My Song Keith Jarrett Transcription
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The Dölerud Johansson Quintet
Dölerud Johansson Quintet Magnus Dölerud and Dan Johansson formed their quintet in 2016, bringing together some of Sweden’s most accomplished musicians. The members – Dan, Magnus, Torbjörn Gulz, Palle Danielsson and Fredrik Rundqvist – had previously crossed paths in other constellations, but this collaboration has resulted in something truly extra special. The quintet’s collective experience spans a long list of Swedish and International associations, from Keith Jarrett’s legendary European Quartet via the Fredrik Norén Band, which has spawned the careers of so many Swedish musicians over its 32- year history to the Norbotten Big Band, one of the most important jazz institutions in Sweden today, with collaborators like: Tim Hagans, Maria Schnieder, Joe Lovano, Bob Brookmeyer and Kurt Rosenwinkel. The quintet brings music to the stage that reflects that history, combining jazz tradition with the members’ own compositions. During 2017 and 2018, the band toured jazz clubs and festivals in Sweden and Finland, to warm receptions from audiences and reviewers alike. In May 2018, they recorded their first album, Echoes & Sounds, to be released this autumn. Dan Johansson Dan Johansson plays trumpet and flugelhorn in the Norbotten Big Band and is a well-established musician who has – in a career that extends over 30 years -- played with both the Swedish and International jazz elite. He became a member of the Norbotten Big Band while still a student and has played with the band since 1986. There he’s had the privilege to perform with figures like Randy Brecker, Peter Erskine, Joey Calderazzo, Jeff “Tain” Watts and Bob Berg. On top of his work with the big band, he’s played in a wide variety of smaller groups that have included: Håkan Broström. -
Creativity in Jazz
Creativity in Jazz Norman Lawrence Meehan A thesis submitted to Massey University and Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy New Zealand School of Music 2014 1 Creativity in Jazz ................................................................................................................ 1 Acknowledgements .......................................................................................................... 7 Part One: Creativity and Jazz ......................................................................................... 8 Introduction ........................................................................................................................ 9 Why are these questions important? .................................................................................. 9 The central idea ....................................................................................................................... 17 Thesis Plan ................................................................................................................................ 19 Chapter One: Creativity, and its importance ......................................................... 24 Why is creativity important? ............................................................................................... 24 Creativity in Music? ................................................................................................................ 27 Defining creativity ................................................................................................................. -
CHARLES LLOYD Biography
