Charlie Hunter and Lucy Woodward are known for excelling in different genres, yet the two veteran musicians have been running in similar circles before pairing up for touring in 2018. With a career spanning 16 years and almost 20 albums, virtuoso guitarist Charlie Hunter has worked with the likes of Norah Jones, Mos Def, John Mayer, and D’Angelo. He is widely considered the authority on the seven and eight – string guitar and continues to stun audiences with his ability to simultaneously bust out tasty bass parts, melodic leads and swinging rhythms. Lucy Woodward has been blazing her own path since the 2003 release of her Top 40 radio hit “Dumb Girls”. Not settling for the pop industry standards, she later released albums on the legendary jazz Verve label and on Snarky Puppy label, GroundUP Music, after much collaboration with the band. She has sung live with with Pink Martini and WDR Big Band and has sung background vocals for icons such as Rod Stewart, Celine Dion, and Barbra Streisand. Charlie and Lucy toured much of 2018 and rounded with a drummer, they recorded an album based on pocket-heavy renditions of vintage pop and classic standards ranging from Blind Willie Johnson to Terence Trent D’Arby to Nina Simone (2019 release).
Vocal Sampling – for the first time in Serbia and the region
Musical magic from Cuba at Nisville 2020
Awesome a cappella sextet from Cuba – Vocal Sampling is going to perform at Nisville 2020 – at friday, August 14th. The musical kingdom’s illusionists ! Close your eyes and listen ! Fresh and seductive as the waters of Cuba´s beaches, melodic and rhythmic as the wind which moves its palms and people, this is Vocal Sampling !
The Cuban group that made musical instruments from their voices, becoming the illusionists of the musical Kingdom. Concert of Vocal Sampling is to participate in a magic show. The unbelievers look for the trap. They do not want to believe that the group of sounds and the excellent melody they listen, come from the musicians´s voices. Meanwhile the experts applaud, because they know there are not deceits or tricks, but brilliance and harmony ! Aware of their cultural roots, with an unquestionable and undeniable stamp that characterizes Cubans, these six men, with nothing else but their voices, move very comfortable among the most dissimilar rhythms, from the so-called art music to the popular one. They are six wizards who have been leaving us mouth opened up on each concert, with strokes of originality and talent.
Everything began in 1989, as a game in their leisure at Havana Arts University, when they simulated the sound of di erent instruments with their voices. This way and, little by little, they went tuning their throats to the sound of the metals, the percussions and the strings and created the unique sound of Vocal Sampling.
1993 “Una forma mas” was their debut album. Henceforth, the sextet conformed by professional musicians has been protagonist of a beautiful musical career that has taken them to the most important and diverse scenarios all over the world. The group have gained the attention of artists such as Bobby McFerrin, Peter Gabriel and Paul Simon. In 1996, at the artists’ invitation, Vocal Sampling performed at the Montreux Jazz Festival alongside artists such as Chaka Khan, Phil Collins, Mick Hucknall and Toots Thielemans to celebrate Quincy Jones’s 50 years career. Vocal Sampling has had a very busy tour schedule. Every year they have been present in the most important circuits of the World Music and Jazz of Europe, as well as Japan, Latin and North America…. Explanade Hall in Singapore, Ronie Scott Club in London, New Morning Club in Paris, Vienna Opera House, Opera Theatre in Tel Aviv, Hollywood Bawl in L.A., among others, have brought their music to all kind of audiences, as well as festivals like WOMAD Festival in England and Spain, Montreux Jazz Festival, Vienna, Vancouver, Paris, New York, Miami, WOMEX in Berlin, Paleo Festival Nyon in Switzerland, Festival Printemps de Bourges in France, April Jazz in Finland,. ..Following a hugely successful tour of the United States in 1995 they have continued to tour throughout Latin America, Europe and Japan.
In August 2000 during the BBC Proms, Vocal Sampling made a huge impact when they performed in a sold-out Royal Albert Hall.
On the back of this success, in 2001 the group released a very successful album, “Cambio de Tiempo” that got 3 nominations for the “Latin Grammy Awards 2002 ” on the categories of “Best Recording Engineering”, “Best Tropical Music Album” – “Producer of the Year and Best Produced Song”.
2006, release of the album “Akapelleando”.
2013, on December, they performed at the Shanghai’s World Music Festival.
2014, they made a tour around Europe and Asia, including festivals in Madrid, Canarias and Borneo. During that summer, they performed in festivals in Brazil and Mexico. On December they were nominated in Cuba to the Luca’s Award for their most recent video “El lunes que viene empiezo” which will be included in their next CD that is already in progress.
Vocal Sampling has performed in two of the three editions of the Festival Leo Brouwer de Música de Cámara that has taken place in Havana.
2015, a new show “So Sampling” will be presented with concerts in Mexico and China….
2017, their latest album “Así de Sampling” has been launched.
Members
René Baños Pascual : Director, composer, arrangements, Lead & backing voices
Oscar Porro Jimenez : Bass voice
Reinaldo Sanler Maseda : Lead & backing voices
Pedro Guillermo Bernard Coto : Percussion voice
Luis Alberto Alzaga Mora : Lead & backing voices
Ruben Dario Perez Guerra : Lead & backing voices
They talk about it
“MUSICAL MAGIC. Vocal Sampling must rank as one of the most extraordinary groups in the world… So effective is it that initially you think they must be using backing tapes, or that the real musicians are hidden offstage. They are not, and even the brass and flute parts are created only by their six voices. Their timing was impeccable, their presentation theatrical and their repertoire imaginative.” The Times
“Vocal Sampling’s set… showed the power of talent to create magical moments out of nothing… No matter how well you decide what Vocal Sampling does, it won’t sound as good on paper as it did on the glittery stage….The group’s warmth and inventiveness made this the year’s most memorable Latin show so far.” Los Angeles Times
“The most exciting a cappella group to hit the scene in years… The purity of their voices is immaculate and there isn’t a part missing nor gap to be filled. It’s difficult to distinguish the different voices as they seem to flow from one, bringing together a united body of tight, rhythmic and melodic concoctions.” New York Latino
“Vocal Sampling’s music transcends novelty. They are masters of rhythm and harmony as well as being spirited showmen. Performing crisp, intricate arrangements by bandleader René Banos, they prove to be serious musicians.” Miami New Times
Bob Geldof on the Nišville Jazz Museum and a new Live Aid
After a successful concert on Nišville, famous musician Bob Geldof gifted his harmonica to the director of Nišville Jazz Festival, Ivan Blagojević, which he played with on this years’ 25th anniversary of Nišville Jazz Festival, and which will, from now on, be showcased in the Nišville Jazz Museum besides a photo of his concert on which he is shown as playing on the Hohner harmonica.
