Wojciech Rubiś is a jazz musician with an inclination towards world music, fusion, Latin, ethnic music. He’s active mainly in the music scene as a sideman, arranger and conductor. In this role, he has appeared in various jazz and popular music bands in Poland and abroad.
He worked for cruise marine (including Royal Caribbean), theaters and television French and Japanese, including Canal +, La Cinquième, Planète + and artistic Muzzik (now Mezzo), MTV Japan.
Wojciech has collaborated with many distinguished musicians, among others: Niño Josele, David Chesky, Kurt Elling, Michael Parkinson, Marisa dos Reis Nunes, Bebo Valdés, Javier Limón, Gary Witner, Jarosław Śmietana, Paweł Kaczmarczyk, Grzegorz Motyka, Ryszard Krawczuk, Michał Barański, Michał Knapik.
He has considerable experience in teaching and music education, lecturer at many individual workshops of jazz and classical music organized by instituions such as Webster University Department of Music (St. Louis), Musicians Institute of Contemporary Music, the Guitar Institute of Technology, Los Angeles.
Rising Malian world music act Trio Da Kali and the renowned Kronos Quartet have recorded a superb single titled ‘Eh Ya Ye’. This song will appear on Trio Da Kali’s upcoming album ‘Ladilikan’ scheduled for release on September 15, 2017.
The video was made in Casamance (Senegal) and includes dancers Amadou Kande, Cheikh Omar Preira, Souleymane Diallo and Mamadou Drame.
One could say both: Poland is lucky to be loved by Nigel Kennedy and Nigel Kennedy is lucky to be loved by Poland. Polish audiences are particularly fond of the artist, and his fans are not limited to regular jazz listeners, a lot of them being also recipients of widely understood popular music and even World Music. Let us recall his joint album with Kroke “East Meets East” from 2003, which Poland simply fell for in seconds.
Kennedy possesses the Slavic spirit and understands Slavic musical aesthetics, further even – he understands, or is somehow able to aesthetically sense, the tangled combination of cultural inspirations at work in Eastern and Central Europe. The album “East Meets East” is remembered chiefly as a journey into the cultural tradition of Polish Jews, especially those from pre-war generations. This is not a record about the Israelites, nor is it a record of American Jews or Jews in general – it is the spirit of Polish Jewish culture before the war, brought back by means of being sung out.
But the Polish have yet another reason for their appreciation of Nigel Kennedy – his fabulous and passionate rendition of the csárdás. He yet again proves himself to be nothing short of comfortable in European musical tradition, rooted in folk and though originally Hungarian, popularized by the Gypsies and presently an integral part of national identity in many European countries.
Kennedy has tied his life to Poland and Cracow for good a while back. This world-famous artist lives in the very center of the “City of the Kings of Poland”, often performs at the Cracow Philharmonic, and in 2002 assumed the artistic direction of the Polish Chamber Orchestra. Kennedy can then be said to have become another strong point on the long list of incentives for those leaning towards the idea of choosing Poland as their next destination.
On July 12, 2017, we will host Nigel Kennedy at the Jagiellonian University’s Auditorium Maximum during the celebrations of the 22nd Summer Jazz Festival in Cracow. This concert will undoubtedly be an opportunity to admire the talent, charisma and virtuosity of the artist, all of which have been admired both in the field of contemporary interpretations of classical music and in the mainstream of jazz worldwide. Let us recall that the album released in 1989 containing a rendition of Vivaldi’s “Four Seasons” has sold over two million copies and is by far the best-selling classical music record in the world.
The magnificent success of classical music in Kennedy’s artistic life contrasts with his inspirations drawn from – among others – the works of Jimmy Hendrix and The Doors, the influence of which has often been referred to by the artist himself. Kennedy doesn’t seem to notice these contrasts as clearly as an average recipient of music – he is a firm believer in the notion common among musicians that music should not be categorized and such action does not serve any compelling purpose in world of music and its creators.
About his work and passion, he says: “I love getting up in the morning and playing. It’s almost like meditation. Through music I get to communicate with other musicians and the audience. This contact is the real reason for playing. … Bringing down the barriers, connecting with people on one common level, the level of music, is my reward. Music occurs within the framework of time, it’s here and now. What do we have here on the wall? A mirror? Wallpaper? Someone once made these and now we can look at them. Music is the only art that happens at a given time and then disappears. That’s the way it is during concerts. It’s fantastic. That is what I love about music.”
