"The daring of Mallinger's compositions, ingenuity of his arrangements, and ferocity of his solos are startling to hear” - Chicago Tribune
St. Paul native son and Chicago resident Pat Mallinger is one of the foremost sax players in the Midwest. Back in the Cities for Thanksgiving, Pat will give us plenty to be thankful for on his hometown stage at the Artists Quarter November 25 and 27-28. Twin Citians not already familiar with this multi-reed virtuoso will learn first-hand why Mallinger is a popular fixture at such Chicago venues as Andy’s and the Green Mill. His 2005 release, Moorean Moon, was recorded live at the 2000 North Sea Jazz Festival, and follows the highly regarded Monday Prayer to Tunkashila (1995). Of his first recording, which the Chicago Tribune dubbed “a stunning debut by any measure,” Saxophone Journal noted, "Not only do his solos exhibit a thorough understanding of America's art form, but his knowledge becomes especially visible through his exceptional writing and arranging skills. Each Mallinger composition shows remarkable craftmanship!"
As a youngster in St. Paul, Pat Mallinger was inspired by the Grass Junior High Jazz Band and recordings of Paul Desmond, and decided jazz rather than dentistry was his destiny. He played in the Sibley High School band, studied with his uncle Tommy Bauer and Brian Grivna, and often heard the great Eddie Berger perform around town. In addition to Desmond, Pat cites such early jazz influences as Charlie Parker, Sonny Rollins, John Coltrane, Dexter Gordon, and Miles Davis. After high school, Mallinger earned a degree in jazz studies from North Texas State and, in 1986, moved to Boston where he played with the Artie Shaw Orchestra.
Relocating to his current home in Chicago in 1990, Pat has played with Joe Williams, Nancy Wilson, Stevie Wonder, Herbie Hancock, Harry Connick, and the Chicago Symphony Orchestra.; he’s toured with Charles Earland, Woody Herman, and Cab Calloway, and appears in concerts and festivals around the world. In Chicago, he has appeared with the Chicago Jazz Ensemble, Kurt Elling, Howard Levy, and the 911 Mambo Orchestra; he co-leads the ensemble Sabertooth, which performs regularly at Andy’s and the Green Mill. Pat is also a committed jazz educator whose efforts include inspiring inner city students to pursue jazz as a member of the Ravinia Jazz Mentors Sextet. He also teaches at Columbia College and in the Chicago Public Schools. (Click here for an exclusive Jazz Police interview with Pat Mallinger.)
On July 14, 2000, Pat Mallinger and his quartet performed at the 25th North Sea Jazz Festival in The Hague. Blue Jack Records Chairman Irv Rochlin attended the set, and five years later contacted Mallinger and festival officials for permission to release the tapes of the live session. The result was Moorean Moon, and it was well worth the wait. Mallinger’s straight-ahead, hard swinging sax is captured with all the verve and invention that marks live performances, and his Chicago-based quartet (Jim Ryan on piano, Jeff Stitely on drums, and the late Thomas Kini on bass) is a sympathetic a crew of collaborators. [Click here for a Jazz Police Review]
Pat has a number of projects underway these days. Sabertooth (a two-sax quartet) recently released Dr. Midnight, recorded live at the Green Mill for Delmark Records, and described by Jerry D’Souza (All About Jazz) as “filled with energy, intensity and elegance.” Wednesday night, November 25th, offers a perfect opportunity for relaxation before the frenzy of the holiday. And if you’re feeling a little sluggish after Thanksgiving, or perhaps in a state of sticker shock following the post-holiday shopping spree, you’ll find the antidote in the spontaneous combustion of another evening (or two) with the Pat Mallinger Quartet on Friday and Saturday nights. Joining Pat on the bandstand this weekend will be the great Twin Cities rhythm section of Chris Lomheim (piano), Tom Lewis (bass) and Kenny Horst (drums). http://www.jazzpolice.com/content/view/8705/115/
Attraction of the Telefonica Open Jazz 2009, singer Dianne Reeves performed in this Sunday afternoon (29) in Independence Park on the south side of São Paulo. Always very friendly, the U.S. confirmed its status as a diva and the constant comparisons that are presented with jazz icons like Ella Fitzgerald and Sarah Vaughan. With a presentation of just over an hour, Dianne took the stage and celebrated the strong sun that was the beginning of the show. "I love the summer. Where I come from, is very cold it is good to be a warm and lively with people," he said.
The singer, who has a special relationship with Brazil and has shared the stage with many Brazilian musicians, opened his setlist with an interpretation of Sadly, the composer Tom Jobim. Comparisons Dianne constantly gets compared to the icons of jazz soon confirm the first notes out of his mouth. With a powerful and versatile voice, the American impresses everyone with vocal variety, especially in more serious tones. The U.S. has praised the public São Paulo, which was gradually filling the park's Independence. "Sao Paulo is one of the wonder of the world," he said to the delight of the audience. "Wow that is becoming more full," he said.
One of the highlights of his presentation was a version that made Just My Imagination, The Temptations, which animated the spectators. In presenting his band, Dianne Reeves has revealed one of its striking features, improvisation. Calling one by one, the American sang their names and melody talked a little about each musician and where I knew him. The public park is on the Independence following the Telefonica Open Jazz 200 still watch the show the guitarist Buddy Guy Sunday.
Check out the setlist:
Triste (Tom Jobim)
African Blue
Midnight Sun
Just My Imagination (The Temptations)
Child is Born
Good Day
When You Know
Misty http://musica.terra.com.br/interna/0,,OI4128768-EI1267,00-Dianne+Reeves+confirma+status+de+diva+do+jazz+com+show+em+SP.html
Move over, BIG BAD VOODOO DADDY... the "Ol' Professor", Kay Kyser is BACK!
He was one of the most outrageous, over the top performers of the whole swing era. From the late 30s to the late 40s he was the physical embodiment of the word success, with eleven #1 records and thirty-five top tens! He starred in seven feature films with such co-stars as Lucille Ball, John Barrymore, Karloff, Lugosi, Lorre. Kyser kept his radio show, Kay Kyser's Kollege of Musical Knowledge in the top ten for eleven years on NBC, yet if you ask the average swing fan about him today, they'll likely reply, "Kay Kyser. Who's she?"
You see, Kay Kyser disappeared from the general public in 1950. Quit. Went home. Never came back. Made his million, then left without even making an announcement. In contrast to his zany character onstage, he was equally as serious off. "As exuberant as he was while performing, at a party you couldn't get him aroused..." said KK orchestra singer, "Handsome" Harry Babbitt to this writer in a 1995 interview for the upcoming 1 hour TV retrospective on Kay & the band, KAY KYSER- the OL' PROFESSOR of SWING!
"But those were magic days..." says Babbitt who, along with Sully Mason, Ginny Simms, Ish Kabibble (real name Merwyn Bogue) helped make the Kyser band a solid, first-rate performing unit. The duets Babbitt performed w/ Simms were "like buttah", whether they were beautiful ballads like YOU & I or spoofing Romeo & Juliet in WAY BACK IN 1939 A.D. THIS band was secure enough to be downright silly, something the Millers and Goodmans would never have done. But for any detractors, let it be known that the silliness was ONE side of this incrediby gifted bunch of people whom KK guitarist/composer Roc Hillman called a "functional family.""Everyone got along, and it was happy times all the time," says Roc. "Kay believed if HE didn't have fun- no one had fun." One can't forget the enormous contributions of arranger/ composer George Duning, who gave the band its sound, and eventually went on to score many well known films.
But back to our story. Kyser's sudden, unannounced retirement from showbiz has to be a contributing factor in his nearly forgotten music career. Georgia Carroll Kyser, widow of Kay, and former singer with the Kyser band, spoke to me in the North Carolina home she and Kay shared for many years. "I really admired the clean break he made (from show business), although in looking back now, if he'd stayed in touch with the public a little bit he'd be more alive today in people's minds." As mentioned before, today's rejuvenated swing scenesters may not know the Kyser name, but mention it to someone over 65 and their eyes light up.( Trust me, I do this in public places for fun.) They say, "Oh! Whatever happened to him? I remember seeing him at (fill in the blank) when I was in my teens! What about Ish Kabibble?" The questions pour forth, as if I had asked about an old "Kollege" friend..... Excerpt from Kyser article by Steven Beasley published in BACK IN THE MOOD magazine.
