Wednesday, December 31, 2014

Karen Sharp

Photography by Laurent Peix (laurentpeix.com)
biography
Karen took up the tenor saxophone whilst studying composition at the Royal Northern College of Music. A friend introduced her to a recording of Dexter Gordon and she was instantly hooked, quickly joining the college jazz band and finding regular work in a busy soul band based in Liverpool. Since relocating to London in 1999 Karen has become a busy freelance musician working alongside many top class British and American musicians such as Scott Hamilton, Sir John Dankworth, Danny Moss, Alan Barnes, Barbara Lea, Dick Sudhalter, Joe Temperley, Mark Nightingale, Annie Whitehead, Ellyn Rucker, Roy Williams, Tina May, Nikki Iles, Scott Robinson, Ken Peplowski and the great blues singer Elkie Brooks.

In March 2004 Karen began a three year stint in Humphrey Lyttelton’s band, which took her to venues and festivals across the UK and into Europe. During this time Karen was also working hard to establish her own quintet with which she has now produced three albums and played at top jazz venues in the UK. Karen played at the Ginza Festival, Tokyo in 2006 with British singer Tina May and pianist Nikki Iles, and more recently Karen has been working closely with South African singer Esther Miller, with whom she appeared at the Cape Town International Jazz Festival 2007, along with US trumpet star Jeremy Pelt.

Karen has recently released her third album for "33 Records" entitled "Wait And See" and featuring her regular band of Adrian Fry on trombone, John Day on bass, Richard Busiakiewicz on piano and John Perry on drums. She has also featured on Humphrey Lyttelton’s latest three albums on baritone sax, tenor sax and as a composer/arranger, and she made a guest appearance on George Melly’s last album along with Jackie Dankworth and Van Morrison.

So far in 2008, Karen has been busy playing in the UK and Europe. She is writing new material for her band, as well as collaborating with pianist Nikki Iles and planning her next album.
read more: http://www.karensharp.net/biog.htm

JIM GALLOWAY (1936-2014)

Jim Galloway, a great friend and member of the JAZZ.FM91 family passed away today at the age of 78.

In addition to Jim’s work with the station, hosting Journeys in Jazz, he was a world class clarinettist and saxophonist, a founder of the Toronto Jazz Festival and a Chevalier of the French Ordre des Arts et des Lettres.
Born in Scotland, Jim attended the Glasgow school of fine arts and played in some of Scotland’s top jazz bands before emigrating to Canada in 1964, where he quickly became one of the most respected musicians in the country.

By 1968 Jim was the leader of the Metro Stompers and was a first call player for many of the touring greats that came through Toronto including Wild Bill Davison, Jay McShann, Buddy Tate and many more. In the late 70s Jim formed his renowned 17-piece Wee Big Band and began touring internationally which he did until his passing.

read more: http://www.jazz.fm/index.php/news-a-events-mainmenu/11242-jim-galloway-1936-2014

NJJazzList.com Calendar

01/02 Fri Bob DeVos Organ Trio at Trumpets 8:00 pm to 11:30 pm Style: Contemporary/Post Bop, Cover: over $10, w/Dan Kostelnik-Hammond organ & Steve Johns-drums. Learn more  ,  Hear samples , (862/973) 

01/02 Fri Jocelyn Shannon Quintet at The Shrine, 2271 Adam Clayton Powell Jr. Blvd,NYC. 6:00 pm to 8:00 pm Style: Mixed, Cover: None, featuring vocalist Jocelyn Shannon, bassist Gregory Zwiebel, trumpeter/flugelhornist Tom Bender, pianist Marcus Cohn,and percussionist Edward Pillion; sets at 6 and 7:15;Come on out... bring a friend, have some great food and drink and enjoy a little jazz! Learn more  , (212/ ) 

01/02 Fri OPEN JAZZ JAM & FISH FRY at Moore's Lounge 189 Monticello Ave.,Jersey City, NJ 8:30 pm to 12:00 am Style: Jam Session, Cover: None, Hosted by Winard Harper & Rosalind Grant, this Jam is open to musicians, singers, tap dancers,poets, and jazz music lovers. Delicious fish sandwiches available for purchase. No Cover, No Minimum. (201) 332-4309 for info Learn more  , (201/551) 

01/02 Fri Pam Purvis and Bob Ackerman andThe Blue Skies Band at Mariannas, 224 Stockton St,, Phillipsburg, NJ 6:00 pm to 9:00 pm Style: Mixed, Cover: None, A new year and we all appreciate what we have. Join us for some great jazz sounds.  Learn more  ,  Hear samples , (Unknown) 

01/03 Sat Andre Mutcherson at Candlelight Lounge 3:30 pm to 7:30 pm Style: Contemporary/Post Bop, Cover:over $10, We have a free buffet and a $10.00 minimum Learn more  , (609/ ) 

