Workshops und Clinics
Michael Schiefel - Vocal Masterclass
Die Masterclass richtet sich primär an Studierende im Haupt- oder Nebenfach Gesang, ist aber auch offen für ALLE übrigen Studierenden!
Angezogen von der dort neu entstehenden Jazzszene zog Michael Schiefel Anfang der neunziger Jahre nach Berlin. Seitdem begeistert er mit seinen verschiedenen Solo- und Bandprojekten Jazzfans im In- und Ausland. Bereits 1997 erfuhr seine erste Soloplatte "Invisible Loop" viel Lob von Publikum und Presse. Ebenso positive Resonanz rief Michaels eher introspektive CD "I Don't Belong" hervor. In Verbindung mit seiner markant virtuosen Stimme experimentiert er mit den Ausdrucksmöglichkeiten von Loop-Geräten und anderer Elektronik. Aus dieser einzigartigen Kombination entstehen so Gefühle der Leidenschaft und Entfremdung. Im September 2006 erscheint Schiefels aktuelle Solo CD "Don't Touch My Animals", deren deutsche und englische Lieder von der Liebe, vom Großstadtleben oder Apfelkuchenköniginnen erzählen.
Aber immer alleine auf der Bühne zu stehen macht auch keinen Spaß. Ob Funk und Pop mit JazzIndeed, Modern Jazz mit David Friedman, Big Band mitThärichens Tentett oder Balkan-Jazz mit dem deutsch-bulgarischen Quintett Batoru -- in jedem Fall kann man Schiefels vielseitige Stimme immer neu entdecken.
Wenn Michael nicht gerade als Professor für Jazzgesang in Weimar aufstrebende Künstler unterrichtet, begegnet man ihm auf Konzerten und Festivals in aller Welt. Neben zahlreichen Auftritten in Deutschland ist Michael - unter anderem als Gastkünstler des Goethe-Instituts - in Europa, Amerika, Asien und Afrika unterwegs.
Masterclass: Loren Stillman and the Bad Touch Band
Loren Stillman, Saxophone
Nate Radley, Guitar
Gary Versace, Organ
Ted Poor, Drums
In a musical age of predominantly solo careers, Bad Touch - alto saxophonist Loren Stillman, guitarist Nate Radley, organist Gary Versace, and drummer Ted Poor - has set out to nurture their identity as a collective. With a shared goal of developing improvised music, these likeminded musicians draw on a wide spectrum of jazz improvisational techniques within original compositions. Bad Touch believes that mutual friendship and commitment yield the most fulfilling musical adventures, and aims for their work to reflect this philosophy.
As freelance musicians, each has collaborated, recorded, and traveled internationally with some of the most established names in jazz, including Bill Frisell, Paul Motian, Cuong Vu, Chris Potter, Ben Monder, Billy Hart, John Scofield, Maria Schneider, John Abercrombie, Al Foster and Charlie Haden.
Like a Magic Kiss marks the first self-release by the collective, CD's available at CD Baby and Itunes.
Bad Touch Website
Drummers-Masterclass mit Chris Dave
Chris Dave has been around the world and back playing for and recording with some of music?s most established and iconic artists including: Adele, Maxwell, D'Angelo, Beyoncé , Kenny Garrett, Terrence Blanchard, Wynton Marsalis, Pat Metheny, Donald Brown, MF Doom, Bilal, Lupe Fiasco, Me'shell N'Degeocello, Lalah Hathaway, Ledisi, Sonny Rollins, the Robert Glasper Trio/Experiment, Pharoahe Monche, TLC, Toni Braxton, Kevin Mahogany, Kim Burrell, Mos Def, Erykah Badu, Common, Talib Kweli, Jill Scott, A Tribe Called Quest, Mint Condition (Janet Jackson World Tour), Michelle Williams, Dianne Reeves, Sa Ra, Geri Allen, Yolanda Adams, Soulful Symphony, Reginald Veal and more.
Born in Houston, Texas, drummer Chris Dave, also known as Chris "Daddy" Dave, began his music career in the late 1980s. Chris Dave is one of the most revered and in demand musicians of his generation. His eccentric approach to the drum set and his ability to adapt to any musical setting, whether jazz, hip-hop or R&B, has put him in a category of his own.
