Wednesday, November 11, 2009

ERNESTINE ANDERSON,BLUES,DUES AND LOVE NEWS.


After more than five decades of singing jazz and blues, Ernestine Anderson born on November 11,1928 in Houston,Texas, into a musical family she grew up listening to the blues and is to date, at the top of her form. Two of her CDs from Quest, Blues, Dues & Love News (1996) and Now and Then (1993), both received Grammy nominations.



An acknowledged virtuoso of the blues -- her rendition of "Never Make Your Move Too Soon" is a classic -- Ms. Anderson is equally superb with ballads and swing. From intimate trio formats to big band, she does it all with seductive sophistication. Her sultry, sensuous voice is intimate in small club settings and soars with passionate intensity in the festival arena. Whether it's Ellington or Sting, Ms. Anderson's interpretation of a song is infectious.



On stage, she's charming and vivacious, her joy in the music delighting audiences from Sweden to Japan. Ms. Anderson has recorded more than 30 albums, performed at all the major jazz festivals, and has received four Grammy nominations. She was one of 75 women chosen for the book, I Dream a World: Portraits of Black Women Who Changed America, by Pulitzer Prize winning photographer Brian Lanker, joining such company as Rosa Parks, Leontyne Price, Barbara Jordan, and Toni Morrison.


As a child, she joined her father and grandmother singing gospel. When she was twelve, Ernestine entered a talent contest and so impressed trumpeter Russell Jacquet that he hired her on the spot to sing with his big band. When she was 18, she left Seattle, where her family had moved in 1944, to tour for a year with the Johnny Otis band. In 1952, she went on tour with Lionel Hampton's orchestra. After a year with the legendary band, she settled in New York, determined to make her way as a singer. In 1955, she cut a few tracks with alto saxophonist GiGi Gryce, which brought her to the attention of the larger jazz world. A few months later, she was asked to go on a Scandinavian tour, where she was a huge sensation, the adoring Swedes dubbing her "Stina".



Anderson recorded her first solo album in Sweden, which was released here in 1958 by Mercury Records and retitled Hot Cargo. Her star rose rapidly; she was asked to perform in the first Monterey Jazz Festival in 1958, named "Best New Vocal Star" in Down Beat's 1959 Critics Poll, and was featured in Time magazine. In the 1960s, changing musical tastes made it tough for American jazz musicians, and like many others, Ms. Anderson moved to Europe to pursue her career. After a few years in London, she returned home and went into semi-retirement, performing only occasionally in local clubs.



After joining the Buddhist church, she felt a renewed interest in singing. With the urging of bassist Ray Brown, she resumed her career and signed with Concord Records in 1976.She stayed with the label for fifteen years, making nearly 20 albums. Two -- Never Make Your Move Too Soon (1981) and Big City (1983) -- received Grammy nominations.


Ernestine sings the blues: "Never Make Your Move Too Soon.".

HOAGY cARMICHAEL, STARDUST,GEORGIA ON MY MIND....


American composer, pianist, singer, actor and bandleader Hoagland Howard "Hoagy" Carmichael, was born on November 11,1899, in Bloomington, Indiana. He is best known for writing "Stardust" (1927), "Georgia on my Mind" and "Heart and Soul", three of the most-recorded American songs of all time.



Alec Wilder, in his study of the American popular song, concluded that Hoagy Carmichael was the "most talented, inventive, sophisticated and jazz-oriented" of the hundreds of writers composing pop songs in the first half of the 20th century.



Carmichael was the only son of Howard Clyde Carmichael and Lida Robison. He was named Hoagland after a circus troupe "The Hoaglands" who stayed at the Carmichael house during his mother's pregnancy. Howard was a horse-drawn taxi driver and electrician, and Lida a versatile pianist who played accompaniment at silent movies and for parties. The family moved frequently, as Howard sought better employment for his growing family.



At six, Carmichael started to sing and play the piano, absorbing easily his mother's keyboard skills. By high school, the piano was the focus of his after-school life, and for inspiration he would listen to ragtime pianists Hank Wells and Hube Hanna. At eighteen, the small, wiry, pale Carmichael was living in Indianapolis, trying to help his family’s income working in manual jobs in construction, a bicycle chain factory, and a slaughterhouse. The bleak time was partly spelled by four-handed piano duets with his mother and by his strong friendship with Reg DuValle, black bandleader and pianist known as "the elder statesman of Indiana jazz" and "the Rhythm King", who taught him piano jazz improvization.



The death of his three-year-old sister in 1918 affected him deeply, and he wrote "My sister Joanne—the victim of poverty. We couldn’t afford a good doctor or good attention, and that’s when I vowed I would never be broke again in my lifetime." She may have died from influenza, which had swept the world that year. Carmichael earned his first money ($5.00) as a musician playing at a fraternity dance that year and began his musical career.



