Agenda de actuaciones musicales

Miércoles, 20 de junio 2007. 17:30h.

JIMMY GLASS JAZZ PUB / BAJA 28, BARRIO DEL CARMEN, VALENCIA MIÉRCOLES, 20 DE JUNIO 9,30 NOCHE: MONIKA HEIDEMANN QUARTET: MONIKA HEIDEMANN (VOZ) RYAN FERREIRA (GUITARRA) GUILLERMO BAZOLLA (CONTRABAJO) ANDRE LITWIN (BATERÍA) AFORO LIMITADO. ANTICIPADA Monika HeidemannMONIKA HEIDEMANN twists together jazz sensibility, improvisation, catchy pop melodies, the grind of rock n’ roll and enough subconscious creativity to still question where her music could have come from. Monika's musical endeavors started with the saxophone in the 4th grade elementary school band and continued into her years at the University of Vermont in Burlington. Initially pursuing a career in wildlife biology, Monika instead found herself singing and playing saxophone in local rock bands. While in Burlington, she directed and arranged for the a cappella group The Cat’s Meow and led her own jazz trio with local artists. In May 2003, Monika received her Master’s degree in Jazz Performance from the New England Conservatory where she studied jazz voice, improvisation, and composition with artists Dominique Eade, Danilo Perez, Jerry Bergonzi, and Steve Lacy. Monika performs her original music with The Monika H. Band. She also sings with The Animal Channel (ethnic inspired dance), The Bunkbeds (electro-pop), and plays saxophone in the all female Afro-beat band, FemmNameless. In writing her piece, The Incoming Queen, Monika "drew upon one particular aspect of Capital M that is absent in the other compositions they play, trying not to lose the group sound that they had developed. I noticed that Ian never used lyrical content in his compositions for Capital M, so this would be a major focus in the piece. The lyrics started out as a philosophizing with oneself on the significance of outward beauty, trying to prove that it does indeed matter—a sort of counter-reasoning in this day and age where 1. we are told we must be outwardly beautiful; 2. we thought we smartened up by telling ourselves that looks aren't everything; but 3. realized one way or another that they actually are everything. Through exploration, it becomes a love song. The introduction to the vocals is like the grandiose entry of royalty, like Kings and Queens arriving on the scene of some obscure futuristic party of intellectuals and Capital M is the entertainment. The tension of self-importance at the party eases itself. Everyone in the room is joyously dancing by the end."

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