DOCSLIB.ORG

JJJA-A3-E-Brochure-1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
JJJA-A3-E-Brochure-1 It’s NOT JUST P R ESE N TS PLAYING JAZZ, It’s LIVING JAZZ! I want to create an Academy that gets to the heart and power of Jazz through its roots and history. The infectious rhythm, melody and invention inspires in an environment of cooperation and encouragement. The Academy’s mission is to be true to this great music. JULIAN JOSEPH JAZZ ACADEMY JUliaN Joseph FOUNDER AND ARTISTIC DIRECTOR ADMISSIONS In order to apply to JJJA, students need to: n Be experienced instrumentalists or vocalists aged 12-19 n Have a good ear and a knowledge of scales n Have a real interest in jazz n Enjoy improvising Technology Learning Centre JULIAN JOSEPH JAZZ n T hirst for really learning 1 Reading Lane ACADEMY n Want to work with great jazz musicians London E8 1GQ T: 020 8820 7410 Admission is by audition with Julian Joseph and the artistic team. F: 020 8820 7118 E: [email protected] Venue W: www.hmdt.org.uk Haggerston School, Weymouth Terrace, London E2 8LS 10 Saturdays Termly 2.00 – 5.00pm Termly Fees: £200, £100 Subsidy*, £50 Bursary* * Means tested through application only. JJJA is an HMDT Music project. WITH THANKS TO OUR PARTNERS For more information about our programmes call HMDT Music or visit our website. Cover photo: Courtesy of the Louis Armstrong House Museum. Louis Armstrong and His Hot Five MADE POSSIBLE BY A - Chicago c. 1926 (from left to right: GENEROUS GRANT FRom The Home of Julian Joseph Jazz Academy Armstrong, Johnny St. Cyr, Warren “Baby” Dodds, Kid Ory, Lil Harden Armstrong). Inside images: Clive Barda Find us on Facebook www.facebook.com/HMDTMusic © HMDT 2012 It’s NOT JUST JULIAN JOSEPH JAZZ PLAYING JAZZ, FOR DETAILS AND AN APPLICATION PACK ACADEMY VISIT WWW.HMDT.ORG.UK CALL 020 8820 7410 It’s LIVING JAZZ! EMAIL [email protected] EACH SESSION STUDENTS GET AN INCOMPARABLE JAZZ EXPERIENCE: Real JAZZ The LANGUAGE JAZZ Rhythmic JAZZ Roots LiviNG JAZZ Notes OF TRUth DemocRacy FUNdameNtals AND LEGENds MASTERCLASSES The ArT OF FINDING The DiSciPLINE OF COre PriNciPLES JAZZ ThrOUGH WORKSHOPS AND IMPROVISATION VOice OF JAZZ The SIDEMAN OF JAZZ ITS HISTORY PERFORMANCES Helps students develop a vocabulary Learning how to use the voice Develops the skills of how to work Develops a fine-tuned understanding Helps understand the foundations Offers an exciting array of for soloing, and an insight into helps to enhance musical and as a group and understand the of rhythm in Jazz with a focus upon of The Blues as an American opportunities to work with telling a musical story. They will improvisational skills and reveals a leadership and the discipline of Swing and Pulse, highlighting the artform and introduces repertoire international jazz artists in focussed learn focus and interaction with a new form of emotional expression. playing in ensembles. Students will importance of ensemble cohesion from the major periods of jazz; Masterclasses and Specialist rhythm section, how to construct Students will use their voices to assist explore combined soloing, when and communicating ideas. Everyone pre-swing, swing, bebop, cool, Workshops. Guest artists will their playing from the best elements in learning and understanding melody, to play and when to stay out of the will strive to achieve Ellington’s hard bop, contemporary, funk and not only supplement the core of style and learn how to become developing harmonic awareness, way of fellow players, how to work mantra – “It don’t mean a thing if it fusion, and explores seminal figures curriculum, but also perform sensitive to what those best expression and musicianship. together to create a group sound ain’t got that swing.” like Armstrong, Ellington, Monk, alongside students in electrifying elements are. while listening sensitively to others, Mingus, Ornette, Coltrane, Shorter performances in a variety of venues and take part in the democracy of and others. Through this practical (including Ronnie Scott’s and King’s the bandstand. approach, students will learn and Place). Specially designed holiday workshop major pieces from the courses will also be offered in ARtists jazz canon and be encouraged addition to the weekly programme. to further release their creative Under the guidance of Julian Joseph potential through the music. who will regularly lead sessions, the JJJA artistic team will include a core teaching staff headed by pianist and composer Trevor Watkis and a range of outstanding celebrity guests expected to include: Cleveland Watkiss, Steve Williamson, Peter King, Bobby Wellins, Mark Hodgson, Patrick Clahar, Mark Mondesir, Danilo Perez, Mulgrew Miller, Courtney Pine, Soweto Kinch, Branford and Wynton Marsalis. .
