.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Mode:</b> An incarnation of a scale in which a certain note is taken as the root. Thus, each scale has as many different modes as it has different tones. In common usage, the major scale and the melodic minor scale are regarded as 'given' and the scales constructed with other notes as the root are called modes. The modes of the major scale have names (Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian); these names were applied in the Renaissance and have no relationship to the Greek originals. Some of the melodic minor scale's modes have names in today's theory: mode 3, the augmented major 7th; mode 4, the lydian dominant; mode 6, the half-diminished; mode 7, the altered.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Modern: </b>The styles of Jazz since 1945. Especially applied to Bebop, Cool Jazz, and Hard Bop.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Modulation: </b>The establishment of a new key. This is mainly a matter of harmonic progression, but expectation, emphasis and phrasing also enter into determining whether a new key has really been established. In standards, a modulation to the beginning of the bridge is strongly expected. Typically, a II - V or a iii - VI - ii - V progression in the new key is used.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Moldy Fig:</b> A term used by the Beboppers to deride players and fans of older styles, especially trad. Someone whose tastes are not up to date.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Monster</b>: A superior player.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Montuno:</b> A term of Latin music which crops up in other Jazz. (1) An indefinitely repeated pattern of 1, 2 or 4 bars in the piano, typically with ingeniously syncopated moving inner voices and a differently syncopated bass line. (2) Incorrectly, a pyramiding vamp in which one instrument enters alone, then another is added, and so on at regular intervals.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Moving inner voice: </b>A momentarily prominent line played by a voice in between the melody and the bass.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Neo-bop</b>: The conservative Bebop style of several successful players in the 90s, like Roy Hargrove.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Open voicing</b>: One in which the chord tones are spread out over a greater range.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Original: </b>A tune composed by a Jazz musician and played by him but perhaps not well-known to others.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Out: </b>The last chorus of a tune, when the head is played for the last time. On the stand the gesture of a raised clenched fist or a finger pointing to the head indicates that the out chorus is coming up.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Outer voice</b>: The melody line or the bass, the top or bottom line.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Outro:</b> A jocular term for coda; an added ending section.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Outside</b>: (1) The A sections of a tune, the parts other than the bridge. (2) A manner of playing over changes that avoids using the normal scales, or has no relationship to the changes. (3) A style of playing without using conventional Jazz chords.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Pattern:</b> A pre-planned melodic figure, repeated at different pitch levels. Something played automatically by the fingers without much thought. Reliance on patterns is the hallmark of a weak player.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Pedal:</b> A bass line that stays mainly on one note (or its octaves) under several changes of harmony. Also pedal-point. The most typical situation is when a dominant pedal (bass on V) underlies a turnaround progression like I - VI - ii - V. The root of the I chord can also act as a pedal.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Pentatonic:</b> Pertaining to scales of 5 notes to the octave, in particular 1-2-3-5-6 of the major scale. Pentatonic melodies are typical of much indigenous music around the world, and these scales are also an important part of the modern Jazz sound. Pentatonic melodies and patterns were especially typical of Jazz and fusion in the seventies.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Pickup:</b> A phrase beginning that comes before the beginning of the first bar. A pickup can be one note or a longer phrase.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Pocket:</b> In the pocket means perfectly in time, especially bass playing that is 'in the center' of the beat (rather than slightly leading or dragging the beat).</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Polytonality:</b> The use of two different keys simultaneously. Despite much loose talk, true polytonality is rare. Upper structures (q.v.) and outside playing do not usually qualify because there is always a strong single underlying tonality.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Progression:</b> A definite series of chords, forming a passage with some harmonic unity or dramatic meaning. One speaks of the progressions that crop up repeatedly in different tunes, and studies how to negotiate them. Chords in progressions are labelled with Roman numerals (I, II, etc.) while scale degrees, and upper structures (q.v.), are labelled with arabic numerals (1, 2, etc.).</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Quality:</b> The character of a chord given by its third, fifth, and seventh. The qualities are major, dominant, minor, tonic minor, half-diminished and diminished. In theory augmented major and augmented (dominant) would also be 'qualities' but they are usually just considered alterations.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Quartal:</b> Based on fourths. Chords built up of fourths were, famously, developed by McCoy Tyner in the John Coltrane Quartet in the 60s.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Quote</b>: A snatch of some other well-known tune thrown into a solo. A good quote is unexpected, incongruous and yet seems to fit perfectly. Some quotes are cliches, as 'Grand Canyon Suite' in 'All the Things You Are'.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Remote key</b>: A key distant on the circle of fifths from the original one, such as E major compared to C major.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Riff: </b>(1) A relatively simple, catchy repeated phrase. May be played behind a soloist or as part of a head. Often in a bluesy style. Riff tunes are made up of riffs, characteristic of the black bands of the 30s. (2) A pre-packaged phrase used by an improviser when he can't think of anything else, especially one which is especially catchy.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Root:</b> The fundamental pitch on which a chord is based, from which the chord takes its name, and to which the other tones of the chord are referred to intervallically the third, seventh, and so on, regardless of their actual intervallic relationship in an actual keyboard voicing. Note that the root is often absent in Jazz piano, both in voicings and in r.h. patterns and lines. This avoidance of the obvious is part of the character of Jazz.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Rhythm Changes</b>: The chords to 'I Got Rhythm' (Gershwin), somewhat modified and simplified. Many Jazz tunes use these changes and every player must know them. There are several variations.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Rhythm Section:</b> The piano, bass and drums in a combo, those who play throughout the tune, behind the soloists. Might also include guitar or vibes, or there might be no piano.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Run:</b> A rapid descending, or ascending, usually right-hand passage on the piano in the form of a continuous scale, or a scale with variations.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Scale</b>: (1) A selection of tones in the octave, arranged in ascending or descending order, usually but not always using intervals of half- or whole-steps, and using the same notes in every successive octave. One tone is usually thought of as being the root, but it need not be the first note played. Most scales have 5, 6, 7 or 8 notes to the octave but any number from 2 to 12 is possible. (2) The same group of tones regarded abstractly as a 'pool' of available notes. In this sense, scale really means the same as chord. There is a maxim: 'Scales are chords and chords are scales.' (3) A section of melody in the form of a scale.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Shed</b>: Short for Woodshed, to practice diligently.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Shell: </b>A two-note structure in the left hand, consisting of the root and one other note, usually the 7th, the 3rd or 10th, or the 6th. A simple, open left-hand style, used by Bud Powell and many of his imitators and followers.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Shout chorus</b>: A special, complete, through-composed chorus played just before the final out-chorus. Used in classic (20s) Jazz, some bebop, and a few modern compositions, such as Wayne Shorter's This Is For Albert.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Side-slipping:</b> To play a passage, a melody or chord, a half-step up or down from its expected place or in relation to the given harmony.