Carmichael attended Indiana University and the Indiana University School of Law, where he received his Bachelor's degree in 1925 and a law degree in 1926. He was a member of the Kappa Sigma fraternity and played the piano all around the state with his "Collegians" to support his studies. He met, befriended, and played with Bix Beiderbecke, the great cornetist (and sometime pianist) and fellow Mid-westerner. Under Beiderbecke’s spell, Carmichael started to play the cornet as well, but found that he didn't have the lips for it, and only played it for a short while. He was also influenced by Beiderbecke's impressionistic and classical musical ideas. On a visit to Chicago, Carmichael was introduced by Beiderbecke to Louis Armstrong, who was then playing with King Oliver’s Creole Jazz Band, and with whom he would collaborate later.



He began to compose songs, "Washboard Blues" and "Boneyard Shuffle" for Curtis Hitch, and also "Riverboat Shuffel", recorded by Beiderbecke, which became a staple of jazz and Carmichael’s first recorded song. After graduating in 1926, he moved to Miami to join a local law firm but, failing the bar exam, returned to Indiana in 1927. He joined an Indiana law firm and passed the state bar, but devoted most of his energies to music, arranging band dates, and "writing tunes". He had discovered his method of songwriting, which he described later: "You don't write melodies, you find them…If you find the beginning of a good song, and if your fingers do not stray, the melody should come out of hiding in a short time."


He passed away on December,1981.

Ray Charles sings and plays "Georgia on My Mind"

http://www.youtube.com/watch?v=Thls_tMuFkc
Reference - Wikipédia

Tuesday, November 10, 2009

HOUSTON PERSON, THE BOSS TENOR


Houston Person born on November 10,1934, wears the Boss Tenor crown, worn so long by Gene Ammons.


Mr. Person is busy working his own gigs; booking his tours, finding new clubs, having phone numbers for every major concert promoter on every continent. He even produces his own albums. His first big break came while working as a sideman with organist Johnny Hammond and his group, co-led by Etta Jones.



Person's working relationship with Ms. Jones began in 1973 and lasted for thirty years, until her recent passing in 2001. Early gigs happened while serving in the Army overseas in Germany, where he played with Eddie Harris, Cedar Walton and others. On Mr. Person's philosophy of jazz, he says, “Well, it's uplifting and important. And a release and a relief. That's what it is, jazz, so called jazz, to me. It's important that it's relaxing. Something that when the end of the day comes, after a hard and frustrating day out in the world, that relieves you. Relaxes you and makes you feel good.”


Person adds that all he wants is to give people “good solid melodies with some improvisation and plenty of blues feel.” He smiles, “You always want that dance feeling there, that happy, happy feeling.”

Houston Person plays "Moölight in Vermont"



Reference == AAJ

HUBERT LAWS


O flautista Hubert Laws nasceu no 10 de Novembro de 1930 em Houston,Texas com uma carreira brilhante no jazz, musica clássica e outros generos musicais. Laws é um músico extremamente talentoso, e é um dos poucos artistas clássicos que também domina jazz,pop e Rhythm and blues; transitando facilmente de um repertório para outro.


Foi o segundo de oito filhos do Sr. Hubert Laws e Sra. Miola Luverta Donahue. Muitos de seus irmãos também entraram na indústria da música, inclusive o saxofonista Ronnie Laws e os vocalistas Eloise, Debra e Johnnie Laws. Ele começou a tocar flauta na escola depois de voluntariado para substituir regularmente a flautista da orquestra da escola.



Ele tornou-se adepto da improvisação jazzística tocando em um grupo de jazz de Houston, o Swingsters, que eventualmente evoluiu para Modern Jazz Sextet, Night Hawks, e Crusaders . Aos 15 anos de idade, foi um membro da primeira formação do Jazz Crusaders enquanto estava no Texas (1954-1960), e também tocou música clássica durante esses anos.



Ganhou uma bolsa para estudar na Escola de Música Julliard em Nova York em 1960, estudou música em sala de aula e com o grande flautista Julius Baker, e tocou na New York Metropolitan Opera Orchestra(membro) e na Orquestra Filarmônica de Nova York de 1969-72. Nesse período, suas interpretações de composições clássicas de Gabriel Faure, Stravinsky, Debussy, e Bach em 1971 gravando Rite of Spring—com uma secção de cordas e jazzistas, tais como Airto Moreira, Jack DeJohnette, Bob James e Ron Carter—lhe rendeu espectadores aficcionados da música clássica. Ele voltou a este gênero, em 1976, com uma gravação de Romeo e Juliet de Tchaikovsky.



Enquanto estava na Julliard, Laws tocou flauta na noite com vários artistas, inclusive Mongo Santamaria, de 1963-67 e em 1964 começou a gravar como bandleader para o selo Atlantic, e lançou os álbuns The Laws of Jazz, Flute By-Laws, e Laws Cause. Participou como convidado de álbuns de Ashford and Simpson,Chet baker and George Benson. Também gravou com o jovem irmão Ronnie Laws o álbum The Laws nos anos setenta, um tesouro para aficcionados em jazz.


Também tocou flauta no álbum Free Will de Gil Scott-Heron em 1972 , que marcou o poema "A revolução não será televisionada". Durante os anos setenta foi membro do New York Jazz Quartet.

Nos anos noventa resumiu sua carreira, tocando em 1991 Spirituals in Concert gravado pelas cantoras de Ópera Katheleen Battle e Jessye Norman. Seus álbuns pela gravadora Masters Music - My Time Will Comeem 1990 e, mais particularmente,Storm Then the Calmem 1994 - são considerados pelos críticos como um retorno à forma que ele apresentou em 1970 nos seus primeiros álbuns.


