Ivan “Melon” Lewis

Ivan “Melon” Lewis quartet is a cuban band that combine the very traditional and most contemporary cuban music. Performing well-known songs as well as original compositions, the group travel through different sounds and harmonies while keep a strong link with their cuban roots. Boleroes, cha-cha-chá or danzones are some of the genres that we can hear from the group, being its very fine performing one of the most remarkable aspects of the quartet.

Ivan Melon Lewis (piano)
Magos Herrera, a special guest (vocals)
Roman Filiu (alto sax)
Yunior Terry (bass)
Craig Weinrib (drums)

At The Holy House Of Coltrane, A 'Jerusalem' Of Jazz Faces Eviction

Eric Westervelt
Updated February 28, 20168:05 PM ET
Published February 28, 20165:18 PM ET

The Fillmore District of San Francisco was once known as the "Harlem of the West" for its rich African-American culture and jazz roots. This week, the neighborhood's beloved Saint John Coltrane African Orthodox Church may be forced to find a new home.

"The church is almost like going to Jerusalem or going to Mecca, so people pilgrim here from all over the globe," says Archbishop Franzo Wayne King Sr., who co-founded the church of John Coltrane devotees in 1969.


The church went up as a way to worship the spiritual quality of Coltrane's music, through what King calls the holy trinity of melody, harmony and rhythm.

"From the very beginning of the church, we wanted everybody to know about this evolved, transcendent being that came in this time and this age with a new testament message that wasn't about division, and as Coltrane would say, 'living clean and doing right,' " King says.

The city of San Francisco has told the congregation to vacate their small storefront building on Fillmore Street by Wednesday. But Archbishop King is trying to get the courts to stop the eviction and give his church time to settle charges of unpaid rent.


He says gentrification has played a role pushing them and others out of the area. "I think it's about profit mainly," King says.

read more: http://news360.com/digestarticle/bf1I7V3Kt0qg1_H-_riY4g

Fats Domino: Birthday Doc

Reprinted from http://jazzwax.com

It's hard today to fully appreciate the innovation and influence of pianist Fats Domino. Back in the spring of 1952, Domino already had three hits on the R&B chart and was about to have his first No. 1 with Going Home. Up until Fats, R&B in the post-war years was largely a "jump blues" affair, powered by the success of Lionel Hampton and Louis Jordan and followed up at the end of the 1940s by blues saxophonists like "Big Jay" McNeely, Hal ‘Cornbread” Singer and Joe Houston. In essence, Fats combined blues shouting with a unique strolling boogie-woogie piano style and a cherubic joy at the keyboard. His gentle personality, rollicking sound and soft, insistent vocals worked their way under your skin.

Tomorrow night (Feb. 26), on Fats' 88th birthday, PBS will broadcast American Masters: Fats Domino and the Birth of Rock 'n' Roll from 10 to 11 p.m. on the East Coast (check local listings). Be sure to tape it. For more information, go here. [Photo above of Fats Domino and Dave Bartholomew, Franck-Bertacci Collection] 

I still remember traveling to New Orleans in 2011 to interview Fats for the Wall Street Journal. At one point I asked him to use the back of my hand as a keyboard and tap the signature triplets he played for so many decade on the piano. I wanted to feel what the start of rock 'n' roll felt like. Needless to say, the tempo and his touch were electrifying. To read my WSJ interview, go here.

Here's a promo for the documentary...

Here are some of my favorite Fats Domino clips:

Here's Ain't That a Shame from the film Shake, Rattle & Rock! (1956), with Earl Palmer on drums.

Here's Fats on David Letterman in 1988 singing I'm in Love Again...

Here's Fats on Live From Austin, TX singing Blue Monday...

Here's Fats on the Ed Sullivan Show in 1956 singing Blueberry Hill...

Here's Fats in the film Jamboree (1957) singing Just Wait and See...

And here's 44 minutes of Fats in Paris in 1962 (that's the great Dave Bartholomew on trumpet)...

Used with permission by Marc Myers

Matt Niess and The Capitol Bones

Steven A. Cerra
Sunday, February 28, 2016

You don’t see [hear?] front lines in Jazz combos made up of two of the same instruments very often.

 The quintet headed-up by trombonists J.J. Johnson and Kai Winding was an exception as were the quintets led tenor saxophonists Al Cohn and Zoot Sims and Ronnie Scott and Tubby Hayes.

 I seem to recall the Candoli Brothers, trumpeters Pete and Conte, teaming up for the occasional record outing as did Freddie Hubbard and Lee Morgan on The Night of the Cookers, one of Blue Note’s rare “Live” recordings, but most Jazz groups preferred different sonorities in their lead horns.

 To my ears, I always thought that the key to the success of same instrumentation front lines lay with the arrangements, particularly those that emphasized harmonies that made the texture of the two horns sound richer and fuller.

 Arrangers who have a background in orchestrating for big bands usually have a good idea as to what devices to use to keep things interesting between two of the same horns.

 Of course, things become even more interesting when two are doubled into four because the harmonic possibilities expand exponentially and the pairing of lead horns becomes a full blown trumpet, trombone or saxophone “section.”