On that occasion, Director of Nišville, Ivan Blagojević, presented to him his plan of a new potential Live Aid, on the 13th of July of 2020, on the 35th anniversary of this great event.
“I suggested to Bob to dedicate the concert to all migrants on the western-Balkan route, and to help rebuild, with the money raised from the concert, all the destroyed immigrant centers, the humanitarian project would carry the name “Home sweet Home“.”
The city park of the Niš Fortress would be an ideal location, capable of hosting over 100 000 visitors, and the city of Niš itself is located in the crossroads of all major migrant routes, with an adequate airport for such an event.
Serbia, Macedonia, Albania, Montenegro, and Bosnia and Herzegovina are host countries to some of the largest numbers of immigrants on their route, but Greece, Bulgaria, Romania, Croatia and Hungary are also notable.
Bob agreed that the migrants need to be helped, but that there is also work needed to be done on achieving peace, and developing the industry of their home countries to the pre-war level as a core necessity before the migrants can go back to their homes.
“We both agreed that impoverished countries of the Western Balkans are taking upon themselves the biggest burden of the migrant crisis, and that the ones that benefit the most are the most developed European countries who see cheap labor in the migrants who have to take upon the hardest of jobs, often below dignity of their educational level. Bob said that the idea as large as this one requires a good preparation, and a unity of all the countries of the West-Balkan route, but that it is nearly impossible to get sponsorships, musicians, regulate television rights and organize everything until 13th of July in 2020.” said the director of Nišville, Ivan Blagojević.
Premijera digitalno restaurirane verzije filma „Ljubav i moda“ na Nišville Movie Summitu“
Digitalno restaurirana verzija filma „Ljubav i moda“, posle Beograda, danas će biti premijerno prikazana i u Nišu u okviru Nišville Muvie Summita. Projekcija počinje u 21 sat i biće upriličena u okviru programa Drive-In Movie koji je smešten na izlaznom platou Niške Tvrđave!
Izuzetno popularni film “Ljubav i moda” režirao je Ljubomir Radičević, koji je i autor scenarija zajedno sa Nenadom Jovičićem. Film predstavlja dokument jednog vremena, u kojem je zabeležen život prestonice s početka 60-ih godina, a pored velikana sedme umetnosti okupio i neka od najvećih imena iz sveta muzike sa ovih prostora .
Ova muzička komedija je premijerno prikazana 1960. godine. Uloge su tumačili Beba Lončar, Dušan Bulajić, Miodrag Petrović Čkalja, Mija Aleksić, Severin Bijelić, Miloš Žutić, Jelena Žigon, Janez Vrhovec… epizodne uloge tumačili su i Arsen Dedić i Gabi Novak. Inače, muzika iz filma je stekla kultni status (Vlastimir Đuza Stojiljković, Gabi Novak, Ivo Robić). Hit je bila pesma Darka Kraljića “Devojko mala”, u izvođenju Đuze Stojiljković, a koju je VIS “Idoli” prepevao osamdesetih godina.
Ulaz je besplatan a očekuje se veliki broj filmofila I članova niškog Vespa Cluba Naissus !
Nišville is introducing a new genre for its 25th birthday!
A new addition to the ever-expanding list of stages on Nišville – Hip Hop stage!
In its mission to enrich its programme with the highest quality musical performances, Nišville will introduce the all new Hip Hop stage during its upcoming 25th anniversary, lasting from the 8th to the 11th of August. Hip Hop stage will be positioned on the same location as Midnight Jazzdance stage (on the northereastern part of the fortress), and it will feature not only the world famous „headliners“, but also young up and coming local and Belgrade rap artists, who mix rap with jazz, funk, soul and rock fusion in their performances. Of course, the biggest starpower on this years Nišville Hip Hop stage comes with ERIC BOBO, drummer and percussionist of the renowned American group „CYPRESS HILL“, who has had a succesful solo career for a number of years, giving unforggetable performances when combining his live act with his skills as an MC and a DJ.
A regional rap collective, TBF from Split, will also present an unforgettable performance for the audiences this year, which set high standards with their live band performances, and of course the best representative of the modern Serbian crossover(hip hop/jazz/funk/soul) scene Marko Šelić-Marćelo will perform aswell alongside a group of excellent musicians known as „Napet Quintet“. From local artists, along the young up and coming rappers, well established popular duo „Stereo Banana“ will perform with their unique and authentic performance, as well as outrageously comedic and always refreshing Ajs Nigrutin and Thimbe, who both, besides being a part of „Bad Copy“, have highly successful solo careers, and perform as a duo very often.
Nišville Hip Hop programme starts at eight p.m. and ends at midnight, and the dance floor will be equiped with video walls, info stands and fast and free 4G internet connection. Entrance to the Hip Hop stage will be free of charge!
All over the world, crossover has become more and more popular over the years, this genre is a mix of funk, jazz, world music, soul, rock, reggae and so on. We would like to remind that in 2007, the jazz legend Donald Byrd performed on Nišville, who presented the fusion of jazz and hip hop in the best way possible, while performing with his students from Delaware University (USA), and after that performance, many other jazz legends performed on Nišville who were not afraid to incorporate hip hop into their work, legends such as: Candy Dulfer Band, Soveto Kinch, Joe Defunkt Bowie, The Bastardz and many others.
Hip Hop stage programme from 8th to 11th of August:
Get your parter ticket sets at an even more affordable price until July the 7th!
Spend the summer jazzin’ on Nišville for just 99 euros!
Parter ticket sets are on sale until Sunday, July 7th, you can watch 25 concerts on the main stages of the festival for just 25 eur. Starting Monday , 8th of July, parter ticket sets will be sold at the price of 30 eur, two day parter tickets will be sold at the price of 15 eur, and single night tickets will be sold at the price of 15 eur!
