Saturday, January 31, 2015

CD REVIEW: Diana Krall - Wallflower

Wallflower is a new studio recording of songs garnered from the five-time Grammy Award-winning jazz pianist/singer Diana Krall's formative years. It mostly takes familiar pop ballads from the '60s through to the present day, often shifting them further down a gear, and colours them in with lush orchestral arrangements. For anyone who appreciated the beautifully limpid, slo-mo interpretation of I've Got You Under My Skin from Diana Krall's superb live album A Night in Paris, it will strike a pleasing chord.

Once over the disappointing absence of Krall's improvisatory jazz piano scintillation of, say, I Love Being Here With You (2002) or cheeky, exuberant vocals heard in Love Me Like a Man (2004), the tightly-produced detail of these new recordings is enjoyable, if somewhat safe. Indeed, the commercial accessibility of the twelve radio-edit-sized songs is sure to find great appeal among smooth jazz and soft rock/pop audiences – especially as it includes vocal duets with both Michael Bublé and Bryan Adams – and no doubt it will engender a measure of 'selling out' criticism, too. But Krall's closely miked, softly husky delivery can still work its magic. 

The singer feels a special affinity with each of the numbers, some of which have been covered numerous times before, whilst others are less obvious gems. The Eagles' lonesome Desperado is presented as sparse piano/vocal with the soft ebb and flow of deep strings Рpleasing enough, though seeming to lack the passion of Don Henley's original vocal (or even Karen Carpenter's heart-tugging interpretation). The less-revisited early '70s chart hit of Gilbert O'Sullivan, Alone Again (Naturally), is interesting РKrall sharing its resigned yet heartfelt vocals with Michael Bubl̩ Рthough the inherent pop feel is difficult to understand as 'jazz' (if, indeed, this is intended as a jazz album Рperhaps not). Leon Russell's Superstar is more convincing, David Foster's sumptuous orchestration throughout matching Krall's restrained vocals whilst providing an impressively brooding undercurrent suggestive of blockbuster movie closing titles.

read more: http://news360.com/digestarticle/rpdt4RUKEUG6wGwzE2Ai4A

Friday, January 30, 2015

Paulette McWilliams Signs Global Distribution Deal with Sugo Music Group

In a significant development, the renowned jazz singer Paulette McWilliams has signed a global distribution deal with Sugo Music Group. The move will help the jazz artist/singer reach out to a larger listening audience throughout the world with one of the most respected music distributors in the industry today.

Anyone with a pulse has heard the voice of Paulette McWilliams. For over 40 years, she has mesmerized listeners with her deep sultry velvety tones and a wide vocal range. The jazz icon’s voice has lent persona to many songs which have included hits like Michael Jackson’s “Don’t Stop ‘Til You Get Enough”, Aretha Franklin’s No.1 hit “Jump To It,” Billy Idol’s No. 1 hit “Mony Mony,” Luther Vandross’s “Stop To Love” and “Wait For Love”. Paulette McWilliams’ road to fame has involved working with many other acclaimed musicians such as Marvin Gaye, Mary J. Blige, Jennifer Lopez, Lauryn Hill, Celine Dion, Whitney Houston, Quincy Jones, Bette Midler, David Bowie, Patty LaBelle, and many others. Still, at the age of 65, Paulette continues to awe listeners with her signature sound: rich tones, timbre, versatility, charisma and broad vocal range. This new distribution deal with Sugo Music Group will further strengthen the resolve of the artist as she continues to stir the hearts of millions for years to come.

Sugo Music Group was founded in 1983 by artists, musicians and a savvy business entertainment team. Over the past 3 decades, they’ve distributed, sold and manufactured every type of music media (digital, CDs, cassette & vinyl) and delivered music products through every imaginable channel: internet, mobile, satellite, cable, music stores, gift shops, big box retailers, licensees, music supervisors and wholesalers. Based out of San Francisco, Sugo Music Group provides a wide array of professional music services to musicians and record labels around the world including digital downloads, international radio airplay, music publishing, performance rights organizations, content identification, film & TV licensing, in-store music services & broadcasters, video distribution & monetization, and more.

For more information, please contact:
Keath Hartley, Director of Partner Relations
manager@sugomusic.com
Sugo Music Group
www.sugomusic.com

Thursday, January 29, 2015

Videos: Bud Powell in Europe

Reprinted from http://jazzwax.com

Bud-powell-06
Yesterday it poured in New York with a whipping wind, turning the city into the inside of a car wash. As always, I spent the day indoors writing (except for my daily pre-dawn swim). For some reason the weather made me want to listen to The Complete Bud Powell on Verve.
PowellPianoInter
No other jazz pianist had a greater influence on other pianists in the late 1940s and 1950s than Powell. While Art Tatum left a deep impression on Charlie Parker and other high-velocity reed and trumpet players, Powell's attack and keyboard elegance can be heard in virtually every pianist on the East and West coasts up until Bill Evans, who also had some Bud in his hands. Excluding Thelonious Monk, of course.
After listening to Powell on Verve, I turned to YouTube and found these three gems:
Dig Bud Powell and singer Trudy Peters on I Cover the Waterfront in 1960. Love the juxtaposition between Peters' glassy eyes and Powell's mouthing of notes. But who was Trudy Peters and where is she now?...
Here's Powell in France in July 1960 with Charles Mingus, Eric Dolphy (as), Ted Curson (tp), Booker Ervin (ts) and Danny Richmond (d). Dig Powell's monster, flawless solo, rendering the horns redundant...
And here's Bud Powell in Copenhagen in 1962...
Used with permission by Marc Myers

At Ronnie Scott's ....