Ele também gravou um álbum em homenagem ao pianista e vocalista Nat King Cole, Hubert Laws Remembers the Unforgettable Nat King Cole, que recebeu elogios da crítica. Entre os muitos artistas que ele tocou e gravou estão Herbie Hancock, McCoy Tyner, Nancy Wilson, Quincy Jones, Paul McCartney, Paul Simon, Aretha Franklin, Ella Fitzgerald, Sarah Vaughan e muitos outros.

O vídeo de 2006 Hubert Laws Live 30-year Video Retrospective, disponível somente em hubertlaws.com, inclui "Red Hot & Cool" com Nancy Wilson, performance no Brasil, apresentação no Johnny Carson Show, performance no Japão e na Alemanha.


Hubert laws toca.



Reference - Wikipedia

Monday, November 09, 2009

MEZZ MEZZROW

Clarinet, tenor sax, book author Mezz Mezzrow was born on November 9,1899 in Chicago and was one of that city's most popular clarinetists during the golden jazz age of the twenties. Many of Mezzrow's records reveal his deep feeling for the blues and his playing is characterized by well-thought lines, frequent agility and an appealingly acid tone, but despite touring regularly with various bands and with Louis Armstrong, his most notable contribution to jazz history is his autobiography, Really the Blues, written with Bernard Wolfe, first published in 1946.


It is its unbounded vitality that so captures the revolution which jazz represented to the youth of Chicago in the twenties, and even more that of Harlem in the thirties and forties.
He learned to play the saxophone in the Potomac Reformatory School where he was sentenced at the age of 16 for car theft. During his late teens he discovered jazz, and went on to emulate the musicians Freddie Keppard, Joe Oliver, Louis Armstrong, Jimmy Noone and many others. He took up the clarinet and so started his life in the jazz world.


Mezzrow was adept at both clarinet and tenor, and there are recordings of him in the late 1920’s with the Jungle Kings, the Chicago Rhythm Kings, and Eddie Condon’s band. He played throughout the ‘30’s as a member of various swing bands, which at times included Teddy Wilson.


A highlight of the period for him was his recording in 1938 for French producer Hugh Panassie, which joined him up with his idol Sidney Bechet. Mezzrow was a great admirer of Sidney Bechet and made many recordings featuring himself with Bechet for his own King Jazz label, in the mid forties. Mezzrow’s playing was not by any means in the same league as Sidney Bechet’s, but in light of the recordings made in New York in 1945 and Chicago in ’47, Mezz must get credit for even being in the studio and on the dates with Bechet and some of the major players of the era.


By 1948 Mezzrow had relocated to France, as he was enthralled by the respect given to jazz musicians there, and the vibrant scene in general. He continued to record quite prolifically throughout the decade of the ‘50’s, on a variety of French labels.



He remained a resident of France until his death in Paris on Aug. 2, 1972.


Mezz plays.



Reference - Jazz in Time

MUGGSY SPANIER, JAZZ PIONEER

Cornet player Muggsy Spanier was born on Ocetober 9, 1906, and was a member of the famed Austin High Gang and fell for jazz the minute he saw King Oliver playing live in Chicago. His first professional job came in 1921 with the Elmer Schoebel band.


In 1927 Muggsy cut his first sides with the Chicago Rhythm Kings alongside Frank Teschemacher on clarinet, Mezz Mezzrow on tenor saxophone, Gene Krupa on drums and Eddie Condon on banjo and vocals. Muggsy was back in the studio in 1928 with the Jungle Kings which was the same group except George Wettling replaced Krupa on drums. In 1929 Spanier joined Ted Lewis and his Band appearing in two films, “Is Everybody Happy?”(1929) and “Here Comes The Band”(1935).


He joined Ben Pollack's group in 1936 but left the band in 1938 due to a debilitating alcohol related illness that almost killed him. Returning to music in 1939, he formed Muggsy Spanier's Ragtime Band which featured George Brunies on trombone.


By the 1940's Muggsy was in New York performing with Max Kaminsky, Miff Mole and Brad Gowans, among others, which became the famous “Jam Session at Commodore” record from 1940. By Septemeber of 1940 Muggsy joined the Bob Crosby Dixieland big band but left and from 1941 to 1943 played with his own Dixieland big band which recorded for Decca.



From 1944 to 1948 Muggsy played mostly with small hot groups in New York City and from 1949 toured the U.S. extensively with his own sextet. By 1957 Spanier had settled in San Francisco and co-led some fine groups with pianist Earl Hines until his death in 1967.



Muggsy Spanier plays.

Sunday, November 08, 2009

CHRIS CONNOR, WITCHCRAFT


A cantora de jazz Chris Connor, nasceu em Kansas City no 8 de Novembro de 1927 e ficou conhecida mundialmente por seu estilo distinto e pelo timbre característico de sua voz. Seu pai era um eminente músico, por essa razão Connor começou a estudar música bem cedo, conseguindo proficiência em clarineta.


