Tuesday, May 29, 2012
Saturday, May 19, 2012
'Go-Go' performer Chuck Brown dies
Funk fans started each Chuck Brown concert with a chant,
"Wind me up, Chuck."
From there they would be treated to guitar riffs, driving
percussion and other rhythm instruments that left them dancing to the beat.
Brown, who died Wednesday at 75, was the "Godfather of
Go-Go," a genre blending funk, jazz and soul and other musical forms.
"Go-Go," 40 years after its founding, remains
especially popular in its hometown of Washington, D.C.
"The groove and vibe he created was unparalleled,"
said manager Tom Goldfogle. "All of his performances were a journey with
the audience."
Brown engaged in a call-and-response dialogue with fans,
ensuring their interaction with each set.
He last performed in early March and had been hospitalized
for about four weeks.
Brown died of multiple-organ failure from sepsis at Johns
Hopkins Hospital in Baltimore, Goldfogle said.
With the Soul Searchers, Brown had a big hit in the 1970s
with "Bustin' Loose."
The guitarist and singer was a familiar figure on stage with
his brim hat and sunglasses, creating "the beat" for dancers.
"Go-Go" referred to a sound continuing from one
song to the next.
"Chuck would describe it as nonstop percussive bass
music with its roots in Latin, African and funk," said Goldfogle. "He
added his blues and jazz elements."
While Brown performed worldwide, his most loyal fan base was
in Washington.
District of Columbia Mayor Vincent Gray, in a tweet, paid
tribute to the gravel-voiced Brown. "What a loss," his message
concluded.
Fans gathered Wednesday evening at the recently restored
Howard Theatre in Washington to celebrate Brown's life. A local radio station
played music while people danced in the street.
Brown competed with disco and later had an influence on
local hip-hop artists, Goldfogle told CNN.
"They would do hip-hop songs with a 'Go-Go' feel,"
he said.
In 2010, Brown received his first Grammy nomination, in
collaboration with Jill Scott and Marcus Miller, for "Love." A 2007
album, "We're About the Business," included the singles "Block
Party" and Chuck Baby."
Brown, according to his manager, played to several
generations.
"His music is loved as much by the grandmother, as the
mother, or the daughter," Goldfogle said.
According to CNN affiliate WJLA, Brown had recently
postponed numerous shows due to failing health.
Funeral arrangements were pending.
"His family continues to be grateful for the outpouring
of love and support and requests respect for their privacy during this
difficult time," Goldfogle said in a statement.
Survivors include Brown's wife, Jocelyn, sons Nekos, Wiley
and Bill, and daughter Takesa.
http://edition.cnn.com/2012/05/16/showbiz/obit-chuck-brown/index.html?eref=rss_topstories
Jazz Great Charlie Parker's Saxophone For Sale.
Charlie Parker is a name synonymous with jazz royalty. Parker was a jazz saxophonist credited with helping to create and develop a music style known as bebop. Bebop introduced fast tempos, virtuoso technique and improvisation to jazz, changing the face of the music form forever. Bebop became one of America’s most important and successful artistic movements and Parker is regarded as one of its founding fathers.
A saxophone identified as belonging to Charlie Parker is being offered as lot 1185 ($30,000-35,000). Well-known jazz musician Bill Hood befriended and jammed with Parker amongst other music greats such as Dizzy Gillespie, Sarah Vaughan and Marty Paich. Hood’s daughter, Jenifer, was bestowed with the saxophone after his death. Her interest in uncovering the truth of the connection of Parker to the saxophone lead her to uncover the interesting series of events surrounding the jazz great’s instrument.
The tale unfolds with a twist of fate with Hood and Parker at a Portland jazz club. The pair were working together when Parker showed up at the gig without his instrument. When Hood asked where it was Parker replied that he had pawned it. Hood couldn’t believe Parker had parted with his “right arm.” Parker replied that if it was so important to him he was welcome to have it. He then handed Hood the pawn ticket and the rest is history.