Load more

Recommended publications
  • Tenor Saxophone Mouthpiece When
    MAY 2014 U.K. £3.50 DOWNBEAT.COM MAY 2014 VOLUME 81 / NUMBER 5 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editors Ed Enright Kathleen Costanza Art Director LoriAnne Nelson Contributing Designer Ara Tirado Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Pete Fenech 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter,
    [Show full text]
  • This Is Our Music V.2-2
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by BCU Open Access 20/11/2015 16:38:00 This Is Our Music?: Tradition, community and musical identity in contemporary British jazz Mike Fletcher As we reach the middle of the second decade of the twenty-first century we are also drawing close to the centenary of jazz as a distinct genre of music. Of course, attempting to pinpoint an exact date would be a futile endeavour but nevertheless, what is clear is that jazz has evolved at a remarkable rate during its relatively short lifespan. This evolution, which encompassed many stylistic changes and innovations, was aided in no small part by the rapid technological advances of the twentieth century. Thus, what was initially a relatively localised music has been transformed into a truly global art form. Within a few short decades of the birth of the music, records, radio broadcasts and globe-trotting American jazz performers had already spread the music to a listening audience worldwide, and it was not long after this that musicians began to make attempts to ‘adapt jazz to the social circumstances and musical standards with which they were more familiar’.1 In the intervening decades, subsequent generations of indigenous musicians have formed national lineages that run parallel to those in America, and variations in cultural and social conditions have resulted in a diverse range of performance practices, all of which today fall under the broad heading of jazz. As a result, contemporary musicians and scholars alike are faced with increasing considerations of ownership and authenticity, ultimately being compelled to question whether the term jazz is still applicable to forms of music making that have grown so far away from their historical and geographic origins.
    [Show full text]
  • Music Outside? the Making of the British Jazz Avant-Garde 1968-1973
    Banks, M. and Toynbee, J. (2014) Race, consecration and the music outside? The making of the British jazz avant-garde 1968-1973. In: Toynbee, J., Tackley, C. and Doffman, M. (eds.) Black British Jazz. Ashgate: Farnham, pp. 91-110. ISBN 9781472417565 There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/222646/ Deposited on 28 August 2020 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk Race, Consecration and the ‘Music Outside’? The making of the British Jazz Avant-Garde: 1968-1973 Introduction: Making British Jazz ... and Race In 1968 the Arts Council of Great Britain (ACGB), the quasi-governmental agency responsible for providing public support for the arts, formed its first ‘Jazz Sub-Committee’. Its main business was to allocate bursaries usually consisting of no more than a few hundred pounds to jazz composers and musicians. The principal stipulation was that awards be used to develop creative activity that might not otherwise attract commercial support. Bassist, composer and bandleader Graham Collier was the first recipient – he received £500 to support his work on what became the Workpoints composition. In the early years of the scheme, further beneficiaries included Ian Carr, Mike Gibbs, Tony Oxley, Keith Tippett, Mike Taylor, Evan Parker and Mike Westbrook – all prominent members of what was seen as a new, emergent and distinctively British avant-garde jazz scene. Our point of departure in this chapter is that what might otherwise be regarded as a bureaucratic footnote in the annals of the ACGB was actually a crucial moment in the history of British jazz.
    [Show full text]
  • June 2020 Volume 87 / Number 6
    JUNE 2020 VOLUME 87 / NUMBER 6 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow.
    [Show full text]
  • The A-Z of Brent's Black Music History
    THE A-Z OF BRENT’S BLACK MUSIC HISTORY BASED ON KWAKU’S ‘BRENT BLACK MUSIC HISTORY PROJECT’ 2007 (BTWSC) CONTENTS 4 # is for... 6 A is for... 10 B is for... 14 C is for... 22 D is for... 29 E is for... 31 F is for... 34 G is for... 37 H is for... 39 I is for... 41 J is for... 45 K is for... 48 L is for... 53 M is for... 59 N is for... 61 O is for... 64 P is for... 68 R is for... 72 S is for... 78 T is for... 83 U is for... 85 V is for... 87 W is for... 89 Z is for... BRENT2020.CO.UK 2 THE A-Z OF BRENT’S BLACK MUSIC HISTORY This A-Z is largely a republishing of Kwaku’s research for the ‘Brent Black Music History Project’ published by BTWSC in 2007. Kwaku’s work is a testament to Brent’s contribution to the evolution of British black music and the commercial infrastructure to support it. His research contained separate sections on labels, shops, artists, radio stations and sound systems. In this version we have amalgamated these into a single ‘encyclopedia’ and added entries that cover the period between 2007-2020. The process of gathering Brent’s musical heritage is an ongoing task - there are many incomplete entries and gaps. If you would like to add to, or alter, an entry please send an email to [email protected] 3 4 4 HERO An influential group made up of Dego and Mark Mac, who act as the creative force; Gus Lawrence and Ian Bardouille take care of business.
