Michael Supnick
Bepi D'Amato
Michele Carrabba
Renzo Bagorda
Ilario De Marinis
Enzo Lanzo
Giacomo Desiante
Larry Franco
Friday, November 28, 2008
Larry Franco - Sweet Georgia Brown - Non Sparate sul Pianista
Larry Franco, professional life....
Lorenzo Franco, in art "Larry", starts to study piano at 6 years old.
1990 – He began his carrier of Crooner in the Jazz Sudio Orchestra from Bari
1992 - 1993 – Performed in Bruxelles for the "Delegation Permanente de l 'Italie au Conseil Atlantique".
1994 - 1995 – moved in Los Angeles for one year and studied vocal technique with Gene Merlino. In L.A. performed in several Jazz Clubs of West Coast. Performed by the Italian Institute Of Culture of Los Angeles where he met the movie director Michelangelo Antonioni and Sofia Loren in the occasion of the Oscar Nomination of Michelangelo Antonioni carrier on march 1995.
1997 - performed as crooner of the Italian Big Band of Marco Renzi at the National Radio Network "Stasera a Via Asiago" conducted by Adriano Mazzoletti (Rai Stereo Due).
1998 – He met Nicola Arigliano the well know Italian crooner, and played piano in his trio till August of the same year.
1999 –He toured with the Italian Big Band in the Arab Emirates, performing by the National Theatre of Abu Dhabi and by the Crown Plaza Hotel in Dubai.On May he recorded "Nuttin' But Nat" dedicated to Nat King Cole, with Franco Cerri, Fabrizio Bosso, Massimo Manzi, Guido Di Leone. The Cd was introduced in the Europe scene by Giuliano Fournier on RADIO SVIZZERA "RETE 1". The same year he also recorded another CD called “Dixinitaly” with his traditional Jazz Band
2000 – He toured the Turkey, performing at Izmir and Ankara. On June he performer by the Middlebury College in Vermont (U.S.A).
During the summer partecipated at Verona Jazz Festival sharing the same stage togheter with Natalie Cole and Herbie Hancock.
2001 – he toured Etiopia, Addis Ababa for the Italian Institute of Culture.
2002 – On March he came back to Turkey for the 9° edizion of Izmir European Jazz Festival, performing also by Ankara University and Istanbul by the Italian Institute of Culture’s Theatre and recorded two more Cds: "Christmas Songs" and "Dixinitaly 2".
2003 – On february he performed in India, at Kala Ghoda Art Festival in Mumbai and in New Delhi by the Kamani Auditorium.
In June he performer in Greece to Patras, Athens (Megaro Mousikis Theatre) e Salonicco (at Mylos). During the summer he partecipated at Rimini, Terni and Livorno Jazz Festival. On the 2nd of July he came back to Middlebury College nel Vermont to have a concert by the University Music Hall. On december 2003 he recorded in New York with Dado Moroni (p), Ira Coleman (cb) e Jimmy Cobb (dr). his Cd “Introducing Larry Franco, Jazz Singer!” by Philology J.R. W718). On december performed by the Camerata Musicale Barese in the Classical Season.
2004 – On march he partecipated at Camerino International Jazz Competition. On Aprile 2004 the Nat King Cole tour with Franco Cerri, Dado Moroni and Ira Coleman. On May he toured in Marocco perfoming in Rabat at Mohamed V Theatre and by the Royal Golf Club for a Gala Dinner. On June he performer at Terni Jazz Festival with Daniele Scannapieco, and during the summer performing for several Jazz Festival in Italy and took part in a Tv Show of the Italian National Tv Rai Uno called “Linea Blu”. On November 11-15 he toured in Romania performing with his quartet in Bucharest for the Italian Institute of Culture and he took part in a Rumanian TV Show “TVR. From 20 to 23 november he performer by the "Quadriàme Art" in Tunisi for the Italian Institute of Culture. On december he toured Italy with Gary Smulyan, Ira Coleman, Bepi D'Amato, Michele Carrabba ed Enzo Lanzo for a tribute to Gerry Mulligan. Also in december recorded a new CD by Philology, with a new band, the Italian Jazz Ensemble
2005 – On February he participated at “Dubai International Jazz Festival” with his quartet (D.Scannapieco-G.Bassi-E.Lanzo). In march a tour dedicated to Gorni Kramer e Natalino Otto with Franco Cerri. On April he artecipated at Abu Dhabi International Jazz Festival. On September he performed at Ischia Jazz Festival (by Umbria Jazz). On October a very important and long tour of 20 days in Australia performing at Manly International Jazz Festival close to Sydney, at Kyneton Jazz festival and at the Italian Jazz festival in Melbourne. After Australia, going back home, he performed by the Country Club in Hong Kong.
In December recorded the new CD “Import Export” by Philology (W607) in quartet (M. Carrabba, I. De Marinis, E. Lanzo).
2006 – On January performer by the Camerata Musicale Sulmonese, on February performed for "Sinatra Days" by the Verona Philarmonic Theatre. On March he performed at Orvieto Jazz and again at the Dubai International Jazz Festival from 6 to 10 March. On April performed at Terni Jazz In Spring and from 6 to 11 May at Europafest in Bucharest sponsored by the Italian Institute of Culture. On September performer for “Barattelli Concerti” at l’Aquila in quartet with Bepi D’Amato. On October 2006 performed in Japan at the Yokohama Jazz Promenade and Tokyo by the Italian Institute Of Culture’s Auditorium “Umberto Agnelli”. On November he toured Cuba partecipating at the “IX settimana della Cultura” invited by the Italian Embassy of Havana. On december partecipated at the International Movie Festival in Marrakech Marocco sponsored by the Rabat Italian Institute of Culture and performing also at Teatro Italia in Casablanca for the Dante Alighieri Association and the Italian Consulate in Casabalanca.
2007 – On March he partecipated at Java Jazz International in Jakarta and at "Dubai International Jazz Festival.
On May he came vback for the tird time in Romania by the Europafest in Bucharest where he was nominated president of Jury of the first edition of International Jazz competition. On the 16th May he performer in Tirana (Albania) for "Klasik" Music Season sposorized by the Italian Institute of Culture. On the 1st of June he performed in Casablanca for the Celebration Day of the Italian Republic invited by the Italian Consulate of Italy and by the Dante Alighieri Association. On the 24th of June performed for “Aosta Classica” in a special evening concert dedicated to Mario Pogliotti and presented by the very famous Tv conductor Piero Angela.
Than performed at Macerata Jazz Festival and Onyx Jazz Festival in Matera. On November 26th to the 3rd of december he came back to Cuba for the “X settimana della Cultura Italiana all' Avana” Sponsored by the Puglia Region. In November also two new cds : Two In One (Piano Elegy), just piano and voice with on pianos, Franco D’Andrea, Dado Moroni, Renato Sellani, Nico Morelli, Antonello Vannucchi, Eddy Olivieri, Giorgio Cuscito – Philology W 361, and “A Crooner In The Land Of Dixie - Philology W 362” with his new traditional Jazz band : The Larry Franco’s Jazz Society.
2008 – On January performer in Romania at Suceava with the Eldad Tarmu Jazz Ensemble, later in spring he put togheter the olf trio in “Nat King Cole” style and recorded a new live Cd during a concert at the Fioreria in Reggio Calabria. On June he performed at Freiburg on Brisgovia in Germany for the Celebration Day of the Italian Republic with his quartet for the Italian Consulate. Than by the end of June he participated at Ascona Jazz Festival in Switzerland with the Jazz Society. On July he is winner of The ITALIAN JAZZ AWARDS – Luca Flores as “BEST JAZZ SINGER 2008” and performed at Sanremo Jazz where he received the award. Coming soon in the fall 2 new Cds : the Nat King Cole tribute live recorded“ 3 for Nat” and “All Of Me” another cd made with trio plus some soloists (Andy Gravish, Daniele Scannapieco, Bepi D’Amato, Michele Carrabba, Guido Di Leone) by Philology Jazz Records. On October he performed in Casablanca at Teatro Italia with his new project dedicated to Gorni Kramer (the very well know Italian Orchestra’s conductor of the ’50) for the Italian Consulate and the Dante Alighieri Association.
On November he will be back in Ascona by the Jazz Cat Club and to Cuba for the “XI Settimana Italiana della Cultura” with a new quartet (G.Di Leone, G.Ascolese, I.De Marinis). In November 16th he has been invited to sing “Sinatra” repertoire at the Rai Auditorium in Torino with the Rai Symphonic Orchestra, sharing the stage with Ray Gelato. In November also will begin a new cooperation with Gianni Basso guest of his new trio (Ilario De Marinis and Giampaolo Ascolese)
Larry Franco Quartet with guest: Michael Supnick - Blue Gardenia
Larry Franco: piano and vocals
Michael Supnick: trombone
Ilario De Marinis: bass
Enzo Lanzo: Drums
Breuddwyd Sax Osian Roberts
In a special programme we follow a saxophonist from Cardiff as he attempts to fulfil his dream of recording a jazz CD in New York with one of the best jazz musicians in the world. Osian Roberts and his band will play alongside one of Osian’s heroes, Cedar Walton, who made his name as a world-renowned jazz pianist in the 1960s, and bass player Peter Washington. Together, they’ll create a new record especially for the programme.
