DOCSLIB.ORG

Woody Shaw - Gladsaxe Jazzlytteklub - 20

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Woody Shaw - Gladsaxe Jazzlytteklub - 20 Woody Shaw - Gladsaxe Jazzlytteklub - 20. marts 2019 Woody Shaw (W. Herman S. Jr.) Amerikansk trompetist, f. 21.12.1944 i Laurinburg, NC. d. 9.5.1989. Begyndte at spille trompet da han var 11 , og spillede som 18- årig med Willie Bobo og derefter med Eric Dolphy, hvis harmoniske opfattelse påvirkede ham stærkt. Opholdt sig i Paris1964-65 og spillede hér med bl.a. Johnny Griffin, Kenny Clarke og Art Taylor og spillede efter hjemkomsten med Horace Silver (The Cape Verdean Blues; Blue Note, 1965), Larry Young, Chick Corea (Tones for Joan's Bones; Atlantic, 1966), McCoy Tyner og Max Roach (1968-69). Var 1971-72 medlem af Art Blakeys Jazz Messengers (Mission Eternal; Prestige, 1972) og ledede i midten af 70'erne sammen med Louis Hayes en kvintet, der bl.a. akkompagnerede Dexter Gordon (Homecoming; CBS, 1976). Trods sygdom, misbrugsproblemer og svigtende syn havde han igennem 80'erne egne grupper med bl.a. Steve Turre og Mulgrew Miller og aver 1984-85 medlem af Paris Reunion Band. De sidste par år af sit lov var han kun sporadisk aktiv og han døde af komplikationer efter at have mistet sin ene arm ved at falde ud foran et tog i undergrundsbanen i New York. Med udgangspunkt i Lee Morgan og Freddie Hubbard absorberede Shaw påvirkninger fra Booker Little og Eric Dolphy og førte derved det typiske neobop trompetspil et skridt videre imod et rytmisk og harmonisk friere udtryk. Hans spil har siden haft betydning for bl.a. Tom Harrell og Dave Douglas, og det var primært af hans personlige problemer der var årsag til at han aldrig fik den bredere anerkendelse, som hans spils originalitet berettigede ham til. Blackstone Legacy (Contemporary Records, 1970), The Moontrane (Muse, 1975), Little Red's Fantasy (32 jazz, 1976), Rosewood (Columbia, 1977), Imagination (32 jazz, 1977), In My Own Sweet Way (In + Out Records, 1989) Politikens Jazz leksikon, august 2003 Interview with Miles Davis laid to rest all myths about who's really playing the trumpet these days (1983). Asked about Freddie Hubbard, Miles responded, "all techniques, but no feeling". On Wynton Marsalis: "All the [young] trumpeters copy off Clifford Brown, Fats Navarro, Dizzy...". How about Woody Shaw? "Now there's a great trumpet player. He can play different from all of them" Dexter Gordon summed up Woody Shaw's trumpet succinctly: "The thing about Woods is he's done his homework. He's hip to Louis Armstrong, plays intervals, and runs backwards so to speak. He breaks it down, plays atonal, and then comes back an plays real trumpet. Woods covers the whole spectrum". Down Beat, Linda R. Reitman Woody Shaw Linked to a legacy U:\Jazzlytteklub\2019-03-20 Jazzlytteklub GLX-bib Woody Shaw.docx Woody Shaw - Gladsaxe Jazzlytteklub - 20. marts 2019 "This album is dedicated to the youth who will benefit mankind. To the youth who are constantly aware of the turmoil in which the world is and who are trying to right all these wrongs - whether in music or in speech or in any other way of positive work. This album is dedicated to the freedom of Black people all over the world. And it's dedicated to the people in the ghettos here. The 'stone' in the title is the image of strength. I grew up in a ghetto - funky houses, rats and roaches, stinking hallways. I've seen people overcome all off that. This music is meant to be al light of hope, a sound of strength and of coming through. It's one for the ghetto. We're trying to express what's happening in the world today as we - a new breed of musicians - feel it. I mean the different tensions in the world, the ridiculous war in Vietnam, the