HQ Emily Bear Jazz Trio live concert 9 aug 2014
"Q", Araignee. Nothern Light, My Favorite Things
Emily Bear (12) play piano and composing from the age of 2
At age 3 she composing real peaces on the piano
At age 4 she rea]eased her first songbook in a professional setting with own compositions.
At age 5 she composing also for Symphony Orchestra, released her first album and made her debute as concert pianiste with a concert at Ravinia Music festival. Emily released 6 albums between age 5 - 11. The sixth album was co-produced by Quincy Jones
Emily was also broadcats on tv at age 5.
Emily composing not only Classic, but also Jazz, and other music styles. Also composing Emily for (Ice) Dans, Commercials and Film,)watch emilybearpianon for a few films)
Emily got from the age of 6 diverend awards for her compositions, her music and her talent.
Video: Emily bear makes Music History
Saturday, August 30, 2014
Emily Bear Jazz Trio - Happy BirthDay Emily
Karrin Allyson - Vivo sonhando
Karrin Allyson live at San Javier Jazz festival, 2008
From: https://www.youtube.com/watch?v=-msAjws66g4
The Vail Jazz Party brings non-stop music to Vail through Monday
Rosanna Turner
Daily Correspondent
Depending on how you feel about the genre, 35 hours of listening to jazz sounds like either a dream come true or a great way to cure insomnia.
“People think they don’t like jazz,” said part-time Vail resident and longtime jazz fan Rosemary Heller. “(But those) people have never really been to a jazz performance. I think it’s really important to see live jazz performed so that they can see the interaction between the musicians, see how exciting and dynamic it is to see music created right in front of them.”
This Labor Day weekend, jazz will be played and made live from early morning to late evening during the Vail Jazz Party, which closes out the Vail Jazz Festival’s 20th anniversary summer. The Vail Jazz Party lives up to its name with concerts, tributes, jam sessions and more for a five-day, non-stop jukebox of jazz music. There’s a song or a riff for everyone at the Vail Jazz Party, and for the hardcore fans, the difficult part isn’t deciding what to attend, but what one must leave out.
“People always say to me, ‘There’s so much’,” said Howard Stone, chairman of the board and artistic director of the Vail Jazz Festival. “They almost get crazed about it. I advise people to take the program and pick the stuff that really looks interesting to you. Out of the 35 hours of music over the weekend, you could choose to listen to 10 or 15 hours. A lot of people during the daytime will come to the tent and they’ll listen to an hour or two of music, then go for a hike, then come back and listen to more music.”
read more: http://www.vaildaily.com/news/12773824-113/jazz-vail-music-party
WBGO.org - 88.3 FM
Relive the Montreal Jazz Fest 2014 With WBGO
Montreal lives, breathes, and loves jazz every July, when millions of fans and hundreds of acts take over the city - and so does WBGO, especially host Michael Bourne, who has attended...more
WBGO Blog image
Bourne's Montreal: Dueling Finales
When the first Montreal jazz festival played in the streets back in 1979, neighbors nearby complained about the noise. This year's 35th anniversary FIJM ended with a bang. A really...more
Bill Mays
Pianist Bill Mays' "Stories Of The Road": Listen...
Pianist Bill Mays talks with Gary Walker about Stories Of The Road, his new memoir that chronicles his five decades as a performer, composer and arranger, working with everyone from...more
Justin Kauflin - For Clark - 47th Montreux Jazz Festival
Justin Kauflin performing "For Clark" at the 47th Montreux Jazz Festival.
Don't forget to subscribe for more exclusive videos: http://bit.ly/GzElZS!
Justin Kauflin performing "For Clark" at the 47th Montreux Jazz Festival for The Official European Quincy Jones 80th Birthday Special in Tribute to Claude Nobs.
The official Quincy Jones Productions video channel on YouTube.
An impresario in the broadest and most creative sense of the word, Quincy Jones' career has encompassed the roles of composer, record producer, artist, film producer, arranger, conductor, instrumentalist, TV producer, record company executive, magazine founder, multi-media entrepreneur and humanitarian.
As a master inventor of musical hybrids, he has shuffled pop, soul, hip-hop, jazz, classical, African and Brazilian music into many dazzling fusions, traversing virtually every medium, including records, live performance, movies and television.
