Dizzy Gillespie, Arturo Sandoval,"Night in Tunisia"

This was a live recording of Dizzy and friends in Havana in 1985. "Night in Tunisia" was composed by Dizzy in 1942.

In 1n 1985, Dizzy Gillespie returned to Cuba after an absence of 40 years. He was one of the first American jazz musicians to add Afro-Cuban elements to his music, and Cubans to his big band. Most notably, in the 40s, was percussionist, Chano Pozo.

A then-young Arturo Sandoval (trumpet) and Walter Davis Jr. (piano) sit in with Dizzy's band. Bari sax player, Sayyd Abdul al-Khabbyr, is remarkable.. Great fun!

Wynton Marsalis presents a jazz history lesson

MARCH 25, 2014 AT 1:00 AM

CHARLES J. GANS ASSOCIATED PRESS

 (Photos by Frank Stewart)

Wynton Marsalis has taken his Jazz at Lincoln Center Orchestra all the way to China and Russia, and on Sunday is performing at Hill Auditorium in Ann Arbor.

The Orchestra has performed everything from early New Orleans jazz to Ornette Coleman’s modern jazz as well as classic tunes by Duke Ellington, Thelonious Monk and Dave Brubeck, and compositions by contemporary jazz musicians, including several JLCO members.

“This is probably the most flexible ensemble ever in the history of jazz because we have to play so many different styles of music,” said Marsalis, JLCO’s music director.

Last fall, Marsalis released “The Spiritual Side of Wynton Marsalis.”

The album is a 15-track collection of spiritually inspired works he recorded from 1988 to 2002. It includes selections from “In This House, on This Morning,” Marsalis’ first commissioned work for Jazz at Lincoln Center in 1992, capturing the feeling of a Sunday morning church service in the South.

The trumpeter said its recent “Abyssinian: A Gospel Celebration Tour” was the most challenging in the band’s 25-year history.

The tour of U.S. performing arts centers and churches involved a convoy of four buses and an equipment truck. The 15-piece orchestra and the 70-voice Chorale Le Chateau conducted by Damien Sneed performed Marsalis’ “Abyssinian 200: A Celebration,” an extended work blending gospel and jazz traditions he wrote in 2008 to celebrate the 200th anniversary of Harlem’s Abyssinian Baptist Church.

“There’s never been a tour where a jazz band and a big choir like this went on the road and played a piece like this,” Marsalis said in a telephone interview. “It’s definitely a spiritual experience when you get the choir and the band and the congregation in there together.”

The piece, based on the liturgy used in many African-American Baptist churches, draws on diverse influences. These include the lessons Marsalis learned from his music professor father about traditional spirituals, hymns and gospel music, his own experiences as a classical trumpeter performing the religious works of Bach, Handel and Palestrina, and his vast knowledge of jazz styles going back to the music’s roots in his native New Orleans.

From The Detroit News: http://www.detroitnews.com/article/20140325/ENT04/303250002#ixzz2xPQb0zkP

Vocalist Janice Borla

Photo: napervillesun.suntimes.com
Vocalist Janice Borla has made utilizing her voice as a jazz instrument her artistic mission, applying it to her explorations of instrumental jazz tunes by modern and contemporary jazz composers and participating in the improvisatory process as an equal member of the ensemble.  Her recordings and performances have earned her consistently high praise for her beautiful sound, superb technique, adventurous repertoire and imaginative vocal improvisations. 

Borla continues to expand the parameters of jazz vocal expression on her current release From Every Angle, which was named one of the "Best CDs of the Year" by DownBeat and was hailed by JazzWeek as "Another fine effort from a singer who seems to do everything right."

Often cited for her adventurous, risk-taking approach, Borla continually challenges herself, keeping vocal improvisation front-and-center in her performances.  As veteran jazz journalist Neil Tesser notes:  "She shatters the stereotype of the jazz vocalist as a poseur or wannabe, infatuated with the idea of improvisation but lacking the mettle to carry it off:  she's a musician who happens to play voice." 

Borla's previous CD Agents of Change, named "The #1 Jazz CD of the Year" by WBEZ-FM Chicago Public Radio, also enjoyed wide critical acclaim.  Christopher Loudon (Jazz Times) describes her as "a one-woman jazz tornado" and praised the album as "...eight breathtaking musical canvases, each a perceptively executed masterpiece... Genius.  Pure genius."  Gary Walker (WBGO, NY):  "Fresh and inventive... This CD knocks me out." Bob Protzman (Pittsburgh Post-Gazette):  "A stunning singer with a lustrous voice and the technique, imagination and daring of the best improvising instrumentalists." 

