DOCSLIB.ORG

Eve Zanni Songs for Modern Mermaids. Passionate Jazz with Brasilian, Cuban, Gypsy, Middle-Eastern Flavours; a Singer-Composer with Sensual Warmth, Wit and Wisdom

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Eve Zanni Songs for Modern Mermaids. Passionate Jazz with Brasilian, Cuban, Gypsy, Middle-Eastern Flavours; a Singer-Composer with Sensual Warmth, Wit and Wisdom Eve Zanni Songs For Modern Mermaids. Passionate jazz with Brasilian, Cuban, Gypsy, Middle-Eastern flavours; a singer-composer with sensual warmth, wit and wisdom. Eve Zanni is an original jazz voice, warm and expressive with a sensual musicality....traversing the primal depths of great jazz standards and original compositions in a blend of her unique arrangements that embrace classic jazz, Brasilian, Afro-cuban, and Middle-eastern rhythms....all sung with passion and romantic soul….Eve Zanni was born in California into a family of musicians and vocalists spanning several generations.....performing and writing music and lyrics from childhood, Eve left the U.S.A. as a teenager and wandered the globe, living and performing for nine years in Europe. Since returning to New York Eve began singing with big bands and her own vocal trio The Sweethots (mentioned in Will Friedwald's book Jazz Singing as the "best of its kind") and The Ella Fitzgerald Biography by Stuart Nicholson. Eve Zanni's contribution as a vocalist and lyricist/composer are extensively mentioned in Dr. Henry Daniels' book, Lester Leaps In and she is listed in Lewis Porter's new Jazz Encyclopedia. Eve leads her own ensembles; (JAZZMUNDO, THE SWEETHOTS) as well as performing with many jazz greats including: The Cab Calloway Orchestra (led by Cab's grandson, Calloway Brooks) Barry Harris, Norman Simmons, Jerome Richardson, "Big Nick" Nicholas, Walter Bishop, Jr, Benny Powell, Richard Wyands, Café da Silva, to name only a few. Eve Zanni writes original lyrics to Lester Young compositions and solos and organizes The Lester Young Memorial Celebration every March; held at St.Peter's Church at 54th and Lexington Avenue in Manhattan (New York, USA). Original composition GYPSY WAVE DANCE by Eve Zanni was selected as a feature on TENNJAZZ available on Imaginary Records. Performing and teaching vocal music and song-writing in New York City Schools, Eve also tours, records with her own groups and as a back-up singer; travelling in the U.S., the Caribbean,and Europe; recently featured at The Brecht Forum and Westbeth Music Festival, New York City 2008. 2011 – 2012 New York area appearances include The Diva Festival, The Paris Commune, The Brecht Forum, Westbeth Music Festival, First Fridays Live, Downtown Music Mix, The Metropolitan Club. (reviews follow...) REVIEWS; This is late night torch song music.....Zanni's voice calls down the rain...... author: C.J. Sullivan, New York Press Eve Zanni's voice is like the classical call of a modern day siren. Her CD "Songs for Modern Mermaids" is like listening to a soothing song over crashing waves on a rocky shoreline. In her CD you can hear the elements of nature. Zanni's voice calls down the rain. This is late night torch song music - the kind they don't make enough of anymore ",,,,,her kind of soul is an antidote to the blues." author: Stanley Crouch Eve Zanni is a veteran of experience and of feeling, which give her singing a pure quality that puts unrelieved pressure on the false, the trivial, the cold and the joyless. In short, her kind of soul is an antidote to the blues. Wow! author: Judy Niemack - international jazz singer Wow! Lots of beautiful interaction, great playing, interesting songs and soulful singing! A passionate rhythm of the soul author: Adrienne Music purely from the soul. After a day of work or a walk in the park it echoes the sounds and rhythms that ease the body and mind like a fresh glass of wine. The songs and arrangements sound stylish--they aren't just for listening to. You can see them and they curve and swirl magically. I really enjoy listening to the songs as one, not just the bass, the vocals or drums idividually (although they could all stand strong alone). It is all woven together perfectly! passionate singer/composer/lyricist embraces eclectic world musics and jazz author: Sue Maskaleris, CDBABY artist "Songs for Modern Mermaids" is one of the most interesting CDs I have heard lately. There are exciting originals here to tickle latin, Brazilian and mideastern palettes, as well as timeworn and less-familiar standards revived here with creative orchestrational choices. Sometimes she is sparsely accompanied by just two basses, yet Zanni makes it all work. Her voice is full-bodied and agile, and she swings and grooves in all tempos and feels. .