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Sideman:</b> Any member of a band or small group other than the leader.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Solo:</b> Any one player's improvisation over one or more choruses of the tune (occasionally, especially in ballads, less than one chorus). A sharp distinction is made between soloing, and playing the head.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Song form:</b> A musical form with two contrasting themes A and B, thus-- A (8 bars); A repeated; B (8 bars); A repeated. The three A's have slightly different endings (turnarounds). Another common form may be called song form also, ABAB' (the second B starting like the first but ending differently). Most older standards are in song form.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Stand:</b> The bandstand or stage.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Standard: </b>A tune universally accepted and played by many Jazz musicians. Many standards are tin pan alley and Broadway songs from the 30s, 40s and 50s. Others are strictly Jazz compositions. A professional Jazz musician is expected to know many, many standards.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Stop time</b>: A rhythm where certain beats aren't played, e.g. 1 2 3 (rest) 1 2 3 (rest).</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Straight</b> 8s: With equal, even 8th notes. Same as 'Latin'.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Stride</b>: The typical piano style of the 30s, tending towards virtuosity. The left hand plays alternating low-register bass notes (or octaves, fifths or tenths) and middle register rootless voicings, giving an 'oom-pah' effect, interspersed with step-wise parallel tenths. The right hand often employs busy runs, arpeggios and octaves or full chords. Suggestions of stride remain in the technique of many of today's players.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Stroll:</b> Omit the piano. A soloist (playing a horn) strolls when he plays for a time with bass and drums only (or maybe the pianist strolls outside to have a smoke).</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Substitution: </b>A chord put in the place of a different chord. A substitution can be made throughout a tune, or just ad lib at a particular moment. Usually the operative idea is that the root of the chord is changed, while the other voices are common to both chords. Typical examples bII7 for V7, and iii for I.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Swing:</b> (1) The style of the 30s, when the big band was the dominant form of Jazz. The style implies certain types of harmony (use of added 6ths rather than 7ths in major and minor chords, of un-embellished diminished chords, frequent use of the augmented 5th and little use of the augmented 11th, etc.) and a rhythmic organization that states the beat explicitly, puts more weight on 1 and 3 and tends to obey the bar-line phrasing. (2) A rhythmic manner, unique to Jazz, in which the first of a pair of written 8th notes is played longer than the second, even twice as long, while the second tends to receive a slight accent, though the distribution of accents is irregular and syncopated. (The degree of this effect depends on the overall tempo, and is modified by the requirements of expression and phrasing.) (3) As a direction in a chart, played with a swing feel, as opposed to latin. (4) A mysterious, unexplainable quality in any music, but especially Jazz, which makes one 'feel that shit all up in your body' (Miles Davis).</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Syncopation:</b> The process of displacing 'expected' beats by anticipation or delay of one-half a beat. The natural melodic accent which would fall, in 'square' music, on the beat, is thus heard on the off-beat. This adds a flavor of ambiguity as to where the beat is (not an actual ambiguity, only a flavor).</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Technique</b>: the ability of instrumental and vocal musicians to exert optimal control of their instruments or vocal cords in order to produce the precise musical effects they desire. Improving one's technique generally entails practicing exercises that improve one's muscular sensitivity and agility.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Tenor:</b> The voice above the bass, often that played by the thumb of the left hand. Not a Jazz term.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Tetrachord:</b> A four-note portion of a scale. For example, the diminished scale is composed of two tetrachords with identical interval constructions.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Third stream:</b> A term coined by Gunther Schuller in the early 50s. The supposed confluence of Jazz and classical music.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Thumb line:</b> The Jazz term for 'tenor' (q.v.). A line played by the pianist's left thumb.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Timbre:</b> [pronounced tamb'r] Tone quality, characteristic instrumental sound. Not especially a Jazz term, but note that timbre is one of the basic dimensions of music along with rhythm, melody and harmony. Students sometimes have trouble developing a real Jazz timbre. For the piano the word 'touch' is more usual.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Time feel:</b> (1) The subjective impression of which time unit constitutes one beat and how long a bar is. May or may not correspond to the written music. (2) The emotional quality of the rhythm.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Tonic minor</b>: A scale / chord with a minor 3rd and a major 6th and 7th, generally used for the tonic or home chord in minor keys. Distinguished from other minor chord functions.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Top:</b> The beginning point of each chorus, the first beat of the first measure.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Trad:</b> (Traditional) the Jazz style of the of the early 1900s, known retrospectively as Dixieland. Used a marked 4/4 beat, triadic harmony, 'sectional' tunes (with numerous separate sections), simultaneous improvisation, largely I - IV - V type harmonies, etc.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Trading </b>4s (or 8s, 2s): A form of discontinuous drum solo in which 4 measure sections are alternately played solo by the drummer, and by the band with another soloist (who goes first). The latter can be one particular soloist throughout, or it can cycle through the different instruments. Also, two different instrumental soloists can trade 4s with each other, such as the trumpet and the sax. This is called a chase. Trading 4s usually goes on for one or two choruses.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Transpose</b>: To write or perform (a composition) in a key other than the original or given key, most often to accomodate the range of a vocalist or another instrument.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Triad: </b>(1) Concretely, a chord of three notes - the root, 3rd and 5th - played together in close position in one of the three inversions. (2) Abstractly, a chord with a root, 3rd and 5th but no 7th. Might be decorated with the 6th or 9th. Triadic harmony is characteristic of Dixieland and rock.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Tritone</b>: The interval of three whole steps, i.e. an augmented 4th or diminished 5th.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Tritone substitution: See 'Substitution'. The substitution of a chord whose root is a tritone away. In turnarounds it's common to do this for any of the chords.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Tune</b>: A single Jazz composition or Jazz performance, a piece. The word 'song' is frowned on.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Turnaround</b>: A sequence of chords, or the portion of a tune that they occupy, that forms a cadence at the end of a section of a tune, definitively establishes the tonic key and leads back to the opening chord of the next section, or to the top. Typically the turnaround chords are I - VI - ii - V, with half a measure apiece. With possible substitutions and alterations, the variations are infinite. There are also entirely different progressions possible. If the opening chord of the next section is not a I chord, the turnaround must be suitable. Learning to negotiate turnarounds is essential to making a coherent solo. It's often effective to play a phrase that starts partway through a turnaround and continues past the beginning of the next section.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Up:</b> In a fast tempo.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Upper structure</b>: A triad used in the upper register over a chord of a different root, such as an A major triad over a C7 chord. From the standpoint of C7, the A triad consists of the 13th, the flat 9th, and the 3rd; at the same time it has the unified sound of a major triad.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Vamp:</b> A simple section like a riff, designed to be repeated as often as necessary, especially one at the beginning of a tune. Also a constantly repeated bass line over which a solo is played.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Verse:</b> In many older standard songs, an introductory section, often rubato, that leads up to the 'chorus' or main strain, which is the tune as generally recognized. Jazz players (and fakebooks) usually omit the verse, though singers like to use them.