Jazz historian Bob Dietsche was featured on the PBS show "History Dectectives" and was integral in verifying details in the saga of the Parker saxophone, with all facts pointing to its validity. Everything from the saxophone’s serial number to jazz acquaintance accounts backs up the timeline and facts surrounding the story. Perhaps some of the most convincing and revealing details crediting the saxophone to Parker come from the source of its recovery; the pawn shop. The only remaining pawn shop in Portland that existed in the 1950s appears to be a direct hit in linking the saxophone to Parker. The owner of the pawn shop was contacted and he distinctly remembers that on several occasions Parker pawned his alto saxophone with his company. The complete, fascinating story is found in the PBS interview including Bill Hood’s daughter, Jenifer, at http://www-tc.pbs.org/opb/historydetectives/static/media/transcripts/2011-04-22/211_sax.pdf.
The saxophone will be available at Michaan’s Auctions in the Modern and Fine Furniture and Decorations Auction held on June 8, 2012. The illustrated auction catalog will be on-line for review athttp://www.michaans.com. Previews will be held from June 1st until the day of sale. For more information please visit our website or call the front desk at (510) 740-0220. Michaan’s Auctions is located at 2751 Todd Street, Alameda, CA 94501.
About Michaan’s Auctions
Michaan’s Auctions is a leading full service Bay Area auction house that specializes in antique appraisals and art auctions. Michaan’s has the Bay Area’s leading fine art appraisal experts in the fields of furniture and decorative arts, modern and contemporary art, European and American paintings and prints, jewelry, Asian works of art and ethnographic art.
Established in 2002, Michaan’s Auctions sell art and other estate pieces at their thirty sales each year that attract a broad base of buyers and consignors from all over the world. With one of the largest facilities in Northern California, Michaan’s offers buyers and sellers the opportunity to preview and bid on many unique and desirable properties with the Bay Area’s lowest buyers premium.
Some of these Bay Area estate auction pieces sold for world record prices. In 2005, A.D.M. Cooper’s oil painting, Three Graces 1915, sold for a record $21,060, and an Eduard Gaertner oil, German City Street Scene 1831, sold for $266,000.
Michaan’s has built its reputation on its ability to accept single items, groups or entire estates with its “no risk consignment policy” free of hidden fees and charges. Michaan’s specialists are dedicated to staying current on the latest issues and developments in the market and are committed to providing personalized and professional attention throughout the entire auction process.
http://news.yahoo.com/legend-charlie-parker-plays-michaan-auctions-excited-announce-070754191.html;_ylc=X3oDMTEwaGg1dDRxBF9TAzIwMjM4Mjc1MjQEZW1haWxJZAMxMzM3MzMzNjA2
Chicago Jazz vocalist, Tammy McCann
The Chicago Tribune’s Arts Critic, Howard Reich says of McCann “a voice that soars in all registers, at all tempos, on all occasions…she is the next great voice out of Chicago.”
Chicago Jazz vocalist, Tammy McCann, began her career as a Classical singer and musician. Her first music teacher was the renowned Dr. Lena McLin, the niece of the founding father of American gospel music, Thomas A Dorsey. (McLin has also been responsible for launching the careers of countless other Chicago vocalists…including R&B star, R. Kelly, and the classical master, Robert Sims.). Tammy began to work with Dr. McLin while she was still a student at Chicago’s Kenwood Academy High School, and before long, McLin realized the awesome potential for an operatic future in McCann’s magnificent vocal instrument, and cast her as the lead in Mascagni’s “Cavalleria Rusticana”, as well as other major roles.
Tammy soon found herself on a full scholarship to Virginia Union University in Richmond, Virginia, but she felt that something was missing in her studies there. However, a chance encounter in one of the rehearsal rooms in the Music Building led to a musical epiphany for her. As she was walking to one of her classes, she overheard a sound that was to change her career direction completely: it was another student playing “Round Midnight” by Thelonious Monk. Thus began McCann’s foray into the world of Jazz, where she quickly discovered the voice of the legendary Dinah Washington (to whom she has been compared by many), and whose sound and gospel-like inflections struck an immediate chord with the young vocalist as she began her new musical journey.