oppression of poor people in this, a country of such wealth. The cats on this date usually discuss these things, but we're all trying to reach a state of spiritual enlightenment in which we're continually aware of what's happening but react in a positive way. The music in this album, you see, express strength - confidence that we'll overcome these things". Liner notes Blackstone Legacy album (1970) Jazz Special, #159, 2018, Woody Shaw (side 64-69) https://woodyshaw.com/ (Woody Shaw official website) https://en.wikipedia.org/wiki/Woody_Shaw U:\Jazzlytteklub\2019-03-20 Jazzlytteklub GLX-bib Woody Shaw.docx Woody Shaw - Gladsaxe Jazzlytteklub - 20. marts 2019 Blue Horace Silver - The Cape Verdean Blues Note The Cape Verdean Blues (Horace Silver) Oct. 1, 1965 Woody Shaw: trumpet; Joe Henderson: tenor saxophone; Horace Silver:piano; Bob Cranshaw: bass; Roger Humphries: drums Blue Jackie McLean - demon's dance Note Sweet Love of Mine (Woody Shaw) Dec. 22, 1967 New Jersey Woody Shaw: trumpet, Jakie McLean: alto saxophone; Lamont Johnson: piano, eletric piano; Scott Holt: bass; Jack DeJohnette: drums Joe Zawinul - Zawinul Atlantic In a Silent Way (Joe Zawinul) Aug. 6 - Oct. 28, 1970 Joe Zawinul & Herbie Hancock: piano; George Davis: flute; Woody Shaw: trumpet; Earl Turbinton: soprano saxophone; Miroslav Vitous & Walter Booker: basses; Joe Chambers, Billy Hart & David Lee: percussion Woody Shaw - Moontrane Muse Moontrane (Woody Shaw) Dec. 11 & 18, 1974 New York Woody Shaw: trumpet, Azar Lawrence: tenor and soprano saxophone; Steve Turre: trombone; Onaje Allen Gumbs: piano, eletric piano; Buster Williams: bass; Victor Lewis: drums; Tony Waters: congas; Guilhermo Franco: percssion https://www.youtube.com/watch?v=tgjTnRcxOJA Woody Shaw - Blackstone legacy Contemporary Records a deed for dolphy (Woody Shaw) Dec. 8-9, 1970, New York Woody Shaw: trumpet; Gary Bartz: alto & soprano saxophone; Bennie Maupin: tenor saxophone, bass clarinet, flute; George Cables: piano, electric piano; Ron Carter: bass; Lenny White: drums Dexter Gordon - Gotham City CBS The Blues Walk (Loose Walk) (Clifford Brown) Aug. 11-12, 1980, New York Dexter Gordon: tenor saxophone; Woody Shaw: trumpet; Cedar Walton: piano; Percy Heath: bass; Art Blakey: drums Dexter Gordon - Homecoming - Live at the Village Vanguard CBS In Case you haven't heard (Woody Shaw) Dec. 11-12, 1976, New York Dexter Gordon: tenor saxophone; Woody Shaw: trumpet; Ronnie Mathews: piano; Stafford James: bass; Louis Hayes: drums Louis Hayes - Junior Cook Quintet - Ichi-ban Timeless Ichi-Ban (Ronnie Mathews) Pannonica (Thelonious Monk) Louis Hayes: drums; Junior cook: tenor saxophone; Woody Shaw: trumpet; Ronnie Mathews: piano; Stafford James: bass; Guilermo Franco: percussion https://www.youtube.com/watch?v=SSwgzKUt2Fc&list=OLAK5uy_ksICk48w45Tpo3HBFk5r274A7Wnrq2klc U:\Jazzlytteklub\2019-03-20 Jazzlytteklub GLX-bib Woody Shaw.docx Woody Shaw - Gladsaxe Jazzlytteklub - 20. marts 2019 Woody Shaw - Stepping Stones - Live at the Village Vanguard CBS #1 Stepping Stone (Woody Shaw) Aug. 5-6, 1978, New York #2 In a Capricornian Way (Woody Shaw) #3 Seventh Avenue (Woody Shaw) #7 Theme for Maxine (Woody Shaw) Woody Shaw: cornet and flugelhorn; Carter Jefferson: tenor and soprano saxophone; Onaje Allan Gumbs: piano; Clint Houston: bass; Victor Lewis: drums Woody Shaw - Imagination Stormy Weather (Harold Arlen, Ted Koehler) - 8:00 Woody Shaw: trumpet, Steve Turre - trombone; Kirk Lightsey: piano; Ray Drummond: bass, Carl Allen: drums https://www.youtube.com/watch?v=cERvwONWikE The Woody Shaw Quintet live in France 1979 Stepping Stones 1979 https://www.youtube.com/watch?v=jJTXfhIGy5w 1:20 - 1: 30 Woody Shaw - Live - Volume Three (at Keystone