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Voice</b>: Any one of the melodic lines formed by the flow of the music. The bass line and the melody form the two outer voices, and the tones in between may, to a greater or lesser extent, form melodic lines of their own called inner voices.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Voice-leading: </b>Getting the succession of harmonic tones in the inner voices to form coherent melodic lines of their own, or, at least, to move in a smooth, mainly step-wise motion. The perfection of voice-leading was in Bach, where 4 or more independent melodies can mesh to form perfect chordal harmony.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Voicing</b>: A particular arrangement of the notes of a chord in which chosen harmonies color the tone.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Walk:</b> In bass playing, to play mostly one note per beat, making a smooth, continuous quarter-note line. A fulfillment of the time-keeping function of bass playing, which many bass players have transcended since around 1960. The pianist can also walk with his left hand.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>West Coast School:</b> A much criticized label for the 'Cool' style (q.v.) as it was taken up in California in the early 50s by mostly white players, like Dave Brubeck, Gerry Mulligan, Chet Baker and many lesser figures like pianist Russ Freeman. In addition to the typical features of cool Jazz, the style experimented with 'classical' instruments and complex counterpoint.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Whole-tone:</b> A 6-note scale, of which there are two, made up entirely of whole-step intervals, or the harmonies derived from it. Used by Debussy and suggestive of 'impressionism'. In Jazz, associated with Thelonious Monk and explored in a number of hard bop originals.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Woodshed:</b> To practice diligently. Also 'shed'.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>X:</b> 'Time'. Thus ' 4X ' on a chart means '[play] four times'</span><br />
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><a href="http://jazzmastersinathens.blogspot.gr/2011/03/jazz-technology.html">Jazzin Science and Technology</a></span></div>
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Jazz in Athenshttp://www.blogger.com/profile/07542009548515299967noreply@blogger.com0tag:blogger.com,1999:blog-5842946099850430104.post-43291365417715234292015-08-27T11:58:00.000+03:002015-08-27T11:58:02.268+03:0021st Century Poster Design Pt.2<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><a href="http://jazzmastersinathens.blogspot.gr/2011/03/artwork.html">Jazzin Art</a></b></span></div>
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Jazz in Athenshttp://www.blogger.com/profile/07542009548515299967noreply@blogger.com0tag:blogger.com,1999:blog-5842946099850430104.post-826691861777850782015-08-22T13:03:00.000+03:002015-08-22T13:03:09.760+03:0021st Century Poster Design Pt.1<div dir="ltr" style="text-align: left;" trbidi="on">
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Jazz in Athenshttp://www.blogger.com/profile/07542009548515299967noreply@blogger.com0tag:blogger.com,1999:blog-5842946099850430104.post-70127410714807484332015-08-21T16:10:00.000+03:002015-08-21T16:10:04.935+03:00William Burroughs Sings<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Trebuchet MS, sans-serif;">“Bill Burrough’s Recurring Dream,” David Wojnarowicz, 1978</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">I think it’s safe to say that many, many more people have heard William Burroughs’ 1990 Dead City Radio album than have ever picked up one of his books and read it from cover to cover. I don’t feel this way at all, but I’ve heard from a lot of people that they think it’s the best thing Burroughs ever did.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Ignoring that uniformed sentiment and moving on, for most people, seeing the “A Thanksgiving Prayer” video every year on bOING bOING is practically the only exposure to Burroughs they’ll ever get and so therefore Dead City Radio assumes an unwarranted, out-sized importance in his body of work. (Personally I don’t find it that satisfying. Nothing Here Now But The Recordings, a selection from Burroughs’ archive of his occult reel-to-reel tape-recorder experiments, is 100x more interesting, but would be of no use whatsoever to most people who might profess to like “weird” stuff and just sound like someone messing around. That’s the material they should’ve slapped the Sonic Youth music over.)</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Ultimately what can be gleamed from this is that it’s more Burroughs’ “image” than anything else about him that has so much continuing—and even widespread—iconic currency in popular culture.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Timothy Leary? Abbie Hoffman? Younger people hardly have any idea of who they were or what they were all about. William S. Burroughs on the other hand? Well, do a search for his name on Tumblr and you’ll see.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">He’s well on his way to becoming as iconic as Che Guevara, James Dean or Marilyn Monroe. Give it more time, he’s only been dead since 1997. In terms of ready-made rebellious iconography for the Facebook generation, William Burroughs is the ultimate semiotic symbol for a truly dangerous mind.</span><br />
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Jazz in Athenshttp://www.blogger.com/profile/07542009548515299967noreply@blogger.com0tag:blogger.com,1999:blog-5842946099850430104.post-2854863113368202772015-08-20T12:25:00.000+03:002015-08-20T12:25:07.323+03:00Space sounds like a tropical forest<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Trebuchet MS, sans-serif;"><a href="http://www.sci-news.com/space/science-sounds-space-01641.html">CHORUS</a> consists of brief tones which sounds like a chorus of birds at daybreak created when electrons hit the Earth's atmosphere. This new audio composition has been created for the Trajectory Installation at Leicester University by Andrew Williams. It makes use of data collected by the Cluster 2 Satelite in 2001 using LWR (long wave radio.)</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Through a process of transposition and filtering the signal (which are naturally outside of the range of human hearing) the tones become audible. Andrew has shaped the material and developed a performance structure using a multi speaker difussion system to recreate the spatial qualities of the Earth Chorus within the gallery space. Andrew is Leverhulme Artist in Residence at the Space Research Centre, Leicester University.</span><br />
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Jazz in Athenshttp://www.blogger.com/profile/07542009548515299967noreply@blogger.com0tag:blogger.com,1999:blog-5842946099850430104.post-32102685449280656622015-08-19T20:17:00.000+03:002015-08-19T20:17:29.675+03:00Jazzin Recession > Playing A Different Tune >> Recession Brings Change To Jazz Club<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Trebuchet MS, sans-serif;">The cars rolled slowly along Sixth Avenue as the clock ticked toward noon. A few office workers headed into nearby delis and cafes, but the sidewalks weren't crowded and there was no sense of urgency.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Two stories up, John Dimitriou sat at his desk poring over paper work for his nightclub, Dimitriou's Jazz Alley. From his office window, the scene below seemed a far cry from midtown Manhattan, with its gleaming towers, glitzy shops and blaring taxicab horns. Seattle is far more subdued.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Never has that been more apparent to Dimitriou than now. For nearly a year, Seattle's leading jazz club has brought in New York-style talent at what some local customers consider New York-style prices. Emerging from what traditionally is his slowest season, worsened this year by a poor economy, Dimitriou is changing the club's focus.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">He's paring his prices and bringing in local talent once a week in hopes of attracting a new round of regulars. But one thing he wants to make clear is that he's not actively seeking a buyer for Jazz Alley, a Seattle institution since the 1970s. That rumor surfaced recently after an overzealous real estate agent placed an ad in the Wall Street Journal saying the club was for sale.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Like a child who has strayed too far from home, Dimitriou is taking the club - which he has owned for 12 years - closer to its roots.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">"We're going back to being a jazz club," Dimitriou said. "To me a jazz club has to be affordable for everybody. We don't want to be a special place for anniversaries or birthdays. We want to be a jazz club where you would not come every two or three months, but once a week. We want to be in the same range as a movie."</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">That philosophy calls for putting aside results of surveys taken before the economic downturn that showed customers were willing to pay more for bigger-name talent. That recently meant cover charges of $10 to $16 per night to see performers such as Dizzy Gillespie or Lionel Hampton - prices that were considered high for Seattle but were far less than other major markets such as New York, where sets at well-known jazz clubs run $25 or more.