Pianist, composer, and bandleader Lee Shaw.....

Pianist, composer, and bandleader Lee Shaw is a youthful octogenarian who has more energy, passion, and intellectual curiosity than many people a fraction of her age. She has had her own swinging, acoustic jazz piano trio for more than 40 years, during which time she performed in numerous clubs, concerts, and festivals in the United States and Europe.  Her latest CD/DVD, Live in Graz, brings us face to face with this genius of jazz who is finally receiving her due.

Lee Shaw has laser-like musical intensity, true mastery of the piano, and her tonal palette is huge.  Owen McNally of The Hartford Courant notes that Lee Shaw is, “a modest, irresistible person of immodest, irrepressible talent.  She comes across both in the interview and at the keyboard as an artist who had a virtually religious calling for jazz, come what may.”  Bill Milkowski, in Jazz Times, observes , "her harmonic language is expansive, her time impeccable, her touch divine."

Born in Cushing,  Oklahoma in 1926, she grew up in Ada,Oklahoma.  Shaw learned the "American Songbook" tunes when they were new. She had a voracious appetite for music of all kinds: "I loved music, and I wanted to carry it with me wherever I went. That's why I was really happy when tape recorders came along!" She  graduated from the Oklahoma college for Women and earned her Master’s Degree in piano from the American Conservatory of Music in Chicago, but the lure of jazz came strong, and soon she was playing in clubs all over the city.

It was in Chicago that she met drummer Stan Shaw, and they formed a piano trio.  Shortly after their marriage in 1962, the couple moved to Puerto Rico, and while there Lee studied with Jesu Maria Sanroma at Conservatorio de Música de Puerto Rico. She credits her club and concert playing during this period for the influence Latin music has had on her composing and playing.  A year later the couple moved to New York, playing their first gig at The Embers. Other city engagements included the Village Vanguard, the Half Note,  Minton's Playhouse and other clubs in Harlem.
The trio also performed at the Apollo theatre, the benefit for the Dr. Martin Luther King march on Washington.  

Over the years, Shaw studied with Oscar Peterson, taught piano to John Medeski, and worked with countless jazz luminaries including  Arnie Lawrence, Frank Foster, Pepper Adams, Zoot Simms, Al Cohn, Al Grey, Richard Davis, Slam Stewart, Eddie Jones, Eugene Wright, and Jymie Merritt.  Bandleaders such as Lionel Hampton, asked her to join their groups, but she turned down these offers in order to focus on the trio.  In 1993 she was inducted into the Oklahoma Jazz Hall of Fame.

Eventually Lee and Stan moved to Albany, New York as they continued to play with big name musicians near home and on the road.  In the mid 1990s, Lee and bassist Rich Syracuse began playing as a duo because of Stan's increasing disability.  Jeff (Siege) Siegel joined as drummer after Stan's death in 2001, and a new incarnation of the trio formed.

The Lee Shaw Trio has appeared at the Mary Lou Williams Jazz Festival at the Kennedy Center in Washington, DC.  New York state performances include Hyde Museum, Saugerties Pro Musica, Adirondack Community College, Wall Street Jazz Festival, North Pointe Cultural Arts Center, Spencertown Academy, and two appearances at the Lake George Jazz Festival, and Rensselaerville Institute.  Capital District concert dates include Schenectady Museum, SUNY Albany, the concert series A Place for Jazz, and their CD release concert in the new Massry Center for the Arts.  In Oklahoma, the trio has played at Oklahoma Central University, and twice at the East Central University, and University of Science and Arts.  In 2006, Lee Shaw and bassist Rich Syracuse played a concert at Steinway Hall in San Jose, California.  Lee has also appeared on Marian McPartland’s Piano Jazz program, and NPR hailed her, along with McPartland, and the late Mary Lou Williams, as “one of jazz’s premier pianists.”