Visit the official Quincy Jones website:
http://www.quincyjones.com
from: https://www.youtube.com/watch?v=pu5w4zBGPiY&index=2&list=PL0TCDnWCIGyZUqEYVu0vJB6GQ-QNGkOfe
NPR Music - You Must Hear this
ALT.LATINOSongs As Soundtracks To The Story Of Latin Life
This week on Alt.Latino, hear a Mexican legend, a mesmerizing French-Cuban duo and much more.
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MUSIC INTERVIEWSCory Branan: A 'No-Hit Wonder,' Making Small-Batch Country Music
Branan's lonesome road anthems aren't likely to make him a Top 40 star. He tells NPR's Melissa Block he's learned to be content playing a smaller game.
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Andreas Varady and George Benson: One jazz stage for two of a kind
By Roger Catlin August 29 at 10:44 AM
Of the two effortlessly breezy jazz guitarists playing Sunday’s George Benson concert at Wolf Trap, one will be 71 years old, the other 17.
Andreas Varady, who will open the show, has been a fan of Benson since he was 4, when he started playing guitar — “more like a ukulele with six strings,” he says over the phone from his home in Dublin.
But the guitarist, who picked up the instrument from his musician father, picked it up very fast. By the time the family moved from Slovakia to Ireland, he got attention busking on corners, doing runs on old standards at age 10.
“People really enjoyed it,” he says of the street-corner playing. “There were people circling us and it was really, really fun.”
Just as important was the circle gathering on the Internet, where several of his YouTube videos showing an impossibly young boy with complete command of the fretboard drew more than 100,000 views each. Eventually he got the ear of producers, managers, festival runners and other musicians.
When Quincy Jones got a load of what he was doing, Varady was enlisted to join his Global Gumbo Group project with Cuban pianist Alfredo Rodriguez and vocalist Nikki Yanofsky.
Jones, who has produced work from Lionel Hampton and Frank Sinatra to Michael Jackson, is co-producer (along with another Grammy winner, David Foster), of Varady’s self-titled U.S. debut, out this month on Verve Records.
The teen musician gives his jazzy take on songs from Django Reinhardt to Steely Dan, with one of his own compositions thrown in.
read more: http://www.washingtonpost.com/entertainment/music/andreas-varady-and-george-benson-one-jazz-stage-for-two-of-a-kind/2014/08/28/c082171c-2a47-11e4-8b10-7db129976abb_story.html?wprss=rss_style
The Virtuoso Tour
Musical tour is sponsored in part by the Feature Film, ‘The Virtuoso’ starring Randy Travis, James Dupré, Randi Thompson, Larry Jack Dotson, Todd Terry, Bryan Massey & more.
‘The Virtuoso Tour’ is in honor of the feature film starring the Virtuoso himself, Mr. Randy Travis, which opens in select theaters Thanksgiving weekend.
Original music from the film and performances by:
James Dupré (Warner Music), Brandon Rhyder
Dempsey Pullen & Union Hill, Priscilla Kay, Justin Bell and more!
A nationally-touring headliner based in Austin, Texas, John O’Connell has been performing standup comedy at clubs, colleges and festivals in the U.S., Canada and U.K. for over 25 years. With appearances on ABC, NBC, Comedy Central and multiple films, his diverse appeal has allowed him to share the stage with a wide range of performers from Dave Attel to Dolly Parton. A multi-talented artist, O’Connell has written, produced and acted in several feature films and television shows. He’s a staple in the stable of Ron “Tater Salad” White, and has toured extensively with the Blue Collar comedian, opening shows and writing for Ron’s CMT “Salute to the Troops” and other television projects. John also wrote, shot and directed over 30 episodes of Ron’s award-winning web series “The Rontourage.”
Tom Hester
Thursday, August 28, 2014
Ken Hanna: 'Jazz for Dancers'
Reprinted from http://jazzwax.com
As record-industry profits surged in the mid-1950s with the introduction of the 12-inch LP and advent of fancier phonograph consoles, labels upped their recording quotas. A higher total number of albums needed to be recorded by year's end meant producers taking a few extra risks, especially in the New York and Los Angeles studios. As a result, the decade is dotted with all sorts of obscure recordings, some terrific and others not so much. Admittedly, there were plenty of dreadful attempts to merge Easy Listening with swing or suburban-Polynesian with Catskills-Latin. But there are plenty of brassy gems still out there among the scattered dinosaur bones of the big-band studio era.
