DJFF 2021 Program Schedule

Total Page:16

File Type:pdf, Size:1020Kb

DJFF 2021 Program Schedule SCHEDULE CATCH IT ALL on the Detroit Jazz Festival’s Facebook Live, YouTube, Detroit Jazz Fest LIVE! app and detroitjazzfest.org. Also livestream and broadcast on: Detroit A&E Channel 22, WDET 101.9 FM, WEMU 89.1 FM, and WRCJ 90.9 FM. FRIDAYSEPTEMBER 3 SATURDAYSEPTEMBER 4 SUNDAYSEPTEMBER 5 MONDAYSEPTEMBER 6 11:35 a.m.–12:35 p.m. JPMORGAN CHASE SOUNDSTAGE 10:55–11:25 a.m. PRE-RECORDED 11:30 a.m.–12:30 p.m. JPMORGAN CHASE SOUNDSTAGE 6:10 p.m. Festival Opening from the Anchor Desk Collegiate Combo Competition Winner – L Stop Tottori Jazz and Detroit Jazz Festival Exchange Brandon Rose & Soul Therapy Program 2021 – featuring Tottori Jazz 12:40–1:40 p.m. ABSOPURE SOUNDSTAGE Generation Band Performance 12:35–1:35 p.m. ABSOPURE SOUNDSTAGE 6:30–7:45 p.m. CARHARTT SOUNDSTAGE Etienne Charles & Creole Soul Dave Sharpe Worlds Quartet 2021 Artist-in-Residence Dee Dee Bridgewater 11:30 a.m.–12:30 p.m. JPMORGAN CHASE SOUNDSTAGE and The Woodshed Network 1:45–2:45 p.m. CARHARTT SOUNDSTAGE Scott Gwinell Jazz Orchestra 1:40–2:50 p.m. CARHARTT SOUNDSTAGE Alicia Olatuja – “Intuition: Songs From The Keyon Harrold with the Collegiate Detroit Jazz 7:45–8:00 p.m. WSU president M. Roy Wilson Minds Of Women” 12:35–1:35 p.m. ABSOPURE SOUNDSTAGE Festival Orchestra from the Anchor Desk Randy Napoleon Quartet 2:50–3:55 p.m. ABSOPURE SOUNDSTAGE 2:55–3:55 p.m. ABSOPURE SOUNDSTAGE Kenny Barron Trio 1:40–2:50 p.m. CARHARTT SOUNDSTAGE Tyson Haynes 8:00–9:05 p.m. ABSOPURE SOUNDSTAGE Sean Jones’ Dizzy Spellz featuring Brinae Ali Matthew Whitaker Quartet 4:00–5:05 p.m. JPMORGAN CHASE SOUNDSTAGE 4:00–5:05 p.m. JPMORGAN CHASE SOUNDSTAGE Keyon Harrold presents Jazz and the Birth of Hip 2:55–3:55 p.m. ABSOPURE SOUNDSTAGE Celebrating Bird @100 Co-Music directors: 9:10–10:25 p.m. JPMORGAN CHASE SOUNDSTAGE Hop with special guests Black Milk, Georgia Anne Michael Mayo Rudresh Mahanthappa & Terri Lyne Carrington Herbie Hancock Muldrow & Chris “Daddy” Dave 4:00–5:05 p.m. JPMORGAN CHASE SOUNDSTAGE 5:10–6:15 p.m. ABSOPURE SOUNDSTAGE 5:10–6:15 p.m. ABSOPURE SOUNDSTAGE Anat Cohen Tentet with Musical Director Pamela Wise Ensemble Omar Sosa & the Havana-Detroit Jazz Project Oded Lev-Ari 6:20–7:30 p.m. CARHARTT SOUNDSTAGE 5:10–6:30 p.m. ABSOPURE SOUNDSTAGE 2021 Artist-in-Residence Dee Dee Bridgewater 6:15–6:55 p.m. Awards Presentation from the Anchor Desk The Brubeck Brothers Quartet: with Big Band 100th Anniversary of Dave Brubeck featuring Jerry Bergonzi – Performance and Tribute 7:35–8:40 p.m. ABSOPURE SOUNDSTAGE 6:55–8:55 p.m. JPMORGAN CHASE SOUNDSTAGE Eddie Daniels and Bob James; Exploring New Kurt Elling’s The Big Blind featuring Dee Dee 6:35–7:40 p.m. CARHARTT SOUNDSTAGE Worlds Bridgewater and Allan Harris: A Jazz Radio Play Kenny Garrett and Sounds From The Ancestors written by Kurt Elling & Phil