In 2007 the trio embarked on their three country tour in Europe, where they performed concerts in Austria, Switzerland, and Germany.  One of the Austrian concerts was recorded by the Austrian Broadcast Company and became the centerpiece of their 2008 release "Live in Graz" CD/DVD.  The German concert, held at the art gallery and concert hall, World of Basses in Reutlingen, prompted owner and musical instrument dealer Tobias Festl to organize the Lee Shaw Jazz Festival for September of 2008.

This unique venue draws together an eclectic mix of visual arts and jazz, and in performance allows for a cultural exchange of musicians from around the world.  Guest appearances at the Lee Shaw Jazz Festival included noted European musicians Nils Wogram, Torsten Goodes, Julian Wasserfuhr, Cecile Vendry, and Harry Sokol.  The trio returned to Europe in May of 2009 playing concerts in Vienna, and various venues in Germany.  They also recorded with three European musicians from their 2007 tour, and this will be released as their newest CD in 2010.

Area dates within the last year include the Tribute to Nick Brignola at The Van Dyke, Albany Jazz Festival, concert at The Egg with John Medeski, and Tribute to Lee Shaw at the Cohoes Music Hall.  The trio’s latest CD “Blossom” was released in June.

Since 1983, Lee has been adjunct faculty at the College of Saint Rose in Albany, New York, and also instructs privately.  Lee is an ardently passionate teacher.  "So many jazz musicians have been so generous to me in the past. The only way I can truly thank them is to pass on to my students what I learned from them. " 

During the Lee Shaw Jazz Festival in Reutlingen, Germany in 2007, Armin Knaver noted in a profile of Lee that “playing before the public is not a stressor for her, but a wellspring of pure energy.”  Lee Shaw herself adds “As long as it’s so much fun for me, I’ll keep on.”

http://www.sonicbids.com/epk/epk.aspx?epk_id=75026

John Medeski's mother taught him to read before he even started school...

John Medeski's mother taught him to read before he even started school, and his father taught him to play blues and jazz standards on the piano before he learned to walk. So it is only fitting that today John is completely dedicated to the piano, cross-pollinating diverse musical disciplines, and immersed in inventive musical conversation.

John may be best known as one-third of Medeski Martin & Wood, but his full body of work goes far beyond that ground-breaking trio.

As of late, John can be found performing solo piano recitals, where he explores classical music, lounge songs, and jazz standards in intimate concert venues such as the Chicago Symphony Center and New York City's Merkin Hall, in addition to select dates in Mexico City and Guadalajara.

He has also begun scoring films, and it is his score that plays throughout the acclaimed film Day on Fire, which recently screened at the 2006 Cannes Film Festival and the 2006 Toronto Film Festival. Medeski also makes a cameo appearance in the film, playing a piano player and musical accompanist to one of the main characters.

John produced and played on the self-titled debut by The Word, a gospel-meets-rock collective with The North Mississippi All-Stars that introduced the secular world to pedal-steel guitar phenomenon Robert Randolph. He also lent his production skills to the New Orleans funk institution The Dirty Dozen Brass Band for their release 'Buck Jump', to gospel instrumentalists The Campbell Brothers' 'Can You Feel It,' and to folk/blues songwriter duo The Wood Brothers (featuring Medeski Martin & Wood bassist Chris Wood and his brother Oliver) on their debut album for the Blue Note label, 'Ways Not To Lose.'

A familiar face in New York's 'downtown' scene, John has performed alongside New York-based musicians such as saxophonist/composer John Zorn, guitarist Marc Ribot, Lounge Lizard John Lurie, and slide trombonist Steve Bernstein.

In addition, a diverse array of artists have sought out John to join them in the recording studio, amongst them songwriters T-Bone Burnett, Rufus Wainwright, Ray Lamontagne, and kd lang, guitarist John Scofield, punk godfather Iggy Pop, R&B innovator Chocolate Genius, D.J./producer Dan the Automator, jazz pianist Matthew Shipp, legendary funk/jazz saxophonist Maceo Parker, Peruvian singer Susanna Baca, gospel singers The Blind Boys of Alabama, and gospel/R&B vocalist Mavis Staples.