 With four trumpets, four trombones or, as is often the case, five saxophones to work with the scale and the scope of blended sound that can be voiced for same instruments is quite astounding.

 Once again, trombonists J.J. Johnson and Kai Winding were among the earliest to explore the possibilities of expanding the sound of a chorus or section of the same instruments on the recordings they made with eight trombones which consisted of two groups of four trombones, each having three tenor trombones and one bass trombone.

 A trombone quartet [sometimes expanded to a quintet with the addition of a second bass trombone], backed by a swinging piano-bass-drum rhythm section performing arrangements that explore the full range of the instrument’s sonority is one of my favorite Jazz sounds.

 I guess if two of something is good four or five must be better? 

 Over the years, I’ve scouted out trombone quartets and quintets such as Super Trombone made up of Jim Pugh, Eijiro Nakagawa, Dave Taylor and Dave Bergeron and Canada’s The Brass Connection which features Ian McDougall, Doug Hamilton, Jerry Johnson, Bob Livingston and John Capon.

 A later find was The Capitol Bones headed up by Matt Niess which resulted from a heads-up from Danny Beher at Sea Breeze Records.

 Jerry Amoury wrote the following detailed insert notes The Capitol Bones’ Epistrophy (Sea Breeze Jazz® SB-3042) CD. The background information about how the group achieves its distinctive sound and the annotation of each track serves to underscore how instruments with the same sonority can create such a wide range of textures.

 After Jerry’s notes you’ll find a video and an audio-only digital file that will provide you with a chance to sample The Capitol Bones’ renderings of Monk’s Epistrophy and I Mean You.

 “To the general listening audience the trombone is a pleasant instrument to hear from time to time. Trombonists, on the other hand, are obsessed with all aspects of the instrument. The sound of the solo trombone, the lush blend of trombones playing together, the ringing of the overtones when the pitch is just right; these are the things that compel trombonists to seek out others of their ilk who share that love. Many times, this obsession leads to the formation of trombone ensembles. 

 No other type of group can provide the pure-cane blend of five trombones playing music created specifically for them with that sonority in mind. It's a glorious sound that draws trombone players together like a moth is drawn toward a flame.


 In order to elevate a good group of players to a great ensemble you need some very important ingredients: strong leadership, boundless energy, chops across the board, and charts that give the players the opportunity to display their wares. The Capitol Bones is an ensemble that has combined all of these elements in near perfect balance.

read more: http://jazzprofiles.blogspot.com.br/2016/02/matt-niess-and-capitol-bones.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed:+JazzProfiles+(Jazz+Profiles)

Jazz Caricatures - Don Fagerquist Nonet

Published on May 22, 2015
Trumpeter Don Fagerquist performing "Time After Time" with Vince De Rosa, French Horn, Bob Enevoldsen, valve trombone, Joe Maini, alto sax, Ronnie Lang, baritone sax, Marty Paich, piano, Buddy Clark, bass and Mel Lewis drums.

Tubby Hayes - A Man in a Hurry

New York Youth Symphony: Dedicated to Diz

with special guest Jon Faddis

The New York Youth Symphony’s Jazz Band is considered one of the best ensembles of its kind. The members of this group range from age 12 to 22, making the quality of their sound even more astonishing. In an effort to preserve jazz traditions and styles, the ensemble focuses on the music of the 1930s and 1940s big band orchestras in addition to contemporary pieces.

While celebrating the heritage of jazz, the group also values a progressive, emerging new sound. This performance pays tribute to one of the greatest artists in jazz history: Dizzy Gillespie. Joining the group tonight is Jon Faddis, Dizzy’s Gillespie’s famous protégé. Faddis is now an icon in his own right, known for complete mastery of the trumpet and a dedication to education. It will be an inspiring event when he joins some of the most talented young musicians in the New York area in dedication to Diz.

Related Websites: http://www.nyys.org/

The Firehouse Space

The Firehouse Space is a unique event and performance space located in Williamsburg close to the Graham Ave L Stop. The Firehouse strives to present music, art and theatrical performances of both emerging and established artists. It supports experimental and challenging works for adventurous audiences and additionally hosts student recitals, music lessons and provides rehearsal time for community members. Other events such as photo shoots, book releases, or conferences can be considered. The performance area is about 1000’ with a capacity of about 70 people.

http://thefirehousespace.org

Live review: Ravi Coltrane revives 'Africa/Brass' at the PDX Jazz Festival

Ravi Coltrane performs with the Africa/Brass Ensemble at the Biamp PDX Jazz Festival at the Newmark Theatre on Feb. 26, 2016. (David Greenwald/The Oregonian)

By David Greenwald | The Oregonian/OregonLive 
on February 27, 2016 at 11:06 AM, updated February 27, 2016 at 11:11 AM

"Africa/Brass" didn't get a thorough introduction at the Biamp PDX Jazz Festival on Friday night, so here's one: if 1960's "Giant Steps" was John Coltrane at his most athletic, the 1961 release tested his breadth. As its title implies, the album added a more expansive ensemble to Coltrane's quartet, translated as an eight-piece brass band at the Newmark Theatre on Friday. In Coltrane's stead stood his son Ravi, rocking and bending into his saxophones—his first performance of this week's Coltrane-themed festival, with a tribute to Ravi's mother, Alice, set for Saturday.


