Sunday, April 29, 2012

Armstrong's last recording with trumpet now on CD

Photo By Eddie Adams, file
By BRETT ZONGKER | Associated Press
WASHINGTON (AP) — A live recording of Louis "Satchmo" Armstrong playing his trumpet for one of the last times is being released to the public for the first time.
On Jan., 29, 1971, Armstrong was a featured performer at theNational Press Club in Washington, celebrating the inauguration of fellow Louisiana native Vernon Louviere as the club's president. On Friday, Armstrong's performance was played back in the same place for musicians, historians and some who were there for the original performance.
The new album is called "Red Beans and Rice-ly Yours: Satchmo at the National Press Club."
Amy Louviere, who was 11 when Armstrong played for her father's inauguration at the club, recalled the audience's delight when he pulled out his horn 41 years ago. Later Armstrong made her say "spaghetti" to get her to smile for a picture, she said.
"He just captured the audience," she said. "They were thrilled."
Looking back, the performance was Armstrong's goodbye in many ways. It was the last recording made of him performing live that was meant to be played back some day. His only later performances on trumpet were quick TV snippets with Dick Cavett and Johnny Carson.
His health had been suffering for years after a heart attack and trouble with his kidneys. Armstrong stayed home resting for much of 1969 and 1970, according to Ricky Riccardi, the archivist for the Louis Armstrong House Museum in New York and author of "What a Wonderful World: The Magic of Louis Armstrong's Later Years."
He felt strong enough, though, to make a comeback with a few short performances in Las Vegas and then in Washington. That's when he surprised the crowd — which included such politicians as Hale Boggs and George Romney — by pulling out his trumpet for tunes like "Hello Dolly" and signing his autobiography with "Boy From New Orleans."
Armstrong died less than six months later on July 6, 1971.
"He had such a love of performing," Riccardi said. "He had been off the scene for so long that I think he cherished any opportunity to get in front of an audience if he was feeling up to it."
His doctors tried to pace him. Riccardi found a letter from Armstrong to his physicians not long before the press club concert where he complained of having shortness of breath. It was becoming too much for him.
Armstrong told fellow musicians that the best way to die would be to die on stage. By 1971, he was thin and ashen — still telling great stories, but a little of his spark is gone, Riccardi said.
His performance in Washington, though, sounded as good as ever and better than some of his material from the year before, Riccardi said. And the audience knew this was a special moment.
"To me it's just one last little testament of Armstrong and his audiences connecting. ... This is really our last glimpse of Louis on stage, doing what he did best," Riccardi said.
"The solo he plays on Hello Dolly is a knockout. It's one of my favorites," he said. "But it's with the knowledge that this was basically a dying man playing this beautiful song."
A limited release of 300 LPs on vinyl were copied from the press club for those in attendance. Over 40 years, they were largely forgotten.
"Most of them vanished into attics, garages and basements," said press club President Theresa Werner.
Chris Royal, the music department chairman at Howard University and a fellow trumpet player, heard the recording for the first time this week after it was released on CD, iTunes and Amazon.com.
"It pops," he said. "Just the way he played up until the end."
Armstrong is often credited with being the inventor of the jazz solos, Royal said. Before then, there had been more focus on group improvisation. He broke racial barriers with his broad appeal and was an ambassador from the U.S. to the world through jazz, Royal said.
The nonprofit Smithsonian Folkway Recordings released Armstrong's recording this week after collaborating for years with the press club and the Louis Armstrong Foundation to sort out rights to the tunes. The new album comes with 30 of Armstrong's favorite Louisiana recipes, which were served at the press club when he performed.
William McCarren, the press club's director, found one of the old records in the club's archive still wrapped in plastic. When he and others at the club bought a record player and heard how good it sounded, they started thinking about how to release it to a wider audience.
"There was just something kind of wrong about the idea that 300 people ... heard this record and heard the concert and then nobody heard it for 40 years," he said.
On Friday, the album was among the five highest-selling jazz albums on iTunes and Amazon.
Armstrong played trumpet in only two songs. But he also offered up some spirited singing, scat and stories for the audience. One special moment is his "Boy from New Orleans," which he only really sang toward the end of his life.
"I wanted the neighborhood to be proud of their Louis," he sang. "Now all through the years, folks I've had a ball. Oh, thank you Lord. And I want to thank you all. You were very kind to old Satchmo... Just a boy from New Orleans."
In retrospect, knowing that it was the end of his life, Riccardi said it does sound like a goodbye "and one final thank you to the fans who made him what he was."
Smithsonian Folkway Recordings: http://www.folkways.si.edu/albumdetails.aspx?itemid=3370
http://news.yahoo.com/louis-armstrongs-last-trumpet-recording-now-cd-185038833.html

