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Sweet and Dirty a Collaboration of Sweet Brenda and Dirty Red Band Bios
Sweet and Dirty A collaboration of Sweet Brenda and Dirty Red Band Bios When Dirty Red – Eric McDaniel – leader of modern day powerhouse band, Dirty Red and the Soul Shakers invited legendary Oklahoma Blues Singer, Sweet Brenda – Bren Severson – on stage the first time to sit in with the band, a lightning bolt of electricity melded them together and shot their sound and energy into an unsuspecting blues audience that soaked it up like fireball whiskey on freaky Saturday night. From that moment this energetic collaboration has caused quite a stirring in the blues scene. Both musicians have made a name for themselves across the blues nation with experience and expertise that speaks for itself. When all of that is combined with the background and expertise of the rest of the band, a stage full of all-stars is born. Besides the giant personalities of Dirty Red and Sweet Brenda, the scary tight rhythm section of Cliff the “Iron Man” Belcher and Forrest Worrell, both of Watermelon Slim and the Workers fame, and the lonesome but ripping tasty blues guitar of Big Robb Hibbard, former lead for Miss Blues and the Blue Notes, put the icing on the cake. Add to all of that, the fact that Dirty Red and Sweet Brenda both write all the songs with soulful and pertinent lyrics written for all people, and a jolting beat that never stops, the dance floor is full and crazy, the room is packed with a punch of energy and the blues appetite is wildly satisfied. Sweet and Dirty is a collaboration of blues monsters bragging over 130 years of performance altogether culminating into this fabulous high- energy show. -
John Pizzarelli and Freddy Cole: Celebrating the Centenary of Nat
TD Jazz Concerts John Pizzarelli and Freddy Cole: Celebrating the centenary of Nat King Cole @ 100 Thursday, February 14, 2019 at 8:00pm Pre-concert Talk at 7:00pm This is the 913th concert in Koerner Hall John Pizzarelli, vocals & guitar Mike Karn, bass Konrad Paszkudzki, piano Freddy Cole, piano & vocals Elias Bailey, bass Randy Napoleon, guitar Quentin Baxtor, drums John Pizzarelli World-renowned guitarist and singer John Pizzarelli, established as one of the prime contemporary interpreters of the Great American Songbook, has expanded that repertoire by including the music of Paul McCartney, Joni Mitchell, Neil Young, Tom Waits, Antônio Carlos Jobim, and The Beatles. Having concentrated on the music of Paul McCartney, Johnny Mercer, and Frank Sinatra over the last two years, Pizzarelli has returned to the bossa nova of Jobim with his 2017 release Sinatra & Jobim @ 50. With co- vocalist Daniel Jobim, grandson of the legendary Brazilian composer, the two explore songs Sinatra and Jobim recorded, as well as add new songs flavoured with the spirit of the classic Francis Albert Sinatra and Antonio Carlos Jobim album. Pizzarelli has toured North America, South America, Asia, and Europe, performing shows centered on Frank Sinatra’s centennial, the songs of Johnny Mercer, and a McCartney program, in which his quartet is joined by strings and a horn section. He also tours on a double bill with pianist Ramsey Lewis. While plenty of jazz greats influenced his work, Nat King Cole has been Pizzarelli’s hero and foundation over the last 25 years. He devoted two albums to his music, Dear Mr. -
Steve Cropper | Primary Wave Music
STEVE CROPPER facebook.com/stevecropper twitter.com/officialcropper Image not found or type unknown youtube.com/channel/UCQk6gXkhbUNnhgXHaARGskg playitsteve.com en.wikipedia.org/wiki/Steve_Cropper open.spotify.com/artist/1gLCO8HDtmhp1eWmGcPl8S If Yankee Stadium is “the house that Babe Ruth built,” Stax Records is “the house that Booker T, and the MG’s built.” Integral to that potent combination is MG rhythm guitarist extraordinaire Steve Cropper. As a guitarist, A & R man, engineer, producer, songwriting partner of Otis Redding, Eddie Floyd and a dozen others and founding member of both Booker T. and the MG’s and The Mar-Keys, Cropper was literally involved in virtually every record issued by Stax from the fall of 1961 through year end 1970.Such credits assure Cropper of an honored place in the soul music hall of fame. As co-writer of (Sittin’ On) The Dock Of The Bay, Knock On Wood and In The Midnight Hour, Cropper is in line for immortality. Born on October 21, 1941 on a farm near Dora, Missouri, Steve Cropper moved with his family to Memphis at the age of nine. In Missouri he had been exposed to a wealth of country music and little else. In his adopted home, his thirsty ears amply drank of the fountain of Gospel, R & B and nascent Rock and Roll that thundered over the airwaves of both black and white Memphis radio. Bit by the music bug, Cropper acquired his first mail order guitar at the age of 14. Personal guitar heroes included Tal Farlow, Chuck Berry, Jimmy Reed, Chet Atkins, Lowman Pauling of the Five Royales and Billy Butler of the Bill Doggett band. -
