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How the "bin" to the trumpet came

From Wiesław Dymny to Jürgen Haufe - little story of the "ton" logo


(The ton logo, as it is today, here at a concert by the band Mauger in March 2009 Photo: Matthias Creutziger)

Krakow mid-fifties and early sixties - there lived a painter, sculptor, graphic artist, and lyricist Dehbuch Wiesław Dymny.. Initiated still an art student 1956 in a historic walls of the city center, the cabaret "Piwnicy Baranami pod" (as "cellar under the lambs"). One of the key artistic figures of Krakow, he was also there, as was also founded in 1956 on St. Mark Street 15 of the fast becoming famous jazz club "Helikon" - the first regular at all in Poland.

This Wiesław Dymny adorned the walls of "Helikon" with imaginative, surrealistic frescoes, brush with funny drawings. The mural above the door arch showed an imaginary instrument cluster in a kind of Wolpert ingers, the piano, a pianist and a dominant, large-Helicon Tuba combines. (The Helicon, and helicon tuba is a tuba-design, which replaced in Europe very often the American sousaphone, and thus in many oldtime jazz bands of the Old Continent was used.)


(From Wiesław Dymny self-made image of the "Helicon" jazz club in the background of surrealistic fresco, in front of the club founder source. diapzon.pl )

guests at the club, which quickly from a vintage club a focal point of modern Polish Jazz blossomed development and existed until 1969, were among other things, Krzysztof Komeda, Tomas Stanko, Adam Makowicz, Janusz Stefanski, and many other representatives of the then contemporary jazz of Poland, also the bass player and later jazz promoter January Byrczek.

memories, impressions and relationships, it has by and in the jazz club in the first hour, most recently, the publicist Grzegorz Tusiewicz under the title "Krakowski jazz club Helikon 1956 - 1969 - Wspomnienia, impresje, relacje published. The book cover design was a - in the direction of stylized trumpet - also Dymny of Helikon. The metamorphosis of the helicon to trumpet line with the trend in "Helikon" club back to the dominance of contemporary jazz, was, as observers suggest perhaps even by the charismatic trumpet of the fascinating game of the young Tomas Stanko at the club "Helikon" influences.

1963, Byrczek increasingly organizer as a bass player, on the basis of an existing operation, the Polish Jazz Club Jazz Society (Polskie Stowarzyszenie Jazzowe - PSJ), which quickly became the largest European jazz organization.
The known fact is rapidly becoming PSC logo with the trumpet, created as Grzegorz Tusiewicz insured, in turn, Wiesław Dymny.

That same year, two Byrczek the Polish magazine "Jazz Forum" was launched. was for East German jazz fans this Magazine - first English, then for a time even also in German - the only easily accessible jazz in its field and distributed accordingly far. Their proximity to the Polish Jazz Society almost every issue contained several times the PSJ Trumpets logo. In addition, it was to work in the "Jazz Forum" usual, with vignettes, heading graphics, and funny cartoons. Almost all of them took advantage of graphical forms of trumpets that have been modified and stylized. There was even grotesque title graphics with funny trumpet casts it. To this extent also influenced by the East German jazz fans the trumpet as a graphic symbol of modern jazz.

The awareness of the trumpet left in Dresden tracks - namely in the formation of the very first logo of the IG Jazz. "When we were sure we were in the cellars of the ruins of the palace into Kurlander," recalls Frank W. Brown, founder of the IG Jazz Dresden, "I drew the signature in combination with the barrel-shape of the vault on . 'Brown continues: "The idea came to me with the trumpet for the trumpet in the logo of the Polish Jazz Society" Coming Clean drawn the whole thing had Burkhard Klaus.. That was 1979. "The first, still existing sticker with our logo then donated the Mountain Village Jazzmen from Hamburg," recalls Brown continued.

(Postcard of the jazz cellar with the logo of the former IG Jazz in the left foreground in the background which was then current logo of the culture of the GDR, which included the IG Jazz Photo:.. Archives ton )

Later, about in the mid-eighties, was the Dresden artist and jazz friend Jürgen Haufe, develop already a regular at concerts of the IG Jazz, commissioned a new, fresh, concentrated acting logo using the idea of the curved barrel.


(The first, usually red and blue running Haufe logo for the "ton" has been overwhelmingly on the former A5 program notes used.)

Formal occasion was probably a little anniversary in 1986, the upcoming fifth anniversary of the withdrawal of the IG Jazz in the barrel vaulted cellar under the ruins of Kurlander Palace. But above all, the fact that had naturalized the colloquial term "ton" should see a new logo reflected.
Haufe used - of course! - The trumpet, she combined graphically bold and sweeping with the "O" of the word "ton" and abstracted from the vault with a simple bow. A small, handgepinseltes "Jazz" had until February 1991 indicated that the "ton" no rock or country club was.

With the anniversary program in March 1991 (ten years in the cellar vault of the IG Jazz Kurlander Palace ") changed its genre-related, but not very descriptive term" jazz "in the logo made precise in the term" jazz club ". This carried the "barrel" members of the fact that they are now after the fall as a registered association under the name had constituted "Jazz Club tonne.


(Haufe The second logo for the "ton" was usually black-white print on a light, solid color base and mainly designed for easy Monatsfaltblätter - here are my neck of the then "bin" address -. Used)

When the "ton" in the spring of 1997 to the Dresden Waldschlösschen site moved, the term "Jazz Club" in favor of better graphic clarity has been omitted entirely, the logo was from now with no verbal statements seemed so emblematic and powerful.

While some thought then moving opponent, the club after the move was not "their" Jazz Club, now so lacking that term, too, are in the logo, but the real cause of this reduction was different.

Apart from a graphical reasons (a good logo is symbolic and reduced) Jürgen Haufe gave a smile of content declaration: "If in the scene of contemporary jazz in Europe ton is said, everyone knows that in this very special club Dresdner is meant. And if someone speaks of contemporary jazz scene in Europe and it asks for Dresden, is the answer always come tonne. - So why even verbal ornaments "


was this - after the bankruptcy of the old" - aware of the founders of the jazz clubs Neue Tonne Dresden also Buoy Association in December 2000. They let the logo in connection with the term "Ton" at the German Patent and Trademark Office on 23 January 2002 as its own word-picture mark register.

