1.
Cape Town
–
Cape Town is a coastal city in South Africa. It is the second-most populous urban area in South Africa after Johannesburg and it is also the capital and primate city of the Western Cape province. As the seat of the Parliament of South Africa, it is also the capital of the country. It forms part of the City of Cape Town metropolitan municipality, the city is famous for its harbour, for its natural setting in the Cape Floristic Region, and for such well-known landmarks as Table Mountain and Cape Point. As of 2014, it is the 10th most populous city in Africa and it is one of the most multicultural cities in the world, reflecting its role as a major destination for immigrants and expatriates to South Africa. The city was named the World Design Capital for 2014 by the International Council of Societies of Industrial Design, in 2014, Cape Town was named the best place in the world to visit by both the American New York Times and the British Daily Telegraph. Located on the shore of Table Bay, Cape Town was first developed by the Dutch East India Company as a station for Dutch ships sailing to East Africa, India. Jan van Riebeecks arrival on 6 April 1652 established the first permanent European settlement in South Africa, Cape Town quickly outgrew its original purpose as the first European outpost at the Castle of Good Hope, becoming the economic and cultural hub of the Cape Colony. Until the Witwatersrand Gold Rush and the development of Johannesburg, Cape Town was the largest city in South Africa, the earliest known remnants in the region were found at Peers Cave in Fish Hoek and date to between 15,000 and 12,000 years ago. It was later renamed by John II of Portugal as Cape of Good Hope because of the optimism engendered by the opening of a sea route to India. Vasco da Gama recorded a sighting of the Cape of Good Hope in 1497, in the late 16th century, Portuguese, French, Danish, Dutch and English but mainly Portuguese ships regularly stopped over in Table Bay en route to the Indies. They traded tobacco, copper and iron with the Khoikhoi in exchange for fresh meat, the settlement grew slowly during this period, as it was hard to find adequate labour. This labour shortage prompted the authorities to import slaves from Indonesia, many of these became ancestors of the first Cape Coloured communities. Some of these, including grapes, cereals, ground nuts, potatoes, apples and citrus, had an important, the Dutch Republic being transformed in Revolutionary Frances vassal Batavian Republic, Great Britain moved to take control of its colonies. Britain captured Cape Town in 1795, but the Cape was returned to the Dutch by treaty in 1803, British forces occupied the Cape again in 1806 following the Battle of Blaauwberg. In the Anglo-Dutch Treaty of 1814, Cape Town was permanently ceded to Britain and it became the capital of the newly formed Cape Colony, whose territory expanded very substantially through the 1800s. With expansion came calls for independence from Britain, with the Cape attaining its own parliament. Suffrage was established according to the non-racial, but sexist Cape Qualified Franchise, the discovery of diamonds in Griqualand West in 1867, and the Witwatersrand Gold Rush in 1886, prompted a flood of immigrants to South Africa
Cape Town
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Clockwise from top: Cape Town CBD,
Strand,
Clifton beach,
Table Mountain,
Port of Cape Town,
Cape Town City Hall
Cape Town
–
Coat of arms
Cape Town
–
Arrival of
Jan van Riebeeck in
Table Bay by
Charles Bell
Cape Town
–
View of Table Bay with ships of the
Dutch East India Company, c. 1683
2.
South Africa
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South Africa, officially the Republic of South Africa, is the southernmost country in Africa. South Africa is the 25th-largest country in the world by land area and it is the southernmost country on the mainland of the Old World or the Eastern Hemisphere. About 80 percent of South Africans are of Sub-Saharan African ancestry, divided among a variety of ethnic groups speaking different Bantu languages, the remaining population consists of Africas largest communities of European, Asian, and multiracial ancestry. South Africa is a multiethnic society encompassing a variety of cultures, languages. Its pluralistic makeup is reflected in the recognition of 11 official languages. The country is one of the few in Africa never to have had a coup détat, however, the vast majority of black South Africans were not enfranchised until 1994. During the 20th century, the black majority sought to recover its rights from the dominant white minority, with this struggle playing a role in the countrys recent history. The National Party imposed apartheid in 1948, institutionalising previous racial segregation, since 1994, all ethnic and linguistic groups have held political representation in the countrys democracy, which comprises a parliamentary republic and nine provinces. South Africa is often referred to as the Rainbow Nation to describe the multicultural diversity. The World Bank classifies South Africa as an economy. Its economy is the second-largest in Africa, and the 34th-largest in the world, in terms of purchasing power parity, South Africa has the seventh-highest per capita income in Africa. However, poverty and inequality remain widespread, with about a quarter of the population unemployed, nevertheless, South Africa has been identified as a middle power in international affairs, and maintains significant regional influence. The name South Africa is derived from the geographic location at the southern tip of Africa. Upon formation the country was named the Union of South Africa in English, since 1961 the long form name in English has been the Republic of South Africa. In Dutch the country was named Republiek van Zuid-Afrika, replaced in 1983 by the Afrikaans Republiek van Suid-Afrika, since 1994 the Republic has had an official name in each of its 11 official languages. Mzansi, derived from the Xhosa noun umzantsi meaning south, is a name for South Africa. South Africa contains some of the oldest archaeological and human fossil sites in the world, extensive fossil remains have been recovered from a series of caves in Gauteng Province. The area is a UNESCO World Heritage site and has termed the Cradle of Humankind
South Africa
–
Mapungubwe Hill, the site of the former capital of the
Kingdom of Mapungubwe
South Africa
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Flag
South Africa
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Arrival of
Jan van Riebeeck, the first European to settle in South Africa, with
Devil's Peak in the background
South Africa
–
Depiction of a
Zulu attack on a Boer camp in February 1838
3.