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">But with the downturn, Dimitriou found more of his customers' checks bouncing and credit cards being rejected. Worse yet, fewer customers were showing up for the gigs, culminating when nearly 200 people with dinner reservations failed to show up for keyboardist David Benoit's visit during the week of rioting in Los Angeles and rowdiness in Seattle sparked by the Rodney King verdict.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Having booked talent based on the hope that business would be better, Dimitriou lost money on some acts. That caused him to make some changes: He is cutting his cover charges to between $5 and $8, adding lower-priced menu items, lowering second-set cover charges, allowing children under 12 in free and featuring local talent on Monday nights to attract new customers. He's also bringing in performers who are less known outside traditional jazz circles.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">"The music has to make itself affordable by having people who may not have the name recognition of a Harry Connick Jr. but who certainly can produce the goods, the music," he said.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">A downturn in business during April and May sowed seeds of rumors that Jazz Alley was on the auction block.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">The rumors spread when a real estate agent called, asking if the club was for sale. Dimitriou, having expressed an interest in spending more time with his 3 1/2-year-old son, Ari, said he would consider taking a minority interest in the club or selling it if he received an offer he couldn't refuse.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">After the Journal ad ran, Dimitriou said he fielded numerous calls from those who have known him over the years, wondering if he had reached his peak in the business. Not so, he said. "We have no buyers, we are not pursuing or being pursued," he said. "We're very happy here.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Revenues at the club have grown from $700,000 in 1979 to $1.5 million in 1991, its best year.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Seldom does Jazz Alley make money on cover charges, Dimitriou said, since performers get up to 90 percent of the cover. An act usually costs between $8,000 to $15,000 (but can go as high as $30,000) for a weeklong stay in Seattle. In addition, Jazz Alley covers the cost of air fare, meals and accommodations.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Jazz Alley, with its large stage, theatrical lighting and sophisticated sound system, relies on volume to turn a profit. The club is unusual in that it seats a large number of people, 250, and serves a full dinner menu.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">"I think Jazz Alley represents what jazz clubs have to do to survive," said Jim Wilke, host of "Jazz After Hours", a syndicated program heard locally on KPLU-FM. "It's one of the most attractive jazz clubs one encounters anywhere. It has great sight lines and sound. I don't know what more you could ask for in the comfort of a club."</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Musicians tend to agree."I think it's the best jazz club in the country. It's the only one I play," said pianist Dr. Billy Taylor, a leading spokesman for the nation's original art form.</span><br />
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Jazz in Athenshttp://www.blogger.com/profile/07542009548515299967noreply@blogger.com0tag:blogger.com,1999:blog-5842946099850430104.post-83343318618697311432015-08-18T11:57:00.001+03:002015-08-18T11:57:47.990+03:00John Cage and Marcel Duchamp <div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Trebuchet MS, sans-serif;">Dreams that Money can Buy: a film by Hans Richter with many artists. This is a Duchamp's fragment with music by <a href="http://jazzmastersinathens.blogspot.gr/2011/11/musical-notations-of-john-cage.html">John Cage</a>.</span><br />
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Jazz in Athenshttp://www.blogger.com/profile/07542009548515299967noreply@blogger.com0tag:blogger.com,1999:blog-5842946099850430104.post-33004511458242362632015-08-17T14:27:00.000+03:002015-08-17T14:27:26.726+03:00Listen to this<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Trebuchet MS, sans-serif;">In 2008, New Yorker music critic Alex Ross published The Rest Is Noise: Listening to the Twentieth Century — a remarkable historical and social context for contemporary music, which went on to become one of the most influential music history books ever written. Last fall, Ross released his highly anticipated sequel: Listen to This — an outstanding effort to explain and understand the world through its musical proclivities, from European opera to Chinese classical music to Bjork. Though the book, an anthology of the author’s most acclaimed essays with a deeper focus on classical music, is further removed from neuroscience than the rest on this list, Ross’s astute observations on the emotional and social experience of music make it an indispensable addition nonetheless.</span><br />
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Jazz in Athenshttp://www.blogger.com/profile/07542009548515299967noreply@blogger.com0tag:blogger.com,1999:blog-5842946099850430104.post-12018780170409358432014-11-05T14:49:00.000+02:002014-11-05T14:49:12.301+02:00Pat Metheny /TAP: John Zorn's Book of Angels Vol. 20<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Trebuchet MS, sans-serif;">PAT METHENY/TAP: John Zorn's Book of Angels Vol. 20</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">CD will ship on Friday 5/24! Pat Metheny adds his contribution to John Zorn’s ambitiously expansive Masada Book Two with Tap: The Book of Angels, Volume 20. This album is the first collaboration between the two artists, considered among their generation’s most innovative musicians. Besides his frequent collaborator, drummer Antonio Sanchez, Metheny plays all other instruments—guitars, sitar, tiples, bass, keyboards, orchestrionics, electronics, bandoneón, percussion, flugelhorn, and more—himself. </span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Track List: The Book of Angels, Volume 20: Tap </span><br />
<span style="font-family: Trebuchet MS, sans-serif;">1.<span class="Apple-tab-span" style="white-space: pre;"> </span>Mastema</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">2.<span class="Apple-tab-span" style="white-space: pre;"> </span>Albim</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">3.<span class="Apple-tab-span" style="white-space: pre;"> </span>Tharsis</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">4.<span class="Apple-tab-span" style="white-space: pre;"> </span>Sariel</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">5.<span class="Apple-tab-span" style="white-space: pre;"> </span>Phanuel</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">6.<span class="Apple-tab-span" style="white-space: pre;"> </span>Hurmiz </span><br />
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Jazz in Athenshttp://www.blogger.com/profile/07542009548515299967noreply@blogger.com0tag:blogger.com,1999:blog-5842946099850430104.post-84276995559401671422014-10-27T16:34:00.000+02:002014-10-27T16:37:12.794+02:00Beats Unraveled<div dir="ltr" style="text-align: left;" trbidi="on">
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Jazz in Athenshttp://www.blogger.com/profile/07542009548515299967noreply@blogger.com0tag:blogger.com,1999:blog-5842946099850430104.post-45100913834743128692014-07-11T15:37:00.000+03:002014-07-11T15:37:17.501+03:00Beautiful African Woman Plays Guitar In A Slightly Non-Traditional Manner<div dir="ltr" style="text-align: left;" trbidi="on">
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Jazz in Athenshttp://www.blogger.com/profile/07542009548515299967noreply@blogger.com0tag:blogger.com,1999:blog-5842946099850430104.post-67947070246284517652014-07-10T21:53:00.000+03:002014-07-10T21:53:25.860+03:00The Science of How Music Enchants the Brain<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Trebuchet MS, sans-serif;">How harmony, melody, and rhythm trigger the same reward systems that drive our desires for food and sex.</span><br />
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Jazz in Athenshttp://www.blogger.com/profile/07542009548515299967noreply@blogger.com0tag:blogger.com,1999:blog-5842946099850430104.post-34661444796982894112014-06-10T02:52:00.000+03:002014-06-10T02:52:36.818+03:00Egberto Gismonti<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Trebuchet MS, sans-serif;">Egberto Amin Gismonti (born December 5, 1947 in Carmo, Rio de Janeiro, Brazil) is a Brazilian composer, guitarist and pianist. </span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Gismonti began his formal music studies at the age of six on piano. After studying classical music for 15 years, he went to Paris to study orchestration and analysis with Nadia Boulanger and the composer Jean Barraqué, a disciple of Schoenberg and Webern. After his return to Brazil, Gismonti began to explore other musical genres. He was attracted by Ravel's approach to orchestration and chord voicings, as well as by "choro", a Brazilian instrumental popular music featuring various types of guitars. In order to play this music he learned to play guitar, beginning on the 6-string classical instrument and switching to a ten-stringed guitar in 1973. He spent two years experimenting with different tunings and searching for new sounds. This exploration of timbre is further reflected in his use of kalimbas, Shō, voice, bells, etc. By the early '70s, he had laid the groundwork for his current style which incorporated elements drawn from musicians as wide-ranging as Django Reinhardt and Jimi Hendrix. In the 1970s and 1980s he collaborated several times with Nana Vasconcelos recording for ECM. Some best-selling albums such as the Brazilian released eponymous Egberto Gismonti were never officially released internationally</span><br />