One of these gems was recorded by trumpeter-arranger Ken Hanna in April and May 1955 for Capitol as part of the solid Kenton Presents series. Called Jazz for Dancers, the album's title, like many in the "for dancers" genre, hoped to put record-store buyers at ease. "For dancers" was code for brassy but still swinging and that the music was easy to dig, requiring no mental heavy lifting.
The band on this Los Angles date featured Ken Hanna, Art Depew, Joe Dolny, Ralph Osborn, Bob Rolfe (tp) Stan Malley, Dick Nash, Roy Main (tb) Jay Cooper, Dick Houlgate (as) Bob Hardaway (ts) Bart Calderall (ts,sop) Lennie Mitchell (bar) Joe Felix (p) Jim Hall (g) Ralph Pena (b) Mel Lewis (d) Sherli Sonders (vcl). Graham Young (tp) and Dave Wells (tb,b-tp) replaced Osborn and Main on I Cover the Waterfront, Penthouse Serenade, Shakedown, I Cabn't Believe that You're in Love With Me, Let's Fall in Love and Trumpicale. [Above, from left to right: Bill Jurney (tenor), Lennie Mitchell (baritone), Ken Hanna (arranger), Bob Hardaway (tenor), Bart Caldarell (soprano) and Bobby Drasnin (alto).
Hanna was an arranger for Kenton in the 1940s and early '50s. His charts included Begin the Beguine, How Am I to Know, Durango, September in the Rain, Where Or When andSomnambolism. In the 1950s, Hanna freelanced and presumably wound up as a studio ghostwriter for bigger-name arrangers at Capitol who found themselves inundated with LP work and TV studio charts to write. [Above, photo of Ken Hanna with Shirli Sonders at Capitol by Howard Lucraft/CTSImages]
Hanna recorded only three albums as a bandleader. In addition to Jazz for Dancers, he privately recorded Jazz Dance Date, a live broadcast in Los Angeles in 1953, andThe Bright New Orchestra for Hollywood's Trend label in 1954.
As Jazz for Dancers shows, Hanna was a master of the big build and had many sophisticated section tricks up his sleeve. You can hear his big and clever brass-centric style on many of the arrangements here, including Let's Fall in Love, Shake Down and I Cover the Waterfront. Hanna died in 1982.
JazzWax clips: Here are three killer arrangements from the album...
JazzWax note: For more on Shirli Sonders, go here. For more on Ken Hanna and his arrangments, go here (scroll to the bottom).
Used with permission by Marc Myers
The Tom Dempsey / Tim Ferguson Quartet
"[The Tom Dempsey/Tim Ferguson Quartet] share an economy of style and a clarity of expression, which help to make this recording (Dempsey and Ferguson's third co-led venture) so consistently rewarding." - Scott Albin, Jazz Times
English band Adult Jazz talks to Salon about music,
“The idea that we are entitled to free music from bands is perhaps dangerous”
SARAH GRAY, aug 28, 2014No singular sound defines the English band Adult Jazz. Their homeric tracks move through musical chapters, guided by singer Harry Burgess’ lolling melodic voice. There are off-kilter beats reminiscent of Dirty Projectors, and hints of influence from the iconic English band Wild Beasts. However, these are just fleeting comparisons that can hardly encompass the nine sprawling songs that comprise Adult Jazz’s debut album, “Gist Is,” which came out on Aug. 4. There is only one song that falls below the five-minute mark.
The members of Adult Jazz never intended on musical fame, though they were always compelled to make music. The album, “Gist Is,” was written over a period of three years, born from an instinctive need to create. Three members — Harry Burgess, Tim Slater and Steven Wells — began recording music while studying at Leeds University in England, adding member Tom Howe after performing several live shows. Burgess still has his day job as a teacher, and plans to balance teaching with the new demands of touring and performing.
