Sunday Night Jazz Monthly Open Jam Sessions Sundays

Total Page：16

File Type：pdf, Size：1020Kb

Sunday Night Jazz Monthly Open Jam Sessions Sundays

JOHN PIZZARELLI MARQUIS HILL MASSIMO FARAO FEAT. JIMMY COBB © Sergey Ushakov {2015} www.just-look.biz © Sergey Ushakov {2015} 1 Dixon Lane, Tarrytown, NY MARCH & APRIL 2018 914-631-1000 FRIDAYS & BRAZILIAN MUSIC SUNDAY NIGHT SATU R DAYS SUNDAYS! JAZZ (7 & 9:30 PM SETS) (4 & 6 PM SETS) (8 PM) Mar. 2 & 3 Mar. 4 Mar. 11 JOEY DEFRANCESCO TRIO EMPATHIA JAZZ DUO + AKIRA TANA & Mar. 9 & 10 HELIO ALVES & OTONOWA QUARTET ROGERIO BOCCATO THE ROYAL BOPSTERS Mar. 18 FEAT. NEA JAZZ MASTER Mar. 11 ANDREA BRACHFELD SHEILA JORDAN RODRIGO BONELLI & QUARTET Mar. 16 & 17 BRASIL TRIO Supported by Chamber Music America JOHN PIZZARELLI TRIO Mar. 18 Mar. 25 Mar. 23 & 24 JOE CARTER BRIAN Q. TORFF & SAMBA RIO QUARTET RICKY FORD QUARTET NEW DUKE FEAT. MARK SOSKIN, JEROME HARRIS & MAR. 25 Apr. 1 BARRY ALTSCHUL RICHARD BOUKAS & MARTIN WIND SEXTET Mar. 30 & 31 QUARTETO MODERNO FEAT. INGRID JENSEN, PETE LEVIN & MÖBIUS Apr. 8 SCOTT ROBINSON, GARY VERSACE, MAUCHA ADNET & FEAT. CHRIS PASIN, NANNY ASSIS & RICHARD SORCE PROJECT DUDUKA DA FONSECA LENNY WHITE Original Brazilian / Latin Jazz Apr. 15 Apr. 6 & 7 Apr. 15 TAMUZ NISSIM MARQUIS HILL BLACKTET MINAS BRAZILIAN SOUNDS Apr. 22 Apr. 13 & 14 FEAT. ORLANDO HADDAD AND GENE PERLA QUARTET GARY SMULYAN/ PATRICIA KING HADDAD TOM HARRELL QUINTET Apr. 22 Apr. 29 FEAT. RENEE ROSNES MAURICIO ZOTTARELLI STEVE SLAGLE QUARTET Plays the music of Donald Byrd & Pepper Adams QUARTET Apr. 20 & 21 Apr. 29 MONTHLY OPEN MASSIMO FARAÒ QUINTET PORTINHO QUARTET JAM SESSIONS FEAT. PHILIP HARPER, JERRY WELDON, NICOLA BARBON & JIMMY COBB SUNDAYS Apr. 27 & 28 (8 – 10 PM) ERIC ALEXANDER QUARTET Mar. 4 & April 8 FEAT. DAVID KIKOSKI, JOHN WEBBER & Hosted by JOE FARNSWORTH DAVID JANEWAY TRIO Italian Wines, Draft Beers, Great Food! Full Bar & Specialty Cocktails PRESENTING SPONSOR Tickets at www.jazzforumarts.org Info: 914-631-1000.

Copy Link

Recommended publications

Jazz Lines Publications
Jazz Lines Publications Presents sweet honey bee Arranged by duke pearson transcribed and Prepared by Dylan Canterbury full score jlp-7330 Music by Duke Pearson Copyright © 1965 Gailancy Music International Copyright Secured All Rights Reserved Logos, Graphics, and Layout Copyright © 2015 The Jazz Lines Foundation Inc. This Arrangement Has Been Published with the Authorization of the Estate of Duke Pearson. 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 duke pearson series sweet honey bee (1966) Background: Duke Pearson was an important pianist, composer, arranger and producer during the 1960s and 1970s. He was born in Atlanta, Georgia in 1932 and played trumpet as well as piano with many local groups. After attending Clark College, he toured with Tab Smith and Little Willie John before he moved to New York City in January of 1959. Donald Byrd heard him, and Byrd was the leader of Pearson’s first recording session. Soon Pearson was playing with the Benny Golson-Art Farmer Jazztet. Pearson became the musical director for Nancy Wilson, as well as continuing to tour and record with Donald Byrd. In 1963, Blue Note Records producer and musical director Ike Quebec passed away, and Pearson became Blue Note’s A&R director, as well as make his own albums. Grant Green, Stanley Turrentine, Johnny Coles, Blue Mitchell, Hank Mobley, Bobby Hutcherson, Lee Morgan and Lou Donaldson all benefited from his arranging and producing skills.