Well what a start we've had to 2015 down here, packed houses every night and show-stopping performances from Booker T, Harold Mabern, Larry Goldings, Carleen Anderson and too many others... now we look forward to 3 nights of soulful performances from Memphis's best kept secret Charlie Wood & Band feat. Guy Barker (MBE!) on 8th Feb, a double bill of Amina Figarova & Isfar Sarabski as part of the Buta Festival of Azerbaijani Arts on 9th Feb and a triple bill (!) of the finest exponents of the British Scene Peter Edwards Trio, Henry Spencer's Juncture and WorldService Project on 10th Feb. 

Most main attractions are filling up a way in advance at the moment but don’t forget you can always come to our Late Late Shows Monday-Saturday or Ronnie's Bar (upstairs) with different live events every night. As for the big hitters, Ronnie Scott's Members have snapped up most of the tickets for Dr. John & The NiteTrippers, Al Jarreau & Friends, and Chaka Khan - you might get one of the last few if you’re quick.

Concert Window is a live music network ....

Concert Window is a live music network that enables musicians to broadcast live to fans around the world. Home to Grammy winners, major label artists, and everyone in between, Concert Window is a new revenue source for musicians and offers "the most original content on the Internet." (Rebecca Loebe)

Live music is a huge business; in 2014 it brought in a staggering $27 billion. It’s the only part of the music industry that’s enjoyed consistent growth in recent times. But it’s also the only sector that hasn’t made the transition online. Concert Window is changing that, allowing musicians to play concerts anywhere – from a club to an airport baggage claim area to a bedroom – and be paid for it without all the rigors involved in touring. Artists only need a laptop to broadcast the show and are paid the next day.

“Over time,” explains Concert Window co-founder Dan Gurney, “we believe that musicians will make ten times as much on Concert Window as they do at a physical venue.”

Last year the company paid out $400,000 to artists, with gross revenues increasing sevenfold in the last 14 months, building the community through word-of-mouth rather than advertising. The process removes so many of the uncertainties that constantly plague musicians. There’s no need to book shows months in advance, no endless hours of travel and set up. And it allows them to connect with fans who can’t see a show because of distance or disability. People can watch from anywhere in the world.

“We’re making live music more efficient and profitable,” says Gurney. “Musicians can play whatever and whenever they’d like on Concert Window. We have licenses with ASCAP, BMI, and SESAC. After the show the artist receives a recording of the event for non-commercial use. They can also choose their favorite song from the broadcast and the site will create a highlight video.”

read more: http://concertwindow.rockpaperscissors.biz/dispatch/12549/9NBloqWFV_ud81-exbeu2A?recipient_id=257035

Wednesday, January 28, 2015

Bill Evans Trio

Reprinted from http://jazzwax.com

Bill-evans-david-redfern
Two months after appearing on Marian McPartland's Piano Jazz radio show in November 1978, Bill Evans hit the road. Right after the new year, the pianist was in Iowa with his trio—bassist Marc Johnson and drummer Joe La Barbera—at the Maintenance Shop in Ames. During their run, the trio was taped for Public Television. You can purchase the results on DVD—The Bill Evans Trio, Live in Iowa—at the Fresh Sound site here. [Photo above of Bill Evans by David Redfern]
MI0003072283
To my ears, the performance ranks among this trio's finest, with Evans operating more penitently and warmly on the keyboard than usual during this period, despite his carping about the monitor speakers and the piano. Here's Bill Evans Trio, Live in Iowa...
Used with permission by Marc Myers

NJJazzList.com Calendar

01/30 Fri Stephen Fuller Trio at Hibiscus Restaurant 7:00 pm to 10:00 pm Style: Mixed, Cover: None, Featuring Tomoko Ohno on piano, Kevin McCarthy on bass. BYOB and reservations suggested.  Learn more  Hear samples , (862/973) 

01/31 Sat Greg Murphy at Lorenzo's 7:00 pm to 10:00 pm Style: Mixed, Cover: $10 or less,  Learn more  ,  Hear samples , (Other ) 

01/31 Sat Holli Ross Trio at Grasso's 7:00 pm to 11:00 pm Style: Vocal, Cover: None, Holli will be performing a wide selection from the Great American Songbook to Brazilian classics accompanied by Noriko Ueda & Ayako Shirasaki at this charming Italian bistro in Cold Spring Harbor, NY. For reservations: 631-367-6060 Learn more  , (Other ) 

01/31 Sat John Simon 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/ ) 

01/31 Sat Lauren Hooker & Friends at Watchung Arts Center 8:00 pm to 10:00 pm Style: Vocal, Cover: over $10, Ms. Hooker will sing selections from her newly released CD, “All For You – My Heart and Soul”, and play piano and Native American flute. She will be joined by Dave Rimelis, violin and guitar; Mike Richmond,bass; Jonathan Luks, tap and percussion; and special guest Marty Eigen on woodwind Learn more  , (908/ ) 

