Interview: Rachelle Spector

Reprinted from http://jazzwax.com

Earlier this week I received an email from a publicist representing Rachelle Spector—wife of imprisoned Wall of Sound producer Phil Spector. Along with the email's content was a link to a new music video featuring Rachelle, 32, singing P.S. I Love You—a new song she wrote about her husband. [Pictured above: Rachelle Spector]

Phil Spector currently is serving a 19-year term at the California Substance Abuse Treatment Facility and State Prison in Corcoran, Calif. after his conviction in 2009 of murdering Lana Clarkson at his Los Angles home in 2003. Spector, 73, will be 88 years old when he is eligible for parole. [Rachelle and Phil Spector in 2009]

I asked Rachelle Spector's publicist if Rachelle would be willing to answer a series of questions by email. The publicist asked and Rachelle agreed. Here is her P.S. I Love You video, followed by her answers to my questions...

JazzWax: Why are you releasing this video now?
Rachelle Spector: The video has been a work in progress. The goal is to show a sympathetic and humanizing side of a man who has been crucified in the court of public opinion for way too long. And slowly but surely, with my music, the videos and all of my prime-time television interviews about his innocence, I am changing this perception to a more positive one and putting the focus back on the music, where it belongs.

I'm also getting people to remember that this is where it all started for both him and me. Music is such a huge part of both of our lives. Also, as you see in the beginning of the video, this is about a woman who is dedicated to her husband and plans on sticking by his side.

JW: Many people will see this video and assume you are doing this for the money or career visibility. Is that fair?
RS: First off, people are going to think what they want and I cannot change this. All I can do is be me. You can't get any more real than writing and singing from you heart. Actions speak louder than words.

Everything that I have done has been consistent for almost 10 years. I have stood by his side and become his biggest and only advocate. I obtained my private investigative license to help my husband's case. As I mentioned earlier, I am now also a pilot so I can continue to see him regularly.

Not to mention, I have been involved with music way before I met Phil Spector. I have been singing since I was 6. Playing trombone for over 25 years. I've written and produced many songs. Now I am writing lyrics, engineering, arranging, and dabbling in the production aspect as well.  Everything I have accomplished has been from my hard work and I should be judged as an artist and my talent.

JW: Who came up with the idea for the song and video?
RS: I came up with the idea for not only the video but the entire project. I actually edited the music video myself, which was pretty fun! I have been working on it for about a year and a half now. The project was based on love letters that my husband [Phil Spector] and I would write back and forth to each other over the years. Then at some point I decided to turn some of those letters into songs.

As far as the lyrics and music is concerned, I teamed up with veteran songwriter and producer Chris Seefried. Chris produced the tracks, and we co-wrote the lyrics and music. I engineered the songs. I am very interested in the whole production aspect as well. I have been making all of the executive decisions, even to put the song out in mono. The entire EP will be released at the end of spring.

JW: Was it emotionally hard to do?
RS: Yes, absolutely. Especially given my current situation—my husband being away from me and wrongfully convicted. Living it is one thing, but to put those words on paper and to sing them was was emotional. But this was so important for me to get out the sympathetic and humanizing side of my husband that people either don't know or have forgotten about.

JW: How often are you allowed to visit your husband?
RS: I visit my husband every weekend. I either drive or fly. I obtained my pilot's license to make it a bit easier on me to see him regularly. Yes, it is very hard and taxing on me. Mentally, physically and emotionally. Most of the world's population does not know what it is like to have a family member incarcerated—in this case my husband—albeit wrongfully.

JW: Where did you two meet?
RS: We met at Dan Tana's restaurant in Los Angeles in September 2003. I was there with a friend. I did not know who Phil Spector was or the extent of his musical accomplishments. It was a total chance meeting. I had gotten up to use the restroom and the other gentleman at my table knew that I was a singer so he jumped in front of me and said, "Hey Phil Spector, you have to meet Rachelle," and blah blah blah. Then I got pushed into this table with five different guys. Long story short, Phillip has been telling me he loved me since the first day we met. We have been together ever since. This September will be 10 years!

