Michel Petrucciani - Take the "A" Train

Michel Petrucciani - p
Steve Gadd - d
Anthony Jackson - eb

Brazilian Explorative Music APAP-NYC Showcase

Mauricio Zottarelli Quintet , Paula Santoro , Pedro Moraes, Mariana Baltar , Sergio Krakowski w/ Choro Funk andDendê

January 09, 2012 / 9:30 PM

Description:

Beneath and beyond the stylish Bossa Nova, the iconic Tropicalia and the contagious Batucadas that make up the collective wisdom on Brazilian music, there pulsates a vigorous and independent ecosystem of creators, stemming from different regions of the country, defying trends to write and perform songs and instrumentals of startling freshness and depth. These artists are drawing from the awe inspiring masters from past (Jobim, Caymmi, Villa Lobos) and present (Hermeto Paschoal, Guinga, Milton Nascimento) while pushing for a new scene, in which the familiar seductive beauty and rhythms of Brazil walk hand in hand with explorative musicianship and risk taking.

One of such musicians, who´s also the curator of the showcase, is 32 year old singer/songwriter/guitarist Pedro Moraes, from Rio de Janeiro – an “Electro-samba adventurer” (NPR.ORG) whose CD Claroescuro was deemed “one of the top 10 world music CDs of 2010” (Boston Globe). Moraes has been touring extensively to the US, Europe and Asia since 2007 and, with his mastery of Brazilian, Latin and self-created rhythms, and deceptively organic melodies which hide “unexpected rip-tides and strong undertows” (Evangeline Kim, writer for NatGEO), has been establishing himself as an ambassador of this generation.

This is a general admission event. Seating is limited and available on a first come, first seated basis. There is a two item minimum per person at all tables. Standing room is also available. We recommend arriving early.

LPR offers a membership program that guarantees members seating for future shows. Click here for more info.

Artists

Brazilian Explorative Music APAP-NYC Showcase

BME – Brasil Music Exchange and BM&A:
This showcase is brought to APAP-NYC 2012 by Brazil Music Exchange, a project conducted by BM&A, with the support of APEX (The Brazilian export office). BME works to stimulate activities and exchanges aiming on expanding the presence of Brazilian music worldwide. In APAP, to promote the selected artists, alongside the showcase, several activities are planned, such as a promotional digital album and joint actions with websites, radios and magazines.

Music with Subtitles:
Ever since the so called golden age of Brazilian song (the thirties and early forties sambas, maxixes, marchas, of which Carmen Miranda is the most widely known ambassador) through the Bossa Nova years and the Tropicalia and Protest songs – roots to what was later to be called MPB – Popular Music in Brazil has always been known for its literary strength, combining a sharp outlook on contemporary society with densely lyrical, epic and occasionally avant-garde poetry. This characteristic is a very meaningful layer of this generation´s work. So that non-Portuguese speakers can have access to this vivid imagery, the Explorative Brazilian Music Showcase will feature projections of the translated lyrics on the venues screens. This is part of the Music with Subtitles initiative, which aims on giving fuller access for international audiences to the creative realm of world music artists.

www.explorativebrazilianmusic.blogspot.com

Mauricio Zottarelli Quintet

Mauricio is a critically acclaimed and award-winning drummer and artist. He is credited in more than 70 albums and has performed with artists such as Richard Bona, Joe Locke, Ivan Lins, Carmen Souza, Rosa Passos, Dom Salvador, Toninho Horta and countless others. Co-leader of the jazz-fusion project Dig Trio, which released its first CD in 2003, Mauricio was in 2005 unanimously elected the best drummer at the Emergenza International Festival. In 2009, he became a member of jazz pianist Hiromi’s Sonicbloom, and has toured the world in support of her CD, Beyond Standard. In the same year, he released his first solo album, entitled 7 Lives, which includes several of his own compositions and features special guests such as Esperanza Spalding and Oriente Lopez.

