Two-Day Tribute to Living Legend Charlie Haden
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Highly Recommended New Cds for 2018
Ed Love's Highly Recommended New CDs for 2018 Artist Title Label Dave Young and Terry Promane Octet Volume Two Modica Music Phil Parisot Creekside OA2 John Stowell And Ulf Bandgren Night Visitor Origin Eric Reed A Light In Darkness WJ3 Katharine McPhee I Fall In Love Too Easily BMG Takaaki Otomo New Kid In Town Troy Dr. Lonnie Smith All In My Mind Blue Note Clovis Nicolas Freedom Suite Ensuite Sunnyside Wayne Escoffery Vortex Sunnyside Steve Hobbs Tribute To Bobby Challenge Adam Shulman Full Tilt Cellar Live` Scott Hamilton Live At Pyat Hall Cellar Live Keith O’ Rourke Sketches From The Road Chronograph Jason Marsalis Melody Reimagined Book One Basin Street 1 Ed Love's Highly Recommended New CDs for 2018 Artist Title Label Dan Block Block Party High Michael Waldrop Origin Suite Origin Roberto Margris Live In Miami J Mood Dan Pugach Nonet Plus One Unit UTR Jeff Hamilton Live From San Pedro Capri Phil Stewart Melodious Drum Cellar Live Ben Paterson That Old Feeling Cellar Live Jemal Ramirez African Skies Joyful Beat Michael Dease Reaching Out Positone Ken Fowser Don’t Look Down Positone New Faces Straight Forward Positone Emmet Cohen With Ron Carter Masters Legacy Series Volume Two Cellar Live Bob Washut Journey To Knowhere N/C Mike Jones and Penn Jillette The Show Before The Show Capri 2 Ed Love's Highly Recommended New CDs for 2018 Artist Title Label Dave Tull Texting And Driving Toy Car Corcoran Holt The Mecca Holt House Music Bill Warfield For Lew Planet Arts Wynton Marsalis United We Swing Blue Engine Scott Reeves Without A Trace Origin -
A Conversation with Petra Haden by Frank Goodman (Puremusic.Com, 1/2009)
A Conversation with Petra Haden by Frank Goodman (Puremusic.com, 1/2009) A short while back, we interviewed a fascinating accordionist, music-oriented photographer, and image and scene maker in Portland named Alicia J. Rose, aka Miss Murgatroid. She'd taken very compelling photos of several bands we'd covered (Sophe Lux and Boy Eats Drum Machine come to mind), and then we stumbled on to her signature accordion work, which often involved multiple effects pedals. Her best known CD was one she'd woven with her friend and musical partner Petra Haden. Although you might know Petra as a member of the Decemberists, or as one of Charlie Haden's daughters (the legendary jazz bassist), or the guest soloist in any of many bands (including the recent Foo Fighters tour), she is still and deservedly best known for her a capella version of the entire Sell Out record by The Who. (She later cut a record with Bill Frisell that happens to be rather divine, called simply Petra Haden and Bill Frisell.) But the Petra project that ignited our conversation was Hearts and Daggers, the long awaited and satisfying reunion with Miss Murgatroid. Some sounds are best heard before described, and you'll find the customary links to those audio clips along the way. We're sure you'll find Petra's words interesting, as we certainly did. And thanks to Miss Murgatroid, aka Alicia J. Rose, who led us here. Puremusic: Let's talk first about this recent release with Miss Murgatroid, Hearts and Daggers. We like that a lot. -
Charles Fishman – 1109
Charles Fishman – 1109 CF: CHARLES FISHMAN 1: INTERVIEWER 1 2: INTERVIEWER 2 Interviewer 1: We were talking about Dizzy Gillespie before the break and with him you were instrumental in starting the United Nations Orchestra. Tell us about that. CF: For his 70th birthday… Interviewer 2: What year are we talking about? CF: ’87. I just knew I needed to work with Dizzy, be around Dizzy, he had so much to offer. But at that point he was 70 or 73 and he was lazy. He deserved to be lazy. He created two evolutions of 20th century music which no other artist did. I just wanted to put him into situations that would challenge him. When he would come to the Blues Alley, as an example, it was a usual Dizzy Gillespie show. He got up or went up with “Birks’ Works”, or actually with Gillespie and then “Birks’ Works” and “Round Midnight” I just felt he had so much more to give us, and we had so much to learn from him that I created the United Nation Orchestra. Nobody said no to Dizzy except Max. I asked Max for Dizzy’s 70th birthday to perform and he wanted $15,000, and I was paying the top musicians, Benny Carter, Hank Jones, $1,500 and so I told him he could stay home. Years later, we were at the Iridium and Max came in and he called me over and he apologized to me. I mean the interesting thing was how much awe and respect musicians had for Dizzy. -
Pressemappe 2016
PRESSEMITTEILUNG / 2. März 2016 20 Jahre palatia Jazz Festival „The Finest in Jazz“ Mit dem Sommer 2016 findet in der Zeit vom 25. Juni bis Ende Juli die 20. Festivalsaison an den wohl schönsten historischen Spielstätten in der Weinpfalz statt. Internationale Jazzstars und Deutsche Jazzensembles bieten ein aufregendes Musikprogramm. Zum Einlass ab 18.00 Uhr beginnt jeweils das Jazzkulinarium, bei welchem sich jeder Gast mit Wein und feinen Speisen auf die Konzertabende einstimmen kann. Am 19. Juni 1997 startete das erste Jazzfestival in der Weinstadt Deidesheim. Seinerzeit gab es in der Pfalz kaum Konzerte, die Jazz und jazzaffine Musik vorstellten. Bereits das erste Festival war binnen weniger Tage ausverkauft. Die Deidesheimer Winzerbetriebe stellten ihre schönen Weine vor und das älteste Gasthaus der Pfalz, „Die Kanne“ aus Deidesheim präsentierte eine genußvolle Auswahl von Speisen aus der mediterran‐pfälzischen Küche. Vor der Deidesheimer Stadthalle fand ein kulinarischer Markt statt, der ebenso Teil des Rahmenprogramms war und als „Markt der Genüsse“ bis heute weiterhin durchgeführt wird. Im ersten Festival spielten Albert Mangelsdorff, Wolfgang Dauner, Christof Lauer – sowie Klaus Doldingers Passport, Barbara Dennerlein und Tab Two mit Helmut Hattler und Joo Kraus. Der Anfang war gemacht. Das Festival hieß zu diesem Zeitpunkt Jazzette – Deidesheimer Jazztage und wurde noch ein weiteres Jahr unter diesem Namen fortgesetzt, bis es 1999 pfalzweit an einzigartigen historischen Plätzen der Pfalz unter dem Namen „palatia Jazz“ fortgesetzt wurde. Eine Konzertreihe von jährlich 10‐12 Konzerten – diese an unterschiedlichsten und unverwechselbaren Orten der Weinpfalz, wie die Villa Ludwigshöhe, die Klosterruine Limburg in Bad Dürkheim, der Krönungssaal in der Burg Trifels, der Festsaal im Hambacher Schloss, am Deutschen Weintor, im Park von Schloss Wachenheim usw. -
Dee Bell Long
Biography Discography: Concord Jazz recordings: Let There Be Love with Stan Getz and Eddie Duran One by One with Tom Harrell and Eddie Duran Laser Records recordings Sagacious Grace: with Houston Person, Al Plank, John Stowell, and Michael Spiro Silva • Bell • Elation with Marcos Silva, Andy Narell and Barry Finnerty Commendation: Downbeat Magazine voted Dee, “Talent Deserving Wider Recognition for Female Vocals” for both Concord albums. BAM Magazine nominated Let There Be Love as the Best Debut Album and One by One as Best Jazz Vocal Album, both in their release years. Let There Be Love was a Billboard pick and won the Bay Area Golden Globe award. Dee’s rendition of the title track was chosen by Palo Alto records own Dr. Herb Wong as the signature interpretation of Let There Be Love for the 1988 Hal Leonard Ultimate Jazz Fakebook. All three of Dee’s albums have been in the top of the airplay charts for long runs with Let There Be Love and One by One reaching thirteen and nineteen respectively, Dee and the “historic release” Sagacious Grace at thirty-one. Bell Silva • Bell • Elation biographical liner notes by Jazz Author James Gavin: “Who’s Dee Bell?” wondered many jazz fans in 1983, when that name appeared above RECORD COMPANY those of Stan Getz and an esteemed veteran guitarist, Eddie Duran, on the cover of a Concord Laser Records, LLC Jazz LP, Let There Be Love. Like a jazz Cinderella, this gifted unknown singer – a former hippie and waitress in northern California – had been discovered by Getz and Duran, both of whom 5457 Monroe Road volunteered to play on her debut LP. -
