Showing posts with label Jazz. Show all posts
Showing posts with label Jazz. Show all posts

Friday, September 29, 2023

Oskar Stenmark Jazz Trio Opens The Arts at Trinity Series

The Arts at Trinity (TAAT) opens its 23-24 season on Friday, September 29, at 7:30 pm with a free performance by the Oskar Stenmark Jazz Trio, which comes to Wilmington from Sweden via New York City!

The overarching lyrical feel of Oskar’s music has a distinctive Nordic flavor, but the rhythms and harmonies come straight out of the NYC music scene. Jazz greats Art Farmer, Bill Evans and Stan Getz took interest in mixing Swedish folk music with jazz. Oskar’s trumpet playing takes this concept to a new level with his innovative mix of folk, jazz and improvisation.

Trumpeter Oskar Stenmark and his trio perform at Trinity tonight.
Photo courtesy of the artist.
Born and raised in Sweden, Oskar spent his early years in jazz clubs and the Gothenburg Symphony Hall before moving to NYC to obtain his master’s in jazz performance from the Manhattan School of Music. Oskar, tenth generation musician in his family, is joined by pianist Alex Pryrodny and bass player Evan Gregor as they open The arts at Trinity's 2023-2024 Concert Season.

This free performance will be held at Trinity Episcopal Church, 1108 North Adams Street in downtown Wilmington. Light refreshments will be served on the outside patio before and after the concert.

Thursday, May 6, 2021

Congratulations to The 2021 Clifford Brown Jazz Award Winners

The content of this post comes from a press release from the City of Wilmington...

Wilmington Mayor Mike Purzycki and Cultural Affairs Director Tina Betz congratulated the winners of the 2021 Clifford Brown Jazz Awards presented at Cityfest, Inc.’s inaugural Clifford Brown International Jazz Day Concert on Friday, April 30, 2021. 

This year’s awardee for the Clifford Brown Top Jazz Presenter Award is the True Blue Jazz Festival; of the Clifford Brown Advocacy, Volunteerism, & Philanthropy in Jazz Award is Hortense Priest (bestowed posthumously); for the Clifford Brown Young & Swingin’ Award is Maya Belardo; and for the Clifford Brown Legacy Award is Tony “Big Cat” Smith

The Clifford Brown Festival Band, led by Gerald Chavis.
Photo by Moonloop Photography.
The awards ceremony and concert, held virtually and in person at the Delaware Theater Company, featured performances by trumpeter Terell Stafford and the Clifford Brown Festival Band led by Gerald Chavis as part of the City of Wilmington’s International Jazz Day Festivities.

“We believe that music and the arts are extremely important contributors to recovering from the personal, artistic, and economic pandemic-related stressors of this past year,” said Betz. “With that and the continuing loosening of COVID restrictions in mind, we are planning to return to Rodney Square on August 4-8, 2021 for the 34th Annual Clifford Brown Jazz Festival. It is important to note that the dates are subject to change or the Festival cancelled in response to changing State public health mandates.”

Clifford Brown Year Round is presented by Cityfest, Inc. and the City of Wilmington with generous support from The Delaware Theatre Company, The Delaware Division of the Arts, WRTI 90.1 FM, The Kenny Family Foundation, Delmarva Power, An Excelon Company, Gerald Chavis Music, Flux Creative Consulting, The Christina Cultural Arts Center, and The Delaware Contemporary.

Proceeds from the Clifford Brown Year Round series support programs like the Urban Artist Exchange, the Arts Work Summer Youth Apprenticeship Program, and the Clifford Brown Jazz Festival.

Tuesday, October 22, 2019

Christina Cultural Arts Center Opens Concert Season with World Music

Photo by Shervin Lainez.
Live @ Christina, Christina Cultural Arts Center’s (CCAC’s) annual concert series held in its intimate Clifford Brown Performance Space, will kick off this season on Saturday, Nov. 9 at 7:30 p.m. with noted world music ensemble Ajoyo

Each season, CCAC has been fortunate to welcome performances by noted artists like Gregory Porter, Delfeayo Marsalis, Snarky Puppy and Christian Sands.

Headed by French-Tunisian saxophonist, clarinetist and composer, Yacine Boularès, Ajoyo blends sounds of African tradition, jazz and soul with the silken vocals of Sarah Elizabeth Charles. Tickets for the performance are $23 and are available at ccacde.org.

“Our music stems from West and North African rhythmic traditions — Fela Kuti, Salif Keita, Oum Kalthoum and many more,” says Boularès. “But we also bring a lot of our individual experience as musicians. The sum of it all is an upbeat, eclectic brew of jazz, soul, African rhythms and indie rock.”

Last appearing at CCAC in May 2018, Ajoyo happily returns to downtown Wilmington for a repeat performance. “On tour, we tend to develop special relationships with certain audiences, and CCAC was definitely one of them,” Boularès says.

