DOCSLIB.ORG

Norman Hedman's Tropical Jazz to Warm the Heartland

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Norman Hedman's Tropical Jazz to Warm the Heartland Chucho Valdes and Norman Berman Music Foundation Hedman Norman Hedman's tropical jazz to warm Spring 2001 the Heartland Vol. 6, Number 3 By Tom Ineck . out for concerts, Hedman noted in a orman Hedman's Tropique phone interview from his home in New performs March 24 at the lied York City. Ii> N e Center for Performing Arts, arriving "It gives the band credibility for like a warm, tropical breeze after a long, bookings, and bookings mean sales," In this issue of Jazz .. .. frigid Midwestern winter. Hedman said in his typically straight­ Hedman to Heartland ........... ,.1 At the time of this writing, the forward manner. New York City-based Recent perfor­ The Prez Sez ....................... 2 band's current release, mances bear out Jazz in the Venues ............. 2 TakenBySUJprlse, is " ... Taken By Surprise, Hedman's assertion NJO ............ : .............. 3 is riding high on the riding high on the that heavy airplay Tomfoolery .................... .4 Gavin jazz charts, at Gavin jazz charts, at the has an indirect effect the No.6 position. No.6 position." on sales, at least Milt Hinton .......................... .4 Recorded in Au­ among those who Jazz on Disc. ...................... S gust 1999 at Eastside hear the band in the Discorama ......................... 7 Sound in Manhattan and released last flesh. Hedman said the popular re­ Blues Corner ....................... 7 November on Palmetto Records, Taken sponse at Tropique concerts is heart­ By Sutprise is the second Tropique CD ening in the very competitive world Unsung Hero ....................... 8 funded by the Berman Music Foun­ of music. Blues on Disc. .................... 9 dation. The fIrst, One Step Closer, was "It's been excellent," he said. "The Summit Jazz ..................... 10 release on Arabesque Records in 1999. show that we did at the Jazz Standard The BMF also is providing major (a Nov. 6 CD release party at the New funding for the Lied Center perfor­ York City jazz club) we sold the club mance. out, and we sold about 130 to 140 CDs While the Gavin airplay barometer that night." is not a gauge of record sales, it does Appearances outside the group's mean people are hearing the CD. In hometown have been just as success­ turn, that means more fans of ful, Hedman reports. Tropique's light and lively, "When we were in Barbados polyrhythmic music are likely to tum (Hedman continued on pg. 6) Page 2 Berman Music Foundation Jazz •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• Prez Sez Hedman/Fort Apache--THE Jazz Show of 2001 By Butch Berman· . bone as Charlie Parker to his alto In closing, and on an entirely - a Jazz Giant that touched all afi­ different note, I want to happily cionados worldwide. report that my all-time fave band - Also, after building you all up -Charlie Burton & Rock Therapy-­ in our past issue I'm sorry to have not only had a ball reuniting at the called off the Valentine's Day show Rock 2000: Rock and Roll Hall of with Kendra Shank and Frank Fame Pla-Mor extravaganza, but Kimbrough. Kendra's agent took have rebanded again to cut a demo solong trying to block book that of four (of many) new Bur-Toons. the cost of air fare had tripled, If my taste in rock and roll making, on paper anyway, no (whether I'm playing on it or not) D ear Readers, Friends, & Foes, chance at all of even breaking even is just - I feel that Charlie Burton's as our budget was destroyed. Any­ new stuff could propel CB & RT Spring has sprung, Fall has fell, how - we fulfilled our part of the to another level of rockdom. No jazz is cool, so what the heck. One contract as Kendra and Frank still shit - we got along, had a ball, and thing for sure - at least for us Mid­ got paid - and they promised to sounded great. More news of this westerners - Wmter sucks! We, at least, play here someday soon (we hope) continuing odyssey - as well as all have our music to keep us warm - as when they're in the area. Subse­ the skinny of our jazz Babylon to well as a big thanx to Ken Burns for quently, no hard feelings were di­ follow in our Summer issue. his great (no matter what critics may rected towards the artists at all. By the way, you'll receive all the say) 20-hour jazz marathon. Just to Taken by Swprise, the new Palmetto info you'll need to attend the best jazz educate the public with that much release by Norman Hedman's party in the USA - I'm talkin' 'bout prime-time coverage and info on jazz Tropique, has now climbed to #6 on the Topeka Jazz Festival- set for Me­ is incredible the GavinJazz