Monday, August 31, 2009

GUNTER HAMPEL,UNDER THE SPELL OF JAZZ


Music vanguardist and multi-instrumentalist (bass,clarinet,flute,and vibes) Gunter Hampel was born on August 31, 1937, in Gttinger, Lower Saxony,Germany, has been under the spell of jazz since the end of WW II.
Louis Armstrong came streaming from the radio of a US army truck (1945) in the backyard of Gunter Hampel's home in Germany, and young Gunter, already immersed in European classical music, became intrigued with this new sound.


Hampel studied music from the age of 11 and by the time he was 20 was leading his own band. An accomplished vibist, he is also proficient on clarinet, flute and saxophone - perhaps taking after his grandfather, who was a multi-instrumental street musician. An early pioneer of European free improvisation, Hampel recorded Heartplants with Manfred Schoof and Alex Von Schlippenbach in January 1965, worked with Marion Brown, John McLaughlin and Jeanne Lee (later his wife) and in 1969 set up his own Birth label, on which he recorded collaborations with like-minded experimentalists such as Anthony Braxton, Willem Breuker, Sunny Murray and Enrico Rava.


He also began a long-term association with US clarinettist Perry Robinson. An interest in contemporary composition led to his inclusion on the 1971 project that united Don Cherry with Polish composer Krzysztof Penderecki (Humus/Actions). In 1972 he formed his Galaxie Dream Band, with which he has since toured Africa, Asia and South America as well as Europe and the USA. Now dividing his time between New York and Germany, Hampel remains a champion of new music, still running his label and his band and finding time for other projects, such as guesting with Cecil Taylor in the pianist's Orchestra Of Two Continents (Winged Serpent (Sliding) Quadrants).


A variety of instruments began to occupy his hands including clarinet, vibes, saxophone, accordion and flute. Soon he was composing. He toured Europe with many groups, including his own, and worked with Don Cherry, Cecil Taylor, Archie Shepp, Anthony Braxton, Steve McCall, Marion Brown, Lester Bowie, and his wife Jeanne Lee, to name just a few.


Operating out of Germany and the USA, after living in New York and several European cities throughout his life, Hampel continues to be active at jazz’ leading edge.


His notable career involves encyclopedic collaboration with North American and continental jazz legends, as well as a much younger generation of players.

Click to experience his music.

http://www.youtube.com/watch?v=H-QS0TUjwm8
Reference - AAJ

PAUL WINTER, BOSSA NOVA LOVER.


O saxofonista (alto e soprano) Paul Winter, ganhador do Prêmio Grammy por seis vezes, nasceu no 31 de Agosto de 1939, em Altoona,Pennsylvania.


Graduou-se no ensino secundário em 1957. Em 1961, na Universidade de Northwestern, com o Sexteto Paul Winter levou o primeiro lugar na competição interuniversitária e ainda o direito de assinar contrato com a gravadora Columbia Records.


No ano seguinte, a banda fez uma turné pela America Latina, na condição de representante cultural do governo americano, e se apresentou 160 vezes em 23 países.. O sexteto de Paul Winter foi também a primeira banda de jazz a tocar na Casa Branca.


Interessado pelos ritmos brasileiros, Winter retornou ao Brasil em meados dos anos 60, fisgado pelo crescente movimento da bossa nova, em ebulicão na época, gravou o CD "Rio", que foi prefaciado pelo compositor brasileiro Vinicius de Moraes.



Lançou alguns discos emblemáticos com parceiros brasileiros (ver discografia abaixo) e se constitui, até os nossos dias, como um dos mairores amantes de nossa musica.


Click para ouvir a sua performance em "Você e Eu" com Carlos Lyra.


http://www.youtube.com/watch?v=0vPcQjbA-Xs





American saxophonist (alto and soprano saxophone) Paul Winter and six-time Grammy Award winner was born on August 31,1939 in Altoona, Pennsylvania.

Paul attended Altoona Area High School graduating in 1957. In 1961, while Winter was in college at Northwestern University, the Paul Winter Sextet won the Intercollegiate Jazz Festival and was signed by Columbia Records.



The next year, the band toured Latin America as cultural ambassadors for the United States State Department, playing 160 concerts in 23 countries. The Sextet was also the first jazz band to perform at the White House.



Winter returned to Brazil in the mid-1960s and his interest in Brazilian music and the emerging bossa-nova led to the 1965 release of the album "Rio", with liner notes by Vinicius de Moraes.







After Winter's band changed its name to the Paul Winter Consort in the late 1960s, it contributed to the development of world music and space music. The Consort's 1972 release, Icarus, was produced by George Martin. Most of the musicians who worked on this album went on to form the jazz group Oregon. The Consort has continued over the years with different musicians.



He was awarded the Courage of Conscience Award for creating music that celebrates the sacredness of life and for his support of the arts by the Peace Abbey in Sherborn, MA on October 26th 1991.





Recommended Discography:



Prayer for the Wild Things (1994) - (Grammy Award)
Celtic Solstice, Paul Winter and Friends (1999, Living Music) - (Grammy Award)
Brazilian Days, with Oscar Castro-Neves (1998)
Whales Alive, with Paul Halley (1987)
Rio, with Luiz Bonfa, Roberto Menescal, and Luiz Eça (1965, Columbia)
The Sound of Ipanema, with Carlos Lyra (1964)
Crestone (2007) - (Grammy Award)
Silver Solstice (2005) - (Grammy Award)
Spanish Angel (1993) - (Grammy Award)
The Sound of Ipanema, with Carlos Lyra (1964, Columbia)
Rio (1964, Columbia)


Tradução - Humberto Amorim

Sunday, August 30, 2009

ROGER VARGAS, UMA PAIXÃO PELA MUSICA JAZZ.


O contra-baixista amazonense Roger Vargas, nasceu em Manaus, Amazonas, no 30 de Agosto de 1976, filho da senhora Edenize e Roberto Vargas, cidadão colombiano e a maior influência musical na sua carreira, devido ao seu envolvimento com a musica lirica no coral do Teatro Amazonas (chegou a participar do I Festival de Opera do Amazonas ) que tinha o filho como constante espectador e pelo fato de ter sido dele que o musico recebeu de presente, o seu primeiro violão.
Roger começou os estudos com o baixo eletrico na escola do professor Airton Guimarães e foi durante uma aula que viu-se frente a frente, pela primeira vez, com o baixo-acústico. Segundo Roger, foi amor a primeira vista.
Prosseguiu com os estudos no Centro de Artes Hanemann Bacelar da Universidade do Amazonas e testemunhou, depois da chegada de musicos bulgaros e russos à Manaus, a criação em 1997 da Orquestra Filarmonica do Amazonas.
Mas o divisor de águas, foi o surgimento do Centro Cultural Claudio Santoro em 1999, que deu ao Roger a motivação que lhe faltava, para concretizar seus dois grandes sonhos: tocar na filarmonica e numa banda de jazz.
Em 2001 passou no vestibular da Universidade do Estado do Amazonas para o curso de musica , habilidade em contra-baixo. Em seguida, passou também no concurso para integrar a Orquestra Filarmonica.
Em novembro de 2006, formou-se com louvor pela UEA e celebrou o acontecimento no palco do Bar e Café Adrianópolis, com os demais integrantes da banda "All That Jazz" (Leonardo Pimentel, Robson Silva, Humberto Amorim) que havia sido fundada em junho daquele mesmo ano e com a qual se apresenta, regularmente, até os dias atuais. Seus dois grandes sonhos foram narturalmente realizados, por gravidade.
Roger também participa da Orquestra de Camara do Amazonas, e devido a todos as suas atividades, disciplina, talento inato e aplicação profissional, tem evoluido em um ritmo impressionante, se firmando cada vez mais, como um dos melhores contra-baixistas de jazz no Brasil.
Roger Vargas não esconde o seu comprometimento e paixão pela musica jazz, e s fixa definitivamente como uma das figuras mais atuantes do processo de implementação da cultura jazzistica em Manaus.
Só me falta agora, ve-lo e ouvi-lo daqui a dez anos.
Feliz aniversário Roger e obrigado por compartilhar teu talento,musicalidade e companhia.

KENNY DORHAM, INOVAÇÃO JAZZISTICA.


O cantor, compositor e trompetista de jazz McKinley Howard (Kenny) Dorham nasceu em Fairfield, Texas, no dia 30 de agosto de 1924.


Trompetista moderno da época central do jazz, Kenny Dorham foi um dos jazzman mais solicitados pelas pequenas formações do bebop. Com uma técnica muito eficaz e espontânea, que lhe permite fazer incursões por toca a escala melódica, especializando neste fraseado rápido e quebrado, típico dos hoppers.


Dorham começou como pianista, mas se dedicou muito cedo ao estudo do trompete: o aprendizado se deu na “Wiley College Band” com Russell Jacquet, irmão do mais famoso Illinois. Atuou com Dizzy Gillespie em 1945, com BilIy Eckstine no ano seguinte, com Lionel Hampton em 1947, com Mercer Ellington um ano depois e com Charlie Parker, a experiência fundamental em sua vida, entre 1948-50.


O fato de alternar big bands com os pequenos grupos de boppers. Fez com que adquirisse uma linguagem moderna e pessoal, embora inspirado em modelos muito concretos. Freelancer até 1955, quando entrou para o Jazz Messengers, de Art Blakey e depois para o grupo de Max Roach, em substituição a Clifford Brown.


Kenny Dorham pertence ao grande filão dos inovadores do estilo do trompete, dominado durante muitos anos, pela forte personalidade de Louis Armstrong. Seus modelos foram Gillespie, Miles Davis e Clifford Brown.


Em algumas ocasiões se deixou levar por um excesso de exibicionismo, buscando efeitos certamente alheios à lógica jazzística, tendência esta que explica também a razão de sua posterior inclinação pelo rock. Tudo isso não lhe impediu, no entanto, expressar-se com uma sonoridade e uma linha melódica que lembra o Davis dos melhores tempos.



Click para desfrutar de seu grande talento.
American jazz trumpeter, singer and composer McKinley Howard (Kenny) Dorham was born on August 30,1924 in Fairfield,Texas.


Dorham was one of the most active bebop trumpeters. He played in the big bands of Billy Eckstine,Dizzy Gillespie, Lionel Hampton e Mercer Ellington and the quintet of Charlie Parker He was a charter member of the original cooperative Jazz Messengers. He also recorded as a sideman with Thelonious Monk and Sonny Rollins, and he replaced Clifford Brown in the Max Roach Quintet after Brown's death in 1956. In addition to sideman work, he led his own groups, including the Jazz Prophets (formed shortly after Art Blakey took over the Jazz Messengers name). The Jazz Prophets, featuring a young Bobby Timmons on piano, bassist Sam Jones and tenorman J.R. Monterose with guest Kenny Burrell on guitar, recorded a live album Round About Midnight at the Cafe Bohemia in 1956 for Blue Note.

