The Jazz Connect Conference

The Jazz Connect Conference, organized by JazzTimes and the Jazz Forward Coalition, will be held January 14-15, 2016 in New York City and will lead into the annual APAP (Association of Performing Arts Presenters) Conference as well as Winter Jazzfest.  Continuing the momentum from the January 2015 event which hosted over 650 registrants, the 2016 Jazz Connect Conference—based on feedback from attendees—will feature a series of essential workshops, panels and events held over the course of two days.  Early-bird pre-registration is only $95 until September 15, with additional discounts offered to members of various organizations.

With a theme of “Fresh Horizons” the conference will again bring together a wide cross-section of the jazz community for over a dozen 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.

The schedule reflects the input from and collaboration with numerous organizations such as JazzWeek (radio programmers), Chamber Music America, the Music Business Association, Future of Music Coalition and the Jazz Journalists Association, each of whom will host workshops or panels during the conference.  In addition to incorporating the involvement of various organizations, the sessions also include a wide range of voices in and out of the jazz community.

The Jazz Connect conference is organized by Peter Gordon of the Jazz Forward Coalition and Lee Mergner of JazzTimes, with assistance and input from over a dozen industry professionals.  The conference has received the support of the Association of Performing Arts Presenters organization, which hosts the world’s leading forum for the performing arts every year in New York City.  JazzTimes is the official publication for the event. 


For more information about the Jazz Connect conference, you can e-mail jazzconnectnyc@gmail.com.  To pre-register for the conference, go to the registration page.

from: https://sites.google.com/site/jazzconnect2014/home-1

Adair-Aliquo, "Too Marvelous For Words"

Adair Music Group

Adair-Aliquo, "Too Marvelous For Words"

Coming In September

featuring:
Beegie Adair - piano
Don Aliquo - tenor saxophone
Roger Spencer - bass
Chris Brown - drums

If anyone doubts the timelessness of classic jazz, one listen to saxophonist Don Aliquo and pianist Beegie Adair’s Too Marvelous for Words will convince them otherwise. “We were visualizing vintage, mid-Fifties, Be-Bop feel” states Beegie – and they fully captured it. Sometimes that intent can create a somewhat nostalgic feel, losing the immediacy that is at the core of all great jazz. In the hands of these two masters, quite the opposite occurred. The listener is instead transported into the mindset of that spectacular era, complete with all of the excitement, urgency, and joy of adventurous discovery that were its hallmarks.

A key reason for this is the remarkable empathy among all the musicians, creating the synergy that is so essential for jazz at its highest levels. The outstanding bass and drums tandem of Roger Spencer and Chris Brown respectively are the regular members of Beegie’s trio, contributing greatly to the sense of seamless cohesiveness and unity of purpose that fuels this entire album. While Don has performed often with the two of them over the years, he had performed far less frequently with Beegie before this date. But their profound connection is simply stunning, sounding as if they’ve been playing together regularly for years. Their interplay is so symbiotic that it often seems like they are dancing.

Playing mostly tenor, along with two pieces on alto, Don’s sound on both instruments is full-bodied and robust. His sensational phrasing is so articulate and emphatic that the stories he tells are vividly hewn, fascinating tales. His sound is steeped in the vernacular of the powerhouse saxophonists, but utterly singular and with a completely modern flair. Beegie, internationally loved and renowned, is a marvelous pianist, with an understated but dynamic style and a consummate sense of unfettered and always inventive swing, whether soloing or in ensemble support. Spencer’s deeply resonant sound and inspired playing gives the music a full, but always buoyant bottom. Combined with Brown’s sensitive, subtly vigorous but never overpowering sense of drive and swing, their impeccable time and taste locks every piece into a perfect groove.

The repertoire is sublime, combining wonderful items from the Great American Songbook with classic works from four of the jazz legacy’s greatest composers. That all but one of these compositions were originally written between 1937 and 1952 (the exception being Isfahan, one of the final Strayhorn/Ellington collaborations in 1966) is further testimony to the aforementioned timelessness of this music. Without losing sight of the era they were trying to capture, the exceptional arrangements make every piece modern, vital, refreshing, exhilarating and completely of the moment. The ten pieces include seven lively swingers, ranging from gentle to surging, and three lovely ballads.

There are three items from the unparalleled Billy Strayhorn – another collaboration with Duke; and his own Johnny Come Lately, which opens the album in a loping groove with a staggered approach that creates a somewhat Monk-ish feel. Isfahan is an almost-ballad in soft swing that grows bouncier as it moves along; and the exquisite Day Dream is built on Beegie’s lushly rich piano with Aliquo playing tenor, evoking the heart-wrenching beauty that Johnny Hodges always brought to this piece on alto.