01/03 Sat BLUE SOUL at ROD's Steak & Seafood Grille Lounge 9:00 pm to 12:00 am Style: Mixed, Cover:None, BLUE SOUL fuses vintage Blues, R&B, Soul, New Orleans, Jazz, and Rock styles. Featuring Herb Woodson (lead vocals), Bailey Gee (bass/vocals), Mitch Eisenberg (guitar), Glenn McClelland (keyboards), John Ferrari (drums). NO COVER CHARGE !! ROD's is located at One Convent Road (at Madison Ave.), Morristown, NJ 07960 (973) 539-6666. Call for info & reservations. Hang out at the bar and enjoy the music and dance, or try their new casual dining "Red Dog Tavern" for dinner. Learn more  , (Unknown) 

01/03 Sat Jeremy Pelt at Bethany Baptist Church 6:00 pm to 8:00 pm Style: Straight-ahead, Cover: None, Jazz at Bethany kicks off 2015 with the Jeremy Pelt Quartet Learn more  ,  Hear samples , (862/973) 

01/03 Sat Super Vibes Jam at Langosta Lounge at Langosta Lounge 1000 Ocean Ave., Asbury Park, 8:30 pm to 1:00 am Style: Mixed, Cover: None, January 3-4, 2015 is the 3rd World Vibes Congress -- 2015 Schedule is online at site below. All events, unless otherwise noted, will be held at the Malletech Factory, Neptune, NJ. Super Vibes Jam at Langosta Lounge With Lorin Cohen on bass and Alvester Garnett on drums. Free registration online Learn more  , (732/848) 

01/04 Sun FIRST SUNDAY JAZZ @ MOORE'S LOUNGE at Moore's Lounge 189 Monticello Ave.,Jersey City, NJ 6:00 pm to 10:00 pm Style: Straight-ahead, Cover: $10 or less, FEATURING WINARD HARPER AND SPECIAL GUESTS. $10 music cover includes FREE BUFFET. GREAT JAZZ MUSIC BY WINARD HARPER, HIS BAND AND SPECIAL GUESTS. (201) 332-4309 for info.r  Learn more  , (201/551) 

01/06 Tue Bill O'Connell and Latin Jazz Allstars at Birdland at Birdland 315 West 44th Street, New York, NY 10036 8:30 pm to 10:30 pm Style: Latin Jazz, Cover: Tickets Available, A great night of Latin Jazz at Birdland with Bill O'Connell-piano Steve Slagle-sax Conrad Herwig-trombone Luques Curtis-bass Adam Cruz-drums Roman Diaz-congas Doors: 7:30 PM / Shows at 8:30 and 11 PM Birdland New York, NY $30.00(212) 581-3080Learn more  , (212/ ) 

01/06 Tue Bob Smith Organ Trio at Amici Milano 4:00 pm to 8:00 pm Style: Straight-ahead, Cover: None, Bob Smith/guitar, Tommy Pass/Hammond Organ, and Len Pucciatti/drums. Half price drinks and bar specials for ladies. Musicians Welcome!  Learn more  , (609/ )

Video: Cafe Montmartre, '59-'76

Reprinted from http://jazzwax.com

MelodyMaker-1979-2TomSheenan
Oscar Pettiford was one of the great jazz bassists on the New York recording scene in the 1940s and '50s. Sadly, his name today is slipping into obscurity. In 1958, Pettiford moved to Copenhagen, where he died in 1960 at age 37. He recorded jazz on the cello in 1949, and few could match his strength and speed. JazzWax reader André Growald in São Paulo, Brazil, sent along a link to a Danish documentary on the jazz club Cafe Montmartre. Featured in different segments are Pettiford, Bud Powell, Stuff Smith, Ben Webster, Charlie Shavers, Dexter Gordon, Charles Mingus and others.
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A fascinating remark by Stan Getz, who sheds light on why so many American jazz musicians settled in Europe and Scandinavia. The more tolerant racial climate was a major factor, of course, but there also was the ability to remain at home with one's family and not be on the road for long stretches to earn a living promoting new albums. Here's the clip...
Used with permission by Marc Myers

Tuesday, December 30, 2014

Chet Atkins & Stanley Jordan "Stardust"


https://www.youtube.com/watch?v=-PcFTHsi9eI

Waring's Pennsylvanians

One of the enduring images of the 1920s is of the college boy in a raccoon coat, out for some jazz kicks with a hip flask and a flapper on his arm. Waring's Pennsylvanians popularized this type of image through their music, stage shows, and film appearances. The band was formed in 1918 at Pennsylvania State University by the brothers Fred and Tom Waring, and their friends Freddy Buck and Poley McClintock.