In 1963 Dorham added the 26-year-old tenor saxophonist Joe Henderson to his group, which later recorded Una Mas (the group also featured a young Tony Williams). The friendship between the two musicians led to a number of other albums, such as Henderson's Page One, Our Thing and In'n'Out. Dorham recorded frequently throughout the sixties for Blue Note and Prestige Records, as leader and as sideman for Henderson,Jackie McLean,Cedar Walton,Andrew Hill, Milt Jackson and others.


Dorham's talent is frequently lauded by critics and other musicians, but he never received the kind of attention from the jazz establishment that many of his peers did. For this reason, his name has become (in the words of writer Gary Giddins) "virtually synonymous with 'underrated.'"
During his final years Dorham suffered from kidney disease, from which he died on December 5 1972, aged just 48.
He composed the jazz standard "Blue Bossa" which appears on Joe Henderson's album Page One.


Trumpeter Kenny Dorham passed away on December, 1972.

JOHN SURMAN, O JAZZ INGLÊS.


O saxofonista,compositor e multiinstrumentista inglês John Surman nasceu em Tavistock, Devon, no dia 30 de agosto de 1944. Os sons atmosféricos que Surman criava nos seus instrumentos de sopro, acabaram atraindo a ECM no final de 70, mas antes disso, ele tinha sido um artista que já tinha gravado em vários selos(Deram, Futura, Dawn e Island) entre 1968 e 1974.


Um dos maiores músicos de jazz da Inglaterra nas últimas décadas, Surman tem sua preferência no sax-barítono. Surman estudou na London College of Music e na London University Institute of Education em meados dos anos sessenta e tocou com Alexis Korner e Mike Westbrook até o final de 60.


Em 1968 ele foi votado como melhor solista no Festival de Montreux, enquanto líder de banda. Surman trabalhou com Graham Collier, Mike Gibbs, Dave Holland, Chris McGregor e John McLaughlin nos anos sessenta; excursionou pela Europa com a Kenny Clarke/Francy Boland Big Band em 1970.Surman viajou e gravou com Barre Phillips e Stu Martin no final de sessenta e começo dos anos setenta, nessa época com Albert Mangelsdorff no grupo.


Surman tocou com Mike Osborne e Alan Skidmore no trio de sax SOS em meados dos anos setenta. Ele também colaborou com a companhia de dança de Carolyn Carlson na Ópera de Paris no final dos anos setenta. Surman gravou com Stan Tracey e Karin Krog, ao mesmo tempo que trabalhava com Miroslav Vitous e Azimuth. Ele liderou o Brass Project no começo de oitenta e tocou na Gil Evans British Orchestra. Surman continuou gravando nos anos oitenta, principalmente para a ECM.


Ele trabalhou com Terje Rypdal, Jack DeJohnette, Pierre Favre, Bengt Hallberg, Archie Shepp, Warne Marsh e Red Mitchell, entre outros.



Click para degustar a sua música.




Born in Tavistock, Devon in 1944, composer/multi-instrumentalist John Surman is one of the key figures in a generation of European musicians who have crucially expanded the international horizons of jazz during the past thirty years or so.
Long acknowledged as an improviser of world class, Surman has also composed a body of work which extends far beyond the normal range of the jazz repertoire. Already, by the late 60s, it was clear that Surman was a phenomenon. He started out as a teenager playing the music of fellow Devonian Mike Westbrook, and then amazed the London establishment with displays of extravagant instrumental proficiency combined with a passionate, rumbustious imagination. As a soloist, Surman's early career took shape in the melting pot that produced a number of fine British musicians during the 60s.
As well as his association with Westbrook, there was varied experience with the blues of Alexis Korner, hard bop with Ronnie Scott’s octet, mainstream jazz with Humphrey Lyttleton, South African township influences with the Brotherhood of Breath and jazz-rock with John McLaughlin. During this period he forged lasting relationships with composer John Warren, pianist John Taylor and bassist Dave Holland, with whom he co-led an exciting trio featured on his first album for Deram ‘John Surman’.Surman also lead his own Octet in 1968 and performed in the big band directed by Mike Gibbs, but the formation of The Trio, in 1969, can be seen as a watershed in terms of his international profile. This unit, with expatriate Americans Barre Phillips (bass) and the late Stu Martin (drums) became one of the busiest and musically vital groups on the European circuit. Surman also featured (with Karin Krog) in the European DownBeat pollwinners group that toured Japan in 1970, further enhancing his reputation on the international front.
The Trio SOS, with Alan Skidmore and Mike Osborne proved another ground breaking project, combining electronics with the dynamic soloing of three fine saxophonists. He had also begun a long-term collaboration with the American choreographer/dancer Carolyn Carlson, and was based at the Paris Opera with her company for some time.In 1978, he recorded in duo both with Stan Tracey (Sonatinas) and also the Norwegian singer Karin Krog (Cloudline Blue). In addition he toured and recorded with the quartet of bassist Miroslav Vitous until 1982. His debut solo album, ‘Upon Reflection’ was recorded for ECM Records in 1979, launching a fruitful relationship with the company that continues to the present day, and includes four further solo records. Other albums include ‘Such Winters Of Memory’, with Karin Krog and Pierre Favre; and the 5-star Down Beat-rated ‘The Amazing Adventures Of Simon Simon ‘ with Jack DeJohnette.
During the 80s and 90s, John maintained an impressively high output of quality work. As an instrumentalist, he played in duo with DeJohnette, Albert Mangelsdorff, Karin Krog, Barre Phillips, John Taylor, and performed in more open group formations with peer group musicians such as Kenny Wheeler, Dave Holland, Elvin Jones, Jon Christensen and Mangelsdorff.
In addition he toured and recorded in quartet with Paul Bley, Bill Frisell and Paul Motian. Surman took part in several tours over a period of years with the great Gil Evans Orchestra - being a member of the band which performed and recorded live in Perugia with Sting, in addition to a number other special concerts that the band staged with the likes of Van Morrison and John McLaughlin..The duo with Karin Krog remains an important part of his activity, and, on a number of occasions, this has been augmented by a choir of mixed voices. In the UK, he has toured twice for the Contemporary Music Network, once with the 10-piece Brass Project, and later in duo with Jack DeJohnette.
As a composer, John has continued to work in the contemporary dance field, with Carolyn Carlson and for other companies in Europe. He wrote’ Private City’ for Sadlers Wells Royal Ballet with choreography by Susan Crow- the music is featured on the ECM album of the same name. He was Composer in Residence at the Glasgow Jazz Festival in 1989, producing new work for the Surman/Krog duo plus choir, and re-forming the Brass Project (this group has also performed at the North Sea Festival, and at festivals in Portugal, France, Germany and the UK. The Surman/DeJohnette duo devised new music with the Balanescu Quartet, commissioned by the 1990 Camden Jazz Festival.
A solo visit to India took place in October 2003. His duo with John Taylor toured in China towards the end of 1997 and continues to perform regularly throughout Europe and beyond.
John once said: If I look back to what turned me on about music, it was what I heard before I ever came across any jazz."
The surprise, and the enduring pleasure, of Surman's art is the contrast of simple, haunting melody, lush orchestral textures and intense improvisation.

O NOVO DISCO SOLO DE McCOY TYNER




Desde sua contratação pela Half Note Records , em 2007, a “McCoy Tyner Music” tem divulgado alguns trabalhos . Em 2007 foi “Quartet” uma gravação ao vivo com Joe Lovano, Christian McBride e Jeff ´Tain` Watts no formato da banda de John Coltrane, mas foi algo ambicioso considerando seus próprios termos. Então veio “Guitars”, no ano passado, com um interessante set registrado em CD/DVD , onde Tyner batalha para soar o quarto acorde contra a linha de frente da banda para que os guitarristas apóiem o produto.


Desde o último 25 de Agosto, os fãs de Tyner, ou qualquer um com interesse no jazz americano, pode ter acesso ao CD “Solo: Live in San Francisco”. Enquanto “Quartet” foi gravado na “Bay Area” no “Yoshi’s Oakland”, esta sessão foi gravada no “Herbst Theatre” durante o Festval de Jazz de San Francisco (SFJAZZ) na primavera de 2007.


Estão incluídos no programa o repertório básico de Tyner e “standards”. "Live From San Francisco” é a primeira gravação solo de Tyner nos últimos dez anos.


Seguem as faixas:


1. African Village2. I Should Care 3. Lazy Bird 4. Naima 5. Just Feelin’ 6. You Taught My Heart to Sing 7. Blues for Jeff 8. Ballad for Aisha 9. Sweet and Lovely 10. Angelina 11. In a Mellow Tone.

Um aperitivo - "Stella by Starlight" com George Benson e o McCoy Tyner Trio

http://www.youtube.com/watch?v=LUwIDafNTTc
Fonte - Jazztimes.

Saturday, August 29, 2009

MANAUS,DOMINGO,MEIO DIA,JAZZ IS ON THE TABLE.

(Foto Histórica - Agosto de 1958 - "A Great Day in Harlem" por Art Kane).

Musicos de jazz na foto, da esquerda para a direita:

Red Allen, Buster Bailey,Count Basie,Art Blakey,Lawrence Brown,Scoville Browne,Buck Clayton, Bill Crump,Vic Dickenson, Roy Aldridge, Art Farmer, Bud Freeman, Dizzy Gillespie, Tyree Glenn, Benny Golson, Sonny Greer, Johnny Griffin, Gigi Gryce,Coleman Hawkins, J.C. Heard, Jay C. Higginbotham, Milt Hinton, Chubby Jackson, Hilton Jefferson, Osie Johnson, Hank Jones, Jo Jones, Jimmy Jones,Taft Jordan,Max Kaminsky,Gene Krupa. Eddie Locke, Marian McPartland, Charles Mingus, Miff Nole,Thelonious Monk, Gerry Mulligan, Oscar Pettiford, Rudy Powell, Luckey Roberts, Sonny Rollins, Jimmy Rushing, Pee Wee Russell, Sahib Shihab, Horace Silver, Zutty Singleton, Stuff Smith, Rex Stewart,Maxime Sullivan,Joe Thomas, Wuilbur Ware, Dickie Wells, George Wettling, Ernie Wilkins, Mary Lou Williams and Lester Young.




