Wednesday, December 31, 2008
The Portuguese voice that New Iorque discovered
LEONOR FIGUEIREDO
Music. Launched album sixth and Saturday in the Hot Club
Sara Serpa presents “Beach”, that it has Greg Osby as invited musician
Although music always to have folloied - it starts to touch piano to the seven years and enters to the 11 for the School of Music of the Conservatory of Lisbon to study Piano and I sing -, when the height arrives to opt, Sara Serpa it prefers to play in the insurance and it takes leave in Whitewashing and Social Insertion in the Superior Institute of Applied Psychology.
But its passion I sing for it and for the composition it comes to say high more, since it never left it while it deepened the knowledge of the mind human being. Of the o step in front of deciding to start to frequentar the School of Jazz of the Hot Club of Portugal.
The remaining portion came for itself. Who wants, obtains. Boston was the stage that if followed, with stock markets gotten in two detached North American schools: the Berklee College of Music and the New England Conservatory of Music, having in this last one completed mestrado in Jazz the Performance.
After these years of trainings in the development of the voice as composer and improvisadora, Sara Serpa becomes to notice for the form as it sings without letter, of creative form.
It was with it that the first Portuguese presence of always entered in palco of the Village Vanguard, in New Iorque, with the group of the saxofonista Greg Osby. Actuou later in the Standard Jazz, the Cornelia St. Coffee in New Iorque, Panama Festival Jazz, Berklee Performance Center and Jordam Hallem in Boston, Kennedy Center in Washington. How much the discográficas participation, passes for the most recent 9 Levels, of Greg Osby (in the Inner Circle Music).
Described recently as “one of the voices most innovative of the New York current scene”, the young vocalista and composer, today resident in New Iorque, present in days 2 and 3 of January, in the Hot Club in Lisbon, the album Beach, that, says Sara Serpa, “is a picture of mine three years in Boston”. Special guest: Greg Osby. “To have to touch it it is as the cherry in the top of the cake. It discovered me in the Myspace and since then my life moved.”
http://dn.sapo.pt/2008/12/28/artes/a_portuguesa_nova_iorque_descobriu.html
Tuesday, December 30, 2008
Jazz great Freddie Hubbard dead at 70....
Freddie Hubbard, the Grammy-winning jazz musician whose style influenced a generation of trumpet players and who collaborated with such greats as Ornette Coleman, John Coltrane and Sonny Rollins, died Monday, a month after suffering a heart attack. He was 70.
Hubbard died at Sherman Oaks Hospital, said his manager, fellow trumpeter David Weiss of the New Jazz Composers Octet. He had been hospitalized since suffering the heart attack a day before Thanksgiving.
A towering figure in jazz circles, Hubbard played on hundreds of recordings in a career dating to 1958, the year he arrived in New York from his hometown Indianapolis, where he had studied at the Arthur Jordan Conservatory of Music and with the Indianapolis Symphony.
Soon he had hooked up with such jazz legends as Thelonious Monk, Miles Davis, Cannonball Adderley and Coltrane.
"I met Trane at a jam session at Count Basie's in Harlem in 1958," he told the jazz magazine Down Beat in 1995. "He said, `Why don't you come over and let's try and practice a little bit together.' I almost went crazy. I mean, here is a 20-year-old kid practicing with John Coltrane. He helped me out a lot, and we worked several jobs together."
In his earliest recordings, which included "Open Sesame" and "Goin' Up" for Blue Note in 1960, the influence of Davis and others on Hubbard is obvious, Weiss said. But within a couple years he would develop a style all his own, one that would influence generations of musicians, including Wynton Marsalis.
"He influenced all the trumpet players that came after him," Marsalis told The Associated Press earlier this year. "Certainly I listened to him a lot. ... We all listened to him. He has a big sound and a great sense of rhythm and time and really the hallmark of his playing is an exuberance. His playing is exuberant."
Hubbard played on more than 300 recordings, including his own albums and those of scores of other artists. He won his Grammy in 1972 for best jazz performance by a group for the album "First Light."
As a young musician, Hubbard became revered among his peers for a fiery, blazing style that allowed him to hit notes higher and faster than just about anyone else with a horn. As age and infirmity began to slow that style, he switched to a softer, melodic style and played a flugelhorn. His fellow musicians were still impressed.
"The sound he gets on just one note. I know he does all the flashy stuff and the high stuff and it's all great but ... he'd play `Body and Soul' on the flugelhorn and it was just that much better again than everyone around him," trumpeter Chris Botti said in an interview earlier this year.
Associated Press Writer Charles J. Gans in New York contributed to this story
http://news.yahoo.com/s/ap/20081229/ap_en_mu/obit_hubbard
Monday, December 29, 2008
Woody Allen makes his 1st show of jazz in Poland
The cinema director Woody Allen, 73 years, uses to advantage its vacation of the cameras to touch with its group of jazz in turnê for the Europe. After to pass for Germany and República Checks, the North American if it presented in the Poland with the band New Orleans Band Jazz, in this sunday.
According to AP, about 3 a thousand people had applauded the director and its group in its first presentation in the country. “We will make ours better to entertain vocês”, said Allen during the show, marked for an execution of traditional jazz.
Touching clarinete, Allen was applauded to the integrant side of the other e, to the ending of the presentation, was ovacionado.
The director always conciliated its career in the cinema to the side of music touching rare in great houses of shows or is of New York, in the United States, where he lives.
Saturday, December 27, 2008
Bobby Shew....
He then spent three years as the jazz trumpet soloist in the famed NORAD multi-service band. Shortly after leaving he joined the Tommy Dorsey Orchestra under the direction of Sam Donahue, which, among other things, gave him the chance to perform quite a bit with trumpet legend Charlie Shavers. After his stint with Tommy Dorsey, Bobby was asked to play with Woody Herman's band upon Bill Chase's recommendation. He then spent some time playing for Della Reese and Buddy Rich, who's big band had just been formed.
Many other similar situations followed and Bobby played lead trumpet for a number of pop stars. This brought Bobby to live in Las Vegas where he became prominent in various hotels and casinos. By this time Bobby was widely known for his strong lead playing rather than as a jazz soloist. So late in 1972 he decided to make a move to the Los Angeles area in order to get reinvolved in developing as a jazz player.
Once in Los Angeles, Bobby quickly found what he was looking for, and in the years to come he spent time with the groups of Art Pepper, Bud Shank, Horace Silver Quintet, and Frank Strazzeri-Sam Most, as well as numerous big bands such as Bill Holman, Louie Bellson, Toshiko Akiyoshi-Lew Tabackin, Oliver Nelson, Bill Berry, Nat Pierce-Frank Capp Juggernaut, Ed Shaughnessy, Terry Gibbs, Benny Goodman, Maynard Ferguson, Neal Hefti, Don Menza, and Bob Florence.
In addition to being a sideman, Bobby also became a leader around this time, recording many of his own albums. Several of these received very high accolades from critics and high placement on the airplay charts. One of his albums, 'Outstanding In His Field' was nominated for a Grammy in 1980, while, 'Heavy Company' was awarded the Jazz Album Of The Year in 1983.
During this time Bobby also found a great deal of studio work, including TV shows like 'Hawaii 5-O', 'Streets Of San Francisco', 'Bob Newhart', 'Mary Tyler Moore', 'Midnight Specials', 'Don Kirschner Rock Concert', 'Happy Days', 'Laverne And Shirley', and 'Eight Is Enough.' His work on soundtracks includes 'Grease I and II', 'Rocky I and II', 'Six-Pack', 'The Muppet Movie', 'The Drivers', and 'Taxi'.
Today, in addition to a busy performing and private teaching schedule, Bobby spends a considerable amount of time actively involved in the educational system, conducting clinics and master classes at high schools and college campuses all over the world. Bobby has also been active on the Board of Directors of the International Trumpet Guild, and has acted as National Trumpet Chairman for the International Association of Jazz Educator's for 16 years. He authors numerous articles of educational interest in various trade magazines, all translated into several languages for worldwide distribution. During a period of traveling to New Zealand, Bobby acted as host for a weekly TV show entitled 'Just Jazz' and has been in numerous artist-in-residence situations virtually all over the world. He has even had a few minor acting roles in movies and TV shows.
He continues to tour internationally and to produce and record excellent music. He has released several recent albums for the MAMA Foundation including Playing With Fire (w/Tom Harrell), Heavyweights (w/Carl Fontana), and Salsa Caliente. In addition, for other labels, Bobby has released the the highly regarded CD recorded with the The Metropole Orchestra, and a double-CD set for Seabreeze Records of The Music of John Harmon, plus other which can be seen on the Discography page.