No início de sua carreira, Connor se juntou ao "Snowflakes", um grupo vocal da banda de Claude Thornehill, posteriormente ela abandonou o grupo para se tornar a cantora principal da banda de Stan kenton.



Originalmente, ela gravou pela Bethlehem Records, assinando depois com a Atlantic Records, onde gravou por um longo período. Suas gravações mais conhecidas são famosas entre os que estão familiarizados com o jazz dos anos 1950 e 1960; entre as mais populares estão "Lullaby of Birdland", "All about Ronnie."Trust in Me" e "I Miss you So". Quase a totalidade de sua discografia foi reeditada em CD, incluindo os albuns clássicos "The George Gershwin Almanac of Song", " Witchcraft" e "Lullaby of Birdland".


Chris Connor faleceu em Agosto deste ano com 81 anos de idade em Toms River,Nova Jersey.




Chris Connor has won every conceivable critical and popular accolade in her half century reign as one of the most gifted and distinctive vocalists in jazz history. To the delight of fans and fellow musicians, her singing has never been more satisfying. Her warm, cello-like tones glow with new luster, and her interpretation of lyrics is more deeply felt than ever before. Connor’s concert appearances at Carnegie Hall and the Kennedy Center, an appearance at the Essence of Jazz Festival in Memphis, and her appearance as part of the star studded JVC tribute concert to Miss Peggy Lee, as well as jazz club engagements at such venues as Birdland and Iridium, have revealed an artist at the peak of her creative powers.


Born in 1927 in Kansas City, Missouri, Connor studied clarinet, but her career direction was clear at an early age. “I always knew I wanted to be a singer,” she said, “I never wanted to be anything else.” After completing her schooling, she took a secretarial job while commuting on weekends to the University of Missouri to perform with a Stan Kenton-influenced college jazz band. An admirer of Kenton singers Anita O’Day and June Christy, Connor recalls, “I had my sights set on singing with Kenton.”


Frustrated by the lack of vocal musical opportunities in her hometown, Connor pulled up stakes and headed east in 1949. She was hired by Claude Thornhill and spent the next five years touring with his orchestra. Then, while appearing with Jerry Wald’s band, she received the phone call she had been dreaming of. June Christy, Stan Kenton’s current vocalist, had heard Connor on a radio broadcast and recommended her to the orchestra leader, who chose her from dozens of other vocalists eager for the job. “My voice seemed to fit the band,” Connor said, “with that low register like Anita’s and June’s.

Chris sings "Lullabys of Birdland"
http://www.youtube.com/watch?v=KkiVkinGx8U
Fonte - Wikipédia

PIANIST BERTHA HOPE


Pianist Bertha Hope born on November 8,1936, has been an active force in improvised music since the early 60's. Her long association with pianist/composer Elmo Hope resulted in a host of recorded compositions and arrangements, currently performed by the Elmo Hope Project, in which Bertha is the pianist.


During her long and respectful career, she has continued to present Elmo's music, whether on her recordings or in the many concerts and club appearances she has given. She is also the leader of her own trio (with Walter Booker and Jimmy Cobb), as well as being a member of the group Jazzberry Jam!


She has worked extensively over the years to transcribe many of the Elmo Hope compositions so that they can be performed and in addition, pay tribute to one of “be-bop’s” underrated contributors. To that end, Bertha has formed a working group called ELMOllennium,” which features, Walter Booker (bs), Leroy Williams (dr), Virgil Jones (tr), Charles Davis (ts), Roni Ben-Hur (g), Amy London (guest vocalist).


For a number of years Bertha Hope was an artist-in-residence under the auspices of “The New Jersey State Council on the Arts.” Through that program, she performed in New Jersey state-wide workshops. Some of the musicians with whom she performed during that period were Dizzy Gillespie, Frank Foster, Nat Adderley and Philly Joe Jones.



Ms. Hope is also the leader of “The Bertha Hope Trio,” which has toured extensively throughout Japan. She is a composer and arranger with several recordings under her own name: “In Search of Hope” and “Elmo’s Fire” (Steeplechase); “Between Two Kings” (Minor Records) and her latest on the Reservoir label, “Nothin’ But Love.”


Bertha Hope holds a B.A. in Early Childhood Education. She currently teaches an advanced jazz ensemble at The Lucy Moses School, and an Introduction to Jazz Program at Washington Irving H.S. which is sponsored by Bette Midler. Her legacy continues as her children carry the musical torch.



Few knew that Bertha was a talented pianist until her 1992 Minor Music release Between Two Kings. She grew up in California, started studying classical piano when she was three, became interested in jazz through the playing of Bud Powell, and in the late '50s worked in Los Angeles clubs with a trio.


Bertha Hope plays.



Scott Yanow, All Music Guide

MANAUS (340),DOMINGO,MEIO DIA,101.5FM,JAZZ, MANHATTAN TRANSFER, CLAIRE MARTIN


Daqui a pouco, ao meio dia em Manaus, pelas ondas da Radio Amazonas 101,5 FM no programa "Momentos de Jazz", como acontece há 14 anos e sete meses, vamos destacar a musica e os talentos do jazz iniciando a nossa audição com o fabuloso conjunto vocal The Manhattan Transfer que, tendo o swing como ponta de lança, lançou o CD "Swing" que com o tempo, tornou-se referencia do alto nivel da produção musical do conjunto.

