Nicholas Payton with Vilde Aaslid

Relexifying the Canon of Black Music Nicholas Payton with Vilde Aaslid - Brooklyn Rail https://t.co/NRqTqavyVq

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Milt Jackson 1923-1999: A Tribute

Uploaded on Aug 22, 2010
Vibraphonist Milt Jackson performing Jimmy Heath's "Bopag'in" with Jesse Davis [alto saxophone], Joshua Redman [tenor saxophone], Nicholas Payton [trumpet], Benny Green [piano], Christian McBride [bass], and Kenny Washington [drums].

Latin collaboration to complete Center for the Performing Arts's jazz lineup

By Jackie Knell, Collegian Staff Writer

There are about “Ninety Miles” between the tip of Florida and Cuba, a short distance that seems even shorter through a vibrant blend of jazz music styles.

The Center for the Performing Arts will hold its last jazz concert of the season at 7:30 tonight at the Schwab Auditorium, an event that will feature artists from the United States as well as Cuba, Puerto Rico and Venezuela.

Vibraphonist Stefon Harris, trumpeter Nicholas Payton and saxophonist David Sánchez will headline the event, along with performances by pianist Edward Simon, bassist Ricky Rodriguez and drummer Henry Cole.

John Mark Rafacz, editorial manager at the CPA, said he hopes the concert demonstrates how close the two countries really are, despite the fact that they may be viewed by many as “politically lightyears apart.”

“I think with an artistic collaboration like this one, you can really transcend those boundaries,” Rafacz said.

He said that although the countries have been at odds since the Fidel Castro revolution, Cuba is in America’s backyard and there is so much it can learn from Cuba’s culture.

“Music is really the international language that is able to transcend boundaries,” Rafacz said. “It’s a great way to find common ground.”

Rafacz said he believes this is one of the most notable collaboration performances of its kind to happen in the past few years.

Ronnie Burrage, professor of practice of African American studies, said he has had the chance to record with Simon, working with saxophonist John Ellis.

“He’s a great pianist, arranger and composer,” Burrage said. “He has the great ability to re-harmonize music in his performance.”

Burrage also said Harris is a very versatile vibraphonist who draws on the melodic style of legendary jazz vibraphonist, Bobby Hutcherson.

Read more: http://www.collegian.psu.edu/archive/2013/04/02/Ninety_Miles_merges_American_and_Latin_jazz.aspx

Considered by many the premier jazz trumpeter of his generation, Nicholas Payton....

The National Jazz Museum in Harlem

Tuesday, June 8, 2010 - 7:00 – 8:30pm

Hear Me Talkin' To You: Nicholas Payton
Location: NJMH Visitors Center, (104 E. 126th Street, Suite 2C)

Considered by many the premier jazz trumpeter of his generation, Nicholas Payton is also an outspoken thought leader among his peers. His musings via blog, or his pithy questions and insights via Facebook are evidence of a deep, provocative thinker.

The son of bassist and sousaphonist Walter Payton, he took up the trumpet at the age of four and by the time he was nine he was playing in the Young Tuxedo Brass Band alongside his father. Upon leaving school, he enrolled first at the New Orleans Center for Creative Arts and then at the University, where he studied with Ellis Marsalis.

After touring with Marcus Roberts and Elvin Jones in the early 90s Payton signed a recording contract with Verve; his first album, From This Moment, appeared in 1994. In 1996 he performed on the soundtrack of the movie Kansas City, and in 1997 received a Grammy Award (Best Instrumental Solo) for his playing on the album Doc Cheatham & Nicholas Payton. After seven albums on Verve, Payton signed with Warner Bros. Records, releasing Sonic Trance, his first album on the new label, in 2003. Besides his recordings under his own name, Payton has also played and recorded with Roy Haynes, Wynton Marsalis, Christian McBride, Joshua Redman, Roy Hargrove, and Joe Henderson.

