text:
Suzuki Alto

The Suzuki Alto (スズキ・アルト) is a kei car produced by Suzuki since 1979. The model, currently in its ninth generation, was first introduced in 1979 and has been built in many countries worldwide. The Alto originated as a commercial vehicle derivative of the Fronte, but over time the Alto nameplate gained in popularity and by 1988 it replaced the Fronte name completely. The Alto badge has often been used on different cars in Japan and in export markets, where it is considered a city car.

Nameplate history
In Japan, the Alto badge was originally meant to be for the commercial use version of the Fronte passenger car. The word "alto" is a musical term. When introduced, the Alto was only available as a three-door "light van" and with bare-bones equipment. However, Suzuki generally did not use the "Fronte" badge in export, usually calling all versions "Alto" abroad. Most early export Altos were thus technically speaking rebadged Suzuki Frontes. These were exported with changes such as enlarged engines, sometimes modified bodywork. Thus the Japanese SS40 Fronte became the SS80 Alto with a 660 cc engine abroad. The Alto badge gradually took over in Japan as well, as the distinction between kei commercial vehicles and passenger cars was diminished in early 1989. The Fronte line was retired in March 1989. The Alto plate has been used on export versions of various Indian-built derivatives since the early 1990s, as neither cars are restricted by the kei rules and Indian cars are also considerably cheaper than Japanese-built ones.

Thus, the European-market models were actually:
 * 1981–1984: SS40 Fronte with a 40 PS 796 cc three-cylinder engine (SS80F/G).
 * 1984–1994: CA/CB91 Alto/Fronte (also referred to as SB308) with the same 40 PS F8B engine as the SS80.
 * March 1994 –2002: Maruti Zen (a wider version of the Suzuki Cervo Mode), with a 993 cc engine.
 * 2002–2009: Maruti Suzuki Alto (based on the HA12 Alto), with a 1061 cc four-cylinder engine. Sold until 2012 in other markets.
 * 2009–2014: Maruti Suzuki A-Star, with a 998 cc engine.

In 2014, the Suzuki Celerio replaced the Alto in Europe and many other export markets. Outside of the Japanese domestic market, the Alto badge remains used on the second generation of Indian-built Maruti Altos which is generally sold as a Suzuki in export markets.

First generation (1979)
The first generation (SS30V/40V), introduced in May 1979, is a three-door cargo version of the Fronte passenger car, equipped with a folding rear seat. Front suspension comprised coils struts, with leaf springs at the back. The steering was of the recirculating ball type, and four-wheel drums were used. On introduction, the Alto received the T5B two-stroke 539 cc (SS30) three-cylinder engine, producing 28 PS at 5500 rpm. The Alto was a "micro sensation" when introduced, largely due to its rock bottom price of ¥470,000 (circa $1,900 in 1979, at a time when the cheapest Ford Pinto cost $4,999 in the US). This low price was made possible by a number of Japanese special concessions for commercial vehicles: most notably, the engine was subject to less stringent emissions rules and did not require expensive twin catalysts. Two fewer doors provided another saving, as did the exemption from commodity tax. In spite of relentless cost cutting, Suzuki did increase the safety standards with standard equipment not typically found in kei cars at the time, such as three-point belts in front and individually fused headlamps (so that if a fuse were to blow, one headlamp would still work). The Alto's success changed the kei-car market, and other producers such as Subaru (with the "Family Rex") quickly followed suit with cut-price "commercial" vehicles that were really intended for private use.

Suzuki was unable to keep up with demand the first few years, particularly in the home market. The Alto helped Suzuki move into seventh place in Japanese production for cars and trucks. In the last full year of production for this generation, it was still by far the best selling Kei car, with the Alto outselling the passenger-oriented Fronte at a rate of about five to two.

In May 1980, a fully automatic two-speed option was added to the Alto SS30. In January 1981, the F5A four-stroke 543 cc from the Fronte was also made available for the Alto; although it only had a single-barrel carburettor, it too put out 28 PS but at 6,000 rpm. Torque was considerably lower, however, down from 5.3 to 4.2 kgm. 1981 was also when it became available in the United Kingdom, as Suzuki began selling cars there that year.

In export markets, the Alto name was used for the passenger car versions (chassis codes with trailing letter "S") as well as on commercials (ending in "V"), while the van was marketed as the "Suzuki Hatch" in Australia. The four-doors were not proper hatchbacks, only featuring an opening rear window. Export cars were also available with twelve-inch wheels, unlike the domestic versions which only used ten-inch units until the introduction of the 4WD version in October 1983. The 4WD "Snow Liner" thus gained an extra 2.5 cm of ground clearance. Most export Altos were passenger car versions (which used the "Fronte" badge in the Japanese domestic markets), and usually received the 796 cc F8B engine and the SS80 chassis code. The 800 had better performance, and due to the higher possible gearing it saw an improved gas mileage as well - by about ten percent according to Suzuki. The SS80 was also built in New Zealand, by South Pacific Suzuki Assemblers at a rate of six per day. It was introduced in New Zealand in March 1980.

While Suzuki held on to the two-stroke engine concept for a half decade longer than any of its Japanese competitors, eventually market pressures and ever tightening emissions regulations spelled its end in the Alto by September 1981. The Jimny, however, did use the same 539 cc engine (called LJ50 in the Jimny) as late as 1987.

Between 1983 and 1986, this generation Alto was built in India as the Maruti Suzuki 800. By 1984, the 800 cc Alto/Fronte (called "FX") were introduced in Pakistan and were locally manufactured by Pak Suzuki Motors along with the 1000 cc Jimny (SJ410).

Suzuki Hatch (Australia)
In Australia, the SS40V was sold as the Suzuki Hatch, only available as a two-seat commercial vehicle. This meant it was taxed at 35 percent duty as opposed to 57.5 percent for passenger cars, and sales were not affected by Australia's then-quota on import cars. The Hatch originally offered a single-carburetted 543 cc engine with 19.2 kW at 6000 rpm and 35 Nm at 4000 rpm. The side rear windows were covered with fibreglass by default, with a glass panels optional. The only other option was air conditioning. The Hatch was by far the cheapest new car sold in Australia at the time, although equipment was limited: the buyer received standard vinyl seats and mats and cross ply tires, with the only concession to luxury being a push-button AM radio. M. W. Suzuki in Victoria, Suzuki's distributor for Southern Australia, introduced the "800 pack" in January 1981 that included the 796 cc motor. The pack also added steel-belt radial tyres, 12-inch wheels (up from 10-inch), front-wheel disc brakes and bolder bumpers front and rear.

Second generation (1984)
The second generation (CA71) was introduced in September 1984. This generation Alto echoed the design of the GM M-platform that underpinned the 1983 Suzuki Cultus. It continued with the F5A engine of the SS40, but also became available with turbocharged and multi-valve engines thereof, mainly in the "Works" series. In December 1984, a four-wheel-drive version (CC71) was added; until it arrived Suzuki had kept the four-wheel-drive version of the first generation Alto (SS41) on offer. Performance versions of the Alto family first appeared in September 1985, when a fuel injected and turbocharged engine with 44 PS was made available; this could also be had in combination with four-wheel-drive. The Alto Turbo gradually acquired more performance-related modifications until the Alto Works version was introduced in February 1987. This was the first kei car to reach the legal limit of 64 PS. It acquired considerable popularity, with models of it still made by Fujimi.

A five-door body became available on the Alto in October 1985. This was superficially identical to that of the Fronte's, but the rear seat folded flat and it was technically speaking a commercial vehicle. This was the first five-door commercial of its kind in Japan, and was originally a special model introduced to celebrate the one millionth Alto produced. The CB model code was not used on the Alto in Japan, as it signifies the passenger car version which was still sold as a Fronte in the home market.

In July 1986, the CA/CC71 received a rather thorough facelift. New wraparound headlights, a new dash and interior heralded the new available ITL rear suspension (Isolated Trailing Link), a three-link rigid setup. Some lower end models retained the earlier leaf sprung rigid axle; those with ITL received the CA/CC72 chassis code. A "Walkthrough Van" was introduced in January 1987, while at the other end of the spectrum, the personal coupé Cervo on the CA/CC72 base was introduced in 1988 with a new 547 cc F5B engine. In August 1987, higher spec Altos became available with a three-speed automatic rather than the two-speed unit that had been used before.

Other markets
Most export markets received the passenger car version, which would have been badged "Suzuki Fronte" in Japan, but were usually sold as Altos abroad. When equipped with the 543 cc F5A engine, the export model code is SB305. Most cars sold outside of Japan, however, received the larger (0.8 litres) F8B engine and the SB308 model code.

Europe
The 796 cc, 41 hp-metric F8B-engined CA/CB91 was sold in Europe with either a four-speed manual or two-speed automatic transmission. Export Altos were technically speaking Frontes, as this was the name used for passenger versions in Japan. They received larger bumpers, making them 105 mm longer and 10 mm wider. European Altos received the same facelift as the CA/CB72 did in early 1987 (a little later than in Japan), followed by a market specific facelift in January 1988, unveiled at the Brussels Motor Show. This model remained in production (latterly by Maruti Udyog) for the European market until 1993, when it was replaced by an also Maruti-built 1-litre version of the Cervo Mode, which was sold as the Alto until 2002. The Maruti 800 did continue to be available under its own name in Europe until 2004, when it could no longer pass emissions and safety requirements.

India
The Suzuki Alto was produced and sold in India as the Maruti 800 between late 1986 and 2014, succeeding the previous generation which had been built there since 1983.

Pakistan
While the car has been long retired in other markets, it remained in production in Pakistan under the moniker Suzuki Mehran. The Pakistani version is essentially a simplified basic rebadged second-generation Suzuki Alto CA/CB91 which was sold in the Japanese and European market from 1984 to 1988. The Mehran remained in production due to its cost effective nature and cheap parts availability. In March 2019, the moniker Mehran officially ended its production after 40 years of production, replaced by the eighth-generation Alto.

China
Around 1990, the China Ordnance Industries Corporation (COIC, a predecessor company to Norinco) purchased the complete rights and all machinery for manufacturing the SB308 Alto from Suzuki. COIC charged four hitherto military enterprises with manufacturing the Alto: Chongqing Chang'an, Jilin Jiangbei, Xiangtan Jiangnan, and Xi'an Qinchuan were all to switch over to civilian manufacture. Chongqing Chang'an were able to adapt Suzuki's just-in-time manufacturing (JIT) methods and were the first to market the car, in 1992. Jilin Jiangbei lost money on each car built and ended up on the brink of bankruptcy; Xiangtan Jiangnan never got production off the ground, while Xi'an Qinchuan suffered a fire and chose to develop their own design instead (a car called the Qinchuan Flyer; the company was later made part of BYD Auto). Chang'an ended up without real competition in the segment. Chang'an's productivity set a new standard for the Chinese auto industry.