Em seguida o CD "Paradise Café" de Barry Manilow que para muitos tornou-se cult , pelo repertorio e principalmente pela participação especial da Divina Sarah Vaughan. Todas as canções foram especialmente escritas para este projeto e Barry declara no liner notes que gostaria de ser lembrado por este trabalho. Vale a conferencia.

Diz a lenda que a Inglaterra jamais produziu uma grande cantora. Sim, Annie Ross nasceu em Surrey mas, ao se mudar para os States, absorveu todas as influencias e a cultura da California e o sotaque Inglês foi pro brejo. Alguns dizem que A Dama Cleo Lane é o grande referencia inglesa. Existem controvérsias. Ultimamente alguns canários ingleses estão recuperando o tempo perdido em jazz. Claire Martin é um bom exemplo. Este é o nono album da cantora que não é uma grande cantora de jazz mas se firma como a combinação perfeita de Anita O'Day, Chris Connor e Jo Stafford que sobressai magistralmente em seu trabalho. O jornal "Times" a chamou de "the Madonna of British Jazz", um erro que não faz justiça ao seu apelo jazzistico.Vamos conferir.

A cantora Laura Fygi no CD "Bewitched", que conta com a companhia especialissima de monstros sagrados como Toots Thielemans, Johnny Griffin, Clarke Terry e da Orquestra The London Studio Symphony é o registro precisoso de um grande momento musical. O repertório todo baseado no Great American Songbook é outro privilégio à parte.

Conto com tua valisosa audiência.

O melhor ainda está por vir.

Humberto Amorim

Locutor/Produtor

Saturday, November 07, 2009

BANDA ALL THAT JAZZ


Daqui a pouco, a partir das 22h30 de Manaus, a banda "All That Jazz" volta a se apresentar (a pedidos!!!) no palco do "O Chefão" perante a sua fiel platéia de apreciadores da musica jazz.

A banda traz como novidade, além da atualização do repertório que agora inclui: But Beautiful, You're Nobody Until Somebody Loves You, Summertime,The Meaning of the Blues, I've Got a Crush on You, Come Fly with Me, a nova formação com Igor na bateria e Serafim no keyboards.

A gente te espera por lá.

O melhor ainda está por vir meus camaradas!

Humberto Amorim

AL HIRT AND THE TIJUANA BRASS

A virtuoso on the trumpet, Al Hirt born on October 7 in New Orleans, Louisiana, was often "overqualified" for the Dixieland and pop music that he performed. He studied classical trumpet at the Cincinnati Conservatory (1940-1943) and was influenced by the playing of Harry James.

He freelanced in swing bands (including both Tommy and Jimmy Dorsey, and Ray McKinley) before returning to New Orleans in the late '40s and becoming involved in the Dixieland movement. He teamed up with clarinetist Pete Fountain on an occasional basis from 1955 on, and became famous by the end of the decade.

An outstanding technician with a wide range, along with a propensity for playing far too many notes, Hirt had some instrumental pop hits in the 1960s. He also recorded swing and country music, but mostly stuck to Dixieland in his live performances.

He remained a household name throughout his career, although one often feels that he could have done so much more with his talent. Hirt's early Audiofidelity recordings (1958-1960) and collaborations with Fountain are the most rewarding of his long career.

He died at his home in New Orleans on April 27, 1999.

Al Hirt plays.
http://www.youtube.com/watch?v=AsAvjFLkBI0

Reference - Scott Yanow, All Music Guide

Friday, November 06, 2009

ARTURO SANDOVAL, FLIGHT TO FREEDOM

O trompetista cubano Arturo Sandoval, nasceu no 6 de Novembro de 1949 em Artemisia, Cuba filho de um mecanico de carros e tem deslumbrado as platéias no mundo inteiro com seu estilo supercarregado dentro da linha bop, sempre utilizando o registro mais alto de seu instrumento.


Em números mais lentos, ele brinca num tom mais brilhante e jovial com seu flugelhorn, colocando de forma sutil o seu balanço. Aparentemente ele é capaz de tocar tudo, mas ele prefere ficar ligado ao repertório clássico do jazz, dentro de um estilo cubano de tocar o bebop. Ele começou estudando o trompete clássico aos doze anos e foi para a Escola Nacional Cubana de Artes aos quinze, estudando com um trompetista clássico russo.



No começo dos anos setenta, ele se tornou membro fundador da Orquesta Cubana de Musica Moderna e em 1973 foi para a banda afro-cubana Irakere. Sandoval conheceu seu ídolo Gillespie em 1977, que rapidamente se tornou seu mentor e colega, tocando com Sandoval em concertos na Europa e Cuba e depois na Orquestra das Nações Unidas. Depois de gravar um álbum com David Amram, "Havana/New York" e dois álbuns com o Irakere pela Columbia, Sandoval deixou o grupo em 1981 para excursionar com sua própria banda e gravar em Cuba.