She has performed with such jazz talents as Clark Terry, Bunky Green, Bobby Watson, Gary Bartz, Bobby Shew and numerous others.  Recent performances include Chicago's Jazz Showcase, The Iridium in New York City, the Soroptimist Women in Jazz Festival in Fort Bragg, California and the Chicago Jazz Festival.  A highlight of the International Association of Jazz Education in New York City was a concert where Borla and her group showcased the music on From Every Angle to a capacity crowd of attendees that responded with a standing ovation.

Acknowledged as a pioneer in vocal jazz education, Borla founded the Janice Borla Vocal Jazz Camp and Hot Jazz - 6 Cool Nites Concert Series, cited by Jazziz Magazine as "one of the most innovative and dynamic summer jazz educational programs in the country."  She is currently Director of Vocal Jazz with the Jazz Studies Program at North Central College.  As a guest artist and clinician she has performed at high schools, colleges and festivals.

Stories from the years of living passionately....

Noshir Mody is a stimulating and creative fusion guitarist displaying a beautiful tone, versatility, and inventive ideas on his picturesque originals. Throughout his career, Mody has recorded consistently rewarding and thought-provoking sets of original music. His recent Stories From The Years Of Living Passionately features five of his sophisticated compositions performed by a quintet also including Tsuyoshi Niwa on soprano saxophone, pianist Carmen Staaf, bassist John Lenis and drummer Yutaka Uchida.

On Stories From The Years Of Living Passionately, the musicians stretch out on the songs, with only one piece being under 11 minutes long, yet they make every moment count. Their performances are as colorful as the song titles, which include “The Next Chapter,” “India,” and “A Pearl Discovers The Oyster.” Mody’s guitar playing, while occasionally recalling Gabor Szabo and Pat Metheny, is quite distinctive, thoughtful and unpredictable. Niwa and Staaf also have plenty of solo space and the high quality of the improvisations and the grooves always hold on to one’s attention. Whether it is the peaceful but danceable “To Be In Your Thoughts,” the pretty melody of “Beckoned By Mercury” or the 5/4 groove of “A Pearl Discovers The Oyster,” every selection on this CD will be of strong interest to modern jazz fans. The music brings out the best in the musicians and vice versa, resulting in a particularly memorable set.

Born and raised in Bombay, India, Noshir Mody was self-taught on guitar. He had an original and unique conception to playing jazz from the start. His early inspirations included Indian classical music, Al Di Meola's Elegant Gypsy, music from Bollywood, rock and the modern jazz guitar masters. Mody immersed himself in jazz after moving to New York in 1995, leading his own trio in clubs. His eclectic and open-minded approach to music was well showcased in his groups the EthniFusion Rock Ensemble and the EthniFusion Jazz Ensemble.

Noshir Mody’s solo guitar recording In This World With You and his trio set Union Of Hearts displayed both his memorable originals and his impressionistic playing. Now with the release of Stories From The Years Of Living Passionately, a project that features his compositions interpreted by a top-notch quintet, Noshir Mody’s musical vision is fully realized.

International Jazz Day - 30 april, 2014

Interview: John Douglas Thompson

Reprinted from http://jazzwax.com

Two Saturdays ago I went off to see Satchmo at the Waldorf, Terry Teachout's new play on Louis Armstrong at the tail end of his life. Admittedly, Terry is a close friend, but my feelings about the play weren't swayed by our relationship. To be frank, I'm still stunned by John Douglas Thompson's performance and Terry's words. John plays Armstrong as well as his white manager Joe Glaser, Miles Davis and Dizzy Gillespie in this one-man performance, and the results are miraculous. You truly sense you've spent 90 minutes with Armstrong himself—not because John is shooting for an impersonation but because he has a solid understanding of Armstrong and has channeled the essence of his personality and soul.

At the end, the audience leapt to their feet and roundly applauded John, bringing him back on stage three times. Trust me, you've got to see this thing. It's pure magic by John, brilliant direction by Gordon Edelstein and solid, necessary work by Terry. [Pictured above, from left: Terry Teachout, Gordon Edelstein and John Douglas Thompson]

Fortunately, I had a chance to ask John, 49, five questions about his performance...

JazzWax: What sort of research did you do to study Armstrong so you could portray him credibly?
John Douglas Thompson: My research has been fairly extensive and ongoing. Some of that research includes visits to the Armstrong House in Corona, Queens, as well as the Armstrong Archive Center at Queens College. I also listened to Armstrong's reel-to-reel tapes, read his letters and watched VHS tapes of Armstrong's final appearances on shows hosted by Dick Cavett, Mike Douglas and Merv Griffin. I listened to all of Armstrong's recordings, from the Hot Fives and Hot Sevens to Hello Dolly. I also watched his movies and read several biographies, with special attention to Terry Teachout's Pops: A Life of Louis Armstrong. [Pictured above, Louis Armstrong in 1970]


JW: What was the biggest physical challenge playing Armstrong?
JDT: Finding Armstrong's physicality and countenance. In the play, Armstrong is 70 years old. This is why I felt it necessary to study the VHS tapes of Armstrong's last appearances on those talk shows, so I could see how he looked and sounded.


