Photographic Still of Tony Richardson and Richard Burton by Robert Penn
Courtesy BFI / Park Circus
Free Admission- booking required
Saturday 28 May 2016 – from 6pm
@ Bloomsbury Theatre Studio
15 Gordon St, London WC1H 0AH
Seating is very limited, please register via the link below ASAP!
The Other & the Moving Image welcomes the screening of Tony Richardson’s Look Back in Anger and the Jazz
Celebrating Britishness. As a personal celebration of St George Day (23.4) / what is Britishness and Englishness for me? As a Cuban, what makes me feel proud of being British? Tony Richardson, his Look Back in Anger (1959 film) and the angry young men movement are some of my answers to these questions. This evening of talks and a film screening – on citizenship and belonging- will cover a range of issues concerning the definition and nature of Jazz and the complexities of its moving image and the experience of the Angry Young Men Movement in Tony Richardson’s Look Back in Anger.
Where jazz meets classical…When classical music meets jazz…what are the best jazz versions of classical music and vice-versa… Many composers, both those primarily in the jazz and classical idiom, have crafted pieces that borrow heavily from the other. Many jazz composers and arrangers became interested in incorporating classical tradition into their own work. Ravel, Debussy and many others became favourites. What about classical musicians, what about classical guitar?
LOOK BACK IN ANGER (1958) UK 101 mins Digital
” During the late 1950s and early 1960s the new wave of British Cinema began to emerge. Young filmmakers including Tony Richardson, Karel Reisz and Lindsay Anderson began to challenge the social status quo in Britain with a number of ground breaking films. Some of the key films include; Look Back in Anger (1959) and Saturday Night and Sunday Morning (1960) This Sporting Life (1963) and came to define the period of change in Britain. There is an energy to these films and they reflect the social reality of the working class, especially in the North of England. Despite the increased prosperity of the Macmillan Years (1957-1963) it didn’t always reach every town in Britain and the frustrations of low wages and poor living conditions and the lack of affordable housing began to create a social backlash of discontent leading up to the Aldermaston anti- nuclear demonstrations which began during Easter 1958. John Osbourne’s play Look Back in Anger also reflects the discontent and feelings during the same period and Osborne’s semi- autobiographical play became a by word in the media to define the so called Angry Young Man.
In the film Look Back in Anger, Jimmy Porter is played by the rising British film star Richard Burton the angry, self-loathing and hostile anti-hero. Jimmy is a man who loathes materialistic trappings of middle class attitudes and domestic life that he associates with washing, cleaning and ironing. Jimmy’s anger is tempered by playing the trumpet as it becomes a way for him to express himself more freely as he feels misunderstood and betrayed by life. Jimmy feels there must be more to life rather the conventions of middle class suburban life. Paradoxically Helena (Claire Bloom) and Alison (Mary Ure) are attracted to Jimmy’s charm, charisma and oafish behaviour. In a ménage à trois the women are torn between Jimmy’s posturing and shortcomings that inevitably goes beyond a romantic encounter. ” Nigel Arthur Curator – Stills at the British Film Institute will introduce Look Back in Anger / Photographic Still of Tony Richardson and Richard Burton by Robert Penn courtesy BFI / Park Circus
The archetypal British ‘angry young man’: Richard Burton as Jimmy Porter, in Tony Richardson’s film Look Back in Anger (1959)
Look Back in Anger Cast: Richard Burton (Jimmy Porter); Claire Bloom (Helena Charles); Mary Ure (Alison Porter); Edith Evans (Mrs. Tanner); Gary Raymond (Cliff)
|Look Back in Anger , black and white, 101 mins|
|Production Company||Woodfall Film Productions|
|Producer||Gordon L.T. Scott|
|Additional dialogue||John Osborne|
|Original play||John Osborne|
- What is Jazz?
… is jazz considered classical music? where and when jazz meets classical…what are the best jazz versions of classical music and vice-versa… is possible to define a jazz-classical guitar? in order to gain a better understanding of this relationship, Ahmed Dickinson Cardenas’s performance is presented as part of the event. His classical guitar has an expansive sense of freedom that taps into pre-Columbus traditions, flamenco, pop, Afro, traditional Cuban and jazz. Dickinson’s style is a great way of crossing the great divide, connecting-liberating musical styles, within the genuinely fruitful inter-zone between jazz and classical guitar. Ahmed Dickinson Cardenas – Guitarist is another way to mirror the melodic and rhythmic intricacies of the transcultural condition of Art and the Americas’ cultural diversity.