02/01 Sun Peggy King & The All-Star Jazz Trio at Sellersville Theater 1894 2:00 pm to 5:00 pm Style:Swing/Big Band, Cover: None, Legendary songstress Peggy King is one of the last few certifiable stars from the Golden Age of stage, television and films still performing today! Her credits include “The Bad And The Beautiful,” “Zero Hour” and “Abbott And Costello Meet The Mummy."  Learn more  , (215/ ) 

02/01 Sun Somerset Jazz Consortium Sunday Jazz Jam Session at Maggie Murrays Pub 119 NWashington Av Dunellen NJ 1:00 pm to 5:00 pm Style: Straight-ahead, Cover: $10 or less, Paid by tips, suggested voluntary donation $3. Join Jim Jasion and the house band for some straight-ahead Bebop, Hard Bop, Bossa, Latin, Swing, Trad Jazz and Manouche (gypsy) Jazz. We play a wide variety of repertoire so join us to listen or sharpen your skills and find out more about the music. Learn more  , (732/848) 

02/01 Sun The Tony DeSare Trio at Rutherfurd Hall 3:00 pm to 5:00 pm Style: Mixed, Cover: Tickets Available, Pianist Tony DeSare performs with infectious joy, wry playfulness, & robust musicality. His takes on classic standards & sophisticated original compositions have earned him a reputation as one of the country’s hottest young singer/pianists. Romantic, swinging & sensual, dubbed as a Sinatra, Connick Jr, & Buble. Tony will be accompanied by a great rhythm section. $27.50 Advance - $32.50 Door Learn more  ,  Hear samples , (908/ ) 

02/02 Mon Jim Jasion and His Jazz Squad at Starbucks 693 Edgar Rd E Rtes 1& 9 N Linden, NJ 7:00 pm to 9:00 pm Style: Straight-ahead, Cover: $10 or less, Jim Jasion pno/voc, Daijiro Okada gtr, Dave Dilzell ten sax/clar, Ron Scott trpt/flglhrn, Aaron Moment bass, Ben Rose drums - Playing Straight-Ahead, Mainstream, Bebop, Hard Bop, Bossa, Latin, Great American Songbook, Trad. and a little Fusion. All played in a pleasing manner. Learn more  , (732/848) 

02/02 Mon Swingadelic at Swing 46 8:30 pm to 1:00 am Style: Swing/Big Band, Cover: None,  Learn more  Hear samples , (Unknown) 

02/03 Tue Bob Smith Organ Trio at Amici Milano 7:00 pm to 9:30 pm Style: Straight-ahead, Cover: None, A tribute to the late Herman Laesker, photojournalist extraordinaire and jazz enthusiast. Bob Smith Organ Trio with Bob Smith on guitar/vocals, Tommy Pass on Hammond Organ, and Len Pucciatti on drums. Half price drinks and bar specials for the ladies. Musicians welcome! No cover Learn more  , (609/ )

7Dreams: The Story Of A Country, A Friendship And A Sound

By JAKOB BAEKGAARD,
Published: January 28, 2015
One of the things that is great about the digital age is how easy it is to get access to music from different parts of the world. Pluralism is the keyword. Jazz is not just one thing and each country has its specific take on the jazz tradition. However, sometimes jazz musicians of a particular country forget their own heritage because they are too busy following the latest trend. This is not the case with Nicolas Simion, Romanian saxophonist and owner of the label 7Dreams. To Simion, originality is inextricably linked to an awareness of history, in his case the history of Romanian jazz, and he has done a lot to preserve the music of his country -not only through new recordings and arrangements of old tunes, but also through historical releases with Romanian jazz masters like pianists Richard Oschanitzky and Jancy Körössy whose importance and position could be compared to that of pianist Krzysztof Komeda in Poland. 

All About Jazz: When did you start the label and how did it happen? 

Nicolas Simion: I started in 2004 and I wanted it to be a documentation of the most important Romanian jazz music and a platform for some of the best Romanian jazz musicians. I wanted to make a documentation of my work too, of the recordings I did, starting in 1991 when I started to make studio and live recordings in Western Europe, in Austria and Germany etc. 

I worked with TUTU Records producer Peter Wiessmueller from 1991 until 2000 and somehow I was not satisfied with how things developed. Afterwards I tried finding a new label in Germany, with no success, so I decided to start my own thing and put out the recordings I did myself. And after 10 years I think that it was a good decision, at least I did what I thought was good for the music and for the musicians and not only for the business and the money -the things almost every producer is looking for! 

AAJ: Is there a story behind the name of the label? Why is it called 7Dreams? 

NS: Well, first I like that magic number 7 and I am somehow a dreamer. I couldn't say "dreamer #7" or "dreamer X" but because we all have dreams, good or bad...I decided to only have 7 dreams! It sounds funny maybe, but what else can we do in our lives than try to realize some of our dreams? Believing in something and struggling to make it happen -this is my philosophy! 

AAJ: How many people are involved with the label and what is your own role? 

NS: The label is more or less a "one man show," but I do have some friends who are helping and supporting me release all those CDs. Like Ana Maria Gavrila from Brasov (Romania), an old friend who is helping me with the printing and manufacturing, all the graphic work and the rollings, printing also the CDs. She is also helping me with all the formalities, paper work, contracts, bank booking etc, also distributing the CDs in Romania etc. 