Galdston 8:45–9:50 p.m. JPMORGAN CHASE SOUNDSTAGE 7:45–8:45 p.m. ABSOPURE SOUNDSTAGE Monty Alexander – HKX 9:00–10:05 p.m. ABSOPURE SOUNDSTAGE 2021 Artist-in-Residence Dee Dee Bridgewater Jerry Bergonzi Quintet with Bill Charlap 9:55–10:55 p.m. ABSOPURE SOUNDSTAGE Jimmy Greene Quintet The Untitled Series presented by Rocket Mortgage 10:10–11:20 p.m. CARHARTT SOUNDSTAGE 8:50–9:55 p.m. JPMORGAN CHASE SOUNDSTAGE Homecoming Series The Summit: The Manhattan Transfer Meets Gregory Porter 11:00 p.m.–12:05 a.m. CARHARTT SOUNDSTAGE Zen Zadravec Mentor-Disciple Series Take 6 10:00–11:10 p.m. ABSOPURE SOUNDSTAGE presented by Ascension Michigan Hometown Series 11:25 p.m.–12:35 a.m. ABSOPURE SOUNDSTAGE AZIZA featuring Dave Holland, Chris Potter, David Binney Angeleno Group Lionel Loueke, and Eric Harland Don’t miss artist interviews and much more between performances from the Anchor Desk. 11:15 p.m.–12:15 a.m. CARHARTT SOUNDSTAGE Play! Schedule accurate but subject to change. 8 2021 DETROIT JAZZ FESTIVAL PRESENTED BY ROCKET MORTGAGE 9 2021 DETROIT JAZZ FESTIVAL PRESENTED BY ROCKET MORTGAGE.
Recommended publications
  • A Journal for Contemporary Music (1971-1988)
    Contact: A Journal for Contemporary Music (1971-1988) http://contactjournal.gold.ac.uk Citation Reynolds, Lyndon. 1975. ‘Miles et Alia’. Contact, 11. pp. 23-26. ISSN 0308-5066. ! [I] LYNDON REYNOLDS Ill Miles et Alia The list of musicians who have played with Miles Davis since 1966 contains a remarkable number of big names, including Wayne Shorter, Herbie Hancock, Tony Williams, Chick Corea, Joe Zawinul, Jack de Johnette, Dave Hol l and, John McLaughlin and Miroslav Vitous. All of these have worked success fully without Miles, and most have made a name for themselves whilst or since working with him. Who can say whether this is due to the limelight given them by playing alongside , Miles, the musical rewards of working with him, or Miles's talent-spotting abili- ties? Presumably the truth is a mixture of all these. What does Miles's music owe to the creative personalities of the musicians working with him? This question is unanswerable in practice, for one cannot quan- tify individual responsibility for a group product - assuming that is what Miles's music is. It is obvious that he has chosen very creative musicians with which to work, and yet there has often been an absence of conspicuous, individual, free solo playing in his music since about 1967. It would appear that Miles can absorb musical influences without losing his balance. What we find then, is a nexus of interacting musicians, centring on Miles; that is, musicians who not only play together in various other combinations, but influence each other as well. Even if the web could be disentangled (I know not how, save with a God's-eye-view), a systematic review of all the music that lies within it would be a task both vast and boring.