In 1993, Changan Automobile took over production of the Alto. The Changan Suzuki SC7080 Alto was produced with the same F8B engine as used in other export markets, and was replaced by the facelifted SC7081 Alto/City Baby/Little Prince/Happy Prince in 2001. The top-of-the-line Happy Prince, discontinued in 2007, used the sportier looking front bumper, grille, and bonnet of the Alto Works. Citing lower sales and stating that upgrading the design to meet new regulations would not be cost effective, Chang'an ended production of the old Alto on 28 July 2008. A total of 504,861 were built by Chang'an Suzuki between 1993 and 2008.

Another version called JN Auto has been built by Jiangnan Auto. As of December 2010 Zotye's Jiangnan Alto is one of the cheapest car in the world, with a price tag of $2830. The entry-level model comes with the 796 cc F8B three-cylinder 26.5 kW. An inline-four engine with a displacement of 1051 cc and an output of 38.5 kW was also available. The Jiangnan TT was eventually replaced by the Zotye Z100 in 2010.

Third generation (1988)
The third generation (CL/CM11) replaced the CA71 in September 1988. This was the last generation of Alto to have an associated Fronte model. It had strikingly angular styling, with an unusual glazed C-pillar on the 5-door. Another curiosity of this generation was the availability of a version with a sliding door on the driver's side, the "Slide Slim", intended to simplify entering and exiting in tight spaces. It also made egress easier for the old and the infirm. The Slide Slim has two regular doors on the passenger (left) side. This door type wouldn't be used for some time until the arrival of the Toyota Porte and Peugeot 1007. When the Fronte name was discontinued in October 1989, the passenger car versions (CN/CP11) became Altos. Initially the CL11 used the 12-valve 42 PS F5B engine known from the SS71 Cervo, but with an added 34 PS 6-valve version in lower-spec versions. A 46 PS DOHC version was also available in the Twin Cam Rl. Passenger car versions had the same engines, but all with 2 PS less due to more stringent emissions controls. The fuel-injected, 6-valve, turbocharged Works models came with an SOHC 58 PS engine (FF S/X or 4WD S/R) or a 64 PS DOHC version (FF RS/X or 4WD RS/R). The front-wheel-drive Works' were available with a 3-speed automatic in addition to the standard 5-speed manual.

This generation was very successful at home, with Suzuki's kei car sales tripling in 1989 versus the year before. It was, however, not generally exported, and was never built by Suzuki with engines of more than 660 cc nor with left-hand-drive. Export models arrived late, only by 1993 after the earlier export version had been retired, and it was only seen in a very few places, namely New Zealand, Hong Kong, and Singapore. In most countries the earlier Alto/Fronte was replaced by an Alto-badged Maruti Zen (an Indian-built Suzuki Cervo Mode). With a 0.8-liter engine the CL11 Alto was built with left-hand-drive in South Korea, Poland, Romania and Uzbekistan as the Daewoo Tico, and also in China by Anchi.

660cc era
When the Kei car standards were changed in 1990, the engine was upgraded to the 657 cc (F6A), and the Alto became the CL/CM/CN/CP21 in the process. The new standards also allowed for a 100 mm longer car, which meant new bigger front and rear bumper, and new headlights and grille. Lower grade Van versions received a 6-valve 36 PS engine, while passenger car versions (and the l'Èpo Van) got a single-cam 12-valve 42 PS version. This engine was upgraded to 52 PS in January 1991. 4WD versions with the three-speed automatic transmission were fuel-injected and offered three more horsepower. The F6A-engined Works RS/X and RS/R still claimed the legally limited 64 PS with 8.7 kg.m of torque, but the lower grade i.e. Turbo (introduced in July) received a 6-valve SOHC-engine producing 61 PS and 9.2 kg.m of torque (slightly more than the high-revving, twin cam RS). Reflecting decreased tax benefits for commercial Kei cars, the Works series were now classified as passenger vehicles, allowing for a real back seat. The lineup was reorganised in January 1991, with a lot of new engine specifications.

In September 1991, responding to increasing safety demands, the Alto received side impact protection. Also, the vertical door handles (see picture on the right) on three-door versions were replaced by traditional horizontal ones. The re-engineering was extensive enough to necessitate new model codes, with vans becoming CL/CM22 (FF/4WD) and passenger versions (including the Works) now called CR/CS22. While most of the engines remained as they were, the Alto Van's engines were updated with power output up to 40 PS.

This was the model that reached limited exports. The New Zealand version was mostly the same as the Japanese market five-door van model, with a cargo-oriented bare-bones trim combined with the rather soft Japanese suspension settings and light, low-geared steering. Unlike the Japanese models, however, this low spec was coupled to the (carbureted) 12-valve engine with 38.2 kW and a standard five-speed transmission. A three-speed automatic was also available. In a period test, this model reached the 0–100 km/h benchmark in 15.9 seconds and a top speed of 148 km/h.

A very limited production version for competition purposes arrived in 1992, called the Alto Works R. This was a lightened, strict two-seater with four-wheel-drive, a close-ratio five-speed transmission, and a tuned engine - although official output remained 64 PS, as required by the Kei regulations. The car has an adjusted ECU and a free-flow Suzuki Sport RHB31 turbocharger, as well as a different throttle body. Less than a hundred were built, although it continued to be available until the arrival of the next generation Alto. This model, without a backseat and with racing bucket seats in front, was classified as a van and accordingly received the CM22V chassis code, unlike the usual Alto Works. The undercoating and most creature comforts were deleted (although air conditioning remained an option) and the car sat on steel wheels, which made the car about 20 kg lighter than a regular Works RS/R.

Alto Hustle
Suzuki also produced a version of the Alto, known as the Alto Hustle, with a raised roof behind the front seats. This was unusual in that it used a modification of the five-door Alto's body rather than a completely new body, allowing Suzuki to market it as part of the Alto family. Its appearance was similar to the Nissan AD Max van. The Hustle was short-lived, only being offered between November 1991 and October 1993.

The engine options were mostly as for other Altos, albeit without the turbocharged offerings. The standard model has 40 PS, while a 12-valve version has 52 or depending on if it was carburetted or fuel injected. The lowest and highest-powered versions were also available with four-wheel-drive, and there was a bare bones two-seater version (Hu-2) on offer.

Fourth generation (1994)
The fourth-generation Alto (HA11) appeared in November 1994. The design was marked by simplicity, as Suzuki strived to return to making a more basic car. The Slide Slim model, with its sliding door on one side, was discontinued, as were some of the higher end versions of the third generation Alto such as the Regina. The new Wagon R took over much of the more expensive Alto's market share, leaving the Alto to compete at the lower end of the market. The fourth generation was generally not exported, with most foreign markets instead receiving Alto-badged versions of the Indian-built Maruti Zen.

The 657 cc F6A engines were joined by a new high-performance 64 PS 658 cc K6A (HA21) for the Works RS/Z model. Front-wheel drive or full-time four-wheel drive were offered, in three- or five-door sedans or as a three-door van. The Works model was also reclassified as a sedan, as many advantages for light commercial cars had vanished. The tailgate and rear doors are still fairly angular, but the front was more rounded than previous models.

Chronology
In March 1995, the Alto Sv model appeared. This was a special fuel economy model, well equipped with air conditioning, power steering, AM/FM cassette stereo, etc. The "Alto With", a limited sporty edition based on the well-equipped Sf model (also with four-wheel drive) with a front and rear spoiler, appeared in June 1995. In July 1995, a version of the Works Turbo ie/s called the Limited appeared; this had special stereo equipment and keyless entry and power locks. It was developed by AddZest (Clarion). In November 1995, the Works model received a new grille and front bumper, with a bigger opening. In May 1996, the l'Èpo model appeared, this three or five-door sedan was based on the Se/Le model and was also available with four-wheel drive. This version received full power equipment, remote key entry, distinctly upholstered full fabric seats (rather than the vinyl backed units of the Se/Le), hubcaps and many other amenities.

The Works Turbo F Limited ie/s version appeared in November 1996, offering a carbon panel, special alloy wheels, and more spoilers. In April 1997, the range received a facelift with side door impact beams and a new front design, with new marker lights beneath the headlights and a redesigned trunklid. The Alto l'Èpo P2 appeared at the same time, using a fuel injected version of the 12-valve engine with 55 PS rather than the usual 52 PS carburetted unit. All 12-valve models fitted with four-wheel drive and automatic transmission received a 55 PS fuel injected version, as was the case since the third generation Alto. The l'Èpo models also received a new (optional) airbag. The Works models only received smaller changes at this time, such as white-backed meters in the dashboard. The RS/Z also received 14-inch wheels and fuller equipment. In November 1997, the even better equipped l'Èpo Limited model appeared, with a more powerful stereo system including a CD player. In January 1998, the Works Sports Limited model appeared, a Works ie/s with 14-inch wheels and special seats. In May the "Alto Beam" special model appeared, with UV reflecting glass and extra large seats.

In March 1995, a second iteration of the Works R arrived, again a limited production vehicle with a close-ratio transmission, built for competition purposes. Like the first Works R it was built in less than one-hundred examples, but this one appeared in two series: The Series 2 had sold out by October 1995 and the third series was available from January until September 1998. Unlike the first Works R, this one was a passenger car version (chassis code HB21S) and received the new, lightweight K6A engine. It was lighter than the regular Works RS/R, and the engine was considerably more powerful - although claimed output remained 64 PS as per the regulations, torque increased from 10.5 to 11.0 kgm (at 3500 rpm for the Series 2, 4000 rpm for the Series 3). Period sources state that the engine's actual output was at least 80 PS. The engine received considerable changes over the regular Works, many more than the first Works R. The throttle body and camshafts were different, while a larger HT06/RA12 turbocharger was fitted, along with 260 cc injectors and a larger intercooler (necessitating a hood scoop nearly as wide as the bonnet itself). The weight savings were only 10 kg over the Works RS/Z for this model. This was the end of the Works R series of cars, foreshadowing the end of the Works badge in 2000.