    [Show full text]
  • October 2011
    SEPTEMBE R - OCTOBER 2011 Featuring: Wynton Marsalis | Family Stone | Remembering Oscar Peterson | Incognito | John Williams/Etheridge | Pee Wee Ellis | JTQ | Colin Towns Mask Orch | Azymuth | Todd Rundgren | Cedar Walton | Carleen Anderson | Louis Hayes and The Cannonball Legacy Band | Julian Joseph All Star Big Band | Mike Stern feat. Dave Weckl | Ramsey Lewis | James Langton Cover artist: Ramsey Lewis Quintet (Thur 27 - Sat 29 Oct) PAGE 28 PAGE 01 Membership to Ronnie Scotts GIGS AT A GLANCE SEPTEMBER THU 1 - SAT 3: JAMES HUNTER SUN 4: THE RONNIE SCOTT’S JAZZ ORCHESTRA PRESENTS THE GENTLEMEN OF SWING MON 5 - TUE 6: THE FAMILY STONE WED 7 - THU 8: REMEMBERING OSCAR PETERSON FEAT. JAMES PEARSON & DAVE NEWTON FRI 9 - SAT 10: INCOGNITO SUN 11: NATALIE WILLIAMS SOUL FAMILY MON 12 - TUE 13: JOHN WILLIAMS & JOHN ETHERIDGE WED 14: JACQUI DANKWORTH BAND THU 15 - SAT 17: PEE WEE ELLIS - FROM JAZZ TO FUNK AND BACK SUN 18: THE RONNIE SCOTT’S BLUES EXPLOSION MON 19: OSCAR BROWN JR. TRIBUTE FEATURING CAROL GRIMES | 2 free tickets to a standard price show per year* TUE 20 - SAT 24: JAMES TAYLOR QUARTET SUN 25: A SALUTE TO THE BIG BANDS | 20% off all tickets (including your guests!)** WITH THE RAF SQUADRONAIRES | Dedicated members only priority booking line. MON 26 - TUE 27: ROBERTA GAMBARINI | Jump the queue! Be given entrance to the club before Non CELEBRATING MILES DAVIS 20 YEARS ON Members (on production of your membership card) WED 28 - THU 29: ALL STARS PLAY ‘KIND OF BLUE’ FRI 30 - SAT 1 : COLIN TOWNS’ MASK ORCHESTRA PERFORMING ‘VISIONS OF MILES’ | Regular invites to drinks tastings and other special events in the jazz calendar OCTOBER | Priority information, advanced notice on acts appearing SUN 2: RSJO PRESENTS..
