Please visit the original website posting here:

http://biz.ifeng.com/v/special/lephone/

News and information
Concert + demonstration
@ Soho Gallery for Digtal Art
November 20th from 2-4 pm
Address: 138 Sullivan St., New York, NY 10012

This event is part of a world wide traveling project of “China doer, Action at Once-Fun to be a doer” sponsored by Lenovo Lephone S2 , we invited musicians from different areas to work together to realize a new experimental concert at Soho Gallery for Digital Art at 2 pm. , 20th, Nov. in New York City.
During that time you will experience a new feeling of music produced by both real instruments and phone application instruments.
You will see how you can phone-remix music and become a DJ.
Without any effort you can realize the dream to connect with established composers and play music with them, jamming on your own phone, how cool is that!
There will be interactive games on stage, meetings with established composers, players, DJs and researchers from New York and Beijing.
Free and open to the public.

People:

Paul D. Miller aka DJ SPOOKY is a composer, multimedia artist and writer. His written work has appeared in The Village Voice, The Source, Artforum and The Wire amongst other publications. Miller’s work as a media artist has appeared in a wide variety of contexts such as the Whitney Biennial; The Venice Biennial for Architecture (2000); the Ludwig Museum in Cologne, Germany; Kunsthalle, Vienna; The Andy Warhol Museum in Pittsburgh and many other museums and galleries. His work New York Is Now has been exhibited in the Africa Pavilion of the 52 Venice Biennial 2007, and the Miami/Art Basel fair of 2007. Miller’s first collection of essays, entitled Rhythm Science came out on MIT Press 2004. His book Sound Unbound, an anthology of writings on electronic music and digital media was recently released by MIT Press. Miller’s deep interest in reggae and dub has resulted in a series of compilations, remixes and collections of material from the vaults of t he legendary Jamaican label, Trojan Records.

Ding Xueer is born in the Quancheng Jinan. she started to study gushing at the age of 5 at the Mr./Mrs. Shi Congyu Jinan Vanguard Song-and- dance troupe Yan Wei. At 9 years old Ding Xueer obtain her first title: the Jinan “the healthy, studious, and helpful student” award. In 2000 Ding Xueer went on study with the renown gushing professor Professor Li Meng to study. In 2001she entered the Middle school attached to the Central Conservatory of Music. during that time of her studies, She continuously obtains “the specialized outstanding scholarship. In 2007 Ding Xueer was accepted at the the Central Conservatory of Music.

Benoit Granier is a French Composer living in Beijing (China), he studied composition with Arturo Gervasony, Guy Rebel, Donnacha Dennehy, Roger Doyle as well as Fergus Johnston at Trinity College Dublin where he completed a PhD degree in Computer Music and Composition in 2007.
When moving down to Beijing, He founded the Timi Modern Music ensemble, Beijing renown amplified new music Band, in 2008. Among the pieces premiered by the Timi were work by emerging composers such as Tony Deritis, John Mallia, Gerry Chenoweth as well as Benoit Granier. The work that the composer did with the performers open new possibilities in music and introduce himself to the notion of music and culture…

Award winning composer and performer Demetrius Spaneas travels the world as a musical ambassador, connecting classical, jazz, and traditional music throughout the US, Eastern Europe, and Asia to create international dialogue through artistic collaboration. He has worked with such diverse artists as John Cage, Ray Charles, and Kyrgyz traditional musicians, and has been featured soloist and composer at major concert venues and international festivals in the three continents.
He currently has two solo recordings on Capstone Records, When Wind Comes to Sparse Bamboo (2003) and From a Far-off World (2006), both of which will be rereleased by the Naxos Online Library. In 2010 he released Sfumato, a collection of improvisations with vocalist Galina Parfenova under his own label, DSM.