Prices for grandstand tickets are as follows:
Ticket set – 35 eur
Two day ticket set – 20 eur
Single day ticket – 15 eur
VIP ticket set (VIP grandstand) – 45 eur
VIP single night ticket (VIP grandstand) – 20 eur
Starting July 8th you can purchase “Jazz Holiday” package for just 99 Euros, by directly transferring money to the bank account of Nišville foundation! This package includes ticket set for Nišville Jazz Festival, and a four day full set(three meals a day) accommodation from the 8th to the 11th of August in the student apartments (double bed rooms) near the Niš fortress. You can make the payments on the following bank account 160 – 551361 – 37 (Banka Intesa),you must then send proof of your payments until 4th of August on the e-mail adress ticket@nisville.com, from which your reservation will be confirmed. You can then acquire your tickets starting 8th of August in the Press Centre of the Festival (pavilion inside of the Fortress) from 12h to 18h.
Nišville Jazz Festival 2019. is the 25th anniversary of the festival under that name, and as a plus to a quality music program, the Festival will offer its audience a rich theatrical program as a part of Nišville Jazz Theatre Festival, as well as plenty of documentaries and movies with a jazz thematic as a part of Nišville Movie Summit 2019. movie festival.
A part of the main musical show, among other performers will be legends such as Bob Geldof, Maceo Parker, Seun Kuti, Jamal Thomas, Jo Mersa Marley, Chriss Potter, Malina Moye, Kenny Werner, Christian Scott, Larry Vučković and many others. Learn more about the performers of this years’ Nišville on the official website of the Festival: www.nisville.com
Ladle Out Honors from Nisville Jazz Festival to Larry Vučković
One of the most successful jazz musicians originating from these spaces – pianist, composer and arranger Larry Vučković is the winner of this year’s award for life work traditionally awarded by the Nišville jazz festival.
Pianist Larry Vuckovich narrates his exciting jazz journey that began as a child in Yugoslavia, under the Nazi
occupation and later a Communist dictatorship. Access to Armed Forces Radio and its broadcast of American
big band music came to symbolize freedom for the young classically-trained musician.
Then, like a movie, opportunity suddenly opened for him and his family. They were allowed to immigrate to the
U.S., home of jazz, and more specifically, San Francisco, which like New York on the other coast, was the lively
center of bebop music and other jazz styles. One door after another opened for him, leading to performances
with jazz legends, such as Vince Guaraldi, Mel Torme, Jon Hendricks, Dexter Gordon, Philly Joe Jones, Lenny
Bruce, Ornette Coleman, Charlie Haden, Tony Bennett, Bobby McFerrin, and many more.
Larry’s family was granted refugee status because his father Milutin Vuckovich had lived in the U.S. for 11
years and had served with the U.S. Armed Forces in Europe during World War I. Later he returned to Montenegro in the former Yugoslavia to help his brothers open a factory for processing olive oil and related prizewinning soaps and lotions.
But as the ‘20s gave way to the late ‘30s, and the German Nazis mobilized for invasion of other European
countries, including the Balkans, Larry’s father doubled as a successful businessman and an underground fighter
helping save 17 of the 500 U.S. airmen downed after bombing raids on neighboring Rumanian oil fields, a main
source of German fuel. He hid one flier in the attic for two weeks while Nazi officers occupied the villa’s main
floor.
Life became even worse under Tito’s Communism, when Larry’s father was labeled an American collaborator
and sentenced to prison and threatened with execution. The American Government influenced the release and
subsequent resettlement of the family in San Francisco, where the elder Vuckovich had retained friendships
formed in his early days with American friends as well as members of the Serbian community.
But to the 14-year-old Larry, an amazing life was about to unfold, as if his film noir beginning had suddenly
morphed into a technicolor production. He now lived in the midst of the flourishing jazz scene of the ‘50s, one
of the most exciting periods in the history of jazz. He could hardly wait to dive in. Here’s what he encountered:
• San Francisco offered a veritable candy store full of music: besides bebop and hard bop and the related
beatnik poetry set to jazz, the music ran the gamut from New Orleans style, boogie-woogie – swing piano,
and big bands, to Afro – Cuban Latin jazz and the new jazz modal music of Bill Evans/Miles Davis/John
Coltrane plus avant-garde sounds of Ornette Coleman/Don Cherry. As a high school student, he sat in the
non-drinking sections the clubs had roped off for teenagers, a smart move that fostered development of
hardcore, future jazz fans. He regularly heard visiting bands, such as the MJQ, Dizzy Gillespie, Miles
Davis/John Coltrane, Cal Tjader/Mongo Santamaria/Willie Bobo/Vince Guaraldi, Count Basie, Harry
James, Bill Evans, Cannonball Adderley, to name a few.
• Beatnik jazz clubs flourished in North Beach. Jazz poetry and poetic jazz were exciting new concepts, and
Larry played an existential pianist in one production, The Connection, by Jack Gelber, that originally
included Dexter Gordon and Jackie McLean. Clubs like the Jazz Workshop, El Matador, Coffee Gallery,
The Jazz Cellar, Sugar Hill, and Basin Street West regularly rotated the most famous jazz ensembles of the
day. The afterhours jazz scene swung with great jam sessions, especially at Bop City, where you could
catch visiting jazz legends, such as Charlie Parker, John Coltrane, Dexter Gordon, Duke Ellington, Billy
Eckstine, Ella Fitzgerald, Billie Holiday, playing together after their star performances at other clubs
throughout the city’s Broadway and Fillmore districts.
• Larry Vuckovich recounts numerous personal experiences and stories of his encounters and/or performances with jazz giants, such as Duke Ellington, Cab Calloway, John Handy, Vince Guaraldi, Elvin Jones,
Jon Hendricks, Teddy Wilson, Joe Williams, Rosemary Clooney, Tony Bennett, his interesting encounters
with jazz comic and social critic Lenny Bruce, as well as jamming with avant-garde leaders, Ornette
Coleman, Don Cherry and Eric Dolphy. An important period in Larry’s life was his studying Music at SF
State University, starting in 1960 where he completed a BA degree, majoring in piano. It was very fortunate that jazz master saxophonist John Handy came back from New York at that time, after establishing a
strong reputation on the NY scene with performances with Charles Mingus and also under his own name.