Em Manaus capital brasileira do jazz, há 14 anos todo domingo, meio dia é a hora em que o jazz está em cima da mesa através do programa "Momentos de Jazz " pelas ondas musicais da Radio Amazonas FM 101,5 (www.amazonasfm.com.br).

Este domingo, especialmente, teremos duas horas de audição repletas pela musica do Chairman-of- the-Board, Mr.Frank Sinatra. Pouco a ser escrito, muito a ser desfrutado.

Iniciaremos com o antológico CD que Frank gravou com a super orquestra de Duke Ellington e que foi finalizado justamente no dia do aniversario do grande cantor no dia 12 de dezembro de 1967. Imaginem o clima, que foi perfeitamente capturado neste registro, que tornou-se peça de colecionador.

Cole Porter o poeta do "beautiful people" que fez sua estreia nos musicais da Broadway em 1916, foi um dos mais inspirados compositores do seculo XX e do Great American Songbook. O que Porter tem em comum com Frank Sinatra? O CD "Sinatra Sings the Select Cole Porter" que será compartihado com os ouvintes do programa, contém a resposta: a composição e o canto. Sinatra teve muitos conflitos com o compositor por modificar, as letras das canções quanda cantava. Mesmo assim, Porter reconheceu que ter suas canções gravadas por Sinatra, era o complemento que ele almejava quando compunha.


Sinatra assinou praticamente a maioria dos standards que gravou. A confirmação está clara no CD "Sinatra. Songs For Young Lovers" sob a regencia de Nelson Riddle gravado em 1986, no qual, My Funny Valentine, A Foggy Day, I Get a Kick Out of You, They Can't Take That Away from Me e I'm Gonna Sit Right Down and Right Myself a Letter entre outras foram definitivamente lidas no singular estilo sinatriano.

Fecharemos a audição com o CD " The Best of the Rat Pack" que Sinatra gravou com a participação muito especial de Dean Martin e Sammy Davis Jr.


Conto com tua audiência.


O melhor está a caminho.

Humberto Amorim
Produtor/locutor


Nota - Será sorteado entre os ouvintes que participarem do programa pelo telefone (32165504) um vidro de azeite de azeitonas alentejanas "private selection" oriundas da Herdade do Esporão de Moura, 100% naturais.

CHARLES "YARDBIRD" PARKER


O saxofonista-alto de jazz Charlie Parker, nasceu no 29 de Agosto de 1920, em Kansas City, Kansas e revolucionou as possibilidades harmônicas e a sintaxe rítmica de improvisação no jazz à extensão de um novo idioma inteiro, ou ao menos fez emergir um novo dialeto de jazz.


O seu estilo continua engajando gerações sucessivas de instrumentistas. O bebop não era tanto uma quebra com o passado, mas sim uma evolução lógica. Parker continuou usando mudanças de acordes nas canções populares como a base para improvisação. Mas como ele estava equipado com excessos de virtuosismo conceitual e instrumental, os desafios do swing tradicional já não mais o absorviam. Assim, ele foi procurar novos desafios a resolver utilizando o mesmo material musical, incorporando um conteúdo harmônico mais sutil e extenso nas improvisações e acrescentando à velocidade um zig-zag rítmico mais complexo.


Como a improvisação se tornou mais desafiante aos jovens músicos de talento, também se tornou mais desnorteante às platéias acostumadas com as bigbands. Por outro lado, as complexidades da música de Parker tiveram o efeito de trazer para o jazz uma cultura musical mais selecionada e exigente. A música prosperou sendo tocada para pequenas platéias, mas criando uma maior liberdade para os instrumentistas e seus maravilhosos solos. Charlie Parker nasceu em 20 de agosto de 1920, em Kansas City, Missouri, conhecendo a música enquanto aluno da high school. No início dos anos 30 ele fez bicos tocando pela cidade, afiando seu tom e técnica. Ele gravou pela primeira vez com a Jay McShann Orchestra entre 1940 e 1942.


O seu progresso durante os próximos dois anos não ficou documentado, devido à proibição de fazer gravações imposta pela sindicato de músicos. Até que ele retomasse ras sessões de gravação em 1944-45, suas improvisações fabulosas nos tempos de breakneck ("Ko Ko", "Donna Lee", "Shaw Nuff") encantavam os jovens jazzistas e ameaçavam os veteranos, fixando um novo parâmetro e alimentava a principal controvérsia musical na história de jazz. Mas a batalha aprofundou-se para o campo cultural uma vez que a propensão de Parker pela droga pesada e vida difícil fizeram com que o bebop fosse definido como uma música de bandido e com um estilo de vida que muitos escolheram para seguir.


As gravações definitivas da carreira de Parker foram feitas na Savoy entre 1945-48 ("Now's the Time", "Thriving Of A Riff", "Billie's Bounce"), e na Dial entre 1946-47 ("Ornithology", "A Night In Tunisia", "Lover Man", "Scrapple From The Apple").Elas venderam muito pouco, mas eram profundamente influentes para jovens músicos do pós-guerra como o Hot Seven de Armstrong e as primeiras bigbands foram para os músicos dos anos trinta. Até mesmo durante o período inovador de Parker ele continuou sendo uma figura de mistério para o público em geral.



O terceiro capítulo do trabalho principal de Parker começou em 1948, quando Norman Granz começou a fazer gravações em contextos diferentes com o propósito de levar a sua música a uma audiência mais ampla. Até então, suas inovações principais tinham se esgotado e o seu repertório tinha estreitado a um número pequeno de músicas.Mas esse álbum com acompanhamento de cordas criou um novo filão para Parker: brilhantes solos foram executados nesse seu último trabalho inovador.


Ele morreu em 1955 com a idade de 35 anos, devido a combinação causada pelas drogas e problemas médicos.

Click para ouvi-lo tocando "My Old Flame"

http://www.youtube.com/watch?v=TOwEr4UaqzM

Fonte - AAMJ


The only child of Charles and Addie Parker, Charlie Parker born on August 29,1920 in Kansas City, Kansas, was one of the most important and influential saxophonists and jazz players of the 1940’s. When Parker was still a child, his family moved to Kansas City, Missouri, where jazz, blues and gospel music were flourishing.


His first contact with music came from school, where he played baritone horn with the school’s band. When he was 15, he showed a great interest in music and a love for the alto saxophone. Soon, Parker was playing with local bands until 1935, when he left school to pursue a music career. From 1935 to 1939, Parker worked in Kansas City with several local jazz and blues bands from which he developed his art.


In 1939, Parker visited New York for the first time, and he stayed for nearly a year working as a professional musician and often participating in jam sessions. The New York atmosphere greatly influenced Parker's musical style. In 1938, Parker joined the band of pianist Jay McShann, with whom he toured around Southwest Chicago and New York. A year later, Parker traveled to Chicago and was a regular performer at a club on 55th street. Parker soon moved to New York. He washed dishes at a local food place where he met guitarist Biddy Fleet, the man who taught him about instrumental harmony.


Shortly afterwards, Parker returned to Kansas City to attend his father’s funeral. Once there, he joined Harlan Leonard’s Rockets and stayed for five months. In 1939, Yardbird rejoined McShann and was placed in charge of the reed section. Then, in 1940, Parker made his first recording with the McShann orchestra. During the four years that Parker stayed with McShann's band, he got the opportunity to perform solo in several of their recordings, such as Hootie Blues, Sepian Bounce, and the 1941 hit Confessing the Blues.


In 1942, while on tour with McShann, Parker performed in jam sessions at Monroe’s and Minton’s Playhouse in Harlem. There he caught the attention of up-and-coming jazz artists like Dizzy Gillespie and Thelonious Monk. Later that year, Parker broke with McShann and joined Earl Hines for eight months. The year 1945 was extremely important for Parker. During that time he led his own group in New York and also worked with Gillespie in several ensembles. In December, Parker and Gillespie took their music to Hollywood on a six-week nightclub tour. Parker continued to perform in Los Angeles until June 1946, when he suffered a nervous breakdown and was confined at a state hospital.


After his release in January 1947, Parker returned to New York and formed a quintet that performed some of his most famous tunes. From 1947 to 1951, Parker worked in a number of nightclubs, radio studios, and other venues performing solo or with the accompaniment of other musicians. During this time, he visited Europe where he was cheered by devoted fans and did numerous recordings.


March 5, 1955, was Parker’s last public engagement at Birdland, a nightclub in New York that was named in his honor. He died a week later in a friend’s apartment. Charles "Yardbird" Parker was an amazing saxophonist who gained wide recognition for his brilliant solos and innovative improvisations.


He was, without a doubt, one of the most influential and talented musicians in jazz history.

EDU LOBO.


O compositor e cantor brasileiro Edu Lobo, nasceu no 29 de Agosto de 1943, no Rio de Janeiro, filho do compositor Fernando Lobo, começou na música tocando acordeão, mas acabou se interessando pelo violão, contra a vontade do pai.


Iniciou a carreira nos anos 60 fortemente influenciado pela bossa nova, quando então numa parceria com Vinicius de Moraes, compôs "Só Me Fez Bem". Porém, com o decorrer do tempo adotou uma postura mais político-social, refletindo os anseios da geração reprimida pelo ditadura militar brasileira. Nesta fase surgiu uma parceria com Ruy Guerra e as composições engajadas Canção da Terra, Reza e Aleluia.


Ao mesmo tempo em que participava de vários festivais de música popular, obtendo o primeiro prêmio em 1965 como Arrastão (com Vinicius de Moraes) e em 1967 com "Ponteio" (com Capinam), Edu dedica-se a compor trilhas para espetáculos teatrais, entre eles o histórico Arena Conta Zumbi, ao lado de Gianfrancesco Guarnieri.


Depois de uma temporada nos Estados Unidos, Edu volta ao Brasil e retoma várias parcerias, entre elas a com Chico Buarque, e compõem a música de novas peças e balés. Pensado originalmente para o ballet teatro, do Balé Teatro Guaíra, e inspirado no poema homônimo do parnasianista/ modernista Jorge de Lima (da obra A Túnica Inconsútil, 1938), o espetáculo estreou em 1983, mesclando música, balé, ópera, circo, teatro e poesia. Tamanho o sucesso, originou uma turnê de dois anos pelo país, assistida por mais de duzentas mil pessoas, em quase duzentas apresentações.


Consagrou umas das mais completas obras já apresentadas no país, lotando o Maracanãzinho e o Coliseu dos Recreios, em Lisboa. As canções foram interpretadas por Milton Nascimento,Gal Costa,Simone,Gilberto Gil,Zizi Possi, entre outros. O disco coletivo foi lançado pela Som Livre.