Load more

Recommended publications
  • Bright Moments!
    Volume 46 • Issue 6 JUNE 2018 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. On stage at NJPAC performing Rahsaan Roland Kirk’s “Bright Moments” to close the tribute to Dorthaan Kirk on April 28 are (from left) Steve Turre, Mark Gross, musical director Don Braden, Antoinette Montague and Freddy Cole. Photo by Tony Graves. SNEAKING INTO SAN DIEGO BRIGHT MOMENTS! Pianist Donald Vega’s long, sometimes “Dorthaan At 80” Celebrating Newark’s “First harrowing journey from war-torn Nicaragua Lady of Jazz” Dorthaan Kirk with a star-filled gala to a spot in Ron Carter’s Quintet. Schaen concert and tribute at the New Jersey Performing Arts Fox’s interview begins on page 14. Center. Story and Tony Graves’s photos on page 24. New JerseyJazzSociety in this issue: New Jersey Jazz socIety Prez Sez . 2 Bulletin Board . 2 NJJS Calendar . 3 Jazz Trivia . 4 Prez sez Editor’s Pick/Deadlines/NJJS Info . 6 Change of Address/Support NJJS/ By Cydney Halpin President, NJJS Volunteer/Join NJJs . 43 Crow’s Nest . 44 t is with great delight that I announce Don commitment to jazz, and for keeping the music New/Renewed Members . 45 IBraden has joined the NJJS Board of Directors playing. (Information: www.arborsrecords.com) in an advisory capacity. As well as being a jazz storIes n The April Social at Shanghai Jazz showcased musician of the highest caliber on saxophone and Dorthaan at 80 . cover three generations of musicians, jazz guitar Big Band in the Sky . 8 flute, Don is an award-winning recording artist, virtuosi Gene Bertoncini and Roni Ben-Hur and Memories of Bob Dorough .
    [Show full text]
  • How Mimi Perrin Translated Jazz Instrumentals Into French Song
    BENJAMIN GIVAN How Mimi Perrin Translated Jazz Instrumentals into French Song “Just like the th at the beginning of they and at the beginning of theater.” “What’s different about the sound of theater and they?” “Say them again and listen. One’s voiced and the other’s unvoiced, they’re as distinct as V and F; only they’re allophones—at least in British English; so British- ers are used to hearing them as though they were the same phoneme.” —Samuel R. Delany, Babel- 171 —Prenez par exemple, en français, le C de cure et de constitution. —Quelle est la différence? —Répétez chaque mot en vous écoutant bien. Le premier est palatal, articulé sur le sommet du palais, et le second vélaire, sur le voile du palais. Il s’agit simplement de variantes combinatoires dues à l’environnement. —Samuel R. Delany, Babel- 17, translated by Mimi Perrin2 Translating prose from one language to another can often be a thorny task, especially with a text, such as the above extract from Samuel R. Delany’s Babel- 17, whose meaning or literary effect is inseparable from its voiced sound. For the French edition of this 1966 science fiction novel, its translator, Mimi Perrin (1926–2010), had little choice but to completely recompose Delany’s paragraph. Where the English original contrasts “they” with “theater” to illustrate voiced and unvoiced phonemes, she instead cites the French words cure and constitution to demonstrate palatal and velar pronunciations of the consonant c, meanwhile omitting Dela- ny’s comparison of American and British English. To convey the author’s argument about interlingual phonetic perception, she had to forgo his text’s literal word- for- word meaning and transpose its fictional setting Benjamin Givan is associate professor of music at Skidmore College.