Here's a Kay Kyser timeline: Enjoy!
1905 - June 18th, born James Kern Kyser in Rocky Mount, N.C.. to P.B. and Emily Kyser. One of six siblings. Emily was 1st registered female pharmacist in state.
1926-27 - UNC bandleader Hal Kemp persuades James, UNC cheerleader and producer of the college plays, to take over as bandleader when Kemp heads north for fame & fortune. James decides his middle initial will serve as a snappy stage name, and Kay Kyser is born. The original 6 members included sax player-vocalist Sully Mason. The band limps along, helped by Kay’s cheerleading-style showmanship. George Duning joins as arranger.
1928-33 - Kay graduates UNC,takes band on road, has plenty of rough times, records several sides for Victor that go nowhere. Ish joins in ‘31.
1934-36 -Hal Kemp recommends the Kay Kyser Orchestra to manager of The Blackhawk club in Chicago. With steady gig, Kay can afford girl singer, hires Ginny Simms. The band does well and scores contract w/ Brunswick in spring of ‘35. Among recordings is theme song,”Thinking of You” with vocalist Bill “Smilin” Stoker. “Singing song titles” appear.Song title is sung at intro, Kay announces vocalist (“And now, heah’s handsome Harreh Babbitt!!...).
1937-38 -Stoker leaves band in early ‘37, Harry Babbitt joins as lead male vocalist, duties shared w/ Sully Mason, and occasionally, Ish. Late ‘37 the “Kollege” concept is born to liven up slow Monday nights at the Blackhawk.. Originally called Kay’s Klass, it was an amateur night interspersed w/ questions from Kay to the contestants to relax them. Rumor has it that the “classroom” setting was brainchild of Kyser’s young agent, Lew Wasserman. In February, the Mutual Broadcasting System aired the show regionally, then Lucky Strike bought it and moved it to New York City. First New York show airs March 30th, 1938 on NBC. Sully comes up with the name, Kollege of Musical Knowledge and Kay is “The Ol’ Professor”. The format is music related quiz with songs and comedy. Incidentally, it’s a smash hit from coast to coast, developing a weekly audience of 20 million listeners. “Diplomas” are mailed to listeners sending in quiz questions used on-air.
1939-40 - Kyser orchestra opens at Catalina Island casino, completes first film for RKO in Hollywood, That’s Right-You’re Wrong, co- starring Lucille Ball and Adolphe Menjou. Plays Gone With The Wind premiere in Atlanta, records multi-million seller, Three Little Fishes for Brunswick parent company, Columbia. 1940 sees the band at the top of the charts continually (as in ‘39), and 2nd film You’ll Find Out opens in late ‘40, with guest appearances on radio show by Kay’s 3 costars, Boris Karloff, Bela Lugosi, and Peter Lorre.
1941-43 -War declared in Dec. ‘41. History is made when Kyser becomes first to perform at camp shows for military personnel (before Hope!) at San Diego marine base , Feb.26, ‘41. Makes film short, Hedda Hopper’s Hollywood, 3rd film Playmates with John Barrymore & Lupe Velez in late ‘41. Ginny Simms leaves band in the fall of ‘41, replaced by Trudy Erwin. In ‘42 band makes film #4, My Favorite Spy w/ Jane Wyman & Ellen Drew. Several KK players get drafted. Band bus fire in April, ‘42 takes 15 years worth of arrangements. When band reappears, gone are the singing song titles and newer, updated style begins.
Kay vows to work no commercial gigs ‘till war over (except those booked previously), just radio show, service shows, and movies. Kay’s instrumental in helping the Hollywood Canteen get started w/ Bette Davis and John Garfield. Vocalist and future wife Georgia Carroll joins band early ‘43. Band makes brief appearances in films Stage Door Canteen and Thousands Cheer. Last RKO film, Around the World w/ Joan Davis. Various singers are added: Dorothy Dunn, Julie Conway, Diane Pendleton. KK film #5 for MGM, Swing Fever w/ Marilyn Maxwell is released. They hadn’t a clue what to do with Kay. Hollywood Cavalcade bond tour begins, w/ cross-country train trek starring the biggest H’wood stars. Kay is mc, band backs up stars (there’s some stories here, folks).
1944-46 - War continues to change the band. Last film, Carolina Blues is released. Harry Babbitt joins navy in may of ‘44. Kay and Georgia marry in June. Phil Harris subs for Kay when he and Ish go to pacific region. Don Leslie first replaces Babbitt, then future talk host Michael Douglas. Douglas has several hits w/ band. Kay begins to have serious trouble in feet with arthritic-type condition. Seeks help, but none found.. Turns to Christian Science to find relief. Kay begins fund-raising for several projects, including North Carolina Good Health campaign. Frank Sinatra and Dinah Shore donate their voices to It’s All Up To You, song to benefit N.C. good health plan. Jane Russell cuts 2 songs w/ the band (no one seems to know why!). Harry Babbitt returns from navy, replacing Douglas. Vocalist Dolly Mitchell joins. War ends, Kay wants to retire, but contracts prevent it.
1947-49 - Band continues to have hits, but Kay’s participation is limited. He’s more interested in philanthropic deeds, helping build wing onto St. John’s hospital in Santa Monica. In gratitude they place Kyser portrait at entrance to medical library. Vocalist Gloria Wood is added. Babbitt leaves band for solo career. Kay fights alongside Batman and Robin in comic book (!!). After 11 years, Kay ends “Kollege” radio show, and tries to retire again, but is talked into doing 1 year (2 seasons) of “Kollege” show on NBC-TV for Ford Motor Co., (Dec.’49-Dec.’50).
1950-85 - In December Ford cancels tv show even though in top 10, reportedly because Mrs. Ford didn’t care for the silly humor. It’s eventually hosted by deadly serious “Tennessee” Ernie Ford. Kyser gladly uses this opportunity to retire with no announcement and no fanfare. He just disappears from public life. Moves family (wife Georgia and eventually 3 daughters) home to North Carolina. Turns down offer after offer for appearances, interviews, photos. Continues his Christian Science studies and North Carolina public service, helping bring educational tv ( now Public Television) to his home state.
In the 70s, Kay worked for his church in Boston, running the tv-film dept. Became teacher and lecturer in late 70s-early 80s, traveling on the lecture circuit. Would grant radio interviews discussing band days in return for lecture appearance promotion. In 1983, Kay was named President of the Worldwide Church of CS. When asked about it by news reporters, the Kyser humor came alive: “It’s an honorary title. I haven’t been elected Pope or anything...”
Kay Kyser died of heart failure at his office on July 23, 1985. He was 80. To the end, his selflessness, humor and charm were with him. Like his theme song in the big band days, he always seemed to be Thinking of You. This timeline is basically accurate, though several dates may not be entirely chronological. Some parts excerpted from published articles written by Steven Beasley, writer/producer of in-progress documentary, Kay Kyser-the Ol’ Professor of Swing!, And Kyser historian. Some Kyser cds and films are available through special order. Put ‘em on and C’mon chillen, yess’dance!!! So long, evahbody! (Kyser sign-off) Photo: kyser with with his daughter Amanda, and early co-star, Lucille Ball
The Band
Harry Babbitt
- A St. Louis native, Harry is arguably one of the strongest links in the Kay Kyser success story. Possesing a smooth tenor, as well as the high voice (known as "Little Audrey") in many KK songs such as "Three Little Fishes", Harry's talent for mimicry was invaluable to the band. Ginny Simms
- Originally from San Antonio, Ginny was the Kyser band's first permanent female voice, and added a touch of class to the maniacal mix. Ish Kabibble
- Everyone's heard the name, but from where? Ish (Merwyn Bogue) got it from his comedy version of an old Yiddish song, "Isch Ga Bibble" (loosely translated, it means "I should worry?"), which he performed after joining Kay in 1931.