“I know this record will sell a lot more because Cedar Walton is playing on it. It will open the market to us in places like Japan where he’s very popular,” explains Osian Roberts, whose band is called The Osian Roberts Steve Fishwick Quintet.
Osian says that although jazz is popular around the world, most jazz musicians flock to the Big Apple. “New York is the closest thing to Mecca in jazz,” he explains. “There are lots of musicians of a very high standard there because people come from all over the world to be part of the city’s jazz scene.
Osian admits he has considered a move to the States to pursue a professional career, but he has no intention of relocating at the moment.
“It would be extremely hard for me to make a living out there because gigs don’t pay in New York. I wouldn’t be able to work like I do now either,” adds Osian, who divides his time between performing jazz and teaching the next generation of talented young jazz musicians.
Osian’s father, Eric, was a professional opera singer and even as a youngster, Osian believed he would be able to make a living in the unpredictable world of music. “I saw a saxophone in a shop window and I thought that it looked amazing. After that, I only ever wanted to be a jazz musician,” he says.
“To fulfil a dream is the pinnacle of any musician’s career. To do this in Manhattan’s jazz scene, the greatest jazz scene in the world, is even more amazing,” adds Osian.
http://www.s4c.co.uk/cerddoriaeth/e_breuddwydsax.shtml
The Martin Sulc/Osian Roberts Jazz Orchestra live at "U Maleho Glena" in Prague, October 2003
Alto Sax: Rosta Fras
Tenor Sax: Osian Roberts (arranger), Radek Zapadlo
Baritone Sax: Katka Stupkova
Trombones: Svata Kosvanec, Premek Tomsicek
Trumpets: Frantisek Tomsicek, Lukas Koudelka
Drums: Martin Sulc
Bass: Petr Dvorsky
Piano: Jiri Nedoma
Thursday, November 27, 2008
Enrico Rava
Enrico Rava, born in Trieste in 1939, is undoubtedly the most internationally acknowledged Italian jazzman. In forty years of his career as trumpet player, and composer, he has produced more than hundred recordings, thirty of which as a leader. Being a great admirer of Miles Davis and Chet Baker, his career started at an early age, when he played in clubs in Turin. In 1962, he meets Gato Barbieri with whom, two years later, he records the soundtrack for Montaldo's film "Una bella grinta". In those years he meets Don Cherry, Mal Waldron and Steve Lacy, with whom he plays free jazz in a quartet alternating between London and Buenos Aires (it is in Argentina in 1966 that the quartet records the album "The Forest and the Zoo").
In 1967 Rava is in New York, where he is introduced into the free avant-garde, among which are Roswell Rudd, Marion Brown, Rashied Ali, Cecil Taylor, Charlie Haden, Marvin Peterson etc. After an italian parenthesis, during which he plays with various musicians including Franco D'Andrea and where he records with Lee Konitz in Rome and with Manfred Schoof in Bremen, he returns to New York in 1969, where he lives for eight years. At first he plays mostly with Rudd, Bill Dixon and Carla Bley's Jazz Composer's Orchestra, under whose direction he records "Escalator Over the Hill". Beginning in 1972, when he records his first album as a leader, "Il giro del giorno in 80 mondi", Rava directs quartets (in New York clubs and on tours in Europe and Argentina), nearly always in pianoless groups. The playings and recordings follow one another, in a precious and uninterrupted flow, beside acknowledged italian, european and american musicians such as Franco D'Andrea, Enrico Pieranunzi, Marcello Melis, Massimo Urbani, Paolo Fresu, Pietro Tonolo, Stefano Bollani, Roberto Gatto, John Abercrombie, Roswell Rudd, Miroslav Vitous, Richard Galliano, J.F. Jenny-Clark, Misha Mengelberg, Dino Saluzzi, Lee Konitz, Martial Solal, Pat Metheny Charlie Mariano, Cecil Taylor, Jimmy Lyons, Archie Shepp etc.
He has played on tours and concerts in USA, Japan, Canada, Europe, Brazil, China, Argentina, taking part in important Festivals (Montreal, Toronto, Houston, San Francisco, Chicago, New York,Rio De Janeiro,Buenos Aires, Montevideo, Perugia, Antibes, Berlin, Paris Tokyo, Peking, etc). He has several times been elected best musician in the annual referendum conducted by "Musica Jazz", and has also won the title in the "best group" and "best italian album" categories. He ranked the 4th place on the Down Beat 2006 and 2007 trumpet players special chart. At present, he plays in several concerts with several projects including a duo with pianist Stefano Bollani and the Enrico Rava Quintet, composed by affirmed musicians as Gianluca Petrella, Giovanni Guidi, Pietro Leveratto and Fabrizio Sferra. " The third Man", the new Enrico Rava Cd (a duet with Stefano Bollani) for ECM has been released in September 07.
A new album "New York Days" with an all star quintet: Mike Turner, Stefano Bollani, Larry Grenadier, Paul Motian, will be released for ECM records in january 09.
enricorava.com
The Violin in the Jazz....
The jazz tried to resist how much the introduction of instruments can that were not part of its culture. The smaller classic formção of a group of jazz is the trio, piano, battery, contrabass, very used formation wants in the past wants in the gift, was typical in the workmanship of Bill Evans and is for example today one of the preferred formations of Keith Jarrett as of many of the great pianistas. The quartetos, quintetos or sextetos, are created of course adding metals, sax, trompete or trombone, historical instruments of the jazz.
The age of the electronics finished with the reign them acoustic instruments, the introduction of electronic sounds was perhaps the first step for its diversificção and relationship more I summon with other musical cultures, for unpleasantness of the section conservative who continues insisting on the defenição of jazz as only the music produced for the classic acoustic instruments that with it had grown. History seems not to be in agreement but also it is a question that exceeds in them.
Although to be an acoustic instrument, the violin delayed to arrive at the jazz, and one of the main culprits of its arrival will have been Stephane Grapelli that with Django Rheinhart would create the Hot Club de France, approaching the jazz of a new perspective, one quinteto of ropes.
If the resistance of the jazz to the violin if had to the antagonism between its nostalgic noise and the glad philosophy of the jazz, the jazz rock modified everything that is had in Jean Luc Ponty somebody capable thing to demonstar as all the potentialities of the violin (and it electrified or simply electric violin) could there easily be used to advantage.
Other vilonistas had been appearing with more or less success. but the truth is that the violin continues to be a exepção in the jazz. This compilation of six musics congregates the most known violinistas that of some form had been on to the jazz, is violin time…
Joe Venuti
Stuff Smith
Ray Nance
Stephane Grappelli
Didier Lockwood
Don Sugarcane Harris
Michal Urbaniak
Jean Luc Ponty
Credit > AD Jazz
Bobby McFerrin
Bobby McFerrin is part of a group of musicians of jazz in extinguishing ways, the ones that they use as only instrument the voice. Exceptuando perhaps the time of the Swing and previous, decades 20 and 30, this type of musicians never abundou, not being however to disdain, quite to the contrary, its paper in the spreading and consolidation of the jazz, names as Bing Crosby or Frank Sinatra had implanted the jazz in the films of the time and had given to an important contribution, leading the jazz to the 4 cantos of the world.
The arrival of the Bebop in decade 40 became them obsolete in a new complex style, fast e that preveligiava the improvisations. After the Bebop
few singers had appeared and same nowadays they are in one I number reduced, being the only references of weight Al Jarreau and Bobby McFerrin.
Mrs., for the opposite, had survived to this crisis of vocal values, its number have come to increase and its weight in the structure of the jazz is not of form some worthless one, exactly that many times the amount does not mean quality, or at least the quality and the charisma one of divas of another time as Aretha Franklin, Ella fitzgerald, Billie Holliday, Anita O´Day or Hellen Merril.
Bobby McFerrin knew to adapt ace new requirements and musical style
of the current jazz, utliza the voice as an instrument multipurpose, has fenomenais vocal capacities and knows to take off left of them, is a musician without competition the height and waits can be a starting point for the resurgimento of the masculine vocal art in the jazz.
The capacities of McFerrin had impressed Chick Corea and the workmanships in dueto have been succeeded. The three subjects below, are three of the most known standarts of the jazz, in dueto with Chick Corea
AD Jazz
Sara Lazarus - it's all right with me
Seen in "Victoires du Jazz 2007" aired by the french tv network "France 3". 9th June 2007.