Don brings his own passionate alto styling to Tadd Dameron’s beautiful If You Could See Me Now, an emotive and heartfelt rendition with a deep tinge of blue. Don also plays alto – with Beegie in a splendid Red Garland-ish swing mode – on the playful and joyously up-tempo This Can’t Be Love, one of two Rodgers & Hart songs included here. The other, a poignant and deeply moving version of It Never Entered My Mind showcases Don’s sumptuous tenor sax balladry.

Captivating rhythmic approaches are at play on the richly syncopated Fragos, Baker and Gasparre hit song I Hear a Rhapsody, and the Latin-flavored, ostinato driven All or Nothing at All (Arthur Altman) that features a tour-de-force tenor solo – powerfully visceral and daring, but never losing its rich lyricism. Beegie lays down a deeply grooved and funky bounce on Thelonious Monk’s Bye-Ya, and provides terrific interplay with Don’s fluid and punchy tenor work.

While Nashville is far more famous for another form of music, with jazz artists like these four on its scene, country music may have to move over a bit and make some room.
more information: visit www.beegieadair.com and  www.donaliquo.com

from: Jim Eigo Jazz Promo Services
E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.com/

Bill O'Connell ....

BILL O’CONNELL and The Latin Jazz Allstars

Sunday, August 2nd

Featuring

Bill O'Connell - piano

Steve Slagle - sax

Conrad Herwig - trombone

Luques Curtis - bass

Richie Barshay - drums

Roman Diaz - congas

Melvis Santa - vocals/percussion

Birdland, 315 West 44th Street NYC - between 8th and 9th Avenues

www.birdlandjazz.com

From: Jim Eigo
Jazz Promo Services
272 State Route 94 South #1, Warwick, NY 10990-3363
Skype: jazzpromo
jim@jazzpromoservices.com
www.jazzpromoservices.com

Little Mike & The Tornadoes

Little Mike & The Tornadoes - Back from Touring and Ready to Twist-up Your Blues!

read more: http://jazz-bluesflorida.blogspot.com.br/2015/07/little-mike-tornadoes-back-from-touring.html

Hal McKusick: You're Everywhere

Reprinted from http://jazzwax.com

Soon after I started this blog in 2007, I interviewed saxophonist Hal McKusick at length. Hal appeared on dozens of my favorite albums and his heart-touching tone was unmistakable. In the years that followed our initial conversation, we spoke every few weeks by phone. Hal was always generous with answers to my questions and hugely encouraging. He also provided me with a great education, steering me to incredible recordings and insights into the players. Even in 2007, Hal immediately understood the value of a jazz blog dedicated to those who made the music but may have been overlooked or forgotten. He loved that I was preserving musicians' words and stories for future generations.

Hal died in 2012, and there isn't a week that goes by that I don't think about him and listen to his recordings. I have nearly all of them, so imagine my surprise when I received an email from saxophonist John Ludlow, who hipped me to an obscure 45 that Hal recorded for the Glory label in late 1958.

On the A-side of the 45 is an instrumental cover of Ambrose (Part 5), a novelty pop song by Linda Laurie released in 1959. It was written by Linda Gertz, Wes McWain, Lou Sprung—Linda Gertz being Linda Leslie, the song's singer. Hal's side was called Ambrose (Just Keep Walking)—the parenthetical phrase taken from the song's lyrics.

Interestingly, Laurie's Ambrose and Hal's were both recorded for the Glory label (Laurie's single was #45-290 while Hal's was #45-292). Clearly, Hal was brought in to create an R&B version of the song. His Ambrose opens with a gravelly voice saying, "Just keep walkin'." The rest is a catchy melody with a walking bass line and a sauntering feel that lasts just 2:31.

On the B-side is You're Everywhere, by Robert Nemiroff (above) and Burt D'Lugoff who are credited on the label as Robert Barron and Burt Long, their pseudonyms.You're Everywhere is an addictive ballad, providing Hal with a seamless melody on which to improvise. Sadly, the single runs just 2:34. Hal put together a trio behind his alto sax, and some discographies list Milt Hinton as the bassist. That's it for the personnel.

But the piano's chord voicings on the intro and solo make me think it's Bill Evans in his Miles Davis accompanist phase. Listen to the intro, which is pure Jazz at the Plaza, an album Evans recorded with Davis in September of that year. Hal was close with Evans in 1958 and recorded with the pianist around this time on George Russell's New York, N.Y. The drummer is less obvious.