Portland's own Charles Gray conducted the ensemble, which added lush power to the five songs of the "Africa/Brass" sessions: "Greensleeves," with Coltrane on soprano sax, was an easy highlight as the song pushed from familiar melody to a boiling performance. Before taking on "Africa/Brass," the quartet alone played for a striking half-hour, Coltrane playing sweetly against pianist Orrin Evans' ferocious, Jenga-stacked notes. One revelation was drummer Mark Whitfield Jr., who brought punk volume along with his jazz effortlessness.

read more: http://news360.com/digestarticle/PzwL5jquUUyc1EXJpfWiXw

Thad Jones/Mel Lewis: 1966

Reprinted from http://jazzwax.com

The Thad Jones/Mel Lewis Orchestra is considered by many to be the last great virtuoso big band. Launched in 1965, the orchestra made its first appearance at New York's Village Vanguard in 1966. The orchestra was loaded with superstars and stylists and featured many arrangements by trumpeter Thad Jones. The early lineup included Jones and drummer Mel Lewis along with pianist Hank Jones, saxophonists Jerome Richardson, Jerry Dodgion and Joe Farrell; trumpeters Jimmy Nottingham, Danny Stiles and Snooky Young; valve trombonist Bob Brookmeyer and others. In effect, it became an oasis for serious players in an acrid era for jazz, when steady gigs were dwindling for all but household names. 

I've always been on the fence about the band. While I fully appreciate the exceptional talent assembled and that the music was orchestral jazz, not pop contrivance, much of the music for me lacked a compelling narrative and seemed more of a musician's idea of a great idea than a listener's dream. Too much of the music seemed circuitous in its brassiness and never seemed to go anyplace special. Or, put differently, I never felt moved enough to join the journey. [Photo above: Thad Jones]

Then again I've long found the Gerry Mulligan Concert Band to be similarly flat and wind-baggy in the story department. Loads of talent but more about musicians impressing musicians than performing for people in the seats or buying records. No one is demanding that the recordings be pulled from the shelves. I just never found myself deeply touched by either band. [Photo above: Mel Lewis]

So I approached All My Yesterdays, the new double-CD set from Resonance Records featuring the TJ/ML Orchestra's debut recordings in 1966 at the Village Vanguard, with some trepidation. Was I being too hard on the band after all these years? The answer is mixed. While I still find much of the music a case of cold fish, there are tracks of beauty here. Lover Man, for example, with Farrell soloing on tenor, is out of the park. The richness of his tone and how he takes apart the song and re-assembles it is remarkable. Don't Ever Leave Me, a beautiful Thad Jones original and arrangement, is richly elegant, with Stiles on trumpet and Farrell on flute. And there are a handful of other gems, like All My Yesterdays, which is delightfully orchestrated. 

But far too many of the songs open with a piano intro that lasts way too long, and the band fails to make a cogent point once the horns chime in. But if you're a fan of the TJ/ML Orchestra, you'll flip over the new set. The sound restoration by George Klabin and Fran Gala is exceptional and makes the recording sound as if these guys are in the room with you. About 70 minutes from these recordings were issued on a limited release in 2000 on the BMG label as Opening Night. Now all of the live material is together in one set.

Jazz in 1966 was struggling to find something new to say as it tried to free itself from the quicksand of pop-rock and soul. This band illustrates that struggle well. I'm not sure the band's original orchestral purpose or its instrumental wheel-spinning is meaningful after all these years. I know how beloved this band is, so it's probably just me.

JazzWax tracks: You'll find the Thad Jones/Mel Lewis Orchestra's All My Yesterdays here. The set comes with an 89-page book filled with detail, notes and interviews.

JazzWax clip: Here's the TJ/ML Orchestra on Jazz Casual, hosted by Ralph J. Gleason, in 1968...

Used with permission by Marc Myers

Salute to Paquito D’Rivera

Photo credit: R. Andrew Lepley

Thursday, March 3 at 8PM

Clarinet Summitt:
Peter & Will Anderson
Ken Peplowski
Paquito D’Rivera (photo)
with David Wong and Jason Brown

Jack Kleinsinger’s “Highlights in Jazz” is New York City’s longest running jazz concert series.

Jack Kleinsinger’s Highlights In Jazz, New York’s longest running jazz concert series, continues its 44th season on Thursday March 3, 2016 with a A Salute To Paquito D’Rivera featuring the multi Grammy Award Winning saxophonist/clarinetist with his critically acclaimed Latin Jazz Quintet featuring trumpeter Diego Urcola and the world premiere of Clarinet Summit with D’Rivera, Ken Peplowski and Will and Peter Anderson, plus, as in all Highlights In Jazz concerts, a surprise special guest.
        