John became a very influential and inspiring figure in the Music Department at SF State, giving all
younger jazz students including Larry Vuckovich, his amazing knowledge of the key elements in jazz, as
well and further contributing with his performing abilities. Playing with John at SF State and outside the
campus, made an ever-lasting impact on Larry’s future development as a jazz pianist. The Master Sounds
jazz quartet, coming out from Indianapolis, settled in the San Francisco Bay Area in the late 50s – early
60s. Buddy and Monk Montgomery plus drummer Benny Barth became regulars on the San Fran scene, as
well as the phenomenal guitarist Wes Montgomery. Larry recalls a most memorable jam session with Wes
at The Tropics, located at Arguello &. Geary. Larry also did a number of gigs with Benny Barth. He
became the only student of Vince Guaraldi of Peanuts fame, recognized in the jazz world as a superb
jazz-Latin player, who often worked with the legendary Cal Tjader, a leader in this new genre. Vince also
led his own band, which sometimes featured a two-piano quintet that included the young Vuckovich as the
other pianist.
• Larry’s narration and storytelling span more than half a century, tying in the political events of the day and
how they affected the development of jazz.
• Narration includes both humorous anecdotes as well as serious incidents that Larry and his band members
encountered, shedding light on how jazz was accepted socially.
• Larry’s travels and performances throughout many European countries, performing at jazz festivals and
major clubs, enhances the picture of how jazz was accepted in the early stage of its export to the international scene. The arrival of jazz in Europe also spawned some outstanding local jazz masters such as
Danish bassist Niels Henning-Orsted Pedersen and Serbian-Montenegrin trumpeter Dusko Goykovich,
with whom Larry worked.
• Highlights from his five-year stay on the New York jazz scene from ’85-’90 featured exciting performances
at the famed Village Vanguard, Blue Note, Bradley’s with jazz luminaries such as Charles McPherson, Billy
Higgins, Curtis Fuller, Red Mitchell, Mel Lewis, Tom Harrell, and others. Larry appreciated the recognition he received from major New York jazz critics/authors such as John S. Wilson, Gary Giddins and Jon
Pareles who cited his individual voice in jazz. Two other inspiring, uplifting highlights upon Larry’s
arrival in New York, came from two bebop piano giants: Barry Harris and Tommy Flanagan. During their
performances, Barry and Tommy publicly announced that Larry was in the audience, and publicly praised
his pianistic abilities. Barry introduced Larry as „one of the premier West Coast pianists“. Being new on
the New York scene, this meant so much to Larry, especially since it’s rare to receive recognition such as
this in New York, the center of the jazz world.
• His five-year residency as the first call pianist at the famed Keystone Korner, from ’78-’83, accompanying
the likes of Freddie Hubbard, Arnett Cobb/Buddy Tate/Scott Hamilton, Philly Joe Jones, Eddie Cleanhead
Vinson, Charles McPherson, Leon Thomas, further enriched his wide-ranging scope of jazz knowledge. A
live recording featuring the alto saxophonist great/blues vocalist Cleanhead Vinson backed by the house
trio of James Leary, Eddie Marshall and Larry, was done at Keystone Korner titled Redux – Live at the
Keystone Korner, receiving top reviews.
• Larry enhances his narration-lecture format with musical selections performed with his trio. The presentation and material include various styles from different decades informing the listener of the development of
jazz and the changes it encountered.
• Larry Vuckovich’s music falls into the Beyond Category format because of his wide-ranging ability to
absorb and play many types of jazz styles including swing, bebop/post bop/hard bop, contemporary jazz,
on the edge-modal, Balkan/Middle Eastern/Roma-gypsy ethnic, Flamenco, Latin-Afro-Cuban, Brazillian,
Blues-down home blues, jazz tango, and free jazz. He often includes all or most of these forms in his
presentation. His 1980 Blue Balkan recording, featuring vibist Bobby Hutcherson, won him recognition as
a pioneer in jazz-world music. Village Voice critic/author Gary Giddins included the reissue of this album,
with added material, among the top CDs of 2002.
• A question and answer session often draws out further interesting information and anecdotes.
• The Larry Vuckovich trio will supplement the afternoon classroom presentation with an evening concert.
For more information contact:
Larry Vuckovich, jazz pianist, band leader, recording artist,
Calistoga, CA
www.larryvuckovich.com
A Fascinating Life in Jazz: Just Like a Film Noir
Pianist Larry Vuckovich narrates his exciting jazz journey that began as a child in Yugoslavia, under the Nazi
occupation and later a Communist dictatorship. Access to Armed Forces Radio and its broadcast of American
big band music came to symbolize freedom for the young classically-trained musician.
Then, like a movie, opportunity suddenly opened for him and his family. They were allowed to immigrate to the
U.S., home of jazz, and more specifically, San Francisco, which like New York on the other coast, was the lively
center of bebop music and other jazz styles. One door after another opened for him, leading to performances
with jazz legends, such as Vince Guaraldi, Mel Torme, Jon Hendricks, Dexter Gordon, Philly Joe Jones, Lenny
Bruce, Ornette Coleman, Charlie Haden, Tony Bennett, Bobby McFerrin, and many more.
Larry’s family was granted refugee status because his father Milutin Vuckovich had lived in the U.S. for 11
years and had served with the U.S. Armed Forces in Europe during World War I. Later he returned to Montenegro in the former Yugoslavia to help his brothers open a factory for processing olive oil and related prizewinning soaps and lotions.
But as the ‘20s gave way to the late ‘30s, and the German Nazis mobilized for invasion of other European
countries, including the Balkans, Larry’s father doubled as a successful businessman and an underground fighter
helping save 17 of the 500 U.S. airmen downed after bombing raids on neighboring Rumanian oil fields, a main
source of German fuel. He hid one flier in the attic for two weeks while Nazi officers occupied the villa’s main
floor.
Life became even worse under Tito’s Communism, when Larry’s father was labeled an American collaborator
and sentenced to prison and threatened with execution. The American Government influenced the release and
subsequent resettlement of the family in San Francisco, where the elder Vuckovich had retained friendships
formed in his early days with American friends as well as members of the Serbian community.