Chris Dave got his start, like many musicians, playing in church. Although gospel music was an important facilitator of Chris Dave's early style development, he credits jazz music as his strongest influence. As a teenager, he was exposed to jazz legends like Miles and Coltrane when listening to music with his father. Chris Dave blossomed on the drums, eventually graduating from Houston?s prestigious High School for the Performing and Visual Arts.
He studied at Howard University in Washington D.C. where he met acclaimed producers and former Prince associates Jimmy Jam and Terry Lewis. Through this relationship, Chris Dave began working with R&B band Mint Condition and the rest as they say, is history.
As the 1990s came to an end and the 2000s began, Chris Dave's assent as one of the greatest drummers in the world began to take shape. His open interpretations of rhythm and his ability to conform to each musical setting differently led to many new opportunities and platforms for Chris Dave to show his evolution to the world. Recent projects include his contribution as the featured drummer on Adele's Grammy nominated album 21 and Maxwell's Grammy winning album BLACKsummers?night.
Many of the world's touted geniuses and great thinkers have experienced a time when their work and ideas flourished. For Chris Dave, that time is now. With the proven track record that spans over a variety of genres, the 90s to the present mark a time where Chris Dave has redefined the role of the modern drummer. He has taken his unique approach to production, tweaked it and applied it to the drum kit, creating an original sound that no other drummer can claim. Recent Tweets
Vocal-Masterclass mit Jay Clayton
by Scott Yanow: Jay Clayton is both a very significant singer in the jazz avant-garde and a highly influential educator. Clayton learned standards very early from hearing her mother sing around their house. She took private piano lessons from a young age and studied at the St. Louis Institute for Music for a short time. She graduated from Miami University in Oxford, OH in 1963 with a degree in Music Education. Although she studied classical music at school, Clayton sang jazz on the weekends at local clubs. After graduation she moved to New York. While at first she sang standards in clubs, she became one of the first jazz singers to start performing with freer and more avant-garde musicians, in addition to utilizing electronics and interacting with poets. An abbreviated list of her associates through the years includes saxophonists Mark Whitecage, Steve Lacy, Jane Ira Bloom, and Gary Bartz, clarinetist Perry Robinson, trombonist Julian Priester, pianists Muhal Richard Abrams, and George Cables, and the innovative a cappella group Vocal Summit, which teamed her with Jeanne Lee, Urszula Dudziak, Bobby McFerrin, and Norma Winstone.
As an educator, Clayton was inspired by Sheila Jordan and has become just as influential. She has taught at a countless number of seminars, workshops, and master classes, was on the jazz faculty of Cornish College of the Arts for 20 years, and has taught at Universitat fur Musik in Austria, the Bud Shank Jazz Workshop, City College, the New School in New York City, the Vermont Jazz Workshop and the Banff Center in Canada. As a singer, Clayton has been well documented through the years, recording for such labels as Anima, Hep, West Wind, ITM, Winter & Winter and Sound Winds. She has also recorded a duo set of standards with pianist Fred Hersch, Beautiful Love, for Sunnyside.
Masterclass: Kikoski / Edwards / Kozlov / Sipiagin / Hagenlocher
Donald Edwards dr
Boris Kozlov b
Alex Sipiagin tp
Jürgen Hagenlocher ts
Masterclass: Formanek / Berne / Taborn / Cleaver
Tim Berne as
Craig Taborn p
Gerald Cleaver dr
ECM - Release: September 2012
"Formanek's tunes are marvelous vehicles for these wonderful players to express a kind of group ethos and soar into new avenues of improvisation."
- All About Jazz
Small Places is double-bassist/composer Michael Formanek's follow-up to The Rub and Spare Change, his widely lauded ECM debut as a leader. That 2010 release garnered a rare five-star review in DownBeat magazine, while The New York Times described the disc as being "graceful in its subversions, often even sumptuous." The review in Progression perhaps put it best: "This type of listening experience, dense yet luminiferous, treads the tightrope between cerebral and streetwise in a damn cool way." The new album features the same powerhouse band of longtime confreres, with Formanek in seemingly telepathic league with saxophonist Tim Berne, pianist Craig Taborn and drummer Gerald Cleaver. If anything, Small Places is a step beyond this quartet's first release, with the compositions and improvisation blending so that a listener is scarcely able to tell where one leaves off and the other begins. Earthy yet atmospheric, this is jazz alive with dark-hued melody and bone-deep rhythms, rich in dynamic possibility and the sound of surprise.