Soon afterward, Tammy was on her way back to Chicago, and began making the rounds of the jazz scene there in the late 80′s. As Tammy herself describes this journey: ”Jazz took me home to Chicago and into the waiting arms of the most amazing jazz mentors…Von and George Freeman nurtured me and pushed me to explore. Milt Trenier ( the veteran Chicago singer/club-owner) taught me showmanship and story-telling.
Ramsey Lewis educated me about the importance of song selection, and the music business. And Henry Johnson (the Chicago guitarist who also produced her latest CD, “Never Let Me Go”) showed me the unexplored colors and layers in my voice, as well as the importance of creating a connection with the audience”. In addition, Tammy has continued to collaborate with many other great musicians and organizations, such as Les McCann, The Five Blind Boys of Alabama, Willie Pickens, and The Chicago Jazz Orchestra.
Those years of singing “in the trenches”, as Tammy describes them, led to a European tour with her own Trio during the mid-90′s. This tour led to several follow-up tours throughout the rest of the decade. Her fluency in several languages…including Italian, French and German, secured her legions of new fans abroad.
One result of her European touring was a 1996 recording entitled “You Like”, featuring Tammy McCann and Wonderbrass (Saar Records/Italy). And ultimately (and not surprisingly) Gospel music became a natural addition to Tammy’s repertoire, since her mighty and sumptuous voice was a perfect vehicle for gospel songs and compositions. Tammy McCann and The Voices of Glory became one of the most popular gospel acts touring Europe at the end of the decade…and she subsequently recorded another CD with this group in 2000 for Saar Records (Italy) entitled, “Praise”.
And then it was time for another major teacher and mentor to enter Tammy McCann’s life and career: the late, great, Ray Charles.
A nation-wide search to fill an opening for a singer within The Ray Charles organization came to Chicago, and Tammy was invited to audition, along with hundreds of other aspiring vocalists.. and she won the coveted prize! The next thing she knew, she was on her way back to Europe, and a two-year odyssey (2000-2002) as a Raelette with the iconic singer and pianist. Tammy describes the experience as “electrifying…and not for the faint of heart!” But she also speaks very fondly of her musical collaboration with him: “Mr. Charles taught me that the standard is perfection, as well as the importance of treating band members with respect and equity”.
Soon after leaving the Ray Charles organization, Tammy settled down in Chicago with her new husband…a Deputy Commissioner in Chicago’s Department of Housing and Economic Development. Her solo career was once more put on hold in favor of her family….which was exactly the way she wanted it. She became a mother to her husband’s two children from a former marriage, and soon the couple had two more children of their own.
But in 2006, some musical events in Chicago led Tammy to venture out once again into the world of Jazz, and it was not too long afterward that her magnificent voice garnered the attention of some of Chicago’s savviest musical professionals….including Alyce Claerbaut (the niece of one of the most important composers in all of jazz, Billy Strayhorn). Ms. Claerbaut became the catalyst who began to connect the necessary dots which would be so essential for Tammy to become known outside of her familiar performance venues in Chicago and in Europe.
With her help, Tammy was able to travel to New York City in 2010 in order to meet some other influential singers (including one of her newest supporters, the respected American vocalist, Ann Hampton Callaway), some members of the Board of the Nelson Riddle Foundation, and the noted jazz critic and author, Stanley Crouch….who upon hearing several selections from her latest CD, became an immediate fan and career advocate.
As 2011 begins, Tammy McCann stands poised on the precipice of a brand new musical adventure and solo career….and she appears quite ready to make a total commitment to all of it: “The Universe was planning something before I knew it”, she says. And now so many who love and admire superb jazz vocalists will be the beneficiaries of her commitment to song. Stay tuned!