Since then, is the cheeky, comprised of a sheet trumpet that holds together the words "bin", for "the" ton, for the Dresden Jazz Club of innovative, contemporary jazz and improvised music concerts.

The introduction of a new logo in November 2010 will be discussed here .

Mathias Bäumel

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Evan Ziporyn and Gianni Gebbia solo recordings for clarinet and saxophone

(Photo: pixelio / Britta Schlüter)

CD-Tip: What did the CD's "This Is Not A Clarinet" (Cantaloupe Records 2002 - Evan Ziporyn), "H Portraits" (Rasta Scan Records 1998 - Gianni Gebbia) and "Arcana Major / Sonic Tarots Session" (Rasta Scan Records 2001 - Gianni Gebbia also shared)? There are CDs that contain only solo pieces for bass clarinet, clarinet, alto saxophone and soprano saxophone.

All three CDs of clarinet and saxophone solo music were published some time ago - but why you should always just reacting to what's hot, when it is in the CD shelf again and again encounters also fascinating from the (recent) past?

On beautiful sounds the three CDs are presented.

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Ten years ago, on 6 October 1999, died in the great Amalia Rodrigues, the queen of fado


Amália Rodrigues (Photo: Teia da Língua Portuguesa)

Flashback: In 1989, the celebrated famous Amália Rodrigues under the sympathy of the whole Portuguese people 50 years their stage presence. Great artists such as Federico Fellini, Mario Vargas Llosa and Sophia Loren her congratulations to the anniversary was in Portugal at that time published a well-equipped 8-he-CD box. After their last great concerts in New York and Lisbon in 1990, she held until her death even more isolated, always acclaimed performances.

Amália, as all loving and was called respectfully, has during more than fifty years on the world stage somewhat achieved what took other approaches, only very few artists: it was not only the artistic national heroine of Portugal - in the cult probably only behind Pessoa and Camões - but their appearance and their work brought the fado - a resident only in Portugal municipal art song form usually melancholy character - out into the world. Given the economic and linguistic dominance of English and American pop music an incredible achievement. The entire Portuguese nation is indebted to Amália, it was 1990 when the artist, the highest state award Portugal, the Grand Cross of the Order of Santiago de Espada, was presented.

Amália is now called by critics in the same breath as the Callas, Bessie Smith, Edith Piaf and Ella Fitzgerald. Their influence on the Portuguese and, increasingly, also on the European musical culture is hard to overestimate. When captured the last ten years, the singer Misia with its mix of Portuguese fado and French chanson, the European cities that is without what Amália Rodrigues has created of repertoire and artistic standards, unthinkable. The success of Bevinda, a singer who combines fado roots with a delicate pop music, and Teresa Salgueiro, the singer of the most important band in Portugal, Madredeus, would be impossible without the work fulfilled Amália. Amália promoted the emergence and spread of a sophisticated civilization fado, the Portuguese music scene and what impressed the Portuguese live music and feel. Singers such as Beatriz de Conceição, Maria da Fé and Lenita Gentil, or the younger Cristina Branco, Ana Moura, Katia Guerreiro, Mariza, and cause continued their classical Fado singer tradition. As

very own music creation Portugal, fado is not for authentic folk music is still the classic. It is an oral tradition, alive remained high artistic City Music, the only one that Europe has not. The origin of the fado is controversial. Some say Fado tribe of gypsy songs from the ancient Alfama district of Lisbon, others that sailors had introduced this art of song two hundred years ago from Brazil. The spirit of fado is described by all the same - through the so-called Saudades, the Portuguese sense of unfulfilled longing action for love and security. Amália Rodrigues describes fado

: "We had Portuguese to complain much, because we were here, where none go there if you do not want to. Our country is bordered by Spain, nothing else, just the dangerous sea. And so we were always with swords and war and has the sea, and we went out to sea, so we have long suffered. And this is an action, and fado is an elegy. "

Amália was born sometime in July 1920. She sang - even in competitions - even as a child. In 1939 she obtained José Soriano, manager of the restaurant famous Retiro da Severa, in his house. Within a few weeks, they become the local celebrity. With a highly acclaimed tour in 1943 in Madrid began her international career. As it stands in 1956 at L'Olympia, the most famous variety theater in Paris, on stage, their legendary reputation is sealed. Since then, she is one of the audience favorites. But it is celebrated not only in the Romansh-speaking countries. Even the far-eastern Japan takes a liking to their music. Apparently their interpretation of art touches so directly, that language barriers are no obstacles. Fado Amália opened up new horizons. Their performances, in which she appeared always dressed in black, have made history. Equally stunned their high ornamentation reminiscent of Moorish influences. Of their personality to let high-profile composers and poets inspired that you wrote a whole series of new pieces.

loneliness,
before the sun disappears like a lost bird.
loneliness ...
I will also Adieu to say?
The whole secret of life is like a star,
like a star in these ashes,
before the sun disappears.
loneliness.

Amália was like a saint, especially for the poor, for which she used regularly with aid projects. Although they officially during the Salazar dictatorship regierungsnah was, then she donated money illegally again and again for the Communist Party. Amália Rodrigues died on 6 October 1999 in the age of 79.

, tens of thousands of her in the Basilica de Estrela in Lisbon farewell. The then European TV channel Euronews transferred live for several hours, the funeral service. The Portuguese President ordered three days of national mourning, the current election campaign has been set. Amália was buried in the cemetery Lisbon Prazeres. 2001 led to her remains in the National Pantheon in Lisbon Church of Santa Engracia, an honor that she was presented with the first and only woman given.


fulfilled Amália sarcophagus in the church of Santa Engracia, the National Pantheon in Portugal. (Photo: MB)

In Rua de Sao Bento in Lisbon houses the museum dedicated to her Fundação Museu Amália Rodrigues. Their lives and music are the subject of the musical Amália, which premiered 2002nd

Pinewood Derby Designs

Jazz Club Neue Tonne Dresden Steffen Wilde has a new CEO


Jazz Club Neue Tonne Dresden Steffen Wilde (born 1964) from 1 October 2009 a new managing director.