Unlike The Rub and Spare Change, which was recorded after only a few initial live performances by Formanek and company, Small Places represents a group honed by touring both Europe and the U.S. together. Moreover, the quartet performed the full repertoire of Small Places in a New York club just before heading into Avatar Studios in autumn 2011 with producer Manfred Eicher. Small Places is the sound of a working band in peak form, challenged by the material and challenging each other in its expression.
"For this record, it wasn't just a great idea - it was a real band," Formanek says. "We had some history playing together as a quartet, so I didn't just write the new music based on my impression of what these guys could do - I wrote it based on my experience of what they can do. After being on the road with Tim, Craig and Gerald, I realized that I could write virtually anything, such was their commitment to making the music as rich as it can be. I knew that each of them would find the space in the music to express himself and elaborate on what I had written. None of these guys do the obvious things. They are extremely patient improvisers, with nobody just blasting through the material. As musicians, they are sensitive to possibilities."
JazzTimes, writing about The Rub and Spare Change, described the quartet as "vibrant and instinctive, performing music that combines rigor and reckless abandon." With Small Places, Formanek pushed both ends of the envelope, with writing both more structured than on the previous album (as with the rhythmically driving "Rising Tensions and Awesome Light") and more open (the shadowy, lyrical "Wobble and Spill"). The group reacted to each direction with playing of imaginative energy and utmost sensitivity. Berne - whose own ECM debut as a leader, Snakeoil, was released earlier this year to acclaim - contributes some of his most purely beautiful playing on record ever. Formanek says: "I've been working with Tim since the early '90s, and as much as I've heard him do, he keeps growing and expanding as a musician. He always surprises and impresses me with what he can and will do."
In an interview with JazzTimes, Berne spoke to the seamlessness of this quartet's music making, the ego-free, cliché-resistant blend between composition and improvisation: "Playing with Mike requires a certain selflessness, where you don't care about getting applause for yourself. I don't even think of solos and comping, or of frontline and rhythm section. I think of us as four strong opinions each having his say." In October 2012, the quartet will support Small Places with tours of both the U.S. (Oct. 2-7) and Europe (Oct. 10-21). Echoing Berne, Formanek says: "These guys have such extremely strong personalities as players that they come up with a way of expressing my music that is totally surprising to me - and more powerful than anything I would've thought of on my own. And when we go back on the road and play this music, I know it will be different and surprising again."
Small Places features off-kilter balladry of keening concision ("Slightly Off Axis") and a piece of raga-like atmospherics ("Soft Reality"), but there are also essays in muscular ostinato ("Pong") and intense epics with the band in full cry ("Parting Ways"). "Seeds and the Birdman" burns slowly and swings freely, while the title track showcases the astonishing rhythmic virtuosity of this quartet, in particular that of the pianist. Taborn - whose 2011 ECM solo debut, Avenging Angel, was greeted by critical praise on both sides of the Atlantic - produced such teeming performances that they make Formanek laugh when recollecting their impact in the studio. "As multifaceted as I knew Craig was, it's so much deeper than I ever imagined," the bassist says. "How much music he can deal with, the number of ideas he shoots back at you - I mean, it is just so vast. To see what he can do with a simple theme, how he can instantly develop it and transform it into something personal and complete, well, it knocks me out.
"Craig and Gerald have this rapport, too, that makes so many things possible, dynamically," Formanek adds. "When they play together, there is always something happening almost imperceptibly underneath the surface - these little cells - that makes the music so much deeper, more interesting and more exciting. That's what I really love in this music, and in music that I like to listen to, generally - it's the depth of detail. As a bass player, I have always focused on that - the things within the thing. And that's what the new album's title, Small Places, refers to - it's often the nooks and crannies where the really interesting things are happening."