Glory Records was founded in 1955 by Phil Rose, a former executive of Derby Records and Coral Records. Since Hal recorded quite a bit for Decca and Coral, I'm assuming Rose was a friend who asked him to do the date. Soon after the single was released in 1959, the label folded. As for Robert Barron and Burt Long, they had written other songs for Glory prior to You're Everywhere—notably Cindy, Oh Cindy,by Martin, Vince & The Tarriers in 1956, and Linda Laurie's Oh, What a Lover!

I'm hard-pressed to think of another song that more perfectly evokes Hal's grace and tenderness than You're Everywhere. I just wish I could pick up the phone and talk to him about it for a half hour. I miss Hal.

Here's the Hal McKusick Quartet on You're Everywhere...

A JazzWax thanks to John Ludlow.

Used with permission by Marc Myers

Miami Jazz Co-op Rent Party Mondays in August - Hal Roland Trio, Maria Rivas, Lisanne Lyons, James McCoy!

Once again, the MJC is featuring a great pianist playing our new grand piano. Hal Roland, a Florida native, has been a keyboardist, vocalist, producer, writer, teacher, and radio personality for 30 years. He graduated from the University of Miami in 1984, with a Bachelor Degree in studio music and jazz.

Throughout his career, Hal has had the privilege of performing and recording with many of the biggest names in contemporary music, including Liza Minnelli, Jon Secada, Quincy Jones, The Bee Gees, and Michael Jackson. He has performed with his own jazz trio across Europe.


On Monday, Hal will be performing with MJC Founders, Matt Bonelli and Steve Rucker.

8/10 - MARIA RIVAS

8/17 - TOM McCORMICK

8/24 - LISANNE LYONS

8/31 - JAMES McCOY

read more: http://jazz-bluesflorida.blogspot.com.br/2015/07/miami-jazz-co-op-rent-party-mondays-in.html

The Last Note: Document 50 Figures in Jazz & Blues

Wendy Oxenhorn, as Executive Director of the Jazz Foundation of America, I have fought for 15 years to make sure professionals in jazz and blues have the resources they need to survive and continue their work. In that time, I've had the honor to know many extraordinary souls. When I see these souls pass away, I am saddened and afraid that all evidence of their lives and their works will be lost. 

NPR Music - You Must Hear This ....

What Does Music Look Like?  Designing classical album covers is hard. But being new to the music makes it easier for Denise Burt. Explore the artwork

FIRST LISTEN First Listen: Chelsea Wolfe, 'Abyss' Darkness is never far behind Chelsea Wolfe; if anything, the metallic Abyss chases it with a tenderness that understands the beauty therein. Stream the album

Studio 619 ....

Studio 619 - The cool beach hang with the great jazz in Fort Lauderdale!

CÉSAR OROZCO & KAMARATA JAZZ ....

NEW RELEASE CÉSAR OROZCO & KAMARATA JAZZ
"NO LIMITS FOR TUMBAO"
 

CÉSAR OROZCO PIANO & KEYBOARDS
RODNER PADILLA BASS
FRANCISCO VIELMA PERCUSSION
EURO ZAMBRANO DRUMS

And Featuring Guests: 

Paquito D’Rivera, Pedrito Martinez, Gary Thomas, Yosvany Terry, Luisito Quintero, Vladimir Quintero, Linda Briceño,
Pablo Bencid, Zamira Briceño

Artist: CÉSAR OROZCO & KAMARATA JAZZ

Title: NO LIMITS FOR TUMBAO

Label: ALFI RECORDS 5004 

Distributed by: Naxos of America for USA and Canada and 

NAXOS for the world

Release Date: AUGUST 1, 2015

Track listing:

1. NO LIMITS FOR TUMBAO 5:05 (OROZCO) 

2 . LA RUMBA ESTA BUENA (CHANGÜÍ) 5:41 (SPECK) 

3. JOROZCO (JOROPO) 5:25 (OROZCO) 

4 . YOBO 6:47 (OROZCO) 

5 . VLADITIMBA 6:53 (OROZCO) 

6 .FAITH 5:54 (OROZCO) 

7. GALERON 9:03 (VENEZUELAN FOLKLORE) 

8. A NIGHTINGALE SANG IN BERKELEY SQUARE 4:42 (SHERWIN) 

9. ARRIVAL 6:27 (OROZCO) 

10. PARA TI NENGON (NENGÓN) 5:44 (CUBAN FOLKLORE)

It could be said that “Tumbao” is for Latin music what the swing is for Jazz. Do you know the Duke Ellington tune: “It don’t mean a thing if it ain’t got that swing”? So, how about “if it ain’t got that tumbao”? I hope you’ve got the idea now. 
 