The previously in Halle / Saale active Wilde held since 1980 concerts with contemporary jazz. He gained experience since 1992 in the student club in Tower Hall was there to 2004, artistic director of Jazz Concert Series Tower Club. Later he took over as artistic director of the concert series in the Take 5 Object 5, Halle. From 1994-2003 Steffen Wilde was artistic director of the International Jazz Festival Moritzburg in Halle.

Since 1997 he has run with great success the artists' agency Subtone Concerts, contemporary Jazz musicians from the USA, Japan, Austria, Switzerland and Scandinavia to central European club and festival organizers provide. Steffen Wilde is the "ton" not only commercial, but guided, above all, artistically.

MB

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graphic design and advertising Jazz Club - are reflections on a controversial topic


jazz club atmosphere. (Photo: Jazz Club Neue Tonne Dresden)

advertising they have all necessary - the major cultural events such as the small jazz clubs. But how to recruit right? Like a jazz club advertises a small operator with a small budget but successful? The issue is complicated and controversial - here are some comments on the design of program booklets and leaflets, posters and advertisements.

Preliminary Thoughts - Why do businesses advertise? not

The answer to this question is as simple as at first suspected.

course they advertise to sell their products as well. As far as clear - although even in this seemingly obvious point of the devil in the details ...

But companies also advertise in order to save taxes.

And they advertise in order to raise public its corporate identity with a corporate design to profile. Potential customers or buyers should know better what that Products and services, sometimes working methods which they can expect from the company.

why companies try themselves or their products to develop "brand". The related considerations lead inevitably to the attempt to ascribe the artistic quality, creativity, originality and a greater role. At this point, yes, advertising has to be art.

shape to such companies as the constant struggle with in order to achieve their business objectives, the visual culture of our society.

If culture organizers advertise

meet at cultural events, these considerations particularly to, an awareness that they are always responsible for the visual quality of everyday life should be clearly marked with them.

-profit organizations or state enterprises generate in the normal case - is no financial gain, the question of the tax savings with them not so - unlike commercial agencies and event facilities. But since they essentially work with "foreign" money from supporters and sponsors, they are exposed in a specific manner to a pressure to succeed. And the nonprofit organizations in the free culture enthusiasts do acting as a "reward" for their grueling volunteer at least the success of their events see - both artistically and in attendance.

print ads smaller culture organizer

So why make little culture this advertising? Also this is not to answer quite as easily as at first suspected.

course they advertise to attract many visitors. However: The promotional effect of the traditional print media such as monthly programs and posters is not really been studied. While large agencies and event facilities a lot, put a lot of money in a nationwide print advertising and in this way try to go to "safe" (the motto: Something will probably depend on each ...), is the small Cultural operators do not have financial reasons, this path open. (Especially you for advertising with their own websites and e-mail newsletter is vital because it costs almost nothing you can respond instantly to changes in and uses the medium that the audience offspring is most familiar.)

But since advertising with printed monthly programs or posters right costs money, look for the small operators desperately seeking answers to the questions of where and as month flyer should be distributed about and how they must be designed so that they work.

large, bright, provocative - that really helps?

It requires much effort and, if necessary much money for a study to answer these questions satisfactorily.
addition succumbing quickly to the danger of hasty move with perceptual psychology to problematic design solutions for print advertising. Big, flashy, provocative - these languages form by no means always the appropriate means with which you attract attention and after that are potentially interested parties can really get into the concert.

"What draws a viewer's attention, he will be impressed by the different socialization practices of his culture area such as education," explains the research, in 2005 Hannah-Faye Chua (University of of Michigan, Ann Arbor) in a study entitled "From the Cover: Cultural variation in eye movements during scene perception".

The cultural assessment of the visible design elements is dependent on the various systems of socialization and subcultures.

clear that this applies not only to the various great civilizations, but also in specific terms to the many smaller cultural subsystems.

For example, the black and white photography is in jazz, theater and concert music field for many years after the introduction of digital photography and low-cost color printing as a valuable, adequate artistic design elements, while in other Areas is seen as boring or inappropriate.

A number of extra-designed typefaces - examples visible in the changing titling mark the former techno magazine "Frontpage" - are emblematic of the techno-culture, such as the typography professor Friedrich Friedl in his article "characters in motion. The typography of the techno generation "extensively represented, but in other music and cultural contexts, would the use of these fonts and design methods are seen as out of place.

In other words, what for a "clean boredom causes, is for the other professional, what the One is provocative acts, for others a matter of course, what works for one misleading, is crystal clear to the others in the statement - depending in which aesthetic character systems, the participants feel at home on or mentioned.

print advertising for the jazz club - but how?

As a jazz club to try with its print advertising, attention in all the cultural sub-systems - the rock-as in the folk music audience of lovers of contemporary concert music as well as in soul, blues and funk fans, with the song lovers, such as in the free-jazz lovers - to produce by the various target groups each in their specific visual "language" speaks, is a hopeless and pointless (would notice but as the folk musicians very quickly that it is jazz, folk music is not). This applies even more for the general population of the disinterested, for which one can find not even a special visual "language".

If so little of cultural events - including jazz clubs - spend even money on print advertising, although they do not actually know how and how successfully certain graphic designs work from whom, they do particularly well to protect the public, the potential audience, specifically their profile, to enhance their own image. They do it by itself as a brand.

Where Jazz Club Neue Tonne Dresden "in it, should the advertisement be designed so that it can be seen - and be symbolized under the" bin ".

"Jazz" is available in many shapes and everywhere - from Dixieland to swing, fusion and blues, Free, of crossover and Cool, organized by small clubs to opera, from department stores to agencies, theaters or folk festivals.