Over the past year John has delved deeply into the realm of improvised psychedelic funk with The Itch, a trio that he put together with Soulive guitarist Eric Krasno and hip-hop drummer Adam Deitch specifically to perform at the All Good Music Festival in Masontown, West Virginia. The group's two sets of sweaty, improvised workouts instantly became legend, so much so that The Itch plan to continue making music together.

There is also Medeski Scofield Martin and Wood, featuring guitarist John Scofield and Medeski's MMW mates Billy Martin and Chris Wood. The quartet's 'Out Louder' was the first release on Medeski Martin and Wood's own record label, Indirecto Records.

Hard to believe that at the age of nine, John nearly gave up the piano, thinking that the instrument was too 'girly' and looking to devote more time to other artistic mediums and a growing social life. Fortunately, John's parents convinced him to stick with the piano just a bit longer. By his early teen years, John enrolled in the prestigious Pinecrest School, a private institution where he began an intense study of classical music and theory while simultaneously studying jazz piano harmony. Of course, it is that very juxtaposition of classical discipline and jazz improvisation which informs Medeski's music to this very day.

In fact, John considers himself first and foremost a classical musician. "I was always into classical music," says Medeski. "What the great classical composers were doing at the time was a reflection of what was going on in their world, and I enjoy discovering my own relationships to what they were doing. At the same time, I try to do what the jazz greats always did they play music based on whatever sounds are popular at the time, and then they add something of their own to it." In 1991, while a student at the prestigious New England Conservatory of Music, John Medeski met his future, in the persona of bassist and fellow student Chris Wood. The two moved to New York City, jammed with a drummer named Billy Martin, and a band, not to mention a lasting three-way friendship, was formed.

As with most visionaries, artists, and creative-types, Medeski has a multitude of dreams and plans yet to be realized. There will be more solo piano gigs, more musicians to be brought together, and there are ideas for duo projects and band experiments that have yet to be brought to fruition. There are musicians from Morocco and Peru who Medeski has played with, and hopes to play music alongside again. And there is a dream of one day putting together and scoring music for a big band.

"There is just an endless stream of stuff that I do," says Medeski. "I like to make music that comes from the most basic need to create. Hopefully, that desire to make music will create something that vibrates and resonates with people, and makes them want to come along for the ride. The whole point of making music is to do something that you really feel from deep inside.

"And if you feel it," he says, "other people will feel it too."

http://www.jambase.com/Artists/11287/John-Medeski/Bio

Richard Sussman is a pianist, composer, synthesist, and professor of jazz composition....

Richard Sussman is a pianist, composer, synthesist, and professor of jazz composition at Manhattan School of Music in New York City. Over the years, Richard has attained a high level of accomplishment and recognition as a jazz pianist and composer, both as a sideman with various artists, and more significantly, as a leader of various ensembles performing his own uniquely original compositions. His varied career has included performances and/or recordings with Lionel Hampton, Buddy Rich, Steve Slagle, Randy Brecker, Lee Konitz, Blood Sweat & Tears, David Sanborn, and Donna Summer, among many others. His jazz discography includes two albums of original music as a leader, including "Free Fall" recently re-released on Double-Time Jazz Records. Richard has also achieved considerable success and recognition as a composer and orchestrator for large ensembles, with a particular focus on the integration of jazz rhythmic and improvisational elements with contemporary classical harmonic and structural techniques. Writing credits include a commission by the Manhattan School of Music ("Dialogue For Jazz Band & Orchestra" - 2003) and 2 NEA grants in composition for large-scale works for Jazz Band and Symphony Orchestra (Suites #1 & 2 for Jazz Band and Orchestra) as well as arrangements for Lionel Hampton, Blood Sweat & Tears, Mel Lewis, Randy Brecker, and others. As an educator, Richard Sussman has been an integral member of the Jazz Composition Faculty at the highly esteemed Manhattan School of Music in New York City since 1986. His responsibilities at MSM continue to include private composition lessons, teaching and developing curriculum for Jazz Arranging classes, and managing all aspects of the Electronic Music Technology/MIDI Recording Studios for the Jazz Department, including managing the physical facilities, designing curriculum, and teaching various classes at the Undergraduate and Graduate level. Richard has also achieved success as a composer, performer, and programmer in the realm of MIDI Synthesizers and Commercial Music Production. He participated as Synthesizer Programmer on Randy Brecker's 1998 Grammy winning CD "Into The Sun". His extensive work in the field of film and television scoring has included projects for ABC, NBC, CBS, Nickelodeon, and Disney.