THE SOHO GALLERY FOR DIGITAL ART is the “heartchild” of John Ordover, son of the late lawyer Jerry Ordover, a leading figure in the Modern Art community. His father’s clients over the years included artists such as Roy L ichtenstein, Frank Stella, Richard Serra, Nam Jun Paik and preeminent gallery owner Leo Castelli. “Growing up around the brilliant, spontaneous and off-beat crowd my father introduced me to,” Ordover said, “that creative energy drove my work as a writer and editor; opening a gallery is simply coming full circle.”

Mr. Ordover is also open to the idea of installations created specifically for the gallery and to other creative uses of the space. “We don’t accept any limitations, ” Mr. Ordover said. “Beyond our primary function as a gallery, we intend to use our facilities as a screening room for short films, a stage for experimental theater and other such cultural events — we want to make ourselves into a suppor tive center for the entire SoHo cultural community.”

Links

Dj Spooky:
http://www.djspooky.com/
Demetrius Spaneas;
http://www.dspaneas.com/
Benoit Granier
http://www.granierb.net/
Ding Xue’er
http://www.granierb.net/timi/dingxueer.html/
Soho Gallery
http://sohodigart.com/

2011 Composer-in-Residence Demetrius Spaneas

We chatted over email with 2011 Composer-in-Residence Demetrius Spaneas. Demetrius talks about his inspirations for cultural diplomacy, memorable travel adventures, and upcoming projects.

You’ve traveled the world as a cultural diplomat. When did your interest in musical diplomacy begin? And how did you come to work with the US Department of State?

Coming of age and beginning to mature artistically at the end of the Cold War made me passionately interested in Eastern European and Central Asian cultures. The possibility of contact with countries and cultures that had been off-limits for so long had a huge impact on the direction of my creative work. Studying the traditional music of these cultures while in my 20s – beginning in the Balkans and moving eastward – I sought out teachers and traditional musicians to learn from and perform with. In my own work as composer and improviser, I began to adapt this traditional music and combine it with Western European and American forms. This blending and adaptation continues to be my main creative focus. I continually seek traditional musicians to improvise with, and together we create a dialogue using our own musical languages, finding common ground and understanding within melodies and phrases. In my work, musical dialogue leads directly to cultural understanding.

Cultural diplomacy is really an outgrowth of this process. Becoming interested in the cultures and music naturally led to an interest in the individual artists. People want to communicate. They want someone to listen to what they have to say. Cultural diplomacy, for lack of a better word, gives people an opportunity to create dialogue. Diplomacy is really dialogue. Stimulating conversation is the key to any type of collaborative process, be it political or artistic. I want to help people be heard and give their ideas a voice. This is what any individual really wants.

I started making cultural diplomacy the focus of my career in the mid-2000s, mostly due to connections with musicians/artists through social media sites, especially MySpace. It was through this networking that led to many opportunities overseas, including a 15-country Eurasian tour while living in St. Petersburg, Russia for one year. It was at this time that I started working with the US Embassies – first as a lecturer and performer on American music and culture in Russia, then at other locations in the former Soviet Union, where they helped support my collaborations with local cultural organizations.

As an active concert performer and lecturer abroad, what do you choose to highlight?

All of it. My career has evolved me into a composite musician: composer, performer, and educator.  I can’t do one without the other. And now I am expected to do all, usually at the same time!  Leonard Bernstein said that when he was with composers he was a conductor, and when he was with conductors he was a composer. My situation is similar (of course, I still actually want to grow up and BE Leonard Bernstein…).

What have been your most memorable moments in your travels?

Well, there are two parts to this. The first has been the uneasy and somewhat dangerous situations I have been in – political settings and natural disasters. In Uzbekistan, I was trailed all over the country by the NSS (former KGB) and barred from lecturing and performing at many locations. They also threatened teachers, students, and journalists with arrest if they were to work with me. The official line was fear of me starting a “democracy riot.” I’m glad they think that an American jazz musician can have such a societal impact! They even threatened The Samarqand College of Music with arrest of the entire faculty and school shut down if I stepped foot on the campus. In terms of natural disasters – ice storms at 12,000 feet in the Pamir Mountains, no water or electricity, flash flooding, my plane crashing on the runway (yes, that happened).