JW: Before appearing in Satchmo at the Waldorf, how much did you know about Armstrong—and what was your impression of him?
JDT: I knew very little. I knew of Armstrong's presence, but I attached very little importance or relevance to it. He seemed to be a relic from a time gone by. I was ignorant, as many in my generation are, of Armstrong's genius and cultural contributions. However, my research into his music, movies, politics and other aspects of his life brought me up close and personal with Armstrong, giving me knowledge and most importantly, context. Now I sit at the foot of the master in awe.


JW: For those unfamiliar with the stagecraft, how tricky is it to perform a monologue for 90 minutes without a character break or other actors to feed off of to stay on track?
JDT: Performing a one-man show is the most challenging work I've ever done. It requires a great deal of mental, physical and emotional rigor. I stay on track through the physical movement of the different characters I play in the show as well as their overall story arcs. The strategy that's employed is one of simple repetition, which creates a deep familiarity with the characters and their journeys. All of this paves the way for a mind-body experience where words and movement triggers emotion and emotion triggers words and movement.


JW: One senses from your performance that Armstrong had to make a Faustian bargain—that to be perceived as exceptional to millions of Americans, he had to stand out and fit in with equal zest. In other words, audiences watching you have to feel sympathy, not pity. That’s a tough needle to thread. Much rests on your portrayal of Armstrong—creating just enough of an impression without crossing over to hammy impersonation. Was this a conscious decision on your part to avoid overdoing him?
JDT: Yes, but you have to understand the experience of working on this play. It has been one of true collaboration between me, Terry Teachout [the playwright] and Gordon Edelstein [the director]. We all made a conscious decision not to overplay Armstrong with some hammy impersonation. We wanted to present a fully dimensional and private Armstrong, allowing the man behind the smile, the man behind the horn, to finally weigh-in and be counted.

JazzWax notes: Satchmo at the Waldorf, starring John Douglas Thompson, is at the Westside Theater Upstairs at 407 W. 43rd St. in New York. Information: 212 239-6200. For tickets, go here.

- See more at: http://www.jazzwax.com/2014/03/interview-john-douglas-thompson.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+Jazzwax+%28JazzWax%29#sthash.ECYoSUUN.dpuf
Used with permission by Marc Myers

Interview: Cyndi Lauper

Reprinted from http://jazzwax.com

For my "House Call" column in today's Mansion section of The Wall Street Journal [go here or please buy the paper], I interview singer-songwriter Cyndi Lauper on her childhood home in the Ozone Park section of Queens, N.Y. My first question to her was about that community's name. "Ozone Park, yeah—a spaced-out name, I know," she said. "Figures, right?"

That's Cyndi, but she's anything but spaced out. Many people assume that her quirky, Betty Boop personality is a character—a persona that she started in the MTV era and continued over the decades as her brand. Not even close. In speaking with Cyndi at length, I found her to be a fascinating person and artist. That's actually her voice, and she speaks in sheets of sentences that roll on like a John Coltrane solo. You have to jump in and change the subject. But Cyndi isn't a rambler. What you find as you listen closely is that she's weaving large tapestries of varying textures and images. As an interviewer, you have decide how large you want that tapestry to be.

What I also noticed is that Cyndi thinks in colorful comic-book images. As she shapes her thoughts out loud, it's as if she's drawing panels to an illustrated story, and all sorts of interesting characters enter the storyline. Many of these characters are from her childhood, viewed through the eyes of a girl who found the world a strange and often synthetic place.

Cyndi also is naturally funny, and this side of her can catch you off guard. What I mean is she's incredibly funny but isn't intending to be. In other words, how she thinks just happens to be interpreted by others as funny. But to Cyndi, that's how she sees it. So when you laugh or point out how funny something is, she's baffled and doesn't quite understand what you mean. Which is a strange reaction until you realize this is who she is—the Queens accent, the out-there look and the child-like and illustrative way of thinking.

And insisting on thinking this way has had amazing outcomes. Cyndi recently won a Tony and Grammy for Broadway's Kinky Boots, and her 1983 debut album She’s So Unusual (Sony) will be released April 1 as an expanded edition [go here]. She's also joining Cher’s Dressed to Kill tour on April 23.

At the end of our chat, I couldn't help but fall in love with Cyndi—the mind, the determination, the cultural interpreter and the honest, free spirit.

Here's her 1983 video of Girls Just Want to Have Fun...