JW: Did you tell your husband about your plans to do the video?
RS: Unfortunately, he will not be able to see any of my videos—though he does have the song. When he first received it in the mail, he called me immediately and was singing it to me over the phone and was so excited about it! He told me he is so proud of me, my accomplishments and just how much I have grown as an artist and person through the years. Not to mention how much he appreciates me and everything that I am doing for him.

JW: Your video seems to be saying, to know him is to love him. While many people in the industry acknowledge he was a genius, they also say he wasn't a nice guy. Is this unfair?
RS: Let's just be honest here—we all know life isn't fair. Also you have to consider the source when they are making fun of or criticizing someone else. Many people who say negative things about him have never even spoken to my husband let alone met him. Many people who know him personally and have spent even a little time around Phillip love him! And yes you are correct! To know Phil is to love Phil for sure. He is a very easy man to love. He is a very kind, caring and gentle man. He has done so much for so many people.


JW: What do you want most people who see your video to think about you and Phil Spector?
RS: I hope people will keep an open mind with everything and be willing to look at things from a different perspective. This is all about a woman standing by her man and being able to express it through the gift of music.

Used with permission by Marc Myers

Locals chilling out with cool jazz

By ROB W. ANDERSON, Staff Writer
MUSKOGEE — Big band music exhilarates the body, heart, mind and soul. Jazz music has been described as restless sounds that won’t stay put, and because the term “jazz” has been used to define a variety of music, the one recognizable and key element that informs the listener he’s hearing jazz is the musician’s improvisation of a familiar song.

A jazz player may begin playing a known chorus and melody, but at some point will introduce his or her unpreconceived contribution to the piece.

Read more: http://tahlequahdailypress.com/local/x2002134993/Locals-chilling-out-with-cool-jazz

Dr. Sid Bhansali's New Orleans Jazz Fest Party

By Steven Forster | Nola.com | The Times-Picayune
on April 28, 2013 at 7:00 PM, updated April 28, 2013 at 7:06 PM

A menu of Indian fare and jazz music were served up at Dr. Sid Bhansali's annual New Orleans Jazz Fest party. Masters of music Steve Masakowski, Johnny Vidacovich, Tony Dagradi, Roland Guerin, David Torkanowsky, Evan Chrisopher were at the good doctor's Uptown home.

Guests included Carmen and Al Brown, Rob and Missy Couhig, Beth James and Dave Malone, Garey and Koren Forster, Nancy Ochsenschlager, Corey Walsh, Jamie Meeks, Debra Cohen, Todd Hoffman, Julie Wise Oreck, Valerie and Ron Sholes, Pat Jolly, Spencer and Marilyn Bohren.

Steven Forster is an award-winning photographer with more than 35 years of experience photographing New Orleans party scene. He is a native of the Crescent City. Look for Steven Forster’s Big Easy photographs every Sunday in The Times-Picayune and atNola.com/society. Follow him on Twitter@NolaPhotog.

Read more: http://www.nola.com/society/index.ssf/2013/04/dr_sid_bhansalis_new_orleans_j.html

Clarke-Boland: "Jazz is Universal"

Reprinted from http://jazzwax.com

The big band era didn't come to an end at the end of World War II. People just stopped dancing to them. In the late '40s fans went to theaters and concert halls to hear bands, and in the '50s they listened to them on LP. In the early '60s, with the rise of pop-rock in the States, bands went off to Europe on lengthy tours—thanks to lifting of bans on American artists by musicians' unions there starting in '61 that allowed them to work there for extensive periods. [Pictured above: Kenny Clarke]

Some big bands started outside the U.S. One notable example was the Kenny Clarke-Francy Boland Big Band—which was formed in '60 by American expatriate drummer Clarke, Belgian pianist Boland [pictured] and former Ellington bassist Jimmy Woode. The band lasted just over 10 years and recorded more than 20 albums. Solos were spread among the 13 all-star musicians, and the band's charts were often intricate and laced with European flavor.

Charts were most often written by Boland, a classically trained composer who spent a chunk of the '50s in the U.S. The band's first album was Jazz Is Universal (Atlantic), recorded in December 1961 in Cologne, Germany. As the Atlantic album's liner notes by public relations maven Bob Altshuler point out, musicians from seven countries were in the band—six from the U.S., two from England while one each from France, Belgium, Sweden, Turkey and Austria.