As little as a Semperoper "Opera", a State acting for "theater" and a Beatpol for promote "Rock", so little it would make sense if the Jazz Club Neue Tonne Dresden for "Jazz" and would advertise only in the second and third line laboriously explained to jazz what it is for. No - the facilities are quite ready to be perceived as a brand with a specific, very differentiated content and also to reach their audience.

"set sign" - Club is a "brand" is better seen

clear that the brand profiles are changing every now and then. The changing face of visual Staatsschauspiel Dresden under a new director is an example - If not exactly a graphic designer sized for good luck. The new director brings a different programmatic, and this will be illustrated by a different "face" of the theater.

Especially the Beatpol Dresden, the independent rock club in the east of Germany, shows that the thing can work with the "brand". Without being ostensibly as "Rock" to categorize, it has built up a profile, for whose audience is almost automatically, even without large advertising expenditure.

clubs, however, are dedicated mainly to contemporary and experimental music forms have not nearly over as wide an audience as a reservoir of independent rock club.
You must therefore special efforts in advertising - company - especially in the brand profile. You need well "set an example" perceptible - in both senses: the content of their activities and promotional events graphically by their remarkable "face".

for the development of such a "face" it usually requires a professional and some careful considerations.

tease out the expertise of graphic designers do not refrain

contrast, the competence and conceptual thinker especially good graphic designers are increasingly despised. Many customers took the erroneous view that they could afford to develop such a visual "face" real self. So they write the order-receiving graphic designers often graphical solution into design details in before - with dreadful and even harmful results.

Not every designer is able to reject such thankless jobs. Asked afterwards what graphic designers, if they have jobs, because actually get their money, one of Europe's award-winning graphic designers responded with an ironic and resigned tone, "I dare mal 'ne Answer: . unopposed fulfillment of customer requests "

But small operators have to rely on any visitor - and the fact that they are clearly visible to potential supporters and sponsors, but also the public as a brand.
straight, they should not dispense with the whole concept of advertising on the expertise of professionals, especially graphic designers, but tease out the expertise of graphic designers.

gave the jazz area and there are always positive examples, but mainly for festivals, which during his lifetime by Jürgen Haufe designed total allocation of the Leipzig Jazz Festival, or even - to date - the Corporate Design of the Jazz Festival Saalfelden.

do jazz clubs however is difficult.

Mathias Bäumel

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Saxon Cultural Foundation 2009, more money for jazz than the year before


How does the keyboard of Saxon jazz promotion? Despite this increase remains a stepchild's Music: In the year 2008 the share of production was at the Jazz delivery Performing Arts / Music, only about 7 percent. (Photo: Christian Seidel / pixelio)

for the promotion of jazz and improvised music is the Cultural Foundation of the Free State of Saxony in 2009, € 78 200. They are more than 9,000 euros a year earlier. Regional organizers are spotted Leipziger the winners - 2009 will channel a 24,000 euros more than in 2008 in Leipzig on projects while Chemnitz and Dresden projects are funded with 15,000 euros less than in 2008 by the Saxon Cultural Foundation.

go in Dresden made savings primarily at the expense of innovative artistic and free projects. This gave the Jazz Festival worlds of jazz clubs New ton less, the festival of free improvised music of the Blue Factory absolutely no promotion. In Dresden spared from any cuts, however, are based more on the conventional and multi-point program, introduced in Dresden Jazz Days of commercial agency Grandmontagne. However
benefit in Leipzig just innovative and artistically free projects of financial increase and redistribution of funds from the Saxon Cultural Foundation.

To support these funding decisions contrary to the intentions of the applicant Dresdner organizer preconceived opinions from the public in the creative and the more conservative Leipzig Dresden.

The innovative, modern telecommunications technology inclusive improvisation project Chemnitz Jazz Academy (BIG Association for the promotion of music education e. V.) received no promotion, while based on music education goals and stylistic breadth Leipzig Improvisation Festival relocated after recently from Berlin Leipzig German Institute for Improvisation e. V. was immediately transported to 8000 €.

In 2008 the Scientific Advisory Board edited the Performing Arts and Music 261 claims, it was the abundant half (139) a positive response with a funding of € 1,031,623.65 together.

As part of the promotion of jazz and improvised music is vanishingly small. The share of jazz promotion in the delivery Performing Arts / Music in 2008 was only about 7 percent. available in 2009, yet the exact figures, "we have a similar number of corridor," as the deputy director, Dr. Manuel Frey Foundation says. The advisory board

Performing Art and music of the Cultural Foundation of Saxony reviews all grant applications and prepares for the annual two funding each recommendation. This recommendation will then by the board "almost always," Frey explained over and decided to promote.

Membership of the Advisory Board will run for three years, also "avoid rigidities to take account of new knowledge and benefit from new perspectives can," said Frey.

The current Advisory Board performing arts and music, also examined the Jazz the next funding requests, has seven members, including four experts for theater and dance, and three for music: the Leipzig church music expert Professor Chris Krummenacher, music historian and contactor expert Professor Matthias Herrmann from Dresden and Leipzig, the young composer Christian FP stuff.

(MB)

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Johnny Gonzalez, 29 enthusiastic July 2009 in Dresden Blue Note


Like the Bolivians Johnny Gonzalez at yesterday's 29th July 2009 in Dresden Blue Note the song "Autumn Leaves" was played, both artistically impressive and for the piano art of South African jazz veteran revealing.

The song, 1945 by Joseph Kozma as a chanson "Les feuilles mortes" after a poem by Jacques Prévert composed, was first presented in 1946 by Yves Montand in the film "The Gates of the Night". Johnny Mercer wrote, inspired by the fate of a German Jew murdered in a concentration camp, to an English text, and the continuous round the world jazz standard "Autumn Leaves" was born, a well-known for his intense Wistful song. Johnny Gonzalez interpreted the piece while sad, but powerful, energetic phases, avoiding sentimentality in any situation. With the hard stop, tempo changes, insertions and motifs Nesting and a voltage-generating opposition of melodic ornamentation and sparse thematic sketch he created a kind of rebirth of this composition, you merely because of their tragic background should not necessarily "Evergreen" call.