Bill Holman....
Born Willis Leonard Holman on May 21, 1927 in Olive, CA, near Santa Ana, Bill Holman took up clarinet in junior high school and tenor saxophone in high school by which time he was leading his own band. After serving in the Navy and studying engineering, he decided in the late '40s that he wanted to write big band music and studied for a while at the Westlake College of Music in Los Angeles with Dave Robertson and Dr. Alfred Sendrey. He also studied composition privately with Russ Garcia and saxaphone with Lloyd Reese.
In 1949 he played with the Ike Carpenter Band, in 1951, he was writing for Charlie Barnet, and in 1952 he began his association with Stan Kenton, for whom he wrote and played for many years. During the '50s, he was also active in the West Coast jazz movement, playing in small bands led by Shorty Rogers and Shelly Manne, and co-leading a quintet with Mel Lewis in 1958.
In the 60s, he widened his writing associations, and eventually contributed pieces to libraries and recordings of bands led by Louie Bellson, Count Basie, Terry Gibbs, Woody Herman, Bob Brookmeyer, Buddy Rich, Gerry Mulligan, Doc Severinsen and others. He has also written for such singers as Natalie Cole (her Grammy winning "Unforgettable" album, among others,) Tony Bennett, Carmen MacRae, Mel Torme, Woody Herman, Anita O'Day, Sarah Vaughn, June Christy and the Fifth Dimension. His arrangement of "Take The 'A" Train" for Severinsen's "Tonight Show Orchestra" earned Holman a Best Instrumental Grammy in 1987.
Holman started The Bill Holman Band in 1975. The band has made three albums, all for JVC: 1988's "The Bill Holman Band", 1995's "A View From The Side", for which Holman won a Best Instrumental Composition Grammy for the title track; and 1997's "Brilliant Corners: The Music of Thelonious Monk." This recording, certainly one of Holman's finest, celebrates both Monk and Holman and will no doubt renew excitement in fans about the possibilities to be found in the big band genre.
Since 1980, Holman has been increasingly active in Europe, writing, conducting and playing lengthy works for the West German Radio Orchestra in Cologne, Germany, and the Metropole Orchestra in Holland, that feature such soloists as Phil Woods, Sal Nistico and Lee Konitz.
Friday, December 26, 2008
Allen Vizzutti....
“Beautiful…lyrical…stunning…stupifying.”
“Trumpet player supreme.”
Syracuse Post Standard
“Finely tuned wind, easy control, polyharmonic wit, orchestral penmanship, punctuated spiritual warmth…rarely do so many qualities find themselves in one musician.”
Chick Corea
Equally at home in a multitude of musical idioms, Allen Vizzutti has visited 40 countries and every state in the union to perform with a rainbow of artists and ensembles including Chick Corea, 'Doc' Severinsen, the NBC Tonight Show Band, the Airmen Of Note, the Army Blues and Army Symphony Orchestra, Chuck Mangione, Woody Herman, Japan’s NHK Orchestra and the New Tokyo Philharmonic, the Budapest Radio Orchestra, , the Saint Paul Chamber Orchestra, the Leipzig Wind Symphony and the Kosie Wind Orchestra. Performing as a classical and a jazz artist, often in the same evening, he has appeared as guest soloist with symphony orchestras in Tokyo, Germany, St. Louis, Seattle, Rochester N.Y., Syracuse, Milwaukee, Buffalo, Phoenix, Edmonton, Vancouver and Winnipeg to name a few. Music lovers in Germany, Poland, England, Sweden, Brazil, Canada, Japan, Australia and the United States have heard his brilliant sound over the airwaves of national television. Allen's status as an artist has led to solo performances at the Hollywood Bowl, Carnegie Hall, Newport Jazz Festival, Banff Center for the Performing Arts, Montreaux Jazz Festival, the Teton, Vail, Aspen and Brechenridge Music Festivals, the Charles Ives Center and Lincoln Center in New York City.
From his home in Seattle Washington, Allen’s current career activities embody an impressive schedule of recitals, concerts, recording and composing. His continued commitment to music education and the value of music in everyday life results in an extensive schedule of guest appearances at universities throughout North America, Europe, Japan and Australia.
Allen's solo jazz recordings include CDs such as “Trumpet Summit” and “Skyrocket” from Summit Records. Classical CDs currently available from DeHaske Music Publishing Recordings are “The Emerald Concerto and Other Gems”, with the Budapest Radio Orchestra, “Vizzutti Plays Vizzutti” and “Vizzutti and Soli On Tour”. His “High Class Brass”, (also DeHaske Recordings), is a wonderfully unique classical and jazz blend co-produced, co-written and performed with fellow trumpet artist, composer and conductor, Jeff Tyzik along with a 90 piece studio orchestra. Also of interest are “Baroque and Beyond”, from Sony, “The Carnival of Venus”, (Summit Records), and “A Trumpeter’s Dream, (Ludwig Music Publishing).
As Artist in Residence, Allen has taught at the Eastman School of Music, the Banff Center for the Performing Arts, Kansas State University, Ohio State University, West Texas State University, the Skidmore Jazz Institute, and the Trompeten Akademie of Bremen Germany. He is currently ‘Artist In Residence’ at the University of Washington. His extensive treatise, “The Allen Vizzutti Trumpet Method” and his “New Concepts for Trumpet”, (Alfred Music Publishing), have become standards works for trumpet study world wide. Many more of Allen’s jazz and classical books, play along recordings, and student and recital compositions are published by DeHaske/Hal Leonard, Southern Music, and Ars Nova. His writing includes solo pieces for flute, clarinet, saxophone, trombone, tuba, and harp, chamber groups, wind ensemble, jazz ensemble, and symphony orchestra.
Allen’s love of expression through composition has led to premier performances by the Los Angeles Philharmonic, Budapest Radio Orchestra, the Royal Philharmonic of London, the Nuremberg Symphony, Rochester Philharmonic, Syracuse Symphony, London Symphony, the renowned Summit Brass and others. After the world premier of his “Emerald Concerto” with the Syracuse Symphony Allen’s writing was described in review: “The Emerald Concerto sparkles!...a vivacious treatment which speaks well for both his dramatic instinct and technical prowess as a composer.”
While growing up in Montana, Allen was taught by his father, a self taught musician and trumpet player, until he left home to attend the Eastman School of Music on full scholarship. There he earned the Bachelor of Music and Master of Music degrees, a Performer’s Certificate, a chair in the Eastman Brass Quintet faculty ensemble, and the only Artist’s Diploma ever awarded a wind player in Eastman’s 85 year history.
While living in Los Angeles during the 80’s, Allen performed on over 100 motion picture sound tracks, (such as Back To The Future and Star Trek), as well as countless TV shows, commercials and recordings with such artists as Frank Sinatra, Barbra Streisand, Neil Diamond, Chick Corea, the Commodores and Prince. His soaring sounds can be heard on recent projects including the movies “40 Days and 40 Nights”, “Unfaithfully Yours”, Gridiron Gang”, “Scary Movie Four”, and the “Medal of Honor” and “Halo II” video games.
Allen Vizzutti - Night in Tunisia - SOLO
Allen Vizzutti, Trumpet
w/ Temple Symphony Orchestra
Thomas Fairlie, Conductor
---
Tim Cates, lead trumpet
Benjamin Irom, piano
Colin Mason, tenor sax?
Greg Bashara, ? sax
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Solo Cadenza stop time at the end of Night in Tunisia
Tine Thing Helseth....
Biography Tine Thing Helseth - Trumpet
Born in 1987, Tine belongs to a new generation of Norwegian soloists and indeed a new generation of brass soloists all together, perhaps more influenced by the idiom of string players and singers than what used to be the case. Tine's approach to music is refreshingly focused and straightforward, with an extra touch of artistic magic that reaches everyone who hears her playing. At the age of 20 Tine Thing Helseth has the best reason in the world for playing and recording these concertos: She makes wonderful music! Simax Classics, 2008 on her debut disc: Trumpet Concertos
Twenty-year-old Tine Thing Helseth from Oslo, Norway, started to play trumpet at the age of 7. Today she has an extensive and varied repertory within orchestra, recital and chamber music - and she is already one of our time's most talked-about young trumpet players, with many prestigious international performances behind her. In 2006 Tine was awarded 2nd Prize in the Eurovision Young Musicians finale in Vienna, 2006, an event that was televised live all over Europe. It was said that her fresh, effortless and throughout musical playing amazed and excited both audience and jury. This performance kick-started Tine's career as a classical artist, and resulted in a string of new performances as a soloist with orchestra throughout Europe and the rest of the world.
