Thursday, June 27, 2013
Steve Slagle's New York-based....
Remembering The Multidimensional Music Of Bobby 'Blue' Bland
Bobby Blue Bland performs on stage at the New Orleans Jazz and Heritage Festival in New Orleans, Louisiana on April 30, 1989.
By Neda UlabyUpdated: Mon., June 24, 2013 6:15pm (EDT)
Bobby "Blue" Bland was known as the Frank Sinatra of the blues. He smoothed out Southern soul with the elegance of jazz and big-band music, sparked it with elements of country and pop, and influenced musicians like Stevie Wonder and Ray Charles. The singer and guitarist is credited with modernizing the sound of the blues, but he never got mainstream attention from blues-loving British rock stars who'd invite B.B. King or Muddy Waters onstage. Still, his achievements were astonishing, as was his rise from rural Tennessee, where he was born Robert Calvin Brooks, dropped out of the third grade and moved on to Memphis' Beale Street, a veritable backbone of the blues.
Bland died Sunday at his home in Memphis, after a long illness, surrounded by his relatives. He was 83 years old. You can hear Neda Ulaby's remembrance as it aired on All Things Considered at the audio link, and read Ann Powers' appreciation of him below.
The year I taught myself the rudiments of the blues, Bobby "Blue" Bland's album covers became one of my primary texts. It was the mid-1980s, and I was working at a record store in San Francisco. The vast vinyl library at my fingertips facilitated my attempts to understand how rock music, then the center of my fangirl life, had become a vessel big enough to convey every feeling I considered important erotic desire, personal ambition, spiritual joy, frustration with the material world. And I'd figured out that the blues propelled the ship.
I spent many late nights poring over the stash of albums I'd acquired with my employee discount, from the early rural stuff that evoked dusty Southern roads I'd never seen, to the guitar-heavy meltdowns I recognized as the source of much classic rock. I'd always end up back with Bland, however, listening to his heavy emotional croon while contemplating the persona that made him such a powerful spokesmen for the blues as a music of African-American modernity of migration, aspiration and the kind of transcendence that comes from finding beauty in the small triumphs of a difficult life.
The covers told the tale through the image of a man who was both earthy and sophisticated. There was Call on Me, from '63, showing the pompadoured Bland relaxing in front of four telephones, a gold watch marking time on his wrist and a cigarette dripping ash between his fingers, as four pretty women with receivers to their ears one in each corner of the album sleeve sat awaiting his response. There were the '80s Malaco sides, with Bland in a tux, welcoming listeners into the kind of whiskey-and-cards club you find just off the beaten track in any Southern city. There was Spotlighting the Man, which showed Bland onstage in full gospel sweat, his head bowed as he squalled and murmured messages of love and survival.
Read more: http://www.gpb.org/news/2013/06/24/remembering-the-multidimensional-music-of-bobby-blue-bland#
Playboy Jazz Festival meeting place for friends, fans of good music
Posted: 06/22/2013 11:12:04 PM PDT
Updated: 06/22/2013 11:12:20 PM PDT
Inland Valley residents joined Southland fans of all ages and ethnic, cultural, religious and political persuasions to enjoy two days of stupendous music at the 35th annual Playboy Jazz Festival last weekend.
Pampered Chef consultant Susan Sanchez of Upland met Realtor Dolores Bueno of Chino and Sandra Miranda of Moreno Valley, a medical support staffer at Kaiser Hospital in Fontana, at Playboy Jazz Festival in 2004. With master percussionist Poncho Sanchez and saxophonist James Carter doing a salute to John Coltrane and Lee Ritenour scheduled to appear with Gordon Goodwin's Big Phat Band, the jazz buddies thought it was time to return.
The friendships of retired Palomares Middle School teacher James Benson of Claremont and retired Hughes Missile Systems Division chief scientist Odell Graham, and of Karen and Joe Castillo of Lomita, Gene Tanaka of El Segundo and Rita Aquin of Santa Monica are rooted in jazz.
Benson and Graham met at Playboy through friend and television writer Don Stewart. Their attendance this year was bittersweet because of Stewart's recent death, but they eased their grief reflecting on the straight-ahead, Latin and bebop musical memories they'd shared with Stewart as jazz aficionados.
Read more: http://www.dailybulletin.com/rss/ci_23520849?source=rss
Hopkinton Center for the Arts: Upcoming events
Art happenings
DUSTIN NEECE SOLO EXHIBIT: June 7 – July 13. Nationally acclaimed artist, Dustin Neece, presents a solo show. Gallery hours: Weekdays, 1 to 6 p.m., Saturday, July 13. For an appointment: call 508-435-9222.
YOUNG ARTISTS EXHIBIT: Artists ages 5 – 18 years old. Cash prizes for first, second and third place will be awarded in several categories. Dates: July 20 - August 15. Reception: Sunday, July 21, 3:00 to 4:30 p.m. Gallery hours: Weekdays, 1 to 6 pm, Saturday evenings during HCA events in the amphitheater and by appointment: call 508-435-9222.