This album adds new ingredients to the mix of Venezuelan music, Cuban music, and jazz I’ve been doing for a number of years – for example, Changüí and Nengón, Cuban folkloric genres that both originated in the eastern part of the island. The first has a great rhythmic complexity, but a strong danceable spirit. The second could represent the clearest forerunner of Cuban Son.

For me, Nengón also has personal significance since my father, musicologist Danilo Orozco, was the one who brought it to light for the very first time through his research in the early 80s, embodied in the album “Antología Integral del Son.” On the Venezuelan side, although I have previously recorded Joropos, this is the first time I have composed one, which besides the jazz influence, has the characteristic beat and refrain of the eastern Venezuelan Joropo.

You will also hear a Venezuelan Merengue with a Cuban Montuno, a Funk style song adorned with Afro-Venezuelan drums, and a Cuban-flavored ballad, among other things. In the end, my goal is to transmit emotions through the music and show that there are absolutely “No limits for Tumbao” — César Orozco

Sent by: Jim Eigo Jazz Promo Services

E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.com/

Community Arts Program Summer Concert Series ....

Community Arts Program Summer Concert Series in Coral Gables Continues with Jason Marsalis July 30, 2015

Jason Marsalis, his older siblings — Wynton, Branford and Delfeayo— and jazz pianist father, Ellis, are New Orleans’ venerable first family of jazz. Jason is well known for his prodigious drumming. However, with the release of 2013’s In a World of Mallets, listeners now recognize Jason for his unique sound on the vibraphones. Here’s to an absolutely mesmerizing evening with Jason Marsalis (vibes), Will Goble (bass), David Potter (drums), and Austin Johnson (piano).

Coral Gables Congregational United Church of Christ

Community Arts Program (CAP)

www.CommunityArtsProgram.org

Directions

Coral Gables Congregational United Church of Christ is located at 3010 De Soto Boulevard (directly across from the Biltmore Hotel and five miles from Miami International Airport) in Coral Gables. MAP

read more: http://jazz-bluesflorida.blogspot.com.br/2015/07/community-arts-program-summer-concert_23.html

Isn't it a Pity - Nina Simone

Published on May 10, 2011

Isn't it a pity
you don't know what i'm talking about yet
but i will tell you soon
it's a pity

isn't it a pity
isn't it a shame
yes, how we break each other's hearts
and cause each other pain

how we take each other's love
without thinking anymore
forgetting to give back
forgetting to remember
just forgetting and no thank you
isn't it a pity

some things take so long
but how do i explain
why not too many people can see
that we are all just the same
we're all guilty

because of all the tears
our eyes just can't hope to see
but i don't think it's applicable to me
the beauty that surrounds them
child, isn't it a pity

how we break each other's hearts
and cause each other pain
how we take each other's love
the most precious thing
without thinking anymore

forgetting to give back
forgetting to keep open our door
isn't it a pity
isn't it a pity

some things take so long
but how do i explain
isn't it a pity
why not too many people
can see we're all the same

because we cry so much
our eyes can't, can't hope to see
that's not quite true
the beauty that surrounds them
maybe that's why we cry
God, isn't it a pity

Lord knows it's a pity
mankind has been so programmed
that they don't care about nothin'
that has to do with care
c-a-r-e

how we take each other's love
the most precious thing
without thinking anymore
forgetting to give back
forgetting to keep open the door

but i understand some things take so long
but how do i explain
why not too many people
can see we're just the same

and because of all their tears
their eyes can't hope to see
the beauty that surrounds them
God, isn't it a pity
the beauty that surrounds them
it's a pity

we take each other's love
just take it for granted
without thinking anymore
we give each other pain
and we shut every door

we take each other's minds
and we're capable of take each other's souls
we do it every day
just to reach some financial goal
Lord, isn't it a pity, my God
isn't it a pity, my God
and so unnecessary

just a little time, a little care
a little note written in the air
just the little thank you
we just forget to give back
cause we're moving too fast
moving too fast
forgetting to give back

but some things take so long
and i cannot explain
the beauty that surrounds us
and we don't see it
we think things are just the same
we've been programmed that way

isn't it a pity
if you want to feel sorry
isn't it a pity
isn't it a pity
the beauty sets the beauty that surrounds us
because of all our tears
our eyes can't hope to see

maybe one day at least i'll see me
and just concentrate on givin', givin', givin', givin'
and till that day
mankind don't stand a chance
don't know nothin' about romance
everything is plastic
isn't it a pity
my God.

