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Download the Vocal of Frank Foster
1 The TENORSAX of FRANK BENJAMIN FOSTER Solographer: Jan Evensmo Last update: Oct. 7, 2020 2 Born: Cincinnati, Ohio, Sept. 23, 1928 Died: Chesapeake, Virginia, July 26, 2011 Introduction: Oslo Jazz Circle always loved the Count Basie orchestra, no matter what time, and of course we became familiar with Frank Foster’s fine tenorsax playing! Early history: Learned to play saxes and clarinet while in high school. Went to Wilberforce University and left for Detroit in 1949. Played with Wardell Gray until he joined the army in 1951. After his discharge he got a job in Count Basie's orchestra July 1953 after recommendation by Ernie Wilkins. Stayed until 1964. 3 FRANK FOSTER SOLOGRAPHY COUNT BASIE AND HIS ORCHESTRA LA. Aug. 13, 1953 Paul Campbell, Wendell Cully, Reunald Jones, Joe Newman (tp), Johnny Mandel (btp), Henry Coker, Benny Powell (tb), Marshal Royal (cl, as), Ernie Wilkins (as, ts), Frank Wess (fl, ts), Frank Foster (ts), Charlie Fowlkes (bar), Count Basie (p), Freddie Green (g), Eddie Jones (b), Gus Johnson (dm). Three titles were recorded for Clef, two issued, one has FF: 1257-5 Blues Go Away Solo with orch 24 bars. (SM) Frank Foster’s first recorded solo appears when he just has joined the Count Basie organization, of which he should be such an important member for years to come. It is relaxed and highly competent. Hollywood, Aug. 15, 1953 Same personnel. NBC-TV "Hoagy Carmichael Show", three titles, no solo info. Hoagy Carmichael (vo). Pasadena, Sept. 16, 1953 Same personnel. Concert at the Civic Auditorium. Billy Eckstine (vo). -
Ready Rudy? Full Score
Jazz Lines Publications Presents ready rudy? Arranged by duke pearson transcribed and Prepared by Dylan Canterbury full score jlp-7333 Music by Duke Pearson Copyright © 1965 Gailancy Music International Copyright Secured All Rights Reserved Logos, Graphics, and Layout Copyright © 2015 The Jazz Lines Foundation Inc. This Arrangement Has Been Published with the Authorization of the Estate of Duke Pearson. Published by the Jazz Lines Foundation Inc., a not-for-profit jazz research organization dedicated to preserving and promoting America’s musical heritage. The Jazz Lines Foundation Inc. PO Box 1236 Saratoga Springs NY 12866 USA duke pearson series ready rudy? (1966) Background: Duke Pearson was an important pianist, composer, arranger and producer during the 1960s and 1970s. He was born in Atlanta, Georgia in 1932 and played trumpet as well as piano with many local groups. After attending Clark College, he toured with Tab Smith and Little Willie John before he moved to New York City in January of 1959. Donald Byrd heard him, and Byrd was the leader of Pearson’s first recording session. Soon Pearson was playing with the Benny Golson-Art Farmer Jazztet. Pearson became the musical director for Nancy Wilson, as well as continuing to tour and record with Donald Byrd. In 1963, Blue Note Records producer and musical director Ike Quebec passed away, and Pearson became Blue Note’s A&R director, as well as make his own albums. Grant Green, Stanley Turrentine, Johnny Coles, Blue Mitchell, Hank Mobley, Bobby Hutcherson, Lee Morgan and Lou Donaldson all benefited from his arranging and producing skills. Albums that Pearson recorded under his own name ranged in instrumentation from trios to quintets, sextets and octets to choral ensembles. -
Palo Alto Jazz Alliance Newsletter September 2012 PO BOX 60397, PALO ALTO, CA 94306 Ed Fox, Editor