Here's the sterling lineup: Benny Bailey, Roger Guerin, Jimmy Deuchar and Maffy Falay (tp); Nat Peck and Ake Persson (tb); Derek Humble (as); Zoot Sims and Karl Drevo (ts); Sahib Shihab (bar, fl); Francy Boland (p,arr); Jimmy Woode (b) and Kenny Clarke (d).

It took a year and a half to plan this recording due to the jagged schedules of the musicians and the need for rehearsals. During the time that elapsed, Boland wrote and arranged many of the tunes. Listening back to the album more than 50 years later, it's remarkable how fresh and modern the material sounds.

Among the notable solos are those by tenor saxophonist Drevo on Gloria, Shahib's flute and Sims's tenor sax onCharon's Ferry, pianist Boland on Valutes and Bailey, Shihab, Drevo and Sims on James Moody's Last Train From Overbrook. But truly, there isn't a bad composition on the entire album.

The Kenny Clarke-Francy Boland Big Band's sophisticated sound paved a courageous new course. Among the modernist bands that were formed during the early '60s were Gerry Mulligan's Concert Jazz Band in '60 (both Clarke and Boland played in the band) and the Thad Jones-Mel Lewis Orchestra in '65. The Kenny Clarke-Francy Boland band was jammed with all-star talent who spoke the same musical language and performed accordingly—harmonious together, monsters apart. [Pictured above: trumpeter-arranger Thad Jones and drummer Mel Lewis]

JazzWax tracks: You're in luck: Jazz Is Universal isavailable as a download at Amazon for $4.83. How long it remains there at that price is anyone's guess. You'll find it here.

JazzWax clip: Here's Francy Boland's arrangement of Last Train From Overbrook...

Last Train From Overbrook

Used with permission by Marc Myers

New York Jazz Workshop Set For Annual Summer Sessions

NEW YORK, NY: More than beach and barbeques, for jazz musicians around the world summer is the time to take their playing to the next level in the world capital of jazz, as the New York Jazz Workshop School of Music (NYJW) will again offer focused four-day workshops, July 25 through August 18, with sessions for all ages.

Expertly led by leading jazz educators and performers, the Summer Summit Series for adults includes workshops on improvisation, jazz guitar, singing, rhythm, composition, arranging and production. Also scheduled are two sessions of the four-day Jazz Summer Camp for students age 12 to 16.

“Our workshops are geared to musicians looking for a more structured setting than typical jam session, where they can really advance their playing and improvisation," NYJW co-founder Marco Chelo said. “For musicians of all levels our summer sessions offer a great vacation alternative in the world capital of jazz." The Summer Summit Series helps musicians of varying skill levels gain unmatched jazz knowledge and develop professional techniques though these workshops limited to ten students each:

Jazz Improvisation Workshop (July 25-28) Saxophonist and NYJW cofounder Marc Mommaaswith drummer Tim Horner will cover harmonic, melodic and rhythmic principles across many composition styles.

Jazz Guitar Workshop (Aug. 1-4) led by noted guitarists and teachers Vic Juris and Nate Radley.

Vocal Workshop (Aug 1-4) Led by singer Fay Victor , immediate to advanced singers will expand their voices through a focus on vocal styling, phrasing, ear training, improvisation and more. Optional fifth day offered on the business aspects of successful singing career.

Rhythm Workshop (Aug. 8-11) covers swing feel, composition, mixed meter, polyrhythms and more, taught by drummer Tony Moreno and saxophonist Marc Mommaas.

Read more: http://news.allaboutjazz.com/news.php?id=104053#.UX9ZFZXhEhQ

Welcome to Malletsplace.com

Jason "Malletman" Taylor, jazz recording artist and protégé of the late, legendary Lionel Hampton, has a fresh, "explosive" approach to playing the vibraphone. This five-time Grammy ballot-nominee, who is recognized for his unique presentation of jazz, R&B and swing, has developed his own signature sound known as “Vibrafunk.”

In addition to being a talented recording artist, the accomplished musician is CEO and President of Mallet Records, Inc., a company dedicated to keeping real music alive, host of Mallet’s Place-TV, a public access television program that is cultural and educational entertainment at its finest and a clinician who is passionate about inspiring and educating our youth about the beauty and wonder of keyboard percussion instruments.

