Wednesday, March 31, 2010


O fabuloso baterista e percussionista brasileiro Eduardo Moreira da Fonseca, ou simplesmente, Duduka Da Fonseca, nasceu no 31 de março de 1945, no Rio de Janeiro e começou a tocar bateria aos 13 anos. Estudou no Instituto Villa-Lobos, na Pró-Arte e na Escola de Guerra Peixe.

Iniciou sua carreira profissional atuando em shows, ao lado de músicos como Tenório Jr., Ion Muniz, Mauro Senise, Tomás Improta e Alfredo Cardim. Em 1975, mudou-se para os Estados Unidos, onde liderou os grupos brasileiros de jazz como o Brazilian Express, o The New York Samba Band (com a qual se apresentou em espaços culturais como Blue Note, Fat Truesday's e Village Gate) e o The Brazilian Jazz All Stars, ao lado de Bob Mintzer, Eliane Elias e Randy Brecker. 

Participou de shows e festivais de jazz na Europa, Japão e Estados Unidos. Recebeu uma indicação para o premio Grammy com o seu primeiro disco solo "Samba Jazz Fantasia" (Anzic records) e o disco do Brazilian Trio "Forests" foi indicado para o Grammy Latino em 2009

Ao longo de sua carreira, atuou em shows ou gravações com diversos artistas nacionais e internacionais, como Tom Jobim, Herbie Mann, Joe Henderson, Cláudio Roditti, Astrud Gilberto, Paquito D'Rivera, Tom Harrel, John Scofield, Raul de Souza, Charlie Byrd, Phill Woods, Gerry Mulligan, Lee Konits, Eddie Gomez, Joanne Brackeen, Jorge Dalto, Dom Salvador, Toshiko Akyoshi, Emily Remier, Naná Vasconcelos, New York Voices, Wayne Shorter, Kenny Baron, Raul de Souza, Quarteto Jobim-Morelenbaum e Mario Adnet, entre vários outros.

É autor do livro didático "Brazilian rhythms for drumset" (Manhattan Music/DCI).

Veja Duduka em ação.

Referencia - Duduka midia.


Jazz's early vibraphonist Kenneth Norville, best known as Red Norvo (Mr. Swing), was born on March 31,1908 in Beardstown, Illinois. The story goes that he sold his pet pony to help pay for his first marimba. Norvo's career began in Chicago with a band called "The Collegians" in 1925. He played with many other bands, including an all-marimba band on the vaudeville circuit, and the bands of Paul Whiteman, Benny Goodman, Charlie Barnet and Woody Herman.

He helped establish the xylophone and later the vibraphone as viable jazz instruments. His major recordings included "Dance of the Octopus", "Bughouse", "Knockin' on Wood", "Congo Blues", and "Hole in the Wall".

Norvo recorded with Mildred Bailey (his wife), Billie Holiday, Dinah Shore and Frank Sinatra, among others. Together, Red and Mildred were known as "Mr. and Mrs. Swing." He also appeared in the film Screaming Mimi (1958), playing himself.

In 1933 he recorded two sessions for Brunswick under his own name. The first "Knockin' on Wood" and "Hole in the Wall" pleased Brunswick's recording director Jack Kapp and he was booked for another session. This time, Kapp was out of town and Norvo went ahead and recorded two of the earliest, most modern pieces of chamber jazz yet recorded; Bix Beiderbecke's "In a Mist" and Norvo's own "Dance of the Octopus", accompanied by Benny Goodman in a rare performance playing a bass clarinet, Dick McDonough on guitar and Artie Bernstein on slap bass. Kapp was outraged when he heard them and tore up Norvo's contract and threw him out. (Interestingly, this modern record remained in print all through the 1930s!)

Norvo recorded 8 modern swing sides for Columbia in 1934–1935, and 15 sides of Decca and their short-lived Champion label series in 1936 (strangely enough, Jack Kapp ran Decca, so they must've patched things up by then).

Starting in 1936 through 1942, Norvo formed a Swing Orchestra and recorded for ARC first on their Brunswick label, then Vocalion and finally Columbia, after CBS bought out the ARC company. Featuring the brilliant arrangements of Eddie Sauter and often featuring Mildred Bailey as vocalist, this series of recordings were among the more sophisticated and elegant swing records of the era.

