Thursday, March 31, 2016

VOCALIST NICOLAS BEARDE

VOCALIST NICOLAS BEARDE’S 5TH SOLO ALBUM AND 1ST STRAIGHT-AHEAD JAZZ RECORDING “INVITATION”

Produced and arranged by Nat Adderley Jr. & featuring guest soloist Vincent Herring on alto sax

Nicolas Bearde, originally from Nashville, TN is a San Francisco Bay Area treasure who has long been recognized as a charismatic and versatile performer and a distinctive jazz and soul stylist.

While Bearde has drawn on his love for both R&B and jazz on his previous four CDs, on Invitation, the singer’s fifth release on the Right Groove Records label, he comes out swinging with both feet firmly planted in the straight-ahead jazz milieu.

Invitation was released on January 29th, 2016 and was produced largely by renowned pianist/arranger Nat Adderley Jr. - who spent nearly 20 years as music director for Luther Vandross and who grew up in the musical family of Nat Sr. and uncle Cannonball.

Reviewer Christopher Loudon, in the March 2016 issue of Jazz Times, says, “Nat’s pop sensibility invades all nine tracks; the arrangements are consistently silken, with occasional punchiness courtesy of Vincent Herring on alto sax.  Across a stellar spectrum of standards – such gems as “Dindi”, ‘Lush Life”, “Nature Boy”, “Save Your Love for Me”, Eckstine’s satiny, “I Want to Talk About You” and the cunningly noir-ish title track, Invitation,  Bearde’s interpretations are as affecting as they are elegant.”

The relaxed phrasing and depth of feeling that Bearde brings to these standards including his choice of a rarely heard vocal version of Herbie Hancock’s “Maiden Voyage” (with pianist Peter Horvath and Bearde as producers) place him in the tradition of such deep-voiced greats as, Billy Eckstine, Arthur Prysock, John Hartman, Lou Rawls and Jon Lucien.


Connoisseurs of fine jazz singing will be thankful to hear Bearde in the uncompromising context of Invitation – his next CD release performance will be at Café Stritch, (named after Rahsann Roland Kirks’ stritch horn) in San Jose, CA on Saturday, April 2nd.

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

David Haney's Jazz Stories

The Cutting Room Presents: David Haney's Jazz Stories with Bernard Purdie
Tue, April 12, 2016

The Cutting Room
44 E 32nd St, New York, NY 10010
www.thecuttingroomnyc.com

Bernard Purdie, drums
David Haney, piano and narration
Adam Lane, bass
Nadya Kadrevis, clarinet
Jeremy Shaskus, sax

Jazz Stories, combines the swinging exciting music with legend Bernard Purdie and company plus some great stories told by David Haney.  Haney talked to each of these artists and had them to recount the following stories for Cadence Magazine: Sonny Rollins, The Bridge Story;  John McLaughlin's story about recording with Miles Davis; Gunter Hampel remembers Thelonious Monk; Steve Swallow recalls his trip to Jamaica with Herbie Nichols. Bernard Purdie explains the Purdie Shuffle.

"Haney and Purdie fit together like interlocking parts of a jigsaw puzzle... These two makes a really strong and fascinating team." Cadence Magazine

"I’m very happy to have worked with Dave Haney. That’s number one. Dave did a thing for me. He actually brought me back to creativity. Just doing things wild – I mean all of the unexpected stuff that you can possibly think of. And it got me thinking: wow, I haven’t done this in 30-35 years! Interview with Bernard Purdie, Oregon Music News

"Haney tells these tales with the dramatic flair of a Garrison Keillor."   Cadence Magazine


"Mr. Haney is a pianist drawn to experimental settings, and he creates a promising one here." The New York Times

Paquito D'Rivera, Wooster Symphony Orchestra


Peter Jay Sharp Theatre at Symphony Space 
Sat, Apr 2, 2016 7:30pm

At the very first Grammy Awards ceremony, held in 1959, the recording of Nelson Riddle's 11-movement work, Cross Country Suite -- featuring clarinetist Buddy DeFranco with the Nelson Riddle Orchestra -- was awarded "Best Original Instrumental Composition." After falling into obscurity for more than half a century, the full work will finally receive its New York City live premiere, featuring clarinetist Paquito D'Rivera.

Celebrating its 100th anniversary season, the Wooster Symphony Orchestra, based at The College of Wooster in Wooster, Ohio, is organizing the performance. The orchestra's music director and conductor, Jeffrey Lindberg, who is an active transcriber and editor of jazz music, has transcribed the original Riddle/DeFranco recording (and edited the few remaining original manuscripts) to create this full edition of the suite.

