Jason Marsalis

JASON MARSALIS ll Bill Jason Marsalis You Shook Me All Night Long In A World of Mallets AC/DC CD: Back in Black There's a Thing Called Rhythm Jason Marsalis Give Up the Funk (Tear the Roof O the Sucker) CD: Music In Motion Parliament CD: The Best of Parliament Sister Cheryl Wynton Marsalis Discipline Strikes Again CD: Wynton Marsalis Jason Marsalis CD: Music in Motion Hesitation Wynton Marsalis Discipline Returns Once Again CD: Wynton Marsalis Jason Marsalis CD: Music Update All Blues Miles Davis Discipline Spotted Baby and Zutty at Studio 54 CD: Kind of Blue Jason Marsalis CD: Music Update Billy Boy Miles Davis Seven-Ay Pocky Way CD: Milestones Jason Marsalis CD: Music In Motion Someday My Prince Will Come Miles Davis The Man With Two Left Feet CD: Someday My Prince Will Come Jason Marsalis Vibes Quartet CD: The 21st Century Trad Band Giant Steps John Coltrane How Long BLues CD: Giant Steps Milt Jackson & Ray Charles CD: Soul Brothers Twelfth Street Rag Big Earl's Last Ride Louis Armstrong and the Hot Seven Jason Marsalis Vbes Quartet CD: Louis Armstrong and the CD: In a World of Mallets Hot Five and Hot Seven Complete Recordings Whistle for Willie Jason Marsalis Vibes Quartet A Monday Date CD: In a World of Mallets Louis Armstrong and the Hot Seven CD: Louis Armstrong and the Can You Tell Me How to Get to Sesame Street Hot Five and Hot Seven Complete Recordings Delfeayo Marsalis CD: The Last Southern Gentleman Drum Improvisation No. 2 Baby Dodds Trio Classied CD: Baby Dodds Trio Jazz a la Creole James Booker CD: Classied Billie Jean Michael Jackson CD: Thriller.

Copy Link

Recommended publications

Download Showbook
SWEET SOUL MUSIC REVUE A Change Is Gonna Come It is August 1955 in Mississippi and a 14-year-old African American, Emmet Louis Till, is being dragged out of his bed by white men. They brutally torture and then drown the boy, because Emmet had whistled at the white village beauty queen and called Bye, bye babe after her. The court acquits the murderers. On December 1, 1955, Rosa Parks, an elderly African American lady, refuses to give up her seat on a bus to a white man. She is arrested and taken to court for violating segregation laws. These events in 1955 mark the beginning of the African American Civil Rights Movement, which will grow into a proud political force under the leadership of Dr. Martin Luther King. By 1968 it will have put an end to arbitrary injustice caused by racial segregation in the U.S. There have been times that I thought I couldn‘t last for long / But now I think I‘m able to carry on / It‘s been a long time coming, but I know a change is gonna come – This soul anthem, composed by Sam Cooke in 1963, speaks of the hope for change during these times. Sam himself had been arrested for offences against the laws relating to civil disorders and rioting, because he and his band had tried to check in to a “whites only” motel. Closely linked to the Civil Rights Movement, soul music delivers the soundtrack for this period of political change and upheaval in the United States.