Fifth generation (1998)
The fifth-generation Alto (HA12/22) was introduced in October 1998. The styling was generally more rounded, the shape of the cabin showing the Alto's relationship with the new Suzuki Kei. Suzuki designed the new Alto with an eye to reducing cost, both for themselves and for the end users. To that end, weight was reduced to a minimum, while four-wheel drive models were able to use the same bottom plate as front-wheel drive models. With sales of the 2-seat commercial versions dropping steadily, those versions (Va and Sc, with four-speed manual transmission) were now only built to order.

The 658 cc K6A engine was now also available without a turbocharger, joining the turbocharged version and the familiar 657 cc F6A engines. The HA12 chassis number was for F6A-engined cars; HA22 denotes cars with the K6A engine. The turbocharged Works models were available with a 60 PS F6A engine (Alto i.e., 5MT/3AT/4AT and FWD or AWD) or a 64 PS VVT K6A (RS/Z, 5MT/4AT and FWD or AWD). The front-wheel-drive RS/Z was sold with a non-VVT K6A engine when in combination with a 4-speed automatic transmission, it too with a claimed 64 PS. Unique to this generation was a five-door version of the Alto Works. With the December 2000 facelift, the Works versions were discontinued, as the Alto family was realigned strictly as an economy version. The Suzuki Kei Sports picked up the Works' mantle.

Several derivatives were produced from this generation. Suzuki produced two "classic-style" versions: the Alto C with a deep chrome grille and a curious headlamp arrangement by which circular main lamps were joined with ovoid sidelights and indicators, which was shared with the Alto Works; and the later Alto C2 which had separate headlamps and sidelights and a wider grille. Mazda also sold the standard Alto as the Carol, and Mitsuoka used the Carol as a basis for their Ray.

Facelift
In December 2000, the fifth generation Alto received a thorough facelift, becoming the HA23. Front- and four-wheel drive models now used the same chassis number. As the Works and all other turbocharged models were discontinued, naturally aspirated versions of the new K6A became the only ones on offer, with either 54 PS or 46 PS in an especially efficient lean burn iteration. The K6A met the MLIT requirements to be classified as an "excellent low emissions vehicle". The retro-style Alto C was also discontinued. In February 2001 a new retro version was introduced, the Alto C2. Unlike the earlier C, this one had the same headlights as other Altos and did not have the chrome detailing of the earlier version.

Front- or four-wheel-drive, manual and automatic transmissions were available (no more CVT), in either a 3- or 5-door hatchback body. A 3-door van version remained available. Passenger model production was discontinued in August 2004 to make room for the succeeding generation, but a decontented Van version was kept in production until January 2005. These forwent the VVT system and the automatic only had three forward speeds rather than four as before.

In other markets
This model also entered production in India as the Maruti Suzuki Alto (model code RF) in September 2000 and was built there until 2014. From 2002 until 2009 Maruti-built Altos were exported to Europe as Suzuki Altos; sales continued in Latin America and other markets until the next generation Maruti Alto took over in 2012. The car is powered with 0.8-litre F8D three-cylinder and 1.1-litre F10D four-cylinder engines with fuel injection.

Pakistani production began in 2000 utilizing the old carburetted 1.0-litre F10A four-cylinder engine and also available with CNG variant. The production was halted in 2012.

Beginning in mid-1999, and originally imported from Japan, the car was also sold in Colombia as the Chevrolet Alto. As the market for two-door cars was minimal in Colombia, it was only available with five doors. The Colombian model was equipped with a one-litre, sixteen-valve inline-four engine with 65 PS at 6500 rpm, an engine it shared with the locally made Chevrolet Wagon R+. GM Colmotores began building it themselves in 2000 and kept it in production until 2003. The Chevrolet Alto was also exported to Ecuador.

Sixth generation (2004)
The sixth-generation Alto (HA24) was introduced in September 2004. The bonnet and headlamps curved down at the front, giving a similar effect to the Toyota WiLL Vi or the Citroën C2. The Alto was realigned as a less costly car to accommodate new models such as the Cervo and Alto Lapin. The more powerful engines were moved into the other more upmarket versions like the Suzuki Kei Works and Alto Lapin SS, leaving the Alto with only a 54 PS version. In Japan, this version of the Alto was not only rebadged as the Mazda Carol, but also by Nissan as the Pino.

Japan
The seventh-generation Alto was first shown at the 2009 Tokyo Motor Show alongside its sister car, the Mazda Carol. It is available with a 660 cc engine, a 5-speed manual, a 4-speed automatic transmission or a CVT, in FWD or 4WD variants. Under the Japanese 10-15 test cycle, the front-wheel-drive with CVT achieves 24.5 km/litre fuel economy.

In 2011, Suzuki launched the Alto Eco variant, that features the R06A engine lifted from the Suzuki MR Wagon and an idling stop function. It is capable of reaching 30.2 km/L based on Japan's JC08 Mode test cycle (32 km/L under 10-15 test cycle). This is .2 km/L higher than the Daihatsu Mira e:S.

In 2013, the Alto Eco was updated with the addition of Suzuki's ENE-CHARGE system, first applied on the fifth generation Wagon R. With this technology, fuel economy has now improved to 33.0 km/L based on Japan's JC08 Mode test cycle.

International
The Suzuki Alto available in international market is known in India as the Maruti Suzuki A-Star (short for "Alto-Star"), but is also known as the Suzuki Celerio in some other countries. It was launched in December 2008 by Suzuki's Indian subsidiary Maruti Suzuki.

It is actually a different car from the Japanese market one although they share the same name. The car is manufactured exclusively in Haryana, India and is exported worldwide. It is available in some European markets with a somewhat different front end as the Nissan Pixo. The car was rolled out to the Indian customers in December 2008 and exports began in April 2009.

With a totally new body and engine, Maruti hopes to bring freshness to the Indian car market, of which it already holds a major share. The 998 cc K10B inline-three engine was developed especially for the new car, and is also used for the Nissan Pixo. The A-Star has a fresh new dashboard, with an available unique protruding tachometer besides the usual meter cowl (only in the ZXi trim).

In February 2014, Maruti Suzuki unveiled an all-new Celerio, which replaces the A-Star and Zen Estilo.

The European market version of the Maruti Suzuki A-Star was unveiled at the 2008 Paris Motor Show. It was developed to be a global car and will be made at Maruti Suzuki's plant in Manesar, Haryana, India. It is stylistically based on the Suzuki A-Star Concept. The Alto was conceived as a response to high petrol prices and global warming. It was released as an eco-friendly car priced from £6,795 OTR.

Nissan Pixo
The Nissan Pixo is the "sister car" to the Suzuki Alto and is mechanically very similar, but featuring a few notable exterior differences, including the main grille and headlamps. It was launched at the 2008 Paris Motor Show and was available in Europe from 2009 to 2013. Because it was developed and built cheaply in India, the Pixo was sold for just under £7,000. In the summer of 2013, the Pixo was withdrawn from UK showrooms.

The Nissan Pixo was reviewed, and subsequently mocked, by Top Gear in series 17. The review became a Top Gear challenge where Jeremy Clarkson and Richard Hammond bought cars on the second hand market for the same price as a new Pixo. Clarkson bought a 2002 Mercedes Mercedes CL600 for £6995, and Hammond bought a 1994 BMW 850ci for £6,700. James May defended the Pixo, arguing that it was more modern, reliable and economical than the two luxury cars.

Suzuki Alto 800
In 2012, India's Maruti introduced a low cost replacement for the original Maruti 800 called the Alto 800. This was also exported to many markets outside of Europe and sold as the Suzuki Alto 800, while some markets simultaneously offered the pricier A-Star as the Suzuki Alto.

Eighth generation (2014)
The eighth-generation Alto was introduced in Japan in December 2014. The new Alto was the first Suzuki's car designed on lightweight HEARTECT platform. It is also the first Alto that using torsion beam model rear suspension, replacing the old 3-link model (except for all-wheel-drive models). The new lightweight platform, lighter body, engine, seats and simpler rear suspension made the car 60 kg lighter than the outgoing model. This car was also designed to have a very low fuel consumption, achieved using "Suzuki Green Technology" for the body and the engine, and resulted in the car having a claimed fuel consumption of 37 km/L.

The conventional models of the new Alto is available in 5 trim levels. The passenger variant are called "F", "L", "S" and "X", plus a commercial van variant called "VP". All powered with a naturally-aspirated K06A 658 cc inline-three engine, from previous generation. This engine received major improvement in fuel efficiency by raising the compression ratio and adopting the exhaust gas recirculation (EGR) system (excludes "F" trim with manual transmission and "VP" van), while enhancing the low-to-mid speed driving performance by newly designing the intake and exhaust systems. The weight also reduced by adopting a cylinder head integrated with an exhaust manifold and simplifying the catalyzer case. It is mated with either a 5-speed manual transmission ("F" and "VP"), a 5-speed automated manual transmission called Auto Gear Shift (AGS) by Suzuki ("F" and "VP"), or a CVT ("L", "S" and "X"). All transmissions are available with all wheel-drive option. The K06A engine with manual transmission for "F" and "VP" trims are rated at 49 PS and 58 Nm, while the rest of the range produces three horsepower and four Nm more because those engines are fitted with VVT.

A sporty variant intended for daily use called "Turbo RS" was introduced in March 2015 which was followed by a more spartan performance-tuned "Works" variant which made a comeback in December after 15 years of absence. The Works had been discontinued as the market had shifted away from performance cars to instead concerning itself with economy and the environment; Suzuki made mention of the high fuel economy even of the Works model. These high performance models are powered with the turbocharged variant of K06A engine, producing 64 PS and 98 Nm - ("Works" has two Nm more than the Turbo RS). It is paired with either a 5-speed manual (not available for "Turbo RS") or automated manual transmission with taller gear ratios than the less powerful "F" and VP" trims. The handling is also reworked with new wider high performance tires from Bridgestone, shock absorber from KYB, ventilated front disc brakes, strut bar to increase body's rigidity, rear stabilizer bar for front wheel-drive models (also available for "X" trim).

For the interior, unlike the previous generation, adjustable front seats head rest and 50:50 foldable back seats (still with adjustable head rest, excluding "VP", "F" and "L" trims) are deleted. All natural aspirated engined models received two tone black and white colours. In 2018, the seat upholstery was replaced with dark blue colour for "L", "S" and "X" trims. "Turbo RS" and "Works" trims has black with red accents interior colour, leather wrapped steering wheel, paddle shift for AGS models and tachometer. The "Works" trim added racing front seats from Recaro, stainless steel pedals and turbo boost meter.