The work, which was recorded on the DOT label by Riddle and DeFranco, received only one printing on LP. Although DeFranco and Riddle performed two or three of the movements at The Hollywood Bowl in the early 1960s, the complete work did not receive its live premiere until 2007, a performance that featured Buddy DeFranco with the Chicago Jazz Orchestra, Lindberg conducting. Subsequent complete performances included Victor Goines with the Chicago Jazz Orchestra in 2009 (Evanston Ill.), and Paquito D'Rivera with the Wooster Symphony Orchestra in 2011 (Wooster, Ohio). In 2008 the Riddle estate had the original recording re-mastered and released on a limited edition compact disc by Universal Music.

The concert will also feature the world premiere of Peter Mowrey's Second Century Overture; Jindo Arirang Concerto for Piano and Orchestra, featuring composer/pianist Jung Yoon Wie; and Mozart's Exsultate jubilate, featuring soprano Susan Wallin.

from: http://www.symphonyspace.org/event/9122/Music/wooster-symphony-bravo100fest-w-paquito-drivera

16th Annual Central Brooklyn Jazz Festival

16th Annual Central Brooklyn Jazz Festival, "A Music of The Spirit"

March 30, 2016
Brooklyn, New York, Central Brooklyn Jazz Consortium announces its 16th Annual Central Brooklyn Jazz Festival, "A Music of THE SPIRIT," April 15 - May 15, 2016.  This year NEA Jazz Master, Brooklyn Jazz Hall of Fame member, Randy Weston is honored and performs.  Other noted international and regional artists are also on the calendar.  Festival 2016 celebrates Brooklyn’s contributions to the African influenced art form called Jazz.  Nearly 50 events and more than 700 musicians expected to perform at venues throughout New York City.  This music series is NYC’s longest continuously running grassroots festival dedicated to Jazz. Info: www.cbjcjazz.org.

Appearing during the seventeenth edition of the Central Brooklyn Jazz Festival are artists such as Ahmed Abdullah, Geri Allen, Carla Cook, Jazzmeia Horn, Jeff King, Steven Kroon, Eric Lemons, Arturo O’Farrill, Vanessa Rubin, Jeff “Tain” Watts, Reggie Woods, and Anthony Wonsey among others.

The festival calendar includes concerts for all.  Randy Weston African Rhythms performs at The Dweck Center.  Events spotlighting young people and women such as Youth Jazz Jamboree/Wellness Day and Jazz! The Women’s ViewPoint on the campus of Bedford Stuyvesant Restoration Corporation.  Mature audiences will enjoy “Jazz By The Sea” at the NY Aquarium in Coney Island.  The ecumenical community gets into the “Music of THE SPIRIT” during jazz vespers at Emmanuel Baptist Church and First Baptist Church of Crown Heights.  Latin jazz lovers treated to the sounds of Dwight “Dr. Mambo” Brewster in Staten Island.  Gavin Blake and David “Happy” Williams perform for “An Evening of Calypso Jazz” at the Walt Whitman Theatre.  Jazz and The Spoken Word features poets and musicians with and without disabilities at Brooklyn Borough Hall.  Brooklyn hipsters will dig “The New Cookers” at BAMcafé.  The Brooklyn Jazz Hall of Fame inducts Ronnie Mathews and James Spaulding into its ranks in a ceremony at Brooklyn Historical Society.  The Gala Concert held at Weeksville Heritage Center, located in one of America’s oldest black communities, features the George Gray Jazz Coalition with speaker Playthell G. Benjamin.

A full festival calendar of events on www.cbjcjazz.org

Founded in 1999, the Central Brooklyn Jazz Consortium is an amalgam of enthusiasts, entertainment venues, musicians, faith-based institutions, and community organizations. Over the past seventeen (17) years CBJC has presented an annual spring festival, established a Brooklyn Jazz Hall of Fame & Museum™, and produced yearly programs that feature local jazz talent. CBJC is a nonprofit corporation committed to preserving, promoting and supporting live music within the underserved communities of Brooklyn.


Central Brooklyn Jazz Consortium activities are supported in part by public funds from the New York City Department of Cultural Affairs in partnership with the City Council. Robert Cornegy, Jr., Laurie Cumbo, and Darlene Mealy; CBJC member organizations,   Bedford Stuyvesant Restoration Corporation-Arts and Culture Center, and Long Life Information & Referral Network.  2016 Media sponsors: Jazzmobile, Inc., Pure Jazz Magazine, Jazz Promo Services, and WBAI-99.5 FM.  Jazz! The Women’s ViewPoint is also made possible by a donation from Sylvia Ryan; Youth Jazz Jamboree/Wellness Day made possible by a donation from George Johnson.