Another important person is my friend Knut Schötteldreier from Cologne, a great graphic designer and layout guy who did almost all the covers and booklets, except the texts. I also have some other friends who are helping me with their recording and mixing studios, of course not for free! And last but not least my musician friends, all of them who did their best and put their signature on the music we played together! 

AAJ: Do you have your own studio and office? 

NS: Actually, I don't have my own studio or office and I can not afford to work every day for that. I can not afford to have somebody employed and work as a PR or so. But until now there are about 25 CDs out and things are getting better. My main role is to find the money and keep running and putting the CDs out! 

AAJ: You are a musician yourself. How does that influence the way you run your label? 

NS: I am a saxophonist and a composer, sometimes arranger and producer. I started to think about all those things, repertoire, line up, band, recording, mixing, mastering, finding the money for everything, producing the music finally from the very beginning in 1991. It is a work in progress, you are learning from your own experiences and from your own mistakes. 


I am trying to concentrate myself on music, playing, writing, performing and not only on making music business. We all need to be a bit of a manager and a producer and make it happen in that jungle music business where big labels are just making our existence almost impossible! In the end it´s (almost) all about the money. The big brothers are not really interested in music, but selling and making images and controlling the market. The printed mass media, electronic mass media, radio and tv shows, festivals and also some clubs are under their influence or even control. And the big brother is always right because he is stronger and has money and power, has contacts and some people working for them. It is not a joke, it is real. Nothing new, it was the same before and it will stay the same, even though the infrastructure is changing with the internet evolution, distribution, download, sales etc.

read more: http://www.allaboutjazz.com/7dreams-the-story-of-a-country-a-friendship-and-a-sound-by-jakob-baekgaard.php

Wynton Marsalis' Jazz at Lincoln Center Orchestra will return to South America after 10 years

FILE - In this Jan. 30, 2014 file photo 
By Charles J. Gans, The Associated Press | The Canadian Press
Tue, 27 Jan, 2015
NEW YORK, N.Y. - The Jazz at Lincoln Center Orchestra with Wynton Marsalis will tour South America in March for the first time in 10 years.

JALC announced Tuesday that the 12-city tour kicks off Feb. 27 in New York and will visit Puerto Rico, the U.S. Virgin Islands, Mexico and six South American countries. The program will celebrate the influence of musical traditions from throughout the Americas on jazz.


In an email, Marsalis says "music from the Afro-Latin Diaspora forms one of the fundamental pillars of jazz expression," starting with Jelly Roll Morton and echoing through the generations.

read more: https://ca.news.yahoo.com/wynton-marsalis-jazz-lincoln-center-orchestra-return-south-153703770.html

Ensemble brings unique sound

The Lily Quartet and Hutchinson Andrew Trio join forces in a high-energy concert at the Flare ‘n’ Derrick Community Hall on Jan. 18 at 3 p.m.
Jordan Verlage/OWW
Wednesday, Jan 14, 2015 08:28 am
By: Tammy Rollie

Seven Alberta musicians are giving new meaning to classical and jazz music in Turner Valley this weekend.

Calgary’s The Lily Quartet and the Hutchinson Andrew Trio are combining their talents to reach beyond the stereotypes of a classical quartet and jazz trio in a high-energy concert through the Beneath the Arch Concert Series at the Flare ‘n’ Derrick Community Hall on Jan. 18 at 3 p.m.

“It’s a great blend of the two styles,” said Kody Hutchinson of the Hutchinson Andrew Trio, who will also lead the seven-piece ensemble. “If people aren’t necessarily jazz or classical people we find we are the group that are maybe the gateway – the one that gets your foot in the door.”

The Hutchinson Andrew Trio is a jazz group that has been performing a mixture of contemporary swing, Latin and acoustic groove tunes for more than a decade. The trio consists of Hutchinson on bass, Chris Andrew on piano and Karl Schwonik on drums.

Hutchinson said this weekend’s audience will hear a unique mixture of music under the expertise of the group’s pianist and arranger Chris Andrew. The performance will draw on the Hutchinson Andrew Trio’s third album Prairie Modern.

“I find why we connect with audiences that maybe didn’t think this was the type of music they’d be into was because of how (Andrew) writes with that connection to rock groups and Latin groups and the type of music people understand,” said Hutchinson. “We bridge that gap and take music they do like and understand and mix it with a style they might not be familiar with.”

Andrew admits he was one of those children whose mom forced him into classical music, which he didn’t learn to appreciate until he grew up. Now with an appreciation for various types of music, Andrew said that influence often comes out in his arrangements.

read more: http://www.westernwheel.com/article/20150114/WHE0302/301149981/-1/WHE0802/ensemble-brings-unique-sound

Swing Créole, Basin Street Blues


Swing Créole featuring:
Denise Gordon (voc),
Dan Vernhettes (tp),
Jean-François Bonnel (cl, alto),
Francis Guéro (tb),
Jérôme Arlet (bjo),
Pierre-Luc Puig (bass),
Emile Martyn (dr). 18 12 2014

Tuesday, January 27, 2015

New Album “PERPETUITY” Available Now

Markowitz delivers heavy ideas without a heavy touch and Brock marries the bold with the mannered, bringing a stinging brilliance to the fore during the fiery material.
…among the year’s best in jazz… intellectual heft and harmonic sophistication…
…it’s the variations in motion from song to song and the thrilling way they flow through the entire album that makes this a stand-out.
Markowitz and Brock have delivered an incredible CD that draws from many traditions, bringing this all together in a coherent set that defies categorization.
From the opening of the set, Brock and Markowitz produced music of driving rhythmic power and long-lined lyricism. If Markowitz’s pulsing pianism in his “Perpetuity” evoked the perpetual-motion music of Prokofiev, Brock rode that rhythm beautifully, producing exquisite legato phrases one moment, an onrush of ideas the next. But it was the sound of the two of them together – Markowitz’s telegraphic pianism and Brock’s sinewy violin tone – that proved distinctive.