Korner, San High Francisco) Note Organ Grinder (Woody Shaw) 1977 Woody Shaw: trumpet & fluegelhorn; Larry Willis: piano; Stafford James: bass; Victor Lewis: drums Woody Shaw - In my own sweet way (live at Mühle Hunziken Bern) In + Out Records In your own sweet way (Dave Brubeck) Feb. 7, 1987 Just a Ballad for Woody (Theresa Trainello) Woody Shaw: trumpet; Fred Henke: piano; Neil Swainson: bass; Alex Deutsch: drums https://www.youtube.com/watch?v=UYyKDOBOjtk https://www.youtube.com/watch?v=iViH2iT9Dbw APPOINTMENT IN GHANA Woody Shaw: trumpet; Jackie McLean: alto saxophone; Mc Coy Tyner: piano; Cecil McBee: bass; Jack DeJohnette: drums https://www.youtube.com/watch?v=TICFwrSnQKo Woody Shaw,Herbie Hancock,Art Blakey - A Night in Tunisia 1 https://www.youtube.com/watch?v=NByhKoNBgdY 1987 U:\Jazzlytteklub\2019-03-20 Jazzlytteklub GLX-bib Woody Shaw.docx .
Load more

Recommended publications
  • Highly Recommended New Cds for 2018
    Ed Love's Highly Recommended New CDs for 2018 Artist Title Label Dave Young and Terry Promane Octet Volume Two Modica Music Phil Parisot Creekside OA2 John Stowell And Ulf Bandgren Night Visitor Origin Eric Reed A Light In Darkness WJ3 Katharine McPhee I Fall In Love Too Easily BMG Takaaki Otomo New Kid In Town Troy Dr. Lonnie Smith All In My Mind Blue Note Clovis Nicolas Freedom Suite Ensuite Sunnyside Wayne Escoffery Vortex Sunnyside Steve Hobbs Tribute To Bobby Challenge Adam Shulman Full Tilt Cellar Live` Scott Hamilton Live At Pyat Hall Cellar Live Keith O’ Rourke Sketches From The Road Chronograph Jason Marsalis Melody Reimagined Book One Basin Street 1 Ed Love's Highly Recommended New CDs for 2018 Artist Title Label Dan Block Block Party High Michael Waldrop Origin Suite Origin Roberto Margris Live In Miami J Mood Dan Pugach Nonet Plus One Unit UTR Jeff Hamilton Live From San Pedro Capri Phil Stewart Melodious Drum Cellar Live Ben Paterson That Old Feeling Cellar Live Jemal Ramirez African Skies Joyful Beat Michael Dease Reaching Out Positone Ken Fowser Don’t Look Down Positone New Faces Straight Forward Positone Emmet Cohen With Ron Carter Masters Legacy Series Volume Two Cellar Live Bob Washut Journey To Knowhere N/C Mike Jones and Penn Jillette The Show Before The Show Capri 2 Ed Love's Highly Recommended New CDs for 2018 Artist Title Label Dave Tull Texting And Driving Toy Car Corcoran Holt The Mecca Holt House Music Bill Warfield For Lew Planet Arts Wynton Marsalis United We Swing Blue Engine Scott Reeves Without A Trace Origin
    [Show full text]
  • Vindicating Karma: Jazz and the Black Arts Movement
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2007 Vindicating karma: jazz and the Black Arts movement/ W. S. Tkweme University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Tkweme, W. S., "Vindicating karma: jazz and the Black Arts movement/" (2007). Doctoral Dissertations 1896 - February 2014. 924. https://scholarworks.umass.edu/dissertations_1/924 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. University of Massachusetts Amherst Library Digitized by the Internet Archive in 2014 https://archive.org/details/vindicatingkarmaOOtkwe This is an authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI. The bibliographic information for this thesis is contained in UMTs Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. Dissertation UMI Services From:Pro£vuest COMPANY 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Michigan 48106-1346 USA 800.521.0600 734.761.4700 web www.il.proquest.com Printed in 2007 by digital xerographic process on acid-free paper V INDICATING KARMA: JAZZ AND THE BLACK ARTS MOVEMENT A Dissertation Presented by W.S. TKWEME Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 W.E.B.