Diffusé par France 3 le 09 Juin 2007 dans l'émission "les victoires du Jazz 2007" presentée par Sebastien Vidal et Isabelle Giordano.
Credits:
Sara Lazarus (Vocals)
Biréli Lagrène (guitar solo)
Hono Winterstein (rythm guitar)
Diego Imbert (bass)
http://www.youtube.com/watch?v=2ZFWV-OzHfs&feature=related
Bireli Lagrene & Didier Lockwood - I Got Rythm (gershwin)
Bireli lagrene - gipsy jazz guitar
Didier Lockwood - jazz violin
Biréli Lagrène was born on September 4, 1966, in Soufflenheim, (Bas-Rhin) in a traditional manouche-Gypsy family and community. He started playing the guitar at the age of four. When, at the age of eight, he covered Django Reinhardt’s repertoire, his relatives were already calling him a child prodigy. Winning a Gypsy music festival (in Strasbourg) at the age of twelve gave him the opportunity to tour in Germany and, later, to record his live performance on the double LP Route to Django. Offered a chance to leave for the United States, Lagrène met the greatest jazz musicians of the international scene such as Stéphane Grappelli, Benny Goodman, Benny Carter, etc. In 1984, he met Larry Coryell in New York. Later, he was introduced to bassist Jaco Pastorius and ventured with him into jazz fusion. Together, they toured Europe, which contributed a great deal to Lagrène’s musical emancipation. Back to a more traditional style, Lagrène recorded Gipsy Project and Gipsy Project and Friends in 2001.
Wikipedia
Richard Galliano....
Richard Galliano was born the 12 of December 1950 in Le Cannet, France. As its father he very started young to touch accordion, but he was with trombone that he initiated the musical studies of composition in the academy of Nice. He was in this period, years 60, that he got passionate himself for the jazz, influenced for of Miles Davis in the phase of Cool-Jazz, foca in this musical sort. As he would come to discover, he is not easy to be itself musician of jazz in the Europe, over all for a acordeonista, what he took it Paris in the year of 1973, where would finish as conducting, composer and arranjista of the orchestra of Claude´s Nogaro. But the bichino continued there, during the three years that the orchestra lead, never forgot the jazz, and whenever it can was involved in projectos touching with musicians as Chet Baker, Joe Zawinul, Toots thielmans, Ron Carter, Michel Petrucciani or Jan Gabareck.
But something was for happening that it would go to change its musical options, the contact with Astor Piazzola made Gallianio to believe that it would have to be focar in the European musical inheritance, desusada or declining considered music then, but certainly with beauty enough to be worked and acarinhada. E is what it has come to make in last the 15 years, creating a new chain, based in folk European, that many call New Musette.
Ad Card Jazz
Paul Chambers
"Paul Chambers was a great genius of the bass. He was incredible, you know. Some of the things he did weren't really touched by anybody. Just things that he could do, nobody really knew what it was he was doing. He was fantastic." Herbie Hancock
Of the musicians who had been part of immortal sexteto of Miles Davis who recorded the “Kind of Blue” still does not speak of the baterista Jimmy Cobb nor of Paul Chambers, the against-stock exchange operator and a musician of who if he waited very…
Been born in 22 of April of 1955, she was perhaps the biggest contrastock exchange operator of its time, the premature death to the 33 years after end to one of the careers most promising and innovative, Chambers revolutionized the form as the instrument if it integrated in the band, brought a new philosophy the interpretation, are its first ground known of against low.
He entered with only 20 years the band of Miles Davis after having folloied J.J. Johnson in the Kay Widding Quintet and was part of its bands during 8 years, participating in all the workmanships most important of this period, including “Kind of Blue”. He folloied musicians as Sonny Rollins, John Coltrane, Cannonball Adderley, Donald Byrd, Bud Powell and Freddie Hubard.
He enters the years of 1955 and 1960 he led its proper bands and he recorded 10 workmanships, the three following subjects are of its quinteto
Tale of the Fingers
The Hand of Love
Beauteous
Credit > AD Card Jazz
Tuesday, November 25, 2008
Diversao e Arte - Brazilian producer
THE PRODUCTION COMPANY
Diversão & Arte was founded in 1999 by the couple Paola Vieira and Geraldinho Magalhães. She is a producer specialized in films and videos. He is artistic manager, consultant/curator of music and arts festivals, TV programs, producer of shows, events, sound tracks and CDs.
The Company manages several artists, makes national and international events and renders artistic consultation. Its name is always associated with innovative projects which have great repercussion in the media.
In the audiovisual area, Diversão & Arte renders services of production, research and direction of film and TV, institutional and educative videos. It also offers consultation for development of film and video projects.
Diversão & Arte has a staff of bilingual professionals highly qualified in the different areas in which it actuates, whose services are assigned according to the needs of each production. Thus, the company is able to offer specialized and personalized services.
Address
rua jd. botânico, 588/201
jardim botânico
rio de janeiro rj
cep 22460-000
brazil
Telephone and Fax
+55 21 2266.3800
+55 21 2539.2836 (fax)
e-mail
contato@diversaoearte.com
Site
http://www.diversaoearte.com/produtora_en.php
Monday, November 24, 2008
Songs in the Key of Monk With Lyric Latin Touches
Twelve years ago the Panamanian jazz pianist Danilo Pérez recorded an album whose title, “Panamonk,” neatly summed up its concept and limitations. It was made up primarily of compositions by Thelonious Monk, delivered with a Latin American inflection. Mr. Pérez’s approach was refreshing in its irreverence: rather than try to be as faithful as possible to Monk’s distinctive rhythms and harmonies, he used Monk’s vision as a jumping-off point for his own individuality as an improviser. But “Panamonk” at times skated dangerously close to glib Monk-goes-Latin gimmickry.
Mr. Pérez is a smarter and more imaginative musician today than in 1996. His long tenure in the quartet of the relentlessly adventurous saxophonist and composer Wayne Shorter, who likes to keep his sidemen on their toes, has surely contributed to his artistic growth. Leading a trio at the Allen Room as part of Jazz at Lincoln Center’s weekend-long Monk celebration, Mr. Pérez revisited some of the “Panamonk” repertory and played a few other Monk compositions as well. In the first of his two sets on Saturday night (he also performed twice on Friday) he was often exhilarating, sometimes moving and rarely glib or gimmicky.
Only a few of the nine numbers, six of them written by Monk, received the full-on Latin treatment. And even on those, despite fiery polyrhythmic support from the bassist Ben Street and the drummer Adam Cruz, Mr. Pérez steered clear of the overheated passion that can infect jazz musicians trying to fit a stereotypical idea of Latin. The essence of his performance was not heat but restrained, assured lyricism.
The slower and more ruminative pieces were among the highlights of the set. In his unaccompanied interpretation of “ ’Round Midnight,” whose emotional intensity has tempted many a good musician to lapse into melodrama, Mr. Pérez was introspective without being maudlin or sentimental. With Mr. Street and Mr. Cruz providing sensitive counterpoint, he was just as effective assaying “Ask Me Now,” a lesser-known but equally beautiful Monk ballad.
If Mr. Pérez rarely aped Monk’s style directly — his playing was far more legato, his lines far more elaborate — he often evoked Monk’s playful spirit. During Mr. Cruz’s solo on “Think of One,” one of the few Monk tunes to receive the no-holds-barred Afro-Cuban treatment, Mr. Pérez got up from the piano bench, walked over to the drum kit and provided spontaneous percussion accompaniment. And he brought the song, and the set, to a joyful conclusion with an overtly Monkian gesture: a dissonant cluster of notes, played loudly and emphatically with his right elbow.
http://www.nytimes.com/2008/11/24/arts/music/24dani.html?partner=rssnyt&emc=rss
Earl Palmer, 84, a Jazz Session Drummer, Dies
By THE ASSOCIATED PRESS
Published: September 22, 2008
Earl Palmer, a session drummer whose pioneering backbeats were recorded on classics like Little Richard’s “Tutti Frutti” and the Righteous Brothers’ “You’ve Lost That Lovin’ Feelin’,” died on Friday at his home in Los Angeles. He was 84.
His death was confirmed by his spokesman, Kevin Sasaki.
Mr. Palmer was born in New Orleans in 1924 and worked extensively both there and in Los Angeles, where he later moved.
He recorded on thousands of tracks, and his session credits include artists as diverse as the Monkees, Neil Young and Frank Sinatra. His beats form the backdrop on Ike and Tina Turner’s “River Deep, Mountain High,” “The Fat Man” by Fats Domino and “I Hear You Knockin”‘ by Smiley Lewis. He also played for Phil Spector and Motown.
Ed Vodika, the pianist in the Earl Palmer Trio, recalled that the group’s weekly gigs in Los Angeles attracted a host of big-name musicians, from Bonnie Raitt to Ringo Starr. “He worked with so many people in his career, you never knew who would be in the audience,” he said.