They first billed themselves as the Waring-McClintock Snap Orchestra and then became Waring’s Banjo Orchestra before adopting the name of Waring’s Pennsylvanians in 1922. In 1923 they had a big hit with the record Sleep and the song continued to be the band's  theme song for many years to come. The Pennsylvanians were very popular at colleges and often played fraternity parties, proms, and local dances early in their career and then graduated to playing at movie theatres and vaudeville houses across the United States becoming one of the sought after acts in show business.

In 1925 Waring's Pennsylvanians had a huge hit with Collegiate and it remains their best-known song. The tune is a wonderful little time capsule of college life in the 1920s. By the end of the 1920s they were one of the most popular musical acts in the country and they starred in an early sound film called "Syncopation" in 1929. In the 1930s they were one of the hottest acts on radio hosting shows sponsored by Old Gold, Ford, Chesterfield and General Electric and if that were not enough Fred Waring developed and marketed the kitchen appliance the Waring Blender.

The Pennsylvanians stopped making records in 1932 because they thought that they were competing against their radio show and would not do so again until 1942. The act continued to be popular well into the 1950s and were pioneers in broadcast televison. In 1949 the Pennsylvanians had their own weekly television show sponsored by General Electric. As the years went by the band's music changed and they became more of a choral group than a Jazz group, but Fred Waring’s Pennsylvanians remained active and quite popular up until Waring's death in 1984.

read more: http://www.redhotjazz.com/waringspa.html

Barney Wilen - "All The Things You Are"


Tenor saxophonist Barney Wilen performing "All The Things You Are" with Duke Jordan on piano, Paul Rovere on bass and Daniel Humair on drums. - https://www.youtube.com/watch?v=PPTTmyz_6g0#t=47

Buddy DeFranco Interview with Steve Voce

Steven A. Cerra

“Woody [Herman] has no encouraging words about the status or future of the clarinet in jazz. He says there are no new players who have impressed him.

‘I had the good fortune last summer of doing a Canadian tour with Buddy DeFranco and his quartet. He's still the only guy who's coming up with anything new as far as that instrument is concerned. It's a very difficult instrument to play well. It's not the sort of thing you can just pick up and start making your own thoughts on, and I think that's one reason there aren't too many kids interested. And then, too, it lost its place as a voice in jazz because it's connected in most younger people's minds with Dixieland.’”
- Doug Ramsey, Jazz Matters: Reflections on the Music and Some of Its Makers

“Admired for his mastery of the clarinet in his early career as a swing band musician, DeFranco came to full prominence in the late 1940s and early '50s. Although the clarinet had been a stellar swing-era instrument in the hands of bandleaders such as Benny Goodman, Artie Shaw and Woody Herman, it did not initially find a visible role when bebop arrived in the '40s.

"I was the first clarinetist to play bebop on the instrument," DeFranco told the Columbus (Ohio) Dispatch in 1993. "It turns out that was the beginning of a dry spell for the clarinet in jazz. It was a very difficult instrument on which to play bop."

The New Grove Dictionary of Jazz described the task in even broader strokes, noting that the clarinet is "incompatible with bebop."

But DeFranco disagreed. ‘I wouldn't say incompatible,’ he told the Dispatch. ‘It's simply harder to play bop on clarinet than any other instrument.’

DeFranco nonetheless took on the challenge. By the late '40s he had thoroughly established himself as the principal bebop clarinetist. And he would remain so for decades, exploring and mastering other new jazz ideas as they arrived. His influence persisted on generations of clarinetists, reaching across a diverse array of players, from Jimmy Giuffre to Eddie Daniels, Ken Peplowski, Anat Cohen and dozens of others.”
- Don Heckman, writing in The Los Angeles Times

“DeFranco was the first to apply the vocabulary of bebop to the clarinet, which nevertheless remains a neglected instrument in modern jazz. He developed a smooth, flawless technique on a horn far less forgiving of embouchure and fingering errors than the saxophone. DeFranco can play quite lyrically, but many critics contend that his virtuosity comes at the expense of emotional intensity and expressiveness.”
- Len Lyons and Don Perlo, Jazz Portraits: The Lives and Music of the Jazz Masters

“Nobody has seriously challenged DeFranco's status as the greatest post-swing clarinettist, although the instrument's desertion by reed players has tended to disenfranchise its few exponents (and Tony Scott might have a say in the argument too). DeFranco's incredibly smooth phrasing and seemingly effortless command are unfailingly impressive on all his records. But the challenge of translating this virtuosity into a relevant post-bop environment hasn't been easy, and he has relatively few records to account for literally decades of fine work. He's also had to contend with the usual dismissals of coldness, lack of feeling etc.”