    [Show full text]
  • Mica Paris My One Temptation Mp3, Flac, Wma
    Mica Paris My One Temptation mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Funk / Soul Album: My One Temptation Country: Japan Released: 1988 Style: Soul MP3 version RAR size: 1454 mb FLAC version RAR size: 1425 mb WMA version RAR size: 1644 mb Rating: 4.6 Votes: 631 Other Formats: TTA MP1 AUD AAC VQF ADX WMA Tracklist Hide Credits My One Temptation (Club Mix) A Engineer – Lee HamblinProducer – L'EquipeWritten-By – Leeson*, Waters*, Vale* My One Temptation (Radio Version) B1 Engineer – Lee HamblinProducer – L'EquipeWritten-By – Leeson*, Waters*, Vale* Rock Together B2 Producer – Leon WareWritten-By – L. Ware*, M. Paris* Companies, etc. Phonographic Copyright (p) – Island Records Ltd. Distributed By – Dischi RICORDI S.p.A. Credits Photography By – Lawrence Watson Notes ℗ 1988 Island Records Ltd. Distribuzione Dischi RICORDI S.p.A. Made in Italy Barcode and Other Identifiers Barcode: 014474 810855 Matrix / Runout (Runout area A-side): AS BRWX 85 A Matrix / Runout (Runout area B-side): AS BRWX 85 B Matrix / Runout (Side A Label): BRWX 85/1 Matrix / Runout (Side B Label): BRWX 85/2 Other versions Category Artist Title (Format) Label Category Country Year My One Temptation (12", 12 BRW 85 Mica Paris 4th & Broadway 12 BRW 85 UK 1988 Single) My One Temptation (12", 12 BRW 85 Mica Paris 4th & Broadway 12 BRW 85 UK 1988 Promo) My One Temptation 611 631 Mica Paris (Reproduction Remix) (12", Island Records 611 631 Europe 1988 Maxi) My One Temptation (7", 111 015 Mica Paris Island Records 111 015 Europe 1988 Single) My One Temptation (CD, PR 2567-2
    [Show full text]
  • Au Revoir Les Enfante
    witty by the occasionsw hen the play- connection with his work: it DAVID HARE's painful, wright puts it on hold and listens does, however, bear out the and moving new play The to file pretty patterns he makes ancient principle that successful Secret Rapture (NT, Lyttelton) which place sound before sense. jazz is written not for instru- is a morality of modern behav- Passion in public 'Why is the sun bleedin'?' 'In a ments but for players . iour in which the people who f ace way, we all died.' McGuinness "Mt The three-part suite by the have all the answers , buy can do better than that. He does tnRudue Kid. Wshicheveir it cis, I out and destroy the people who JOHN PEEL at the West Indian composer Herman so elsewhere in the Dublin The- hope the oaf ish name will not Wilson did not work on thought there were no questions atre Festival, in a marvellously discourage readers from seeing Wednesday night at the Queen to ask. The elements are tradi- good version of 'Peer Gynt' at Mean Fiddler this extraordinary band. Elizabeth Hall because it had tional but neglected: a represen- the Gate (to which I shall return Rapeman was suppor ted by clearly not been conceived with tative of earthly government , an artis t of , next week) and be does so in FOR OVER a year now I have New York's Band of Susans, this band in mind: they were so , an artisan, a man God *P.nrtha gminn«' with a plain Ut- had to endure the horr id busy concentrating on being a witch.
    [Show full text]
  • The Final BBC Young Jazz Musician 2020
    The Final BBC young jazz musician 2020 The Final The Band – Nikki Yeoh’s Infinitum Nikki Yeoh (piano), Michael Mondesir (bass) and Mark Mondesir (drums) Matt Carmichael Matt Carmichael: Hopeful Morning Saxophone Matt Carmichael: On the Gloaming Shore Matt Carmichael: Sognsvann Deschanel Gordon Kenny Garrett arr. Deschanel Gordon: Haynes Here Piano Deschanel Gordon: Awaiting Thelonious Monk: Round Midnight Alex Clarke Bernice Petkere: Lullaby of the Leaves Saxophone Dave Brubeck: In Your Own Sweet Way Alex Clarke: Before You Arrived INTERVAL Kielan Sheard Kielan Sheard: Worlds Collide Bass Kielan Sheard: Wilfred's Abode Oscar Pettiford: Blues in the Closet Ralph Porrett Billy Strayhorn arr. Ralph Porrett: Lotus Blossom Guitar John Coltrane arr. Ralph Porrett: Giant Steps John Parricelli: Scrim Boudleaux Bryant: Love Hurts JUDGING INTERVAL Xhosa Cole BBC Young Jazz Musician 2018 Saxophone Thelonious Monk: Played Twice Xhosa Cole: George F on my mind Announcement and presentation of BBC Young Jazz Musician 2020 2 BBC young jazz musician 2020 Television YolanDa Brown Double MOBO award winning YolanDa Brown is the premier female saxophonist in the UK, known for delicious fusion of reggae, jazz and soul. Her debut album, “April Showers May Flowers” was no.1 on the jazz charts, her sophomore album released in 2017 “Love Politics War” also went to no.1 in the UK jazz charts. YolanDa has toured with The Temptations, Jools Holland’s Rhythm and Blues Orchestra, Billy Ocean and collaborated with artists such as Snarky Puppy’s Bill Laurance, Kelly Jones from Stereophonics and the Royal Philharmonic Orchestra. A broadcaster too – working across TV and radio, including her eponymous series for CBeebies, "YolanDa’s Band Jam", which recently won the Royal Television Society Awards as Best Children’s Programme.