Ocasionalmente, Fidel Castro permitia Sandoval aparecer em vários festivais de jazz internacionais e com orquestras como a Sinfônica da BBC e a Filarmônica de Leningrado. Sandoval esperou o tempo em que podesse sair com sua esposa e filho de Cuba, e só então, em julho de 1990 durante uma longa excursão européia pediu asilo na embaixada americana em Roma e depois foi morar na Flórida.



Assinou com a GRP e seu primeiro álbum americano recebeu o título apropriado de "Flight to Freedom". Logo foi demonstrando sua versatilidadeem vários idiomas, excursionando com toda a energia afro-cubana da sua banda a a partir dos anos noventa e gravando grandes álbuns como "Hothouse" e "L.A. Meetings".


Mês passado esteve de volta ao Brasil, se apresentando no circuito Rio de Janeiro/São Paulo/Curitiba/Porto Alegre com grande sucesso de audiência.

Arturo Sandoval plays.
http://www.youtube.com/watch?v=TChocbG_TTI

Fonte - CDJ

FRANCY BOLAND, THE BELGIUM JAZZMAN


Born François Boland, 6 November 1929, Namur, Belgium. A classically trained musician, Boland's first exposure to jazz came through concerts and records that he heard during World War II.



His first contributions to the music were arrangements written for the bands of Bobby Jaspar, Henri Renaud and others. In the early 50s he spent much time in Paris, arranging and playing piano, and worked with visiting Americans such as Chet Baker and Nat Peck. In the late 50s he was writing for Kurt Edelhagen's German-based, multinational big band. In 1958 he visited New York, writing charts for Count Basie. At the same time, Boland met drummer Kenny Clarke and with the financial backing of entrepreneur Gigi Campi they formed the Clarke-Boland Big Band.


This, too, was a multinational band and featured players such as Peck, Derek Humble, Benny Bailey, Jimmy Deuchar, Aake Persson, Sahib Shihab, Ronnie Scott and Johnny Griffin. Boland played piano in the band and also composed for it, but his principal contribution was his arranging, which magnificently combined the band's members into a powerful collective whole without ever subduing their potential for inventive soloing.



The band was on the brink of folding in the early 70s, but stayed together thanks to the desire of the musicians to continue playing even when the financial burden was almost intolerable. Since 1976 Boland has lived and worked in Europe (mostly based in Switzerland). In his time, he wrote and arranged for artists such as Sarah Vaughan.

The great sound of Francy Boland' s band.

http://www.youtube.com/watch?v=7tB7_trSQYI
Reference - Music Artist Band

JOHN PHILIP SOUSA, THE MARCH KING

Who was this man who became a musical legend during his own lifetime with such "hits" as "Stars and Stripes Forever," "The Liberty Bell" (best known as the theme song for Monty Python's Flying Circus) and "The Washington Post"?


Fittingly, John Philip Sousa was born on November 6, 1854 at 636 G Street, SE, Washington, D.C., near the Marine Barracks where his father, Antonio, played trombone in the U.S. Marine Band. John Philip was the third of 10 children of John Antonio Sousa (born in Spain of Portuguese parents) and Maria Elisabeth Trinkhaus (born in Bavaria). Young John Philip grew up surrounded by military band music, and when he was just six, he began studying voice, violin, piano, flute, cornet, baritone, trombone and alto horn.


By all accounts, John Philip was an adventure-loving boy, and when at the age of 13 he tried to run away to join a circus band, his father instead enlisted him in the Marine Band as a band apprentice. Except for a period of six months, Sousa remained in the band until he was 20 years old. In addition to his musical training in the Marine Band, he studied music theory and composition with George Felix Benkert, a noted Washington orchestra leader and teacher. It was during his years in the Marines that Sousa wrote his first composition, "Moonlight on the Potomac Waltzes."



Discharged from the Marines in 1875, the 21-year-old Sousa began performing (on violin), touring and eventually conducting theater orchestras, including Gilbert & Sullivan's "H.M.S. Pinafore" on Broadway.
In 1879, Sousa met Jane van Middlesworth Bellis, and they married December 30, 1879. Just a year later, the couple returned to Washington, D.C., where Sousa assumed leadership of the U.S. Marine Band. Over the next two years, Sousa conducted the band "The President's Own," serving under Presidents Hayes, Garfield, Cleveland, Arthur and Harrison.



In his book, The Experiences of a Bandmaster, Sousa describes what it was like to play for presidents:
"The ladies of the White House were always interested in the music, and frequently suggested selections for the programme, Mrs. Hayes being particularly fond of American ballads. During the brief Garfield administration there were no state receptions or dinners given by the President, and the band did not play at the White House, except for a few of Mrs. Garfield's receptions immediately after the inauguration. While Mrs. McElroy was mistress of the Executive Mansion for her brother, President Arthur, the lighter music was much in favor, as there were always many young people at the Mansion. Miss Rose Elizabeth Cleveland was much interested in music, and evinced a partiality for Arthur Sullivan's melodies. Mrs. Harrison's favorite music was Nevin's "Good Night, Beloved" and the Sousa marches.
The soundness of Mrs. Cleveland's musical taste was shown by her liking for the "Tannhauser" overture and other music of that character.The Marine Band played all the music for President Cleveland's wedding, which took place in the Blue Room of the White House. The distance from the room up-stairs to the exact spot where the ceremony was to take place was carefully measured by Colonel Lamont and myself, in order that the music might be timed to the precise number of steps the wedding party would have to take; and the climax of the Mendelssohn "Wedding March" was played by the band just as the bride and groom reached the clergyman."