Still other blues and jazz classics like "Summertime" by George Gershwin, "Blue Monk" by Thelonius Monk, "St. Louis Blues "by WC Handy, but above all" are Caravan "by Duke Ellington and Juan Tizol released yesterday at the Blue Note on interpretation of conventions. Johnny Gonzalez took the harmonies of the pieces to first sketch unknown translucent discharges, which then poured in rhythmic and metric variable-throughs, as cascades of melody and Akkordschwällen. Brilliant, as between ragtime, tango and boogie rhythms fluctuated, as he presented the same melody and bass runs in different tempos, as he once regretted short melodic fragments in the harmonic signal sequence - always acting with mercilessly played hard, precise, sometimes bulky or awkward. Gonzalez not clichés, and the processing of Latin American, even Indian melodies had none of El Condor Pasa-sentimentality, but a lot of full life, from waking sophistication of originality.

No doubt this was a Erzmusikant at work that weaves together own over decades with influences of other large, both from the diversity of Latin American musical cultures and from the recent encounters with game partners as Albert Mangelsdorff, Charlie Byrd and Elvin Jones draws. Johnny Gonzalez was an experience.

(MB)

Antique Commode Chair

old U.S. radio series about the FBI

I am working intensely in the history of spy Rudolf Abel, who was arrested in 1957 in the U.S. by the FBI. And I have come across on the Internet to an archive with a series of FBI cases from U.S. radio: "This Is Your FBI". This series aired 1945-1953, can be heard as an audio stream or download. Link: http://www.archive.org/details/ThisIsYourFBIotrkibm

here as a sample the first episode of "The Skyway Man":




"I Was a Communist for the FBI" was
This series of 1952-1954 broadcast on U.S. radio. The focus of the story revolves around the FBI agent Matt Cvetic, who is introduced by his employer in the Communist Party of the United States, leading to major problems in his private life out, because nobody, not even his family, including a little white.

Here is the first episode ("I walk alone") the series:

Temptations Party Invites Wording

exhibition in USA: Operation Overflight

The National Electronics Museum in Linthicum, Maryland (USA), opened on 10 July 2009 an exhibition of Francis Gary Powers. Jr. "Operation Overflight" is equipped with utensils by Francis Gary Powers, the Cold War, the museum in the United States operates. (See surf tips). He is the son of a 1960 shot down over the Soviet Union U2 pilot Francis Gary Powers. The exhibition aims to 15th January 2010 demonstrated. So if a trip in the near future U.S. plans - maybe even worth a visit! For more information, visit http://www.nationalelectronicsmuseum.org/pressroom/index.cgi?p_id=38

Unmoving Kidney Stone

Refined Creutziger Gallery on the evening of Appeal on 28 May 2009 in the Dresden Semperoper


Matthias Creutziger: Hutpuppe, 1930s.

Internationally renowned jazz and theater photographer Matthias Creutziger employed for several years as a photographer at the Dresden Semper Opera House and has long been associated also to the Jazz Club New tonne closely with, and his artistic photographic "portraits" of historical Hutpuppen significantly to the program 6. Chamber recital on 28 May 2009 (20 clock) in the Semper Opera in. The pieces "Metamorph I to III" are improvisations for two percussionists (Percussive Spielvereinigung: Dominic Oelze, Christian Langer), the extra for that are on the stage backdrop projected photos Creutziger designed. This special togetherness photos and improvised percussion is the brainchild of Oelze and Langer, who appreciate both the photographic qualities of their colleagues very much.

the full program and ticket information for reference here.

Savanna Samson The Devil In Miss Jones Clips

burlesque tone of the danger

CD-Tip: since 1997 with such an exciting, gripping and equally lyrical and meditative music on the move, saxophonist and clarinetist Matthew Donarier sets with his trio's first CD "Optic Topic", which structurally versatile compositions Donarier presented. "We want to achieve the greatest possible contrast, we want to tell the audience true stories, the scenario should be characterized by a continuing freedom."

The result is jazz at its best, sounds are full of surprises!

More about Matthieu Donarier CD "Optic Topic" at beautiful sounds.

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"Byzantium" by Gabor Gado - a beacon of musical history


Gabor Gado 19 March 2005 in Dresden to the world of jazz festival. (Photo: Dietrich Flechtner)

Undeterred, the man who admonish, the musician. Guitarist Gábor Gado is his sprawling, bizarre and profound music once again acting in a context of social history of cross-base diagnoses. His current album he calls "Byzantium," typographically altered with a twisted "z". "Z" is the last letter of the alphabet - the end is so twisted, wrong, wrong.

Byzantium and Byzantium means those ancient settlement on the south exit of the Bosporus, which was rebuilt because of its favorable position 326-330 by the Roman Emperor Constantine I as the new capital of the Roman Empire (Constantinople). Byzantium as a symbol of civilization for a fresh start and are equally Resume point of human development to destruction, as a symbolic place for the start of the so-called Constantinian shift, in the course of the formerly state discrimination and phase as bloodily persecuted Christian Church is first tolerated, then legally privileged institution, and was finally Theodosius a Reich Church.

The picture puzzle design of the Art Smart CD Covers Yasar Meral and Gábor Bachman's could refer to these Constantinian shift, it shows on the one hand, an ancient hunting scene on the other a threatening Jesus scene, especially the latter indicated by the devil figures pointed out that the evil enemy, but a son of Christianity - a view which is in the symbolism Gadó'schen happens only once.

