Bobby McFerrin & Richard Bona

Bobby McFerrin & Richard Bona https://t.co/WABJkHH3GO
#world #jazz #jazzMusic #art #instrumental #bass #vocals

— Braziliz Luiz Santos (@Braziliz) December 10, 2016

#BobbyMcFerrin & #RichardBona

Bobby McFerrin & Richard Bona https://t.co/WABJkHH3GO
#world #jazz #jazzMusic #art #instrumental #bass #vocals

— Braziliz Luiz Santos (@Braziliz) December 10, 2016

Bobby McFerrin comes to Germany

by Thomas Schloemann

The stage is the place where Bobby McFerrin has always been most comfortable vocal star.In the coming months he will make guest appearances in several ways in Germany, the program of his last album "VOCAbuLarieS" to perform live.

"In 80 days around the world" - this motto seems borrowed from Jules Verne Bobby McFerrin's current tour to stand. It takes the virtuoso singer in the coming months to North and South America, Oceania, and the length and breadth of Europe. Several times he is currently on Germany between land in and act, sometimes solo with a pure a cappella program, sometimes together with Roger Treece (his main collaborators on their hit album "VOCAbuLarieS")and the Chamber Choir of Europe. 

The start he makes on 21 March in the Düsseldorf Tonhalle with a solo a cappella show. Roger Treece and the Chamber Choir of Europe it can be on 25 March in the Essen Philharmonic (careful, the concert is almost sold out!) And 27 March in the Munich Philharmonic Gasteig experience on. Get out then later again with solo a cappella concerts at the "City Jazz Night" at the Brunswick Town Hall (15 May), the Leipzig Gewandhaus(June 20) and at the Festspielhaus Baden-Baden (July 9). 

We also want to but two very special concerts that Bobby McFerrin in France will give: 27 June days will he at the Jardins de la Fontaine in Nîmes, and two later in Campo Santo Orleans the stage together with Manu Katche and his band in the climb. For such a musical event would certainly be worth a long journey!

From: Jazz Echo

Bobby McFerrin is one of the natural wonders of the music world...

published by suggestion of Jorge Carvalheira
Bobby McFerrin is one of the natural wonders of the music world. A ten-time Grammy Award winner, he is one of the world's best-known vocal innovators and improvisers, a world-renowned classical conductor, the creator of one of the most popular songs of the late 20th century and a passionate spokesman for music education. His recordings have sold over 20 million copies, and his collaborations with Yo-Yo Ma, Chick Corea, the Vienna Philharmonic and Herbie Hancock have established him as an ambassador of both the classical and jazz worlds. Yet McFerrin's reach extends well beyond musical circles: he's worked with actor Jack Nicholson, dancer Savion Glover, comedians Robin Williams and Billy Crystal, and audiences around the world.

With a four-octave range and a vast array of vocal techniques, McFerrin is no mere singer; he is music's last true Renaissance man, a vocal explorer who has combined jazz, folk and a multitude of world music influences - choral, a cappella, and classical music - with his own ingredients. As a conductor he is able to hear orchestrally, and with this gift has expanded his singing to include more imaginative territory then most; he might extend his vocal repertoire to sing trumpet-inspired parts in the jazz standard "Round Midnight" or to interpret the flute and cello parts in works by Fauré and Vivaldi, or to simply create entirely new worlds of sound.

Born to opera singer parents in New York in 1950, where his father, Robert McFerrin Sr., was the first African-American male soloist at the Metropolitan Opera, his family moved to Hollywood in 1958 when McFerrin Sr. was hired to be the singing voice for Sidney Poitier in the movie Porgy and Bess. McFerrin's first love was the clarinet, but he switched to the piano when the onslaught of braces forced the aspiring reedman to abandon his first beloved instrument. As a teen, he also aspired to be a priest, but that too was shelved when he could no longer deny that music was in his blood. McFerrin went on to form the Bobby Mack Quartet in high school followed by a cross-country tour with the Ice Follies and a stint as a pianist in a lounge band.