[Show full text]
1 the ERROL BUDDLE STORY (PART TWO) by Eric
THE ERROL BUDDLE STORY (PART TWO) by Eric Myers ______________________________________________________________ [The following appeared in two editions of Jazz Magazine, January/February, 1983 and May/June 1983.] At the conclusion of The Errol Buddle Story (Part One), Buddle was in the United States in 1954, leading his own quintet at Klein’s jazz club, Detroit. Other than Buddle the group included Barry Harris (piano), Pepper Adams (baritone sax), Major Holley (bass), and Elvin Jones (drums). On Saturday nights, Billy Mitchell (tenor sax) was booked for a three-way battle of the saxes. NOW READ ON… e used to get a lot of people sitting in at Klein’s,” Errol remembers , “Stan Getz used to come in some times. An unknown bass player, a young guy, used to “W come in and stand up in front of the bandstand, almost begging to sit in. His name was Paul Chambers [who later made historic recordings with Miles Davis.] I think he’d only been playing several months at that time.” Buddle remembers meeting Miles Davis himself when the trumpeter was at the Blue Bird Lounge, one of Detroit’s jazz clubs. Miles invited Errol and Don Varella up to his room, where the two Australians were fascinated to see about 40 paperbacks — all Westerns — lining the mantelpiece. They asked Miles why he liked cowboy stories. He replied: “Man, I love horses”, and explained that his father had bred horses on a ranch in the South. This was shortly before Miles Davis, in a supreme act of self-will, kicked the heroin habit. “Miles told us how he was really hooked on drugs”, says Errol, “that he didn’t dig heroin, and wanted to get off it.” One night Buddle had a choice between hearing the Stan Kenton band with Zoot Sims on tenor, or Charlie Parker, who was in Detroit for one night playing at a black dance.
[Show full text]
NYC Jazz Record
execution. Added inventiveness is found on Dresser’s GLOBE UNITY: BRAZIL composition “Yeller Grace”, which blends “Yellow Rose of Texas”, “Amazing Grace” and the National Anthem into a barely recognizable yet fully engaging mix. And they show plenty of versatility, as piano and bass converse equally well within the sweeping, legato passages of “For My Mother” or the jarring, playful bounces of “Big Mama”. But the true highlight is their interplay on Dresser’s composition “Mattress on a Stick”, which leads with a breathtakingly lyrical bass introduction, over Moser’s sparse and haunting choice Patience of chords. Each tune was recorded straight to two Stéphane Kerecki/John Taylor (Zig-Zag Territoires) entirely clean, un-mixed tracks, the depth of the tones All Strung Out astounding, providing a truly intimate experience. Piano Masters Series, Vol. 2 Denman Maroney/Dominic Lash (Kadima Collective) Philippe Baden Powell (Adventure Music) Duetto Mark Dresser/Diane Moser (CIMP) For more information, visit outhere-music.com/zigzag, Tempo (feat. Eddie Gomez) Tania Maria (Naïve) by Sam Spokony kadimacollective.com and cimprecords.com. Moser and Constelação Brazilian Trio (Motéma Music) In these three albums, we find each piano/bass duo Dresser are at Cornelia Street Café Sep. 6th. See Calendar. by Tom Greenland approaching the world of free improvisation with The world’s fifth largest country, home of bossa different modes of thought and intensity. nova, samba and birthplace of Tom Jobim, Airto Patience, by French bassist Stéphane Kerecki and Moreira, Milton Nascimento and Hermeto Pascoal British pianist John Taylor, reveals the strong influence (to name only a few), Brazil has deeply impacted of the classic dynamic that once existed between jazz.
