Jazz Festival
Parmigiani Fleurier And The Montreux Jazz Festival 2011 Hitting The Right Notes
Secondly the fifth anniversary of an exceptional adventure, that of Parmigiani Fleurier, main sponsor of the event and sole watchmaking partner of the festival.
Closely involved since 2007 in its cultural partnership with the Montreux Jazz Festival, Parmigiani Fleurier’s attachment to the festival forms part of a wider shared vision of excellence. The expressions and expertise of the greatest jazz artists and haute horlogerie artisans, and the upholding of a tradition and commitment to the talents of the future form the basis of their language.
On 10th January, Parmigiani reaffirmed its commitment to the Montreux Jazz Festival by renewing the contract linking the watchmaking brand to the event.
Moving towards a closer relationship with the public, this musical partnership allows Parmigiani Fleurier to continue what it has already started: creating an accessible and intelligible vision of its image and that of Swiss luxury watchmaking in the minds of the largest possible number of people.
Parmigiani on the site of the Montreux Jazz Festival:
Parmigiani is involved with the Montreux Jazz Festival on many levels. In addition to its main partnership for the sixteen-day festival and its presence in the VIP area reserved for the main sponsors for the entire programme, Parmigiani will benefit from a large meeting point displaying the time in the form of an iconic Kalpa watch at the main entrance, thanks to a general rearrangement of the site.
For the first time this year, Parmigiani is supporting the festival as official sponsor of Montreux Jazz TV, the video promotion label of the Montreux Jazz Festival. This TV broadcast aims to let the general public share in the “Montreux experience” and to strengthen its connections with the event.
Parmigiani’s hot air balloon and catamaran, both in the brand colours, will liven up the sky and lake in Montreux.
PARMIGIANI SUPPORTS AND PROMOTES THE YOUNG TALENTS OF THE FUTURE.
This year, the brand is debuting a major collaboration with Fondation2 which promotes and encourages creative activities fostering cultural exchange.
Ready to take on the challenge of youth, Parmigiani is joining Claude Nobs in supporting the “PARMIGIANI SOLO PIANO COMPETITION”.
The only contest of this kind, organised by Claude Nobs and running in parallel with the festival since 1999, the competition brings together the best hopes for the future of music. This year, around forty professional young jazz pianists aged under 30, and from around twenty countries, have signed up. The fifteen semi-finalists selected are invited to play at Montreux during the festival. A veritable pool of talent, the competition can already count several artists who have now achieved worldwide recognition amongst previous entrants. The first prize offers an international springboard for the winner’s career: the chance to record an album and perform on a number of stages. In line with its desire to support young talents – dating back many years in the watchmaking world, demonstrated by its involvement in training apprentices within its manufacture – Parmigiani is happy to be able to contribute to the success of these piano virtuosos. On this special occasion, the competition winner will be awarded the Parmigiani Kalpa watch specially created for the Montreux Jazz Festival 2011.
RELAYING THE SPIRIT OF THE MONTREUX JAZZ FESTIVAL
A partner since the beginning of the Montreux Jazz Cafés – unique places in the world where music enthusiasts and lovers of fine food can feel the spirit and see and hear the highlights of the Montreux Jazz Festival – Parmigiani has also confirmed its continued presence in the Montreux Jazz Cafés at Geneva and Sydney international airports, and its support for future openings which are already scheduled.