As has been announced by the organizers, the concert program will mostly include works dedicated to Kennedy’s most important mentors, namely Yehudi Menuhin, Stephane Grappelli and Isaac Stern, immortalized on the artist’s latest album “My World”. The Concert in the Auditorium Maximum will be enriched by the results of the musician’s last project, an interpretation of Krzysztof Komeda’s works, the spirit of which Nigel Kennedy has managed to capture brilliantly, reaffirming his strong emotional bond with Poland. The author of “Polish Spirit” comments on his attitude to what Polishness is in one of his interviews: “The Polish spirit is … this rare extraordinary ability to express emotions, your contagious sentimentality you infect the rest of the world with.”
The Summer Jazz Festival in Piwnica pod Baranami was first organized in 1996 alongside the celebrations of the 40th anniversary of the venue. Year after year, the Festival expanded both its repertoire and its scope by moving beyond the scene of Piwnica pod Baranami to concerts at the Philharmonic, the Cracow Opera, Radio Kraków, the Manggha Center, ICE Kraków, Kijów Centrum and every jazz club in Cracow, rounding up to almost 100 concerts every year.
Since the year 2000, Cracow has seen many sizable outdoor concerts and events, such as the New Orleans Sunday and the Jazz Night. In recent years, both the leading Polish jazz stars and many foreign stars (including Pat Metheny, Chick Corea, Herbie Hancock, Bobby McFerrin, Jean Luc Ponty, Branford Marsalis, Joe Lovano, Maria Schneider, Richard Bona, Al Jarreau) have graced these events with their presence and artistry.
Brazilian vocalist Ive Mendes will perform at ICE Kraków with her band and string quartet on June 25, 2017. Mendes combines elements of smooth jazz and Brazilian bossa nova, resulting in an example of really great music. The critics praise Ive’s voice, whose color and warmth lend expression and romanticism to her music. We expect that during the Summer Festival we will hear all the songs from her new album, Bossa Romantica, which actually appeared first in Poland.
Bossa Romantica was recorded by Kevin Armstrong, known for his collaborations with, among others, David Bowie and Iggy Pop. One of the singles from this album, the song ‘You Make Me Feel Brand New’, was mixed by Miles Walker, the legendary winner of several Grammys, in his studio in Atlanta.
The world music accent in the work of Ive Mendes has its source in the singer’s origins. Ive was born in Ceres, Brazil, in a farming family with mixed roots: Spanish, French, Italian, Portuguese, and Brazilian. She also mentions her Indian heritage.
The music of Ive Mendes is perfect for a warm evening with a glass of wine or a great late dinner—the point being that it complements the sensual pleasures of life. The sensuality, depth, and moodiness of her voice will lead our thoughts along the paths of Spanish vineyards. We’ll hear the sounds of samba, jazz, soul, and chillout, guaranteed to awaken sensual passion and bring out life’s most delicious flavors.
Ive has the ability to move freely between bossa nova and modern influences, smooth jazz and pop, and her originality ensures that she is appreciated by listeners in the Asian and European markets, where she is known as the “Brazilian queen of smooth jazz.” Ive Mendes is one of very few Brazilian singers representing this cosmopolitan and open attitude to music. Her worldwide success is sustained by renowned, highly esteemed, intimate live performances, during which we are guaranteed to discover her charm, charisma, and hypnotic voice.
Ticket sales locations: eventim.pl, ticketpro.pl, biletywkrakowie, Punkt InfoKraków, ul. Św. Jana 2, and the organizers’ office at ul. Karmelicka 52/1, Kraków.
New Music Concepts. 2nd International Conference ICNMC 2016, Michele Della Ventura (ed.), ABEditore s.r.l. – Milan ISBN 978-88-6551-221-0
This book is a collection of essays and scholarly articles comprising the results of the second New Music Concepts academic conference, held in Treviso (Italy) 5‒6 March 2016. In this review we will take a general look at this publication, focusing on the specific research carried out within the framework of the annual academic meeting. The conference is organised by the Studio Musica Music Academy affiliated with the Benedetto Marcello Conservatorio di Musica of Venice.