read more: http://www.salon.com/2014/08/27/the_idea_that_we_are_entitled_to_free_music_from_bands_is_perhaps_dangerous/
Wednesday, August 27, 2014
Bird With Strings: Live
Reprinted from http://jazzwax.com
This Friday marks the 94th anniversary of alto saxophonist Charlie Parker's birth. Parker, who was nicknamed Yardbird or Bird for short, invented a new jazz style in 1945 with Dizzy Gillespie and a handful of other artists in New York. The form—which would become known as "bebop"—was the first post-war jazz style to rely on personal instrumental expression rather than traditional entertainment values. Improvisation and the invention of new melody lines using the chords of existing songs were key, and bebop practitioners often played at breakneck speeds and with exemplary dexterity and grace, wowing seated club audiences who had paid to listen and marvel rather than dance. [Above, Charlie Parker in 1954, by Eliot Elisofon for Life]
By 1949, Parker's agility, influence and popularity had grown so sizable that producer and record company owner Norman Granz decided to pair him with a string section. The jazz-pop fusion was an attempt to sweeten Parker's attack and leverage his yearning sound to appeal to a larger slice of the market that could afford multiple 78s known then as "albums." [Above, Charlie Parker with Flip Phillips, by Dennis Stock]
In all, Parker recorded on four different dates with strings in a studio setting—the accidental Repetition session in December 1947 with Neal Hefti, the Charlie Parker with Strings session in November 1949, the follow-up session with strings in July 1950 and the Autumn in New Yorksession of January 1952. Parker was so enthralled with strings that he frequently performed in concert with them after 1949, viewing them as both an appropriate frame for his bluesy sound and a high-culture bridge to classical music, which he loved.
One of the most extensive of these live dates was recorded at the Rockland Palace Dance Hall on 155th St. and Frederick Douglass Blvd. in Harlem on September 26, 1952. The concert was held to help raise funds to seek amnesty for Benjamin J. Davis, an American Communist party official and former city council member who was serving five years after being convicted in 1949 for advocating the forcible overthrow of the government. A two-year appeal had kept him out of prison, but when the appeal failed and he was incarcerated in Indiana, an amnesty drive was launched. Davis would be released in 1954 after serving three years and four months and was highly regarded in Harlem for his campaign against segregation and discrimination.
What makes this recording special is the length of the concert (31 tracks), with a majority recorded with strings. Some songs appear here with strings for the first time, including Stardust and Gold Rush (also known as Gerry Mulligan's Turnstile).
For years, collectors knew only of the poor-quality "audience" wire recording made by someone in one of the seats, possibly Parker's wife, Chan. But in the 1990s, a new tape of the concert was discovered that had more remarkable sound, though solos by other musicians had either not been taped or were spliced out. Jazz Classics, the label, brought the two together. [Above, Charlie Parker at Birdland in 1951, by Marcel Fleiss/CTSImages.com]
If you dig Bird with strings and have long wished there was more to enjoy, you'll find plenty in the Rockland concert recording—further evidence of Parker's powerful love affair with the Great American Songbook and examples of him elevating his own songs and Gerry Mulligan's Turnstile to the same lofty level. You'll also hear Bird doing what he did best—playing the songs you know from the string sessions but with different intros and approaches. A fascinating study of innovation.
JazzWax tracks: There are two CDs that feature this
concert material. Unfortunately, they all cost a fortune (see here andhere). However, I did find a download of many of the tracks from the concert in two parts here and here.
concert material. Unfortunately, they all cost a fortune (see here andhere). However, I did find a download of many of the tracks from the concert in two parts here and here.
JazzWax clips: To give you a taste of the album, here's Stardust, featuring Parker with strings...
Here's Gerry Mulligan's Gold Rush...
And here's Lester Leaps In, without strings but with Walter Bishop, Jr. (p), Mundell Lowe (g), Teddy Kotick (b) and Max Roach (d)...
Used with permission by Marc Myers
NPR Music - You Must Hear This
FIRST LISTENFirst Listen: Blonde Redhead, 'Barragán'
The last decade has seen a marked softening in Blonde Redhead's sound, to the point where the quietest moments on Barragán don't sound like songs so much as vapors infused with tunes.
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Tuesday, August 26, 2014
Jazz On The Screen: A Jazz And Blues Filmography
By David Meeker
By AAJ STAFF, Published: August 25, 2014
The cultural, sociological and technical histories of jazz and motion pictures have run in parallel, sometimes intersecting, lines ever since both forms emerged at the end of the nineteenth century. Neither found it easy to be accepted as a legitimate form of personal or artistic expression. The early days, spent at the very fringes of respectable society, were difficult in each case.
