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Press Kit Harish Raghavan Calls for Action Biography “One of the most exciting young bassists in jazz” The New York Times For more than a decade, bassist-composer Harish Raghavan has helped lay the foundation for a thriving generation of artists. The Thelonious Monk Competition semifinalist garners acclaim as a sound architect for myriad original projects, from Ambrose Akinmusire’s to Eric Harland’s. Other longtime collaborators include Logan Richardson, Vijay Iyer, Gerald Clayton, Taylor Eigsti and Walter Smith III. Born in Chicago, the New York-based artist transitioned from Mridanga to bass at age 16. His appetite for mingling lineages has allowed him to craft an inclusive, deeply personal artistry. Raghavan’s debut album Calls for Action (Whirlwind Recordings) reflects his development as a composer and band leader. Fifteen original tracks serve as a cohesive narrative for the album, as well as standalone suites on either side of its vinyl release. Raghavan received his BA in Music from USC — where he studied under John Clayton and Dave Carpenter, and later with Robert Hurst — and has become a highly sought educator. Teaching credits include Stanford Jazz Workshop, The New School, Siena Jazz Workshop, Banff and Centrum Jazz Workshop. He also appears regularly on the international festival circuit. Media Harish Raghavan - 'AS' (Acoustic Version) Newe Los Angeles Shift Seven Selected Discography Social Media 1400+ Monthly Listeners 675+ Subscribers 500+ Subscribers 4200+ Followers Contact Information HarishRaghavan.com [email protected] For Press Inquiries, please contact Nathan Johnson at Whirlwind Recordings.

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Download 2018 Catalog
JUNE 23 Bing Concert Hall Joshua Redman Quartet presented by JUNE 22 – AUGUST 4 28 BRILLIANT CONCERTS STANFORDJAZZ.ORG presented by JUNE JULY FRI FRI FRI FRI SAT SAT SAT SAT SAT MON SUN SUN 22 23 SUN 24 29 30 1 6 7 7 13 14 15 16 Indian Jazz Journey JUNE 22 – AUGUST 4 with Jazz on 28 BRILLIANT CONCERTS George the Green: Brooks, Early Bird Miles STANFORDJAZZ.ORG Jazz featuring Jazz for Electric Ruth Davies’ Inside Out Mahesh Dick Kids: An Band, Kev Tommy Somethin’ Blues Night with Joshua Kale and Tiffany Christian Hyman Jim Nadel American Choice, Igoe and Else: A with Special Jim Nadel Redman Bickram Austin McBride’s and Ken and the Songbook Sidewalk the Art of Tribute to Guest Eric & Friends Quartet Ghosh Septet New Jawn Or Bareket Peplowski Zookeepers Celebration Chalk Jazz Cannonball Bibb JULY AUGUST FRI FRI SAT SAT SAT TUE WED THU THU SUN SUN WED WED MON 18 19 21 22 23 25 26 27 28 29 MON 30 31 1 3 4 SJW All-Star Jam Wycliffe Gordon, Melissa Aldana, Taylor Eigsti, Yosvany Terry, Charles McPherson, Jeb Patton, Tupac SJW CD Mantilla, Release Jazz Brazil: Dena Camila SJW CD Regina Party: Anat DeRose Jeb Patton Meza, Release Carter Caroline Cohen/ Terrence Trio with Trio and Yotam party: An & Xavier Davis’ Romero Brewer Anat Yosvany Tupac Silberstein, Debbie Evening Davis: Heart Tonic Lubambo/ Acoustic Cohen and Charles Terry Taylor Mantilla’s Mike Andrea Poryes/ with Duos and Bria and Jessica Vitor Remembering Jazz Jimmy McPherson Afro-Cuban Eigsti Trio Point of Rodriguez, Motis Sam Reider Victor Lin Quartet Skonberg Jones Gonçalves Ndugu Quartet Heath Quintet Sextet and Friends View and others.