November/December 2005 Issue 277 Free Now in Our 31St Year
jazz &blues report november/december 2005 issue 277 free now in our 31st year www.jazz-blues.com Sam Cooke American Music Masters Series Rock & Roll Hall of Fame & Museum 31st Annual Holiday Gift Guide November/December 2005 • Issue 277 Rock and Roll Hall of Fame and Museum’s 10th Annual American Music Masters Series “A Change Is Gonna Come: Published by Martin Wahl The Life and Music of Sam Cooke” Communications Rock and Roll Hall of Fame Inductees Aretha Franklin Editor & Founder Bill Wahl and Elvis Costello Headline Main Tribute Concert Layout & Design Bill Wahl The Rock and Roll Hall of Fame and sic for a socially conscientious cause. He recognized both the growing popularity of Operations Jim Martin Museum and Case Western Reserve University will celebrate the legacy of the early folk-rock balladeers and the Pilar Martin Sam Cooke during the Tenth Annual changing political climate in America, us- Contributors American Music Masters Series this ing his own popularity and marketing Michael Braxton, Mark Cole, November. Sam Cooke, considered by savvy to raise the conscience of his lis- Chris Hovan, Nancy Ann Lee, many to be the definitive soul singer and teners with such classics as “Chain Gang” Peanuts, Mark Smith, Duane crossover artist, a model for African- and “A Change is Gonna Come.” In point Verh and Ron Weinstock. American entrepreneurship and one of of fact, the use of “A Change is Gonna Distribution Jason Devine the first performers to use music as a Come” was granted to the Southern Chris- tian Leadership Conference for ICON Distribution tool for social change, was inducted into the Rock and Roll Hall of Fame in the fundraising by Cooke and his manager, Check out our new, updated web inaugural class of 1986. -
Drums • Bobby Bradford - Trumpet • James Newton - Flute • David Murray - Tenor Sax • Roberto Miranda - Bass
1975 May 17 - Stanley Crouch Black Music Infinity Outdoors, afternoon, color snapshots. • Stanley Crouch - drums • Bobby Bradford - trumpet • James Newton - flute • David Murray - tenor sax • Roberto Miranda - bass June or July - John Carter Ensemble at Rudolph's Fine Arts Center (owner Rudolph Porter)Rudolph's Fine Art Center, 3320 West 50th Street (50th at Crenshaw) • John Carter — soprano sax & clarinet • Stanley Carter — bass • William Jeffrey — drums 1976 June 1 - John Fahey at The Lighthouse December 15 - WARNE MARSH PHOTO Shoot in his studio (a detached garage converted to a music studio) 1490 N. Mar Vista, Pasadena CA afternoon December 23 - Dexter Gordon at The Lighthouse 1976 June 21 – John Carter Ensemble at the Speakeasy, Santa Monica Blvd (just west of LaCienega) (first jazz photos with my new Fujica ST701 SLR camera) • John Carter — clarinet & soprano sax • Roberto Miranda — bass • Stanley Carter — bass • William Jeffrey — drums • Melba Joyce — vocals (Bobby Bradford's first wife) June 26 - Art Ensemble of Chicago Studio Z, on Slauson in South Central L.A. (in those days we called the area Watts) 2nd-floor artists studio. AEC + John Carter, clarinet sat in (I recorded this on cassette) Rassul Siddik, trumpet June 24 - AEC played 3 nights June 24-26 artist David Hammond's Studio Z shots of visitors (didn't play) Bobby Bradford, Tylon Barea (drummer, graphic artist), Rudolph Porter July 2 - Frank Lowe Quartet Century City Playhouse. • Frank Lowe — tenor sax • Butch Morris - drums; bass? • James Newton — cornet, violin; • Tylon Barea -- flute, sitting in (guest) July 7 - John Lee Hooker Calif State University Fullerton • w/Ron Thompson, guitar August 7 - James Newton Quartet w/guest John Carter Century City Playhouse September 5 - opening show at The Little Big Horn, 34 N. -
Le Festival EAR IT LIVE Jacques Daigle