[Show full text]
Jason Marsalis ANDJASON the 21ST CENTURYMARSALIS TRAD BAND Melody Reimagined : Book 1
Back Row: (L-R) Austin Johnson, Dave Potter, Will Goble. Front: Jason Marsalis ANDJASON THE 21ST CENTURYMARSALIS TRAD BAND Melody Reimagined : book 1 1. Ratio Man Strikes Again 6:02 JASON MARSALIS vibes 2. Off the Rails 5:08 3. Just as Cool as the Other Side of the Pillow 9:38 AUSTIN JOHNSON piano 4. Soot Sprites 4:42 WILL GOBLE bass 5. A Peaceful Silence 5:52 DAVE POTTER drums 6. Bourbon Street Ain’t Mardi Gras 6:29 7. Passionate Dancer 6:09 ELLIS MARSALIS piano* 8. Never Forget the 23rd Letter 7:11 * * DELFEAYO MARSALIS trombone 9. 80 7:34 All compositions written by Jason Marsalis @BasinStRecords #BSR20 JASON MARSALIS On various shows I’ve done as a leader, original compositions would be mixed with standards for the setlist. Spontaneous arrangements would evolve to spice up the standards. As these standards would evolve into originals, a concept for an album was born: original compositions based on the harmonic structure, or chord changes, from other songs. In previous years, harmonic structures from the standard American songbook would be used to create new melodies. For example, Duke Ellington’s “In a Mellow Tone” is based on the harmony from “Rose Room,” while Charlie Parker’s “Ornithology” is based on the harmony from “How High the Moon.” For this album, harmonies from not only the American songbook are utilized, but jazz standards, traditional jazz, and even 1980’s pop music contains chord changes to inspire these new pieces. We hope that this will be a fresh and familiar experience for the listener.
[Show full text]
Downloaded PDF File of the Original First-Edi- Pete Extracted More Music from the Song Form of the Chart That Adds Refreshing Contrast
DECEMBER 2016 VOLUME 83 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Managing Editor Brian Zimmerman Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Markus Stuckey Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes Editorial Intern Izzy Yellen 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] 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; 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, Jack Vartoogian, Michael Weintrob; North Carolina: Robin
[Show full text]
Prestige Label Discography
Discography of the Prestige Labels Robert S. Weinstock started the New Jazz label in 1949 in New York City. The Prestige label was started shortly afterwards. Originaly the labels were located at 446 West 50th Street, in 1950 the company was moved to 782 Eighth Avenue. Prestige made a couple more moves in New York City but by 1958 it was located at its more familiar address of 203 South Washington Avenue in Bergenfield, New Jersey. Prestige recorded jazz, folk and rhythm and blues. The New Jazz label issued jazz and was used for a few 10 inch album releases in 1954 and then again for as series of 12 inch albums starting in 1958 and continuing until 1964. The artists on New Jazz were interchangeable with those on the Prestige label and after 1964 the New Jazz label name was dropped. Early on, Weinstock used various New York City recording studios including Nola and Beltone, but he soon started using the Rudy van Gelder studio in Hackensack New Jersey almost exclusively. Rudy van Gelder moved his studio to Englewood Cliffs New Jersey in 1959, which was close to the Prestige office in Bergenfield. Producers for the label, in addition to Weinstock, were Chris Albertson, Ozzie Cadena, Esmond Edwards, Ira Gitler, Cal Lampley Bob Porter and Don Schlitten. Rudy van Gelder engineered most of the Prestige recordings of the 1950’s and 60’s. The line-up of jazz artists on Prestige was impressive, including Gene Ammons, John Coltrane, Miles Davis, Eric Dolphy, Booker Ervin, Art Farmer, Red Garland, Wardell Gray, Richard “Groove” Holmes, Milt Jackson and the Modern Jazz Quartet, “Brother” Jack McDuff, Jackie McLean, Thelonious Monk, Don Patterson, Sonny Rollins, Shirley Scott, Sonny Stitt and Mal Waldron.