The Jazz Drama Program Summer Gala
Just 40 seats left!
Don't miss the fun. Get your
ticket today for the first ever The Jazz Drama Program Summer Gala, a joyous
gathering of Jazz Drama supporters to celebrate and benefit the ongoing work of
the Jazz Drama Program, telling stories relevant to children's lives and
promoting unity through the arts.
Please join me and our friend and longtime supporter
Mercedes Ellington, choreographer and Granddaughter of Duke Ellington who said,
"I firmly believe that any exposure to the arts like this is vital to the
spirit of America, to the spirit of the children."
Mercedes Ellington and Shireen Dickson
A highlight of the festivities will be to honor a great hero
of arts education, Principal and co-founder of Celia Cruz Bronx High School of
Music, Dr. William Rodriguez.
Students from Celia Cruz High School will perform scenes and
songs from Holding the Torch for Liberty, the jazz musical about women's
suffrage by Eli Yamin and Clifford Carlson with choreography by Shireen
Dickson. These young artists are featured on the new Cast CD which also
features New Orleans clarinet sensation Evan Christopher, violinist Sara
Caswell of Esperanza Spalding's Band, Columbia University Jazz Performance
Chair, Chris Washburne on trombone, Nicki Parrott, bass, Stefan Schatz, drums
and yours truly, Artistic Director, Eli Yamin on piano.
Artwork by Sarah Edkins
All ticket holders will get an advance copy of the CD signed
by the authors, refreshments and a champagne toast!
Tickets to this exclusive event are extremely limited and
can be purchased for $100 by following the link below. $75 of your ticket price is tax
deductible.
Please join special guest Mercedes Ellington and me to take
advantage of this unique opportunity to support the work of The Jazz Drama
Program and embrace the best of what America can be for opportunity, equality,
creativity and community.
Your kind support is needed!
http://campaign.r20.constantcontact.com/render?llr=ujut86bab&v=001BqdIkAG71q7o2UW4ZbRR3u_ROJebvmKN-d6t86ZpCwD6C5gvc007pKGv4HQMp8uKCbNnnzXRWyLHYIGXzMyk9NXvuo_ZMp_2nETbVHfxnbuaHpGZUEtmnA%3D%3D
Labor Records.....
Heiner Stadler / Brains on Fire
Street Date February 28 12
Brains On Fire Reintroduces Jazz Listeners To One Of The Visionaries Of The 1970s
With Two Discs Of Exciting Jazz Composition.
With Two Discs Of Exciting Jazz Composition.
HEINER STADLER'S MASTERWORK FEATURES PERFORMANCES BY SOME OF THE GREATEST PLAYERS FROM AMERICA AND EUROPE, INCLUDING DEE DEE BRIDGEWATER, REGGIE WORKMAN, JIMMY OWENS, TYRONE WASHINGTON, JOE FARRELL, LENNY WHITE, MANFRED SCHOOF, WOLFGANG DAUNER AND ALBERT MANGELSDORFF
Brains On Fire presents, for the very first time on two compact discs, some of the innovative early works of pianist/composer Heiner Stadler. These works, written and conceived over 40 years ago, are examples of what are arguably some of the most creatively and unjustly neglected amalgamations of the jazz and contemporary classical traditions. The follow-up release to the critically acclaimed Tribute To Bird And Monk (LAB 7074), Brains On Fire features groundbreaking compositions recorded between 1966 and 1974 that still sound as fresh and stimulating today as when they were first performed. The eight original compositions comprising this remarkable set reveal the mindset of the highly innovative Stadler in his utilization of the instrumental and improvisatory skills of some of the day’s most accomplished players from both the United States and Europe. In bringing together artists of distinctly varied backgrounds and reputations, Stadler defied the separatist system of the time that divided performers into virtually warring camps: classical versus jazz, mainstream versus avant-garde. Composition and improvisation come together, in a confluence that realizes some truly amazing music
Noted author Howard Mandel contributes the illuminating liner notes
----------------------------------------------------------------------------------
Michael Sahl and Eric Salzman / Civilization & Its Discontents
Street Date January 31 12
Civilization & Its Discontents is a lively and biting satire in the form of a music-theater work with words and music created jointly by Michael Sahl and Eric Salzman. It was originally a prize-winning off-off-Broadway music theater piece, a music-theater recording for National Public Radio that had one of the largest air plays of any work of its kind, and a Prix Italia winner. Carlos Arachnid invites us to join him and his friends in Club Bide-a-wee whose motto is "If it feels good, do it!". Dancing alternates with 'freeze-frame' moments of high anxiety, angry words and sexual come-ons. Scene II is in Jill Goodheart's bedroom where a seduction scene is interrupted by a constant string of phone calls, the arrival of Jill's boyfriend and the deus ex machina appearance of Arachnid who brings us back to Club Bide-a-wee for a deconstructed dance orgy and an ironic morality.