” It’s like a language. You learn the alphabet, which are the scales. You learn sentences, which are the chords. And then you talk extemporaneously with the horn. It’s a wonderful thing to speak extemporaneously, which is something I’ve never gotten the hang of. But musically I love to talk just off the top of my head. And that’s what jazz music is all about.” Stan Getz
What kind of music is jazz?
Jazz is the Other. There are many styles of jazz, but broadly speaking jazz is characterised by improvisations, offbeat accents and swung rhythms. Improvised playing is not based on a written score but on the mood of the moment. The roots of jazz music are in the Afro musicians who created it, it came over to America with the African slaves. Thus, from New Orleans to London, from Havana to the countries behind the iron curtain, from its very beginning, jazz has been marked with strong social and political meanings. Indeed, jazz has never been simply music.
Miguel Covarrubias developed an interest in the Harlem Renaissance and the lives of black Americans. He illustrated daily life and dance halls, and did a book, Negro Drawings, in 1929.He was responsible for diffusing a changed imagery through his illustration of the sophisticated black Jazz Age musicians and created a drawing style that contributed to modern art, cubismo, futurism and art deco, in particular.
In 1930, Covarrubias married Broadway dancer Rosa Rolando. The couple became lifelong artistic and intellectual partners. They traveled to Cuba, China, Bali, the Philippines, throughout Europe and to North Africa.”
On Jazz & Freedom
In the countries of the former Soviet bloc, jazz is associated with Western culture. In the history of film in Eastern Europe, for example, jazz music is at the center stage and the narrative structure is based on the premise that jazz music was considered, at that time, as a bourgeois art by Soviet-bloc cultural mentors but it was very well received by the public. For example, Shakhnazarov’s first feature, Мы из джаза / Jazzmen was the No.1 film at the Soviet Box Office in 1983. Shakhnazarov explains: “Jazzmen was a huge hit in Russia. I suppose when it first appeared, jazz was a new theme. Not that Russians didn’t know jazz, for it was already in the Soviet Union. But it always had an up-and-down history, sometimes forbidden, sometimes allowed. But to make a film about such things was very new. And to make a musical without political themes was even more new.”
The theme of jazz in/on films has remained a rather especial genre until today. Thus, our event examines the role of jazz: as a musical expression of blackness in the Americas, as a symbol of freedom and Western culture in Eastern Europe, as an alternative musical discourse, as a platform for dissident, alternative political thinking and behavior. On jazz in/on cinema in Cuba please see: Jazz en el cine cubano: El jazz y los jazzistas de Cuba en las producciones cinematográficas cubanas by Rosa Marquetti Torres.
Jazz is the Other, not only in the Americas and Western Europe, but also in the former Soviet bloc countries. Our event will cover from the Afro-American nature of jazz to its international experience as a typical phenomenon in the process of cultural and musical transfer: transculturation. Jazz is as a great evidence of the transcultural condition of Art.
The story of Dizzy Gillespie & Chano Pozo – Manteca
“When Afro-Cuban drummer Chano Pozo (b. 1915–1948) met jazz trumpeter Dizzy Gillespie (b. 1917–1993) in New York City, it was a meeting of two legends with musically explosive results. At the time, bebop was still new and revolutionary, but Chano’s fiery drumming served as a catalyst that furthered its dynamism. It was a short-lived partnership between the two, though, with only a few records produced before Chano Pozo died in a hailstorm of bullets—a drug deal gone bad.
The seed was sown, however, and with Cuban bands like Chico O’Farrill’s and Machito’s, Cuban music and modern jazz were here to stay.” From Rhythm Planet, a blog written by Tom Schnabel.
- Chano Pozo meets Dizzy Gillespie (Photo courtesy of MOLAA)
The pianist and composer Arturo O’Farrill knows better than almost anyone that over 50 years of a trade embargo between the U.S. and Cuba hasn’t fully prevented the exchange of jazz between the two countries. He’s known it since he first visited Cuba in 2002. Not that he’s happy about the relationship. Years of fruitful dialogue between musicians have been lost, and as the leader of a big band known as the Afro Latin Jazz Orchestra, that’s a problem he wants to address.
4:21 – The Afro Latin Jazz Suite — Movement IV: “What Now?”
9:14 – A young Cuban trumpeter comes to the U.S.A.
12:16 – “Changui Pa Mi”
20:41 – The Jimi Hendrix of Cuba
23:26 – “El Bombón”Recorded May 1st, 2015 @ Symphony Space in New York City,
Where jazz meets classical…When classical music meets jazz…what are the best jazz versions of classical music and vice-versa…Is jazz considered classical music?
Ahmed Dickinson Cárdenas is a great example of this unique fusion, crossing the great divide, connecting-liberating styles, using the test case of the genuinely fruitful inter-zone between jazz and classical guitar.