Learn more at http://www.mzdrums.com/


Paula Santoro

Jazzy, passionate and daring, the Minas Gerais born singer is one among the handful of Brazilian artists to have sung at the renowned Jools Holland Show (in 2003, sharing the evening with a budding Amy Winehouse). Influenced by Clube da Esquina, Paula Santoro was one of the winners of the prestigious Visa music award (2002). Just recently, she performed at Europalia Brésil Festival in Brussels, on a personal invitation by Brazilian Minister of Culture Ana de Hollanda. Throughout her 15 years of career she has performed for thousands of people in renowned events worldwide such as Brahma Brasil Festival (highlight of the 1998 world cup in France), and developed a solid career both in Brazil and in Europe. Also in the old continent, she had memorable performances, such as “Forever Samba” in London with Alcione and an Italian duo tour with master composer Guinga. Her last album (Paula Santoro – Biscoito Fino) features Chico Buarque, Toninho Horta and Jacques Morelembaum.

“...the wonderful Paula Santoro doesn’t yet have the profile of Bebel Gilberto or Cibelle, but she’d certainly impress the millions who’ve bought their albums” John Lewis - "Time Out" - London

“Paula Santoro is one of those perfect singers… fine voice, perfect pitch and excellent repertoire” Antonio Carlos Miguel – “O Globo” – Rio de Janeiro

Learn more at http://www.paulasantoro.com.br

Pedro Moraes

After years of developing his Brazilian grooves singing classic sambas in the bohemian neighborhood of Lapa, the carioca singer, composer and guitarist, following the release of his debut solo EP Claroescuro (2007), turned his full focus to promoting his own “elaborate melodies and unexpected lyrics (…) bridging traditional and modern trends, ranging from northeastern roots to samba and beyond.”(MBAZ.ORG)

Since then, Pedro has toured the length and breadth of Brazil, several European and Asian countries and particularly the US, where the release tours of the full album version of Claroescuro (2010/2011) covered extensive coast-to-coast mileage on stages such as the “Joe´s Pub”, “SOB´s” and “NuBlu”, (NY), the “Chicago World Music Festival” and “Midwest World Music Consortium” (IL), SXSW (TX), “Philadelphia Film and Music Festival” (PA), etc. The APAP showcase is the first concert of his Jan 2011 US Tour, which will also visit Boston (Johnny D´s,1/11) and Chicago (Old Town School of Folk Music, 1/18).

Learn more at http://www.pmoraes.com

Mariana Baltar

Having started her artistic career as a professional dancer (ballet, modern and brazilian balroom styles), touring for years with the Cia Aérea de Dança and in brazilian pop legend Jorge Ben´s entourage, has certainly been key to Mariana Baltar´s classy and groovy stage performance. Embraced as one of the leading, most sophisticated names of traditional samba and northeastern folk revival of the early 2000´s with her first solo album (Uma dama também quer se divertir / A lady also wants to have fun – 2003 – Biscoito Fino), Baltar´s restless artistic nature has led her to a surprisingly innovative second album (Mariana Baltar – 2009 – Biscoito Fino), in which she “strolls resourcefulness along the melodic and lyric spring that marks the paths of a new generation of composers.” (Luiz Felipe Reis – Jornal do Brasil).

Learn more at http://www.marianabaltar.com

Sergio Krakowski w/ Choro Funk

32 year old Sergio Krakowski is considered one of the best Pandeiro players in the world, having dedicated his life to the instrument since the age of 15. Crossing over national and cultural barriers, he's developed a full range of new strikes and techniques, and applied them to the most diverse contexts, from fundamental Choro to full blown Jazz and Contemporary Music. Krakowski has already shared the stage with artists such as Maria Bethânia, Gonzalo Rubalcaba, Lenine, David Linx, Maria João, Yamandú and countless others.

Bearing a surprising, but decisive synergy with his music, Sergio pursued a Bachelor’s degree in Mathematics, a Master´s in Applied Mathematics and finally a PhD in Computer Music, for which he developed cutting edge real time Pandeiro/laptop interaction software, which was the basis for his latest and most talked about project: Choro Funk. Video projections and Rio´s own urban contemporary beats are set in motion by the high-tech virtuoso, in an orthodoxy shattering mix with the winding melodies of the “Brazilian Jazz”.