“…a brilliant amalgam of jazz, pop, blues and classical forms, cleverly developed and timed to make the satiric points stand out in the most vivid musical and theatrical terms.”
–Peter G. Davis, New York Times
–Peter G. Davis, New York Times
“…a work that builds up its own undulating momentum and sustains it so thoroughly that the audience boogies long after the music stops. A skillful, rhythmic integration of words, music and movement is responsible for the compelling power of this stunning show.”
Show Business.
Show Business.
“…jazz and pop elements in an understandable idiom, in addition to avantgarde traits originating in the NY experimental scene…swinging melodies that seem to stem from Gershwin, combined with strong, somewhat abrupt but exciting harmonies and surprising rhythmical accents that are reminiscent of Thelonious Monk…Kurt Weill for our time.”
–Doron Nagan, Algemeen Dagblad (The Netherlands).
–Doron Nagan, Algemeen Dagblad (The Netherlands).
“…a delightful, tuneful satire…not everything is funny (as) the underlying subject is something very real…This is a wonderful work.”
–Rita H. Mead, Newsletter of the Institute for Studies in American Music.
–Rita H. Mead, Newsletter of the Institute for Studies in American Music.
Pepper Adams + Zoot Sims
Reprinted from http://jazzwax.com
On December 11 and 12, 1968, three different styles of jazz converged in one New York recording studio—and the result was flammable. The session leader was baritone saxophonist Pepper Adams [pictured above], who was paired for the first and only time with tenor saxophonist Zoot Sims. The little-known album would be called Encounter! (Prestige), and the rhythm-section featured Tommy Flanagan (piano), Ron Carter (bass) and Elvin Jones (drums).
The three divergent styles present were hardbop (Adams), swing (Sims) and avant-garde (Jones), and each makes its presence felt on uptempo, mid-tempo and ballad tracks. For me, this is among Adams' and Sims' finest and most rewarding '60s recordings—together or separate. The energy level here is fierce, and each musician walks a high-wire while challenging each other for session supremacy.
Adams cannot be praised enough for his agility, tone and cunning ability to transform the baritone sax from a barrel-chested reed section anchor and mannered counterpointer to a rip-roaring, relentless soloist. On his albums for Blue Note in the late '50s, Adams demonstrated the instrument's potential as a small-group catalyst and improvisational bully.
On Encounter!, there are four smoking shootouts—Inanout(Adams), Cindy's Tune (Adams), Elusive (Jones) and Verdandi(Flanagan)—featuring Adams and Sims going at it like cage-fighters. A highly aggressive player, Adams had a hair-trigger attack, and by having him square off with Sims, he seems particularly ferocious on his solos, putting Sims on the defensive. Not to be outdone, Jones shoves each one forward with crashing rolls and shattering cymbal-work. [Photo of Zoot Sims above byDoug Ramsey]
Punjab (Henderson) and Serenity (Coltrane-Henderson) are mid-tempo sassy walkers that give you a chance to hear the nocturnal, introspective quality of Adams and Sims as well as the precision of this superb rhythm section.