Valendo-se ainda do filão engajado da pós-ditadura, cantou, ainda que com uma participação especial diminuta, no coro da uma versão brasileira de "We are the world", o hit americano que juntou vozes e levantou fundos para a África ou USA for Africa. O projeto Nordeste já (1985), abraçou a causa da seca nordestina, unindo 155 vozes num compacto, de criação coletiva, com as canções Chega de mágoa e Seca d´água.


Elogiado pela competência das interpretações individuais, foi no entanto criticado pela incapacidade de harmonizar as vozes e o enquadramento de cada uma delas no coro. O disco Meia-noite recebeu o Prêmio Sharp de melhor disco de música popular brasileira do ano de 1995.


O disco Cambaio, gravado com Chico Buarque, recebeu o Grammy Latino de melhor álbum de MPB em 2002.




JACK TEAGARDEN,PRE-BOP TROMBONIST



One of the classic giants of jazz, Jack Teagarden, born August 29,1905, was not only the top pre-bop trombonist (playing his instrument with the ease of a trumpeter) but one of the best jazz singers too. He was such a fine musician that younger brother Charlie (an excellent trumpeter) was always overshadowed.


Jack started on piano at age five (his mother Helen was a ragtime pianist), switched to baritone horn, and finally took up trombone when he was ten. Teagarden worked in the Southwest in a variety of territory bands (most notably with the legendary pianist Peck Kelley) and then caused a sensation when he came to New York in 1928. His daring solos with Ben Pollack caused Glenn Miller to de-emphasize his own playing with the band, and during the late-'20s/early Depression era, "Mr. T." recorded frequently with many groups including units headed by Roger Wolfe Kahn, Eddie Condon, Red Nichols, and Louis Armstrong ("Knockin' a Jug").



His versions of "Basin Street Blues" and "Beale Street Blues" (songs that would remain in his repertoire for the remainder of his career) were definitive. Teagarden, who was greatly admired by Tommy Dorsey, would have been a logical candidate for fame in the swing era but he made a strategic error. In late 1933, when it looked as if jazz would never catch on commercially, he signed a five-year contract with Paul Whiteman.


Although Whiteman's Orchestra did feature Teagarden now and then (and he had a brief period in 1936 playing with a small group from the band, the Three T's, with his brother Charlie and Frankie Trambauer), the contract effectively kept Teagarden from going out on his own and becoming a star. It certainly prevented him from leading what would eventually became the Bob Crosby Orchestra.

In 1939, Jack Teagarden was finally "free" and he soon put together a big band that would last until 1946. However, it was rather late to be organizing a new orchestra (the competition was fierce) and, although there were some good musical moments, none of the sidemen became famous, the arrangements lacked their own musical personality, and by the time it broke up Teagarden was facing bankruptcy.



The trombonist, however, was still a big name (he had fared quite well in the 1940 Bing Crosby film The Birth of the Blues) and he had many friends. Crosby helped Teagarden straighten out his financial problems, and from 1947-1951 he was a star sideman with Louis Armstrong's All-Stars; their collaborations on "Rocking Chair" are classic.


After leaving Armstrong,Teagarden was a leader of a steadily working sextet throughout the remainder of his career, playing Dixieland with such talented musicians as brother Charlie, trumpeters Jimmy McPartland, Don Goldie,max Kaminsky, and (during a 1957 European tour) pianist Earl Hines,Teagarden toured the Far East during 1958-1959, teamed up one last time with Eddie Condon for a television show/recording session in 1961, and had a heartwarming (and fortunately recorded) musical reunion with Charlie, sister/pianist Norma, and his mother at the 1963 Monterey Jazz Festival. He died from a heart attack four months later and has yet to be replaced.

http://www.youtube.com/watch?v=a5MirA2SWiY

Reference- Scott Yanow, All Music Guide

DINAH WASHINGTON, QUE DIFERENÇA FAZ UM DIA.


Na realidade, a inigualável cantora de jazz Dinah Washington se chamava Ruth Jones, e nasceu em Tuscaloosa, Alabama, no dia 29 de agosto de 1924 .


Ainda adolescente começou a cantar em igrejas acompanhada pela sua mãe, professora de música. Aos quinze anos ganhou um concurso amador no Chicago Regal Theater e logo começou a cantar em locais noturnos. O primeiro a perceber seu enorme talento foi Joe Glasser, em 1943, depois de assistir um de seus shows em Chicago, apresentando-a a Lionel Hampton, que a contratou de imediato para a sua big band, onde permaneceria até 1946. Foi nessa época que mudou de nome, através de uma sugestão de Hampton.


Sua primeira gravação para a Keynote incluía os temas “Evil Gal Blues” e “Salty Papa Blues”, composição e arranjos para o sexteto de Hampton feitos pelo critico Leonard Feather. Dinah permaneceu no grupo pouco mais de dois anos, até que foi contratada pela Apollo para iniciar sua carreira solo. Suas primeiras gravações, no outono de 1946 foram “Chewing Woman Blues”, “Rich Man Blues” e “Wise Woman Blues”, temas clássicos de rhythm & blues, não muito originais. Seja como for, sua história com a Apollo não foi muito duradoura. Já em 1948, por interesse de seu agente Ben Bart, foi contratada pela Mercury, gravando “West Side Baby”.


Em 1959 lançou seu maior sucesso “What a Difference a Day Made”, interpretada posteriormente por Sarah Vaughan e Esther Phillips. A partir dos anos 50 foi batizada como a rainha do rhythm & blues, e todo ano três ou quatro músicas suas ocupavam os dez primeiros lugares das paradas de sucesso. Na época do auge do rhythm & blues gravou também outros gêneros musicais, com grande sensibilidade e inteligência, se adaptando a diferentes estilos.



Com efeito, a partir de 1959, seus discos ultrapassaram as fronteiras raciais do mercado, oferecendo ao cenário musical da época um estilo único e original, que misturava as características fundamentais das baladas jazzísticas de Billie Holidav com os blues de Bessie Srnith e os gospels de Mahalia Jackson.Tratava-se de uma nova voz feminina, capaz de cantar as doces melodias de Cole Porter ou rugir os blues de Bessie Smith, de imitar os gestos sensuais de Marylin Mooroe ou se exprimir solene na tradição musical dos afro-americanos. Nos anos 60 alcançou um enorme sucesso com “This Bitter Earth”, que revelava uma profunda amargura por seus casamentos mal sucedidos.



Pouco tempo depois abandonou a Mercury, e assinou um contrato mais vantajoso com a Roulette. Em dezembro de 1963 com a intenção de mudar de imagem, iniciou uma drástica dieta de emagrecimento.


Na noite de 14 de dezembro de 1963, depois de ter bebido em excesso durante uma apresentação em Detroit e não conseguido dormir, tomou uma overdose de soníferos. Tal mistura fatal acabou com sua vida, privando ao público de uma grande artista, de uma cantora de extraordinário talento.



Fonte - AAJ



Click para ouvir Dinah cantando a sua canção assinatura "What a Difference a Day Made"

Friday, August 28, 2009

LARRY GOLDINGS,HIGH DEMAND SIDEMAN.



With his signature Hammond organ style and versatility on many keyboards, Boston native Larry Goldings born on August 28,1968, has traversed not only the wide spectrum of jazz where he is perhaps best known, but also the worlds of funk, pop, and electronic/alternative music.
High in demand as a sideman, Goldings' sound can be heard on scores of albums by artists in virtually every musical genre. Some of his more notable collaborations include tours and recordings with Carla Bley, Michael Brecker, Jack DeJohnette, Jim Hall, Jon Hendricks, Pat Metheny, Maceo Parker, Madeleine Peyroux, John Pizzarelli, John Scofield, Curtis Stigers, and James Taylor.


Under his own name, Goldings has made ten critically-acclaimed albums, many of them featuring his well-known organ trio with Peter Bernstein on guitar and Bill Stewart on drums. Goldings' most recent project, “Trio Beyond” (ECM), earned him, John Scofield, and Jack DeJohnette a Grammy nomination for Best Jazz Instrumental Album (2006).
Larry Goldings' musical compositions have been recorded by such artists as Michael Brecker, Jim Hall, Jack DeJohnette, John Scofield, Toots Thielemans, Curtis Stigers, Till Brönner, and Sia. His songs and arrangements have appeared in several motion pictures including Clint Eastwood's “Space Cowboys” and John Madden's “Proof.”


“Quartet” is his recording for Palmetto Records. It features Goldings on piano, Wurlitzer electric piano, organ, harmonium, and accordion. The band is John Sneider (trumpet), Ben Allison (bass), Matt Wilson (drums), and guest vocalist Madeleine Peyroux. Of the seemingly disparate nature of the album, Goldings comments:
In the past few years I have delved into such a wide variety of music that denying those influences in the making of this record would have been dishonest. In fact, what interests me most these days is the challenge of melding my disparate influences into a cohesive and personal sound.
Click to watch Larry playing "Chega de Saudade".

VICTOR ASSIS BRASIL, O JAZZ BRASILEIRO.


O saxofonista de jazz Victor Assis Brasil nasceu no Rio de Janeiro em 28 de Agosto de 1945. Seus primeiros instrumentos foram a gaita-de-boca e a bateria, que ganhou de presente aos 12 anos de idade. Aos 17 anos sua tia lhe deu um sax-alto e um mundo novo abriu-se à sua frente. O sax foi uma extensão do jazz que ouvia e praticava, um instrumento de maiores recursos e compatível às suas aspirações musicais.


Freqüentou o famoso Beco das Garrafas, tocando nas jam sessions dominicais do "Little Club". Também se apresentou nas jam sessions em festas familiares, que foram importantes no seu desenvolvimento de improvisador.


Em 1965 tocou na inauguração do "Clube de Jazz e Bossa" e em janeiro de 1966 gravou seu primeiro LP, "Desenhos", hoje uma peça de colecionadores. Nesse mesmo ano foi convidado a participar do Concurso Internacional de Viena, obtendo o prêmio na categoria dos saxofonistas. Ficou quase um ano na capital austríaca. Venceu um concurso como melhor solista do Festival de Jazz de Berlim, recebendo um troféu pelo triunfo.Retorna ao Brasil e se profissionaliza, vislumbrando um grande espaço para ele tocar o jazz.


Em 1967 e 1968 apresentou-se com quartetos e quintetos nos teatros, clubes e universidades do Rio de Janeiro, estendendo suas atuações a outras capitais brasileiras. Ainda em 1968 grava o disco "Trajeto", outra raridade nos dias atuais. Em 1969 ganhou uma bolsa de estudos para a famosa "Berklee School of Music", onde permaneceu cinco anos. Lá teve oportunidade de escrever arranjos de suas composições para todo tipo de formações orquestrais, ganhando inestimável experiência.