Pianist/Keyboardist/Composer/Arranger with: • Buddy Rich • Lionel Hampton • Lee Konitz • Blood, Sweat, & Tears • Steve Slagle/Dave Stryker • Donna Summer • Additional Performances with the following artists: David Sanborn; George Benson; Carly Simon; Marty Balin; Cleo Laine; Roland Vasquez; Anita O'Day; Chris Conner; Country Joe McDonald; Anthony & The Imperials; • Shows: Jesus Christ Superstar; Oh! Calcutta MIDI Programming for “Broadway Swing” Jazz Big Band/Orchestral Compositions/Arrangements: • Commissioned arrangements for Lionel Hampton, Blood Sweat & Tears, Randy Brecker, Dean Pratt, Manhattan School of Music, others • Original works performed by the Mel Lewis Orchestra, Manhattan School of Music Jazz Band, Amsterdam Conservatory Jazz Orchestra, Dean Pratt Band, others • Tribute to Fletcher Henderson - Commissioned by Dean Pratt • Meet the Composer Grant • Suite for Jazz Band & Orchestra #1 (NEA Grant) • Suite for Jazz Band & Orchestra #2 (NEA Grant) • Metamorphosis For Piano - For Soundclock 9/11 Memorial Concert at Merkin Hall, NYC • "Dialogue for Jazz Band & Orchestra" for Manhattan School of Music Jazz Philharmonic Commissioned by MSM and the Commission Project, premiered May 15, 2003, recorded by Amsterdam Conservatory Jazz Orchestra December, 2004. Jazz Discography: As a leader, two albums of original music: "Free Fall" – The Richard Sussman Quintet – originally released on Inner City Records Re-released on Double-Time Records "Tributaries" – with Andy Laverne – Inner City Records As a sideman: Lionel Hampton (composer/arranger) - "Live in Switzerland" Mike Santiago & Entity (pianist/synthesizer) - Chiarascuro Records Jens Wendleboe (pianist/synthesizer) - "Lone Attic", "Letter From New York" Steve Slagle (pianist/synthesizer) - "Smoke Signals" - Panaorama Records Dean Pratt - "The Pratt Brothers Big Band" (composer/arranger)- Amosaya Records "Nomad Christmas" (Anthology) (pianist) - Music of the World Randy Brecker - "Into the Sun" (synthesizer programming) - Concord Records (Grammy - Best Instrumental Jazz Recording 1997) Simon Shaheen - "Blue Flame" (pianist) Chris Connor - "I Walk With Music" (string arrangements) - High Note Records

Halie Loren, internationally acclaimed jazz/pop artist

Halie Loren, internationally acclaimed jazz/pop artist, is performing four shows in New York City April 12 through 15. Accompanied by pianist/bandleader Matt Treder and New Yorkbassist Mary Ann McSweeney, Loren will perform at the Metropolitan Room on April 12 at 7:00 and April 15 at 9:30. She will also perform in duo with pianist Treder at Caffe Vivaldi on April 13 at 7:00 and Googie's Lounge (Upstairs from The Living Room) on April 14 at 8:30.