Weekend Wax Bits

Reprinted from http://jazzwax.com

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Based on my interaction with teens and young adults, I went out on a limb a few weeks ago and made two sweeping claims: First, Facebook's counter-intuitive functionality and its determination to host mindless chatter were putting the social networking site at risk. Second, a growing number of young people have abandoned TV for their smart phones and laptops. [Photo above: Veil, Necklace by Caroline Broadhead, 1983]
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News from this past week seems to offer evidence on both counts. According to a page 1 article in the Wall Street Journal, Facebook's fiscal growth is slowing on the eve of its IPO due to enormous spending on back-office support and expansion Facebook-front_1796837befforts. Though Facebook boasts 900 million users worldwide, one can't help but assume that adding to its woes is boredom by users. The e-yapping craze seems to be peaking, and unless Facebook matures beyond its college-level platform, there's a good shot that users will abandon the site going forward. After all, having 900 million users signed up doesn't mean that those users are, well, using it. [Pictured above, Painting detail of Roses, Gaeta by Cy Twombly, 2009]
The second news item came from The New York Times, which reported that TV's prime-time ratings have dropped, andSmashed+TVthat changing TV habits are at fault. According to The Times, new viewership lows for network series have been recorded nightly among 18- to 49-year-olds. I don't know about you, but all of the people I know in their early 20s—male and female—have no clue what's on and don't care. They don't watch TV.
You can chalk up some of this boob-tube falloff to increasingly busy evening work schedules. College-grad hires are working harder and later (until around 8 or 9 p.m. in many cases) in an effort to move up and out of entry-level jobs that aren't paying nearly enough to allow them to support themselves. 
What do these two news stories tell us? That the way in which young people consume visual diversions is changing. All of Empty+movie+theaterthis news actually bodes well for music, which can be consumed while working, preparing presentations, working out and unwinding. 
While we're on the subject of deteriorating interest in visual entertainment, anyone notice that most people you know can't remember the last time they went to the movies?
Charles Mingus. NPR blogger Tom Reney features a solid post on Mingus at the site of New England Public Radio stations WFCR and WNNZ. I'll give you Tom's first two sentences:
"The closest I ever came to meeting Charles Mingus was when I followed him up the stairs of the Jazz Workshop in Boston on a wintry Sunday afternoon.  He’d just finished his matinee set, and as he headed out to Boylston Street in a belted, butterscotch-brown leather coat, he slipped on the icy sidewalk."
Go here for more.
Elvin Jones, hombre. Zev Feldman at Resonance Records sent along a link to this oddball movie clip featuring drummer Elvin Jones...