But to the 14-year-old Larry, an amazing life was about to unfold, as if his film noir beginning had suddenly
morphed into a technicolor production. He now lived in the midst of the flourishing jazz scene of the ‘50s, one
of the most exciting periods in the history of jazz. He could hardly wait to dive in. Here’s what he encountered:
• San Francisco offered a veritable candy store full of music: besides bebop and hard bop and the related
beatnik poetry set to jazz, the music ran the gamut from New Orleans style, boogie-woogie – swing piano,
and big bands, to Afro – Cuban Latin jazz and the new jazz modal music of Bill Evans/Miles Davis/John
Coltrane plus avant-garde sounds of Ornette Coleman/Don Cherry. As a high school student, he sat in the
non-drinking sections the clubs had roped off for teenagers, a smart move that fostered development of
hardcore, future jazz fans. He regularly heard visiting bands, such as the MJQ, Dizzy Gillespie, Miles
Davis/John Coltrane, Cal Tjader/Mongo Santamaria/Willie Bobo/Vince Guaraldi, Count Basie, Harry
James, Bill Evans, Cannonball Adderley, to name a few.
• Beatnik jazz clubs flourished in North Beach. Jazz poetry and poetic jazz were exciting new concepts, and
Larry played an existential pianist in one production, The Connection, by Jack Gelber, that originally
included Dexter Gordon and Jackie McLean. Clubs like the Jazz Workshop, El Matador, Coffee Gallery,
The Jazz Cellar, Sugar Hill, and Basin Street West regularly rotated the most famous jazz ensembles of the
day. The afterhours jazz scene swung with great jam sessions, especially at Bop City, where you could
catch visiting jazz legends, such as Charlie Parker, John Coltrane, Dexter Gordon, Duke Ellington, Billy
Eckstine, Ella Fitzgerald, Billie Holiday, playing together after their star performances at other clubs
throughout the city’s Broadway and Fillmore districts.
• Larry Vuckovich recounts numerous personal experiences and stories of his encounters and/or performances with jazz giants, such as Duke Ellington, Cab Calloway, John Handy, Vince Guaraldi, Elvin Jones,
Jon Hendricks, Teddy Wilson, Joe Williams, Rosemary Clooney, Tony Bennett, his interesting encounters
with jazz comic and social critic Lenny Bruce, as well as jamming with avant-garde leaders, Ornette
Coleman, Don Cherry and Eric Dolphy. An important period in Larry’s life was his studying Music at SF
State University, starting in 1960 where he completed a BA degree, majoring in piano. It was very fortunate that jazz master saxophonist John Handy came back from New York at that time, after establishing a
strong reputation on the NY scene with performances with Charles Mingus and also under his own name.
John became a very influential and inspiring figure in the Music Department at SF State, giving all
younger jazz students including Larry Vuckovich, his amazing knowledge of the key elements in jazz, as
well and further contributing with his performing abilities. Playing with John at SF State and outside the
campus, made an ever-lasting impact on Larry’s future development as a jazz pianist. The Master Sounds
jazz quartet, coming out from Indianapolis, settled in the San Francisco Bay Area in the late 50s – early
60s. Buddy and Monk Montgomery plus drummer Benny Barth became regulars on the San Fran scene, as
well as the phenomenal guitarist Wes Montgomery. Larry recalls a most memorable jam session with Wes
at The Tropics, located at Arguello &. Geary. Larry also did a number of gigs with Benny Barth. He
became the only student of Vince Guaraldi of Peanuts fame, recognized in the jazz world as a superb
jazz-Latin player, who often worked with the legendary Cal Tjader, a leader in this new genre. Vince also
led his own band, which sometimes featured a two-piano quintet that included the young Vuckovich as the
other pianist.
• Larry’s narration and storytelling span more than half a century, tying in the political events of the day and
how they affected the development of jazz.
• Narration includes both humorous anecdotes as well as serious incidents that Larry and his band members
encountered, shedding light on how jazz was accepted socially.
• Larry’s travels and performances throughout many European countries, performing at jazz festivals and
major clubs, enhances the picture of how jazz was accepted in the early stage of its export to the international scene. The arrival of jazz in Europe also spawned some outstanding local jazz masters such as
Danish bassist Niels Henning-Orsted Pedersen and Serbian-Montenegrin trumpeter Dusko Goykovich,
with whom Larry worked.
• Highlights from his five-year stay on the New York jazz scene from ’85-’90 featured exciting performances
at the famed Village Vanguard, Blue Note, Bradley’s with jazz luminaries such as Charles McPherson, Billy
Higgins, Curtis Fuller, Red Mitchell, Mel Lewis, Tom Harrell, and others. Larry appreciated the recognition he received from major New York jazz critics/authors such as John S. Wilson, Gary Giddins and Jon
Pareles who cited his individual voice in jazz. Two other inspiring, uplifting highlights upon Larry’s
arrival in New York, came from two bebop piano giants: Barry Harris and Tommy Flanagan. During their
performances, Barry and Tommy publicly announced that Larry was in the audience, and publicly praised
his pianistic abilities. Barry introduced Larry as „one of the premier West Coast pianists“. Being new on
the New York scene, this meant so much to Larry, especially since it’s rare to receive recognition such as
this in New York, the center of the jazz world.
• His five-year residency as the first call pianist at the famed Keystone Korner, from ’78-’83, accompanying
the likes of Freddie Hubbard, Arnett Cobb/Buddy Tate/Scott Hamilton, Philly Joe Jones, Eddie Cleanhead
Vinson, Charles McPherson, Leon Thomas, further enriched his wide-ranging scope of jazz knowledge. A
live recording featuring the alto saxophonist great/blues vocalist Cleanhead Vinson backed by the house
trio of James Leary, Eddie Marshall and Larry, was done at Keystone Korner titled Redux – Live at the
Keystone Korner, receiving top reviews.
• Larry enhances his narration-lecture format with musical selections performed with his trio. The presentation and material include various styles from different decades informing the listener of the development of
jazz and the changes it encountered.
• Larry Vuckovich’s music falls into the Beyond Category format because of his wide-ranging ability to
absorb and play many types of jazz styles including swing, bebop/post bop/hard bop, contemporary jazz,
on the edge-modal, Balkan/Middle Eastern/Roma-gypsy ethnic, Flamenco, Latin-Afro-Cuban, Brazillian,
Blues-down home blues, jazz tango, and free jazz. He often includes all or most of these forms in his
presentation. His 1980 Blue Balkan recording, featuring vibist Bobby Hutcherson, won him recognition as
a pioneer in jazz-world music. Village Voice critic/author Gary Giddins included the reissue of this album,
with added material, among the top CDs of 2002.
• A question and answer session often draws out further interesting information and anecdotes.