Born in San Francisco, California, in 1958, Michael Formanek has performed in myriad contexts since he played a precocious gig with Tony Williams Lifetime when only 18. The bassist has worked with old masters from Lee Konitz to Joe Maneri via Joe Henderson, Freddie Hubbard and Stan Getz, as well as with a who's who of contemporary New York progressive players (including as a member of Tim Berne's longstanding Bloodcount band). As a leader, Formanek released a string of albums on the Enja label in the 1990s, as well as a solo bass disc for Berne's Screwgun label. Formanek teaches jazz bass at the Peabody Conservatory of Music in Baltimore, where he also directs the Peabody Jazz Orchestra. In 2007, the orchestra premiered his composition The Open Book.
Einführungswoche mit Carlo Mombelli (SA)
Mombelli wird verschiedene Ensembles zusammenstellen, mit denen er ein Programm gestaltet, welches er in der darauffolgenden Woche, am Mi. 19. September im bird's eye mit einem Abschlusskonzert präsentieren wird.
Mo. 10. September, 10:30-12:30, Performance-Saal
Mo. 10. September, 14:00-17:00 und Di. 11. bis Sa. 15. September jeweils 10:00 bis 13:00 und 14:00 bis 17:00
Mi. 19. September, 20:30 im jazz club bird's eye
Joris Roelofs Workshop
Jesse van Ruller, g
Joris Roelofs, s
Clemens van der Feen, b
Joris Roelofs, born 1984 in Aix-en-Provence (France), raised in Amsterdam (Netherlands), plays saxophones, clarinet and flute.
He started to play classical clarinet at the age of six, and then started the alto saxophone at the age of twelve. He was a member of the Vienna Art Orchestra from 2005 to 2010. Joris also plays lead alto in the Jazz Orchestra Of The Concertgebouw in the Netherlands. He graduated in 2007 as a Master of Music at the Conservatory of Amsterdam. In 2001 Joris won the Pim Jacobs Price. In 2003 he received, as a first non-American, the Stan Getz/Clifford Brown Fellowship Award in the US, organized by the International Association Of Jazz Education (IAJE). The IAJE also honored him with a "First Level" price. In 2004 Joris received the first price of the prestigious Deloitte Jazz Award in the Netherlands, a Dutch Award for young musicians who are just about to start their international carrier. In 2008 he was selected for the Thelonious Monk International Saxophone Competition. Among others, Joris played with Brad Mehldau, Dee Dee Bridgewater, Christina Branco, Lionel Loueke, Joshua Redman, Chris Potter, Chris Cheek, Eric Harland, Lewis Nash, Aaron Goldberg, Greg Tardy, Ralph Peterson, Vanguard Jazz Orchestra, Pete King, Sonny Fortune, Greg Hutchinson, WDR Big Band, Ari Hoenig, Matt Penman, Alegre Correa. He was recently asked by Brad Mehldau to perform with him at the Carnegie Hall in New York and Sanders Theatre in Boston. At age 16 Joris performed the famous clarinet introduction of Gershwin's Rhapsody in Blue for a TV show with the Orkest van het Oosten, and in that same show was also featured as a soloist with the Jazz Orchestra Of The Concertgebouw. Also he recorded as a special clarinet soloist with the Metropole Orchestra with Laura Fygi (2004). As a leader he performed several times at the North Sea Jazz Festival, Concertgebouw in Amsterdam, Smalls Jazz Club in NYC, among other places. In October 2008 he did a European release tour with Ari Hoenig, Aaron Goldberg and Johannes Weidenmueller to promote his debute album "Introducing Joris Roelofs". In 2009 and 2010 he did his second and third tour with Aaron Goldberg, Greg Hutchinson, Reginald Veal, Joe Sanders. Joris also plays in a trio with Jesse van Ruller and Clemens van der Feen, they released their album ?Chamber Tones? and toured in Japan. Joris' new CD "Live At The Bimhuis" will come out the end of August.
As a sideman Joris has been playing at a large number of international jazz festivals and jazz clubs, all over the world. He moved to New York City in March 2008.