    [Show full text]
  • The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters
    04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBORAH F. RUTTER , President CONCERT HALL Monday Evening, April 4, 2016, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters GARY BURTON WENDY OXENHORN PHAROAH SANDERS ARCHIE SHEPP Jason Moran is the Kennedy Center’s Artistic Director for Jazz. WPFW 89.3 FM is a media partner of Kennedy Center Jazz. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 2 2016 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, pianist and Kennedy Center artistic director for jazz With remarks from JANE CHU, chairman of the NEA DEBORAH F. RUTTER, president of the Kennedy Center THE 2016 NEA JAZZ MASTERS Performances by NEA JAZZ MASTERS: CHICK COREA, piano JIMMY HEATH, saxophone RANDY WESTON, piano SPECIAL GUESTS AMBROSE AKINMUSIRE, trumpeter LAKECIA BENJAMIN, saxophonist BILLY HARPER, saxophonist STEFON HARRIS, vibraphonist JUSTIN KAUFLIN, pianist RUDRESH MAHANTHAPPA, saxophonist PEDRITO MARTINEZ, percussionist JASON MORAN, pianist DAVID MURRAY, saxophonist LINDA OH, bassist KARRIEM RIGGINS, drummer and DJ ROSWELL RUDD, trombonist CATHERINE RUSSELL, vocalist 04-04 NEA Jazz Master Tribute_WPAS
    [Show full text]
  • The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters
    4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBoRAh F. RUTTER, President CONCERT HALL Monday Evening, April 16, 2018, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters TODD BARKAN JOANNE BRACKEEN PAT METHENY DIANNE REEVES Jason Moran is the Kennedy Center Artistic Director for Jazz. This performance will be livestreamed online, and will be broadcast on Sirius XM Satellite Radio and WPFW 89.3 FM. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 2 THE 2018 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, Kennedy Center Artistic Director for Jazz With remarks from JANE CHU, Chairman of the National Endowment for the Arts DEBORAH F. RUTTER, President of the John F. Kennedy Center for the Performing Arts The 2018 NEA JAzz MASTERS Performances by NEA Jazz Master Eddie Palmieri and the Eddie Palmieri Sextet John Benitez Camilo Molina-Gaetán Jonathan Powell Ivan Renta Vicente “Little Johnny” Rivero Terri Lyne Carrington Nir Felder Sullivan Fortner James Francies Pasquale Grasso Gilad Hekselman Angélique Kidjo Christian McBride Camila Meza Cécile McLorin Salvant Antonio Sanchez Helen Sung Dan Wilson 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18
    [Show full text]
  • Album Covers Through Jazz
    SantiagoAlbum LaRochelle Covers Through Jazz Album covers are an essential part to music as nowadays almost any project or single alike will be accompanied by album artwork or some form of artistic direction. This is the reality we live with in today’s digital age but in the age of vinyl this artwork held even more power as the consumer would not only own a physical copy of the music but a 12’’ x 12’’ print of the artwork as well. In the 40’s vinyl was sold in brown paper sleeves with the artists’ name printed in black type. The implementation of artwork on these vinyl encasings coincided with years of progress to be made in the genre as a whole, creating a marriage between the two mediums that is visible in the fact that many of the most acclaimed jazz albums are considered to have the greatest album covers visually as well. One is not responsible for the other but rather, they each amplify and highlight each other, both aspects playing a role in the artistic, musical, and historical success of the album. From Capitol Records’ first artistic director, Alex Steinweiss, and his predecessor S. Neil Fujita, to all artists to be recruited by Blue Note Records’ founder, Alfred Lion, these artists laid the groundwork for the role art plays in music today. Time Out Sadamitsu "S. Neil" Fujita Recorded June 1959 Columbia Records Born in Hawaii to japanese immigrants, Fujita began studying art Dave Brubeck- piano Paul Desmond- alto sax at an early age through his boarding school.