Paulette McWilliams is best known for her deep ....

“Paulette McWilliams is a great jazz singer – better yet, a great singer.” - Chaka Khan

Paulette McWilliams is best known for her deep sultry velvety tones and her wide vocal range.You’ve heard her voice! The iconic voice behind Michael Jackson on “Don’t Stop ‘Til You Get Enough” — Michael’s biggest hit; on Aretha Franklin’s No.1 hit “Jump To It,” Billy Idol’s No. 1 hit “Mony Mony,” Luther Vandross’s “Stop To Love” and “Wait For Love,” her contagious laugh and vocals on “Bad Boy/Having A Party,” and so many others.

She also toured and sang live with Luther Vandross and sang all of the Tammi Terrell duets with Marvin Gaye on his last tour. She has worked with some of the best artists, performers and producers in the business, such as Quincy Jones, Luther Vandross, Bette Midler, Billy Idol, David Bowie, Aretha Franklin, Marvin Gaye, Mary J. Blige, Jennifer Lopez, Lauryn Hill, Celine Dion, Whitney Houston, Patty LaBelle, Deborah Cox, Michael Jackson, and many others.

Paulette’s Mom used to tell her that before she could utter cohesive baby-talk, Paulette was singing songs. Did it have something to do with the fact that her Mom sang all the time? More than likely it did. The lyrical and vocal dye was cast and singing was in her DNA.

At 11-years-old, Paulette was competing on the Amateur Hour TV show and their special guest star that evening, was the one-and-only Sammy Davis Jr. Sammy pulled little Paulette aside and said she should stay on the path and don’t be discouraged due to her second-place finish on the show. It inspired her.

Years later, Paulette became the lead singer with Ask Rufus and was solely responsible for introducing the group to a friend of hers, Chaka Khan. Paulette was leaving the group and she felt Chaka had what it takes to fill her lead spot. For a period of time, Paulette and Chaka both shared the lead in Ask Rufus and when Paulette left, Chaka took over. To this day, they remain the best friends” one of those life-changing ties that bind.

Moving from gig to gig, Paulette worked feverishly and then, thanks to a sample recording, she was introduced to Quincy Jones. Phil Upchurch, the world-famous jazz guitarist, sent a home studio recording to Quincy. Shortly thereafter, Paulette became solo/lead singer with Quincy during his Body Heat tour and featured her on his Mellow Madness album “ the title song co-written by Paulette. Next, they toured Japan to where one of Paulette’s dreams came true, singing a duet live with the legendary Sarah Vaughan while Quincy conducted the orchestra.

I was young and foolish in hindsight. I left Quincy. I wished I had stayed but I didn’t. I worked with everybody: Johnny Mathis, Noel Pointer. Marvin Gaye, Bette Midler (one of her Harlettes and Luther Vandross (for 20 years). I also toured and recorded with Mary J. Blige, Aretha Franklin, Lauryn Hill, Celine Dion, Anastacia, Whitney Houston, Patty LaBelle, Deborah Cox, Michael Jackson, David Bowie, The Temptations Dennis Edwards to name a few more. There are journeywoman stories to be told – rest assured, Paulette recalls.

Read more: http://intouchhome.com/artists/roster/paulette-mcwilliams/#.UX7ddZXhEhQ

D.C. Jewish Music Festival opens this weekend

WASHINGTON (AP) -- The Washington Jewish Music Festival is opening with a mix of bluegrass, jazz, gospel, punk and show tunes on the schedule.

The festival opens Sunday and runs through May 11 at venues across the Washington area. The opening performance Sunday features Israeli artist Noa at the Montgomery College Cultural Arts Center in Silver Spring.

On May 2, the Artisphere in Arlington will feature Sephardic Jewish music with raucous sounds of Eastern Europe. Then on May 5, the festival will feature outdoor concerts at Stead Park in the Dupont Circle area.

Online:

Washington Jewish Music Festival: www.wjmf.org

Read more: http://www.wtop.com/41/3300438/DC-Jewish-Music-Festival-opens-this-weekend

Jazz And Bluegrass: The Rosenthals, ....