At 26, Loren is already a veteran entertainer — a talented vocalist and award-winningsongwriter with five albums to her name who has been winning hearts of music fans with her molasses-dipped, sweet and sultry vocals and intuitive song interpretations. 

Though often favorably compared to singers spanning many generations andgenres, Loren puts her own ‘voice’ in her performances and her songwriting. She attributes her ability to cross and mix genres into a cohesive sound in part to having grown up on an island along the Inside Passage of Southeast Alaska, where she listened to the one radio (Public) station available and to her parents’ eclectic music collection. "Since I didn’t know what was supposed to be ‘popular’ music at the time, I didn’t establish any musical boundaries for singing or songwriting," says Loren. "I know now how important a role this played as I was absorbing everything musical I could find.” 

Loren carried that same no-boundaries approach into her songwriting from the beginning and found early successes.  While still in her mid-teens, Loren won songwriting awards in the John Lennon Songwriting Contest and Billboard World Song Contest.  In 2000, she earned first place in the Austin Songwriters' Awards for three of her songs, including jazz, and in 2005 took top prize in the Pacific Songwriters’ Association Awards.

Loren sprinkles stunning versions of beloved jazz standards with her own originals and re-imagines popular songs in unexpected, ‘jazzified’ ways. “Halie Loren has displayed the rare ability of being able to make the most familiar song sound fresh and relevant, and a talent at transforming unlikely material into jazz,” wrote reviewer Scott Yanow in L.A. Jazz Scene Monthly.

Her 2008 release They Oughta Write a Song won Best Vocal Jazz Album of the year at the 2009 JPF Music Awards, the largest independent music awards in the world. She was subsequently signed by JVC/Victor Entertainment for distribution throughout Asia, including Japan, where her albums have repeatedly reached the coveted #1 position, with songs charting on both jazz and pop radio.

Since summer 2010, Loren has performed in Canada and Hawaii and toured Japan twice, first as afeatured headliner at the Ginza Jazz Festival and again to packed houses at the Blue Note and Cotton Club, and has performances scheduled across the US, Asia, and Europe 2011/2012.  “She has both an exquisite musical sense and the talent for phrasing that makes a song come alive,” wrote Vivoscene about her most recent CD, After Dark. “If this is your introduction to jazz, there can be no better.” 

By Lynn Walker – Booking/Publicity Coordinator

The best jazz criticism I've ever read!

by Minim

I'm note even sure how I found this little gem, but whilst looking for something else entirely I came across this critique of jazz music and musicians. I've linked to it so you can see it's genuine, but here is the text from the page.

When I'm around people and they start talking about their love of Jazz, I feel inferior.

I feel inferior because often, the people talking about Jazz in such glowing terms, are intelligent and invariably posses some musical ability - both qualities that I don't have.

I appreciate that Jazz has been such a strong driver of so many other musical forms and I know that many great contemorary performers and songwriters cite Jazz as one of their prime influencers. But listening to people talking about it is a bit like listening to geeks talking about technology. It just isn't user friendly.

I hate Jazz because it ain't rock 'n roll. It just sounds like discordant noise and Jazz just says nothing to me about my life. Basically it sounds like shit ......if shit made a sound.

But what I hate most about Jazz is the whole live performance thing. Whenever I've been unfortunate enough to be somewhere where Jazz musicians are playing ......all I see is a bunch of individuals playing their instruments for themselves. There is no audience for these people - they just seem to act like they couldn't care less. Bascially they just look as if they are playing for their own entertainment ...feeding off each others musical abilities.

Whenever I see Jazz musicians performing live, what I really see is a bunch of blokes on stage, all sucking each others cocks.

In fact I reckon this is where the word 'cocksucker' originated.

I suppose that as a jazz musician I should be taking exception to this and you might imagine that I have posted this criticism here so I can refute it and explain why the guy who wrote is narrow-minded, ignorant and wrong.