    [Show full text]
  • Limerick Jazz Festival 2016 Limerick Jazz Society Autumn Concert Season 2016
    Limerick Jazz Festival 2016 Limerick Jazz Society Autumn Concert Season 2016 Presentation to the Arts Council February 2016 Contents • Limerick Jazz Overview • Limerick Jazz Festival • Limerick Jazz Society Concert Season • Jazz Education • Organization • Appendices – Limerick Jazz Society Promotions 2005-2015 – Limerick Jazz Society Committee Limerick Jazz Overview • Limerick Jazz seeks to develop all aspects of jazz performance, participation and education in the Midwest region • Limerick Jazz Society Concert Seasons – Regular Spring and Autumn concert seasons since 1982 – Most active Irish promoter of quality jazz performances outside Dublin • Limerick Jazz Festival – Inaugurated in 2012 festival to celebrate 30th anniversary of Limerick Jazz Society – Programming designed to combine quality and accessibility through big band and vocal performance – Our “shop window” helps to improve awareness of our rich local scene • Jazz Education – Only regular jazz workshop in Ireland outside Dublin since 2007 – International Vibes Workshop summer school since 2008 • Strong partnerships in local community – Co-promotions with University Concert Hall, Riverfest and Unfringed festivals – Limerick Jazz Society benefit for Rape Crisis Centre in 2006 raised €17,000 – Limerick Jazz Workshop performances at Limerick Youth Service Conference, Africa Day and UCH • Significant economic impact well in excess of Arts Council Funding – Annual artist fees c. €20,000 – Limerick Jazz Workshop teacher payments are c. €11,000 p.a., with shortfall to student fees
    [Show full text]
  • NJA British Jazz Timeline with Pics(Rev3) 11.06.19
    British Jazz Timeline Pre-1900 – In the beginning The music to become known as ‘jazz’ is generally thought to have been conceived in America during the second half of the nineteenth century by African-Americans who combined their work songs, melodies, spirituals and rhythms with European music and instruments – a process that accelerated after the abolition of slavery in 1865. Black entertainment was already a reality, however, before this evolution had taken place and in 1873 the Fisk Jubilee Singers, an Afro- American a cappella ensemble, came to the UK on a fundraising tour during which they were asked to sing for Queen Victoria. The Fisk Singers were followed into Britain by a wide variety of Afro-American presentations such as minstrel shows and full-scale revues, a pattern that continued into the early twentieth century. [The Fisk Jubilee Singers c1890s © Fisk University] 1900s – The ragtime era Ragtime, a new style of syncopated popular music, was published as sheet music from the late 1890s for dance and theatre orchestras in the USA, and the availability of printed music for the piano (as well as player-piano rolls) encouraged American – and later British – enthusiasts to explore the style for themselves. Early rags like Charles Johnson’s ‘Dill Pickles’ and George Botsford’s ‘Black and White Rag’ were widely performed by parlour-pianists. Ragtime became a principal musical force in American and British popular culture (notably after the publication of Irving Berlin’s popular song ‘Alexander’s Ragtime Band’ in 1911 and the show Hullo, Ragtime! staged at the London Hippodrome the following year) and it was a central influence on the development of jazz.
    [Show full text]
  • So Good (Mica Paris Album)
    So Good (Mica Paris album) Mica Paris (born Michelle Antoinette Wallen 27 April 1969 in Islington, London) is an English soul singer, presenter on radio and television and occasional actress. Singer. Beginnings. Paris appeared on their album, If (1985). In 1988, she released her debut, platinum-selling album So Good with 4th & Broadway when she was 19 years old. "My One Temptation" was the lead single. This led to a collaboration with American soul singer Will Downing on a cover version of a classic "Where Is the Love", made famous by Donny Hathaway and Roberta Flack in the early 1970s. Read more. This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Mica_Paris. So Good (Mica Paris album). So Good is the debut album by British recording artist Mica Pari... Find album reviews, stream songs, credits and award information for So Good - Mica Paris on AllMusic - 1989 - A gospel-influenced soul/pop singer with a fineâ¦Â Though not a remarkable effort, her debut album, So Good, was a respectable and decent one indicating that she had much potential. Among the CD's more noteworthy cuts are the haunting "My One Temptation," the jazz-influenced "Sway (Dance the Blues Away)" and the sizzling "Nothing Hits Your Heart like Soul Music" (which also seems like a statement of purpose, and points to Paris' devotion to more traditional R&B elements). âœSo Goodâ Q&A. More Mica Paris albums. Born Again. Soul Classics. Show all albums by Mica Paris. Home. M. Mica Paris. So Good. About Genius Contributor Guidelines Press Advertise Event Space.
    [Show full text]