- See more at: http://www.jazzwax.com/2014/03/interview-cyndi-lauper.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+Jazzwax+%28JazzWax%29#sthash.XR1PIMjf.dpuf

Used with permission by Marc Myers

NPR Music - You Must Hear This

Welcome To Yo-Yo's Playhouse Watch the superstar cellist Yo-Yo Ma and many of his close friends from all over the world in action at a theatrical props warehouse in Brooklyn. Watch the video

FIELD RECORDINGS One Wytch, Unplugged In A Sunny Backyard The Wytches' furious, hair-flinging psych-rock isn't the stuff of back-porch acoustic sessions. But don't tell that to singer-guitarist Kristian Bell, recorded here in Austin, Texas. Watch the video

ALL SONGS CONSIDERED The Good Listener: Am I Too Old For Music Festivals? Is festival fatigue the first sign of an encroaching spiral into desiccation and death? Or is fair and natural to hit a point in life where you don't feel like it anymore? Read this story

FAVORITE SESSIONS KCRW Presents: Hozier The Irish singer shows off the depth of his abilities, reaching into his American blues influences in this live performance of "Take Me to Church" for KCRW's Morning Becomes Eclectic. Watch the video

DECEPTIVE CADENCE The Kronos Quartet: Still Daring After All These Years Four decades after its first performance, the San Francisco-based string quartet still nudges composers and audiences in new directions. Read this story

Buddy Rich - The Solos

This album is a collection of the very best live solos Buddy performed on the road in the mid to late 70s, recorded with Rich's permission by Buddy Rich Band alumnus Alan Gauvin. With over 70 minutes of pure energy captured at the prime of Buddy's career, this rare, exclusive, and all original collection is a windfall for avid Buddy Rich fans and drummers alike.

Arguably the greatest jazz drummer of all time, the legendary Buddy Rich exhibited his love for music through the dedication of his life to the art. His was a career that spanned seven decades, beginning when Rich was 18 months old and continuing until his death in 1987. Immensely gifted, Rich could play with remarkable speed and dexterity despite the fact that he never received a formal lesson and refused to practice outside of his performances.

Born Bernard Rich to vaudevillians Robert and Bess Rich on September 30, 1917, the famed drummer was introduced to audiences at a very young age. By 1921, he was a seasoned solo performer with his vaudeville act, "Traps the Drum Wonder." With his natural sense of rhythm, Rich performed regularly on Broadway at the age of four. At the peak of Rich's early career, he was the second-highest paid child entertainer in the world.

Rich's jazz career began in 1937 when he began playing with Joe Marsala at New York's Hickory House. By 1939, he had joined Tommy Dorsey's band, and he later went on to play with such jazz greats as Dizzy Gillespie, Charlie Ventura, Louis Armstrong and Gene Krupa. Rich was regularly featured in Jazz at the Philharmonic during the late 1940s. He also appeared in such Hollywood films as Symphony of Swing (1939), Ship Ahoy (1942) and How's About It (1943).

Throughout the 1960s and 1970s, Rich toured with his own bands and opened two nightclubs, Buddy's Place and Buddy's Place II. Both clubs were regularly filled to capacity by fans of the great master drummer. After opening Buddy's Place II, Rich introduced new tunes with elements of rock into his repertoire, demonstrating his ability to adapt to his audience's changing tastes and establishing himself as a great rock drummer.

Known for his caustic humor, Rich was a favorite on several television talk shows including the Tonight Show with Johnny Carson, the Mike Douglas Show, the Dick Cavett Show and the Merv Griffin Show. During these appearances, audiences were entertained by Rich's constant sparring with the hosts and his slights of various pop singers.

This famed musician received outstanding recognition throughout his career. The Downbeat Magazine Hall of Fame Award, the Modern Drummer Magazine Hall of Fame Award and the Jazz Unlimited Immortals of Jazz Award are just a few of his numerous honors. Rich gained international attention for such master compositions as his 10-minute West Side Story medley. During his lengthy career, Rich toured around the globe, performing for millions of fans and several world leaders including the King of Thailand, King Hussein of Jordan the Queen of England, and U.S. presidents Franklin Roosevelt, John F. Kennedy and Ronald Reagan.