The second concert of the Highlights 44th season A Salute to Paquito D’Rivera who will be honored as this year’s recipient of the Annual Highlights In Jazz Award which has been presented every year since 1974 to honor a singular living jazz musician for their “matchless musical achievements.”  D’Rivera joins an esteemed roster of previous honorees including Roy Eldridge, Lionel Hampton, Roy Haynes, Hank Jones, Frank Wess, Dr. Billy Taylor and many others.  Kleinsinger is proud to bestow this honor upon D’Rivera recalling that the alto saxophonist/clarinetist, who will be making his fourth Highlights In Jazz appearance, originally performed on the series back in 1984 not long after he first arrived in the US from his native Cuba, on a program billed Jazz Is My Passport that also featured Brazilian songstress Astrud Gilberto and Belgian harmonica legend Toots Thelma's.

Since then he has appeared in other Highlights In Jazz programs, both as a guest soloist and with his own group. D’Rivera remembers  “Jack Kleinsinger was one of the first impresarios to invite me to join his prestigious series.  For that, and for his contribution for this music, I hold him in high esteem, and as a dear friend.”  This show will have D’Rivera performing with his working quintet featuring Argentine trumpeter Diego Urcola, pianist Alex Brown, bassist Zach Brown, and drummer Erik Doob, as well as part of a Clarinet Summit with previous Highlights In Jazz Award recipient Ken Peplowski and twin brother reed men Will and Peter Anderson, who appeared together on Highlights’ successful Saxophone Summit concert in 2015.  The four clarinetists will be ably assisted by the exciting young rhythm team of bassist David Wong and drummer Kenny Washington.

As in all Highlights In Jazz concerts, these great artists will be joined by a surprise special guest. Some of the biggest stars in jazz who have appeared as special guests in previous years have been Eubie Blake, Cab Calloway, Dizzy Gillespie, Earl Hines, Branford Marsalis, Carmen McRae, Gerry Mulligan, George Shearing and other jazz luminaries. 


Jack Kleinsinger’s Highlights In Jazz, continues its 44th season on Thursday May 12th with Highlights In Jazz Audience Favorites.  The all star cast will feature two Highlights In Jazz Award Winners guitarist Bucky Pizzarelli and trombonist Wycliffe Gordon, along with vocalist Alexis Cole, trumpeter Bria Skonberg, guitarist Frank Vignola, bassist/vocalist Nicki Parrott and drummer Alvin Atkinson. The season will conclude on Thursday June 16th with Trio Time, featuring the classic jazz of the Dick Hyman Trio with bassist Jay Leonhart and guitarist Howard Alden and the Brazilian sounds of Trio da Paz, with guitarist Romero Lumbambo, bassist Nilson Matta and drummer Duduka Da Fonseca.

Matt Niess and The Capitol Bones

Published on Feb 24, 2016
Trombonist Matt Niess and the Capitol Bones performing Mike Tomaro's arrangement of Thelonious Monk's "Epistrophy" with trombone solos by Jim McFalls and Niess and also featuring solos by bassist Jim Roberts and drummer Steve Fidyk.

Bob Kaye Trio

Posted on January 2, 2016
by kristine

WHEN: March 25, 2016 @ 8:00 pm – 11:00 pm

WHERE: Trumpets Jazz Club and Restaurant
6 Depot Square, Montclair, NJ 07042, USA

Bob Kaye - piano
Lew Scott - bass
Ed Caccavale - drums

Bob Kaye was a featured band member and arranger for The Buddy Rich Band.  He has also performed with Anita O’Day, Chris Connor, Lainie Kazan, Julius LaRosa and many others.

Lew Scott is one of the most sought after bassists in the New York area. He has performed with such notables as Clark Terry, Conti Condoli, Frank Rosolino, Joe Lavano, Herb Ellis, George Coleman, Dave Liebman, Jack Sheldon, Peggy Stern, and many others. He has toured with vocalist Melba Moore, Lainie Kazan, and Nnena Frelon. He has also worked with Anita O’day, Mark Murphy, and many others, including Robert Goulet, Vic Damone, Sergio Franchi, Jerry Vale, Al Martino, Eddie Fisher, Florence Henderson, and Lucie Arnav.


Ed Caccavale has played with Judy Garland, Lainie Kazan, Si Zentner, Tony Danza and innumerable others.
read more: http://www.trumpetsjazz.com/event/bob-kaye-trio/?instance_id=3459

Marius Beets - A Force in Dutch Jazz

Steven A. Cerra

Wednesday, February 24, 2016

Marius Beets [pronounced “Bates”] is one of three brothers, all of whom are prominent players on the Dutch Jazz scene. 

Brother Peter is a remarkably gifted pianist who reflects the influence of Oscar Peterson in his playing both with his own trio and as a member of the Jazz Orchestra of the Concertgebouw.

Alexander Beets is a big-toned, straight-ahead tenor player who performs with a number of small groups as well as with The Beets Brothers Powerhouse Big Band.

It was in the latter context that I first heard Marius on a The Netherlands based Maxanter CD entitled Marius Beets and the Power Big Bad Vol. 1 75232.

The recording was released in 2005 and in the intervening decade, Marius has continued to grow and develop as a bassist, composer, and as a recording engineer of considerable skill.