[Show full text]
Ron Mcclure • Harris Eisenstadt • Sackville • Event Calendar
NEW YORK FebruaryVANGUARD 2010 | No. 94 Your FREE Monthly JAZZ Guide to the New ORCHESTRA York Jazz Scene newyork.allaboutjazz.com a band in the vanguard Ron McClure • Harris Eisenstadt • Sackville • Event Calendar NEW YORK We have settled quite nicely into that post-new-year, post-new-decade, post- winter-jazz-festival frenzy hibernation that comes so easily during a cold New York City winter. It’s easy to stay home, waiting for spring and baseball and New York@Night promising to go out once it gets warm. 4 But now is not the time for complacency. There are countless musicians in our fair city that need your support, especially when lethargy seems so appealing. To Interview: Ron McClure quote our Megaphone this month, written by pianist Steve Colson, music is meant 6 by Donald Elfman to help people “reclaim their intellectual and emotional lives.” And that is not hard to do in a city like New York, which even in the dead of winter, gives jazz Artist Feature: Harris Eisenstadt lovers so many choices. Where else can you stroll into the Village Vanguard 7 by Clifford Allen (Happy 75th Anniversary!) every Monday and hear a band with as much history as the Vanguard Jazz Orchestra (On the Cover). Or see as well-traveled a bassist as On The Cover: Vanguard Jazz Orchestra Ron McClure (Interview) take part in the reunion of the legendary Lookout Farm 9 by George Kanzler quartet at Birdland? How about supporting those young, vibrant artists like Encore: Lest We Forget: drummer Harris Eisenstadt (Artist Feature) whose bands and music keep jazz relevant and exciting? 10 Svend Asmussen Joe Maneri In addition to the above, this month includes a Lest We Forget on the late by Ken Dryden by Clifford Allen saxophonist Joe Maneri, honored this month with a tribute concert at the Irondale Center in Brooklyn.
[Show full text]
Jazzweek with Airplay Data Powered by Jazzweek.Com • January 30, 2012 Volume 8, Number 8 • $7.95
JazzWeek with airplay data powered by jazzweek.com • January 30, 2012 Volume 8, Number 8 • $7.95 Jazz Album No. 1: Jimmy Owens, The Monk Smooth Album No. 1: Boney James, Contact Project (IPO) (Verve Forecast) World Music No. 1: Novalima, Karimba (Esl) Smooth Single No. 1: Acoustic Alchemy, “Marrakesh” (Heads Up) JazzWeek relaunch: crowdfunding with perks at http://www.indiegogo.com/jazzweek Jazz Album Charts .................... 3 Jazz Add Dates ....................... 7 Smooth Jazz Album Charts .............4 Jazz Radio Currents ................... 8 Smooth Singles Charts ................. 5 Jazz Radio Panel .................... 11 World Music Album Charts .............. 6 Smooth Jazz Current Tracks............ 13 Smooth Jazz Station Panel............. 14 Jazz Birthdays January 30 February 10 February 20 Roy Eldridge (1911) Chick Webb (1909) Jimmy Yancey (1898) Bobby Hackett (1915) Larry Adler (1914) Bobby Jaspar (1926) Ahmed Abdul-Malik (1927) Sir Roland Hanna (1932) Nancy Wilson (1937) Tubby Hayes (1935) Rufus Reid (1944) Anthony Davis (1951) February 1 Lawrence “Butch” Morris (1947) February 21 Sadao Watanabe (1933) February 12 Al Sears (1910) Joe Sample (1939) Paul Bascomb (1912) Tadd Dameron (1917) February 2 Mel Powell (1923) Nina Simone (1933) Eddie “Lockjaw” Davis (1922) Bill Laswell (1955) Warren Vache (1951) Sonny Stitt (1924) February 13 February 22 Stan Getz (1927) Wingy Manone (1900) Rex Stewart (1907) James “Blood” Ulmer (1942) Wardell Gray (1921) Buddy Tate (1913) February 3 February 14 February 24 Lil Armstrong (1898)
[Show full text]
The Jazz Record
oCtober 2019—ISSUe 210 YO Ur Free GUide TO tHe NYC JaZZ sCene nyCJaZZreCord.Com BLAKEYART INDESTRUCTIBLE LEGACY david andrew akira DR. billy torn lamb sakata taylor on tHe Cover ART BLAKEY A INDESTRUCTIBLE LEGACY L A N N by russ musto A H I G I A N The final set of this year’s Charlie Parker Jazz Festival and rhythmic vitality of bebop, took on a gospel-tinged and former band pianist Walter Davis, Jr. With the was by Carl Allen’s Art Blakey Centennial Project, playing melodicism buoyed by polyrhythmic drumming, giving replacement of Hardman by Russian trumpeter Valery songs from the Jazz Messengers songbook. Allen recalls, the music a more accessible sound that was dubbed Ponomarev and the addition of alto saxophonist Bobby “It was an honor to present the project at the festival. For hardbop, a name that would be used to describe the Watson to the band, Blakey once again had a stable me it was very fitting because Charlie Parker changed the Jazz Messengers style throughout its long existence. unit, replenishing his spirit, as can be heard on the direction of jazz as we know it and Art Blakey changed By 1955, following a slew of trio recordings as a album Gypsy Folk Tales. The drummer was soon touring my conceptual approach to playing music and leading a sideman with the day’s most inventive players, Blakey regularly again, feeling his oats, as reflected in the titles band. They were both trailblazers…Art represented in had taken over leadership of the band with Dorham, of his next records, In My Prime and Album of the Year.