Tine is often referred to as an extraordinary talent, and her interpretation of Haydn's trumpet concerto has been highly acclaimed. Not only is it unusual to master this piece at such an early age, but Tine is also said to perform it with both natural spontaneity, authority and a unique quality of sound. Her first CD recording: Classical Trumpet Concertos with The Norwegian Chamber Orchestra (SIMAX PSC 1292) has been received with exceptional fine reviews. The Norwegian newspaper, Aftenposten, even appointed it as the classical recording of the year.
Further more, Helseth was awarded "Newcomer of the year" at the Norwegian Grammy Award 2007 despite of genre. She was the first classical performer ever to be nominated.
In connection with the award show of the Nobel Peace Prize 2007, Tine Thing Helseth was given the honourable task to open the great galla concert in Oslo. The concert was transmitted on TV to viewers all over the world.
In addition she is the recipient of a great number of national and international prizes and awards. Recent prizes include: - National Talent Prize, 2004 (Norway) - International Trumpet competition "Theo Charlier" 2005 (no age limit), 2nd prize - "Musician of the Year 2005", Norway - Oslo Music Teachers Foundation's "Prize of Honour 2005" - Yamaha Music Foundation's Europe Scholarship, 2006 - The Norwegian Soloist Prize, 2006 - The Norwegian Radio Orchestra's Talent prize, 2006 - The Norwegian Broadcasting's (P2) Soloist prize, 2006/2007 - Prince Eugen's Culture Prize 2006 (Norway/Sweden) - "The Luitpold prize" at the festival "Kissinger Sommer" as the most outstanding and interesting artist of the year 2006 (Germany) - Newcomer of the year, Norwegian Grammy Award 2007
Miss Helseth has performed with orchestras such as: Beethoven Academie, Wiener Symphoniker, Cappella Cracowiensis, Shanghai Symphony Orchestra, Göteborgsmusiken, Slovenian Radio Symphony Ljubljana, Sveriges Camerata Nordica, Württembergische Philharmoniker, Kreml Camerata, Nordwestdeutsche Philharmonie, Georgische Kammerorchester, Bielefeld Symphony Orchestra, Värmlands Operaens Sinfonietta, London Concert Symphony Orchestra, INSO Lemberg and all the Norwegian orchestras.
Festival appearances include Kissinger Summer Festival, Schleswig-Holstein Music Festival, Nordland Music Festival, Bergen International Festival, Festival "Old Music in Krakow", Oslo Chambermusic Festival, Hardanger Musikkfest, Kirsten Flagstad Festivalen and Usedom Musikfestival.
Miss Helseth has worked with conductors such as Andris Nelsons, Eivind Gullberg Jensen, Peter Kuhn, Ariel Zuckermann, Arvid Engegård, Christian Arming, Christoph Poppen, Didier Boture, Sebastian Lang-Lessing, Ola Rudner, En Shao, Ole Kristian Ruud.
Upcoming engagements include concerts and performances with Vienna Chamber Orchestra, Stuttgart Chamber Orchestra, Ulster Symphony Orchestra, Statsphilharmonie Rheinland Pfalz, Philharmonie Baden-Baden.
In 2009 miss Helseth will make her Washington D.C. debut, and during the same year she will perform both in Japan and Vietnam.
Tine Thing Helseth is also leader of the brass ensemble, tenTHING. www.tenthing.no
Tine Thing Helseth has been awarded a STATOIL stipend running for four years from 2006.
Concert Reviews::
A NEW STAR ON THE CLASSSICAL MUSIC SKY ...She plays with radiance strong enough to light up the entire hall - her embouchure is light and her technique impressive. Each note is marvellous and her dynamics are based on natural and deeply felt musicality. As the young artist performed the delightful Andante she showed us just how wonderfully a trumpet can sing. It sounded like a song, but there were no need for words... (Concert review in Zürcher Landzeitung, June 2008, Haydn and Hummel trumpetconcertos with INSO Lemberg)
The twenty-year-old Norwegian trumpet player Tine Thing Helseth was a magnificent choice. With supremacy and soft embouchure, she delivered the star performance of the evening. Especially in the popular and well-known Rondo movement, with its breakneck run. At an early stage of the concert she proved her musicality through a compelling and beautifully performed cadenza, whilst still communicating brilliantly with her woodwind colleagues... (Concert review in Neue Westfälische Zeitung, December 2007, Haydn trumpetconcerto with Nordwestdeutsche Philharmonie and Andris Nelsons)
Have we ever before heard this level of melancholia, such as what we heard in the Andante movement, or in the flowing and lively dance of the finale movement? When have we ever heard anyone run that brilliantly up and down along the scale? And that, on a trumpet! On this instrument that was formerly used to open splendid doors and gates for worldly and clerical rulers... (Concert review Lippische Landzeitung, December 2007 Haydn trumpetconcerto with Nordwestdeutsche Philharmonie and Andirs Nelsons)
She overcomes the technical challenges with surplus energy, allowing her to focus on making music with her trumpet. At that moment there were not one person questioning why she won the second prize during the EBU finale for young musicians in Vienna earlier this year... (Dagbladet 2006, Hemri Tomasi: Trumpet concerto with The Norwegian Radio Orchestra)
She appears to have calmness, balance, musicality and mastering of technicality. She has vigour, confidence and natural authority, and her instrumental nerve demands the attention of listeners... As a soloist she falls into the line of several Norwegians who have shown extraordinary talent playing this instrument. Instrumental control and musical stability is what characterizes the entire expiration. There is no doubt she is an exceptional musician heading towards the top. (Aftenposten, Idar Karevold, 2006, Hayd: Trumpet concerto with The Norwegian Radio Orchestra)
Even the first tone from the trumpet revealed an intimate intensity that captured the audience immediately - whether she played with or without a mute. Hardly ever has a trumpet been played with such softness and gentleness... (Concert review in Maipost, July 2008, Kissinger Sommer, Bad Kissingen, Recital with Veststard Shimkus)
The first sensation of the night was the Norwegian trumpet player Tine Thing Helseth. The way she plays, the nineteen-year-old must be obsessed by her instrument ... (Concert review in Saale-Zeitung, June 2007, Kissinger Sommer, Bad Kissingen, Chambermusic)
Tine Thing Helseth: Haydn Trumpet Concerto, 3rd mvt
Tine Thing Helseth (20) makes her recording debut release on SACD internationally in February 2008, toghether with Norwegian Chamber Orchestra. This video was made during the recording sessions. Norwegian TV has also made a 1/2 hour documentary about this extraordinary musical talent, which will be sent in December 2007.
Lew Soloff....
A consummate fixture on the New York jazz scene, Lew Soloff’s career is filled with a rich history of renowned sessions and world-class collaborations. From the time he eased into the east coast world of trend setting musicians in the mid 1960’s, Soloff’s creative ventures have resulted in a respected body of work that places him in a category of true accomplishment and keeps his elegant and lyrical signatures in constant demand. Whether interpreting a standard or improvising on an original composition, his phrasing and note choices exemplify his unique voice. Soloff is known as a virtuoso with tremendous range and superior technical command, yet he exudes a wisdom for quietness and melody. Soloff’s expertise includes trumpet, flugelhorn, harmon mute, plunger mute and he is particularly recognized for his work on piccolo trumpet.
As a leader, Soloff puts his energy into some special projects including The Lew Soloff Quartet and Quintet. Lew Soloff Presents Sunday Jazz At Rhone was a weekly series he started for New York’s trendy lower west side lounge Rhone. The Sunday program included his own groups and surprise special guests. The artist has 8 solo recordings to his credit. “With A Song In My Heart produced by Todd Barkan and Makoto Kimata is probably my favorite personal project to date,” comments Soloff. “We chose some wonderful songs for this CD and I was able to weave a tranquil spirit throughout the sessions. My goal was to play the songs simply and beautifully.” JazzTimes wrote about the release (Sept. 1999). “If this gem by Soloff, a musician at the peak of his maturity and expressiveness, is not one of the best records of the year, we have a surprising few months in store.”