CHARLES LLOYD Biography “Charles Lloyd is an international treasure.” Carlos Santana “Follow the career of Charles Lloyd, and you see a map of great jazz across half a century. His shows, full of momentum and intuition, perfectly represent the idea that the best jazz needs to be experienced live.” The New York Times “He's expansive in his musical discourse yet without a wasted note.” Wall Street Journal “Jazz improvisation as complex and far-reaching as the Lloyd quartet had to offer can be a daunting listening experience. … The listener is taken on a journey through gravity-less improvisational space. To the credit of Lloyd and his players, that journey was illuminated by one musical enlightenment after another.” Los Angeles Times "Lloyd is one of the greats, rather like Joan Miro in modern art, he has no peer save himself. Music of total transport and delight." Jazzwise Recent honors: 2012 Brass Note on Beale Street 2013 Montreal International Jazz Festival Miles Davis Award 2014 Laureate Alfa Jazz International Music Award 2014 Monterey Jazz Festival Jazz Legend Award 2015 NEA Jazz Master Fellow 2015 Honorary Doctorate Berklee School of Music 2016 Lobero Ghostlight Society Artist Luminary Award 2016 JJA Tenor Saxophonist of the year 2016 Bohemia Jazz Award (Czechoslovakia) 2016 Memphis Music Hall of Fame 2016 Downbeat Critics Poll Group of the Year “Charles Lloyd New Quartet” 2017 Lifetime Achievement Award, Jazz Gallery 2017 JJA Tenor Saxophonist of the year 2017 JJA Medium Group, Charles Lloyd & the Marvels 2017 San Sebastian Jazz Festival Lifetime Achievement Award The critical consensus is that Charles Lloyd has never sounded better. -
Piano Bass (Upright And/Or Electric)
January 2017 VOLUME 84 / NUMBER 1 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Managing Editor Brian Zimmerman Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Markus Stuckey Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [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; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael Weintrob; North Carolina: Robin Tolleson; Philadelphia: David Adler, Shaun Brady, Eric Fine; San Francisco: Mars Breslow, Forrest Bryant, Clayton Call, Yoshi Kato; Seattle: Paul de Barros; Tampa Bay: Philip Booth; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Belgium: Jos Knaepen; Canada: Greg Buium, James Hale, Diane Moon; Denmark: Jan Persson; France: Jean Szlamowicz; Germany: Detlev Schilke, Hyou Vielz; Great Britain: Brian Priestley; Japan: Kiyoshi Koyama; Portugal: Antonio Rubio; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert. -
Keith Jarrett Discography
Keith Jarrett Discography Mirko Caserta , [email protected] July 20, 2002 I cannot say what I think is right about music; I only know the “rightness” of it. I know it when I hear it. There is a release, a flowing out, a fullness to it that is not the same as richness or musicality. I can talk about it in this way because I do not feel that I “created” this music as much as I allowed it to “emerge”. It is this emergence that is inexplicable and incapable of being made solid, and I feel (or felt) as though not only do you never step in the same river twice, but you are never the same when stepping in the river. The river has always been there, despite our polluting it. This is a miracle, and in this day and age we need it. At least I do. – Keith Jarrett, from Spirits’ cover Contents 1 Introduction 5 1.1 How it all started ........................................... 5 1.2 Availability .............................................. 5 1.3 Other resources ............................................ 6 1.4 Acknowledgements .......................................... 6 1.5 Copyleft Notice ............................................ 7 1.6 Disclaimer ............................................... 7 1.7 How to contribute .......................................... 7 1.8 Documentation Conventions ..................................... 7 2 The years ranging from 1960 to 1970 8 2.1 Swinging Big Sound, (Don Jacoby and the College All-Stars) .................. 8 2.2 Buttercorn Lady, (Art Blakey and the New Jazz Messengers) .................. 8 2.3 Dream Weaver, (Charles Lloyd Quartet) .............................. 8 2.4 The Flowering of the Original Charles Lloyd Quartet Recorded in Concert, (Charles Lloyd Quartet) ................................................ 8 2.5 Charles Lloyd in Europe, (Charles Lloyd Quartet) ....................... -
