Live In The Netherlands
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Live In The Netherlands
''Live in the Netherlands'' is a solo album by American jazz saxophonist David S. Ware, which was recorded in 1997 at Zuid-Nederlands Jazz Festival in Eindhoven Eindhoven () is a city and municipality in the Netherlands, located in the southern province of North Brabant of which it is its largest. With a population of 238,326 on 1 January 2022,AllMusic, Steve Loewy states "While this recording will satisfy many of Ware's fans, in some ways it is ultimately a flawed document, and one not likely to stand the test of time as readily as much of his other work." '' The Penguin Guide to Jazz< ...
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David S
David (; , "beloved one") (traditional spelling), , ''Dāwūd''; grc-koi, Δαυΐδ, Dauíd; la, Davidus, David; gez , ዳዊት, ''Dawit''; xcl, Դաւիթ, ''Dawitʿ''; cu, Давíдъ, ''Davidŭ''; possibly meaning "beloved one". was, according to the Hebrew Bible, the third king of the United Kingdom of Israel. In the Books of Samuel, he is described as a young shepherd and harpist who gains fame by slaying Goliath, a champion of the Philistines, in southern Canaan. David becomes a favourite of Saul, the first king of Israel; he also forges a notably close friendship with Jonathan, a son of Saul. However, under the paranoia that David is seeking to usurp the throne, Saul attempts to kill David, forcing the latter to go into hiding and effectively operate as a fugitive for several years. After Saul and Jonathan are both killed in battle against the Philistines, a 30-year-old David is anointed king over all of Israel and Judah. Following his rise to power, David ...
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Effenaar
The Effenaar is a music venue in the centre of Eindhoven, the Netherlands. It was squatted in 1971 and has grown into one of the largest pop venues in the country, hosting rock, pop and techno events. The current Effenaar consists of two music halls after being renovated between 2002 and 2005. The large hall has an audience capacity of 1300, is intended for use by larger bands and acts and is considerably larger than the original hall. The small hall has a capacity of 400 (smaller than the old Effenaar) and is used for smaller and/or regional bands. The old Effenaar venue hosted many large (national and international) acts throughout its existence, including Bauhaus, Red Hot Chili Peppers and the Sex Pistols. In 2011, the venue celebrated its 40th anniversary with concerts, a book and an exhibition. History Dommelstraat 2 was the Van den Briel & Verster linen factory until 1964. Eindhoven council then bought the property. The Effenaar was squatted by young people in 1970 un ...
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Eindhoven
Eindhoven () is a city and municipality in the Netherlands, located in the southern province of North Brabant of which it is its largest. With a population of 238,326 on 1 January 2022,Statistieken gemeente Eindhoven
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it is the fifth-largest city of the Netherlands and the largest outside the conurbation. Eindhoven was originally located at the confluence of the

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Jazz
Jazz is a music genre that originated in the African-American communities of New Orleans, Louisiana in the late 19th and early 20th centuries, with its roots in blues and ragtime. Since the 1920s Jazz Age, it has been recognized as a major form of musical expression in traditional and popular music. Jazz is characterized by swing and blue notes, complex chords, call and response vocals, polyrhythms and improvisation. Jazz has roots in European harmony and African rhythmic rituals. As jazz spread around the world, it drew on national, regional, and local musical cultures, which gave rise to different styles. New Orleans jazz began in the early 1910s, combining earlier brass band marches, French quadrilles, biguine, ragtime and blues with collective polyphonic improvisation. But jazz did not begin as a single musical tradition in New Orleans or elsewhere. In the 1930s, arranged dance-oriented swing big bands, Kansas City jazz (a hard-swinging, bluesy, improvisationa ...
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Corridors & Parallels
''Corridors and Parallels'' is an album by American jazz saxophonist David S. Ware which was recorded in 2001 and released on the AUM Fidelity label. Reception Ware's move to more electronic textures divided the critics. In his review for AllMusic, Sam Samuelson called it "his most inspired record thus far" and said "This recording is not to be missed". Pitchfork's Christopher Dare was less impressed, stating "I'll leave it to the listener to decide whether the good half of an album makes it worth the purchase. Unfortunately, the other half weakens all its supports with some tacky choices regarding sound palettes and dynamics-- deconstruction in the least clever sense".Dare, C.Pitchfork Review October 10, 2001 The Guardian's John Fordham noted "Much of it is as fiercely remorseless as you'd expect. But there are also Afro-funk grooves as tight as a club disc, endless tenor notes against gongs and bells, sci-fi electronic bleepings and twitterings, and an awe-inspiring tribute ...
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