World's Great Drummers Salute Ringo Starr

Published on Jul 7, 2015

Watch as among the world's greatest drummers, including Dave Grohl and Taylor Hawkins of the Foo Fighters, Stewart Copeland of the Police, Questlove of the Roots, Tré Cool of Green Day, Max Weinberg of Bruce Springsteen and the E Street Band, and Chad Smith of the Red Hot Chili Peppers, all salute Ringo Starr from behind his famous Ludwig kit, now on exhibit at the Rock and Roll Hall of Fame in Cleveland!

suggested by Jorge Carvalheira

Featured Website: Ben Allison

Ben Allison is a visionary composer, adventurous improviser, and strong organizational force on the New York City jazz scene, [and] has emerged "as a rising star over the past decade" (JazzTimes). With his groups Peace Pipe, Ben Allison Quartet, Medicine Wheel, the Kush Trio, and the Herbie Nichols Project (which he co-leads with pianist Frank Kimbrough) Ben has toured extensively throughout the US, Canada, Europe, and Brazil winning fans and building new audiences with an adventurous yet accessible sound and a flair for the unexpected.

Called one of today's best young jazz musicians by the Boston Globe, Ben has released seven albums of original music ? Cowboy Justice (2006), Buzz (2004), Peace Pipe (2002), Riding the Nuclear Tiger (2001), Third Eye (1999), and Medicine Wheel (1998) on Palmetto Records, and his 1996 debut Seven Arrows on the Koch Jazz label ? all of which showcase Ben's forward-thinking vision as a producer, composer, arranger, and bassist, and his hands-on approach to his craft.
... read more...

Official Website: http://www.benallison.com

Jocelyn & Chris Arndt (Guitar), Kate Sgroi (Bass) and David Bourgeois (Drums).

Special guests include Emma Torncello/Hammond Organ, Drew Terella/Vibraphone, Dylan Perilo/Bass and Dave Macejka/Percussion

Named #12  on Planet Stereo’s list of 100 Artists You Must Hear in 2015

http://www.jocelynarndt.com/

Combine a striking twenty year old, a brother and co-writer, perform more than 100 shows nationwide in 2015 including Sundance Film Festival and Mountain Jam, appear on the playlists of more than 100 college radio stations, record songs featuring players such as Danny Louis of Gov’t Mule, and receive a scholarship to Harvard University, and you'll describe Jocelyn Arndt.

Arndt's voice, emotion, and raw intensity, connect with her audience in a manner that is organic, personal, and deeply real.  Style and approach aside, it is the intimacy of Jocelyn’s voice with the retro approach of Chris’s guitar that make their music and performances amazing.

The siblings debut 2014 EP “Strangers In Fairyland” was released to critical acclaim. A followup original Holiday song “Still” was digitally released in December of the same year charting in the 20s on iTunes Christmas charts. Most recently the duo released “Here To Stay”, a retro-swing-infused love song featuring Danny Louis of Gov’t Mule on keys and legendary jazz vibraphone player Tony Miceli.

Jocelyn and Chris with their band have performed across the country including repeat appearances at The Bitter End in NYC, Acme Feed & Seed in Nashville, and at The Sundance Film Festival in Park City, Utah. They’ve appeared live on Fox-TVs “Good Day New York” and Chattanooga, Tennessee’s “Weekend Today”. In January, Jocelyn was in Muscle Shoals Alabama tracking vocals for the albums lead track titled “Hot” at the renowned Fame Studios.

read more: http://www.liveatthefalcon.com/#!150803/c1hlf

Rossano Sportiello, Nicki Parrott

Sunday August 2

"If you bemoan the passing of exquisite sessions....artfully played swing....prepare yourself for a decidedly international take on that all too rare listening experience." - Elliot Simon / AllAboutJazz

Nicki Parrott

"Parrott is indeed the whole package." - AllAboutJazz

nickiparrott.com

With expressive elegance, Nicki Parrott has charmed audiences worldwide with performances showcasing her dynamic voice and commanding musicianship.

Nicki’s releases "Fly Me To The Moon and "Moon River" were voted Swing Journal Magazine Critic’s Poll, “Best Jazz Vocal Albums.“  

Nicki performs regularly on Monday nights at the Iridium Jazz Club NYC as part of the legendary Les Paul Trio. Nicki was Les Paul’s bassist and vocalist for over 10 years. In addition to performing at most of the world’s top jazz festivals, Nicki has performed with jazz greats Randy Brecker, Clark Terry, Jose Feliciano, Rebecca Paris, Bucky Pizzarelli, John Pizzarelli, Dick Hyman, Patti Labelle & the New York Pops Orchestra, Harry Allen, Michel Legrand, Marlena Shaw, Mike Stern, David Krakauer, Ken Peplowski, Ann Hampton Callaway, Scott Hamilton, Larry Carlton and Victor Wooten. 