Learn more at http://www.skrako.com

Dendê

Dendê is a percussionist, singer, composer, bandleader, teacher, and multi-instrumentalist. Since 2001, he’s been splitting his time between New York and Bahia, and has played with Timbalada, Carlinhos Brown, Mongo Santamaria, Giovanni Hidalgo, Zakir Hussain, David Byrne and Vinicius Cantuária among many others. His band combines his Bahian roots with afrobeat, reggae, merengue while showcasing their sizzling showmanship and versatility.

Learn more at www.mamadele.com
From: http://lepoissonrouge.com/events/view/2919

Exhibit Featuring Jazz Legend Don Pullen

David Tate

Roanoke, VA. - The Jefferson Center in Roanoke is celebrating the life of jazz legend Don Pullen through art, photography and music.

Pullen, who is from Roanoke, was born in 1941 and mesmerized fans with his unique approach to the piano.  He died in 1995.

You can check out a special collection of art, music and film at the Jefferson Center through January 14th.

On that final day there will be a tribute concert in Shaftmann Hall featuring Pullen's music beginning at 8pm. - http://www.wset.com/story/16419905/exhibit-featuring-jazz-legend

The jazz-singing actress

KICKING off a season of jazz and blues sessions at Queen's Theatre, Hornchurch, was Bluesmoke - a quartet fronted by Carol Sloman.

Their laid-back style and original music performed at dusk last Sunday evening, April 13, was a perfect way to wash away the blues and forget about work on Monday morning.

Speaking about her creative side, musical director of Queen's, Carol Sloman, says: "I love being in a band; Bluesmoke gives me a chance to be creative in different ways to my job as musical director.

"When I'm composing for the stage I usually like to write music for Shakespeare because you can really make it your own, no music exists for it.

"I taught myself to play piano when I was quite young, and I was classically trained from about the age of 12."

Dave Fletcher is the other writer in the band; he and Carol have known each other for about 20 years.

Being two very like-minded people, their friendship has remained strong over the years. Carol says: "We met in Brighton where he had a band called Receiver that I wanted to join. I kept pestering him and generally making a nuisance of myself until he said yes.

"We were a covers band and played a lot of gigs in Brighton but it all came to an end after a while.

"Dave and I wanted to do more original songs, and the balance wasn't right in the group anymore so we went our separate ways."

Carol went to the West End where she played Cynthia in Lennon, a production about the life of John Lennon - a role for which she received an Olivier Award nomination.

It was here that she met Matt, another member of the Bluesmoke quartet. Carol said: "When I was in Buddy Matt played one of the Crickets, and he is a wonderfully talented drummer.

"So when Dave and I decided to put a band together I remembered Matt and asked him to join us.

"It's always the hardest thing about being in a band, finding people who share your tastes.

"I hope that we have the right balance, and the audience can see that.

"Because if you can't connect with or engage your audience you may as well pack up and go home."

The other member of Bluesmoke is Carol's son, Robbie who is studying at Leeds College of Music.

"I'm always saying to him that he can leave if he wants, just in case playing in his mum's band is cramping his style."

Carol and Bluesmoke always get a warm reception at the Queen's Theatre where they have a loyal audience.

Speaking about Queen's, Carol said: "It's a very community-based theatre, and in many ways is quite unique, it has a permanent company and it's based around the actors and musicians.

"I was working in Boots the chemists when I was asked if I wanted to work at Queen's, so of course I jumped at the chance."

As well as being a brilliant musical director, Carol is a very talented actress - but doesn't take to the stage as often as she used to.

Carol explains: "I don't know which I prefer, being on stage or composing, I get a great kick out of both.

"I love acting, but I think that as you get older there aren't as many roles that you can play.