In 1938, Red Norvo and His Orchestra reached number one with their recordings of "Please Be Kind", which was number one for two weeks, and "Says My Heart", with lead vocals by Mildred Bailey, which was number one for four weeks on the pop charts, reaching number one during the week of June 18, 1938.

In June 1945, while a member of the Benny Goodman Sextet, he recorded a session for Comet records using a Sextet which featured members of the Goodman group and also Charlie Parker and Dizzy Gillespie. He said: "Bird and Diz were dirty words for musicians of my generation. But jazz had always gone through changes and in 1945 we were in the middle of another one. Bird and Diz were saying new things in an exciting way. I had a free hand so I gambled".

In 1949, while trying to find work near home on the West Coast and running into difficulties with large groups, Norvo formed a trio with the novel combination of vibes, guitar, and bass. When the original guitarist and bassist quit (Mundell Lowe and Red Kelly), he brought in two previously little-known players. Tal Farlow became one of the most important of the post-War generation of guitarists, in part because the demands of the trio led him to explore new levels of both speed and harmonic richness on the instrument. Farlow left the group in 1953 and guitarist Jimmy Raney took his place. Charles Mingus's prominence as a bass player increased through this group, though its reportoire did not reflect the major career he would develop as a composer. Mingus left in 1951 and Red Mitchell replaced him. The Norvo, Farlow and Mingus trio recorded two LPs for Savoy.

In 1959 Norvo's group played concerts in Australia with Frank Sinatra; Blue Note released these records in 1997. Red Norvo and his group also made several appearances on The Dinah Shore Chevy Show in the late 1950s and early '60s.
Norvo recorded and toured throughout his career until a stroke in the mid-1980s forced him into retirement (although he developed hearing problems long before his stroke). He died at a convalescent home in Santa Monica,California at the age of 91.

Red Norvo composed the following instrumentals during his career: "Dance of the Octopus", "Bughouse" with Irving Mills and Teddy Wilson, "The Night is Blue", "A Cigarette and a Silhouette", "Congo Blues", "Seein' Red", "Blues in E Flat", "Hole in the Wall", "Knockin' on Wood", "Decca Stomp", "Tomboy", and "1-2-3-4 Jump".
Red plays with Tal Farlow "Fascinating Rhythm"
Reference - Wikipédia


American band leader Herp Alpert, was born on March 31, 1935 in Los Angeles, California. He had several big instrumental hits in 1960s with his band, the Tijuana Brass. First big hit was "The Lonely Bull" in 1963. He and the Brass followed that with other big hits like "Tijuana Taxi", "Spanish Flea" (familiar to some as "the Dating Game song"), "A Taste of Honey", and "Zorba the Greek".

It wasn't until he decided to try a vocal that he finally hit #1 on the Billboard charts with "This Guy's in Love With You" in 1968. After several mediocre attempts after that, Alpert laid low and then resurfaced in 1987 with a more modern jazz/funk sound with "Keep Your Eye on Me".

Alpert disbanded the Tijuana Brass in 1969, then released another album by the group in 1971. In 1973, with some of the original Tijuana Brass members and some new members, he formed a group called the TJB. This new version of the Brass released two albums in 1974 and 1975 and toured. Alpert reconvened a third version of the Brass in 1984 after being invited to perform for the Plympic Games athletes at the Los Angeles Summer Games. The invitation led to the "Bullish" album and tour.

In the 1970s, 1980s, and 1990s, Alpert enjoyed a successful solo career. He had his biggest instrumental hit, "Rise" (from the album of the same name), which went number one in October 1979 and won a Grammy Award, and was later sampled in the 1997 rap song "Hypnotize" by the late rapper Notorious B.I.G. "Rise" made Alpert the only artist ever to hit #1 on the Billvboard pop singles charts with both a vocal piece and an instrumental piece. The song "Route 101" off the Fandango album peaked at number 37 in Billboard in August 1982. In 1987, Alpert branched out successfully to the R&B world with hit album "Keep Your Eye on Me" , teaming up with producers Jimmy Jam and Terry Lewis on "Diamonds" and "Making Love In the Rain" featuring vocals by Janet Jackson and Lisa Keith.

Alpert performed the Star-Spangled Banner prior to Super Bowl XXII in San Diego in January 1988. It was the last non-vocal rendition of the national anthem at the Super Bowl.