    [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]
  • Johnaye Kendrick Photo by Daniel Sheehan LETTER from the DIRECTOR One Foot in Summer …
    A Mirror and Focus for the Jazz Community August 2018 Vol. 34, No. 08 EARSHOT JAZZSeattle, Washington Johnaye Kendrick Photo by Daniel Sheehan LETTER FROM THE DIRECTOR One foot in Summer … …the other foot in the coming The upcoming festival builds on fall. First of all, thank you for your that legacy, focusing on the multi- support of this summer’s expanded faceted creative momentum of to- concert activity. We’ve had remark- day’s jazz world. There is so much able opportunities to pull alongside great music being made right now. some of today’s most expansive jazz With all honor to the Black cultural thinking, from New York and Chi- core of jazz, the Earshot festival, as cago, and from Seattle’s own creative DownBeat magazine once said, “dis- artists. rupts assumptions, gets in your face Now, as we approach the waning and finds fresh synergies.” days of summer, plans are being fi- Some of the fresh synergies we’re nalized and excitement is building proud to unveil this year include a for this fall’s Earshot Jazz Festival, special four-day residency with 2019 kicking off October 7, and running NEA Jazz Master Maria Schneider, in venues all around the city through and a featured artist residency with November 4. We’re cooking up one our own Jovino Santos Neto. Also, of the most exciting Earshot festivals the new Jazz at Langston series, ever, and you’re invited! within this festival, will honor Se- Tickets for most shows will be avail- attle legends like Dave Lewis, and don, Billy Kilson, Andy Ezrin, and able this month, with Earshot Jazz introduce bright new artists like Ben Williams.
    [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]
  • June 2020 Volume 87 / Number 6
    JUNE 2020 VOLUME 87 / NUMBER 6 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow.
    [Show full text]
  • Chick Corea Bio 2015 Chick Corea Has Attained Iconic Status in Music
    Chick Corea Bio 2015 Chick Corea has attained iconic status in music. The keyboardist, composer and bandleader is a DownBeat Hall of Famer and NEA Jazz Master, as well as the fourth- most nominated artist in Grammy Awards history with 63 nods – and 22 wins, in addition to a number of Latin Grammys. From straight-ahead to avant-garde, bebop to jazz-rock fusion, children’s songs to chamber and symphonic works, Chick has touched an astonishing number of musical bases in his career since playing with the genre-shattering bands of Miles Davis in the late ’60s and early ’70s. Yet Chick has never been more productive than in the 21st century, whether playing acoustic piano or electric keyboards, leading multiple bands, performing solo or collaborating with a who’s who of music. Underscoring this, he has been named Artist of the Year twice this decade in the DownBeat Readers Poll. Born in 1941 in Massachusetts, Chick remains a tireless creative spirit, continually reinventing himself through his art. As The New York Times has said, he is “a luminary, ebullient and eternally youthful.” Chick’s classic albums as a leader or co-leader include Now He Sings, Now He Sobs (with Miroslav Vitous and Roy Haynes; Blue Note, 1968), Paris Concert (with Circle: Anthony Braxton, Dave Holland and Barry Altschul; ECM, 1971) and Return to Forever (with Return to Forever: Joe Farrell, Stanley Clarke, Airto Moreria and Flora Purim; ECM, 1972), as well as Crystal Silence(with Gary Burton; ECM, 1973), My Spanish Heart (Polydor/Verve, 1976), Remembering Bud Powell (Stretch, 1997) and Further Explorations (with Eddie Gomez and Paul Motian; Concord, 2012).
    [Show full text]
  • FOR IMMEDIATE RELEASE Jazz at the Lobero Presents CHARLES
    FOR IMMEDIATE RELEASE Press Contact: Angie Bertucci 805.679.6010 [email protected] Tickets: Lobero Box Office 805.963.0761 or lobero.org Jazz at the Lobero presents CHARLES LLOYD AND FRIENDS, An 80th Birthday Celebration featuring Gerald Clayton, Reuben Rogers, and Eric Harland + Julian Lage, Guitar and special guest Booker T Jones Thursday, March 15 at 8 PM Santa Barbara, CA, February 26, 2018 – Jazz at the Lobero is thrilled to present Charles Lloyd & Friends on Thursday, March 15 to celebrate his 80th Birthday with an evening that spans the colorful arc of his life in music – from Memphis and the Mississippi Delta with Booker T. Jones to the universe beyond with Gerald Clayton, Julian Lage, Reuben Rogers, Eric Harland, and other special guests. Saxophonist Charles Lloyd is a forward thinking “musician’s musician” His supreme improvisational talents and journies into rock and non-Western styles of music during the ‘60s and ‘70s established him as one of the key figures in the development of fusion and world music. The critical consensus is that Charles Lloyd has never sounded better. The depth of his expression reflects a lifetime of experience. Over nearly five decades, his compositions have punctuated the post-bop period, embraced the traditional music of a host of world cultures and enlivened the psychedelic 1960s with avant-garde improvisation. Lloyd was one of the first jazz artists to sell a million copies (Forest Flower), and then he surprised the music world by walking away from performing just at the point that he was dubbed a jazz superstar.