<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">Discography</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Albums:</b></span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Egberto Gismonti (Elenco [Brazil], 1969)</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Sonho 70 (Polygram [Brazil], 1970)</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Janela De Ouro - 1970 - France</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Computador - 1970 - France</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Orfeo Novo - 1971 - Germany</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Água & Vinho - 1972 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Arvore - 1973 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Academia De Danças - 1974 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Coraçoes Futuristas - 1976 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Dança Das Cabeças (ECM, 1977) with Nana Vasconcelos</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Carmo - 1977 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Sol Do Meio Dia (ECM, 1978)</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">No Caipira - 1978 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Solo (ECM, 1979)</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">E. Gismonti & N. Vasconcelos & M. Smetak - 1979 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Magico (ECM, 1979) with Charlie Haden and Jan Garbarek</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Circense - 1980 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Folk Songs (ECM, 1981) with Charlie Haden and Jan Garbarek</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Em Familia - 1981 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Sanfona (ECM, 1981) solo and with Academia de Dancas</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Frevo - 1980 - Brazil (EMI Odeon)</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Fantasia - 1982 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Guitar From ECM - 1982 - France</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Sonhos De Castro Alves - 1982 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Cidade Coraçao - 1983 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Egberto Gismondi & Hermeto Pascoal - 1983 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Works (ECM, 1984)</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Egberto Gismonti - 1984 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Duas Vozes (ECM, 1985) with Nana Vasconcelos</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Trem Caipira - 1985 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Alma - 1986 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Feixe De Luz - 1988 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Pagador De Promessas - 1988 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Dança Dos Escravos (ECM, 1989)</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Kuarup - 1989 - film music score - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Duo Gismonti/Vasconcelos Jazzbuhne Berlin - 1989 - live recording - East Germany</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Infância (ECM, 1990)</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Poetic Anthology of Joao Cabral De Mello E Neto - 1979 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Poetic Anthology of Ferreira Gullar - 1979 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Poetic Anthology of Jorge Amado - 1980 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Children's Music - A Viagem Do Vaporzinho Tereré - with Dulce Bressante - 1980 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Children's Music - O Pais Das Aguas Luminosas - 1980 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Children's Music - O Girigivel Tereré - with Francis Hime - 1980 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Amazônia - 1991 - film music score - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">El Viaje - 1992 - film music score - France</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Casa Das Andorinhas' - 1992 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Música de Sobrevivência - 1993 - Germany (ECM)</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Egberto Gismonti - 1993 - Live at the 87 Festival in Freiburg Proscenium - CDV - Germany</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Egberto Gismonti - 1993 - Live at 93 São Paulo -Tom Brazil - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Zigzag - 1996 (ECM)</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Meeting Point - 1997 (ECM)</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">In Montreal - 2001 (ECM) with Charlie Haden</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Saudacoes - 2009 (ECM) with Alexandre Gismonti</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Magico: Carta de Amor - 2012 (ECM) Live archive from 1981 with Haden & Garbarek</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Albums as producer and/or arranger:</b></span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Dulce - O Samba Do Escritor - 1968 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Maysa - 1969 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Agostinho Dos Santos - 1969 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Marie Laforet - 1970 - France</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Johnny Alf - Nos - 1973 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Airto Moreira - Identity - 1975 - USA</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">A Barca Do Sol - 1975 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Flora Purim - Open Your Eyes, You Can Fly - 1975 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Paul Horn - Altura Do Sol (High Sun) - 1976 - USA</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Wanderléa - Vamos Que Eu Ja Vou - 1977 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Marlui Miranda - Olho D’Agua - 1979 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Nana Vasconcelos - Saudades (ECM, 1979)</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">A Cor Do Som - Intuição - 1984 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Bernard Wystraete - Intromission - 1985 - France</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Production and/or Performances as musician in Carmo/LPs released in Brazil:</b></span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Andre Geraissati - Entre Duas Palavras - 1983</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Nando Carneiro - Violão - 1983</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Luiz Eça - Luiz Eça - 1984</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Robertinho Silva - Bateria - 1984</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Piry Reis - Caminho Do Interior - 1984</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Aleuda - Oferenda - 1984</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Antonio José - Un Mito Uma Coruja Branca - 1984</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Carioca - Sete Dias, Sete Instrumentos, Musica - 1984</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Grupo Papavento - Aurora Dorica Para O Embaixador De Jupiter - 1984</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Artistas Carmenses - Carmo Ano 1 - 1985</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Luigi Irlandini - Azul E Areira - 1985</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Mú Carvalho - Meu Continente Encontrado - 1985</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">William Senna - O Homen Do Madeiro - 1985</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Nando Carneiro - Mantra Brasil - 1986</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Luiz Eça, Robertinho Silva and Luiz Alves - Triângulo - 1986</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Marco Bosco - Fragmentos Da Casa - 1986 Piry Reis - Rio Zero Grau - 1986 Fernando Falçao - Barracas Barrocas - 1987</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Production and/or Performance in Carmo/ECM CD’s released outside of Brazil:</b></span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Arvore - Egberto Gismonti, group and Orchestra - 1991</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Circense - Egberto Gismonti, group and Orchestra - 1991</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Violão - Nando Carneiro - 1991</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Kuarup - Egberto Gismonti, group and Orchestra - 1991</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Academia De Danças - Egberto Gismonti, group