In 2008, Payton became part of The Blue Note 7, a septet formed that year in honor of the 70th anniversary of Blue Note Records. His own latest release, Into the Blue, is a collection of ten tunes steeped in melody and groove that Nicholas says “embodies the sensibilities of beauty, elegance and simplicity” and delivers “danceable tempos.” Tonight's discussion is the first of two consecutive Jazz for Curious Listeners he's leading . . . don't miss this chance to engage with a jazz master in the making.
http://www.jazzpromoservices.com/

Nicholas Payton has his kind of blue

By Calvin Wilson
11/01/2009
Nicholas Payton has to be on the short list of the finest living jazz trumpeters. Early in his career, he was a protégé of fellow New Orleans native Wynton Marsalis. But Payton has long since established himself as an esteemed artist in his own right, recording a string of strong albums — including several for the legendary Verve label. Payton's most recent disc, last year's "Into the Blue" (Nonesuch), is among his best. Of particular interest is a splendid rendition of the theme from the classic 1974 film "Chinatown." In a recent interview, Payton, 36, talked about his life in jazz.

Q: Are you continuing to tour on behalf of "Into the Blue"?
A: Somewhat. We still do quite a few tunes from it, but I'm sort of in transition because I'm working on a new record. So we're incorporating that material, as well as some other things that we do, because it works well for a live show.

Q: Who'll be in your band at the Sheldon?
A: It'll be Taylor Eigsti on piano and Fender Rhodes, Vicente Archer on bass, Nate Smith on drums and Daniel Sadownick on percussion.

Q: New Orleans has a rich jazz tradition and an impressive reputation for jazz trumpeters, from Louis Armstrong to Wynton Marsalis. Did living in New Orleans influence you to pursue your career?
A: Certainly. And probably most influential was the fact that I have musical parents. My father plays bass, and my mother is a pianist and former operatic singer.

Q: Your 2001 album, "Dear Louis," was a tribute to Armstrong. How much of an influence has his music been on yours?
A: Well, he redefined the art of jazz improvisation as we know it. There were a few greats before him, but he summed up everything that came before and pointed the way to that which would follow. So his importance and influence is key to not only my playing but to music, period. In any category. American music, or just music, wouldn't sound as it does today without the presence of Louis Armstrong.

Q: "Sonic Trance" (2003) was something of a departure from the traditional jazz for which you'd been known up to that time, incorporating elements of hip-hop and electronica. What would you say is the relationship between that album and "Into the Blue"?
A: "Sonic Trance" was like walking on the moon for the first time — everything is wide open, and it's new. "Into the Blue" is more surefooted — like, OK, I know what those ideas are. It's like an answer to the question that "Sonic Trance" poses.
http://www.stltoday.com/stltoday/entertainment/stories.nsf/music/story/D470FD79E66CE61C8625765F006F5C2A?OpenDocument

Blue Note's Magnificent 7....

Blue Note Records' 70th Anniversary was the catalyst for the Blue Note 7, a septet featuring some of our best musicians (Nicholas Payton, Steve Wilson, Ravi Coltrane, Bill Charlap, Peter Washington and Lewis Nash) playing new workings of the classic repertoire. The band recorded an album, Mosaic, and then started touring.
I caught up with them in Tucson, where they ended the first leg of a nearly six month schedule that will bring their music all over the US. Like any working group, the musical interplay gathers momentum the longer they stay together. Sadly, working bands on extended tours are something of a rarity these days. Group chemistry doesn't happen in an instant, its an organic process that must be nurtured.
Before their Tucson concert, the group allowed me to film them performing Steve Wilson's arrangement of Thelonious Monk's Criss Cross. I've shot other groups playing music, but this is really the first time I was able to get right up on the stage, in their faces, and feel like I was part of the music.
In addition to my moving camera, I used a stationary camera for a wide shot. Each musician took one chorus, and like the true professionals they are, each was able to infuse that one chorus with some serious musical intensity. This is my best performance video to date, and I look forward to working with other musicians in this intimate, exciting way. Many thanks to the Blue Note 7 for their remarkable performance, and cooperation and to their Road Manager and Ace Soundman Richard Battaglia.
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