Ultimately, he says, Ajoyo is about creating music for the mind, for the heart, and for the body. “You’ll definitely want to stand up and dance,” he says.

This engagement is made possible through the Special Presenters Initiative program of Mid Atlantic Arts Foundation with support from the National Endowment for the Arts and the Delaware Division of the Arts.

ABOUT CHRISTINA CULTURAL ARTS CENTER
The mission of Christina Cultural Arts Center Inc. (CCAC) is to make affordable arts, education, career training, exhibitions and live performances accessible to youth and adults in a welcoming learning environment. For more than 70 years, CCAC has been an anchor in the Delaware arts community and Wilmington's Creative District, focusing on the tenets of Hope, Knowledge, Inspiration & Passion by providing instruction and performance/exhibition opportunities in music, dance, drama, visual arts and poetry. Christina offers one of the only integrated arts and academic programs in Delaware, utilizing the power of arts to promote school success, career training, and positive social behavior. We collaborate with local and national partners — business, educators, and artists — to promote the creative industry and advocate for the socio-economic impact of the arts in our community. Christina Cultural Arts Center is a member of the Mid Atlantic Foundation Jazz Touring Network. 


For more information visit ccacde.org.

Monday, April 1, 2019

Apply to the Boysie Lowery Living Jazz Residency

Post content from a press release from Light Up the Queen Foundation...

A friendly reminder that Light Up the Queen will be accepting applications for the Boysie Lowery Living Jazz Residency through Sunday, April 7, 2019 until 11:59pm (EST). 

If someone you know is a jazz composer/performer between the ages of 17-25, this is for them. The Boysie Lowery Living Jazz Residency is designed to give participants an intense learning experience that will help them find their sound, mature as a musician, and make lasting connections with like-minded peers.

The residency program will include numerous performance opportunities, with a final concert to be formed on June 23 — the last day of the program — at 3:00pm at The Queen Theater in downtown Wilmington.

This year's residency will be from June 9-23, 2019 and is fully subsidized, meaning housing and meals are included. Want to learn more about the program and apply?

Visit https://lightupthequeen.org/boysie-lowery-living-jazz-residency/.

Thursday, June 29, 2017

Delaware Chamber Music Festival Closes 32nd Season with More Brahms & Jazz

By Christine Facciolo

The Delaware Chamber Music Festival continued its celebration of the music of Johannes Brahms June 23 through 25 with complementary works by Beethoven, Stravinsky, Mozart and Turina.

The Festival Quartet includes: Barbara Govatos, violin & DCMF Artistic Director; Hirono Oka, violin; Che-Hung Chen, viola and Clancy Newman, cello.  Guest artists this season were: Kristen Johnson, viola; Marcantonio Barone, Julie Nishimura & Natalie Zhu, pianistsDouglas Mapp, bass; Tina Betz, voice and Jonathan Whitney, arranger and director of Boysie Lowery Living Jazz Residency. 

Friday, June 23’s concert opened with a performance of Beethoven’s String Quartet in F major, Op.18, no. 1. The instrumental Brahms owes much to Beethoven, who brought many innovations to his musical genres, not the least of which was the systematic use of interlocking thematic devices to achieve intra- and inter-movement unity in long compositions.

The six quartets that make up the Op. 18 set were Beethoven’s way of announcing to the world that he was to be taken seriously as a composer. It was evident that the musicians viewed the work not as the apogee of 18th Century Viennese Classicism, but rather as a transitional work that looked forward to the composer’s middle period.

That approach was made plain in the slow movement, which was presented as a deeply felt lament. Here Beethoven goes far beyond Haydn, writing in an emotional intensity — the movement is his musical depiction of the tomb scene of “Romeo and Juliet” — that must have shocked his contemporaries. The finale was energetic and incisive, elegant and charming.

Guest artists Hirono Oka (violin) and Marcantonio Barone (piano) collaborated in a tour de force rendering of Stravinsky’s Suite Italienne, a 1930s work arranged from the ballet Pulcinella. Stravinsky based Pulcinella on music that had been attributed (probably erroneously) to the 18th Century Italian composer Giovanni Pergolesi. The result is not an antiquarian piece but a seamless fusion of the old and the new. Stravinsky maintained the courtly character of the Baroque melodies but spiced up the music with pungent harmonies and updated rhythms.

Oka and Barone respected the 18th Century influences in a refined performance full of spongy Baroque rhythms. But they also played with ample color and expression, making the music sound decidedly contemporary. Oka’s tone was both sweet and luminous and decisive.

The lighthearted character of the Suite Italienne gave way to the symphonic grandeur of Brahms’ Piano Quintet in F minor, Op. 34. Brahms published the work when he was 32 years old, but by then it had gone through several transformations: it began as a string quintet in 1862 and was rescored as a work for two pianos until Brahms gave it its final form.