Soloff’s current schedule of engagements provides a varied platform for his music. He is a regular in Carla Bley’s 4X4 group and her big band, and remains a founding member (along with leader David Matthews) of The Manhattan Jazz Quintet with 28 recordings to their credit (and a faithful following in Japan). Alumni of the quintet reads likes a who’s who of New York’s jazz elite; Steve Gadd, George Young, Charnett Moffett, Eddie Gomez, John Pattitucci, Dave Weckl, Peter Erskine, Danny Gottlieb, Bill Evans and Victor Lewis. Soloff is also a constant in trombonist Ray Anderson’s colorful ensemble Pocket Brass Band. As of late, Soloff finds himself exposed to the “downtown scene” working with Bobby Previte and his adventurous musical tribute to Joan Miró, which features Charlie Hunter, DJ Logic and harpist Zena Parkins. Soloff also records and tours with The Absolute Ensemble, a 19-piece chamber music group that interprets everything from Stravinsky and Bach to Zappa and Hendrix.
His longtime collaboration with the late Gil Evans resulted in a new relationship with the Bohuslän Big Band in Sweden. The orchestra invited Soloff to perform George Gershwin’s Porgy And Bess, originally arranged by Evans for one of Soloff’s important influences, Miles Davis. The suite was recorded and filmed live at The Göteborg Concerthouse in 2002 and Soloff has been invited back to Sweden for an extended tour with the band, scheduled for 2005. Besides his association with Gil Evans, Soloff considers his work with Ornette Coleman to be particularly pivotal. In addition to being a featured trumpet soloist on several occasions with Coleman, he was also asked to perform with Coleman and The Kronos Quartet on a commission for trumpet and strings. Soloff was also the lead trumpeter of the Carnegie Hall Jazz Band under the direction of Jon Faddis during its entire tenure and spent six years as first trumpet in the Lincoln Center Jazz Orchestra.
“Air” is his latest solo effort recorded with the Lew Soloff Quartet. Working again with producers Barkan and Kimata, the project was released in Japan (2003) under the Keystone Korner banner. Soloff surrounded himself with old friends Victor Lewis and Larry Willis for the “Air” sessions, along with new friend Francois Moutin. “I saw Francois playing bass with Mike Stern and knew immediately I wanted to play with him. I was going through a major transition in my life during this recording and in addition to some melancholy moments, there’s also a lot of joy in this document, particularly in the song dedicated to my daughter Laura.” Plans for a North American release of “Air” are currently in progress.
Born in Brooklyn, on February 20, 1944, Soloff was raised in Lakewood, New Jersey and started studying piano at an early age. He took up the trumpet when he was 10 and his interest in the instrument surged, thanks to the record collections of his grandfather and uncle. Exposed to artists such as Roy Eldridge and Louis Armstrong as a youngster, Soloff recalls, “there was a scale I remember from Armstrong’s recording ‘I Hope Gabriel Likes My Music.’ He played this run with such finesse and beauty, without any grandstanding –I wanted to play like that.” Soloff spent several years at Juilliard Preparatory until he entered the Eastman School of Music in 1961. Already a professional musician, he had spent his summers as a teenager playing hotels and country clubs in the Borscht Belt (the Catskill Mountains of New York). After graduating from Eastman (where he found himself in practice bands with fellow students such as Chuck Mangione), he spent a year in graduate school at Julliard. It was the mid-1960’s and the fertile jazz scene in New York City ignited Soloff’s full-time career.
“When I first settled in the city I had the opportunity to play with Machito, which made my reputation in the Latin jazz community. About the same time, I started playing in rehearsal bands that brought me in contact with players like Phil Woods, Eddie Gomez, Pepper Adams, Duke Pearson and Frank Foster,” the artist explains. Jam sessions with the likes of Philly Joe Jones, Paul Chambers, and Elvin Jones solidified Soloff’s bebop skills.
By 1966, he was performing with Maynard Ferguson and soon became a regular in the Joe Henderson / Kenny Dorham Big Band. That year he also joined the Gil Evans Group, an affiliation he considers his most influential. “I first met Gil Evans when I was 22 and he became my musical Godfather,” remembers Soloff. It was a creative relationship that lasted until Evans death in 1988. In the large bands of the 1960’s, Soloff received his continuing education, joining groups led by Clark Terry, Tito Puente, Eddie Palmieri including the Thad Jones/Mel Lewis Band. But it was in the popular groundbreaking group Blood, Sweat And Tears that Soloff’s trumpet solos became an indelible part of American culture. He was an integral part of the band from 1968 to 1973, racking up 9 Gold records worldwide, a Grammy for “Record of The Year” (1969) and creating those searing horn lines in “Spinning Wheel.”
Following his time with Blood, Sweat And Tears, Soloff demonstrated his distinguished abilities in the studio. The depth of recordings that include his work illustrate why he is consistently in demand. Some of those projects include releases by; Roy Ayers, Bob Belden, George Benson, Benny Carter, Stanley Clarke, Paquito D’Rivera, Miles Davis/Quincy Jones (Live At Montreux), Mercer Ellington, Grant Green, Lionel Hampton, Bob James, Teo Macero, Herbie Mann, Tania Maria, Carmen McRae, Laura Nyro, Jaco Pastorius, Mongo Santamaria, Little Jimmy Scott, Wayne Shorter and Stanley Turrentine.
This classically trained jazz player however is indeed a chameleon in front of the microphone, participating in sessions and concerts for some of pop’s most respected figures, namely; The Average White Band, Tony Bennett, Elvis Costello (including his latest “North”), Dr. John, Marianne Faithful, George Russell, Aretha Franklin, Keb Mo, Sinead O’Connor, Lou Reed, Frank Sinatra, Helen Merrill, Paul Simon and Barbra Streisand. Defying strict classification, he can also be heard on recordings by Phillip Glass and Kip Hanrahan as well as Blues legends John Mayall and Charlie Musselwhite. A brief listing of the film soundtracks that have Soloff in the mix include; The Big Lebowski, Lethal Weapon 3, Billy Bathgate, Brighton Beach Memoirs, Carlito’s Way, The Color of Money, Coming To America, The Mambo Kings, Meet Joe Black, National Lampoons Vacation, Tender Mercies, The Untouchables and Maid In Manhattan.
A respected educator as well, he continues to appear as guest soloist at universities around the country where he utilizes the Gil Evans arrangements that have been an essential element of his repertoire through the years. He has been on the faculty of the Manhattan School of Music for nearly 20 years and has been an adjunct faculty member at Juilliard and New School. “I want to continue developing my own personal artistic ventures,” notes Soloff. “There are a thousand ideas I have for collaborative efforts. Music can be choreographed or spontaneous and I am most inspired when I have the opportunity to perform in a variety of settings.”
Lew Soloff, Trumpet Summit - "Honeysuckle Rose"
Jazz a Vienne 2000.
Jon Faddis,
Roy Hargrove,
Randy Brecker,
Lew Soloff,
Terence Blanchard and
Terell Stafford
Kate Bentley
BIOGRAPHY (http://www.katebentley.com/kate/en/biografia.jsp)
I was raised near the banks of the Cumberland River in Western Kentucky , a small rural village where everyone knew everything there was to know about the other. I studied piano and classical voice, then later business administration. As an adult, I owned my own log home sales franchise, and I was a musician, recording jingles and demos. For 12 years, I sang professionally from Canada to Argentina .
Looking back, I was always attracted to the river, because I knew it could take me somewhere. It was my dream, and it came true. The Cumberland River took me to more than 15 countries where I worked for the U.S. government as a diplomat. My first assignments were as Press Attaché and Spokesperson for U.S. embassies in Panama and Nicaragua.
Back in Washington I worked on the staff of former Secretary of State Colin Powell. Later I worked as a negotiator in international oceans scientific and environmental affairs within the framework of the United Nations and APEC, the Asian Pacific Economic Cooperation forum. Currently, I am Consul of the Public Affairs Section at the U.S. Consulate in Recife, Brazil.
How does a singer become a diplomat? It wasn’t easy, but music played a part in the story. If you can dream that someday you’ll see the world, then just maybe you can. Someone once told me “To make your dreams come true, first you must wake up.” I suppose that’s the first step for us all.
Philippe Lefebvre - organist of the Notre Dame....
Philippe Lefebvre introduces the great organ of the Notre Dame Cathedral. He is one of the three titular organists.
A Few Minutes with Johnny Hodges
by http://www.jazzvideoguy.tv
Possessor of the most beautiful tone ever heard in jazz, altoist Johnny Hodges formed his style early on and had little reason to change it through the decades. Although he could stomp with the best swing players and was masterful on the blues, Hodges' luscious playing on ballads has never been topped.
He played drums and piano early on before switching to soprano sax when he was 14. Hodges was taught and inspired by Sidney Bechet, although he soon used alto as his main ax; he would regretfully drop soprano altogether after 1940. His early experiences included playing with Lloyd Scott, Chick Webb, Luckey Roberts, and Willie "The Lion" Smith (1924), and he also had the opportunity to work with Bechet.
