Από το allaboutjazz.com, μια συνοπτική βιογραφία του «ηγέτη» των θρυλικών Irakere:
Chucho Valdés, born Jesús Dionisio Valdés, is a Cuban pianist, bandleader, composer and arranger. He was born in Quivicán, Cuba. In 1972 he founded the group Irakere, one of Cuba’s best-known Latin jazz bands. Together with pianist Gonzalo Rubalcaba, Valdés is revered as one of Cuba’s greatest jazz pianists.
His father Bebo Valdés, also a pianist, is the former director of Havana’s famous “Tropicana” night club. Bebo Valdés, now in his 80’s, is still performing, and won a Latin Grammy award in 2003 together with Israel “Cachao” López and Patato Valdés, and in 2005
together with flamenco singer Diego El Cigala.
Chucho has won three Grammy awards – one in 1978 for the album Live at Newport by Irakere, a second in 1998 for his contribution to the CD Havana by his band Crisol (formed in 1997), with two songs Mr. Bruce and Mambo para Roy written by Chucho, and the third in 2003 for his album Live at the Village Vanguard.
In 2005, Chucho was sued for divorce by his wife Ileana Mateu Valdes, a Cuban American residing in Englewood, New Jersey. It took almost two years of litigation before the parties settled the matter. A New Jersey matrimonial court did not recognize a prior Cuban divorce obtained by Chucho Valdes in Cuba holding that it had violated the fair notions of constitutional due process of the United States. On March 28, 2007, a divorce was granted to the parties and Chucho Valdes finally agreed to pay the lawyers of Ms. Valdes the sum of $35,000.00 for their work in the case. This agreement had to be approved by the Office of Foreign Assets Control of the Department of the Treasury in Washington, D.C. since it dealt directly with transfers of money by Cuban nationals to the United States. Such transfers are prohibited under the Cuban embargo regulations. The Miami Herald Spanish Language newspaper, El Nuevo Herald, reported the story on its front page and characterized the case as historic. According to El Nuevo Herald, it was the first time in 46 years that a Cuban national paid with Cuban funds for the settlement of a civil lawsuit filed by an American citizen in U.S. courts.
Over the past few years his recording output has been very prolific including a duo setting with his father Bebo Valdes, and several solo projects as well. In 2009 he again did a collaboration in Spain under the tutelage of Javier Limon who produced his Grammy winning “Lagrimas Negras.” This time around he accompanied flamenco torch singer Concha Buika on “El Ultimo Trago.”
Οι μοναδικοί Apparat Organ Quartet στο «123 Forever«:
Khayyam, [Hooshiyar ]: pianist “Born in London (1978), Khayam belongs to the new generation of pianists and composers of
Iran. He has worked under the supervision of many pianists and piano professors namely Gagik Babayan, Raphael Minasekanian,
Farman Behboud, and Davoud Djafari. In his Bachelor degree in Persian Music in Art University of Tehran, he had the
supervision of Hooshang Zarif, Hadi Montazeri, and Davoud Ganjehyi amongst others. Hooshyar is active as a pianist in
classical repertoire, and in contemporary music. The highlight of his performances are pianist of the “Inty Contemporary
Orchestra”, conducted by Mark Gibson (Cincinnati Conservatory of Music CCM) 2005, Pianist of the “Concert Orchestra”
Conducted by Xian Zhang 2003-4, numerous solo recitals, chamber concerts, and as soloist of concerti in Tehran, Cincinnati,
Pittsburgh, Berlin. He has done his Masters in Composition and his Doctorate in Composition and Conducting both from
University of Cincinnati, College-Conservatory of Music (CCM). He taught for three years as teaching Assistant in Theory and
Composition Graduate programs of University of Cincinnati, Conservatory of Music, and now teaches in Composition and
Ensemble departments of Art University of Tehran. Released works (Hermes Records) : Tatari, Clouds, Thousand Acacias”
Από το http://www.iranianmusicheritagemovement.com/, μια πρώτη ιδέα για τον Hooshyar Khayam:
HOOSHYAR KHAYAM (b. 1978) is an Iranian pianist and composer. He was born in London into a family of artists. His father Massoud Khayam is a novelist, and his mother Pariyoush Ganji painter.
His family left England and returned to Iran after the Revolution where he has lived and studied the major part of his musical education.
Khayam is active as pianist, as composer, and as improvisor and collaborator in contemporary classical and world music. His music has been performed by Hossein Alizadeh, Aram Talalyan, Wayne Foster-Smith, Todd Palmer, Artur Avanesov, Stephen Prutsman, and the Kronos Quartet among other artists.
His works include music for solo piano, chamber works, large symphonic ensembles, string orchestra, improvisational works, vocal works, music for film and theater, and arrangements/revisions of traditional music of Iran.
Khayam’s released albums include “Tatari” (Hermes Records, 2007) «Thousand Acacias» (Hermes Records, 2010),“All Of You” with Amir Eslami (Hermes Records, 2010), «Sea’s Seven Days» (Contemporary Music Records, 2010), «Verses of the Night» (Contemporary Music Records, 2011), «Prayers» with Dusan Bogdanovic (Doberman edition, 2012), «Strings» (Hermes Records, 2012), and has appeared in number of other albums together with various artists.
He has been performed at Lincoln Center, Spoleto, Stefaniensaal Graz, University of Cambridge, University of London, and has hold concerts in Moscow, Tbilisi, Kiev, Berlin, New York, Charleston, Florence, Graz, Linz, London, Yerevan, and Tehran. His larger compositions have been premiered by Naregatsi Chamber Orchestra, Ukraine National Symphony Orchestra, Tehran Philharmonic, and Tehran Youth Symphony Orchestra.