    [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]
  • HOW DALE BARLOW BECAME a JAZZ MESSENGER by Eric Myers ______
    HOW DALE BARLOW BECAME A JAZZ MESSENGER by Eric Myers _________________________________________________________ [This article first appeared in Jazzchord, Sep/Oct 1996.] ost students of Australian jazz can point to their favourite milestones, which had momentous implications for key musicians. In terms of the impact of Australian M jazz in the international arena, one might note the invitation issued by Harry Stein in Melbourne in early 1946 to Graeme Bell, asking him whether he’d like to take his band to Prague for the World Youth Festival. Or the invitation issued in 1954 by the owner of Klein’s jazz club in Detroit to Errol Buddle to take over the resident band (which included the pianist Tommy Flanagan). Or, perhaps more significantly, the subsequent invitation from another Detroit club owner Ed Sarkesian to Errol to provide a band of Australians for the Rouge Lounge (that band became the Australian Jazz Quartet). Errol Buddle (centre) at Klein’s, Detroit in 1953. Pepper Adams (baritone) is to the left. Barry Harris (piano) can just be seen to the right. Obscured behind Buddle is Elvin Jones (drums). Buddle’s invitation to take over the band at Klein’s led to a significant milestone in Australian jazz: the advent of the Australian Jazz Quartet. In this league is the invitation issued in 1989 by the drummer Art Blakey in New York to Dale Barlow to become a fulltime member of the Jazz Messengers. How did this come about? How was it that an Australian saxophonist - a white musician - was able to join a band which, for 35 years, had virtually defined hard-bop, and represented one of the pinnacles of achievement in black American jazz? In 1989 Dale Barlow had returned to New York on a whim.
    [Show full text]
  • Keeping the Tradition Y B 2 7- in MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar
    June 2011 | No. 110 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Dee Dee Bridgewater RIAM ANG1 01 Keeping The Tradition Y B 2 7- IN MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar It’s always a fascinating process choosing coverage each month. We’d like to think that in a highly partisan modern world, we actually live up to the credo: “We New York@Night Report, You Decide”. No segment of jazz or improvised music or avant garde or 4 whatever you call it is overlooked, since only as a full quilt can we keep out the cold of commercialism. Interview: Cooper-Moore Sometimes it is more difficult, especially during the bleak winter months, to 6 by Kurt Gottschalk put together a good mixture of feature subjects but we quickly forget about that when June rolls around. It’s an embarrassment of riches, really, this first month of Artist Feature: Orrin Evans summer. Just like everyone pulls out shorts and skirts and sandals and flipflops, 7 by Terrell Holmes the city unleashes concert after concert, festival after festival. This month we have the Vision Fest; a mini-iteration of the Festival of New Trumpet Music (FONT); the On The Cover: Dee Dee Bridgewater inaugural Blue Note Jazz Festival taking place at the titular club as well as other 9 by Marcia Hillman city venues; the always-overwhelming Undead Jazz Festival, this year expanded to four days, two boroughs and ten venues and the 4th annual Red Hook Jazz Encore: Lest We Forget: Festival in sight of the Statue of Liberty.