Mr. Palmer was inducted into the Rock ’n’ Roll Hall of Fame in 2000. According to the institution’s Web site, rockhall.com, Little Richard wrote in his autobiography that Mr. Palmer “was probably the greatest session drummer of all time.”
Mr. Palmer was married four times and is survived by seven children.
His biography by Tony Scherman, “Backbeat: Earl Palmer’s Story,” was published in 1999.
Richard M. Sudhalter, 69, Author and Jazz Trumpeter, Is Dead
Richard M. Sudhalter, who won wide respect as a mellifluous trumpet player and perspicacious jazz historian — and ignited controversy for a book arguing that jazz was shaped by white as well as black musicians — died on Friday in Manhattan. He was 69.
The final cause was pneumonia after a long period of declining health, said his partner, Dorothy Kellogg.
Mr. Sudhalter ranged widely across the jazz scene, from critic to concert producer to bandleader to scholar to raconteur to teacher to album annotator. He shared a Grammy in 1982 for notes he and John Chilton wrote for “Bunny Berigan (Giants of Jazz).” He organized the New Paul Whiteman Orchestra; became an admired fixture on the classic-jazz scene, playing with groups that included the short-lived but highly lauded Classic Jazz Quartet; and recorded for Audiophile, Challenge and other labels.
In his 1999 book, “Lost Chords: White Musicians and Their Contribution to Jazz, 1915-1945” (Oxford), he strove to controvert the widely held belief that white players contributed little to the development of jazz. His account began at jazz’s inception in New Orleans, providing captivating accounts of many important soloists, among them Bix Beiderbecke, Benny Goodman, Jack Teagarden, Red Norvo, Bud Freeman, the Dorsey brothers, Bunny Berigan, Pee Wee Russell and Artie Shaw.
Jason Berry, in The New York Times Book Review, praised the book’s “elegant musical analysis” and did not dispute that whites greatly contributed to jazz. But Mr. Berry questioned whether Mr. Sudhalter had properly apportioned credit by giving too much of it to whites.
Writing in The Atlantic Monthy, William H. Youngren defended Mr. Sudhalter’s balance, saying the tendency at the time would be to see the book as an attack on black achievement. “Nothing could be further from Sudhalter’s intent,” he wrote.
A month before the book was released, The Times published a long essay on the topic by Mr. Sudhalter in its Arts & Leisure section. A storm of letters followed.
In an interview with Contemporary Authors, Mr. Sudhalter said most critics had not grasped his point. “The angrier the denunciation, it seemed, the less the writer had actually read,” he said. His book, he said, was a history, not “a racial screed.”
Mr. Sudhalter, who was a music critic for The New York Post in the 1970s and ’80s, also wrote “Bix: Man and Legend” (Arlington House), a highly praised 1974 biography of Beiderbecke, with Philip R. Evans. His friend the critic Terry Teachout compared its thoroughness to “a scholarly biography of a major classical composer.”
In 2002 Mr. Sudhalter published “Stardust Melody: The Life and Music of Hoagy Carmichael” (Oxford). Jonathan Yardley of The Washington Post said the book showed “that Carmichael’s mind was deeper and tougher than first impressions might suggest.”
Richard Merrill Sudhalter was born in Boston on Dec. 28, 1938. His father was a saxophonist who adored jazz, particularly Beiderbecke, and took his son’s musical education seriously. By his teens the younger Sudhalter was playing his cornet in Boston clubs. He earned a degree in English literature and music from Oberlin, worked as a musician in Germany and then was a reporter for United Press International in Europe.
He gave more emphasis to playing after he visited the Williams College library to research his Beiderbecke book. He discovered all the arrangements of the Paul Whiteman Orchestra of the 1920s, in which Beiderbecke had played, and decided to form a band to play the arrangements.
So he returned to London, where he was then living, and gathered top British musicians to play as the New Paul Whiteman Orchestra. Fans applauded them wildly at a jazz festival, a recording was made four days later, and the group went on to successful appearances at Carnegie Hall and elsewhere. Mr. Sudhalter played the cornet in the role of Beiderbecke, with inflections reminiscent of his other idols, Louis Armstrong and Bobby Hackett.
In addition to Ms. Kellogg, Mr. Sudhalter is survived by his sister, Carol, of Queens; his brother, James, of Harrisburg, Pa.; and his daughters Adrian, of Manhattan, and Kimberly, of Hollywood, Calif.
Dan Morgenstern, director of the Institute of Jazz Studies at Rutgers University, said jazz lovers were disappointed years ago when the Classic Jazz Quartet suddenly broke up after the death of its pianist, Dick Wellstood. He recalled that all four members of the group were writers of various sorts, and all had a hearty sense of humor.
Their first choice for a name, Mr. Morgenstern said, was the Bourgeois Scum, but “they were told that was not commercial.”
Credit > The New York Times Journal
Stormy Weather Blues - Barbara Dennerlein, Patruno, Hayes
Stormy Weather Blues
BARBARA DENNERLEIN (organ)
LINO PATRUNO (guitar)
GERRY HAYES(drums)
September 1984
Barbara Dennerlein (born 25 September 1964 in Munich, Germany), is a hard bop and post-bop Hammond B3 organist whose 1980s recordings helped to revive interest in the Hammond organ.
At age 11, Dennerlein began playing electronic organ. After starting organ lessons, she learned to play the two manual organ with a bass pedalboard. After one and a half years of lessons she continued to study without formal instruction. At age 15, she played in a jazz club for the first time. When leading her own bands, Dennerlein was often the youngest musician in the group, and she learned to cooperate with more experienced musicians. Her local reputation as the "Organ tornado from Munich" spread after her first TV appearances in 1982.
http://en.wikipedia.org/wiki/Barbara_...
http://www.youtube.com/watch?v=T9h2X8RjREc
Barbara Dennerlein & Rhoda Scott on Hammond B3 Organ
Can you handle this much organ? We are used to guitarists like Duane Allman and Dickey Betts, or Derek Trucks and Warren Haynes mixing it up, but Rhoda Scott and Barbara Dennerlein prove that instrumental music isn't just a man's world.
This impromptu performance took place in Switzerland in 2002 at the Bern Jazz Festival, bringing together two legends of the Hammond B3 Organ - the 5 time Downbeat Critics Poll Winner Barbara Dennerlein and the great Soul Jazz artist Rhoda Scott, a.k.a. "Barefoot Lady" - called a very great virtuoso by Arthur Rubinstein.
For Dennerlein fans this is a bit unusual, because Barbara isn't playing pedal bass. This number "Nova" was composed by Rhoda, an accomplished pedal bass player herself, so she provides the bass lines.
Not only are they smoking hot soloists, but check out the great interplay, harmonics, and accompaniment.
Categoria: Música
http://www.youtube.com/watch?v=Ra4kYAYCdeI&NR=1
Very Hot Stuff - Barbara Dennerlein on Hammond B3 Organ
Seeing is believing. It looks impossible, but it's true, Barbara Dennerlein plays bass lines with her left foot that I couldn't play with my left hand.
Unlike many organists, she did not begin with piano. When she was 11 years old she began playing organ, including the use of the foot pedals. She took lessons for a year and a half from a teacher who played jazz himself. By the time she was 13 she was completely on her own in regard to her musical development.
Charlie Parker was her musical hero and biggest influence. While she respects Jimmy Smith's musicianship and his enormous contribution to jazz organ, she did not model her playing, sound, technique or musical approach after his.
Like Jimmy, she developed her own personal style and unmistakable sound. Her artistic sensibilities are closer to Larry Young than Jimmy Smith, but they are still very much her own.
In the 80's Jimmy Smith briefly moved from Hammond B3 to another make of organ, experimented with synthesizers and even played electric piano. In the 80's Barbara also began to experiment, but she took a different approach.
She integrated midi technology into her B3 keyboard and sampled an upright bass to give her bass pedals a more realistic sound.
This video is one small glimpse into her musical world, I hope you'll view the other clips on my channel, and enjoy clips by other great B3 players. My hope is that music is enjoyed as a celebration, and not a competition - it's art not sport.
Barbara Dennerlein, Hammond B3 Organ. Dennis Chambers, Drums. (Not shown on clip: Andy Sheppard, Sax, Mitch Watkins, Guitar.) Vienna, 1992
PS If anyone knows Rick Rubin, he should see this clip.
http://www.youtube.com/watch?v=60ut7yIuCEY&feature=related
Al Di Meola Brings the "World" On Tour
Guitarist Al Di Meola will launch a national tour and release a new album in early 2009 with his new project, Al Di Meola and World Sinfonia. Joining a handpicked group of master musicians for both the tour and album, Di Meola makes a surprising turn into the romantic, producing a collection of moving tango-flavored melodies. Their work is on display on La Melodia Live In Milano, available Jan. 8, 2009.