From 1962 through 1992 Alpert signed artists to A&M Records and produced records. He discovered the West Coast band We Five. Among the notable artists he worked with personally are Chris Montez, The Carpenters, Sergio Mendes and Brasil '66, Bill Medley, Lani Hall (Alpert's second and current wife), Liza Minnelli and Janet Jackson (featured vocalist on his 1987 hit single "Diamonds"). These working relationships allowed Alpert to become one of only a handful of artists to place singles in the Top 10 in at least three different decades (1960s, 1970s, and 1980s).

Alpert and A&M Records partner Jerry Moss both agreed in 1987 to sell A&M to PolyGram Records for a reported $500 million. Both would continue to manage the label until 1993, when they left due to frustrations with PolyGram's constant pressure to force the label to fit into its corporate culture. Alpert and Moss then expanded their Almo Sounds music publishing company to produce records as well, primarily as a vehicle for Alpert's music. Almo Sounds imitates the former company culture embraced by Alpert and Moss when they first started A&M.

Alpert and Moss received a Grammy Trustees Award in 1997 for their lifetime achievements in the recording industry as executives and the Grammy Lifetime Achievement Award in 2007.
For his contribution to the recording industry, Herb Alpert has a star on the Hollywood Walk of Fame at 6929 Hollywood Boulevard. Moss also has a star on the Walk of Fame. Alpert and Moss were also inducted into the Rock and Roll Hall of Fame on March 13, 2006 as non-performer lifetime achievers for their work at A&M.

Herb Alpert was referenced in the second show of the third season of Get Smart where one of the code signals between Maxwell Smart and his contact was "Herb Alpert takes trumpet lessons from Guy Lombardo."

Alpert and his wife (Lani Hall) released a new album in the summer of 2009. CD "Anything Goes" is Alpert's first release of new material since 1999's "Herb Alpert and Colors".

Alpert continues to play his trumpet, and also devotes time to his second career as an abstract expressionist painter and sculptor with shows around the United States. On Sergio Mendes' 2008 album "Encanto", Alpert performed trumpet solos backing lead vocals by his wife on the song "Dreamer". It marked the first time Alpert, Mendes and Hall had all performed together on the same song.

Herp plays "Rise" in very good company.

Reference - Wikipédia


American swing jazz guitarist Frederick William "Freddie" Green, was born on March 31, 1911 in Charleston, North Carolina. He was especially noted for his sophisticated rhythm guitar in big band settings, particularly for the Count Basie orchestra, where he was part of the "All-American Rhythm Section" with Basie on piano, Jo Jones on drums, and Walter Page on bass.

He was exposed to music from an early age, and learned the banjo before picking up the guitar in his early teenage years. A friend of his father by the name of Sam Walker taught a young Freddie to read music, and keenly encouraged him to keep up his guitar playing. Walker gave Freddie what was perhaps his first gig, playing with a local community group with whom Walker was an organizer. Interestingly, another member of the group was a young William "Cat' Anderson, who went on to become an established trumpeter, working with notable figures such as Duke Ellington.

It was around this time that Green's parents died, and he moved to New York to live with his aunt and continue his education. The move opened up a new musical world to Freddie. While still in his teens, he began to play around the clubs of the city, earning money and a reputation. In one of these gigs, he was noticed by the legendary talent scout John H. Hammond, who realized the potential of Green and introduced him to Basie.

In 1937, Basie and his ensemble went to one of Green's gigs on the advice of an associate. Basie was an immediate fan, and approached Green with a job offer, which he accepted. Except for a brief interruption, Freddie Green would remain a pivotal fixture of the Count Basie Band for the next fifty years.

Green's guitar technique was to play only certain important notes of each chord. The unsounded notes were dampened by the fingers of the left hand. This technique gave a 'chunky' rhythm sound without creating unnecessary harmonic presence that might interfere with notes sounded by other members of the orchestra. Throughout his career, Green only rarely played single note solos. Green was a pioneer in the way the guitar is played in a big band setting. He held that "you should never hear the guitar by itself. It should be part of the drums so it sounds like the drummer is playing chords—like the snare is in A or the hi-hat in D minor".

One notable recorded exception to the general rule that Green rarely took solos is from the January 16, 1938. Carnegie Hall concert that featured the Benny Goodman big band. In the jam session on Fats Waller's "Honeysuckel Rose", Green was the rhythm guitarist for the ensemble, which also featured Basie and Page, and musicians from Duke Ellington's band. After Goodman's solo, he signalled to Green to take his own solo, which the musician Turk van Lake described in his commentary on the reissued 1938 Carnegie Hall concert as a "startling move". Green's solo occurs between those of Goodman and trumpeter Harry James.