Rossano Sportiello 

"Sportiello reprises Basie's economical style while Parrott swings hard." - AllAboutJazz

http://www.rossanosportiello.com/

Award-winning jazz pianist Rossano Sportiello was performing professionally at jazz venues in the Milan area, at age 16. In 1992, he joined one of Europe’s historic jazz bands, the “Milano Jazz Gang” touring with the group throughout Italy and West Europe. Rossano met legendary jazz pianist and educator, Barry Harris, who became a mentor and friend. Harris has touted Rossano as “the best stride piano player” he has ever heard and on several occasions has invited Rossano to perform during his own performances.

Stylistically, the influence of other great masters can be heard in his playing, such as Fats Waller, Teddy Wilson, Art Tatum, Count Basie, Earl Hines, Ellis Larkins and Bill Evans, to name a few.

Preview: Norwich Jazz Weekender

The Jazz Weekender brings two days of top quality jazz to the Fine City of Norwich, including sets from Claire Martin, Enrico Tomasso and Kit Downes' new project, The Enemy

Bruce Lindsay

The Jazz Weekender, organised by Simon Brown of Norwich Jazz Club, makes its second appearance this summer. The weekend in question, 29 and 30 August, will feature 14 shows, from big band swing to a Balkan-inspired piano trio, Cuban classics and songbook standards, a celebration of George Shearing and an innovative new band led by one of Norfolk's finest jazz exports. The Jazz Weekend will bring some fine music to this fine city.

Brown says "The term 'jazz' can mean different things to different people. I hope that from amongst the 14 shows we're staging at this year's event, music fans will find shows to enjoy that align with their sense of the genre - and maybe even discover something new." Twelve concerts will take place in the club room of OPEN, a city centre music venue. Two Sunday night shows, by vocalists Georgina Jackson and Gabrielle Ducomble (pictured right), will be hosted cabaret-style in the Redwell Bar of the Maddermarket Theatre, a five-minute walk from the main venue.


Local favourites DixieMix kick festivities off at midday on Saturday with their trademark mix of Dixieland and good humour. Bebop comes courtesy of the Damon Brown Quintet, with Leon Greening on piano and Matt Skelton on drums. Skelton also appears as part of the Dave Newton Trio with bassist Jeremy Brown, in the company of singer Claire Martin. Sarabanda, an Anglo Cuban sextet, close the Saturday programme with salsa and son. Partisans will bring their own brand of contemporary jazz with a rockier, experimental edge.

read more: http://www.jazzjournal.co.uk/jazz-latest-news/941/preview-norwich-jazz-weekender

Letter from Paula Atherton....

Hello Everybody!

I hope you are having a great summer!  We are going to be doing a CD release show Thursday, August 20th, at Carroll Place in NYC!  I know a lot of my dates have been out of town, so I hope you can attend.  Carroll Place is a great Italian restaurant, with a really nice music room.  Please come early for dinner and stay for the show!  I will have copies of my new CD, "Ear Candy" available to autograph, as well as copies of my previous three.

We will be playing selections from "Ear Candy," as well as favorites from previous releases. We will also be celebrating the release of the second single from "Ear Candy," called "Remember When" (featuring Nick Colionne on guitar).  This week was week #1 for the single, and it is doing great; #1 most added on Billboard, Most added list, most increased spins list, as well as chartbound on smoothjazz.com, debut at #33 on smoothindiestar.com, and #2 most added on Groove Jazz Music chart!

 

Here is the info:

Thursday, August 20th, 8:30pm

Carroll Place, 157 Bleecker St, NYC

212 260 1700

 

Paula Atherton: sax/flute/vocal

Lou Gimenez: guitar

Jorgen Kjaer: keys/vocal

Ron "Rondew" Monroe: bass

Tony Lewis: drums

 

See you then!

 

www.paulaatherton.com
http://www.facebook.com/pages/Paula-Atherton/140985210557

http://www.reverbnation.com/paulaatherton

http://kalimba-music.com

Denny Zeitlin: "The Two Track Mind" by Grover Sales

Steven A. Cerra
I’m never certain as to why I get into a listening mode that focuses on the music of one musician, but I often do and lately the center of my undivided attention has been the music of pianist Denny Zeitlin.

 What I like best about Denny’s approach to Jazz is that I know he’s always going to give me an honest rendering; his compositions and improvisations are unmistakably his own. Cue Magazine [circa 1965] even went so far as to say that “Denny Zeitlin was the most inventive pianist in at least two decades.”