END
For more information, please contact:
BIZ COM – For PRoactive Communications
P.O. Box 48889
Dubai – UAE
Tel: +971 4 332-0888
Fax: +971 4 332-0999
Email: info@bizcom.ae
W : www.bizcom.ae
Richard Bona au Martinique Jazz Festival 2010
|
|
Jazz Festival 2004 – Mug – Standard Size $16.99 This mug is created using the finest dye sublimation techniques and creates a stunning dishwasher safe finish. Great as a gift, or for promotional items. Each of our mugs come individually boxed for protection in transit…. |
|
|
New Orleans Signature Beer Pint Glasses Jazz & Heritage Festival, One Frosted Jackomo IPA in Orange & Blue, Mardi Gras-What Tourists Say #1-She Showed Me Her Boobs etc,with Bull Dog New Orleans on the Other Side & One Purple, Green, & Gold (mardi GRas Colors) Abita Beer with Logo on Both Sides of the Glass…. Definitely New Orleans!!!- Set of 4 This Set Includes one of Each of the Following-1)Yellow New Orleans Jazz & Heritage Festival with Bulldog with the New Orleans Logo on the Front 2) Abita Beer Purple,Green, & Gold Glass-Logo on Both Sides 3) Abita Beer Frosted Orange & Blue Jackomo IPA 4) 10 Things Tourists Say at Mardi Gras- #1- She showed me her Boobs etc…… |
|
|
New Orleans Signature Beer Pint Glasses- Hurricane Katrina Mayor Nagin Willy Wonka & the Chocolate Factory Pint Glass from 2005,New Orleans Jazz & Heritage Festival with The BullDog Uptown Logo on the Front, Purple, Green, & Gold Abita Beer Pint Glass, & You Know You’re a Noo Alleanian..When Nothing Shocks You Ever…Period, Your Hose Payment is Less than You’re Utility Bill,-Catching Crabs Makes You Smile,Vampires Do Not Live Uptown etc…Fun & Oh So True- Set of 4 Glasses. One of Each Design. This Set Includes one of Each of the Following-1)New Orleans Signature Beer Pint Glasses- 1) Hurricane Katrina Mayor Nagin “Willy Wonka & the Chocolate Factory” Pint Glass from 2005,2) New Orleans Jazz & Heritage Festival with The BullDog Uptown Logo on the Front, 3) “Purple, Green, & Gold Abita Beer Pint Glass, &4) “You Know You’re a Noo Alleanian..When Nothing Shocks You Ever…Period, “Your Hos… |
|
|
Stevie Ray Vaughan and Double Trouble – Live at Montreux 1982 & 1985 $7.99 Follow Stevie’s rise from blues circuit guitarist to major headliner. Concerts filmed in Montreux in 1982 and 1985. Cover, discs, and insert are in mint condition. Region 1 (USA & CANADA)… |
|
|
At Newport 1960 $2.40 No Description AvailableNo Track Information AvailableMedia Type: CDArtist: WATERS,MUDDYTitle: AT NEWPORT 1960Street Release Date: 02/27/2001… |
|
|
Swiss Movement: Montreux 30th Anniversary Edition $6.62 No Description AvailableNo Track Information AvailableMedia Type: CDArtist: MCCANN/HARRISTitle: SWISS MOVEMENT-MONTREUX 30TH AStreet Release Date: 06/18/1996… |
|
|
Live at Montreux [VHS] $14.98 Trumpeter-bandleader Miles Davis (1926-91) helped create the cool, modal, avant-garde, and fusion jazz styles of the modern era, and rarely looked back. But on one fateful night at the Montreux Jazz Festival in Switzerland on July 8, 1991, Davis did look back and performed the legendary music he made in the ’40s and ’50s with his collaborator Gil Evans, who died in 1988. Backed by the combined … |
|
|
Oregon: Live at the 1987 Freiburg Arts Festival [VHS] $34.99 … |
|
|
Sarah Vaughan Live From Monterey $199.95 Features jazz singer Sarah Vaughan’s 1983 performance in Monterey, California with a guest appearance by blues/jazz singer Joe Williams. Songs include “Autumn Leaves,” “If You Could See Me Now,” “Send in the Clowns,” “Time After Time,” “That’s All,” “I’ve Got The World On A String,” “I Hadn’t Anyone Till You,” and more… |
|
|
High Society $5.51 Studio: Warner Home Video Release Date: 06/10/2008 Rating: Nr… |
|
|
‘Round About Midnight [LP Reissue] $21.98 Given that ‘Round About Midnight was Miles Davis’ debut Columbia recording, it was both a beginning and an ending. Certainly the beginning of his recording career with the label that issued most if not all of his important recordings; and the recording debut of an exciting new band that had within its ranks Philly Joe Jones, Paul Chambers, pianist Red Garland, and an all but unknown tenor player named John Coltrane. The title track was chosen because of its unique rendition with a muted trumpet, debuted at the Newport Jazz Festival the summer before to a thunderous reception. The date was also an ending of sorts because by the time of the album’s release, Davis had already broken up the band, which re-formed with Cannonball Adderley a year later as a sextet, but it was a tense year. Musically, this sound is as unusual and as beautiful as it was when issued in 1956. Davis had already led the charge through two changes in jazz — both cool jazz and hard bop — and was beginning to move in another direction here that wouldn’t be defined for another two years. Besides the obvious lyrical and harmonic beauty of “Round About Midnight” that is arguably