Freddie Green died at the age of 75 in 1987.

Freddie plays with Basie's Band

Reference - AAJ


Jazz singer Elli Fordyce was born on March 31, 1937 in Manhattan, New York City. Elli is a highly accomplished vocalist and actor. She has performed all over the New York Metro area and other U.S. and North American cities, including an appearance in the New York Cabaret Convention and in various festivals. Elli also has numerous acting credits: Film -- September 12th, TV -- Cappelle's Show, and Live Theatre -- Guys & Dolls.

Prior to returning to New York 30 years ago, Elli took time away from her musical journey. The first was to devote herself to family, and unexpectedly, the next after a devastating accident on a snowy highway en route to a gig when the car carrying her quartet and equipment crashed into a disabled truck. A successful year-long “Elli Fordyce And Her Favorite Things” tour ended abruptly, leaving scars of several kinds. Soon after, Elli stopped singing for 15 years (”Not even to sing Happy Birthday, not even in the shower”) and focused firmly on much needed physical and spiritual healing.

Music was not over for her. A ginger-colored Yorkie pup named Dindi (pronounced Gingy, meaning “little jewel” in Portuguese as well as being the title of Elli's favorite Jobim bossa nova) got her back to singing. Elli discovered that Dindi loved Elli's singing it to her. With her inspiration renewed, Elli joined a cabaret workshop taught by brilliant MAC-Award-winning singer-songwriter Lina Koutrakos and, soon after, came under the tutelage of Barry Harris, renowned jazz pianist/educator, to whom she gives much of the credit for putting her squarely back on the path she was meant for. Making a comeback was inevitable.

And come back Elli has! Her first CD, “Something Still Cool,” became an overnight sensation with rave reviews. “Whatever the term means ... you know it when you hear it. And Elli Fordyce is cool! ... as implied in the title, once cool, always cool, vintage cool ... Ms. Fordyce has the spirit and voice of one of the blessed, the spirit and stamina of eternal song.” (Bob Gish, Jazz Improv-New York); “Fordyce's voice is lovely with strong command, a natural rhythmic touch and just a touch of a rough edge ... scatting with aplomb, she also shows a knack for the south-of-the-border sound .... a true showcase for a singer whom one wishes would have never had to give up singing for so long ... better late than never ... heartfelt version of “Something Cool” ... doesn't sing by rote, and her vocal ideas are full of imagination and personality, but neither does she detract from the beauty of the melody ... it is clear that Elli Fordyce knows ... the real meaning of 'cool.'” (Brad Walseth,

Since then, Ellis has released the CD “Songs Spun Of Gold”. To quote her, “It's never too late!”

Elli Fordyce talks about herself and sings,

Reference -AAJ


African-American blues singer Elizabeth Mary Landreaux, best knows as Lizzie Miles was born on March 31, 1895 in Faubourg Marigny neighborhood of New Orleans, Louisiana, in dark skinned Francophone Creole (Creole of Color) family.

She traveled widely with minstrel and circus shows in the 1910s, and made her first phonograph records in New York of blues songs in 1922 – although Miles did not like to be referred to as a 'blues singer', since she sang a wide repertory of music.

In the mid 1920s she spent time performing in paris before returning to the United States. She suffered a serious illness and retired from the music industry in the 1930s. In the 1940s she returned to New Orleans, where Joe Mares encouraged her to sing again—which she did, but always from in front of, or beside the stage, since she said she had vowed in a prayer not to go on stage again if she recovered from her illness.
Miles was based in San Francisco, California in the early 1950s, then again returned to New Orleans where she recorded with several Dixieland and traditional jazz bands and made regular radio broadcasts, often performing with Bob Scobey or George Lewis.

In 1958 Miles appeared at the Monterey Jazz Festival. In 1959 she quit singing, except for gospel music.
She died in New Orleans, from a heart attack, in March 1963.

Refernce - Wi

Tuesday, March 30, 2010


British band leader Ted Heath, was born on March 30, 1902 in Wandsworth, South London and was the most famous and successful big band leader in Great Britain of the 40s, 50s and 60s, recording more than 100 albums and selling over 20 million records.