But…the other side of this has been seeing not only the great impact my presence has had on locals, but their immense kindness and hospitality toward a foreigner. People are people. And many in the former Soviet Union – most especially the Islamic countries – are kind, courteous, and treat strangers as guests. They want to talk to you and know everything about you. They know what you’ve accomplished by going to the opposite side of the world to visit them, and they are incredibly grateful. This kindness and willingness to share and communicate is what keeps me going.

How does being a composer in NYC differ from the other cities and countries you’ve worked in?

New York is magnificent. Simple. The resources of music and musicians are better here than anywhere else in the world. This is especially true as a composer. There are many, many musicians and ensembles who are interested in exploring new music. And these are wonderful musicians who could play anything they wanted, but they choose what’s new and relevant.  No other city has this, anywhere.

One of your upcoming projects is “Roots Music,” which incorporates Irish, Chinese, European classical and jazz musical traditions. Please explain how you conceived of this amazing mix.

I didn’t! The piece is a commission from the Beijing-based TIMI Modern Music Ensemble and their director Benoit Granier. I have collaborated with this ensemble in recent years as both performer and composer here in NYC, Boston, and Beijing. The ensemble one of the few new music ensembles in China. And as far as I know, they are the only ensemble dedicated to both new classical music and traditional Chinese music. For that purpose, the ensemble mixes western classical and traditional Chinese instruments. In “Roots Music,” I will combine these two styles with American jazz – meaning me as “jazz” saxophone soloist – along with traditional Irish musicians who will be in Beijing collaborating with TIMI for the Beijing Irish Modern Music Festival in March 2012 (yes, it exists…).  My idea for the piece is to take traditional/folk music from each culture (such as Blues and Spirituals from America) and blend them into a large concert piece.  The work will not be a pastiche of styles, but a true blend in which they complement each other. The term “roots music” means music indigenous to a specific group or culture. Much of our roots music is very similar in the deepest layer. It is another way in which we are all connected.

For your Con Edison Musicians’ Residency at Flushing Town Hall, what do you hope to accomplish?

The main goal of my residency is to research and explore the music and traditions that I will incorporate into “Roots Music.” Needless to say, Chinese culture is very important to the makeup of Flushing, which makes it a perfect place to immerse myself into Chinese music and culture. I have been researching Chinese music and poetry styles, as well as mastering the Chinese dizi flute (I have a large collection of world music flutes). I have begun to meet with and play with local traditional musicians and educators, and will be exploring collaborations with them as well.

I am also composing another work for classical instruments (clarinet, viola, and piano) entitled “Autumn Yearning” that is based on the traditional Chinese music that I have researched. This piece, along with other works, including a possible collaboration with Chinese musicians, will be performed at my Con Edison Residency concert on February 18, 2012.

Any more travel plans?

Well, I will be in China for the premiere of “Roots Music” in March. I also have a premiere in Italy of my work “Love Letters in the Ether.”  It’s being scheduled for the spring by the Rome-based new music ensemble Piccola Accademia degli Specchi.  A concert or two in Russia is also in the works for 2012.

What’s next?

In November, I will appear as soloist and will also have a premiere in Zankel Hall at Carnegie Hall.  My work for solo saxophone - played by me – is called “Around Monk-night” and is an improvised-sounding toccata based on Thelonius Monk’s famous “‘Round Midnight.”  This event will be a benefit concert created by pianist Elaine Kwon for the charity Best Buddies. In December, I will be performing a solo/duo concert of my music for Composers Collaborative’s Serial Underground concert series at the Cornelia Street Cafe. I will be joined by CCi’s Artistic Director, the great pianist Jed Distler, for the premiere of two works that evening, ”The Love We Made” and “Giuffre Sketches,” the latter a tribute to my former teacher, the late Jimmy Giuffre.