However, Johnny Hodges' real career began in 1928 when he joined Duke Ellington's orchestra. He quickly became one of the most important solo stars in the band and a real pacesetter on alto; Benny Carter was his only close competition in the 1930s. Hodges was featured on a countless number of performances with Ellington and also had many chances to lead recording dates with Ellington's sidemen. Whether it was "Things Ain't What They Used to Be," "Come Sunday," or "Passion Flower," Hodges was an indispensable member of Ellington's orchestra in the 1930s and '40s.
It was therefore a shock, in 1951, when he decided to leave Duke Ellington and lead a band of his own. Hodges had a quick hit in "Castle Rock" (which ironically showcased Al Sears' tenor and had no real contribution by the altoist), but his combo ended up struggling and breaking up in 1955.
Hodges' return to Duke Ellington was a joyous occasion and he never really left again. In the 1960s, Hodges teamed up with organist Wild Bill Davis on some sessions, leading to Davis joining Ellington for a time in 1969. Johnny Hodges, whose unchanging style always managed to sound fresh, was still with Duke Ellington when he suddenly died in 1970.
Timer after time, for you....
Time after time I tell myself that Im
So lucky to be loving you
So lucky to be
The one you run to see
In the evening when the day is through
I only know what I know
The passing years will show
Youve kept my love so young, so new
And time after time
Youll hear me say that Im
So lucky to be loving you
I only know what I know
The passing years will show
Youve kept my love so young, so new
And time after time
Youll hear me say that Im
So lucky to be loving you
Thursday, December 25, 2008
Set of documents portraies age of gold of tango and its discovery for the young
Carlos Helí de Almeida, JB Online
RIVER - In 2005, the musical producer Argentine Gustavo Santaolalla, winner of the Oscar of Sonorous Track for the secret of Brokeback Mountain and Babel, congregated some of the best musicians, composers and interpreters of tango for the writing of a COMPACT DISC and the accomplishment of a series of shows.
The task fit to the director Miguel Kohan to register this meeting in Coffee of the teachers, set of documents that arrives at the cinemas at the moment where Argentine youth redescobre the rhythm as cultural symbol. Co-produced for the Videofilmes Brazilian, the long one is one of the estréias of the holiday of Christmas in the Carioca circuit.
- Tango never died, badly was only interpreted - Miguel Kohan to the Periodical of Brazil counts cineasta, for telephone, of Buenos Aires.
Periodical of Brazil: Its first film is a set of documents for the TV on the works in a salt mine. How it entered for a project on tango?
- Already it had worked with the Gustavo (Santaolalla), producer of the project, before. I directed one videoclipe for one of musics of it. When I started to edit great Salt mine, I showed for it, that it liked very. When the Gustavo decided to register the writing of the record on tango called, me.
Periodical of Brazil: To be an invited director limited its freedom of action?
- When I entered for the project of the film, Gustavo still was in the phase of writing of the record. The idea was to use the freedom that the set of documents of the one to capture that moment, to transit between the teachers. Comment of what was a phase more than any another thing. I entered exactly for this, to make the set of documents; the Gustavo took care of only of the musical production, did not intervene with the cinematographic decisions.
Periodical of Brazil: Which was the aspect most challenging of the set of documents, logistic or the human being?
- In the truth, all the project was a great challenge. It was the first time in the history of Argentina that all the masters of tango if had congregated for a common project. It was an intense and emotiva experience to be with these artists. They have an only form to transmit music who make, a very particular espontaneidade of the time where they had shone. These masters had worked the entire life if presenting for the public, are artists whom if they had formed in the contact with the auditoriums, not in writing studio. But it was exactly this espontaneidade in the writing that helped to give veracity to the film. He was contagiante for me and the team.
Periodical of Brazil: Personages and songs are not identified in the film, only in the credits. Why this option?
- It did not give to make a didactic set of documents on tango. I remember a phrase of the Michelangelo Antonioni that I only understood in this work: “The films are not for being understood and yes lived deeply”. Coffee of the teachers is the test of this. It is the impression in film of this convivência with them.
Periodical of Brazil: Which its personal relation with tango?
- In years 70, it listened to tango, as a tangueiro, but he was not a fan. I remember a joke that the Caetano Veloso freed in a show the one that I attended here in Buenos Aires, in that decade. It stopped the presentation to inform that tango would go to sing one. The public complained very and then it communicated: “Since it is thus, now I go to sing five”. Obviously that in the second song the people already were adoring what it was singing. At that time, the young did not adhere to the rhythm, because it was a type of music associated with the dictatorship, what it was, evidently, one me the interpretation of the sort.
Periodical of Brazil: Which is the relation of the young of today with tango?
- The times had moved. Coffee of the teachers arrives at the cinemas in a time of revitalização of tango. It is consequence of the economic crisis of 2001, when the Argentine society if opened more for the proper culture. E this phenomenon is not geracional, is general, involves old young and. In the age of the apogee of tango, in years 30 and 40, the people if felt in the Argentine culture, same the immigrants enclosed. Coffee of the teachers testifies this redescoberta.
http://jbonline.terra.com.br/extra/2008/12/23/e231215831.html
Wednesday, December 24, 2008
Jazz Photo Exhibit in Newark....
Date: December 24, 2008
Written By: Jeff Tamarkin
“Stolen Moments,” an exhibition of photographs of jazz musicians by photographer Fran Kaufman, is on view at the WBGO Gallery in Newark, NJ, now through January 30. The photos, dating back to 1996, show musicians mostly at unguarded moments—backstage, in the recording studio, preparing for their gigs. A photo of violinist Regina Carter and vocalist Carla Cook catches them as they prepare for Carter’s wedding in Detroit. Pianist Cyrus Chestnut is seen as he finishes up a session in the Steinway showroom; and the members of Trio da Paz are captured in a casual environment, rehearsing on a patio in the Caribbean with vibraphonist Stefon Harris.
There are close to 50 images in the exhibition, selected from Kaufman’s archive of black and white photos.
Artist Bio:
Fran Kaufman worked for almost 30 years in Marketing and Public Relations. For more than 20 of these years, she was Vice President of Public Affairs, for The Children’s Television Workshop, producers of Sesame Street and other award-winning television programs and products for young children. Since leaving that field, she has devoted herself to documenting her life-long passion in jazz music. For the past three years she has been contributing photographer of Hothouse Jazz Magazine, where her monthly column, “A Moment You Missed” appears. An exhibition of her photographs, curated by Danny Simmons, was mounted earlier this year at the Brooklyn Academy of Music (BAM). In addition to her documentary photography, she photographs for CD covers and liner notes. As the official photographer of The Jazz Cruise, she has just produced a book of black and white photographs that will be distributed later this month.
Visit WBGO and Frank Kaufman for more information.
http://www.jazztimes.com/columns_and_features/news/detail.cfm?article=11656
Tuesday, December 23, 2008
Neal Hefti....
Born 29 October 1922, Hastings, Nebraska
Died 11 October 2008, Los Angeles, California
Sent home by Woody Herman when he tried to join Herman's Herd while still in high school, Hefti won performance competitions as a trumpeter and moved to New York City after graduation. Charlie Barnet hired him in 1940, but Hefti didn't hang around long, and over the next few years, he was in and out of Muggsy Spanier's, Earl Hines', Bobby Byrne's, and Charlie Spivak's bands. He quickly took up arranging as well, and one of his first pieces, "Pin Up Girl," was a hit for Horace Heidt.
He finally did get to work with Herman in 1944, and he became a "name" arranger of the late swing era with numbers like "The Good Earth" and "Wild Root". He moved to Los Angeles and worked in radio for a short while, then returned to the Herman Herd. After marrying Herman's lead girl singer, Frances Wayne, Hefti went back to Hollywood, but within a year, he was back on the road, touring with Harry James. In 1951, he formed his own band with Wayne as lead vocalist, but despite critical acclaim, the band barely broke even, and Hefti called it quits in 1953, returning to the security of arranging and taking studio work.
Among jazz fans, Heft is best remembered for his work with Count Basie's "New Testament" band--the big band he formed in the mid-1950s following a break of several years of working with just a small combo. Hefti actually began writing original compositions and arrangements for Basie during the small-group period, but his pieces such as "Little Pony," "Splanky," "Cute," "The Kid from Red Bank"--featured on the legendary The Atomic Mr. Basie album--have become jazz standards. "Lil Darlin'," which Basie slowed down even more than Hefti had intended, turning it into a languid, sexy slink, is probably the best known of his compositions next to "Batman." John Hendricks applied lyrics to "Little Pony" and it became one of Lambert, Hendricks, and Ross' biggest hits. Hefti also earned his place in the Politically Incorrect Hall of Fame by penning the unforgettably awful "Girl Talk" with Bobby Troup.