    [Show full text]
  • Jazz Appreciation Month
    A Report on the Tenth Annual Jazz Appreciation Month April 2011 Jazz Appreciation Month Mission and Vision Jazz Appreciation Month provides leadership to advance the field of jazz and promote it as a cultural treasure born in America and celebrated worldwide. Vision Statement The Smithsonian‘s National Museum of American History will work collaboratively with JAM Partners and Supporters worldwide to fulfill JAM‘s mission by: -Making jazz fun and accessible for all. -Highlighting the music‘s rich legacy and vibrant place in contemporary life and cultural diplomacy. -Making jazz relevant and cool for today‘s youth. -Using the Smithsonian‘s vast jazz collections, exhibits and research resources to develop education/ performance events that teach the public about the roots of jazz, its masters and the music. -Preserving the heritage of jazz and entertaining the public with classical and rarely heard jazz music performed by the Smithsonian Jazz Masterworks Orchestra and others. -Building the music‘s future by inspiring, training and highlighting the next generation of jazz performers, edu- cators, and appreciators. -Making jazz synonymous with ideals of freedom, creativity, innovation, democracy, cultural diversity, and au- thenticity. Table of Contents Notes from the American Music Curator……………………………………………………………….. 1 Notes from the JAM Program Director………………………………………………………………… 2 Notes from the Smithsonian Jazz Masterworks Orchestra Executive Producer………………...……… 3 JAM Task Force and Committees………………………………………………………………….….... 4 Executive Summary……………………………………………………………………………….…….
    [Show full text]
  • Copyrighted Material
    1 Beginnings was a poor kid,” Tony Bennett told music writers David Hajdu and IRoy Hemming in Discovering Great Singers of Classic Pop, “like every- body in New York in the Depression, but there was great hope, skyscrapers were going up, and everybody felt we were going toward something great. It was a unique era, and it all still lives in the music that came out of that time.” Recalling that period in an interview with David Frost in 1967, Bennett also defi ned it as a period of sharing and egalitarianism: “It was the Depression, a time when we were all very hungry. There was a great camaraderie. Everybody was helping one another out.” There is a rueful longing in his words, a sense that something was lost in the periods of afflCOPYRIGHTED uence that came later. MATERIAL That sense of hopefulness infused the early years of Tony Bennett, who came from a warm and loving family Duke Ellington described as “wonderful optimists.” Tony Bennett’s paternal grandfather, Giovanni Benedetto, grew up in the village of Podargoni, above Reggio Calabria. The family were poor farmers, producing fi gs, olive oil, and wine grapes. His mother’s 19 CCH001.inddH001.indd 1199 55/20/11/20/11 33:50:55:50:55 PPMM 20 all the things you are family, the Suracis, also farmed in Calabria. Neither side of the family could read or write. In the 1890s a widespread blight caused thousands of farmers, among them the Benedettos and the Suracis, to leave Italy. Bennett’s family was part of the mass immigration of southern and eastern Europeans to the United States between 1880 and 1920.
    [Show full text]
  • America Radio Archive Broadcasting Books
    ARA Broadcasting Books EXHIBIT A-1 COLLECTION LISTING CALL # AUTHOR TITLE Description Local Note MBookT TYPELocation Second copy location 001.901 K91b [Broadcasting Collection] Krauss, Lawrence Beyond Star Trek : physics from alien xii, 190 p.; 22 cm. Book Reading Room Maxwell. invasions to the end of time / Lawrence M. Krauss. 011.502 M976c [Broadcasting Collection] Murgio, Matthew P. Communications graphics Matthew P. 240 p. : ill. (part Book Reading Room Murgio. col.) ; 29 cm. 016.38454 P976g [Broadcasting Collection] Public Archives of Guide to CBC sources at the Public viii, 125, 141, viii p. Book Reading Room Canada. Archives / Ernest J. Dick. ; 28 cm. 016.7817296073 S628b [Broadcasting Skowronski, JoAnn. Black music in America : a ix, 723 p. ; 23 cm. Book Reading Room Collection] bibliography / by JoAnn Skowronski. 016.791 M498m [Broadcasting Collection] Mehr, Linda Harris. Motion pictures, television and radio : a xxvii, 201 p. ; 25 Book Reading Room union catalogue of manuscript and cm. special collections in the Western United States / compiled and edited by Linda Harris Mehr ; sponsored by the Film and Television Study Center, inc. 016.7914 R797r [Broadcasting Collection] Rose, Oscar. Radio broadcasting and television, an 120 p. 24 cm. Book Reading Room annotated bibliography / edited by Oscar Rose ... 016.79145 J17t [Broadcasting Collection] Television research : a directory of vi, 138 p. ; 23 cm. Book Reading Room conceptual categories, topic suggestions, and selected sources / compiled by Ronald L. Jacobson. 051 [Broadcasting Collection] TV guide index. 3 copies Book Archive Bldg 070.1 B583n [Broadcasting Collection] Bickel, Karl A. (Karl New empires : the newspaper and the 112 p.