its definitive version even over Monk’s own, there are the edges of Charlie Parker’s “Au Leu-Cha” with its Bluesology leaping from every chord change in Red Garland’s left hand. Coltrane’s solo here too is notable for its stark contrast to Davis’ own: he chooses an angular tack where he finds the heart of the mode and plays a melody in harmonic counterpoint to the changes but never sounds outside. Cole Porter’s “All of You” has Davis quoting from Louis Armstrong’s “Basin Street Blues” in his solo that takes out the tune, and Coltrane has never respected a melody so much. But it’s in “Bye-Bye Blackbird” that we get to hear the band gel as a unit, beginning with Davis playing through the melody, muted and sweet, slightly flatted out until he reaches the harmony on the refrain and begins his solo on a high note. Ga… |
|
|
‘Round About Midnight [Legacy Edition] $23.99 Miles Davis’ entry into the Sony Legacy Edition series features his Columbia Records debut and the first offering from his quintet with John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones. The label already issued the album in a definitive presentation with four additional tracks taken from the sessions onboard. Musically, the sound on ‘Round About Midnight is as unusual and beautiful as it was when it was issued in 1956. Davis, having already spearheaded two changes in jazz — with cool jazz and hard bop — was beginning to move in another direction here that wouldn’t be defined for another two years. The title track showcasing his muted trumpet premiered at the Newport Jazz Festival the previous summer (in a sextet with Thelonious Monk on piano) to a thunderous reception, and the studio offering is stunning as well. Charlie Parker’s “Au Leu-Cha” is edgy, with deep blues leaping from every chord. Coltrane’s solo is notable for its stark contrast to Davis’ own: Coltrane chooses an angular tack where he finds the heart of the mode and plays in harmonic counterpoint to the changes but never sounds outside. Cole Porter’s “All of You” has Davis quoting from Louis Armstrong’s “Basin Street Blues” in his solo. On “Bye-Bye Blackbird” we get to hear the band gel as a unit, beginning with Davis playing through the head, muted and sweet, slightly flatted out until he reaches the chorus and begins his solo on a high note. Garland slips shapes into those interval cracks and shifts them as the rhythm section keeps “soft time.” Of the bonus material, the gem is Jackie McLean’s “Little Melonae” — Davis and company recorded before the composer could. The band comes out blazing on this set, but it’s Coltrane who’s the surprise in his quoting various Dizzy Gillespie solos. For those who had already purchased the album, it may be disconcerting to need to buy it again in order to procure the 33 minutes of live material on disc two. Track one is that legendar… |
|
|
(Victoriaville) 1992 $19.98 This is a live performance of Braxton’s classic quartet of the ’80s and ’90s at the annual festival of new music held in Victoriaville, Canada. Unlike many of the other documented recordings of this group, the material, with the exception of the closing track, consisted entirely of (at the time) recently composed pieces. Since much of Braxton’s writing in the early ’90s involved the exploration of very fluid and expansive sound territories, there are none of his infectious, bop-derived numbers or any plaintively emotional ballads. Instead we have a series of fairly knotty compositions where the thematic elements are elusive, recurring melodies rare and regular meter almost non-existent. All of which makes for one of the more challenging recordings by this quartet, requiring of the listener an approach perhaps more suited to contemporary classical music than to jazz. In fact, in the excellent and detailed liner notes/interview by John Corbett, Braxton makes reference to his concept of “navigating through form” and to the music and graphic scores of the composer Earle Brown. One is advised, therefore, not to listen for the standard (even as that term applies to Braxton’s music) theme/solos/theme format here; rather, one listens to the musicians, alone or in groups, investigating the rich, strange soundscape structure in which they find themselves immersed. Even so, there’s a feeling of pent up energy waiting to be unleashed so when the band vaults into a raging version of Coltrane’s “Impressions” as an encore, it’s hardly surprising. Indeed, one detects a very human sense of relief as they step back into familiar territory. ~ Brian Olewnick, Rovi |
|
|
1963 Monterey Jazz Festival $16.99 The Modern Jazz Quartet, CD – Digi-Pak,DOUGLAS RECORDS, Running Time: 00:38:51 ***Usually ships within 24 hours*** 20110920110010913 |
|
|
2azz1 – Ready CD $12.35 ….2AZZ1 delicious grooves at this years Playboy Jazz Festival in Central Park 2001 – Entertainment Today by Paul Anderson …….Craig and Mary Durst. The man on the sax and the girl with the f… |