Along with his work in both big band and small group settings with brothers Peter and Alexander, Mauris has been a long-standing member of pianist Rein de Graaff trio along with drummer Eric Ineke and he also joins Eric as a member of his JazzXpress quintet. He has performed with The Houdini’s and a host of American Jazz musicians including Johnny Griffin,James Moody, Bud Shank, Gary Bartz , Ronnie Cuber, Herb Geller, Jeff Hamilton,, Houston Person, and Dave Liebman.

You can locate more information about Marius by visiting him at his website: www.mariusbeets.nl

The following insert notes from Marius Beets and the Power Big Bad Vol. 1 provide a few more details about Marius’s career circa 2005 and also contain his annotations about each of the tunes on the recording.

“With this album Marius Beets introduces himself in a broad variety of ways. Not only can he be heard playing double bass and electric bass, but he also presents himself as a composer, band leader, arranger and recording engineer. Marius started his professional career as a musician during his college-days at the Royal Conservatory in The Hague. In 1994 he graduated with honors from this venerable institution.

Arranging he taught himself, his main inspiration coming from the work of Oliver Nelson and Gil Evans. His many orchestrations include arrangements for strings for Trijntje Oosterhuis and Bobby McFerrin. Big Band arrangements by his hand were played by the New Cool Collective Big Band. As a recording-engineer he was responsible for albums by Houston Person and Dave Liebman. Apart from all these activities, he teaches double bass as a principal subject at the Rotterdam Conservatory.

read more: http://jazzprofiles.blogspot.com.br/2016/02/marius-beets-force-in-dutch-jazz.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed:+JazzProfiles+(Jazz+Profiles)

Phil Urso and Carl Saunders

Reprinted from http://jazzwax.com

One of the finest albums of the early 2000s is Phil Urso and Carl Saunders Salute Chet Baker. Recorded in 2002 for the Jazzed Media label, the album featured tenor saxophonist Phil Urso and trumpeter Carl Saunders (above) backed by Keith Waters (p), Colin Gieg (b) and Paul Romaine (d). The album recaptured the pairing of Urso and Baker in 1956 and in the mid-1960s, in particular songs from what is perhaps their best album together—Playboys, also known as Picture of Heath, recorded in November '56.

Carl Saunders may not be familiar to you. Trombonist Carl Fontana once referred to him as the "best trumpeter you've never heard," largely because Saunders spent a chunk of his career in Las Vegas, where he played in show bands. In 1984, he moved to Los Angeles and played with Bill Holman's orchestra. There also were stints with Supersax, the Dave Pell Octet and his own big band along.

Carl is still on the scene today (go here). Phil (above) died in 2008 (to read my JazzWax interview with Phil's brother, go here).

JazzWax tracks: You'll find Phil Urso and Carl Saunders Salute Chet Baker here.

JazzWax clip: Here's the entire album...

Used with permission by Marc Myers

I'll Close My Eyes - Ryan Kisor

Published on Aug 17, 2013
KISOR 2
I'll Close My Eyes - Ryan Kisor

Ryan Kisor (tp)
Peter Zak (p)
John Webber (b)
Joe farnsworth (ds)

Brad Shepik Organ Trio

Hi Everyone, 

Really excited to announce that my new album "Top Down" with Gary Versace and Mark Ferber is available for Pre-Order now!! Pre order the album and get the first track, "Friday" instantly. https://bradshepik.bandcamp.com/album/top-down - Brad

Following on the rich timbres of "Flower Starter" (2015), the intimate vibes/guitar duo set with Tom Beckham, Shepik makes a return to the organ trio lineup he explored on his 2006 Songlines release "Places You Go".  "Top Down" finds Shepik in the familiar company of two longtime collaborators - organist Gary Versace (John Abercrombie, Ralph Alessi) and drummer Mark Ferber (Mark Copeland, Gary Peacock). The comfort is apparent in the easy rapport as they wind and groove their way through full tilt improvisation (Friday), funk (Sweet Suzy), blues, (Top of the Middle), swing (Hall), South American (Vampa) and Balkan rhythms (Aeolian).

All of Shepik's influences and passions are on display and supported beautifully by Versace and Ferber, taking the organ trio to new territory. Shepik cites John Abercrombie's "Night", featuring Jan Hammer, as a favorite organ album for it's invention in composition and sonic pallet. 

"Top Down" release concert March 28 10pm at 55 Bar NYC. 

On "Top Down" Shepik writes: 
"These compositions (except Gary Peacock's Major Major) were written in the late spring/early summer of 2015.

Friday evokes a wide open elation I feel working in my studio in Brooklyn. Sweet Suzy, written just a few days before the recording recalls the Meter's and the blues and was a highlight of the recording for me. Vampa has South American feel though I didn't have a specific regional rhythm in mind. The tune's harmonic/rhythmic structure leaves a lot of room for melodic invention and suggested a conversation in the trading choruses.

Hall is dedicated to Jim Hall, the giant of the guitar whose influence is felt on every generation of guitarists that have come along since the the late 1950's. Something in the wide melodic intervals and fluid rhythm suggested his artistry. Top in the Middle is a bluesy AABC form however the chords deviate and suggest a somewhat difficult climb to the goal. Major Major has been a favorite tune from Gary Peacock's "Tales of Another" for many years, I had the privilege of playing a session with him when I was 19. Aeolia is a circular tune with a 7/8 Balkan rhythm that reminds me of a friend who lives on a windy island. I was playing with harmonic colors and phrasing on Stumma Cake. The tune's title could be a dessert but the final two chords reflect a mild discomfort experienced occaisionally by the very young." 

