Alex Roesner: Rising Lacrosse Star Embracing Challenges and Opportunities

Who is Alex Roesner and what impact has he made in lacrosse. How did Roesner’s performance help Team USA advance to the World Championship game. What qualities make Roesner a standout player in collegiate and international lacrosse.

Table of Contents

Alex Roesner’s Breakout Performance for Team USA

Alex Roesner, an attackman for the University of Pennsylvania and Team USA, has been making waves in the lacrosse world with his exceptional skills and determination. In a critical match against Australia during the 2016 Federation of International Lacrosse Men’s U19 World Championship, Roesner demonstrated his prowess by scoring an impressive five goals. This outstanding performance played a crucial role in Team USA’s dominant 23-1 victory, propelling them into the championship game.

Roesner’s ability to find the back of the net consistently showcases his offensive capabilities and highlights his importance to the team. His five-goal contribution was part of a well-rounded team effort, with seven different players scoring multiple goals for the United States.

The Rise of Alex Roesner in Collegiate Lacrosse

While Roesner’s international success is noteworthy, his journey in collegiate lacrosse at the University of Pennsylvania has been equally impressive. As an attackman for the Penn Quakers, Roesner has consistently demonstrated his ability to perform at a high level against top-tier competition.

Roesner’s success at Penn can be attributed to several factors:

Exceptional stick skills and ball control
High lacrosse IQ and field vision
Ability to create scoring opportunities for himself and teammates
Strong work ethic and dedication to improving his game

These qualities have not only made Roesner a valuable asset to his collegiate team but have also caught the attention of national team selectors, leading to his inclusion in the Team USA roster.

Embracing Challenges: The Chip on Roesner’s Shoulder

One of the most intriguing aspects of Alex Roesner’s approach to the game is his mentality. The phrase “chip on his shoulder” is often used to describe athletes who play with a sense of determination and a desire to prove themselves. For Roesner, this mentality seems to be a driving force behind his success.

Why does Roesner play with a chip on his shoulder? There could be several reasons:

Desire to prove himself against top-tier competition
Motivation to overcome any perceived doubts about his abilities
Ambition to establish himself as one of the best players in collegiate and international lacrosse
Commitment to continually improve and push his limits

This mindset has likely contributed to Roesner’s ability to perform under pressure and rise to the occasion in high-stakes situations, such as international tournaments.

The Impact of Roesner’s Success on Team USA

Alex Roesner’s contributions to Team USA extend beyond his individual statistics. His success on the field has a ripple effect on the entire team, influencing various aspects of their performance:

Boosting team morale and confidence
Creating offensive momentum
Drawing defensive attention, which opens up opportunities for teammates
Setting a high standard of play for the rest of the team to emulate

By consistently performing at a high level, Roesner has become a key player in Team USA’s quest for international success. His ability to step up in crucial moments, as demonstrated in the match against Australia, makes him a valuable asset in high-pressure tournament situations.

Developing Future Talent: Roesner’s Role in Inspiring Young Players

As a rising star in both collegiate and international lacrosse, Alex Roesner has the potential to inspire the next generation of lacrosse players. His journey from a college athlete to a key player on the national team serves as a blueprint for aspiring lacrosse players looking to make their mark in the sport.

How can Roesner’s success story influence young players?

Demonstrating the importance of hard work and dedication
Showcasing the potential for college players to compete at the international level
Highlighting the value of a strong mentality and embracing challenges
Providing a role model for attackmen looking to improve their game

By continuing to perform at a high level and sharing his experiences, Roesner can play a crucial role in developing the next generation of lacrosse talent in the United States.

The Future of Lacrosse: Innovations and Adaptations

As players like Alex Roesner continue to push the boundaries of what’s possible in lacrosse, the sport itself is evolving. Recent developments in equipment, training techniques, and game strategies are shaping the future of lacrosse at all levels.

Equipment Innovations

Advancements in lacrosse equipment are enhancing player performance and safety:

Lightweight, more durable stick materials
Improved helmet designs for better protection
Advanced padding technologies for enhanced mobility and safety
Specialized footwear for improved traction and agility

Training Techniques

Modern training methods are helping players like Roesner reach their full potential:

Video analysis for technique refinement
Sports-specific strength and conditioning programs
Mental training and visualization techniques
Cross-training with other sports for overall athleticism

Game Strategies

Tactical innovations are changing the way lacrosse is played at the highest levels:

Increased emphasis on fast-paced, transition-heavy play
Advanced offensive schemes to create scoring opportunities
Sophisticated defensive strategies to counter high-powered offenses
Specialized roles for players with unique skill sets

As the sport continues to evolve, players like Alex Roesner will play a crucial role in shaping its future, both through their on-field performances and their influence on younger players.

The Global Growth of Lacrosse: Roesner’s International Impact

While Alex Roesner’s success with Team USA is significant, it’s also part of a larger trend of lacrosse’s global growth. The sport is gaining popularity worldwide, with more countries fielding competitive teams in international tournaments.

How is lacrosse expanding globally, and what role do players like Roesner play in this growth?

Increased media coverage of international tournaments
Growth of lacrosse programs in non-traditional markets
Cultural exchange through international competitions
Inspiration provided by top players competing on the global stage

As ambassadors of the sport, players like Roesner contribute to lacrosse’s global appeal by showcasing high-level play and sportsmanship in international competitions. This exposure helps attract new players and fans to the sport worldwide.

Balancing Academics and Athletics: Roesner’s Approach

As a student-athlete at the University of Pennsylvania, Alex Roesner faces the challenge of balancing rigorous academic requirements with the demands of collegiate and international lacrosse. This balancing act is a crucial aspect of his development both as a player and as an individual.

What strategies might Roesner employ to manage his dual commitments?

Effective time management and prioritization
Utilizing academic support resources provided by the university
Maintaining open communication with professors and coaches
Developing strong study habits and discipline

Roesner’s ability to excel both on the field and in the classroom serves as an inspiration to other student-athletes, demonstrating that it’s possible to pursue athletic excellence without compromising academic achievement.

The Mental Game: Roesner’s Psychological Approach to Lacrosse

While physical skills and athleticism are crucial in lacrosse, the mental aspect of the game often separates good players from great ones. Alex Roesner’s success at both the collegiate and international levels suggests a strong mental approach to the sport.

What mental skills might contribute to Roesner’s on-field performance?

Ability to stay focused under pressure
Resilience in the face of setbacks or mistakes
Confidence in his abilities and decision-making
Mental preparation and visualization techniques

By honing these psychological skills alongside his physical abilities, Roesner has developed into a well-rounded player capable of performing at the highest levels of the sport.

Leadership and Teamwork: Roesner’s Role in Team Dynamics

As a key player for both his collegiate team and Team USA, Alex Roesner likely plays a significant role in team dynamics and leadership. His experience and success on the field position him as a potential leader and role model for his teammates.

How might Roesner contribute to team leadership and cohesion?

Leading by example through his work ethic and performance
Providing guidance and support to younger or less experienced players
Contributing to a positive team culture and atmosphere
Facilitating communication between players and coaches

Roesner’s leadership skills, both on and off the field, can have a significant impact on team success and the development of his teammates.

The Road Ahead: Roesner’s Future in Lacrosse

With his collegiate career at Penn and his success with Team USA, Alex Roesner has established himself as a rising star in the lacrosse world. As he continues to develop his skills and gain experience, what might the future hold for this talented attackman?

Potential opportunities for Roesner’s lacrosse career could include:

Continued success and leadership at the University of Pennsylvania
Further representation of Team USA in international competitions
Potential professional lacrosse opportunities
Coaching or mentoring roles to help develop future lacrosse talent

Regardless of the specific path his career takes, Roesner’s impact on the sport of lacrosse is likely to extend well beyond his on-field performances. His journey from a college player to an international competitor serves as an inspiration and a roadmap for aspiring lacrosse players looking to make their mark in the sport.

As lacrosse continues to grow and evolve, players like Alex Roesner will play a crucial role in shaping its future. Through their skill, dedication, and passion for the game, they not only achieve personal success but also contribute to the broader development and popularization of lacrosse on both national and international stages.

Reddit – lacrosse – Team USA and Penn attackman Alex Roesner embraces the chip on his shoulder

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Game – Lauderdale Lacrosse – Traveling Lacrosse Club Team (Landsharks)

Team USA Headed to World Championship Game

By Brian Logue | @uslacrosse Randy Daly Box score COQUITLAM, B.C. — Seven different players scored multiple goals, led by Alex Roesner with five, as the United States dominated Australia 23-1 to advance to the championship game of the 2016 Federation of International Lacrosse Men’s U19 World Championship. The U.S., the only nation to have won …

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Alex Rosner

Alex Rosner (* 1935 in Kraków ^[1] or Warsaw , Poland ^[2] ) is an American electrical engineer and sound system designer who was particularly important in the field of sound installation for the disco wave of the 1970s. He also invented the first DJ mixer . ^[3]

Career

childhood

Alex Rosner was the child of Marianne and Henry Rosner, a famous violinist at the time . Because of their Jewish origins, the Rosners were first locked up in the Kraków ghetto and then deported to Auschwitz , where they were employed by Oskar Schindler and thus saved from certain death. Alex was still too young to work at the age of nine, so he was threatened with separation from his parents and further deportation . A guard gave him an accordion so that he could practice and make music with his father. They performed as a duet and also played for the overseers, which ultimately saved the child’s life. ^[4]

The accordion is now part of the United States Holocaust Memorial Museum in Washington . ^[5]

Adult

The Rosners survived the Holocaust and came to New York in 1946. Alex Rosner studied electrical engineering in the USA and specialized in hi-fi sound. At the World’s Fair New York World’s Fair of 1964-65, he was instrumental in building the discos for the Canada-A-Go-Go and the Carnival-A-Go-Go involved. ^[6]

On December 31, 1967 Alex Rosner announced his employment contract and set out with his company Rosner Custom Sound Inc. independently. In the following years, especially in the seventies, he supplied the newly emerging clubs and discos of New York City with sound systems, including Max’s Kansas City , the Limelight , the Tambourine and the Tamburlaine . Here he worked with the sound designer Richard “Dick” Long, who later had his own systems for Studio 54 and the warehouse in Chicagobuilt. By the end of the 1970s, Rosner had developed and maintained over 300 loudspeaker systems for discos. ^[7] It was Rosner of David Mancuso , the DJ and musical host of the Loftpartys , the Cornwall speaker of Klipschhorn sold and installed later, separate tweeter. ^[8th]

Mr. Rosner now lives in Long Island City, Queens .

DJ-Mixer „Rosie“

Alex Rosner invented and built the first DJ mixer in history. The mixer made it possible to switch between the signals of two turntables. Rosner had developed the device for Francis Grasso , the resident DJ of the “Haven Club”. The prototype was painted red and was named “Rosie” after its inventor. “Rosie” was a palm-sized unit with only three sliders, offered two inputs for phono signals, a tape input and a cue section. ^[9]

literature

Tim Lawrence: Love Saves the Day: A History of American Dance Music Culture, 1970–1979. Duke University Press 2004, ISBN 978-0-8223-3198-8.