Em 1970 de férias no Brasil, gravou dois LPs: um deles, "Victor Assis Brasil toca Antonio Carlos Jobim", que marca sua estréia em discos no sax soprano, foi editado imediatamente; o outro, intitulado "Esperanto", aguardou alguns anos para ver a luz do dia.Regressando definitivamente ao Brasil em 1974, reativou sua carreira, liderando seus combos em apresentações em várias cidades. Nesse mesmo ano gravou um disco em concerto, no Teatro da Galeria.


Em 1976 com regência de Marlos Nobre apresentou sua composição "Suíte Para Sax Soprano e Cordas" com a Orquestra Sinfônica Brasileira, na Sala Cecília Meireles, do Rio de Janeiro.Em 1977 participou de concertos no Museu de Arte Moderna e na "Concha Verde", do Rio. Uma das apresentações incluiu o flautista americano Jeremy Steig.


Em 1978 foi um dos maiores sucessos do Festival de Jazz de São Paulo, entusiasmou público, músicos e críticos(José Domingos Raffaelli). Victor Assis Brasil produziu sua grande obra da maturidade a partir de 1979, com as gravações do quarteto e quinteto, além do show ao vivo no MAM com Luiz Eça.


Mas o destino nos privou da sua presença no dia 14 de abril de 1981 e o jazz brasileiro abriu uma grande e irrecuperável lacuna musical.
Click para ve-lo desenvolvendo "Love for Sale" de Cole Porter.

O SWING MANAUARA DA "ALL THAT JAZZ"


"All That Jazz", o mais autêntico grupo jazzistico manauara, fiel ao calendário de apresentação mensal, sempre na última sexta-feira de cada mês, retorna ao palco do Bar e Café Adrianópolis, logo mais a partir das 22h00.



A banda vai explorar o fenomenal repertório do Great American Songbook, todo em inglês, se apresentando, como reza o figurino da tradição jazzistica, de terno e gravata . Durante duas horas seguidas, o swing inconfundível do genero musical, que se tornou fenomeno internacional , vai reinar nas dependências da melhor casa noturna, atualmente em Manaus.


Junte-se a nós e ratifique o seu bom gosto musical.


Couvert artistico - R$10,00


Bar e Café Adrianópolis - Rua Salvador em Adrianópolis


Telefone para reservas - 2101-2010 com Beth


Banda "All That Jazz"


Humberto Amorim - Voz


Guilhermino Souza - Keyboards


Junior Leal - Saxofone (soprano e tenor)


Roger Vargas - Baixo-acústico


Leonardo Pimentel - Bateria.



A gente se vê!

ALICE COLTRANE, A RARE HARPIST IN JAZZ.


Pianist,harpist,organist and composer Alice Coltrane was born on August 27, 1947 in Detroit, Michigan, and was born and raised in the religious family of Solon and Anne McLeod.
Alice became interested in music and began her study of the piano at the age of seven. She consistently and diligently practiced and studied classical music. Subsequently, she enrolled in a more advanced study of the music of Rachmaninoff, Beethoven, Stravinsky and Tschaikowsky.


She once said: "Classical music for me, was an extensive, technical study for many years. At that time, I discovered it to be a truly profound music with a highly intellectual ambiance. I will always appreciate it with a kind remembrance and great esteem. Subsequent to the completion of her studies, she said, "The classical artist must respectfully recreate the composer's meaning. Although, with jazz music, you are allowed to develop your own creativity, improvisation and expression. This greatly inspires me."
She graduated from high school with a scholarship to the Detroit Institute of Technology; however, her musical achievements began to echo throughout the city, to the extent that she played in many music halls, choirs and churches, for various occasions as weddings, funerals, and religious programs.


Her skills and abilities were highly enhanced when she began playing piano and organ for the gospel choir, and for the junior and senior choirs at her church. In later years, she would further her musical attributes by including organ, harp and synthesizer to her accomplishments.



After moving to New York in the early sixties, Alice met and married John Coltrane, the great creator of avant-garde music and genius and master of the tenor and soprano saxophones. His parents were very spiritual, and dedicated to service in the church in which his father faithfully served.
After John Coltrane (Sr.)'s death she continued to play with her own groups, moving into more and more meditative music, and later playing with her children. She was one of the few harpists in the history of jazz. Her essential recordings were made in the late 1960s and early 1970s for Impulse Records.


Coltrane was a devotee of the Indian guru Sthya Sai Baba. In 1972, Alice moved to California, where she established the Vedantic Center in 1975. By the late 1970s she had changed her name to Turiyasangitananda. Coltrane was the spiritual director, or swamini, of Shanti Anantam Ashram (later renamed Sai Anantam Ashram in Chumash Pradesh) which The Vedantic Center established in 1983 near malibu, California. On rare occasions, she continued to perform publicly under the name Alice Coltrane.


The 1990s saw renewed interest in her work, which led to the release of the compilation Astral Meditations, and in 2004 she released her comeback album Transliner Light. Following a twenty-five-year break from major public performances, she returned to the stage for three U.S. appearances in the fall of 2006, culminating on November 4 with a concert in San Francisco with her son Ravi, drummer Roy Haynes, and bassist Charlie Haden.


Alice Coltrane died of respiratory failure at West Hills Hospital and Medical Center in suburban Los Angeles. She is buried alongside her late husband John Coltrane in Pinelawn Memorial Park, in New York.
The vision they shared became a bright effulgence from the lighthouse of polyphonic, ethereal, universal sound, bringing clarity and understanding of the music and enhancing appreciation of it to the people.
Reference - AAJ
Click to watch Alice playing "Love Supreme".

LESTER YOUNG, THE PRES


O saxofonista-tenor de jazz Lester Young, (Lester Willis Young) nasceu no 27 de Agosto de 1909 em Woodville, Mississippi.
Lester, cuja alcunha era "Prez", cresceu numa família de músicos de relevo. O seu irmão, Lee Young foi um baterista notável e vários dos outros membros da família eram músicos profissionais. A família mudou-se para Nova Orleães,Luisiana, quando Lester era ainda uma criança. O pai ensinou-lhe a tocar trompete,violino e bateria além de saxofone. Saiu da banda familiar em 1927 porque se recusou a ir em tournée pelo Sul dos EUA, onde as leis de Jim Crow estavam em vigor.


Tornou-se proeminente nos anos 30, tocando num estilo relaxado que contrastava vivamente com a abordagem agressiva de Coleman Hawkins, o saxofonista-tenor mais importante da época. Com efeito, quando Young saiu da banda de Count Basie para substituit Hawkins na banda de Fletcher Henderson, o seu estilo aborreceu tanto os fãs de Henderson que rapidamente saiu para ir tocar com Andy Kirk. Mais tarde regressou à banda de Basie.
Visto que o jazz já tinha um "rei do swing" com Benny Goodman, um "duque" com Duke Ellington, e um "conde" com Count Basie, Lester Young ficou conhecido como Pres (diminutivo de " presidente"), nome que lhe foi dado por Billie Holiday. Ele devolveu o favor chamando à cantora "Lady Day".


Young virou-se para o bebop nos anos 40. No entanto, depois da Segunda Guerra Mundial começou a sofrer de problemas mentais e alcoolismo, em geral atribuídos a maus-tratos racistas que teria recebido durante a guerra no exército americano, onde era frequente não ser autorizado a tocar o seu saxofone. Apesar disso, manteve uma grande qualidade na interpretação. É geralmente considerado um dos maiores músicos de jazz de todos os tempos.




Click para ve-lo soprando o seu saxofone com a maravilhosa Lady Day.

Thursday, August 27, 2009

HUGV EM SITUAÇÃO DE PENÚRIA TOTAL.


O convidado do programa "Encontro com o Povo" desta quinta-feira a partir das 19h40, horário de Manaus ao vivo pelo Amazonsat canal 44 (aberto) Net canal 13 (fechado) e internet (http://www.amazonsat.com.br/), é o médico ginecologista Lourivaldo Rodrigues, que possui graduação em Medicina pela Universidade Federal do Amazonas (1977), mestrado em Tocoginecologia pela Universidade Estadual de Campinas (1990) e doutorado em Tocoginecologia pela Universidade Estadual de Campinas (1995).


Atualmente além de professor titular da Universidade Federal do Amazonas, médico responsavel do Centro Materno Infantil de Manaus - LA VITTA - Centro de Reprodução Humana do Amazonas, está diretor geral do Hospital Universitário Getúlio Vargas em Manaus .


Ele vem ao programa debater, entre outros assuntos, as questões referentes ao funcionamento da unidade que passa por situação dificil e não tem condições de atender adequadamente os pacientes que apresentam complicações causadas pela influenza A, durante o periodo em que estiverem internados, pois, estão mais expostos e suscetíveis aos riscos de outras doenças, como a gripe suína. A primeira vitima fatal com suspeita da gripe suina em Manaus, estava internada no HUGV há dois meses.


O numero do telefone da emissora será facultado pelo apresentador aos telespectadores que desejarem interagir com o Dr. Lourivaldo.



Contamos com tua audiência e participação.



Humberto Amorim

Apresentador


Livia Braga

Produtora

Wednesday, August 26, 2009

BRANDFORD MARSALIS, BARCELONA MONA


O saxofonista de jazz e música clássica Branford Marsalis nasceu no 26 de Agosto de 1960 em Breaux Bridge, na Louisiana, e é o mais velho dos seus cinco irmãos,Wynton Marsalis, Ellis Marsalis III, Delfeayo Marsalis, Mboya Kinyatta, e Jason Marsalis. Wynton, Delfeayo, e Jason também são músicos de jazz, e Ellis é poetisa, fotógrafa e engenheira, em Baltimore. O seu irmão Mboya sofre de autismo. Os seus pais são Delores Ferdinand Marsalis e o famoso pianista Ellis Marsalis, Jr.. Branford faz também parte do grupo de escoteiros Boy Scouts of America.


Após os seus estudos na Southern University, e Berklee, Branford iniciou a sua carreira profissional no início dos anos 80, tocando saxofone barítono com a Art Blakey's Big Band, Clark Terry, e saxofone alto com os Blakey's Jazz Messengers. De 1982 a 1985, tocou saxofone tenor e soprano, com o grupo do seu irmão Wynton, e com a banda de apoio de Sting. O seu som era marcado, inicialmente, por Wayne Shorter, e mais tarde, pelo som hard, de John Coltrane.