CD discoveries of the week. Johnny Cash's voice always reminds me of pulling into the family driveway after being away for a while. It's so welcoming. On Johnny Cash: The Soul of Truth, Bootleg Vol. 4,51rJZ41PCKL._SL500_AA300_  we once again hear one of this country's finest folk-gospel artists. We tend to think of Cash as a country singer, but he wasn't really. Most of his material tells the story of struggle, redemption and Americana. This is evident on this new two-CD release of previously unreleased gospel material recorded between 1974 and 1982 in Nashville and Hendersonville, Tenn. As for the sonic quality of this material, it's breathtaking. Dig When He Comes, Children Go Where I Send Thee and Waiting on the Far Banks of Jordan. 
Dexter Gordon moved to Europe in 1962 and didn't return until 1976. By then, the jazz scene in the U.S. had changed dramatically, with the acoustic scene nearly abandoned. Upon his51yrtlMrJML._SL500_AA300_return, Gordon signed with Columbia and the following year wound up in Montreal with his working band of George Cables (piano), Rufus Reid (bass) and Eddie Gladden (drums). Now, Maxine Gordon has given permission for the release of Dexter Gordon: Night Ballads, Montreal 1977 (Uptown). Recorded at the city's Rising Sun club, the material is sterling Gordon, particularly a 20-minute version of Old Folks. I could have done without Gordon's penchant for reciting song lyrics before lifting sax to mouth, but in the digital age, you can simply uncheck these. 
Back before Lady Gaga, Madonna, James Brown, the Beatles, Jackie Wilson and Elvis Presley, there was Little Richard. The R&B shouter preferred to 5155hjbaPML._SL500_AA300_-1stand while playing the piano, and it's impossible to overstate how his music transfixed audiences and transformed rock and roll into sexually charged music. His bump-and-grind recordings were so potent that Presley covered two of his songs in 1956. OnHere's Little Richard(Concord), Richard's original 1957 album of Specialty singles has been remastered. Bonus material includes two demos and an interview with Art Rupe, Specialty's founder. The live-wire quality about Richard's attack makes this 55-year-old album as fresh as the day it was recorded. 
Electric bassist Amanda Ruzza is one bad, funky string bender. On This Is What Happened, Ruzza clearly loves the sound of 51LxW2159qL._SL500_AA280_her own instrument, which works for me. Lots of rubbery snap here backed by Fender Rhodes as well as reeds and a trombone on different tracks. Ruzza was born in Brazil, her mom is Chilean and loves opera while her Italian dad is a rocker. But now she's based in the U.S. Dig Larry and I, Costanara, Gin and the title track.
Nothing clears the head like seductive Brazilian music, and pianist-composer Anne Sajdera turns on the charm on Azul51rQSXjTRUL._SL500_AA280_(Bijuri). Sajdera offers up a splendid mix of originals and jazz standards, includingLove Dance, Wayne Shorter's Ana Mariaand I Should Care, which is given an exotic and smart arrangement. Sample these but also catch Sajdera's ownSambinha. A jazz-samba album that shows the creative breadth and beauty of a San Francisco charmer.
You'd never know from Mina Agossi's singing voice that she's French. But you can hear it in her passion. On Red Eyes 519CzXoD9YL._SL500_AA280_(Naive), Agossi has made interesting song choices, including Archie Shepp's The Stars Are in Your Eyesand Jimi Hendrix's Red House. There's also a clutch of unusual originals. Shepp joins Agossi with a jolie-laid vocal and tenor sax solo on The Stars and just tenor on Red House. Downtown music for the hipster set.
Romain Collin has a dark, Russian touch on The Calling51ixjiCL5mL._SL500_AA300_(Palmetto). Most of the original tracks have a smoldering build, with modern electronic touches added thanks to synthesizer programming. But perhaps my favorite track is Horace Silver'sNica's Dream. which Collin interestingly slows down to ballad tempo.
Oddball album cover of the week. How American poet Walter Benton managed to get Atlantic to record his 1943 book of Screen shot 2012-03-09 at 6.54.52 PMpoetry,This Is My Beloved, set to an original Vernon Duke score is beyond me. The diary-form prose was Atlantic's first 12-inch 33 1/3-rpm LP, released in 1949. The cover of this re-issue is as enigmatic as a haiku. Looks as though the woman's boyfriend is helping to identify her to officials just as the prison she's escaping from threw on the spotlights.
Used with permission by Marc Myers

Sue Halloran and Ken Hitchcock

I CAN COOK TOO !!!

After spending decades making music together, Sue and Ken have finally collaborated on their first CD, titled “I Can Cook Too.”

This CD offers a collection of their favorite songs including exotic standards along with several classics from the American Songbook. Their treatment is totally unlike any other, giving their CD, “I Can Cook Too,” a brand new and unparalleled contemporary sound.

“I Can Cook Too” showcases many aspects of Sue’s musical ability. Featured here are Sue’s effortless vocal range, impeccable intonation and intimate connection with the lyrics.


Ken displays his amazing range and flexibility here. He delivers the entire woodwind section consisting of eight different saxophones, flutes and clarinets. Ken also provides beautifully constructed and creative solos on each track, in any style.