- Richard Cook and Brian Morton, The Penguin Guide to Jazz, 6th Ed.

read more: http://jazzprofiles.blogspot.com.br

Allan Moon: Born in Toronto

We all go through big changes. For singer and musician Allan Moon, there have been three that truly altered his life: as a boy, moving from Canada to New York, then to Israel at the age of 16, and finally his move up to the quiet of the Galilee. He’s distilled that life, the essence of memory, the downs as well as the ups, into the songs that make up his second album, Children of the Call (released January 20, 2015 on Songbird Records).

read more: http://flipswitchpr.storyamp.com/artists/8443

Sunday, December 28, 2014

John McNeil, A Trumpeter Robbed Of His Breath, Blows Again

NPR STAFF
DECEMBER 27, 2014 6:01 PM ET
John McNeil may be the most important trumpet player you've never heard of.

Many aspiring musicians know him as an educator, through his many instructional books like The Art of Jazz Trumpet. But getting to know McNeil as a performer or recording artist hasn't always been easy: his records could be tough to find.

The musician suffers from a neurological disorder — Charcot-Marie-Tooth disease, which, despite its name, has nothing to do with your teeth. At its worst, it robbed him of his ability to perform for years at a time.


Now at age 66, McNeil is back. He's in a band, Hush Point, with a group of much younger musicians; their latest album is Blues and Reds. He tells NPR's Arun Rath about the medical advances that enabled his recovery, and how the age difference does — or rather, doesn't — affect him and his bandmates.

read more: http://news360.com/digestarticle/tCBhcrbIDEuwg629X6rmMw
John McNeil - trumpet
Jeremy Udden - alto saxophone
Aryeh Kobrinsky - bass
Anthony Pinciotti - drums

New album Blues and Reds now available on Sunnyside Records

Nancy Harms

A very special show is in the works right now with a special theme and some gorgeous tunes to go with it!  Nancy will be presenting this show at New York City’s Metropolitan Room on Wednesday, February 25, 9:30pm.  More info coming your way soon!  Get your tickets online right now to ensure your seat for what will be a very memorable night! - http://www.nancyharms.com

Help fund Steve Johns CD

FAMILY with Daryl Johns, Debbie Johns, Dave Stryker & Bob DeVos !!

How Records Were Made

Reprinted from http://jazzwax.com

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Back before Spotify and clouds and downloads and iTunes and CDs, there were things called records, which today are making something of a comeback. First came single-song sides spinning at 78rpm, followed by the 10-inch album, the 7-inch 45rpm and the 12-inch LP. Turntables came with a tonearm and a stylus needle attached. When you placed the needle on one of those records, music magically emerged from the speakers.
Ht_tonearm
The whole concept was ingenious and baffling—a durable platter with music hidden in its grooves, music that could only be revealed when the tonearm needle rode the disc. The average record-buyer didn't really know how the technology worked, but it didn't matter. As you watched the record spin, something electronically nifty took place between the silvery needle, the shiny disc and the speakers. Sounds of musicians playing emerged, sounds that were the same over and over again, no matter how many times you played the record.
Times-Square-record-store
At different points in time, record companies created films to tout the recording and record-pressing process and to promote the marvel of recorded music and new advances in fidelity. I found five of these films on YouTube:
Here's RCA's Command Performance, which in 1942 showed viewers how records were recorded and made. The film came on the eve of the first American Federation of Musicians' recording ban that began in August of that year...
Here's Capitol's 1951 film Wanna Buy a Record?, a whimsical promotional short starring Mel Blanc and Billy May. The film came at a moment in time when record-industry sales were falling due to consumer confusion over the speed war between Columbia's new 33 1/3 LP format and RCA's 45rpm. People stopped buying records until the format battle was resolved in '52. That's when RCA threw in the towel and begin producing LPs while Columbia and the rest of the industry embraced the 45 as a more durable and convenient replacement for the 78 single...  
Here's RCA's The Sound and the Story. It was released in 1956, when the 12-inch LP began replacing the 10-inch album as the industry standard for all forms of music...
Here's RCA's New Dimensions in Sound, a 1957 film to educate buyers about a new technological advance—stereo...
And here, in 1958, RCA chimed in again with its Living Stereo film...
Used with permission by Marc Myers

Saturday, December 27, 2014

Daniel Lanois: I Look For Commitment And A Lot Of Heart And Soul

By NENAD GEORGIEVSKI,
Published: November 22, 2014
Whenever I'm asked to name a list of Top 10 all time favorite records, the list slightly changes and shuffles every time. However, one of the most common denominators to those diverse lists is producer/musician Daniel Lanois. Often called a "studio wizard" or "studio magician," this producer has become renowned both for his proficiency in the studio and his gift for motivating and enabling people to reach new creative heights. Armed with an intuitive combination of emotions and technical proficiency, over the last 30 years he has been involved in some of the most ambitious and progressive new music as either a producer or an engineer, burning the midnight oil in his own laboratories. Those to have benefited from his presence include groups such as U2 and the Neville Brothers, as well as singers Bob Dylan, Peter Gabriel, Robbie Robertson, Neil Young, and many others whose work often helped define the sound of various eras. 