September 2013 570 Tracklists 1050 Entries I Received the Skeleton Of
Keith jarrett Disco Version 17 September 2013 570 tracklists 1050 entries . I Received The skeleton of this Discography on December 2010 from Klaus Muller (Many thanks to Him) tracklists (mainly official recordings) I added more than 600 Tracklists/entries coming from the following discos: Olivier Bruchez’s (BR) http://web.archive.org/web/20050426203346/http://www.bruchez.org/olivier/music/keith/tra delist.html Davide sparti’s (SP) Peter Losin’s (PL) Dime entries (DI) Arnulf Muller (mu) (pa) http://web.archive.org/web/20100612160739/http://papoulis.dyndns.org/~sim/jarrett/bootlegs.php My Collection +++ Concerts Prepared by Flambay + u014945 (fl+++) Concerts prepared by U014945 (+++) Hope you all enjoy For every mistake and update please e-mail me at [email protected] 620000 Don Jacoby And The College All Stars Bob Crull, Don Jacoby, Gary Slavo, Tom Wirtel, Chris Witherspoon (tp) Dee Barton, Willie Barton, Loren William Bin- ford, Dave Wheeler (tb) Al Beuler, John Giordano (as) Don Melka, Bob Pierson (ts) Jerry Keys (bs, as) Keith Jarrett (p) Don Gililland (g) Toby Guynn (b) John Van Ohlen (dr) 1962, Chicago, IL 1 Dizzy Atmosphere 2 Young Man With The Blues 3 Sing 4 It's Good For You 5 Just For A Thrill 6 Anema E Core (How Wonderful To Know) 7 Mais Oui 8 Sleepy Serenade 9 Jey Out Of Town 10 Jacob Jones 11 Let Me Love You 12 Teach Me Tonight 13 Groovin' High 14 The End Of A Love Affair 15 Lover Man (Oh, Where Can You Be?) 16 You Don't Know What Love Is 17 Back To The Beat 1-17: Don Jacoby - Swinging Big Sound (Decca DL 4241) 650300 Keith Jarrett trio (PA) Kent Carter Bass Danny Fullerton Drums, Winchester , Massachussets, USA . -
Anouar Brahem Quartet
2017 20:00 20.01.Grand Auditorium Vendredi / Freitag / Friday Autour du monde «The Astounding Eyes of Rita» Anouar Brahem Quartet Anouar Brahem oud Klaus Gesing bass clarinet Björn Meyer electric bass Khaled Yassine percussion 90’ sans pause Anouar Brahem Loïc Picaud L’oud, cet instrument riche d’une tradition ancestrale, s’est offert une seconde jeunesse lorsqu’il a croisé les doigts du virtuose tunisien Anouar Brahem. Depuis les années 1990, le musicien reconnu à travers le monde n’a cessé de réinventer son art et de créer des dialogues aussi inédits que riches et permanents au contact du jazz européen le plus exigeant. C’est dans la médina de Tunis, la vieille ville de la capitale tuni- sienne, que naît le 20 octobre 1957 et grandit Anouar Brahem. Tel le gamin malicieux de Halfaouine, l’enfant des terrasses, le film de Férid Boughedir qui fut un succès retentissant en 1990, ce fils d’artisan graveur et imprimeur a passé son enfance entre le souk et les rues étroites avant de signer la musique de ce film, en musicien accompli qu’il est devenu, et d’être reconnu dans le monde entier pour ses créations ambitieuses. Entré au Conservatoire national de musique de Tunis à l’âge de dix ans, il a pour professeur le compositeur et pédagogue Ali Sriti (1919–2007) pour qui l’oud, de la fabrication à la technique de jeu, n’a aucun secret. L’histoire de l’instrument à cordes pincées se confond avec les développements de la musique arabe à travers les siècles et les civilisations. -
Catalogue 2009/10 ECM Paul Griffiths Bread and Water