After playing tenor horn at the age of six, encouraged by his father, the leader of the prestigious Wandsworth Town Brass Band, Heath later switched to trombone.
Earning a living for his family in the tough post-war years he and his brother Harold and three other musicians formed a band that played to commuters coming out of London Bridge Station before winding their way along the streets in London to a spot outside the Queen’s Hall Gardens venue. It was here that Heath’s professional career began as he was spotted on the street and asked to play with the famous Jack Hylton Band who had a residence there. He didn’t last long, not having the experience required, but it gave him the ambition to pursue a career as a professional musician.

His first real band gig was with an American band on tour in Europe - the Southern Syncopation Orchestra - which had an engagement in Vienna, Austria and needed a trombone player. The drummer for this band, Benny Payton, taught Heath all about Jazz and Swing. Heath had to pay his own way back from Austria when the band ran out of money.
He next played with the Metro-Gnomes, a small band fronted by Ennis Parkes, who later married Jack Hylton. In late 1920, Heath again joined Hylton's theatre band.
From 1925 to 1926 Heath played in the Kit Cat Club band led by American Al Starita. There he heard Bunny Berrigan, Tommy Dorsey and Jimmy Dorsey and Paul Whiteman when they toured Europe.

In 1928, he joined Bert Ambrose's orchestra at the Mayfair Hotel in London and played there until 1935 when he moved on to Sydney Lipton's orchestra at the Grosvenor House. Ambrose, a strict disciplinarian, taught Heath how to be a bandleader. It was during this time that Heath became the most prominent trombone player in England, renowned for his perfect tone. He played on numerous recordings.

In September, 1939 the war caused the immediate disbandment of the Sydney Lipton Band, which was on tour in Scotland at the time. Heath, his wife Moira and children went back to London. In late 1939, Heath joined Maurice Winnick's Dorchester Hotel band.
During the late 30s and early 40s, Heath also played as a sideman on several Benny Carter's albums.

In 1940, Heath joined Geraldo's orchestra and played hundreds of concerts and broadcasts during the war traveling to the Middle East to play to the Allied Forces based there. He often became one of the "boys" in Geraldo's vocal group, Three Boys and a Girl.
In 1941, Geraldo asked his band members to submit a favorite tune to include in their broadcasts. Heath had composed a song "That Lovely Weekend" after his wife had written him a poem on a rare weekend together amongst his war travels, and he set this to music. Heath suggested "That Lovely Weekend" to Geraldo and it was orchestrated with Dorothy Carless on vocal and was an immediate huge war hit. The royalties from this song and another composition "Gonna Love That Guy" allowed Heath to form his own band.

Heath was inspired by Glenn Miller and his Army Air Force Band and spoke with Miller at length about forming his own band when Miller toured England shortly before his fateful flight across the English Channel. Heath admired the immaculate precision of the Miller ensemble and felt confident that he could emulate Miller’s success with his own set up.
In 1944, Douglas Lawrence was Dance Music Organizer for the BBC's Variety Department. Heath talked him into supporting a new band with a broadcasting contract. Lawrence was skeptical as Heath wanted a much larger band than anyone had seen before.
The Ted Heath Band was first heard on a BBC broadcast in 1944. The band was organized originally as a British "All Star Band" playing only radio dates.
In 1945, the BBC decreed that only permanent, touring bands could appear on radio. So the permanent Heath Band was officially formed on D-Day, 1945.
In late 1945, American bandleader Tootie Camarata came to UK as musical director for the film London Town and commissioned Heath to provide the music for the film. The money from this gig allowed the band to stay alive.

Next, Heath arranged a stint at the Winter Gardens at Blackpool in 1946, a Scandinavian tour, a fortnight at the London Casino with Lena Horne, and backed Ella Fitzgerald at the London Palladium.

Popularity quickly followed and the Heath Band and musicians were regular Poll Winners in the Melody Maker – Britain’s leading music newspaper. Subsequently Heath was asked to perform at three Royal Command Performances in front of King George VI in 1948, 1949 and 1951.
In 1947 Heath took a huge gamble and persuaded impresario Val Parnell to allow him to hire the London Palladium for alternating Sundays for his Sunday Night Swing Sessions. Theatres in London were ‘dark’ on Sundays and not considered a ‘night out’.

This was an inspirational idea and the band played 110 concerts ending in August 1955 during which the band became hugely successful along with regular appearances at the Hammersmith Palais in London and constant touring throughout the UK.