NPR Music - You Must Hear This

AUTHOR INTERVIEWS

When Pop Broke Up With Jazz

For the first half of the 20th century, Tin Pan Alley songwriters like Irving Berlin and the Gershwins dominated pop music. By the the 1950s, tastes had changed, and the music changed with them.
MUSIC INTERVIEWS

Dengue Fever: Retro Pop, Cambodian Style

Brothers Ethan and Zac Holtzman formed Dengue Fever in the late '90s, inspired by 1960s Cambodian psych-rock. Rachel Martin speaks with them and singer Chhom Nimol about their album, The Deepest Lake.

Voices of Doo-Wop

Reprinted from http://jazzwax.com

Mellows1
No "Weekend Wax Bits" today. Instead, a holiday weekend treat. In 1996, TNT produced a super documentary called Voices of Doo-Wop that focused just on the Chords, Lillian Leach (Lillian and the Mellows) and Bobby Mansfield (and the Wrens)—harmony artists who disappeared from the scene early and why. It still touches hearts...
Used with permission by Marc Myers

Valentine's Week with Nicole Henry

jan 27, 2015
Since her debut in 2004, Nicole Henry has established herself as one of the jazz world's most acclaimed vocalists, possessing a potent combination of dynamic vocal abilities, impeccable phrasing, and powerful emotional resonance. Her repertoire includes the American Songbook, classic and contemporary jazz, contemporary' standards, blues, and originals; while her accompaniment ranges from a simple jazz trio to a full big band.

Ms. Henry's passionate, soulful voice and heart-felt charisma has earned her a 2013 Soul Train Award for “Best Traditional Jazz Performance," three Top-10 U.S. Billboard and HMV Japan jazz albums, and rave reviews both domestically and internationally by The New York Times, Wall Street Journal, The Japan Times, El Pais, Jazz Times, Essence and more.

She has captivated audiences in over 15 countries, headlining at venues in cities including New York, Tokyo, Madrid, Moscow, Paris, Shanghai, Los Angeles, Chicago, Boston, San Francisco and Miami. Ms. Henry has performed in more than 30 music festivals worldwide and in some of the world’s most famous venues including Blue Note, NYC; Jazz at Lincoln Center; Blues Alley; Arsht Center; Feinstein’s; Green Mill; Madrid Jazz Festival; the Regattabar; and Catalina Jazz.

Her 2004 debut CD release, The Nearness of You, won considerable attention from audiences and critics in the U.S. and in Japan, where they named her Best New Jazz Artist of 2004. The following year, Ms. Henry's Teach Me Tonight reached #1 in Japan and was named HMV Japan's Best Vocal Jazz Album of 2005. Then, in 2008, The Very Thought of You substantially expanded her American audience, reaching #7 on Billboard's jazz chart.

The 2011 release of the Embraceable CD was a creative triumph for Ms. Henry as it expanded her recordings beyond those of the American Songbook jazz standards which had been her focus up until that time. Embraceable included more originals, soul and even a touch of gospel, and reached the Top 20 on jazz and smooth U.S. jazz radio charts. Joining Ms. Henry on Embraceable was an amazing collection of jazz artists including Kirk Whalum, Gerald Clayton, John Stoddart, Julian Lage, Gil Goldstein, Larry Grenadier, and Eric Harland.

See more at: http://www.bluenote.net/newyork/schedule/moreinfo.cgi?id=12662#sthash.FLtUqTIY.dpuf

Many Languages, One Soul; Balkan Clarinet Summit

02/24/2015
Balkan Clarinet Summit brings together local and international clarinet masters to combine, contrast, and mix the fascinating variety of the balkan clarinet playing with the interpretive culture of both classical and jazz traditions.

The clarinet is the most popular instrument in South Eastern Europe besides the violin, yet numerous divergent performance techniques have emerged from area to area.

Goethe-Institut Athina director Wolfgang Pöhlmann had the original idea which was then picked up by the Goethe-HQ in Munich. Claudio Puntin and Steffen Schorn were brought on board as musical directors.  Claudio then went on a two month search for the right artists, seeking local masters who are rooted in tradition but are still flexible enough to work with colleagues from different musical heritages.

The next step was to compile the repertoire for the project. Every musician provided 2 to 4 traditional pieces of their own compositions. Steffen and Claudio then made the arrangements for this unusual acapella formation. Rehearsals proved tricky at first as finding ways to balance and complement the varied means and ways of adaptation was an art in and of itself! The project then came together beautifully over 3 concerts in September 2012 in Athina, BraÅ›ov and Thessaloniki. The outstanding feedback led the group to hit the road for more concerts in December, performing  in Sofia, Beograd, Novi Sad, Sarajevo, Zagreb, Ankara, istanbul, izmir and again in Athina.

read more: https://www.storyamp.com/dispatch/12116/9NBloqWFV_ud81-exbeu2A?storyamp_track=4769

Molly Ringwald Sings Jazz

By 
Molly Ringwald’s jazz album Except Sometimes came out in 2013. But Molly Ringwald is still working the material, including performing live in jazz venues.