Sousa first received acclaim in military band circles with the writing of his march "The Gladiator" in 1886. In 1888, he wrote "Semper Fidelis," which he dedicated to "the officers and men of the Marine Corps." It is traditionally known as the "official" march of the Marine Corps.
Under Sousa, the Marine Band also made its first recordings. The phonograph was a relatively new invention, and the Columbia Phonograph Company sought a military band to record. The Marine Band was chosen, and 60 cylinders were released in the fall of 1890. By 1897, more than 400 different titles were available for sale, placing Sousa's marches among the first and most popular pieces ever recorded, and making the Marine Band one of the world's first "recording stars."


After two successful but limited tours with the Marine Band in 1891 and 1892, promoter David Blakely convinced Sousa to resign and organize a civilian concert band; thus was born "Sousa's New Marine Band."


The band's first concert was performed on September 26, 1892 at Stillman Music Hall in Plainfield, New Jersey. Two days earlier, bandleader Patrick Gilmore had died in St. Louis, and 19 of Gilmore's former musicians eventually joined Sousa's band, including Herbert L. Clarke (cornet) and E. A. Lefebre (saxophone). Although its original name was "Sousa's New Marine Band," criticism from Washington eventually forced the band to drop the "New Marine" part of its name.


In 1896, Sousa and his wife were vacationing in Europe when word came that Sousa's promoter, David Blakely, had died. The couple immediately left for home. It was on the return voyage home that Sousa was inspired to begin writing his most famous composition, "The Stars and Stripes Forever."


From 1900 to 1910, the Sousa Band toured the U.S., Europe, Great Britain, the Canary Islands, South strengthening its growing reputation as the most admired American band of its time.
After World War I, Sousa continued to tour with his band while championing the cause of music education for all children. He also received several honorary degrees and fought for composers' rights, testifying before Congress in 1927 and 1928.



Sousa's last appearance before the Marine Band was on the occasion of the Carabao Wallow of 1932 in Washington, D.C. Sousa, as a distinguished guest, rose from the speaker's table, took the baton from Captain Taylor Branson, the band's director, and led the band in "The Stars and Stripes Forever."



Later that year, after conducting a rehearsal of the Ringgold Band in Reading, Pennsylvania, the 77-year old Sousa passed away. The last piece Sousa had rehearsed with the band was "The Stars and Stripes Forever."
In addition to hundreds of marches, Sousa also wrote ten operas and a number of musical suites.



He also had many talents aside from music, authoring three novels and a full-length autobiography, as well as a number of articles and letters-to-the-editor on a variety of subjects.
Sousa is not forgotten. On December 9, 1939, the new Pennsylvania Avenue Bridge across the Anacostia River in Washington, D.C. was dedicated to the memory of John Philip Sousa.



In a tribute to its 17th leader, in 1974, the Marine Band rededicated its historic band hall at Marine Barracks as "John Philip Sousa Band Hall." The bell from the S.S. John Philip Sousa, a World War II Liberty ship, is there. In 1976, Sousa was enshrined in the Hall of Fame for Great Americans in a ceremony at the John F. Kennedy Center for the Performing Arts in Washington. And in 1987, "The Stars and Stripes Forever" was designated as the national march of the United States. A White House memorandum states that the march has become "an integral part of the celebration of American life."

John Philip Sousa " The Stars and Stripes Forever"






RAY CONNIFF, 'S WONDERFUL.


Músico trombonista, maestro e talentoso arranjador-regente Ray Conniff nasceu no 6 de novembro de 1916 em Attleboro, Massachusetts, foi considerado o rei do easy listening, um estilo de música orquestrada, e introdutor do coro vocal como naipe da orquestra que em vez de tocar instrumentos, soltavam monossílabos repetidos, que juntos ao som de um ritmo musical contribuíram para tornar o seu estilo mundialmente famoso. Seu pai era maestro e trombonista da Jewelry City Band, onde sua mãe tocava piano, de quem herdou a paixão pela música e teve sua primeira experiência como músico de orquestra foi na Attleboro High School, onde foi educado.



Começou como trombonista e com o tempo passou a fazer arranjos até tornar-se maestro da banda local. Tornou-se músico profissional no Musical Skippers, de Dan Murphy, em Boston, e depois, mudou-se para Nova York, onde trabalhou como trombonista-arranjador de Bunny Berrigan. Começou a trabalhar com Bob Crosby e os Bobcats (1939). Depois de passar por outras orquestras, começou a fazer arranjos para o serviço de rádio das Forças Armadas (1940-1946). Deixou o Exército e passou a sustentar sua família, mulher e três filhos, como maestro free-lance e fazendo trabalhos fora da área musical.



Na década seguinte conheceu Mitch Miller, da Colúmbia Records e começou a fazer arranjos e orquestração para outros músicos e para os discos da Colúmbia. O sucesso obtido pelo músico em outros discos motivou a Colúmbia a lançar um álbum de autoria do maestro. Foi então que surgiu 'S Wonderful, que ficou na lista dos discos de maior sucesso por nove meses. Fez uma turnê de extraordinário sucesso pelas principais casas noturnas de Los Angeles e São Francisco (1960), onde começou a desenvolver o seu estilo musical.