In term of exterior, all naturally aspirated models are using halogen headlights as standard and 13 inches steel wheels with hubcaps (except "VP") and "X" with special two tone colours. The "Turbo RS" and "Works" received more sporty bumpers, side skirts, rear upper spoiler, fog lights, stickers, 15 inches aluminium wheels from Enkei (also available for "X" trim), front brake calipers with red colour for "Works" and HID headlights.

The safety is also upgraded with additional electronic stability control and collision avoidance system. The car achieved 4 of 5 stars in crash tests performed by JNCAP.

To celebrate 40 years anniversary of Alto, a special edition called "L Limited" was launched in June 2019. The car is based on "L" trim with additional accessories and features from higher trims.

The "Turbo RS" trim was discontinued in December 2018, followed by "X" trim in October 2020, "VP" commercial van in August 2021 and finally replaced by ninth generation four months later.

Pakistan
The eighth-generation Alto was revealed for the Pakistani market on 12 April 2019 at the Pakistan Auto Show (PAPS). The car is sold in three variants: "VX", "VXR" / "VXR-AGS" and "VXL" / "VXL-AGS". The "VX" being the base model with minimal equipment, no air conditioning and a 5-speed manual transmission; the "VXR" variant gaining air conditioning, twin airbags, power locks, power steering, etc.; while the premium "VXL" model is further equipped with air conditioning, ABS brakes, and an automated manual transmission "AGS".

The local manufacturing of Alto has made Pakistan one of the few countries in the world that locally manufactures kei cars. Currently, Pakistan is the only country other than Japan to locally manufacture this generation of Suzuki Alto. Pak Suzuki Motors' second generation Alto looks cosmetically the same as the Japanese-made one and is powered by the same engine. It is rated at 39.5 PS and 56 Nm, lower than Japanese model because the lower compression ratio (10 vs 11.5), lack of VVT and several other differences.

Ninth generation (2021)
The ninth-generation Alto was introduced in Japan in December 2021. It is continued to be built on lightweight HEARTECT platform and powered with the same R06A engine for the conventional models. Additionally, the car received new R06D engine with mild hybrid system that was also seen in Suzuki Wagon R Smile. CVT is the only transmission that available in this generation and became the first Alto without manual transmission option. The Auto Gear Shift (AGS) automated manual transmission is also abolished.

The exterior styling is penned by Alessandro Di Gregorio, designer of Suzuki European Design Center in Italy: aesthetically the whole body presents softer, friendlier and less angular lines while still recalling the design of the previous generation. The windscreen is more vertical to make the passenger compartment more spacious and the total height is increased.

Four trim levels are available, "A" and "L" for conventional model and "S" and "X" for hybrid model.

title: Suzuki Alto


text:
Janusz Jędrzejewicz

Janusz Jędrzejewicz (21 June 1885 – 16 March 1951) was a Polish politician and educator, a leader of the Sanacja political group, and 24th Prime Minister of Poland from 1933 to 1934.

Life
He joined Józef Piłsudski's Polish Socialist Party in 1904. After World War I broke out, he joined the Polish Legions and the Polish Military Organization. In 1918 he joined the Polish Army and served as aide to Piłsudski. In 1919, he was transferred to Section II (Intelligence) at the Lithuanian-Belarusian Front Headquarters, and later to the General Staff.

After the Polish–Soviet War, in 1923 Jędrzejewicz became a politician. He was elected a deputy to the Polish Sejm (1928–35) and later a senator. In 1930–1935 he was vice-president of the Nonpartisan Bloc for Cooperation with the Government (BBWR). From 12 August 1931, to 22 February 1934, he served as minister of education. He introduced a reform of Poland's educational system that came to be named, after him, "Jędrzejewicz reform." From 10 May 1933, to 13 May 1934, he was Prime Minister of Poland.

In 1926, he founded the monthly, Wiedza i Życie. In 1929, he organized a teachers' union, Zrąb, and other educational societies, including the Polish Academy of Literature. He was also co-author of the 1935 Polish Constitution. After Piłsudski's death in 1935, he opposed the Camp of National Unity (OZN, Ozon) and the right wing of the Sanacja movement, and retired from political life.

After the Soviet invasion during the Polish Defensive War of 1939, he fled to Romania and later through Palestine to London. In 1948, he was chosen to be head of Liga Niepodległości Polski, a political party in exile. He died in 1951.

He was a brother of Wacław Jędrzejewicz and married Cezaria Baudouin de Courtenay Ehrenkreutz Jędrzejewiczowa, a pioneer of ethnography in Poland.

Honours and awards

 * Silver Cross of Virtuti Militari
 * Cross of Independence with Swords
 * Cross of Valour – twice
 * Order of Polonia Restituta
 * Order of the Cross of the Eagle, First Class (Estonia, 1938)

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Janusz Jędrzejewicz


text:
Walter Mahlendorf

Walter Mahlendorf (born 4 January 1935) is a German former sprinter who won a gold medal in the 4 × 100 m relay at the 1960 Summer Olympics. The German team finished second behind the American team, equaling its own world record of 39.5, but the Americans were later disqualified for an incorrect exchange.

Mahlendorf was also a member of the German's 4 × 100 m relay team that won a gold medal at the 1958 European Championships. Mahlendorf never won a national sprint title. After retiring from competitions he worked as a director of a sports complex in Bochum.

title: Walter Mahlendorf


text:
Thomas Rees

Thomas Rees may refer to:

Religious figures

 * Thomas Rees (Congregational minister) (1815–1885), Welsh Congregationalist minister
 * Thomas Rees (theologian) (1869–1926), Welsh theologian and editor, principal of Bala-Bangor Independent College, see 1926 in Wales
 * Thomas Rees (Unitarian) (1777–1864), Welsh Unitarian minister and scholar

Sportspeople

 * Tom Rees (rugby union, born 1913) (1913–1991), Welsh international rugby union prop
 * Tommy Rees (American football) (born 1992), American football quarterback
 * Tom Rees (rugby union, born 1984), rugby union footballer of the 2000 and 2010s for England, and London Wasps
 * Tommy Rees (rugby) (1904–1968), rugby union and rugby league footballer of the 1920s and 1930s

Military figures

 * Tom Rees (aviator) (1895–1916), first man killed by the "Red Baron"
 * Thomas Wynford Rees (1898–1959), British Indian Army general

Others

 * T. Ifor Rees (Thomas Ifor Rees, 1890–1977), Welsh diplomat and translator
 * Thomas M. Rees (1925–2003), U.S. Representative from California
 * Thomas Rees (Twm Carnabwth) (1806–1876), Welsh leader of the Rebecca Riots, also known as Twm Carnabwth
 * Tom Rees, physician and co-founder of AMREF
 * Tom Rees (evangelist) (1911–1970), English evangelist
 * Thomas ap Rees (1930–1996), botanist
 * Thomas Rees (mayor) (1844–1921), master builder and mayor of Brisbane, Queensland, Australia

title: Thomas Rees


text: File:Mr. Tickle.jpg

title: File:Mr. Tickle.jpg


text:
Thomas Rees (Congregational minister)

Thomas Rees (13 December 1815 – 29 April 1885) was a Welsh Congregational minister, who wrote a history of nonconformism. He was twice elected chairman of the Union of Welsh Independents.

Early life
The son of Thomas Rees and his wife Hannah William, Rees was born at Pen Pontbren, Llanfynydd, Carmarthenshire, and brought up by his mother's family at Banc-y-fer, Llangathen, where he helped his grandfather, Dafydd William, a basket maker. He joined the Independent chapel at Capel Isaac and began to preach in March 1832. He took a job at a colliery at Llwydcoed, Aberdare, but fell ill and then set up a small school. In 1836 he moved to Craig-y-bargod, Merthyr Tydfil, and took charge of a small school there.

Pastorates
Rees was ordained a minister on 15 September 1836 and then served as pastor at Craig-y-Bargoed (1836), Trecynon, Aberdare (1840), Llanelli (1842), Cendl (Beaufort), Breconshire/Mon. (1849) and Abertawe (1860). His chapel in Beaufort was Carmel Chapel; Beaufort was in the county of Brecknockshire (Breconshire) until 1879: see photos of Carmel Chapel on the Beaufort website.

Honours
Rees was awarded an honorary doctorate of divinity in 1862 by Marietta College, Ohio. He was twice elected as Chairman of the Union of Welsh Independents, in 1873 and 1875, and then as Chairman of the Congregational Union of England and Wales in 1884, but he died at his home in Swansea on 29 April 1885, before his term of office could begin.

Writings
Rees was widely known for his biblical commentaries. He was a co-founder of the first Welsh Independent quarterly, Yr Adolygydd. His History of Protestant Nonconformity in Wales (1861, 2nd ed. 1883) prepared the ground for a history of Welsh Independent churches, Hanes eglwysi Annibynol Cymru (1870 onwards), on the first four volumes of which he worked with John Thomas (1821–1892). He was criticized for denominational prejudice in the work, but made meticulous use of sources, so that it remains an important source work.

title: Thomas Rees (Congregational minister)


text:
Thomas Rees (Twm Carnabwth)

Thomas Rees (c. 1806 - 17 November 1876), generally known as Twm Carnabwth, was a leader of the first "Rebecca Riots" in 1839.

Nobody knows who called the meeting in the barn of Glynsaithmaen farm in the Preseli hills, and nobody knows who attended. But the man selected to lead the attack on the new toll-gate at Efail-wen was the 33-year-old red-headed Thomas Rees.

title: Thomas Rees (Twm Carnabwth)


text: Category:Medical tests

title: Category:Medical tests


text:
Hospital information system

A hospital information system (HIS) is an element of health informatics that focuses mainly on the administrational needs of hospitals. In many implementations, a HIS is a comprehensive, integrated information system designed to manage all the aspects of a hospital's operation, such as medical, administrative, financial, and legal issues and the corresponding processing of services. Hospital information system is also known as hospital management software (HMS) or hospital management system.

Hospital information systems provide a common source of information about a patient's health history, and doctors schedule timing. The system has to keep data in a secure place and controls who can reach the data in certain circumstances. These systems enhance the ability of health care professionals to coordinate care by providing a patient's health information and visit history at the place and time that it is needed. Patient's laboratory test information also includes visual results such as X-ray, which may be reachable by professionals. HIS provide internal and external communication among health care providers. Portable devices such as smartphones and tablet computers may be used at the bedside.

Hospital information systems are often composed of one or several software components with specialty-specific extensions, as well as of a large variety of sub-systems in medical specialties from a multi-vendor market. Specialized implementations name for example laboratory information system (LIS), Policy and Procedure Management System, radiology information system (RIS) or picture archiving and communication system (PACS).