[Show full text]
Jazz Faculty and Friends: an Evening of Great Music
Kennesaw State University Upcoming Music Events Tuesday, November 18 Kennesaw State University Jazz Combos 8:00 pm • Bailey Performance Center Performance Hall School of Music Wednesday, November 19 Kennesaw State University Wind Ensemble and Concert Band presents 8:00 pm • Bailey Performance Center Performance Hall Thursday, November 20 Kennesaw State University Gospel Choir 8:00 pm • Bailey Performance Center Performance Hall Kennesaw State University Saturday, November 22 Kennesaw State University Jazz Faculty and Friends Opera Gala 8:00 pm • Bailey Performance Center Performance Hall Monday, November 24 Kennesaw State University Percussion Ensemble 8:00 pm • Bailey Performance Center Performance Hall Tuesday, December 2 Kennesaw State University Choral Ensembles Holiday Concert 8:00 pm • Bailey Performance Center Performance Hall Monday, November 17, 2008 8:00 pm Dr. Bobbie Bailey & Family Performance Center Concert Hall For the most current information, please visit http://www.kennesaw.edu/arts/events/ Twenty-third Concert of the 2008-2009 season Kennesaw State University Justin Varnes drums School of Music Born in Jacksonville, Florida, Justin Varnes studied music at the Monday, November 17, 2008 University of North Florida. After a brief stint with the Noel Freidline 8:00 pm Quintet, Mr. Varnes relocated to New York City to pursue a master's Dr. Bobbie Bailey & Family Performance Center degree in jazz studies at the New School. In New York, Justin toured for six years with vocalist Phoebe Snow, with whom he performed on the Performance Hall Roseanne Barr Show, as well as National Public Radio's "World Cafe" (he would later perform on "World Cafe" with pop group "Five for Fighting").
[Show full text]
Dr. Michael White Is One of Todays Primary Exponents of Classic New Orleans Jazz
TKA BIOGRAPHY Current as of 9/2011 Dr. Michael White A NIGHT IN TREME Dr. Michael White is one of todays primary exponents of classic New Orleans jazz. The unique experiences that the clarinetist has had throughout his career and his ability to articulate the significance and timelessness of the music has made him a highly influential force and performer. Having suffered tremendous losses due to Hurricane Katrina, White has emerged with what promises to be his finest CD, Blue Crescent. This set of new New Orleans music features him, like the Crescent City, determined to rebuild, keeping the classic style not only alive but continually creative, and looking towards both the past with loving memory and the future. Last December, Dr. Michael White had his first break since Katrina. Exhausted from having to deal with personal and professional difficulties, he took time off to stay at the local artist retreat facility, A Studio In The Woods. Thinking about his next recording, he felt suddenly rejuvenated and inspired, writing over three dozen songs within a short period of time. The 36 plus songs represent more than I had written in my whole life, says the clarinetist. In the music what Ive tried to do is think about the importance of New Orleans, the history of the Crescent City, the after-effects of Hurricane Katrina, and the future. What I did not want to do was have a maudlin post- Katrina recording with an excess of sadness. Most of the songs are intended to represent the joyous part of New Orleans, the determination to carry on and the musics heritage.
[Show full text]
Readers Poll
84 READERS POLL DOWNBEAT HALL OF FAME One night in November 1955, a cooperative then known as The Jazz Messengers took the stage of New York’s Cafe Bohemia. Their performance would yield two albums (At The Cafe Bohemia, Volume 1 and Volume 2 on Blue Note) and help spark the rise of hard-bop. By Aaron Cohen t 25 years old, tenor saxophonist Hank Mobley should offer a crucial statement on how jazz was transformed during Aalready have been widely acclaimed for what he that decade. Dissonance, electronic experimentation and more brought to the ensemble: making tricky tempo chang- open-ended collective improvisation were not the only stylis- es sound easy, playing with a big, full sound on ballads and pen- tic advances that marked what became known as “The ’60s.” ning strong compositions. But when his name was introduced Mobley’s warm tone didn’t necessarily coincide with clichés on the first night at Cafe Bohemia, he received just a brief smat- of the tumultuous era, as the saxophonist purposefully placed tering of applause. That contrast between his incredible artistry himself beyond perceived trends. and an audience’s understated reaction encapsulates his career. That individualism came across in one of his rare inter- Critic Leonard Feather described Mobley as “the middle- views, which he gave to writer John Litweiler for “Hank Mobley: weight champion of the tenor saxophone.” Likely not intended The Integrity of the Artist–The Soul of the Man,” which ran in to be disrespectful, the phrase implied that his sound was some- the March 29, 1973, issue of DownBeat.