"Although the tango developed in Argentina, it was born in the region of Italy where my parents are from, Napoli," Di Meola said. "This music connects to my roots. As long as I'm playing music, it will be part of my repertoire."
http://www.downbeat.com/default.asp?sect=news&subsect=news_detail&nid=1307
Avishai Cohen Joins Blue Note
Blue Note has announced that it has signed a worldwide deal with bassist/composer/singer and bandleader Avishai Cohen. Cohen's debut release for Blue Note--his 11th album as an ensemble leader--will be recorded in December in Paris with the release scheduled for spring '09.
Born April 20, 1970, in Israel, the eclectic artist is considered to be one of the biggest new stars on the international jazz scene, reaching out to a broad audience around the world and becoming a much in demand musician. He most recently was appointed artistic director for the Eilat Red Sea Festival.
"To me, the Blue Note label means some of my favorite jazz albums of all times, whether it’s Wayne Shorter or Lee Morgan," Cohen said. "I am very proud and excited to be a part of this family."
http://www.downbeat.com/default.asp?sect=news&subsect=news_detail&nid=1308
Live Review: Aretha Franklin at The House of Blues
Aretha Franklin, the long-reigning Queen of Soul, is a benevolent and generous monarch. On top of every other accolade that's been laid at her feet over the last half-century, a prestigious collective of musicians, writers and music industry heavyweights just placed her at the top of Rolling Stone magazine’s ranking of the 100 greatest singers of all time.
Another singer might have incorporated that bit of news into her introduction. Or she could have humbly basked in the ovation it surely would have generated had she mentioned it Saturday during the second of two nights at the House of Blues in West Hollywood.
Instead, she launched this rare Southland club appearance with a tacit salute to a few of the other estimable voices in pop music, opening with Jackie Wilson's "(Your Love Keeps Lifting Me) Higher and Higher." She subsequently offered up Curtis Mayfield's exquisite "Something He Can Feel" and her signature version of Otis Redding's "Respect" and then saluted rock and funk pioneer Sly Stone with a medley of "I Want to Take You Higher" and "Dance to the Music." But just like so many geopolitical monarchs, whatever she touched became her own.
Scholars and barflies will happily continue to debate whether Franklin is "better" than Elvis, whether Ray Charles should only have finished at No. 2 and why the heck Louis Armstrong didn't even make the list -- it's all academic. By any measure, Franklin, 66, is simply one of the treasures of our age.
The impetus for the club stint was the recent release of her first album of holiday music, and for the occasion she jammed an orchestra of about 15 instrumentalists plus four backup singers onto the tight House of Blues stage for her scintillating 90-minute set.
She dipped into the Christmas collection for the contemporary standard "My Grown-Up Christmas List," which presented a challenge even to the Queen of Soul to overcome its inherently maudlin sentimentality. More on target were an intriguing soul arrangement of "Hark! The Herald Angels Sing" (sung inexplicably over a recorded backing track) and the straight gospel song "One Night With the King."
It created an odd juxtaposition with the secular material and her otherwise lighthearted banter, including some mildly bawdy repartee with fans who packed every square inch of standing room. She also took a moment to thank the sweat-soaked crowd for indulging her refusal to allow air-conditioning during performances because it dries out vocal cords.
The real gift of the night: a couple of old blues songs that highlighted her abilities as a pure blues singer. "Today I Sing the Blues," which she first recorded during her struggling period at Columbia Records before blossoming fully at Atlantic, was textbook existential blues -- Franklin singing about "how fate can be so unfair" and crying-moaning syllables to root out the deepest meaning of that phrase. Then she found release when the band kicked it into a double-time gospel rave-up at the end.
If there was a disappointment in the evening, it was that she played just one song, "So Damn Happy," at the piano. When she's at the keyboard, it's obvious that's where she's most inspired as a musician, and a stretch of several such songs was the high point of her first L.A. show in nearly 15 years in February at the Nokia Theatre.
In "So Damn Happy," she sang of the joy a lover has given her, but upon their parting, she recognizes that it was possible only because she's also known equivalent pain. It was a moment of royal revelation.
Long live the Queen.
--Randy Lewis
Photo: Lawrence K. Ho / Los Angeles Times
http://latimesblogs.latimes.com/music_blog/2008/11/live-review-are.html
GB - Mayor outlines key culture plans....
The Mayor of London Boris Johnson has outlined plans to enhance Londoners' experience of arts and culture in the city over the next three years.
In his paper he includes plans for a major celebration of London's people, past, present and future, which is set to take place next June.
Other plans involve a drive to improve music education for young people.
Mr Johnson said Londoners must capitalise on opportunities offered by the 2012 Olympic Games.
The plans include jazz performances in the outer boroughs using funding received by the London Jazz Festival, and a London Film Day working with Film London.
'Cultural legacy'
Mr Johnson's paper, called "Cultural Metropolis - The Mayor's Priorities for Culture 2009-2012", said the Games should be used as a once-in-a-lifetime opportunity to develop a high-quality cultural legacy.
It said that could be achieved through projects such as the art commissions which are expected to be integrated into the Olympic Park.
Mr Johnson said: "I want to maintain the capital's status as one of the great world cities for culture and creativity."
He added: "I want to see better access and provision for people in the outer boroughs, where it can be very patchy.
"And we must capitalise on the opportunities offered by the 2012 Games to create a cultural legacy for all Londoners."
http://news.bbc.co.uk/2/hi/uk_news/england/london/7744903.stm
Joe Holt....
Joe Holt is an improvisational pianist, with a unique and diverse musical background. A graduate of Glassboro State College (NJ) in the 1980s, and a student of Yoheved Kaplinsky, he has built his musical expression on this classical foundation, with a commitment to his own improvisational performance. At hundreds of events each year, Joe performs primarily as a soloist, but has also performed with his own trio, and established jazz groups, both in the Mid-Atlantic region and throughout the US in concerts and jazz festivals. In addition, Joe is a board certified music therapist (MT-BC), serving seniors in dozens of communities in PA, NJ, DE, and MD. He has also served in the roles of musical director and producer (for theatre, performing artists, and in the recording studio) and in music ministry (most recently as Worship Arts Director for the Chestertown (MD) Church of the Nazarene, from 2003-2006).
Joe is active in recording, appearing on over 20 albums, 6 of which are on his own label. He also performs weekly for "Joe Holt's Notes on the Radio" - heard (locally) on WKDI 840am, and through his website. For more information, including a schedule of piano concerts and performances, instructional articles, and his video performance diary: visit www.joeholtsnotes.com . Joe lives with his wife, Carol, and family, in Chestertown, MD.
http://www.joeholtsnotes.com/Press_Release.html
Saturday, November 22, 2008
Marisa Monte, Bebo Valdés y Carlinhos Brown - "Músico"
Album > "El Milagro de Candeal"
Song > "Músico"
Marisa Monte great brazilian singer, Bebo Valdés piano player, Cesar Mendes brazilian guitar player and Carlinhos Brown brazilian musician.
Bebo Valdes and the Art of the Duo
Bebo Valdes is one of the leaders of the Afro-Cuban Jazz movement from "back in the day" - and in this case, that means pre-Castro Cuba. As he reaches the age of 90, the pianist is reexamining the material he has written, interpreted and championed over the years. No better opportunity to see how reflection can create unexpected delight comes in his latest release, Live at the Village Vanguard.
While the recording dates from 2005, it is just finally being released to the public thanks to Calle 54 Records. That evening, Valdes teamed up with his favorite bass player, Javier Colina, for an evening of duets. Their quiet, yet rousing set must have been truly wonderful in "the New York cathedral of Jazz" in the Village. Each man gives as good as he gets, and rather than pound out the type of lively, percussive music we expect of Latin Jazz, we are treated to the art of the sophisticaed duo.
The set is divided neatly into Valdes compositions, a series of boleros, a tribute to Cuba's Ernesto Lecuona, and some jazz standards. Valdes' "Bebo's Blues" is an absolute delight, as the veteran pianist drops some boogie-woogie on us, deftly quoting "Rhapsody in Blue". On "Con Poco Coco," Valdes quotes "Salt Peanuts" when Colina bows out a melodic nod to "Old Devil Moon". Clearly, these are two men with a deep sense of the jazz tradition, and they're more than happy to let us all know it. It's only appropriate the album ends with Bill Evans' "Waltz for Debby", given Evans' close ties to the venue.
I've blogged on Bebo before, but this is some of my first exposure to Javier Colina. He cut his teeth playing double bass in flamenco jazz bands in Spain, and he has developed into a fine musciain, able to have an almost telepathic sense of communication with the older Velades. His nickname may be "El Rapido", but its not just speed that makes his performance notable, but its soulfulness.