Sully Mason
- Often overlooked, but one of the original 6 members of Kay's band, Sully played alto sax and sang the "rhythm" and scat-style songs that were so popular. Georgia Carroll Kyser
- "Gorgeous" Georgia Carroll, as she was introduced, came to the band in 1943. As a famous model, she adorned the cover of many a major magazine, but joined the band as a vocalist while under contract to Warner Bros. as an actress. George Duning
Enough cannot be said of Duning, Kay's musical right-hand man and arranger for much of the Kyser catalog. Michael (Mike) Douglas
- Known to most of America as the singing variety/ talk show host, Michael was the lead voice on Kyser hits Roc Hillman
- Guitarist/ composer Roc is one of our interview subjects for the program, and a personal friend. James Rosy" McHargue
- Clarinet/ tenor saxman Rosy came from Ted Weems' band to play with Kay in '43. Jack Martin
- Tenor sax/ vocalist on many Kay Kyser songs. Trudy Erwin
- Vocalist after Ginny Simms. Best known for duet with Harry, "Who Wouldn't Love You". Ernani "Noni" Bernardi
- Noni is replacing Armand Buissaret on alto sax in 1940, Noni had played w/ Benny Goodman previously. Herman "Heinie"Gunkler
- Herman joined Kay in 1937 while making his way to Hollywood. Up to that point he'd been playing jazz clarinet, but ended up staying with the band until 1943, when he entered the service.
Bobby Guy
- Bobby joined the Kyser band on trumpet in the Spring of '36. Lyman Gandee
- In Ish's autobiography, Ish states that "Our pianist Lyman was so good he didn't have to think about what he was doing, so he'd spend his time thinking up practical jokes to play on the band. Jack Barrow
- Jack joined in 1931 in Dayton, Ohio. His trombone glissandos were a big part of the early Kyser sound. Bill "Smilin'" Stoker, Arthur Wright, Art Wilson
- All early KK vocalists, Stoker doubled on clarinet and tenor sax and was original vocalist on KK theme, "Thinking of You". http://www.kaykyser.net/
In a special show: Sidney Bechet & Beyond
With: Howard Alden on Guitar Carlos Henriquez on Bass Herlin Riley on Drums
Venue: Village Vanguard
Time: 9 pm & 11 pm
Address: 178 7th Avenue South, NYC
Coming up on New Year's eve AND kicking off NPR's annual worldwide broadcast, Toast of the Nation:
December 31st, Boston, MA
Anat Cohen Quartet
with: Jason Lindner on Piano Joe Martin On Bass Daniel Freedman on Drums
Venue: Berklee Performance Center
Time: 8 & 9:30 pm
The 8 pm show will be aired Live on NPR's Toast of the Nation
Address: 136 Massachusetts Avenue
Also check out http://www.wbgo.org/toast/
Stefano Bollani & Anat Cohen in duo ad Orvieto per Umbria Jazz Winter 2008
Billie Holliday was the best jazz singer of his generation and, in the opinion of his admirers and many critics, the best of all time. Eleanora Holiday was born in Baltimore's black ghetto. His birth certificate was never found, so the accepted date of his birth was that she used to say: 07 de April 1915. His mother, Sadie Fagan (13 years) called Nora and her father, guitarist Clarence Holiday (15 years), were still adolencentes when Billy was born. It was Clarence who called him "Bill" because he thought she was acting like a kid. Billie has everything you could expect in the life of an American girl black and poor.
He lived with his mother separated from her father, was raped by a neighbor for ten years and punished for it, was hospitalized in an institution with "correctional methods" pre-medieval. At twelve, work washing floors and providing the owner of a brothel where he hears the first time records of Louis Armstrong and Bessie Smith. At 14, already in New York and angered by the position created for her mother and racism, falls into prostitution and faces four months in jail. Reason: not wanting to meet a mob boss's black Harlem. In 1930, threatened with eviction by $ 45 due to the landlord, Billie takes to the street willing to steal or kill if necessary. Thus begins the legend of Billie.
Walking through the bars of Harlem looking for some money enter the Pod's and Jerry's offering himself as a dancer. A disaster. The pianist sorry asks if she can sing and Billie asks him to play "Trav'lin All Alone" and in a few moments all eyes are glued to her leaving the bar with fifty-seven dollars and a job with fixed salary. Three years after having sung in many places is assisted by producer John Hammond, enter the studio on November 27th, 1933 at the hands of Benny Goodman. In 1935 already seen performing with the orchestra of Duke Ellington in "Symphony in Black, A Rhapsody of Black Life" and start a fruitful partnership with pianist Teddy Wilson, and recorded over eighty songs in six years.
However their experiences with the Big Bands between 1936 and 1938 are bitter. With Count Basie undergoes humiliation how to paint your face with shoe polish as a businessman thought his skin was very clear. With the orchestra of white Artie Shaw is very well treated by the musicians but feel racism on tour Tired of the South such humiliation back to New York and again at the hands of Hammond, gets a good contract at the Cafe Society of Barney Josephson. On January 25, 1937, Billie and saxophonist Lester Young come together for the first time in a studio. Someone wrote that on that day "came a new form of love poetry of the human voice and musical instrument." In four years they recorded about 50 songs, true gems full of swing, taste, creativity and complicity that extended the trumpeter Buck Clayton. Lester called her Lady Day and she nicknamed Prez (President of the tenor sax). Autobiography (1956), written in collaboration with the journalist William Dufty, was called Lady sing the Blues. The title refers more to his unhappy childhood and his involvement with heroin than their actual music.
A fiasco. His career was interspersed with entries in hospitals and prisons as the addiction brought him more trouble. The film Lady Sings the Blues (The case of a star), starring Diana Ross (a bad interpretation), only served to draw public attention on Billie. Diana is not good on paper and not spared criticism. Billie Holiday only won the fame and respect due after his death, held on July 17, 1959, in Philadelphia at age 44 overdose victims and other circustancias depresivas. His voice is a unique interpretations of hundreds of treasures that no longer recorded. The album "Lady In Satin", their best work, hostenda the title referring to the luxurious string arrangements of conductor Ray Ellis orchestration with a plausible voice even more hoarse Billy due to overuse of heroin. Packaged in a contagious harmony, the album has recreations of classics like "I'm A Fool to Want You" (immortalized in the voice of Frank Sinatra) and "The End Of A Love Affair" (Edward Redding). Recorded on 19 and February 21, 1958 for the Columbia Records label and production of Irving Townsend, "Lady In Satin" was only introduced in June 1958. Interestingly the revival of 1997, adds another 04 tracks take killing a little nostalgia. Songs
01 - I’m a Fool to Want You
02 - For Heaven’s Sake
03 - You Don’t Know What Love Is
04 - I Get Along Wiyhout You Very Well
05 - For All We Know
06 - Violet for Your Furs
07 - You’ve Changed
08 - It’s Easy to Remember
09 - But Beaultiful
10 - Glad to Be Unhappy
11 - I’ll be around
12 - The End of a Love Affair
Musicians:
Billie Holiday - vocals
George Ockner - Violin
David Sawyer - Violoncelo
Janet Putnam - Harpa
Danny Bank - Flaute
Phil Bodner - Flaute
Romeo Penque - Flaute
Mel Davis - Trumpete
J.J. Johnson - Trombone
Urbie Green - Trombone
Tom Mitchell - Trombone
Mal Waldron - Piano
Barry Galbraith - Guitar
Milt Hinton - Acustic Bass
Osie Johnson - Drum
Elise Bretton - Backing Vocals
Miriam Workman - Backing Vocals http://borboletasdejade.blogspot.com/2009/11/1958-lady-in-satin-billie-holiday.html
Julie Philippe:
Still in 2008 Julie Philippe attended the Brognoli Acoustic show, produced by Eveline Orth, in Florianopolis. In this show, she sang "Barra da Lagoa, Engine Group, under the musical direction of Guinha Ramires.
And with production of Toledo Productions, of Claudia Toledo, recorded under the direction of Luiz Meira CD Nosa Bossa Nova, distributed by Toledo in December 2008. Julie recorded this CD "Letter to Tom" by Toquinho and Vinícius, Has C, Vinícius and Baden Powell, "You and I" by Carlos Lyra and Vinicius de Moraes, Folly, Tom Jobim and Vinicius, the Neighbor 57, René Bittencourt, and Samba of the Blessing, a classic by Vinicius de Moraes and Baden Powell.
In 2007 Julie Philippe participated and approved the Idols in the Brazilian edition of "American Idol." Julie was placed in the Idols in stages held in Florianopolis, the stage of Theater and between the semi-finalists in the Top 32 stage.