The 3 Cohens Masterclass
Yuval Cohen - Soprano Saxophone
Avishai Cohen - Trumpet
Yonatan Avishai - Piano
Omer Avital - Bass
Johnathan Blake - Drums
THE 3 COHENS
"To the ranks of the Heaths of Philadelphia, the Joneses of Detroit and the Marsalises of New Orleans, fans can now add The 3 Cohens of Tel Aviv." - All About Jazz
The best jazz groups are made up of kindred spirits, but the rare family band has something more - an intuitive feel for each other that goes beyond words and gestures to a kind of bred-in-the-bone telepathy. The 3 Cohens are that sort of uncommon collective, a trio of siblings from Tel Aviv, Israel - tenor saxophonist/clarinetist Anat Cohen, trumpeter Avishai Cohen and soprano saxophonist Yuval Cohen - whose sense of improvisational interplay is both uncannily fluent and wonderfully, infectiously warm. Along with performing on stages the world over, The 3 Cohens have three studio albums to their credit: One (2004), Braid (2007) and Family (released October 11, 2011, via Anzic Records). Like the widely praised Braid, the new Family was recorded in Brooklyn, and the disc features the three Israeli horn players in league with a swinging New York rhythm section: pianist Aaron Goldberg, double-bassist Matt Penman and drummer Gregory Hutchinson. Family underscores the fact that even with the individual careers each of the Cohens pursue to increasing international success, there is something special about the music the three make together.
"We can talk without talking," says Anat, the middle child. "Often, we don't even have to look at each other onstage. We have such history together that we feel each other through the music."
Yuval, Anat and Avishi Cohen grew up in Tel Aviv under the same roof and in the same schools, with the common environment helping to shape close musical tastes, approaches and ideas. The three attended the Tel Aviv School for the Arts, the "Thelma Yalin" High School for the Arts and the Jaffa Music Conservatory, their backgrounds including some symphonic orchestral playing. But it was jazz that soon captured their imaginations. Through the World Scholarship Tour, each of the Cohens received the means to attend the Berklee College of Music in Boston, where they expanded their musical horizons. Postgraduation, the trio formed a sextet and performed their original music at the Lodz Jazz Festival in Poland. This was the seed of One, their debut album as The 3 Cohens, recorded in 2003. Since then, The 3 Cohens sextet has ranged from acclaimed appearances at the Tel Aviv Jazz Festival, Caesarea Jazz Party and Givatayim Jazz Festival in Israel to performances at the Tudo é Jazz Festival in Brazil and the JVC and Portland Jazz festivals in the U.S. The 3 Cohens have also played top clubs from Paris, Italy and Australia to the famed Village Vanguard in Manhattan, performing a week-long residency there in 2009.
The 3 Cohens Website
Pete Robbins Workshop
Mikkel Ploug - guitar
Simon Jermyn - bass guitar
Kevin Brow - drums
Pete Robbins moved to New York in September 2002 and immediately became "a welcome presence on the creative music scene" (Time Out New York). He has since performed or recorded with John Zorn, Mark Dresser, Craig Taborn, Ben Monder, Mario Pavone, Kenny Wollesen, and countless others, and has performed at festivals and clubs in nine different countries.
Robbins leads "an ambitious ensemble that combines spacious avant-gardism with the melodic punch of rock" (New York Times), and has been called a "style master" (AllAboutJazz.com), "fiercely creative" (Time Out New York), and "a real force" in jazz (pianist Paul Bley). Robbins has been featured in The New York Times, The Washington Post, The Boston Globe, JazzTimes, JazzWise, Jazzman, and National Public Radio.
His studio releases "Waits and Measures" (Playscape) and "Do The Hate Laugh Shimmy" (Fresh Sound/New Talent) were both named as top-10 jazz releases in 2006 and 2008, respectively; Robbins's fourth album as a bandleader will be released on May 25, 2010 on his own Hate Laugh Music label.
For his compositional achievements, Chamber Music America recently awarded Robbins with their prestigious "New Works: Creation and Presentation" grant as well as their "New Works: Encore" award on behalf of the Doris Duke Charitable Foundation. Robbins was also a 2009 guest adjudicator for the Brooklyn Arts Council regrant program.