Brad Shepik Organ Trio 
Top Down - JLC Records 

Brad Shepik - guitar 
Gary Versace - organ 
Mark Ferber - drums 

1. Friday (Shepik) 
2. Sweet Suzy (Shepik) 
3. Vampa (Shepik) 
4. Hall (Shepik) 
5. Top in the Middle (Shepik) 
6. Major Major (Peacock) 
7. Aeolia (Shepik) 
8. Stumma Cake (Shepik) 

JLC Records 
www.bradshepik.bandcamp.com 
www.bradshepik.com 
430 Sterling Pl Brooklyn NY 11238 

I'll Close My Eyes / Cherokee - Joanie Sommers

Uploaded on Sep 29, 2011
- Look Out! It's Joanie Sommers 
Joanie Sommers (vo) Conte Candoli (tp) Richie Kamuca (ts) Russ Freeman (pf) Chuck Berghofer (b) Shelly Manne (ds) 
- Recorded in 1962 

Keystone Corner: "The World's First Psychedelic Jazz Club"

Steven Cerra

“You never went to work when you were at Keystone. You went to play.” - Carl Burnett, Jazz drummer

“There was a real special relationship always between Todd Barkan and Rahsaan Roland Kirk. Todd absolutely loved Rahsaan. And, of course, Rahsaan just adored Todd. Rahsaan always liked to put his special people together. He had an art for that. He was not going to let me say no to making Todd a kitchen. Sol did. I basically did it as a favor to Rahsaan.

There was no kitchen there at Keystone Korner; there was a closet between the backstage green room and the garage, basically. He brought me down to look at the room and I looked at this little hole in the wall and said, "Oh my, how can I make a kitchen?"

[But] I did. One Saturday morning, Todd Barkan and his father came by to pick me up. We went to a supply store and bought a stove range and a sink, a refrigerator and a huge chopping block, and I made a kitchen: Ora's Kitchen at Keystone Korner. And it started from there.” - Ora Harris, Ora’s Kitchen at Keystone Korner

“I’ve always had good feelings about San Francisco as a jazz town for one extremely personal reason: … , the city had a couple of strong; eventually legendary jazz clubs. One in particular, in North Beach, was the Jazz Workshop. In 1959, I had done a live-in-the-club recording with the newly formed Cannonball Adderley Quintet for Riverside, and it was the first hit record of my life [Cannonball Adderley Quintet in San Francisco]. ... So I was aware from the night that I worked into [Keystone Korner] that the San Francisco jazz audience was very alert and aware and, under the right circumstances, enthusiastic. …

Todd [Barkan], in that sense, was one of the people [responsible for that awareness and enthusiasm]. He didn't act like a club owner. I don't know if he didn't care to or didn't know how, but he was more like a kid in a candy shop. And I don't know what it was like for an average customer, but I was a professional in this business; I knew most of the people I was going to hear and always felt that I was at least partially at work when I was in a jazz club listening. On the one hand, it was nice that there wasn't any built-in tension in the place; on the other hand, it pretty much drove me crazy how un-businesslike Todd's approach was. As long as it wasn't my problem, it was a lovely way for a jazz club to be.

People would tolerate and do benefits for Todd Barkan because of who he wasn't. He wasn't [like] any other club owner in town that you want to name.  …
- Orrin Keepnews, Founder and Musical Director, Riverside Records

The themes in this opening quotation by Orrin Keepnews are repeated throughout Kathy Sloane’s Keystone Korner: Portrait of a Jazz Club [Bloomington and Indianapolis: University of Indiana Press, 2012].

Expressions of disbelief as to how Keystone Korner ever stayed in existence for eleven years [1972-1983], let alone how it ever came into existence in the first place, abound throughout the interviews, recollections and storytellings that comprise Kathy’s delightfully fascinating book.

The book itself is as much a labor of love as was Todd Barkan’s efforts to keep Keystone Korner going as Kathy and editor Sascha Feinstein went to great lengths to document a Jazz club for which record-keeping and documentation were in no way a common feature of its operations.

Among the storytellers that Sascha and Kathy have gathered to tell the saga of Keystone Korner are musicians who performed at the club including pianists George Cables and Ronnie Matthews, saxophonists Dave Liebman and Billy Harper, drummers Carl Burnett and Eddie Marshall, tuba player Bob Stewart , trombonist Steve Turre and trumpeter Eddie Henderson; writers and teachers who frequented the club including Laurie Antonelli, Devorah Major, Maria Ross Keyes, John Ross and Al Young; Stuart Kremsky, the club’s soundman and currently an archivist at Fantasy Records [Concord Music Group]; waitresses Flicka McGurrin and Helen Wray; Ora Harris, who developed the kitchen for the club which allowed it to apply for a full, liquor license, and, of course, Orrin Keepnews, NEA Master and founder of Riverside, Milestone and Landmark Records and Todd Barkan, who created the miracle of Keystone Korner in the first place and is currently the Programming Director of Dizzy’s Coca Cola Club at Jazz at Lincoln Center.