On April 2, 1987, Rich died of heart failure following surgery for a malignant brain tumor. Longtime friend, Frank Sinatra, spoke a touching eulogy at Rich's funeral. Today, Buddy Rich is remembered as one of history's greatest musicians. According to jazz legend Gene Krupa, Rich was "The greatest drummer ever to have drawn breath."
Read more: https://www.presskit.to/buddyrich#about

Bill Holman - Mel Lewis Quintet 1958 ~ Jive For Five

Recorded: Radio Recorders, Hollywood, California June 6, 1958

Personnel: 
Bill Holman - Tenor Sax
Lee Katzman - Trumpet 
Jimmy Rowles - Piano
Wilford Middlebrook - Bass
Mel Lewis - Drums

Bill Holman: Jive for Five

Reprinted from http://jazzwax.com

In the 1950s, Bill Holman was largely a mighty big band saxophonist and arranger. But occasionally, he broke away and led sensitive small-group recording sessions. In May and June of 1958, Bill recorded with a quintet for Hollywood's Andex Records, a Keen subsidiary founded by John and Alex Siamas in 1957. John Siamas had made his money in the aerospace industry and started a series of short-lived labels as a business hobby. The labels didn't last long.

The small-group album was Jive for Five and featured Lee Katzman (tp), Bill Holman (ts, bar), Jimmy Rowles (p), Wilfred Middlebrooks (b) and Mel Lewis (d). What makes this album special are the tasteful and subtle instrumental personalities of each player and the fact that we can hear them all distinctly. Here, Bill is out in the open and his sound and solos are delightfully exposed. You get to fully appreciate Bill's big, confident, smokey tone and how artfully he navigates his solos.

Katzman [above] isn't especially well known by East Coast jazz fans but he was a huge, tangy presence in Stan Kenton's orchestra of the 1950s. On this quintet date, he blows a soft-sizzling horn. Katzman, who wound up a member of the Baja Marimba Band in the '60s, died last August. Rowles, Middlebrooks and Lewis add luster and lushness to the tracks. Middlebrooks is also little known—he appeared on only 54 career sessions from 1950 to 1992, but mostly with Ella Fitzgerald in the '50s and pianist Paul Smith and drummer Frank Capp on Smith's leadership dates in the '60s and beyond. He died in 2008 at age 74.

On each of the six tracks, Bill's conversational cool and Katzman's delicate heat, supported by the breezy rhythm section, capture your ear as though all were seated around a dinner table swapping terrific stories. Bill not only knew what to say, he also knew whom to invite to the party. To this day, Jive for Five remains a perfect album.

JazzWax tracks: You'll find the impossibly beautiful Jive for Five for $5.94 here.

JazzWax clips: Here's Bill and the group on Jive for Five...

- See more at: http://www.jazzwax.com/2014/03/bill-holman-jive-for-five.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+Jazzwax+%28JazzWax%29#sthash.g5xgQoWU.dpuf

Used with permission by Marc Myers

Eight Track – Dave Stryker

Frank and Ella - Lady Is a Tramp

NPR Music - You Must Hear This

FIRST LISTEN First Listen: Thievery Corporation, 'Saudade' In contrast to what often grabs attention in electronic dance music, the duo's seventh album is calm, serene, uncluttered and defiantly warm. Stream the album

FAVORITE SESSIONS KEXP Presents: Angel Olsen The singer-songwriter and her band visit the KEXP studios for an intense and incendiary set of songs from her new album, Burn Your Fire for No Witness. Watch the video

MUSIC INTERVIEWS Skrillex, The Darling Of Dubstep, Speaks In an extended chat with NPR's Arun Rath, the DJ and producer breaks down his unconventional release strategy, collaboration process and how he turned "brostep" from a dirty word to a badge of honor. Read this story

MUSIC NEWS Lost Album Gives Voice To A Johnny Cash In Recovery Fresh out of rehab and a rocky point in his marriage to June Carter, Cash recorded an album in the early 1980s that his fans never got to hear. Read this story

TINY DESK CONCERTS Joseph Calleja: Tiny Desk Concert He's a young tenor with an old-school style and all the world's top opera houses want him. Calleja's expressive shading and dynamic control hearken back to an earlier era — and he's funny. Read this story

Remembering Duncan Schiedt

PHOTO BY MARK A. LEE // MURAL BY PAMELA BLISS

Posted by Kyle Long on Mon, Mar 24, 2014 at 2:57 AM
Last week, Indiana lost an important figure in Hoosier jazz history when jazz photographer Duncan Schiedt passed away at the age of 92. Schiedt was a talented photographer whose work captured iconic images of many Indianapolis jazz luminaries. Schiedt was already well established behind the lens when he moved to Indy in the 1950s, having spent the decade prior photographing jazz royalty like Louis Armstrong and Sidney Bechet. 

In addition to his work as a photographer, Schiedt also authored a few significant titles on jazz history, including Ain't Misbehavin' an early biography of Fats Waller (1950) and Jazz State of Indiana (1977) a pioneering work on the development of Hoosier jazz. 

I spoke with another notable Hoosier jazz photographer Mark Sheldon about Duncan Schiedt's life and work in jazz music.

