Legendary soul and gospel singer Mavis Staples has been a musical powerhouse since the 1950s. She began her career in the family band The Staples Singers, performing at local churches and radio stations. But once the group took its performances to the road, it became an iconic R&B titan. With classic hit after classic hit, the group became a national voice for the civil rights movement, even working closely with the likes of Martin Luther King Jr.
Staples' solo career began in 1969. Her gospel-rooted solo recordings marked her as one of the country's most powerful and influential musicians, captivating artists such as Bob Dylan and Prince while paving the road for future contemporary soul music.
At 69, Staples continues to spread a positive message through her music. After releasing We'll Never Turn Back in 2007, she compiled the new Live: Hope at the Hideout. Just as musically and politically charged as her past works, the album captures a stripped-down and powerful live performance.
http://www.npr.org/templates/story/story.php?storyId=99641228&ft=1&f=1039
Wednesday, January 21, 2009
Mavis Staples....
Nelson Ayres....
Although its always discrete position, the pianista, arranjador and composer Nelson Ayres is widely recognized as ones of the personalities most important of instrumental music Brazilian contemporary, one innovative constant. It initiated its career in the decade of 60, dividing palco with other students who brought for São Paulo the rising movement of bossa new, as Taiguara, Toquinho and Chico Buarque.
With a scholarship, the first Brazilian pupil became to attend a course the famous Berklee College of Music in Boston, where, with the saxofonista Vitor Assis Brazil, he created quinteto the Five, first group of Brazilian instrumental music of the American coast east. In the United States he touched and he recorded with Airto Moreira and Flora Purim, Astrud Gilbert in the height of its success, Ron Carter, Walter Booker and other musicians of weight. In the return for Brazil, he was looked for by São Paulo professional musicians to transmit what he had learned in its American season.
The mounted informal course for these musicians was the origin of the Big Band de Nelson Ayres, that can be considered the main nucleus of revigoração of the São Paulo instrumental music of the decade of 70. During eight years the orchestra if presented all the second fairs for auditoriums crowded in the August Audience and Opposed 2004, and took instrumental music for the university circuit.
It was also figure of prominence in the two legendary Festivals of Jazz São Paulo/Montreux, presenting itself it the side of Benny Carter, Dizzy Gillespie and Toots Thielemans. The decade of 80 was dedicated to the Wood Brazil, one quinteto that it at the time considered for Brazilian instrumental music a different way of the predominant jazz-rock. An invitation of Radio France for participation in the Festival of Jazz of diverse Paris was the beginning of tournées for the Europe and Japan, beyond the writing of some records launched internationally.
With Cesar Camargo Mariano, the spectacle estrelou in 1984/85 Prism, first Brazilian show to use computation resources intensively allies the electronic instruments. In the decade of 90, Nelson Ayres was turned again toward orquestral music, acting per nine years as regent and artistic director of the Symphonic Orchestra Jazz of the State of São Paulo, being main the responsible one for its enormous success.
It has conducted frequently other orchestras in Brazil and the exterior, having included the prestigious Filarmônica Orchestra of Israel, considered one of the best ones of the world, having been recently in Brazil under the regency of Zubin Mehta. Compositions of Nelson Ayres had been recorded for Cesar Mariano, Milton Birth, Herbie Mann, Kenny Kotwick, Joyce, Ivan Lins, and Marlui Miranda, among others. Its compositions of erudite music have been executed for orchestras, solistas and groups of chamber in the whole world, as the Symphonic Orchestra of Jerusalem, New York Symphonyc Brass Quintet, Henry Bok and Julliard Brass Quintet.
She was commissioner for the Symphonic Orchestra of the State of São Paulo, to compose its Concert for Percussion and Orchestra, estreado in December of 2001 in the São Paulo Room. From 2000 it came back to dedicate to it the piano, leading the Nelson Ayres Trio, that count on the participation of ALBERTO LUCCAS, contrabass, and RICARDO FLY, battery. In 2003 it launched the COMPACT DISC, Close to the Heart. The band-heading, although to be instrumental, was between the three finalistas as " better song" of the Prize Tim 2004. Its new work is TRIO 202, with violonista ULISSES ROCK and acordeonista TONINHO FERRAGUTTI, that appear in April of 2007 in the prestigious Standards Jazz, in New York.
Track of the Jazz....
Project of the Festival Jazz & Blues - Double Jazz
While the Carnival does not arrive, the Festival Jazz & Blues prepared a programming in $fortaleza that goes to give one gostinho of what it goes to be the jazzístico period in the mountain range and after-carnival in the pertaining to the state of Ceará capital. It is the project Track of the Jazz that takes good instrumental music, the jazz and blues for bars of the city from this week. In the repertoire, classics of the sort of all the times, with space for the improvisation and new arrangements.
Formation: Daniel Pine (trumpet) and Adriano Oliveira (keyboard)
Place: Pagliuca coffee
Street Barbosa de Freitas, 1035 - Small village
Fortaleza - CE, Brazil
Marina de la Riva....