SOURCE: TERRI HINTE, Published: 2013-04-26

Trumpeter/composer Daniel Rosenthal grew up playing folk music in the family band led by his father, acclaimed vocalist, songwriter, and bluegrass string player Phil Rosenthal, but he didn’t follow in his dad’s footsteps. Instead, he poured his creative energy into jazz, becoming a key member of Boston’s storied Either/Orchestra and leading his own forward-thinking quintet.

But The Rosenthals’ lifelong musical ties have recently asserted themselves, and on their first recording collaboration, Fly Away, father and son find plenty of common ground. Fly Away’s richly evocative original songs and traditional tunes were arranged and produced by Daniel, who infuses the music with an unmistakable jazz sensibility, and the album showcases Phil’s wondrously warm voice, a burnished Johnny Cash baritone that resonates with emotional authority. The new CD will be released on June 4 by Phil’s American Melody Records.

“On paper it doesn’t seem like it would work,” Daniel says. “But when I play with Phil I tone down the volume a lot. I’m playing long tones really softly behind his vocals, trying to emulate what a fiddle player would do, filling up the spaces when he’s not singing. It’s definitely a challenge to make the trumpet fit in with a folk or bluegrass instrumentation.”

On most of the original tunes Daniel added music to lyrics written and largely abandoned by Phil some three decades ago (around the time his son was born). Daniel revels in creating offbeat settings for his father’s world-weary voice, and sang tenor harmonies himself. (His mother Beth Sommers and sister Naomi Sommers contribute harmony vocals as well.)

For Phil, who has always produced his own albums and has never really collaborated on songwriting, turning the responsibilities over to his son opened up new musical possibilities. “He had definite ideas, and I was happy to have him in that role. He has a lot of influences that he brought into the project, making it a real blending of folk, bluegrass, and jazz.”

A Connecticut native, Phil Rosenthal is best known for his long run as lead singer and guitarist (beginning in 1977) with the popular bluegrass group The Seldom Scene. He’s also nationally renowned for his instrumental skills on banjo and mandolin, and as a songwriter and record producer. In 1986 he launched his solo career as well as American Melody (with his wife Beth Sommers), a recording company devoted to producing bluegrass and folk music for children and families. He performed around New England with his wife and two children as the Sommers-Rosenthal Family Band, which served as the primary vehicle for his prolific output as a songwriter (his “Muddy Water” was covered by Johnny Cash, Bill Monroe, and Nick Cave, among others). In 1994, the Connecticut Commission on the Arts appointed him the official Connecticut State Troubadour.

Read more: http://news.allaboutjazz.com/news.php?id=104028#.UX3eQJXhEhQ

Young musicians cling to Cajun, zydeco traditions

By STACEY PLAISANCE, Associated Press - PUBLISHED: APRIL 26, 2013 9:04 PM EST

Singer John Mayer sang his hits after local-born bluesman Dr. John performed hometown favorites such as "Iko Iko" on Friday to close out the sun-drenched first day of the 2013 New Orleans Jazz and Heritage Festival.

They were among the final performers on a day heavy on Louisiana-influenced music, such as T'Monde, a band of 20-somethings that kicked off the festival with century-old, fiddle-heavy Cajun tunes.

"Je vais faire accoire, que tu m'aimes toujours," sang Drew Simon (pronounced SEE-mon), while playing the accordion to lyrics from an old Cajun song that loosely translated means "I'm going to make believe that you still love me."

T'Monde (pronounced TEE-mone), in Cajun French can mean "little world" or "little people." The group based in Lafayette, La., opened one of the festival's 12 stages Friday under sunny skies, 70-degree temperatures and a gentle breeze.

Jazz Fest spans two weekends. It continues through Sunday and then resumes May 2-5.

A strong police presence was evident as the festival opened less than two weeks after the Boston Marathon bomb explosions. Police on foot and in electric carts were out in force and veteran Jazz Fest patrons said bags were checked more thoroughly.

Couples danced in the grass as T'Monde played on the Fais Do-Do (FAY-doh-doh) stage, where Cajun and zydeco music would be performed throughout the festival.

Simon, who at 29 is the eldest of the T'Monde trio, said he studied old recordings of Cajun music dating back to the early 1900s. The music was common at Cajun parties known as a "fais do do," where couples would two-step to music played with just a handful of instruments, usually a fiddle or guitar and an accordion.