Depois de 40 anos na Columbia Records / CBS Records / Sony Music, assinou novo contrato com a PolyGram / Universal Records and Abril Music of Brazil (1997) e lançou três álbuns: Ray Conniff Live In Rio, I Love Movies e um tributo a Frank Sinatra, intitulado My Way. Depois de seis meses com o lado direito do corpo paralisado tratando-se no Palm Springs Stroke Center, devido a um derrame, sofreu outro derrame fatal e morreu aos 85 anos, no , San Diego, Califórnia, nos Estados Unidos.



No Brasil, esteve 12 vezes e onde fez sua última turnê com um série de concertos pelo país (2001) quando estava promovendo um disco Do Ray Para o Rei que fez só com arranjos orquestrais para sucessos do cantor Roberto Carlos.



Em vida ganhou nove Discos de Ouro, um Disco de Platina, um Grammy pela interpretação da música Somewhere My Love e vendeu mais de 70 milhões de cópias pelo mundo afora.

Ray faleceu em 2002.


Ray Conniff conducts his great orchestra.





Fonte - Net Saber

Wednesday, November 04, 2009

RALPH SUTTON, THE LAST OF THE WHOREHOUSE PIANO PLAYERS


Pianist Ralph Earl Sutton, was born on November 4, 1922 in Hamburg, Mo, was known as the master of stride, a demanding form of piano jazz, which grew out of ragtime in the 1920's. Its essence is a left hand that strides rhythmically across the bottom half of the keyboard while the right hand handles the melody.


He fell in love with stride piano at 9 when he first heard Fats Waller, a master of the style, on the radio. He went on to play with some of the greatest jazz musicians and pursued a solo career that took him to concert halls and clubs around the world. He made more than 40 recordings on many labels.


André Previn, the conductor, once referred to Mr. Sutton as one of the few jazz pianists who had complete mastery of his instrument. The New Yorker called him ''a piano specialist of astonishing skill.'' Milt Hinton, the great jazz bassist, who died in 2000, once said, ''I'm glad to have passed through this life just to have met Ralph Sutton.''


In part Mr. Sutton represented a link to an important jazz tradition. Writing in The New York Times in 1991, Peter Watrous said, ''In his pieces, motion and movement signaled a type of freedom, and the spiky, abrupt right-hand interjections, working as melodies, exemplified the new musical vocabulary that developed in the early decades of this century.''
Dick Hyman, musical director of some of Woody Allen's movies and a stride pianist himself, insisted that Mr. Sutton was more than an archivist. ''Jazz had to be your own invention or it isn't jazz,'' he said. ''What Ralph did was do his own improvisations on the older music. It wasn't just note-for-note re-creations.''


Ralph Sutton played with no sense of irony but directly and proudly to audiences eager to hear his forceful take on Waller and other stride greats, like James P. Johnson and Willie Smith, known as the Lion.
''When he would get going on something like 'Honky-Tonk Train,' he would have people leaping out of their seats,'' said the clarinetist Kenny Davern.


Though known as a soloist, he played with big bands early in his career and in many combos later. ''He'd get that style going on any tune that was romping along, but he had the sensitivity to be a good backup,'' said Ed Polcer, the cornet player and bandleader.
Ralph Earl Sutton was born in Hamburg, Mo., on Nov. 4, 1922, and was raised in the nearby town of Howell. (Both towns were taken over in 1940 by the federal government, which bought them out to build a dynamite factory.)


As a boy, he played the organ in the Presbyterian church. His father, who had learned to play the fiddle at night after working on construction jobs, let him play the piano in his country band.
When the legendary trombonist Jack Teagarden came through town in 1941, Mr. Sutton, then 19 and attending what is now Northeast Missouri State University, reluctantly agreed to play for him. Mr. Teagarden immediately invited him to join his band in New York.


Two months after joining the band, he was drafted into the Army, where his assignments included playing the glockenspiel in the 104th Infantry Band in the Mojave Desert.
After being discharged, he played at a club in the red-light district of East St. Louis, Ill., before being asked to rejoin Mr. Teagarden's band at the Famous Door on 52nd Street in New York. In 1948, he began an eight-year run as intermission pianist at Eddie Condon's jazz club on West Third Street.


One of his major large-group jobs was as a member of the World's Greatest Jazz Band, a all-star mainstream band with Bob Haggart and Yank Lawson as headliners, from 1968 until 1974. He went on to perform around the world at jazz parties and concerts. Since this October, he has performed in Switzerland, Alabama and Texas.


Sutton was seldom without a gig, but life was not always easy. In the 1970's, he was so poor he did not own a piano, according to an article in The Rocky Mountain News. In 1978, friends chipped in to buy him one.


He never stopped making records, often to good reviews. His last album was a piano duet with Johnny Varro, ''A Pair of Kings,'' released by Arbors in the fall of 2001.



Ralph Sutton passed away on December 2001.


Ralph plays "After You've Gone"





Reference - American Jazz
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