Chart. He's thrilled and morial Day Weekend in Topeka, Kan­ I was shocked and saddened to we're very proud. His success only sas. See the ad for the marvi cast of hear ofJJ. Johnson's untimely passing. whets the appetite for his upcoming characters. Guess he was suffering from cancer, show at the Lied Center in lincoln with and at 77 maybe he felt he'd done enuff Jerry Gonzales & the Fort Apache - man, he did it ail, revolutionizing the Band. This will probably be 1HE jazz way he applied bebop to the trom- show of 2001. Not to be missed! Butch Berman ing the second and third sets. The Jazz at The Five Reasons Jazz in the cover charge is still $4, $3 for stu­ On Friday and Saturday eve­ dents. nings from 8 to 11 p.m. at The venues For more information, call 402- Five Reasons Lounge in the th Compiled by Dave Hughes. 477-8008. Cornhusker Hotel, 333 S. 13 St Monday Night Big Band continues in Lincoln, pianist John Carlini Jazz at The Oven The Monday Night Big Band is (occasionally with saxophonist On Thursday and Sunday evenings still playing every Monday night at Bill Wimmer) continues to play. at The Oven, 201K 8th St. in Lincoln, P.O. Pears, 322 S. 9th St in Lincoln. Ca11402-474-7474 for more infor­ you can still hear the duos of either: Every week features a different mation. Dave Novak & Dennis Taylor; Steve music director that leads the group Hanson & Nancy Marshall; John in three sets from 7:30 to 10 p.m. Brazilian Music Jam Carlini & Andy Hall; or Peter Bouffard Audience members are still en­ The Brazilian Music Jam at 4 &John Carlini. Ca11402-475-6118 for couraged to bring their own instru­ Friends has been cancelled until more inforn1ation. ments and sit in with the band dur- further notice according to the co- Page 3 t ••••••••••••••••••••••••••••••• •••••• • • • • • •• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • Jazz is usually published six times Veteran Benny Powell a year by The Berman Music Foundation, 719 P St., Studio G, shares talents with NJO Lincoln, NE 68508. By Tom [neck . trumpet, Todd Thatcher on trombone Editor: Dave Hughes eteran trombonist and world and a furious tenor saxophone duel Newsletter and computer con­ sultant: Rebecca Kaiser traveler Benny Powell brought between Rich Burrows and Stan V Contributing writers: Butch more than 50 years of playing experi­ Harper. Nat Adderly's "Work Song" Berman, Rich Hoover, Dave ence to the stage Jan. 25 when he made was a great vehicle for Tom Harvill's Hughes, Tom Ineck, & Bill Wimmer. a guest appearance with the Nebraska probing, blues-inflected piano and Ed Photographers: Butch Berman, Jazz Orchestra. Love's versatile alto sax. Rich Hoover; and Tom Ineck. But for the program "Learning Powell returned to the stage to From the Master," the local musicians front a combo with Scott Vicroy on For inclusion of any jazz or blues more than held their own in Powell's baritone sax, backed by a rhythm sec­ related events, letters to the editor; esteemed company, skillfullyentertain­ tion. They nailed a swinging, midtempo or suggested articles, you can ei­ ing an audience of nearly 400 in the rendition of the standard "There Is No ther mail them to the office, phone us at 402-476-3112, fax us at 402- ballroom of The Cornhusker Hotel. Greater Love." 475-3136, or e-mail us at: Learning the most during the The full band rejoined Powell and <[email protected]>. Our evening performance were this year's the rest for several Powell-penned website address is: crop of musicians in the NJO's Young works, beginning with a lurching ca­ www.bermanmusicfoundation.org Lions All Star Band, the group of lypso composition written for the handpicked area high school students trombonist's "Aunt Babe." Mark For advertising information, con­ that opened the concert. Under the di­ Benson on alto sax and Harvill on pi­ tact Butch Berman at 402-488- rection of NJO saxophonist Scott ano gave the catchy tune some inter­ 1398. A business card sized ad for Vic roy , the band began with Miles esting twists. one issue is $25, a half-page ad for Davis' "Four," continued with "You Are With Me," a slow blues one issue is $ 100. Discounts ap­ Thelonious Monk's ballad '''Round tune, was dedicated to Count Basie, in ply for six month or one year rates. Midnight," featuring Bryan Ewing on whose brdSS section Powell worked for If you would like to be added to flugelhorn, and followed up with the 12 illustrious years. Trombonists our mailing list, call us at 402-476- bluesy Count Basie tune "Front Thatcher and Bryant Scott expertly 3112, fax us at 402-475-3136, or Burner." traded phrases with Powell. e-mail us at: Like a natural-born teacher, Powell But the Powell compositions <[email protected]>.