Potential benefits of hospital information systems include:
 * Efficient and accurate administration of finance, diet of patient, engineering, and distribution of medical aid. It helps to view a broad picture of hospital growth
 * Improved monitoring of drug usage, and study of effectiveness. This leads to the reduction of adverse drug interactions while promoting more appropriate pharmaceutical utilization.
 * Enhances information integrity, reduces transcription errors, and reduces duplication of information entries.

title: Hospital information system


text:
Talk:Ung County

[Untitled]
Why are you using Hungarian names of counties, which lie in Slovakia? Kingdom of Hungary was not Hungarian country, but country of Slovaks, Croatian, Ruthenians, Hungarians, Romanians, Germans atc.

If we are writing about counties of Kingdom of Hungary, but they lie in Slovakia, we have to use slovak names, not hungarians.

From Talk:Uh_County:

It's better to move a page than to simply copy and paste it somewhere else, because now all the history of the entry is still at the "Ung" entry. Please fix this. Besides, I don't think "Uh County" is the most appropriate title for the entry, since most of the county is now in Ukraine (which promotes "Uzh county"), and it was a Hungarian county (which promotes the original "Ung"). Markussep 13:35, 19 Oct 2004 (UTC)

I can agree more with Uzh county as Ung. It wasn´t Hungarian county, but county of Kidgdom of Hungary. And it was multinations Kindgom as you certainly know. So, in my opinion, we have to use a name of appropriate nations (Uh or Uzh, but absolutely no Ung).

O.K. I will never again copy a page, I am sorry. I don ´t know it about history of page.--Kristo 17:01, 20 Oct 2004 (UTC)

I'll fix the history etc. and rename the page "Uzh county". You're right about the Kingdom of Hungary being a "rainbow" nation, but Latin, and starting from the 19th century Hungarian were the administrative languages. Since the county's population was probably mostly Ukrainian or Ruthenian for most of its existence, I choose Uzh. I'll leave our little discussion here for generations to come ;-) Markussep 11:33, 27 Oct 2004 (UTC)

Hungarian was officially language of Kingdom from the 60´s of 19th century. But I agree that Uzh is better than Uh or Ung.--Kristo 09:18, 6 Nov 2004 (UTC)

 * Hi,
 * You should not let nationalism talk out of you. We are trying to build a factual and objective encyclopedia. Noone challenges the fact, that the territory of the historical county Ung is now Ukrainian Territory (it was als Czechoslovak territory from 1920-ca.1940, from 1945 it was Soviet territory, since the 90's Ukrainian, but never Slovak, btw.)
 * But this very article is about the historical administrative county of the historical Kingdom of Hungary (which noone wants to reinstall!). There the county was never called Uh or Uzh.
 * Therefore int this historical context, both the title of the article and the name in the article should be named in Hungarian: the only correct historical form.
 * btw, ther has never been a Slovak or Ukrainian name for the county. Of course, there has been a name for the river, which gave its name to the county as well, but that's just a side-fact. -- Szabi 13:16, 5 August 2005 (UTC)

title: Talk:Ung County


text:
T. Ifor Rees

Dr Thomas Ifor Rees CMG (16 February 1890 – 11 February 1977) was a British diplomat, author and translator. Born Thomas Ifor Rees at 'Bronceiro' near the hamlet of Rhydypennau in Cardiganshire, Wales, he served as Britain's first Ambassador to Bolivia from 1947 until his retirement in 1949.

He was the author of a number of travel books in Welsh and English, such as In and around the valley of Mexico (1953), Sajama (1960) and Illimani (1964). His translations include a Welsh translation of the Rubaiyat of Omar Khayyam, published in Mexico City in 1939.

title: T. Ifor Rees


text:
Pottery of ancient Greece

Pottery, due to its relative durability, comprises a large part of the archaeological record of ancient Greece, and since there is so much of it (over 100,000 painted vases are recorded in the Corpus vasorum antiquorum), it has exerted a disproportionately large influence on our understanding of Greek society. The shards of pots discarded or buried in the 1st millennium BC are still the best guide available to understand the customary life and mind of the ancient Greeks. There were several vessels produced locally for everyday and kitchen use, yet finer pottery from regions such as Attica was imported by other civilizations throughout the Mediterranean, such as the Etruscans in Italy. There were a multitude of specific regional varieties, such as the South Italian ancient Greek pottery.

Throughout these places, various types and shapes of vases were used. Not all were purely utilitarian; large Geometric amphorae were used as grave markers, kraters in Apulia served as tomb offerings and Panathenaic Amphorae seem to have been looked on partly as objets d’art, as were later terracotta figurines. Some were highly decorative and meant for elite consumption and domestic beautification as much as serving a storage or other function, such as the krater with its usual use in diluting wine.

Earlier Greek styles of pottery, called "Aegean" rather than "Ancient Greek", include Minoan pottery, very sophisticated by its final stages, Cycladic pottery, Minyan ware and then Mycenaean pottery in the Bronze Age, followed by the cultural disruption of the Greek Dark Age. As the culture recovered Sub-Mycenaean pottery finally blended into the Protogeometric style, which begins Ancient Greek pottery proper.

The rise of vase painting saw increasing decoration. Geometric art in Greek pottery was contiguous with the late Dark Age and early Archaic Greece, which saw the rise of the Orientalizing period. The pottery produced in Archaic and Classical Greece included at first black-figure pottery, yet other styles emerged such as red-figure pottery and the white ground technique. Styles such as West Slope Ware were characteristic of the subsequent Hellenistic period, which saw vase painting's decline.

Rediscovery and scholarship
The interest in Greek art lagged behind the revival of classical scholarship during the Renaissance and was revived in the academic circle surrounding Nicolas Poussin in Rome in the 1630s. Though modest collections of vases recovered from ancient tombs in Italy were made in the 15th and 16th centuries these were regarded as Etruscan. It is possible that Lorenzo de Medici bought several Attic vases directly from Greece; however the connection between them and the examples excavated in central Italy was not made until much later. Winckelmann's Geschichte der Kunst des Alterthums of 1764 first refuted the Etruscan origin of what we now know to be Greek pottery yet Sir William Hamilton's two collections, one lost at sea the other now in the British Museum, were still published as "Etruscan vases"; it would take until 1837 with Stackelberg's Gräber der Hellenen to conclusively end the controversy.

Much of the early study of Greek vases took the form of production of albums of the images they depict, however neither D'Hancarville's nor Tischbein's folios record the shapes or attempt to supply a date and are therefore unreliable as an archaeological record. Serious attempts at scholarly study made steady progress over the 19th century starting with the founding of the Instituto di Corrispondenza in Rome in 1828 (later the German Archaeological Institute), followed by Eduard Gerhard's pioneering study Auserlesene Griechische Vasenbilder (1840 to 1858), the establishment of the journal Archaeologische Zeitung in 1843 and the Ecole d'Athens 1846. It was Gerhard who first outlined the chronology we now use, namely: Orientalizing (Geometric, Archaic), Black Figure, Red Figure, Polychromatic (Hellenistic).

Finally it was Otto Jahn's 1854 catalogue Vasensammlung of the Pinakothek, Munich, that set the standard for the scientific description of Greek pottery, recording the shapes and inscriptions with a previously unseen fastidiousness. Jahn's study was the standard textbook on the history and chronology of Greek pottery for many years, yet in common with Gerhard he dated the introduction of the red figure technique to a century later than was in fact the case. This error was corrected when the Archaeological Society of Athens undertook the excavation of the Acropolis in 1885 and discovered the so-called "Persian debris" of red figure pots destroyed by Persian invaders in 480 BC. With a more soundly established chronology it was possible for Adolf Furtwängler and his students in the 1880s and 90s to date the strata of his archaeological digs by the nature of the pottery found within them, a method of seriation Flinders Petrie was later to apply to unpainted Egyptian pottery.

Where the 19th century was a period of Greek discovery and the laying out of first principles, the 20th century has been one of consolidation and intellectual industry. Efforts to record and publish the totality of public collections of vases began with the creation of the Corpus vasorum antiquorum under Edmond Pottier and the Beazley archive of John Beazley.

Beazley and others following him have also studied fragments of Greek pottery in institutional collections, and have attributed many painted pieces to individual artists. Scholars have called these fragments disjecta membra (Latin for "scattered parts") and in a number of instances have been able to identify fragments now in different collections that belong to the same vase.

Uses and types
The names we use for Greek vase shapes are often a matter of convention rather than historical fact. A few do illustrate their own use or are labeled with their original names, while others are the result of early archaeologists' attempt to reconcile the physical object with a known name from Greek literature — not always successfully. To understand the relationship between form and function, Greek pottery may be divided into four broad categories, given here with common types:
 * storage and transport vessels, including the amphora, pithos, pelike, hydria, pyxis,
 * mixing vessels, mainly for symposia or male drinking parties, including the krater, and dinos,
 * jugs and cups, several types of kylix also just called cups, kantharos, phiale, skyphos, oinochoe and loutrophoros,
 * vases for oils, perfumes and cosmetics, including the large lekythos, and the small aryballos and alabastron.

As well as these utilitarian functions, certain vase shapes were especially associated with rituals, others with athletics and the gymnasium. Not all of their uses are known, but where there is uncertainty scholars make good proximate guesses of what use a piece would have served. Some have a purely ritual function, for example

Some vessels were designed as grave markers. Craters marked the places of males and amphorae marked those of females. This helped them to survive, and is why some will depict funeral processions. White ground lekythoi contained the oil used as funerary offerings and appear to have been made solely with that object in mind. Many examples have a concealed second cup inside them to give the impression of being full of oil, as such they would have served no other useful gain.

There was an international market for Greek pottery since the 8th century BC, which Athens and Corinth dominated down to the end of the 4th century BC. An idea of the extent of this trade can be gleaned from plotting the find maps of these vases outside of Greece, though this could not account for gifts or immigration. Only the existence of a second hand market could account for the number of panathenaics found in Etruscan tombs. South Italian wares came to dominate the export trade in the Western Mediterranean as Athens declined in political importance during the Hellenistic period.

Clay
The few ways that clay pottery can be damaged is by being broken, being abraded or by coming in contact with fire. The process of making a pot and firing it is fairly simple. The first thing a potter needs is clay. Attica's high-iron clay gave its pots an orange color.

Levigation
When clay is first dug out of the ground it is full of rocks and shells and other useless items that need to be removed. To do this the potter mixes the clay with water and lets all the impurities sink to the bottom. This is called levigation or elutriation. This process can be done many times. The more times this is done, the smoother clay becomes.