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October 2020 2020 EARSHOT JAZZ DIGITAL FESTIVAL Feeling the Spirit
Since 1984, Earshot Jazz has been Seattle’s major ambassador of jazz – presenting jazz masters and important new artists, supporting the local scene, and educating young and old about the joys of jazz – all thanks to contributions from folks like you. Make a donation TODAY www.earshot.org/donate 206-547-6763 All photos by Daniel Sheehan taken at the 2018 Earshot Jazz Festival. Top: Brian Blade, Kate Olson, Jovino Santos Neto, Logan Richardson, Jazzmeia Horn, Bill Frisell, Ryan J. Lee, Maria Schneider. Middle: Regina Carter, Jasnam Daya Singh, Tia Fuller, Wayne Horvitz, Burniss Travis, Roosevelt High School Jazz Band, Myra Melford, Joel Ross. Bottom Row: Dawn Clement, Johnaye Kendrick, Jay Thomas, Jen Shyu, Keyon Harrold, Caroline Davis, Donovan Kranzler-Lewis, Mark Turner. 2 • EARSHOT JAZZ • October 2020 2020 EARSHOT JAZZ DIGITAL FESTIVAL Feeling the Spirit Welcome to the 2020 edition of the time, president Earshot Jazz Festival. We’re proud to Barack Obama celebrate Seattle’s place in the dy- referred to jazz namic world of jazz with a festival as “fearless and that reflects both the circumstances true” and an and the spirit of these extraordinary “honest reflec- times. tion of who Building this year’s program on we are in this the tangible pillars of Listen, Learn, time.” All of and Improvise; we’ve also focused the artists on the artistic expression on the essen- this year’s festi- tial fourth corner of jazz’s founda- val bring a great tion: Feel. Beneath the technical depth of skill brilliance that we’ve come to expect and expressive in today’s artists, the essence of the spirit to the music is in the personal expression stage, though of the artist and its impact on the few have so rig- listener.
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25995 Yamaha
Jazz piano wunderkind Taylor Eigsti has accomplished more before the age of 20 than many musicians achieve in a lifetime. In addition to sharing the stage with David Benoit at age eight and recording his first CD at thirteen, Eigsti has opened for such artists as Diana Krall, Al Jarreau and Natalie Cole. With a new album, Resonance, out on Bop City Ta ylor Eigsti: and another due out in early 2004, this is one young pianist to watch. Bending Jazz Boundaries for eiGSTi , The keY To MuSiCAl GrowTh lieS in eXPlorinG STYleS ouT - is their profoundly consistent action,” he says. “i just don’t think “I deliberately listen to music that side the standard jazz canon. “The next record will have elements there’s a piano out there that’s as consistent—it’s a balanced I hate—and often I end up finding some of hip-hop and funk,” he says. “i may even do a nirvana tune. action, it feels nice. And i really like the tone you get from Yamaha i think of myself as a jazz musician, but ideally what i do is incor - pianos. it varies from instrument to instrument, of course, but over - element in that style or genre porate and assimilate other genres, using the mechanisms all they seem very balanced—not too bright and not too mellow. that I really like.” and integrity of jazz.” i’ve used Yamaha pianos on almost everything i’ve recorded. Taylor actively seeks out new influences, sometimes from i especially like the Yamaha C7 grand—it has a great recording unexpected sources.
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Liebman Expansions
MAY 2016—ISSUE 169 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM DAVE LIEBMAN EXPANSIONS CHICO NIK HOD LARS FREEMAN BÄRTSCH O’BRIEN GULLIN Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East MAY 2016—ISSUE 169 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : Chico Freeman 6 by terrell holmes [email protected] Andrey Henkin: [email protected] Artist Feature : Nik Bärtsch 7 by andrey henkin General Inquiries: [email protected] On The Cover : Dave Liebman 8 by ken dryden Advertising: [email protected] Encore : Hod O’Brien by thomas conrad Editorial: 10 [email protected] Calendar: Lest We Forget : Lars Gullin 10 by clifford allen [email protected] VOXNews: LAbel Spotlight : Rudi Records by ken waxman [email protected] 11 Letters to the Editor: [email protected] VOXNEWS 11 by suzanne lorge US Subscription rates: 12 issues, $40 Canada Subscription rates: 12 issues, $45 In Memoriam 12 by andrey henkin International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or money order to the address above CD Reviews or email [email protected] 14 Staff Writers Miscellany David R. Adler, Clifford Allen, 37 Duck Baker, Fred Bouchard, Stuart Broomer, Thomas Conrad, Ken Dryden, Donald Elfman, Event Calendar 38 Philip Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo, Suzanne Lorge, Marc Medwin, Ken Micallef, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Andrew Vélez, Ken Waxman Tracing the history of jazz is putting pins in a map of the world.
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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.