Influência do Jazz - influence of jazz
(Carlos Lyra)
Pobre samba meu
Foi se misturando se modernizando, e se perdeu
E o rebolado cadê?, não tem mais
Cadê o tal gingado que mexe com a gente
Coitado do meu samba mudou de repente
Influência do jazz
Quase que morreu
E acaba morrendo, está quase morrendo, não percebeu
Que o samba balança de um lado pro outro
O jazz é diferente, pra frente pra trás
E o samba meio morto ficou meio torto
Influência do jazz
No afro-cubano, vai complicando
Vai pelo cano, vai
Vai entortando, vai sem descanso
Vai, sai, cai... no balanço!
Pobre samba meu
Volta lá pro morro e pede socorro onde nasceu
Pra não ser um samba com notas demais
Não ser um samba torto pra frente pra trás
Vai ter que se virar pra poder se livrar
Da influência do jazz
Version piano and voice of the classic "The influence of jazz," created in the 1960s by "Carlos Lyra", one of the idols of Bossa Nova in Brazil.
This video is the arrangement created by Luiz Zago and Julie Philippe for the show 50 Years of Bossa Nova. Florianópolis, 2008. In the repertoire, Girl From Ipanema, The influence of Jazz, You and I, Airplane Samba, Samba summer, Folly, O Morro Não Tem Vez, I Was Afraid, Your Love, Letter to Tom, and others.
Beatriz Sion, known as Bia Sion, is an actress, singer, speaker and songwriter. Born in Rio de Janeiro, in Copacabana, in the early 60's in a family where music was always in the air. His father played saxophone and clarinet, but long before Bia Sion, sunrise he sold his instruments to buy a refrigerator and was a businessman with his mother the actress.
He grew up listening to jazz, choro, Beatles, Carole King, James Taylor, Carpenters, Chico Buarque, Barry White, Yes, Pink Floyd, Young Guard and the Festivals. Well's small Bia Sion already sang behind closed doors, the bathroom and the drama club with imaginary characters and audience. Also played freshman program. He started strumming the guitar hidden in his brother and imitate what he did in the tests of his band, the room of your home.
Then, Bia Sion won a guitar Di Giorgio and began learning to play samba, bossa nova and even Bourré of Bach. At school, Bia stood out singing, playing and clowning around for all to enjoy. And he said, "if I'm not artist will not be happy." He participated in many festivals and youth, at age 17, began playing guitar in a children's play at Teatro Gloria, "The Princess and the Dragon Mimada Evil. He joined the faculty of journalism and attended Unirio, theater, but only one year. Learn theater was practically beside Silvia Orthof of children's theater. He played guitar, sang and made characters. At that time, attended the play "I Chovo, Tu rains, it rains, the Teatro Senac, the kickoff to their professionalization.
Then, studied theater with actress Camilla Amado that Shakespeare presented by several approaches. Bia Sion played for Juliet to Lady Macbeth. With Rubens Corrêa, Bia Sion came into contact with Jung in a drama class at CAL. Found in the cinema Bob Fosse, Gene Kelly, Fred Astaire, Chaplin, Julie Andrews and Liza Minnelli. His dream was always to make music. He, then, jazz, tap and was to New York after 37 years of age.
When seen in Rio de Janeiro to play "Call me Leo", the group brought the trombone Asdrubal, Bia Sion was snatched. Since then decided that I wanted to be an actress. Made some dancing lessons with Lennie Dale. Bia Sion auditioned for a musical singing "New York, New York" which opened many doors. Debuted in adult theater in 1982 with "Band Age!" Ze Rodrix and Michael Paiva.
From there, Bia Sion did "The Boy in the Green Finger", "glass slipper - A History of Eternity", a great success in the Lagoon Theater, next to Lucinha Lins. Then Perez Hilton wrote a paper for Bia Sion's novel "Partido Alto". In this novel has launched a fashion ties colored tulle. He theater next to Norma Bengell and Caique Ferreira, in the play "Isadora & Oswald, Aguinaldo Silva, and then went on tour of Brazil with a troupe of" Feliz Ano Velho "with Marcos Frota, Denise del Vecchio, Lilia Cabral , Adilson Barros.
In Manchete, Bia Sion made "Dona Beija" and various specials. In Rede Globo, did the musical, "Cida, The Cat Rocker", along with Claudia Raia, Rita Lee, Evandro Mesquita and Tim Maia. Still in Manchete, Bia Sion made the soap opera "Carmen" also from Gloria Perez, with Lucélia Santos and Paulo Betti. He made a character who participated in the program of Silvio Santos, in the "Dating on TV," which was part of the novel.
Then attended the play "Filumena Marturano" at Theater Four, the last piece of the actress Yara Amaral, who Bia Sion says he learned a lot about the art of acting. He also participated in the shows "Music Divine Music, The Sound of Music" with Zezé Polessa and Luiz Armando Queiroz. He also produced a show with text and music of his own, the "Sign in" directed by Claudio Tovar. Excursions with the play "The Saltimbancos.
In parallel with this work, Bia Sion has always been devoted also to compose and sing. Dedicated to issues mystical, Bia Sion made course reading tarot and teaches and consultation about that. He also wrote a musical inspired by the 22 letters: "Cat King". Bia Sion also works as a newsreader and advertises. He also participated in the plays "viralatas, but with pedigree, Music Dance Carlota Portella (1989)," Music, Music Divine ", directed by Ticiana Studart (1992)," The Saltimbancos ", by Chico Buarque (1994 to 96), "Making Friends at the Farm" (children's show directed by Bob Brown, 2002), among others.
Bia Sion also participated in shows like "De Noel to Chico - The Cream of Gimme Shelter" and "swing jazz" where she sang standards like The Man I Love, Blue Moon, Moonglow, Love For Sale, They can not take that away from me, Someone to Watch Over Me, Fever, Cabaret, All of Me, among others, accompanied by instrumentalists Dodo Ferreira (bass) and Adriano Souza (piano).
In 2007, Bia Sion took the novel "Eterna Magia" in the role of the teacher Evelyn, and presented the show "The Levada of Jazz" at Teatro Café Pequeno, next to Dodo Ferreira, and directed by Anselmo Vasconcellos. In 2009, Bia Sion, carries hard to show "The Levada do Jazz" was held in 2005 and taken the stage from 2006. http://ondeanda.multiply.com/photos/album/1077
“Unlike conventional tune-based pop and jazz numbers of the day, ‘Chelsea Bridge’ is ‘classical’ in its integration of melody and harmony as an organic whole.” - David Hadju
"Chelsea Bridge" (1941) is a jazz standard written by Billy Strayhorn. The song has been recorded by Duke Ellington, Ben Webster, Wynton Marsalis, Keith Jarrett, Joe Lovano, Tony Bennett, among many others. Ella Fitzgerald recorded it with Ellington on her albums Ella Fitzgerald Sings the Duke Ellington Songbook (1957) and Ella and Duke at the Cote D'Azur (1967). In 1958, lyrics were written for the song by Bill Comstock, a member of the The Four Freshmen. According to Ellington biographer James Lincoln Collier, during a trip to Europe, Strayhorn actually saw a J. M. W. Turner or James McNeill Whistler painting of Battersea Bridge and mistakenly named the song after Chelsea Bridge.
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In 1940 the American Society of Composers, Authors and Publishers (ASCAP) proposed an increase in the fees that radio stations paid for broadcasting the music of its members. The stations formed their own organization, Broadcast Music, Inc. (BMI) and announced that at the first of the year they would not play music licensed by ASCAP. That meant that none of Duke Ellington’s music could be aired.
He called for his son Mercer and Billy Strayhorn, who were in Chicago where Strayhorn was recording with altoist Johnny Hodges, and asked them to join him in California to write new material for the band since they were unaffiliated with ASCAP. Strayhorn biographer David Hajdu in Lush Life quotes Mercer as saying, “‘Strayhorn and I got this big break at the same time. Overnight, literally, we got a chance to write a whole new book for the band....He needed us to write music, and it had to be in our names.’
Among the songs that Strayhorn wrote during this period were “A Flower Is a Lovesome Thing,” “Rain Check,” “Passion Flower,” and “Chelsea Bridge.” Additionally Mercer pulled a piece out of the trash where Strayhorn had tossed it because it was an old piece that just wasn’t working out. It turned out to be “Take the ‘A’ Train” which became the band’s new theme song and a huge hit. Hajdu describes “Chelsea Bridge” as “more Debussy than Ellington...an impressionistic miniature composed, Strayhorn said, with a painting by James McNeill Whistler in mind. Unlike conventional tune-based pop and jazz numbers of the day, ‘Chelsea Bridge’ is ‘classical’ in its integration of melody and harmony as an organic whole.”