    [Show full text]
  • November 2020 Newsletter
    VOLUME 42, NUMBER 2 Formerly New York Sheet Music Society www.APSSinc.org NOVEMBER 2020 musicals of the ‘50s about New York What’s a Party Without Arthur? City. The Music of Arthur Siegel Only days before the opening of By Jerry Osterberg Lovely Me, another musical, If the Shoe On the evening of Arthur Siegel’s Lavine’s sheet music. Besides being a Fits, opened and closed within two birth, New Year’s Eve 1923, Eddie musical director and vocal coach, Lavine weeks. The music was by David Raksin, Cantor was enjoying the latest in a string is a prolific sheet music archivist. Having then enjoying acclaim for his score of the of hits: “No, No, Nora.” Growing up in seen Siegel’s own music files many film noir Laura. The lyrics were by June Asbury Park, New Jersey, a long times, he offered to purchase the entire Carroll, who was the sister of producer established and highly successful collection from the estate, which he did Leonard Sillman. The fortuitous pairing Summer community, it’s entirely likely with the assistance of Brian Gari, a of Siegel and Carroll was instrumental in that Siegel’s performing and songwriting grandson of Eddie Cantor, after speaking the next stage of Siegel’s career. Sillman during his high school years were with the composer’s brother Eddie. had produced a radio program a decade inspired by the exciting environment and After providing interesting earlier called New Faces, and now a cosmic connection to Cantor. background about Siegel’s career, Lavine decided to resurrect the concept.
    [Show full text]
  • Jazz on a Winter's Day… the Chicken Fat Ball!
    Volume 46 • Issue 2 february 2018 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. The Chicken Fat Ball presented another outstanding band on January 7. On stage at The Woodland in Maplewood were (l-r): Conal Fowkes, Nicki Parrott, Adrian Cunningham, Paul Wells, Randy Sandke, Randy Reinhart and John Allred. Photo by Lynn Redmile. Jazz On a Winter’s Day… The Chicken Fat Ball! Once again Chicken Fat Ball organizers Al Kuehn and Don Greenfield reeled in a full house of loyal jazz fans to The Woodland in Maplewood for a swinging three-hour musical feast that warmed a cold January day. Jersey Jazz was there and brings you the story and Lynn Redmile’s pictures beginning on page 26. THE 49th ANUAL PEE WEE RUSSELL MEMORIAL STOMP March 18 at The Birchwood Manor/Mitchell Seidel’s preview is on page 24 New JerseyJazzSociety in this issue: New Jersey Jazz socIety Prez Sez . 2 Bulletin Board . 2 NJJS Calendar . 3 Jazz Trivia . 4 Prez sez Editor’s Pick/Deadlines/NJJS Info . 6 Change of Address/Support NJJS/ By Cydney Halpin President, NJJS Volunteer/Join NJJs . 47 Crow’s Nest . 48 t is with great enthusiasm that I write my first Fuller. His time and attention to these special New/Renewed Members . 49 IPrez Sez column as the newly-elected president presentations really added depth and detail to storIes of the New Jersey Jazz Society. I am looking this historical event and we thank Stephen for a Chicken Fat Ball . cover forward to working with the rest of the new job well done.