Wheel
The clay is then kneaded by the potter and placed on a wheel. Once the clay is on the wheel the potter can shape it into any of the many shapes shown below, or anything else he desires. Wheel-made pottery dates back to roughly 2500 BC. Before this, the coil method of building the walls of the pot was employed. Most Greek vases were wheel-made, though as with the Rhyton mould-made pieces (so-called "plastic" pieces) are also found and decorative elements either hand-formed or by mould were added to thrown pots. More complex pieces were made in parts then assembled when it was leather hard by means of joining with a slip, where the potter returned to the wheel for the final shaping or turning. Sometimes, a young man helped turn the wheel.

Clay slip
After the pot was made, the potter painted it with an ultra fine grained clay slip; the paint was applied on the areas intended to become black after firing, according to the two different styles, i.e. the black figure and the red figure. For the decoration the vase painters used brushes of different thickness, pinpoint tools for incisions and probably single-hair tools for the relief lines. A series of analytical studies have shown that the striking black gloss with a metallic sheen, so characteristic of Greek pottery, emerged from the colloidal fraction of an illitic clay with very low calcium oxide content. This clay slip was rich in iron oxides and hydroxides, differentiating from that used for the body of the vase in terms of the calcium content, the exact mineral composition and the particle size. The fine clay suspension used for the paint was either produced by using several deflocculating additives to clay (potash, urea, dregs of wine, bone ashes, seaweed ashes, etc.) or by collecting it in situ from illitic clay beds following rain periods. Recent studies have shown that some trace elements in the black glaze (i.e. Zn in particular) can be characteristic of the clay beds used in antiquity. In general, different teams of scholars suggest different approaches concerning the production of the clay slip used in antiquity.

Firing
Greek pottery, unlike today's pottery, was only fired once, using a very sophisticated process. The black color effect was achieved by means of changing the amount of oxygen present during firing. This was done in a process known as three-phase firing involving alternating oxidizing –reducing conditions. First, the kiln was heated to around 920–950 °C, with all vents open bringing oxygen into the firing chamber and turning both pot and slip a reddish-brown (oxidising conditions) due to the formation of hematite (Fe2O3) in both the paint and the clay body. Then the vent was closed and green wood introduced, creating carbon monoxide which turns the red hematite to black magnetite (Fe3O4); at this stage the temperature decreases due to incomplete combustion. In a final reoxidizing phase (at about 800–850 °C) the kiln was opened and oxygen reintroduced causing the unslipped reserved clay to go back to orange-red while the slipped area on the vase that had been sintered/vitrified in the previous phase, could no longer be oxidized and remained black.

While the description of a single firing with three stages may seem economical and efficient, some scholars claim that it is equally possible that each of these stages was confined to separate firings in which the pottery is subjected to multiple firings, of different atmosphere. In any case, the faithful reproduction of the process involving extensive experimental work that led to the creation of a modern production unit in Athens since 2000, has shown that the ancient vases may have been subjected to multiple three-stage firings following repainting or as an attempt to correct color failures The technique which is mostly known as the "iron reduction technique" was decoded with the contribution of scholars, ceramists and scientists from the mid 18th century onwards to the end of the 20th century, i.e. Comte de Caylus (1752), Durand-Greville (1891), Binns and Fraser (1925), Schumann (1942), Winter (1959), Bimson (1956), Noble (1960, 1965), Hofmann (1962), Oberlies (1968), Pavicevic (1974), Aloupi (1993). More recent studies by Walton et al. (2009), Walton et al.(2014), Lühl et al.(2014) and Chaviara & Aloupi-Siotis (2016) by using advanced analytical techniques provide detailed information on the process and the raw materials used.

Vase painting
The most familiar aspect of ancient Greek pottery is painted vessels of fine quality. These were not the everyday pottery used by most people but were sufficiently cheap to be accessible to a wide range of the population.

Few examples of ancient Greek painting have survived so modern scholars have to trace the development of ancient Greek art partly through ancient Greek vase-painting, which survives in large quantities and is also, with Ancient Greek literature, the best guide we have to the customary life and mind of the ancient Greeks.

Stone Age
Greek pottery goes back to the Stone Age, such as those found in Sesklo and Dimini.

Bronze Age
More elaborate painting on Greek pottery goes back to the Minoan pottery and Mycenaean pottery of the Bronze Age, some later examples of which show the ambitious figurative painting that was to become highly developed and typical.

Iron Age
After many centuries dominated by styles of geometric decoration, becoming increasingly complex, figurative elements returned in force in the 8th century. From the late 7th century to about 300 BC evolving styles of figure-led painting were at their peak of production and quality and were widely exported.

During the Greek Dark Age, spanning the 11th to 8th centuries BC, the prevalent early style was that of the protogeometric art, predominantly using circular and wavy decorative patterns. This was succeeded in mainland Greece, the Aegean, Anatolia, and Italy by the style of pottery known as geometric art, which employed neat rows of geometric shapes.

The period of Archaic Greece, beginning in the 8th century BC and lasting until the late 5th century BC, saw the birth of the Orientalizing period, led largely by ancient Corinth, where the previous stick-figures of the geometric pottery become fleshed out amid motifs that replaced the geometric patterns.

The classical ceramic decor is dominated mostly by Attic vase painting. Attic production was the first to resume after the Greek Dark Age and influenced the rest of Greece, especially Boeotia, Corinth, the Cyclades (in particular Naxos) and the Ionian colonies in the east Aegean. Production of vases was largely the prerogative of Athens – it is well attested that in Corinth, Boeotia, Argos, Crete and Cyclades, the painters and potters were satisfied to follow the Attic style. By the end of the Archaic period the styles of black-figure pottery, red-figure pottery and the white ground technique had become fully established and would continue in use during the era of Classical Greece, from the early 5th to late 4th centuries BC. Corinth was eclipsed by Athenian trends since Athens was the progenitor of both the red-figure and white ground styles.

Protogeometric styles
Vases of the protogeometrical period (c. 1050–900 BC) represent the return of craft production after the collapse of the Mycenaean Palace culture and the ensuing Greek dark ages. It is one of the few modes of artistic expression besides jewelry in this period since the sculpture, monumental architecture and mural painting of this era are unknown to us. By 1050 BC life in the Greek peninsula seems to have become sufficiently settled to allow a marked improvement in the production of earthenware. The style is confined to the rendering of circles, triangles, wavy lines and arcs, but placed with evident consideration and notable dexterity, probably aided by compasses and multiple brushes. The site of Lefkandi is one of our most important sources of ceramics from this period where a cache of grave goods has been found giving evidence of a distinctive Euboian protogeometric style which lasted into the early 8th century.

Geometric style
Geometric art flourished in the 9th and 8th centuries BC. It was characterized by new motifs, breaking with the representation of the Minoan and Mycenaean periods: meanders, triangles and other geometrical decoration (hence the name of the style) as distinct from the predominantly circular figures of the previous style. However, our chronology for this new art form comes from exported wares found in datable contexts overseas.

With the early geometrical style (approximately 900–850 BC) one finds only abstract motifs, in what is called the "Black Dipylon" style, which is characterized by extensive use of black varnish, with the Middle Geometrical (approx. 850–770 BC), figurative decoration makes its appearance: they are initially identical bands of animals such as horses, stags, goats, geese, etc. which alternate with the geometrical bands. In parallel, the decoration becomes complicated and becomes increasingly ornate; the painter feels reluctant to leave empty spaces and fills them with meanders or swastikas. This phase is named horror vacui (fear of the empty) and will not cease until the end of geometrical period.

In the middle of the century there begin to appear human figures, the best known representations of which are those of the vases found in Dipylon, one of the cemeteries of Athens. The fragments of these large funerary vases show mainly processions of chariots or warriors or of the funerary scenes: πρόθεσις / prothesis (exposure and lamentation of dead) or ἐκφορά / (transport of the coffin to the cemetery). The bodies are represented in a geometrical way except for the calves, which are rather protuberant. In the case of soldiers, a shield in form of a diabolo, called "dipylon shield" because of its characteristic drawing, covers the central part of the body. The legs and the necks of the horses, the wheels of the chariots are represented one beside the other without perspective. The hand of this painter, so called in the absence of signature, is the Dipylon Master, could be identified on several pieces, in particular monumental amphorae.

At the end of the period there appear representations of mythology, probably at the moment when Homer codifies the traditions of Trojan cycle in the Iliad and the Odyssey. Here however the interpretation constitutes a risk for the modern observer: a confrontation between two warriors can be a Homeric duel or simple combat; a failed boat can represent the shipwreck of Odysseus or any hapless sailor.

Lastly, are the local schools that appear in Greece. Production of vases was largely the prerogative of Athens – it is well attested that as in the proto-geometrical period, in Corinth, Boeotia, Argos, Crete and Cyclades, the painters and potters were satisfied to follow the Attic style. From about the 8th century BC on, they created their own styles, Argos specializing in the figurative scenes, Crete remaining attached to a more strict abstraction.

Orientalizing style
The orientalizing style was the product of cultural ferment in the Aegean and Eastern Mediterranean of the 8th and 7th centuries BC. Fostered by trade links with the city-states of Asia Minor, the artifacts of the East influenced a highly stylized yet recognizable representational art. Ivories, pottery and metalwork from the Neo-Hittite principalities of northern Syria and Phoenicia found their way to Greece, as did goods from Anatolian Urartu and Phrygia, yet there was little contact with the cultural centers of Egypt or Assyria. The new idiom developed initially in Corinth (as Proto-Corinthian) and later in Athens between 725 BC and 625 BC (as Proto-Attic). It was characterized by an expanded vocabulary of motifs: sphinx, griffin, lions, etc., as well as a repertory of non-mythological animals arranged in friezes across the belly of the vase. In these friezes, painters also began to apply lotuses or palmettes. Depictions of humans were relatively rare. Those that have been found are figures in silhouette with some incised detail, perhaps the origin of the incised silhouette figures of the black-figure period. There is sufficient detail on these figures to allow scholars to discern a number of different artists' hands. Geometrical features remained in the style called proto-Corinthian that embraced these Orientalizing experiments, yet which coexisted with a conservative sub-geometric style.

The ceramics of Corinth were exported all over Greece, and their technique arrived in Athens, prompting the development of a less markedly Eastern idiom there. During this time described as Proto-Attic, the orientalizing motifs appear but the features remain not very realistic. The painters show a preference for the typical scenes of the Geometrical Period, like processions of chariots. However, they adopt the principle of line drawing to replace the silhouette. In the middle of the 7th century BC, there appears the black and white style: black figures on a white zone, accompanied by polychromy to render the color of the flesh or clothing. Clay used in Athens was much more orange than that of Corinth, and so did not lend itself as easily to the representation of flesh. Attic Orientalising Painters include the Analatos Painter, the Mesogeia Painter and the Polyphemos Painter.