Document generated on 10/01/2021 2:32 p.m. Intervention Le festival EAR IT LIVE Jacques Daigle Number 14, February 1982 URI: https://id.erudit.org/iderudit/57493ac See table of contents Publisher(s) Intervention ISSN 0705-1972 (print) 1923-256X (digital) Explore this journal Cite this article Daigle, J. (1982). Le festival EAR IT LIVE. Intervention, (14), 46–48. Tous droits réservés © Les Éditions Intervention, 1982 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Les pires questions peuvent apparaître: Le festival EAR IT LIVE une première facilité? hasard? fumisterie? Telles sont les salles, appréhensions inhérentes à l'improvisation spontanée qui pourraient ouvrir la porte à un douloureux manifestation de musique improvisée à Québec débat... Kubota nous salue bien bas et repart orné d'un sourire oriental mystérieux. dans les années '80 TRIO LERICHE-ST-JEAN-HOULE (dimanche 1er novembre) Encore engourdi par cette longue disette Parler du jazz québécois ne constitue qui datait de plusieurs années, l'auditoire guère un sujet réjouissant pour un amateur potentiel se présenta en nombres très mo de cette musique presque réduit, du côté deste, malgré le prix d'entrée très aborda disques, à pleurer sur de rares reliques in ble et une publicité assez visible dans les trouvables, d'un passé voisin du grand derniers jours. -
Stylistic Evolution of Jazz Drummer Ed Blackwell: the Cultural Intersection of New Orleans and West Africa
STYLISTIC EVOLUTION OF JAZZ DRUMMER ED BLACKWELL: THE CULTURAL INTERSECTION OF NEW ORLEANS AND WEST AFRICA David J. Schmalenberger Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Percussion/World Music Philip Faini, Chair Russell Dean, Ph.D. David Taddie, Ph.D. Christopher Wilkinson, Ph.D. Paschal Younge, Ed.D. Division of Music Morgantown, West Virginia 2000 Keywords: Jazz, Drumset, Blackwell, New Orleans Copyright 2000 David J. Schmalenberger ABSTRACT Stylistic Evolution of Jazz Drummer Ed Blackwell: The Cultural Intersection of New Orleans and West Africa David J. Schmalenberger The two primary functions of a jazz drummer are to maintain a consistent pulse and to support the soloists within the musical group. Throughout the twentieth century, jazz drummers have found creative ways to fulfill or challenge these roles. In the case of Bebop, for example, pioneers Kenny Clarke and Max Roach forged a new drumming style in the 1940’s that was markedly more independent technically, as well as more lyrical in both time-keeping and soloing. The stylistic innovations of Clarke and Roach also helped foster a new attitude: the acceptance of drummers as thoughtful, sensitive musical artists. These developments paved the way for the next generation of jazz drummers, one that would further challenge conventional musical roles in the post-Hard Bop era. One of Max Roach’s most faithful disciples was the New Orleans-born drummer Edward Joseph “Boogie” Blackwell (1929-1992). Ed Blackwell’s playing style at the beginning of his career in the late 1940’s was predominantly influenced by Bebop and the drumming vocabulary of Max Roach. -
Reviewer: Wojciech Pacuła CD Player
This review first appeared in the June 2011 issue of hiend hifi magazine High Fidelity of Poland. You can also read this review of the Avalon Transcendent in its original Polish version. We publish its English translation in a mutual syndication arrangement with publisher Wojciech Pacula. As is customary for our own reviews, the writer's signature at review's end shows an email address should you have questions or wish to send feedback. All images contained in this review are the property of High Fidelity or Avalon. Reviewer: Wojciech Pacuła CD player: Ancient Audio Lektor Air Phono preamplifier: RCM Audio Sensor Prelude IC Cartridges: Air Tight Supreme, Miyajima Laboratory Waza Preamplifier: Ayon Audio Polaris III with Regenerator power supply version II Power amplifier: Tenor Audio 175S, Soulution 710 Integrated amplifier/headphone amplifier: Leben CS300 XS Custom version Loudspeakers: Harpia Acoustics Dobermann Headphones: Sennheiser HD800, AKG K701, Ultrasone PROLine 2500, Beyerdynamic DT990 Pro Interconnects: CDpreamp Acrolink Mexcel 7NDA6300, preamppower amp Wireworld Platinum Eclipse