The CD is attached a fictitious apocryphal text on the Apocalypse of the 21st century, extra Dolinszky Miklós, the Hungarian musicologist sure most significant of the present in old Hungarian-language for "Byzantium" is written. Dolinszky: "As a musicologist, and the literary interests are not strange, I opted for a linguistic game that the language of the first Hungarian translation of the Bible from the 16th Century paraphrases (some specific quotations from the Old Testament and from Henry David Thoreau's "Walden. Or Life in the Woods" involved with), despite the fact that it has to do in a direct way with Gábor Gados music to actually do anything. "

Again, this text begins with the statement that evil, the devil, a consequence of human Selbstapotheose is. "For by themselves perceive as God, it is also said that the devil exists in the world." And again reminded the fragment because the absence of evil is not identical with the good, the absence of the devil not the same as the divine was. And the apocalyptic text ends with the description of human social life after Armageddon: "The houses, roads, bridges and homes were destroyed and Together with them were also the states, parties, companies, organizations, bodies and institutions dissolved, which had destroyed not least, the humanity. And the people came closer together again, not only physically but in spirit: For the walls that had built up the people in rock, existed long ago in their heads. And now there was nothing that separated the people. "

Sun is not it a coincidence that the last track on the CD" Юродивий is named. " The Russian word means an imbecile, a fool - even in the sense of a fool, the impunity the terrible must tell the truth.

Then you could think of Erasmus of Rotterdam's Praise of Folly "(1509), for the" folly in the healing and the true wisdom in the wisdom of the true imaginary folly "was. One should not ignore that, then what was later called the freedom to fool, is not an achievement of Christianity. The present law, in art characters that are disrespectful to God and man, it was in ancient times. What then, since the Renaissance, only the "fool" (Jester) was allowed, each task is thinker to point out the rotten state of human society and give pointers to where the evil stirring. One of Gábor Gados replies: "Byzantium".

It seems logical that take individual tracks on the CD that deliberately created the context reference. - Examples?

"Mirandola" focuses on Giovanni Pico della Mirandola (1463-1494), the large, early late philosopher of the Renaissance.
Mirandola was the first Christian who, without even being Jewish, is intensely involved with the Kabbalah. In Rome, he wanted to defend 900 philosophical and theological theses which he had written publicly before all interested scholars of the world. He invited them to a large European Congress, which in should take place the presence of the Pope and the College of Cardinals. His goal was to show a fundamental agreement of all those philosophical and religious teachings, which were finally included in all Christianity, and thus to contribute to peace and global understanding. Was planned for the January 1487 public disputation not take place because Pope Innocent VIII began a sixteen-member commission to examine the orthodoxy of the views expressed in the theses. Mirandola was not prepared to appear before the Commission. After intense debate, the Commission concluded, thirteen of the theses were heretical and should therefore be condemned. The music Gábor Gados reflected the dramatic dynamics of the event, which is soaring up hope, turns out to doubts, the risk of attacks, breaking light of optimism and the fall in the depths of defeat against - and in five minutes and fifty-one seconds.

"Avicenna" is the most famous philosophers and scientists "of Islam and perhaps of all time" (George Sarton), Abū Alī al-Husayn ibn Abdullah ibn Sina (980-1037), dedicated - designed with soft saxophone Gitarrre-unison runs, (truthfully) searching, scanning, ...

The title track gives finally the ensemble of clarinet, Bass clarinet, bass, drums a staccato-like serenity that - now comes Gados guitar into the game - to bustling, vibrant temptations and doubts out to make a duo of saxophone and guitar, a dragon dance between threat and promise - the end is left open .

Gábor Gados "Byzantium" - this is not jazz. This is a beacon of musical history.



Gabor Gado: Byzantium, BMC CD 137

The text of Miklós Dolinszky in German in a rough translation from the old English version here.

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"Erstbgegnung with Savina Yannatou in the New Saxon Art Association Dresden


Savina Yannatou. (Photo: PR / Johanna Diehl)

The ongoing for some time, from Dresdner drummer Günter Baby Sommer is artistically directed concert series "First Encounters" the New Saxon Art Association it on 22 April 2009 (20 clock) to a duo concert with Savina Yannatou, Greece, and Günter Baby Sommer.

"The world is upside down when initiating Savina Yannatou with a short Obertonintro the Sardinian folk song Ballo Sardo, to end five minutes later in a squeaky-jazz cacophony and immediately behind the oriental melody line of a Lebanese lullaby avant-garde polyphony sets "- the Yannatou is a renowned interpreter of the classical music world, with superior range of expression in her voice makes every song an experience.

Savina Yannatou sings professionally since 1979. Her artistic spectrum is very wide: it occurs with works of modern Greek composers and also is an interpreter of the pre-classical works. Since 1983 she has worked with the Studio for Early Music, performs with the ensemble works of the Middle Ages, Renaissance, Baroque on period instruments. She composed music for dance, theater and video works.

is particularly emerged Savina Yannatou but with their own CDs, it has brought out mostly with her band Primavera en Salonico "- the last three at the prestigious Munich label ECM, also many in the Greek Lyre label.

Günter Baby Sommer, Dresdner percussionist and drummer of global importance comes forth from the European free jazz, to the relevant protagonists, he has since the early seventies. Summer has earned worldwide reputation by the fact that it increasingly important for artists from other genres and genres - music became a congenial partner - for writers, actors and painters.

"For about 25 years now, we meet at Festivals, so we are already acquainted with each other, but never have we played with each other, "says Sommer. "And now there is a joint concert project. A percussionist who works very oriented towards singing and melodic like it, and a singer, the firm in the music of the entire Mediterranean region and is familiar with many time periods - from such a "first encounter" one can hope for much.

More about Savina Yannatou here.

MB

admission for non-members: 7 €.

New Saxon Art Association eV
St. Petersburg street 2/Akademiestraße
01 069 Dresden

Sickest Sharking Vidoes

The 35th Freiberger Jazz Festival, international and national musicians of repute in the program


Plays on 24 April 2009 with his trio, Sergei Starostin + in Freiberg: Vladimir Volkov. (Photo: Ekaterina Kuzmina)

The Faun is celebrating its 35th end of April Birthday. This anniversary, he takes the opportunity to let it rip about: The 35th Freiberger Jazz Days provide a large contingent of international and national jazz musicians, world-class!
The Framework Programme for the big party begins on 18 April: The photo exhibition "Jazz and Photography" by Bernd Mast opened in St. Peter's Church.