In April 1956 Heath arranged his first American tour. This was a ground breaking reciprocal agreement between Heath and Stan Kenton, who would tour Britain at the same time as Heath toured the U.S. The tour was a major negotiated agreement with the British Musician's Union and the American Federation of Musicians, which broke a 20 year union deadlock.

Heath contracted to play a tour that included Nat King Cole, June Christy and the Four Freshmen that consisted of 43 concerts in 30 cities (primarily the southern states) in 31 days (7,000 miles) climaxing in a Carnegie Hall concert on May 1, 1956. At this performance, the band's instrument truck was delayed by bad weather. The instruments finally arrived just minutes before the curtain rose. The band had no time to warm up or rehearse. They went on stage "cold". There were so many encore calls at the Carnegie Hall performance that Nat King Cole (who was backstage, but not on the bill) had to come out on stage and ask people to leave.

During the tour, Nat King Cole was attacked on stage in Birmingham, Alabama by a group of white segregationists. Heath was so appalled he nearly cancelled the remainder of the tour but was persuaded by Cole to continue. They remained firm friends until Coles’ death and collaborated musically on many occasions.

Heath toured the USA many times to great success and also toured Australia and Europe on several occasions.
The 1950s was the most popular period for Ted Heath and His Music during which a substantial repertoire of recordings were made. In 1958 nine albums alone. He became a household name throughout the UK, Europe, Australasia and the USA.

In addition to Cole, Heath established close personal and professional relationships with Woody Herman, Count Basie, Marlene Dietrich, Johnny Mathis and Tony Bennett. His band members included Ronnie Scott, an early member of the band before going on to open his legendary London jazz club, the pianist Stan Tracey, trumpeters Kenny Baker and Duncan Campbell, sax players Red Price, Ronnie Chamberlain, Don Rendell and Tommy Whittle, trombonists Dopon Lusher and Wally Smith, drummer Jack Parnell. The addition of singers Dickie Valentine, Lita Roza and Dennis Lotis in the 50s gave the band more teenage appeal.

He commissioned scores from all the top arrangers of the era with more than 800 original arrangements as part of the band’s library. Arrangers included Tadd Dameron, George Shearing, Reg Owen, Johnny Keating; Ken Moule and many others.

The Ted Heath Band plays.

Reference - Wikipédia


Jazz pianist and composer Marilyn Crispell, was born on March 30, 1947 in Philadelphia, Pennsylvania. Crispell studied classical piano and composition at the New England Conservatory of Music.

She has been a resident of Woodstock, NY since 1977 when she came to study and teach at Karl Berger's Creative Music Studio. She discovered jazz through the music of John Coltrane, Cecil Taylor and other contemporary jazz players and composers as Paul Bley and Leo Smith. For ten years she was a member Anthony Braxton's Quartet and the Reggie Workman Ensemble.

She has been a member of the Barry Guy New Orchestra as well as a member of the Henry Grimes Trio, the Europea Quartet Noir (with Urs Leimgruber, Fritz Hauser and Joelle Leandre), and Anders Jormin's Bortom Quintet. In 2005 she performed and recorded with the NOW Orchestra in Vancouver, Canada and in 2006 she was co-director of the Vancouver Creative Music Institute and a faculty member at the Banff Centre International Workshop in Jazz.
Crispell has performed and recorded as a soloist and leader of her own groups.

She has also performed and recorded music by contemporary composers John Cage, Pauline Oliveros, Robert Cogan, Pozzi Escot, Manfred Niehaus and Anthony Davis (including his opera X with the New York City Opera).

In addition to playing, she has taught improvisation workshops and given lecture/demonstrations at universities and art centers in the U.S., Europe, Canada and New Zealand, and has collaborated with videographers, filmmakers, dancers and poets.

She received a 2005 Guggenheim Fellowship.

Marilyn plays.

Reference - Wikipédia


A cantora brasileira de samba e bossa nova Astrud Evangelina Weinert, conhecida internacionalmente como Astrud Gilberto, nasceu no 29 de março de 1940, em Salvador, Bahia, filha de mãe brasileira e pai alemão, mudou-se para o Rio de Janeiro com sua família em 1947.