 Art Tatum, Fats Waller, Earl Fatha Hines, Teddy Wilson, Bud Powell, Nat King Cole, George Shearing Lennie Tristano, Oscar Peterson, as well as, Denny’s contemporaries including Bill Evans, McCoy Tyner, Herbie Hancock Keith Jarrett and Chick Corea, all have an instantly recognizable “voice” on an instrument that’s not known for its individuality of expression.

 And yet, it doesn’t take long before Denny’s unique style to manifest itself. He’s such an honest player who rarely falls back on licks and tricks and hardly ever repeats himself.

 I’ve been listening to Denny’s music for a long time, having first become familiar with his work through three recordings that he recorded for Columbia in the mid-1960s under John Hammond’s supervision: Cathexis, Carnival, and Zeitgeist. Another of my favorite recordings by Denny on Columbia from the same period is Shining Hour: Denny Zeitlin Live at The Trident [a Jazz club that was based in Sausalito, CA just across the Golden Gate Bridge from San Francisco]. It was recorded in performance at the club in 1965.

 Bassist Charlie Haden and drummer Jerry Granelli join Denny on most of these recordings with bassist Cecil McBee and drummer Freddie Waits accompanying him on Cathexis.

 While researching a lengthier profile on Denny that encompasses  his 50+ year career in the music, I came across the following piece by the eminent Jazz scholar and author Grover Sales which appeared in the May 1986 edition of Gene Lees Jazzletter.

 While I continue my research into the ever-evolving music of Denny Zeitlin so as to do it justice from a career perspective, I think you’ll be in good hands with Grover in the meantime.

read more: http://jazzprofiles.blogspot.com.br/2015/07/denny-zeitlin-two-track-mind-by-grover.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed:+JazzProfiles+(Jazz+Profiles)

NYC’s 5 Best Jazz Clubs

NEW YORK

Village Vanguard

villagevanguard.com
212-255-4037
7th Ave South and 11th St
New York, NY 10014

Still the most esteemed basement in all of jazz. Walk down the narrow stairs into a deceptively small room and image what being there was like when John Coltrane made his seminal 1961 recording Live at the Village Vanguard. The club is host to top-shelf straight ahead, swing based toonage while as of late, and the booking style has broadened, welcoming giants from every conceivable representation of improvised music. No food. Artists play Tues-Sun. Sets at 9 and 11 Mondays are reserved for the Vanguard Jazz Orchestra. $30-40

Jazz Standard

jazzstandard.net
212-576-2232
116 East 27th St
New York, NY 10016

Great sound, tasty grub and a wildly eclectic line-up of artists make this “destination” venue a mainstay on anybody’s top jazz venue list. The room, which sounds full and warm from every angle books big name acts into the space for at most a three-night run. Many acts that enjoy regular gigs at the 55 Bar, Barbes, Smalls and other smaller clubs take a step up in audience size and play the Jazz Standard. Mondays are dedicated to the Mingus Big Band. Roughly $30

Barbes

barbesbrooklyn.com
718-965-9177
376 9th St
Brooklyn, NY 11215

What’s with all the Balkan brass bands, and how can they possibly rock so incredibly hard? Spend some time at Barbes, located in south Park Slope and find out why the Eastern European influence within the New York jazz orbit has been so massive. Not the least of this newish wave of honking polka punks are the mighty Slavic Soul Party who have played host to a jam-packed Tuesday night throw down. This sometimes really big band (the lineup fluctuates) mixes all your fave Romanian, Moldovan, Bulgarian and Romany sounds along with some tasty American roots stuff like second-line, gospel and jazz. Usually a $10 cover.

55 Bar

55bar.com
212-929-9883
55 Christopher St
New York, NY 10014

A very welcome hipster hang. This tiny West Village club is a destination for guitarists from all over the globe who flock to hear frequent gigs from axe wizards like Mike Stern, Adam Rogers, Jim Campilongo and others. Outer orbit atmospherics can be heard here alongside swing and bop. Expect to enjoy the music with jazz students from the New School, Manhattan School and NYU who take the opportunity to check out their heroes in a cozy intimate environ. Sets are twice nightly, starting at 7:00 with a late set at 10:00. Usually $ 10-20.

Smalls

smallsjazzclub.com
212-252-5091
183 West 10th St
New York, NY 10014

A now legendary basement New York City jazz club. Initially ran from 1994-2003, the room played host to greats like Joshua Redman, Brad Mehldau, Norah Jones, Kurt Rosenwinkel and Roy Hargrove The club reopened in 2004, and sports a spiffed up 48-seat room, a website that features streaming video of all performances and a rebuilt Steinway grand piano. Smalls — which books everything from traditional jazz to bands that explore the avant-garde — has always been an after-hours club, hosting well-attended jam sessions every night with jazzers playing a final chorus at 4 a.m. $20 Cover.