From afar, I had always perceived Keystone Korner as one of the three miracles that helped keep unadulterated Jazz alive in the 1970’s along with impresario Norman Granz’s founding of Pablo Records in 1973 and the coming-into-existence of Claude Nobs’ Montreux Jazz Festival in Switzerland [although Montreux actually began operations in 1967].

read more: http://jazzprofiles.blogspot.com.br/2016/02/keystone-corner-worlds-first.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed:+JazzProfiles+(Jazz+Profiles)

Guy Baker

Joel Zelnik Trio

March 11, 2016 @ 8:00 pm – 11:00 pm GMT-5

Posted on March 5, 2015 by kristine
Joel Zellik - piano
Annette Sanders - vocals
Brian Glassman - bass
David Cox - drums

 “TONY BENNETT & BILL EVANS –THE LEGENDARY RECORDINGS”

‘TONY BENNETT & BILL EVANS – THE LEGENDARY RECORDINGS” will be performed by the Joel Zelnik Trio with Grammy nominee vocalist Annette Sanders on Friday, March 11, 2016. Sets at 8:00 &10 pm.  They will perform at

Trumpets Jazz Club & Restaurant, 6 Depot Square, Montclair, NJ 07042 www.trumpetsjazz.com

This timely program is based on the dialogues between Closter NJ residents Joel Zelnik and Bill Evans, a 7 time Grammy Award Winner, at the “Village Gate”in NYC, during the mid-1960’s. Signature Evans works are performed and Joel plays pieces he enjoys that show the Evans influence. Highlighted is the collaboration of Bill Evans & Tony Bennett  during 1975 and ‘77, which yielded some of the best recordings in the history of jazz.

Few listeners realized that Tony Bennett was as much of a jazz singer as almost anybody; he had already made a handful of albums in a small jazz combo format, but these were far lesser known than his big chart hits. Then, in 1975, he made what would be his supreme statement in the jazz field, the first of two albums with the remarkable pianist Bill Evans.

Joel had the great fortune of playing at the Top of the Gate in NYC during the mid 60’s, on Monday nights. It was on these Mondays that he split sets with the Bill Evans Trio, and his greatness has stayed with Joel right up to the present.

They reprise this remarkable collaboration of American Art Song at its finest, by recapturing the virility and expressiveness in these performances. It is a beautiful surprising repertoire – no Gershwin, no Ellington, no blues.  They’re mostly songs associated with great female singers: Mabel Mercer and Billie Holiday, as well as Bill Evans’ own “Waltz For Debby” with Gene Lees’ lyrics.

Annette is a Grammy nominee with 5 CDs, has sung with Benny Goodman, Mel Torme, Antonio Carlos Jobim. She was the featured vocalist in Dick Hyman’s Jazz Series at the 92nd St. Y, and also performed in The Billy Taylor Jazz Series at Kennedy Center in Washington, D.C.  Her distinctive recognizable sound has been heard on thousands of jingles, movie sound tracks, and CD’s.


Please visit website for video, bio, music, press and more: www.joelzelnik.com

NJJazz List

Venues: 1st Thurdsays in Collingswood

This local concert series runs from October through May in Collingswood, NJ with a great lineup of performers. Admission is $10 and discounted to $5 for students. BYOB and free soft drinks. For info: call 215-517-8337 or visit www.jazzbridge.org. Coming up: March 3: Cathy Rocco; April 7: Fresh Cut Orchestra; and May 5: Lisa Chavous.   » Read more

CD Release - Dr. Lonnie Smith

Dr. Lonnie Smith is back. And in a big way. In the musical environment and with the production values that he deserves. At 73, Smith is one of the few remaining innovators/popularizers of the jazz organ » Read more  

Sad News: Paul Bley's Passing

Paul Bley, an obdurate and original pianist who began his career playing bebop and eventually became a major force in experimental jazz, died on Sunday at his home in Stuart, Fla. He was 83. » Read more

News: John Tropea's New CD/Tour

 

Guitar master, John Tropea and his band of stellar players hit the road with their "Gotcha Rhythm Right Here" Tour of Japan, 2016. This tour supports his most recent recording of the same name. Tropea has a history of keeping good company and this tour is no exception. » Read more

Coming soon: South Jersey Jazz

2016 Cape Bank Jazz @ The Point Festival 2016 promises to be another fully-packed weekend of great jazz. Typically held in May at various venues throughout the colorful resort towns of Somers Point and Ocean City, this year's line-up of jazz artists promises to fuel another great event from the South Jersey Jazz Society. Watch for details. » Read more

News & Venues: Local Jazz Jam Sessions

Musicians meeting musicians and trying out new (and old) material is a time-honored tradition. No matter where in New Jersey you are, you can find some playing action during the week.  Check out the new Session Calendar at NJJazzList.com » Read more

Weekly calendar and more at NJJazzList.com

Joe Chambers Outlaw Band

Photo: www.bluenote.com

Joe Chambers Outlaw Band

February 23-24,  2016

Featuring
Joe Chambers - vibraphone and drums
Rick Germanos - piano
Ira Coleman - bass
Bobby Sanabria - drums, misc. percussion

Appearing At
Dizzy's Club Coca-Cola, Frederick P. Rose Hall, 60th & Broadway, NYC.