Molly Ringwald recently spoke to Diablo Magazine ahead of a February gig about how she ended up singing jazz.

“I was born in Roseville [California] and grew up in Sacramento until I was about 10. My father, Bob, was a traditional jazz musician and he was instrumental in starting the Sacramento Traditional Jazz Festival—organizing and performing this great festival. That’s a great festival, which still exists, I have fond memories of going to it in Old Sacramento. It always very festive and there was music everywhere. In fact, I was one of the first guest stars of that festival, when I was four years old.”

Although Molly Ringwald is best known as a op culture icon from the 1980s, she says that jazz music permeated her childhood.

“We listened to jazz, all the time, in the house. All my early musical influences were jazz. Looking back it was an incredible experience to have that kind of musical education at a young age.”

read more: http://www.webpronews.com/molly-ringwald-sings-jazz-including-breakfast-club-tune-2015-01

Black Doll Show Inspires With Wakandan Heroes And Jazz Superstars

Photo: Priska Neely/NPR
NPR STAFF
JANUARY 25, 2015 5:23 PM ET
At The William Grant Still Arts Center in the West Adams neighborhood in Los Angeles, jazz superstars and comic book superheroes are gathered together — in miniature, as part of the Black Doll Show.

For the past 34 years, the center has held a doll show to showcase diverse dolls for children. The exhibit features dolls submitted by artists and collectors from around the country. This year's theme is A League Supreme: Jazz Superheroes.

Curator Keisa Davis tells NPR's Arun Rath that this year's exhibit features more than 75 pieces, including one of jazz pianist, composer and harpist Alice Coltrane suspended from the ceiling and soaring through the air.

"She has a cape ... [so] we thought it would be great to have her suspending from the ceiling," Davis says. "I love her up there."

There are other, more literal portrayals of music giants, like Nina Simone, Dizzy Gillespie, Billy Holiday, Lena Horne and Cab Calloway.


"They don't have capes or adornments or anything, but the idea is to use their talents as superhero powers," Davis says.

read more: http://www.npr.org/blogs/codeswitch/2015/01/25/378634867/black-doll-show-inspires-with-wakandan-heroes-and-jazz-superstars?utm_medium=RSS&utm_campaign=storiesfromnpr

Music review: Transcendent tribute to John Coltrane classic 'A Love Supreme'

Sydney saxophonist Dale Barlow. Photo: Mark Raketic
Reviewed by Jessica Nicholas
January 26, 2015 - 11:42AM
n December 1964, John Coltrane and his quartet went into Rudy Van Gelder's studio in New Jersey to record an album. By the end of the day, they had 33 minutes of music that would become one of the most iconic recordings in jazz history: A Love Supreme.

So how do contemporary musicians pay tribute to this sacred artefact 50 years on? For Sydney saxophonist Dale Barlow and his colleagues, attempting to recreate the album on stage would be contrary to the spirit of jazz, which – as he explained during Saturday's show – must evolve in order to "fulfil our creative needs".

As bassist Philip Rex opened Part 1 (Acknowledgement) with a pungent solo, he only hinted at the loping, four-note motif that underpins the original version. Barlow, too, allowed flashes of it in his fiery improvisations, as drummer Danny Fischer set up Latin-tinged cross rhythms and pianist Barney McAll radiated intensity with stabbing, percussive chords. 


Read more: http://www.smh.com.au/entertainment/music/music-review-transcendent-tribute-to-john-coltrane-classic-a-love-supreme-20150126-12y4bm.html#ixzz3Q19LzE1s

Monday, January 26, 2015

When Pop Broke Up With Jazz

NPR STAFF
JANUARY 23, 2015 4:35 PM ET
Writer Ben Yagoda has set out to explain a shift in American popular culture, one that happened in the early 1950s. Before then, songwriters like Irving Berlin, George and Ira Gershwin and Jerome Kern wrote popular songs that achieved a notable artistry, both in lyrics and music. That body of work, at least the best of it, came to be known as the American Songbook.

By the early 1950s the popular hit song had evolved into a work of less artistic ambition. Novelty and simplicity ruled — and sold. What happened? That's the question that Ben Yagoda addresses in his new book, The B-Side: The Death of Tin Pan Alley and the Rebirth of the Great American Song. He spoke about it with NPR's Robert Siegel.

Robert Siegel: The way you tell it, the kind of song that gifted songwriters might write, or try to write, wasn't what the big record companies wanted in the early '50s. Why?

Ben Yagoda: There was a change in popular taste. The soldiers who had come back from World War II didn't seem to be as interested in the more complex, challenging kind of popular song, the more jazz-based song. Sentimental ballads and, yes, novelty numbers, suddenly was much more appealing.
Ben Yagoda teaches journalism at the University of Delaware. Maria Yagoda/Courtesy of Riverhead

You cite an interview that Patti Page, the singer, gave to Metronome in 1948. She said, "You've got to please the people who get up at 8 o'clock in the morning" — which I guess at the time seemed a measure of getting up early. What you're describing, in part, is the separation of jazz music from popular music in America.