Contact: Bob Myers - comm@cbjcjazz.org

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

Wednesday, March 30, 2016

How To Listen: An Introduction To Getting Into Jazz

By MARK BARNETT 
Published: March 28, 2016

What should I listen for? 

As we go through the individual CDs, you'll get specific pointers about what to listen for in the tracks I've highlighted. 

But in general, you'll notice that much of this music follows a standard format. After a brief introduction, one chorus of the song is played by the group's leader —generally a horn player, pianist or guitarist —more or less as it was written. Then that player begins to improvise on the original melody, usually for two or more choruses, after which the other players take turns soloing, fashioning their own improvisations. Then, to close things out, the song is played "straight" once again. 

How about repeat listening? 

It's essential. You really can't derive the most pleasure from a jazz piece the first time you hear it. After the first playing, you may find what you've heard interesting but perhaps a little monotonous ("It all sounds the same"). The second time you may say, "Oh, yeah, I remember this part, it's really nice." The third time you may say, "I never noticed that little thing before." The fourth time, you may have begun to make a new friend. And by the sixth time, if you're lucky, you may have fallen ln love. Does this remind you of dating? 

How do I make sense of the improvised parts? 

It's important to understand that a good jazz improviser is an ad hoc songwriter, creating brand new melodies that can be more beautiful than the original. And yet in the midst of all this newness, he or she manages to retain the thread of the original tune. 

And that makes for one of the biggest kicks in listening to jazz—following the winding course of the improvisation while keeping the original tune in the back of your mind. Hear how the musician flits away from the original melody, then comes back to it for a moment, then takes off again. Think hummingbird. 

Remember too that a good jazz improvisation, despite the spontaneity, has a solid structure. It tells a story from beginning to middle to end. To follow the story, you need to hear the whole thing. Otherwise it's like trying to watch a movie thriller starting in the middle. 

But what if I don't know the songs they're playing? 

Although some of the tunes are composed by the players, most of the songs that jazz musicians improvise on are from "The Great American Songbook" —compositions by Cole Porter, George Gershwin, Richard Rogers, Harold Arlen, Duke Ellington and the like. 


If you don't know a song in one of the CDs, you can sometimes get familiar with it by listening to a non-jazz rendition on YouTube before you tackle the jazz version. That way, in addition to gradually creating a library of jazz CDs, you'll be creating a mental library of beautiful songs.

read more: http://www.allaboutjazz.com/how-to-listen-by-mark-barnett.php?utm_content=buffer3341d&utm_medium=social&utm_source=facebook.com&utm_campaign=buffer&width=1280

Bournemouth Jazz Festival

The Festival programme is out. Get your tickets now.
Great line-up

The Swing Unlimited Big Band

The Swing Unlimited Big Band will be part of this year's lineup, playing at The Royal Bath Hotel on 22nd April


Wynton Kelly / Whisper Not



From Paula Atherton

This Thursday, March 31st, The AirTrain Jazz Festival!

The goal of the festival was to bring to life the keyboard and names of jazz greats emblazoned high on the walls of the building that houses the AirTrain Jamaica Station and, in doing so, provide a cultural greeting to travelers passing through the AirTrain Jamaica Station.

The AirTrain Jazz Festival is presented by the Sutphin Blvd.BID and A Better Jamaica Inc.
Concourse Level of the AirTrain Jamaica station, March 31st, Sutphin Blvd & 94th ave

Motown: The Sound of Young America – in pictures

Diana Ross and Berry Gordy backstage at Finsbury Park Astoria, London, for the opening of the Tamla-Motown UK tour, March 1965.

Founded in Detroit in 1959, Motown Records produced more US No 1 hits than the Beatles, Elvis, the Stones and the Beach Boys combined. New book Motown: The Sound of Young America (£39.95 Thames & Hudson) collects behind-the-scenes and unpublished pictures of stars Smokey Robinson, Diana Ross and many more.
Barney Ales bestows gold discs on Marvin Gaye for I Heard it Through theGrapevine.

http://news360.com/digestarticle/igjmpBYLk0a-4QUcfOt8Sg

Kenny Barron Trio review – jazz of dynamic finesse

Photograph: Philippe Levy-Stab
by John Fordham
Tuesday 29 March 2016 12.27 BST
Last modified on Tuesday 29 March 2016 16.38 BST

In an era of intensively schooled jazz performers, it’s a frequent reporter’s observation that a particular player seems at ease playing just about any style. But if omnicompetence in jazz is widespread, there’s more to covering older forms than hotshot technique – as is currently being demonstrated at Ronnie Scott’s jazz club by the 72-year-old Philadelphian Kenny Barron, one of the most articulate and polished mainstream-to-bop improvisers in the jazz of the past 40 years. Barron doesn’t play old Broadway songs, samba shuffles or swing grooves with respectful courtliness or knowing irony but with a devoted warmth, and a delicacy that comes from having lived with their nuances for a very long time.