In 1977, McFerrin decided to come out from behind the piano to test his skill as a vocalist, and in 1978, he started singing with the group Astral Project in New Orleans and then toured with legendary jazz vocal pioneer Jon Hendricks. He also met jazz vocalist turned music entrepreneur Linda Goldstein, who has been his manager and often producer since 1979. Inspired by the completely improvised solo concerts of pianist Keith Jarrett, McFerrin and Goldstein conspired to develop his innovative career as a solo vocalist. This was a considerable challenge since it went against conventional career-building wisdom in the music world, built on prepackaged expectations.

Bill Cosby arranged for his 1980 performance at the Playboy Jazz Festival, and a year later McFerrin made a triumphant appearance at the Kool Jazz Festival in New York. Shortly after that, McFerrin released his first album while working toward his goal of wholly improvised solo concerts. In 1983 he did his first tour of Europe as an unaccompanied vocalist, performing without any prepared material. Audiences were bewildered at first, and then blown away. Tapes of those concerts were made into the album The Voice, a landmark recording that served notice of the arrival of a major musical talent the German critics called "Stimmwunder," which means "wonder voice."

Throughout the 1980s, McFerrin continued to develop his amazing solo improvisations and audience interactions. With a comedian's sense of timing, an unrestrained zany streak, and an infectious love of every genre of music, McFerrin created a new kind of concert - not a "performance" but a communal sharing and celebration of music. At the same time, he began a wide range of collaborations, winning his first Grammy in 1985 for “Another Night in Tunisia” with the Manhattan Transfer. Further Grammy awards came for Bernard Tavernier's “’Round Midnight” (1986) and “How the Rhinoceros Got His Skin”, with Jack Nicholson in 1987.

By 1988, he had taken his unaccompanied improvisations from the Hollywood Bowl to Carnegie Hall and to the premiere concert halls of Europe and Asia, thus solidifying his reputation as a musical phenomenon. He then released the album Simple Pleasures, which was his homage to the music of the 1960s. A joyous ditty created on the spot in the recording studio became the phenomenal hit "Don't Worry, Be Happy." Simple Pleasures was nominated for a 1988 Grammy for album of the year, while Don't Worry, Be Happy won both the Record of the Year and the coveted Song of the Year awards. It might just as well have been named Song of the Decade, as "Don't Worry, Be Happy" hit the #1 spot on pop charts in nearly every country in the world.

Given this taste of pop superstardom, which was completely unexpected in the midst of his burgeoning career based on solo vocal experimentations, Bobby McFerrin seemed to suddenly switch gears. Instead of seizing upon the deluge of offers for concerts and events brought on by his sudden popularity, he decided to take a sabbatical and to begin a serious study of conducting, including lessons with Leonard Bernstein, Gustav Meier and Seiji Ozawa. The enthusiasm, infectious joy, and virtuosity that characterize his solo performances have made McFerrin a successful communicator in the classical music world as well. In 1990, on his 40th birthday, Bobby McFerrin was given the opportunity to conduct the San Francisco Symphony Orchestra.

He then recorded Hush, with friend and famed cellist Yo-Yo Ma, which stayed on the Billboard classical charts for over two years and went gold. By 1994, McFerrin had been named creative director of the St. Paul Chamber Orchestra, and released the album Paper Music, the critically acclaimed collection of classics that marked his first recording as a conductor. Since then, he has gone on to collaborate frequently with such orchestras as the Chicago Symphony, the Cleveland Orchestra, the New York Philharmonic, the Philadelphia Orchestra, the Leipzig Gewandhaus Orchestra, and the Vienna Philharmonic, which he most recently led on their 2003 European tour.