[Show full text]
Monterey Jazz Festival
DECEMBER 2018 VOLUME 85 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová 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; 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, Jack Vartoogian, Michael Weintrob;
[Show full text]
“What'd I Say” (Parts 1 and 2)--Ray Charles (1959) Added to the National Registry: 2002 Essay by Michael Lydon (Guest Post)*
“What'd I Say” (Parts 1 and 2)--Ray Charles (1959) Added to the National Registry: 2002 Essay by Michael Lydon (guest post)* Original label Here’s a seldom noted but significant fact about the long and distinguished career of Ray Charles: unlike his contemporaries--Chuck Berry, Fats Domino, Little Richard, and Bo Diddley--who all became rock ‘n’ roll stars by making their first records smash hits, he, Brother Ray, the Genius, the High Priest, the biggest star of them all, took the whole decade of the 1950s to emerge, step by steady step, out from the shadows of obscurity into the bright lights of international fame. In early 1950, Ray touched the black “race records” charts with “Baby Let Me Hold Your Hand”; five years later, he crossed over into the white charts with “I Got a Woman” (also a hit for Elvis Presley!) and “Hallelujah I Love Her So.” Next came “Movin’ On,” Ray’s first foray into country music, then “Soul Brothers,” some jazz with vibraphonist Milt Jackson. Having systematically covered the major branches of contemporary popular music, Ray must have thought from time to time, “What more can I do, what do I have left to conquer?” Thoughts like that may well have been crossing Ray’s mind in January 1959 as his touring caravan rolled east from Pittsburgh. At a dance in Brownsville, an industrial town, Ray realized he had run out of things to play that fit the excited mood of the dancers leaping and spinning before the stage. “So I said to the guys,” Ray recalled years later, “’Look, I don’t know where I’m going, so y’all follow me.’ Then I turned to the Raelettes and said, ‘Whatever I say, just repeat after me.’” Ray started a low, bouncy riff on electric piano, the drummer clicked in on his big cymbal, the band fell into an up-tempo groove, and Ray started singing nonsense choruses: “See that gal with a diamond ring, she knows how to shake that thing.” The crowd loved it and, without knowing that a song was being made up on the spot, fell into the improvisatory feeling.
[Show full text]
21S NOLA Syllabus Part I Graphicsa
HISTORY OF NEW ORLEANS MUSIC 2021S History of New Orleans Music 21S- MUGN-O246-W01 Spring 2021 16-Week Session 1/19/2021 - 5/7/2021 Instructor Information Name: Sanford Hinderlie Phone: (504) 865 2773 (Not to be used with Online course) Email: [email protected] (Preferred contact method. I usually reply to emails within 1-12 hours.) Office Location: World Wide Web Office Hours: By email appointment Terms of Use A student's continued enrollment in this course signifies acknowledgment of agreement with the statements, disclaimers, policies, and procedures outlined within this syllabus and elsewhere in the Canvas environment. This Syllabus is a dynamic document. Elements of the course structure (e.g., dates and topics covered, but not policies) may be changed at the discretion of the professor. Sanford Hinderlie, jazz piano Course Information Prerequisite Courses: ENGL T122 or Equivalent Course Location: Online in Canvas (NOTE: This is an asynchronous online course. However, it is NOT self-paced. Readings as well as all learning activities must be completed according to the weekly schedule provided in this syllabus.) Credit Hours: 3 Credit hours Weeks and Dates of the Course: 16 weeks (full semester), from Wednesday, Jan. 20, 2021 to Friday, May 5, 2021 Class Meeting Time: Each week begins on Monday at 12:00 am and ends on Sunday at 11:59 pm in Canvas Expectations of Workload: e.g. According to the Loyola University Credit Hour Policy http://academicaffairs.loyno.edu/credit-hour-policy, you are supposed to spend at least 6300 minutes (that is 105 hours including 35 hours of classwork and 70 hours of out-of-class work) for the whole semester regardless of how many weeks it is offered.