With the support of three of the most talented and award winning arrangers-orchestrators in the business, Sue and Ken’s immense repertoire is featured throughout this impeccably recorded CD.



The listener will certainly be delighted and experience the passion and love that Ken and Sue feel for their music and each other.


Next Magazine Review: http://www.nextmagazine.com/content/original-broadway-cast-recording-once-john-pizzarelli-sue-halloran-ken-hitchcock

Friday, April 27, 2012

Documentary: Julie London

Reprinted from http://jazzwax.com

JulieLondon
Singer Julie London was the first video vocalist. I don't mean she was the first to appear on film. Plenty of others came before her. But she was the first to fully understand how to use the camera, in an MTV sort of way, to enhance her delivery and capture hearts. And unlike Marilyn Monroe, her contemporary, she did this without ever over-playing the minx card.
Bymyself
London had a dry, cool and urbane tone—singing a song as though she had just fled the clutches of a brutish boyfriend and was asking you to help hide her. There was a certain breathlessness and vulnerability in her voice, and yet her eyes told you she was completely in charge. Adding to her sensuality, London was in complete control of her features and figure. Which all makes sense, since she began as an actress. Singing came later.
There's plenty more you probably don't know about Julie London. That ends now...
Here's Part 1 of a documentary on the singer produced for the BBC in 2006...
Used with permission by Marc Myers

42 years ago this week was an epic series of concerts at the Fillmore West and Winterland Ballroom. It featured two heavyweight singers - Joe Cocker, who was coming off his moving performance at Woodstock and touring with Mad Dogs & Englishmen; and Van Morrison, who had just released his first commercial success,Moondance. Artist David Singer created his signature collage poster for the 4-show run. http://www.wolfgangsvault.com/memorabilia/deal-of-the-week/?utm_source=NL&utm_medium=email&utm_campaign=120427

  • Performers: Joe Cocker, Van Morrison, The Stonemans
  • Tour: Mad Dog and Englishmen
  • Artist: David Singer
  • Dates: Apr 23-26, 1970
  • Venues: Fillmore West & Winterland (San Francisco, CA)
  • Size: 14" x 21 13/16"