Even before the famous teaming up with British producer Brian Eno, Lanois, had a good reputation as a producer and in the early '80s he was named Canadian producer of the year for the work he did with Martha & The Muffins (his sister's new—wave band). In the beginning, he built a simple studio in his parent's basement in Hamilton, Ontario with very little technology. He then moved it to Grant Avenue, Ontario, a three storey Victorian House. At the time, Eno, who was living in New York heard the sounds coming out of that studio and arrived there in 1980. Before long, these two fell into a fruitful working relationship. The house became a laboratory for processing sound and during this period an avalanche of genre defining ambient records were made by pianist Harold Budd, trumpeter Jon Hassell, producer/guitarist Michael Brook, pianist Roger Eno and the Lanois brothers themselves. Even Eno famously recorded albums such as On Land (EG, 1982) and Apollo: Atmospherics and Soundtracks (EG, 1983). 

The Grant Avenue sound gave emphasis to textures, nuances and treatments which were transferred to mainstream rock when Eno and Lanois recorded U2's Unforgettable Fire (Island, 1984). This record is a document of a group on the cusp of something and the start of a fruitful collaboration from where Lanois and Eno went on to produce a string of several milestone records for the band, from the watershed record Joshua Tree (Island, 1987) to Achtung Baby Achtung Baby (Island, 1991), All that You Can't Leave Behind (Island, 2000) and the final No Line On The Horizon (Island, 2009) where both Lanois and Eno were credited as co-writers. The stint with U2 also opened doors to other intriguing projects and blockbuster productions, like Peter Gabriel's Birdy (Charisma, 1985), So (Geffen, 1986), and Us (Real World, 1992) or Bob Dylan's Oh Mercy (CBS, 1989) and "Time Out of My Mind" (Columbia, 1997) which ranks among the best of his career. 


Imbued with riskiness, experimentation and tons of soul Lanois navigated these artists towards highly creative peaks which resulted not only in landmark creations in their own, individually rich careers, but also watershed records that were both signs of the times whilst pointing to the future. Another thing that is characteristic for Lanois is that he is always in the trenches with the artists playing, meaning his role is often blurred and there are no distinct separations whether he is "just" a producer or a contributor. In fact, he is a collaborator on every step of making of a record. In the late 1980's, with the success of his work, Lanois bought a house in New Orleans and turned it into the Kingsway Studios, where he recorded the Neville brothers' standout Yellow Moon (A&M, 1989) and Dylan's Oh Mercy as well as his own first solo record, Acadie (Red Floor Records, 1989).

read more: http://www.allaboutjazz.com/daniel-lanois-i-look-for-commitment-and-a-lot-of-heart-and-soul-daniel-lanois-by-nenad-georgievski.php

Buddy DeFranco obituary

Clarinettist Buddy DeFranco practising before a performance at the International Association for Jazz Education conference in New York in 2006. Photograph: Nancy Kaszerman/Zuma/Corbis
John Fordham
Friday 26 December 2014 17.36 GMT
The role of the clarinet in jazz changed from vital to marginal in little more than a decade, between the last hurrahs of the big swing bands at the end of the 1930s, and the rise of the unsentimentally byzantine style of bebop. The traditionally woody-toned instrument turned out to be no match for the fiercer saxophone on bop’s edgy melodies, except in the hands of a rare exception in the American musician Buddy DeFranco, who has died aged 91.

In the 21st century, the instrument’s unique personality has reappeared in contemporary jazz through the work of artists including the Americans Don Byron, Joe Lovano and Anat Cohen, and the UK’s Shabaka Hutchings – but during the first wave of the bebop revolution, the prodigious DeFranco was almost alone.


If Benny Goodman, Johnny Dodds, Frank Teschemacher, Artie Shaw and Pee Wee Russell had dominated jazz clarinet in the 1920s and 30s, and Kenny Davern, Eddie Daniels and Bob Wilber had become the celebrated inheritors of their styles, DeFranco was the maverick who investigated the labyrinths and rat-runs of bebop and developed a flawless technique for it. Only the post-second world war clarinettists Tony Scott and Jimmy Giuffre came into the modern frame alongside DeFranco – and though they were regarded by some as warmer and more quirkily expressive players, DeFranco’s playing was far from the coldly efficient exercise it was sometimes caricatured as being.

Though he avoided the idiosyncrasies of pitch and intonation that made more obviously characterful performers of Dodds or Russell, DeFranco had a rich tone, ideas and seamless fluency. He also maintained an exuberant consistency into his 80s, continuing to practise several hours a day, and recording music with younger exponents of the same garrulously lyrical jazz style that he loved.

read more: http://www.theguardian.com/music/2014/dec/26/buddy-defranco-jazz-clarinettist-obituary-john-fordham

Roscoe Mitchell


Join us for an interview with innovator, musician, and composer Roscoe Mitchell, whose career began in Chicago in the 1960s. He went on to became a leader in a movement that experimented with alternatives to conventional jazz composition and improvisation, and was a founding member of the Art Ensemble of Chicago. Mitchell's compositions range from modern to classical, and from wild and forceful free jazz to ornate chamber music.
From: https://www.youtube.com/watch?v=1ahjXN8He8Y


The Dozens ....