www.pajazzalliance.org Palo Alto Jazz Alliance Newsletter September 2012 PO BOX 60397, PALO ALTO, CA 94306 Ed Fox, Editor who came by for a Sunday afternoon jam. This was a dif- FROM THE CHAIR ferent kind of investment for PAJA, and it is certain to Summer offers so many opportunities for doing fun be beneficial to the CSMA jazz program. Thanks to Ben things, and, as the old Gershwin song says, the living can Deovlet, John Neves, Carmen Cansino and Marty Honda be easy. Unfortunately, the summer of 2012 has not been for setting all this up for PAJA. so much fun for many people. Take the East Coast, with Speaking of the Community School, we hope to see record-breaking high temperatures and that everlast- you at the Free Member Party there on Sunday, Septem- ing humidity. Or the Midwest, with the worst drought ber 9 (details below). Do come by and hear some live since the 1930’s—even the mighty Mississippi isn’t roll- music, meet old friends, find new fellow lovers of jazz, ing along too well. Tough going for those folks. All this enjoy some libations and toast the end of a beautiful sum- while here on the Midpeninsula we’ve had one day after mer. We are dedicating this party to the memory of Phil another of lovely sun and moderate temperatures. Makes Sorenson, longtime PAJA board member who, for many one wonder why every jazz friend one might have from years, provided invaluable support to our operation. He those areas didn’t come to visit—not only for the weather maintained membership information on his somewhat but also because we had so many great gigs on offer. -
Powell, His Trombone Student Bradley Cooper, Weeks
Interview with Benny Powell By Todd Bryant Weeks Present: Powell, his trombone student Bradley Cooper, Weeks TBW: Today is August the 6th, 2009, believe it or not, and I’m interviewing Mr. Benny Powell. We’re at his apartment in Manhattan, on 55th Street on the West Side of Manhattan. I feel honored to be here. Thanks very much for inviting me into your home. BP: Thank you. TBW: How long have you been here, in this location? BP: Over forty years. Or more, actually. This is such a nice location. I’ve lived in other places—I was in California for about ten years, but I’ve always kept this place because it’s so centrally located. Of course, when I was doing Broadway, it was great, because I can practically stumble from my house to Broadway, and a lot of times it came in handy when there were snow storms and things, when other musicians had to come in from Long Island or New Jersey, and I could be on call. It really worked very well for me in those days. TBW: You played Broadway for many years, is that right? BP: Yeah. TBW: Starting when? BP: I left Count Basie in 1963, and I started doing Broadway about 1964. TBW: At that time Broadway was not, nor is it now, particularly integrated. I think you and Joe Wilder were among the first to integrate Broadway. BP: It’s funny how it’s turned around. When I began in the early 1960s, there were very few black musicians on Broadway, then in about 1970, when I went to California, it was beginning to get more integrated. -
Joe Alterman