NUVO: Can you share some of your thoughts with us on Duncan Schiedt as both a person and an artist?

Mark Sheldon: I think most people know Duncan for his work with jazz musicians, but prior to that he did some photography and film work for the armed forces. He was sent to document the atomic bomb tests in the Bikini atoll. He also wrote some books and he was a very good pianist in the traditional swing jazz style.

People throw around the term renaissance man these days without really understanding the definition. But Duncan was really that guy. He was a photographer, a filmmaker, a researcher and a musician. He did a lot of things very well.


NUVO: What makes Duncan's work historically important? Was it purely his technical skill, or his knowledge of jazz guiding him to be at the right place at the right time to capture a moment?
Read more: http://www.nuvo.net/ACulturalManifesto/archives/2014/03/24/remembering-duncan-schiedt

After Carnival comes jazz

Published: Monday, March 24, 2014
After Carnival, jazz lovers look forward to Production One Ltd’s Jazz Artists on the Greens (JAOTG) event. 

The 2014 edition takes place on April 5 at its usual picnic spot, the Greens at Farm Road in St Joseph.

According to a release from the organisers, the show has expanded over the years to become the fastest growing jazz event of the region. The major feature of the show is the discovery of Caribbean jazz music in a multitude of flavours, styles and genres. 

This festival has attracted some of the best Jazz performers from across the Caribbean and the wider Caribbean diaspora. Performing acts have included legendary local jazz trumpeter, Errol Ince; saxophonist, Arturo Tappin of Barbados; Trinidadian trumpeter Etienne Charles; the “Paganini of Pan”, Liam Teague; Raf Robertson; ace Trinidadian pan soloist Dane Gulston; Nilson Matta, one of Brazil best bassists; jazz pianist Klaus Mueller, Asheville-based steel drummer Jonathan Scales; Cuban vibraphone exponent, Tamara Castañeda; Trinidad-based music ensemble élan parlé; and the William Roblejo Trio of Cuba.

2014 will feature an equally exciting cast of local and international artistes, with a full stage of scintillating jazz fusion music, featuring Barbadian vocalist, Marisa Lindsay; UK-based jazz guitarist, Cameron Pierre; pan virtuoso, Ken “Professor” Philmore; Cuban saxophonist Emir Santa Cruz and his Espiral Trio; and Berklee College of Music graduate, vocalist, Nyol Manswell of T&T.
Read more: http://www.guardian.co.tt/entertainment/2014-03-23/after-carnival-comes-jazz

POSTMODERN Spirituals: The Promised Land

NEW CD RELEASE 03/25/14
POSTMODERN SPIRITUALS: THE PROMISED LAND
Music by Tyrone Birkett | Emancipation

Saxophonist Tyrone Birkett has synthesized his mentorship by jazz greats Frank Foster and Budd Johnson, years toiling in black church sanctuaries and 70s soul-jazz into a distinctive fusion. An “outsider” artist not common to the jazz scene, not considering himself a jazz musician in the strictest sense, he has nonetheless developed a powerful lyrical sound with shades of post-Coltraneisms, jazz sensibilities and an idiosyncratic but musical melodic sense. A composer and conceptualist as well, he has created “Postmodern Spirituals”, a retelling of the Negro freedom song. Created as a voice for freedom in contemporary times, by re-imagining and reviving the Negro spiritual.

Postmodern Spirituals: The Promised Land is the first presentation of the Postmodern Spiritual concept, featuring saxophonist Tyrone Birkett with vivid compositions that vary from the funk-driven epic “The Departure”, commencing with a bold declaration, an overture of sorts for the project. Vocalist Paula Ralph-Birkett gives the statement of purpose which flows into a sax solo that "preaches the message". Other selections range from a re-imagining of the Negro Spiritual "Motherless Child' revived by a soulful vocal rendition, funky underpinning and new arrangement, "Strength" with a determined vocal delivery by Paula Ralph-Birkett and a unyielding sax solo by Tyrone Birkett.

Then a modern re-creation of a slave’s sorrow song, the heartfelt ballad “Deep River”, (which is heard in the 1929 film version of "Showboat"); the impressionistic “Freedom Dreaming” ; ending with the haunting “The Promise” with a melody inspired by Wayne Shorter featuring a passionate solo by bassist John Benitez, round out the album.

Together these songs suggest a revitalizing of the classic “CTI” sound with its blending of soulful sophistication, added by a rich and imaginative harmonic palette and curious usage of form.
The message of the music is translated through the lyrics and melody that can be described as “neo-folk” in its character underpinned at times by modernistic
harmonic structures. Presented with a versatile and able cast of musicians, this recording promotes the notion of freedom in word and deed, style and substance.