    [Show full text]
  • A Thesis Entitled Jon Hendricks, Father of Vocalese
    A Thesis entitled Jon Hendricks, Father of Vocalese: A Toledo Story by Lee Ellen Martin Submitted to the Graduate Faculty as Partial Fulfillment of the Requirements for the Masters of Musical Performance Degree ________________________ Dr. David Jex, Committee Chair ________________________ Dr. Timothy Brakel, Committee Member ________________________ Professor Norman Damschroder, Committee Member ________________________ Dr. Patricia R. Komuniecki, Dean College of Graduate Studies The University of Toledo May 2010 Copyright 2010, Lee Ellen Martin This document is copyrighted material. Under copyright law, no parts of this document may be reproduced without the expressed permission of the author. An Abstract of Jon Hendricks, Father of Vocalese: A Toledo Story By Lee Ellen Martin Submitted to the Graduate Faculty in partial fulfillment of the requirements for the Masters of Music Degree in Jazz Performance The University of Toledo May 2010 At 88 years young Jon Hendricks has lived a life of which some only dream. For over half a century Hendricks has changed the ways in which vocal jazz is performed. Hendricks‟ creative genius lies in his prolific output of Vocalese, the art of setting lyrics to an established instrumental recording. From his vocalese lyric writing talents to his instrumental approach to improvisation, Hendricks revolutionized jazz singing and has become a historical icon in jazz. Like Art Tatum, Jon Hendricks spent his early years in Toledo Ohio and continues to be an important thread in the fabric of Toledo Jazz history. Using an oral history approach, this paper examines Jon Hendricks‟ early life, his influences and what led up to his most successful recording, “Sing a Song of Basie” with Lambert, Hendricks and Ross.
    [Show full text]
  • Validating the Voice in the Music of Lambert, Hendricks & Ross
    VALIDATING THE VOICE IN THE MUSIC OF LAMBERT, HENDRICKS & ROSS by Lee Ellen Martin Bachelor of Music, McGill University, 2008 Master of Music, The University of Toledo, 2010 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH Kenneth P. Dietrich School of Arts and Sciences This dissertation was presented by Lee Ellen Martin It was defended on March 23, 2016 and approved by Geri Allen, Masters of Music, Associate Professor Michael Heller, PhD, Assistant Professor Farah Jasmine Griffin, PhD Dissertation Advisor: Gavin Steingo, PhD, Assistant Professor ii Copyright © by Lee Ellen Martin 2016 iii VALIDATING THE VOICE IN THE MUSIC OF LAMBERT, HENDRICKS & Ross Lee Ellen Martin, PhD University of Pittsburgh, 2016 Lambert, Hendricks & Ross was an unusual vocal jazz trio. Made up of Dave Lambert, Jon Hendricks, and Annie Ross, they were the only interracial and mixed gender vocal jazz group in the United States in the late 1950s. In the wake of the Montgomery bus boycott victory and President Eisenhower’s consideration of the Equal Rights Act, the trio became one of the most popular vocal jazz groups of the day by singing lyricized arrangements of famous instrumental jazz recordings through a medium called vocalese. Although they seemed to reflect a utopian ideal of an integrated American society, each member of the group faced unique challenges. Referred to as the Poet Laureate of Jazz, African American lyricist and singer Jon Hendricks considers himself “a person who plays the horn without the horn,” and he is known for his gift with words.
    [Show full text]
  • March 2021 Newsletter
    VOLUME 42, NUMBER 6 Formerly New York Sheet Music Society www.APSSinc.org MARCH 2021 indignities and racism. The Remarkable Nat King Cole Nat Cole was also very close to Jack Through the All-Encompassing Lens Benny and Perry Como. He was embraced by three presidents: Dwight Eisenhower, John Kennedy and Lyndon By Marilyn Lester of Will Friedwald Johnson. He sang at Kennedy’s inaugural If Will Friedwald were in a court of clubs to filling concert halls, and gala, which was produced by Sinatra, law pleading a case for the immense ultimately, stadiums. At a late 1940s who made sure to include three other greatness of Nat King Cole, he’d win a benefit for the Harlem YMCA, he filled people of color: Ella Fitzgerald, Harry unanimous “yes” verdict Belafonte and Mahalia hands down. In his February Jackson. Later, in Los 12 presentation, Straighten Up Angeles, Kennedy surprised and Fly Right: The Life And Cole by spontaneously Music of Nat King Cole, showing up at his house for Friedwald offered a tight and the coming-out cotillion of cogent presentation, filled one of his daughters. “It was a with visual goodies, including huge statement,” observed photos from the Cole Family’s Friedwald. personal collection. Nat Cole In matters of racial is a subject he clearly loves discrimination Cole and admires, and, who, he maintained his composure and says, is his favorite performer. his dignity. In his first film His recently released book Nat King Cole with Sombrero appearance, in 1943, in which about Cole, upon which this he sang and played piano, he program was based, was one he’d wanted the Savoy Ballroom with a remarkable was made to appear dressed as a railroad to write for many years.