JIM BLACK - Masterclass
14:00-17:00 all instruments
"Fluent in all languages." -Time Out NY
"wickedly inventive... A revelation." -CMJ
Jim Black is at the forefront of a new generation of musicians bringing jazz into the 21st century. In addition to being one of the most influential drummers of our time, he is also the leader of one of the world's most forward-thinking bands, AlasNoAxis, featuring his longtime collaborators Chris Speed, Hilmar Jensson and Skúli Sverrisson. Based on the foundation of his virtuosic but highly personal approach to jazz drumming, Black's aesthetic has expanded to include Balkan rhythms, rock songcraft and laptop soundscapes. Though he is revered worldwide for his limitless technique and futuristic concepts, what many listeners treasure in most Jim Black's work is the relentless feeling of joy and invention he brings to his performances. Jim Black's smiling, kinetic, unpredictable presence has enthralled and inspired audiences worldwide for over twenty years.
Since the mid-90's, Black has played a major role in the incorporation of new sounds and techniques into the jazz/creative music context. As a member of the collective group Pachora (with Speed, Sverrisson, and guitarist Brad Shepik) Black was one of the leaders in the study and adaptation of Balkan music into jazz-based music. His advanced techniques abstracted the odd time signatures of the Balkans into a new polyrhythmic language equally informed by modern jazz, drum&bass and the dumbeks of the Balkans. Black has also been an innovator in the use of electronics in improvisation, bridging the gap between electro-acoustic improv and more jazz-based traditions. Today, Black's performances are just as likely to feature his laptop-based electronic textures as his drumming.
Born in 1967, Jim Black grew up in Seattle alongside future colleagues Chris Speed, Andrew D'Angelo and Cuong Vu. After cementing their personal and artistic relationships in Seattle's various youth jazz ensembles, in 1985 they moved to Boston, where Black entered the Berklee School of Music. In Boston, Black, Speed and D'Angelo formed Human Feel with guitarist Kurt Rosenwinkel, which rapidly attracted the attention of the jazz cognoscenti in Boston, New York and beyond.
By 1991, Black and the other members of Human Feel had moved to New York City, where they electrified the Downtown music scene then centered around the Knitting Factory and rapidly became among the city's busiest sidemen. Black's early years in New York saw him take featured roles in some of the most critically acclaimed bands of the time, like Tim Berne's Bloodcount, Ellery Eskelin's trio, and Dave Douglas's Tiny Bell Trio. Thus began fifteen years of near-constant touring and recording, with the above bands as well as artists like Uri Caine, Satoko Fujii and Laurie Anderson.
Guillermo Klein - Artist in Residence
"I will provide the same spìrit I bring when I perform anywhere. I will work with the students to make the music be true, make the individuals and the band sound good with an understanding of what they are playing."
Guillermo Klein, geboren und aufgewachsen in Buenos Aires, zog 1990 als junger Pianist nach Boston um am Berklee College of Music Komposition zu studieren. 1993 wechselte er nach New York, wo er seine erste Big Band gründete. Dank Kleins innovativen und faszinierenden Kompositionen wurde diese Band rasch zum integrierten Bestandteil der New Yorker Szene.
Internationale Bekanntheit erlangte Klein durch seine Arbeit mit der zehnköpfigen Formation "Los Guachos", in der unter anderen Musiker wie Miguel Zenon, Chris Cheek, Bill McHenry, Ben Monder und Jeff Ballard mitspielen. Kleins Kompositionen zeichnen sich durch raffinierte rhythmische Patterns, spannende harmonische Schichtungen und eindringliche Melodien aus. Bekannt für seine Originalität liefert Klein dichte Energiefelder für den improvisierenden Jazz und integriert gleichzeitig Klänge aus seinen vielseitigen musikalischen Wurzeln und Erfahrungen. Folkloristische Tangos und Chacareras aus seiner argentinischen Heimat sind ebenso vertreten, wie europäischer Modernismus, Kontrapunkt oder Minimalismus. Klein Besucht die Basler Musikhochschule seit drei Jahren regelmässig um als Komponist, Combo und Big Band Leader mit den Studierenden zusammen zu arbeiten. Sein diesjähriges Abschlusskonzert mit der Big Band wird er am So. 18. März in der alten Druckerei im Ackermannshof geben (20:00).