Load more

Recommended publications
  • Download the Vocal of Frank Foster
    1 The TENORSAX of FRANK BENJAMIN FOSTER Solographer: Jan Evensmo Last update: Oct. 7, 2020 2 Born: Cincinnati, Ohio, Sept. 23, 1928 Died: Chesapeake, Virginia, July 26, 2011 Introduction: Oslo Jazz Circle always loved the Count Basie orchestra, no matter what time, and of course we became familiar with Frank Foster’s fine tenorsax playing! Early history: Learned to play saxes and clarinet while in high school. Went to Wilberforce University and left for Detroit in 1949. Played with Wardell Gray until he joined the army in 1951. After his discharge he got a job in Count Basie's orchestra July 1953 after recommendation by Ernie Wilkins. Stayed until 1964. 3 FRANK FOSTER SOLOGRAPHY COUNT BASIE AND HIS ORCHESTRA LA. Aug. 13, 1953 Paul Campbell, Wendell Cully, Reunald Jones, Joe Newman (tp), Johnny Mandel (btp), Henry Coker, Benny Powell (tb), Marshal Royal (cl, as), Ernie Wilkins (as, ts), Frank Wess (fl, ts), Frank Foster (ts), Charlie Fowlkes (bar), Count Basie (p), Freddie Green (g), Eddie Jones (b), Gus Johnson (dm). Three titles were recorded for Clef, two issued, one has FF: 1257-5 Blues Go Away Solo with orch 24 bars. (SM) Frank Foster’s first recorded solo appears when he just has joined the Count Basie organization, of which he should be such an important member for years to come. It is relaxed and highly competent. Hollywood, Aug. 15, 1953 Same personnel. NBC-TV "Hoagy Carmichael Show", three titles, no solo info. Hoagy Carmichael (vo). Pasadena, Sept. 16, 1953 Same personnel. Concert at the Civic Auditorium. Billy Eckstine (vo).
    [Show full text]
  • Duke Ellington Kyle Etges Signature Recordings Cottontail
    Duke Ellington Kyle Etges Signature Recordings Cottontail. Cottontail stands as a fine example of Ellington’s “Blanton-Webster” years, where the ​ band was at its peak in performance and popularity. The “Blanton-Webster” moniker refers to bassist Jimmy Blanton and tenor saxophonist Ben Webster, who recorded Cottontail on May 4th, 1940 alongside Johnny Hodges, Barney Bigard, Chauncey Haughton, and Harry Carney on saxophone; Cootie Williams, Wallace Jones, and Ray Nance on trumpet; Rex Stewart on cornet; Juan Tizol, Joe Nanton, and Lawrence Brown on trombone; Fred Guy on guitar, Duke on piano, and Sonny Greer on drums. John Hasse, author of The Life and Genius of Duke ​ Ellington, states that Cottontail “opened a window on the future, predicting elements to come in ​ jazz.” Indeed, Jimmy Blanton’s driving quarter-note feel throughout the piece predicts a collective gravitation away from the traditional two feel amongst modern bassists. Webster’s solo on this record is so iconic that audiences would insist on note-for-note renditions of it in live performances. Even now, it stands as a testament to Webster’s mastery of expression, predicting techniques and patterns that John Coltrane would use decades later. Ellington also shows off his Harlem stride credentials in a quick solo before going into an orchestrated sax soli, one of the first of its kind. After a blaring shout chorus, the piece recalls the A section before Harry Carney caps everything off with the droning tonic. Diminuendo & Crescendo in Blue. This piece is remarkable for two reasons: Diminuendo & ​ ​ Crescendo in Blue exemplifies Duke’s classical influence, and his desire to write more ​ grandiose pieces with more extended forms.