To keep up with Demetrius, check out his website and blog.

Please visit Exploring the Metropolis

Hello All,

As I watch the Red Sox battle for their post-season lives, I am sending out a little preview to my upcoming weekend.

I seem to be going back to my roots on Saturday. When I was just a young’un, I was completely turned on by the Beatles Rubber Soul album. Much to my parents’ chagrin, this album was what made me really decide to become a musician. Although I’ve left rock music behind in a past life, the music still moves me on many, many levels.

So, on Saturday I will join the very well-known Beatles tribute band Mostly Moptop for a special performance celebrating the life and music of John Lennon at the Dix Hills Performing Arts Center at Five Towns College.

This concert holds special meaning for me. There were three events that defined the 1980s: John Lennon’s death, the Challenger disaster, and the tearing down of the Berlin Wall. I’m delighted that I can contribute to a concert honoring John Lennon, one of my musical heroes. And, coincidentally, Five Towns College–where I teach–is home to the John Lennon Center for Music and Technology.

**********************************************************

Many of you will remember my 2007 Balkan tour which took me to Bulgaria, Serbia, and Greece. In Bulgaria I was the guest and featured artist of the AmBul Festival of American and Bulgarian Music which takes place annual in the capitol Sofia. I was approached this year by the Festival’s artistic director Geoffrey Dean to appear in a film clip discussing American composer Steve Reich who is celebrating his 75th birthday this year and who is the focus of this year’s Festival.

So…the film clip, which was shot with the help of the Audio/Visual Dept. at Five Towns College, is of me discussing Reich, his importance as a composer, and his influence on me as a composer–I am basically ‘riffing’ in front of the camera, and having fun doing it. I also play a short selection from my favorite of his compositions, Desert Music.

The reason I chose Desert Music is that it was really the first piece I had heard by a major–and LIVING–American composer. It was my freshman year at New England Conservatory, and both the faculty and student composers were constantly discussing Desert Music; the recording (album…LP…) with Michael Tilson Thomas conducting had been recently released…the buzz was a-buzzing…I had to hear it…

…so I bought it. It spoke to me in ways that classical music hadn’t really before. It may have been the repetitive nature that evokes primal nature and jazz/rock music, but I could relate to it. It has had–and continues to have–its influence on my work.

I hope you enjoy it.

Until soon,

Demetrius

Film clip talking about Steve Reich for 2011 AmBul Festival

Hello All,

So…I have finished my semester commitments at Five Towns College, just in time to start my 48-hour whirlwind preparation for Portugal. My semester was a busy one, but also successful. I know that we are being advertised–and that some of us are being featured–in an upcoming issue of Chamber Music America, and that the College has requested that Jazz Times interview me personally for an upcoming article on film-scoring. That, plus the fact that the College is commissioning me to write a new choral piece for them are good signs for continued success in the future.

On Thursday, I leave for Portugal to begin my month-long artist residency at ARTErra Residences Rurais Artisticas (notice my photo and write-up in their blog). The goal of this residency, as you all know, is to compose the music for my new CD, which I will entitle Painting. I want this music to be about relationships: human, to nature and environment, to spirituality, to our times. Ideas have begun to creep into my consciousness…some are being rather insistent about it. The interesting thing is to see what will actually happen; will the ideas stay to the fore and evolve into fully bloomed works, or will they dissipate when I am engaged in a completely different environment that will influence (I don’t want to utter the overused word ‘inspire’) new ideas to take shape? Who knows?