Weblinks

Individual evidence

↑ Janosch Delcker: The red accordion: A Holocaust survivor and his doubts about the memory of contemporary witnesses. (PDF) on: Deutschlandfunk, April 29, 2015.
↑ Eliza Macdonald: Holocaust survivor Alex Rosner inspires community in: The Bucknellian vom 21. April 2011.
↑ DJ Rick Ski: The 10 most important DJ mixers in history on: bonedo. The musician portal .
↑ Janosch Delcker: The red accordion: A Holocaust survivor and his doubts. on: Deutschlandfunk from April 29, 2015.
↑ Aileen Jacobson: Helping Holocaust Artifacts Tell Their Stories. In: The New York Times. 2. Januar 2015.
↑ Tim Lawrence: Love Saves the Day. S. 88.
↑ Bodo Mrozek et al: Popgeschichte Band 2: Zeithistorische Fallstudien 1958–1988. S. 191.
↑ Tim Lawrence: Love Saves the Day. S. 89–90.
↑ DJ Rick Ski: The 10 most important DJ mixers in history on: bonedo. The musician portal .

Authority data (person): Wikipedia people search | No GND personal data record. Last checked: July 3, 2017.

Alexander Rösner im Interview – BeimFootball.de

Er ist der Mann, dem wir die NFL live im Free-TV zu verdanken haben. Alexander Rösner ist der Sportchef von ran. Er hat vor über 5 Jahren den Schritt gewagt American Football groß machen zu wollen. Seit dem laufen die Spiele bei ProSieben MAXX oder auch beim großen ProSieben. Die Quoten gehen durch die Decke, die Kommentatoren kennt mittlerweile jeder. Wie kam das damals alles zustande? Wohin kann die Reise mit ran Football noch gehen? UND: Alexander Rösner klärt ein für alle Mal die Frage: Wie werden die Live-Spiele am Sonntag festgelegt!

Alexander Rösner ist ganz offiziell der „Vice President Sport bei Seven.One“ – das ist das Unternehmen hinter ran. Er kümmert sich in den Büros vor den Toren Münchens um den Einkauf von Fernsehrechten, die Umsetzung von Sendungen und schließlich auch um die Manöverkritik nach einer Übertragung. Vor der NFL-Saison 2015 hatte er die Idee die Spiele der Liga in der Sendergruppe zu etablieren. Der Ursprung dieser Erfolgsgeschichte liegt aber eigentlich noch viel weiter zurück:

Danach schlief das Interesse an der NFL aber leider etwas ein. Ein paar Jahre später – 2012 – begann ein neuer Anlauf mit Sat1 – wieder nur mit Übertragungen des Super Bowls. Laut Alexander Rösner dachte man aber damals schon, dass man doch mehr aus der NFL machen könnte. Anfangs wurden die Championship Games zusätzlich übertragen, um wenigstens „etwas mehr“ zu bieten. Das zeigte Wirkung. Auch Social Media war damals schon ein Thema und so gab es direkte Reaktionen auf die Übertragungen. Es musste also ein Interesse über das bloße Event hinaus geben.

So landete die NFL bei ProSieben MAXX

Also wurden Gespräche mit der NFL geführt, wie das Angebot im Fernsehen vergrößert werden kann. Die Liga wollte natürlich so viel Fläche wie möglich – übertreiben wollte man es aber auch nicht, erklärt Alexander Rösner:

Jetzt war die Frage: „Wenn wir das alles machen – wie machen wir das?“ Schließlich musste der Sport auch so präsentiert werden, dass möglichst viele Menschen Interesse daran haben. Bis dahin wurden Footballspiele in Deutschland aus einem stillen Kämmerlein kommentiert, in den vielen Pausen liefen viel zu oft die selben Trailer. Also sollte die Chance genutzt werden etwas besonderes aus der NFL in Deutschland zu machen. Deshalb entschieden sich die Verantwortlichen dazu ein Studio zu mieten und Menschen vor die Kamera zu holen.

Auch die ProSieben-Spitze sagte damals: „Ok, wenn wir das machen, dann richtig!“ Also 2 Spiele am Sonntag – jeden Sonntag – jeden verdammten Sonntag. Die Marketing-Maschine wurde angeworfen und schließlich auch das passende Personal gesucht. Frank Buschmann hatte damals das Casting für die Kommentatoren gemacht. Die meisten Gesichter die wir aktuell aus den Sendungen kennen, haben sich für das Casting beworben. Der heute vielleicht bekannteste von allen – Coach Esume – hat sich NICHT beworben:

Für den organisatorischen Ablauf des Castings damals war ein Volontär des Hauses verantwortlich. Ein gewisser Christoph Dommisch. Als an dem Tag niemand für die Position des „Social Media Mannes“ gefunden wurde, hat Alexander Rösner ihn gefragt, ob er das machen möchte. Die Antwort: „Icke? Live im Fernsehen? Da werde ick ja rot!“. Bekanntlich wurde er doch überredet und Icke ist bis heute fester Teil der Crew.

Ein Highlight nach dem anderen

Seit 2015 wächst das Interesse an ran Football kontinuierlich, die Einschaltquoten haben sich mehr als verdoppelt, es wurde ein Fernsehpreis gewonnen. Das Team ist jedes Jahr beim Super Bowl live dabei, oder bei den Spielen in London. Es wurde auch schon mal ein Regular Season Game der New England Patriots live aus den USA übertragen. Als ich Alexander Rösner nach seinem Highlight bis jetzt gefragt habe, kam er mit einer ganz anderen Sache: Er schwärmt vom Zusammenhalt der Community:

Die ran Football Community ist wirklich etwas ganz besonderes. Sie zerbricht sich aber auch jede Woche in heißen Diskussionen den Kopf darüber, wenn die Begegnungen des kommenden Spieltags angekündigt werden. Immer wieder kommt die Frage: „Warum wieder die?“ oder „Warum nicht mal Team XY? Das ist unfair.“ Bei Social Media sorgt das leider oft für Kopfschütteln. In der ran Football Redaktion ganz und gar nicht:

Damit es jetzt jeder vom Chef persönlich gesehen und gehört hat: Alexander Rösner erklärt, wie die Auswahl der Spiele bei ran Football funktioniert: Bekannt ist ja, dass die NFL pro Kickoff-Zeit am Sonntag 2 Spiele zur Auswahl stellt.

Damit dürfte das geklärt sein, denke ich. Ob das Team von ran Football in dieser Saison zum Super Bowl nach Tampa fliegen wird, ist noch nicht ganz sicher. Wegen der Corona-Pandemie werden die Übertragungsmöglichkeiten vor Ort auch eingeschränkt sein. Laut Alexander Rösner ist im Moment der Plan, dass ein kleines Team nach Florida fliegt. Der Großteil der Übertragung wird aber wohl aus den Studios zu Hause in Deutschland gemacht. Es ist aktuell ja noch nicht mal sicher, ob der Super Bowl überhaupt wie geplant am 7. Februar 2021 stattfindet.

Ein Ausblick in die Zukunft

In Vorstellungsgesprächen wird gerne mal gefragt, wo man sich in 5 Jahren sieht. Alexander Rösner hatte zum Abschluss des Interviews einen ganz einfachen Wunsch:

Men’s Lacrosse vs Penn on 3/18/2017 – Box Score

[15:00]
[15:00]				Faceoff Chrappa, Ralph vs Santangelo, Chris won by PENN, [15:00] Ground ball pickup by PENN Keating, Connor.		Faceoff Chrappa, Ralph vs Santangelo, Chris won by PENN, [15:00] Ground ball pickup by PENN Keating, Connor.
[14:47]				Ground ball pickup by PENN Keating, Connor.		Ground ball pickup by PENN Keating, Connor.
[14:42]				Clear attempt by PENN good.		Clear attempt by PENN good.
[14:10]		14	5	GOAL by PENN McGeary, Kevin, Assist by Licciardi, Joe, goal number 8 for season.	14 – 5	GOAL by PENN McGeary, Kevin, Assist by Licciardi, Joe, goal number 8 for season.
[14:10]				Faceoff Chrappa, Ralph vs Santangelo, Chris won by PENN, [14:10] Ground ball pickup by PENN Keating, Connor.		Faceoff Chrappa, Ralph vs Santangelo, Chris won by PENN, [14:10] Ground ball pickup by PENN Keating, Connor.
[12:52]				Turnover by PENN Mathias, Simon (caused by Medghalchi, Arman).		Turnover by PENN Mathias, Simon (caused by Medghalchi, Arman).
[12:48]	Ground ball pickup by PRIN Medghalchi, Arman.					Ground ball pickup by PRIN Medghalchi, Arman.
[12:43]	Clear attempt by PRIN failed.					Clear attempt by PRIN failed.
[12:37]	Turnover by PRIN Medghalchi, Arman (caused by McGeary, Kevin).					Turnover by PRIN Medghalchi, Arman (caused by McGeary, Kevin).
[12:26]				Ground ball pickup by PENN McGeary, Kevin.		Ground ball pickup by PENN McGeary, Kevin.
[12:24]				Turnover by PENN McGeary, Kevin.		Turnover by PENN McGeary, Kevin.
[12:22]	Clear attempt by PRIN good.					Clear attempt by PRIN good.
[12:19]	GOAL by PRIN Durbin, Charlie, goal number 10 for season.	15	5		15 – 5	GOAL by PRIN Durbin, Charlie, goal number 10 for season.
[12:19]				Timeout by PENN.		Timeout by PENN.
[12:19]				DeMarco, Alex at goalie for PENN.		DeMarco, Alex at goalie for PENN.
[12:19]				Faceoff Chrappa, Ralph vs Santangelo, Chris won by PENN, [12:19] Ground ball pickup by PENN Farrell, James.		Faceoff Chrappa, Ralph vs Santangelo, Chris won by PENN, [12:19] Ground ball pickup by PENN Farrell, James.
[12:05]				Shot by PENN Farrell, James, SAVE Blaisdell, Tyler.		Shot by PENN Farrell, James, SAVE Blaisdell, Tyler.
[12:02]	Clear attempt by PRIN good.					Clear attempt by PRIN good.
[11:35]	Ground ball pickup by PRIN Morean, Mike.					Ground ball pickup by PRIN Morean, Mike.
[11:35]	Ground ball pickup by PRIN Morean, Mike.					Ground ball pickup by PRIN Morean, Mike.
[11:35]	Timeout by PRIN.					Timeout by PRIN.
[10:31]	Shot clock warning against PRIN.					Shot clock warning against PRIN.
[10:12]	Turnover by PRIN Thompson, Riley.					Turnover by PRIN Thompson, Riley.
[09:47]				Clear attempt by PENN good.		Clear attempt by PENN good.
[08:53]		15	6	GOAL by PENN Mathias, Simon, Assist by McGeary, Kevin, goal number 12 for season.	15 – 6	GOAL by PENN Mathias, Simon, Assist by McGeary, Kevin, goal number 12 for season.
[08:43]				Faceoff Chrappa, Ralph vs Santangelo, Chris won by PENN (on faceoff violation).		Faceoff Chrappa, Ralph vs Santangelo, Chris won by PENN (on faceoff violation).
[08:29]				Shot by PENN Hilburn, Chris, SAVE Blaisdell, Tyler.		Shot by PENN Hilburn, Chris, SAVE Blaisdell, Tyler.
[08:26]	Ground ball pickup by PRIN Goldstein, Bear.					Ground ball pickup by PRIN Goldstein, Bear.
[08:15]	Clear attempt by PRIN good.					Clear attempt by PRIN good.
[07:44]	GOAL by PRIN Thompson, Riley, goal number 8 for season.	16	6		16 – 6	GOAL by PRIN Thompson, Riley, goal number 8 for season.
[07:44]	Faceoff Chrappa, Ralph vs Santangelo, Chris won by PRIN, [07:44] Ground ball pickup by PRIN Gravitte, Sam.					Faceoff Chrappa, Ralph vs Santangelo, Chris won by PRIN, [07:44] Ground ball pickup by PRIN Gravitte, Sam.
[06:05]	Turnover by PRIN Sowers, Michael.					Turnover by PRIN Sowers, Michael.
[06:02]				Turnover by PENN Mathias, Simon.		Turnover by PENN Mathias, Simon.
[05:53]	Clear attempt by PRIN good.					Clear attempt by PRIN good.
[05:39]	Ground ball pickup by PRIN Currier, Zach.					Ground ball pickup by PRIN Currier, Zach.
[05:31]	Ground ball pickup by PRIN McBride, Gavin.					Ground ball pickup by PRIN McBride, Gavin.
[05:00]	GOAL by PRIN Sowers, Michael, goal number 19 for season.	17	6		17 – 6	GOAL by PRIN Sowers, Michael, goal number 19 for season.
[05:00]				Faceoff Chrappa, Ralph vs Santangelo, Chris won by PENN, [05:00] Ground ball pickup by PENN Santangelo, Chris.		Faceoff Chrappa, Ralph vs Santangelo, Chris won by PENN, [05:00] Ground ball pickup by PENN Santangelo, Chris.
[04:13]				Shot by PENN Mathias, Simon, SAVE Blaisdell, Tyler.		Shot by PENN Mathias, Simon, SAVE Blaisdell, Tyler.
[04:13]	Penalty on PRIN Winschuch, Daniel (PUSHING/0:30) Extra-man opportunity.					Penalty on PRIN Winschuch, Daniel (PUSHING/0:30) Extra-man opportunity.
[03:44]				Turnover by PENN Brown, Kevin (caused by Blaisdell, Tyler).		Turnover by PENN Brown, Kevin (caused by Blaisdell, Tyler).
[03:38]	Turnover by PRIN Blaisdell, Tyler.					Turnover by PRIN Blaisdell, Tyler.
[03:36]				Ground ball pickup by PENN Hilburn, Chris.		Ground ball pickup by PENN Hilburn, Chris.
[03:10]				Shot by PENN Roesner, Alex, SAVE Blaisdell, Tyler.		Shot by PENN Roesner, Alex, SAVE Blaisdell, Tyler.
[03:10]	Turnover by PRIN Blaisdell, Tyler (caused by Roesner, Alex).					Turnover by PRIN Blaisdell, Tyler (caused by Roesner, Alex).
[03:10]	Clear attempt by PRIN failed.					Clear attempt by PRIN failed.
[03:10]				Ground ball pickup by PENN Roesner, Alex.		Ground ball pickup by PENN Roesner, Alex.
[03:10]		17	7	GOAL by PENN Hupfeldt, Reilly, Assist by Roesner, Alex, goal number 8 for season.	17 – 7	GOAL by PENN Hupfeldt, Reilly, Assist by Roesner, Alex, goal number 8 for season.
[03:10]	Levine, Jon at goalie for PRIN.					Levine, Jon at goalie for PRIN.
[03:10]				Faceoff O’Brien, Jack vs Santangelo, Chris won by PENN (on faceoff violation).		Faceoff O’Brien, Jack vs Santangelo, Chris won by PENN (on faceoff violation).
[02:24]				Shot by PENN Farrell, James WIDE.		Shot by PENN Farrell, James WIDE.
[01:47]				Shot by PENN Goldner, Adam WIDE.		Shot by PENN Goldner, Adam WIDE.
[01:25]		17	8	GOAL by PENN Farrell, James, Assist by Dunn, Tyler, goal number 2 for season.	17 – 8	GOAL by PENN Farrell, James, Assist by Dunn, Tyler, goal number 2 for season.
[01:25]	Faceoff Bonafede, Sam vs Santangelo, Chris won by PRIN (on faceoff violation).					Faceoff Bonafede, Sam vs Santangelo, Chris won by PRIN (on faceoff violation).
[01:21]				Penalty on PENN Team (DELAY OF GAME/0:30) Extra-man opportunity.		Penalty on PENN Team (DELAY OF GAME/0:30) Extra-man opportunity.
[01:00]	Shot by PRIN Hardej, Adam HIGH.					Shot by PRIN Hardej, Adam HIGH.
[00:43]	Turnover by PRIN Hardej, Adam.					Turnover by PRIN Hardej, Adam.
[00:30]				Turnover by PENN McIlwrick, Matt (caused by Currier, Zach).		Turnover by PENN McIlwrick, Matt (caused by Currier, Zach).
[00:18]	Ground ball pickup by PRIN Currier, Zach.					Ground ball pickup by PRIN Currier, Zach.
[00:19]	Turnover by PRIN Williams, Chase (caused by Mulqueen, Mike).					Turnover by PRIN Williams, Chase (caused by Mulqueen, Mike).
[00:19]	Penalty on PRIN Williams, Chase (ILLEGAL BODY CHECK/1:00) Extra-man opportunity.					Penalty on PRIN Williams, Chase (ILLEGAL BODY CHECK/1:00) Extra-man opportunity.
[00:13]				Shot by PENN Roesner, Alex HIT POST.		Shot by PENN Roesner, Alex HIT POST.
[00:00]				Shot by PENN Roesner, Alex BLOCKED.		Shot by PENN Roesner, Alex BLOCKED.
[00:00]				Ground ball pickup by PENN Hupfeldt, Reilly.		Ground ball pickup by PENN Hupfeldt, Reilly.
[00:00]	End-of-period.					End-of-period.

No. 20 Penn wins wild affair with No. 7 Virginia

PHILADELPHIA, Pa. – The University of Pennsylvania men’s lacrosse team (2-0) gave fans a game to remember with a stunning 11-10 win over No. 6 Virginia (3-1) on a beautiful February afternoon at Franklin Field. Tyler Dunn netted the game-winning goal with 5:52 left to play as the Quakers upended the Cavaliers for their 2017 home opener.

The game matched the highest ranked win over an opponent in the Mike Murphy era: the Quakers last posted a win against No. 6 Denver on March 1, 2014, 12-10.

The Quakers were led on the offensive end by Dunn’s three goals and one assist, including the game-winner, while Reilly Hupfeldt and Chris Santangelo each provided two scores apiece. Kevin Gayhardt picked up a game-high five ground balls and caused four turnovers while goalkeeper Reed Junkin added in another stellar performance in net with 16 saves.

Penn tops Virginia in a classic Saturday afternoon shootout 11-10! pic.twitter.com/x6AdDtUClg
— Penn Men’s Lacrosse (@PennMensLax) February 25, 2017

In the closely fought contest, Virginia held a slight advantage in face-offs and ground balls but were plagued by turnovers and penalty minutes. The Quakers capitalized on those mistakes and stayed composed throughout the contest for the win.

For the second straight week, Penn once again used a hot start to pull ahead for an early lead. The Quakers put up a 3-0 advantage in the opening minutes off scores from Hupfeldt, Santangelo and Alex Roesner, but it was Santangelo who was the star at the start. The junior netted two scores from quick face-off wins and sprinted towards goal to post a pair of scores as Penn jumped out to a 4-1 lead by the 7:05 mark in the first quarter.

Virginia countered with a run of their own, and tied the game for the first of four times when Zed Williams, Dox Aitken and Michael Kuras combined to push the game to 4-4 at the start of the second. By the end of the stanza, both sides would trade scores as neither team could gain more than a one goal advantage by the break. At halftime, the two sides were once again knotted at 7-7.

Coming out of the locker rooms, the Quakers were the ones to get on the board first with a pair of scores from Dunn and a stellar tally in transition from Connor Keating at the 11:26 and 7:39 ticks. The 9-7, two-goal advantage was cut short when UVA’s Ryan Lukacovic registered the final goal of the third quarter.

The last 15 minutes provided action packed drama for both sides, but Penn struck first with a Hupfeldt score from a Dunn feed to move to 10-8 tally with 11:30 to play. Despite the lead, the Cavaliers notched two of their own to tie the game at 10-10 with 8:48 on the clock, but Dunn responded for what would be the game-winner with 5:52 to play off a Kevin McGeary assist.

Dunn! Again! #3’s hat trick at 9:08 makes the score Penn 11 Virginia 10. pic.twitter.com/7hCArsspc2
— Penn Men’s Lacrosse (@PennMensLax) February 25, 2017

The Quakers had to rely on their defensive effort in the final minute of the contest as the Cavaliers were given an opportunity off a Penn illegal body check and delay of game. Despite the advantage, the Quakers locked down in their defensive third and Junkin provided big saves in the closing minutes for the Red and Blue to seal the statement win.

The Quakers return to action a week from today when they travel to State College, Pennsylvania, to take on Penn State on Saturday, March 4. Game time is scheduled for Noon.

The Ithaca Journal

Nick Cannon
| [email protected]

The Cornell women’s lacrosse team stayed undefeated with a 10-2 win over Ivy League opponent Brown.

The Big Red’s 7-0 record to start the season ties the 1987 team for the best mark to start the season.

Olivia Mattyasovszky scored three goals to lead the Big Red. Kristy Gilbert scored two goals and added an assists.

Cornell outshot Brown, 33-10, including 25-6 margin in shots on goal.

Joey Coffy, one of seven Cornell goal scorers, won a collegiate-high six draws, as the Big Red won 11 of 14 overall.

Emily Tripodi, Taylor Reed, Jessica Schwab, Hannah O’Reily, and Catherine Ellis also scored for Cornell (7-0, 3-0 Ivy League).

Mattyasovszky scored the opening goal off a pass from Emily Tripodi to extend each of their respective streaks. Mattyasovsky has scored in four consecutive games and Tripodi has earned a point in six straight. Tripodi scored the second goal 21 sectonds later off a pass from Gilbert.

Renee Poullott earned the victory for Cornell, making four saves. Victoria Holland stopped 15 shots in the loss for Brown.

Rose Mangiarotti and Hafa Moinuddin each scored goals for the Bears (4-4, 0-3 in Ivy).

Cornell will travel to Binghamton University on Tuesday.

Men’s Lacrosse: The Cornell men gave up six first-half goals and lost 9-6 to host Penn.

Andrew Keith and Anthony Teixeira each tallied a goal and an assist to lead the Big Red. Colton Rupp, Clarke Petterson, Grant Mahler and Emmy Poccia all scored for Cornell.

The Quakers (5-2) were led by Alex Roesner’s three goals. Simon Mathias added a goal and a game-high three assists.

Cornell outshot Penn, 36-27, but lost the ground ball battle to Penn, 28-26.

Mahler won 12 of 18 faceoffs for the Big Red, who held Penn to five second-half shots.

Reed Junkin stopped 14 shots for Penn, with 10 coming in the second half.