Em 1985, participa no Live Aid, como único músico de Sting (mais tarde acompanhado de Phil Collins. Em 1986, forma o seu próprio grupo, com Kenny Kirkland (piano), Bob Hurst (baixo), e Jeff Watts (bateria).

De 1992 a 1995, foi o director musical do Tonight Show, de Jay Leno. Segue-se o projecto Buckshot LeFonque, cujo objectivo era a fusão do jazz, com R&B, hip hop e rock. Durante os anos 90, Branford colabora, como convidado, com os Grateful Dead. Participa também, ao lado de Bruce Hornsby, em diversos álbuns a solo. Branford e Hornsby ganharam um Grammy, em 1993, para o melhor instrumento pop, na sua composição Barcelona Mona, composta para os Jogos Olimpicos de Barcelona. Tocou, aínda, com Miles Davis, nas turnês deste último.


Em 2002, funda a editora discográfica independente Marsalis Music que, entre outros, edita álbuns de Doug Wamble, Harry Connick Jr. e Miguel Zenon. Cria, também, a banda Brandford Marsalis Quartet.



Fonte - ATM



Click para degustar a performance do Brandford Marsalis Quartet, tocando blues.


JIMMY RUSHING, MR. FIVE BY FIVE


Jazz vocalist James Andrew Rushing aka Jimmy Rushing was born in Oklahoma City,Oklahoma, on August 26, 1903.


Jimmy played in Southern California with Jelly Roll Morton, Harvey Brooks, and Paul Howard, 1920s; member of Walter Page Blue Devils band, 1927-29; joined Bennie Moten's orchestra, 1929-35; member of Count Basie Orchestra, 1935-50; toured with his own septet, 1950-52; as a solo act, 1952-72; Europe with Humphrey Littleton, Buck Clayton, Benny Goodman, 1961; Japan and Australia with Eddie Condon, 1964; appeared in film The Learning Tree, 1969; appeared at the Half Note in New York City playing with Al Cohn and Zoot Sims, early 1970s.

Jimmy Rushing, also known as "Mr. Five by Five," possessed a joyous, booming voice that could be clearly heard over the swinging jazz orchestras of the big band era and beyond. He began his career as a piano player in the 1920s, but soon found his voice. He made his name with the Count Basie Orchestra in the 1940s, and enjoyed an active career singing solo and with jazz and big-band greats such as Humphrey Lyttleton, Buck Clayton, Benny Goodman, Eddie Condon, Al Cohn, and Zoot Sims, among others.


He toured the United States and abroad, and his voice can be heard on countless recordings, including the most recent compilations The Essential Jimmy Rushing (1978), Mister Five by Five (1980), and The Classic Count (1982).

He came from a musical family; his father played trumpet, his mother and brother were singers, and his uncle played piano in a gambling house. Rushing played the violin as a child, but switched to piano when a cousin, Wesley Manning, began teaching him to play. He continued his music studies as a teen at Douglass High School in Oklahoma City. He was known in his younger days as "Little Jimmy," but earned the nickname "Mr. Five by Five" when he grew up--the name was descriptive of his short height and wide girth. The "official pianist" of Wilberforce University dances went on to earn his living as a pianist, and moved to California in the mid-1920s.


When asked about how he started singing after he had already begun his career as a pianist, Rushing recalled in "Jazz: The Essential Companion": "I could only play in three keys. After a time everything began to sound alike to me and it was then they told me to sing." Jazz: The Essential Companion went on to describe Rushing's voice as "surprisingly high, intense and with a dramatic, near-operatic vibrato."


Richard S. Ginnell wrote on the All Music Guide website that Rushing possessed a "booming voice that radiated sheer joy in whatever material he sang," and added that he could "dominate even the loudest of big bands." It was this voice, not Rushing's piano chops, that could be heard throughout Southern California with the likes of Jelly Roll Morton.



Reference - AAJ



Click to watch Jimmy singing the bluesy "I Left my Baby"


Tuesday, August 25, 2009


O sax tenorista Wayne Shorter nasceu em Newark, New Jersey, no 25 de Agosto de 1933 e iniciou-se nas artes musicais na Newark Arts High School com vinte anos se mudou para New York e sua primeira aparição significativa foi com o combo de Horace Silver.


Seu próximo passo foi no conjunto de Maynard Fergunson em 1956 e três anos depois ele estava junto com Freddie Hubbard no Jazz Messengers de Art Blakey.Em 1964 fazia parte junto com Hubbard, Hancock,Tony Williams e Ron Carter do prestigiado Miles Davis Quintet, onde seria o maior responsável pela criação dos temas do grupo. Dessa fase se destacam as gravações de “E.S.P.”, “Nefertiti” e “Miles Smiles”.


Quando Miles passou para a fase do jazz fusion, Shorter já estava inteiramente dedicado ao sax soprano, participando de belos solos em “Filles de Kilimandjaro”, “In a Silent Way” e “Bitches Brew”. A partir de 1971 ele funda com o tecladista austríaco Joe Zawinul o poderoso combo de jazz fusion “Wheather Report” e no final da década, junto com seus velhos companheiros, Hancock, Carter, Williams e com Hubbard no trompete eles reeditam o Miles Davis Quintet sob o nome de V.S.O.P.


Depois que saiu do “Weather Report” no final dos anos 80, Shorter passa por uma fase tocando fusion, mas já na década de 90 ele se reencontra com o acústico realizando grandes álbuns, entre eles, o duo que fez com Hancock.



Click para ve-lo com Miles Davis e Ron Carter.





Though some will argue about whether Wayne Shorter's primary impact on jazz has been as a composer or as a saxophonist, hardly anyone will dispute his overall importance as one of jazz's leading figures over a long span of time. Though indebted to a great extent to John Coltrane, with whom he practiced in the mid-'50s while still an undergraduate, Shorter eventually developed his own more succinct manner on tenor sax, retaining the tough tone quality and intensity and in later years, adding an element of funk.


On soprano, Shorter is almost another player entirely, his lovely tone shining like a light beam, his sensibilities attuned more to lyrical thoughts, his choice of notes becoming more spare as his career unfolded. Shorter's influence as a player, stemming mainly from his achievements in the 1960s and '70s, has been tremendous upon the neo-bop brigade who emerged in the early '80s, most notably Brandford Marsalis.


As a composer, he is best known for carefully conceived, complex, long-limbed, endlessly winding tunes, many of which have become jazz standards yet have spawned few imitators.Shorter started on the clarinet at 16 but switched to tenor sax before entering New York University in 1952. After graduating with a BME in 1956, he played with Horace Silver for a short time until he was drafted into the Army for two years. Once out of the service, he joined Maynard Ferguson's band, meeting Ferguson's pianist Joe Zawinul in the process.


The following year (1959), Shorter joined Art Blakey's Jazz Messengers, where he remained until 1963, eventually becoming the band's music director. During the Blakey period, Shorter also made his debut on records as a leader, cutting several albums for Chicago's Vee-Jay label. After a few prior attempts to hire him away from Blakey, Miles Davis finally convinced Shorter to join his Quintet in September 1964, thus completing the lineup of a group whose biggest impact would leap-frog a generation into the '80s.Staying with Miles until 1970, Shorter became at times the band's most prolific composer, contributing tunes like "E.S.P.," "Pinocchio," "Nefertiti," "Sanctuary," "Footprints," "Fall" and the signature description of Miles, "Prince of Darkness." While playing through Miles' transition from loose post-bop acoustic jazz into electronic jazz-rock, Shorter also took up the soprano in late 1968, an instrument which turned out to be more suited to riding above the new electronic timbres than the tenor. As a prolific solo artist for Blue Note during this period, Shorter expanded his palette from hard bop almost into the atonal avant-garde, with fascinating excursions into jazz/rock territory toward the turn of the decade.



In November 1970, Shorter teamed up with old cohort Joe Zawinnul and Miroslav Vitous to form Weather Report, where after a fierce start, Shorter's playing grew mellower, pithier, more consciously melodic, and gradually more subservient to Zawinul's concepts. By now, he was playing mostly on soprano, though the tenor would re-emerge more toward the end of WR's run. Shorter's solo ambitions were mostly on hold during the WR days, resulting in but one atypical solo album, Native Dancer, an attractive side-trip into Brazilian-American tropicalismo in tandem with Milton Nascimento.
Shorter also revisited the past in the late '70s by touring with Freddie Hubbard and ex-Miles sidemen Herbie Hancock, Ron Carter and Tony Williams as V.S.O.P. Shorter finally left Weather Report in 1985, but promptly went into a creative slump from which he has yet to fully recover.


Still committed to electronics and fusion, his recorded compositions from this point became more predictable and labored, saddled with leaden rhythm sections and overly complicated arrangements. After three routine Columbia albums during 1986-88, he lapsed into silence, finally emerging in 1995 with High Life, a somewhat more engaging collaboration with keyboardist Rachel Z.. In concert, he has fielded an erratic series of bands, which could be incoherent one year (1995), and lean and fit the next (1996). Throughout the difficult decade, though, Shorter continued to play well, even brilliantly at times — and he lived up to his high reputation when touring with Carlos Santana's Latin jazz-rock alumni band in 1988 and with Wallace Roney and the V.S.O.P. rhythm section in the "A Tribute to Miles" band in 1992. Given his long track record, Shorter's every record and appearance are still eagerly awaited by fans in the hope that he will thrill them again.


Reference — Richard S. Ginell

BOB CROSBY,THE DIXIELAND-JAZZ.


Vocalista e bandleader de uma banda do estilo dixieland jazz Bob Crosby nasceu, no 25 de Agosto de 1913, em Spokane,Washington e notabilizou-se pelo seu grupo musical Crosby and the Bob -Cats.

Era o irmão caçula de uma prole de sete irmãos, entre eles Harry, que ficou famoso mundialmente como Bing Crosby.



Bob começou cantando com Anson Weeks e os Irmãos Dorsey. Liderou sua primeira banda em 1935 com os antigos integrantes da banda de Ben Pollack que o indicaram como lider.

Mas a sua mais famosa formação foi a The Bob- Cats, um grupo do estilo dixieland formado por integrantes da Orquestra Bob Crosby. que se especializou em dixieland-jazz que se adiantou ao revival do estilo dixieland em nos anos 40.


Sua voz era muito semelhante, a voz de seu famoso irmão Bing Crosby.


Bob Crosby faleceu em 1993.