Absolutely. And for that period that you were talking about, the Great American Songbook period, there was this amazing unity of great jazz and popular songwriting. The songwriters — Berlin, Porter, Gershwin — understood jazz. And the great improvisers — Lester Young, Benny Carter and so forth — understood those songs and did great improvisations with them. That broke down after the war.

There's someone whom you write about a great deal in the book, who was the most important decision-maker at Columbia Records about which songs would be made into records. His name was Mitch Miller, and 10 years later, he was known by everyone in America because he had a TV show with a male chorus called Sing Along with Mitch.


Mitch Miller, if you're under 50, means nothing. If you're between 50 and 60 or 65 or so, it's this smiling figure with a goatee, leading singalongs on television. But if you've studied or are aware of music history, his importance was far more than that. He was, simply put, the most powerful man in American popular music throughout the 1950s.

read more: http://www.npr.org/2015/01/23/379086600/when-pop-broke-up-with-jazz?utm_medium=RSS&utm_campaign=music

Jazz greats Hancock, Corea announce first tour in 37 years

Photo: AP
JAN 23, 2015
NEW YORK – Jazz greats Chick Corea and Herbie Hancock share much in common, but the last time they toured together was 37 years ago when Jimmy Carter was in the White House and Sony had just introduced the Walkman.

The performers announced a world tour of duo piano concerts on Thursday. It kicks off March 14 in Seattle.


“Chick and I have always had an open door toward the possibility of touring again,” Hancock said in an email. “We both felt that enough time has passed since our last major tour in 1978, and considering all of the experiences we have had in music and in life, that this was the perfect time to pass through that doorway again.”

read more: http://www.japantimes.co.jp/culture/2015/01/23/entertainment-news/jazz-greats-hancock-corea-announce-first-tour-37-years/?utm_source=rss&utm_medium=rss&utm_campaign=jazz-greats-hancock-corea-announce-first-tour-37-years#.VMVQhMazf9t

Sunday, January 25, 2015

Jazz concert raises money for AIDS charity in Lesotho

Tokyo Art Foundation Chairman Haruhisa Handa sings on stage at Nakano Sunplaza in Tokyo's Nakano Ward on Jan. 15. | TAF

The Tokyo Art Foundation held a charity jazz concert, featuring a solo performance by foundation Chairman Haruhisa Handa, in Tokyo on Jan. 15.

The “New Year’s Solo Jazz Extravaganza!” was held with the support of the Worldwide Support for Development (WSD), a nonprofit organization Handa also chairs, with all proceeds being donated to the Lesotho-based charity Sentebale, which promotes efforts to eradicate AIDS.

Handa, who also goes by Toshu Fukami, sang 26 songs, including popular jazz standards such as Nat King Cole’s “It’s Only a Paper Moon,” Frank Sinatra’s “Fly me to the Moon” and “What a Wonderful World” by Louis Armstrong. He also sang some jazzily arranged anime theme songs.

He kicked off the concert at Nakano Sunplaza in Tokyo’s Nakano Ward, with the well-known jazz number “Take the ‘A’ Train.”

As is his style, he engaged in some casual, comic banter with the audience between songs.

“When you listen to jazz, don’t be too serious. Just relax and enjoy the music however you like,” he said, after asking for some energy drinks for his band members, who Handa said average about 60 years old. A stagehand brought a box of drinks to the band.

Before singing “Fly Me to the Moon,” Handa mentioned he once sang it with multiple Grammy Award-winner Michael Bolton in Singapore.


Other songs he sang were “La Vie en Rose,” “Besame Mucho,” “Quizas, Quizas, Quizas,” “I Left My Heart in San Francisco,” “Moon River,” “As Time Goes By,” “Unchained Melody,” “Love Me Tender,” “You are My Destiny,” “Shadow of Your Smile,” “Beddo de Tabako wo Suwanaide” (Please Don’t Smoke in Bed),” “Mona Lisa,” “Summertime,” “It’s a Sin to Tell a Lie,” “Autumn Leaves,” “Some Enchanted Evening,” “Love is a Many-Splendored Thing,” “Hyokkori Hyotan Jima” (Hyokkori Gourd-Shaped Island). In addition to those, Handa also sang the anime theme songs of “Lupin III,” “Science Ninja Team Gatchaman” and “Mazinger Z” with a jazz twist.

read more: http://www.japantimes.co.jp/2015/01/23/special-supplements/jazz-concert-raises-money-for-aids-charity-in-lesotho/#.VMVQhMazf9t

Interview: Jamie Cullum

Reprinted from http://jazzwax.com
Album-image
I love writing the "Track Record" column for Wall Street Journal/Europe, which is based in London. The point of the column is to interview artists to see what obscure albums most influenced them. There are always surprises, and I'm constantly being turned on to music that escaped my radar.
Jamie_cullum_live_by_carrie_19-d39xgla
Case in point is my interview with jazz singer-songwriter and pianist Jamie Cullum in today's "Off Duty" section of the Europe edition (go here). My challenge to Cullum was tell me about albums that have inspired him to take risks. I was familiar with Money Jungle but not the rest. Perhaps the most fascinating of the bunch was David Axelrod's psychedelic dance rock-fusion album, Song of Innocence, from 1968. Hear for yourself...
  