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Asbury Park Loves Jazz ....

ABOUT THE JAZZ WEEKEND

With jazz lovers in mind, we're kicking off a new tradition at the shore, ASBURY PARK LOVES JAZZ WEEKEND , a three-day weekend of jazz scheduled for August 7th-9th, 2015 in historic Asbury Park. This weekend promises to bring back the glory days of a music scene that once featured the hippest jazz music played anywhere. Add to that a beach weekend on the Asbury Waterfront and you've got sizzle!

Asbury Park has a rich history of Jazz - drawing icons such as Duke Ellington who first visited in 1912 as a young teenager. Count Basie, a Red Bank native, who played Mrs. Jay's Beer Garden in the 1930's - long before it became the Stone Pony. Asbury Park's west side clubs on Springwood Avenue were home to one of the most vibrant jazz scenes between 1910-1970.

The roster of live entertainment for the Asbury Park LOVES Jazz Weekend is a great mix of today's top jazz musicians as well as artists creating the next generation of jazz history in venues on Main Street, downtown and the Boardwalk.

On Saturday Live music starting off with local favorites from Lakehouse Music Academy Kid's Jazz Band, moving into standard jazz with the Karen Schwartz Quartet. Next up is Island Motion calypso with Desi Norman and Boardwalk Jazz with PJ Rassmusen as well as Valerie Adams and the Dimensions Band. Music will fill the heart of downtown Asbury Park from our tent garden at Press Plaza and into art galleries and restaurants. Music in Pres Plaza is free and open to the public from 11am - 7pm.

Sunday is the Main Event at the Paramount Theater featuring a star-studded line up that will have you on the edge of your seat.

Of course, we scheduled the weekend so you can mix music with great beaches, over 50 restaurants featuring cuisine from around the world and a nightlife that extends beyond the jazz programming.

Stay tuned for updates including dining guides and lodging offers.

read more: http://www.asburyparkchamber.com/jazz_weekend.asp#about

Young Women of Jazz

Musicians and mentors are creating a dynamic partnership at NJPAC's all-female jazz residency this summer. The weeklong residency, which is hosted by NJPAC’s Department of Arts Education on the Montclair State University campus, was held for a second year in July, solely for young women intent on honing their craft. The summer intensive attracted 13- to 25-year-olds from throughout the country and as close as Newark.

read more: http://njjazzlist.com

Bria Skonberg ....

Bria Skonberg is a catalyst for all things jazz.  Hailing from West Coast Canada and now living in New York City, award winning trumpeter/vocalist/ composer BRIA SKONBERG is "poised to be one of the most versatile and imposing musicians of her generation."- Wall Street Journal. 

  Since moving to New York in in 2010 she has earned a Jazz Journalists’ Association nomination for “Up and Coming Jazz Artist of The Year” and has been included twice in DOWNBEAT Magazine’s Rising Star Critics‘ Poll. She has recently been honored with a New York Bistro Award for “Outstanding Jazz Artist” and swept the 2014 Hot House Jazz Magazine Awards in all categories nominated: Best Jazz Artist, Best Trumpet, Best Female Vocalist and Best Group for the Bria Skonberg Quartet. Since moving to New York she has headlined at major event spaces such as Symphony Space, Dizzy’s Coca Cola, the Iridium, Birdland and Cafe Carlyle.

She has been featured on jazz luminary Wycliffe Gordon’s projects and studied with Warren Vache. Best known for her knowledge of classic jazz and instigative nature, she is now creating an adventurous style rooted in New Orleans jazz and blues featuring mostly her original compositions.  Her debut US release SO IS THE DAY (Random Act Records) peaked at #7 on the US National jazz charts; the 2014 follow up release INTO YOUR OWN features percussionist Mino Cinelu (Miles Davis, Weather Report).  She has volunteered at the Louis Armstrong House Museum in Queens, is Co-Founder of the New York Hot Jazz Festival and a founding Director of the New York Hot Jazz Camp set to launch in 2016. 

Her first professional gig was as a big band singer at age sixteen doubling on trumpet and she has since performed as a bandleader and guest artist at over 50 jazz festivals in North America, Europe, China and Japan. Bria is a graduate of Capilano University’s Jazz Degree Program and was featured in the 2010 Opening Ceremony of the Paralympics alongside Michael Kaeshammer with the Dal Richards Orchestra of which she was a member from 2006-2010.

Bria plays a Bach Stradivarius 43 trumpet and is a Bach/Conn-Selmer Artist.  is a Bach/Conn-Selmer Artist.