In his book Duke Ellington James Lincoln Collier says, “Strayhorn took his inspiration, not from the bridge itself, which he had never seen, but from a Turner painting that actually depicted Battersea Bridge, a little farther west.”
Ellington trombonist Lawrence Brown is quoted by Stuart Nicholson in Reminiscing in Tempo: A Portrait of Duke Ellington as saying, “If you stretch your imagination a little bit you can almost see Chelsea Bridge in his music the same way you can see the Grand Canyon when you hear the ‘Grand Canyon Suite.’ All of his tunes have a deep feeling behind them.”
Francis Davis in Jazz and Its Discontents refers to the recording by Duke’s Blanton-Webster band of the 1940s which featured Jimmy Blanton on bass and Ben Webster on tenor sax, saying, “The most evocative Strayhorn piece here is ‘Chelsea Bridge,’ with its lordly Webster solo--as a successful jazz appropriation of Ravel and Debussy, this remains unsurpassed even by Ellington, a master impressionist in his own right.”
In 2007, as part of the PBS series Independent Lens, filmmaker Robert Levi created Billy Strayhorn: Lush Life to showcase Strayhorn’s work. During his almost life-long association with Duke Ellington the self-effacing Strayhorn was greatly overshadowed by Ellington, some say of his own volition and need for privacy. A companion soundtrack with liner notes by David Hajdu was produced by Ron Gill in conjunction with radio station WBGO. On it “Chelsea Bridge” is performed by saxophonist Joe Lovano with pianist Hank Jones. Ella Fitzgerald wordlessly vocalized “Chelsea Bridge” for the Duke Ellington Songbook which was supervised by Strayhorn in 1957. The following year The Four Freshmen recorded the song for their Voices in Latin album with Afro-Cuban percussion and an uncredited lyric that longingly recalls Chelsea Bridge as the trysting place of a once great love.
According to Mike McCoy, representative of the Wisconsin Four Freshmen Society, the lyric was written by Bill Comstock, who at the time of the recording in 1958 was not yet a member of the quartet. Comstock’s long-standing personal and professional relationship with Freshman Ken Albers predates his joining the vocal group in 1960 and even Albers joining the group in 1956. Original Freshman Ross Barbour in his book, Now You Know: The Story of the Four Freshmen, notes that the 1959 album Four Freshmen and Five Guitars includes a number, “Oh Lonely Winter,” which was written by Albers and Comstock when they were together in a vocal group called the Stuarts.
Strayhorn recorded “Chelsea Bridge” for The Peaceful Side in 1961. Since 1999 it has been recorded by pianists Keith Jarrett and Andy LaVerne, drummers Cecil Brooks III and Louis Hayes, saxophonists Scott Hamilton and Anton Schwartz, and trumpeter Valery Ponomarev. Trumpeter Wynton Marsalis is featured on an instrumental version on vocalist Tony Bennett’s 1999 CD. http://www.jazzstandards.com/compositions-2/chelseabridge.htm
From a concert with Ed Thigpen Rhythm Features and Joe Lovano at Copenhagen Jazz House on Oct.1st, 2001.
Joe Lovano - sax,
Carsten Dahl - piano,
Jesper Bodilsen - bass Ed Thigpen - drums
Early life
From a very large family with five sisters and nine brothers, Henderson was encouraged by his parents and an older brother James T. to study music. Early musical interests included drums, piano, saxophone and composition. He was particularly enamored of his brother's record collection. He listened to Lester Young, Flip Phillips, Stan Getz, Lee Konitz, Charlie Parker and Jazz at the Philharmonic recordings. By eighteen, Henderson was active on the Detroit jazz scene of the mid-'50s, playing in jam sessions with visiting New York stars. The diverse musical opportunities prompted Joe to learn flute and bass, as well as further developing his saxophone and compositional skills. By the time he arrived at Wayne State University, he had transcribed and memorized so many Lester Young solos that his professors believed he had perfect pitch. Classmates Yusef Lateef, Barry Harris and Donald Byrd undoubtedly provided additional inspiration.
Early career
After a two year spell in the U.S. Army (1960-1962), Henderson moved to New York where trumpeter Kenny Dorham provided valuable guidance for him. Although Henderson's earliest recordings were marked by a strong hard-bop influence, his playing encompassed not only the bebop tradition, but R&B, Latin and avant-garde as well. He soon joined Horace Silver's band and provided a seminal solo on the jukebox hit "Song for My Father". After leaving Silver's band in 1966, Henderson resumed freelancing and also co-led a big band with Kenny Dorham. His arrangements for the band went unrecorded until the release of Joe Henderson Big Band (Verve) in 1996.
Blue Note
From 1963 to 1968 Joe appeared on nearly thirty albums for Blue Note, including five released under his name. The recordings ranged from relatively conservative hard-bop sessions to more avant-garde explorations. He played a prominent role in many landmark albums: most of Horace Silver's swinging and soulful Song For My Father, Herbie Hancock's dark and densely orchestrated The Prisoner, and Andrew Hill’s avant-garde albums Black Fire and Point of Departure. In 1967, there was a notable, but brief, association with Miles Davis's famous quintet featuring Herbie Hancock, Wayne Shorter, Ron Carter and Tony Williams. Although the band was never recorded, Henderson is reputed to have occasionally stolen the show. Henderson's adaptability and eclecticism would become even more apparent in the years to follow.
Milestone
Signing with Orrin Keepnews's fledgling Milestone label in 1967 marked a new phase in Henderson’s career. He co-led the Jazz Communicators with Freddie Hubbard from 1967-1968. Henderson was also featured on Hancock's Fat Albert Rotunda. It was during this time that Henderson began to experiment with increasingly avant-garde structures, jazz-funk fusion, studio overdubbing, and other electronic effects. Song and album titles like Power To the People, In Pursuit of Blackness, and Black Narcissus reflected his growing political awareness and social consciousness, although the last album was named after the Powell and Pressburger film of 1947. After a brief association with Blood, Sweat & Tears in 1971, Henderson moved to San Francisco and added teaching to his résumé. He continued to record and perform as always, but seemed to be taken for granted by jazz audiences.
Later career and death
Though he occasionally worked with Echoes of an Era, the Griffith Park Band and Chick Corea, Joe remained primarily a leader throughout the 1980s. An accomplished and prolific composer, he began to focus more on reinterpreting standards and his own earlier compositions. Blue Note attempted to position Joe at the forefront of a resurgent jazz scene in 1986 with the release of the two-volume State of the Tenor. The album featured the most notable tenor trio since Sonny Rollins's in 1957 (including Ron Carter on bass and Al Foster on drums) and established his basic repertoire for the next seven or eight years, with "Ask Me Now" becoming a signature ballad feature.
It was only after the release of An Evening with Joe Henderson, a live trio set (featuring Charlie Haden and Al Foster) for the Italian independent label Red Records that Henderson underwent a major career change: Verve took notice of him and in the early 1990s signed him. That label's 'songbook' approach to recording him, coupled with a considerable marketing and publicity campaign, more successfully positioned Henderson at the forefront of the contemporary jazz scene. His 1992 comeback album Lush Life: The Music of Billy Strayhorn was a commercial and critical success and followed by tribute albums to Miles Davis, Antonio Carlos Jobim and a rendition of the George Gershwin opera Porgy and Bess.
On June 30, 2001, Joe Henderson passed away due to heart failure after a long battle with emphysema. (wikipedia)
Mike Lawrence (tp)
Grachan Moncur III (tb)
Joe Henderson (ts)
Kenny Barron (pf)
Ron Carter (b)
Louis Hayes (ds)
Recorded at Plaza Sound Studios, NYC, August 10, 1967
Onstage at Bourbon Street a meeting of great players and the union of different styles and musical techniques: Armandinho and Stanley Jordan was presented together in Wednesday, 25/11.