Marina was born in Rio De Janeiro. Although this, lived all its infancy and adolescence in Great Decrease of Leopoldina, district De Campos of the Goytacazes, city of the interior of this exactly been.
Its linking with Cuba is not restricted to a mere question of musical taste: its father is a Cuban exiled in Brazil (the mother is of Araguari, Minas Gerais). The father and the grandfathers of Marina had been for Miami when of the Cuban revolution, in 1959. As they had run away without nothing, they had counted on the aid of friends to remake the life. However, the richness them was not complacente, and at the time of the harvest, rains devastaram all the harvest. Such fact compelled the grandfather of Marina to vender its plant. It remained to it to follow for Brazil (1964), where possuía lands in the interior of Rio De Janeiro, bought still when it liveed in Cuba.
The parents of Marina, Fernando and Margarida, had known themselves shortly afterwards in Rio De Janeiro. The mother of the singer, gotten passionate, left the capital and was to live in Great Decrease of the Leopoldina. Little time later, was born Marina, in the city of Rio De Janeiro for a hospital question, therefore it lived in Lowered Great of the Leopoldina until the 21 years, age in which if it moved for São Paulo. [1]
In the house of the artist, always it had cantoria: its family - beyond the parents and brothers, also uncles and grandmothers - congregated itself frequently to form music wheels, generally Cuban music: “In my house, music was a placenta that transferred intellectual and emotional food. We heard Cuban songs as form to stanch a pain” [2]. Its father, for example, already in Cuba showed great appraises for Brazilian music (in special, for the Maysa singer), even so liked exactly to sing árias of operas, operetas and traditional songs of its native land.
Although the great linking with music, Marina delayed to follow this career professionally. Before if presenting in the São Paulo night, it arrived to create buffalos and if to form in Right. However, the singer confesses that, during the lessons of this course, she was generally thinking about music: “I was always gotten passionate by music (...), my dream was not to be singer, but to live wrapped up in music, immersed in music, being music” [3]. The certainty of that singer would be alone came when, in a show of the Latin Grammy of 2004, in Los Angeles, if it moved when attending I drink Valdés to touch piano.
Curiously, although its COMPACT DISC basically to be marked by the music of the land of its paternal family, Marina started singing Jazz in the night, having integrated per two years the High group Allegiance, band who makes naked electronic jazz. It discloses the singer who the Cuban cancioneiro if restricted to “varanda of house”, (, perhaps according to proper, did not sing Cuban music, therefore this very close age something it, that was not pra to be shown “outside of house”), although, to the end of shows, the singer to yield upon request of friends and, thus, to sing 4 boleros [].
In 2004, Marina enters in studio finally to record its COMPACT DISC. The album had some recorded musics in Cuba, other recorded ones in Brazil, and counted on the participation of Davi Moraes and Chico Buarque. After about three years in studio, in 25 of May of 2007 “woollen Marina Riva” arrived officially at the store. However, the delay and the care with the writings had been valid the penalty: the album had good sale [5], the singer received good critical and conquered important prizes and indications in the Brazilian artistic scene (APCA and Prize TIM), beyond being proposal to appear in lists of “optimum of 2007” (Peter Alexander Sanches - Capital Letter, Sergio Martins - critical of the 6 Magazine Sees [], and Lauro Lisbon Garci'a, of the periodical the State of S. 7 Pablo []). The magazine Rolling Stone chose the album as 16° better national COMPACT DISC of 2007 [8], beyond having chosen “Dream Mine” as 23ª better national music of this exactly year [9]. To the end of April of 2008, Marina participated of the program Sound Brazil (Net Globe) in homage the Lulu Saints, singing the songs “Guesses what”, “Condition” and “Certain Things”.
Marina already participated of shows with the Imperial Orchestra, Andreas Kisser, Davi Moraes, Michael Franti (in the Power Festival you the Peaceful), Sings to sleep Becker, Flávio Venturini (show “Latin Connection”) and with Clear Colored person and Rita Maria (in the Ball of Gala of Vogue, in 2008).
http://pt.wikipedia.org/wiki/Marina_de_La_Riva
The Woman and the Piano....
A History of Love - Marina de La Riva and Nelson Ayres
Show of woollen Marina Riva and Nelson Ayres in the Cultural Coispa will have collection sent for the campaign of reconstruction of the State of Santa Catarina.
The singer woollen Marina Riva and the pianista Nelson Ayres open the project the Woman and the Piano – a History of Love, a series of shows will congregate pianistas and singers especially invited for unknown presentations.
The ingressions for shows will be changed by a milk can in dust and all the collection will be sent for the campaign of reconstruction of the State of Santa Catarina.
Place: Cosipa Theater
Av. of the Coffee, 277 / São Paulo - SP, Brazil
http://www.ejazz.com.br/
Monday, January 19, 2009
about Sara Jacovino....