Thursday, April 26, 2012

Mike Stern Covers all Corners of the Musical Spectrum on New CD

All Over the Place features guest appearances by Randy Brecker, Richard Bona Kenny Garrett, Esperanza Spalding, Victor Wooten and many others
Since his days with Blood Sweat & Tears in the mid-1970s, followed by stints with Billy Cobham and Miles Davis’ band in the ‘80s, and a solo career that now spans more than 25 years, guitarist Mike Stern has used his jazz roots as a starting point for exploring a range of alternate territories that include R&B, rock, swing, funk, world music and numerous other regions along the musical topography. The recipient of Guitar Player magazine’s Certified Legend Award for 2012, he’s an artist who’s not afraid to bring numerous styles and ideas – however diverse – into the same place just to see what happens.
All Over the Place is Stern’s new recording on Heads Up International, a division of Concord Music Group. Set for release on June 19, 2012, the 11-song set aligns the characteristically diverse and adventurous guitarist with a cadre of brilliant guests, including trumpeter Randy Brecker; saxophonist Kenny Garrett; and drummers Dave Weckl, Keith Carlock and Lionel Cordew. Also on hand is a delegation of high-caliber electric and acoustic bass players: Esperanza Spalding, Richard Bona, Victor Wooten, Anthony Jackson, Dave Holland, Tom Kennedy, Will Lee and Victor Bailey.
“I’ve been playing a lot of different kinds of great music with a lot of different musicians on some of my more recent records,” says Stern, whose Big Neighborhood – released on Heads Up in 2009 – followed a similarly eclectic vibe. “I love bebop, swing, rock, all the stuff that a lot of guitar players – especially jazz players – tend to include in their music. It’s the nature of the instrument, but very much a part of my nature as well. There’s a lot of music that really inspires me, and it usually covers quite a few territories.”
It’s all here, starting with the mysterious funk groove of the leadoff track, “AJ,” which Stern wrote specifically for contrabass guitarist Anthony Jackson. Other personnel on board for the opener are saxophonist Chris Potter, keyboardist Jim Beard, rhythm guitarist Leni Stern (Mike’s wife), drummer Keith Carlock and percussionist Tim Keiper.
Leni returns a couple tracks later on “Out of the Blue,” this time playing an exotic three-stringed Malian instrument called a n’goni. Her opening riffs segue into the high-powered free-for-all featuring Brecker, Beard, Kennedy, Keiper and drummer Kim Thompson.
A tempo changeup comes in the form of the much leaner and quieter “As Far As We Know,” featuring Spalding on bass and vocals. “I like drama,” says Stern. “I like a lot of dynamics. I like music that has a lot of heart, and I hope this priority comes through in my playing and in my writing, especially on this tune.”
Stern is joined by drummer Al Foster on three engaging songs that land squarely in the center of the album: the funky and swinging “Blues for Al,” the energetic and colorful “OCD,” a song loaded with solo work by Stern and Garrett; and the much more understated and reflective acoustic piece, “You Never Told Me.”
“Halfway Home” is a gritty blues piece that showcases Stern’s slide guitar chops and deftly juxtaposes them against Wooten’s funky bass work and Cordew’s relentless backbeat.
The mellow groove of “Flipside” throws the spotlight on saxophonist Bob Malach, who joins Stern in some solid solo work. Malach is back for the title track, which closes the set on a fiery note as Stern leads a groove that’s reminiscent of his high-energy collaborations with the Brecker Brothers in the early ‘90s.
“The guitar tends to keep you open-minded, because you hear it in so many places,” says Stern, listing many places he himself has ventured along the way – not just on All Over the Place, but in earlier work as well. “You hear it in rock, in country, in pop, in funk, in classical, you hear it in jazz, you hear it in so many kinds of music that you can immediately identify it on one level or another.”
Stern is ready at a moment’s notice to go to all of these places and more, and he’s ready and willing to bring anyone along for the ride. “Music, to me, is a language of the heart,” he says. “I hope people will get some emotional payoff from what I’ve done on this recording. That’s the vibe that I continue to go for with all of my music.”

