A “Club T” favorite brings her Grammy-nominated Joni Mitchell homage, After Blue: The Joni Mitchell Project, featuring Mark Summer and Serge Merlaud. “A serious jazz artist who takes the whole enterprise to another level.” – The New York TimesFor more information on Tierney Sutton, click here. read more: http://tillescenter.org/event/tierney-sutton/
New York ensemble Snarky Puppy, NEA Jazz Master Paquito D’Rivera and Grammy-winning bassist/vocalist Esperanza Spalding are among the headliners scheduled to perform at the 2015 DC Jazz Festival (DCJF) in Washington, D.C., on June 10–16.
Royal Conservatory 2014-2015 Season, Special Music of the Americas, World Music, Pop, Royal Conservatory Presents
Date: Tuesday, April 07, 2015 Time: 8:00 pm Venue: Koerner Hall About This Event:
Brazil’s musical ambassador for more than 40 years, the singer, composer, and guitar player (and former Minister of Culture) particularly known for his bossa Nova, was a pioneer of tropicalia and Brasileira. “There may have been one man onstage, but there was enough warmth, love, intelligence and sheer talent on display to power an orchestra.” (Variety) “Delicate bossa novas, strummed rockers and intricate sambas … Mr. Gil didn’t trumpet his virtuosity. It was offered genially, like his melodies and his undidactic thoughts on love, poetic license and mortality.” (The New York Times)
This event has been financially assisted by the Ontario Cultural Attractions Fund, a program of the Government of Ontario through the Ministry of Tourism, Culture and Sport, administered by the Ontario Cultural Attractions Fund Corporation.
Moran To Curate Kennedy Center 2015–’16 Jazz Season
The John F. Kennedy Center for the Performing Arts in Washington, D.C., has announced its 2015–’16 jazz season, under the leadership of Kennedy Center Artistic Direct … More…
Beautiful Spirit The Life and Legacy of Michael Brecker By Bill MilkowskiDownBeat presents a recap of the recent all-star concert at Jazz at Lincoln Center that paid tribute to jazz’s most influential saxophonist since John Coltrane. We also check in with Susan Brecker, who honors her late husband by raising money for groundbreaking cancer research.
Navigating the Digital Jungle How Jazz Artists Survive in the New Media Era By Allen MorrisonThese days, it’s easier than ever for jazz artists to record, but harder than ever for them to monetize their recordings. DownBeat speaks to leading independent jazz musicians, label executives and industry analysts to find out what they make of the radically altered music marketplace and what strategies they have devised for doing business in the digital age.
Rob Mazurek Opposing Forces By Bill MeyerThe multi-instrumentalist envisions his art as a generative and dynamic thing—“a living organism moving through space,” as he eloquently puts it.
Orrin Keepnews, a jazz record producer whose taste in music, integrity and respect for artists resulted in a vast body of legacy recordings by Thelonious Monk, Cannonball Adderley, Wes Montgomery and Bill Evans as well as dozens of other artists, died on March 1. He was 91. [Above, Orrin Keepnews with Cannonball Adderley]
His Riverside label operated from 1953 to 1964. What set it apart from the competition was Orrin's devotion to his artists, many of whom repaid his support by finding him new talent. For example, guitarist Mundell Lowe was the first to call Orrin about Bill Evans in the mid-1950s while Cannonball Adderley and his brother Nat found Montgomery in an Indianapolis club and called Orrin that night.
What Orrin lacked in musical training he more than made up for in critical judgment. His fearless ability to chart new courses came from serving as a navigator on a bomber in the Pacific during World War II, while his judgment was sharpened as a manuscript reader at Simon & Schuster in the late 1940s.
After co-founding Riverside with Bill Grauer, a grad-school acquaintance, Orrin ran the talent while Grauer manged the business. At first, the label shortsightedly viewed the 10-inch LP as a way to re-issue dusty jazz recordings from the pre-war era. By 1954, it became apparent to Orrin that Riverside could do better by recording modern jazz artists who were eager to record.
Throughout the decade, independent labels tended to reflect the taste of their owner. As a result, Blue Note developed a rigid, successful model using many of the same great musicians in different configurations while Prestige went after brand-name musicians like Miles Davis, Sonny Rollins, Art Farmer and John Coltrane. By contrast, Orrin specialized in discoveries and artists who hadn't been fully maximized. [Above, Orrin Keepnews with James Moody]
When Riverside went bankrupt in 1964 following Grauer's fatal heart attack and other labels began cherry-picking his discoveries, Keepnews struggled. In 1966, he co-founded Milestone with pianist Dick Katz. Fantasy bought the label in 1972 and Keepnews worked for the label before leaving in 1980 to start Landmark.
I interviewed Orrin twice, once for JazzWax just after I started this blog in 2007 and again in 2011, when I traveled to his home just outside San Francisco for a Wall Street Journal profile. My first conversation with Orrin was a cold call that didn't go well. I made the terrible mistake of asking him to tell me what he loved about his five favorite Riverside albums.