On Thursday, 23 April begins the "real" festival. According Jazz Festival starts the tradition of the classic birthday party. Under the leadership of Jan Michael Horstmann the middle Saxon meets harmony "leipzig-percussion trombone" on the band. "Beethoven meets Jazz" promises to bring even the most stubborn friends to the classic jazz track to prepare for the upcoming weekend. The typical Big Band charm and a sold out concert will be guaranteed.

begin on Friday by 20 clock then the main concerts in the theater. Arrival Tour, a German-American duo will bring together with Manfred Herring on saxophone and tap dancing Sebastian Weber the audience to wonder. As fast, bold, yet virtuosic jazz has long ceased belongs! The Volkov Trio from Russia takes over the musical baton. With the support of jazz stars and singer Sergei Starostin that the four Russian musicians a connection between jazz and Russian folklore, even hot in the depths of winter to ensure Russian sounds. Vladimir Volkov is a god in his country on the double bass - Starostin a virtuoso of the vocal cords. Who wants Russia musically even "different" experience for the Friday evening a must!
For the first day of swinging to end, then does the SAX Quartet Dresden. This jazzy ensemble every song that is not nailed down and.

Even for small Jazz fans again catered Anatolis musical circus invites on Saturday, a clock at 10.30 in the BiB for young and old and offers a musical and artistic program on tenterhooks along. At 17 clock
invites world-renowned jazz pianist Chris Jarrett then at a special concert in the Town and Mining Museum. Even the few non-experts to be around him can not make a bow: With a unique blend of classic and modern jazz will Chris Jarrett not only to the intense experience of music listening, but to inspire. As sources of inspiration he calls including Sergei Prokofiev, Charles Mingus and Frank Zappa.

After a short breather then by 20 clock in the middle Saxon Theater continues with the ears. Dutch jazz music for most of the German ears still virgin territory. While our neighbors have no reason to hide. The German-Dutch quintet "border hopping" shows in itself how perfect rhythm sections and horns act together. Here, the five musicians always jump back over the borders of contemporary and fusion jazz. Great improvisations meet passionate melodies. The highlight of the celebrations on Saturday is the "United Composers Ensemble dar. The idea behind the project is to jazz music durchzukomponieren: Jazz musicians are very often as a grand improvisation artists, their compositional Talent is often forgotten. The party guests enjoy "Jazz with orchestral sound."
then invites Jörg Hegemann's a ride on the Boogie-Woogie Shipping. Guests are encouraged to shake a leg and enjoy the night.

Who has the next day the necessary strength and a strong stomach can, can blow away the tiredness from Blue Alley with the Dixieland brunch in the "truck driver".

are available for the late risers in the afternoon or the final concert of the jazz days. Sevda Azeri is in their home country, Azerbaijan, already a star. With her jazz ensemble, she wants to leave the musical tradition of their country alive again and spread it all over the world.

IG Jazz Freiberg (Saxony) invites all music lovers to anniversary of the Freiberg Jazz Festival.

(Gert Schmidt)

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native of Weimar poet, musician and architect Paul Thomas Bierau is dead

Like the Thuringian State newspaper of 8 April 2009 announced that the poet, musician and architect Paul Thomas Bierau died in the night by 5 April at the age of 50 years. Bierau was a founding member of the Art Association Apolda avant-garde and a member of the Literary Society of Thuringia, which keeps him as one of its most creative and unconventional members and as a vital, lively writer recalled: "Unforgettable are his imaginative, genre borders in performances contemporary American poetry. His lyrics are known to the poetry of everyday life, to bars and erotic "Bierau had big plans: 22. For the April he planned the premiere of his Bauhaus program "Oops, we live".

Bierau occurred in its own programs and in addition also with jazz and blues musicians, so twice before over a year at the Jazz Club Neue Tonne Dresden.
On 8 March 2008, he had in common with Charles Sammond the program, "Allen Ginsberg: 50 years> Howl \u0026lt;- experimental poetry and jazz" made on 27 March 2008, he has played in the worlds of jazz festivals in the bear pit in Michael Lenhardt Blues-rock band.

Ribbons With Sayings On Them

"Cross-Paths to the World Heritage

The Foundation of Prussian Palaces and Gardens offers special tours this year, beginning on the Glienicker Bridge. Under the motto "20 Years after the Wall: Cross-Paths to the World Heritage" by the Easter Saturday (April 11) until in late November, two different routes available to the east and west of the Bridge: Route 1 runs from the Glienicker Bridge in the Babelsberg Park Route 2 of the Glienicker Bridge in New Garden. Price: 8 €, reduced 6 €. Meeting point: Castle Checkout Glienicke. Registration: Tel 0331/96 94-202. Group Bookings: Tel 0331/96 94-200. Detailed information is available at http://www.spsg.de/index_6543_de.html sonderfuehrungen #

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Fado experiences in the autumn Lisbon - Memories of November days


Nighttime view from the castle overlooking the city and the Tagus, in the background in light blue as dots Cristo Rei, the city blessing, 28 meters high Christ-figure before the bridge "Ponte 25 de Abril" .

night in Lisbon. Who thought it not at Fado? In those intricate, often melancholy voice acting, the only in Portugal's capital city and - can be found in the ancient university city of Coimbra - in modified form?