The ballads—The Star-Crossed Lovers (Ellington) and I've Just Seen Her (Adams)—are smokey showcases for Adams. Sims plays on the former, largely to offset Adams, but is absent from the latter. As evidenced on the second ballad track, Adams moves the sonic weight of his baritone sax around nimbly and lyrically. One can't help but imagine that these were added to give Sims a chance to catch his breath from his workouts with Adams.
Though Adams and Sims played together in the same reed sections dating back to Manny Albam's Jazz New York in 1958,Encounter! was their only slugfest. And it's easy to hear why. Who in their right mind would want to be in a studio situation where they had to keep pace with Adams?
Interestingly, the album was produced by Fred Norsworthy, who founded JazzTime Records in 1961, and Otto Gust, who started Time Is Records in 1990. How they managed to bring together Adams and Sims must be a story in and of itself.
A must-own album that shows off the glory of Adams' agility and technique as well as his unintentional penchant for making mince meat of opponents.
JazzWax clip: How hot is the blowing on this album? Handle the CD with oven mitts. Here's Inanout to give you a taste...
Used with permission by Marc Myers
About Billy Lester
By Howard Mandel
Pianist Billy Lester is a late-bloomer on that reticent
branch of the jazz tree, the school of Lennie Tristano. An instinctively
lyrical yet unfettered improviser who creates original compositions from
variations on classic American songs' chord changes, Lester -- like his mentor
Sal Mosca, one of Tristano's most acclaimed students -- has developed his art
almost in private. A youthful prodigy who was playing by age four, the
soft-spoken, self-questioning Lester has taught piano for decades in his
hometown of Yonkers just beyond New York City's limits, and devotes himself to
family life.
"When I was in my 20s, the heavy action was towards
Bill Evans, Miles Davis and John Coltrane," says Lester, whose albums
Captivatin' Rhythm and At Liberty are both on the small but sturdy
Connecticut-based Zinnia label. "The people with whom I was hanging,
students of Tristano's or Sal's, got together for sessions, but nobody had
gigs. And I wasn't the kind of person who was going to be out at clubs all
night. I met my wife when I was 23, we got married two years later and had a
kid three years later. I couldn't see having to earn a living performing jazz.
It was just so sketchy.
"I didn't take myself terribly seriously then,
either," he says ruefully. "I thought of myself as struggling to
learn <i>how</i> to play." To support his family, he worked
part-time in his father's tire store and eventually attracted private piano
students. "It wasn't lucrative, or glamorous," Lester concedes of his
career choice, "but a little more secure." He didn't pursue gigs, but
lucked into a few -- most notably a concert at the Heinekin fest in Amsterdam
in 1984, and subsequent Dutch tours in '85 and '88. "I would have pursued
touring more," he claims, "but each time I lost money, which makes it
a tough thing to pursue." Today Lester has some 40 students, and teaches a
course on American popular song at Lehman College.
It wasn't that Lester wasn't against Bill Evans, Miles and
Coltrane (or Herbie Hancock, McCoy
Tyner, Chick Corea, and Keith Jarrett) during his formative years, but rather
that he found modal improvisation empty and preferred Bud Powell, Art Tatum,
Charlie Parker, Charlie Christian, Roy Eldridge and especially Louis Armstrong,
enthusiasms shared by Mosca, who he regards as "much more than just my
teacher."
"Sal's first assignment to me at age 16 was to buy
'Lester Leaps In' by Count Basie from '36," the pianist explains. "I
spent a year of studies singing Lester Young's solos at slow speed, then fast,
then learning to play them, left hand and right hand, then figuring out left
hand accompaniments." At 17, he had an epiphany listening to Lester
Young's 'Lady Be Good' solo from '36 -- "That was really my life decision,
right there," he maintains.