Jazz
–
Jazz is a music genre that originated amongst African Americans in New Orleans, United States, in the late 19th and early 20th centuries, and developed from roots in Blues and Ragtime. Since the 1920s jazz age, jazz has become recognized as a form of musical expression. Jazz is characterized by swing and blue notes, call and response vocals, polyrhythms, Jazz has roots in West African cultural and musical expression, and in African-American music traditions including blues and ragtime, as well as European military band music. Although the foundation of jazz is deeply rooted within the Black experience of the United States, different cultures have contributed their own experience, intellectuals around the world have hailed jazz as one of Americas original art forms. As jazz spread around the world, it drew on different national, regional, and local musical cultures, New Orleans jazz began in the early 1910s, combining earlier brass-band marches, French quadrilles, biguine, ragtime and blues with collective polyphonic improvisation. In the 1930s, heavily arranged dance-oriented swing big bands, Kansas City jazz, bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging musicians music which was played at faster tempos and used more chord-based improvisation. Cool jazz developed in the end of the 1940s, introducing calmer, smoother sounds and long, modal jazz developed in the late 1950s, using the mode, or musical scale, as the basis of musical structure and improvisation. Jazz-rock fusion appeared in the late 1960s and early 1970s, combining jazz improvisation with rock rhythms, electric instruments. In the early 1980s, a form of jazz fusion called smooth jazz became successful. Other styles and genres abound in the 2000s, such as Latin, the question of the origin of the word jazz has resulted in considerable research, and its history is well documented. It is believed to be related to jasm, a term dating back to 1860 meaning pep. The use of the word in a context was documented as early as 1915 in the Chicago Daily Tribune. Its first documented use in a context in New Orleans was in a November 14,1916 Times-Picayune article about jas bands. In an interview with NPR, musician Eubie Blake offered his recollections of the slang connotations of the term, saying, When Broadway picked it up. That was dirty, and if you knew what it was, the American Dialect Society named it the Word of the Twentieth Century. Jazz has proved to be difficult to define, since it encompasses such a wide range of music spanning a period of over 100 years. Attempts have been made to define jazz from the perspective of other musical traditions, in the opinion of Robert Christgau, most of us would say that inventing meaning while letting loose is the essence and promise of jazz. As Duke Ellington, one of jazzs most famous figures, said, although jazz is considered highly difficult to define, at least in part because it contains so many varied subgenres, improvisation is consistently regarded as being one of its key elements
Jazz
–
Louis Armstrong (1901–1971) is considered one of the pivotal musicians in jazz for his contributions as a trumpet player, composer and singer.
Jazz
–
Double bassist
Reggie Workman, saxophone player
Pharoah Sanders, and drummer
Idris Muhammad performing in 1978
Jazz
–
Albert Gleizes, 1915, Composition pour Jazz, gouache on cardboard, mounted on Masonite, 73 x 73 cm,
Solomon R. Guggenheim Museum, New York
Jazz
–
In the late 18th-century painting
The Old Plantation, African-Americans dance to banjo and percussion.
4.
Drum kit
–
A drum kit consists of a mix of drums and idiophones most significantly cymbals but also including the woodblock and cowbell. In the 2000s, some also include electronic instruments and both hybrid and entirely electronic kits are used. If some or all of them are replaced by electronic drums, the drum kit is usually played while seated on a drum stool or throne. The drum kit differs from instruments that can be used to produce pitched melodies or chords, even though drums are often placed musically alongside others that do, such as the piano or guitar. The drum kit is part of the rhythm section used in many types of popular and traditional music styles ranging from rock and pop to blues. Other standard instruments used in the section include the electric bass, electric guitar. Many drummers extend their kits from this pattern, adding more drums, more cymbals. Some performers, such as some rockabilly drummers, use small kits that omit elements from the basic setup, some drum kit players may have other roles in the band, such as providing backup vocals, or less commonly, lead vocals. Thus, in an early 1800s orchestra piece, if the called for bass drum, triangle and cymbals. In the 1840s, percussionists began to experiment with foot pedals as a way to them to play more than one instrument. In the 1860s, percussionists started combining multiple drums into a set, the bass drum, snare drum, cymbals, and other percussion instruments were all played using hand-held drum sticks. Double-drumming was developed to one person to play the bass and snare with sticks. With this approach, the drum was usually played on beats one. This resulted in a swing and dance feel. The drum set was referred to as a trap set. By the 1870s, drummers were using an overhang pedal, most drummers in the 1870s preferred to do double drumming without any pedal to play multiple drums, rather than use an overhang pedal. Companies patented their pedal systems such as Dee Dee Chandler of New Orleans 1904–05, liberating the hands for the first time, this evolution saw the bass drum played with the foot of a standing percussionist. The bass drum became the central piece around which every other percussion instrument would later revolve and it was the golden age of drum building for many famous drum companies, with Ludwig introducing
Drum kit
Drum kit
–
South-African jazz drummer
Louis Moholo playing a four-piece kit
Drum kit
–
Dance band drummer Stan Farmer at Mark Foy's Empress Ballroom, Sydney, New South Wales, using a kit with bass drum pedal and low sock. Tom Lennon, 23 October 1935
Drum kit
–
Drummer in a Memphis "juke joint" orchestra playing a kit with four non-tunable
toms. Marion Post Wolcott, October 1939
5.