Stanley Jordan
Hailed as one of the guitarists who have made significant contributions to technical and musical instrument, Stanley Jordan has already consolidated in the hall of the most significant musicians in your area. The guitarist was followed by presentations with a band formed by Ivan "Papaya" Conti on drums, a member of the legendary group Azymuth, mining and talented bassist Dudu Lima on acoustic bass, electric 4, 5 and 6 string and fretless, and has achieved a rapport and a nearly magical chemistry when interpreting classics of Brazilian music and bossa nova, in addition to jazz standards and original songs.
Armandinho
In 2009, Armandinho is completing 45 years dedicated to instrumental music. It was in 1964 with 10 years of age, he took his first musical steps, pulling the Trio Electric mirim his father, Osmar, inventor of the electric trio together with Dodo, made especially for him. At the time, Armandinho is preparing to launch the CD and DVD "Pop Cry" by Brazil and the world, and the project "Armandinho - Afro Symphonic" project that is in studio recording classics with his guitar Bahia, and has the participations blocos Salvador and Symphony Orchestra. Also just launched by Biscoito Fino CD AfroBossaNova. Bourbon Street Music Club - Rua dos Chanés, 127 - Moema > Sao Paulo / Brazil
With all the makings of Jazz ascendancy, one will surely be mesmerized by the enchanting voice of Windy, a heartfelt, “true blue” singer with a deep connection to her music… her notes so smooth she can mellow a room, evoke a mood and create a vibe. Never lacking the love and encouragement from her parents, Madeline and James, Windy has made it her life dream to share her voice with the world. Her family’s love and support would prove to be the foundation in her mission to share her passion of singing.
At the age of sixteen and under her father’s guidance, Windy began performing on the Las Vegas Strip with various local bands. This experience would later make her the recipient of a variety of awards in state music competitions and local talent shows. To further her musical acumen, Windy embarked on a series of trips to the San Francisco Bay area to study with her mentor and vocal instructor, Norris Davis, where she would also learn the art of recording and writing music. In the last decade, Windy has performed throughout the United States and overseas. She has had the opportunity to perform and record with various producers and writers.
Windy’s culturally-rich and diverse background of Greek, Portuguese and Italian, cultivates her natural desire to be open and receptive to many different genres of music. A self-declared aficionado of Jazz and World Music, Windy is best-known for combining vintage sounds with new and contemporary ambient rhythms resulting in her very own creative and authentic interpretation of well-known standards and original compositions. Her subtle yet emotive scat singing is just one of the many highlights of her vocal diversity and colorful tonality.
Influences
Stan Getz, Miles Davis, brazillian Jazz, hip-hop, trip hop, Djs's, alt. rock, classic rock,drum and bass, down tempo, house,euro, Indian, ambient/neo-soul, a little country (old school), Everything...... Meditation by Windy Karigianes, Live from the Bootlegger Bistro, May 10, 2009
Biography
Renowned and revered the world over as one of the greatest saxophone players of all-time, David Sanborn is an artist whose music has inspired countless other musicians while creating a body of work that spans the genres of rock ‘n’ roll, R&B, pop and jazz. A naturally gifted performer, David has helped defined the saxophone’s modern sound while influencing a generation.
Born July 30, 1945 in Tampa, Florida, David William Sanborn contracted polio when he was only 3 years old. As a part of his rehabilitative therapy, David was introduced to the saxophone. It was an introduction with consequences quite beyond the imagination of his parents, doctors – or anyone else. The selection of the alto sax – a favourite from David’s days spent listening to the radio – would prove to be a pivotal moment in the development of his sound.
Growing up in St. Louis, Missouri, David was tremendously inspired by the rich legacy of great Chicago blues artists who would play their way through town. Before he was finished high school, David had played with names such as Albert King and Little Milton. "When I was 17 or 18,” David has said, "And it was time to figure out what to do with my life, I realized that I didn't enjoy anything as much as I enjoyed playing music. I felt that I had no choice, that I HAD to become a musician. Either that or steal cars."
David studied music for a year at Northwestern University before transferring to the University of Iowa. By 20, he was married and the proud father of a son – Jonathan Sanborn – for whom each of David’s records have been dedicated. A phone call from an old friend in San Francisco – drummer Teddy Steward – convinced David to head for California. It was while in San Francisco that another old friend – Phillip Wilson – who had recently joined the Butterfield Blues Band, invited David to Los Angeles to sit-in on recording sessions with the band. “I got on a Greyhound bus from San Francisco to LA, took a bus into Hollywood, slept on the floor of Phillip's hotel room and went to the studio with him.” David has said. “Just had my horn. I think it was because I looked so pathetic, standing there with my horn, Paul Butterfield said, "Why don't you just come and play on a tune?" I sat in and I did okay. And I was with Butterfield for almost five years.”
Those five years saw David –with the Butterfield Blues Band – play Woodstock, among many other classic gigs. But the demise of that band only brought David new opportunities and within a week he was touring with another legend – Stevie Wonder. David played on Wonder’s remarkable “Talking Book” LP, rocked briefly with rock and roll heroes The Rolling Stones then toured with David Bowie, eventually performing his famous solo on Bowie’s 1975 recording “Young Americans.”
It was also in 1975 that David released his first solo album Taking Off. The record enjoyed respectable sales and while David continued working with other performers such as Paul Simon and James Taylor he also continued flexing his considerable muscles as a solo artist, eventually scoring massive popular hits with 1980’s Hideaway and 1981’s Grammy winning Voyeur. 1983 saw David branch off in a new artistic direction with his first acting roll in the Italian film "Stelle Sulla Citta" for which he also scored the soundtrack. It was also in ’83 that David released his landmark Backstreet album which proved a major hit in the world of contemporary jazz.
David was awarded his second Grammy in 1986 for the album Double Vision and in the late 1980s hosted one of the most remarkable musical television programs of all time – Night Music. Offering up old films of jazz legends, music talk and incredible jams by an increasingly eclectic roll call of musicians from different fields, Night Music is fondly remembered among music fans as a groundbreaking and genre-bursting show. Produced by Saturday Night Live creator Lorne Michaels, Night Music brought artists as diverse as Sonny Rollins, Leonard Cohen, Hank Crawford, Conway Twitty, Sonic Youth, Al Green and the Pixies together on one program.
Throughout the nineties and into the present, David has continued to tour and record, having amassed a wide and enthusiastic fan base around the world. The albums Pearls, Songs From The Night Before and Essentials reflect the essence of an artist at peace with his own sound and development, yet still hungry – eager to explore the possibilities of his instrument and his abilities. David Sanborn is both musician and artist – that rare breed of popular recording star as eager today as he was in his youth to continue pushing boundaries and to continue making music that challenges the mind as it rewards the heart and soul.
Tour Dates
12/01/09 - Blue Note - Nagoya, Japan
12/03/09 - Blue Note - Toyko, Japan
12/04/09 - Blue Note - Toyko, Japan
12/05/09 - Blue Note - Toyko, Japan
12/06/09 - Otofuke Bunka Center - Obihiro, Japan
12/07/09 - Zepp Sapporo Sapporo, Japan
12/08/09 - Zepp - Sendai, Japan
12/10/09 - Blue Note - Toyko, Japan
12/11/09 - Blue Note - Toyko, Japan
12/12/09 - Blue Note - Toyko, Japan
12/14/09 - Kenmin Hall - Toyama, Japan
12/15/09 - Capio Hall - Tsukuba, Japan
12/16/09 - Zepp - Fukuoka, Japan
12/17/09 - Quattro - Hiroshima, Japan
12/18/09 - Sankei Hall - Osaka, Japan
Flora Purim (vocal),
Elaine Elias (vocal & piano),
David Sanborn (sax),
Oscar Castro Neves (guitar & vocal),
Lee Ritenour (guitar),
Airto Moreira (percussion),
and several other percussionists I can't identify all play a medley paying tribute to Antonio Carlos Jobim. Originally broadcast in 1997.
JOE STILGOE AND NATALIE WILLIAMS Joe Stilgoe is a serious musician having fun. His singing, piano playing and sense of humour have made him a favourite at UK jazz clubs, where he regularly plays with his dynamic young trio. His formidable piano technique (described by jazz singer Ian Shaw as "a cross between Oscar Peterson, Bill Evans and Les Dawson") and vocal range stem from a classical training starting when he was five. Appearing here in the company of Ronnie's All Star vocalist Natalie Williams who regularly brings the house down at her monthly soul family sessions. Natalie Williams has become an essential fixture on the UK soul and jazz scene. With 3 critically acclaimed albums under her belt, Natalie, as a singer and songwriter has drawn comparisons to Jill Scott, Erykah Badu and Aretha Franklin. Support comes from Sam mayne Quartet.