Performances
SUNSET JAZZ SERIES: Free Saturday evening jazz concerts at the HCA Amphitheater, 7:00 p.m., July 13, 27, August 3, 10, 17, and 24.
GUYS AND DOLLS, JR.: July 26, 2:00 p.m. and 7:00 p.m. at Hopkinton High School
TWELFTH NIGHT: HCA's second annual "Shakespeare Under the Stars" production.
Evenings of August 1, 2, 3 at the Hopkinton Center for the Arts amphitheater. This is a free performance made possible by The Hopkinton Cultural Council and Webster Credit Union. (Donations gratefully accepted)
CHICAGO: August 9, 10, 16 and 17 at 7:30 p.m. at Hopedale High School, 25 Adin St., Hopedale.
Read more: http://www.wickedlocal.com/hopkinton/news/x1292455272/Hopkinton-Center-for-the-Arts-Upcoming-events#ixzz2XQ2R7IZI
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Charles Bloom - ‘Music & Lyrics by Charles Bloom: In Here’
By , 6/12/2013
With his debut album, Music & Lyrics by Charles Bloom: In Here, Charles Bloom epitomizes the sounds of pop, country and jazz.
American composer and lyricist Bloom has an orchestra of instruments playing to blend in with the theatrical music. This album has a Broadway spirit with the musical tone that it feels like it’s conveying a story in each track.
Bloom studied music theory and composition at NYU. His musical background and knowledge was exemplified through his work. Bloom has written lyrics, music, and books for the theater in the works: Pablo, Insomnia, Heaven Knows and the score to Character Breakdown.
Bloom wrote the music and lyrics in the album, Music & Lyrics by Charles Bloom: In Here. It features a variety of artists that create a diversity of sound.
The album starts off with the single, “Let Things Grow,” which is an upbeat single that has a jazz sound. The vocal on the track is Josh Grisetti. He has a strong and compelling voice that can make you envision yourself in a theater watching the performance.
In the following track, “Easy,” it shifts to a more classical and softer tone. Nikki Renee Daniels is the singer on the track. Her voice shines with the melding of the various instruments played in the orchestra.
Read more: http://thecelebritycafe.com/reviews/2013/06/charles-bloom-music-lyrics-charles-bloom-here
Arhoolie Records 50th Anniversary Celebration
Join Ry Cooder, Taj Mahal and many others in celebrating the 50th anniversary of invaluable San Francisco Bay-based Arhoolie Records over three days of folk, jazz, blues, Cajun and Tex-Mex music.
Arhoolie was started by Chris Strachwitz with an LP of Texas Songster Mance Lipscomb released in 1960. Chris went on to record Cajun and Zydeco Music and Tex Mex music at a time when most folklorists were concentrating mainly on Blues and Appalachian music. The concert was held over 3 days at the Freight and Salvage, a coffeehouse in Berkeley that's hosted many any Arhoolie's artists since 1968!
Read more: http://www.abc.net.au/radionational/programs/dailyplanet/lucky-oceans-daily-planet-arhoolie-records-ry-cooder/4691840
Wednesday, June 26, 2013
Dave Pell on Boots Brown
Reprinted from http://jazzwax.com
Yesterday I posted about Shorty Rogers and his rock-and-roll recordings for RCA as Boots Brown and His Blockbusters. Those recordings included the cream of the West Coast jazz scene, including tenor saxophonist Dave Pell. Today, I gave Dave a buzz to find out why Rogers—and everyone else—bothered and shunned credit.
First, a word about Dave, who was an instrumental part of the West Coast jazz sound in the '50s. He was one of the first to have success with a contrapuntal octet sound. Dave Brubeck's octet in San Francisco was a bit different and largely under the influence of modern classical theory. Dave Pell's octet had a cool sound with the emphasis on the kind of harmonic voicings found in Les Brown's band. I love talking to Dave. He's always upbeat, full of laughs and the walking and talking epitome of the West Coast jazz scene.
Here's what Dave told me today...
"Starting in the early ‘50s, Shorty [Rogers] was doing a ton of work in RCA’s production department. They loved what he was doing and wanted to use everything he came up with, no matter what. That’s how good Shorty [pictured above] was.
"When Shorty put us together for the Blockbusters sessions in the early '50s, it was for movie work. We were all trying to get back into recording music for motion pictures without hurting our reputations as jazz players. Technicolor movies had just begun rolling out and the opportunities for playing movie scores and themes grew.
"But the studios at first weren’t using jazz musicians. The guys who contracted those dates tended to stick to studio guys. The contractors figured we would be uncomfortable playing along to movies, that the work would be too static for us or wasn’t loose or hip enough. At a meeting for some movie that needed R&B music, Shorty, Bud and I pushed back and said, 'No, no, we’d be better at the R&B stuff than your studio guys. We’d get it right the first time and come up with music based on what was going on in the film.' [Pictured above: Bud Shank in the early '50s]
"So they let us do it. I can’t remember which movies, but we’d go to the motion picture stage, look at the film and Shorty would tell me or one of the other guys on the session, 'When this guy comes on the screen, play something that matches what you see.' And we’d do just that.