This is a work of surging passion, tempered only momentarily by the softer-edged Andante. Govatos, Oka, Chen, Newman and Barone conveyed the full-bodied Romanticism of the two outer movements and the driven Scherzo and a plaintive, soulful rendering of the slow movement. Yet as heated as the music got, the ensemble kept the texture remarkably transparent. Viola and cello lines were never buried yet the group produced a solid, powerful sound.

On Saturday, June 24, concertgoers headed to the Episcopal Church of Saints Andrew and Matthew in downtown Wilmington for a free concert, marking the first collaboration between the DCMF and the residents of the Boysie Lowery Living Jazz Residency. Six residents were given a week to compose a work that incorporated a classical string quartet 
 a first for these talented young artists.

Each composition was noteworthy but Sasquatch by vibraphonist Grady Tesch brought down the house. Tesch also excelled as a featured player in Mike Talento’s Half and Half and as lyricist and vocalist in Ike Spivak’s Plot Twist, which recounted the musical journeys of jazz luminaries.

Jazz vocalist Isabel Crespo gave a plaintive rendering of her composition Hide and Seek, while trombonist Kristin Monroe ably combined elements of jazz and classical in Coasting Equilibrium, her contribution in the tradition of Astor Piazzolla’s nuevo tango. Libby Larsen kept the musicians moving — especially pianist Julie Nishimura — with the kinetic energy of Four on the Floor.

Tina Betz, also executive director of the Light Up the Queen Foundation, applied her dramatic contralto to a powerful rendering of Strange Fruit, a song about lynching made famous by the late Billie Holiday. Douglas Mapp, associate principal bass with the Delaware Symphony Orchestra, joined the string quartet to accompany. The song was arranged for this performance by Boysie Lowery director, Jonathan Whitney.

Sunday, June 25’s program opened with Mozart’s Divertimento in D major, K. 136, the first of a group of works known collectively as the “Salzburg” symphonies. The work was performed at the request of DCMF Board President Carolyn Luttrell. Govatos, Oka, Chen and Newman played with a nimbleness and precision that underscored the decorous elegance of a work that can only be described as a masterpiece on the smallest possible scale.

Pianist Natalie Zhu joined Govatos, Chen and Newman in a seductive and sensitive performance of Joaquin Turina’s Piano Quarter in A minor, Op. 67. Composed in 1931, this gently melancholic work resonates with the vivid harmonies and impetuous rhythms of Spanish folk music yet at the same time bears the imprint of impressionists’ influence in its spacious, colorful textures.

The program — and season — concluded with a performance of Brahms’ breathtaking Quintet in G major, Op. 111. Orchestra in conception, this piece creates the effect of far more than five players. This was a passionate performance. Cellist Newman was more than equal to the full opening of the first movement. The Adagio was rapt intensity; the Allegretto wistful and the finale, robust.

See www.dcmf.org

Friday, July 16, 2010

Jazz at Basil, Every Thursday

Wilmington is a world-class jazz town -- the annual Clifford Brown Jazz Festival downtown is evidence of that. In theory, we should be able to go out on any given night and catch some great live jazz. In reality, Thursday night is the night to experience it in Wilmington, at Basil at 422 Delaware Ave. Basil is an atmospheric little bistro inside the Sheraton Suites, with its own separate entrance. Look for the distinctive green awning to bypass entering through the hotel.

Jazz at Basil is an early night: the first set starts at 8:00 PM, and the bar closes at 10:00. The timing is good for a late dinner (Basil is a bistro serving traditional American fare--I saw lots of chicken wings and veggie burgers) or after dinner cocktails. The real draw, of course, is the music. Basil has a nice setup for jazz musicians, with a small stage that is well visible from the bar and much of the seating area in the restaurant.

On Thursday the 15th of July, the trio FVC was featured, and if this trio represents the sort of jazz Basil features every week, it's worth checking out any Thursday night. FVC, led by Philadelphia-based keyboardist Dennis Fortune, who is also a piano & jazz instructor at Wilmington's Christina Cultural Arts Center, started with an all-instrumental traditional jazz tunes with catchy beats and cool solos. Two singers were also featured: established jazz vocalist Barbara Yates, who knocked out standards such as "Misty" and "Blackbird," and up-and-comer Safia Davis, who brought a smooth, contemporary R&B styling to the set. Both vocalists fit seamlessly with the trio, each bringing her own style and edge to the set. A nice mixture of live jazz by some great regional artists.

Jazz at Basil has a $5 cover. Get there by 8:00 for a good spot--the place was filled up, except for the furthest tables, by 9:00.

For more:
Basil at Sheraton Suites
FVC Live at CDBaby