"With comedy it doesn't matter so much - I love all the great comic rolls, its delicious getting laughs. I'd rather be funny than sexy. - http://www.edp24.co.uk/what-s-on/the_jazz_singing_actress_1_576962

Popcast: The Best Jazz of 2011

Angela Jimenez for The New York Times

By JEREMY EGNER

In the last of three year-end wrap-up shows, the music critics Ben Ratliff andNate Chinen listen to and discuss some of the best jazz of 2011.

Unlike the fragmented world of pop music, with its mixtapes, iTunes singles and abundant online leaks, jazz continues to embrace the album as the definitive expression of an artist. “It’s still a 20th-century metabolism in terms of how we experience the music,” Mr. Chinen says on this edition of Popcast.

That said, truly great jazz records seemed to be in short supply this year. There were exceptions, such as “Avenging Angel” (ECM) by the pianist, Craig Taborn, who has been a “perversely reluctant solo artist and bandleader,” Mr. Chinen says. The album is notable for reasons beyond the curiosity factor.

“There’s jazz there, there’s minimalism there, there’s classical impressionism,” says Mr. Ratliff, the host of Popcast. “It requires careful listening but I got a lot out of this record.”

Another standout album, “When the Heart Emerges Glistening” (Blue Note), by the trumpeter Ambrose Akinmusire, manages to elegantly fuse kaleidoscopic contemporary influences with jazz tradition.

“Even when he’s moving toward a kind of cinematic indie rock-ish sound or atmosphere, it still feels very recognizably like the work of a post-bop quintet in the lineage of Miles Davis,” Mr. Chinen says. “It feels of its moment, it feels contemporary, but it’s by no means throwing out the traditions that led to him.”

The critics also discussed offerings by an array of artists including Miguel Zenón, Jason Moran and Robert Glasper, Esperanza Spalding, Starlicker and the Claudia Quintet + 1.

“The point is,” Mr. Ratliff says, “whether we’re talking about Gilad Hekselman and Orrin Evans using an older template, or these other bands doing something that seems totally new, both options seem to be doing pretty well.”

Adds Mr. Chinen: “It’s a healthy environment right now for whatever you want to do, whatever path.” - http://artsbeat.blogs.nytimes.com/2011/12/29/popcast-the-best-jazz-of-2011/

The Jazz Drama Program

What is The Jazz Drama Program? We've incorporated elements of jazz music into original musicals that we've written & developed based on what we've learned over the last ten years about what engages children. Schools can license these jazz musicals fromTheatrical Rights Worldwide who provides material for the theatrical production. We highlight each school that puts on one of our plays and share learnings with other schools as a way to empower more children and to spread the joys of jazz music and the benefits of arts education.


Though officially incorporated in December of 2003, The Jazz Drama Program (JDP) began as an idea through a 1998 Meet the Composer-New Music for Schools Grant awarded to jazz composer Eli Yamin and monies from The Louis Armstrong Educational Foundation.  That year saw the production of the jazz musical composed by Yamin and Clifford Carlson.  The resulting effort, When Malindy Swings, based on a poem by Paul Laurence Dunbar, and involving students in the drama and music programs at the Louis …Read More...

MON 2nd – WED 4th JANUARY 
NATIONAL YOUTH JAZZ ORCHESTRA (NYJO) 

Justly revered as a glittering showcase for the country’s best young musicians, many of the current generation of top British jazz musicians have risen through its ranks, often becoming established jazz stars whilst still playing with the band. For this year’s annual Ronnie Scott’s residency, the orchestra will premiere two compositions by celebrated UK jazz musician Julian Joseph.

SUNDAY 8th JANUARY 
RONNIE SCOTT’S JAZZ ORCHESTRA perform the music of HERBIE HANCOCK 

Led by award-winning saxophonist and band leader Pete Long, the RSJO is one of the UK's finest Big Bands and features the cream of UK talent. Tonight’s show features new arrangements of music from noted pianist/composer Herbie Hancock.

Mon 9th – Tue 10th JANUARY 
HOUSTON PERSON - RONNIE'S RECOMMENDS!!! 