and Orchestra -1992</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Trem Caipira - Egberto Gismonti group - 1992</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Nó Caipira - Egberto Gismonti, group and Orchestra - 1992</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Amazonia - Egberto Gismonti group - 1992</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">7 Dias, 7 instrumentos, musica - Carioca - 1992</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Musical Contributions</b></span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Yeahwon Shin - Yeahwon (2010); Gismonti plays piano on the final track</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Music for Ballet:</b></span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Maracatu / Choreography of Décio Otero with Ballet Stagium - 1974 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Coraçoes Futuristas / Choreography of Vitor Navarro with Corpo De Baile Do Teatro Municipal De São Paulo - 1976 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Conforme A Altura Do Sol, Conforme A Altura Da Lua / Choreography of Décio Otero with Ballett Stagium - 1978 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Dança Das Cabeças / Choreography of Décio Otero with Ballet Stagium - 1978 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Construçao / Choreography of Klaus e Angel Vianna - 1978 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Sonhos De Castro Alves / Choreography of Antonio Carlos Cardoso with the Corpo De Baile Do Teatro Castro Alves - Salvador - 1982 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Variaçoes / Choreography of Graziela Figuerca with Grupo Coringa - 1984 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Agua y Vinho / Choreography of Philip S. Rosemond at University of Cincinnati - 1986 - Ohio, USA</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Pantanal / Choreography of Décio Otero with the Ballet Stagium - 1986 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Variações Sobre Villa Lobos / Choreography of Décio Otero with the Ballet Stagium - 1987 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Maracatu / Choreography and performance of Ballet Babinka - 1986 - Uruguay</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Jogo De Buzios / Choreography of Antonio Carlos Cardoso with the Corpo De Baile Do Teatro Castro Alves - 1988 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Natura / Choreography of Laura Dean Dancers and Musicians - 1988 - Live music performance in USA</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Sonhos De Castro Alves 2 / Choreography of Victor Navarro with the Corpo De Baile Do Teatro Castro Alves - 1988 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Inconfidentes / Choreography of various choreographs with the Corpo De Baile De Teatro Palacio Das Artes - 1988 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Iemanja / Choreography of Joe Alegado with Tanz-Forum (Opera’s Ballet of Cologne) - 1990 - live music performance at Philharmonic of Köln - Germany</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Danças Solitarias / Choreography of Jochen Ulrich with Tanz-Forum (Opera’s Ballet of Cologne) - 1990 - performance at Philharmonic of Köln - Germany</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">7 Anéis / Choreography of Jochen Ulrich with Tanz-Forum (Opera’s Ballet of Cologne) - 1990 - performance at Philharmonic of Köln - Germany</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Arrivals and Deparatures / Choreography of Philip S. Rosemond - 1991 - Space for Dance - Boulder, Colorado, USA</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Carmen / Choreography of Jochen Ulrich with Tanz-Forum (Opera’s Ballet of Cologne) - 1993 - performance at Köln, Ludwigsburg and Ludwigshafen - Germany</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Movie Scores:</b></span><br />
<span style="font-family: Trebuchet MS, sans-serif;">A Penultima Donzela / Directed by Fernando Amaral - 1969 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Em Famiglia / Directed by Paulo Porto - 1971 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Confissões do Frei Abóbora / Directed by Braz Chediak -1972 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Janaina / Directed by Olivier Perroy - 1973 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Terra do Guaraná / documentary - 1974 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Quem tem Medo do Lobisomem / Directed by Reginaldo Farias - 1973 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Nem os Bruxos Escapam / Directed by Valdir Ercolani - 1974 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Polichinelo / Directed by Jean Pierre Albicoco - 1975 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Raoni / Directed by Jean Pierre Dutilleux - 1976 - France</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Parada 88 / Directed by José by Anchieta - 1977 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Cruising / Directed by William Frietkin - 1979 - USA</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Ato by Violência / Directed by Eduardo Escorel - 1980 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Pra Frente Brasil / Directed by Roberto Farias - 1981 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Euridyce / Dir. by Mauro Alice / Documentary - 1983 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Avaeté / Directed by Zelito Vienna - 1985 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">La Bela Palomera / Directed by Rui Guerra - 1987 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Kuarup / Directed by Rui Guerra - 1988 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Amazonia / Directed by Monti Aguirre - 1990 - USA</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">El Viaje / Directed by Fernando Solanas - 1991 - Argentina</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Tempo De Paz / Directed by Daniel Filho - 2009 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Chico Xavier / Directed by Daniel Filho - 2010 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Music for Special TV series:</b></span><br />
<span style="font-family: Trebuchet MS, sans-serif;">As Nadadoras / (Art Video) TV Manchete of Mariza Alvares Lima - 1986 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">? - Diadorim / (Art Video) of José de Anchieta - 1987 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Pantanal / (Documentary) TV Manchete of Washington Novaes - 1986 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">O Pagador De Promessas / (Mini-serie of 15 episodes) TV Globo of Dias Gomes, dir. Tizuca Yamasaki - 1988 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Um Grito Pela Vida / Conservation International Production - Haroldo e Flavia Castro - 1991 - USA</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Amazonia Parte II / (serie of 120 episodes) TV Manchete of T. Yamsaki and Regina Braga, dir. Tizuca Yamasaki - 1992 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Kuarup / (Mini-serie of 5 episodes) TV Manchete of Rui Guerra - 1992 - Brazil</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Music for Theater (Brazil):</b></span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Maria Minhoca / by Maria Clara Machado - 1969</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Encontro No Bar / by Braulio Pedroso / dir. by Celso Nunes with Camila Amado and Zanoni Perrite - 1973</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Seria Comico Se Nao Fosse Serio / by Dürrenmatt / dir. by Celso Nunes with Fernanda Montenegro, Mauro Mendoça and Fernando Torres - 1974</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Festa de Sabado / by Braulio Pedroso & Geraldo Carneiro, dir. de Daniel Filbo and Antonio Pedro with Camila Amado and Antonio Pedro - 1976</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">O Pequeno Principe / by Saint Exupery with Carlos Vereza and Susane Carvalho - 1978</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Dor De Amor / by Braulio Pedroso dir. by Paulo Cesar Pereio with Paulo Cesar Pereio and Scarlet Moon - 1976</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Bandeira Dos Cinco Milreis / by Geraldo Carneiro, dir. by Aderbal Jr. with Maria Padiha and Marco Nanini - 1985</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Passageiro Da Estrela / Dir. by Sergio Fonta, with Lidia Brondi - 1984</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">O Homen Sobre o Parapeito Da Ponte / by Guy Poissy with Carlos Vereza and Clemente Vizcaino - 1987</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Sonhos De Uma Noite De Verão / by William Shakespeare, dir. by Werner Herzog - 1992 for Exp</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Music for expositions of Painters & Sculptors (all in Brazil):</b></span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Os Muito Universos / by Miralda Pedroso (installation) - 1985</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Ita-Parica / (Fragmentos de uma exposiçao) by Miralda Pedroso (installation) - 1985</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Figueira Branca / by Akiko Fujita (Sculpture & Installation) - 1986</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Os Sete Aneis / by Antonio Peticov (Sculpture) - 1986</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Written Music for different ensembles:</b></span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Music