Beginning Jazz Guitar Ebook Free Download
BEGINNING JAZZ GUITAR PDF, EPUB, EBOOK Jody Fisher | 96 pages | 01 Jul 1995 | Alfred Publishing Co Inc.,U.S. | 9780739001103 | English | United States Beginning Jazz Guitar PDF Book Image 1 of 4. Having started out as a classical player and now dabbling in other styles like jazz, my eyes have really opened to the amazing possibilities that improvisation can bring. We use cookies on our website to give you the most relevant experience by remembering your preferences and repeat visits. Download Jam Track Jam Track. Laurence says:. Additional Information. Chuck Johnson on November 16, at am. I would really appreciate your feedback, so do let me know what you think about this post by leaving a comment below. Advertisement - Continue Reading Below. This goes for all the chords. In this guitar lesson, you will learn 6 variations of the jazz blues progression going from the basic blues to more modern variations like the bebop blues. Thank you. A famous jazz musician once said 'jazz can be taught in just three lessons; 1st lesson: practice for 10 years; 2nd lesson: practice and perform for 10 years; 3rd lesson: practice, perform and develop your art for 10 years. The fifth and last element is the improvisation. My pleasure Donald, thanks for reading : Reply. Also has a quite good acoustic amp setting for acoustic guitars with pickup — very versatile amp with a great sound. Added to cart. Although music theory has a bit of a bad reputation, it can make your life as an improvising guitarist a lot easier. So a major the 7th note of the major scale is added to the major chord. -
The Compositional Style of Jazz Guitarist Nathen Page
University of North Florida UNF Digital Commons All Volumes (2001-2008) The sprO ey Journal of Ideas and Inquiry 2004 Artist Study: The ompC ositional Style of Jazz Guitarist Nathen Page Stephen Lesche University of North Florida Follow this and additional works at: http://digitalcommons.unf.edu/ojii_volumes Part of the Composition Commons Suggested Citation Lesche, Stephen, "Artist Study: The ompositC ional Style of Jazz Guitarist Nathen Page" (2004). All Volumes (2001-2008). 89. http://digitalcommons.unf.edu/ojii_volumes/89 This Article is brought to you for free and open access by the The sprO ey Journal of Ideas and Inquiry at UNF Digital Commons. It has been accepted for inclusion in All Volumes (2001-2008) by an authorized administrator of UNF Digital Commons. For more information, please contact Digital Projects. © 2004 All Rights Reserved Artist Study: The Compositional his mastery because he does not compare Style of Jazz Guitarist Nathen to other guitarists that they have listened Page to. In spite of this, this is exactly why he is so great: he plays like himself. His tone is all his own and I have grown to Stephen Lesche enjoy it. His approach to technique is also very personalized. While he may Faculty Sponsor: Kevin Bales, not be able to produce rapid flurries of Assistant Professor of Music sixteenth notes like some of his contemporaries can, this has never Nathen Page is one of the hindered him in expressing himself and masters of modern jazz guitar. producing music of the highest caliber. Unfortunately, he is also one of the least In developing as an artist, there known and recognized of the masters. -
Jazzletter PO Box 240, Ojai CA 93024-0240
Gene Lees jazzletter PO Box 240, Ojai CA 93024-0240 February 2000 Vol. 19 No. 2 outside the experience. He tells you how to drive across this King Cole America in Bobby Troup’s Route 66. That song became such Part Two a part ofthe culture that when I moved to Califomia in 1974, Nat sings about partying ir1 BringAnother Drink. Or he gives and had determined the main highway on the map, I hardly you, in inversion, the same message as Nature Boy in You ‘re ever had to look at it again afler Chicago: I just ran the Nat Nobody Till Somebody Loves You. He gives you advice, Cole record in my head and aimed for the cities it specified. again, on your life, in It Only Happens Once and still more I doubt that I’m the only person who ever