MN-AI138_GARDEL_FR_20150120170726
In the U.S. edition of The Wall Street Journal 
today, my interview with comedian Mike & Molly's Billy Gardell on growing up in Pittsburgh, moving to Florida at age 11 and how the relocation helped shape his comedy (go here). Billy is a naturally funny guy. When he called me right on time for our chat, I said, "Billy, wow, a comedian who's right on time?." Without missing a beat, he said, "Yeah, you're right. Let me call you back." [Photo of actor-comedian Billy Gardell at his home in Los Angeles by Annie Tritt for The Wall Street Journal]
Art3_49
Novelist Richard Ford
 is from Arkansas, but believe it or not, in the early 1980s he fell in love with suburban New Jersey and became a Bruce Springsteen fan. We talked about his favorite song by the Boss for the weekend's Review section (go here).
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And finally,
 in case you missed my essay on rock 'n' roll disc jockey Alan Freed, go here. The King of Rock and Roll wasn't a Boy Scout when it came to payola, but he has been demonized for far too long. It's time to celebrate what he accomplished for the music business, turning dozens of artists into household names and helping the Civil Rights Movement gain momentum. Freed also was a champion of teens and individualism at a time when teens were viewed as vermin unless they conformed and looked and behaved like their parents. There was no youth culture then.
Here's Part 1 of an Alan Freed radio broadcast...
And here's Part 2...
Used with permission by Marc Myers

NPR Music - Jazz

Butler, Bernstein And The Hot 9 At Jazz Standard

One comes from a line of New Orleans piano geniuses. Another comes from New York's downtown scene. They bonded over old jazz, and together, inject modern twists into early repertoire.
Read this story
JAZZ NIGHT IN AMERICA: THE RADIO PROGRAM

Prestige Records' 65th Anniversary Party

A half century ago, a small but important label recorded Miles, Trane, Sonny and Monk. A trio led by the rising star drummer Jamison Ross takes on classics from the Prestige catalog.
STUDIO SESSIONS

Jazz Musician Jamie Cullum Shares Stories And Plays Live

"I'm more of a communicator than a technician," says the self-taught, hugely successful UK jazz-pop artist. Hear him perform live in NPR's studios.
MARIAN MCPARTLAND'S PIANO JAZZ

Gary Burton On Piano Jazz

The vibraphonist performs a set of tunes by Antonio Carlos Jobim, Duke Ellington and others.
JAZZ NIGHT IN AMERICA

'Everything Is Cyclical': Christian McBride Looks At 2015 In Jazz

The bassist, host of NPR's new program Jazz Night In America, talks to Audie Cornish about two exciting new jazz records, as well as two birthdays he says he can't wait to celebrate.

William Paterson University ....

Barry & Larry

Barry and Larry:
Pianist Barry Harris and Saxophonist Larry McKenna 

Sunday, February 8, 2015, 4:00 pm

Piano legend Barry Harris returns to the Jazz Room stage, joined by the veteran tenorist Larry McKenna in a night of bebop and standards. Barry’s legacy comes as much from his decades of teaching as from his historic playing career, and his return represents a much-awaited reconnection to William Paterson’s talented jazz students. Saxophonist McKenna is a veteran of Woody Herman’s band and a legend in his own right, having played for decades with Buddy DeFranco, Frank Sinatra, Mel Torme, Clark Terry, Jon Faddis and many more.

Barry Harris
Larry McKenna

Village Vanguard ....

January 27 - February 1
VANGUARD JAZZ ORCHESTRA
VJO 49th ANNIVERSARY CELEBRATION! 

February 3 - February 8
WAYNE ESCOFFERY QUARTET
Wayne Escoffery-ts,
David Kikoski-p,
Ugonna Okegwo-b,
Ralph Peterson-d

February 10 - February 15
✭✭ JOHN ZORN AT THE VANGUARD ✭✭
John Zorn returns to the Village Vanguard with 10 of his most thrilling projects!

February 10 - 8:30pm
BILL FRISELL PLAYS ZORN
Bill Frisell - solo guitar

February 10 - 10:30pm
THE GNOSTIC TRIO
Bill Frisell-gtr,
Kenny Wollesen-vbs, 
Carol Emanuel-harp

February 11 - 8:30pm & 10:30pm
ELECTRIC MASADA
John Zorn-as,
Marc Ribot-gtr,
Jamie Saft-p,
Trevor Dunn-b,
Joey Baron-d,
Kenny Wollesen-d,
Cyro Baptista-per,
Ikue Mori-electronics

February 12 - 8:30pm & 10:30pm
MEDESKI MARTIN AND DUNN play Masada
John Medeski-key,
Trevor Dunn-b,
Billy Martin-d

February 13 - 8:30pm
JOHN ZORN & MILFORD GRAVES DUO
John Zorn-as,
Milford Graves-d

February 13 - 10:30pm
RIBOT PLAYS ZORN (Asmodeus, Valentine’s Day)
Marc Ribot-gtr,
Trevor Dunn-b,
Tyshawn Sorey-d

February 14 - 8:30pm & 10:30pm
MASADA QUARTET
John Zorn-as,
Dave Douglas-tpt,
Greg Cohen-b,
Joey Baron-d

February 15 - 3:00pm
IN THE HALL OF MIRRORS feat. the Steve Gosling Trio 
Steve Gosling-p,
Greg Cohen-b,
Tyshawn Sorey-d