Film grew up in vaudeville houses, traveling fairgrounds, and penny arcades, jazz in the lower depths of New Orleans and the Mississippi Delta. Few supposedly respectable people dared to be seen at screenings and performances in those first years. In the 1920s jazz and film both faced the tremendous challenge of the electric recording revolution. They slowly and painfully adapted themselves, eventually growing to freedom, maturity and respectability until finally they were acknowledged to be two of the most important and influential cultural forces in our civilization.
It could be thought ill advised for any one person to state quite categorically exactly where and when the history of "Jazz on the Screen" should begin for the sands shift as our knowledge of history unfolds. There were certainly plenty of appearances by jazz groups and individuals in silent pictures.
The golden days of silent films were the 1920s; not for nothing were those days also known as The Jazz Age for, although the word Jazz in that context covered a much wider area than that of the music that we know today, it was a period when the music started to achieve the popularity that was to become so huge later on, when pre-electric jazz recordings became standard display items on record shop counters, when jazz bands became the centre of the evening's entertainment at dances and social occasions.
The cinema was, as always, quick to catch on to this new phenomenon, portraying an endless stream of flappers and their beaus gyrating madly to a succession of jazz or dance bands in literally dozens of movies. Few of these bands and the individual musicians in them have ever been identified or ever will be.
In the silent days the bands would actually have been playing for the dancers on set, so they were comprised of genuine performing musicians, whereas in all but very early sound films the musicians, more often than not actor-musicians or sideliners, as they were later to become known, would be miming to pre-recorded tracks. A few name personnel working at this time can, however, be identified. Mutt Carey's Liberty Syncopators, for instance, are clearly playing for the dancers in LEGION OF THE CONDEMNED (1928). Speed Webb and his Orchestra were active at the Fox Studios and can be seen in several features including RILEY THE COP (1928).
read more: http://www.allaboutjazz.com/jazz-on-the-screen--a-jazz-and-blues-filmography-by-david-meeker.php#.U_zvL0udp3g
The Jazz Connect Conference ....
With a theme of “Strength Through Community” the conference will again bring together a wide cross-section of the jazz community for 12 workshops and 5 plenary sessions, on a variety of ttimely and engaging subjects. Moderators and panelists include an impressive cross-section of artists and professionals. Returning this year will be an "Ask the Experts" networking session enabling emerging artists and professionals to connect and get informed input on their own careers and operations.
read more: https://sites.google.com/site/jazzconnect2014/
Shailah Edmonds is clearly a jazz singer,....
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She is currently kept busy, singing at various upscale venues in the New York City area, as well as private events. For this show, She will be singing jazz standards from Ellington to Porter, from her new CD entitled, "Moonlight Magic", which will also be videotaped. Inspired by Ella, Billie, Dinah, Natalie and other legendary jazz vocalists, Shailah has developed her own style, with an incredibly smooth phrasing technique. She will be accompanied by some of New York's best musicians, on piano, bass, drums and sax.
"Shailah Edmonds is clearly a jazz singer, but to describe her that way is to ignore her broader appeal. Her show kept this dyed-in-the-wool cabaret critic happy, as it obviously did for a mixed audience of jazz, cabaret, and even Motown fans. Edmonds came across as unfailingly warm, personable, upbeat and joyous.
Peter Leavy, Cabaret Scenes.
www.shailahedmonds.com
Monday, August 25, 2014
Doug Largent Trio stays close to home with concert
BY KELLY COOK | PUBLISHED 08/18/14 9:09PM
With jazz, it’s all about the atmosphere.
And tonight, the scene will be set at Carrboro’s Looking Glass Cafe. The Doug Largent Trio will give guests a combination of music and casual sophistication at the coffee shop.
Largent, the organist for the group, and guitarist Brad Maiani formed the trio, a small ensemble specializing in reinventing jazz standards from the 1950s and ’60s into a unique and personal sound. They play with a rotating drummer — tonight’s will be Tyler Leak.
The Trio has also taken inspiration from organist Big John Patton, whose song “Soul Woman” is both a group and crowd favorite.
Largent said his personal career has introduced him to myriad jazz musicians and taken him from North Carolina to New York City and back again.
He said that today he tries constantly to develop his craft and further his love of the genre.