Jazz Fest producer Quint Davis said Cajun and zydeco music are as important to the festival as jazz.

"There are certain aspects of culture that only exist here," Davis said. "We're the birthright of jazz, everybody knows that, second-line music, the Mardi Gras Indians go along with that. The other wonderful culture in southwest Louisiana is the French-speaking people that are Cajun and zydeco in terms of music."

Davis said about 25 Cajun bands and 25 zydeco bands will perform at this year's festival.

"The younger generations are really keen on the music and keeping it alive, so there's traditional Cajun music, which is dance hall music, and then there's zydeco, which is like French rock `n' roll," Davis said.

Corey Ledet (pronounced LUH-day), another opening day act, said he can't remember a time when zydeco music wasn't a part of his life.

Read more: http://www.goerie.com/apps/pbcs.dll/article?AID=/20130426/APE/1304260792

Marlene VerPlanck ....

It's always a series of many decisions when starting a new recording. Songs, musicians, studio, what to sing, who to use, and which studio. I was looking around our music room and found 7 arrangements Billy did on Cy Coleman songs. Pefect! How could I not include Cy Coleman, a singer's dream. Not to mention the thrill of singing seven more of Billy's arrangements.

Then after sorting some music I came across the Harry Warren Songbook. That was easy! I chose four more. Now it was time for a few favorites and I chose, Ivan Linz' and Paul Williams, Love Dance, Ronny Whyte's, Listen to The Piano Man and an original by Billy VerPlanck and Leon Nock. Exquisite!

The rest was easy, I called on some old friends, Houston Person, Claudio Roditi, Mike Renzi,Jay Leonhart, Tedd Firth, Ron Vincent, Boots Maleson, and we went to work in a nice little studio in NJ with our engineer, Dave Kowalski.

Hopefully, you are listening to your copy and enjoying it as much as I enjoyed recording it.

Jazzahead! Highlights: 5 New Bands From Europe

by TIM WILKINS, April 26, 2013 7:00 AM
Bremen may be best known for its love of soccer and Beck's beer, but every April, its Jazzahead! festival turns the German port town into a capital city of jazz for a weekend

What began as a small trade fair and showcase for German jazz nine years ago has grown into a four-day festival with more than 80 concerts and 600 exhibits, attracting 20,000 jazz fans and professionals. What sets Jazzahead! apart from other festivals — and makes it a magnet for young performers and industry insiders — is its focus on artist development. Organizers host matchmaking sessions that pair musicians with bookers, agents and the media.

"Everybody who comes gets that positive energy, because they meet, network and make plans about how to improve the situation for jazz together," says Peter Schulze, the festival's artistic director.

Read more: http://www.npr.org/blogs/ablogsupreme/2013/04/25/179066112/jazzahead-highlights-5-new-bands-from-europe?ft=3&f=126134671&sc=nl&cc=jn-20130428

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Allen Toussaint wows the crowd at New Orleans Jazz Fest

By R. Stephanie Bruno 
on April 27, 2013 at 6:43 PM, updated April 27, 2013 at 6:54 PM

Mr. Music. That's how New Orleans musician, singer, composer and songwriter Allen Toussaint was introduced when he arrived on the Acura Stage at the New Orleans Jazz Fest, and from the crowd's response, the moniker was apt.  The throng jumped to its feet and began swaying, nodding and bouncing up and down as Toussaint exuberantly worked his way through a sampling of his long portfolio of compositions.

The band backing him offered the well-rehearsed, masterful sounds of seasoned musicians. Instruments included a bold horn section -- trumpet, flute, saxophone, and trombone -- accompanied by percussion and guitars. A trio of backup singers complemented Toussaint's vocals when he sang and took over the set when it came to "Lady Marmalade."

"Voulez vous couchez avec moi ce soir?" they teased, and the audience sang along.

Another break in the set came when vocalist and saxophonist Grace Darling joined the band on stage for two songs: One an instrumental on which she dueled with other brass players, the other a song on which she sang a solo. Toussaint signed Darling to his NYNO Records in the late 1990s and she then recorded "Imaginary Lover" on the label.

