B:jazz

In this podcast episode, we talk to Dublin-based inclusive violinist and multi-genre artist Jane Hackett about Ireland's Basic Income for the Arts Scheme, the benefits it brought to Jane and other artists' work and wellbeing, the broader impact on the arts sector, and the socioeconomic case for schemes like it being implemented further afield. We also discuss how Jane reinvented her practice around inclusivity and access following a diagnosis of Functional Neurological Disorder (FND), and the fairness of non-means tested lottery-based funding applications. Host and Editor: James Banner Music: "Zulassen" by Windisch Quartett All episodes: www.ig-jazz-berlin.de

In a special edition of B:jazz, I'm really happy to be able to present part 2 of an interview from Jazzwoche 2023 with Michaël Attias. We discuss finding the mystery within the fundamentals, keeping humble intentions, urgency, commitment and purpose through performance, plus how socialisation affects the approaches of musicians based in Europe versus New York. We also talk about the possibilities and drive created by artistic resources and archives alongside the desire and focus to experience it personally, extrinsic versus intrinsic motivation, branding and pressure on younger generations, how communication happens with audiences, growth through self-promotion via publication, and the difference between making political music and making music politically and locally.

In episode 25 of B:jazz, I talk to Camille Buscot, manager of the Deutsche Jazzunion, about the relevance and importance of unions. How do unions act as the contact point between the scene, institutions and politicans? What are some of the previous successes and upcoming challenges of the unions, and how do they work to represent the interests and lives of their members? We discuss how conflict can be a catalyst for action, the importance of diversity of experience, and the balance of individual ethics with community action.

Im 3. Teil unserer Serie Jazz und improvisierte Musik an deutschen Musikhochschulen, schauen wir uns die Situation der Lehrbeauftragten an. Welche Vor- und Nachteile hat diese Beschäftigungsform für sie und welche Verbesserungen oder Alternativen sind dringend notwendig? Die Sängerin, Komponistin und Arrangeurin Winnie Brückner arbeitet im Lehrauftrag an der UdK und kann uns aus dieser Perspektive berichten. -- https://www.winniebrueckner.de [email protected] https://www.ig-jazz-berlin.de/jazzwoche-berlin/ https://raumportal.kulturraeume.berlin/de/ausschreibungen/eda78a27-2a31-4307-be9c-bed523f04528/ https://raumportal.kulturraeume.berlin/de/ausschreibungen/aeac5d37-f866-45a9-aa43-c6945dfb6b12/ https://www.koalition-der-freien-szene-berlin.de/alte-muenze-gemeinsam-neu-praegen/ https://www.radialsystem.de/de/veranstaltungen/stop-over-2-improvising-a-concert/?date=1714327200 https://uni-sono.org https://youtu.be/F94g4Rdhgqo?si=J_FoS1xcq1zXtyNN https://www.bklm.org https://docs.google.com/spreadsheets/d/1CzqAVZ6Sn_SacZ2PxVuKrgEjBC1_YRyy8IIUVrJHLn4/edit?usp=sharing

In the 20th episode of B:jazz, I talk to concert photographer Cristina Marx about her documentation of the Berlin scene, her love for and the necessity of music, community and exchange, the importance of a present and accessible music scene, the audience perspective on jazz and improvised music and feeling welcome in spaces, as well as the necessity of meeting places for creative music such as Sowieso, Miss Hecker and Au Topsi Pohl. We also discuss the archival nature of film and music, Berlin door gigs, and how labels and film companies can impact the immediacy and representation of artists’ work.

In episode 18 of B:jazz, I talk to trumpet player, composer and improviser Brad Henkel about musician collectives in Berlin and the US, the legendary Schillerkiez venue and space Sowieso, the importance of local spaces for the jazz and improvised music scene, the impact of modernisation and gentrification on project spaces and his involvement and experience of the Stop Over residency at the Alte Münze.

In the 16th episode of B:jazz, we talk to musician Weston Olencki about their genre crossing electro-acoustic work, the role of AI and machine listening in music, career compartmentalisation, their connection to the sociomusical and cultural venacular of the American South, musical and social origins and their infuence on conceptual development, and the meaning behind sound.

In episode 14 of B:jazz, I talk to musician, author and composer Maria Reich about the relationship between texts and music, the changing role of improvisation in the classical concert, as well as structures, formalities and conventions around music performance and education.