• The Larry Vuckovich trio will supplement the afternoon classroom presentation with an evening concert.
For more information contact:
Larry Vuckovich, jazz pianist, band leader, recording artist,
Calistoga, CA
www.larryvuckovich.com
A Fascinating Life in Jazz: Just Like a Film Noir
Pianist Larry Vuckovich narrates his exciting jazz journey that began as a child in Yugoslavia, under the Nazi
occupation and later a Communist dictatorship. Access to Armed Forces Radio and its broadcast of American
big band music came to symbolize freedom for the young classically-trained musician.
Then, like a movie, opportunity suddenly opened for him and his family. They were allowed to immigrate to the
U.S., home of jazz, and more specifically, San Francisco, which like New York on the other coast, was the lively
center of bebop music and other jazz styles. One door after another opened for him, leading to performances
with jazz legends, such as Vince Guaraldi, Mel Torme, Jon Hendricks, Dexter Gordon, Philly Joe Jones, Lenny
Bruce, Ornette Coleman, Charlie Haden, Tony Bennett, Bobby McFerrin, and many more.
Larry’s family was granted refugee status because his father Milutin Vuckovich had lived in the U.S. for 11
years and had served with the U.S. Armed Forces in Europe during World War I. Later he returned to Montenegro in the former Yugoslavia to help his brothers open a factory for processing olive oil and related prizewinning soaps and lotions.
But as the ‘20s gave way to the late ‘30s, and the German Nazis mobilized for invasion of other European
countries, including the Balkans, Larry’s father doubled as a successful businessman and an underground fighter
helping save 17 of the 500 U.S. airmen downed after bombing raids on neighboring Rumanian oil fields, a main
source of German fuel. He hid one flier in the attic for two weeks while Nazi officers occupied the villa’s main
floor.
Life became even worse under Tito’s Communism, when Larry’s father was labeled an American collaborator
and sentenced to prison and threatened with execution. The American Government influenced the release and
subsequent resettlement of the family in San Francisco, where the elder Vuckovich had retained friendships
formed in his early days with American friends as well as members of the Serbian community.
But to the 14-year-old Larry, an amazing life was about to unfold, as if his film noir beginning had suddenly
morphed into a technicolor production. He now lived in the midst of the flourishing jazz scene of the ‘50s, one
of the most exciting periods in the history of jazz. He could hardly wait to dive in. Here’s what he encountered:
• San Francisco offered a veritable candy store full of music: besides bebop and hard bop and the related
beatnik poetry set to jazz, the music ran the gamut from New Orleans style, boogie-woogie – swing piano,
and big bands, to Afro – Cuban Latin jazz and the new jazz modal music of Bill Evans/Miles Davis/John
Coltrane plus avant-garde sounds of Ornette Coleman/Don Cherry. As a high school student, he sat in the
non-drinking sections the clubs had roped off for teenagers, a smart move that fostered development of
hardcore, future jazz fans. He regularly heard visiting bands, such as the MJQ, Dizzy Gillespie, Miles
Davis/John Coltrane, Cal Tjader/Mongo Santamaria/Willie Bobo/Vince Guaraldi, Count Basie, Harry
James, Bill Evans, Cannonball Adderley, to name a few.
• Beatnik jazz clubs flourished in North Beach. Jazz poetry and poetic jazz were exciting new concepts, and
Larry played an existential pianist in one production, The Connection, by Jack Gelber, that originally
included Dexter Gordon and Jackie McLean. Clubs like the Jazz Workshop, El Matador, Coffee Gallery,
The Jazz Cellar, Sugar Hill, and Basin Street West regularly rotated the most famous jazz ensembles of the
day. The afterhours jazz scene swung with great jam sessions, especially at Bop City, where you could
catch visiting jazz legends, such as Charlie Parker, John Coltrane, Dexter Gordon, Duke Ellington, Billy
Eckstine, Ella Fitzgerald, Billie Holiday, playing together after their star performances at other clubs
throughout the city’s Broadway and Fillmore districts.
• Larry Vuckovich recounts numerous personal experiences and stories of his encounters and/or performances with jazz giants, such as Duke Ellington, Cab Calloway, John Handy, Vince Guaraldi, Elvin Jones,
Jon Hendricks, Teddy Wilson, Joe Williams, Rosemary Clooney, Tony Bennett, his interesting encounters
with jazz comic and social critic Lenny Bruce, as well as jamming with avant-garde leaders, Ornette
Coleman, Don Cherry and Eric Dolphy. An important period in Larry’s life was his studying Music at SF
State University, starting in 1960 where he completed a BA degree, majoring in piano. It was very fortunate that jazz master saxophonist John Handy came back from New York at that time, after establishing a
strong reputation on the NY scene with performances with Charles Mingus and also under his own name.
John became a very influential and inspiring figure in the Music Department at SF State, giving all
younger jazz students including Larry Vuckovich, his amazing knowledge of the key elements in jazz, as
well and further contributing with his performing abilities. Playing with John at SF State and outside the
campus, made an ever-lasting impact on Larry’s future development as a jazz pianist. The Master Sounds
jazz quartet, coming out from Indianapolis, settled in the San Francisco Bay Area in the late 50s – early
60s. Buddy and Monk Montgomery plus drummer Benny Barth became regulars on the San Fran scene, as
well as the phenomenal guitarist Wes Montgomery. Larry recalls a most memorable jam session with Wes
at The Tropics, located at Arguello &. Geary. Larry also did a number of gigs with Benny Barth. He
became the only student of Vince Guaraldi of Peanuts fame, recognized in the jazz world as a superb
jazz-Latin player, who often worked with the legendary Cal Tjader, a leader in this new genre. Vince also
led his own band, which sometimes featured a two-piano quintet that included the young Vuckovich as the
other pianist.
• Larry’s narration and storytelling span more than half a century, tying in the political events of the day and
how they affected the development of jazz.
• Narration includes both humorous anecdotes as well as serious incidents that Larry and his band members
encountered, shedding light on how jazz was accepted socially.
• Larry’s travels and performances throughout many European countries, performing at jazz festivals and
major clubs, enhances the picture of how jazz was accepted in the early stage of its export to the international scene. The arrival of jazz in Europe also spawned some outstanding local jazz masters such as
Danish bassist Niels Henning-Orsted Pedersen and Serbian-Montenegrin trumpeter Dusko Goykovich,
with whom Larry worked.