[Show full text]
Jazzweek Jazz Album Chart Jan
airplay data JazzWeek Jazz Album Chart Jan. 7, 2005 powered by TW LW 2W Peak Artist Release Label TP LP +/- Weeks Stations Adds 1 3 3 1 Doctor Lonnie Smith Too Damn Hot Palmetto 288 248 40 8 51 0 2 1 2 1 Steve Turre The Spirits Up Above HighNote 286 283 3 8 55 0 3 2 1 1 Eric Alexander Dead Center HighNote 273 261 12 9 50 0 4 4 4 2 Houston Person To Etta With Love HighNote 238 226 12 9 45 0 5 8 6 5 Jim Snidero Close Up Milestone 214 155 59 10 46 0 6 5 11 5 Queen Latifah The Dana Owens Album Qwest 162 213 -51 9 33 1 7 16 16 7 Deep Blue Organ Trio Deep Blue Bruise Delmark 143 112 31 10 30 2 8 15 9 8 Paradigm Shift Shifting Times Nagel Heyer 141 115 26 8 41 2 9 9 7 2 Phil Woods This Is How I Feel About Quincy Jazzed Media 140 128 12 13 35 0 10 27 26 6 Ray Charles Genius Loves Company Concord 139 90 49 21 28 1 11 12 13 8 Wallace Roney Prototype HighNote 137 121 16 7 39 0 11 10 7 7 Ken Peplowski Easy To Remember Nagel Heyer 137 127 10 9 35 1 13 18 14 13 Martijn van Iterson Quartet The Whole Bunch Munich Records 135 104 31 9 33 1 14 11 44 11 Orbert Davis Blue Notes 3 Sixteen 133 126 7 3 32 5 15 7 22 5 Madeleine Peyroux Careless Love Rounder 128 170 -42 15 33 0 16 17 17 16 Tony Monaco Firey Blues Summit 126 111 15 10 28 0 17 14 12 12 Pucho & His Latin Soul Brothers The Hideout Milestone 124 119 5 7 29 2 18 23 10 7 New Stories Hope Is the Air: Music of Elmo Hope Origin 116 100 16 10 30 2 19 30 25 19 Manuel Valera Forma Nueva MAVO Records 113 83 30 10 32 1 20 19 21 13 Joe Sample Soul Shadows Verve Music Group 111 103 8 11 26 0 21 20 18 18 Michael
[Show full text]
Jason Press Kit 2012
2011 NEA JASON MARSALIS JAZZ MASTER VIBES QUARTET “Just as his drumming is steeped in both modern and New Orleans rhythmic styles, his vibes playing draws on the rich tradition of that instrument…with commendably ardent swing.” -George Kanzler, Jazz Times From a tender young age it was clear Jason for his unique sound on the that Jason Marsalis had what it took to vibraphones. be great. Jason is the son of pianist and Since 2000, Jason has been a mainstay music educator Ellis Marsalis and his on the New Orleans scene as a wife Dolores, and the youngest sibling bandleader from the vibraphone chair. of Wynton, Branford and Delfeayo. More recently, Jason formed the current Together, the four brothers and Ellis incarnation of his Vibes Quartet in the comprise New Orleans’s venerable ﬁrst summer of 2007, and has spent the last family of jazz, and recipients of the four years touring and developing National Endowment for the Arts 2011 repertoire and rapport with his young Jazz Masters awards. quartet. The quartet’s sophomore Jason is well known for his prodigal release is recently completed, and drumming. Working with his father’s slated for a Fall of 2012 release. Jason group, as well as the great pianist is currently touring a recently developed Marcus Roberts, he has ﬁne-tuned his program of newly imagined classics “In a World of Mallets” playing in two of the most demanding from the Modern Jazz Quartet and Jason and his quartet trio settings in modern jazz. However, Lionel Hampton, along with his own recently finished recording with the release of 2009’s “Music original compositions.
[Show full text]