    [Show full text]
  • Powell, His Trombone Student Bradley Cooper, Weeks
    Interview with Benny Powell By Todd Bryant Weeks Present: Powell, his trombone student Bradley Cooper, Weeks TBW: Today is August the 6th, 2009, believe it or not, and I’m interviewing Mr. Benny Powell. We’re at his apartment in Manhattan, on 55th Street on the West Side of Manhattan. I feel honored to be here. Thanks very much for inviting me into your home. BP: Thank you. TBW: How long have you been here, in this location? BP: Over forty years. Or more, actually. This is such a nice location. I’ve lived in other places—I was in California for about ten years, but I’ve always kept this place because it’s so centrally located. Of course, when I was doing Broadway, it was great, because I can practically stumble from my house to Broadway, and a lot of times it came in handy when there were snow storms and things, when other musicians had to come in from Long Island or New Jersey, and I could be on call. It really worked very well for me in those days. TBW: You played Broadway for many years, is that right? BP: Yeah. TBW: Starting when? BP: I left Count Basie in 1963, and I started doing Broadway about 1964. TBW: At that time Broadway was not, nor is it now, particularly integrated. I think you and Joe Wilder were among the first to integrate Broadway. BP: It’s funny how it’s turned around. When I began in the early 1960s, there were very few black musicians on Broadway, then in about 1970, when I went to California, it was beginning to get more integrated.
    [Show full text]
  • Liebman Expansions
    MAY 2016—ISSUE 169 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM DAVE LIEBMAN EXPANSIONS CHICO NIK HOD LARS FREEMAN BÄRTSCH O’BRIEN GULLIN Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East MAY 2016—ISSUE 169 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : Chico Freeman 6 by terrell holmes [email protected] Andrey Henkin: [email protected] Artist Feature : Nik Bärtsch 7 by andrey henkin General Inquiries: [email protected] On The Cover : Dave Liebman 8 by ken dryden Advertising: [email protected] Encore : Hod O’Brien by thomas conrad Editorial: 10 [email protected] Calendar: Lest We Forget : Lars Gullin 10 by clifford allen [email protected] VOXNews: LAbel Spotlight : Rudi Records by ken waxman [email protected] 11 Letters to the Editor: [email protected] VOXNEWS 11 by suzanne lorge US Subscription rates: 12 issues, $40 Canada Subscription rates: 12 issues, $45 In Memoriam 12 by andrey henkin International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or money order to the address above CD Reviews or email [email protected] 14 Staff Writers Miscellany David R. Adler, Clifford Allen, 37 Duck Baker, Fred Bouchard, Stuart Broomer, Thomas Conrad, Ken Dryden, Donald Elfman, Event Calendar 38 Philip Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo, Suzanne Lorge, Marc Medwin, Ken Micallef, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Andrew Vélez, Ken Waxman Tracing the history of jazz is putting pins in a map of the world.
    [Show full text]
  • 1993 February 24, 25, 26 & 27, 1993
    dF Universitycrldaho LIoNEL HmPToN/CHEVRoN JnzzFrsrr\Al 1993 February 24, 25, 26 & 27, 1993 t./¡ /ìl DR. LYNN J. SKtNNER, Jazz Festival Executive Director VtcKt KtNc, Program Coordinator BRTNoR CAtN, Program Coordinator J ¡i SusnN EHRSTINE, Assistant Coordinator ltl ñ 2 o o = Concert Producer: I É Lionel Hampton, J F assisted by Bill Titone and Dr. Lynn J. Skinner tr t_9!Ð3 ü This project is supported in part by a grant from the National Endowment for the Arts We Dedicate this 1993 Lionel Hømpton/Chevron Jøzz Festivül to Lionel's 65 Years of Devotion to the World of Juzz Page 2 6 9 ll t3 r3 t4 l3 37 Collcgc/Univcrsity Compctition Schcdulc - Thursday, Feh. 25, 1993 43 Vocal Enserrrbles & Vocal Conrbos................ Harnpton Music Bldg. Recital Hall ...................... 44 45 46 47 Vocal Compctition Schcrlulc - Fridav, Fcli. 2ó, 1993 AA"AA/AA/Middle School Ensenrbles ..... Adrrrin. Auditoriunr 5l Idaho Is OurTenitory. 52 Horizon Air has more flights to more Northwest cities A/Jr. High/.Ir. Secondary Ensenrbles ........ Hampton Music Blclg. Recital Hall ...............,...... 53 than any other airline. 54 From our Boise hub, we serve the Idaho cities of Sun 55 56 Valley, Idaho Falls, Lewiston, MoscowÆullman, Pocatello and AA/A/B/JHS/MIDS/JR.SEC. Soloists ....... North Carnpus Cenrer ll ................. 57 Twin Falls. And there's frequent direct service to Portland, lnstrurncntal Corupctilion'Schcrlulc - Saturday, Fcll. 27, 1993 Salt Lake City, Spokane and Seattle as well. We also offer 6l low-cost Sun Valley winter 8,{. {ÀtûåRY 62 and summer vacation vt('8a*" å.t. 63 packages, including fOFT 64 airfare and lodging.