Admittedly it was a quick-and-dirty way to produce a post given my tight schedule back then. Orrin would have none of it and he took my head off. There were no short-cuts with Orrin. I waited Orrin out and then asked him if yelling at me made him happy. I admitted that my original request was stupid and that I'd much prefer to do a full-blown career-spanning interview. Orrin liked that idea and settled down. The result was the birth of the five-part interview series, which became standard at JazzWax. [Above, from left, Orrin Keepnews, Bill Evans, Scott LaFaro and Paul Motian at the Village Vanguard, 1961]
When I visited Orrin three years later in December 2010, much had changed. What had started as a random call gone bad was now a formal interview for the country's largest newspaper. We had a wonderful conversation at Orrin's kitchen table, after which he took me on a tour of his office space. He showed me all the awards and framed letters on the wall. Orrin was most proud of correspondence from Prestige's Bob Weinstock to Monk acknowledging a check for $108.27 that Monk had provided thanks to Orrin, releasing Monk from his Prestige contract and freeing him to sign with Riverside.
The joy of Orrin, for me, was always in his articulation. Reading his liner notes and essays provided special insights, since Orrin was a critic, first and foremost. But listening to him speak was even more rewarding. Through his observations, there was cogent analysis and eloquent phrasing. Words spoken off the top of his head emerged like an improvised solo, cutting to the chase and providing a finer delineation and understanding of why something was so and how it came to be. He used language beautifully. What he never could achieve on a musical instrument Orrin was more than able to accomplish with words, and his "spoken solos" were magnificent and, above all, illuminating. [Above, Orrin Keepnews with Jimmy Heath]
Before I left Orrin's house in 2010, I took out my first-edition copy of his The View From Within: Jazz Writings 1948-1987 and asked him to sign it. Yesterday, I totally forgot about that when I reached for the book. Upon opening it, there was Orrin's handwriting: "To Marc, a man who sure can play a mean interview." At least he didn't take my head off.
Here's a list of my 20 favorite Riverside albums:
Sonny Rollins—The Sound of Sonny (1957)
Thelonious Monk Quartet (1958)
Thelonious Monk—Thelonious in Action (1958)
Cannonball Adderley Quintet—In San Francisco (1959)
Recently I was in the middle of a enthusiastic audience enjoying a concert by the Gregory Porter Quintet at a well recognized Jazz festival as part of his European tour. Immersed in Porter's voice I suddenly became aware of the great tone coming from an Asian looking musician sporting a stylish jazz beret and an alto saxophone. The series of solos he performed caused me to think, “wow, who is this guy and how can he control that sound and at that register with such speed, precision and cleanliness'. ♦
by Enrique Alonso, photos courtesy of Yosuke Sato I immediately grabbed my phone after the musicians were introduced at the end of the show to note who he was and as a “note to self”to do some deeper research about Yosuke Sato. I didn’t find a great deal of info about him on the net, something which I found incredibly strange considering his talent, so I attempted to contact him for a short interview, Having succeeded in contacting him all I can say is that during my interview with Yosuke, I found an extremely kind and very modest person. I greatly enjoyed my conversations with him. EA: When did you first begin seriously studying your instrument? Where? With who? YS: I bought my first saxophone when I was 26 years old with my first bonus from the company I was working for at the time. I was already playing guitar and trumpet so I knew what I wanted to do on saxophone. Finding time to practice then was not easy due to the fact I was working as a day job at the time. Several years later I quit the job so I could practice more, and started working with local musicians in the city Sapporo located in the northen part of Japan. I learned so much from those musicians but never had the opportunity to have a formal music education, I’m totally self taught. In fact I learned from CD’s and books. EA: What does New York city mean to you and why? YS: New York used to be the dream place to be as a jazz musician. While still living in Japan, I really wanted to be there, I think most of jazz musicians do. Believe me, it sure is a great place to be, so much stimulation and opportunity. Now NY is my hometown. It’s the place I come back to after tours, the place where my wife is waiting for me and the place that gives me the ease and time to develop my musicianship. I feel really happy when taking a walk around my neighborhood with my wife early in the morning. EA: What players would you say have had the biggest influence on your playing?
YS: It’s hard to pick just one musician who gave me the most but if I have to choose one I would say Julian Cannonball Adderley is the one. I really had been trying to play like him for a long time and then one day I realized it’s impossible. Still even now, every time I listen to him, he makes me feel like I want to play that way. I never have got bored of his music. read more: http://jazzineurope.mfmmedia.nl/2014/11/an-interview-with-yosuke-sato/ 2012-09-17 Misaki Nakamichi "MIKAZUKI"@KANAZAWA.JS Alto sax：Yosuke Sato Drums：Misaki Nakamichi Bass：Hiroki Nakamura Piston：Kazune Tanaka