The Big Red (3-4, 0-2 in Ivy) will travel to Dartmouth on Saturday.

Baseball: The Big Red scored three quick runs, but Central Florida took control from there, scoring an 8-3 win on Saturday.

Cornell’s Tommy Wagner scored Frankie Padulo with a first-inning double. Dale Wickman followed with a groundout which scored Jordan Winawer. Ellis Bitar’s bunt scored Wagner for a 3-0 lead.

UCF’s (14-11) Robby Howell pitched 72/3 and forced three double plays on his way to the win. The Knights scored single runs in the third and fourth innings, then took the lead for good on Austin Griffin’s grand slam in the fifth.

Cornell’s Tim Willittes took the loss, surrendering six runs in five innings.

The final game of the series on Sunday was never in doubt, as UCF won, 16-0.

Ithaca College

Women’s Lacrosse: Junior Morgan Cadwell scored the winning goal with 56 seconds left in Ithaca’s 14-13 win over host Stevens Institute of Technology on Saturday in Hoboken, N.J.

Morgan Cadwell scored with 5:47 remaining to tie the score at 13-13. Cadwell also registered an assist for the Bombers.

Ithaca finished the game on a 7-3 run. Riley Marion finished with five goals — including three in the second-half run — and an assist.

Kathleen Kalbian scored five goals to lead Stevens Institute and Mary Beth Irwin and Erika Wilcox had four goal each for the Ducks.

Ithaca will host SUNY Geneseo at 7 p.m. Thursday.

Men’s Lacrosse: Ithaca cruised passed visiting Utica, 18-4, on Saturday, getting a collegiate-high six goals from sophomore Kaelan Fitzpatrick.

Fitzpatrick scored four times in the first half, sophomore David Drozjock finished with three goals, and Jake Cotton added a collegiate-high six assists for Ithaca.

The Bombers have scored 15 or more goals in seven of eight games this season.

Ithaca will host Cortland at 7 p.m. Wednesday.

Softball: Ithaca split a doubleheader against host The College of New Jersey, taking the opener, 6-4, and losing the nightcap, 2-1.

After trailing 1-0 through three innings in the first game, Ithaca scored six runs on four hits in the fourth inning.

Kelly Robichaud led off with a triple, and pinch runner Marrisa Smith came home on an error to tie the score at 1-1.

Later in the inning Hannah Anderson hit a RBI double to left-center field to give the Bombers a 2-1 lead.

In the second game, the Bombers trailed 2-0 before Anderson hit a solo homer in the seventh.

Katie Hourihan struck out eight batters in 61/3 innings for her third win of the season for TCNJ.

Haley Congdon gave up two earned runs in four innings and took the loss.

Ithaca will host Rochester in a doubleheader on Thursday.

Track and Field: Ithaca’s men’s and women’s teams opened their spring seasons in Pennsylvania at the Jim Taylor Invitational, hosted by Susquehanna University, on Saturday.

On the women’s side, Ithaca junior Katherin Pitman won the pole vault, clearing 3.80 meters, and senior Alex Rechen finished second with 3.35.

Freshman Lusmer Quintana won the 100-meter dash with a time of 12.74 seconds. Emily Drain won the 10,000-meter run at 41:01.66

For the men, freshman Alex Arika finished fourth in the triple jump with 12.96 meters, and junior Larry Cass placed fourth in the hammer throw with a distance of 50.71 meters.

Both Ithaca teams will travel to Allentown, Pa., for the Muhlenberg Invitational on Friday.

Erin Saeger and Mary Rakas contributed to this report

The Loft (New York City)

This article is about a New York City nightclub. For other uses, see Loft (disambiguation).

Loft was the site of the first underground dance party (called Love Saves the Day) hosted by David Mancuso on February 14, 1970 in New York City. Since then, the term “Loft” has come to mean its own version of Mancuso’s non-profit party, which sells no alcohol, food or drink. Mancuso’s vision of a private party is similar to and inspired by rental party and house party.Unlike regular nightclubs or discos, visits are by invitation only. In the late 1970s, Mancuso abandoned the accepted and expected practice of beat-matching, preferring to play songs entirely on his famous audiophile-quality sound system, considered the best in New York and one of the best in the world. the heyday of the venue. Mancuso demanded that the music played be soulful, rhythmic, and conveyed words of hope, redemption, or pride.

History

When Mancuso threw his first informal house parties, the gay community (which made up the majority of The Loft’s visitor list) was often harassed in gay bars and dance clubs, so many gay men carried bail money with them at gay bars.But at The Loft and many other early private discos, they could dance together without fear of police action, thanks to Mancuso’s clandestine but legitimate business model. Vince Aletti described it as “going to a party completely mixed in race and sex, where there was no feeling that someone was more important than others.” Alex Rosner reiterated this: “Probably about sixty percent of blacks and seventy percent of gay … It was a mixture of sexual orientation, mixing of races, mixing of economic groups.A real confusion, where the common denominator was music. … ”

The original loft was Mancuso’s own home at 645-647 Broadway. The collapse of a nearby hotel in 1974 resulted in the temporary closure and relocation to 99 Prince Street in Soho in 1975. Violent public opposition ensued, and the party remained dormant for a year during New York’s Department of Consumer Affairs’ longest administrative process. to date, based on their insistence that Mancuso needed a “cabaret license.”In 1975, the department ruled that it could hold its own parties as long as food and drinks were not sold. This decision set a new precedent that benefited Paradise Garage and other private “clubs”. During this period, Mancuso’s space also served as the headquarters for the New York Record Pool, the very first music pool he founded with Vince Aletti and Steve D’Aquisto. Many of the leading disc jockeys of the discotheque era, including Larry Levan, Nicky Siano, and Frankie Knuckles, were early adopters of the Loft.Their venues (Paradise Garage, The Gallery, Chicago’s Warehouse and exclusively gay The Saint) were influenced by The Loft. Nonetheless, Mancuso maintained his niche, breaking unconventional records like Manu Dibango’s “Soul Makossa” and Steve Miller’s “Macho City” at their weekly events.

In 1984, after the owner of Mancuso 99, Prince Street, put the building up for sale, Mancuso bought the building on 3rd Street, between Avenue B and Avenue C in Alphabet City.Not yet benefiting from gentrification, the new climate of crime and drugs resulted in him losing “65 percent of [his] attendance.” Around the same time, DJ and Promoter Impresario Richard Vasquez, along with Joey Llanos, began his influential and exclusive weekly parties called The Choice here. The party retained the spirit of Mancuso’s early partying, while still embracing the early days of Deep House Music. In 1994, Mancuso moved to a smaller area on nearby Avenue A and then relocated to a different location on Avenue B.Since then, Mancuso has gone on to host three to five loft parties a year at an undisclosed location in the East Village, while organizing general admission tickets to loft-style events in locations as diverse as Los Angeles, California, and Shibuya, Tokyo.

Recording company

1999 and 2000 saw the release of the defunct Nuphonic Records David Mancuso presents an attic anthology on CD and vinyl, all of which are currently highly collectible and hard to find.

Recommendations

External links

Website of the People’s Artist of the Russian Federation Igor Butman

Larry Eppelbaum,
JazzTimes,
May 2012

Tenor saxophonist, bandleader and businessman Igor Butman occupies a unique place in Russian jazz circles due to his superior musical skills, consistent media appearances and extensive political connections.

Butman is now having a particularly productive period. Last October, he celebrated his 50th birthday in Moscow with a gala concert featuring his Orchestra and special guests – Wynton Marsalis, Natalie Cole, Billy Cobham and Christian McBride. In February, he hosted the 12th Triumph of Jazz International Festival in Moscow, and his Butman Music label has released several new releases, the most notable of which is “Sheherazade’s Tales”, a crossover concert recorded by the Butman Orchestra with the participation of guitarist Peter Bernstein and trumpet player Sean Jones.With the exception of “Caravan” – only Russian music is presented on the disc, among the tracks the play “Black Eyes”, based on a syncopated rhythm with an emphasis on the weak beat, with dazzling solos of a group of saxophones, and an ambitious reworking of Rimsky-Korsakov’s masterpiece Scheherazade, stands out among the tracks. written in 1888. All the music is brilliantly arranged by Igor’s former “boss” Nikolai Levinovsky

I did not see Igor for almost three years when I returned to Russia in the summer of 2011. The first point of my trip was Moscow, I dropped my bags in the hotel room and went straight to the Igor Butman Club on Chistye Prudy in order to listen to music with the saxophonist.

1. Louis Armstrong & Lyudmila Gurchenko
“Five Minutes Song” (from “The Liberty of Jazz”, SoLyd). Armstrong, trumpet; Gurchenko, vocals; Eddie Rosner Orchestra. Recorded in the 1950s.

Before: This singer died about a month ago (March 30, 2011). She is a famous Russian actress and her life has not always been easy. She very quickly became a star at the age of 21, playing in this film, the comedy “Carnival Night”. She was very beautiful and very musical – it’s a pity that she didn’t sing jazz.But she loved him and worked with the excellent jazz pianist Mikhail Okun. It turns out that here Louis is trying to play together with Lyudmila Gurchenko and the soundtrack for the film?
Have you heard this tape before?
No, first time. This song is easy to play, the changes are very simple and the melody revolves around a few notes. This is a very old song and nowadays few people sing it. It sings about New Year’s Eve.
Does everyone know this film here (in Russia)?
All.That is why it was so unexpected for me. This is a great start – to surprise me. It’s amazing to hear Louis speak Russian at the beginning.

2. Joe Henderson Sextet
“Mamacita” (from The Kicker, Milestone). Henderson, tenor saxophone; Mike Lawrence, trumpet; Grechen Moncar III, trombone; Kenny Barron, piano; Ron Carter, double bass; Louis Hayes, drums. Recorded in 1967.

Before: I know this entry very well.This is Joe Henderson. One of my idols. It was a great success for me that Gennady Goldstein gave me my first records: Charlie Parker, “The Cannonball Adderley Quintet in San Francisco”, then he gave me “Coltrane Plays the Blues” and recordings of the Sonny Rollins trio. This is exactly what I was listening to at first. Then I started listening to other musicians, and other tenorists started telling me about Joe Henderson. Then I heard him on the record with Miroslav Vitous, Jack Dejonnette and Herbie Hancock.Sometimes I think it’s easier to play like Joe Henderson and Sonny Rollins. But then I realize that their perception of harmony, as well as the sense of rhythm, is different from mine. I like its originality. I love his tunes. When I was 16 or 18, I loved his plays from the Real Book. which was an important source of information during the Soviet Union. I really liked his song “A Shade of Jade” and I played it with my band. We didn’t really understand what we were playing, but the melody itself was so interesting.I also liked his version of “Nardis”. Whatever my teacher said about music, I found it in Joe Henderson. I heard it in Boston. I went to his concerts at Regattabar and Blue Note. Although I was not able to personally meet him.
If he was with us now, what would you like to talk to him about?
It would be interesting to know why he plays these transitions. With what fingering does he achieve such overtones? He uses the full range of the saxophone and I love that he uses quarts in his compositions and solos.I love his album “The Kicker and Inner Urge” and his album with “Blue Bossa” (“Page One” recorded in 1963 on Blue Note). I am in awe of his recordings with McCoy Tyner and Horace Silver, and his later records when he became known and became a star: plays by Billy Strayhorn, tributes to Miles Davis and his big band record. And I also love his album with Valery Ponomarev (“Profile”, recorded in 1991 at Reservoir) and his trio with Ron Carter and Al Foster. I have a lot of his notes.