    [Show full text]
  • Discography Updates (Updated May, 2021)
    Discography Updates (Updated May, 2021) I’ve been amassing corrections and additions since the August, 2012 publication of Pepper Adams’ Joy Road. Its 2013 paperback edition gave me a chance to overhaul the Index. For reasons I explain below, it’s vastly superior to the index in the hardcover version. But those are static changes, fixed in the manuscript. Discographers know that their databases are instantly obsolete upon publication. New commercial recordings continue to get released or reissued. Audience recordings are continually discovered. Errors are unmasked, and missing information slowly but surely gets supplanted by new data. That’s why discographies in book form are now a rarity. With the steady stream of updates that are needed to keep a discography current, the internet is the ideal medium. When Joy Road goes out of print, in fact, my entire book with updates will be posted right here. At that time, many of these changes will be combined with their corresponding entries. Until then, to give you the fullest sense of each session, please consult the original entry as well as information here. Please send any additions, corrections or comments to http://gc-pepperadamsblog.blogspot.com/, despite the content of the current blog post. Addition: OLIVER SHEARER 470900 September 1947, unissued demo recording, United Sound Studios, Detroit: Willie Wells tp; Pepper Adams cl; Tommy Flanagan p; Oliver Shearer vib, voc*; Charles Burrell b; Patt Popp voc.^ a Shearer Madness (Ow!) b Medley: Stairway to the Stars A Hundred Years from Today*^ Correction: 490900A Fall 1949 The recording was made in late 1949 because it was reviewed in the December 17, 1949 issue of Billboard.
    [Show full text]
  • Lee Morgan Chronology 1956–1972 by Jeffery S
    Delightfulee Jeffrey S. McMillan University of Michigan Press Lee Morgan Chronology 1956–1972 By Jeffery S. McMillan This is an annotated listing of all known Lee Morgan performances and all recordings (studio, live performances, broadcasts, telecasts, and interviews). The titles of studio recordings are given in bold and preceded by the name of the session leader. Recordings that appear to be lost are prefaced with a single asterisk in parentheses: (*). Recordings that have been commercially issued have two asterisks: **. Recordings that exist on tape but have never been commercially released have two asterisks in parentheses: (**). Any video footage known to survive is prefaced with three asterisks: ***. Video footage that was recorded but appears to now be lost is prefaced with three asterisks in parentheses: (***). On numerous occasions at Slugs’ Saloon in Manhattan, recording devices were set up on the stage and recorded Morgan’s performances without objection from the trumpeter. So far, none of these recordings have come to light. The information herein is a collation of data from newspapers, periodicals, published and personal interviews, discographies, programs, pamphlets, and other chronologies of other artists. Morgan’s performances were rarely advertised in most mainstream papers, so I drew valuable information primarily from African-American newspapers and jazz periodicals, which regularly carried ads for nightclubs and concerts. Entertainment and nightlife columnists in the black press, such as “Woody” McBride, Masco Young, Roland Marsh, Jesse Walker, Art Peters, and Del Shields, provided critical information, often verifying the personnel of an engagement or whether an advertised appearance occurred or was cancelled. Newspapers that I used include the Baltimore Afro-American (BAA), Cleveland Call & Post (C&P), Chicago Defender (CD), New Jersey Afro-American (NJAA), New York Amsterdam News (NYAN), Philadelphia Tribune (PT), and Pittsburgh Courier (PC).