We can’t recommend this one enough! A legendary soulful saxophonist born in Newberry, South Carolina in 1934, who recorded a series of fine soulful albums for Prestige back in the '60s. Often compared to the likes of Stanley Turrentine or Gene Ammons, in 1968 he began a sympathetic and successful musical partnership with the great Etta Jones that lasted over 30 years until her recent passing. A passionate tenor saxophonist, alternately tough and tender, Person's own talent was often overlooked because of his association with the phenomenal vocalist but he remains a soul jazz great!!

Femi Temowo: Orin Meta

The British jazz and black music scene started beating a path to guitarist Femi Temowo's door ten years ago. No sooner had he graduated from Middlesex University with a degree in Jazz Studies than he was featured on jazz, rap and samples group Us3's An Ordinary Day In An Unusual Place (Universal, 2001). Then, in 2003, he joined alto saxophonist Soweto Kinch's band, with which he recorded its debut, Mercury Music Prize-nominated album, Conversations With The Unseen (Dune, 2004). Also in 2003, singer Amy Winehouse appointed him music director of her band and Temowo was featured on her debut, Frank (Island, 2003).

It would be neat to report that "the rest, as they say, is history." But, since 2003, Temowo's trajectory has been steady rather than spectacular. He recorded a second album with Kinch, A Life In The Day Of B19: Tales Of The Tower Block (Dune, 2006), and his own debut, Quiet Storm(Femitone, 2006). The Kinch set was widely lauded, Quiet Storm less so.

Listening to it today, Temowo says that his debut sounds "like I'm clearing my throat." The follow-up, Orin Meta, is altogether more impressive: an engaging mélange of guitarist Wes Montgomery's funky and mellifluous hard bop, Temowo's Yoruba roots (he relocated from Nigeria to London in 1986, aged 10), and the Pat Metheny Group (Temowo rates Metheny as a guitarist, but prefers him as a composer).

The core lineup on both Temowo's albums is a quartet including two colleagues from the Kinch group, bassist Michael Olatuja and drummer Troy Miller, and a keyboardist, Sam Best on the debut, Grant Windsor on Orin Meta. On the new album, the quartet is expanded on half the tracks by saxophonist Jean Toussaint and talking drummer Ayan De First—and, on the opening track, by a dozen or so guest soloists (including Kinch) and a 40-piece choir. A string trio is featured on another track to winning effect (see below).

Orin Meta is centered, loosely, around the Yoruban tradition of storytelling, and the 10:29 minute opener, "The Storyteller's Psalm," in which each soloist passes the baton to the next player rather like a storyteller passes on his corpus to his successor, establishes the theme. 

Subsequent tracks focus on individual Yoruban folk tales, about which Temowo ruminates in the 12-page liner booklet. Standouts include the samba-informed "Asiko Aye," featuring vocalistCleveland Watkiss (and a fat B3 solo from Windsor); the Metheny-esque "Felicia's Song" and "The Drummer's Call;" the intensely Yoruban, two-part "Sunmo Mi;" and the bluesy, Montgomery-esque "Years Of Blue," a 7:20 minute trio workout.

The string trio are featured behind Temowo's solo on the first couple of minutes of "Like A Peaceful River," creating an ambiance similar to that of saxophonist Stan Getz's Focus (Verve, 1961) and its juxtaposition of freewheeling improviser and bittersweet, Eddie Sauter-arranged strings.

Temowo's arranging excels here, and it is a pity he chose not to extend the strings into the second half of the track, behind Toussaint's tenor solo. Perhaps he felt it would resonate too literally with Focus. But if these few minutes of strings are indicative, they suggest that Temowo could produce a with-strings album as interesting as British guitarist Phil Robson's Six Strings & The Beat (Babel, 2008).

Next time, maybe?

Tracks: The Storyteller's Psalm; Awon Asiwaju; Orin Ayo; Asiko Aye; Felicia's Song; Sunmo Mi Part 1; Sunmo Mi Part 2; Years Of Blue; The Drummer's Call; Like A Peaceful River; Orin Meta.