Joe Alterman "When listening to Joe Alterman perform, it is obvious that he has studied the history of jazz piano. However, his own style of playing is appealing, challenging and quite satisfying." — Ramsey Lewis "Joe is a true inspiration to me. He is a part of the next generation of great jazz musicians who care and he is going to go somewhere with his music."— Les McCann "Joe has a great sense of what is most meaningful in the history and tradition of our music, and a real solid musical vision of where he wants to take it.” — Houston Person "Talk about the joy of jazz!...It's a pleasure to hear this music...You've got it!" — Nat Hentoff, from "Joe Alterman Strikes A Chord," published in the Wall Street Journal on May 1, 2013 "The new Harry Connick.” — Linda Lorence Critelli, vice president, SESAC For more information, please visit www.joealtermanmusic.com For booking inquiries or to contact Joe directly, please email [email protected] In a recent feature on Joe Alterman in the Wall Street Journal, legendary writer Nat Hentoff wrote, “'Talk about the joy of jazz!...It's a pleasure to hear this music'…You've got it!” Born and raised in Atlanta, Georgia, Alterman moved to New York in the fall of 2007 to study music at New York University, where he also earned his Master’s Degree in Music. While there, he had the opportunity to study with greats including Don Friedman, Joe Lovano and John Scofield. He has performed at venues around the world including the Blue Note Jazz Club in Milan, Blues Alley in Washington, DC, and Preservation Hall in New Orleans; he has led groups at venues in New York City including the Blue Note Jazz Club, the Iridium, the Kitano, and Dizzy’s Club Coca-Cola, among others. -
4823C7a9d589da82e72837249d
RETURN TO THE EAST BROOKLYN RECLRIMS THE BLRCK RRT FORM KNOWN RS JRZZ I' IIlII£I SCIIII£I • B9 BllSIl MCHBII 'What you're about to hear is not jazz, or some other irrelevant term we allow others 10 use in defining our creation, but the sounds thai are about to saturate your being and serlsitize your soul is the continuing process of nationalist consciousness manifesting its message within the conlext of one of our strongest natural resources: Black music. What is represented on these jams is the crystallization of the role of Black music as a functional organ in the struggle for national liberation.. AJkebu-lan is the unfolding of this progress as mu!>ic-meaoing. It is sound-feeling." KwmbI. >PUI<Irc .... -_. on SUN-Uol his lpOkrn.word innoduuion amounl$ 10 :l m:o.ni- Kwasi Konadu'l r«mt book, Trulh Cru.sJKJ It> tIN &nh rrd:o.iming tlK Black nl form known u WiU RiM Api.., is the delining tome on lhe Ezsr.. h details T for uS/: ali :o.libn:aling. II2l1"P"rti..., vdlic:k. '1M do- lhecompln worIrinV ofhow the organiulion flourished for qurnl <kKript ion ofil :oJ :l -funuion,,1 organ- ckserillQ 1M o>'n adead... 1hc wt and iu primary k>c:o.tion at ,00aver mk of$('lUnd wilhin m.- Ezsr. organiu.ion wdl. MllSic Plac:c in Brooklyn WU n(K just a norefrom or musk hall, bul the blood pumping, mako i. as;"r m dig"". and a w::o.yoflifc.lhc Uhunf Food asan or. -
July 23, 2018 Jazz Album Chart
Jazz Album Chart July 23, 2018 TW LW 2W Peak Artist Title Label TW LW Move Weeks Reports Adds John Coltrane 1 3 160 1 Both Directions at Once - The Lost Album Impulse / Verve 275 258 17 2 55 13 Most Reports 2 1 1 1 Joey Alexander Eclipse Motema 237 315 -78 10 48 0 3 2 4 2 Kenny Barron Quintet Concentric Circles Blue Note 227 284 -57 10 49 0 4 4 2 2 Eddie Henderson Be Cool Smoke Sessions 223 257 -34 10 48 0 5 14 64 5 Bob Mintzer Big Band - New York Voices Meeting of Minds MCG Jazz 222 190 32 2 49 4 6 8 5 4 Allan Harris The Genius of Eddie Jefferson Resilience 212 233 -21 9 45 1 7 6 10 6 Buster Williams Audacity Smoke Sessions 207 243 -36 4 54 1 8 18 14 8 Ellis Marsalis The Ellis Marsalis Quintet Plays the Music of ELM 206 180 26 8 42 3 Ellis Marsalis 9 10 3 3 Mike