    [Show full text]
  • Chico Freeman Extended
    Chico Freeman Heralded as one of the most important saxophonists of our time, composer and producer, Chico Freeman has perfected an immediately recognizable approach to music and composition, blending what he has experienced from his past and providing fluidity into a future of infinite musical possibilities. In the early 2000s, with dozens of recordings as a leader, Freeman moved from New York to Europe to start a new chapter of his life -- exploration by focusing on his own self-improvement and self-reflection. His thirst to immerse himself in his music, his curiosity to explore working with different musicians and living in different cultures and challenging himself to be better than he was. “As much as I’ve travelled and on the road playing with such masters as McCoy Tyner, Elvin Jones, Jack DeJohnette, Sam Rivers, Sun Ra, Dizzy Gillespie and so many jazz greats, as well as leading my own groups including founding “The Leaders” and the group “Roots,” an inner voice was telling me, you need to go to another level both musically and personally,“ Freeman explains. “You need to work with other musicians from different cultures and create new avenues of expression. As part of the Freeman family legacy of Chicago; his father, legendary NEA Jazz Master saxophonist Von Freeman; his uncles, guitarist George Freeman; and drummer Bruz Freeman, Chico amassed a diverse résumé of performing R&B to blues, hard bop to avant-garde. His collegiate studies in Advanced Composition and Theory at Northwestern University led him to teach composition at the AACM (Association for the Advancement of Creative Musicians) Music School, and while attaining his Masters in Composition and Theory at Governor State University, he studied composition with NEA Jazz Master Muhal Richard Abrams.
    [Show full text]
  • Bird's Bebop Brother Goes Home
    gram JAZZ PROMOTING AND NURTURING JAZZ IN CHICAGO SEPTEMBER 2020 WWW.JAZZINCHICAGO.ORG BIRD’S BEBOP BROTHER GOES HOME JOE SEGAL, JIC CO-FOUNDER, 2015 NEA JAZZ MASTER, REMEMBERED BY MUSICIANS AND MUSIC LOVERS BY COREY HALL While our current reality resembles Orson Welles’ War of the Worlds on steroids, let us escape and celebrate Joe Segal -- April 24, 1926-August 10, 2020 -- who brought jazz to Chicago for more than seven decades. Imagine… Scene: August 10, 2020. Place: Tadd’s Hot House. Charlie Parker, firm, fit, and poison-free since March 12, 1955, is sheddin’ “Just Friends” when in walks Joe. “Hey, man! It’s about time!” Bird exclaims, embracing his brother in bop. “What were you up to? Reading the list of upcoming cats?” “I was busy saving the youth,” Joe replies, while readjusting his Cubs cap. “Keeping them safe from the ‘Yookey Dukes!’” Both brothers laugh, embrace again, and then cast their sights down at this page, now a stage, where dudes and dudettes carrying voices, horns and guitars gather to take on this thought prompter: “What song sums up your experience with and/or appreciation of Joe Segal?” (The tunes designated with an asterisk are accompanied by a video available by clicking on the link or thumbnail). Solitaire Anna Miles, vocalist: (*) “I did every gig at the Jazz Showcase with Willie Pickens. We always opened with “Exactly Like You," and if Joe was there, he would sing it with me from the audience, so I think he liked the tune…or at least the way Willie and I did it.