"Movie-studio work actually gave the good players a chance to earn extra income, especially if you provided a solo. For example, I played the sax solos for the movie Rock Around the Clock [1956]. I’d blow in the same spirit as the guy playing sax on the screen. You know, the way an actress in a movie mouths the words to a song while a professional singer did the overdub in the studio.
"The Boots Brown dates were for movies but then RCA released them as singles. I don’t know why—maybe to make a double profit or to feed the pipeline for its new 45-rpm format. But you have to remember, at the time it wasn’t cool to play that kind of music if you played jazz. That's why Shorty came up with a fake name. I don’t know why he chose Boots Brown or what it meant. I know we didn’t want our names on the records. We were too embarrassed."
"Movie-studio work actually gave the good players a chance to earn extra income, especially if you provided a solo. For example, I played the sax solos for the movie Rock Around the Clock [1956]. I’d blow in the same spirit as the guy playing sax on the screen. You know, the way an actress in a movie mouths the words to a song while a professional singer did the overdub in the studio.
"The Boots Brown dates were for movies but then RCA released them as singles. I don’t know why—maybe to make a double profit or to feed the pipeline for its new 45-rpm format. But you have to remember, at the time it wasn’t cool to play that kind of music if you played jazz. That's why Shorty came up with a fake name. I don’t know why he chose Boots Brown or what it meant. I know we didn’t want our names on the records. We were too embarrassed."
JazzWax tracks: Here's a clip from Rock Around the Clock, with Dave Pell playing the soundtrack sax solo...
Used with permission by Marc Myers
Cristina Braga is considered.....
Cristina Braga is considered the world’s best harpist, which has brought her to the attention of artists like Sting, Marisa Monte, Lenine, Nando Reis, and Andy Summers.
Featured Artists
Cristina Braga: vocals
Ricardo Medeiros: double bass
Jessé Sadoc: trumpet, flugelhorn
Joca Moraes: alfaia drums, tambourine
Arthur Dutra: vibraphone
Track Listing
Cristina Braga: Love Parfait • O Barquinho • Samba è Amor • Desafinado • Rio Paraiso • Triste de Quem • Só danco Samba • Préciso me encontrar • Canta Mas • Chovendo na Roseiro • Desde de Que o Samba è Samba
Quotes
“Cristina showed that the harp is an instrument like any other and encounters no boundaries on any music style. Her particular way of singing and playing is admirable and sometimes unbelievable. Such a harp swing!” — BACKSTAGE
Read more: http://www.allegro-music.com/online_catalog.asp?sku_tag=ENJ39593
Recife's most amazing big band beats
Spok – Saxophone alto and Soprano, Carlos Cléber (Kebinha) - Saxophone alto, Gilberto Pontes, Rafael Santos – Saxophone tenor
Enok Chagas, Augusto França, Flávio Santana, Erico Veríssimo – Trumpet
Elci Ramos, Marcone Túlio, Adonis Garcia,
Thomas de Lima– Trombone
Renato Bandeira – Guitar
Hélio Silva – Double bass
Adelson Silva – Drums
Augusto Silva – Drums and percussions
Dedé Simpatia – Percussions
Enok Chagas, Augusto França, Flávio Santana, Erico Veríssimo – Trumpet
Elci Ramos, Marcone Túlio, Adonis Garcia,
Thomas de Lima– Trombone
Renato Bandeira – Guitar
Hélio Silva – Double bass
Adelson Silva – Drums
Augusto Silva – Drums and percussions
Dedé Simpatia – Percussions
Launched in December 2004 and funded by Funcultura/State of Pernambuco (Brazil), SpokFrevo Orquestra's first album, "Passo de Anjo" (Via Som Records), was considered by indutry critics the beginning of a new era in the history of frevo.
The 22-piece Spok Frevo Orchestra, enhance traditional frevos with blistering new arrangements and opening spaces for jazzy solos and improvisations. They've also added electric guitars and the forró-associated accordion to the nimble-fingered, frenzied rhythms of trumpets, piccolos, clarinets, trombones and saxophones - an intoxicating blend.
The Frevo is, outside Brazil, one of the least-known of its dance rhythms. It’s also, quite possibly, the most infectious. Frevo comes from the Portuguese word ferver (to boil) and is a kind of super-charged Polka and has its own umbrella-wielding dance.
The orchestra proposes to give frevo a different treatment with modern arrangements and refined harmonies. The musicians exploit the freedom of expression in improvisations with clear influences from jazz.
"Frevo is a unique rhythm, different from all others, cheerful and with a special magic: the one to transmit happiness," Spok explains.
Read more: http://www.ronniescotts.co.uk/performances/view/1461-spokfrevo-orquestra?utm_source=newsletterJune&utm_medium=email&utm_campaign=26June2013
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