    [Show full text]
  • Ebook Download the Mccoy Tyner Collection
    THE MCCOY TYNER COLLECTION PDF, EPUB, EBOOK McCoy Tyner | 120 pages | 01 Nov 1992 | Hal Leonard Corporation | 9780793507474 | English | Milwaukee, United States The Mccoy Tyner Collection PDF Book Similar Artists See All. There's magic in the air, or at the very least a common ground of shared values that makes this combination of two great musicians turn everything golden. That's not to say their progressive ideas are completely harnessed, but this recording is something lovers of dinner music or late-night romantic trysts will equally appreciate. McCoy Tyner. Extensions - McCoy Tyner. Tyner died on March 6, at his home in New Jersey. They sound empathetic, as if they've played many times before, yet there are enough sparks to signal that they're still unsure of what the other will play. Very highly recommended. Albums Live Albums Compilations. Cart 0. If I Were a Bell. On this excellent set, McCoy Tyner had the opportunity for the first time to head a larger group. McCoy later said, Bud and Richie Powell moved into my neighborhood. He also befriended saxophonist John Coltrane, then a member of trumpeter Miles Davis' band. A flow of adventurous, eclectic albums followed throughout the decade, many featuring his quartet with saxophonist Azar Lawrence, including 's Song for My Lady, 's Enlightenment, and 's Atlantis. McCoy Tyner Trio. See the album. Throughout his career, Tyner continued to push himself, arranging for his big band and releasing Grammy-winning albums with 's Blues for Coltrane: A Tribute to John Coltrane and 's The Turning Point. However, after six months with the Jazztet, he left to join Coltrane's soon-to-be classic quartet with bassist Jimmy Garrison and drummer Elvin Jones.
    [Show full text]
  • The Singing Guitar
    August 2011 | No. 112 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Mike Stern The Singing Guitar Billy Martin • JD Allen • SoLyd Records • Event Calendar Part of what has kept jazz vital over the past several decades despite its commercial decline is the constant influx of new talent and ideas. Jazz is one of the last renewable resources the country and the world has left. Each graduating class of New York@Night musicians, each child who attends an outdoor festival (what’s cuter than a toddler 4 gyrating to “Giant Steps”?), each parent who plays an album for their progeny is Interview: Billy Martin another bulwark against the prematurely-declared demise of jazz. And each generation molds the music to their own image, making it far more than just a 6 by Anders Griffen dusty museum piece. Artist Feature: JD Allen Our features this month are just three examples of dozens, if not hundreds, of individuals who have contributed a swatch to the ever-expanding quilt of jazz. by Martin Longley 7 Guitarist Mike Stern (On The Cover) has fused the innovations of his heroes Miles On The Cover: Mike Stern Davis and Jimi Hendrix. He plays at his home away from home 55Bar several by Laurel Gross times this month. Drummer Billy Martin (Interview) is best known as one-third of 9 Medeski Martin and Wood, themselves a fusion of many styles, but has also Encore: Lest We Forget: worked with many different artists and advanced the language of modern 10 percussion. He will be at the Whitney Museum four times this month as part of Dickie Landry Ray Bryant different groups, including MMW.
    [Show full text]
  • A Mirror and Focus for the Jazz Community Greg Williamson Art Of
    January 2007 VolVol. 23, NoNo. 1 EARSHOTA MirrorMirror andand FocusFocus fforor tthehe JJazzazz CCommunityommunity JASeattle,SeZattle, WashingtoWaZshington Greg Williamson Art of Jazz Tom Baker Quartet Greg Williamson Practice This: Rick Mandyck Photo by Daniel Sheehan Notes EARSHOT J A Z Z A Mirror and Focus for the Jazz Community Art of Jazz Series struments are welcome, as fi nding homes Th is month in the series, held at Seattle for them with students eager to play is not Executive Director: John Gilbreath Asian Art Museum in Volunteer Park, at a problem. Earshot Jazz is collecting in- Earshot Jazz Editor: Peter Monaghan 5pm: Th e Victor Noriega Trio, featuring struments, indefi nitely, at 3429 Fremont Contributing Writers: Andrew Bartlett, the fi ne pianist, on January 10. Admis- Place #309, Seattle WA 98103. For more information, call 206-547-6763, or email Paul Harding, Josie Holtzman, Peter sion to the events is free with museum Monaghan, Lloyd Peterson admission by modest suggested donation. [email protected]. Coming February 8: Rochelle House, Events Listings Photography: Daniel Sheehan and on March 8: Blue Street Voices. Layout: Karen Caropepe Please send gig listings to Mailing: Lola Pedrini Call for Unwanted Instruments [email protected]. Also send Program Manager: Karen Caropepe Earshot Jazz asks that people who have links to your own websites, so we can Program Assistant: Josie Holtzman instruments that are unused and are sim- update our links page. Please format your ply taking up space to consider donating gig listings in keeping with the way they Calendar Information: mail to 3429 them to needy students.
    [Show full text]