Personnel: Femi Temowo: acoustic guitar, electric guitar; Grant Windsor: piano, organ, Fender Rhodes; Michael Olatuja: bass; Troy Miller: drums; Jean Toussaint: soprano saxophone (1), tenor saxophone (2, 3, 5, 10); Ayan De First: talking drum (2, 3, 5, 7, 9); Jason Rebello: Moog synthesizer (1); Soweto Kinch: alto saxophone (1); Robin Mullarkey: bass (1); Michal Urbaniak: violin (1); Alex Wilson: Hammond organ (1); Don Blackman: piano (1); Graeme Blevins: flute (1); Susanne Dubach: violin (10); Adrian Hausler: viola (10); Sarah Cohen: cello (10); Cleveland Watkiss: vocal (1, 4); Gretchen Parlato: vocal (1); Kenny K'ore: vocal (1); Eska Mtungwazi: vocal (1); Xantone Blacq: vocal (11); 40-voice choir (1).

Wild Bill Davis: April in Paris

Reprinted from http://jazzwax.com

One of Count Basie's most famous and best-selling recordings isApril in Paris. Captured at New York's Fine Sound studios in July 1955, the song was arranged by organist Wild Bill Davis.

Here's a passage from Chris Albertson's superb liner notes thataccompany the Mosaic box,The Complete Clef/Verve Count Basie Fifties Studio Recordings:

"Organist Wild Bill Davis [pictured] wrote this arrangement, giving it a decided organ feel and making other departures that its composer surelywelcomed... The touch that makes this arrangement such a hit with live audiences is the repetitive "one more time" ending, which came about during a joint Birdland appearance by the band and Davis' organ trio.

"When the Basie band ended the tune, Davis turned to Basie and shouted, "One more time." The band complied, and the audience loved it. The routine became embedded in the chart, often going on for several "one more time" requests.

"The original intent was to to have the band record the tune with Wild Bill's trio, recreating the interaction that grew out of the Birdland gig. But when something came up to prevent Wild Bill from making the date, Basie decided to go it alone. He would later refer to that as a lucky break, for April in Paris became the band's biggest selling instrumental."

Here's Wild Bill Davis being introduced by Duke Ellington and playing his arrangement of April in Paris:


Used with permission by Marc Myers

Jazz icon Sam Rivers dead at 88

Joy was the word that resurfaced again and again when musicians and friends remembered Sam Rivers, a saxophonist, flutist and composer whose long list of credits included work with the legendary Miles Davis.

Rivers, an internationally known jazz icon and fixture on the Orlando music scene for roughly two decades, died Monday night from pneumonia, his daughter confirmed Tuesday. He was 88.

Until September, Rivers had continued his weekly open rehearsals with his powerful big band, the Rivbea Orchestra, at the Orlando musician's union hall.

“Music was his life, music is what kept him alive," said his daughter Monique Rivers Williams of Apopka, who also handled her father's concert bookings and learned from him the joy of making music. “My father, in my eyes, was on vacation all his life. He used to tell me, 'I'm working, but I'm loving every minute of it.' Retirement was not in his vocabulary. 'Why do we even have that word,' he used to ask me, 'there should be no such thing.'"

Members of Orlando's tightknit musical community also recalled the joy of Rivers' work. When news of his death surfaced on social-networking sites Monday night, a small group gathered to listen to his music at Will's Pub. On Tuesday, the morning show on independent radio station 91.5 FM (WPRK) played his music and interviewed Anthony Cole, a multi-instrumentalist and longtime member of Rivers' ensembles.

Cole talked about how he at first was intimidated to play saxophone next to such a great musician: “Suddenly, I'm onstage with him with a horn around my neck," said Cole, adding that Rivers encouraged him to explore outside of traditional musical structures.

“That's what Sam's thing was," Cole said. “It's a good thing to know the grid, but that was Sam's thing: to make a joyful noise."