Singer / Guitarist JOHN PIZZARELLI Delivers Twice the Musical Punch on New Album

Double Exposure set for release on May 15, 2012
For nearly 30 years, guitarist John Pizzarelli has explored various corners of the jazz landscape and merged a variety of styles into a single, distinctive signature sound. On any given recording – indeed, in any given song – one is likely to encounter an entertaining convergence of jazz, swing, the American songbook, pop, bossa nova and more.
Double Exposure, Pizzarelli’s latest recording on Telarc – a division of Concord Music Group – focuses on two distinct styles to make a single fine recording. Set for release on May 15, 2012, Double Exposure is a collection of tunes by some of the great pop songwriters of his own generation that are framed squarely within traditional jazz arrangements.
“I didn’t want to just cover these songs, but rather find a way to present them that was unusual and interesting’” says Pizzarelli. “I think growing up in a household that had two specific record collections became the inspiration – my father’s jazz records, my sisters’ record collection and records brought around by their friends.”
The result is a fascinating and engaging musical hybrid. Double Exposure draws from a diverse pool of some of the best pop songwriters of the past five decades: Lennon and McCartney, Neil Young, James Taylor, Leiber and Stoller, Tom Waits, Joni Mitchell and others. Woven into these memorable compositions are threads of jazz borrowed from figures like Wes Montgomery, Billy Strayhorn, Thad Jones and John Coltrane.
Pizzarelli is backed by his touring and studio band, featuring keyboardist Larry Fuller, bassist (and brother) Martin Pizzarelli and drummer Tony Tedesco. In addition, organist Larry Goldings assists on a number of tracks. A four-piece horn section arranged by Don Sebesky includes Tony Kadleck (trumpet, flugelhorn), John Mosca (trombone, euphonium), Kenny Berger (baritone sax, bass clarinet) and Andy Fusco (alto and tenor saxophone, clarinet), providing accents and embellishments along the way.
The 13-song set opens with the upbeat and uptempo “I Feel Fine/Sidewinder,” a track which Pizzarelli describes as “Lennon and McCartney meet Lee Morgan.” Before the recording sessions got under way in the fall of 2011, he and his band initially road tested the song at a Birdland gig in New York City. “There were kids there who were saying, ‘Hey, we loved the way you played ‘Sidewinder’ inside a Beatles tune!’”
This jazz-flavored rendition of the Beatles classic is the latest chapter in the prolific Pizzarelli-McCartney association that has developed over the past few months. Pizzarelli appears on several tracks on McCartney’s new album, Kisses on the Bottom, a collection of standards (plus two McCartney originals) released in early February. Two days after the release, Pizzarelli performed with Sir Paul at an iTunes concert at Capitol Records Studios in Hollywood, California. The two also performed together at the Grammy Awards in Los Angeles on February 12, 2012.
Pizzarelli’s intriguing renditions of Neil Young’s “Harvest Moon” and Billy Joel’s “Rosalinda’s Eyes” are a nod to the guitarist’s high school and college years – a period during which he played in numerous pop and rock cover bands – while “In Memory of Elizabeth Reed” is his perky take on the Allman Brothers’ instrumental, augmented by themes from Wes Montgomery’s “Four On Six.” The combination was “something that just came out of the blue,” says Pizzarelli. “I was sitting up in my cabin, thinking about an instrumental. I thought about all the instrumental tracks the Allman Brothers have recorded over the years, and ‘Elizabeth Reed’ immediately came to mind.”
In “Walk Between the Raindrops,” the Donald Fagen song from his 1982 solo recording, The Nightfly, includes arranger Don Sebeskey’s homage to trumpeter Thad Jones.
The slinky, sly-sounding “Take a Lot of Pictures” is the album’s sole original track, as penned by Pizzarelli and his wife, singer/actor Jessica Molaskey. The title comes from an old expression by Frank Sinatra, who was known to grow weary of backstage fans with overactive cameras. “Take a lot of pictures” was Sinatra’s way of implying that he wouldn’t be returning to the venue anytime soon. Likewise, the Pizzarelli/Molaskey song is a bitterly comic sendoff to a love gone sour.
The album closes with a whimsical reading of Seals and Crofts’ 1973 hit, “Diamond Girl,” which quotes directly from Miles Davis’ iconic “So What” and features an expressive trumpet solo by Tony Kadleck.
“There was a lot more to this record than just writing out chords to these songs and saying, ‘Let’s play this,’” Pizzarelli says of Double Exposure. “I really worked hard on the arrangements. I worked on what everybody would play. And I sat down with the guitar and worked everything out before I even sat down with the group.”
“It’s a different kind of record, but it’s also something that I’ve been wanting to do for several years, so I’m glad I finally got to do it. It was a matter of finding the jazz to go inside the pop song, and doing it in a way that would be entertaining and engaging.”
“In each one of these songs, there are two things happening at once – a pop dimension and a jazz dimension – but at the same time they blend together very well. This is what my career has been about, ever since I first became aware of music and ever since I first picked up the guitar. This record provides the listener with an exposure to both of these very significant dimensions.”

Today's quote....

"Jazz is an art form that depends on its antecedents, there must be respect for the people that have gone before." - Jon Hendricks

NJJazzList.com Calendar

04/27 Fri Ali Ryerson Quintet at Historic Blairstown Theatre 8:30 pm to 10:30 pm Style: Mixed, Cover: None, A great intimate venue with lots of atmosphere and pro sound... Learn more , (908/ )