Astrud casou-se com João Gilberto em 1959 e mudou-se para os Estados Unidos em 1963, ano em que participou do álbum Getz/Gilberto juntamente de seu marido, do músico Stan Getz e do também brasileiro Tom Jobim. Astrud, que nunca havia cantado profissionalmente antes, participou das gravações por convite de seu marido, e durante as subsequentes apresentações descobriu que sofria de medo de palco.
Astrud e João divorciaram-se em 1964. João Gilberto retornou ao Brasil, mas Astrud Gilberto continua residindo nos Estados Unidos, trabalhando como crooner do grupo de Stan Getz e como solista. Lá lançou diversos discos de bossa nova e jazz.
Nos anos 70 começou a compor, e sua música "Live Today" recebeu um prêmio no Festival de Música de Tóquio. Na década seguinte montou uma banda e excursionou por todo o mundo.
O sucesso do trabalho de Astrud Gilberto na canção "The Girl from Ipanema" tornou-a um nome proeminente na música do jazz, e logo começou a fazer gravações solo.
Embora Astrud tenha começado como intérprete de bossa nova brasileira e jazz americano, passou também a gravar composições próprias na década de 1970. A canção "Astrud" , interpretada pela cantora polaca Basia é um tributo a ela. Começou a compor, e sua música "Live Today" recebeu um prêmio no Festival de Música de Tóquio. Na década seguinte montou uma banda e excursionou por todo o mundo. Em 1990 formou a produtora Gregmar, que lança discos nos EUA, Europa e Ásia. Em 1996 participou da coletânea "Red Hot + Rio", da Verve, cantando "Desafinado" em dueto com o cantor George Michael.
Astrud Gilberto recebeu o prêmio Latin Jazz USA Award for Lifetime Achievement (1992) e foi incluída no International Latin Music Hall of Fame, em 2002.
A cantora também tornou-se conhecida pelo seu trabalho como artista pintora, assim como pelo apoio e contribuição que tem dado a proteção dos animais.
Astrud canta com Stan Getz seu mais famoso sucesso "The Girl from Ipanema"
Referencia - Clique Musica


Actress and singer Pearl Mae Bailey, was born on March 29, 1918 in Southhampton County, Virginia, to Rev. Joseph and Ella Mae Bailey, and raised in the Bloodfields neighborhood of Newport News, Virginia. After appearing in vaudeville, she made her Broadway debut in St. Louis Woman in 1946. She won a Tony Award for the title role in the all-black production of Hello Dolly! in 1968. In 1986, she won a Daytime Emmy Award for her performance as a fairy godmother in the ABC Afterschool Special, "Cindy Eller: A Modern Fairy Tale". Her rendition of "Takes Two to Tango" hit the top ten in 1952.
She made her stage-singing debut when she was 15 years old. Her brother Bill Bailey was beginning his own career as a tap dancer, and suggested she enter an amateur contest at Philadelphia's Pearl Theater. She entered, won first prize, later won a similar contest at Harlem's famous Apollo Theater, and decided to pursue a career in entertainment.

Bailey, costumed in the role of Butterfly, gauges the applause following her performance of the song "It's A Woman's Prerogative", July 5, 1946. Sustained applause required her to take another bow.
Bailey began by singing and dancing in Philadelphia’s black nightclubs in the 1930s, and soon started performing in other parts of the East Coast. In 1941, during World War II, Bailey toured the country with the USO, performing for American troops. After the tour, she settled in New York. Her solo successes as a nightclub performer were followed by acts with such entertainers as Cab Calloway and Duke Ellington. In 1946, Bailey made her Broadway debut in St. Louis Woman. Bailey continued to tour and record albums in between her stage and screen performances.
In 1954, she took the role of Frankie in the film version of Carmen Jones, and her rendition of "Beat Out That Rhythm on the Drum" is one of the highlights of the film. She also starred in the Broadway Musicla House of Flowers. In 1959, she played the role of Maria in the film version of Porgy and Bess, starring Sidney Poitier and Dorothy Dandridge. Also that year, she played the role of "Aunt Hagar" in the movie St. Louis Blues, alongside Mahalia Jackson, Eartha Kitt and Nat King Cole. She was originally considered for the part of Annie Johnson in the 1959 film Imitation of Life, the part went to Juanita Moore, for which she received an Academy Award nomination.
In 1967, Bailey and Cab Calloway headlined an all-black cast version of Hello Dolly! The touring version was so successful, producer David Merrick took it to Broadway where it played to sold-out houses and revitalized the long running musical. Bailey was given a special Tony Award for her role and RCA made a second original cast album.. That is the only recording of the score to have an overture which was written especially for that recording.
A passionate fan of the New York Mets, Bailey sang the national anthem at Shea Stadium prior to game 5 of the 1969 World Series. She also appears in the Series highlight film showing her support for the team.
During the 1970s she had her own television show, and she also provided voices for animations such as Tubby the Tuba (1976) and Disney's The Fox and the Hound (1981). She returned to Broadway in 1975, playing the lead in an all-black production of Hello, Dolly!. She earned a B.A. in theology from Georgetown University in Washington D.C, in 1985. Later in her career, Bailey was a fixture as a spokesperson in a series of Duncan Hines commercials, singing "Bill Bailey (Won't You Come Home)".

