Kemuel Roig Latin Jazz Quartet

Ball & Chain in Miami's Little Havana Live Jazz Expands to Include Sunday Nights

Born December 18, 1988 in Camaguey, Cuba, Kemuel Roig started his interest in music at the early age of four, where his first passion was to be a drummer. At the age of sixteen became a student of Miami Dade College, where studied Jazz music under the supervision of Dr. Michael Di Liddo, and Michael Gerber.

Through out his life Kemuel has performed in tours, produced, and participated in recordings with great figures of the music such as: Arturo Sandoval, Giovanni Hidalgo, Chris Dingman, Issac Delgado, Amaury Gutierrez, Hilario Bell, Malena Burke, Marcos Vidal, Agustin Barreto, among others. Kemuel achieved his Bachelor's Degree at Florida International University, where he studied classical piano with Kemal Gekic, and Jazz with Dr. Michael Orta, and Dr. Gary Campbell. In 2015 achieved a Master's Degree from the "Frost School of Music", University of Miami under the studies of Mr. Martin Bejerano and Dean Mr. Shelly Berg.

#BarbaraDennerlein - A Summer Day

Published on May 22, 2017
Barbara Dennerlein anlässlich Musig am Zürisee 2017

The Big Band Era

At the turn of the 20th century in New Orleans, Ragtime was transitioning into the early jazz.

In 1917 the first recordings of the Original Dixieland Jass Band were released. White musicians played the tunes and arrangements of black musicians, that’s what their gig was. Their records sold over a million copies and introduced jazz to all of America and the world. The general record buying public was completely unaware that this style of music was not that new. The music that would become known as Jazz had been played in New Orleans and other parts of the South for many years by bands lead by musicians such as Buddy Bolden, Frankie Dusen, Jack Laine, etc. Before 1918 the style was referred to with many different spellings such as 'jass', 'jas' and even 'jasz.'

read more at: https://www.ultimate-guitar.com/news/features/the_big_band_era.html

Vijay Iyer jazzes up the Ojai Music Festival

(Brian van der Brug / Los Angeles Times)

Mark Swed - Contact Reporter
June 9, 2017

The Ojai Music Festival began Thursday night by demonstrating three sides of Vijay Iyer. There are more, which the festival promises to unveil over the weekend. But three is a start.

Iyer is the first jazz musician to be the festival’s music director. He comes from a long line of jazz musicians who have moved out of the category, notably back to Gershwin and Ellington, but with roots as far back as the 19th century Gottschalk. Indeed identity has been so much an issue of jazz for so long that many have come to dislike the term, stuck with it we pretty much are.

In Iyer’s afternoon talk Thursday, the elegant, soft-spoken 45-year-old pianist and Harvard professor cattily noted that he found music critics to be homogenous, no doubt a term of some disparagement for this multitasker. There is probably some truth to it, and he seems to know of which he speaks. The pressure for homogeny has ever been an obstacle for progressive jazz musicians who attempt to collaborate with the classical world.

Where do you find common ground that doesn’t lead, as it usually does, to bland homogeny? If uncommon is more productive, how do you get away with it?


The evening began with the American premiere of “Emergence,” in which Iyer’s jazz trio interacts with a chamber ensemble. The world premiere of what you might say is Iyer’s classical violin concerto, “Trouble,” with Jennifer Koh as the dazzling soloist, followed. After intermission, Iyer joined the great West Coast trumpet player Wadada Leo Smith for an intimate, meditative set of very personal, very jazz duos.

read more at: http://www.latimes.com/entertainment/arts/la-et-cm-ojai-festival-opening-review-20170609-story.html

Cécile McLorin Salvant & the Aaron Diehl Trio

Published on Jun 11, 2017
Cécile McLorin Salvant - Vocals
Aaron Diehl - Piano
Paul Sikivie - Bass
Lawrence Leathers - Drums

"The Murder Ballad" (Jelly Roll Morton)
The Appel Room, Jazz at Lincoln Center 5/19/2017 - 1st Set

Jazz at Lincoln Center - Livestream.com: http://livestream.com/accounts/211242

Dizzy's schedule : http://www.jazz.org/dizzys/

Dee Dee Bridgewater & Ray Brown Trio - Estival Jazz Lugano 1998

Published on Jun 10, 2017
http://www.deedeebridgewater.com/, http://www.estivaljazz.ch/
● © For any questions regarding copyright issues related to video materials, please contact us via email at copyright.jbr@gmail.com

● Personnel:
Dee Dee Bridgewater - vocals
Ray Brown - bass
Geoffrey Keezer - piano
Karriem Riggins - drums

● #DeeDeeBridgewater & #RayBrown Trio - Estival Jazz Lugano 1998
Live at Estival Jazz Lugano, Piazza della Riforma, Switzerland, July 10th, 1998
▶ Dee Dee Bridgewater - Full Length Concerts - http://bit.ly/Z4IVZj
▶ Ray Brown - Full Length Concerts - http://bit.ly/1RxJbdi
▶ Estival Jazz Lugano - Full Length Concerts - http://bit.ly/1Arusmj
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#ShannonMcNally

SHANNON MCNALLY ENLISTS RODNEY CROWELL & AN ALL STAR CAST TO SUPPORT ON BOISTEROUS ‘BLACK IRISH’ (ALBUM REVIEW)

June 12, 2017
by Lee Zimmerman

Having originated in the most difficult of circumstances — after nursing her terminally ill mother and experiencing an exceptionally difficult divorce — Black Irish exudes none of the disappointment and despair one might have expected to result from such an unsettling scenario. In fact, it comes across as one of Shannon McNally’s most assured efforts yet, no small accomplishment given her long and accomplished career. With Rodney Crowell at the helm and an all-star cast in support — Emmylou Harris, Beth Nielsen Chapman and Elizabeth Cook on backing vocals, Cody Dickinson, and guitarist Colin Linden lending their instrumental expertise — McNally turns the album into a tour de force, one that expresses both her resolve and her resilience.


Of course having Crowell in the producer’s chair guarantees a certain amount of credibility to start with, and including songs by Stevie Wonder (“I Ain’t Gonna Stand For It”), J.J. Cale (“Low Rider”), Robbie Robertson (“It Makes No Difference”) and Guy and Susanna Clark (“Black Haired Boy”) also helps assure success. Still, it’s McNally’s study, decisive vocals that make the decided difference here. Likewise, her original tunes prove every bit the equal of her cover choices, and when she rocks to the hilt on the boisterous “Roll Away the Stone” and turns her attention to some sinewy R&B with “Banshee Moan” and “I Went to the Well,” her poise and posturing are simply stunning.

read more at: https://glidemagazine.com/186653/shannon-mcnally-enlists-rodney-crowell-star-cast-support-boisterous-black-irish-album-review/

Hendrik Meurkens and Paquito D'Rivera

Hendrik Meurkens and Paquito D'Rivera - Bluesette: https://t.co/vba9vghRL5 via @YouTube

— jazzvideoguy (@jazzvideoguy) 9 de junho de 2017

long lost tapes of Thelonious Monk in 1959 ...

At JazzWax, long lost tapes of Thelonious Monk in 1959 recording the film score to "Les Liaisons Dangereuses"... https://t.co/kSSK6XgpfI pic.twitter.com/v2zU1mmDlN

— Marc Myers (@JazzWax) 6 de junho de 2017