JOE CHAMBERS - has worked with some of the most influential jazz figures of the last several decades and is a recognized perfomer and composer whose works have been performed at Carnegie Hall and Lincoln Center. As a sideman and leader, Chambers has recorded more than 500 albums and CDs. He has performed and recorded with Miles Davis, Freddie Hubbard, Wayne Shorter, McCoy Tyner, Chick Corea, Sonny Rollins, Herbie Hancock, Dizzy Gillespie, Andrew Hill and many more. Chamber’s credits include Hubbard’s “Breaking Point,” Hutcherson’s “Components,” Shorter’s “Schizophrenia.” and “Etcetera,” Hill’s “Compulsion,” and Tyner’s “Tender Moments,” as well as Archie Shepp’s “New Thing at Newport,” Charles Mingus’ “Like a Bird,” Chick Corea’s “Tones for Joan’s Bones,” and many others. Chambers’ compositions have been covered by Hutcherson, Hubbard and M’Boom; he has also contributed to soundtracks for several Spike Lee films, including “Mo’ Better Blues.” Chambers is the first Thomas S. Kenan Distinguished Professor of Jazz in Department of Music at the University of North Carolina Wilmington. His most recent recording is “Joe Chambers moving pictures orchestra live” of Dizzy’s Club Coca-Cola in New York City, Savant 2120, released May 2012 and was nominated for a Grammy in 2013.

Sent by:
Jim Eigo Jazz Promo Services
E-Mail: jim@jazzpromoservices.com

http://www.jazzpromoservices.com/

Eddie Allen

The Mighty Men of Valor of the First Baptist Church of Crown Heights

- JAZZ VESPERS CONCERT -

SUNDAY, FEBRUARY, 28, 2016 / 3-5 PM

Featuring: 

Jazz Trumpeter, Composer, Arranger, and Band Leader, EDDIE ALLEN.

Where:

First Baptist Church: Connecting Faith, Culture, and Community.
450 Eastern Parkway @Rogers Avenue, Brooklyn, NY 11225, www.myfbcch.org

Conrad Herwig

Conrad Herwig - "Sketches of Spain Y Mas: The Latin Side of Miles Davis"

Steven A. Cerra
I try to keep the topics for the blog postings somewhat spontaneous.  All of them require a certain amount of technical planning for obvious reasons and some involve lengthy research, but sometimes while perusing my music collection I come across something that I haven’t listen to in a while and this provides a subject or a theme that forms the basis for the next blog feature.

Book reviews, CD reviews, concert coverage, re-publications, in-depth profiles of favorite Jazz musicians, interviews - all have found their way onto these pages - but I must admit that there’s nothing quite as satisfying as an impromptu rendezvous with a favorite piece of music that I can turn into a video to accompany a brief posting about “recent listening.” 

Perhaps it is the improvisational nature of the process of discovery that relates to how Jazz is made that intrigues me.

Whatever the case, I’ve been a big fan of trombonist Conrad Herwig’s “Latin Side of” recordings for many years. It is great fun to listen to the compositions of Miles Davis, John Coltrane and Wayne Shorter, among others, in a Latin Jazz setting.

Must be the drummer in me.

The idea for the video that concludes this piece came to me while listening to Petits Machins the concluding track of Conrad’s Sketches of Spain Y Mas: The Latin Side of Miles Davis [Highnote 4530].

Petits Machins, which translates from the French as “Little Stuff,” more properly belong to the “Y Mas” portion of the CD as the original performance of the tune is on Miles’ Filles de Kilimanjaro.

Conrad’s version of Petits Machins highlights a “drum battle” between Robbie Ameen on drum kit and conguero Richie Flores.

Thematically, I decided on Netsuke to visualize the Little Stuff aspect of the music.

Netsuke are miniature sculptures that were invented in 17th-century Japan to serve a practical function (the two Japanese characters ne+tsuke mean "root" and "to attach"). Traditional Japanese garments — robes called kosode and kimono — had no pockets; however, men who wore them needed a place to store their personal belongings, such as pipes, tobacco, money, seals, or medicines.

Their solution was to place such objects in containers (called sagemono) hung by cords from the robes' sashes (obi). The containers may have been pouches or small woven baskets, but the most popular were beautifully crafted boxes (inrō), which were held shut by ojime, which were sliding beads on cords. Whatever the form of the container, the fastener that secured the cord at the top of the sash was a carved, button-like toggle called a netsuke.

Bill Milkowski, a regular contributor to Jazz Times and Jazziz magazines offers the following description of the context and the music that appears on Conrad’s nontet recording of Sketches of Spain Y Mas: The Latin Side of Miles Davis [Highnote 4530].

read more: http://jazzprofiles.blogspot.com.br/2016/02/conrad-herwig-sketches-of-spain-y-mas.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed:+JazzProfiles+(Jazz+Profiles)

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