With the blustering cult-electric point 28 it is from the famous terrace Miradouro Santa Luzia, in the corner of his eye lichterfunkelnde the dark Tejo, down through the geometrically acting up to the Lower City Largo do Chiado, where sits a bronze figure of Fernando Pessoa in front of the famous Café Brasileira. Some tens of meters to begin strolling through the narrow, but lively streets of the Bairro Alto, which is full of small shops, cafes, bars and discos, dance halls and fado clubs. Watch is announced - here are many of the Fadokneipen overpriced, and there is a constant battle of the door staff to the tourists. Just outside the high season, the echo calls "Mister! Come in, we have a great and unforgetable Fado program "from all the doors - before which to stop, and be it only to study the menu, pretty risky. Once you get in the interior of such premises may again find, but truly professional singing fado (fado profissional ") expected, but not rare, at least out of season, orphaned many tables, the atmosphere because of the yawning emptiness little inspiring. The Bairrada wine in the "O Canto do Camões" was good, the veal as well, and the singers Alzira Caned and Idalia Maria, most responses did José Luis beautiful, soulful fado - but what took the view of the six guests in one - as Azulejos beautifully tiled with usual - for eighty Restaurant People?

that is being fought in this area in early November to every guest lit us a quick ... But somehow a vicious circle ... Further, better-known restaurants in the Bairro Alto, such as "Café Luso", "A Severa", "Adega Machado" or "A faia" are obviously in a similar situation.

Unlike the nocturnal atmosphere has two days later in the Alfama. In the "Esquina de Alfama, a tiny, folksy, rustic restaurant near the museum still young fado, fado Vadio is offered, that is, anyone can sing, who feels called to - and the atmosphere was divine, The pub was full of a crash, the air vibrating. A long, skinny, blond lanky sang passionately, also drove us who understood the text does not, the tears in his eyes, owner and singer Lino Ramos, the restless artist of this shop, rose to one and even ripped to thunderous applause, which immediately aufbrandeten, hardly a song that went over. Behind the bar, the silver-haired grande dame of the house, Ivone Dias. Whether she can still sing this evening, I asked her. Unfortunately not, came the reply, and Ivone inscrutable smile and downcast eyes, bowed, unfortunately no, because she was hoarse, and she tapped in support, crossed his arms over his chest, elegant with the index and middle fingers on the larynx. She was very moved by my desire to just listen to them sing, and for me it was very grateful. "But because you can not listen to me singing live tonight I give you this CD - especially for you," and then signed Ivone the CD, providing them with a dedication ceremony and handed it to me. - Well, around midnight, as the time drew near the (From) account, I found the CD with a 15 € charge ... Incredulous, I read that amount, because I had assumed it would be a gift ... Then I shook my head and said, even for their own comfort, "she skillfully made it so ..." was once again amazed

I few days later when I followed up at home with a trip to Lisbon Merian leader. There, I read in the article "The Search for the yearning" for a visit to the fado restaurant "Fermentação", a place is offered on the forecourt Fado for the front of the door at small tables seated guests, the following:
"Ana had flirted with violently during the performance of my companion. After their performance, they asked for her name, wrote a dedication to a CD and gave it as a gift. When we pay the bill, the gift of 30 € is reported - not without reason that even the most beautiful Fado "

. Since I'm still got off cheap, I thought. And, our Lisbon impressions in mind, nor how well it must be ordered now at Fado?


The Portuguese-English-speaking Fado Guide Lisbon, "Roteiro de fado de Lisboa (Lisbon fado's guide" - Issue November 2001, available at the Fado Museum on the Largo do Chafariz de Dentro), lists 50 Fado on premises, mostly in the districts of Alfama and Bairro Alto, but also in the Mouraria and Madragoa and in other areas. The museum is officially called "Casa do Fado e da Guitarra Portuguesa" (House of Fado and Portuguese guitar).

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" 20 Years after the Wall - search for clues in Potsdam "

the Glienicker Bridge, the ancient "Forbidden City" of the KGB in Potsdam and Schloss Cecilienhof in the New Garden (where 1945 Potsdam Conference took place), are stations of a theme tours of the Potsdam tourist office under the slogan "20 Years".
Dates: from May to September on the 2nd and 4 Sunday of the month, also on 3 October and 9 November 2009. Meeting point: 11.00 clock Glienicker Brücke (Berlin side). Duration: 2.5 hours. Information and registration: Tel 0331/27 55 80, further information http://www.potsdamtourismus.de/ .

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6th RBB-thirds Marathon

On 26 April at 10 clock starts on the Glienicker bridge the 6th RBB-third marathon. About 3,000 runners are expected. The 14.065 km long track leading from the Glienicker Bridge on the Berlin street in the center of Potsdam, on Hegel Avenue, through the Brandenburg Gate, the Brandenburg Road and the Old Market past back to the castle site, on the Long Bridge, through Babelsberg and again the Glienicker Bridge. On the international border between Berlin and Brandenburg runs in the middle of the bridge the finish line. The race's motto is "1989 - 2009 20 Years Peaceful Revolution", each participant receives only the instrument of a special medal. Registration formalities under http://www.rbb-lauf.de/ .

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The House at the Bridge

of recent events (opening of the Villa Schöningen, see posting below), a book: Katie Hafner, "The House at the Bridge - A Story of Modern Germany" describes the eventful history Villa Schöningen and its inhabitants.

can about the Internet bookstores be obtained. My personal tip: on the side http://www.bookbutler.de/ or http://www.vialibri.com/ you can see where the book is currently getting the most favorable - very handy for all who read a lot! Recently, moreover, also a German translation of the book was published, but - so I was told from an authoritative source - did not succeed very well should be.

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Villa Schöningen

Great news: The Villa Schöningen near the Glienicker Bridge (at Potsdamer side) is currently being restored and is expensive in the summer for the public be opened. In the premises a Daueraussstellung the history of the villa and the Glienicker bridge is planned. This is thanks to the private initiative of Mathias Döpfner, CEO of Axel Springer AG, and banker Leonhard H. Fischer.
The reason for his commitment called Döpfner, who has lived several years in Potsdam, his relationship with his adopted country. "I feel in Potsdam incredibly well - I love this city"
To make the issue as clearly as possible, be witnesses sought that personal experiences with Villa Schöningen (which housed the GDR era a children's home) or connect the Glienicker bridge and to few can tell. You will be asked to register at the following addresses: The addresses
E-mail: zeitzeugen@villa-schoeningen.de Post offices: Dr. Lena Maculan, Villa Schöningen, Berliner Straße 86, 14467 Potsdam, Tel 0173-624 96 77.