LeDonne and The Groover Quartet From The Heart Savant 200 223 -23 7 45 1 10 12 7 5 Jim Snidero & Jeremy Pelt Jubilation! Savant 185 215 -30 11 43 1 11 5 9 5 Freddy Cole My Mood Is You HighNote 184 249 -65 7 46 0 12 10 25 10 Marcus Miller Laid Black Blue Note 178 223 -45 3 40 1 13 7 6 2 Don Braden Earth, Wind and Wonder Creative Perspective Music 177 240 -63 11 42 0 14 9 7 6 Tia Fuller Diamond Cut Mack Avenue 175 231 -56 9 40 0 Black Art Jazz Collective 15 21 114 15 Armor Of Pride HighNote 172 164 8 2 55 5 Most Reports 16 22 21 16 Brad Mehldau Trio Seymour Reads The Constitution! Nonesuch 170 160 10 5 46 2 17 14 12 12 Cyrille Aimée Live Mack Avenue 167 190 -23 5 45 1 18 17 15 8 Benito Gonzalez, Gerry Gibbs & Essiet Essiet Passion, Reverence, Transcendence Whaling City Sound 166 184 -18 10 35 0 19 49 142 19 Kamasi Washington Heaven and Earth Young Turks 163 112 51 2 43 7 20 22 16 16 Tiffany Austin Unbroken Con Alma Music 158 160 -2 5 35 0 Cory Weeds Little Big Band 21 52 - 21 Explosion Cellar Live 154 111 43 1 43 10 Highest Debut 22 13 10 8 Manhattan Transfer The Junction BMG 152 194 -42 11 32 0 23 16 19 13 McClenty Hunter, Jr. -
Gerry Mulligan Discography
GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”. -
Marlena Shaw out of Different Bags Mp3, Flac, Wma
Marlena Shaw Out Of Different Bags mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Funk / Soul Album: Out Of Different Bags Country: US Released: 1967 Style: Soul-Jazz MP3 version RAR size: 1107 mb FLAC version RAR size: 1251 mb WMA version RAR size: 1159 mb Rating: 4.4 Votes: 287 Other Formats: WAV VOX VQF DXD ASF DTS DMF Tracklist A1 Matchmaker, Matchmaker 2:58 A2 The Eyes Of Love (Carol's Theme) 2:30 A3 Nothing But Tears 2:50 A4 Will I Find My Love Today 3:20 A5 It Sure Is Groovy 2:35 A6 I've Gotten Over You 3:10 B1 Ahmad's Blues 3:05 B2 A Couple Of Losers 2:35 B3 I Stayed Too Long At The Fair 3:05 B4 Alone Together 3:07 B5 Somewhere In The Night (Naked City Theme) 2:20 Companies, etc. Recorded At – Ter Mar Studios Manufactured By – Chess Producing Corp. Credits Artwork [Cover Art] – Jerry Griffith Engineer [Recording] – Doug Brand Photography By [Cover Image] – Don S. Bernstein Producer, Arranged By – Richard Evans Notes Recorded October, 1967, at Ter Mar Studios, Chicago. Same picture sleeve as the regular release. Other versions Category Artist Title (Format) Label Category Country Year LPS 803 Marlena Shaw Out Of Different Bags (LP, Album) Cadet LPS 803 US 1967 CAS 803 Marlena Shaw Out Of Different Bags (LP, Album) Cadet CAS 803 Canada 1968 LPS 803 Marlena Shaw Out Of Different Bags (LP, Album) Cadet LPS 803 Japan 1983 Out Of Different Bags (LP, Album, LP 803 Marlena Shaw Cadet LP 803 US 1967 Mono) Out Of Different Bags (CD, Album, UCCC-9128 Marlena Shaw Cadet UCCC-9128 Japan 2005 Ltd, RE, RM, Pap) Related Music albums to Out Of Different Bags by Marlena Shaw Kitty Kallen - Matchmaker, Matchmaker Marlena Shaw - The Spice Of Life Lynn Thomas - Unreturned Love / (Stayed) Too Long At The Fair Con O'Neill & Warwick Evans - A Tribute To The Blues Brothers (Recorded Live At The Whitehall Theatre) Carol Leigh - Go Back Where You Stayed Last Night Marlena Shaw - Looking Thru The Eyes Of Love Brother Jack McDuff - Getting Our Thing Together Ahmad Jamal - Macanudo Ramsey Lewis - Goin' Latin Bo Diddley, Little Walter, Muddy Waters - Super Blues. -
Downbeat.Com March 2014 U.K. £3.50