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Approaching the Jazz Past: MOPDTK's Blue and Jason Moran's
Journal of Jazz Studies vol. 11, no. 2, pp. 1-28 (2016) Approaching the Jazz Past: MOPDTK’s Blue and Jason Moran’s “In My Mind: Monk at Town Hall, 1959” Tracy McMullen “Polemical traditions seem to valorize the literal” -Henry Louis Gates In October 2014, the jazz group Mostly Other People Do the Killing released their seventh album, Blue, a “painstakingly realized, note-for-note” re- performance of the classic 1959 album by the Miles Davis Sextet, Kind of Blue. Some jazz critics have described this album as “ingenious and preposterous” and “important.”1 Many of my fellow jazz scholars have been intrigued, wondering just how closely these artists come to re-performing the nuances of Miles or Coltrane or Evans. I have been far less impressed or intrigued. MOPDTK’s album is the product of a long Western tradition of understanding the art object, the artist, and history. Far from preposterous, ingenious, or even new, I argue this album is a stark example of comprehending jazz via a Western epistemology that informs “classical music” rather than, as one reviewer argues, a critique of this tendency. Using the 1939 Jorge Luis Borges story the band offers as liner notes as my pivot point, I argue that MOPDTK assumes an epistemology that privileges objectivity and an obsession with naming while suspecting the subjec- tive and what cannot be named. In an obtuse reading of the Borges story, bassist and bandleader Moppa Elliott asserts that we must have a new object in order to re-read the old one. An obsession with naming (that is, locating boundaries) breeds a fascination with difference, which is then found in a predictable place: racial difference.
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5149 1466, Mobil: +49 172 4542369 Mail: [email protected]
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐ NEXT Collective "Cover Art" Concord / Universal Music 08880 7233362 8/ VÖ: 10. Mai 2013 Musiker: Logan Richardson & Walter Smith III ‐ saxes / Matthew Stevens ‐ guitars / Gerald Clayton & Kris Bowers ‐ keyboards / Ben Williams ‐ basses / Jamire Williams ‐ drums / Special Guest: Christian Scott a.k.a. Christian aTunde Adjuah) ‐ trumpet Songs: 1. Twice (Little Dragon) / 2. No Church In The Wild (Jay Z & Kanye West) / 3. Africa (D’Angelo) / 4. Fly Or Die (N.E.R.D) / 5. Oceans (Pearl Jam) / 6. Refractions In The Plastic Pulse (Stereolab) / 7. Marvins Room (Drake) / 8. Come Smoke My Herb (Meshell Ndegeocello) / 9. Perth (Bon Iver) / 10. Thank You (Dido) Unter dem Projektnamen NEXT Collective haben sich acht der aufregendsten jungen Musiker der zeitgenössischen Jazzszene zusammengefunden, um auf dem Album “Cover Art” Songs von u.a. Bon Iver, Drake, N.E.R.D, Little Dragon, Pearl Jam, D’Angelo, Jay Z & Kanye West neu zu interpretieren. Das NEXT Collective knüpft in gewisser Weise an Herbie Hancocks vielgepriesenes Verve‐Album “The New Standard” aus dem Jahr 1996 an. Doch diese innovativen Musiker haben natürlich einen ganz eigenständigen Weg gefunden, sich mit den populären Vorlagen ihrer Zeitgenossen, die sie hier “covern”, auseinanderzusetzen. Es kommt nicht oft vor (vielleicht alle 25 Jahre), dass eine neue Musikergeneration die Szene betritt und in kurzer Zeit eine eigene kollektive Identität entwickelt. Geschehen ist dies zum Beispiel in den späten 1960er bis frühen 1970er Jahren, als eine Gruppe von Newcomern den Jazz mit Funk‐, Rhythm’n’Blues‐ und Rock‐Elementen neues Leben einhauchte. Und Ähnliches passierte auch wieder in den frühen 1990ern, als einige Jazzmusiker mit DJs und Rappern auf sehr agile Weise Jazz und HipHop miteinander kreuzten.
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FILM WEEK at the PHILHARMONIC Alec Baldwin, the ART of the SCORE Artistic Advisor
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Hamlet Hub (USA)
US-CT Source: HamletHub Retrieved from https://news.hamlethub.com/wilton/events/51122-wilton-library-streams-hot-cool-jazz-concert-april-30 on 24 June, 2021 Wilton Library streams Hot & Cool Jazz concert April 30 Published on Thursday, 08 April 2021 11:39 Written by Janet Crystal The iconic piano bursts to life when Taylor Eigsti performs in Wilton Library’s first recorded Hot & Cool Jazz concert of the year on Friday, April 30, from 7 to 8:30 p.m. The day chosen for the concert’s release is fitting as it is International Jazz Day. Eigsti, long a favorite of the library’s Hot & Cool Jazz series having been its opening musician in 2007, performed this concert at Millstone – then the long-time home of jazz legend Dave Brubeck. The concert was recorded this past December, with Eigsti working his magic on Dave’s grand piano in the dramatic two-story music room where Dave composed so much of his famous music. Wilton resident Chris Brubeck, an award-winning composer and superlative trombonist and bassist, also sat in and jammed with Taylor on a few tunes. This will be a very special one-time concert broadcast. New York-based pianist and composer Taylor Eigsti started playing the piano when he was four years old and was quickly labeled a prodigy. He has since released seven albums as a bandleader, in addition to appearing on over 50 albums as a sideman. On May 21, 2021, Eigsti will be releasing his eighth album as a leader (and his first brand new album in eleven years), called Tree Falls on GSI Records.