Barron’s main agenda is the music from his album Book of Intuition, but he and his trio partners Kiyoshi Kitagawa (bass) and Johnathan Blake (drums) gave their show a piquancy typical of live jazz, particularly in the finesse of their dynamics, and the dramatic yet apposite impact of Blake’s excursions into a contemporary rhythmic world very different from Barron’s.

The pianist began with a deceptively low-key opener not featured on the album, wrapping his slowly waltzing composition Lullaby in moist arpeggios and flicked asides, turning up the heat only marginally in thicker chords and busier lines after Kitagawa’s velvety bass break. Then he cranked up the momentum, with the rocking ostinato and jumpy descents of the Bud Powell dedication Bud Like releasing a stream of fast piano runs and snatches of salsa over Blake’s blend of cymbal chatter, snare rolls and occasionally admonishing rimshots, like a conductor tapping the baton for attention.

read more: http://news360.com/digestarticle/igjmpBYLk0a-4QUcfOt8Sg

Tuesday, March 29, 2016

6 Miles Davis Albums That Changed Music

Hulton Archive/Getty Images

March 26, 20165:36 PM ET
NPR STAFF

Miles Davis died in 1991, but his influence on music is still being felt. The new film Miles Ahead, produced, co-written, directed by and starring Don Cheadle, is giving a new audience a fresh take on one period in the musician's career.

Davis himself wasn't the most humble about his musical sway. At a White House dinner in 1987, the jazz musician was asked what he'd done to deserve to be there. Davis wrote in his autobiography that he replied, "Well, I've changed music five or six times."

Davis' career spanned more than 50 years and encompassed everything from bebop to avant-garde to hip-hop. Professor Sean Jones of the Berklee College of Music in Boston teaches a class on Miles Davis.

"It's kind of controversial," he tells NPR's Michel Martin about Davis' claim to have changed the face of music. "You can make the argument that he indeed did change music a few times, five or six times. But you could also state that he was at the forefront of the change, by putting together bands that were a part of the movements that were going on. And I tend to subscribe to that notion.

"He, having such a unique voice, he was able to superimpose his sound on that change, making it seem as if he were the change agent."

NPR asked Jones to compile some of his favorite Miles Davis songs and albums that showcase how Davis changed — or helped change — musical tastes.


This list is sure to be debated. If you think we missed something, let us know in the comments section.

read more: http://www.npr.org/2016/03/26/471892355/6-miles-davis-albums-that-changed-music

26 march, happy 37th birthday to pianist Hiromi!


Uploaded on Nov 7, 2011
This interview with noted jazz pianist Hiromi took place at the 2011 Newport Jazz Festival, presented by Natixis. Hiromi appeared at the festival as a solo act as well as in a power trio with Anthony Jackson and Simon Phillips. She talked about playing with Jackson, Phillips and Chick Corea, as well as about her own music education. Finally she discussed her personal and professional response to the Tsunami in Japan.

Interview is one of many taped backstage at the Newport Jazz Festival. Interview by Lee Mergner. Video by Melissa Mergner.

For more information about JazzTimes magazine, go to jazztimes.com

Kamasi Washington Perform & Talk Jazz, Mainstream & Kendrick Lamar On Charlie Rose

If you listened to To Pimp A Butterfly, you've heard the work of masterful Kamasi Washington. Washington arranged the string sections and played saxophone for Kendrick Lamar's now ubiquitous third album. As well as appearing on the biggest album of 2015, Washington also released his debut album, The Epic, an expansive, three-hour success of his own, which made serious waves across both jazz and mainstream music media. 

Appearing on the Charlie Rose Show, Kamasi Washington played "ReRun," and "Rhythm Changes," from The Epic. Washington also sits down to discuss the expressive nature of jazz, why he's so in love with the genre and how jazz relates to today's mainstream music.
Published on Jul 8, 2015
South Central native Kamasi Washington released one of the most critically-acclaimed albums of the year with The Epic, a three-volume set of genre-bending jazz. The saxophonist and composer leads an eight-piece band for this striking set of live music.

Watch / Listen to the full session here: www.kcrw.com/music/shows/morning-becomes­-eclectic/kamasi-washington/

Saxophonist Ben Wendel on Kneebody and Daedelus


Published on Mar 28, 2016
In this interview done backstage at the Newport Jazz Festival, saxophonist Ben Wendel talks about the origins of Kneebody, and about the group’s collaboration with Daedelus. He also discusses his role as sideman with other groups, including the Gerald Clayton Quintet. And he shares his feelings about performing at the Newport Jazz Festival for the first time. Wendel was performing at the festival with Clayton and with Kneebody, who will return to the 2016 Newport Jazz Festival.