The only problem is that I don't take exception to it and I think it's probably the best explanation of the negative opinion that many people have about jazz that I have ever read. I'm not saying that I agree with it, but what is true for me may not be true for everyone. I came across a great phrase the other day that sums this up:

There is no such thing as 'how it is' – only how it is for you

It could be very easy to feel offended on behalf of the music that we're deeply involved in and to allow ourselves to become defensive when we come across criticism such as this. However, if we can take a step back from the emotions that it can arouse, we may just learn something.

Despite the fact that the language gets a bit offensive, the author of the criticism did give specific reasons why he hates jazz. They are:

·         When he has seen jazz musicians perform, he gets the impression they don't care about the audience and are only interested in pleasing themselves.

·         He doesn't see or hear anything in the jazz he has heard that he can personally or emotionally relate to.

·         He thinks jazz is fundamentally discordant music.

·         He feels intimidated by people who like jazz and by the way they talk about the music.

It would be very easy to sit and start typing reasons why these reasons are invalid or why the assumptions that they are based on are wrong. However, there is an inspirational classical conductor and speaker called Ben Zander who would encourage us to ask an intriguing question that may allow us come to a more considered position on this type of criticism.

Ben believes passionately that classical music is a vital, vibrant force that if it is presented in the right way has something to say to everyone. What I admire most about him is that he doesn't think that presenting the music in the right way means dumbing it down or making it more 'accessible'. He regularly gets schoolchildren listening to Mahler symphonies and trusts that they possess the ability to understand and enjoy the music with only a little direction and explanation.

When Ben comes across an orchestra who don't seem to share his musical vision, an audience that doesn't seem to be fully engaged or people who say they don't like classical music, instead of pointing out what's wrong with them, he asks himself a question that perhaps we could ask when we come across those who feel the same about jazz as our commenter above:

Who are we being and what are we doing to cause people to feel this way about our music?

From: http://playjazz.blog.co.uk/2011/03/31/the-best-jazz-criticism-i-ve-ever-read-10921426/

Jazz on tap at three Topeka venues

Acts include Sons of Brasil, Stan Kessler & Harry Miller, Kim Park

By Bill Blankenship

THE CAPITAL-JOURNAL

A weekend of jazz begins Friday with the Washburn University Coleman Hawkins Jazz Festival capped by a Sons of Brasil performance in White Concert Hall, continues Saturday with Stan Keller and Harry Miller at London's,  and  ends Sunday with saxophonist Kim Park at the Ramada Hotel and Convention Center for a Topeka Jazz Workshop Inc. Concert Series show.

Sons of Brasil have been performing Brazilian music since 1991 after Kansas City, Mo., drummer Doug Auwater became so intrigued by the nation's music he learned to speak Portuguese so he could make annual pilgrimages to Rio de Janeiro to play with and learn from the finest musicians of that city.

Auwater's shared his love of Brazilian music with fellow Kansas City jazz players who formed the Sons of Brasil: Danny Embrey, guitar; Gary Helm, percussion; Stan Kessler, trumpet and flugelhorn; Greg Whitfield, bass; and Roger Wilder.

The Sons of Brasil will headline a 7:30 p.m. Friday concert in White Concert Hall, doors to which will open at 7. Admission is free, but donations are welcome to support the festival, which is coordinated by Craig Treinan, WU's director of jazz studies. The Washburn University Jazz Ensemble I and the WU Jazz Combo will precede the Sons of Brasil on the stage.

Also preceding the evening concert will be a full day of performances and education involving younger students musicians who from 9 a.m. to 6 p.m. will perform 30-minute sets of jazz for nationally recognized jazz educators: Wayne Goins, director of jazz studies; Kansas State University; Arthur White, director of jazz performance studies, University of Missouri – Columbia; and Todd Wilkinson, director of jazz studies, Ottawa University.

The clinicians will critique the group and work with them to improve their performances.