“I really like the sound of (jazz),” he said.
“You can listen to anything deeply and hear the texture of the instruments. Especially with the organ, there’s just so much going on with the sound of it, you never get bored.”
Carolyn Griggs, owner and performance organizer at Looking Glass Cafe, said she booked the trio after being approached by Maiani about the cafe’s weekly jazz and game night.
“We love to have different events in the evenings. We have such a nice outdoor space that is well-suited for jazz in the garden,” she said.
read more: http://www.dailytarheel.com/article/2014/08/doug-largent-trio-stays-close-to-home-with-concert
Stefano Bollani: Joy In Spite Of Everything
Anyone who's had the pleasure of watching pianist Stefano Bollani in concert—whether it's in duo with fellow Italian, trumpter Enrico Rava, at the 2009 TD Ottawa Jazz Festival; in the trumpeter's New York Days quintet at the ECM 40th Anniversary celebration, part of the 2010 Enjoy Jazz Festival; or in one of his own various contexts (solo, trio, large ensemble)—knows that, above all, joy is fundamental to the music he makes.
Sometimes it's blatantly obvious, as on his 2013 duo release with bandolim master Hamilton de Holanda, O Que Sera (ECM), where these two virtuosos could barely contain themselves and the fun they were having at this documented live performance literally leaps out of the speakers; other times it's more subtle, as the pianist demonstrated on his duo recording with Rava, The Third Man (ECM, 2008). But at a time when the world seems filled with strife and conflict, it needs music like Bollani's Joy In Spite of Everything, an album whose title not only says it all, but reflects the music contained within.
After his ECM leader debut, the encyclopedic Piano Solo (2007), the Puckish pianist reconvened his Danish trio of bassist Jesper Bodilsen and drummer Morten Lund—together, now, for more than a decade, having first recorded two albums for the Danish Stunt imprint (2003's Mi ritorni in mente and 2005's Gleda: Songs from Scandinavia)—for the superb Stone in the Water (ECM, 2009).
It's those same players that Bollani has recruited for the Euro side of the transatlantic group responsible for Joy in Spite of Everything, a recording brimming with joy, surprise, rapid-fire responses and, beyond the chemistry shared by Bollani, Bodilsen and Lund, the unabashed lightheartedness of the two American musicians the pianist has chosen to flesh out his quintet.
read more: http://www.allaboutjazz.com/stefano-bollani-joy-in-spite-of-everything-by-john-kelman.php#.U_sA9Uudp3g
Kenny Wheeler 5tet - Blues For C.M
Artist Biography by Steve Huey
Veteran trumpeter/flügelhornist Kenny Wheeler has long been one of the most advanced voices on his instrument. Blessed with a full, lovely tone and an astounding range,Wheeler sounds equally at home in fiery free jazz explorations or softer, more lyrical post-bop meditations.Wheeler was born in 1930 in Toronto, Ontario, and began playing trumpet at age 12.
After studying at Toronto's Royal Conservatory, he moved to London in 1952, where he gigged with swing and dance bands. He appeared with John Dankworth's orchestra at the 1959 Newport Festival and remained with that group until 1965. In 1966, Wheelerdiscovered free jazz, and, fascinated, joined John Stevens' Spontaneous Music Ensemble for the next four years.
In addition, he played jazz-rock fusion with the Mike Gibbs Orchestra from 1969-1975, and joined Tony Oxley's sextet (along with free jazz giants like Derek Bailey and Evan Parker) from 1969-1972. Through the latter, Wheeler was invited to join German pianist Alexander von Schlippenbach's groundbreaking free jazz big band the Globe Unity Orchestra in 1970, an association Wheeler maintained for years to come.