Catalogue 2009/10 ECM Paul Griffiths Bread and Water Here is someone standing at the entrance to the gallery who goes on talking all the time while almost all the visitors who come are rushing by in their eagerness to inspect what is on show inside. The hall a little way beyond is packed with rare and wonderful things, beautifully laid out and informatively labelled. There is much to see, much to learn. This is what the visitors have come for. Why, then, linger at the doorway? Why wait? But you, you have stopped. Thank you. Yes, this is the gallery, this the exhibition: a catalogue. We can use the word either to mean this paper object you hold in your hands or the totality of items a publisher or, as in this case, record company has available for sale: the CATALOGUE, as we may put it. Such a CATALOGUE is changeable as the ocean is: things will go (though rarely, where ECM is concerned), more will come. The catalogue, on the other hand, is fixed, a photograph of the ocean. There was a moment, probably before it reached print, when the catalogue was identical with the CATALOGUE. But that moment has passed and will not come again, for the ocean is growing and the photograph cannot. Is the catalogue therefore impoverished? No, no more than a photograph is. This is no snapshot, no fuzzy image trapped half_thoughtlessly on a mobile phone. Look at what you have in your hands: this is something well made, something composed. A professional photographer must have been invited to make a study of the ocean. -
MUNI 20121112 – Piano 8 – Keith Jarrett Sound Recordings: 1. You've
MUNI 20121112 – piano 8 – Keith Jarrett Sound recordings: 1. You’ve Changed (Carl Fischer) 7:49 Keith Jarrett Standard Trio: Keith Jarrett (* 8. 5. 1945)-p; Gary Peacock-b; Jack DeJohnette-dr. Live at State Opera, Munich, July 28, 2001. CD ECM 1900/981 9610. 2. Eyes of the Heart [Part Two] (Keith Jarrett) [fade out] 3:52 Keith Jarrett “American” Quartet: Keith Jarrett-p; Charlie Haden-b; Paul Motian-dr; Dewey Redman-tamb, mar, ts. Live at Theater am Kornmarkt, Bregenz, Austria, May 1976. CD ECM T-1150. 3. My Song (Keith Jarrett) 6:09 Keith Jarrett “European” Quartet: Keith Jarrett-p; Jan Garbarek-ss; Palle Danielsson-b; Jon Christensen-dr. Oslo, November 1977. CD ECM 1115. 4. Solar (Miles Davis) [fade out] 4:10 Keith Jarrett Trio: Keith Jarrett-p; Gary Peacock-b; Paul Motian-dr. Live at Deer Head Inn, Allentown, PA, September 16, 1992. CD ECM 1531/517 720-2. 5. Blame It on My Youth (Oscar Levant) 6:12 Brad Mehldau (* 23. 8. 1970)-p; Larry Grenadier-b; Jorge Rossy-dr. September 4-5, 1996. CD Warner Bros 46260. Video recordings: (výběr z následujících nahrávek) http://www.youtube.com/watch?v=HPqK1JJOFxw Solo – Encore – Tokyo 1984 5:15 http://www.youtube.com/watch?v=ENrRAIzlL1A&feature=related Trio – I Fall in Love Too Easily – Tokyo, July 25, 1993 9:49 http://www.youtube.com/watch?v=YZewG2DrNF0&feature=related Trio – Stella by Starlight – 1985 10:35 http://www.youtube.com/watch?v=RpwoN_XlN6Y&feature=related Trio – Blame It on My Youth – Tokyo 1986 8:45 http://www.youtube.com/watch?v=zc6b7O57sgw&feature=relmfu Trio – With a Song in My Heart -
Jazznytt 4.2010
04 2010:Layout 1 02.09.2010 11:16 Side 3 Foto: Birgit Rostad INNHOLD [april - mai 2010] 12 EIRIK HEGDAL 05 leder 05 jazznytt for 10, 20, 30 og 40 år siden 18 PALLE DANIELSSON 06 notert 22 JAN BANG 07 jazzfoto 08 nytt navn: ØYVIND GJELSTEN DALE 10 øde øy: LISE GULBRANSEN 11 notert 26 om det tidløse i jazz - et bidrag 30 notert 31 reprise på jubileumskryssord 32 farvel til ... 33 jazz i norge for 50 år siden 34 storband: VESTERÅLEN STORBAND 37 levende lyd: JAZZFEST.NO, NATTJAZZ 39 levende lyd: MOERS, KONGSBERG 42 levende lyd: MOLDEJAZZ 42 utenriks 43 anmeldelser 66 stemmen fra østfronten SIGNERTE ARTIKLER STÅR FOR BIDRAGSYTERS EGEN MENING, OG ER IKKE NØDVENDIGVIS I SAMSVAR MED REDAKTØR OG/ELLER UTGIVERS MENING FORSIDEBILDET AV EIRIK HEGDAL ER TATT AV JAN GRANLIE jazznytt [03] 04 2010:Layout 1 02.09.2010 11:16 Side 4 jazznytt ISSN 0332-7248 Utgiver: stiftelsen Postboks 440, Sentrum, 0103 Oslo Telefon: 22 00 56 60 E-post: [email protected] Alle henvendelser til redaksjonen: JAZZNYTT Postboks 440, Sentrum, 0103 Oslo Besøksadresse: Akersgata 16, Oslo Telefon 22 00 56 66 E-post: [email protected] Redaktør: Jan Granlie Redaksjon: Jan Granlie, Johan Hauknes, Arild