Participating high schools are: Basehor-Linwood High School; Junction City High School; Goddard High School; Rock Creek High School; St. George; Seaman High School; Sumner Academy, Kansas City, Kan.;Topeka High School; Topeka West High School; Wamego High School; also Washburn Rural High School. Also participating will be Seaman Middle School and the Kansas City Kansas Community College Jazz Band and Jazz Combo.

Audience members can watch the student performances throughout the day at no cost.

The Sons of Brasil brass player Kessler then will return to Topeka on Saturday to perform an 8 p.m. show at London's Live Jazz Cafe, 115 S.E. 6th, with St. Louis-born, New York City-based jazz pianist Harry Miller. Miller, an alumnus of Maynard Ferguson's Big Bop Nouveau Band, has recorded albums as a band leader and soloist. Doors open at 7 p.m., and the cover charge is $10.

Then from 3 to 5 p.m. Sunday in one of the ballrooms at the Ramada, 420 S.E. 6th, saxophonist Kim Park will be joined by the Joe Cartwright Trio for the penultimate concert of the 42nd annual Topeka Jazz Workshop Inc. Concert Series.

Park was born into a jazz household. He is the son and protege of the late John Park, the legendary lead alto saxophonist with the Stan Kenton Orchestra.

Complete on: http://cjonline.com/life/arts-entertainment/2011-03-29/jazz-tap-three-topeka-venues

He was voted one of the Top Ten Guitarists in the 2001....

Born: March 30, 1957 | Instrument: Guitar 

Whether you’ve heard guitarist Dave Stryker fronting his own group (with 20 CD’s as a leader to date), or as a featured sideman with Stanley Turrentine, Jack McDuff, and Kevin Mahogany, you know why Gary Giddins in the Village Voice calls him “one of the most distinctive guitarists to come along in recent years.”

He was voted one of the Top Ten Guitarists in the 2001 Critics and Readers Poll of Downbeat Magazine, and was recently elected again as a Rising Star for the 5th time in the 2008 Downbeat Critics Poll.

Stryker grew up in Omaha, Nebraska, moved to New York City in 1980, and joined organist Jack McDuff’s group, traveling all over the U.S. for two years (1984-85). From 1986 to 1995, Stryker played with tenor saxophonist Stanley Turrentine, performing at all the major festivals, concert halls, and clubs throughout the world.

He has also performed with Freddie Hubbard, James Moody, Dizzy Gillespie, Jimmy Smith, Dr. Lonnie Smith, Eliane Elias, Joe Lovano and many others. Dave currently performs with The Stryker / Slagle Band (with saxophonist Steve Slagle). Their latest CD is called “The Keeper” Panorama 003.

His other projects are The Dave Stryker Organ Trio and his Blue to the Bone Band. He has recorded and published over 130 of his compositions, recorded 20 CD’s under his own name and recorded as a sideman on over 50 others. He has performed all over the world at all the great Jazz Festivals and concert halls including Carnegie Hall, The Monterey Jazz Festival, The Newport Jazz Festival, and The JVC Jazz Festival.

Dave is also involved in passing along his experience by teaching both privately and at the John J. Cali School of Music at Montclair State University, The Aebersold Summer Jazz Workshop, The Litchfield Jazz Camp, The Veneto/New ...

Complete on http://www.allaboutjazz.com/php/musician.php?id=4687

JazzSnap: Harry James ('43)

Reprinted from http://jazzwax.com

That's Harry James tuning up the fiddle, along with members of his 1943 orchestra. Upon enlargement, I could make out the string charts on the stand: Dancing in the Dark (left) and I Remember You. Clockwise from the upper left-hand corner is saxophonist Sam Marowitz, first violinist Sam Caplan, James and vocalist Helen Forrest, probably in Hollywood.

This image comes from Betty's collection of stills and snapshots, sent along by her friend Chris. Betty has donated all of her prints, including this one, to Rutgers University's Institute of Jazz Studies. But since she and Chris also are big JazzWax fans, they wanted you to see them, too.