From Brazil to New Orleans

Charlie Dennard has arranged a collection of Brazilian songs for an eclectic band of New Orleans jazz musicians to create a unique sound — a blend of New Orleans and Brazilian jazz that defies category. New Orleans second-line rhythms mix with boogaloo. Vibrant brass band horns mix with Latin percussion. Mellifluous contemporary jazz piano mixes with cello. And ambient electronica mixes with an improvisational jazz quartet and an angelic, classic female Brazilian voice. The result is truly an album – a diverse set of Brazilian folk songs and contemporary Brazilian compositions crafted into a coherent whole thanks to Dennard’s vision and a stellar group of players from the New Orleans jazz scene.
http://www.charliedennard.com

A Great Jazz Event in March

Starring Bria Skonberg, the sensational young trumpeter and vocalist familiar to NJJS members and her quintet with special guest Tia Fuller, an outstanding alto saxophonist who has toured with Beyoncé and Esperanza Spalding.

Jazz musician honors formative influences

By AMY FLETCHER-Associated Press
Saturday, March 22, 2014
JUNEAU, Alaska (AP) - Robert Cohen clearly remembers the first jazz song that grabbed him by the ears: Art Blakey’s “Split Kick,” from the 1954 Blue Note release “A Night at Birdland Vol. 1,” which he heard on the radio as a teen in the late ‘70s.

“It’s maybe not the first jazz song I ever heard, but it’s the one that woke me up to jazz, where I just realized the beauty of it, the dexterity required, and the sheer amount of energy that a jazz song can produce,” Cohen said. “Sometimes a song just catches you at the right moment and you never forget it.”

Cohen’s response to Blakey’s song has never really ended, it’s only grown deeper. Nearly 40 years later, this well-known local jazz musician and music teacher is both an artist and a fan who has become intimately familiar with the remarkable tunes he heard as a New Jersey teen. Last week, Cohen and five friends presented a selection of those songs, including “Split Kick,” at the Gold Town Nickelodeon as part of the KRNN Spotlight Music Series.

“My criteria for these choices was personal favorites, tunes I’ve loved all my life, but with an ear for what I thought could be presented well to an audience, and would be fun for a larger group of musicians to play and enjoyable to hear.”

Joining Cohen on stage was frequent collaborators and longtime Juneau musicians Clay Good on drums and Doug Bridges on sax, as well as more unusual bandmates Mike Bucy on trombone and Alexei Painter on bass. Guest artist Dale Curtis of Ketchikan, whom Cohen met several years ago during an informal jam session at Doc Waters, rounds out the sextet on trumpet.

Read more: http://www.washingtontimes.com/news/2014/mar/22/jazz-musician-honors-formative-influences/?utm_source=RSS_Feed&utm_medium=RSS#ixzz2wrFTqvi8 
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NPR Music - JAZZ

First Listen: The Bad Plus, 'The Rite Of Spring' A jazz trio plays the score to Igor Stravinsky's gloriously noisy, 101-year-old fever dream of a ballet as literally as possible — and still manages to sound like itself. Read this story

MUSIC INTERVIEWS Ambrose Akinmusire: 'Music Can Tell You What It Wants To Be' One of the most talked-about names in jazz, the 32-year-old trumpeter is more auteur than star. In an extended interview, he explains why it's crucial to let his collaborators think for themselves. Read this story

MARIAN MCPARTLAND'S PIANO JAZZ Andrew Hill On Piano Jazz With his heady, bop-rooted explorations of improvised music, pianist and composer Hill stretched the boundaries of jazz. He demonstrated his mastery of melody, rhythm and technique in a 2005 session. Read this story

MARIAN MCPARTLAND'S PIANO JAZZ Nadine Jansen On Piano Jazz Marian McPartland joins the pianist and horn player in "Yesterdays" and "Nadine's Blues" in 1988. Read this story

JAZZSET WITH DEE DEE BRIDGEWATER 'Two Skirts And A Shirt' On JazzSet Rene Marie, Allan Harris and Carla Cook are in sweet harmony with a message in this concert from the KC Jazz Club in Washington, D.C. Read this story

Ragan Whiteside....

Photo: www.thesourcesmoothjazzradio.com
Flutist, vocalist, and songwriter, Ragan Whiteside is taking the Contemporary Jazz world by storm.  With her unique style and soulful vibe, this triple threat is bringing the flute back into mainstream focus.

Ragan began her musical journey at the very early age of 5. She played the piano, drums, and the violin, but found her true love in playing the flute. From there she went on to study classical music.

Ragan’s passion for music lead her to realize another new love: Songwriting and Arranging. After winning numerous competitions in both performance and music composition she decided to further her music studies and attended the Cleveland Institute of Music and the Harid Conservatory, where she earned a Bachelor of Music-Performance degree.