At age 18 Lester won entry to the prestigious Manhattan
School of Music and heard Tristano perform at the Half Note. There hadn't been
much music in his parents' home -- "they danced to Benny Goodman,
though" -- but the die was already cast. He gave up classical studies (though
not classical listening -- he's deep into Bach, Beethoven, Chopin, and Bartok's
string quartets) and turned to jazz.
"The swing of Benny Goodman is still important to me;
when I'm warmed up and letting loose, I feel as though the whole piano is a big
band," Lester says. "Tatum's a big influence and inspiration, too,
because he played all the standards and got such an innocent, jolly, sweet and
gentle sound from the instrument. I also love James P. Johnson's 'Carolina
Shout,' Fats Waller's 'Valentine Stomp,' Teddy Wilson, and Billie Holiday's
Columbia records from the mid and early '30s.
"The great songwriters like Kern, Gershwin, Rodgers and
Hart, Cole Porter, Irving Berlin, Mercer and Arlen -- I grew up watching people
like Nat 'King' Cole, Perry Como and Frank Sinatra sing their songs on TV
<i>before</i> the Beatles, before rock. In my early teens I was
playing all the standards on local club dates, ethnic weddings and dances. When
I started studying with Sal, I heard Lennie and Warne Marsh playing those standards,
too, so I had a comfortable entrance to serious music. And as I started to
develop musically, each song became very personal to me." Lester is
remarkably capapable of refashioning ultra-familiar repertoire into music
strikingly his own.
On At Liberty, a trio recording live from a 1995 concert, he
reconstrues "All the Things You Are," "Back Home in
Indiana," "Out of Nowhere" into thoroughly modern and
emotionally affective music that's subtle, smart and swinging. Impressively
unselfconscious -- perhaps because he's so absorbed and focused in his
concentration, he delves into contrary
motion, passing dissonances, melodic
tangents and casual asides that are far from retro.
"Lots of people are surprised when I tell them where my
tunes come from," Lester says. "I've either reharmonized or inverted
the chords, reworked them so that they aren't, I hope, just the original tunes,
but sound like expressions of Billy Lester. I sit at the piano, play the
standards, and new thematic material comes to me. I work on that, and
afterwards the harmonies really feel like mine."
Why, then, he put public performance on the back burner? And
why is he coming out now? "I spent 20 years raising my kids, maintaining
my marriage, looking inside myself and not caring where it was taking me. If
you hear anything in my music, it's all of that. Now, I've had a wonderful
life--I love my family, was so lucky I met Sal and the people I play with, have
a roof, a car, a piano and can keep growing. Everything I ever wanted, and two
recordings, to boot!" hoots Lester. "Icing on the cake!
"But about five years ago I realized my life would end
someday and that I wanted my children to know what I did." Lester's son
plays jazz, one daughter has graduated from Vassar, and his other, 15, attends
New York's elite American Ballet School. "Between my mortality and my ego,
a piece of me needed a little recognition," Lester says. "I feel the
need to tell people how much I love certain things -- not that they have to
feel as I do, but that want them to know how I feel."
Lester lauds Zinnia for allowing him complete artistic
control; <i>At Liberty</i> is his trio with bassist Sean Smith and
drummer Skip Scott, recorded live at the garden and arts center Wave Hill in
upper Manhattan, and <i>Captivatin' Rhythm</i> includes six solo
tracks along with six played by two different trios. So when might this new but
seasoned artist visit your neighborhood venue?
"Oh, I've been contacting agents, reviewers, performing
arts centers, and the CDs have been played on WKCR [Columbia University's FM
station]. I get on the phones every day, try to let people know who I am. I'm
grateful all the responses have been positive -- it leads me to believe that if
I pursue it, something might jell.
"I'd love to be out there more, to continue to record.
I have a lot of new compositions, and feel like I'm always growing. It still
feels like I'm at the bottom of the mountain, with my sights on some
peak," says Billy Lester, his soft voice brightening, "which is
good."
Subscribe to:
Posts (Atom)