Derek Bailey (guitarist)
–
Derek Bailey was an English avant-garde guitarist and leading figure in the free improvisation movement. Bailey was born in Sheffield, England, a third-generation musician, he began playing the guitar at the age of ten, initially studying music with his teacher and Sheffield City organist C. H. C. Biltcliffe, an experience that he did not enjoy, and guitar with his uncle George Wing, Baileys earliest foray into what could be called free improvised music was in 1953 with two other guitarists in their shared flat in Glasgow. He was also part of a Sheffield-based trio founded in 1963 with Tony Oxley, although originally performing relatively conventional modal, harmonic jazz this group became increasingly free in direction. Bailey moved to London in 1966, frequenting the Little Theatre Club run by drummer John Stevens, here he met many other like-minded musicians, such as saxophonist Evan Parker, trumpet player Kenny Wheeler and double bass player Dave Holland. These players often collaborated under the name of the Spontaneous Music Ensemble. In this year Bailey also formed the Music Improvisation Company with Parker, percussionist Jamie Muir and Hugh Davies on homemade electronics, in 1970, Bailey founded the record label Incus with Tony Oxley, Evan Parker and Michael Walters. It proved influential as the first musician-owned independent label in the UK, Oxley and Walters left early on, Parker and Bailey continued as co-directors until the mid-1980s, when friction between the men led to Parkers departure. Bailey continued the label with his partner Karen Brookman until his death in 2005, along with a number of other musicians, Bailey was a co-founder of Musics magazine in 1975. Company Week, an annual week-long free improvisational festival organised by Bailey, in 1980, he wrote the book Improvisation, Its Nature and Practice. This was adapted by UKs Channel 4 into a four-part TV series in the early 90s, Bailey died in London on Christmas Day,2005. He had been suffering from motor neurone disease, for listeners unfamiliar with experimental music, Baileys distinctive style can be challenging. Playing both acoustic and electric guitars, Bailey was able to extend the possibilities of the instrument in radical ways and he explored the full vocabulary of the instrument, producing timbres and tones ranging from the most delicate tinklings to fierce noise attacks. Typically, he played a instrument, in standard tuning. He also made highly original use of feedback, a technique demonstrated on the album String Theory, throughout both his commercial and improvising careers his principal working guitar was a 1963 Gibson ES175 model, serial number 120592. Although Bailey occasionally made use of prepared guitar in the 1970s, often for Dadaist/theatrical effect, by the end of that decade he had, in his own words, instead, Bailey preferred to look for whatever effects I might need through technique. Eschewing labels such as jazz, Bailey described his music as non-idiomatic, in the second edition of his book, Improvisation. Bailey indicated that he felt that improvisation was no longer non-idiomatic in his sense of the word, as it had become a recognizable genre
Derek Bailey (guitarist)
–
Bailey pictured at the
Vortex Club,
Stoke Newington, 1991.
Derek Bailey (guitarist)
–
Derek Bailey performing at the ICA Company Week, 1978
6.
Steve Lacy
–
Steve Lacy, born Steven Norman Lackritz in New York City, was a jazz saxophonist and composer recognized as one of the important players of soprano saxophone. Coming to prominence in the 1950s as a progressive dixieland musician, Lacy went on to a long and he worked extensively in experimental jazz and to a lesser extent in free improvisation, but Lacys music was typically melodic and tightly-structured. Lacy also became a highly distinctive composer, with compositions often built out of more than a single questioning phrase. Beyond Monk, Lacy performed the work of composers such as Charles Mingus, Duke Ellington and Herbie Nichols. After a brief return to New York, he returned to Italy, then in 1970 moved to Paris and he became a widely respected figure on the European jazz scene, though he remained less well known in the U. S. Sometimes this group was scaled up to an ensemble, sometimes pared down to a quartet, trio. He played duos with pianist Eric Watson, Lacy was interested in all the arts, the visual arts and poetry in particular became important sources for him. No one was more generous or perceptive. In 1992, he was the recipient of a MacArthur Fellowship and he also collaborated with a wide range of musicians, from traditional jazz to the avant-garde to contemporary classical music. Outside of his sextet, his most regular collaborator was pianist Mal Waldron. Lacy played his concerts to Europe in Belgium, in duo and solo, for a small. This happened in Brussels, Antwerp, Ghent, Bruge and Bergen and this recollection is published by Naked Music. In Ghent he played with the classical violinist Mikhail Bezverkhni, winner of Queen Elisabeth Concours and he returned to the United States in 2002, where he began teaching at the New England Conservatory of Music in Boston, Massachusetts. One of his last public performances was in front of 25,000 people at the close of a rally on Boston Common in March 2003. After Lacy was diagnosed cancer in August 2003, he continued playing and teaching until weeks before his death on June 4,2004 at the age of 69
Steve Lacy
–
Lacy in 1976
7.
Evan Parker
–
Evan Shaw Parker is a British saxophone player who plays free jazz. Recording and performing prolifically with many collaborators, Parker was a figure in the development of European free jazz. He has pioneered or substantially expanded an array of extended techniques, critic Ron Wynn describes Parker as mong Europes most innovative and intriguing saxophonists. his solo sax work isnt for the squeamish. He also became a member of the big band, the Brotherhood of Breath, two key associations have been pianist Alexander von Schlippenbachs trio with Parker and drummer Paul Lovens and a trio with bassist Barry Guy and drummer Paul Lytton. On Parkers 50th birthday, these two played a set apiece at a London concert, the results were issued by Leo Records as the 50th Birthday Concert. Parker, Bailey, and drummer Tony Oxley founded Incus Records in 1970, the label continued under Baileys sole control after a falling-out between the two men in the early 1980s. Currently Parker curates Psi Records, which is issued through Martin Davidsons Emanem Records, Parker has recently contributed to David Sylvians releases Manafon and Died in the Wool. He also has appeared in contexts, on Scott Walkers Climate of Hunter, and on dubesque albums with Jah Wobble. He appeared on the b-side to Vic Reeves and The Wonderstuffs UK1991 number one hit Dizzy, performing saxophone on Oh, at one point during a sax solo, Vic can be heard shouting Pack it in, Parker. Parker has also made appearances on record with Robert Wyatt. 1,2 &3 With Louis Moholo Spirits Rejoice
Evan Parker
–
Evan Parker
Evan Parker
–
Evan Parker,
Moers Festival 2012
Evan Parker
–
Evan Parker, 2010 Photo Hreinn Gudlaugsson
Evan Parker
–
Evan Parker,
Cologne, 2007
8.
Enrico Rava
–
Enrico Rava, is an Italian jazz trumpeter. He originally played trombone, changing to the trumpet after hearing Miles Davis and his first commercial work was as a member of Gato Barbieris Italian quintet in the mid-1960s, in the late 1960s he was a member of Steve Lacys group. In 1967 Rava moved to New York City, and one later became a member of the group Gas Mask. He has played artists such as Carla Bley, Jeanne Lee, Paul Motian, Lee Konitz. Chiefly an exponent of jazz, Enrico Rava has also played successfully in avant-garde settings. His style may partly recall Kenny Wheelers in its spareness and lightness of tone, albeit Ravas is harmonically simpler. In the 1970s and 1980s he worked with Pat Metheny, Michel Petrucciani, John Abercrombie, Joe Henderson, Richard Galliano, Miroslav Vitouš, Andrea Centazzo, Joe Lovano, Gil Evans and Cecil Taylor. With trumpeter Paolo Fresu, Rava recorded a series of four albums on the influence of Bix Beiderbecke, Louis Armstrong, Chet Baker, also of note are his recordings Rava, LOpera Va and Carmen, his own interpretations of operatic arias and overtures. In 2001, he founded a quintet with pianist Stefano Bollani, in the trio Europeans he worked with German bass player Eberhard Weber and Swiss percussionist Reto Weber. net
Enrico Rava
–
Enrico Rava in 2005
9.