Want to see the image large? Just click on it.

Want more JazzSnaps? Go to the right-hand column of JazzWaxand scroll down to "JazzSnaps" for links.

JazzWax clip: Here's Harry James in 1943 with Helen Forrest onMister Five by Five...
Used with permission by Marc Myers

Amy Black Takes Her Shot With Sophomore Album "One Time"

Amy Black Takes Her Shot With Sophomore Album One Time Juggling Success in the Business World with Following Her Dreams of Music

Available in, March 29; Produced by Lorne Entress (Lori McKenna, Bittertown), Features Stuart Duncan on Fiddle and Mark Erelli on Vocals 

Nashville, Tenn. – Singer/songwriter Amy Black releases her sophomore album entitled One Timetoday, March 29, 2011. After a decade of success in the business world, Black is taking a chance and following her music dreams with this new release. The rootsy collection of revealing and authentic tunes was recorded with producer, Lorne Entress (Lori McKenna, Bittertown).

Available digitally, the album’s foundation is a traditional American roots sound but it’s not without a dash of rock and soul. “My goal was to create music that successfully merged the acoustic and electric instrumentationthat I love,” says Black. “I tend to be drawn to a classic sound and paid my respects to some of the great music of the past when I wrote this album.”

Black worked with Entress to bring the perfect cast of characters together – top-notch musicians, including singer/songwriter Mark Erelli on vocals, guitar and lap steel and Nashville’s favorite fiddle player, Stuart Duncan. With Entress’ guidance the players have created a rich and compelling album.

The music spotlights traditional roots instruments like Dobro, fiddle, mandolin, pedal steel and upright bass as well as the smooth and classic sounds of the electric guitar. “Making One Time was an incredible experience for me,” says Black. “As happy as I am to get the music out there, I’m also sad that the creation process is over. My favorite part of making this record was witnessing these incredible musicians doing what they do best. I can’t wait to get back in the studio with them again.”

In her debut album Amy Black & The Red Clay Rascals, Amy paid tribute to her favorite songwriters. With One Time, Amy’s powerful voice and presence are matched by the commanding range of her own song writing as seen in the nine originals on the album.

The characters in “Molly” and “Whiskey And Wine” ache with bittersweet yearning in a world of pleasure and pain. “All My Love” simmers with seduction, while “Meet Me On The Dance Floor” is a flirty delight. “Stay”, featuring harmony vocals by Amy’s little sister Corrie Jones, swings with grown-up romance and “Run Johnny” crackles with bluesy menace.

“This album is really a tribute to my southern roots and is dedicated to my Granddad who grew up dirt poor in Alabama,” says Black. After putting himself through college, Black’s grandfather worked for the Tennessee Valley Authority for decades before pursuing his dream of starting his own business.

This can-do tenacity along with a flare for storytelling, are traits passed along to Black. “He was a bit of a showman and I think I got that from him,” says Black. “He passed away during the production of the album and I’m proud to honor him with this music.”

In the album’s potent title track, "One Time," the plaintive lyric “Time for you to make a break/And show what you’re good for” could describe Black’s bold step with this new release. “I decided a few years back that it was now or never,” says Black. “I love music way too much to sit on the side lines. You only get one chance at this life, and I’m taking mine.”

Tour Dates:

04/03/2011 - Cambridge, MA - Club Passim (One Time Release Party)
04/22/2011 - Cambridge, MA - Toad

06/02/2011 - Framingham, MA - Amazing Things

06/10/2011 - Shirley, MA - The Bull Run

06/16/2011 - Norwood, MA - Perks Coffee House

09/09/2011 - Portland, ME - Port City Blue

09/18/2011 - Middleborough, MA - Joe Davies Folk Festival

09/08/2012 - Milton, CT - Blacksheep Ranch

Visit www.amyblack.com.

For more information contact:
Joseph Conner
Lotos Nile Media, joseph@lotosnile.com