for 48 Strings - dedicated to Igor Strawinsky</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Ritmos & Danças - guitar and Orchestra - dedicated to Léo Brower</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Dança das Sombras - Chamber Orchestra - 1983</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">10 Guitar Studies - 1979/1990</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">10 Strings Quartet - 1987/1990</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Songbook - released by Editions Gismonti - 1989/1990</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">10 Piano Studies - 1989/1990</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Musica de Sobrevivência - Symphonic Music commissioned by Sec. Cultura de São Paulo - 1990</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Realejo - Chamber Orchestra - 1991</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Strawa no Sertão - Chamber Orchestra - 1991</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Cabinda, a cantiga dos Espiritos - (5 movements) Symphonic Music commissioned by Zürich Symphonic Orchestra - 1992</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Imagem & Variações - Symphonic Music commissioned by São Paulo Symphonic Orchestra - 1992</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Strawa no Sertão, Maxixe - Symphonic Music commissioned by Copenhagen Symphonic Orchestra - 1993</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Lundú - Symphonic Music commissioned by Copenhagen Symphonic Orchestra - 1993</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Forró - Symphonic Music commissioned by Orchestra Symphonic of Bahia - OSBA - 1993</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Frevo - Symphonic Music commissioned by Cordoba Symphonic Orchestra 1993</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Dança dos Escravos - Symphonic Music commissioned by Cordoba Symphonic Orchestra - 1993</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b>Previous ‘94 Releases & Works:</b></span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Gismonti & Vasconcelos - Live at ‘87 Montreux Jazz Festival - Warner Bros. CD</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Gismonti & C. Haden - Live at ‘89 Montreal Jazz Festival - Polygram Classics CD</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Gismonti & Ars Nova - Gismonti Vocal Music - ECM Records CD</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Livro das Ignorânças - Music based in Manoel de Barros Poems - ECM Records CD</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Casa das Andorinhas - Music for ‘92 Brazilian TV Series - Carmo/ECM CD</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Bandeira do Brasil - Compilation of E. Gismonti works - Carmo/ECM CD</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Song Book number 2 - Mundiamusic & Ed. Gismonti - Switzerland - songbook</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Music for Strings Quartet - Mundiamusic & Ed. Gismonti - Swintzerland - music book</span><br />
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><a href="http://jazzmastersinathens.blogspot.gr/2011/04/paco-de-lucia-entre-dos-aguas-1976.html">Egberto Gismonti - "Danca das cabecas"</a></span><br />
<a href="http://jazzmastersinathens.blogspot.gr/2012/01/charlie-haden.html"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">Egberto Gismonti - "Palhaco"</span></a><br />
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<b><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><a href="http://jazzmastersinathens.blogspot.gr/2011/03/showcasing-amazing-artists.html">Showcasing Amazing Artists</a></span></b></div>
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Jazz in Athenshttp://www.blogger.com/profile/07542009548515299967noreply@blogger.com0tag:blogger.com,1999:blog-5842946099850430104.post-30632344904735253602014-05-01T22:05:00.000+03:002014-05-01T22:05:16.080+03:00A Brief History of Sampling<div dir="ltr" style="text-align: left;" trbidi="on">
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Jazz in Athenshttp://www.blogger.com/profile/07542009548515299967noreply@blogger.com0tag:blogger.com,1999:blog-5842946099850430104.post-22391656415221094372014-05-01T22:03:00.000+03:002014-05-01T22:03:53.214+03:00Musical Instruments Photographed From Inside<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Trebuchet MS, sans-serif;">They say beauty comes from within, and music does so quite literally – most sounds of music are created inside the instruments. Maybe that is the reason why <a href="http://www.behance.net/gallery/ART-DIRECTION-INSTRUMENTS-FROM-INSIDE/340016">Mona Sibai and Björn Ewers</a> came up with an idea to photograph musical instruments from inside to promote Berlin Philharmonic orchestra</span>.<br />
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Jazz in Athenshttp://www.blogger.com/profile/07542009548515299967noreply@blogger.com0tag:blogger.com,1999:blog-5842946099850430104.post-40326258801061002032014-04-07T22:18:00.000+03:002014-04-07T22:18:09.213+03:00Jack DeJohnette - Joe Lovano - Esperanza Spalding - Leo Genovese in Athens!<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Trebuchet MS, sans-serif;"><b>The Spring Quartet</b></span></div>
<span style="font-family: Trebuchet MS, sans-serif;">Jack DeJohnette — Joe Lovano — Esperanza Spalding — Leo Genovese</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">11-12 Απριλίου 2014</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">20:30 Κεντρική Σκηνή </span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><a href="http://www.sgt.gr/gr/stegi/17,70">Στέγη Γραμμάτων και Τεχνών Ιδρύματος Ωνάση</a></span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Πολύ σπάνια πραγματοποιούνται συνεργασίες μουσικών αυτού του μεγέθους! Στη συγκεκριμένη περίπτωση, η συνεργασία προέκυψε με φυσικότητα, καθώς οι μουσικοί αυτοί είχαν ήδη επαφές μεταξύ τους, ανά δύο ή τρεις, παίζοντας και δοκιμάζοντας ιδέες. Κοινός παρανομαστής τους είναι το πρώιμο ξεκίνημά τους, από την ηλικία των 4-5 ετών, η σχέση τους με το Κολέγιο του Berklee, αρκετές συμπράξεις με σημαντικούς τζαζίστες (Holland, Metheny, Hancock, Haden, McCoy Tyner), αλλά κυρίως μια χωρίς αποκλεισμούς μουσική φιλοσοφία.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Ο ΝτεΤζωνέτ είναι εμβληματική μορφή, έχοντας θητεύσει ως ντράμερ των Davis, Coltrane, Monk, Evans, Rollins, Jarrett κ.ά. Ο Λοβάνο βάδισε σε απάτητα μονοπάτια, αποδεικνύοντας μοναδικές ικανότητες στη διεύρυνση της μουσικής του σαξοφώνου, και όχι μόνο. Η χαρισματική μπασίστρια Σπάλντινγκ είναι από τα λαμπρότερα ανερχόμενα αστέρια της τελευταίας επταετίας. Τέλος, ο Αργεντινός αντισυμβατικός πιανίστας Γενοβέζε θεωρείται από τους ικανότερους στη διατήρηση αναγνωρίσιμου ύφους μέσα από διαφορετικές τεχνικές.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Στον ήχο τους διαθλώνται πολυμορφίες επιρροών και επιλογών, αποχρώσεων και επινοήσεων (χαρακτηριστικές των κορυφαίων κάθε τέχνης) και ένας βιωματικά εκλεπτυσμένος εκλεκτισμός.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Jack DeJohnette: ντραμς </span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Joe Lovano: σαξόφωνο</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Esperanza Spalding: μπάσο</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Leo Genovese: πιάνο</span><br />
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<b><span style="font-family: Trebuchet MS, sans-serif;">Διαβάστε περισσότερα:</span></b><br />
<span style="font-family: Trebuchet MS, sans-serif;">• Ο Τζακ ΝτεΤζωνέτ ποτέ δεν διαχώρισε τα μουσικά είδη, υπήρξε πρωτοπόρος crossover αφετηριών, δυναμικά παρών σε ετερόκλητες αναζητήσεις, χωρίς να χάνει το προσωπικό του στίγμα. Από τις αναρίθμητες συνεργασίες του ξεχωρίζουν η τετραετής θητεία του πλάι στον Μάιλς Ντέηβις, ο πολυετής διάλογος με τους Σόννυ Ρόλλινς και Χέρμπι Χάνκοκ, καθώς και τα 30 χρόνια στο τρίο του Κηθ Τζάρρετ.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">• Οι 23 δίσκοι του Τζο Λοβάνο στην Blue Note αποτελούν σημείο αναφοράς κάθε σύγχρονου σαξοφωνίστα. Ο πατέρας του έπαιζε τενόρο σαξόφωνο με τον Stan Getz, κάτι που ευτύχησε να κάνει και ο ίδιος!</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">• Η Σπάλντινγκ, που το όνομά της (Esperanza) σημαίνει ελπίδα στα ισπανικά, είναι επίσης πολύγλωσση βοκαλίστρια, έχοντας λάβει υμνητικές κριτικές («μισός άγγελος, μισή σειρήνα»).</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">• Κοινό στοιχείο και των τεσσάρων είναι η βαθιά γνώση και άλλων οργάνων: πιάνο (ΝτεΤζωνέτ), κρουστά (Λοβάνο), βιολί (Σπάλντινγκ), κάθε πληκτροφόρο (Γενοβέζε). Περαιτέρω ομοιότητες: εμφανίσεις στα ίδια φεστιβάλ, στις ίδιες πόλεις των ΗΠΑ, της Ευρώπης και της Αφρικής, συμμετοχές σε εργαστήρια και masterclasses. Απολαμβάνουν να παίζουν «είτε στο Carnegie Hall είτε σ’ ένα πάρκο». Τέλος, εκτός του πιανίστα, όλοι τους έχουν τιμηθεί με Grammy. Και όχι μία φορά!</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">• Αυτή θα είναι η δεύτερη επίσκεψη του ΝτεΤζωνέτ στη Στέγη. Η προ διετίας εμφάνισή του (17/5/11 με τον Ravi Coltrane και το κουαρτέτο του), προκάλεσε αίσθηση, ήταν sold-out και χαρακτηρίστηκε μουσικό γεγονός της χρονιάς.</span><br />
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Jazz in Athenshttp://www.blogger.com/profile/07542009548515299967noreply@blogger.com0tag:blogger.com,1999:blog-5842946099850430104.post-57703584468789021692014-03-31T22:31:00.000+03:002014-03-31T22:31:43.218+03:00BaRock style Cellos<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Trebuchet MS, sans-serif;">Luka Sulic and Stjepan Hauser playing their arrangement of Thunderstruck by AC/DC BaRock style</span><br />