Rønsen, Bjørn Stendahl Bidragsytere i dette nummer: Tekst: Svein Magnus Furu, Jan Granlie, Lise Gulbransen, Tor Hammerø, Johan Hauknes, Lasse Haugen,Trygve Hærnes, Svein Inge Johansen, Lars Mossefinn, Ole Albrekt Nedrelid, Harald Opheim, Petter Pettersson, Arild Rønsen, Johan Scherwin, Roy Ervin Solstad, Bjørn Stendahl, Tomas Tornefjell, Bjarne Søltoft Foto: Johannes Anders, Jan Granlie, Alexander Gulbransen, Johan Hauknes, Norsk Jazzarkiv, Ann Kristin Olaussen, Jan Garbarek John Rodgers, Ann Iren Ødeby O f f i c i u m N o v u m Korrektur: Ingrid Goverud Ulstein Design: Jan Granlie Tegninger: Arvid Andreassen og Jan Granlie The Hilliard Ensemble Trykk: United Press Opplag: 4 000 Priser: Abonnement: kr. -
Jan Enik L(Ongshaug and We Spent Two Even'ings Recording Afnt Pepperbird
lYhen did you first work in recording? perfuctly fon a A slight drizzle on an August afternmn in 0slo, NorwaS set the mood My first experience was at Arne Bendiksen Studio back conversation with engineer Jan Enik Kongshaug at his RainbowStudio. The space is in'67. After high school, in 1963, ] worked one year tucked away in a beautifully designed modern business park. The lively stream running as a musician on a cruise ship, which sailed a[[ over through the complex of buildings adds a well-balanced pastonal feeling to the the wortd. I was in New York City ten times during that year and I heard a lot of great jazz musicians. surroundings. As I enter the building and am warmly greeted by the studio managel I I even heard pohn] Cottrane Live - it was a reatty am intruduced to the man that is at the centen of many of the most beautiful jaz fantastic yearl I went back [to Norway] and studied recordings of the past 35 years. He has engineered hundreds of necordings; many of electronics for two years. and then I got a job at label, ECM. founden of ECM [Edition of them have been for the nespected lazz lhe Arne Bendiksen. It was a different time then' Now Contemponary Music), Manfoed Eicherl is an audiophile and producer who has been atl the engineers are wetl educated, but they don't actively involved in creating the highest quality rtcordings possible. There ane those that get any jobs because there are so many peopte in claim there is a signature "ECM sound" to the labels recordings, but lhe discerning the fiel.d. -
KEITH JARRETT & ALL THAT JAZZ by Eric
KEITH JARRETT & ALL THAT JAZZ by Eric Myers ____________________________________________________________ [This article appeared in the March, 1982 edition of the magazine of ABC Classic FM, 24 Hours, to publicise Keith Jarrett's only Adelaide Festival concert which was to be broadcast live on ABC FM on Saturday, March 13, at 9.00 pm.] Keith Jarrett: a complex man behind the masterly music… the music flows through him… n late 1978, at a press conference in Sydney, American singer Ella Fitzgerald was asked what she thought of Keith Jarrett, who was also in I Australia at that time. Ella, a delightful, bespectacled grandmother in her sixties, was genuinely bewildered. “Who's Keith Jarrett?” she replied. It was somehow ironic that Ella, one of the great names in jazz herself, had never heard of the young pianist, who, by his early thirties, had gained a following which rivalled, and possibly surpassed, the jazz audience she had built up over a lifetime. 1 Well, who is Keith Jarrett? He is an American pianist, saxophonist and composer, now 36, who became, during the 1970s, one of the handful of jazz superstars. Over the last two seasons, the Metropolitan Opera House in New York's Lincoln Center presented only two solo piano concerts, both of which sold out quickly. One was by Vladimir Horowitz; the other was by Keith Jarrett. A bewildered Ella Fitzgerald: “Who's Keith Jarrett?”… In the 1960s, Jarrett first came to notice as a member of Art Blakey's Jazz Messengers, at a time when a young trumpeter, Chuck Mangione, was also with the group.