• Highlights from his five-year stay on the New York jazz scene from ’85-’90 featured exciting performances
at the famed Village Vanguard, Blue Note, Bradley’s with jazz luminaries such as Charles McPherson, Billy
Higgins, Curtis Fuller, Red Mitchell, Mel Lewis, Tom Harrell, and others. Larry appreciated the recognition he received from major New York jazz critics/authors such as John S. Wilson, Gary Giddins and Jon
Pareles who cited his individual voice in jazz. Two other inspiring, uplifting highlights upon Larry’s
arrival in New York, came from two bebop piano giants: Barry Harris and Tommy Flanagan. During their
performances, Barry and Tommy publicly announced that Larry was in the audience, and publicly praised
his pianistic abilities. Barry introduced Larry as „one of the premier West Coast pianists“. Being new on
the New York scene, this meant so much to Larry, especially since it’s rare to receive recognition such as
this in New York, the center of the jazz world.
• His five-year residency as the first call pianist at the famed Keystone Korner, from ’78-’83, accompanying
the likes of Freddie Hubbard, Arnett Cobb/Buddy Tate/Scott Hamilton, Philly Joe Jones, Eddie Cleanhead
Vinson, Charles McPherson, Leon Thomas, further enriched his wide-ranging scope of jazz knowledge. A
live recording featuring the alto saxophonist great/blues vocalist Cleanhead Vinson backed by the house
trio of James Leary, Eddie Marshall and Larry, was done at Keystone Korner titled Redux – Live at the
Keystone Korner, receiving top reviews.
• Larry enhances his narration-lecture format with musical selections performed with his trio. The presentation and material include various styles from different decades informing the listener of the development of
jazz and the changes it encountered.
• Larry Vuckovich’s music falls into the Beyond Category format because of his wide-ranging ability to
absorb and play many types of jazz styles including swing, bebop/post bop/hard bop, contemporary jazz,
on the edge-modal, Balkan/Middle Eastern/Roma-gypsy ethnic, Flamenco, Latin-Afro-Cuban, Brazillian,
Blues-down home blues, jazz tango, and free jazz. He often includes all or most of these forms in his
presentation. His 1980 Blue Balkan recording, featuring vibist Bobby Hutcherson, won him recognition as
a pioneer in jazz-world music. Village Voice critic/author Gary Giddins included the reissue of this album,
with added material, among the top CDs of 2002.
• A question and answer session often draws out further interesting information and anecdotes.
• The Larry Vuckovich trio will supplement the afternoon classroom presentation with an evening concert.
Bob Geldof, a singer and musician who achieve success with the group “Boomtown Rats” and has become a leading figurehead in promoting charitable events and debt relief for the developing world and Africa in particular is going to perform with his band at Nisville 2019 – at Sunday, August 11th.
Geldof was born in Ireland in 1951. He was educated at a private Catholic school, though he later said he didn’t enjoy his time there because of its Catholic ethos and bullying for his lack of rugby prowess.
After leaving school, he gained certain odd jobs but was not inspired by any of them. He then went to Canada to work as a music journalist.
In 1975, Bob Geldof became the lead singer of the Boomtown rats a punk rock band.
By 1978, they had achieved their first UK hit single ‘Rat Trap’ and later achieved a second hit with ‘I Don’t like Mondays’.
In 1981, Bob Geldof was invited to take part in a concert for Amnesty International and this sowed a seed of future ideas for Bob.
It was in 1984, that Bob moved from being a rock star to international celebrity for raising awareness of humanitarian charities. In 1984, Ethiopia and other African countries experienced a severe famine which led to many thousands of people starving to death. The plight of starving children was widely seen on TV. Bob Geldof with Midge Ure decided to do something about it – releasing the single – “Do they Know its Christmas Time”. It was a spontaneous event with many of the best-known names in pop music invited. It became an instant best seller selling a record 3 million copies.
In the summer of 1985, Bob Geldof was one of the main organisers behind the Live Aid Concert at Wembley. It was a sixteen-hour rock extravaganza aimed at raising money and awareness for Africa. It was a unique musical event capturing the imagination and attention of the world.
Following this concert, he became more involved in work for non-governmental organisations in Africa, and became one of the leading spokespeople on Third World debt relief.
In 2005, he organised a Live 8 concert, coinciding with the ‘Make Poverty History’ campaign. He sought the co-operation of leading G8 leaders such as Tony Blair to write off third world debt. Some criticised him for becoming too close to politicians and some have argued his presence in the third world campaign issue does more harm than good.
However, he remains a powerful figurehead for motivating Western attitudes to pay more attention to the problems and challenges of the poorest parts of the world. He felt a passion for improving conditions in Africa
Bob Geldof was knighted in 1986 and is often affectionately known as ‘Sir Bob’
Bob Geldof – The Great Song Of Indifference (Live 8 2005)
Bob Geldof – The Great Song Of Indifference (SPOT)
Band Aid – Do They Know It’s Christmas? (Live Aid 1985)
Do they Know it’s Christmas ~ Band Aid 1984 (SPOT)
Ferenc Nemeth, Chris Potter and Gilad Hekselman at Nisville
International “Ferenc Nemeth Freedom trio ft. Chris Potter and Gilad Hekselman” is going to perform at Nisville 2019 – Saturaday august 10th.
Ferenc Nemeth is an accomplished and versatile musician who continues to push the boundaries of jazz drumming and composition. He has performed in over 35 countries, more than 300 cities, over a 100 of the most important festivals, front of thousands of people including the Playboy jazz festival in Los Angeles, the JVC festival in NYC at the Carnegie hall with Herbie Hancock, the Montreal Jazz Festival the Montreux Jazz festival in Switzerland, the Tokyo Jazz Festival, the Marciac Jazz Fest, the Queen Elizabeth Hall in London and many others.
As MARK F. TURNER of ALL ABOUT JAZZ describes – “Ferenc Nemeth represents the new breed of post-Art Blakey jazz drummers, ushering in their own bravado and confident leadership.”
An exciting performer and imaginative collaborator, Nemeth is well regarded for his work with the Lionel Loueke Trio, Kenny Werner Coalition, Billy Childs Trio and has worked with the who is who in Jazz, including multiple GRAMMY award winning artists such as Herbie Hancock, Wayne Shorter, Dave Samuels, Jimmy Heath…etc.