04/27 Fri Barbara Rose, Pianist & Vocalist at Hotel Tides - 408 Seventh Avenue, Asbury Park, 7:00 pm to 10:00 pm Style: Mixed, Cover: None, Barbara’s style as a vocalist ranges from Judy Garland to Janis Joplin. Celebrate The American Songbook! Her piano style is reminiscent of Thelonius Monk. Reservations: (732) 897-7744 Learn more , Hear samples , (732/848)
04/27 Fri Beninghove's Hangmen at Tea Lounge 9:00 pm to 11:30 pm Style: Mixed, Cover: None, Learn more ,Hear samples , (Unknown)
04/27 Fri Betty Liste Quartet with Bill Robinson vocals at Stony Hill Inn 7:00 pm to 10:30 pm Style: Mixed,Cover: over $10, Fine Dining, Listening and Dancing to music of the Betty Liste Quartet with vocalist Bill Robinson Learn more , Hear samples , (201/551)
04/27 Fri Dr. Dubious & the Agnostics at The Jazzberry Patch at Classic Quiche 7:00 pm to 10:00 pm Style:Traditional/Dixieland, Cover: $10 or less, Dr. Dubious . . . the hot jazz of the '20's and '30's combined with great food and drink for a great night out . . . support live jazz!!! Learn more , Hear samples , (201/551)
04/27 Fri Frank Noviello Duo W/Bob Himmelberger at Martini Grill 187 Hackensack St. Woodridge, NJ 7:30 pm to 11:30 pm Style: Vocal, Cover: None, , (201/551)
04/27 Fri Laura Hull Jazz Trio at Casa Dante Restaurant, Jersey City 7:00 pm to 11:30 pm Style: Vocal, Cover:None, This trio features Vic Juris on guitar and Ron Oswanski on organ. Join us! Learn more , Hear samples , (201/551)
04/27 Fri Simon Nabatov at LIGHTSOUNDSPACE 7:30 pm to 10:00 pm Style: Contemporary/Post Bop, Cover:over $10, Simon lives in Germany and is playing a very rare solo piano concert. He's the foremost expert on the music of the late Herbie Nichols. Learn more , Hear samples , (732/848)
04/27 Fri The Full Count Big Band at Millstone Township Swing Dance 7:30 pm to 10:00 pm Style: Swing/Big Band, Cover: Tickets Available, The Full Count Big Band with vocalist Rose Shargo will be performing and Swing & Latin dance instruction will be given from 7:30 to 8:00PM. Location is18 Schoolhouse Rd., Millstone Township, NJ 08510.Call Barbara at (732) 786-0950 ext. 70003 or schulzb@millstone.k12.nj.us for ticket info.Learn more , Hear samples , (Unknown)
04/27 Fri joel Perry and Big Ed Fleischman Duo at Black Horse Tavern 1 West Main, Mendham, NJ 7:00 pm to 11:00 pm Style: Guitar, Cover: None, great music , food, family, atmosphere . jazz, standards pop, , and blues guitar and upright Bass , great date venue Learn more , Hear samples , (Unknown)
04/28 Sat B.D. Lenz quartet at RoxPac (Roxbury Arts Alliance) 7:00 pm to 10:00 pm Style: Fusion, Cover:None, w/Geoff Mattoon (sax), Abe Fogle (drums), & James Rosocha (bass) Learn more , Hear samples , ()
04/28 Sat BD Lenz Jazz Quartet at Investors Bank Theatre / RoxPAC 8:00 pm to 10:30 pm Style: Guitar, Cover:$10 or less, The Roxbury Arts Alliance is proud to present the BD Lenz Jazz Quartet on Saturday April 28th at 8 PM at the Investors Bank Theatre in Succasunna NJ General Admission Tickets are only $10 and are available at the door or on-line at www.roxburyartsalliance.org About the band...Mix together the styles Learn more , Hear samples , (862/973)
04/28 Sat Barbara Rose, Pianist & Vocalist at The Oyster Point Hotel, Red Bank 7:00 pm to 12:00 am Style:Mixed, Cover: None, Barbara’s style as a vocalist ranges from Judy Garland to Janis Joplin. Her piano style is reminiscent of Thelonius Monk. Celebrate The American Songbook! Learn more , Hear samples , (732/848)
04/28 Sat Betty Liste Quartet with Cynthia Holiday,vocals at Stony Hill Inn 7:30 pm to 11:30 pm Style: Mixed,Cover: over $10, Fine Dining, Listening and Dancing to music of the Betty Liste Quartet with vocalist Cynthia Holiday Learn more , Hear samples , (201/551)