Click here to listen to "Con Poco Coco ", a track indicative of the joys of the CD. Valdes lets the melody lilt rather than stomp or sway, and Colina, whether he is bowing the bass or plucking it, is more than up to any challenge Bebo throws his way. This is a gentle, yet exciting album, and well worth your time.
http://straightnochaserjazz.blogspot.com/
Hampton Hawes - Happy 80th Birthday
Birthday wishes go out today to the underrated Hampton Hawes. Hawes passed away tragically thirty years ago, at the age of 48.
A bebop specialist, Hawes was at the center of many of the West Coast's finest bop sessions. At the tender age of 19 he was part of the Howard McGhee Quintet that included Charlie Parker. After a stint in the army, he began leading his own groups.
His finest recorded work may have been his trio work with bassist Red Mitchell and drummer Chuck Thompson. Click here to listen to "Feelin' Fine" from the first Hawes trio sessions in 1955.
A year later, he would augment that group with the young Jim Hall on guitar. He was featured on Charles Mingus' Three in 1957, just before his world came brashing down.
A victim of heroin addiction as were so many of his peers, he was arrested in an FBI "sting" and did time in a federal prison hospital. He was released in 1963 after being pardoned by President John F. Kennedy. His autobiography, Raise Up Off Me, has been called "one of the most moving memoirs ever written by a musician, and a classic of jazz writing," by the Penguin Guide to Jazz is extremely frank and honest about those years, and well worth reading.
He continued recording and playing for the rest of his brief life, in both electric and acoustic formats.
http://straightnochaserjazz.blogspot.com/
Friday, November 21, 2008
What is a Ballad?
In the world of jazz, a ballad is a slower piece, sometimes very slow, where the soloist often falls way behind the beat to make a point, and then at some point catches up. Some of the great jazz ballad singers were June Christi, Sara Vaughn, Billie Holliday, Shirley Horn, Nancy Wilson, Nina Simone, Diana Shuur, Anita O'Day, Diana Krall, and of course the incomparable Ella. They sang many other styles as well, but in my book, nobody sang ballads like these gals.
Outside of jazz ballads are an increasingly common musical concept in modern popular music. They're generally thought of as slow, highly melodic songs that tell of some sort of heartbreak; there's even a whole CD dedicated to power ballads, the result of heavier rock bands taking it down a few notches to tell about love gained or lost. But true ballads, in the strictest sense of the word, are far more complicated than just taking a song's tempo down by a few beats per minute. True ballads date back to way before heavy metal or modern folk music. True ballads are an integral part of historical folklore.
Ballads are songs that tell a story, like poetry or folk stories set to music. The stories told in ballads tend to be well-known and oft-repeated and often incorporate tall tales. Increasingly, however, ballads have been adapted to the plight of the everyman; ballads are the peoples' music and will always tell about the people of that particular time.
Ballads are distinguishable from other types of songs by a few important characteristics. The lyrics in ballads tend to focus far more on action than reaction and will usually be sung in the third person, like many literary folk stories. Ballads also tend to focus on the song's lyrical (as opposed to instrumental) qualities; since a ballad is focused so heavily on the story being told, it's vital that the lyrics get first billing. Because of this, the lyrics tend to be simple and easy to repeat. The chorus, especially, must be memorable; it was designed specifically to be sung in unison by the audience, many of who will have only heard it once. This memorable quality is vital also because ballads, in the truest sense of the word, will almost always have been passed down from generation to generation. The ballads will certainly evolve over time, but the basic elements of story will remain in tact.
Because true ballads tell folk stories, it's not surprising that ballads have remained a large part of the folk music genre. But even in that most integrity-based area of music, ballads haven't always maintained their essential elements. The notion of ballads, just like the ballads themselves, has evolved so much over time that the ballads of today barely resemble those of the original criteria. Still, despite their differences, they are still considered ballads -- just in a much looser form (consider the modern ballad "American Pie"). Power ballads, on the other hand, can hardly be called ballads, even by those who allow the word to be very loosely interpreted. Power ballads rarely fit any of the criteria of original ballads, other than the frequently found subject of a lover scorned. No matter how slow, melodic or heartbreaking certain songs are, they can't always be called ballads; a catchy chorus does not always a ballad make.
http://freepianolessons.blogspot.com/search/label/jazz%20singers
The Piano - All About Pianos
The piano is a large stringed musical instrument comprising of metal wires stretched across a frame, which when struck by felt-covered hammers controlled by a keyboard, produce soft and gentle melodious sound, using the principles of resonance.
Far and wide, the piano is used in Western music for solo performances and orchestras, apart from the purposes it serves in composing and rehearsal. Despite the fact that it is not transportable and is an exorbitant commodity, yet it is considered to be the best household musical instrument, owing to its adaptability and prevalence, and is casually referred to by interesting names such as "the ivory", "The Joanna", "The Eighty-eight", and "The Black(s) and White(s)", "The Little Joe(s)".
Technically speaking, piano is considered to be successor of the DULCIMER (struck zither) family, differing from its contradistinctive predecessor - the HARPSICHORD, which is played by plucking the strings with quills, and the CLAVICHORD, in which the strings are struck by tangents.
HISTORY Of THE PIANO
The initial period and the early evolution of the piano
Undoubtedly, the pianos have a rich and remarkable history. The word piano has been abbreviated from ‘pianoforte,’ which originates from the Italian name for the instrument, clavicembalo or gravicembalo col piano e forte meaning ‘harpsichord with soft and loud.’
During the first decade of the 18th century, Bartolomeo Cristofori - harpsichord maker of Florence, Italy, installed an efficient hammer action into the case of a harpsichord, thus inventing an instrument what was to be called a gravicembalo col piano e forte. What made it differ slightly from a harpsichord was the ability to vary the loudness and softness of its tone, according to the stroke force used by the player. It was Cristofori who is generally accredited with the invention of piano. Quite interestingly, two of his pianos yet exist; one of them, dated 1720, lies in the Metropolitan Museum of Art, New York City and the other, dated 1726, lies in a museum in Leipzig, Germany.
Owing to the passionate article written by Italian writer Scipione Maffei in 1711, discussing the minute details of Cristofori's new instrument alongwith an illustration of the mechanism, not much was known about it in general beforehand. This article was widely distributed, which consequently, lead to newer inventions being carried out by most of the succeeding generation of piano-makers, following Cristofori's piano action which served as a model for the requisite purpose. Among these makers, a name that holds much prominence is of Gottfried Silbermann - rather an organ builder - who invented the precursor of the modern damper pedal, which lifts all the dampers from the strings, simultaneously.
During the late 18th century, art of piano-making prospered when Johann Andreas Stein honed the so-called Viennese Action, which comprises of prying or snapping the hammer up against the string - a rather inexpensive approach to produce, apart from being much reliable and particularly sensitive to touch. This action, alongwith the gracefully constructed case of the Viennese piano, paved way of producing a perfect model for the mature keyboard works of Haydn, Mozart and their contemporaries.
Developments of the modern piano
It was around 1760, when Johannes Zumpe migrated to England escorted by a group of German piano-builders, where they popularized the primeval single action in which the hammer is tossed up against the string by means of a jack attached to the key – this, after a series of development, became known as the English Action. With this action, it was possible to make powerful strokes, accompanied by the heavier stringing and framing of the late-18th century English piano which consequently, led to the invention of an instrument with rather greater volume and intensity of sound and sustaining power compared to the Viennese Action. Later on, piano makers set out on a journey to bring out further innovation in the then-existing piano. Endeavors to conjoin the qualities sustaining in the English instrument i.e., its power and cantabile (singing quality) of the alongwith the responsiveness and stability of the Viennese piano, thus successfully devised the repetition action, which was the brainchild of the French manufacturer Sébastien Érard in 1823, that still sustains to be in general use. Subsequently, artisans in entire Western world instigated working to further hone the pianoforte. Various developments and innovations were carried out and infact, still continue in terms of the design and structure, most notably, Germany and the United States have stayed distinguished for making excellent pianos, conspicuously those created by the German firm founded by Karl Bechstein and the American firms of Baldwin, Mason & Hamlin, Steinway, and Chickering. The pianos of the Austrian Bösendorfer firm are also highly valued. The compass of the early piano was similar to that of the harpsichord, only four, or at most, five octaves.
Further efforts aided in creating an ever-increasing fortification of the case –before, with heavier wood framing and afterwards, with the addition of metal braces, resulting in the complete cast-iron frame, patented in 1825, by the American piano-maker namely Alpheus Babcock. With the passage of time, further innovations were introduced for the mechanism, including the use of felt hammer coverings in place of layered leather hammers. Felt hammers were initially introduced by Henri Pape in 1826, were a more consistent and reliable material to be used, since it was flexible enough to bear wider dynamic ranges as hammer weights and string tension increased. Later, in 1844, with the introduction of the sostenuto pedal by Jean Louis Boisselot, it led to further improvements laid down by the Steinway firm in 1874, permitting a wider range of effects.