Guillermo Klein: Each Song, Its Own World - Aktuell im JazzTimes (Nov. 2010)
André Limão Queiroz: Brazil Rhythm & Grooves
Brazil Rhythm & Grooves - Different ways to practice and improvise with latin & samba-grooves on drumset and percussion-instruments:
"This Project seeks to create new mechanisms of execution practice based on specific Brazilian Rhythms, arising from folklore and from Brazilian Popular Music transcribed from CD, Sheet Music and from research on the field in folklore events. These mechanisms have, as their purpose, to offer material for the technical study of the drumset that allows the musician to acquire fluency for improvisation and the composition of new rhythms and musical themes being supported by rhythm elements from Brazilian music.
Firstly, it will be presented a "Folklore and Popular Brazilian Music" material which will comment on the origin, social behavior and rhythms from "Maracatu" and "Tambor de Crioula". Mechanisms for the practice of the instrument will be created from the studies of drumstick technique and motor coordination from this material.
The drumstick studies are based on a methodology already created by north american authors in which, from a rhythm cell laid upon a grouping of notes, turning them into accents thus generating metric organizations. Variables to be cyclically practiced will be created from that. Rhythm cells originated from "Tambor de Crioula" and "Maracatu" are selected and organized with coherence, aiming to create cycles from variables of pattern cells originated from these traditions in order to create an alternative material for the practice of the technical development of the drumset that allows the acquisition of fluency to phrase and improvise over the chosen theme, be it "Tambor de Crioula" or "Maracatu" and a combination from these. A "Tambor de Crioula" rhythm pattern will be used to give an example for the application of this study. The motor coordination studies also follow the methodology used by north american authors. They are built from "Ostinatos" played by two or three limbs ( both arms and one leg or both legs and an arm) while the remaining limbs play various rhythm cells against the "Ostinato".
Rhythmic lines traditionally used in variations and improvisations presented in these folklore manifestations were also researched and organized to be played with ostinatos resulting from possible combination of Ostinatos and simultaneous improvisation.
The rhythmic cells established for the study of the drumstick technique are also used in the creation of motor coordination exercises. These combinations are not restricted to ostinatos composed by elements from only one source of folklore. It will intend to create "fusions", composing new rhythmic forms, aiming to provide a established or improvised Brazilian Rhythmic Language. Rhythm patterns researched from "Maracatu" will be used to demonstrate this study."
Cléber Alves: Ventos do Brasil
Musik hat im Alltag Brasiliens einen sehr hohen Stellenwert. Und in keiner anderen Musik-Tradition sind die Grenzen der verschiedenen Stile so frei überschreitbar wie in Brasilien. Wie im Jazz mischen sich afrikanische und europäische Traditionen zusammen mit Improvisation zu einer Grundbasis. Während im Jazz die Präsenz von Gospel und Blues eine wesentliche Rolle gespielt haben, sind in Brasilien viele Volksmusikrichtungen, aber auch die klassische Musik wichtige Einflüsse.
Der Reichtum an verschiedenen Rhythmen ist enorm. Allein aus dem Nordosten stammen Frevo, Forró, Baião, Marakatú, Xote. Zudem ist der Samba (der nicht aus dem Nordosten stammt) ist überall gegenwärtig. Aber auch hier gibt es allerlei Varianten wie Samba Canção, Bossa Nova, Sambaião, Partido Alto u.a. Ein besonderer, eigener Stil hat sich im Staat Minas Gerais entwickelt, wo auch die Beatles grosse Einflüsse bei den Musikern de Clube da Esquina (Milton Nascimento, Lô Borges, Toninho Horta u.v.a.) hinterlassen haben.
Ventos do Brasil
Ein Konzertprojekt mit Cleber Alves und Studierenden der Abteilung Jazz, in Kooperation mit dem bird's eye Jazz Club:
Workshopphase vom 21. bis 30. Januar 2012
27.1.2012, 16.00 Uhr, Roche'n'Jazz im Museum Tinguely
31.1. und 1.2.2012, 20.30 Uhr im birds eye Jazz Club