During the first half of the '70s, Wheeler played withAnthony Braxton, which became his primary focus. In 1975, he signed with the ECM label and recorded the well-received Gnu High, which established him as a solo artist of note; the following year, he left Braxton and joined the trio Azimuth. Wheeler turned out a series of excellent ECM albums, including 1977's Deer Wan and 1983's Double, Double You (that year, Wheeler also began a four-year run with the Dave Holland Quintet). Several more generally fine outings followed in the '90s, including the ECM dates Music for Large and Small Ensembles and The Widow in the Window (both recorded in 1990), plus other recordings for Justin Time and Soul Note later in the decade.
read more: http://www.allmusic.com/artist/kenny-wheeler-mn0000767652/biography
Reigen, Vienna (Austria) February 10, 1990
Kenny Wheeler - Trumpet & Flugelhorn
John Taylor - Piano
John Abercrombie - Guitar
Dave Holland - Bass
Peter Erskine - Drums
John Alcorn
JOHN ALCORN (vocalist) was born in Toronto, Ontario, Canada, but raised in Trinidad, New Brunswick, Nova Scotia, and New Hampshire. He first began performing while in high school. Upon moving back to Toronto, he quickly established himself as a versatile and dynamic performer a leading talent booker once called "the quintessential all-round performer".
He has been a musical mainstay on the Toronto scene since the mid-1990s working in a wide spectrum of musical formats that run the range from small group settings to larger string and big band ensembles. He has delivered his classy distinctive renditions of jazz standards and Great American Songbook classics from hundreds of the most prestigious bandstands and concert stages across Canada, and his recordings, featuring some of the most distinguished jazz artists in their own right, have logged airplay in more than 20 countries around the globe.
from: http://www.canadianjazzarchive.org/en/musicians/john-alcorn.html
NPR Music - Jazz
A BLOG SUPREMERemembering Jazz Violinist John Blake Jr.
For decades, he created unique roles for his fiddle. Hear an interview and performance for Billy Taylor's Jazz At The Kennedy Center, an archival NPR program.
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MUSIC INTERVIEWSDouglas and Caine Find 'Present Joys' In The Sacred Harp Songbook
The virtuoso jazz musicians perform from their new album of duets. It features hymns based on a tradition called shape-note singing, which dates to the early 1800s.
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MARIAN MCPARTLAND'S PIANO JAZZChristian McBride On Piano Jazz
On this program from 2001, the bassist takes center stage to discuss his favorite gigs and jam with host Marian McPartland in "Billie's Bounce" and "Midnight Sun."
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Sunday, August 24, 2014
Interview: Somi on Her Major Label Debut, 'The Lagos Music Salon'
Published 10:00 pm, Thursday, August 14, 2014
Sophisticated and seductive, Somi's new album The Lagos Music Salon developed out of the American singer and songwriter's repeated visits to Lagos, Nigeria, where, as Teju Cole's liner notes put it, she "absorbed the city's truth into her musical imagination."
From the cloudy, slightly Bacharach-esque lost-love song "Still Your Girl" to the intricate dance-pop of "Lady Revisited" (an answer to Fela Kuti's "Lady"), and from the sunny horn-and-percussion-fueled Afropop of "Akobi: First Born S(u)n" to the chilling verses of Somi's transformation of Nina Simone's "Four Women" into "Four African Women," these songs encompass Somi's jazz and world music roots while expressing her deep connection to both the cultural glories and the daily tragedies of West Africa.
"Two-Dollar Day" depicts "a woman on the road / She got mouths to feed / Her man died last year / Now she works to the bone."
"When Rivers Cry" features rapper Common and laments the fouling of the continent's waterways: "Feet crushing plastic / Moving windows tossing bottles dry.Waste and dust still choking road and sky / The trees remember days of plenty / Before rivers cried." (Angélique Kidjo and gospel group In His Image also make guest appearances on the album.)
read more: http://www.seattlepi.com/lifestyle/blogcritics/article/Interview-Somi-on-Her-Major-Label-Debut-The-5691132.php
Harmonie Ensemble/New York Plays Henry Mancini's Groundbreaking Score From Peter Gunn
Coming August 12, 2014, GRAMMY-nominated conductor Steven Richman and the Harmonie Ensemble/New York release Music for Peter Gunn, placing their own stamp on the show’s trendsetting score written by Henry Mancini. The classic TV detective series, which ran from 1958 to 1961, is probably best remembered today for its music, which inspired by the West Coast Cool jazz style.
The Emmy-winning score - and its double GRAMMY-awarded album - was performed by an all-star ensemble of some of the West Coast jazz scene’s finest musicians. Now, for the first time in more than half a century, the Harmonie Ensemble/New York, joined by ace old-school improvisers Lew Soloff and Lew Tabackin, takes a new look at this iconic music on this new harmonia mundi release.