Read more: http://www.nola.com/jazzfest/index.ssf/2013/04/allen_toussaint_wows_the_crowd.html

Ana Cañas - Retrato em branco e preto

O músico Dado Villa Lobos e os cantores Ana Cañas e Gabriel Levan homenageiam vários artistas no programa Encontro com Fátima Bernardes da Rede Globo (exibido em 15/03/2013).

Retrato em Branco e Preto _ MPB - 4

Phil Woods: "Right to Swing"

Reprinted from http://jazzwax.com

Phil Woods is a band guy deep down. Though he has recorded hundreds of small-group albums, Phil always sounds most at home standing out in a crowd. His first commercial recording was with Neal Hefti and His Orchestra (Hot 'N Hearty in 1955), and some of his most memorable recordings have been as the soulful soloist on recordings by superb orchestras: Larry Sonn's The Sound of Sonn (1955), Dizzy Gillespie's World Statesman (1956), Manny Albam'sJazz Greats of Our Time Vol. 2 and The Blues Is Everybody's Business (1957), Michel Legrand's Legrand Jazz (1958),Gene Krupa Plays Gerry Mulligan (1958), Bill Potts's The Jazz Soul of Porgy & Bess (1959) and Quincy Jones and His Orchestra from 1959 into the early '60s.

So it's gratifying to hear Phil once again with a bright, intelligent band. His latest album, Right to Swing: Phil Woods with the DePaul University Jazz Ensemble (Jazzed Media) directed by Bob Lark, features Phil comfortably swimming with sharks. The album's first five tracks were arranged by Phil with the final five were handled by Phil and several students. All of the songs were written by Phil.

Phil loves working with DePaul University in Chicago and it's no wonder. The musicians on his recordings with DePaul ensembles are superb and have terrific taste and judgment. Phil's close ties to the school has much to do with Lark [pictured above], who is director of jazz studies and teaches jazz trumpet and jazz pedagogy and jazz style. Phil has donated much of his 300 original compositions to the college.

On Right to Swing, there's no wheel-spinning or attempts to sound like fusion-crazed teens. Songs and arrangements are economical and hearken back to a time when jazz-band recordings breathed, climbed dramatically and moved toward a goal. Weak End, arranged by Carl Kennedy, is a perfect example. A mid-tempo swinger, the song features Phil and trumpeter David Kaiser. The band slides in and out with airy bounce and tonal intelligence. What a rare joy to hear a band that does not succumb to section yammering and showcasing. Every bit of music here has purpose and united execution. 

Dig Cormac McCarthy's stealthy and cinematic arrangement of Phil's Casanova. There's plenty of drama and technique in the solos by Phil and vibraphonist David Bugher. You can almost hear Phil listening intently and being motivated by the warm textures behind him. There's a lot of color and supoort by the band. Dig Phil's reedy arrangement of hisScherzo.

If this CD is any indication, Phil is on top of his game at age 81—never relying on cliches or time-worn tricks. With a band this good, Phil has no choice but to show his stuff and exhibit the sound and fifth-gear energy that made him the go-to East Coast alto soloist throughout the '50s. Now, more than 50 years later, he's once again in the thick of a band, soaring away. I'd add this album to the collection of must-haves mentioned above. And that's saying something. [Pictured above: Phil Woods in 1956]

JazzWax tracks: You'll find Right to Swing: Phil Woods with the DePaul University Jazz Ensemble (Jazzed Media)here.

JazzWax clip: Here's Phil playing Weak End...

Weak End

Used with permission by Marc Myers

Maijazz 2013 Stavanger 6.-11. May

Maijazz is the oldest music festival in Stavanger and will celebrate its 25th anniversary in 2013.

Since the first festival in 1989 MaiJazz has developed to be one of Norway's leading jazz festivals presenting international jazz stars and the best in national and local jazz every year. Approximately 200 volunteers are gathered to arrange about 40 concerts on 20  stages in and around Stavanger, that can accommodate from 80 to 1800 people.
Artists presented by MaiJazz in recent years have been: Pat Metheny Group, Jan Garbarek Group, Gotan Project, Nils Petter Molvær, St Germain, Dee Dee Bridgewater, Youssou N`Dour, Joshua Redman, Chick Corea, Herbie Hancock, Bobby McFerrin and others.