3. Alex Sipiagin
“Wind Dance” (from “Out of the Circle”, Sunnyside). Sipyagin, trumpet, flugelhorn; Adam Rogers, guitar; Donnie McCaslin, flute, saxophone; Gil Goldstein, accordion; Robin Eubanks, trombone; Henry Hay, keyboards; Scott Colley, bass guitar; Antonio Sanchez, drums; Daniel Gardener. Recorded in 2007.

Before: I like the performance. The melody has some interesting moves. I like the trumpet player, and he sounds a bit like Alex Sipyagin.One phrase he plays (Butman chants it) betrays it. He sounds great on the flugelhorn: he has full command of the instrument, understands music perfectly. And that’s his style of writing melodies. However, I would like him to interact more with the group and go deeper into the melody. There is a rather complex rhythm here, I do not know what the beat is, but it is clear that it is not 4/4. The play is beautifully written. All of his albums are composed of his own music or standards that he has arranged. They solo very powerfully, but when they play the melody, they don’t go out of breath.I wish him more success as a leader, however I’m not sure if he even wants to be a leader. He enjoys playing with Dave Holland, the Mingus Big Band, and also performs with his wife (vocalist Mandai Michiru). However, he has no such goal – to become a big star like Christian Scott or Roy Hargrove.
Maybe he’s just that kind of person?
Don’t know. He just likes what he does. He plays his favorite music. Perhaps this is enough for his ambition. He plays great and collaborates with great musicians, he has a contract with a label and he has freedom.He can do what he wants and when he wants. If he is happy – what will I tell him? Become Winton Marsalis? No, he probably doesn’t want that. He is one of the best trumpeters.

4. Joe Lovano Us Five
“Blues Collage” (from “Bird Songs”, Blue Note). Lovano, alto saxophone; James Weidman, piano; Esperanza Spaulding, double bass. Recorded in 2010.

Before: I don’t really understand what the bassist is doing, but the band is playing two Charlie Parker pieces.(Editor’s note: In “Blues Collage”, the musicians simultaneously perform the melodies of three pieces written in the spirit of Charlie Parker: “Carvin’ the Bird ”by Lovano,“ Bloomdido ”by Weidman and“ Bird Feathers ”by Spaulding). This does not bother me, however. I once played a concert with a very famous, beautiful Russian opera singer Elena Obraztsova. We played “Summertime” and she couldn’t figure out what we were playing. She’s an amazing singer, performing at the Metropolitan Opera and La Scala, everywhere. Now she is over sixty and it is incredibly difficult to persuade her to do some experiments.And at first we did not understand this. We wanted to play with her, but we didn’t know how to do it. And I told her: “Sing what you want, and we will build the game around your singing. Don’t listen to us. We will play without any rhythm and meter. ” And it seemed to work. After the concert, I laughed for a long time at one journalist who said it sounded like he was listening to two different radio stations at the same time. And this piece sounds the same. They played two different tunes, a little blues, and then both tunes again.I cannot say that this is something special for me. The saxophonist looks a bit like Lee Konitz, but I’m not sure.
After: Does he play the alto saxophone? It didn’t really interest me. But I didn’t hear the double bass part. She is a great musician, but she is hardly heard on the recordings. I thought she might be playing another Charlie Parker play.
I want to say that Joe Lovano is one of my favorite saxophonists. I love his 52nd Street Themes album and the amazing recording he did with John Scofield, Dave Holland and Al Foster (“ScoLoHoFo’s Oh!”, Blue Note, 2003).I love his ideas, sound and freedom in the development of melodies. Sometimes he does not pay attention to changes in harmony, he can play anything. When I heard it for the first time, it influenced me a lot.

5. Grover Washington Jr.
“Mister Magic” (from “Mister Magic”, Kudu). Washington Jr., saxophones; Bob James, keyboards; Eric Gale, guitar; Gary King, bass; Ralph McDonald, percussion; Harvey Mason, drums. Accompanied by a studio orchestra.Recorded in 1974.

Before: (laughs) Yes, we played it many times. This is the late great Grover Washington Jr. This piece is called “Mister Magic,” and Grover is one of the best musicians and best people I have ever met. I met him at the airport when he flew to St. Petersburg (Leningrad) in 1986. He arrived in the wake of improving relations between the USSR and the United States, Gorbachev and Reagan. Grover was one of the artists who arrived at the peace conference, but then there was a scandal with a Russian journalist and musicians, they were stuck in a Washington airport.In the end, they arrived, but were late for their concert in St. Petersburg. My friend, pianist Sergei Kuryokhin, suggested “Let’s go to the airport and meet Grover”. And so I meet Grover at the airport. He was very friendly, asked straight away which canes I was using and gave me a box of Rico canes. And then he invited me to play with him in Riga, and then in St. Petersburg and Moscow.
It was incredibly difficult for me to get to the concerts of an American artist, because no one knew me. It was especially difficult in Riga, and there were real communists there, they were very strict, because they were afraid of the Moscow KGB.However, Grover invited me and I went. In a concert hall in Moscow, the American cultural attaché somehow found out about me and when I arrived, he let me into Grover’s dressing room. I saw three of his saxophones. I’ve never seen a black soprano in my life, and he asked if I wanted to play it. I took the soprano, he took the tenor, and we played a duet in the dressing room. All of this was filmed by a film crew, but I never saw that tape. I doubt even Grover’s wife has one.
When I arrived in the USA, I thought it was worth calling the people I had met before: Pat Matiny, Dave Brubeck and Grover.My friends told me, “Forget it, they don’t even remember you.” But I still called Grover and he instantly invited me to Philadelphia and threw a big party in my honor. I broke my toe while playing with his daughter, and he sent me to the hospital and paid for my treatment. He lent me his saxophone and I played a concert with trombonist Al Gray in Philadelphia. Grover did a lot for me – he invited me to play with him in Blue Note and at the JVC festival. Then I recorded on his album, which was released by the Columbia label (“Then and Now”, 1988).
He did all this because he appreciated you as a musician and a person. What do you like about his game?
He has amazing ears. He plays so melodiously and with such passion. He knows how to build a solo. He knows bebop and played a lot of gigs with my trio in Boston. Then I was a fan of Michael Brecker, and I asked Grover about him more than once, and he liked to talk. He did not say a single bad word about anyone.
They are both from Philadelphia.
Yeah.He said he wanted to record with Michael.
Tell me about the piece “Mister Magic”. Is it difficult to play it?
It is difficult to play it without being boring. Sometimes I force myself not to play so many notes and harmonic substitutions. Grover knew how to build his solo properly and saw the audience squealing as he played the solo. He didn’t play complicated chords or fast passes; he perfectly mastered permanent breathing, played altissimo, and everything sounded very melodic. You can’t play two chords like that.As I got older, I began to think that sometimes a simple melody sounds much better. Grover was a real master. I loved him.

6. Chris Potter Quartet
“Boogie Stop Shuffle Intro” (from “Lift: Live at the Village Vanguard”, Sunnyside). Potter, tenor saxophone. Recorded in 2002.
To: (listens for 2 minutes) Is this Chris Potter? Amazing sound, perfect saxophone skills; he is one of those young musicians that I really like.I first heard it at the Monk Competition in 1992. He also took part in the competition. I love everything he does. He likes long introductions. I’ve seen a DVD where he played long introductions for each piece. One long introduction is good. Two – OK. But then the novelty is lost. I’m not very sure that he is well known in Russia.
Who is the role model for young saxophonists in Russia?
A lot of people listen to Coltrane, Joshua Redman is very influential.But a lot of musicians are very conservative here. Someone listens to Hank Mobley and other musicians from the older generation. I can tell that Chris is listening; we have the same idols. He’s just an amazing musician.

7. JD Allen Trio
“Victory!” (from “Victory!”, Sunnyside). Allen, tenor saxophone; Gregg August, bass; Rudy Royston, drums. Recorded 2010.
Before: Could it be Branford? Mark Turner? Tell.
After: JD Allen? I don’t know him, but I like him.He was very influenced by Coltrane, especially his articulation, sonic attack and light vibrato. Up-to-date drum and bass sound. There is no Sonny Rollins or Brecker in this play. It’s almost pure Coltrane. And melodic lines like Coltrane after “Giant Steps”. This is more of an inspiration than an imitation. I am sure that he is young. I love it.

8. Ben Webster
“Single Petal of a Rose” (from “See You at the Fair”, Impulse!). Webster, tenor saxophonist; Hank Jones, piano; Richard Davies, double bass; Ousie Johnson, drums.Recorded in 1964.
Before: Strange play. The beginning is very beautiful, but then it gets boring. Probably, this is someone older. A strange sound, the saxophone is very close, and the piano is completely retracted. Could it be Coleman Hawkins? Ben Webster? I know they recorded with Oscar Peterson.
After: I like this breathing sound, but not to that extent. But in general, you need to listen to these musicians and know what happened before Coltrane.I love the way it sounds, but it doesn’t bother me. I don’t know Ellington’s Queens’ Suite (for which this piece was written), but I would love to hear it. Ben’s sound is amazing, but again, it doesn’t bother me.

9. Eddie “Lockjaw” Davis
“Goin ‘to Meetin’” (from “The Best of Eddie“ Lockjaw ”Davis, Prestige). Davis, tenor saxophone; Horace Perlan, piano; Buddy Cutlett, double bass; Art Taylor, drums; Willie Bobo, congas. Recorded in 1962.
Before: Is this Stanley Tarrentine? I like.I need to know who it is. I also like the sound on this recording. There are a lot of blues and ligated phrases here, this is how a real African American will play with real feeling. This is what young musicians lack – real blues. Could it be Eddie Harris? Eddie “Lockjaw” Davis?
After: He’s amazing. He, plus Michael Brecker, plus Coltrane and Joe Henderson and a little bit of Cannonball – that’s me (laughs). It’s heart and soul and pauses. This is what I want to do. And Ornette Coleman and Archie Shepp too.I need to buy more of Davis’s “Lockjaw” records.

10. James Farm
“1981” (from James Farm, Nonesuch). Joshua Redman, tenor saxophone; Aaron Parks, piano; Matt Pennman, double bass; Eric Harland, drums. Recorded in 2010.
Before: Everyone plays very well, but I don’t like the aesthetics of the sound. They try to sound in a way that will appeal to young audiences. It has a groove in it, it’s modern, but I don’t think young people will like it.
After: It didn’t touch me. I thought, of course, that maybe it was Joshua or one of his fans. If they were using normal acoustic sound, maybe I would have liked it better. I’m not a very big fan of John Zorn, but when he plays he gives off an energy that takes his music to another emotional level. But here everything is on the same level and Joshua uses his usual techniques. Nice melodic lines, great, he does it well.But this is the same theme-solo-theme structure. Maybe I should have rearranged it in such a way that something could be changed inside it. I think I would have preferred a different form. If you’re going to sound new, then do something new. I would like to hear rap with this music, to do something really for the youth, because it cannot be deceived. They know what they like. I would go further. Why do something half-strength?