[Show full text]
JREV3.8FULL.Pdf
JAZZ WRITING? I am one of Mr. Turley's "few people" who follow The New Yorker and are jazz lovers, and I find in Whitney Bal- liett's writing some of the sharpest and best jazz criticism in the field. He has not been duped with "funk" in its pseudo-gospel hard-boppish world, or- with the banal playing and writing of some of the "cool school" Californians. He does believe, and rightly so, that a fine jazz performance erases the bound• aries of jazz "movements" or fads. He seems to be able to spot insincerity in any phalanx of jazz musicians. And he has yet to be blinded by the name of a "great"; his recent column on Bil- lie Holiday is the most clear-headed analysis I have seen, free of the fan- magazine hero-worship which seems to have been the order of the day in the trade. It is true that a great singer has passed away, but it does the late Miss Holiday's reputation no good not to ad• LETTERS mit that some of her later efforts were (dare I say it?) not up to her earlier work in quality. But I digress. In Mr. Balliett's case, his ability as a critic is added to his admitted "skill with words" (Turley). He is making a sincere effort to write rather than play jazz; to improvise with words,, rather than notes. A jazz fan, in order to "dig" a given solo, unwittingly knows a little about the equipment: the tune being improvised to, the chord struc• ture, the mechanics of the instrument, etc.
[Show full text]
Jeff Jarvis,Director
CONCERT JAZZ ORCHESTRA JEFF JARVIS, DIRECTOR WITH SPECIAL GUEST GARY SMULYAN, BARITONE SAXOPHONE SUNDAY, APRIL 29, 2012 4:00PM UNIVERSITY THEATRE PLEASE SILENCE ALL ELECTRONIC MOBILE DEVICES. TONIGHT’S PROGRAM GENTLY / Bob Mintzer This well-crafted original is the title track of a recording of the Bob Mintzer Big Band. This recording project was unique in that the horn section stood in a circle surrounding a specially designed ribbon microphone that was extremely sensitive and accurate. This microphone would not accept loud dynamic levels, so Bob Mintzer wrote material that showcased the band playing at softer dynamics, which resulted in frequent use of muted brass, flugelhorns, and woodwinds. Today’s soloists include Josh Andree (tenor sax) and Will Brahm (guitar). THEN AND NOW / George Stone This terrific original composition and arrangement is featured on a recent recording of the George Stone Big Band entitled “The Real Deal”, performed by a collection of Southern California’s finest studio musicians. George’s music is frequently featured at our concerts because of its superior quality, both from a compositional standpoint and also in terms of orchestration. This piece has it all—melodic integrity, intense rhythms, lush harmonies, and sufficient solo space. Today’s soloists include Eun young Koh (piano), Josh Andree (tenor sax), Will Brahm (guitar), and Daniel Hutton (alto sax). CHINA BLUE / Jeff Jarvis Originally composed as a commission for a big band in Williamsburg VA, the work features a winding trumpet melody supported by muted trombone parts, warm flugelhorn lines, and beautiful woodwind parts played by the saxophone section. The piece proves challenging since the musicians are faced with executing exposed parts with delicacy and restraint.
[Show full text]
The Australian
THE AUSTRALIAN __________________________________________________________________________________ Adelaide’s Errol Buddle scaled heights of American jazz OBITUARY: ERROL BUDDLE Published in The Australian, February 28, 2018 __________________________________________________________________________ ERIC MYERS Clive James once wrote, ‘‘The most daring thing you could do in Sydney in the late 1950s was listen to Errol Buddle at the El Rocco”. The subject, one of Australia’s greatest jazz musicians, has died in Sydney of heart failure. Buddle was 16 in 1944 when he heard Adelaide’s most prominent jazz saxophonist Bobby Limb, and was mesmerised by the music. Two years later, when Limb left Adelaide for Melbourne, Buddle was good enough to step into his shoes: three radio shows and a number of dance band gigs. At 18, Buddle was one of Adelaide’s leading musicians. For some years, Buddle worked in Adelaide, Melbourne and Sydney doing dance band, jazz and cabaret work. In 1951 he was at Chequers’ nightclub in Sydney every night and doing recording sessions during the day. Attracted to 1 the sound of the bassoon in Stravinsky’s The Rite Of Spring and Firebird Suite, he studied the instrument in Sydney and Adelaide, hoping to join a symphony orchestra. At 24 Buddle went to Canada in 1952 and settled in Windsor, across the US border from Detroit. Soon he was playing bassoon with the Windsor Symphony Orchestra. In 1953 Buddle came to prominence in Detroit. After sitting in at Klein’s, a jazz club where a group including pianist Tommy Flanagan was led by saxophonist Yusef Lateef, the manager George Klein asked Buddle to take over the group.