Roswell Rudd
–
Roswell Hopkins Rudd, Jr. is an American jazz trombonist and composer. Although skilled in a variety of genres of jazz and other genres of music, he is primarily for his work in free. Since 1962 Rudd has worked extensively with saxophonist Archie Shepp, Rudd was born in Sharon, Connecticut. He attended the Hotchkiss School and graduated from Yale University, where he played with Elis Chosen Six, the sextet played the boisterous trad jazz style of the day and recorded two albums, including one for Columbia Records. His collaborations with Cecil Taylor, Archie Shepp, John Tchicai, Rudd later taught ethnomusicology at Bard College and the University of Maine. On and off for a period of three decades, he assisted Alan Lomax with his world music style and Global Jukebox projects. Rudd has had lifelong friendships with saxophonists Archie Shepp and Steve Lacy and has performed and recorded the music of Thelonious Monk with Lacy, Rudd and his producer and partner Verna Gillis went to Mali in 2000 and 2001. In 2004, he brought his Trombone Shout Band to perform at the 4th Festival au Désert in Essakane, Tombouctou Region, Mali. In 2005, he extended his reach further, recording an album with the Mongolian Buryat Band, Rudd conducts master classes and workshops both in the United States and around the world. F
Roswell Rudd
–
Roswell Rudd
10.
Cecil Taylor
–
Cecil Percival Taylor is an American pianist and poet. Classically trained, Taylor is generally acknowledged as one of the pioneers of free jazz and his music is characterized by an extremely energetic, physical approach, producing complex improvised sounds, frequently involving tone clusters and intricate polyrhythms. His piano technique has been likened to percussion, for example described as eighty-eight tuned drums and he has also been described as like Art Tatum with contemporary-classical leanings. Taylor was born in New York City and he began playing piano at age six and studied at the New York College of Music and New England Conservatory. After first steps in R&B and swing-styled small groups in the early 1950s, Taylors first recording, Jazz Advance, featured Lacy and was released in 1956. Taylors Quartet featuring Lacy also appeared at the 1957 Newport Jazz Festival and he collaborated with saxophonist John Coltrane in 1958. Throughout the 1950s and 1960s, Taylors music grew more complex, gigs were often hard to come by, and club owners found Taylors approach to performance unhelpful in conducting business. Landmark recordings, like Unit Structures, appeared, with the Unit, musicians developed often volcanic new forms of conversational interplay. In the early 1960s, an uncredited Albert Ayler worked for a time with Taylor, jamming and appearing on at least one recording, Four, by 1961, Taylor was working regularly with alto saxophonist Jimmy Lyons, one of his most important and consistent collaborators. Taylor, Lyons and drummer Sunny Murray formed the core personnel of The Unit, Lyonss playing, strongly influenced by jazz icon Charlie Parker, retained a strong blues sensibility and helped keep Taylors increasingly avant garde music tethered to the jazz tradition. Taylor began to perform concerts in the second half of the sixties. The first known recorded performance was Carmen With Rings in De Doelen concert hall in Rotterdam on July 1,1967. Two days before Taylor had played the composition in the Amsterdam Concertgebouw. Many of the concerts were released on album and include Indent, side one of Spring of Two Blue-Js, Silent Tongues, Garden, For Olim, Erzulie Maketh Scent. Compared to his small groups with Jimmy Lyons, the Feel Trio had a more abstract approach, tethered less to jazz tradition. He has also performed with larger ensembles and big-band projects, most of his latter day recordings have been put out on European labels, with the exception of Momentum Space on Verve/Gitanes. The classical label Bridge released his 1998 Library of Congress performance Algonquin, Taylor continued to perform for capacity audiences around the world with live concerts, usually played on his favored instrument, a Bösendorfer piano that features nine extra lower-register keys. A documentary entitled All the Notes, was released on DVD in 2006 by director Chris Felver, Taylor was also featured in an earlier documentary film Imagine the Sound, in which he discusses and performs his music, poetry and dance
Cecil Taylor
–
Taylor playing in his apartment in New York City in 1972
Cecil Taylor
–
At
Moers Festival 2008
11.
Drummer
–
The term percussionist applies to a musician who performs struck musical instruments of numerous diverse shapes, sizes and applications. Most contemporary western ensembles bands for rock, pop, jazz, most drummers of this particular designation work within the context of a larger contingent that may also include, keyboard or guitar, auxiliary percussion and bass. Said ensembles may also include melodic based mallet percussion including, vibraphone, the rhythm section, being the core metronomic foundation with which other melodic instruments, including voices, may present the harmonic/melodic portion of the material. In popular music, the function of the drummer is to keep time or provide a steady tempo. There are many tools that a drummer can use for either timekeeping or soloing and these include cymbals, snare, toms, auxiliary percussion and many others. Also there are single, double, and triple bass pedals for the bass drum, before motorized transport became widespread, drummers played a key role in military conflicts. Military drummers provided drum cadences that set a marching pace. In some armies drums also assisted in combat by keeping cadence for firing and loading drills with muzzle loading guns, military drummers were also employed on the parade field, when troops passed in review, and in various ceremonies including ominous drum rolls accompanying disciplinary punishments. Children also served as drummer boys well into the century, though less commonly than is popularly assumed, due to the nature of the job. In modern times, drummers are not employed in battle, typically buglers and drummers mass under a sergeant-drummer and during marches alternately perform with the regiment or battalion ensembles. Military-based musical percussion traditions were not limited exclusively to the western world, in the Ottoman Empire, the size of a military band reflected the rank of its commander in chief, the largest band was reserved for the Sultan. It included various percussion instruments, often adopted in European military music, the pitched bass drum is still known in some languages as the Turkish Drum. The drumline is a type of marching ensemble descended from drummers, and can be arranged as a performance of a drum. Their uniforms will often have a style and a fancy hat. In recent times, it is common to see drummers in parades wearing costumes with an African, Asian, Latin, Native American, or tribal look. Various indigenous cultures use the drum to create a sense of unity with others especially during recreational events, the drum also helps in prayers and meditations. List of drummers Drum beat Drum machine Drum tracks Pipe band This article incorporates text from a now in the public domain, Chisholm, Hugh
Drummer
–
Hand drummers in
Berkeley, California, about 1966.