11. Sam Rivers’ Rivbea All-Star Orchestra
“Whirlwind” (from Inspiration, RCA).Rivers, Steve Coleman, Greg Osby, Chico Freeman, Gary Thomas, Hamlet Bluett, saxophones; Ray Anderson, Joseph Bowie, Art Baron, trombones; Ravi Besty, Ralph Alessi, James Zollar, Balcida Carroll, trumpets; Joseph Daley, baritone horn; Bob Stewart, tuba; Doug Matthews, bass guitar; Anthony Cole, drums. Recorded in 1998.
Before: I hear the arranger is trying to be original. The shape is pretty loose, but I don’t like the way a bass guitar sounds with a big band, unless it’s funky. I hear every orchestral group and the performance is generally great.I want my musicians to feel free when they play. But I want this freedom to arise out of something. Ornette has amazing melodic thinking. Coltrane has tremendous power and energy. I don’t feel that kind of energy here.
After: I recorded “Fuchsia Swing Song” on one of my first records. I love the original version of this piece with Tony Williams. Sam Rivers is an outstanding saxophonist, but this big band doesn’t impress me at all.

12.Dizzy Gillespie / Sonny Stitt / Sonny Rollins
“The Eternal Triangle” (from “Sonny Side Up”, Verve). Gillespie, trumpet; Stitt, alto saxophone; Rollins, tenor saxophone; Ray Bryant, piano; Tommy Bright, double bass; Charlie Persip, drums. Recorded in 1957.
Before: (sings with recording) This is one of the greatest recordings of: Dizzy Gillespie, “Eternal triangle” from the album “Sonny Side Up” with Sonny Stitt and Sonny Rollins. They all put their ideas into play. I really like this recording and I think I remember all the solos by heart.I love everything Dizzy did. I spent a lot of time listening to this album. I also like “On the Sunny Side of the Street” with vocals. I was lucky: the pianist in David Goloshchekin’s group was a smuggler and sold vinyl (in Soviet times), records were very expensive. He lent me them so I could put them on my own tape. It was a real success to have such records. It seems that he was the one who gave me that tape.
Name a few records that have changed your life.
“Now’s the Time” by Charlie Parker, “Heavy Metal Be-Bop” Brecker Brothers, “Cherry” by Stanley Tarrentine, “Shabazz” by Billy Cobham, “Kind of Blue” and “Sketches of Spain” by Miles Davis, and of course Thad Jones and Mel Lewis Live at the Village Vanguard. I also had a couple of Bulgarian compilations called The Greatest Alto Saxophonists with pieces by Gary Bartz and Phil Woods and The Duet; “V.S.O.P.” Herbie Hancock; “A Night at Birdland,” by Art Blakey, Clifford Brown and Lou Donaldson; “The Blues and the Abstract Truth” by Oliver Nelson.
Many records have changed your life.
They are still changing it.

About the project – OCCRP

OCCRP

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Coordinators: Kira Zalan, Lawrence Marzuk

Authors : Aladin Abdagich, Alex Ralph, Andrew Lerain, Anushka Delic, Atanas Chobanov, Brenda Keven, Camille Kraft, Chechil Rosner, Christian Eriksson, Emma Yeomans, Frederic Obermeyer, George Greenwood, Jergo Sayerling, Grans John Power, Julia Wallace, Kara Stevik, Katie Toph, Kevin Hall, Kim Prince, Laurence Marzuk, Lilia Saul Rodriguez, Lionel Faull, Lorenzo Bagnoli, Maya Chakarich, Manu Pabbie, Marcos Garcia Rae, Margo Gibbs, Mateyka Zvit Bitachi Mateo Civillini, Matias Karlsson, Mauritius Much, Michael West, Milica Vojinovich, Momar Dieng, Nathan Jacquard, Oliver Silmann, Saikou Jamme, Samba Jauo, Sashka Tsvetkovska, Saurav Rahman, Shirsho Dasangupta 9000

Editors : Arnaud Udraogo, Carolyn Henshaw, Chelsea Carter, David Brown, Drew Sullivan, Ilya Lozovsky, James Wright, Jared Ferry, Julia Wallace, Khadija Sharife, Kira Zalan, Lawrence Marzuk, Marshal Macedori Van Waylen

Video : Birgit Bauer, Carolyn Henshaw, Francie Ryan Avellana, Joey Sendidiego, Kira Zalan, Madeline May, Matt Sarnecki, Michelle Fernano, Nikko Ta, Sergiu Brega, Tyler Freeman Smith

Research : Amra Dzhonlich, Jelter Meers, Karina Schedrofsky, Katarina Sabados, Vladimir Petit

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90,000 Read Schindler’s List online in full? – Thomas Keneally – MyBook.

Memory
Oskar Schindler
and Leopold Pfefferberg,
thanks to the obsession and persistence of which this book was born.

Thomas Keneally
Schindler’s List
Copyright © 1982 by Serpentine publishing Co Pty Ltd.
First published by Touchstone, a division of Simon & Schuster Inc.
Photograph © Newspix via Getty Images
© Polotsk I., translation into Russian, 2016
© Edition in Russian, design. LLC “Publishing house” E “, 2016

Author’s Preface

In 1980, I walked into a luggage store in Beverly Hills, California, looking to get a couple of suitcases. The store belonged to Leopold Pfefferberg, one of Schindler’s survivors. And, standing at a shelf lined with imported Italian leather goods, I first heard the story of Oskar Schindler, a German bon vivant, a clever businessman, a charming personality full of contradictions, one of the evidence of which is his relationship with representatives of a race doomed to death in those years that are now known under the name of the Holocaust, the Catastrophe.

The story of Oscar’s amazing story is based primarily on conversations with fifty people rescued by Schindler, who now live in seven countries – Australia, Israel, West Germany, Austria, the United States, Argentina and Brazil. It is supplemented and enriched by the impressions of my trip with Leopold Pfefferberg to the places mentioned in the book: Krakow, where Oscar’s activities took place; Weeping, where the concentration labor camp was located; Lipovaya Street in Zabloč, where the buildings of Oskar Schindler’s enterprises are still located; Auschwitz-Birkenau, from where Schindler took female prisoners to his factory.Documentary evidence and other information obtained from those few comrades-in-arms of Oskar Schindler’s war years, whom they managed to find, as well as the stories of a large number of his friends in the post-war years, were of considerable importance for the narrative. A lot of detailed evidence was received from Schindlerjuden – “Schindler’s Jews” for storage in the Yad Vashem Museum. My notes were supplemented by materials collected in memory of heroes and martyrs, as well as written testimonies from various sources and a considerable number of papers and letters from Schindler himself, partly kept in the Yad Vashem Museum, partly provided by his friends.

The presentation of a true story in the form of a novel, using specific literary techniques, is rare in modern literature. I chose to follow this path – both because I had writing skills, and because the living form of the novel seemed to me the most suitable for recreating such a controversial and powerful figure of Oskar Schindler. I tried to avoid any speculation if it contradicted the documents, but still I often had to choose some middle path between truth and myth, which enveloped a person like Schindler in abundance.Sometimes it became necessary to fully reconstruct Oscar’s conversations, about which only brief mentions remained. But most of the dialogue is based on detailed memories of Schindlerjuden or Oskar Schindler himself, as well as those who witnessed his desperate courage.

I would like to express my gratitude to the first three of those saved by Schindler – Leopold Pfefferberg, Judge Moshe Beyski of the Israeli Supreme Court and Mechislav Pemper, who not only shared their memories of Oskar with the author of this book and provided him with documents that contributed to the accuracy of the narrative, but after reading the first version of the manuscript, they added valuable clarifications to it.There were many others, among whom were the people saved by Oskar Schindler during the war, and his post-war colleagues and friends, who shared their memories and generously supplied me with information in the form of letters and documents. Among them I would like to name Frau Emily Schindler, Mrs. Lyudmila Pfefferberg, Dr. Sophie Stern, Mrs. Helen Horowitz, Dr. Jonas Dresner, Mr. and Mrs. Henry and Mariana Rosner, Leopold Rosner, Dr. Alex Rosner, Dr. Ideck Schindel, Dr. Danuta Schindel, Mrs. Regina Horowitz, Mrs Bronislaw Karakulsku, Mr Richard Horowitz, Mr Shmuel Springman, the late Mr Jacob Sternberg, Mr Jerzy Sternberg, Mr and Mrs Lewis Fagen, Mr Henry Kinslinger, Mrs Rebecca Bau, Mr Edward and Mr Hugh and many others …At my house, Mr. and Mrs. E. Korn not only shared their memories of Oskar Schindler, but also provided me with constant support. In Yad Vashem, Dr. Joseph Kermitz, Dr. Shmuel Krakowski, Vera Prausnitz, Hana Abel and Hadasha Modlinger gave me full access to the testimonies of those rescued by Schindler and made all the video and photographic evidence available to me.

Finally, with all due respect, I would like to pay tribute to the efforts made by the late Mr. Martin Gosch to make Oskar Schindler’s name known to the world, and to pay tribute to his widow, Mrs. Lucille Genet, for her help in this endeavor.

With the invaluable help of all these people, Oskar Schindler’s amazing story is presented in full for the first time.

Tom Kenilly

Prologue

Autumn 1943

It was deep autumn in Poland.

A tall young man in an expensive coat, under which a double-breasted tuxedo was visible, emerged from a rich and elegant apartment building on Strashevsky Street. On his lapel there was a large, decorated with gold and black enamel Hakenkreuz (swastika).At the open door of a huge and glittering Adler limousine, which stood out especially brightly against the gloomy background of the gray street, the driver was waiting for a young man, exhaling clouds of steam in the cold air.

“Watch your step, Herr Schindler,” he said. – Everything is covered with ice, like a widow’s heart.

Young man, slipped slightly, but did not fall.

He always stood firmly on the ground.

Until the end of his days, he will continue to wear double-breasted tuxedos and – having something to do with technology – always use large, impressive cars.

And also – being a German (and the Germans at that time in history enjoyed indisputable authority), invariably remain a person with whom a Polish chauffeur can afford to make a friendly, respectful joke.

But it is hardly possible to start presenting our history, limiting ourselves to such a brief description. For this story tells about the convincing triumph of good over evil – a triumph that has received a concrete and undeniable embodiment.

When you approach this difficult task from one angle – that is, when you try to consistently and fully communicate the successes of evil – it is easy to remain shrewd, accurate and wise, and avoid platitudes.It’s not so difficult to show evil, especially if it permeates the plot through and through, although sometimes good can prevail – with the help of such difficult factors as dignity and self-respect. Congenital human vices always attract the main attention of the narrator, the innate depravity of human nature is a breeding ground for the historian.

But when you are about to write about human virtues, you run into difficulties.

“Virtue” is, in fact, a concept so slippery that it becomes necessary to explain its meaning.Herr Oskar Schindler, who is now slipping, endangering his shiny shoes on the icy sidewalk of one of the oldest and most aristocratic quarters of Krakow, was by no means a virtuous young man in the usual sense of the word. In the city, he rented an apartment for a German mistress and had an affair with his Polish secretary for a long time. His wife Emily preferred to spend most of her time at their home in Moravia, although she occasionally traveled to Poland to visit her husband. Here it is necessary to clarify: in relation to all his women, Oscar was an amiable and generous lover.But this did not justify him, of course, if we remain within the framework of the usual understanding of the word “virtue.”