[Show full text]
Baltimore: “Music City” of the Future?
December 2015 Baltimore: “Music City” of the Future? . 1 BCJS at BMA: Don Braden Quintet featuring Vanessa Rubin . 4 BALTIMORE JAZZ ALLIANCE Member Notes, Discounts and Merchandise . 6 Dave Douglas at An die Musik . 7 An Interview with Nico Sarbanes . 8 Jazz Jam Sessions . 10 Ad Rates and Member Sign-up Form . 11 VOLUME XII ISSUE XI THE BJA NEWSLETTER WWW.BALTIMOREJAZZ.COM Baltimore: “Music City” of the Future? By Ken Avis On October 25th the Music Cities Conference in Washington, DC brought together 200 musicians, presenters, and city ad - ministrators from around the world to share experiences con - cerning the value of active music communities and ways to make them thrive. Something is happening out there. In re - cent years, at the city and at national levels, data are being collected, action plans are being implemented, and “live music offices” are being staffed. The evidence is conclusive. Under the right conditions a vibrant music scene positively affects community and economic development. Link it to tourism and it can really bring in the dollars and jobs. Austin, Nashville, New Orleans, and Berlin are clearly “music cities” where festivals, clubs and the supporting in - dustries provide jobs and attract tourist dollars. Austin has been America’s fastest-growing city for the last nine years. Its “cool music city” factor has been key to its success in attract - ing creative talent for the expanding high tech and creative What about Baltimore? Could Baltimore harness its jazz industries. At the other end of the spectrum, Johannesburg, legacy and active arts scene to ramp up quality of life Bogota, and at the national level, Venezuela are actively pur - and attract talent and jobs to revitalize the city ? suing music education and performance programs to address problems of crime and poverty and to develop healthier com - searchable by date, location, and genre, are front and center.
[Show full text]
Downbeat.Com April 2011 U.K. £3.50
£3.50 £3.50 U.K. PRIL 2011 DOWNBEAT.COM A D OW N B E AT MARSALIS FAMILY // WOMEN IN JAZZ // KURT ELLING // BENNY GREEN // BRASS SCHOOL APRIL 2011 APRIL 2011 VOLume 78 – NumbeR 4 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Associate Maureen Flaherty 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] Classified Advertising Sales Sue Mahal 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, John McDonough, Howard Mandel Atlanta: Jon Ross; Austin: Michael Point, 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: Robert 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,
[Show full text]
Phil Sumpter Dir
Contact: Phil Sumpter Dir. of Marketing & Communications 215.925.9914 ext. 15 FOR IMMEDIATE RELEASE: November 19, 2010 JAZZ GIANT DAVE HOLLAND DEBUTS 2 TIME GRAMMY-AWARD WINNING BIG BAND PROJECT AT PAINTED BRIDE DEC. 11, BAR NONE ROSTER OF TALENT TO PERFORM TWO SHOWS HOLLAND “PASSES IT ON” TO NEXT GENERATION DURING 3-DAY RESIDENCY ON AVENUE OF THE ARTS WITH CAPA HIGH SCHOOL BIG BAND MADE POSSIBLE THROUGH SUPPORT FROM PHILADELPHIA MUSIC PROJECT PHILADELPHIA – Painted Bride Art Center proudly presents the Philadelphia debut of Dave Holland’s Big Band as part of Jazz on Vine, Philadelphia’s longest continuing jazz series. Double-bassist-composer-arranger Holland leads his 13 piece all-star ensemble in two full-length shows (7pm and 9pm) on Saturday, December 11, 2010. Tickets are $25. For tickets and show info, visit paintedbride.org, call the Box Office at 215- 925-9914 or visit the Painted Bride Art Center, located at 230 Vine Street in Philadelphia. The box office is open Tuesday through Saturday, 12pm until 6pm. Crush Card holders receive a 20% discount. Students and seniors receive a 25% discount on tickets. Three days leading up to his concerts at the Bride, Mr. Holland arrives as artist-in- residence at the High School for the Creative Arts and Performing (CAPA). Using newly written charts created specifically for this special residency, Holland will lead rehearsals while discussing his creative process and approaches to arrangement and orchestration. 17 students, including one standout freshman, will work with the jazz icon for three days straight. A culminating performance will take place in CAPA’s auditorium on Friday, December 10 at 7pm.
[Show full text]