Drummer
–
A marching drum line warming up, 2011
Drummer
–
Turkmenistan Independence Day, 2011
Drummer
–
Drummer of the French
Chasseurs alpins
12.
Europe
–
Europe is a continent that comprises the westernmost part of Eurasia. Europe is bordered by the Arctic Ocean to the north, the Atlantic Ocean to the west, yet the non-oceanic borders of Europe—a concept dating back to classical antiquity—are arbitrary. Europe covers about 10,180,000 square kilometres, or 2% of the Earths surface, politically, Europe is divided into about fifty sovereign states of which the Russian Federation is the largest and most populous, spanning 39% of the continent and comprising 15% of its population. Europe had a population of about 740 million as of 2015. Further from the sea, seasonal differences are more noticeable than close to the coast, Europe, in particular ancient Greece, was the birthplace of Western civilization. The fall of the Western Roman Empire, during the period, marked the end of ancient history. Renaissance humanism, exploration, art, and science led to the modern era, from the Age of Discovery onwards, Europe played a predominant role in global affairs. Between the 16th and 20th centuries, European powers controlled at times the Americas, most of Africa, Oceania. The Industrial Revolution, which began in Great Britain at the end of the 18th century, gave rise to economic, cultural, and social change in Western Europe. During the Cold War, Europe was divided along the Iron Curtain between NATO in the west and the Warsaw Pact in the east, until the revolutions of 1989 and fall of the Berlin Wall. In 1955, the Council of Europe was formed following a speech by Sir Winston Churchill and it includes all states except for Belarus, Kazakhstan and Vatican City. Further European integration by some states led to the formation of the European Union, the EU originated in Western Europe but has been expanding eastward since the fall of the Soviet Union in 1991. The European Anthem is Ode to Joy and states celebrate peace, in classical Greek mythology, Europa is the name of either a Phoenician princess or of a queen of Crete. The name contains the elements εὐρύς, wide, broad and ὤψ eye, broad has been an epithet of Earth herself in the reconstructed Proto-Indo-European religion and the poetry devoted to it. For the second part also the divine attributes of grey-eyed Athena or ox-eyed Hera. The same naming motive according to cartographic convention appears in Greek Ανατολή, Martin Litchfield West stated that phonologically, the match between Europas name and any form of the Semitic word is very poor. Next to these there is also a Proto-Indo-European root *h1regʷos, meaning darkness. Most major world languages use words derived from Eurṓpē or Europa to refer to the continent, in some Turkic languages the originally Persian name Frangistan is used casually in referring to much of Europe, besides official names such as Avrupa or Evropa
Europe
–
Reconstruction of
Herodotus ' world map
Europe
Europe
–
A medieval
T and O map from 1472 showing the three continents as domains of the sons of
Noah — Asia to Sem (
Shem), Europe to Iafeth (
Japheth), and Africa to Cham (
Ham)
Europe
–
Early modern depiction of
Europa regina ('Queen Europe') and the mythical
Europa of the 8th century BC.
13.
British jazz
–
British jazz is a form of music derived from American jazz. It reached Britain through recordings and performers who visited the country while it was a new genre. Jazz began to be played by British musicians from the 1930s and on a basis in the 1940s. From the 1960s British jazz began to more individual characteristics and absorb a variety of influences, including British blues, as well as European. A number of British musicians have gained international reputations, although form of music has remained a minority interest within the UK itself. Jazz in Britain is usually said to have begun with the British tour of the Original Dixieland Jazz Band in 1919 and that stated, British popular music aficionados in the 1920s generally preferred the terms hot or straight dance music to the term jazz. Instead those who objected to it did so more because they deemed it riotous or unnerving, one of the earliest popular jazz dance bands was that of Fred Elizalde, who broadcast on the BBC from 1926 to 1929. During the 1930s most British jazz musicians made their living in bands of various kinds. Jazz became more important, and more separate as its own genre, louis Armstrong played residencies in London and Glasgow in 1932, followed in subsequent years by the Duke Ellington Orchestra and Coleman Hawkins. But local jazz culture was limited to London where, jazz was played after hours in a couple of restaurants that encouraged musicians to come in, carter himself worked in London for the BBC in 1936. World War II led to an increase in bands to entertain the troops, the period also saw an increased interest in American musicians who also toured in military bands. The future leading alto-saxophonist Art Pepper was among the visiting American musicians at this time and this all increased an interest in jazz which continued after the war. In 1948 a group of musicians including John Dankworth and Ronnie Scott, focused on the Club Eleven in London. Significant instrumentalists in this movement were trumpeter-pianist Denis Rose, pianist Tommy Pollard, saxophonist Don Rendell. Trad jazz, a variant, briefly entered the pop charts later, British born players too, including George Shearing, active on the London scene since before the war, and Victor Feldman also chose to move across the Atlantic to develop their careers. Several new jazz clubs were established in London in the 1950s, a domestic musicians union ban on visiting American jazz musicians, initiated in the mid-thirties was gradually relaxed from the mid-fifties onwards. A key musician, pianist Stan Tracey, developed his skills, in the 1960s and 1970s British jazz began to have more varied influences, from Africa and the Caribbean. The influx of musicians from the Caribbean brought to the UK shores excellent musicians such as the Jamaican saxophonist Joe Harriott, firmly established as an outstanding bebop soloist before his arrival in the UK he went on to claim a leading spot in British jazz
British jazz
14.