|
|
32 Festival De Jazz De Vitoria-Gasteiz – 32 Festival De Jazz De Vitoria-Gasteiz $21.49 Track Listing: Tea Leaf Prophe |
|
|
50 Years of Dave Brubeck: Live at the Monterey Jazz Festival 1958-2007 $14.99 Dave Brubeck, CD,MONTEREY JAZZ FEST, Running Time: 00:00:00 ***Usually ships within 24 hours*** 20110920110010913 |
|
|
50 Years of Dave Brubeck: Live at the Monterey Jazz Festival 1958-2007 $14.98 Dave Brubeck appeared at the Monterey Jazz Festival on so many occasions since its launching in 1958 that it seems like compiling highlights to make up just one CD should have been an impossible task. But Brubeck’s longtime manager Russell Gloyd was involved with co-producing this compilation and the result should please the pianist’s fans. Brubeck hardly fits the stylistic molds of some of his critics in this collection, that he is too bombastic or dismissing him merely as a cool player. The pianist not only evolves as a player and composer, but shows an incredible knowledge of music from earlier eras. His classic quartet with alto saxophonist Paul Desmond is well-represented with a lengthy excursion into Brubeck’s “Two Part Contention” (with its intriguing use of counterpoint), the always swinging treatment of “Someday My Prince Will Come,” and the crowd-pleasing favorite “Take Five” (though it suffers from over-modulation). Two tracks are from his years with baritone saxophonist Gerry Mulligan, bassist Jack Six, and drummer Alan Dawson, including Brubeck’s lonely, exotic “The Sermon on the Mount” and Mulligan’s spry Latin-flavored “Jumping Bean.” Brubeck’s challenging “Tritonis” features Bobby Militello on flute in an extended solo recalling Rahsaan Roland Kirk’s simultaneously singing and playing, in addition to regular quartet members Bill Smith (clarinet), electric bassist Chris Brubeck, and drummer Randy Jones. Bassist Stan Poplin is the pianist’s sole accompanist for Brubeck’s poignant memorial tribute written following Mulligan’s death, appropriately titled “Goodbye Old Friend.” A delightful romp through “I Got Rhythm” showcasing Miltello on alto sax and guest Christian McBride. Brubeck dug deep to recall old chestnuts like the blazing “Sleep” and the loping, easygoing “Margie” (the latter featuring Michael Moore’s amusing arco bass). While Brubeck fans may regret the omission of two suites that the pianist premiered at the Monterey J… |
|
|
75 $18.98 Joe Zawinul’s final edition of his Zawinul Syndicate band was a terrific ensemble that was perfect for any jazz festival. The multi-ethnic content, driving funky pulse, and Zawinul’s colorful keyboard foundation kept listeners on their toes and rapt with attention. Using percussion and guitar with no other solo instruments, Zawinul was fully able to carry the proceedings with support from very talented performers who always complemented the music, but never got in the way, or dared to. This live double-CD set perfectly exemplifies Zawinul’s personalized direction before he suddenly passed away, and exudes all of the energy the group produced in concert. For Weather Report fans, there are many direct or implied signposts that remind us why that band was so unique under the Austrian-born keyboardist’s direction. But at the core is Zawinul’s expanded sound, based in technological advances, conjuring up any number of folk based motifs from around the globe. “Orient Express” and “Madagascar” start the voyage in good form, reminiscent of Weather Report’s “Black Market” phase, as electric bass guitarist Linley Marthe channels Jaco Pastorius as Mediterranean music is contemporized with an American backbeat. Late period Miles Davis simplicity is employed during “Scarlet Woman,” perhaps a cousin of “Back Seat Betty” in its slow and mysterious but eventually composed strut. The mbira or thumb piano is played by Paco Serv alongside Zawinul’s vocoder and synths on the sparse “Zanza II,” and “Cafe Andalusia” concludes the first CD in a straight rock-funk beat with wordless vocals from the impressive Sabine Kabongo driving an unstoppable forward motion and kinetic energy. Seems like the band can’t wait to dive into “Fast City/Two Lines,” a speedy bullet train combo tune, fueled by the stinging Santana-like guitar of Alegre Correa, inspiring fine solos from Marthe and drummer Serv. -”Clario” is all Correa’s, a spotlight on Brazilian Jobim-styled sounds, induced… |
|
|
A Final Discord $1.99 The new Crown Prince Gregory mystery from this well-loved author – When Gregory Crowne is enlisted to help Gilles Guidon, the eccentric son of a merchant banker, to assemble a jazz quintet for the Montreux Festival, he soon discovers there is something wrong at the bank. Gilles falls in love with Morena, the sister of one of the quintet, and his ancient nurse, Nounou, dies in a mysterious fall. Then Gilles disappears with Morena, and an unusual ransom demand arrives . . . |