Besides, he was far from being a fool to drink. Sometimes he drank for the pure pleasure of alcohol; but much more often he had to drink with colleagues, people from the SS, for tangible benefits. Few could match Schindler’s ability to keep a clear head during libations! And again, this quality – in the narrow sense of moral merit – could not serve as an excuse for his penchant for revelry.

Although Herr Schindler’s merits have long been documented, one cannot fail to mention a certain duality of his nature, which helped him to survive, dealing with the corrupt and monstrous system that filled Europe with concentration camps, in each of which, to one degree or another, inhumanity triumphed. which turned one of the peoples into a nation of prisoners.

So, maybe it would be better to restrict ourselves to just a hint of Herr Schindler’s strange virtues for now and move on to the story of the people in communication with whom they manifested themselves.

Having reached the end of Straszewski Street, the car drove past the black bulk of the Wawel Castle, from which the highly respected lawyer of the National Socialist Party, Hans Frank, ruled Poland as Governor General. As befits a castle in which the spirit of evil dwelled, there was not a glimmer of light in it. Both Herr Schindler and his driver tried not to look at this stronghold as the car turned southwest towards the river. On the bridge in Podgorz, thrown across the frozen Vistula, they were stopped by the guards, who were obliged to prevent partisans and other pests from entering the city, and the soldiers demanded passierschein from the driver. Herr Schindler often passed through this checkpoint, heading either from his enterprise (on the territory of which he also had apartments) to the city – on business, or from his apartment on Strashevsky – to factories in the outskirts of Zabloce. Accustomed to the fact that he always appears after dark, the guards let him in without any special formalities, knowing that the passenger of the limousine was going to lunch, then to the reception, or even to his home to sleep; or maybe this is how tonight – ten kilometers from the city, to the concentration camp in Plachów, where he was waiting for dinner with SS Hauptsturmführer Amon Goeth, a high-ranking voluptuary.Since Herr Schindler had a reputation as a generous giver of strong drinks around Christmas, his car proceeded without much delay to the suburb of Podgorze.

Despite his love for delicious food and aged wine, Herr Schindler took today’s dinner at Commandant Goeth’s with more disgust than pleasure. And so it was always: the need to communicate and drink with Amon did not cause him other feelings, except painful, unpleasant. Nevertheless, Herr Schindler’s negative emotions were also slightly piquant: the excitement of anticipated disgust was akin to anticipation of the medieval mysteries – emotions, one might say, whipped up Schindler more than weakened him.

Sitting in the black leather Adler’s cabin, Herr Schindler rode along the tram lines that had recently marked the border of the Jewish ghetto, and, as always, smoked continuously. So he found peace. No, his demeanor did not suffer from tension; he was always distinguished by sophistication of behavior and invariably believed that after a bottle of good cognac comes the turn of an expensive cigarette. He could not understand whether a sip from a flask, to which he kissed, brought relief to him, driving through the extinct blackened terrain and watching as a series of cattle warmers stretches along the road to Lviv, in which there could be soldiers, or prisoners, or – though it was harder to believe – cows.

Once in the suburbs, about ten kilometers from the city center, “Adler” turned right into the street, which, ironically, was called Jerusalem.

The night began to take a frost, and in the chilly air Schindler immediately saw a destroyed synagogue under the hill, and then a cluster of buildings, which in those days was called “Jerusalem” – the Weeping concentration camp, a barrack village that housed 20 thousand representatives of the restless Jewish tribe … The Ukrainian police and people from the Waffen SS kindly greeted Herr Schindler at the gates, for here he was no less famous than on the bridge in Podgorz.

Having approached the administrative building, “Adler” moved along the prison road paved with Jewish gravestones. Two years ago, a Jewish cemetery was located on the site of the camp. Commandant Geth, who considered himself a poet, used his memorial plates without thinking about the metaphor that had arisen. It was a road covered with tombstones and dividing the camp into two halves …

The road ended before the villa, which was personally occupied by Commandant Goeth.

On the right side, behind the guard barracks, was the former Jewish deceased.They died here often, the cause of death was exhaustion. But now this room served as a stable for the commandant. Schindler is already accustomed to the dark irony of the moment. According to the general opinion, if in those years you could assess with humor such “small overlays” of the new world order in Europe, then it means that you accepted them, they became part of your perception of the world. And Schindler’s breadth of outlook was truly immense.

Prisoner Poldek Pfefferberg was also on his way to the commandant’s villa that evening.Liesek, the commandant’s nineteen-year-old messenger, came to the Pfefferberg barrack with a pass signed by the SS Unterscharführer. The problem he faced was that the drain in the bathroom was clogged, and Lisek feared that he would get a merciless hauling when the Herr Commandant wanted to take a bath in the morning. Pfefferberg, who was once Liesek’s teacher in high school in Podgorze, worked in the camp’s garage and had access to chemicals. Together with Lisek, he went to the garage, where he took a flexible hose with a brush at the end and a can of solvent.A stay at the commandant’s villa could always end with anything, but it included the opportunity to feed with Helen Hirsch, the quiet and intimidated servant of Goeth, who was also a student of Pfefferberg in her time.

When Herr Schindler’s “Adler” approached the villa a hundred meters, there was a barking of dogs – these were the voices of the Danish mastiff, the wolfhound and other dogs that Amon kept in the kennels behind the house.

The villa was a square structure with an attic. The windows upstairs opened onto a balcony.A veranda with a balustrade ran along the entire building – Amon Geth liked to sit in the open air on warm days. After arriving in Plachów, he noticeably gained weight. Next summer he will be ashamed to appear on the beach …

But at least in this likeness of Jerusalem, he was spared ridicule.

Bulletin of the Hebrew University in Moscow. No. 12. – Moscow-Jerusalem. 1996-5757

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Bulletin of the Hebrew University in Moscow.No. 12. – Moscow-Jerusalem. 1996-5757