In addition to these novel effects, other important technical improvements were carried out which also include alterations in the methods of stringing the piano, such as the use of a "choir" of three strings instead of two for all except the lower notes, and the use of different stringing methods. During the 1820s epoch, over stringing was invented by Jean-Henri Pape, and for use in grand pianos in the United States was first patented by Henry Steinway Jr. in 1859.
In 1872, after the introduction of duplexes or aliquot scales by Theodore Steinway, it was made possible to control various different components of string vibrations by tuning their secondary parts in octave relationships with the sounding lengths.
Previously, pianos possessed shapes and designs which no longer prevail to be in use, owing to one’s comfort ability and convenience. The square piano had horizontal strings diagonally arranged across the rectangular case above the hammers, alongwith the keyboard set fixed in the long side. This design, which was laid down by Silbermann and Frederici was perfected by Petzold and Babcock. Constructed in ample quantity throughout the 1890s in the United States were the Steinway's celebrated iron framed over strung squares, which were infact, twice as huge and hefty, compared to the size of Zumpe's wood framed instruments which were given preference to, a century before, largely owing to its economical construction and cost, with performance and resonating frequency limited by simple actions and closely spaced strings.
The tall, vertically played upright grand was well-organized with the soundboard and bridges arranged perpendicularly with keys in such a way that the strings did not stretch out to the floor. The 19th century’s vertical grand ‘Giraffe’ piano, alongwith pyramid and lyre pianos functioned on this principle, built in more emotively shaped cases and designed to save floor space.
The very tall cabinet piano patented by Southwell featured strings arranged perpendicularly on an incessant frame with bridges stretched out, reaching the floor, behind the keyboard. The short cottage upright with vertical stringing introduced by Robert Wornum in around 1815, make use of the damper mechanism owing to which it is often referred to as the birdcage pianos. Later arrived, the oblique or diagonally strung upright introduced in France by Roller & Blanchet during the late 1820s. The tiny spinet upright was built from the mid 1930s up to present times. The low position of the hammers adopted the use of a "drop action" to sustain a significant keyboard height.
The upright, grand, and concert grand pianos prevailing currently have acquired their existing appearance and configuration by the end of the 19th century. Additionally, various enhancements have been made in its creation process, which infact is a continuous progression.
THE MODERN PIANO
Schematic depiction of a piano
A schematic depiction of structure of a piano.
http://upload.wikimedia.org/wikipedia/commons/3/36/Fortepian_-_schemat.svg
Every piano consists of the following essential features:
· case
· soundboard
· tailpiece
· action
· keyboard
· pedals
Case
The case is actually the framework of a piano – its chassis, which adjusts in itself, all the strings and the devices which are responsible for produce cantabile sound. The frame is usually made of iron. At the rear end is attached the string plate, into which the strings are fastened. In the front is the wrest plank, into which the tuning pins are set. Around these is wound the other end of the strings, and by turning these pins the tension of the strings is regulated.
Soundboard
The soundboard is a thin piece of fine-grained spruce positioned beneath the strings which causes the tone to reinforce using sympathetic vibration. Generally, the soundboard is made from Sitka spruce of around 3/8" in thickness. The soundboard may be crowned or slightly curved upwards towards the strings in order to retain compression, making it vibrate more dynamically, and keeps it from collapsing due to the pressure from the strings.
Tailpiece
The tailpiece comprises of the strings, the metal frame responsible for keeping them in tension, and the soundboard, made from hardwood, usually fir or beech. The purpose of the soundboard is to boost the vibration of the strings by resonance. The strings are made of steel. In the lower register, there is one string per note, and in the higher register, every note is composed by two and eventually three strings, struck concurrently by one hammer.
The tension is the strings is present owing to a metal frame which is by and large, composed of iron. At one end, the strings are attached to the frame by means of small spikes, while, at the other end, they are attached to metal devices called pins. The pins are laminated in a hardwood plank, called the ‘pinblock’, positioned in the front part of the case. The piano is tuned by "moving" the pins with suitable keys, loosening or tightening the strings, which consequently, helps in adjusting the pitch of the sound.
Action
The action is the entire mechanism attached to the keyboard which drives the hammer against the strings. It converts the downward force on the key into a hammer stroke, which results in an ‘escapement’ or release of the hammer after it hits the strings
Keyboard
Mostly, every modern piano has 36 black keys and 52 white keys for a total of 88 keys i.e., seven octaves alongwith a minor third, from A0 to C8. Many primitive pianos possess only 85 keys i.e., seven octaves from A0 to A7, however, some piano-makers vary the range the range in one or both directions. The extra keys are pre-dominantly added for the purpose of increasing resonance from the associated strings, meaning, they gently vibrate alongwith other strings every time the damper pedal is depressed, thus producing a fuller tone. The extra keys are the same as the other keys in appearance.
Small studio upright acoustical pianos comprising of only 65 keys have been manufactured which is handy and are generally, useful for pianists always on a move.
Piano Pedals
Usually, a piano has two pedals, but nowadays most of the pianos come with three pedals: the damper pedal on the right, played with the right foot; the soft pedal on the left, played with the left foot; and the sostenuto pedal in the middle, played with the left foot. In all cases, the end of the pedal remains in contact with the ball of the foot in line with the big toe. The heel of the foot remains on the floor the whole time, and the foot should remain in contact with the pedal at all times.
1. Damper pedal
The damper pedal – sometimes called the ‘sustain pedal’ or ‘loud pedal’ or even simply called "the pedal", is position–wise, the rightmost pedal in the group. The functioning for each note, except in the top two octaves, includes a damper positioned above the strings stop the strings from vibrating, thus, immediately stopping the sound on release of the key. Generally, the damper elevates from the strings whenever the key is pressed. Though, when the damper pedal is depressed, all the dampers on the piano are simultaneously lifted, which results in releasing all the strings from contact with dampers.
2. Soft pedal
The soft pedal or "una corda" pedal – positioned on the leftmost in the row of pedals, is designed to lock in place, supporting the effect without the musician’s constant pressure to the pedal. The soft pedal shifts the whole action alongwith the keyboard a little to the right, so that hammers that commonly strike all three of the strings for a note strike only two instead. Its primary function is to manipulate the sound quality.
3. Sostenuto pedal
The sostenuto pedal - or the middle pedal – holds dampers in a raised position for keys which have been struck and held before activation of the pedal. The right pedal raises all the dampers, allowing the strings to resonate freely.
The use of these pedals result in producing subtle alterations in sound and tone quality.
How the Piano Operates
Basically, when a piano key is pressed down, its tail rotates upward and lifts a lever that strikes a hammer against the strings for that specific key's note. Simultaneously, a damper elevates from these strings, causing them to vibrate more freely. When the key is moderately released, the damper drops back onto the strings and quietens the note. When the key is fully released, all parts of the mechanism retreat back to their original positions gravity. As in the case of grand pianos, upright pianos do not depend on gravity for this purpose; instead, they possess various springs and small strips of cloth to pull some of the action parts back into place.
TYPES OF PIANOS
Pianos come is differing shapes, styles, designs, mostly appearing in two basic forms; vertical and horizontal. Basically, there are two major categories of pianos:
· Acoustic pianos – which include upright and grand pianos
· Digital pianos – which include electronic pianos
ACOUSTIC PIANOS:
A standard acoustic piano operates manually with its components the vibrating the strings which results in producing a sound. Each key characterizes a different pitch.
Hammers, keys, pedals and piano cabinet all function manually which make-up the construction of an acoustic piano. When the pianist strikes a key, the hammers strike the strings and the ensuing vibration within the cabinet produces the beautiful sound you’ve come to expect from an acoustic piano.
Grand Piano
The largest piano type, and undoubtedly, the most majestic and expensive one Grand Pianos are horizontally built soundboards, ranging from 4’5” to 9’ in length, and is encased in a durable opening platform which lifts on the left in an upwards direction. Dampers lie on top of the strings, adjacent to the hammers which are also positioned horizontally. Internally, it is supported with form-holders, generally made of wood, together with the small equipped metal reinforcements. Keys are made of wood layered in ivory, or at times pure ivory, though varying according to the piano's makers and categories. The grand piano featured the standard 88 keys. Grand pianos appear in different sizes, including the "concert grand", which is about 2.2 m to 3 m long, the "parlor grand" which is about 1.7 m to 2.2 m and the smaller "baby grand".
http://www.visualparadox.com/images/no-linking-allowed-main/grandpiano.jpg
Upright Piano
This is a piano whose strings are stretched vertically, perpendicular to the floor. This kind of piano can vary in height from 36 to 60 inches. Also called vertical pianos, these are rather compact in size owing to the frame and strings which are placed vertically, stretching out in both directions from the keyboard and hammers. Since the hammers strike outward or horizontally, they take slightly longer to return to resting position than the hammers of a grand. Uprights generally are less costly, though there are some may get pricey, depending on the model. Though, uprights often are considered low-grade in front of the grand pianos, however, a five-foot upright can rival a typical grand in terms of tone quality and loudness. Typically the keyboard is similar to that of the grand, but varies in material construction.