The life of Jimmy Scott is not one of meteoric stardom but a journey that has taken nearly seventy years to find its much deserved success. One of ten children, James Victor Scott was born in Cleveland, Ohio on July 17, 1925 . The f irst time Jimmy sang on a public stage was at school when the teacher had him sing the lead in a play “Ferdinand the Bull”, after that she always had him do the leads. He was only 12 years old when he became known as a singer around Cleveland .
While in his teens a Comedian saw the potential in Jimmy, he was Tim McCoy from Akron . Whenever Tim got a “gig” around Northeast Ohio , he would take Jimmy along with him on the bill. Jimmy would sing at different clubs, they would sneak him out before the cops arrived, because he was not only under age, but looked even younger than his actual years. Later Jimmy produced the Summer Festivals, a group of talented youngsters, like his friend jazz baritone singer Jimmy Reed and dancer Barbara Taylor,that would put on shows all around the area.
They also worked and put on shows at the Metropolitan Theater where the big bands would come in to play, Jimmy set up a concession to supply the Artists with soap, clean towels, and toiletries. He was hired by the dance troupe, “The Two Flashes”, Jimmy took the job to be close to show business, its players, and the stage. While in Meadville , PA. they were working with some of the greatest jazz musicians of the day, Lester Young, Slam Stewart, Ben Webster, Papa Jo Jones, Sir Charles, etc…The music was jumpin' and so was Jimmy, he asked the dancers to see if the band would let him do a couple of numbers, they said ok. Jimmy sang “The Talk of the Town” and “Don't Take Your Love Away”, the audience went crazy showing their love for Jimmy and the thunderous applause was deafening.
Every time the band ran into Jimmy, they'd ask him to come up on stage a do a couple numbers. Some of the early big bands Jimmy enjoyed were Count Basie's Band, Erskine Hawkins, and Father Earl Hines, but Lester Young was his favorite tenor sax player. He joined Lionel Hampton's Band in 1948, where he discovered the vibraphone and the strings, Jimmy said “it helped him to learn the beauty of the song and encouraged him to sing”. Lionel was a mentor to Jimmy and the one who tagged him with the stage name, “Little Jimmy Scott”, at the time he was 23, only 4'11”, thin, and very young looking. Jimmy said it was a gimmick for Lionel's show, but it wasn't too many years later that you started hearing more singers take their cue from Jimmy's stage name and call themselves Little So & So.
Jimmy met Estelle “Caldonia” Young in the early 1940's; she took Jimmy on her road show as the featured singer. Caldonia became almost a surrogate mother to Jimmy, having lost his own mother at age 13. “Caldonia's Revue” traveled the southern circuit to the east, they put up their own stages in the rural areas. There were featured male and female vocalists, tap dancers, comedians, an M.C. and Caldonia herself, she was an exotic shake dancer and contortionist.
It was essentially like a touring vaudevillian tent show. Some of the others who worked with Caldonia at one time or another were Ruth Brown, Big Maybelle, Elie Adams, and Jack McDuff. Caldonia took Jimmy along with her to do a special performance at Gamby's in Baltimore in 1945, where he met up with his friend Redd Foxx who was appearing at Gamby's also. They went over to the Royal Theater to see Joe Louis. Redd and Joe told Jimmy he should be in New York performing instead of traveling around to those small towns.
They convinced him he could make it on his own, the way he sang. So they talked to Ralph Cooper who called up Nipsy Russell, the M.C. at the Baby Grand in Harlem and arranged for Jimmy to get a one week booking. Jimmy sang that one week and they kept him on for 3 more months! Billie Holiday would show up nightly while in town to listen to Jimmy. Doc Pomus was in the audience during that first week and wanted to meet this amazing singer, Jimmy said “sure” and they became fast friends.
Doc took Jimmy home to have dinner to meet his parents and little brother Raoul Felder, he also showed Jimmy how to get around on the N.Y. subway system. Their friendship lasted over 45 years. Jimmy sang at Doc's funeral in 1991. It was there that record label owner Seymour Stein heard Jimmy sing and practically signed him on the spot, thus the beginning of Jimmy's re-emergence as a singer with his Grammy nominated comeback album “All The Way”. At age 67 he began to tour the world, where he was introduced to new appreciative audiences and legions of new young fans !! Now the press refers to him with reverence as the Golden Voice of Jazz, the Legendary Jimmy Scott. Written by Jeanie Scott.
After a long climb, things are really looking up for Jimmy Scott. He's established a dedicated international audience through triumphant tours of Europe and Japan; he's been the featured subject of a Bravo Profiles television special, and of an in-depth biography by award-winning author David Ritz ( Faith in Time: The Jazz Life of Jimmy Scott , due out in the fall of 2002 from Da Capo Press). Now, with But Beautiful , Jimmy Scott fleshes out a persuasive portrait of his jazz mastery and storytelling. "It represents a logical evolution of our Milestone sessions," concludes Barkan, "and everything Jimmy has worked so hard for." Mr. Scott adds a final coda: "The record is quite simply exquisite, and I really am as proud of it as anything I've ever done in my life."
On December 31, 2003 , Jimmy married Jean McCarthy at the Covenant Community Church in Cleveland , Ohio . Jimmy said, “...he wanted to start the New Year off right, that every New Year after that would be my special day.” The couple honeymooned in London , Istanbul , Paris , Austria and Monaco. In 2004, Jimmy has seen the release of an Independent Lens documentary "Jimmy Scott, If You Only Knew", that won the 2004 Audience Award. A new 28 song CD set compilation, "The Definitive Jimmy Scott: Someone To Watch Over Me" and a single CD, "All Of Me: Jimmy Scott-Live In Tokyo "
Scott himself has always focused his creative energy on the challenges with which this life has presented him. "Ya gotta go on," he says, and not resignedly, "fortunately, I had the music to comfort me." He has said that there isn't any disappointment in heaven, and when asked what this means, he replies, "Heaven is what you make it. You can make it hell here on earth, or you can make it heaven." Of the success he's achieved relatively late in life, Scott says, "I'm pleased now that (my voice) is pleasing to people. In a way, I feel like now maybe people will hear what I have to offer, whereas before the music never got to a level where all people had access to it. "All I can do is give what I really feel." "It'll work out in the end. You gotta believe" Jimmy Scott http://www.jimmyscottofficialwebsite.org/biography.htm
SAT. & SUN. NOV. 28-29
Billie Holiday often singled out Jimmy Scott as her favorite singer, and over the course of a long, circuitous career that dates back to his 1949 jukebox hit 'Everybody's Somebody's Fool' (with Lionel Hampton's big band), and a series of 1950s-'60s recordings for the Roost, Coral, Brunswick, and Savoy labels, Scott achieved notoriety as an R&B singer and pop balladeer.
1650 BROADWAY (CORNER OF 51ST) NEW YORK, NY 10023 HTTP://WWW.IRIDIUMJAZZCLUB.COM/
"Dennis is that rarest of jazz beasts: a genuine star" The Independent on Sunday
"Dennis Rollins does for the slide trombone what James Brown once did for singing " Jack Massarik, Evening Standard Dennis Rollins is well-known on the British and international jazz scene, celebrated for his versatility and unique approach to the underrated trombone. His mighty sound can be heard to full effect in his award winning band Badbone & Co's repertoire of groove-based, funky dance music with jazz overtones. A past member of the legendary Jazz Warriors, Dennis has established a reputation as an artist of excellence, and has lent his unique and stylish talents to some of this country's, and indeed the world's, top jazz and pop personalities such as Courtney Pine, Baba Maal, Jamiroquai, US3, Brand New Heavies, and Blur. He is also a popular member of Maceo Parker's band.
by Scott Yanow
Jazz has always been full of colorful individualists, and characters whose music is as unique as their lives. Eric Muhler, a pianist inspired by Keith Jarrett and McCoy Tyner yet with his own personal flair, has had an unusual life, and the result is music that would not be mistaken for anyone else. Eric Muhler, whose music is accessible, melodic and often bluesy, is a true original.