did that. friendly third-person counsel in It Is Better to Be by Yourself In his annotation to the Mosaic boxed set, Will Friedwald Or, with Cole Porter, he asks What Is This Thing Called tries to explain Cole’s predilection for silly songs with this: Love? And, in just case any white man should frown at even “The answer is in Cole’s miraculous capacity for melody. the hint ofa relationship here says, “You took my heart, and His limitless tool kit of methods of playing, singing and threw it away.” Just as she should have, you damned . arranging songs for his unusually-instrumented triumverate Or he looks at the girl, but won’t move on her, in But (sic) took him at once into high art and lowbrow comedy. -
And the Band Played on Pdf
And the band played on pdf Continue Music fans were sad to learn that Tom Petty passed away at the age of 66 on Monday night. The musician became famous for his successful career as a solo artist, but worked with several bands, including The Heartbreakers. Who the Heartbreakers were Tom Petty showed they were more than a band. They were the longest-running group Petty had worked with, playing together since 1976. Since then, Petty has released more than a dozen albums, either in collaboration with The Heartbreakers or prominently. Together, the band is recognizable for some of Petty's favorite hits, including Mary Jane's Last Dance and American Girl. The introduction to American Girl has probably stuck in your head since the first time you heard it, but for some reason, you just never get tired of it. You have Tom Petty and the Heartbreakers to thank for that. Petty also collaborated with the following bands: Mudcrutch (1970-1975), the supergroup The Traveling Willburys (1988-1990). On Petty's solo albums, The Heartbreakers served as studio musicians, and were additionally supported by Petty's collaborator stable. This stable famously included musicians like Jeff Lynne and George Harrison, who were also two of the petty bandmates in Willburys Travel. Petty recorded with Bob Dylan, Stevie Nicks and countless other industry icons, but The Heartbreakers were his constant. According to Petty's official website, the 2017 Heartbreakers included Campbell, Trench, bassist Ron Blair, rhythm guitarist Scott Thurston and percussionist Steve Ferrone. Ferrone joined in 1994 after drummer Stan Lynch left to work on other projects. -
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 . -
2012 Festival Brochure
BOARD OF DIRECTORS Jessica Felix ARTISTIC DIRECTOR Gloria Hersch CHAIR Elizabeth Candelario VICE CHAIR Edward Flesch SECRETARY Dennis Abbe TREASURER Rollie Atkinson Randy Coleman Roy Gattinella Loretta Rosas HONORARY BOARD MEMBERS Frank Carrubba Doug Lipton Circe Sher GENERAL COUNSEL James DeMartini PROGRAM NOTES David Rubien NEA Jazz Masters is a program of the DESIGN National Endowment of the Arts in Ranch7 Creative partnership with Arts Midwest. PRINTING Healdsburg Area Fund Barlow Printing Healdsburg Rotary Club Healdsburg Sunrise Rotary Club Kiwanis Club of Healdsburg Tompkins/Imhoff Family Fund Steinway Pianos provided by Sherman Clay, San Francisco FRIDAY 6/1 TUESDAY 6/5 SATURDAY 6/9 Calvin Keys Organ Quartet Azesu: Latin Rhythms, South Master Vocal Class KRUG EVENT CENTER American Folklorico & Jazz with Sheila Jordan 198 Dry Creek Road HEALDSBURG PLAZA HEALDSBURG HIGH SCHOOL (entrance on Grove Street) 6-8PM | Free 1028 Prince Avenue/Band Room 7-9PM | $20 11AM-2PM Vintage Blues on Vinyl Robb Fisher & Matt Clark Duo $50 participants | $25 to audit with David Katznelson HOTEL HEALDSBURG LOBBY Panel Discussion 7:30-11PM BERGAMOT ALLEY with the Roy-al Family 328a Healdsburg Avenue Moderated by Billy Hart 8-11PM | $10 SATURDAY 6/2 RAVEN THEATER Jazz & Wine Tasting: 115 North Street Benny Barth Trio with Randy WEDNESDAY 6/6 2-4PM | Free Jazz Night at the Movies Vincent & Chris Amberger with Mark Cantor Music, Wine & Food SEASONS OF THE VINEYARD RAVEN THEATER Cocktail Hour: Susan Sutton Trio 113 Plaza Street ACROSS FROM RAVEN THEATER -
Press Coverage That the Scranton Jazz Festival Has Received