And getting back to ideas, I have a ‘sound’ in mind that I went into this project with–not only a musical sound, but one of color…instrumentation. I have a band together of colleagues who are interested and willing to record with me; a septet (instrumentation a secret for now). The sound is like my recent music: modal, a melodic mix of post-classical and jazz improvisation and world music elements. Very me. However, there is this nagging sensation of wanting to go back to my roots and doing a funk/soul album with vocals…trying to beat that one back, but with all of the good wine and fish and sunshine, I don’t know what is going to come out of it all…it will be an adventure, though…it’s *always* an adventure…

The real adventure will be to see if I can handle peace and quiet to work. I live in NYC…I like dirt and noise, after all…

Speaking of adventure, once again I have to deal with traveling with an instrument plus the added issue of taking a laptop. I wish I could take my new tenor, but, alas, there’s just no way they’ll let me on with that with all of the regulations now (which change from airline to airline and from country to country). I was going to only take my flute, which I thought would be a calming influence since I had such an intense playing season, but I’ll be playing exclusively (I think…see above paragraph…) saxophone on this album, and the people at the residency tell me that everyone is expecting a solo concert or two of saxophone music, so I’ll bring my soprano sax, which I know will be on the CD (I think…again see above…) and it’s in the same key as the tenor, just an octave higher.

My concern for traveling actually had me check out the possibility of purchasing a curved soprano sax since they can fit in most carry-on luggage…yes, I know…after looking at one and holding it…yes, they’re like a cute little teapot…but…I couldn’t…especially after hearing the snickers from my colleagues…I mean, I’m 6′ 3″…it just doesn’t look or feel right…yes, image IS everything, I’m afraid…

And speaking of images, Grammys, Grammys, Grammys…what *are* you doing?

As you see, numerous categories, including Latin Jazz in entirety, Chamber Music, Best Classical Album, most American Roots Music, and distinctions between male and female vocalists no longer seem to exist.

There has been backlash, most of it coming from the Latin Jazz community–God bless them–but I haven’t heard much from the classical community, who seem to still be wallowing in the misery of orchestral bankruptcies to raise their weary heads in protest.

I’ll link this again because it’s important!

From what I gather, the final push for this revamp came when Esperanza Spalding won for Best New Artist over Justin Bieber, whom I *refuse* to link to. The supposed fury was that the Grammys ‘were out of touch with reality’ (mostly from the ones making money off of Bieber) and that things had to change…hence the elimination of 31 categories.

Now, artists in fringe forms…everything save pop, it seems–who had some chance of recognition have been denied this opportunity. I am angry on numerous levels, not the least being the fact my colleagues (and myself, mind you!) have been edged out of any international award recognition for our recordings. This also makes me want to reconsider my recording project somewhat now that Chamber Music, Jazz Instrumental, and World Music categories are eliminated–all of the categories I could be in. Of course, what else am I going to do? Call up Bieber and say “hey, let’s do a bubblegum pop album for the over-40 crowd”…uh, no…

So I’ll carry on as planed, of course…the adventure…

Next time you hear from me–and it will be soon–will be my blogging from Portugal. I will be updating regularly about the creative process to give you insight into my psyche…man, that’s scary…

Yours,

Demetrius

2010 was quite a year for me, mostly due to all of its surprises. It’s very funny…in retrospect, I smile at the way that I looked at 2010 at this point in 2009: a period of consolidation and documenting past works and recordings and figuring out the next move(s). I wasn’t sure what was going to happen professionally with the world financial crisis, and I didn’t know where I may be living come fall.

At this point in 2009, I hadn’t decided to release Sfumato (or anything else) and I didn’t have any international traveling planed. Needless to say, this changed rapidly and drastically.

Since I brought up Sfumato by name first, I may as well start with that. The idea to finally move forward with this project hit me in 2009 around, oh, now. It had been sitting on my desk (and desktop) for almost two years–I couldn’t think about what to do with it. Initial explorations found record companies interested in producing it, but for far more money than I wanted to spend on it. The issue was that I didn’t know what to do with it: it was a one-time recording, my collaborator was in Russia, so I couldn’t tour with it or use it for festivals; also, I really wasn’t sure what category it fit in…classical? not really; jazz? not at all; new age? maybe…I didn’t know what the audience would be.

