Video recorded and edited by Jaqueline Luquez and Jussanam with a non profesional camera in Cannes-France.
Jussanam - Voice
Asgeir Asgeirsson - Guita
Birgir Bragason - Double-Bass
Mathias Hemstock - Drums
Cheick Bangoura - Percussion
Amanhã é Carnaval - Music by Ingvi Thor Kormarksson / Lyrics by Jussanam
Images from Cannes and from the Carnaval in Nice - France
Saturday, December 20, 2014
Recorded at The Hotel Macklowe (Millennium Broadway Hotel New York)
Artist Biography by Scott Yanow
Windows Media clip (79 MB)
The film was shot in June of 1929 in Astoria, Long Island and was shown between the years 1929 to 1932. It was Bessie Smith's only film appearence. The film features a top notch Jazz band that includes, James P. Johnsonon piano, Thomas Morris and Joe Smith on cornet, as well as the Hall Johnson Choir. The film had an all African American cast. The co-stars were dancer/actor Jimmy Mordecai as Bessie's good for nothing boyfriend and Isabel Washington Powell as the other woman.
read more: http://www.redhotjazz.com/stlouisblues.html
Posted by Claudio Cavalcanti at Saturday, December 20, 2014
The editorial staff at JazzProfiles has been looking for a context to post more about the late Jazz trumpeter Miles Davis [1926-1991] and the late, esteemed writer on Jazz Whitney Balliett [1926-2007] on these pages and we found a setting that includes them both in the following essay by Whitney
Whitney’s piece takes as its point of departure the end of the big band era and what he sees as its relationship to the 1957 release of the Miles Davis-Gil Evans Miles Ahead: Miles Davis +19 Columbia LP.
You’ll find the music from Sides A & B of this LP featured in the videos that conclude this piece.
"THE FINAL COLLAPSE of the big-band era in the late forties left a permanent hole in jazz. The best of the big bands provided not only floating finishing schools for young musicians but the sort of roaring, imperious excitement that the small jazz group, for sheer want of volume, rarely matches. There were at least three distinct types of big band—the milky, unabashed dance band (Guy Lombardo, Charlie Spivak), the semi-jazz dance band (Tommy Dorsey, Artie Shaw), and the out-and-out jazz band (Duke Ellington, Fletcher Henderson). The demise of this small but lively industry was due largely to economics; it is also true that the big jazz band had just about run dry. It ended as it had begun—as a plump, highly regimented expansion of the traditional New Orleans instrumentation of cornet, clarinet, trombone, and rhythm section.
There was not really much difference, for example, between the Goodman band of 1936 and the Woody Herman band of a decade later. Goodman had fourteen pieces and a mechanized, tank-like style, and Herman had four or five more sidemen and a loose, flag-waving approach, but both groups depended on the same basic practices-elementary harmonies, short solos framed by opening and closing ensembles, brass and saxophone sections that stated (sometimes in mild counterpoint) simple riffs, often written to be played in unison, and a clocklike four-four beat. Indeed, the riff became the identifying badge of the big band.
The exception was Duke Ellington, whose music of the period still sounds almost avant-garde. Ellington, in fact, had begun replacing conventional big-band devices in the mid-thirties with new harmonies, his own brilliant melodies, and little concerto-type structures usually built around one soloist. These departures gave his band the sound of a unified instrument, rather than that of several determined platoons marching in the same general direction. Some of his inventions rubbed off in the mid-forties on such quixotic, short-lived organizations as those of Boyd Raeburn, Elliot Lawrence, Raymond Scott, and Billy Eckstine, while Stan Kenton was testing various independent approaches. Today, however, there are just four or five big jazz bands — Kenton, Gillespie, Basie, Ellington, and Herman — and they are, in the main, only heavier, more pompous versions of their earlier selves.
In the face of this melancholy situation, Columbia has released a new big-band record, Miles Ahead: Miles Davis + 19, that is the most adventurous effort of its kind in a decade. All the ten selections, by a variety of hands, have been shaped by the gifted arranger Gil Evans into small concertos centered on Miles Davis, who plays the flugelhorn instead of the trumpet. Evans came into prominence in the early forties, when he wrote for the Claude Thornhill band a number of gliding, richly textured pieces that made use of such unorthodox instruments as the French horn. He reappeared as a collaborator with Davis and Gerry Mulligan in some of the suave, contrapuntal small-band recordings [Birth of the Cool] made for Capitol in 1949 and 1950. For "Miles Ahead," Evans’ choice of instrumentation — five trumpets, three trombones, bass trombone, two French horns, tuba, alto saxophone, clarinet, bass clarinet, flute, bass, and drums — is an expansion of the ensemble involved in most of the Davis-Mulligan records.
read more: http://jazzprofiles.blogspot.com.br
On September 3, 1942, Frank Sinatra left the Tommy Dorsey Orchestra after nearly three years as its star vocalist. On his own as a solo act, Sinatra signed with Columbia. The problem was, however, that the American Federation of Musicians' ban was still on, forcing Sinatra to record a cappella with backup singers for the label. Singers weren't in the musicians' union.
To keep his reputation in tact and his popularity at boil, Sinatra performed around New York and Los Angeles (much to the delight of teenage bobby-soxers), and he began starring in a number of feature Hollywood films and shorts. [Above, Sinatra at the Hollywood Bowl in 1943]
Here are four clips I found yesterday at YouTube documenting Sinatra's emergence as a conversational solo singer but not yet recorded in the studio backed by an orchestra. That wouldn't begin in earnest for Columbia until the following year, when the ban ended for the label and RCA.
|A BLOG SUPREME|
The 2014 NPR Music Jazz Critics Poll
We had 140 jazz journalists weigh in on their favorite releases of the year. Here are their top overall picks, with top finishers in Latin jazz, vocal, debut and historical categories.
Posted by Claudio Cavalcanti at Saturday, December 20, 2014