    [Show full text]
  • Playbill March 1 - 31 Center Series/Asian Arts and Culture Program 2 3 4 5 6 7 8 9 Skill.Smarts.Hardwork
    UNIVERSITY OF MASSACHUSETTS AMHERST FINE ARTS CENTER 2012 Playbill March 1 - 31 Center Series/Asian Arts and Culture Program 2 3 4 5 6 7 8 9 Skill.Smarts.Hardwork. That’s how you built your wealth. And that’s how we’ll manage it. T­he United Wealth Management Group is an independent team of skilled professionals with a single mission: to help their clients fulfill their financial goals. They understand the issues you face – and they can provide tailored solutions to meet your needs. To arrange a confidential discussion, contact Steven Daury, CerTifieD fiNANCiAl PlANNer™ Professional, today at 413-585-5100. 140 Main Street, Suite 400 • Northampton, MA 01060 413-585-5100 unitedwealthmanagementgroup.com tSecurities and Investment Advisory Services offered through NFP Securities, Inc., Member FINRA/SIPC. NFP Securities, Inc. is not affiliated with United Wealth Management Group. NOT FDIC INSURED • MAY LOSE VALUE • NOT A DEPOSIT• NO BANK GUARANTEE NO FEDERAL GOVERNMENT AGENCY GUARANTEES 10 4.875" x 3.75" UMASS FAC Playbill Skill.Smarts.Hardwork. That’s how you built your wealth. And that’s how we’ll manage it. T­he United Wealth Management Group is an independent team of skilled professionals with a single mission: to help their clients fulfill their financial goals. They understand the issues you face – and they can provide tailored solutions to meet your needs. To arrange a confidential discussion, contact Steven Daury, CerTifieD fiNANCiAl PlANNer™ Professional, today at 413-585-5100. 140 Main Street, Suite 400 • Northampton, MA 01060 413-585-5100 unitedwealthmanagementgroup.com tSecurities and Investment Advisory Services offered through NFP Securities, Inc., Member FINRA/SIPC.
    [Show full text]
  • The Politics of UNESCO's International Jazz
    FORUM FOR INTER-AMERICAN RESEARCH (FIAR) VOL. 12.2 (OCT. 2019) 5-14 ISSN: 1867-1519 © forum for inter-american research “Jazz Embodies Human Rights”: The Politics of UNESCO’s International Jazz Day MARIO DUNKEL (CARL VON OSSIETZKY UNIVERSITY OF OLDENBURG, OLDENBURG) Abstract This article explores the representation of jazz at UNESCO’s International Jazz Day, focusing in particular on the 2016 edition of the event hosted by former President Barack Obama at the White House. It locates Jazz Day in the history of US jazz diplomacy, demonstrating that the event results from strategies of the US government that emerged in the 1950s and sought to use jazz as an emblem of an American social order that was ethically superior to the Soviet Union. While Jazz Day – in the tradition of US jazz diplomacy programs – casts jazz as an embodiment of intercultural dialogue, diversity, and human rights, this article seeks to juxtapose this rhetoric with the event’s economics and politics. It argues that Jazz Day’s messages of diversity, intercultural dialogue, universal human rights, and peace, in their one-dimensional and non-intersectional form, ultimately serve to obfuscate the economic and political power interests that underlie the event. Contrary to its rhetoric, Jazz Day has so far failed to challenge the power structures that lie at the heart of a socially unequal global order built on the denial of basic human rights. Keywords: UNESCO, International Jazz Day, Politics, Jazz, Diplomacy, International Relations Introduction But jazz is also about diversity, drawing on roots in Africa, the Caribbean, Europe, and Celebrating the fifth edition of UNESCO’s elsewhere.