    [Show full text]
  • Settimanale Di Migros Ticino La Voce Di Chicago (E Di Chico)
    Biglietti a concorso «Azione» offre ai propri lettori la possibilità di aggiudicarsi biglietti gratuiti per il concerto di Chico Freeman and the Voices of Chicago. Per partecipare seguire le istruzioni nella pagina web www.azione.ch/concorsi. Buona Fortuna! La voce di Chicago (e di Chico) Jazz - Da Chiasso, il 16/11, un tributo alla Windy City / 04.11.2019 di AZ La geografia del jazz, negli USA, è molto più che una semplice mappa territoriale. Parlare di New York, di Kansas City, di San Francisco, per non dire di New Orleans, significa richiamare alla mente specifiche e ben definite varianti stilistiche, con una loro tradizione e un loro posto preciso nella storia della musica neroamericana. In questo swingante panorama brilla di luce propria la città di Chicago. Per la storia della comunità nera la capitale del Michigan ha esercitato fin dai tempi passati un’attrazione molto speciale. È stata infatti meta della fuga di molti schiavi del Sud, che cercavano nel Nord degli Stati Uniti la possibilità di emanciparsi, di vedere riconosciuti i propri diritti. Non a caso la Windy City ha costituito l’incubatore di nuove forme di espressione musicale: in qualche modo ha raccolto l’eredità del blues che gli immigrati del sud portavano con sé e ha trasformato un repertorio acustico e rurale, malinconico, nel sanguigno «blues di Chicago», che è elettrico, urbano e graffiante. Anche nell’ambito più propriamente jazz Chicago ha giocato un suo ruolo. Negli anni della contestazione e della presa di coscienza della comunità neroamericana, si è creato proprio qui un movimento culturale d’avanguardia, che esplorava nuove modalità espressive e di collettivizzazione artistica.
    [Show full text]
  • Down for the Count Full Score
    Jazz Lines Publications Presents down for the count Arranged by frank foster prepared by jeffrey sultanof, dylan canterbury, and rob duboff full score JLP-51211 Music by Frank Foster Copyright © 1955 Swing That Music Inc. All Rights Reserved Used By Permission Logos, Graphics, and Layout Copyright © 2018 The Jazz Lines Foundation Inc. This Arrangement Has Been Published with the Authorization of the Estate of Frank Foster. Published by the Jazz Lines Foundation Inc., a not-for-profit jazz research organization dedicated to preserving and promoting America’s musical heritage. The Jazz Lines Foundation Inc. PO Box 1236 Saratoga Springs NY 12866 USA frank foster series down for the count (1954) Background: Next to Duke Ellington, there is no more famous band in the history of jazz than that of William “Count” Basie. Although his economical piano playing was ahead of his time compared to several of his more stride-oriented contemporaries, Basie was always best known as the face of an organization that played a continuous role in shaping the trajectory of jazz for over 50 years. Born on August 21, 1904 in Red Bank, New Jersey, even as a youth Basie was attracted to not just music in general, but the idea of being a bandleader specifically. Settling on the piano as his main instrument as a teen, Basie’s musical apprenticeship was fairly typical for the time. Most of his education stemmed from hanging around the Harlem stride piano scene of the 1920s. A series of tours with vaudeville troupes came next; when one of the troupes broke up in Kansas City in 1927, Basie found himself stranded.
    [Show full text]
  • Jazz at Saint Peter's
    window. The segments of looser improvisation that evergreen, maintaining its wistful feeling yet enriching come between these are hardly calming. Evans’ “Echo”, it with a judicious April-showers cascade of keyboard a tune he also plays much differently with his Zebulon runs. Bebop standard “Bernie’s Tune” has some Trio, is a series of manic blasts sewn together by the effervescent, melodramatically urgent piano, with ‘jazziest’ improvisations to be found herein. A hilarious plenty of thrusting, bobbing-and-weaving jabs, Garner moment is the opening to Pride’s “Pools”, jackbooted occasionally vocalizing along with his playing. bass and fluttering trumpet coasting above whimsical Disc Two has a heretofore-unissued and incredible glockenspiel before turning into a Deep Purple deep take on the Gershwin gem “S’Wonderful”, Garner cut. While Evans and Pride’s improvisational prowess is judiciously splaying rapid-fire single-note runs, ending well known in a variety of contexts, Dahl’s contributions with a dazzling, unexpected change in tempo, slowing Eponymous are the revelation here. His is such a forceful approach it then blazing to a fare-thee-well conclusion. “Laura” is Pulverize The Sound (Relative Pitch) by Andrey Henkin to the instrument that the higher-pitched trumpet and given a whimsical, Debussy-flavored reading, in the louder drums often genuflect before it. But whatever manner of an Impressionist artist delicately applying For those of a certain age and experience, Pulverize The facet is your focus, don’t forget the band-aids. paint to a canvas. Before sinking his proverbial teeth Sound (PTS) recalls the heady hardcore days of the mid into the classic melody of “Caravan”, Garner plays what ‘80s in its name and the stark white block lettering on a For more information, visit relativepitchrecords.com.
    [Show full text]