After graduating, Ragan returned to New York to begin her career as a professional musician and immersed her composition abilities within the genres of Jazz, Funk, and R&B. After winning the Capital Jazz New Artist Competition, she released her debut album, Class Axe in 2007. Since her debut album, this award winning artist has developed a heightened focus in the writing, producing, and editing process of her sophomore release, Evolve. Evolve showcases not only her melodious musicianship as a flutist, but her sultry vocals and soulful compositions. Under the direction of her highly acclaimed producers/arrangers, Dennis Johnson and Bob Baldwin, Ragan showcases her high energy and expansive musical abilities. Her versatility is heard throughout the CD on such sultry songs as Livin’ Lovin’ and Mean to Me which she co-wrote. In her up-tempo R&B duet, On the Dance Floor, she teams up with legendary vocalist Porter Carroll Jr. (original member of Atlantic Starr) and continues to craft her own unique style.

Taking  her refreshing and vibrant flute sounds to newer heights, Ragan has collaborated with an array of veteran contemporary jazz artists, including Chieli Minucci, Marion Meadows, Bob Baldwin, the afore mentioned Carroll and Chembo Corniel (Latin Jazz Grammy nominee). The featured guests add brilliance and extraordinary vibes to Evolve’s organic listening experience. Her remake of the Ohio Players’ 1975 hit, Sweet Sticky Thing, merges old-school funk with the flutist’s signature brand of “boom bap.”

With this widely anticipated recording, this soulfully carefree artist surfaces clearly, rising to the top of her generation of musicians. Fusing traditions, styles, and unafraid of pushing the envelope, Ragan’s crafty arrangements and edgy music transcends genre boundaries and marks a new era of contemporary jazz, neo soul and funk.

Bob Baldwin describes Ragan by saying, “She not only has THE silkiest and sweetest flute tone in the business, but her tenacity and desire to be recognized in Urban, New-Soul AND smooth jazz genres makes her a musical force to be reckoned with!! Mark my words!”

Evolve is an example of what makes Ragan a triple threat to watch for on the music scene as she constantly evolves. Her new disc, Evolve, will be available on iTunes, CD Baby, Amazon and major retail outlets.
- See more at: http://www.raganwhiteside.com/bio/#sthash.VKHtYLBU.dpuf

A young Chicago jazzman takes on Langston Hughes

(Chris Walker / Chicago Tribune / March 17, 2014)
Howard Reich
3:34 p.m. CDT, March 18, 2014
Few poets have captured the feeling of jazz – its rhythms, its cadences, its sense of freedom – more lyrically than Langston Hughes. The music courses through his words, which carry backbeats and melodies as seductive as those in any solo by a great jazz saxophonist.

Which is why jazz musicians long have been drawn to Hughes' writing. The latest is a young Chicago pianist who in the past few years has immersed himself in Hughes' work. So for Stu Mindeman's recording debut, "In Your Waking Eyes," he has convened some of the city's best musicians to perform his original settings of 11 Hughes poems.

That's an ambitious project for any jazz musician and a bold one for a 26-year-old making his first statement on disc. But Mindeman mostly pulls it off, applying Hughes' ineffably expressive words to melodies, syncopations and chord changes that somehow evoke the poet's Harlem Renaissance era but also ours, as well.

None of which would have been possible were it not for the jazz and blues sensibility that pervades so much of Hughes' writing.

"If you just read it out loud, it sounds like a swinging bebop line or a funky R&B melody or a blues melody – that's one of the reasons it translates so well," says Mindeman, who will perform this music Wednesday evening at eta Creative Arts Foundation and April 10 at Constellation.

"Also, he himself spent a lot of time with jazz musicians. I found a great recording of him reading an hour's worth of his own poetry with Charles Mingus' band. … It was really cool to hear him, because he was very animated – huge dynamic contrasts in his reading.

"For him, it wasn't only (about) the imagery and the words and the emotions but also the musicality of the words themselves and the sounds of the syllables. And you could tell from him reading the poems that that was how he thought about it as well."

By choosing to create songs embracing Hughes poems such as "Drum," "Africa," "Song for Billie Holiday" and "Blues at Dawn," Mindeman reminds listeners of the deep cultural pride that radiates from Hughes' poetry. Yet these pieces also underscore one unavoidable fact: Mindeman is viewing Hughes' work as an outsider.

"I'm a Caucasian American, my life experience is inherently different than Langston Hughes' was," Mindeman is quick to acknowledge. "One thing I learned from (him), and it's in his poetry: He has profound faith in his own heritage and a devotion to his heritage, and I wanted to respect that.

Read more: http://www.chicagotribune.com/entertainment/music/ct-langston-hughes-20140319,0,5393653.column