“You are left with the sensation of being touched to the core by exquisitely played pieces” SONGLINES
” Described as “a true pioneer” (Classic FM Magazine), award winning London-based Cuban guitarist, Ahmed Dickinson Cardenas, is one of the finest performers of the Cuban classical guitar school. In Spring 2016, he will release his sixth album featuring Grammy nominee and fellow Cuban guitarist – Eduardo Martin – which they will subsequently tour across the UK and Europe.
A sophisticated virtuoso, the Havana-born Dickinson Cardenas has performed at prestigious venues including the Royal Albert Hall, Wigmore Hall, Sage Gateshead, Union Chapel, Queen Elizabeth Hall, St Martin-in-the-Fields, LSO St Luke’s and St James’s Piccadilly. He has given live performances on BBC Radio 3 and BBC London. He has also featured at prominent festivals including London Classical Guitar Festival, Bath International Guitar Festival, Sage Guitar Festival, Kings Place Music Festival, Oxford Lieder Festival, Ards Guitar Festival (Northern Ireland), Dublin Guitar Week, Hispano-American Guitar Festival (Mexico), Identidades International Guitar Festival (Cuba) and Havana International Guitar Festival.
Over the last 10 years, Ahmed has established a successful career in the UK, whilst maintaining a performance profile and strong links with Cuba. More recently, he has been building a reputation for his original compositional style and will be performing his latest works in a series of concerts later this year.
Dickinson Cardenas is widely recognised as an ambassador both for the music and musicians of his native country. In 2008, Ahmed founded Cubafilin Records – a record label dedicated to the exclusive promotion of Cuban musicians and their original works. For nearly ten years, Dickinson Cardenas enjoyed the great privilege of collaborating with the prolific late guitarist and composer – Jose Antonio (Ñico) Rojas. Ahmed transcribed Rojas’ extensive unpublished works during this period, and subsequent performances and recordings earned two prizes at the Cubadisco Awards 2009, Best Instrumental Soloist & Best Instrumental Album. The same album was nominated for Best Artist & Best Newcomer in Songlines World Music Magazine, and Best Album & Best Single at the Latin American Music Awards UK.
Passionate in his collaboration with other artists, Ahmed has released four albums (Latin Perspective, The Havana Suite, Canciones del Alma, Ben Wragg & Ahmed Dickinson Cardenas), and one solo album (Ahmed Dickinson Cardenas plays Ñico Rojas) for which the world music magazine Songlines wrote: “You are left with the sensation of being touched to the core by exquisitely played pieces”.
He has worked with acclaimed soprano Laura Mitchell, flamenco Jazz guitarist Eduardo Niebla, Cuban percussionist Hammadi Rencurrell, violinists Emma Blanco, the Santiago Quartet, and led the Cuban Guitar Orchestra Sonantas Habaneras in Havana for two years.
Dickinson Cardenas graduated from the Superior Institute of Art (ISA Havana) and was awarded a first-class honours degree on the guitar, completing his qualification a year early. In 2005, he moved to London to study with Carlos Bonell and Chris Stell at the Royal College of Music and was awarded prizes including the Royal College of Music Guitar Competition and the Ivor Mairant Guitar Competition. In 2006, supported by The Kramer-Chappell Scholarship and the Mad Hatters Club, he undertook further studies with Robert Brightmore at the Guildhall School of Music & Drama. Since his arrival in the UK, Dickinson Cardenas has been the recipient of numerous awards, including the Ashley Stewart Arts Sponsorship 2011, Concordia Foundation 2008-2009 and Ivor Mairants International guitar Competition 2006.
Forthcoming performances include a concert at the Sage Gateshead curated by the International Guitar Foundation and the European premiere of Acrílicos en el Destino by Eduardo Martín at Milton Court Concert Hall. “
Cuban classical guitarist Ahmed Dickinson Cárdenas‘s classical guitar has an expansive sense of freedom that taps into pre-Columbus traditions, flamenco, pop, Afro, traditional Cuban and jazz. Dickinson’s classical guitar is a great way of crossing the great divide, connecting-liberating styles in the genuinely fruitful inter-zone between jazz and classical guitar. Another way to mirror the melodic and rhythmic intricacies of the transcultural condition of Art and Americas’ cultural diversity.
As part of The Other & the Moving Image, this project examines not only the relationship between the moving image and other art forms, but also, and in particular, how the moving image helps to visualize ‘otherness’. The project is about awareness, citizenship and belonging, equality, diversity and inclusion, in the effort to make our natural environment a better place. The Arts are the ideal medium because they bring people together.