Interview by Irene Lee. Video production by Paul Park. Editing by Lee Mergner & Melissa Mergner. Thanks to Carolyn McClair, Melanie Nanez, Danny Melnick and the staff of the Newport Jazz Festival.

For more information about Ben Wendel, go to www.benwendel.com. For more information about Kneebody, go to www.kneebody.com 

For more information about the Newport Jazz Festival, go to www.newportjazzfest.org

For more information about JazzTimes, go to www.jazztimes.com

Chris Connor: Live with Kenton

Reprinted from http://jazzwax.com
Chrisconnor-outofthisworld
Following my Friday post on vocalist Chris Connor and her months with Stan Kenton in 1953, many readers emailed wanting to know where I had acquired the tracks that I featured. Truth is I have a rather extensive collection of Chris's recordings, and many of my live Kenton recordings in 1953 come from Stan Kenton's Concert in Miniature and Concert Encore road broadcasts.
R-3510677-1333312263.jpeg
Chris joined Stan Kenton's band in January 1953. She began singing at the University of Missouri in the late 1940s and then teamed up with Bob Brookmeyer's jazz group in Kansas City before going on to New York to join Claude Thornhill in '49. During a radio broadcast of her singing with Jerry Wald's orchestra in '52, Kenton vocalist June Christy heard Chris and recommended her to Kenton. Christy had left Kenton's band in '51 but continued to make guest appearances with the band. Kenton hired Chris and soon after she began appearing on the band's road broadcasts between March and June of '53.
DBCover19530408
Here are Chris's live appearances with Kenton, thanks to the meticulous work of Terry Vosbein:
March 17, 1953—Trianon Ballroom, Oklahoma City, Oklahoma (go here)
March 28, 1953—Blue Note Club, Chicago (go here).
April 4, 1953—Blue Note Club, Chicago (go here).
April 14, 1953—Sampson Air Force Base, Geneva, N.Y. (go here).
April 21, 1953—Municipal Auditorium, Springfield, Mass. (go here).
April 24, 1953—Birdland, New York City (go here).
April 28, 1953—Birdland, New York City (go here).
April 29, 1953—Birdland, New York City (go here).
May 1, 1953—Birdland, New York City (go here).
May 5, 1953—Birdland, New York City (go here).
May 12, 1953—Glen Echo Park Ballroom, Washington, D.C. (go here).
May 19, 1953—Palm Gardens, Columbus, Ohio (go here).
June 2, 1953—Star Ballroom, Dakota City, Iowa (go here).
Notes: Chris's June 30 appearance was her last known broadcast with Kenton. She recorded in the studio with Kenton's band for Capitol on July 8, 1953. Then she left to become a solo recording artist.
Reader Ed Frank sent along a link to an in-depth discography of Chris Connor by Iván Santiago Mercado (go here).
You'll find a main menu of Kenton's complete road broadcasts between 1952 and '56, compiled by Terry Vosbein, here.

Used with permission by Marc Myers

Monday, March 28, 2016

Letter from ron kadish

Hi Claudio,

Yeah, we've all heard that one before. Here's one you haven't heard- what happens when a bunch of nutty musicians gather under the compositional skills of an even nuttier bandleader?

Pineapples and Ashtrays, folks, that's what. Beninghove's Hangmen has 'em by the bushel. This is my favorite kind of thing: music you can move to that still makes you stop and think "What just happened?"

Get it on May 13. Unless you want one before that, in which case write back and tell me.

Or get it here, now: http://beninghove.rockpaperscissors.biz/

Watch out for the giraffe.

Beninghove's Hangmen - Gumshoe Jazz for Alien Cowboys and Francophile Giraffes: Beninghove’s Hangmen Send Out the Noir-est, Quirkiest Transmissions on Pineapples and Ashtrays
05/13/2016
The giraffe ain’t talking. Don’t even try. But mischievous noir-loving Jersey jazzman Bryan Beninghove is. He and his Hangmen shout, squeal, whisper, thump, and shimmy on Pineapples & Ashtrays (release May 13, 2016), an album that charts what happens when avant-crazy types cut loose and have surf-rock, samba-esque, oddball fun.
Play - Download Album


All best,
Ron kadish
publicist
ron@rockpaperscissors.biz

VIBRAPHONIST / COMPOSER Jay Hoggard


NPR Music - Jazz


MUSIC INTERVIEWS

What Does Genius Look Like?

Cheadle wrote, directed and stars in the new film Miles Ahead, which sees a late-career Miles Davis struggles to reconnect with his muse. Read his extended conversation with Michel Martin.