scrantonjazzfestival.org SCRANTON JAZZ FESTIVAL ABOUT This summer The Scranton Jazz Festival will celebrate its 11th year at the historic Radisson Lackawanna Station Hotel and various downtown Scranton venues. Attracting international, national, and regional jazz/blues and world beat artists, the SJF has proven its true potential to become a long-term musical event. Only with your support, does the festival continue to have the opportunity for an enormous impact on the cultural and economic development of our region. Fostering America’s original art form, jazz, Scranton has a rich history, dating back to the 1930’s when two jazz legends, Tommy Dorsey and Jimmy Dorsey, performed regularly with the Scranton Sirens Jazz Band. Our area is also credited with hosting the first known recorded jazz festival, “The Cavalcade of Dixieland Jazz”, in 1951. Since its premiere in 2005 the festival has drawn audiences from the entire Mid-Atlantic region, resulting in tremendous notoriety and exposure to the international jazz world. The SJF can help revive our region as a cultural epicenter, spreading the arts throughout the northeast, no different than such festivals as Newport, Rhode Island; Saratoga Springs, Florida; and Monterey, California. With your generosity, to support this program, we will be able to significantly enrich our community and region. Your donation will help us to defer costs for production, artists fees, advertising, and promotional expenses. In addition, your contribution will enable us to receive matching funds, provided by local and state funding organiza- tions. Together, as a united team, we can make artistic magic happen for Scranton. How incredible would it be to see this festival, in time, be considered a major summer destination place for the jazz/blues and world beat community? Only with your help will that magic happen. -
Jazz Standards Arranged for Classical Guitar in the Style of Art Tatum
JAZZ STANDARDS ARRANGED FOR CLASSICAL GUITAR IN THE STYLE OF ART TATUM by Stephen S. Brew Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2018 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Luke Gillespie, Research Director ______________________________________ Ernesto Bitetti, Chair ______________________________________ Andrew Mead ______________________________________ Elzbieta Szmyt February 20, 2018 ii Copyright © 2018 Stephen S. Brew iii To my wife, Rachel And my parents, Steve and Marge iv Acknowledgements This document would not have been possible without the guidance and mentorship of many creative, intelligent, and thoughtful musicians. Maestro Bitetti, your wisdom has given me the confidence and understanding to embrace this ambitious project. It would not have been possible without you. Dr. Strand, you are an incredible mentor who has made me a better teacher, performer, and person; thank you! Thank you to Luke Gillespie, Elzbieta Szmyt, and Andrew Mead for your support throughout my coursework at IU, and for serving on my research committee. Your insight has been invaluable. Thank you to Heather Perry and the staff at Stonehill College’s MacPhaidin Library for doggedly tracking down resources. Thank you James Piorkowski for your mentorship and encouragement, and Ken Meyer for challenging me to reach new heights. Your teaching and artistry inspire me daily. To my parents, Steve and Marge, I cannot express enough thanks for your love and support. And to my sisters, Lisa, Karen, Steph, and Amanda, thank you. -
13. Cleveland Jazz Guitarists
13. Cleveland Jazz Guitarists itariSts who grew up in still a teenager. He joined the leveland have been among musicians' union when he was 16. By Gthe most important and most 1940, when he was 17, he was playing acclaimed in jazz history. They all at parties and country clubs around drew their inspiration from the all Cleveland. "I played with band leaders time grand masters of jazz guitar, Clint Noble and Jack Horowitz," he Django Reinhardt and Charlie said, but he had bigger plans. Christian. "In 1941, I went to New York to become famous. My father borrowed Fred Sharp $50 on his life insurance policy and Anyone who was even a casual gave me the money to go. Joe Sharp listener ofjazz in Cleveland from the never had money at all. In New York, 1940s to the '80s probably heard I put in for my union card. You had to guitarist Fred Sharp. He played with stay six months to get your card and I some ofthe biggest names in jazz and went to the union floor every day and was the man Jim Hall credited as his started to get some club dates. The teacher. scale was $7 then for a club date, but In the mid-1930s, when Sharp was most everybody paid $4." growing up in the Glenville area of Courtesy of Fred Sharp When he was still in his teens, Fred Sharp and Babik Reinhardt, Cleveland and listening to music on Sharp remembered he almost starved the 23-year-old son of Sharp's the radio, the guitar, with a few guitar idol Ojango Reinhardt, in trying to become famous in New exceptions, was not a solo jazz voice, Paris in 1967 York.