John Tchicai
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John Martin Tchicai was a Danish free jazz saxophonist and composer. After moving to New York City in 1963, Tchicai joined Archie Shepps New York Contemporary Five and he played on John Coltranes Ascension, and Albert Aylers New York Eye and Ear Control, both influential free jazz recordings. Tchicai was born in Copenhagen, Denmark, to a Danish mother, the family moved to Aarhus, where he studied violin in his youth, and in his mid-teens began playing clarinet and alto saxophone, focusing on the latter. By the late 1950s he was travelling around northern Europe, playing with many musicians, following his work in New York, Tchicai returned to Denmark in 1966, and shortly thereafter focused most of his time on music education. He formed the small orchestra Cadentia Nova Danica with Danish and other European musicians, this group collaborated with Musica Elettronica Viva and performed in multi-media events. Tchicai was a member of Amsterdams Instant Composers Pool in 1968. On August 30,1975, Tchicais appearance at the Willisau Jazz Festival was recorded and released later that year as Willi The Pig, on this record, he plays with Swiss pianist Irène Schweizer. Tchicai returned to a regular gigging and recording schedule in the late 1970s, in the early 1980s he switched to the tenor saxophone as his primary instrument. In 1990 he was awarded a grant from the Danish Ministry of Culture. Tchicai and his wife relocated to Davis, California, in 1991 and he was awarded a National Endowment for the Arts fellowship in 1997. He was a member of Henry Kaiser and Wadada Leo Smiths Yo Miles band, since 2001 he had been living near Perpignan in southern France. On June 11,2012, he suffered a hemorrhage in an airport in Barcelona. He was recovering and had canceled all appearances when he died in a Perpignan hospital on October 8,2012, detailed discography 1962–2012 see JazzDanmarks homepage, John Tchicai discography | JazzDanmark. 1 New York Contemporary Five Vol.2 Bill Dixon 7-tette/Archie Shepp, John Tchicai Official Homepage John Tchicai at the Internet Movie Database FMP releases Official ICE9 with John Tchicai Home Page Profile at Edition S
John Tchicai
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John Tchicai (Münster Jazz Festival 1987)
John Tchicai
15.
Archie Shepp
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Archie Shepp is an American jazz saxophonist. Shepp was born in Fort Lauderdale, Florida, but raised in Philadelphia, Pennsylvania, Shepp studied drama at Goddard College from 1955 to 1959, but he eventually turned to music professionally. He played in a Latin jazz band for a time before joining the band of avant-garde pianist Cecil Taylor. Shepps first recording under his own name, Archie Shepp - Bill Dixon Quartet, was released on Savoy Records in 1962, further links to Coleman came with the establishment of the New York Contemporary Five, which included Don Cherry. John Coltranes admiration led to recordings for Impulse, Shepp participated in the sessions for Coltranes A Love Supreme in late 1964, but none of the takes he participated in were included on the final LP release. In 1965, Shepp released Fire Music, which included the first signs of his political consciousness. The Magic of Ju-Ju defined Shepps sound for the few years, freeform avant-garde saxophone lines coupled with rhythms. Shepp was invited to perform in Algiers for the 1969 Pan-African Cultural Festival of the Organization for African Unity, along with Dave Burrell, Sunny Murray and this ensemble then recorded several sessions in Paris at the BYG Actuel studios. Shepp continued to experiment into the new decade, at times including harmonica players. With 1972s Attica Blues and The Cry of My People, he spoke out for civil rights, Shepp also writes for theater, his works include The Communist and Lady Day, A Musical Tragedy. Both were produced by Robert Kalfin at the Chelsea Theater Center, in 1971, Shepp was recruited to the University of Massachusetts Amherst by Randolph Bromery, beginning a 30-year career as a professor of music. Shepps first two courses were entitled Revolutionary Concepts in African-American Music and Black Musician in the Theater, Shepp was also a professor of African-American Studies at SUNY in Buffalo, New York. In the late 1970s and beyond, Shepps career went between various old territories and various new ones, since the early 1990s, he has often played with the French trumpeter Eric Le Lann. Shepp is featured in the 1981 documentary film Imagine the Sound, in which he discusses and performs his music, Shepp also appears in Mystery, Mr. Ra, a 1984 French documentary about Sun Ra. The film also includes footage of Shepp playing with Sun Ras Arkestra, in 1993, he worked with Michel Herr to create the original score for the film Just Friends. In 2002, Shepp appeared on the Red Hot Organizations tribute album to Fela Kuti, Shepp appeared on a track entitled No Agreement alongside Res, Tony Allen, Ray Lema, Baaba Maal, and Positive Black Soul. In 2004 Archie Shepp founded his own label, Archieball. The label is located in Paris, France, and features collaborations with Jacques Coursil, Monica Passos, Bernard Lubat, official homepage Stewart Smith, Archie Shepp interview, Summerhall, July 31,2012
Archie Shepp
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Archie Shepp in
Warsaw, 2008
Archie Shepp
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Archie Shepp in
France, 1982
16.
Keith Tippett
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Keith Tippett is a British jazz pianist and composer. Tippett was born in Southmead, Bristol, the son of an English father who was a policeman and an Irish mother name of Kitty. Keith wrote music dedicated to her after she died, Keith was the oldest of three siblings and had Clive and Thomas as brothers. Tippett went to Greenway Secondary Modern school in Southmead, Bristol and he formed his first band when he was fourteen with school friends, such as Richard Murch, Mike Milton, Terry Pratt and Bob Chard. They were called the KT Trad Lads performing Traditional jazz, later Keith formed a modern jazz trio in Bristol and played regularly at the Dugout Club in Park Row, Bristol. He studied Piano and Church Organ, was a chorister and played with the school and Bristol youth brass bands and he moved to London in 1967, to pursue a musical life. In the late 1960s, Tippett led a sextet featuring Elton Dean on saxophone, Mark Charig on trumpet, Tippett married singer Julie Driscoll and wrote scores for TV. In the early 1970s, his big band Centipede brought together much of a generation of young British jazz, as well as performing some concerts, they recorded one double-album, Septober Energy. Around the same time, he was also in the vicinity of King Crimson and his own groups, such as Ovary Lodge tended towards a more contemplative form of European free improvisation. He continues to perform with the improvising ensemble Mujician and more recently Work in Progress. Tippett has appeared and recorded in a variety of settings, including a duet with Stan Tracey, duets with his wife Julie Tippetts, solo performances. This is Keiths first project funded using Kickstarter which was set up,2016 – with Blazing Flame – Murmuration See external links for his complete discography. Mind Your Own Music, the Keith Tippett/Julie Tippetts website, free Music Production, Tippetts FMP releases Keith Tippett Discography Keith Tippett at AllMusic Keith Tippett at Calyx Interview with Keith Tippett
Keith Tippett
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Keith Tippett
17.