Sunday, March 27, 2016

NPR Music



MAY WE HAVE THIS DANCE?

WATCH: Obama's first tango in Buenos Aires

We could explain how the president first demurely declined, then accepted, the outstretched hand of a dancer. We could describe his (kinda) fancy footwork. We could — but, well, it's probably best you just watch the video.

Early Chris Connor: 1953

Reprinted from http://jazzwax.com
Screen Shot 2016-03-24 at 6.37.15 PM
It's no secret that three of my favorite female vocalists are Julie London, Sarah Vaughan and Chris Connor. Yesterday, I spent time listening to Chris with Stan Kenton in the spring of 1953 and Sy Oliver in December of that year, especially her electrifying tracks on the road with Kenton. Prior to Kenton, Chris in 1952 recorded as a solo singer with Jerry Wald and then Claude Thornhill. She had already been with Thornhill in 1949 as part of his Snowflakes vocal group. Much of her 1952 work was good but unfortunately she was framed either by Wald's rinky-dink arrangements or Thornhill's time-for-bed charts. The excitement picked up dramatically when Chris was provoked by Kenton's and Oliver's brass sections.
Here's Chris Connor with Kenton in 1953 on Jeepers Creepers...
Here's Chris with Kenton on Bill Russo's arrangement of All About Ronnie...
Here's Chris with Kenton on Russo's chart for I Get a Kick Out of You...
Here's Chris with Kenton on Lullaby in Rhythm...
And here's she is with Sy Oliver's band on Everything I Love...
JazzWax note: To read my multipart interview with Chris Connor, go here.
Used with permission by Marc Myers

Dimitri Vassilakis

Greek saxophonist and composer Dimitri Vassilakis was born in Athens 21 October 1961 and studied Chemical Engineering at the Athens University obtaining a Bachelor's Degree (1986). Until 1985 has leaded with brother Pantelis Vassilakis the avant gard new wave band Art Of Parties on bass/vocals. He then moved to London and studied saxophone, piano and composition at the London College of Music with the aid of the Onassis Foundation. He graduated with Honors with an additional Diploma in Classical Saxophone (1990) and won national UK competitions and the LCM Society prize.

He continued his studies at the Royal Academy of Music (Advanced Studies in Jazz Saxophone and Composition) gaining a scholarship from the British Council and was awarded the LRAM diploma in jazz teaching (1991). Being one of the key members of the International Association of Schools of Jazz and representative for Greece, he has traveled extensively playing at many Festivals and conducting workshops in the US, England, France, Germany, Spain, Ireland and the Balkans. He has taught at Ph. Nakas conservatory (1991-2000) directing the big Band and presenting a series of educational programs at the Athens Concert Hall. Has taught at the music departments of the Athens, Aristotle and Macedonia Universities (2000-2007) as a lecturer, while completing a Ph.D. and is the author of awarded educational books for saxophone and jazz.

"Secret Path" was released (1999) by one of the most important and historic jazz labels based in London and New York: Candid Records.
"Daedalus Project-Labyrinth" -produced by David Liebman- was recorded in New York with Ralph Peterson, Mark Johnson, Andy Sheppard, Theodossi Spassov and other top US, UK, Greek and Balkan jazz musicians - released 2001 and was voted 2nd jazz album of the year 2002 at the BBC Internet poll.

"Parallel Lines" a jazz trio suite with Jeff "Tain" Watts on drums and Essiet Okon Essiet on bass was released 2006 and was presented round the globe with great success.

On his latest recording "Across The Universe" (2011) he sings and plays songs from the Beatles Doors, Nina Simone and Chet Baker repertoire, to celebrate Candid Records 50th anniversary, recorded in New York with a cosmopolitan line up of top jazz men from all continents. 
His collaborating with Bentley produced the new compilation "Jazz For Bentley"  (2011) that includes the best from his discography and new unreleased material.

He has played at Birdland, Dizzy' s Club at Lincoln Center, Ronnie Scott' s, Sweet Rhythm, The Kitano, Zinc, Tonic, Cutting Room and other New York Clubs, at the "Onassis Cultural Center" in New York, at the Smithsonian Institute in Washington DC, during Jazz appreciation month at the American Museum of Natural History, at the Jazz Showcase, HotHouse, Barnes & Noble and Uncommon Ground Chicago, at the Athens Concertsopranobio Hall, Lycabettus Theatre, Herodion Theatre, 2004 Athens Olympic Games, Delphic Games, at the Royal Festival Hall, Pizza Express, Purcell Room, Spice Of Life for the London Jazz Festival (2005/2007/2009) at Queens, Columbia College, DePaul, Skidmore and Yale Universities. Has worked on jazz and educational projects with the Hellenic Foundation for Culture, The British Council and the Greek Foreign Ministry.