Music for Peter Gunn follows in the footsteps of Richman’s and Harmonie Ensemble’s previous bestselling releases Gershwin by Grofé (which landed on the Billboard charts in the top ten) and Ellington/TchaikovskyNutcracker Suites.
read more: http://www.hm-distribution.com/petergunnnews/
New Urban Jazz Party Visits Lakewood, NJ
read more: http://ebonymaze.com/upcoming-shows/
Pepper Adams ....
PEPPER ADAMS (saxophonist, bandleader) was born Park Adams III on October 8, 1930 in Highland Park, Michigan and passed away September 10, 1986 in Brooklyn, New York. Nicknamed the “Knife” because according to Mel Lewis… “when he would get up to blow his playing had almost a slashing effect on the rest of us… and before he was through, cut everybody down to size”.
Citing Wardell Gray and Harry Carney as his influences the hard bop baritone saxophonist released 20 albums as leader and co-led a group with Donald Byrd. Adams was primarily a much sought after sideman, working with the big bands of Stan Kenton, Maynard Ferguson and Benny Goodman, supporting Paul Chambers, John Coltrane, Hank Jones, Lee Morgan and most notably Thad Jones/Mel Lewis Big Band and Charles Mingus.
read more: http://www.canadianjazzarchive.org/en/musicians/pepper-adams.html
Park "Pepper" Adams III, Baritone Sax solo starts at 2:42 min.
Already in the late-1950s, Stan Kenton had an appropriate nickname for the baritone beast:
"The Knife."
Pepper Adams and Nick Brignola were indisputably, unquestionably the two greatest bari sax players ever.
No other baritonist has ever come close.
(Frank Basile, keep practicing)
Pepper Adams did his best work in the 1970-1980 period. Recommeded Pepper Adams albums/CDs from this decade: "Ephemera", "Reflectory", "Be Bop?" [with Barry Altschul], "Baritone Madness" [Nick Brignola], "The Master", "One For Bird" [Bishop Norman Williams], "Twelfth & Pingree", "New Life" [Thad Jones/Mel Lewis], "Julian", "Four On The Outside" [Curtis Fuller], "Live in Europe", "Live Jazz By the Sea", just to name a few...
"Urban Dreams" (1981) is also phenomenal, but it's a great pity he used a crappy new mouthpiece (and his new sax) during this recording (he promply discarded the piece-of-junk mouthpiece for another one that improved the sound quality, although it was never as good as the old Berg Larsen he had acquired in the late 1940s -- the one you see in the above video).
10 Facts You Didn’t Know About Music
Eric Barker Aug. 16, 2014
Background music does not improve your ability to concentrate but will help you when you’re at the gym. It can affect how you work. A littlebackground noise makes you more creative, a lot hurts creativity.
One of the most interesting music facts in that your favorite song is probably your favorite because you associate it with an emotional event in your life. Both social influences and quality affect which songs you like. You don’t like the original version of a song because it’s better, you like it because it’s the one you heard first. Whether a musicianmakes eye contactduring a concert and what they wearaffects whether you like their music.
When times are tough people prefer music that’s more meaningful. Music can predict the stock market. Popular music has been getting more narcissistic for a while now. All the best songs are about sex anyway.
Do you feel these music facts are increasing your intelligence? Well, there’s a lot of evidence that playingmusic can make you smarter. Listening to classical musicmight increase that IQ as well. (And smarter people like classical music.) Music can literally affect the way you see the world and lyrics can influence your behavior. Liberals own a wider variety of musicthan conservatives.
Music facts related to money: Bar owners get you to drink more by turning the music up. Love songs and romantic music make you spend more in flower shops. Classical, jazz and popular music make you spend more in restaurants.
Rockstars do really live fast and die young. It can costupwards of a million dollars to make a hit song. Music piracy helps big bands and hurts little bands. “Overall, the Beatles’ lyrics became darker, more psychologically distant, and less immediate over time.”
The music you like does say a lot about your personalitybecause different personality types are drawn to different music.Your personality also affectshow you use music. You get some of your musical taste from your parents. The music you’ll like when you’re old is probably what you were exposed to between ages 16 and 21. You can tell how conscientiousness and agreeable a man is by watching him dance — and if he keeps dancing he’ll get more creative.
read more: http://time.com/3103753/10-facts-you-didnt-know-about-music/
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