THE DOZENS: 12 ESSENTIAL MAX ROACH RECORDINGS

Max Roach, photo by Richard Laird

SELECTED BY NASHEET WAITS

Max Roach did more than anyone to bring jazz drumming into the modern age. In the course of a career that spanned seven decades, he put his stamp on everything from bebop to hip-hop, constantly reinventing his musical persona. In this installment of Guest Artist Dozens, edited by Ted Panken another master drummer, Nasheet Waits, surveys Roach's career and highlights 12 essential tracks.
Read More



THE DOZENS: TWELVE JAZZ
PERSPECTIVES ON BJÖRK 

Björk
Hailing from Reykjavik, Iceland, Björk burst onto the music scene in 1993 with Debut, an album featuring the jazz standard “Like Someone in Love.” Since then, this global star has maintained ties with the jazz world, even earning her biggest hit with “It’s Oh So Quiet,” a swing number dating back to 1948. Jazz artists have returned the respect, covering versions of Björk songs. Brad Farberman highlight 12 worthy renditions in this installment of the Dozens.
Read More



THE DOZENS: TROMBONE

Bone

12 CLASSIC PERFORMANCES

Back in New Orleans, long before the saxophonists or guitarists showed up in jazz, the trombonists were making their elongated presence felt on the scene. And they're still going strong a century later. Alex W. Rodriguez, resident bone-ology specialist at jazz.com, highlights 12 classic trombone tracks in this installment of the Dozens. 
Read More

read more: http://www.jazz.com

Friday, December 26, 2014

Latest News! jazz, blues, world music ....

dec, 26, 2014
The Unofficial Jazz Connect After Party at Somethin' Jazz Club 
26.12.2014 Jazz Promo Services & Jazz Video Promotion Present The Unofficial Jazz Connect After Party at Somethin' Jazz Club, Friday, January 9, 2015, 6pm to 9pm.Come and unwind after the Jazz Connect conference. read more

Jazz at Rutherfurd Hall Presents Harry Allen Quintet
26.12.2014 Jazz at Rutherfurd Hall Next up ~ December 28th The Harry Allen Quintet Featuring Geoff Gallante & Rossano Sportiello Sponsored by Heath Village and Panther Valley Pharmacy Jazz Series read more

Mimi Rabson's Strings Theory Trio: CD Release Concert
24.12.2014 Strings Theory Trio: CD Release Concert of directed improvisation composed and performed by Mimi Rabson, Helen Sherrah-Davies, and Junko Fujiwara. Wednesday, January 28, 7:30 pm. Free and open to all, free CD to first 20 guests. David Friend Recital Hall, 921 Boylston St., Boston. Combining idiomatic flexibility, a deep wellspring of creativity, and world-class virtuosity, violinist Mimi Rabson is one of the Boston area's most valuable musical resources — and her new recording with her Strings Theory Trio is a uniquely compelling synthesis of classical chamber music and directed improvisation, bringing together some of Rabson's most important influences and inspirations. read more


read more: http://home.nestor.minsk.by/jazz/index.html

Dallas Brass – Booking Dates For 2015


ADMIN — December 19, 2014
Since its founding in 1983 by Michael Levine, the Dallas Brass has become one of America’s foremost musical ensembles.  The group has established a unique blend of traditional brass instruments with a full complement of drums and percussion, which creates a performing entity of extraordinary range and musical challenges.  The Dallas Brass repertoire includes classical masterpieces, Dixieland, swing, Broadway, Hollywood and patriotic music.

MICHAEL LEVINE (director, trombone) is originally from St. Louis Park, Minnesota. He first attended the University of Minnesota and then The Juilliard School, where he received his Bachelor of Music Degree. For three years he held the position of Assistant Principal Trombone in the Jerusalem Symphony Orchestra. Michael founded the Dallas Brass in 1983, and he serves as the ensemble’s trombonist, Master of Ceremonies and Artistic Director. As an arranger, he has made significant contributions to the Dallas Brass library. Michael has invented a device called the WindMaster, to help wind players develop their breathing technique. More recently, he has created the Harmony Bridge Project which is designed to connect band and other music students with seniors in nursing homes around the country. Michael’s favorite non-musical activity is snow skiing. He has duel residency in Dallas, TX and Minneapolis, MN.