As the book’s academic editor, Professor Michele Della Ventura, writes in the introduction, the book is a collection of ideas, theories, and research findings from areas touching on the humanities, philosophy, engineering, mathematics, and the everyday experience of studio work and creative artistic work. The publication consists of articles by researchers, academic educators, and artists from England, the United States, Spain, Austria, France, Poland, Sweden, Greece, Korea, and Germany. The results of the research presented in the book can be divided roughly into three main areas: (1) sound engineering and studio work; (2) teaching at different levels of artistic instruction, with special consideration given to the potential of applying e-learning tools to improve the quality of education; (3) cultural studies and their impact on the understanding of contemporary artistic phenomena.
The amplitude of the issues involving development of e-learning methods in the book is not surprising if we consider the academic and educational achievements of Professor Michele Della Ventura, who has been a specialist in this field and for many years has been systematically expanding the field of artistic teaching, contributing to the improvement of the quality of education with the involvement of modern tools and learning: http://www.studiomusicatreviso.it/Corso_Internazionale_2016.
Among the articles addressing the issue of sound engineering and tools for the creation of contemporary music, one can find such issues as ‘A User-Centric Algorithmic Composition System’ (A. Antoine, E. R. Miranda), ‘Blyth-Eastbourne-Wembury: Sonification as a compositional tool in electroacoustic music’ (N. Bonet, A. Kirke, E. R. Miranda), and ‘Basis Function Modeling of Loudness Variations in Ensemble Performance’ (T. Gadermaier, M. Grachten, C. E. Cencino Chacon). These issues were well suited to the resources of the academic centre where the conference was held, as the Academy of Music in Treviso possesses a well-equipped modern recording studio.
Among the issues related to teaching and e-learning, such topics emerged as: ‘Virtual Music Classroom via Incubation Theory: Case Studies and Research’ (Mary K. French), ‘E-learning and its effectiveness in improving The Performance of Techniques and Skills of playing the piano’ (Bahia Galal Al Ekhrity), and ‘The Efficiency on Video-supported Teaching in Amateur Violin Training’ (N. Yagisan, Y. Aksoy).
In the last-mentioned section one can find very interesting studies concerning research touching on the fields of philosophy, sociology and culture. It is shown in this section how varied, in terms of fields and subjects, research on music can be. Among other issues we find ‘Could the be considered an alternative popular music? A Jihadist ideology practiced through audio patterns: the case of al Nusra and Daesh’ (I. Hafez), ‘An innovation way the teaching the Arabic music analysis of the freshman student through e-Learning’ (Mayada Gamal El Deen Aly Aghaa), and ‘A Cross-Cultural Exploration of Music in History: Language, Health and Implications’ (M. H. Cui, D. Knox, M. O. Agyeman, R. MacDonald), as well as the article ‘World Music: a Transcultural Phenomenon’ (P. Tendera, W. Rubiś). In this section of the book, the philosophy of music is closely connected to sociocultural research, which complements the broad perspective of the research conducted annually within the framework of the ‘New Music Concepts’ conference. Bringing together issues touching on technology, teaching and cultural research in a single book results in a very interesting offering in the field of academic reading.
The last-mentioned article is the result of my own theoretical research, which I have been conducting for several years. These studies focus on the ontology and value of music. We analyse not only the construction of music (where I concentrate on my own original, philosophically modernised division of music into form and content) but also the conditions that must be met for the phenomenon of transculturalism that we see in the World Music trend to have significant meaning.
We are conducting our research in counterpoint: focusing on one hand on aesthetically diverse exemplifications (mainstream jazz, swing, bebop, Latin, world fusion, global fusion, worldbeat, neo-tradition, influences of Hindu, ethnic Arab, Jewish, gypsy, African folk and European music), on the other on the universality manifested in the creative process, improvisation, and specifics of musical expression [[Cf. P. Tendera, W. Rubiś, ‘World Music: a transcultural phenomenon’, in: New Music Concepts. 2nd International Conference ICNMC 2016, Michele Della Ventura (ed.), ABEditore s.r.l. – Milan, pp. 61‒82]].
Your Connection to traditional and contemporary World Music