    [Show full text]
  • Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor
    1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. NAT HENTOFF NEA Jazz Master (2004) Interviewee: Nat Hentoff (June 10, 1925 – January 7, 2017) Interviewer: Loren Schoenberg with audio engineer Ken Kimery Date: February 17-18, 2007 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 80 pp. Schoenberg: It’s February 17th, 2007. We’re at 35 West 12th Street in New York City. My name is Loren Schoenberg. Our guest is Nat Hentoff. We’re interviewing him for the Smithsonian Oral History project. I start off by saying, Nat, this is something I’ve been looking forward to do for a long time. It’s an honor to be talking to you this afternoon. Hentoff: Thank you sir. It’s an honor to talk to somebody who’s an actual musician, not a jazz master without a horn. Schoenberg: We’re talking with Nat Hentoff. There are so many places to go in this interview. Before I ask a question – I’m going to hopefully disappear pretty soon as a voice on this tape, because you don’t need to hear me asking questions – I want to set a groundwork and context for the interview, the things that I would like to focus on, at least for a starter. We’re talking with someone here who was on a personal level friendship with, just to name a few people, Duke Ellington, Louis Armstrong, Charlie Parker, Thelonious Monk, John Coltrane, Charles Mingus, Frankie Newton, Jo Jones, and Sidney Bechet.
    [Show full text]
  • A B C D E F Principle Performerrecording
    A B C D E F Principle PerformerRecording DateInstrument Other Performers Matrix &/or Orig Release My Source Loveable and Sweet, Sounds of Yester Year Hylton, Jack 7-Feb-30 voc/big band Pat O'Malley (v), Billy Ternent (tenor and arr) Bb-18652-2-3, HMV (e)B-5777 DS0Y624 Rosebery, Arthur 15-Feb-30 voc/big band Len Lees (v) Rosebery piano, Rust say aug band Parlophone R-595 Will Friedwald Gibbons, Carroll 19-Feb-30 piano piano with violin and clarinet HMV B3347 Amazon.com Song ID: 223115498 Ambrose, Bert 22-Feb-30 voc/big band Sam Browne (v) Bert Amrbose MB-941-3, Dec M-118, M-402 Will Friedwald Hylton, Jack 25-Feb-30 voc/big band Pat O'Malley (v) 12in Concert Transcription, Victor 36027-A John Leifert Carlisle, Elsie Mar-30 voc Jay Wilbur and his Orch 1713-R2. Dominion C307 Radio Sweetheart No. 1, ASV CD AJA 5282 Hughes, Spike 12-Mar-30 voc/big band Spike Hughes (b) Val Rosing (dr and vocals) MB1056-1, F1703, Retrieval FG407 Will Friedwald Michael Thomas, http://www.mgthomas.co.uk/Soundfiles/Britis Pete Mandell and His Rhythm Masters, Jack Plant h%20Dance/Pete%20Mandell/Pete%20Mande Mandell, Pete 5-May-30 voc/big band (v) mx. # 904-4 Victory 231 ll%20-%20Body%20And%20Soul.mp3 Sam Browne (v) and his Gyspy Orch Hal Swain Alfredo, Gil 26-May-30 voc/big band vocal??? 89796-2, EBR 1348, Edison Bell Radio 1348 Will Friedwald Whiteman, Paul 10-Sep-30 voc/big band Jack Fulton (v) 150788-3,Col 2297-D, DC-177 Will Friedwald: ASV 5291 (Say it With Music) More than you Know Box Office Recordings Morgan, Helen 12-Sep-30 voc Leonard Joy (arr.
    [Show full text]