Luis Miguel Araya (Trumpet) born in Alajuela, Costa Rica, has played a wide range of musical styles, ranging from classical to popular and Latin music. He has studied music extensively both in Costa Rica and in the United States, holding a Bachelor of Music degree from the National Institute of Music (Costa Rica), a Master of Music degree from Loyola University in New Orleans and a Doctorate in Music from Arizona State University. Luis has been a member of the Costa Rica National Symphony Orchestra since 1997. He is also on the faculty of the University of Costa Rica. Other orchestral experiences include the Venezuela Symphony Orchestra, the Miami Symphony Orchestra, and the Louisiana Philharmonic Orchestra. Other festivals attended by Araya are the Rafael Mendez Brass Institute (Denver, CO), and a Solo recital at the International Trumpet Guild Conference 2005 in Bangkok, Thailand.


D.J. Barraclough (Trumpet) began his musical studies on the trombone and continued playing it through high school. He didn’t actually begin the trumpet until his 3rd year in college. Originally from southern Utah, D.J. attended Dixie State College in St. George. He has performed with such organizations as the Utah Symphony, the Lex De Azevedo Orchestra, and the Lawrence Welk Orchestra. When not performing, D.J. enjoys working as a brass clinician, and through the use of the Smart Music Studio software by Coda Music Technologies, he helps young students learn to make practice more effective and fun. D.J. is also an accomplished instrument repair technician. His other interests include hiking, camping, and various forms of meditation. D.J. presently lives in southern Utah with his wife, Kristine, and their six children.

read more: http://ejazznews.com/?p=22732
Website: www.dallasbrass.com  |  Mobile: www.aboutdallasbrass.com

CD Release: Tony Monaco, Furry Slippers

BILLD — DECEMBER 21, 2014
Tony Monaco carries on the tradition of the Hammond B-3 organ, but in his latest album, Furry Slippers, there’s a difference. Well, there are several differences.

Monaco continues with the traditional jazz organ trio of B-3, guitar and drums, but this time with new personnel. The result is a different sound from those on his previous recordings.

The change results from the accompaniment and the solos of guitarist Fareed Haque, whom Monaco met at the Java Jazz Festival in Indonesia. Rather than search for a guitarist influenced by Wes Montgomery, Kenny Burrell or Pat Martino, in whose group Monaco previously performed, Monaco invited to his recording session a guitarist with a confident individualistic style attained from numerous worldwide influences. And individualistic Haque definitely is. Rather than a ringing or octaved style, Haque’s technique of precise articulation is almost dampened, allowing each note, even in his quick staccato sixteenth-note phrases, to be heard distinctly.

It’s obvious that Haque enjoys the opportunity to stretch out with the swing of a jazz organ trio, and Furry Slippers was recorded as the opportunity arose during the trio’s brief tour of the Midwest. Monaco met drummer Greg Fundis at the same festival in Indonesia, and Fundis joined him and Haque on the tour, as well as participating in the recording project. The result is that, while the trademark Monaco fire and groove remain, Haque and Fundis alter his improvisational responses in new directions with their own unique perspectives throughout Furry Slippers.


Another difference offered by Furry Slippers, and an important one at that, is the presence of Monaco’s wife, Asako Itoh Monaco. The album’s name celebrates her ancestral Japanese family’s custom of leaving shoes at the front door. Indeed, the cover art includes visual indication of the practice by showing her slippers, pink and furry, that are substituted for shoes inside the home. An accomplished pianist in her own right, Asako joins the trio on “Magenta Moon,” a subdued Walter Wanderley-type of tune with relaxed Latin rhythmic intimations under long tones. Asako states the melody initially on the piano to the accompaniment of the trio before Tony and Haque add their own brief improvisational statements.

read more: http://ejazznews.com/?p=22738

Tobias Grim: Brazil Lines (2014)

By EDWARD BLANCO,
Young Swedish-born guitarist Tobias Grim announces his debut album with Brazil Lines, a light Brazilian-styled vocal project featuring singer Karolina Vucidolac, one of Sweden’s finest interpreters of the genre. Originally from Linkoping, Sweden, Grim began his musical career performing Rock and Funk music, moved to London for a while, encountered the blues and was introduced to the jazz idiom through jazz fusion.

Along with bassist Magnus Bergstrom and drummer Anders Kjellberg—who form the Grim trio—the band and vocalist Vucidolac, have been performing together since 2010 and this endeavor, is their first recording collaboration.The album contains all original music with three instrumentals and seven vocal pieces with lyrics primarily in Portuguese though, there is one song in English and all—penned by the vocalist, Sandra da Silva and Marcia de Souza. Opening up with the soft “Para Theo,” Grim’s light string work leads the way on the Brazilian-tinged song with Vucidolac doing a fine imitation of the great Astrud Gilberto. The leader comes to the fore on the first instrumental of the disc (“Ishmael”) where his playing harkens back to his jazz fusion foundation as he turns his guitar loose with some electrifying chords and riffs.