George Lewis (trombonist)
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George E. Lewis is an American composer, electronic performer, installation artist, trombone player, and scholar in the fields of improvisation and experimental music. He has been a member of the Association for the Advancement of Creative Musicians since 1971 and is a pioneer of computer music, born in Chicago, Illinois, Lewis graduated from Yale University in 1974 with a degree in philosophy. In the 1980s, he succeeded Rhys Chatham as the director of The Kitchen. Since 2004, he has served as a professor at Columbia University in New York City and he previously taught at the University of California, San Diego. In 2002, Lewis received a MacArthur Fellowship and he became a Fellow of the American Academy of Arts and Sciences in 2015, and a Corresponding Fellow of the British Academy in 2016. D. Parran, James Newton, Joel Ryan, Joëlle Léandre, John Zorn and he was also a sometime member of Musica Elettronica Viva, the Globe Unity Orchestra, and the ICP Orchestra. Lewis has long been active in creating and performing with interactive computer systems, most notably his software called Voyager, between 1988 and 1990, Lewis collaborated with video artist Don Ritter to create performances of interactive music and interactive video controlled by Lewiss improvised trombone. In 2008, Lewis published a history of the AACM titled A Power Stronger Than Itself, The AACM. The book received the 2009 American Book Award, in 1992, Lewis collaborated with Canadian artist Stan Douglas on the video installation Hors-champs which was featured at documenta 9 in Kassel, Germany. The installation features Lewis in an improvisation of Albert Aylers Spirits Rejoice with musicians Douglas Ewart, Lewis is featured extensively in Unyazi of the Bushveld, a documentary about the first symposium of electronic music held in Africa, directed by Aryan Kaganof. Lewis gave a keynote lecture and performance at NIME-06, the sixth international conference on New Interfaces for Musical Expression. In 2008 his work Morning Blues for Yvan was featured on the compilation album Crosstalk, solo Trombone Record Shadowgraph,5 George Lewis/Douglas Ewart Jila-Save. 1, multi-screen videosonic interactive installation for the Point Loma Wastewater Treatment Plant, San Diego, Journal of the American Musicological Society, Vol.64, No. Lewis, George E. Interactivity and Improvisation, the Oxford Handbook of Computer Music. New York and Oxford, Oxford University Press, 457-66, a Power Stronger Than Itself, The AACM and American Experimental Music. Chicago, University of Chicago Press,2008, the Virtual Discourses of Pamela Z. In Hassan, Salah M. and Cheryl Finley, eds, diaspora, Memory, Place, David Hammons, Maria Magdalena Campos-Pons, Pamela Z. Munich, Prestel, 266-81. Lewis, George E. Foreword, After Afrofuturism, Journal of the Society for American Music, Volume 2, Number 2, pp. 139–53
George Lewis (trombonist)
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George Lewis
George Lewis (trombonist)
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George Lewis,
moers festival 2009
George Lewis (trombonist)
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Photo by Andy Newcombe
18.
Johannesburg
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Johannesburg is the largest city in South Africa and is one of the 50 largest urban areas in the world. It is the capital of Gauteng, which is the wealthiest province in South Africa. While Johannesburg is not one of South Africas three capital cities, it is the seat of the Constitutional Court, the city is located in the mineral-rich Witwatersrand range of hills and is the centre of large-scale gold and diamond trade. In 2011, the population of the city of Johannesburg was 4,434,827, in the same year, the population of Greater Johannesburg Metropolitan Area was 7,860,781. Some view the surrounding the city of Johannesburg yet more broadly than the metropolitan area, adding Ekurhuleni, West Rand and Lenasia. The land area of the city is large in comparison with those of other major cities, resulting in a moderate population density of 2. The city was established in 1886 following the discovery of gold on what had been a farm, the city is commonly interpreted as the modern day El Dorado due to the extremely large gold deposit found along the Witwatersrand. The name is attributed to one or all of three men involved in the establishment of the city, in ten years, the population was 100,000 inhabitants. A separate city from the late 1970s until the 1990s, Soweto is now part of Johannesburg, Soweto, although eventually incorporated into Johannesburg, had been separated as a residential area for blacks, who were not permitted to live in Johannesburg proper. Lenasia is predominantly populated by English-speaking South Africans of Indian descent, controversy surrounds the origin of the name. There were quite a number of people with the name Johannes who were involved in the history of the city. Among them are the principal clerk attached to the office of the surveyor-general Johannes Rissik, Christiaan Johannes Joubert, another was Stephanus Johannes Paulus Paul Kruger, president of the South African Republic 1883-1900. Johannes Meyer, the first government official in the area is another possibility, precise records for the choice of name were lost. Rissik and Joubert were members of a delegation sent to England to attain mining rights for the area. Joubert had a park in the city named after him and Rissik Street is today a street where the historically important and dilapidated Post Office, since burnt out. The region surrounding Johannesburg was originally inhabited by San people, the Sotho–Tswana practised farming and extensively mined and smelted metals that were available in the area. The most prominent site within Johannesburg is Melville Koppies, which contains an iron smelting furnace, the main Witwatersrand gold reef was discovered in June 1884 on the farm Vogelstruisfontein by Jan Gerritse Bantjes that triggered the Witwatersrand Gold Rush and the start of Johannesburg in 1886. The discovery of gold rapidly attracted people to the area, making necessary a name, Johannes Meyer, the first government official in the area is another possibility
Johannesburg
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Clockwise, from top:
Johannesburg Art Gallery, the
Hillbrow skyline at night,
Nelson Mandela Square in
Sandton,
Johannesburg CBD looking east over the
M1 Freeway, the
University of the Witwatersrand 's East Campus and
Montecasino in
Fourways.