Click para ouvir o som de sua banda.

http://www.youtube.com/watch?v=ir1A74UA2YE
Vocalist and American dixieland bandleader Bob Crosby born August 25,1913,, in Spokane,Washington, was best known for his group Crosby and the Bob- Cats.

He was the youngest of seven children: five boys,Larry (1895-1975), Everett (1896-1966), Ted (1900-1973), Harry (1903-1977, popularly known as Bing Crosby and Bob; and two girls, Catherine (1905-1988) and Mary Rose (1907-1990). His parents were English-American bookkeeper Harry Lowe Crosby (1871-1950) and Irish-American Catherine Harrigan (1873-1964), (affectionately known as Kate), the daughter of a builder from County Mayo in Ireland.



Bob Crosby began singing with Anson Weeks and the Dorsey Brothers (1934-35). He led his first band in 1935, when the former members of Ben Pollack's band elected him as titular leader. His most famous band, the Bob-Cats, was a Dixieland jazz group with members from the Bob Crosby Orchestra. Both the Bob Crosby Orchestra and the smaller Bob-Cats group specialized in Dixieland jazz, presaging the traditional jazz revival of the 1940s. Crosby's singing voice was remarkably similar to that of his brother Bing, but without its range.
The orchestra was actually led by sax player Gil Rodin, with Crosby himself simply the front man, chosen for his personality, looks, and famous last name.

Hits included "Summertime" (theme song), "In a Little Gypsy Tea Room", "Whispers in The Dark", "South Rampart Street Parade", "March of the Bob Cats", "Day In, Day Out", "You Must Have Been a Beautiful Baby", "Dolores" and " New San Antonio Rose" (last three with Bing Crosby). A bass and drums duet between Haggart and Bauduc, "Big Noise from Winnetka," became a hit in 1938-39.

Bob Crosby has two stars on the Hollywood Walk of Fame, for Television and Recording.
Three of his songs were featured in the successful 2008 role-playing video game Fallout-3. The tracks included were the hits "Way Back Home" (from the 1949 Danny Kaye film "The Inspector General, "Happy Times" and "Dear Hearts and Gentle People", variously played either on the in-game radio station 'Galaxy News Radio' or the promotional trailers.

As a performer, Crosby had tremendous charisma and wit combined with a laid back persona. He was able to swap jokes competently with Benny, including humorous references to his brother Bing's wealth and his string of losing racehorses. Crosby was married and had five children, three girls and two boys.
The enduring popularity of the Bob Crosby Orchestra and the Bob Cats - whose biography was written by British jazz historian John Chilton, was evident during the frequent reunions in the 1950s and 1960s.


Bob Haggart and Yank Lawson organized a band that kept the spirit alive, combining Dixieland and swing with a roster of top soloists. From the late 1960s until the mid-1970s, the group was known as The World's Greatest Jazzband. Since neither leader was happy with that name, they eventually reverted to The Lawson Haggart Jazzband. The Lawson-Haggart group was consistent in keeping the Bob Crosby tradition alive.
Bob Crosby died in 1993 due to complications from cancer.



Reference - Wikipédia

Tradução - Humberto Amorim

Monday, August 24, 2009

THE GOLDEN SWING ERA.



Pianist, bandleader Claude Hopkins, born August 24,1903, was often overlooked by historians. Hopkins was a major contributor to the development of early jazz and swing music. He was an incredibly gentle yet powerful stride pianist who could perform both ballads and hot numbers with equal virtuosity. Hopkins also wrote and arranged many compositions of his own and in collaboration with other artists like J.C. Johnson and Bud Freeman.

He grew up in the Washington, D.C., area and learned to play piano at age seven. He studied music and medicine at Howard University, where he graduated with a bachelor's degree, and later attended the Washington Conservatory. He worked with several bands while in college and formed his own group in 1924 for an engagement in Atlantic City, after which he spent a brief period with Wilbur Sweatman before forming another group of his own.


In September of 1925 Hopkins traveled to Europe, where he became Josephine Baker's musical director, touring Europe with her revue. He then led his own band in Italy and Spain in 1926 before returning to the states in the spring of that year. He worked with several groups of his own until taking over Charlie Skeete's orchestra in 1930. Hopkins band was a regular performer at the Savoy Ballroom in 1930, the Roseland Ballroom from 1931 to 1935, and the Cotton Club in 1935 and 1936.

Hopkins recorded often during the early and mid-1930s but was silent from 1937 to late 1939, when he led the band on extensive tours. He entered the studio again in early 1940 for the AMMOR label. Vocalists for the band were Orlando Roberson, who was known for hitting the high notes, and trumpeter Ovie Alston. Standout musicians included clarinetist Ed Hall, trumpeter Jabbo Smith, saxophonist Bobby Sands, trombonists Vic Dickenson and Fernando Arbello. In the late 1930s Hopkins occasionally fronted the band, allowing other pianists to take his instrument.

In 1941 he reorganized the orchestra before disbanding it in late 1942. He led his own small groups for the next two years and also worked at the Eastern Aircraft factory in New Jersey. In 1944 Hopkins formed a new orchestra which lasted, in one form or another, until 1947. It did not record.


He continued working with smaller groups throughout the 1940s and 1950s, appearing with Red Allen and Herman Autrey in the late 1950s and Sol Yaged in 1960. He led his own group again from 1960 to 1966 and played with Wild Bill Davidson's Jazz Giants in the late 1960s and Roy Eldridge in 1970.


Hopkins mostly worked as a soloist in the latter part of his life, performing and recording up through the 1970s. Claude Hopkins passed away in 1984.



Reference - AAJ



Click to watch him with his big band in 1932


Sunday, August 23, 2009

RAUL DE SOUZA, O TROMBONE BRAZUCA DO JAZZ


O trombonista João José Pereira de Souza, conhecido como Raul de Souza, nasceu no 23 de Agosto de 1934, em Campo Grande, subúrbio carioca e cresceu em Bangu, onde seu pai era pastor evangélico.


Aprendeu pandeiro, bumbo, caixa e prato. Aos 16 anos de idade já tocava tuba na banda da Fábrica de Tecidos Bangu.Foi na banda da fábrica que teve seu primeiro contato com o trombone (de válvulas), instrumento que logo em seguida estaria atacando nas gafieiras cariocas, já com o nome artístico de Raul de Souza, dado por Ary Barroso em seu programa de calouros.


Em 1957 Raul grava pela primeira vez, com Altamiro Carrilho e a turma da Gafieira, que incluía o baterista Edson Machado, o violonista Baden Powell, o sax tenor Zé Bodega e o acordeon de Sivuca. “depois de algum tempo, acabei por gravar um disco – a minha primeira gravação - que ganhou o nome da turma da gafieira (com Altamiro Carrilho e outros músicos fantásticos).


No fim do mesmo ano, vai dividir com o saxofonista Case o título de melhor músico do ano, prêmio oferecido pelo crítico Paulo Santos em seu programa de jazz na Rádio M.E.C. do Rio de Janeiro.Apesar do sucesso dessa primeira gravação e das participações que se seguiram, as dificuldades do mercado de trabalho, impossibilitavam a sobrevivência de Raul como músico profissional e o levaram a ingressar na Força Aérea Brasileira, onde permaneceu de 1958 a 1963, em Curitiba, como responsável pela organização da banda da corporação. Durante esse tempo, Raul trocou muitas vezes o trombone pelo bombardino, na banda, e pelo contrabaixo, em casas noturnas do local. Até que afinal se decide a trocar a segurança da vida de caserna pelas alegrias e incertezas que sempre acompanham a dedicação integral à música.Após se desligar da FAB, vai trabalhar em orquestras de baile e cases noturnas de São Paulo, onde é chamado para trabalhar com Sérgio Mendes.


De volta ao Rio de Janeiro, participa da gravação do LP de Sérgio Mendes (grupo Bossa Rio) ao mesmo tempo toca na Orquestra Carioca da Rádio Mayrink Veiga. Com Sérgio Mendes excursiona pela Europa durante um mês e meio, sua primeira experiência no Exterior.Em 1965, Raul grava “À Vontade Mesmo”, seu primeiro LP como solista, que tem a participação do baterista Airto Moreira, conhecido por Raul nos tempos de Curitiba. Em seguida, Raul volta à Europa acompanhando o pianista Luís Carlos Vinhas. Raul permanece em Paris por um ano, trabalhando na boate Elephant Blanc e outras casas noturnas, inclusive o famoso clube de jazz Blue Note. Nessa temporada parisiense e nos quatro meses seguintes, como contratado do Casino de Monte Carlo, tem a oportunidade de tocar com grandes nomes de jazz, como o baterista Keny Clarke, um dos pais do bop.


Na volta, Raul traz consigo seu primeiro trombone de vara, que passaria a ser seu instrumento favorito.De novo no Brasil, Raul vai trabalhar por nove meses como integrante do RC-7, conjunto reunido por ele para acompanhar o cantor Roberto Carlos. Em 1968, monta o grupo instrumental Impacto 8, com o qual grava mais um disco.


Um ano após, as dificuldades para ter seu trabalho reconhecido continuam e Raul parte para o México como integrante do grupo SamBrasil. Em 1973 é convidado para uma turnê pelos EUA com Flora Purim e Airto Moreira.Ainda em 1973 Airto produz “Colors”, o primeiro LP americano de Raul de Souza, pelo selo Milestone, que tem arranjos do grande trombonista J.J.Johnson e participação do baterista Jack De Jonette e do saxofonista Cannonball Adderley.


Este disco alavanca uma série de convites para participação de Raul em outras gravações (com Sonny Rollins, Caldera e outros) e leva Raul à “Encyclopedia of Jazz”, do crítico Leonard Feather.Depois de “Colors”, viriam mais três LPs : “Sweet Lucy” em 1977, “Don’t Ask My Neighbors” em 1978 e “Till Tomorrow Comes”, em 1979. Todos pelo selo Capitol - os dois primeiros produzidos por George Duke.Raul de Souza se consagra como compositor e instrumentista : durante sua longa temporada nos EUA, tocou e gravou com alguns dos melhores músicos americanos, como Cal’Tjader, Cannonball Adderley, Azar Lawrence, Al Dejohnette, Lionel Hampton, Sarah Vaughan, Leon Ndugu Chancler, George Duke, Stanley Clarke, Ron Carter, Frank Rosolino, Sonny Rollins, Freddie Hubbard (que assina a elogiada apresentação de seu álbum “Sweet Lucy”, do qual participa), Hubert Laws e outros, além dos brasileiros Sérgio Mendes, Airto Moreira, Flora Purim, Hermeto Pascual, Milton Nascimento, Toninho Horta, etc…


Raul também inventou um instrumento : o Souzabone, um trombone em dó com quatro válvulas, com maiores recursos que as tradicionais em si bemol com três válvulas. Raul desenhou e encomendou o instrumento, que vem utilizando a partir de seu LP “Don’t Ask My Neighbors”.Entre os prêmios recebidos por Raul nos EUA, está o título de cidadão honorário de Atlanta, Geórgia. Em 1979, foi classificado pelo terceiro ano consecutivo entre os cinco melhores trombonistas de jazz, pelos leitores da revista Down Beat e considerado o número um, pelos da New York City Jazz Magazine.Raul viveu por muitos anos na França, participando de apresentações com o seu grupo francês.Em 2004 foi homenageado no Chivas Jazz Festival - Brasil.


