![]() From the relatively prosperous 1970s to the years of struggle and food shortages in the aftermath of the fall of the Soviet Union (who gave Cuba billions of dollars in subsidies over the years), to the more recent era of a loosening of restrictions on free enterprise, the emergence of a tourism and black market economy, and the death of Fidel Castro, Cuba and the Cameraman shows, as it happened, what changed in Cuba during this time. What transpired over the course of several visits from 1975 through 2016 was a documentation of how the tumultuous changes the island nation experienced during these decades affected Cuban society and the individuals Alpert befriended during these visits. He wanted to see how socialism was functioning under Fidel Castro 15 years after the Cuban Revolution. He is co-founder of Owen/Cox Dance Group and founder and director of The People’s Liberation Big Band of Greater Kansas City and Brad Cox Octet.Ī prolific composer and bandleader in his own right, Jeff has recorded and performed across the globe with such varied groups as Jacob Fred Jazz Odyssey, Bobby Watson, Curtis Fuller, Milt Abel, Tango Lorca, The People's Liberation Big Band, and Alaturka.In 1975, after a few years of using the recent development of video camera technology to engage in investigative journalism that called attention to some of the problems that plagued New York City, CUBA AND THE CAMERAMAN filmmaker Jon Alpert set his sights on Cuba. ![]() Brad has created compositions and arrangements for Paris-based singer and songwriter Krystle Warren, Sonny Classical recording artist Nathan Granner, Grammy Award-winning producers Russ Elevado and Ben Kane, and has created music for numerous dance, theater, film, and performance art pieces. He utilizes a wide variety of compositional techniques in his music, including structured improvisation, chance elements, graphic notation, and Butch Morris-inspired Conduction. Brad’s background in jazz music has given him a particular interest in the communal and collaborative aspects of music making, and he has dedicated much of his compositional effort to forming creative, collaborative relationships with musicians, and to writing music for those musicians. His compositional influences range from liturgical chant and traditional folkloric music to popular music and free jazz. ![]() He studied composition with James Mobberly and Gerald Kemner at UMKC Conservatory of Music, and jazz arranging with Charles Grey at Portland State University. Dana Stevens, an excerpt from Camera Manīrad is a composer, arranger, ensemble leader, and performing musician born in Pawhuska, OK, and based in Kansas City, MO. This dizzying demonstration of the power of film editing seems to predict the not-yet-made work of Soviet Director Dziga Vertov, whose avant-garde documentaries used montage to explore how motion-picture technology was changing human perception.” Diving in, he finds himself landing headfirst in a snowbank, which transforms in its turn into a bench in an elegant garden. As the movie he’s entered cuts from one landscape to another, he’s suddenly stranded on a rock amid pounding surf. (1924), Keaton’s hero, a film projectionist who’s fallen asleep on the job, climbs into the frame of a movie in progress. “In the showstopping montage of trick shots in Sherlock, Jr.
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