Sara Jacovino is a trombonist, composer, and arranger who now resides in New York City. As she completed her MM Degree in Jazz performance at the University of North Texas (2008) Sara became an active jazz and commercial musican in the Dallas/Ft Worth Metroplex . Sara is a trombone student of the great Steve Wiest (formerly of Maynard Ferguson) and a composition student of Neil Slater and Paris Rutherford.
For three years, Sara performed as a member, composer, and a featured soloist of the famed UNT One O’Clock Lab Band. Sara also performed and wrote extensively for the newly formed Utubes jazz trombone ensemble. Under the direction of Steve Wiest, the Utubes has already gained international acclaim by winning two international competitions in 2008: the International Trombone Association’s Kai Winding jazz trombone Ensemble Competition and the Eastern Trombone Workshop’s Capitol Bones competition.
In 2008, Sara’s composition skills earned her two of Downbeat Magazine's Student Music Awards. She was named "winner" in both the Original Song (an original composition under six minutes) and Extended Composition (an original composition over six minutes) categories. Also in 2008, her performance/composition abilities earned her a spot in the prestigious John F. Kennedy Center for the Performing Arts Betty Carter’s Jazz Ahead Music Residency Program. It is here where she had the opportunity to work with the legendary Curtis Fuller and Dr. Billy Taylor, amongst others. Later that year, Sara was sought out by David Baker and invited to the be in residency at Steans Institute at the Ravinia festival. Sara was also selected as one of three finalists in the International Trombone Association’s J.J. Johnson solo jazz trombone competition. She is a member of the BMI jazz composer's workshop led by Jim McNeely.
Sara has shared the stage with jazz greats such as: Steve Davis, Slide Hampton, Rufus Reid, Wayne Bergeron, John Abercrombie, Pete Christlieb, Bill Holman, Rich Perry, Lou Marini, Steve Wiest, Adonis Rose, Jim Pugh, Ejiro Nakagawa, Bernard Wright, Robert "Sput" Searight, Lynn Seaton, Stefan Karlsson, Marlena Shaw, and Sherrie Maricle and the Diva Jazz Orchestra to name a few.
She can be heard on the albums "Lab 2008," "Lab 2007," "Lab 2006" and "Live at Blues Alley" by the University of North Texas One O'Clock Lab Band; "The Best of the Big O" by the University of North Texas Two O'Clock Lab Band; and " Bring Us the Bright," "The Only Constant," "The World is Getting Smaller" and "Real to Reel" by the Jazz/World/Fusion Ensemble Snarky Puppy.
"Ordinary Deviation (S.Jacovino)," "Lacuna (S.Jacovino)" and "Three Blind Mice (arr. S.Jacovino) are rough mixes that will appear on the One O'Clock Lab Band Cd "Lab 2008". These tracks were recorded and mixed by Phil Bulla of Platinum Productions.
"A Near Miss (S.Jacovino)" and "Noctilucent Shift (S.Jacovino)" are rough mixes of tracks that will appear on the Utubes debut recording.
"Beautiful Friendship" was recorded live at the fall concert (2006) with the One O'Clock Lab Band.
Band Members Quintet:
Sara Jacovino - Trombone
Tim Goynes - Guitar
Jiri Levicek - Piano
Cooper Appelt -Bass
Ross Pederson - Drums
On "Noctilucent Shift" and "A Near Miss":
UTubes: UNT's jazz trombone ensemble
On "Beautiful Friendship"
UNT One O'Clock Lab Band (2006-2007)
On "Ordinary Deviation," "Lacuna," and "Three Blind Mice"
UNT One O'Clock Lab Band (2007-2008)
Influences Gil Evans, Bob Brookmeyer, Neil Slater, Maria Schneider, Stefon Harris, Jim McNeely, Brian Blade, Frank Rosolino, Curtis Fuller, Slide Hampton, Ravel, Stravinsky, Beethoven
My Space
Ross Pederson....
Originally from Fargo, North Dakota, I am a drummer/composer/arranger currently living in the Dallas-Ft. Worth metroplex (Denton). While finishing up my degree at the University of North Texas under the teaching of Ed Soph, my main focus is making serious creative music with my friends and colleagues. I've had the good fortune of playing extensively with a lot of the UNT faculty, namely Stefan Karlsson, Lynn Seaton, Fred Hamilton, John Murphy, Neil Slater's One O'Clock Lab Band, Jim Riggs' Official Texas Jazz Orchestra. I spent three years playing with the Dallas-based groove-jazz group Snarky Puppy, and I have also been fortunate enough to play with such wonderful and diverse musicians as Marc Johnson, Chris Potter, Rufus Reid, John Abercrombie, Rich Perry, Taylor Eigsti, Tim Armacost, Jimi Tunnell, JD Walter, Kevin Hayes, Mario Cruz, Larry Koonse, Bruce Forman, Andy Martin, Todd Parsno, Bernard Wright, Wycliffe Gordon, "Blue" Lou Marini, Wayne Bergeron, Kevin Mahogany, Dave Pietro, Clay Jenkins, Junior Mance, Ronnie Cuber, and Pete Christlieb
My Space