In general, upright pianos can be sorted out in four types, depending on the size and structure variations;
· Full-size or Professional Upright Pianos – the largest among all the vertical pianos - are usually available with a height varying from 47 - 60", and are preferred more rather professionally. This type of piano uses a full size direct blow action with added components called ‘stickers’. On top of the sticker, is present an adjustable a dowel. These parts extend from the key up to the bottom of a direct blow action.
http://www.used-pianos.co.uk/stocklist/images/U7large.jpg
· Studio Pianos - which come in a range of 44 - 47" in height, use a direct blow action with the action resting directly on the back of the key. Studio pianos will generally have a better sound than either a console or spinet and touch will also generally be better. Because these pianos can have much better sound and touch because of their design, manufacturers also tend to spend more time on the quality aspects of these pianos.
http://www.yamahamusiccentre.com/images/UprightPics/P22TBOM.gif
· Console Pianos - with a height ranging between 40 - 44" – feature 3 different types of actions. They can have an indirect blow or drop action, a compressed action, or a full blow action.
http://www.chickpiano.com/img/20070831135907.jpg
· Spinet Pianos - varying between 36 - 40" in height – uses an indirect or drop action behind the keys and either partly or completely below the keys.
http://www.johnsonpiano.com/images/jp/baldac1.jpg
Other acoustic pianos include toy pianos, specifically made for kids which usually is no more than 50 cm in width, made out of wood and plastic and use the same musical scales as full-size pianos.
DIGITAL PIANOS
A digital piano is a modern electronic musical instrument built to be used as an alternative to a traditional piano, both in the way it feels to play and in the sound produces. Unlike acoustic pianos, they have no hammers, no strings and no soundboard to produce sound. Instead, they are high quality recorded samples of grand pianos.There are some digital pianos available which have been in the same fashion as an acoustic piano. Even though digital pianos might not seem to give the genuine feel in sound, however they have many advantages over normal pianos. Digital pianos have been in market since the 1980s. It functions on digital sampling technology in order to reproduce the sound of each piano note. The top digital pianos are very classy, with added features including working pedals, weighted keys, multiple voices, and MIDI interfaces.
Apart aforementioned, there are also other categories of pianos which include Electric Pianos, Rhodes Piano, and Stage Piano.
Electric Pianos, which made appearance in the 1960’s, produce sounds mechanically which are converted into electronic signals by pickups.
http://pianoandsynth.com/wp-content/images/visual_front_p250.jpg
http://pwp.netcabo.pt/0163736902/images/DSC01108.JPG
Rhodes Pianos is a brand of electric piano which also works on the principle of producing sound electromechanically. Due to the distinctiveness of the sound it reproduces, it is often utilized in thousands of songs of differing musical genres since 1965.
http://images.43things.com/entry/00/00/02/624l.jpg
http://www.combo-organ.com/Fender/Starmaster.jpg
Stage Piano is also an electronic keyboard designed for serving professional musicians for various live onstage performances. Although stage pianos have built-in features similar to digital pianos designed for in-home use and electronic synthesizers, yet they include other features which makes them preferred over digital pianos, providing a small number of sounds including acoustic piano, electric piano, and Hammond organ.
http://www.computersunlimited.com/images_products/yamaha_p140s_s15435.jpg
http://www.nordusa.com/galleries/ns88/images/NS88%20Full%20with%20Legs_jpg.jpg
VARIOUS BRANDS OF PIANOS
Some of the popular names in piano manufacturers, particularly acoustic pianos include:
· Steinway & Sons, Baldwin, Wurlitzer, Chickering, Mason and Rich, Cable, and Winter, belonging to United States;
· Yamaha, Kawai, Pearl River, Samick, Young Chang, Nordiska, Carl Ebel, Richter, Daewoo, and Hyundai, belonging to Asia;
· Germany/Austrian manufacturers namely Bechstein, Ibich, Blüthner; Feurich, Pfeiffer, Hupfeld, Rönisch, Wilh. Steinberg, Steingraeber, Brückner, Solton; Stenmann, Haessler, Steinway Haus, Bösendorfer, Schimmel, and August Förster;
· Petrof, Scholze, Rösler, Bohemia, and Rieger-Kloss of Czech Republic;
. Pleyel, Gaveau, Rameau, and Erard of France;
· Kemble, Chappell, Collard and Collard, Whelpdale, Knight, Bentley, Welmar, Marshal & Rose, Broadwood and Woodchester from UK.
In addition, Alesis, Casio, Daewoo, Bohm, Ensonio, Farfisa, Gem, Hammond, Kawai, Korg, Kurzweil, Orla, Roland, Solton, Suzuki, Technics, Viscount, Wersi, and Yamaha are some existing manufacturers who excel in making digital pianos.
Major Piano Brands:
Baldwin
Baldwin was established in 1862 is America's largest piano manufacturers, which produces excellent acoustic and digital pianos in both upright and grand cabinets.
http://www.gibson.com/en-us/divisions/baldwin/
Bechstein
Bechstein was founded by Carl Bechstein in 1826 and is included among the great German piano manufacturers in the entire world.
http://www.courtneypianos.co.uk/bechstein.html
Bosendorfer
Bosendorfer is an Austrian company, set up in 1828 in Vienna, making finest quality of pianos ever since its inception.
http://www.boesendorfer.com/
http://www.boesendorfer.com/index.php?menu=1&lang=en
Casio
Casio was responsible for manufacturing the world's first home keyboard back in 1981 and currently, produces a wide array of digital pianos and keyboards of affordable prices.
http://www.casio.com/products/Musical_Instruments/Privia_Digital_Pianos/
http://www.casio.com/products/Musical_Instruments/
Kawai
Japanese piano-makers – Kawai, was established in year 1927 and is considered among Japan's second largest company, in production of both acoustic and digital pianos.
http://www.kawaius.com/
Roland
Roland manufactures a diverse range of home keyboards, digital pianos, and other electronic musical instruments comprising of synthesizers, guitar products, electronic percussion kits, digital recording equipment, amplifiers and audio processing devices.
http://www.rolandus.com/products/subcategories.aspx?ParentId=12
Steinway
Steinway pianos – the top-notch manufacturers, show no compromise in terms of are both quality and cost and are often enlisted amongst the premium names in pianos-makers. Steinway & Sons manufactures pianos in the United States.
http://www.steinway.com/
Yamaha
Ever since 1900, when the founder Torakusu Yamaha built Japan's first piano, Yamaha has built up quite a reputation in manufacturing finest quality of acoustic, digital pianos and acoustic/digital pianos.
http://www.yamaha.com/musicproduction/
CARE AND MAINTENANCE OF THE PIANO
Pianos need proper care and maintenance. For that, following instructions would be fruitful for you and your piano:
Cleaning the Keys
For cleaning the keys, REMEMBER, never to use rubbing alcohol, bleach or other similar cleaning products, since these products consist of certain constituents which dry out the essential oils present in your piano's ivory keys. Its better to wipe off the keys with a damp cloth and a cleaning agent particularly meant for pianos, for further help, you can consult your dealer or piano technician for your brand. Remember to wipe only the key tops and avoid letting the sides of the keys to moisturize. In some cases, the dye used on the black keys might come off, so it is advisable to use different cloths for the white and black keys. Incase of plastic keys, you can use a damp cloth and a gentle soap.
Cleaning the Cabinet
Cabinet - the body of the piano is generally made from different types of wood, grains and finishes and since we know, that wood furniture needs extra care and protection, from dust, dirt and specially termites. Usually, a soft cloth does well in removing dust and dirt. There are some products available conveniently for cleaning the piano cabinet.
Cleaning the Soundboard
Usually, it is slight tough to clean the soundboard, compared to other components of a piano. Dust and debris and strange enough sometimes accidentally paper clips, buttons and other small articles get stuck in this part of the piano. The best way to clean it up is using a vacuum, without coming in contact with the strings or anything in the soundboard. If the debris is wedged tightly inside, DO NOT use any sharp object to try removing it. If still no success with it, you can hire the services of a technician.
Humidity and Temperature
Humidity and temperature may greatly affect the sound quality and performance of a piano. High Humidity causes keys to stick or become sluggish and cause strings and tuning pins to rust. Low humidity affects the sound of the keys, resulting in loosening them and causing cracks in the soundboards. A humidity range of 35-55% is bearable for the piano. To protect your piano from humidity, place it in a humid-free environment and also, using a humidifier and dehumidifier will be effective. A temperature of 68 degrees Fahrenheit is endurable, and thus, a piano should be kept away from heat or fireplaces and avoid placing it near windows where direct sun rays flow in.
Piano Tuning
It is advisable to tune your piano at least twice a year and it is preferred to seek out help from a registered tuner-technician who is an expert in his work.
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