Speaker cable: Tara Labs Omega Onyx Power cables: Acrolink Mexcel 7NPC9300 Power conditioning: Gigawatt PF2 Audio stand: Base Resonance control: Finite Elemente Ceraball under the CD player, Pro Audio Bono platform under CD player Review component retail in Poland: 68500 PLN standard veneer | 84000 PLN optional veneers On their website Avalon writes that the Transcendent uses a combination of different technologies created by the company during the last 10 years and used before in the models Isis and Time. And further: "Never before has such a compact system utilized the sophisticated dynamic control technologies found exclusively in our most advanced designs. -
Ebook Download the Mccoy Tyner Collection
THE MCCOY TYNER COLLECTION PDF, EPUB, EBOOK McCoy Tyner | 120 pages | 01 Nov 1992 | Hal Leonard Corporation | 9780793507474 | English | Milwaukee, United States The Mccoy Tyner Collection PDF Book Similar Artists See All. There's magic in the air, or at the very least a common ground of shared values that makes this combination of two great musicians turn everything golden. That's not to say their progressive ideas are completely harnessed, but this recording is something lovers of dinner music or late-night romantic trysts will equally appreciate. McCoy Tyner. Extensions - McCoy Tyner. Tyner died on March 6, at his home in New Jersey. They sound empathetic, as if they've played many times before, yet there are enough sparks to signal that they're still unsure of what the other will play. Very highly recommended. Albums Live Albums Compilations. Cart 0. If I Were a Bell. On this excellent set, McCoy Tyner had the opportunity for the first time to head a larger group. McCoy later said, Bud and Richie Powell moved into my neighborhood. He also befriended saxophonist John Coltrane, then a member of trumpeter Miles Davis' band. A flow of adventurous, eclectic albums followed throughout the decade, many featuring his quartet with saxophonist Azar Lawrence, including 's Song for My Lady, 's Enlightenment, and 's Atlantis. McCoy Tyner Trio. See the album. Throughout his career, Tyner continued to push himself, arranging for his big band and releasing Grammy-winning albums with 's Blues for Coltrane: A Tribute to John Coltrane and 's The Turning Point. However, after six months with the Jazztet, he left to join Coltrane's soon-to-be classic quartet with bassist Jimmy Garrison and drummer Elvin Jones. -
Biography Dee Bell
Biography Discography: Concord Jazz recordings: Let There Be Love with Stan Getz and Eddie Duran One by One with Tom Harrell and Eddie Duran Laser Records recordings Sagacious Grace: with Houston Person, Al Plank, John Stowell, and Michael Spiro Silva • Bell • Elation with Marcos Silva, Andy Narell and Barry Finnerty Commendation: Downbeat Magazine voted Dee, “Talent Deserving Wider Recognition for Female Vocals” for both Concord albums. BAM Magazine nominated Let There Be Love as the Best Debut Album and One by One as Best Jazz Vocal Album, both in their release years. Let There Be Love was a Billboard pick and won the Bay Area Golden Globe award. Dee’s rendition of the title track was chosen by Palo Alto records own Dr. Herb Wong as the signature interpretation of Let There Be Love for the 1988 Hal Leonard Ultimate Jazz Fakebook. All three of Dee’s albums have been in the top of the airplay charts for long runs with Let There Be Love and One by One reaching thirteen and nineteen respectively, Dee and the “historic release” Sagacious Grace at thirty-one. Bell Silva • Bell • Elation biographical liner notes • jazz author James Gavin: “Who’s Dee Bell?” wondered many jazz fans in 1983, when that name appeared above RECORD COMPANY those of Stan Getz and an esteemed veteran guitarist, Eddie Duran, on the cover of a Concord Laser Records, LLC Jazz LP, Let There Be Love. Like a jazz Cinderella, this gifted unknown singer – a former hippie and waitress in northern California – had been discovered by Getz and Duran, both of whom 5457 Monroe Road volunteered to play on her debut LP.