While Eric’s style remains recognizable, he has grown in depth and feeling due to his life experiences. “I create original music that is not fusion, bop or retro. I am not into recreating Miles Davis or bringing back bebop, gypsy jazz, or swing. Although I’m still writing complex pieces, I’m also enjoying utilizing simplicity more. These days I only play acoustic piano, performing with a trio or a quartet rather than having a five or six piece band with percussion and guitar. I have a much broader view now of people and I’m much more accepting, which is displayed in my music.”
Born in Oakland, Eric was surrounded by the pop and jazz standards of the 1940s and ‘50s as his father played popular numbers on the piano while Eric and his baby sister were doing the “Wolf Dance” around the room. Eric gravitated to taking piano lessons when he was six, after both his older brother and sister balked at the idea. And gravitate he did, as he then stuck with those classical music lessons for 11 years. However Eric, who also played clarinet and bass clarinet through eighth grade, had no plans to become a classical pianist. “I was a professional rock and roll pianist by the time I was 12, starting a rock band, so the clarinet went by the wayside. I preferred Little Richard and Jerry Lee Lewis. We played fraternity parties, society parties, sixth grade graduations, high school dances, and any gig we could get. I used to make $75-100 a night, which is the same amount of money they pay these days.”
Influenced by the Beatles and R&B, Eric played music regularly through his teenage years. One of the big turning points of his life was when he was Jimi Hendrix’s chauffeur at the Monterey Pop Festival in 1967. “I picked him up at his hotel, but just as we got to the Fairgrounds, he said that he forgot something. I drove him back and he emerged with a six-inch yellow and blue can of Ronson lighter fluid which he used to light his guitar on fire at the end of his performance! I watched the warm-up set and saw the performance that night. After that, I knew I was going to be a musician.”
Eric listened passionately to hard-core Chicago-style blues during that period including Muddy Waters, John Lee Hooker, the Butterfield Blues Band, Little Walter and all of the Chicago players. A few years after graduating high school, he played all over Lake Tahoe and Nevada with the rock group Edge, but at 22 became much more interested in jazz. “I had been playing loud rock and blues on a Fender Rhodes, but decided that I wanted to play more challenging music on a real piano.” Returning to Oakland, his new upstairs neighbor at the flat he rented was the brilliant guitarist, Miles Davis sideman, (On the Corner) Dave Creamer, and soon Eric was jamming regularly with him in addition to studying jazz harmony, theory and improvisation with Mike Nock, Bill Bell, and Don Cardoza. Although he frequently traveled with Top-40 bands during 1976-80, Eric’s main interest was jazz. “While on the road, I would write something that I could not play and then learn to play it and improvise on it. I still do that.”
During his wild and disparate youth, Eric did anything he could to keep body and soul together so that he could pursue his love of music for it’s own sake. He worked as a mailman, Fuller Brush Salesman, steel worker building cranes, shop keeper, and chocolate factory worker while practicing and honing his craft for ten years.
In the early 1980s he co-led the jazz quintet Mobius Band with guitarist Jim Slick. During 1982-85, Eric co-led Quiet Fire with Dave Creamer, a modern jazz group that featured tenor-saxophonist Larry Schneider. Their one recording, Red Daze (which has been recently reissued), features Eric’s originals and playing, displaying his interest in the music of Keith Jarrett, Art Lande and the ECM label in general while offering a fresh approach to jazz. He also recorded eight of his songs as unaccompanied piano solos on Other Worlds. In addition, Eric became involved in providing accompaniment for jazz, modern and ballet dance classes which evolved into him working with the Bay area choreographer Margaret Jenkins, at Peralta Colleges, UC Berkeley, CSU Hayward and the Contra Costa Ballet, and as the Company Class Accompanist for the Oakland Ballet. In 1984, he began a successful career working with video animation. “My improvisational and writing skills made it easy for me to make up tunes for background music for animation, children’s videos and feature films.” He also composed the score for Of Men And Angels.
In 1988, Eric Muhler’s life took an unexpected turn. “I got married, we started a family with two gorgeous and brilliant daughters, and I became a fulltime parent. My wife travels a lot and has a very good job and, since I loved parenting, I became a fulltime parent. It was the best thing that I ever did.” For the next 15 years, parenting was his main job although he still played for dance classes, wrote music, and also went to college, earning a degree in English literature.
In 2003 with his daughters developing into increasingly self-sufficient teenagers, Eric returned to music. He has since formed the Eric Muhler Trio with bassist Michael Wilcox and drummer Rob Gibson, recording Live At The Jazz School and the solo CD Something New. Eric can be heard playing solo, duo, and with his trio and quartet (featuring local great, Sheldon Brown on saxophones) in jazz clubs, restaurants, bars, a country club and parties in Northern California from Calistoga to San Jose. He has composed over 50 original compositions and this summer will be recording a new quartet CD scheduled to be released in the fall. As with his four previous recordings, all are available from his Slow Turn Records label.
Pulling in his varied and diverse life experiences, having the incredible luck to meet and play with such far-ranging musical luminaries as Jimi Hendrix and Dave Creamer, Eric has always pursued the path of seeking a higher truth through his music and the result is as rich, original, and complex as the man himself. One of a kind. http://www.ericmuhlerjazz.com/yanowbio.html
FROM DAVID ALLYN'S VERY BEST RECORD, david allyn sings jerome kern, arranged and conducted by johnny mandel, a lovely ballad by the ultimate crooner, and the best baritone ever (with johnny hartman)
Last week I came across a rather haunting and brief David Allyn vocal ballad called A Swing for Joey. It runs all of 32 measures, without a repeating chorus or a break for solos. Curious, I did a little research and found that the song was recorded only twice—both times by David. The first recording of the song was for David's 1964 album This Is My Lucky Day (Everest), with big band arrangements by Bob Florence. The second was for a duet album David recorded in 1975 with Barry Harris called Don't Look Back (Xanadu). [Pictured: David Allyn with Tony Curtis in the studio in 1964 during the recording of This Is My Lucky Day]
After a little more digging, I found that the music for A Swing for Joey was written by David himself, with lyrics by Blanca Webb. More questions came to mind: Who was Joey? What's up with the swing? And who was Blanca Webb? So I gave David a call. Here's what the legendary vocalist told me:
"I wrote the melody to that song for Johnny Richards' son, Joey, who was 10 or 11 years old at the time. I first met his son several years earlier in 1949, when Johnny [pictured] and I were rehearsing for the recording session that resulted in Wait Till You See Her and It Never Entered My Mind. Johnny's son Joey was sitting there with a salad bowl of ice cream with syrup all over it. When Johnny saw it, he snapped at his wife, 'You're going to kill that kid.' Joey was a bit heavy at the time. His wife brushed Johnny off, saying, 'Oh leave him alone, Johnny.'
"Soon after Johnny and his wife invited me to stay at their house in Dobbs Ferry, N.Y., about 45 minutes north of New York City. They had a beautiful home on the water. Just past their back porch, the lawn ran down to a big oak tree. I thought to myself, 'What a great tree for a swing.' I was pretty handy, so after I returned home from their house, I went to a lumberyard and bought a 2-by-10-foot piece of wood. I trimmed it down and stained and vanished it. Then I bought 50 feet of rope and fixed it to the wood seat.
"The next time I went over to Johnny's home, I told his wife that I had something for her. She said, 'Yeah, what?' I said, 'A swing for Joey.' She said, 'Gosh, what a wonderful line, David. That should be a song.' Johnny's wife's name was Blanca. She was a lyricist whose maiden name was Webb. In the minutes that followed, I thought about what Blanca said and agreed with her. I told Blanca I'd take a shot at writing a melody. I told her I'd sing it without words on a reel-to-reel tape and send it to her so she could write the lyrics. She said, 'Great,' and we put up Joey's swing.
After I left, I recorded the melody onto a tape and sent the reel to Blanca. The result was A Swing for Joey. Then in 1964, when arranger Bob Florence and I were working on my album This Is My Lucky Day, I told him about the song, and he wrote a chart for it. "As you can hear in the song, Joey isn't there because he has outgrown the swing, and the swing is empty. When I asked her about the words, Blanca told me that Joey rode my swing only once and never sat on it again. It was a short song with a hard melody to sing, but I loved it." http://www.jazzwax.com/2009/11/david-allyn-swing-for-joey.html?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+Jazzwax+%28JazzWax%29
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