read more:http://ejazznews.com/?p=22745

From jazzfm.com

From http://www.topix.com/music/jazz




JAZZ.COM Blog Highlights


Below are links to some of the highlights from the jazz.com blog. 
CD
Life on the Road: The Journal of a Traveling Jazz Musician: Frøy Aagre’s three-part article may be the most insightful account you will ever read about the realities of road life for most jazz musicians. It is not a pretty picture, but it was a story that very much needed to be told.
Jazz and Hip-Hop: Can They Really Mix? Jared Pauley presented a smart mini-history of the courtship between jazz and hip-hop in this two-part article. And he also stirred up a mini-war on our blog pages. Alan Kurtz stepped in to annul this unholy union, responding with his typical rebarbative repartee in a memorable piece entitled Hip-Hop is to Jazz as Termitz R2 Wud. Both articles are well worth reading. 
Life at Gypsy Jazz Camp: One of the most interesting developments in the jazz world is the great resurgence of interest in Django Reinhardt and Gypsy jazz. Bill Barnes took us into the heart of this subculture in his three-part article on his experiences at a jazz camp devoted to jazz Manouche.
A Jazz Success Story in Vermont: In a series of articles for jazz.com, Willard Jenkins presented case studies on the people and organizations that are keeping the music alive in various communities around the United States. In this installment, Jenkins explored a jazz success story in Burlington Vermont , and talked with Arnie Malina, the man behind it.
Ornette: The Blue Note Years: In this two-part article, Chris Kelsey looked at a controversial period in Ornette Coleman’s career. Blue Note’s move into the avant-garde was a symbolic moment, and produced music that critics are still debating almost a half-century later. 
On Discography: If the jazz world is a subculture, then the most cultish members of all are the jazz discographers. Will Friedwald peers inside the universe of the experts who keep tabs on all of the songs. 
Where Copyright Goes Wrong: Jazz.com’s Alan Kurtz is best known for his curmudgeonly critiques and the controversies these engender. But he could have been a lawyer (or at least played one on TV) judging by this convincing assault on the current state of US copyright law.
read more: http://www.jazz.com

CD REVIEW: Pablo Held - The Trio Meets John Scofield

This concert led by German pianist Pablo Held was part of the “Rising Stars” series co-ordinated by the European Concert Hall Organisation. Held was given the opportunity to invite a guest, and the American guitarist John Scofield (who had never heard of the young piano player before) agreed to participate on the recommendation of his trusted drummer Bill Stewart. The performance took place at the Kölner Philharmonie in January 2014. After the tentative beginning of Held’s composition Cameo, it quickly becomes obvious that this gig has more substance than an impromptu “festival set”. Held says, “You could have expected that such a famous player would be taking a look at the notes for the first time at the rehearsal” but Scofield was enthusiastic about playing with the trio and “had already intensively worked on our pieces”. The principals show real understanding and compatibility, and sparks fly during their opening solos.

read more: http://news360.com/digestarticle/EkKQkALJV06pTAL_VKJdYw

Happy Yuletide, Claudio!

I have been hard at work for the last five months learning new music production skills, and I'm proud to say that my latest song is the result. It's a tune I just wrote, called From Me To Yule. You can actually buy it and the whole Christmas EP on Bandcamp for $4. I added another song to the ever-expanding oeuvre too, my arrangement of Camille Saint-Saens' The Swan. Fun fact: On that song and From Me To Yule I play piano.

Me To Yule is a one-woman effort: I composed and arranged for full band and five-part melodica (originally it was horns, but I decided to go with melodica for logistical reasons), played keyboards and percussion, and sang all the parts. I owe a debt of inspiration to the women who unapologetically kick-ass in the music creation business, such as Rebeca Mauleon, Lisa Englehart, Anne Sajdera, Terrie Odabi, Mara Fox, Rhonda Benin, Kim Nalley and many more.

Now, though I've gotten great feedback on the song itself and its production quality, as far as the video goes I must warn you that this is possibly the silliest music video ever made. As always, for reasons of financial necessity or simple incompetence, I mash everything I do into one big mess, so this became a family deal as my kids started photobombing the video. We had so much fun while we were doing it. I figure this is good parenting, right? You want to give your kids memories, so one day they'll be like, "Remember the time Mommy put on a bathing suit and wrapped herself in Christmas lights and started to make a video and we started twerking in it?"

Yeah. Good times!

 

Did I mention you can buy this song and the whole album on Bandcamp?
PMO at the Fox Theater in Redwood City

SF Guardian Best of Bay favorite Pacific Mambo Orchestra benefit concert will support more than 5,000 elementary school music students on Jan. 10 at the historic Fox Theatre in downtown Redwood City. All proceeds support the Music for Learning program funded by the Redwood City Education Foundation (RCEF), a nonprofit organization dedicated to enriching and advancing education opportunities for all children in the Redwood City School District. Come on out and tell your Peninsula friends!