Crete, and especially the islands of the Cyclades, are characterized by their attraction to the vases known as “plastic”, i.e. those whose paunch or collar is moulded in the shape of head of an animal or a man. At Aegina, the most popular form of the plastic vase is the head of the griffin. The Melanesian amphoras, manufactured at Paros, exhibit little knowledge of Corinthian developments. They present a marked taste for the epic composition and a horror vacui, which is expressed in an abundance of swastikas and meanders.

Finally one can identify the last major style of the period, that of Wild Goat Style, allotted traditionally to Rhodes because of an important discovery within the necropolis of Kameiros. In fact, it is widespread over all of Asia Minor, with centers of production at Miletus and Chios. Two forms prevail oenochoes, which copied bronze models, and dishes, with or without feet. The decoration is organized in superimposed registers in which stylized animals, in particular of feral goats (from whence the name) pursue each other in friezes. Many decorative motifs (floral triangles, swastikas, etc.) fill the empty spaces.

Black-figure technique

Black-figure is the most commonly imagined when one thinks about Greek pottery. It was a popular style in ancient Greece for many years. The black-figure period coincides approximately with the era designated by Winckelmann as the middle to late Archaic, from c. 620 to 480 BC. The technique of incising silhouetted figures with enlivening detail which we now call the black-figure method was a Corinthian invention of the 7th century and spread from there to other city states and regions including Sparta, Boeotia, Euboea, the east Greek islands and Athens.

The Corinthian fabric, extensively studied by Humfry Payne and Darrell Amyx, can be traced though the parallel treatment of animal and human figures. The animal motifs have greater prominence on the vase and show the greatest experimentation in the early phase of Corinthian black-figure. As Corinthian artists gained confidence in their rendering of the human figure the animal frieze declined in size relative to the human scene during the middle to late phase. By the mid-6th century BC, the quality of Corinthian ware had fallen away significantly to the extent that some Corinthian potters would disguise their pots with a red slip in imitation of superior Athenian ware.

At Athens researchers have found the earliest known examples of vase painters signing their work, the first being a dinos by Sophilos (illus. below, BM, c. 580), this perhaps indicative of their increasing ambition as artists in producing the monumental work demanded as grave markers, as for example with Kleitias's François Vase. Many scholars consider the finest work in the style to belong Exekias and the Amasis Painter, who are noted for their feeling for composition and narrative.

Circa 520 BC the red-figure technique was developed and was gradually introduced in the form of the bilingual vase by the Andokides Painter, Oltos and Psiax. Red-figure quickly eclipsed black-figure, yet in the unique form of the Panathanaic Amphora, black-figure continued to be utilised well into the 4th century BC.

Red-figure technique
The innovation of the red-figure technique was an Athenian invention of the late 6th century. It was quite the opposite of black-figure which had a red background. The ability to render detail by direct painting rather than incision offered new expressive possibilities to artists such as three-quarter profiles, greater anatomical detail and the representation of perspective.

The first generation of red-figure painters worked in both red- and black-figure as well as other methods including Six's technique and white-ground; the latter was developed at the same time as red-figure. However, within twenty years, experimentation had given way to specialization as seen in the vases of the Pioneer Group, whose figural work was exclusively in red-figure, though they retained the use of black-figure for some early floral ornamentation. The shared values and goals of The Pioneers such as Euphronios and Euthymides signal that they were something approaching a self-conscious movement, though they left behind no testament other than their own work. John Boardman said of the research on their work that "the reconstruction of their careers, common purpose, even rivalries, can be taken as an archaeological triumph".

The next generation of late Archaic vase painters (c. 500 to 480 BC) brought an increasing naturalism to the style as seen in the gradual change of the profile eye. This phase also sees the specialization of painters into pot and cup painters, with the Berlin and Kleophrades Painters notable in the former category and Douris and Onesimos in the latter.

By the early to high classical era of red-figure painting (c. 480–425 BC), a number of distinct schools had evolved. The Mannerists associated with the workshop of Myson and exemplified by the Pan Painter hold to the archaic features of stiff drapery and awkward poses and combine that with exaggerated gestures. By contrast, the school of the Berlin Painter in the form of the Achilles Painter and his peers (who may have been the Berlin Painter's pupils) favoured a naturalistic pose usually of a single figure against a solid black background or of restrained white-ground lekythoi. Polygnotos and the Kleophon Painter can be included in the school of the Niobid Painter, as their work indicates something of the influence of the Parthenon sculptures both in theme (e.g., Polygnotos's centauromachy, Brussels, Musées Royaux A. & Hist., A 134) and in feeling for composition.

Toward the end of the century, the "Rich" style of Attic sculpture as seen in the Nike Balustrade is reflected in contemporary vase painting with an ever-greater attention to incidental detail, such as hair and jewellery. The Meidias Painter is usually most closely identified with this style.

Vase production in Athens stopped around 330–320 BC possibly due to Alexander the Great's control of the city, and had been in slow decline over the 4th century along with the political fortunes of Athens itself. However, vase production continued in the 4th and 3rd centuries in the Greek colonies of southern Italy where five regional styles may be distinguished. These are the Apulian, Lucanian, Sicilian, Campanian and Paestan. Red-figure work flourished there with the distinctive addition of polychromatic painting and in the case of the Black Sea colony of Panticapeum the gilded work of the Kerch Style. Several noteworthy artists' work comes down to us including the Darius Painter and the Underworld Painter, both active in the late 4th century, whose crowded polychromatic scenes often essay a complexity of emotion not attempted by earlier painters. Their work represents a late mannerist phase to the achievement of Greek vase painting.

White ground technique
The white-ground technique was developed at the end of the 6th century BC. Unlike the better-known black-figure and red-figure techniques, its coloration was not achieved through the application and firing of slips but through the use of paints and gilding on a surface of white clay. It allowed for a higher level of polychromy than the other techniques, although the vases end up less visually striking. The technique gained great importance during the 5th and 4th centuries, especially in the form of small lekythoi that became typical grave offerings. Important representatives include its inventor, the Achilles Painter, as well as Psiax, the Pistoxenos Painter, and the Thanatos Painter.

Relief and plastic vases
Relief and plastic vases became particularly popular in the 4th century BC and continued being manufactured in the Hellenistic period. They were inspired by the so-called "rich style" developed mainly in Attica after 420 BC. The main features were the multi-figured compositions with use of added colours (pink/reddish, blue, green, gold) and an emphasis on female mythological figures. Theatre and performing constituted yet one more source of inspiration.

Delphi Archaeological Museum has some particularly good examples of this style, including a vase with Aphrodite and Eros. The base is round, cylindrical, and its handle vertical, with bands, covered with black colour. The female figure (Aphrodite) is depicted seated, wearing an himation. Next to her stands a male figure, naked and winged. Both figures wear wreaths made of leaves and their hair preserve traces of golden paint. The features of their faces are stylized. The vase has a white ground and maintains in several parts the traces of bluish, greenish and reddish paint. It dates to the 4th century BC.

In the same room is kept a small lekythos with a plastic decoration, depicting a winged dancer. The figure wears a Persian head cover and an oriental dress, indicating that already in that period oriental dancers, possibly slaves, had become quite fashionable. The figure is also covered with a white colour. The total height of the vase is 18 centimeters and it dates to the 4th century BC.

Hellenistic period

The Hellenistic period, ushered in by the conquests of Alexander the Great, saw the virtual disappearance of black and red-figure pottery yet also the emergence of new styles such as West Slope Ware in the east, the Centuripe ware in Sicily, and the Gnathia vases to the west. Outside of mainland Greece other regional Greek traditions developed, such as those in Magna Graecia with the various styles in South Italy, including Apulian, Lucanian, Paestan, Campanian, and Sicilian.

Inscriptions
Inscriptions on Greek pottery are of two kinds; the incised (the earliest of which are contemporary with the beginnings of the Greek alphabet in the 8th century BC), and the painted, which only begin to appear a century later. Both forms are relatively common on painted vases until the Hellenistic period when the practice of inscribing pots seems to die out. They are by far most frequently found on Attic pottery. A number of sub-classes of inscription can be distinguished. Potters and painters occasionally signed their works with epoiesen and egraphsen respectively. Trademarks are found from the start of the 6th century on Corinthian pieces; these may have belonged to an exporting merchant rather than the pottery workfield and this remains a matter of conjecture. Patrons' names are also sometimes recorded, as are the names of characters and objects depicted. At times we may find a snatch of dialogue to accompany a scene, as in 'Dysniketos's horse has won', announces a herald on a Panathenaic amphora (BM, B 144). More puzzling, however, are the kalos and kalee inscriptions, which might have formed part of courtship ritual in Athenian high society, yet are found on a wide variety of vases not necessarily associated with a social setting. Finally there are abecedaria and nonsense inscriptions, though these are largely confined to black-figure pots.

Figurines
Greek terracotta figurines were another important type of pottery, initially mostly religious, but increasingly representing purely decorative subjects. The so-called Tanagra figurines, in fact made elsewhere as well, are one of the most important types. Earlier figurines were usually votive offerings at temples.

Relationship to metalwork and other materials
Several clay vases owed their inspiration to metalwork forms in bronze, silver and sometimes gold. These were increasingly used by the elite when dining, but were not placed in graves, where they would have been robbed, and were often treated as a store of value to be traded as bullion when needed. Very few metal vessels have survived as at some point they were melted down and the metal reused.

In recent decades many scholars have questioned the conventional relationship between the two materials, seeing much more production of painted vases than was formerly thought as made to be placed in graves, as a cheaper substitute for metalware in both Greece and Etruria. The painting itself may also copy that on metal vessels more closely than was thought.

The Derveni Krater, from near Thessaloniki, is a large bronze volute krater from about 320 BC, weighing 40 kilograms, and finely decorated with a 32-centimetre-tall frieze of figures in relief representing Dionysus surrounded by Ariadne and her procession of satyrs and maenads.

The alabastron's name derives from alabaster, from which it was originally made. Glass was also used, mostly for fancy small perfume bottles, though some Hellenistic glass rivalled metalwork in quality and probably price.

title: Pottery of ancient Greece


text:
Jonas Kullhammar

Jonas Kullhammar (2 September 1978 in Nacka, Sweden) is a Swedish jazz composer, saxophonist and is one of Sweden's most established jazz musicians.