His recent talk and performance at TEDx Tokyo on "jazz democracy" was worldwide viewed and has created much interest and discussion. http://www.youtube.com/watch?v=O6-3P-uvFQs

He has played with some of the best international jazz musicians such as: Jeff "Tain" Watts, David Liebman, Abdullah Ibrahim, Theodosii Spassov, Ralph Peterson, Marc Johnson, Dan Wall, Andy Sheppard, Essiet Essiet, Ron Affif, Adam Nussbaum, Ron McClure, Jamie Cullum, Sylvia Cuenca, Juliet Kelly, Alex Foster, Milcho Leviev, Tia Fuller, Kim Thompson, Craig Bailey, Deborah Davis, Rex Richardson, Nikolas Simion, Ed Schuller, and more. His albums and tours have received excellent reviews from publications such as the 'Jazz Times', 'All About Jazz', 'New York Press', 'BBC Music Magazine', 'Jazz Journal', 'Jazzwise', 'Jazz Heritage', 'Time Out', London Jazz Festival, Smithsonian Festival and from top jazzmen as Michael Brecker, Bobby Watson and David Liebman.

He has performed for 2 Greek Presidents and leading a string quintet, for the official visit of the President of the US Bill Clinton to Athens (1999), at the Greek Presidential Residence. He is the first acclaimed international Greek jazz artist and in Athens has presented a live jazz Radio Program for Radio 3 also broadcasted by National TV NET, where he performed with and presented top Greek and International visiting jazz musicians. He was also the presenter of 'All that Jazz', a program on Channel 7, live from Athens jazz clubs and concert halls, with discussions on the history and aesthetics of jazz.

LeAnn Rimes - I Still Believe In Santa Claus


Published on Dec 10, 2015
Performed live at the YouTube Space LA. From the new holiday album, 'Today Is Christmas,’ available now at
 Target: http://smarturl.it/leanntarget,
 Amazon: http://smarturl.it/leannramazoncd,
 iTunes: http://smarturl.it/todayisxmasitunes and 
 Google Play: http://smarturl.it/leanngooglep.

Follow LeAnn:
Official Website: http://smarturl.it/leeannwebsite
Facebook: http://smarturl.it/leannfacebook
Twitter: http://smarturl.it/leanntwitter
Instagram - http://smarturl.it/leanninstag

Saturday, March 26, 2016

Assaf Kehati 4tet feature the amazing Anat Cohen - All or Nothing at All


Published on Jan 21, 2016
Assaf Kehati Quartet feature Anat CohenAll Or Nothing At All

Assaf Kehati - guitar
Anat Cohen - saxophone
Ehud Ettun - bass
Ronen Itzik - drums

www.assafkehati.com

NPR Music - JAZZ


A BLOG SUPREME

Born To Be Blue: Chet Baker In 5 Songs

Baker's legacy may be debated, but his artistry shouldn't be. On the eve of a new biopic starring Ethan Hawke, here's an introduction to the trumpeter and vocalist.

New School Jazz Artist-in-Residence Randy Weston


New School Jazz Artist-in-Residence Randy Weston says that he and many other jazz performers play the piano like a drum: “The drum never left us”, he says, referring to the influence of the drum and his African heritage. This session will address that tradition as it has traveled throughout Africa, to the Caribbean, South America, and the United States, and will include a conversation among the participants moderated by renowned drumset artist Lewis Nash, demonstrations and a performance by the group, along with Randy Weston (piano) and Alex Blake (bass). 
 
Featuring performances by master drummers Candido (Cuba), Bonga (Haiti), Marcel Magnat (Guadeloupe), Khuent Rose(Honduras), Neil Clarke (United States), Lewis Nash (United States), Maalem Hassan Ben Jaafer (Morocco), following a discussion by professors Dr. Joseph Gaines and Dr. Acklyn Lynch

Including a screening of FOLI: There is no Movement without Rhythm (2010), a film by Thomas Robbers and Floris Leeuwenberg. Color, 11mins. 

Life has a rhythm, it’s constantly moving. The word for rhythm ( used by the Malinke tribes ) is FOLI. It is a word that encompasses so much more than drumming, dancing or sound. It’s found in every part of daily life. In this film you not only hear and feel rhythm but you see it. It’s an extraordinary blend of image and sound that feeds the senses and reminds us all how essential it is.  Thomas Robbers 


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

Miami International Jazz Festival

The Miami International Jazz Fest (MIJF) Board of Directors proudly established the Miami International Jazz Fest™ (a 501(c)3 corporation) to showcase a smorgasbord of jazz performers in a yearly jazz festival. MIJF will present diverse jazz expressions and artists throughout the Greater Miami area in venues managed by various cities within Miami – Dade County.