Hefti also recorded an occasional studio album during the late 1950s and early 1960s, while living in New York City. Two featured the Ray Charles Singers in arrangements of his own (Pardon My Doo-Wah) and others' (Singing Instrumentals) hits from the swing era. Both are wonderfully light and effervescent and rate among some of the very best vocal group albums.
While working as a producer for Reprise, Hefti worked with Frank Sinatra on two albums: Sinatra and Swingin' Brass and Sinatra-Basie: An Historic Musical First. Hefti didn't really care for the experience, though: "... When you tell me, 'Do this and have it tomorrow [Sinatra rarely planned recordings more than a few weeks in advance] and that's that,' I never liked that process. To me, it's like an order." Hefti never worked with a singer after these albums.
Hefti enjoyed tremendous popular success as a writer for film and television during the 1960s. His title theme for the series Batman is by far his best-known piece of work. Although Nelson Riddle and others actually did most of the scoring for the individual episodes, Hefti was hired to write the theme. It's rock-em, sock-em, power-packed go go music that's aged better than just about anything else from the show. Both Hefti's own Batman album and his Hefti in Gotham City albums are must-haves for now sounds fans.
Hefti really struggled with the tune. "Hardest piece I ever wrote," he later commented. "I agonized over it for six weeks." "I couldn't get inspired (to do the song)," he says. "I'd watched two hours of film footage and thought, 'This is the campiest thing I've ever seen.' But then I felt what I was writing was not as good as the show. I never had a moment of 'Eureka!'" When he met with the show's producers, he went "... reluctantly, apologetically, shuffling my feet and looking like Tom Sawyer. I thought they would throw it back in my face." Once the tunes' success was proved by reaching the pop Top 40 charts and winning the Grammy for Best Instrumental Song of 1966, Hefti could breathe a little easier. He carried the style over into his score for O Dad, Poor Dad!--"This is Mother" sounds like an outtake from Batman.
In the 1970s, his theme for the movie, The Odd Couple was reprised for the television series, and it remains one of the best-remembered of that era.
Recordings
Coral Reef, Coral CRL-56083
The Hollywood Song Book, Coral CRL-57241
Music, U.S.A., Coral CRL-757256
A Salute to the Instruments, Coral CRL-757286
The Young at Bop, Emarcy 26001
Leisurely Loveliness, Movietone 72006
Presenting Neal Hefti and his Orchestra, Vik LX-1039
Concert Miniatures, Vik LX-1092
Light and Right, Columbia CS 8316
Hefti Hot 'n' Hearty, Epic LN-3187
Singing Instrumentals, Epic LN-3113
Pardon My Doo-Wah, Epic LN-3210
Themes from TV's Top 12, Reprise LP
Jazz Pops, Reprise R9-6039
Definitely Hefti, United Artists UAS 6573
Hefti in Gotham City, RCA Victor LSP-3621
Soundtrack albums
Barefoot in the Park, Dot DLP 25803
Boeing Boeing, RCA Victor LSO-1121
O Dad, Poor Dad, Mom's Locked You in the Closet and I'm Feeling So Sad, RCA Victor LSP-3750
How to Murder Your Wife, United Artists UAS 5119
Lord Love a Duck, United Artists UAS 5137
Duel at Diablo, United Artist UAS 5139
Sex and the Single Girl, Warner Brothers WBS-1572
Harlow, Warner Brothers WBS-1599
Synanon, Liberty LST-7413
The Odd Couple, Dot DLP-25862
http://www.spaceagepop.com/hefti.htm
The Real Group....
The Real Group is a professional a cappella ensemble from Sweden, in constant development since the formation 24 years ago. TRG is one of the leading forces in the world of vocal music today.
Through the years, the members have been engaged in a variety of activities - concert performances, events, CD/DVD-recordings, song-writing, arranging, score publishing, CD-production for other artists, master-classes/workshops, seminars, etcetera.
The Real Group has been groundbreaking in the vocal group genre. Early in the group's 25-year history an own style was developed, with compositions and arrangements by the group members.
TRG has procuced a large number of records, dvd's, concert tours, TV programs, and has been (and are) artistic directors of two vocal group festivals: The Real A Cappella Festival in Sweden (2008), and Amazing Voice in South Korea (2007, 2008).
Recently a CD was released, with compositions by legendary Swedish song writer Povel Ramel.
The repertoire consists of a mix of jazzy vocal music, that sometimes leans towards folk music, and sometimes towards pop.
The typical concert with TRG is a two-set a cappella show.
TRG also has a program with symphony orchestra, to which some of Sweden and Norway's finest arrangers have contributed with arrangements written especially for the combination. This concert was latest performed in Dalhalla (Sweden) with Norrköping's Symphony Orchestra.
This program is released on CD, in November 2008, a recording from a live performance with KORK; The Norwegian Radio Orchestra.
Through the years the list of collaborations have been many. For example: Roland Pöntinen, Barbara Hendricks, Povel Ramel, Eric Ericson, Toots Thielemans, Esbjörn Svensson, Lisa Nilsson, Lill Lindfors, Titiyo.
The members are: Emma Nilsdotter, Katarina Henryson, Anders Edenroth, Peder Karlsson, Anders Jalkéus.
General Motors Cancels Montreal Jazz Fest Sponsorship
Date: December 22, 2008
Written By: Jeff Tamarkin
According to several news reports today, General Motors, one of the three major U.S. automakers currently experiencing financial difficulties, has decided not to renew its sponsorship of the Montreal Jazz Festival (Festival international de jazz de Montréal), one of the world’s largest and most prestigious. Although the actual sponsor was the Canadian division of the corporation, GM brass pulled the plug on the five-year agreement it signed in 2005.
GM had contributed roughly 10 to 12 percent of the festival’s $25-million budget, said various news reports. The 2008 festival attracted more than two million visitors. Festival producers said they do not expect GM’s withdrawal to affect the festival, whose 2009 schedule, according to the New York Times, is set to include appearances by Buddy Guy, Chucho Valdés, Madeleine Peyroux, Patricia Barber, Dave Holland and Gonzalo Rubalcaba, among many others.
http://www.jazztimes.com/columns_and_features/news/detail.cfm?article=11650
Marilyn Harris....
Recently described by L.A. Jazz Scene's Scott Yanow as "most impressive", singer-pianist-songwriter Marilyn Harris boasts an enviable jazz pedigree. After studying composition with Hale Smith at UConn and film scoring with Ray Wright and Manny Albam at Eastman School of Music, Marilyn worked extensively with jazz arranger Gil Evans and studied piano with Richard Tee and Rodgers Grant. Her talents have graced not only her own recordings, but a wide variety of other artists' work including co-writing a gold record with Jim Brickman, doing arrangements for Bette Midler, Lola Falana and Donna McKechnie, and her songs have been covered by jazz vocalists Anne Marie Moss, Jackie Paris, Claire Martin, Bobbe Norris, Judi Silvano and Diane Hubka.
Marilyn was born in Syracuse, NY and grew up in Hartford, CT. After graduating from UConn, she worked as a music editor and copyist in New York City, while pitching her original songs to publishers. Soon she found herself in the world of advertising music where she sang, arranged and produced music for commercials (Amoco, McDonald's, Kraft, Kellogg's, United Airlines, etc.) in New York and Chicago. After moving to Los Angeles, she composed, performed and produced over 200 music cues for ABC-TV's "General Hospital", scored episodes of the animated "Flintstone Kids", and provided original music scores and themes for such diverse projects as BBC-5's hit radio drama "Milford-Haven, U.S.A." (Great Britain), "Yogurt Variations" for the New Britain Symphony Orchestra, the theatrical plays "Sea Marks" and "An American Odyssey", as well as the audio book music scores to "The Hidden Legacy", "Stickeen", and the recently released "Travels In Alaska". Marilyn has placed original songs in the Hallmark Hall of Fame presentation of "My Sister's Keeper", Sesame Street, and the award-winning short feature film "T for Terrorist".
Marilyn's first CD release on Wrightwood Records, the jazz-pop "Between the Lines" (WRCD-1508) featured world-renowned musicians such as percussionist/drummer Mark Walker (Paquito D'Rivera & Oregon), guitarist Georg Wadenius (Blood, Sweat & Tears), bassist Steve Rodby (Pat Metheny Group), jazz trumpeters Orbert Davis, Bobby Lewis and Ron Friedman, saxophonist Steve Eisen (Styx), and Sinatra band members Mike Smith and Ron Kolber. In 1998 Marilyn joined Philip Ingram in the vocal duet of her song "Like Love" on BMG's release of Jim Brickman's "Visions of Love".