In Ferenc’s various bands none others have performed than Joshua Redman, John Patitucci, Mark Turner, Chris Cheek, Chris Potter, Russell Ferrante, Jimmy Haslip and many others.
NATE CHINEN of NEW YORK TIMES – “Ferenc Nemeth is a nimble Hungarian drummer with a feel for African rhythm.”
“A truly international trio, coming from different countries, backgrounds and cultures, (USA, Israel, Hungary) united in music. The band and the music represents the freedom we have, the freedom we should have. In one hand, we live in the most developed world, we can easily travel anywhere, call anyone, video chat, email…etc. Yet, we still carry prejudice, discrimination, racism and other terrible things. We should be free to do what we want (within moral laws), say what we want, yet based on color, religion and other factors we make judgements. People get killed everyday for different reasons in different parts of the world and most of the world leaders don’t seem to do anything about it. With this music we are eliminating different cultural boundaries, we represent the freedom of being. We represent the essence of being born and die pure. Being free of baggages at birth and death. Being humans at the core and that’s all.”
TERRELL KENT HOLMES of ALL ABOUT JAZZ – “The sophistication and self-assuranceof his (Ferenc’s) composing and arranging have the armarks of a seasoned veteran.” On this evening Ferenc will have 2 brilliant team mate, Saxophonist Chris Potter and Guitarist Gilad Hekselman.
Chris Potter saxophonist, a world-class soloist, accomplished composer and formidable bandleader, has emerged as a leading light of his generation. Down Beat called him „One of the most studied (and copied) saxophonists on the planet“ while Jazz Times identifie him as „a figure of international renown.“ A potent improvisor and the youngest musician ever to win Denmark’s Jazzpar Prize, Potter’s impressive discography includes 15 albums as a leader and sideman appearances on over 100 albums. He has performed or recorded with many of the leading names in jazz, such as Herbie Hancock, Dave Holland, John Scofield, the Mingus Big Band, Jim Hall, Paul Motian, Dave Douglas, Ray Brown and many others.
Gilad Hekselman has been developing a reputation as one of the most promising guitarists in New York since his arrival in 2004. After only a few years this native Israeli has shared the stage with some of the greatest artists in the New York City jazz scene including Chris Potter, Mark Turner, John Scofield, Anat Cohen, Ari Hoenig, Esperanza Spalding, Sam Yahel, Jeff Ballard, Gretchen Parlato, Avishai Cohen, Jeff ‘Tain’ Watts, Tigran Hamasyan, Aaron Parks and Greg Hutchinson. Gilad is the winner of the 2005
Gibson Montreux International Guitar Competition and the 2017 Downbeat magazine critics poll Rising Star in guitar category. As a band leader he released 6 albums, Splitlife (2006), Words Unspoken (2008), Hearts Wide Open (2011), This Just In (2013), Homes (2015) and Ask for Chaos (2018).
QUOTES:
NATE CHINEN of NEW YORK TIMES – “Ferenc Nemeth is a nimble Hungarian drummer with a feel for African rhythm.”
AMAZON EDITORIAL REVIEW – “On „Triumph“ Ferenc Nemeth has created a journey for the ages. An epic work!”
DAN MCCLENAGHAN of ALL ABOUT JAZZ – “Triumph’s approach is similar to pianist Brad Mehldau’s Highway Rider (Nonesuch, 2010)—a thematic set shaped like a symphony, with each piece leading into the next, interlocked and sectioned by interludes.”
TERRELL KENT HOLMES of ALL ABOUT JAZZ – “The sophistication and self-assurance of his (Ferenc’s) composing and arranging have the earmarks of a seasoned veteran.”
MARK F. TURNER of ALL ABOUT JAZZ – “Ferenc Nemeth represents the new breed of post-Art Blakey jazz drummers, ushering in their own bravado and confident leadership.”
HRAYR ATTARIAN of ALL ABOUT JAZZ – “Nemeth exhibits a rare combination of exhilarating élan and harmonic creativity, often in the same tune.”
“Interlude III“ finds Nemeth exploring the full melodic potential of his drum set, channeling an inner Max Roach.”
“With Triumph, Nemeth makes a bold and exquisite statement that showcases his sublime talents as a composer, improviser, drummer and bandleader—a statement that will surely stand the test of time.”
Advantageous price set for Nišville tickets by Saturday, June 8th!
All ticket categories for Nišville 2019 are on sale!
The upcoming Nisville Jazz Festival will be held from August 2nd to 11th, 2019, and the main festival program will be on 8, 9, 10 and 11 August 2019 at the Niš Fortress. For the 10 days of the festival, 300 programs will be performed in 20 stages and 1000 performers will perform! Until Friday, June 7th, the price of a set of tickets of 2,500 RSD for 25 concerts in the central festival post is an actual promotion.
From Saturday, June 8, all categories of tickets for stands and parter will be available for sale at the following prices:
Ticket set for 3,000 RSD
Tickets for stands of 4,000 RSD
Complet tickets for stands (for two days) 2,500 RSD
Special ticket for stands 1,750 RSD
VIP Ticket set (VIP stands) 5,000 RSD
VIP Individual ticket 2.000 RSD
Tickets can be purchased at all outlets in the Ticket Vision network in Serbia and abroad, as well as online sales at www.tickets.rs
Sales outlets Ticket Vision in Niš: bookstore Indigo (Obrenovićeva 39), bookstores Delfi (Vozdova 4 and Obrenovićeva 3), Big Star Travel (Cara Dušana 84a), Travego (Koste Stamenković 5), Exclusive Change 18 (Bulevar Medijana 21), OMV pumps (Dimitrija Tucovića bb, Bulevar 12. februara bb, Bulevar Vizantije bb).
Otherwise, the next edition of the Nis Jazz Festival will be the jubilee, the 25th Nisville Jazz Festival, and in addition to the rich music program, visitors will also be offered a quality international program within the next Nisville Jazz Theater Festival, as well as a host of documentary and feature films with music themes – Nisville Movie Summit 2019.
In the main festival program from 8 to 11 August, among others will perform: Maceo Parker, Sean Kuti, Jamal Thomas, Malina Moye, Kenny Werner, Christian Scott, Tihomir Pop Asanovic, Larry Vuckovic and many others. More about the artists on the official site of the festival www.nisville.com