Em 2005 esteve novamente no Brasil para o lançamento do cd Elixir e do documentário "Viva Volta" de Heloísa Passos. No início de 2006 recebeu com muita satisfação a notícia de que terá o seu novo trabalho lançado pela gravadora Biscoito Fino – o cd Jazzmim – gravado em Curitiba, com o grupo NaTocaia. O lançamento deste cd foi em setembro de 2006.


Com Jazzmim, Raul de Souza passou a estar longos períodos no Brasil, para os shows.

Click para ver sua performance em ""Corcovado" de Jobim.

http://www.youtube.com/watch?v=sWjz-66DuI4

Fonte - Bossa Musica

BRAD MEHLDAU, PIANO JAZZ.


O pianista de jazz norte-americano Brad Mehldau nasceu no 23 de Agosto de 1970 em Jacksonville,Florida. Brad começou a tocar piano aos 6 anos de idade e estudou piano clássico até os 14 anos de idade, sempre se apresentando com banda da escola, quando estudava na high school em Connecticut.


Estudou piano e composição na famosa Berklee College of Music e na New School for Jazz & Contemporary Music. Entre os seus professores estavam Kenny Werner,Junior mance e Fred Hersch, este último sendo o que mais o influenciou.
Enquanto estudava na New School for Social Research, o baterista Jimmy Cobb o convidou para integrar banda.

Mehldau tocou por dois anos com Joshua Red man, e depois com Charlie Haden, Lee Konitz, e gravou com Wayne Shorter, John Scofield e Charlie Lloyd.
Em 1995, Mehldau formou o próprio trio, com o baixista Larry Grenadier e o baterista Jorge Rossy.


Em 1997, gravou seu segundo disco, The Art of the Trio, o qual recebeu uma nomeação para o Grammy. Em 1998, Mehldau gravou a continuação, The Art of the Trio, Vol. 2, gravado ao vivo no Village Vanguard de New York.


As principais influências são Franz Schubert, Oscar Peterson, Keith Jarret, Miles Davis e John Coltrane.
O estilo é muito comparado a Bill Evans, comparação que não o agrada, conforme explica em sua introdução a The Art of the Trio IV.


Nutre grande admiração pela música brasileira, em especial Milton Nascimento,Chico Buarque e Simone. Em 2006 apresentou-se no Auditório do Ibirapuera e declarou: Descobri Simone no ano passado e foi como conhecer Sarah Vaughan ou Dinah Washington. Ela tem uma identidade forte, canta com muita paixão e graça .


Fonte - Wikipédia


Click para ve-lo tocando "O Que Será" de Chico Buarque.




Saturday, August 22, 2009

MANAUS,DOMINGO,MEIO DIA,101,5FM, JAZZ.


Neste domingo a partir do meio dia através das ondas da Radio Amazonas de Jazz FM 101,5(www.amazonasfm.com.br) no programa "Momentos de Jazz", vamos desfrutar de uma audição singular, jamais acontecida no radio de nossa cidade, com todos os ingredientes, musicos e cantores do jazz produzido, escrito, cantado e tocado na Federação Russa, o antigo país dos Czares e bolchevistas e na Republica Tcheca, dos comunistas, que já tiveram como máxima: Proletários do mundo uni-vos! .


Hoje Russos e Tchecos ainda estão se adaptando as muitas novidades do mundo ocidental e ratificam, através da musica jazz, talento musical vastamente reconhecido através dos anos na musica clássica.


Conheceremos nos dois primeiros segmentos do programa a musica de Elena Suchánková cantora de jazz da Republica Tcheca (apresentada no CD pelo Presidente da Republica Tcheca Václav Klaus)que canta "Insensatez" divinamente, o quarteto do contra baixista tcheco Joraslav Simicek, e a musica jazz das russas Lara Metkaiova, Tatiana Koeba, Eva Svobodová e do saxofonista Igor Butman.


No terceiro set o jovem cantor inglês Peter Grant tido como a resposta inglesa para Harry Connick Jr. Peter incendeia o repertório do programa com a sua potente voz e sotaque jazzistico inconfundivel. A leitura de "The More I See You" e "I Saw Her Standing There" está impagável.


O bluesman John Lee Hooker marcou sua presença no cenario da musica negra americana como o mais autentico "rei" do blues e do boogie infinito. Prestaremos nossa homenagem a este grande musico pela passagem de seu aniversario hoje,sabado.


Conto com tua valiosa audência.


O melhor ainda está por vir!
Até Jazz!


Humberto Amorim

produtor/locutor



NOTA - Será sorteado entre os ouvintes que participarem pelo telefone, citando uma frase sobre jazz, uma garrafa de vinho português "Quinta do Crasto" da tinta touriga nacional. Participe - 32165504

THE KING OF THE BLUES AND THE ENDLESS BOOGIE.

Time Magazine stated that "John Lee Hooker doesn't just sing the blues, and he doesn't just play the blues...he is the blues".
Bluesman John Lee Hooker born August 22,1917 in Clarksdale, Mississipi, was beloved worldwide as the king of the endless boogie, a genuine blues superstar whose droning, hypnotic one-chord grooves were at once both ultra-primitive and timeless.


But John Lee Hooker recorded in a great many more styles than that over a career that stretched across more than half a century."The Hook" was a Mississippi native who became the top gent on the Detroit blues circuit in the years following World War II. The seeds for his eerily mournful guitar sound were planted by his stepfather,Will Moore, while Hooker was in his teens. Hooker had been singing spirituals before that, but the blues took hold and simply wouldn't let go.


Overnight visitors left their mark on the youth, too: legends like Blind Lemon Jefferson, Charley Patton, and Blind Blake, who all knew Moore.Hooker heard Memphis calling while he was still in his teens, but he couldn't gain much of a foothold there. So he relocated to Cincinnati for a seven-year stretch before making the big move to the Motor City in 1943.


Jobs were plentiful, but Hooker drifted away from day gigs in favor of playing his unique free-form brand of blues. A burgeoning club scene along Hastings Street didn't hurt his chances any.In 1948, the aspiring bluesman hooked up with entrepreneur Bernie Besman, who helped him hammer out his solo debut sides, "Sally Mae" and its seminal flip, "Boogie Chillen." This was blues as primitive as anything then on the market; Hooker's dark, ruminative vocals were backed only by his own ringing, heavily amplified guitar and insistently pounding foot. Their efforts were quickly rewarded. Los Angeles-based Modern Records issued the sides and "Boogie Chillen" — a colorful, unique travelogue of Detroit's blues scene — made an improbable jaunt to the very peak of the R&B charts.Modern released several more major hits by "the Boogie Man" after that: "Hobo Blues" and its raw-as-an-open wound flip, "Hoogie Boogie"; "Crawling King Snake Blues" (all three 1949 smashes); and the unusual 1951 chart-topper "I'm in the Mood," where Hooker overdubbed his voice three times in a crude early attempt at multi-tracking.


But Hooker never, ever let something as meaningless as a contract stop him for making recordings for other labels. His early catalog is stretched across a road map of diskeries so complex that it's nearly impossible to fully comprehend (a vast array of recording aliases don't make things any easier).


His grinding, tough blues "No Shoes" proved a surprisingly sizable hit in 1960, while the storming "Boom Boom," his top seller for the firm in 1962 (it even cracked the pop airwaves), was an infectious R&B dance number benefiting from the reported presence of some of Motown's house musicians.


But there were also acoustic outings aimed squarely at the blossoming folk-blues crowd, as well as some attempts at up-to-date R&B that featured highly intrusive female background vocals (allegedly by the Vandellas) and utterly unyielding structures that hemmed Hooker in unmercifully.British blues bands such as the Animals and Yardbirds idolized Hooker during the early '60s; Eric Burdon's boys cut a credible 1964 cover of "Boom Boom" that outsold Hooker's original on the American pop charts. Hooker visited Europe in 1962 under the auspices of the first American Folk Blues Festival, leaving behind the popular waxings "Let's Make It" and "Shake It Baby" for foreign consumption.Back home, Hooker cranked out gems for Vee-Jay through 1964 ("Big Legs, Tight Skirt," one of his last offerings on the logo, was also one of his best), before undergoing another extended round of label-hopping (except this time, he was waxing whole LPs instead of scattered 78s). Verve-Folkways, Impulse, Chess, and BluesWay all enticed him into recording for them in 1965-1966 alone!


Eventually, though, the endless boogie formula grew incredibly stagnant. Much of Hooker's 1970s output found him laying back while plodding rock-rooted rhythm sections assumed much of the work load. A cameo in the 1980 movie The Blues Brothers was welcome, if far too short.


But Hooker wasn't through; not by a long shot. With the expert help of slide guitarist extraordinaire/producer Roy Rogers, the Hook waxed The Healer, an album that marked the first of his guest star-loaded albums (Carlos Santana, Bonnie Raitt, and Robert Cray were among the luminaries to cameo on the disc, which picked up a Grammy).Major labels were just beginning to take notice of the growing demand for blues records, and Pointblank snapped Hooker up, releasing Mr. Lucky (this time teaming Hooker with everyone from Albert Collins and John Hammond to Van Morrison and Keith Richards). Once again, Hooker was resting on his laurels by allowing his guests to wrest much of the spotlight away from him on his own album, but by then, he'd earned it.


Another Pointblank set,Boom Boom, soon followed.Happily, Hooker enjoyed the good life throughout the '90s. He spent much of his time in semi-retirement, splitting his relaxation time between several houses acquired up and down the California coast. When the right offer came along, though, he took it, including an amusing TV commercial for Pepsi. He also kept recording, releasing such star-studded efforts as 1995's Chill Out and 1997's Don't Look Back.


All this helped him retain his status as a living legend, and he remained an American musical icon; and his stature wasn't diminished upon his death from natural causes on June 21, 2001


Reference - Wikipédia
John Lee Hooker and Carlos Santana play the Blues.