Recently Marilyn expanded her musical scope by collaborating on 4 new CDs of meditation/relaxation music for Wrightwood Records: "Koto Keys" (WRCD-1516) & "A Koto Keys Christmas" (WRCD-1525) with kotoist Mara Purl, "Winds on Ivory" (WRCD-1521) with exotic woodwind specialist Phil Feather, and "Unicorn's Journey" (WRCD-1530) with harpist Stephanie Bennett.
Her last release "Future Street" (WRCD-1580) featured 11 great new songs with attitude - and wonderful instrumental solos by Wayne Bergeron, Warren Luening, Pete Christlieb, Dan Higgins, Bill Liston, Andy Martin, Bob Leatherbarrow, as well as a special vocal duet with Mark Winkler. Liner notes were by jazz songwriting legend Bob Dorough.
Marilyn's newest release "Round Trip" (WRCD-1569) features 10 great new Marilyn Harris songs (and 2 fabulous covers) - backed by the L. A. Jazz All-Stars Big Band (a gathering of the swingingest top studio cats in Los Angeles - led by producer/arranger Mark Wolfram) and wonderful instrumental solos by Bill Watrous, Pete Christlieb, Jim Fox, Dan Higgins, Warren Luening, Andy Martin, Don Shelton, as well as a special vocal duet with jazz songwriting legend Bob Dorough. Liner notes are by jazz DJ and journalist Neil Tesser.
Marilyn has given active service to many music industry organizations over the years (Board of Governors at N.A.R.A.S., S.G.A., Executive Board at L.A.W.I.M.), most recently serving as President of the Los Angeles Chapter of the Jazz Vocal Coalition. She continues to be active performing musicology analysis and clearance for various clients in the legal, entertainment and advertising fields. Marilyn moderated a songwriting panel at the 2004 IAJE in New York City, participated on a songwriting panel at the 2005 IAJE in Long Beach, CA, and moderated a panel entitled "Releasing Your Indie Jazz CD" at the 2005 IAJE Regional in Chicago, IL. Recent performances include Birdland, Danny's Skylight Room, Don't Tell Mama and Cornelia St. Cafe (NYC), Davenport's (Chicago), Odette's (New Hope, PA), the Tucson Jazz Society Spring & Fall Concert Series (Tucson, AZ), the Las Vegas Jazz Society Fall Concert Series (Las Vegas, NV), and The Jazz Bakery, Spazio, The Gardenia, and The Catalina Bar & Grill (Los Angeles).
Marilyn Harris at Studio 47
Excerpts from 3 original selections by Singer-Songwriter Marilyn Harris...they are "Extra Baggage", "Home" and "Mr. Wrong". Recorded at Studio 47 - Los Angeles, CA.
Front Cover Album Serie - 18
Clark Terry - Porgy & Bess
Buzzard Song • Bess, You Is My Woman Now • Gone • Gone, Gone, Gone • Summertime • Bess, Oh Where's My Bess? • Prayer (Oh, Doctor Jesus) • Fisherman, Strawberry and Crab • My Man's Gone Now • It Ain't Necessarily So • Here Come De Honey Man • I Loves You Porgy • There's a Boat That's leaving Soon For New York (54.14)
Terry (t, flh, vocal on Honey Man); with The Chicago Jazz Orchestra, Jeff Lindberg (cond.): (collectively) Danny Barber, Kirk Garrison, Doug Scharf, Art Davis, Art Hoyle; Brent Turney (t); Scott Bentall, Tim Coffman, Andrew Baker (tb); Michael Young (btb); Greg Flint, Neil Kimel, Angela De Boer; Christine Worthing (Frh);
John Wojciechowski (as); Larry Combs, Randy Salman (cl, bcl); William Overton, Jerry Di Muzio (bcl, af); Darlene Drew (af, picf); Kimberly Risinger (bf, f); Daniel Anderson (bb); Dennis Carroll, Rob Kassinger (b); George Fludas (d); Gil Evans (arr., except I Loves You, Porgy): Charles Harrison, III (arr. I Loves You, Porgy only), Evanston, Illinois, November 10,11,2003, February 23,2004 and NYC, December 18,19,30,2003 (Americana Music 9002)
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Stupendous. I would never have believed that anyone could recreate the old original Gil Evans/Miles Davis masterpiece and make me say that, but I was filled with wonder and admiration just as soon as I heard the first few bars of this beautiful recording.
The interpretation of this music by the Chicago Jazz Orchestra has been done with deep feeling, much love and understanding. The scores are the same, exactly so, Gil Evans note for note, but they somehow play them differently, softer, with more presence—and there is, of course, a notable improvement in the sound over the old recording due to the advances in recording technique.
There's the most lyrical tuba player on there, in danger of stealing the show every time he plays, but, hand on heart, who could ever get more lyrical than Clark? Like a bird he soars, he swoops, he whispers, with all the little bends and slides we love so well. On these recordings he is tireless, magnificent, soulful and he'll be 84 in December. Think about that.
There are sounds here that are going to haunt my days and nights for a very long time.
Ron Simmonds
Body and Soul
Peter Herbolzheimer
The examples are taken from the vocal score to Body and Soul contained on the CD Focus on Vocals by the German National Youth Jazz Orchestra, BuJazzO (Mons Records MR 874 - 803). The choir consists of four girls and two men. The arrangement is by Peter Herbolzheimer. 
Example 1 shows bars 1 to 4 of the rhythm section. These four bars are repeated to complete the eight bar intro. The intro is repeated three times thus: first time guitar only; second time the rest of the section; third time with singers added.
The guitar plays in a similar fashion throughout the piece. His part is constructed on the Db and Ebm scales. The bass motif occurs regularly. Tempo is about 4 bars to seven seconds. The recording is awe–inspiring.
In Example 2
the opening chord sequence repeats itself behind the melody up to the Eb7(#11,#9) of bar 21. A glance through the part will show the pitching difficulties of the lower voices, the hardest one being the tonic of the second lowest bass singer in bar 27 on the inverted D maj7(#5)/C# with major seventh in melody and bass. In the next bar he reverts to the C# (here written Db) while the bass singer moves to a D, then up to the fourth of a Cm7(b5) in bar 29.
At the change of key there is a recurring pedal bass throughout bars 47 to 52 as follows, with the chord changing on each bar: D maj7/A, Gm6/A, E7/A, D7/A, F#7/A, E7/A.
At bar 70 the four bars are repeated behind the vocal up until the Eb13(#9,#11) of bar 82. On bar 86 comes another D maj7. This one is harder to spell: a D maj7(b5,#5)—the notes, played by the trombones, are, from the bass up: D, F#, G#, A#, C#. The chord continues up to a Cm9 in bar 90, followed by an F7(#5,b9) in 92, Bbm9 in 94, and Bbm(maj7) in 95. Here the bass singers must pitch a major seventh against a seventh in the melody: the orchestral chord there reads, downwards from the melody, Ab, F, Db, C, A, F, Bb.
I have omitted the chord symbols on the vocal part deliberately. It is more interesting to look first at the horizontal lines, try them out, and then see what the arranger had in mind.
Example 3 
shows part of the ensemble that follows the vocal. The guitar, alto and tenor saxophones double the first trumpet melody one octave below, with the baritone an octave below that. The flute doubles in the same octave. This gives the passage a beautifully haunting, mellow sound, in the way that the French horns add colour to a Rob McConnell ensemble. The spelling of the fourth chord (BI7(#9)/D is probably the nearest one could get to a conventional chord type, although aural logic makes it more of a D Major 13 with added #11 and I13 (#12!), or even a GI chord. Note that in one or two cases the first trombone, in his upper register, doubles the fourth trumpet, giving a boost to important dissonances. The two final chords of the example are voiced in fourths. This is easier to recognise if they are played without the written bass notes.
Example 4 comes
at bar 65 of the piece (see last article for vocal part), and also appears right at the very end. It’s worth trying the brass on their own at first, then with the bass, and lastly with the saxes, who once more emulate a horn section in the first two bars.
In Example 5
we see the backing for bars 53 to 54 of the vocal, leading into the change of key. There is nothing remarkable about the chords or the voicings, but the study of passages of oblique motion is always useful, and this one, when played at this point of the melody, is particularly striking.