£3.50 £3.50 U.K. DOWNBEAT.COM MARCH 2014 D O W N B E AT DIANNE REEVES /// LOU DONALDSON /// GEORGE COLLIGAN /// CRAIG HANDY /// JAZZ CAMP GUIDE MARCH 2014 March 2014 VOLUME 81 / NUMBER 3 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editor Ed Enright Designer Ara Tirado Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes Editorial Intern Kathleen Costanza Design Intern LoriAnne Nelson 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] Advertising Sales Associate Pete Fenech 630-941-2030 [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, 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 -
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. BILL HOLMAN NEA Jazz Master (2010) Interviewee: Bill Holman (May 21, 1927 - ) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: February 18-19, 2010 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 84 pp. Brown: Today is Thursday, February 18th, 2010, and this is the Smithsonian Institution National Endowment for the Arts Jazz Masters Oral History Program interview with Bill Holman in his house in Los Angeles, California. Good afternoon, Bill, accompanied by his wife, Nancy. This interview is conducted by Anthony Brown with Ken Kimery. Bill, if we could start with you stating your full name, your birth date, and where you were born. Holman: My full name is Willis Leonard Holman. I was born in Olive, California, May 21st, 1927. Brown: Where exactly is Olive, California? Holman: Strange you should ask [laughs]. Now it‟s a part of Orange, California. You may not know where Orange is either. Orange is near Santa Ana, which is the county seat of Orange County, California. I don‟t know if Olive was a part of Orange at the time, or whether Orange has just grown up around it, or what. But it‟s located in the city of Orange, although I think it‟s a separate municipality. Anyway, it was a really small town. I always say there was a couple of orange-packing houses and a railroad spur. Probably more than that, but not a whole lot. -
Spilleliste: Åtti Deilige År Med Blue Note Foredrag Oslo Jazz Circle, 14
Spilleliste: Åtti deilige år med Blue Note Foredrag Oslo Jazz Circle, 14. januar 2020 av Johan Hauknes Preludium BLP 1515/16 Jutta Hipp At The Hickory House /1956 Hickory House, NYC, April 5, 1956 Jutta Hipp, piano / Peter Ind, bass / Ed Thigpen, drums Volume 1: Take Me In Your Arms / Dear Old Stockholm / Billie's Bounce / I'll Remember April / Lady Bird / Mad About The Boy / Ain't Misbehavin' / These Foolish Things / Jeepers Creepers / The Moon Was Yellow Del I Forhistorien Meade Lux Lewis, Albert Ammons & Pete Johnson Jumpin' Blues From Spiritals to Swing, Carnegie Hall, NYC, December 23, 1938 BN 4 Albert Ammons - Chicago In Mind / Meade "Lux" Lewis, Albert Ammons - Two And Fews Albert Ammons Chicago in Mind probably WMGM Radio Station, NYC, January 6, 1939 BN 6 Port of Harlem Seven - Pounding Heart Blues / Sidney Bechet - Summertime 1939 Sidney Bechet, soprano sax; Meade "Lux" Lewis, piano; Teddy Bunn, guitar; Johnny Williams, bass; Sidney Catlett, drums Summertime probably WMGM Radio Station, NYC, June 8, 1939 Del II 1500-serien BLP 1517 Patterns in Jazz /1956 Gil Mellé, baritone sax; Eddie Bert [Edward Bertolatus], trombone; Joe Cinderella, guitar; Oscar Pettiford, bass; Ed Thigpen, drums The Set Break Van Gelder Studio, Hackensack, NJ, April 1, 1956 BLP 1521/22 Art Blakey Quintet: A Night at Birdland Clifford Brown, trumpet; Lou Donaldson, alto sax; Horace Silver, piano; Curly Russell, bass; Art Blakey, drums A Night in Tunisia (Dizzy Gillespie) Birdland, NYC, February 21, 1954 BLP 1523 Introducing Kenny Burrell /1956 Tommy Flanagan,