Career
Since 1998 his main group has been Jonas Kullhammar Quartet, and he has participated on over 150 records as a sideman. In year 2000 he released his debut recording, the self-produced "Salut". It won him Sweden Radio's Jazz Cat award as the newcomer of the year. He also received the Django D'or award and received the price Sweden Radio's Jazz Cat as Jazz Musician of The Year in Sweden two years in a row. The group also received the award for jazz group of the year. Since then the band has toured around the world and released more CDs. Jonas is also a founding member of the groups Kullrusk and Nacka Forum. Since 2000 he runs the record label Moserobie, that releases mainly Swedish and Norwegian jazz groups.

Kullhammar has worked with artists and bands The (International) Noise Conspiracy, Carlos Garnett, Nicolai Dunger, Fredrik Norén Band, The Torbjörn Zetterberg Hot Five, Sonic Mechatronik Arkestra, Peanuts Hucko, The Plan, Nina Ramsby, Goran Kajfes, Marcus Strickland, Eldkvarn, Jupiter Trio, The Core, Mulatu Astatke, Salem Al Fakir, The Hives, Ted Curson, Chick Corea, Jason Moran, Dungen, Rickie Lee Jones and many more.

Honors

 * 2000: Stallbröderna award
 * 2001: Aftonbladets "Jazz musician of the year"
 * 2004: Django d'Or award (Contemporary star of jazz)
 * 2006: Arne Domnérus Guldsaxen Award
 * 2008: Alice Babs Award
 * 200: Svenska Jazzriksförbundets "Kjell-Ake Svensson" Award
 * 200: Sigma award, co:Ellington society
 * 200: Sandrew "Tore Browaldh" award
 * 2014: Royal music academy "Jazz award"
 * 2014: Guldbaggen award (Swedish equivalent to an Oscar) for best film music, for the film Gentlemen
 * 2016: Lars Gullin-award
 * 2017: Jan Johansson-award

Swedish jazz critics "Jazzkatten" awards

 * 2000: Newcomer of the year
 * 2002: Jazz Artist of The Year
 * 2002: Jazz Group Of The Year (Jonas Kullhammar Quartet)
 * 2003: Jazz Artist of The Year

Nominations for the Swedish grammy

 * 2002: with Nacka Forum
 * 2003: with JKQ for Plays Loud for The People
 * 2004: with Kullrusk
 * 2005: with JKQ & NBB - Snake City North
 * 2006: with JKQ - Son of a Drummer
 * 2009: with JKQ - The Half Naked Truth
 * 2013: with JKQ - Låt det vara
 * 2014: for "Gentlemen - original motion picture jazz tracks"

Nominations for the manifest award

 * 2006: with JKQ - Son of a Drummer
 * 2009: with JKQ - The Half Naked Truth

Solo albums

 * With Jonas Kullhammar Quartet
 * 2000: Salut (Moserobie Music Production)
 * 2001: The Soul Of Jonas Kullhammar (Moserobie Music Production)
 * 2003: Plays Loud For The People (Moserobie Music Production)
 * 2005: Snake City North (Moserobie Music Production), with Norrbotten Big Band
 * 2006: Son Of A Drummer (Moserobie Music Production)
 * 2009: The Half Naked Truth (Moserobie Music Production) (limited edition 8 cd box)
 * 2010: Från Och Med Herr Jonas Kullhammar (Moserobie Music Production)
 * 2013: Låt Det Vara (Moserobie Music Production)
 * 2013: Plays A Love Supreme EP (Moserobie Music Production) (limited edition 10" LP)
 * 2013: This Is The End (Moserobie Music Production) (limited edition 8 yellow 180g vinyl)

 * Original motion picture jazz tracks
 * 2014: Gentlemen (Moserobie Music Production)

Collaborations

 * With Jansson/Kullhammar/Nilssen-Love
 * 2002: Live At Glenn Miller Vol.1 (Ayler Records)

 * With Nacka Forum
 * 2002: Nacka Forum (Moserobie Music Production)
 * 2005: Leve Nacka Forum (Moserobie Music Production)
 * 2012: Fee Fi Fo Rum (Moserobie Music Production)
 * 2014: Live In Tokyo (Moserobie Music Production), featuring Akira Sakata

 * With Kullrusk duo with Per "Ruskträsk" Johansson
 * 2004: Kullrusk (Moserobie Music Production)
 * 2006: Spring Spring Spring Spring Spring (Moserobie Music Production)
 * 2008: Digital (Moserobie Music Production)

 * With Fredriksson, Kullhammar & Zetterberg
 * 2005: Gyldene Tider Vol.1 (Moserobie Music Production)
 * 2005: Gyldene Tider Vol.2 (Moserobie Music Production)
 * 2005: Gyldene Tider Vol.3 (Moserobie Music Production)

 * With Jupiter Trio including with Håvard Stubø, Magnus Forsberg, Steinar Nickelsen featuring Jonas Kullhammar
 * 2006: Live At Glenn Miller Café (AIM Records)
 * 2007: III2 (Bolage Records)

 * With Kullhammar-Osgood-Vågan
 * 2007: Andratx (Moserobie Music Production)
 * 2009: Andratx Live (Moserobie Music Production)

 * With Pinton/Kullhammar/Zetterberg/Nordeson
 * 2009: Chant (Clean Feed)

 * With Nicolai Dunger
 * 2010: The Original Motion Picture Soundtrack: Vallmo (Moserobie Music Production)

 * With Fredrik Kronkvist Sextet including Martin Sjöstedt, Petter Eldh, Raynald Colom and Snorre Kirk
 * 2011: Improvised Action (Connective Records)

 * With Fiske/Kullhammar/Zetterberg/Holmegard
 * 2012: Svenska Kaputt (Moserobie Music Production)

 * With Kulhammar/Aalberg/Zetterberg
 * 2012: Basement Sessions Vol. 1 (Clean Feed)
 * 2013: Basement Sessions Vol. 2 (Clean Feed)

 * With Kullhammar, Mathisen, Zetterberg, Aalberg
 * 2014: Basement Sessions Vol. 3 - The Ljublana Tapes (Clean Feed)

 * With Hegge
 * 2017: Vi är ledsna men du får inte längre vara barn (Particular Recordings Collective)

title: Jonas Kullhammar


text:
Phillip Allen Sharp

Phillip Allen Sharp (born June 6, 1944) is an American geneticist and molecular biologist who co-discovered RNA splicing. He shared the 1993 Nobel Prize in Physiology or Medicine with Richard J. Roberts for "the discovery that genes in eukaryotes are not contiguous strings but contain introns, and that the splicing of messenger RNA to delete those introns can occur in different ways, yielding different proteins from the same DNA sequence". He has been selected to receive the 2015 Othmer Gold Medal.

Sharp's current research focuses on small RNAs and other types of non-coding RNAs. His laboratory works to identify the target mRNAs of microRNAs (miRNAs), and has discovered a class of miRNAs that are produced from sequences adjacent to transcription start sites. His laboratory also studies how miRNA gene regulation functions in angiogenesis and cellular stress.

Biography
Sharp was born in Falmouth, Kentucky, the son of Kathrin (Colvin) and Joseph Walter Sharp. He married Ann Holcombe in 1964, and they have three daughters.

Sharp studied at Union College and majored in chemistry and mathematics, afterwards completing his Ph.D. in chemistry at the University of Illinois at Urbana-Champaign in 1969. Following his Ph.D., he did his postdoctoral training at the California Institute of Technology until 1971, where he studied plasmids. Later, he studied gene expression in human cells at the Cold Spring Harbor Laboratory as a senior scientist under James D. Watson.

In 1974, he was offered a position at MIT by biologist Salvador Luria. He was director of MIT's Center for Cancer Research (now the Koch Institute for Integrative Cancer Research) from 1985 to 1991; head of the Biology department from 1991 to 1999; and founder and director of the McGovern Institute for Brain Research from 2000 to 2004. In 1995, the FBI confirmed that Sharp received a letter from Ted Kaczynski, insinuating that Sharp would become a target of the Unabomber because of his work in genetics, stating that "it would be beneficial to your health to stop your research in genetics."

He is currently MIT Institute Professor and Professor of Biology Emeritus and member of the Koch Institute, and was an Institute Professor, MIT's highest faculty rank, since 1999. He is also the chair of the advisory board of the MIT Jameel Clinic. Sharp co-founded Biogen, Alnylam Pharmaceuticals, and Magen Biosciences, and has served on the boards of all three companies.

Awards and honors
In addition to the Nobel Prize, Sharp has won several notable awards, including the 2004 National Medal of Science, the 1999 Benjamin Franklin Medal for Distinguished Achievement in the Sciences of the American Philosophical Society, the Golden Plate Award of the American Academy of Achievement in 1981, and the 1988 Louisa Gross Horwitz Prize from Columbia University together with Thomas R. Cech.

Sharp is an elected member of several academic societies, including the American Academy of Arts and Sciences, the American Association for the Advancement of Science, the National Academy of Sciences, and the Institute of Medicine of the National Academies. He was elected a Foreign Member of the Royal Society (ForMemRS) in 2011. In 2012, he was elected the president of the American Association for the Advancement of Science. He is also a Member and Chair of the Scientific Advisory Board of Fidelity Biosciences Group; a member of the Board of Advisors of Polaris Venture Partners; chairman of the Scientific Advisory Board and member of the Board of Directors of Alnylam Pharmaceuticals; advisor and investor at Longwood and Polaris Venture Funds; a member of the Boards of Directors at Syros Pharmaceuticals and VIR Biotechnology; and member and Chair of the Scientific Advisory Board at Dewpoint Biotechnology.

Pendleton County, Kentucky, Sharp's birthplace, named its current middle school after him.

Other activities
In October 2010, Sharp participated in the USA Science and Engineering Festival's Lunch with a Laureate program where middle and high school students got to engage in an informal conversation with a Nobel Prize-winning scientist over a brown-bag lunch. Sharp is also a member of the USA Science and Engineering Festival's Advisory Board. In 2011, he was listed at #5 on the MIT150 list of the top 150 innovators and ideas from MIT.

He is an editorial advisor to Xconomy, and is a member of the Board of Scientific Governors at The Scripps Research Institute. He has also served on the Faculty Advisory Board of the MIT-Harvard Research Journal and MIT Student Research Association.

In 2016, Sharp helped organize the Laureates Letter Supporting Precision Agriculture, written to oppose efforts by Greenpeace to ban GMOs and Golden Rice in particular.

Selected publications

title: Phillip Allen Sharp