Johannesburg
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The farm where gold was first discovered in 1886
Johannesburg
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Pritchard Street c. 1940
Johannesburg
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Street scene in Johannesburg in 1970
19.
Paul Dunmall
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Paul Dunmall is a British jazz musician who plays tenor and soprano saxophone, as well as the baritone and the more exotic Saxello and the Northumbrian pipes. He has a discography, starting in the mid-1970s as sideman. Many of his over 100 releases of the last two decades are on FMR, Cuneiform, Slam, et al, in addition, he has privately released over 70 on limited edition CDs on his own Duns label. Dunmall has played with most of the musicians on the international free jazz and improvised music scene, including Keith Tippett. As described by freejazz_co_uk Dunmall sounds at times like Sonny Rollins at others like Evan Parker and his work is the very opposite of indulgent - this is music of the utmost seriousness and importance. In the 1970s, Dunmall was a member of the Divine Light Mission, hIs first recording as sideman was as the saxophonist on the 1976 Johnny Guitar Watson album Aint That A Bitch. He has also performed and recorded many times with Barry Guys London Jazz Composers Orchestra, Dzama Stories is a piece of music inspired by Marcel Dzama by composer Ed Bennett. 0502006 Music on two pianos Paul Dunmall/Philip Gibbs DUNS L. E. E
Paul Dunmall
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Dumall performing in 2007
20.
Marilyn Crispell
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Marilyn Crispell is an American jazz pianist and composer. She studied classical piano and composition at the New England Conservatory of Music and she has been a resident of Woodstock, NY since 1977 when she came to study and teach at Karl Bergers Creative Music Studio. She discovered jazz through the music of John Coltrane, Cecil Taylor and other jazz players and composers as Paul Bley. For ten years she was a member of Anthony Braxtons Quartet and she has been a member of the Barry Guy New Orchestra as well as a member of the Henry Grimes Trio, the Europea Quartet Noir, and Anders Jormins Bortom Quintet. In 1981 she performed at the Woodstock Jazz Festival, held in celebration of the anniversary of the Creative Music Studio. Crispell has performed and recorded as a soloist and leader of her own groups and she has also performed and recorded music by contemporary composers John Cage, Pauline Oliveros, Robert Cogan, Pozzi Escot, Manfred Niehaus and Anthony Davis. She received a 2005 Guggenheim Fellowship, official website Marilyn Crispell Interview at allaboutjazz. com Lopez, Rick
Marilyn Crispell
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Crispell in concert, April 29, 2008
21.
Virtual International Authority File
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The Virtual International Authority File is an international authority file. It is a joint project of national libraries and operated by the Online Computer Library Center. The project was initiated by the US Library of Congress, the German National Library, the National Library of France joined the project on October 5,2007. The project transitions to a service of the OCLC on April 4,2012, the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together, a VIAF record receives a standard data number, contains the primary see and see also records from the original records, and refers to the original authority records. The data are available online and are available for research and data exchange. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol, the file numbers are also being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAFs clustering algorithm is run every month, as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records
Virtual International Authority File
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Screenshot 2012
22.
Integrated Authority File
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The Integrated Authority File or GND is an international authority file for the organisation of personal names, subject headings and corporate bodies from catalogues. It is used mainly for documentation in libraries and increasingly also by archives, the GND is managed by the German National Library in cooperation with various regional library networks in German-speaking Europe and other partners. The GND falls under the Creative Commons Zero license, the GND specification provides a hierarchy of high-level entities and sub-classes, useful in library classification, and an approach to unambiguous identification of single elements. It also comprises an ontology intended for knowledge representation in the semantic web, available in the RDF format
Integrated Authority File
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GND screenshot
23.
MusicBrainz
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MusicBrainz is a project that aims to create an open data music database that is similar to the freedb project. MusicBrainz was founded in response to the placed on the Compact Disc Database. MusicBrainz has expanded its goals to reach beyond a compact disc metadata storehouse to become an open online database for music. MusicBrainz captures information about artists, their works, and the relationships between them. Recorded works entries capture at a minimum the album title, track titles, and these entries are maintained by volunteer editors who follow community written style guidelines. Recorded works can also store information about the date and country. As of 26 July 2016, MusicBrainz contained information about roughly 1.1 million artists,1.6 million releases, end-users can use software that communicates with MusicBrainz to add metadata tags to their digital media files, such as MP3, Ogg Vorbis or AAC. As with other contributions, the MusicBrainz community is in charge for maintaining and reviewing the data, besides collecting metadata about music, MusicBrainz also allows looking up recordings by their acoustic fingerprint. A separate application, such as MusicBrainz Picard, must be used for this, in 2000, MusicBrainz started using Relatables patented TRM for acoustic fingerprint matching. This feature attracted many users and allowed the database to grow quickly, however, by 2005 TRM was showing scalability issues as the number of tracks in the database had reached into the millions. This issue was resolved in May 2006 when MusicBrainz partnered with MusicIP, tRMs were phased out and replaced by MusicDNS in November 2008. In October 2009 MusicIP was acquired by AmpliFIND, some time after the acquisition, the MusicDNS service began having intermittent problems. Since the future of the free service was uncertain, a replacement for it was sought. The Chromaprint acoustic fingerprinting algorithm, the basis for AcoustID identification service, was started in February 2010 by a long-time MusicBrainz contributor Lukáš Lalinský, while AcoustID and Chromaprint are not officially MusicBrainz projects, they are closely tied with each other and both are open source. Chromaprint works by analyzing the first two minutes of a track, detecting the strength in each of 12 pitch classes, storing these 8 times per second, additional post-processing is then applied to compress this fingerprint while retaining patterns. The AcoustID search server then searches from the database of fingerprints by similarity, since 2003, MusicBrainzs core data are in the public domain, and additional content, including moderation data, is placed under the Creative Commons CC-BY-NC-SA-2.0 license. The relational database management system is PostgreSQL, the server software is covered by the GNU General Public License. The MusicBrainz client software library, libmusicbrainz, is licensed under the GNU Lesser General Public License, in December 2004, the MusicBrainz project was turned over to the MetaBrainz Foundation, a non-profit group, by its creator Robert Kaye
MusicBrainz