The son of a church musician, Rivers was born in Oklahoma in 1923 and raised in Chicago and Little Rock, Ark. He started piano lessons as a child and later played trombone before settling on the tenor saxophone. Taking inspiration from jazz heroes such as Coleman Hawkins, among others, he moved to Boston and performed with Herb Pomeroy's big band, an ensemble that also included future music producer Quincy Jones. In 1964, he moved to New York, where he was hired by Miles Davis.

As his reputation spread, Rivers played with a diverse array of musicians ranging from jazz icons Dizzy Gillespie and Cecil Taylor to blues musicians T-Bone Walker and John Lee Hooker.

View the original article...

Normandy, France: Jazz under the apple trees

By Roger St Pierre

Pleasant exercise, great music – it was a brilliant concept, with two groups of around 60 each, leisurely cycling through the verdant countryside of Normandy between venues of the 30th annual Jazz Sous Les Pommiers (‘Jazz Under The Apple Trees’) festival.

An ancient barn in the yard of the historic Manoir de Coutainville, an oyster farm on the unspoilt coast at Blainville – each echoed in turn to an eclectic mix of jazz, a multi-faceted music form that’s long enjoyed massive popularity among the French.

Yes, there were seasoned jazz buffs aplenty thronging the little mediaeval market town of Coutances and its rural surroundings for the festival but this is a celebration aimed just as much at the mass public, for whom the overall let the good times roll ambience of a fun family day out matters far more than the proficiency or otherwise of the performers – who range from local amateur players to seasoned international stars. And the French certainly know how to throw a party!

Punching way above its weight, the eight-day festival spills out of marquees, social halls, bars and church buildings on to streets thronged with over 50,000 ticket holders for the programme of more than 50 concerts, presenting a kaleidoscope of jazz styles, from Dixieland and boogie-woogie to avant-garde,

English smooth jazz star JamIe Cullum and Fred Wesley & The New JBs, led by James Brown’s long-time trombone player, were counterpointed by the tango flavoured piano styllngs of Argentina’s Juan Carlos Caceres, Ebo Taylor’s Afrobeat, and the harmonica blues of America’s Charlie Musselwhite, plus lots more.

Getting to Normandy is easy, thanks to Eurostar and the high-speed TGV network. On arrival, we were met by Gérard Collet, a volunteer at the festival since the very first edition, three decades ago. Despite its high levels of professionalism, the festival relies extensively on community effort and goodwill. It’s an organisational tour de force:

“The whole town embraces the event,” enthused Gérard, “This is normally a quiet little place but each June it becomes not just a major cultural and gastronomic event but a massive street party.”

Our accommodation was at the comfortable Hotel Cositel (0033 2 33 19 15 00;hotelcositel.com), set in a peaceful location on the outskirts of town, a haven that also hosted many of the artists, including the bill-topping American jazz great Ron Carter and his Golden Striker Trio.

As a dyed in the wall cyclist, for me the week’s gem was the fun-time Baby Brass Band – swinging its way from New Orleans and Gainsbourg to Cuba with three instruments set above the smooth bass line of a massive baritone sax, while we quaffed Champagne and slurped fresh local oysters before pedalling off into the evening.

Other highlights included a free tasting of local cheeses and feasts on seafood, sausages, crépes, cider, Calvados and other local specialities, for this is a gastronomic as well as musical celebration

Then there was the colourful spectacle of 10 perfectly honed marching bands from as far afield as Brazil, Macedonia and Finland, parading carnival style in a noisy street procession through the town’s squares and along its crowd-thronged boulevards

Read more: http://www.belfasttelegraph.co.uk/lifestyle/travel/normandy-france-jazz-under-the-apple-trees-16096162.html?r=RSS#ixzz1hv77DmQX

"Bamako" Music Video

Miriam Lieberman's new music video for "Bamako" from the album "This is the Story", available from www.miriamlieberman.com.au
or downloadable from itunes
http://itunes.apple.com/us/artist/miriam-lieberman/id310836952