https://imwerden.de

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HWˊ + W & Rqbf.fh.5fJ`P7 ~ “& y6Kĝ, ai` ޱ @ l == kB_ \ P! 0 ״ LK ڼ wFB1vml # LʚAi [” Pvq | B9 / ~ $ x \ OG (FpĐͨ6 ~ c ֪ V4 ⾱ fqs2.9} ، jUx
RUSSIAN JAZZ. IN 2 VOLUMES.
RUSSIAN JAZZ. IN 2 VOLUMES.
Kirill Moshkov and Anna Filipieva
Planet of Music, 2013
In early January 2013, the St. Petersburg publishing house “Planet of Music” published the book “Russian Jazz” – a two-volume collection of texts on the history and current state of jazz art in Russia, prepared by the editorial staff of the magazine “Jazz.Ru ”in the year of the 90th anniversary of Russian jazz (2012). All the texts included in the collection were previously published by the Russian jazz edition. Four parts of the two-volume book cover the stage of the birth of jazz art in our country, the period of the formation of “Soviet jazz” in the second half of the 20th century, biographical materials on the personalities of the current masters of Russian jazz and young stars of the domestic jazz scene, as well as a number of problematic and debatable aspects of further development of jazz art in Russia.
The two-volume edition will be of interest to anyone interested in the history and modernity of jazz music.
The editors-compilers of the collection are Kirill Moshkov and Anna Filipyeva, founders of the Jazz.Ru magazine (Kirill is the publisher and editor-in-chief of the magazine, Anna is the deputy editor-in-chief). They also wrote up to a quarter of the volume of all the materials included in the collection; the rest of the materials belong to the pen of four dozen regular authors of the magazine, including the leading jazz journalists and critics of Russia – Vladimir Feiertag, Alexey Batashev, Mikhail Mitropolsky, Yuri Lnogradsky, Tatyana Balakirskaya, Zinaida Kartasheva and many others, musicians Alexey Kozlov, Oleg Stepurko, Roman Stolyar, Andrey Tovmasyan and others.
Contents:
Volume One:
From the compilers. Faces of Russian Jazz
PART ONE. HISTORY: HOW IT ALL BEGAN
Pioneer Valentin Parnakh
A cohort of pioneers. Leonid Utyosov, star of “Soviet jazz”
A cohort of pioneers. Alexander Tsfasman: “It is impossible not to love jazz”
A cohort of pioneers. Saxophonist Alexander Rivchun
A cohort of pioneers. Drummer Latsi Olah
Jazz “standards” by Isaac Dunaevsky
Eddie Rosner.Jazzman from the GULAG
“Shanghai period” of Russian jazz. Oleg Lundstrem and others
Post-war generation. Georgy Garanyan – for jazz and jazz
Post-war generation. Yuri Saulsky – “Minister of Jazz”
Post-war generation. Stanislav Grigoriev: in memory of saxophonist
Post-war generation. Arranger Vitaly Dolgov
Post-war generation. Mikhail Esakov, guitarist and teacher
Russian Center for Jazz Research: Preserving Our Own History
Post-war generation.Cafe of our jazz youth
Post-war generation. Jazz in Siberia: “We were dunce and literate”
Post-war generation. Anatoly Berestov, Siberian Jazz Romantic
Post-war generation. Jazz in Yaroslavl as part of jazz in Russia
Post-war generation. Valery Mysovsky: “Blues for insiders”
Roman Kunsman: the fate of the saxophonist
Valentina Konen. Jazz Pioneer
Leonid Pereverzev. Death Book
Founder of jazz education Yuri Kozyrev
Evgeny Savin, pipe master
PART TWO.RUSSIAN JAZZ MASTERS
Jazz preacher Alexey Batashev
Sergey Belichenko, pillar of Siberian jazz
Igor Bril, People’s Artist
New generation: saxophonists Alexander and Dmitry Bril
Igor Butman: from Burkeley to the Kremlin
Oleg Butman and his “Passion”
Anatoly Vapirov: “I work, sir, I work”
Provinces. Phenomenon Vintskevich
Vyacheslav Gayvoronsky: “To work where the heart is in joy”
Vyacheslav Ganelin: “I’m at home and I’m free”
Anatoly Gerasimov, easy man
Gennady Holstein: “God will figure it out”
Pianist and teacher Evgeny Grechishchev
Pianist Valery Grokhovsky: “Classics are easy to vulgarize”
Vladimir Danilin: “Swinging the accordion is not easy”
Alexey Zubov: search for a new shape
Free artist Anatoly Kalvarsky
Saxophonist Oleg Kireev
Alexey Kozlov.”Hipster” from the word “stylish”
Andrey Kondakov: Russian Brazil and beyond
Daniel Kramer: pianist, producer, gamer
Volume Two:
Anatoly Kroll: “I have no right to be wrong”
Alexey Kuznetsov: half a century in jazz … and beyond!
Lev Kushnir: “Learning to play jazz”
German Lukyanov: non-square structures
Yuri Markin: live music
Drummer and photographer Alexander Mashin
Vadim Neselovsky, American citizen of Odessa
Tatevik Hovhannisyan: “Who needs another Ella?”
Yakov Okun: American debut of Russian master
Alexander Oseichuk: sad reflections
Valery Ponomarev: Russian American Jazz Star
Sergey Pron: “We need prepared projects”
Drummer Alexander Ragazanov: to the fullest
Anton Revnyuk: “Bass – he is bass”
Alex Rostotsky: composer, bassist, producer, artist
Saxophonist Vladimir Sermakashev.Moscow on the Hudson
Adam Teratsuyan: “Knockin ‘on everyone”
Andrey Tovmasyan. Fire in “Russia” and other stories
Vladimir Tolkachev: “Incarnation of Freedom”
Igor Fainboim. 45 years in Voronezh jazz
Ivan Farmakovsky. The Way Home
Mikhail Tsyganov: my American history
The life and creative method of Igor Shirokov
PART THREE. GENERATION OF THE XXI CENTURY: WHERE ARE WE GOING?
Pianists of the Igor Bril School
A New Generation of Young Jazz Vocalists: Shall We Compete?
Ilya Belorukov.Non-profit path
Peter Vostokov, trumpeter number one
Pianist Alexey Ivannikov and burning eyes
Pianist Evgeny Lebedev: from East to West
Makar Novikov: double bass player as a value
Juliana Rogacheva: find yourself
Alina Rostotskaya: “Learning to enjoy the process”
Grigory Sandomirsky and Self-Education
Roman Sekachev: the choice fell on baritone
Leonid Sendersky. Constantly searching
Roman Sokolov: between flute and saxophone
Daria Chernakova-Sokolova: girl and double bass
PART FOUR.PROBLEMS AND SOLUTIONS
Vox Humana. What is happening with jazz vocals in the post-Soviet space?
Student Big Band: Prospects?
Why do young jazzmen go to America?
Free music on a non-free scene
The Swing Standard: How to Deal with the Challenges of Jazz Education?
New jazz in Russia and its origins in the USSR: an attempt to review
BIBLIOGRAPHY OF RUSSIAN JAZZ
return to catalog
90,000 Excerpt from the book “History of DJs”
White Apple publishes the book “Last Night a DJ Saved My Life: The Story of DJs” by Bill Brewster and Frank Broughton – a detailed description of how the people behind the turntables became central to music.With permission from Afisha Daily publishes a chapter on David Mancuso, without whom disco would not have gained the popularity it had.
If disco has an angel, it’s shaggy David Mancuso, if this genre has a cradle, it’s his Loft club. This institution has never been more influential either before or after. This is where the foundations of the music you dance to today and all the places you go to were laid.
Mancuso has found and unearthed more classical dance records, inspired a generation of DJs, collectors, club and label owners, set the standard for club sound systems, and turned the Loft into a place where love and equality, celebrated in thousands of dance songs, became a reality. Brought up on the ecumenical perspectives of a generation of hippies, inspired by a sincere love of music and the exciting possibilities of our time, David Mancuso laid the cornerstone of the modern club movement.
While Grasso groped for the creativity hidden in the DJ and the record stack, Mancuso sketched the prototype of excellent dancefloor ideas, consciously or unconsciously repeated from then on by clubs and clubbers. And Loft lives on. Regular parties in London and New York mean that Mancuso’s club has been around for nearly thirty-five years.
Mancuso himself, a humble man who usually mutters something under his breath, is considered by many to be a crazy musical mystic because of his sparkle in his eyes and thick beard.He demands perfect sound reproduction, refuses to mix records, insisting that they should be listened to completely and unchanged, and when he talks about music, he chooses words that you usually don’t hear from a DJ. But most people, who have felt the emotional charge of the dance floor at least once, instinctively begin to understand the elusive feelings that he is trying to express.
A short video showing Mancuso at work
Throughout his life, Mancuso has lived with an obsession with the relationship between music, the person who puts on the music, and the bodies and souls of people who listen to this music and dance to it.As a DJ, he never tried to present himself as an egoist, for example, “to play an outstanding set”, for him a wonderful party is created not only by the music, but also by the dancers – it depends not only on the hand of the one who chooses the next record, but also on the atmosphere of joy, spilled indoors.
David Mancuso, born October 20, 1944 in Utica, New York, describes how he was raised by a benevolent nun in an orphanage for twelve children. To this day, he perfectly remembers how she gave the children juice to drink and put on a pack of records on a large square radio, to which they all sang and danced.He is convinced that she had a profound influence on the type of party he later threw.
“There is a certain influence in all this – a sense of community that I manage to evoke in people, and the way I do it is all from there, from childhood. Sister Alicia always found a reason to party. ”
At the age of fifteen, Mancuso was already working as a shoe shiner. Moving to New York during the Cuban Crisis in 1962, he worked in a wide variety of jobs – including designing for towels and working in the HR department – until he got bored working “nine to five.”
In the city, he began to lead an aimless life, made friends, struggled to make money, and even harder to have a good time, until in 1970 he began throwing parties in the loft where he lived, starting around midnight. And although formally this place never tried to go with the flow, soon the space of the loft, filled with balloons, became known to all visitors under the name Loft.
There was not much to see at the Loft, and the room itself was not very large.But it was homey, it had a superb custom-made stereo system, and Mancuso himself was a music director with a keen ear for anything exciting, atmospheric and rhythmic. Mancuso, being in many ways a product of the psychedelic era and a fan of black music, conceived Loft as a series of parties, invitations to which were extended exclusively to close friends.
“It was a commercial loft,” he recalls. “There were fire sprinklers all over the place and everything.I sent out thirty-six invitations, but it took a while for everything to swing to full force. Six months later, the loft was working every week. ” He very strictly approached the status of his guests, guided by clear goals and thoughtful principles. “If you got inside, then you became a participant. You were not a member of the club. The Loft was not a club. I absolutely did not want to get into this category. It was something completely different for me. I wanted to be as close to the heart of the party as possible.It cost $ 2.50 to enter, and for that amount you got wardrobe, food and music. At that time, bars were open until three in the morning, and if some of the places worked longer, then they either gambled or sold alcohol. And I didn’t want to have anything to do with any of them. I wanted privacy. And if you remember, Loft was where I slept and where I dreamed. In a word, I did everything. ”
With the same care with which Mancuso approached the selection of invitees to his parties, he paid attention to music.He realized that the dynamics of the sound was just as important as the records he put on. “I wanted to listen to music. If you can hear the sound system, you immediately get a hearing injury. Therefore, you need to listen to music, not the system. ”
In 1971 he met Alex Rosner. “A mutual friend of ours said that I should definitely take a look at David’s club because I could be useful to him. And so it happened. As a result, I rebuilt the whole club to his requirements and made the sound much better. He had a regular home stereo system.When I finished my work with him, he already had a full-fledged disk system. ”
One of the main hits of the Loft project Fingers Inc.
The fidelity of the sound system created by Rosner and Mancuso has since become the accepted standard for all nightclubs in the world. “It’s just a matter of quality,” says Rosner. “You see, I was an audiophile. I took an audiophile approach – high quality – to commercial sound systems, which has never been done before.Most commercial sound systems sounded lousy. I made them sound good simply by using better quality components. There are no secrets here: you just need to convince the owner that he needs to spend a little more money on better components. I knew where to install the speakers. I knew how many are required and how to make everything sound right. ”
The two formed a formidable alliance in which Mancuso supplied bold ideas to Rosner’s practical expertise.One day he asked Rosner to create two groups of tweeters, tweeters. “He asked me to create them, to which I replied that it was not a good idea,” recalls Rosner. “He said,“ I don’t care what you think, just do what I ask you to do. ” I didn’t think it was a bad idea, I just thought it was too much. Usually in a sound system, one such speaker is enough per channel. He needed eight. I thought there would be too much high frequencies. ”
But in this case the seer was right, the expert was wrong, because, as Rosner himself admits, “the frequencies were high enough, but did not reach the pain threshold.There was no rigidity in them. The more there were, the better it turned out. That is, the idea, in fact, turned out to be amazing. ”
The resulting system was incomparable. As Mancuso says, “The only thing Loft did was set the standard: it had a sound system that was fully worth the investment.”
Klipschorn loudspeakers (designed by Paul Klipsch in the twenties and prized for their simplicity and purity), JBL bullet tweeter set and later handmade Koetsu pickups and Mitchell Cotter turntables.”Mancuso installed the Klipschorn in such a way,” recalls Nicky Siano, “that they emitted and reflected sound, amplifying it and filling it with all the space.” Plus, the Loft was a great place to experiment with sound. “His premises were ideal for these purposes. Usually he went out onto the dance floor, turned off the lights, only small table lamps shone in the corners, which faded when tweets came into play. It was unusual, but very cool. ”
Friends-selected visitors, music, incredible sound and a unique atmosphere of hospitality – no one has ever been to a place like this.The Loft was a revelation. It was only a few miles away from glamorous clubs like Arthur, Le Club and Cheetah, but in concept and execution it was like from another world. With numerous friends of Mancuso representing the full spectrum of the counterculture, his club became a refuge from the outside world – a secret community of disaffected and disenfranchised. “We squeezed fresh orange juice and ate organic nuts and raisins,” he recalls. “We made a lair for ourselves. Everything was very high quality. Everyone was there: Patti LaBelle, Devine and many others.They didn’t play anyone out of themselves, because they came there to relax. And, of course, it was impossible to get there without an invitation. ”
Disco classics Earth, Wind & Fire also sounded in Loft
Of course, Mancuso also met with the West Village triumvirate – Grasso, Cappello and D’Aquisto. “I went to see Steve D’Aquisto at his club,” he recalls, “and I liked what I saw there. So I went up to him and said, “You know, I like music.I have a place here in the center. My place, I throw private parties there. If you want, come with a friend. ” Which he did. That’s how I met Michael Cappello and Francis. ”
When Steve D’Aquisto discovered Loft, he felt as if he had found a home.
“One evening I went there alone and found myself in a world of incredible sound and unprecedented beauty. The place is as special as it gets.Nothing even stood next to Loft. Loft was a tiny place, but unforgettable. ”
In exchange for such hospitality, Grasso and his friends shared new mixing techniques with Mancuso – smooth transitions, finger mixing and mixing – showing him how to create entire sets of continuous music that thrill Haven and Sanctuary. At that time, Mancuso was already experimenting with his ideas and owned an impressive collection of records with sound effects, which he used at the beginning and at the end of songs (he copied this idea from the New York radio station WNAW).Gradually Mancuso learned the techniques necessary for mixing records, although later he completely abandoned the idea of mixing, since he was a supporter of the purity of the song.
“When I met him, he didn’t mix at all,” D’Aquisto recalls. – He had two turntables, but when one stopped, the other began to spin. Then he, however, mixed and for quite a few years. The peak of Loft’s popularity came at the time when he was mixing. I told him: “Don’t make the music interrupt.”
The late Larry Levan, Mancuso’s most respected protégé, paid tribute to him in 1983 in an interview with journalist Stephen Harley. “David Mancuso has always been very influential with his music and mixes. He didn’t put on records unless it was serious music. When I listen to modern DJs, they mean nothing to me. Technically, some of them are excellent – emotionally they don’t touch me in any way. And before, I saw people in Loft crying to a slow song just because it was so beautiful. “
Book pre-order is available on the publisher’s website.
Topic details
Interview with Leroy Burgess – “king of the boogie” and disco classic
Interview with Leroy Burgess – “king of the boogie” and disco classic
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