04/28 Sat Bossa Brasil® at Papillon 25 10:00 pm to 1:00 am Style: Brazilian/Latin, Cover: None, Bossa Brasil® at Papillon 25. 10pm-1am. 25 Valley St., South Orange, NJ. 973-761-5299. www.papillon25.com. Bossa Brasil® will be playing tunes from the new album, w/ arrangements of compositions by Tom Jobim, Baden Powell, Milton Nascimento, Pat Metheny, Bill Evans, Keith Jarret, Egberto Gismonti, John Coltrane, and Dizzy Guillespie among others. Maurício de Souza (drums), Sharel Cassity (alto sax), Jerry Weir (vibes), Karl Kaminsky (bass).Learn more , Hear samples , (862/973)
04/28 Sat Carole Lynne/Pat Pratico Duo at Villa Romanza 429 Rt 156, Yardville, NJ 585-1717 8:00 pm to 11:00 pm Style: Vocal, Cover: None, Carole on Piano/Vocals Pat on Guitar Swing, Ballad, Latin, Great American Songbook Learn more , Hear samples , (609/ )
04/28 Sat Don Braden/Karl Latham Big Fun(k) at Trumpets Jazz Club 8:00 pm to 1:00 am Style: Mixed, Cover:Unkown, Don Braden Saxophone, Karl Latham Drums, Nick Rolfe Keyboards and Calvin Jones Bass Learn more , Hear samples , (862/973)
04/28 Sat Kevin Hildebrandt Trio at The Mill at Spring Lake Heights 8:00 pm to 11:00 pm Style: Blues-Electric,Cover: None, Join us every week for dinner and the "Saturday Night Jazz Sessions"! Learn more , Hear samples, (732/848)
04/28 Sat Laura Hull Trio at Salt Creek Grille, Princeton 7:00 pm to 11:00 pm Style: Vocal, Cover: None, Great menu and ambiance. Learn more , Hear samples , (609/ )
04/28 Sat Pat Tandy at Camdlelight Lounge 3:30 pm to 7:30 pm Style: Vocal, Cover: over $10, Free Buffet, $10.00 minimum Learn more , (609/ )
04/29 Sun Barbara Rose, Pianist & Vocalist at Molly Pitcher Inn, Red Bank 11:00 am to 3:00 pm Style: Piano,Cover: None, Her piano style is reminiscent of Thelonius Monk. Celebrate The American Songbook! "JAZZ BRUNCH" Seatings are 11am and 1:30pm. Call for reservations. 732-747-2500 Learn more , Hear samples , (732/848)
04/29 Sun John Ehlis Ensemble with Mikko Innanen at Trumpets Jazz Club 7:30 pm to 11:00 pm Style: Mixed,Cover: $10 or less, One of the leading saxophonists and composers on the Finnish and Nordic scene for jazz and improvised music, Mikko Innanen possesses an impressive and distinctive sound as both a player and composer. John Ehlis (guitar), Mikko Innanen (sax), Rob Henke (trumpet), Matt McDonald (guitar), Bill Moring (bass), Benny Koonyevsky (drums) Learn more , Hear samples , (862/973)
04/29 Sun KEVIN HILDEBRANDT - solo guitar at SIAM GARDEN 2 Bridge Ave. Red Bank, NJ 5:00 pm to 9:00 pm Style: Guitar, Cover: None, delicious thai food and beautiful solo jazz guitar Learn more , Hear samples , (732/848)
04/29 Sun KEVIN HILDEBRANDT TRIO at SAMMY'S ROADHOUSE 700 1st St. Hoboken, NJ 8:00 pm to 11:00 pm Style: Straight-ahead, Cover: None, Learn more , Hear samples , (201/551)
04/29 Sun Lou Volpe Jazz Guitar at The Waterside 12:00 pm to 3:00 pm Style: Cool Jazz, Cover: None, Lou Volpe plays solo at the Jazz Brunch at this beautiful waterside restaurant opposite the 79th St. boat basin with beautiful views of the harbor. Learn more , Hear samples , (Unknown)
04/29 Sun Pam Purvis and The Blue Skies Band at Hibiscus in The Best Western Hotel, Morristown, NJ 12:00 pm to 3:00 pm Style: Straight-ahead, Cover: None, My favorite place to sing. Join us for a great jazz Brunch.Learn more , Hear samples , (Other )
04/29 Sun Somerset Jazz Consortium Jam Session at PJ's Coffee 1:00 pm to 5:00 pm Style: Straight-ahead,Cover: None, Jam session - affordable - easy to get to at a time that's convenient for many of us. Learn more , (732/848)