In recent years, he has combined his love of improvisation with his conducting skills, extending his vocal journeys to larger groups of singers - whether trained or not. McFerrin's solo concerts have always included audience participation; McFerrin sees them not as "singalongs" but as a genuine collaborative process of making music in the moment. He's also developed that idea in more sophisticated settings with his longtime vocal ensemble Voicestra in the albums Medicine Music and Circlesongs, and in a forthcoming project of choral works in collaboration with composer Roger Treece.

Before Bobby McFerrin, the idea of a career of solo improvised vocals, would have been unthinkable. Now, critics routinely praise talented new vocalists with terms like "the next Bobby McFerrin." But there is only one Bobby McFerrin, who, during his unparalleled career, has been the subject of a ‘60 Minutes’ profile, an entire edition of Ted Koppel's ‘Nightline’, and an in-depth documentary on the Bravo Channel. He maintains a dual career as a conductor and a solo performer, and continues to bring music to children, whether in his own improvised concerts or in special orchestral programs. In spite of all this activity, however, his greatest ambition is to spend as much time as possible at home with his wife of 25 years, Debbie, and their three children.

"Unconventional" is a good way to describe the career of Bobby McFerrin. Those familiar with McFerrin's shows, whether as a conductor or a vocalist, know that each one is a unique event that resonates with the unexpected. He is that rare artist who has the ability to reach beyond musical genres and stereotypes for a sound that is entirely his own. As one of the foremost guardians of music's rich heritage, he remains at the vanguard with his natural, beautiful and timeless music that transcends all borders and embraces all cultures.
Visit http://www.bobbymcferrin.com/ for more information, interactive games, sheet music, and more Bobby merchandise. http://www.bobbymcferrin.com/bobby_media.php#


Live in Montreal. Beautiful and truly free improvisation between genius Bobby Mcferrin and Richard Bona.

World Science Festival 2009: Bobby McFerrin Demonstrates the Power of the Pentatonic Scale

World Science Festival 2009: Bobby McFerrin Demonstrates the Power of the Pentatonic Scale from World Science Festival on Vimeo.
Bobby McFerrin demonstrates the power of the pentatonic scale, using audience participation, at the event "Notes & Neurons: In Search of the Common Chorus", from the 2009 World Science Festival, June 12, 2009.

For more of Bobby McFerrin and the science behind this program, please view the full "Notes & Neurons: In Search of the Common Chorus" event video at our website:
www.worldsciencefestival.com/video/notes-neurons-full

Bobby McFerrin

Bobby McFerrin is part of a group of musicians of jazz in extinguishing ways, the ones that they use as only instrument the voice. Exceptuando perhaps the time of the Swing and previous, decades 20 and 30, this type of musicians never abundou, not being however to disdain, quite to the contrary, its paper in the spreading and consolidation of the jazz, names as Bing Crosby or Frank Sinatra had implanted the jazz in the films of the time and had given to an important contribution, leading the jazz to the 4 cantos of the world.
The arrival of the Bebop in decade 40 became them obsolete in a new complex style, fast e that preveligiava the improvisations. After the Bebop
few singers had appeared and same nowadays they are in one I number reduced, being the only references of weight Al Jarreau and Bobby McFerrin.
Mrs., for the opposite, had survived to this crisis of vocal values, its number have come to increase and its weight in the structure of the jazz is not of form some worthless one, exactly that many times the amount does not mean quality, or at least the quality and the charisma one of divas of another time as Aretha Franklin, Ella fitzgerald, Billie Holliday, Anita O´Day or Hellen Merril.

Bobby McFerrin knew to adapt ace new requirements and musical style
of the current jazz, utliza the voice as an instrument multipurpose, has fenomenais vocal capacities and knows to take off left of them, is a musician without competition the height and waits can be a starting point for the resurgimento of the masculine vocal art in the jazz.
The capacities of McFerrin had impressed Chick Corea and the workmanships in dueto have been succeeded. The three subjects below, are three of the most known standarts of the jazz, in dueto with Chick Corea
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