Maijazz 2013 - Program and tickets
Program is available in English as a download:

http://www.maijazz.no/sites/default/files/images/user-20/MJ_miniprog_2013_LoRes.pdf

Tickets to all concerts can be purchased at Stavanger Concert Hall or thru Billettportalen.no, except tickets to concerts at the venues Folken and Stavangeren. Tickets are also sold at the entrance of each concert if not sold out.

Stavanger Concert Hall
Tel: +47 51 53 70 00
www.stavanger-konserthus.no
Box office hours:
Monday - Friday 10:00 - 19:00
Saturday: 12:00 - 17:00

Billettportalen
Tel: 04612
www.billettportalen.no

Tickets to concerts at Folken
Avialable at Folken
Tel: +47 51 56 44 44
www.folken.no

Tickets to concerts at Stavangeren
Available at Stavangeren og via Billettservice.
Stavangeren: Tel +47 51 84 38 50 www.stavangeren.no
Billettservice: Tel: 815 33 133 www.billettservice.no

Kaunas Jazz Festival 25 - 29 April 2013

2013-04-27

      4:00PM -    Vienybės square
BALTIC SALSA ORCHESTRA (Lithuania)
      7:00PM -    VMU Great Hall
PETRAS GENIUŠAS & VLADIMIR CHEKASIN (Lithuania); KYLE EASTWOOD BAND (USA, UK)
      9:00PM -    Vienybės square
MALTED MILK (France); JAZZ FASHION SHOW
      10:30PM -    Vienybės square
SAULĖS KLIOŠAS (Lithuania); Firework show
      11:00PM -    Restaurant-club COMBO
NTJAM ROSIE (The Netherlands)

2013-04-28

      2:00PM -    Kaunas Synagogue
D.PRASPALIAUSKIS & L.BĖKŠA DUO (Lithuania)
      3:00PM -    Vienybės square
VILNIUS JUOZAS TALLAT-KELPŠA CONSERVATOIRE BIG BAND leader E. Vedeckas (Lithuania)
      4:00PM -    Vytautas Magnus Church
SKIRMANTAS SASNAUSKAS QUARTET (Lithuania)
      7:00PM -    ŽALGIRIS Arena
NATURALLY 7 (USA)
      10:00PM -    Restaurant-club COMBO
A.SPELL (Switzerland, Republic of South Africa)

2013-04-29

      7:00PM -    Vilnius Congress Concert Hall
HIROMI: THE TRIO PROJECT feat. Anthony Jackson & Simon Phillips (Japan, USA)

Web: http://www.kaunasjazz.lt/index.php?lan=EN&id=1

EJN welcomes its newest member: Sildajazz

EJN welcomes its newest member: Sildajazz - Haugesund International Jazz Festival

The EJN membership includes now 87 organisations in 28 countries.

Sildajazz, Haugesund Int Jazz festival started in 1987. The first festival consisted with 4 band. In 2013 our goal is around 60 bands which is 10 less than 2012. Each evening we will have more than 25 clubs and concert halls with music. Concerts on the surrounding islands and a light house with spectacular scenery. A special program for more experimental and noise music called Frisild is also a part of the festival. In 2007 we started to produce concerts on our outdoor stage at the Town Hall Square. A festival art exhibition, festival market, children parade with 1000 kids and a second one which is Norway largest Street parade. Daily free concerts at the harbour side. The festival is held in week 32 every year The festival is a non-profit organisation with 2 persons working in the administration all year around. The program consist of both Norwegian artists as well as international artists. In 2012 there will be about 41% from abroad. We do also offer some commissioned works. A list with some of the more known artist we have been working with is enclosed as well as artist some artist for 2013.

Address: P.o. Box 145

City: Haugesund

Country: Norway

WWW: www.sildajazz.no

@: post(at)sildajazz.no

Erik Charlston ....

Jazz vibraphonist Erik Charlston, a native of Chicago, has
a diverse career centered in New York, where he currently leads his JazzBrasil sextet. Charlston has also performed and recorded with Wynton Marsalis, Fred Hersch, Steve Coleman, James Carter, Sam Rivers, Dave Brubeck, and Orlando Puntilla Rios, among others.

...Read More About Erik