So, I did what I considered to be the most reasonable thing: I created my own record label (DSM) and produced it myself. This was a lot of work, let me tell you…and even though it cost me literally 1/10 of what it would have to go through a record company, I paid for it in administrative work and publicity.

And, I had the release concert at the All Gallery in my home town of Lowell, MA. I wanted to do that for the city and for the arts scene there. I could have easily done it in NYC, but this felt right. Plus, I paired it with a talk to arts student at my Alma mater, Lowell High School.

But I’m glad I did it. It has been successful, and it is still selling–there will even be another publicity push early in the New Year, but that’s news for later. And, I now have a vehicle to produce other recordings, such as my single Spoken Origins that I released in October. More are coming in 2011.

Travel was a surprise, too. It was really around this time last year that I connected with the Bactria Cultural Centre in Dushanbe, Tajikistan. I was invited to be Artist-in-Residence for the 2nd Dushanbe Jazz Festival. This opportunity also coincided with my desire to promote cultural diplomacy in Eastern Europe and Central Asia, which I have been working on for the past few years.

As it turned out, the we did not get the funding needed to make this happen, so I started a Kickstarter project to help fund this. Many people seemed to think that cultural diplomacy and bringing jazz and American culture to the far reaches of the globe was a worthy cause, so we were successful.

The U.S. Embassies, who have been my collaborators in my outreach projects, were able to support me somewhat for this project. They brought me down into the countryside and up into the Pamiri mountains and along the Afghanistan border, meeting villagers and musicians and working with children. The Embassy in Baku was so interested in what I was doing that I immediately got an invitation to go directly to Azerbaijan from Tajikistan to do the same work there. A final stop and concert in Riga, Latvia by invitation and support by the Embassy there rounded out an amazing month of travel, concerts, and life experiences.

Amazingly, in Baku, I met a Polish pianist named Stanislaw Deja. We ended up playing an improvisation together–very off the cuff–of Somewhere Over The Rainbow, and he immediately invited me to Poland to perform a ‘Jazz Mozart’ concert with him at the Mozartiana Festival in Gdansk, Poland in August. I went. It was a great success!

Throughout the year, I had some great domestic solo performances, as well. I had two fantastic performances as Resident Artist for the Composers Collaborative Inc. Serial Underground Series: one for the 2009-10 Season, and one for the 2010-11 season, although both happened within the 2010 calender.

Probably the most fun concert I gave was half as a jazz soloist, and half as a classical conductor. I participated in the Best Buddies Carnegie Hall Fundraiser Concert. The first half had me playing an improvisation on–yes again–Somewhere Over The Rainbow (I like this song…), while the second half gave me the great opportunity to conduct my great friend and colleague and brilliant pianist  Elaine Kwon in the Rubinstein Piano Concerto No. 4, leading the New York Chamber Virtuosi. The fundraiser was a great success!

This was a great year for achievement in composing. For the second year in a row, I was recognized with the American Society of Composers, Authors, and Publishers ASCAPlus Award, and I was a recipient of the American Music Center’s CAP Award. I had a number of pieces performed and recorded, and commissions for new works that came into being for upcoming seasons.

I also finally figured out youtube and twitter and all of their myriad possibilities. Come join me there!

Amongst the biggest news was my appointment as Assistant Professor of Music at Five Towns College, and my move back to NYC from Boston. My career has been centered in NYC for years–it was only a matter of time until I would return here. I feel at home.

So, all in all, 2010 was a pleasant surprise–heck, it was an amazing year! I don’t know what 2011 will bring. In a few days, I will write about what I have planed, and what I am setting into motion.

Only time will tell…

Yours always,

Demetrius

Dear All,

Mainly, I am writing to let you know that due to unforeseen circumstances, my new work Giuffre Sketches will not be premiered on Sunday, December 5th, at Cornelia Street Cafe. Instead, I will be playing an extended solo set which will include my multi-movement piece …no longer to his father… in–as always with this ever-evolving work–a new incarnation. CCi Serial Underground.