    [Show full text]
  • An In-Depth Analysis of Classic Jazz Compositions for a Graduate Jazz Guitar Recital Derick Cordoba Florida International University
    Florida International University FIU Digital Commons FIU Electronic Theses and Dissertations University Graduate School 7-20-2007 An in-depth analysis of classic jazz compositions for a graduate jazz guitar recital Derick Cordoba Florida International University DOI: 10.25148/etd.FI14061511 Follow this and additional works at: https://digitalcommons.fiu.edu/etd Part of the Music Performance Commons Recommended Citation Cordoba, Derick, "An in-depth analysis of classic jazz compositions for a graduate jazz guitar recital" (2007). FIU Electronic Theses and Dissertations. 2495. https://digitalcommons.fiu.edu/etd/2495 This work is brought to you for free and open access by the University Graduate School at FIU Digital Commons. It has been accepted for inclusion in FIU Electronic Theses and Dissertations by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. AN IN-DEPTH ANALYSIS OF CLASSIC JAZZ COMPOSITIONS FOR A GRADUATE JAZZ GUITAR RECITAL A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF MUSIC by Derick Cordoba 2007 To: Dean Juan Antonio Bueno College of Architecture and the Arts This thesis, written by Derick Cordoba, and entitled An In-depth Analysis of Classic Jazz Compositions for a Graduate Jazz Guitar Recital, having been approved in respect to style and intellectual content, is referred to you for judgment. We have read this thesis and recommend that it be approved. Sam Lussier Gary Campbell Michael Orta, Major Professor Date of Defense: July 20, 2007 The thesis of Derick Cordoba is approved. Dean Juan Antonio Bueno College of Architecture and the Arts Dean George Walker University Graduate School Florida International University, 2007 •• 11 ABSTRACT OF THE THESIS AN IN-DEPTH ANALYSIS OF CLASSIC JAZZ COMPOSITIONS FOR A GRADUATE JAZZ GUITAR RECITAL by Derick Cordoba Florida International University, 2007 Miami, Florida Professor Michael Orta, Major Professor The purpose of this thesis was to analyze jazz compositions by several great composers.
    [Show full text]
  • Bio Ben Wendel Grammy Nominated
    Bio Ben Wendel Grammy nominated saxophonist Ben Wendel (born in Vancouver, raised in Los Angeles, and currently living in Brooklyn) has enjoyed a varied career as a performer, composer, producer and conductor. Highlights include multiple domestic and international tours with artists such as Ignacio Berroa, Tigran Hamasyan, Gerald Clayton, Eric Harland, Taylor Eigsti, Snoop Dogg and the late Prince. Ben is a founding member of the Grammy nominated group Kneebody. In 2015, Ben Wendel released a music-video art project entitled The Seasons inspired by a set of twelve piano pieces written and released each month by Tchaikovsky in 1876. Wendel’s modern take on the idea was to compose and release twelve original jazz chamber duets in video format on YouTube with modern luminaries Joshua Redman, Luciana Souza, Eric Harland, Julian Lage, and Ambrose Akinmusire, among others. As the videos garnered acclaim among social networks, the project became an unexpected word of mouth success and was featured prominently in The New York Times (Best of 2015), NPR’s All Things Considered, and the CBC. In 2016, After viewing an expressionist painting by Lee Krasner at The Whitney Museum entitled The Seasons, Wendel decided to expand upon the original duets project by reimagining the arrangements for a five-piece ensemble comprised of musicians and dear friends from The Seasons – Aaron Parks (piano), Gilad Hekselman (guitar), Matt Brewer (bass) and Eric Harland (drums). The Seasons album was released on Motéma Music in October 2018 to critical acclaim. Wendel’s latest project ‘High Heart’ was premiered at Winter Jazzfest 2019 and involves incredible musicians such as Shai Maestro, Michael Mayo, Gerald Clayton, Joe Sanders and Nate Wood.
    [Show full text]
  • The Role of the Bass in Pianoless Jazz Ensembles: 1952-2014
    The Role of the Bass in Pianoless Jazz Ensembles: 1952-2014 Volume One Nikki Joanna Stedman B.Mus. (Hons) 2010 (The University of Adelaide) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Elder Conservatorium of Music Faculty of Arts The University of Adelaide June 2016 ! !!!! TABLE OF CONTENTS List of Figures .................................................................................................................... xii Abstract ............................................................................................................................ xxv Declaration ...................................................................................................................... xxvi Acknowledgements ........................................................................................................ xxvii Introduction ......................................................................................................................... 1 Introduction ....................................................................................................................... 1 Thesis Structure ................................................................................................................. 4 Conceptual Framework ..................................................................................................... 9 1) Pianoless Ensembles ................................................................................................. 9 2) Accompaniment Techniques ..................................................................................
    [Show full text]