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2O18-2O19 Annual Report
2018-2019 Annual Report contents welcome 2 WELCOME 3 A YEAR BY THE NUMBERS 4 JAZZ IMMERSION PROGRAMS 7 JAZZ IMMERSION PROGRAM FACULTY 8 MENTOR FELLOWSHIP PROGRAM 9 STANFORD JAZZ FESTIVAL 17 SJW 50/50 VISION 18 YEAR-ROUND PROGRAMS 19 FREE EVENTS 20 PEOPLE AND FINANCES 21 DONORS 22 PARTNERS Stanford Jazz Workshop is neither legally nor financially affiliated with Stanford University. This report summarizes activity from September 1, 2018 through August 31, 2019. On behalf of the Board of Directors of Stanford Jazz Workshop, I am PHOTO CREDITS: TERESA TAM: HTTP://WWW.TERESATAMSTUDIO.COM/ privileged to present this look back JEFFREY DEAN: HTTP://JADIENT.COM/ ANNUAL REPORT DESIGN: SAM MIRANDA at our 2018-19 season. Through facts, stories, and images you will explore what we accomplished for jazz perfor- mance and education. It was the work of many hands: students and families, teachers and performers, staff and volunteers, audiences of all kinds — and the donors whose generosity STANFORD JAZZ WORKSHOP IS NEITHER LEGALLY NOR made everything possible. FINANCIALLY AFFILIATED WITH STANFORD UNIVERSITY. THIS REPORT SUMMARIZES ACTIVITY FROM SEPTEMBER 1, 2018 THROUGH AUGUST 31, 2019. PHOTO CREDITS: TERESA TAM: HTTP://WWW.TERESATAMSTUDIO.COM/ JEFFREY DEAN: HTTP://JADIENT.COM/ ANNUAL REPORT DESIGN: SAM MIRANDA Jim Nadel FOUNDER & ARTISTIC DIRECTOR STANFORDJAZZ.ORG | 2018-2019 ANNUAL REPORT 2 PERFORMANCES by the numbers 11,057 2,156 68 12 29 TOTAL CONCERT ATTENDANCE FREE TICKETS FOR STUDENTS FREE EVENTS STUDENT TICKETED SHOWCASES PERFORMANCES EDUCATION PEOPLE 646 4 200 30 8 $108,236 9 47 123 59 56 462 14 SUMMER WEEKS OF E.P.A.
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The Latin Side of Hot House
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Top 10 Jazz Albums of 2014 | the Village Voice
MUSIC ARCHIVES The Village Voice’s Top 10 Jazz Albums of 2014 by DAVID R. ADLER December 8, 2014 With so many worthy jazz recordings in 2014 — from the likes of Vijay Iyer, Tyshawn Sorey, Melissa Aldana, Kris Davis, Ideal Bread, Otis Brown III, Fabian Almazan, Hafez Modirzadeh, and more — it was, as always, insanely hard to pick a top 10. But decide we did. Tese are the albums that stood out most in the year in jazz, from duo to big band and between. See also: Te 10 Best Jaz Albums of 2013 Ten Jaz Albums to Hear Before You Die 10. Tom Harrell TRIP After a stream of must-hear quintet outings, the veteran trumpeter sounds lithe and unencumbered in a sparser setting with no chords. Te compositions also ingeniously suit the band: Mark Turner on tenor sax, Ugonna Okegwo on bass, and Adam Cruz on drums. As it happens, the instrumentation is the same on Turner’s ECM quartet disc Lathe of Heaven, a serious contender for this list as well. 9. Walter Smith III Stll Casual Houston-born tenor saxophonist Walter Smith III, 34, gained major seasoning in bands led by Terence Blanchard, Eric Harland, and Ambrose Akinmusire, among others. Te quintet on Stll Casual, his fourth release, features pianist Taylor Eigsti, guitarist Matt Stevens, and others all but guaranteed to lift Smith’s highly melodic writing into the realm of catharsis. 8. Steve Lehman Octet Mise en Abîme Returning to the octet lineup of his 2009 release Travail, Transformaton and Flow, alto saxophonist Steve Lehman uses tuba, trombone, tenor saxophone, trumpet, alternate-tuned vibraphone, and rhythm section to conjure sounds of withering complexity and searing groove.
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