A reminder for those in the Boston area: On Saturday, December 4th, my work Angels Praise Thee will be performed by the Polymnia Choral Society under the direction of Murray Kidd at the First Congregational Church in Melrose. I am truly grateful to Murray for continuing to program this work with various choral groups across New England. Thank you.

In stupidly ridiculous news, it appears that SAS (Scandinavian Airlines) will no longer allow violins or other stringed instruments as carry-on luggage; now they must be checked as baggage and the owner will be charged an extra baggage fee for their priceless Stradivaria to be crushed in the hold…

And finally, a big shout-out to the student newspaper at Five Towns College–The Record–for publishing a full-page interview with me as the ‘new kid in town’ of the faculty.

Thank you all again for your continued support.

With warmest regards,

Demetrius

Performance at Cornelia St. Cafe, April, 2010

My Blog on the Dushanbe International Jazz Festival was published in the Bactria Cultural Center’s Newsletter.

http://www.bactria.net/newsletter2010pdf/03-0510en-h.pdf

BCC Newsletter

Northeastern University Article on my recent concert/outreach tour of Central Asia, entitled An Ambassador with a Cultural Portfolio.

http://www.northeastern.edu/news/stories/2010/06/spaneas.html

Video of Dushanbe Jazz Festival and interview on Stan.TV

http://www.stan.tv/news/15861/#

Джазмены импровизируют

Джазмены импровизируют

В Душанбе таджикские джазмены принимают коллег из Азербайджана, Кыргызстана и Казахстана. Здесь проходит джазовый фестиваль. Музыкальную эстафету начинают музыканты из группы “Авесто”. Синтез джазовых гармоний и восточных мотивов – изюминка их творчества. Продолжает программу джем-сейшен – свободное общение в музыке. Джазмены импровизируют в диалоге. На одной сцене музыканты из группы “Бакустик джаз”, казахская группа “Квартет” и “Соленые орешки” из Кыргызстана. К ним присоединился и специальный гость фестиваля – американский музыкант Деметриус Спанеас. Музыка Запада и Востока сливается в одну мелодию. Деметриус Спанеас – любитель синтеза музыкальных стилей. На этот раз его привлек таджикский фалак. “Музыкальное послание жителям Душанбе” он исполнил с музыкантами группы “Мизроб”.

В фестивале приняли участие и новички. Группе “ДАДЖ” нет еще и месяца. Но ребята уже смогли найти своего слушателя. Музыканты играют джаз-шашмаком. Организаторы надеются, что фестиваль станет традиционным. Это будет способствовать развитию джазовой культуры в Таджикистане.

JAZZ MUSICIAN VISITS TAJIKISTAN

Dushanbe, May 26, 2010 – The United States Embassy introduced residents in the farthest districts of Tajikistan to the amazing sound of American saxophone musician Demetrius Spaneas. Demetrius travelled throughout Tajikistan for two weeks and played jazz to hundreds of people from different parts of the country, many of whom had never heard this unique American art form. Demetrius also met with local government officials to encourage the formation of more U.S.-Tajik cultural and educational programs. Jazz was something new for the people of the farthest districts of the country. After each performance, the audience asked questions about jazz music, learned about improvisation, and asked Demetrius to perform his favorite songs. In return, local Tajik musicians in Dushanbe, Khorog and Murgab played traditional music for Demetrius.

From May 4–13, Demetrius gave more than ten performances in Khorog, Murgab and Dushanbe, reaching widely varied audiences. He performed at a jazz festival in Dushanbe, at the American Corners in Dushanbe and Kurgan-Teppa, and at the Bactria Cultural Center, and he also talked about and played jazz music for schoolchildren in Dushanbe and Sarband.

Since 1991, The United States Government has worked to strengthen the relationship between the people of the Unites States and Tajikistan The U.S. Embassy’s educational and cultural programs promote cross-cultural understanding through music, art, education and cultural exchange.