Score excerpts Copyright ©1997 Peter Herbolzheimer
http://www.jazzprofessional.com/technical/Body%20and%20Soul.htm
Swing for Beginners (Part One)
Ron Simmonds
When Leonard Bernstein wrote the score for West Side Story he knew that its concept had to be clear to everyone playing the music. In New York the orchestra was composed mainly of classical, in London mainly of jazz musicians. The jazzmen would be able to handle the straight sections, but how could he make the strings, horns, oboes and bassoons swing the jazz passages? Leaving nothing to chance, he wrote the wild, jazz–oriented Dance at the Gym in 12/8. Example 1 
shows a couple of bars of it as they would normally be written for a jazz player (a), then, as Bernstein wrote it in 12/8 for the straight man (b). When played by both musicians the result was the same.
Why is that?
It is because those two bars alone reveal the secret of jazz phrasing: the Golden Rule, in fact. This is something the professional musician is often asked to explain, but rarely manages. The simple explanation given above makes it look too easy. Like most rules it has its exceptions and variations.
Take a look at. Example 2a
A jazz player would make these two bars sound like those of 2 (b), right? A classical horn or bassoon player would swing the last two bars along with the jazzer. Right again?
Actually, he may not. It all depends on the tempo. And there you have the first exception to the rule. At a quarter-note = 120 and less it would be correct. Played at a quarter-note = 240 it would sound ridiculous and drag everything down. At that speed the eighth notes have to be played more evenly. They would still not be exact, though. The player would give them more of a da-ba-da-ba feeling, rather than a straight da-da-da-da. Slower he would make more of a punk-a-punk-a-punk-a rhythm out of the phrase. This is an ideal phrase to have in mind: each punk being two thirds of a quarter note.
That is not all, for, in fast tempos, the player will also gently accent each eighth note falling on the beat slightly, ie notes 1,3,5 and 7. The off–beat notes will be ghosted, rolled back into the throat until they are still hinted at, but barely audible. This contributes to the swing effect when such passages are played at speed. All rests must be then given their exact value. At a fast tempo the final eighth note of the first bar of 7 (a) has to be played right in its slot, no 12/8 feeling whatsoever. The length of the note plays an important role, too. Obviously a quarter note, consisting of two eighth notes tied together, is going to sound a lot longer in time and space as the tempo decreases. Regardless of the tempo the quarter note following in the second bar of 7 (a) should still be twice as long as the note preceding it. This may sound like nit–picking, but tiny things like this separate the professional ensemble from the amateur.
Examples 3 through 5 show various ways of writing a common phrase. All are, alas, in use, but 3 (a) leaves no doubt as to the composer’s intentions. Example 6 (a) demonstrates the swing method, just in case you’ve forgotten. I’ve done away with the triplet markings to avoid cluttering up 6 (b). Try thinking in 12/8 as you sing this phrase. In fact: thinking in 12/8, or in eighth note triplets in common time, will help you to keep dead on the beat at all times. Count a slow 4 into Example 7 (a) and attempt to wake the neighbours with those two notes. A little early on the second one, perhaps? Not if you use the 7 (b) method.
Example 8 (a) is a type of phrase you will often come across. 8 (b) is how you might play it at a quarter-note = 120 unless the composer tells you otherwise .
Example 9 (a) is how 8 (a) should really have been written if the off–beats are supposed to be short. 9 (b) and 9 (c) are variations. The style of 9 (d) went down with the Titanic. If you are lucky you will never be confronted with anything like it.
The pro musician, when seeing things like this for the first time, knows what to do, and will adjust his phrasing to the tempo and rhythmic style of the piece. He may also get some help from the title. If it happens to be Gloomy Sunday he is hardly likely to go belting it out as if it were Primal Scream. Yet more often than not there will be few markings over the notes, and if he is doing a one–off dep in a pickup band, he’ll probably discover that the rest of the guys are ignoring any marks and dynamics that might be present, anyway.
Scoring music with a computer, and listening back to the midi files created from the notes we write shows us just how much is taken for granted when writing for the jazz musician. Regardless of how you may want it to sound, a computer will play back everything exactly as it is written, right or wrong. Imagine that the guy playing your music will be just as relentless, and write it so that there can be no doubt in his mind as to how you want it. No more wandering around, crying: ‘That note has to be short, slur the next one, lay back here, wing it, stab, roll it, dot it, push it, bend it, stroke it, hit it,’ and all the rest of the dogma we have gathered over the years.
Computer engineers have now decided what it is that makes a jazz musician swing. According to one scoring programme: A percentage amount is used to define how far forward the notes are to be moved. 50% is equivalent to saying half the distance between beats--which translates into no swing. The default is 66.7 but any value between 50.0 and 75.0 can be used. (Encore).
Now what have I just been telling you! 66.7% is as near as we can get to two thirds of our eighth note triplet. Remember well: the percentage increases in slow, decreases in fast tempos.
So much for the technical side of swinging. Now for the big secret. In order to really swing you need one or two other things, and they are: soul, feeling, passion, love, sadness, emotion, anger, inner fire, a sense of beauty and much, much more. Put them in any order you like. Some people have it, some don’t, and some never will. But, as Duke said: It don’t mean a thing, if it ain’t got that swing.
http://www.jazzprofessional.com/technical/swing_for_beginners_1.htm
Ann Hampton Callaway....
ANN HAMPTON CALLAWAY is one of the finest singer/songwriters of our time. The statuesque performer dazzles music lovers as a singer, pianist, composer, lyricist, arranger, actress, and educator. Her talents have made her equally at home in jazz and pop as well as on stage, in the recording studio, on TV and in film. She is best known for starring in the hit Broadway musical "SWING!" and for writing and singing the theme to the internationally successful TV series, "THE NANNY". Ann is a devoted keeper-of-the-flame of the great American songbook. She brings fresh and original interpretations to these timeless classics and works to uphold the canon by writing songs with Cole Porter, Carole King, Barbara Carroll and others. Her spontaneity, intelligence, and soulful charisma have won her a diverse fan-base including notables as Barbra Streisand, Clive Davis, Carly Simon and Wynton Marsalis.
Jazz Clubs Serie - 19
The Singer is a club in Rijkevorsel with an exciting range of pop, folk, classical, stand-up comedy, ... Nigel Williams, Axl Peleman, Alex Agnew and Vitalski are some names that were already on our stage.
The Singer houses to A Jazz Experience. This group of jazz lovers organizes concerts with Belgian and international jazz musicians. including Philip Catherine, Jef Neve, Bobo Stenson, Bert Joris, Frank Morgan, Michiel Borstlap, Aka Moon, Frank Vaganée, Billy Hart and Joey Calderazzo were already in our club.
The Singer is a small and cozy club. This is an intimate contact between artist and audience as possible. You can choose from a wide range of wines, beers and soft drinks.
We hope to welcome you soon!
Prior to a presentation, you can enjoy a gourmet dinner in the restaurant Waterschoot.
Routebeschrijving:
Vanuit Antwerpen:
Ofwel E19 richting Breda: afrit Brecht.
Vervolgens Brecht - Sint Lenaarts-Rijkevorsel.
Ofwel E34 richting Turnhout-Eindhoven: afrit Zoersel.
Vervolgens Zoersel- Malle- Rijkevorsel.
Jazz Clubs Serie - 18
Nassau's premier, upscale jazz nightclub bar and lounge invites you to experience pure bliss…
A night of excitement awaits you at The Blue Note Nightclub, Nassau Bahamas.
Monday, December 22, 2008
Singing and fiddling aside, George is a multi-instrumentalist - proficient on double bass, guitar or anything with strings!
George is also a sought after MC - and has hosted Jazz in the Domain several times, as well as The Darling Harbour Jazz Festival and presented concerts at The Thredbo Jazz Festival and the Taronga Park Zoo New Year's Eve Party.
George has also worked in TV and radio. You may have heard George as the voice behind the recent Banana Boat campaign, or his fiddle playing & scatting on the Uncle Toby’s campaign. George is also a composer in his own right. He recently composed the music for the Qantas Business Class Lounge commercial and has written everything from Rock and Roll Nursery rhymes for Mr Squiggle to music for the Bell Shakespeare Company.
To top it all off, George can also bring years of acting experience to your event. George's acting gigs include guest roles on TV shows like Chances and A Country Practice. He also worked in theatre, playing Guildenstern in Neil Armfield's production of Hamlet - where he shared the stage with Richard Roxborough, Geoffrey Rush, David Wenham, Jacqueline McKenzie,and a host of other acting luminaries.
Many moons ago, George even took over the role of Jake Blues from Russell Crowe in the official tribute to the Blues Brothers, produced by Paul Dainty.