Additionally, our program will reach out to the local academic community, both students and professors, so that future music stars can participate in Jazz Fest activities. We will provide volunteer opportunities which will place student participants in direct contact with professional musicians. We aspire to provide unique opportunities that will give music students the ability to partake in all facets of our event. Eventually, these opportunities will lead to long-term mentorships that cultivate local musical talent and will expose young musicians to the practical realities of the music business.

MIJF’s President and Board members are professional musicians and businessmen who have a long list of outstanding accomplishments in music production, live performances, and recorded albums. All have succeeded at the local, national and international levels. Our Board is primed to produce a first-class international festival that showcases Miami as the ideal destination that jazz lovers worldwide and within our community can appreciate for years to come.
April 28, 29 & 30, 2016

Miami International Jazz Festival 2016 Performing Artists






Friday, March 25, 2016

Cecile McLorin Salvant!

SAT, APR 2 / 8PM
CÉCILE MCLORIN SALVANT

South Miami-Dade Cultural Arts Center Presents Cecile McLorin Salvant!
2016 GRAMMY AWARD WINNER FOR BEST JAZZ VOCAL ALBUM


One of the greatest jazz vocalists to emerge in years, Cécile McLorin Salvant is known for her blues-infused vocals and a repertoire that includes jazz standards from the ‘20s and ‘30s. She was the winner in four categories in the 2014 Annual Downbeat International Critics Poll, including Jazz Vocal Album of the Year for WomanChild, Top Female Vocalist, Rising Star Jazz Artist and Rising Star Female

The Clayton Brothers: John and Jeff


Steven Cerra
Thursday, March 24, 2016

Have you ever noticed how approachable most Jazz musicians are?

It’s a quality that I find to be very admirable, especially in view of the fact that they are so unassuming about the artistic genius that they put on display during their performances.

By comparison, try and approach a Rock star who can perhaps play three chords on a guitar, one who really does believe that there’s an amplifier with a volume control that “goes up to eleven,” and you are likely to be met with resistance from an entourage of body guards.

And then there are the $300 greet ‘n meet post-performance passes which one can purchase for the pleasure of standing backstage along with a horde of grossly overdressed people in order to have the privilege of being in the presence of some operatic diva - who sang flat all night.

Follow a Jazz musician off the stage at the close of a set at a club or at a festival, say something complimentary about their playing and you’ve made a friend for life.

So it was with my first meeting with the Clayton Brothers: John and Jeff.

They had just concluded an appearance at one of Joe Rothman’s West Coast Jazz Parties which are held each year at the Newport Beach, California Marriott Hotel around Presidents’ Day and Labor Day, respectively, when we literally ran into them backstage.

John is a bassist and Jeff played alto sax and flute that night along with Terell Stafford on trumpet, Bill Cunliffe on piano and Jeff Hamilton, John’s long-time rhythm section mate, on drums.

The group’s set that evening drew a standing ovation from the appreciative crowd and deservedly so as they really swung-their-backsides-off.

When we met them, we were looking for The Green Room, usually a series of interconnected rooms behind one of the hotel ballrooms which is laid-out with food and grog for the musicians; a place where they can meet and relax before and/or after their sets.

Both John and Jeff are “big dudes,” which along with their superb musicianship and the huge smiles that they usually carry on their faces, all combine to give them an imposing presence.

When we expressed our pleasure in their recent performance, we no longer had to seek out The Green Room: they brought us to it as their guests!

Have I mentioned how easy it is to approach Jazz musicians?

John and Jeff autographed the John Reeves photos which you see at the beginning of this piece, offered us “goodies” from the banquet table and proceeded to treat us as though we were the most important people in the world.

And their laughter and good humor – of which there was plenty - was infectious. It felt good to just be around them; this as an added benefit to the already-experienced pleasure of their music

According to Gene Lees who wrote the annotation about them in John Reeves’ Jazz Lives: 100 Portraits in Jazz [New York: Firefly Books, 1992]:


“John and his brother Jeff [w/moustache in photos] come from a family of seven children, raised by their mother, a pianist, organist, and children’s choir director. Jeff was drawn to the work of Cannonball Adderley. He studied at California State University, Northridge, majoring in oboe and English horn. … He studied privately with respected teacher and saxophonist Bill Green. Jeff plays all the saxophones, all the clarinets and flutes, all the recorders, and, for good measure, harmonica. As one friend said. ‘He can play anything you can blow.’

read more: http://jazzprofiles.blogspot.com.br

Mike Barone - Composer-Arranger


Uploaded on Dec 18, 2010
Mike Barone's big band arrangement of "Grand Central" featuring Ernie Watts and Vince Trombetta on tenor saxophones.