Sentences with phrase «american jazz scene»

Not exact matches

But does all the referencing and homage — and not just to Demy, but also to Golden Age Tinseltown productions like An American in Paris, jazz greats like Miles Davis, and even (in the film's funniest scene) the English new - wave band A Flock of Seagulls — add up to much of anything original?

Extras: New audio commentary featuring jazz and film critic Gary Giddins, music and cultural critic Gene Seymour, and musician and bandleader Vince Giordano; new introduction by Giddins; new interview with musician and pianist Michael Feinstein; four new video essays by authors and archivists James Layton and David Pierce on the development and making of «King of Jazz»; deleted scenes and alternate opening - title sequence; «All Americans,» a 1929 short film featuring a version of the «Melting Pot» number that was restaged for the finale of «King of Jazz»; «I Know Everybody and Everybody's Racket,» a 1933 short film featuring Paul Whiteman and His Orchestra; two Oswald the Lucky Rabbit cartoons from 1930, featuring music and animation from «King of Jazz.&rajazz and film critic Gary Giddins, music and cultural critic Gene Seymour, and musician and bandleader Vince Giordano; new introduction by Giddins; new interview with musician and pianist Michael Feinstein; four new video essays by authors and archivists James Layton and David Pierce on the development and making of «King of Jazz»; deleted scenes and alternate opening - title sequence; «All Americans,» a 1929 short film featuring a version of the «Melting Pot» number that was restaged for the finale of «King of Jazz»; «I Know Everybody and Everybody's Racket,» a 1933 short film featuring Paul Whiteman and His Orchestra; two Oswald the Lucky Rabbit cartoons from 1930, featuring music and animation from «King of Jazz.&raJazz»; deleted scenes and alternate opening - title sequence; «All Americans,» a 1929 short film featuring a version of the «Melting Pot» number that was restaged for the finale of «King of Jazz»; «I Know Everybody and Everybody's Racket,» a 1933 short film featuring Paul Whiteman and His Orchestra; two Oswald the Lucky Rabbit cartoons from 1930, featuring music and animation from «King of Jazz.&raJazz»; «I Know Everybody and Everybody's Racket,» a 1933 short film featuring Paul Whiteman and His Orchestra; two Oswald the Lucky Rabbit cartoons from 1930, featuring music and animation from «King of Jazz.&raJazz.»

Leo Valledor (1935 - 1989), a Filipino American artist who grew up in the Fillmore district of San Francisco, studied Abstract Expressionism at the California School of Fine Arts (currently, San Francisco Art Institute) and was part of the «Beat» scene — the cross cultural and dynamic fusion of visual art, jazz music and poetry.

With a particular focus on the African American art scene on the South Side of Chicago, this group exhibition explores the connection between avant - garde jazz and experimental music of the late 1960s and contemporary art and culture.

This large - scale group exhibition links the vibrant legacy of avant - garde jazz and experimental music of the late 1960s (particularly within the African American arts scene on the South Side of Chicago) and its continuing influence on contemporary art and culture today.

Instead, he went on to become a jazz musician and a painter, inserting images of African Americans in scenes where he thought they should — and knew they did — exist.

Davis's exuberant, colorful compositions echo the dynamism of the American scene and the rhythms of jazz, the artist's lifelong passion.

Leo Valledor (1935 - 1989), an Asian American artist who grew up in the Fillmore district of San Francisco, studied Abstract Expressionism at the California School of Fine Arts (currently, San Francisco Art Institute) and was part of the «Beat» scene — the cross cultural and dynamic fusion of visual art, jazz music and poetry.

About Leo Valledor: Leo Valledor (1935 - 1989), a Filipino American artist who grew up in the Fillmore district of San Francisco, studied Abstract Expressionism at the California School of Fine Arts (currently, San Francisco Art Institute) and was part of the «Beat» scene — the cross cultural and dynamic fusion of visual art, jazz music and poetry.

For ten years she was a member of the Anthony Braxton Quartet and the Reggie Workman Ensemble, and has performed and recorded extensively as a soloist and with players on the American and international jazz scenes.

Writers such as Jack Kerouac and Allan Ginsburg were leading figures in American literature during this time while Dean Martin, Jerry Lewis, and Thelonious Monk were predominant on the entertainment and jazz scene in the circles frequented by Rosenquist.

Douglas» two - channel video installation Hors - champs, 1992, is included in a group exhibition (14 September 2016 - 19 March 2017) that links the vibrant legacy of avant - garde jazz and experimental music of the late 1960s (particularly within the African American arts scene on the South Side of Chicago) and its continuing influence on contemporary art and culture today.