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><a href="http://jazzmastersinathens.blogspot.gr/2011/03/not-only-jazz.html">Jazz and More</a></span><br />
<span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><a href="http://jazzmastersinathens.blogspot.gr/2011/03/music-video-pods.html">Jazzin Music</a></b></span></div>
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Jazz in Athenshttp://www.blogger.com/profile/07542009548515299967noreply@blogger.com0tag:blogger.com,1999:blog-5842946099850430104.post-80755413942129179572014-03-25T13:29:00.002+02:002014-03-25T18:47:40.080+02:00Pad Trio at TEDxAthens 2013<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Trebuchet MS, sans-serif;"><span style="background-color: #444444; color: white; line-height: 16.309091567993164px;">Οι Pad Trio, το μουσικό τρίο της ελληνικής ηλεκτρονικής σκηνής έκανε την είσοδο του στη σκηνή του TEDx Athens αξιοποιώντας και μιξάροντας τον φυσικό ήχο του διαστήματος που μας παραχώρησε ο Δρ. Σταμάτης Κριμιζής.</span></span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><span style="background-color: #444444; color: white; line-height: 16.309091567993164px;">Ο αστροφυσικός δηλαδή που συμμετείχε σε σημαντικές αποστολές της NASA, αφιερώνοντας τη ζωή του ολόκληρη στη μελέτη του σύμπαντος.</span></span><br />
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<span style="font-family: Trebuchet MS, sans-serif;"><span style="background-color: #444444; color: white; line-height: 16.309091567993164px;">Συνέχισαν όμως στα δικά τους μονοπάτια χρησιμοποιώντας τα αγαπημένα τους pad σε ένα performance με δυνατο και σύγχρονο και ρυθμό. </span></span><br />
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<a href="http://beatquick.com/" style="font-family: 'Trebuchet MS', sans-serif;">Pad Trio </a><span style="font-family: 'Trebuchet MS', sans-serif;">Are: Kill Emil,Billa Qause and J.Melik</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">TEDxAthens is a world-class conference about Innovation, Creativity and Ideas based in Athens, Greece. TEDxAthens is one of the first TEDx events worldwide and the first ever TEDx event in Greece - started in May 2009. Its main goal is to develop and leverage the TED experience at a regional level, uniting innovators, thinkers, inspirational speakers, shakers, makers and breakers. TEDxAthens is curated by Dimitris Kalavros-Gousiou and organized by a team of 40 volunteers.</span><br />
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<span style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><a href="http://jazzmastersinathens.blogspot.gr/2011/03/life-style.html">Jazzin Athens watching TED/Talks</a></span></div>
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Jazz in Athenshttp://www.blogger.com/profile/07542009548515299967noreply@blogger.com0tag:blogger.com,1999:blog-5842946099850430104.post-40278246800064184552014-03-23T15:31:00.000+02:002014-03-23T15:31:44.746+02:00What Can Jazz Teach Us about Business?<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Trebuchet MS, sans-serif;">You might not think that jazz and business have much in common, but a business professor who moonlights as a jazz pianist begs to differ.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Frank Barrett, author of “Yes to the Mess: Surprising Leadership Lessons from Jazz,” makes a convincing case that the ability to improvise and collaborate in the face of constant change is as important to business people as it is to jazz musicians. So sit back, listen to “Kind of Blue” by Miles Davis or another jazz favorite and contemplate some tips gleaned from Barrett’s work:</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Deviate from routines. Rote activity doesn’t lead to the path of innovation or disruptive technology.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Make plans flexible. Written strategies must allow room for flexibility to ensure freedom to collaborate and discover.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Don’t seek linear growth. A jazz-driven approach requires the constant revision of assumptions and lessons learned from failure.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Anticipate change. If you’re ready for change, you can respond more effectively when it comes.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Maintain baseline expectations. Even while embracing unconventional approaches, standards still apply.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Adapted from <a href="http://www.cioinsight.com/books-for-cios/slideshows/ten-leadership-traits-learned-from-jazz-07/">Ten Leadership Traits</a> Learned from Jazz at CIO Insight.</span></div>
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Jazz in Athenshttp://www.blogger.com/profile/07542009548515299967noreply@blogger.com0tag:blogger.com,1999:blog-5842946099850430104.post-68061109885908721152014-03-19T02:26:00.000+02:002014-03-19T02:34:17.421+02:00Juno spacecraft records the sound of space on its way to Jupiter<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Trebuchet MS, sans-serif;">The Waves instrument aboard NASA's Juno spacecraft recorded amateur radio signals from ham radio operators from around the world.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Here you can check out the sounds of Earth's magnetosphere that Juno recoded as it was passing Earth to speed up on its way to Jupiter.</span><br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/rQ4GuBq21BM" width="560"></iframe>
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<span style="font-family: Trebuchet MS, sans-serif;">The radio signals were recorded by Juno's Waves instrument trying to catch the "Hi" sent in morse code by 1,400 radio amateurs throughout the world.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">You can learn more about this experiment in this video:</span><br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/_yqHy_MpNiQ" width="560"></iframe>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><a href="http://jazzmastersinathens.blogspot.gr/2011/03/not-only-jazz.html"><b>Jazz and more</b></a></span></div>
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Jazz in Athenshttp://www.blogger.com/profile/07542009548515299967noreply@blogger.com0tag:blogger.com,1999:blog-5842946099850430104.post-22212534416702474672014-03-12T17:29:00.000+02:002014-03-12T17:29:31.480+02:00Swing Era Paintings > Blues (1929)<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><span style="font-family: Trebuchet MS, sans-serif;">Archibald J. Motley Jr, </span><span style="font-family: 'Trebuchet MS', sans-serif;">Blues (1929), </span><span style="font-family: 'Trebuchet MS', sans-serif;">Oil on canvas, 80 x 100.3 cm, </span></b><b style="font-family: 'Trebuchet MS', sans-serif;">Collection of Archie Motley and Valerie Gerrard Browne </b><b style="font-family: 'Trebuchet MS', sans-serif;">© Archie Motley</b><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Archibald J. Motley Jr</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">(1891-1981)</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Archibald J. Motley Jr was one of the first of several artists to concentrate on African American life in his paintings. Even though he never worked or lived in Harlem, his work provided a foundations for much of the work that became identified with the Harlem Renaissance. Motley is best-known for his portraits and genre scenes of Chicago's Black Belt.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">"In his painting Blues, Archibald J. Motley Jr. placed this notion of an enticing, performance based black agency into immediate visual action. Set in Parisian 'Black and Tan' club (where a clientele comprised mostly of blacks from South Africa, the Caribbean and the US would fraternize, dance, and listen to the latest black American music), Blues gives form, colour, and meaning to the Harlem Renaissance idea of a part aural, part performative act of black enchantment. Motley's dense composition of cabaret patrons, wine bottles, musicians, instruments, and seemingly disembodied arms and legs all add up to a pictorial gumbo of black creativity: a painted space where musical layering and sexual partnering parallel a fractured, cubistic approach to art and representation. But unlike the emotional and cultural distance to artistic subject matter found in the circa 1920s cubist paintings of Picasso and Braque, Motley's Blues is bold in its racial and cultural locus for modernism, and assertive in its aesthetic privileging of black performers."</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
<span style="font-family: Trebuchet MS, sans-serif;">Paul Gilroy,'Modern Tones',</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Rhapsodies in Black: Art of the Harlem Renaissance</span><br />
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><a href="http://jazzmastersinathens.blogspot.gr/2013/08/swing-era-paintings_12.html"><b>Swing Era Paintings</b></a></span><br />
<span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><a href="http://jazzmastersinathens.blogspot.gr/2011/03/artwork.html">Jazzin Art</a></b></span></div>
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Jazz in Athenshttp://www.blogger.com/profile/07542009548515299967noreply@blogger.com0