The production of Chekhov’s «Ivanov» (2012) (Mehr Theater Group, director Amir Reza Koohestani) with original music by Khayam has been on a yearly tour in Iran with over 40 performances in the capital, and is scheduled live performance Festival Theaterformen Hanover (Germany) and Bozar in Brussels for the 2013 summer season.
His filmography include original music to animation «Namayesh» (2003) by Elika Hedayat, documentary film «These Days, Those Days» (2011) and video-art «Exhale» (2013) by Pooya Arianpour, «Monir» (2013) by Bahman Kiarostami (featuring Khayam’s second string quartet, performed by Kronos Quartet), «Tajrish Unfinished» (2012) by Pourya Azarbayjani, and «Two Cold Meals for One» (2009) by Amir Azizi. His music was also used in British Museum video survey of the «Digitalization of Persian Archives» in 2012.
He is the finalist of «Queen Elisabeth International Composition Competition» (2013) for his piano concerto «Before the Dream is Over», first prize award winner of «Franz Schubert and Modern Music International Composition Competition» (2011) for his trio «I Waited for You in Rain», finalist of Mauricio Kagel International Composition Competition (2013), Winner of «Culture and Music Critic’s Prize: Tehran’s best album of the year» for «Tatari» (2007), and 4-star review «Top of the World Albums» by 75th issue of Songlines for his album «All of You» (with Amir Eslami, 2011) as distinctive music of Middle East.
As a pianist Khayam has recently taken the task of premiering and recording works by contemporary classical composers of Iran, and those from other countries. This includes the world premiere of «Cantilena and Fantasia» and «Six Illuminations» by Dusan Bogdanovic (Serbia) which has appeared in the album «Prayers» (Doberman edition, 2012), «Five Piano Pieces» (1979, world premiere) by Mohammadreza Darvishi, «Haykus for piano» (2012, world premiere) and «Metamorphosis» (2013, world premiere) by Ehsan Saboohi, «His Name is Man» (2010, world premiere) by Karen Keyhani, among others.
During his work as lecturer in department of ensemble studies University of Arts Tehran, Khayam has coached major repertoire of chamber music from classical to contemporary, and has appeared himself as the pianist to the final recitals of Masters students performing duo sonatas from Franck, Prokofiev, Piston, Martinu, Bridge; duo pieces from Roussel, Georges Hüe, Artur Avanesov, and concerti from Brahms, Sibelius, Ravel, Britten, Barber, and Shostakovic.
Khayam holds a doctoral degree from the University of Cincinnati, College-Conservatory of Music. He previously taught for six years (2006-2011) as faculty member in composition at Art University Tehran, and is currently working as an independent artist.
Από το όμορφο tinymixtapes.com (Stephen Bezan), μια κριτική για τον Peter Broderick του «Music For Falling From Trees»:
«Still in his early 20s, Peter Broderick has developed an impressive back catalogue while maintaining a relatively diverse methodology between works. Following the exquisite mini-albumDocile and the equally impressive 7-inch single «Retreat/Release,» Broderick’s debut full-length, Float, further demonstrated his talent for composition and rightfully garnered comparisons to genre heavyweights such as Max Richter. On 2008’s Home, however, Broderick opted for a more stripped-down, personal approach, with vocals and acoustic guitar playing a much more dominant role. The result was an album of atmospheric bedroom-folk reminiscent of José González or even the more abstract Benoît Pioulard. At first, this shift in form may seem like a significant departure from his earlier material, but as proven by the collection 4 Track Songs released this year on Type, Broderick has dabbled in similar areas before recording his more expansive compositions. Considering the overall quality and range of his material, then, the prospect of a new Peter Broderick release is an exciting one, if for no other reason than to see which direction the young musician will take.
Commissioned by Adrienne Hart as the audio component for her modern dance piece, Music For Falling From Trees finds Broderick’s work placed within a unique context while, at the same time, not venturing too far from his comfort zone. Gracefully exploring seemingly austere and forbidding themes, Hart’s dance delves into the mind of a mentally ill patient, as he struggles to retain his identity through a period of institutionalization. While Broderick’s music has always possessed a cinematic quality, never before has it been associated with such a concrete narrative. While the extent to which the dance’s overarching themes affect the listening experience depends on an individual’s standpoint, there are certain elements — the suggestive song titles, the album art (which features still shots of the dance itself), Broderick’s admission that the instruments loosely represent different characters in the dance — that make it difficult to fully remove the music from its visual counterpart. Still, Broderick succeeds in composing music that, while certainly melancholic, possesses a hopeful, nostalgic, and even playful quality at times. And it is through this range of mood and emotion where he challenges preconceived notions surrounding the assumed bleakness of the dance’s subject matter and allows his music to stand effectively on its own.
In terms of the overall instrumentation and form, Music For Falling From Treesfinds Broderick working in areas similar to those explored on previous albums. However, there are some important differences that distinguish this work from his earlier material, such as this time working exclusively with violin and piano — the two instruments with which the young composer is most comfortable — providing a sense of ease, spontaneity, and looseness that is sometimes missing from his more focused compositions. For fans of some of Broderick’s earlier material, then, these qualities, combined with the relatively narrow range of instrumentation and short duration of the album, may prove somewhat limiting and not as immediately immersive as some of his best work. But repeated listens and consideration for context aids in revealing the subtle, yet greatly emotive details that run throughout Music For Falling From Trees, resulting in moments that rank among Broderick’s best.»