On November 19, 1952, Bailey married jazz drummer Louie Bellson in London. They adopted a child, Tony, in the mid-1950's, and subsequently a girl, Dee Dee J. Bellson, born April 20, 1960. Tony Bellson died in 2004, and DeeDee Bellson at age 48, died July 4, 2009, 5 months after her father, Louis Bellson, who died on Valentine's Day 2009.
Bailey, a Republican, was appointed by President Richard Nixon as America's "Ambassador of Love" in 1970. She attended several meetings of the United Nations and later took part in a campaign ad for Presidente Geral Ford in te 1976 election. She was awarded the Bronze Medallion (New York City award) in 1968 and a Presidential Medal of Freedom on October 17, 1988.
Pearl Bailey died on August 17, 1990.
Pearl sings with Andy Williams.
Reference - American Musicians


O saxofonista tenor de jazz Micahael Brecker, nasceu no 29 de março de 1949, na Filadélfia, e começou no final dos anos 60 tocando em bandas de rock, soul, R&B e fusion. Nos anos 70 tocou com Horace Silver e Billy Cobham, e juntamente com seu irmão, o trompetista Randy Brecker, liderou o grupo de fusion The Brecker Brothers.

No início dos anos 80 tocou com o grupo de fusion Steps (depois Steps Ahead), e também gravou com Pat Metheny, Chick Corea e Herbie Hancock. O disco com Pat Metheny, 80/81, foi, segundo o próprio Brecker, muito marcante para a sua própria evolução musical.

Porém a parte principal de seu trabalho até então era como músico de estúdio e como sideman de luxo para astros da música pop, incluindo Yoko Ono, James Taylor, Eric Clapton e Paul Simon. Ao todo apareceu em cerca de 500 gravações. Sua carreira solo começou tardiamente, quando tinha 38 anos, o que explica sua discografia relativamente pequena como líder. Nos anos 90 tocou com McCoy Tyner e com uma nova formação dos Brecker Brothers. Recebeu prêmios Grammy e foi para a gravadora Verve em 1999.

Michael Brecker é o saxofonista mais imitado dos anos 80 e 90, um ponto de referência na cena do sax tenor, tanto quanto Wayne Shorter. Seu som foi, mais de uma vez, descrito como “um Coltrane sem a tempestuosa busca interior” ou como “uma versão sem arestas do Coltrane da primeira fase”. O fato de Brecker ter tocado música pop fica de alguma forma visível em sua maneira de tocar. Embora possua um som possante e um fraseado vigoroso, talvez não mergulhe tão fundo ou com tanta sutileza na harmonia, como faziam outros mestres do passado.

Michael Brecker foi casado com a pianista brasileira de jazz Eliane Elias e faleceu prematuramente acometido de leucemia em 2007.
Michael toca "Naima" de John Coltrane.
Jazz tenor saxophonist Michael Brecker , was born on March 29, 1949 in Phyladelphia and was one of the most influential saxophonists since John Coltrane, performing in multiple genres including jazz-fusion and pop with artists such as Frank Zappa, Aerosmith, James Brown, and Chick Corea, leaving behind a legacy that includes a discography of more than 900 albums. His career as a recording artist began in 1969, on the album "Score", playing in a band with his brother, trumpeter Randy Brecker.
His greatest achievements were his own albums, under his own name and with the Brecker Brothers band, as well as his work with the group Steps Ahead.
In the summer of 2005, it was announced that Michael Brecker had myelodysplastic syndrome, a bone marrow disorder, which would later progress to leukemia. He continued to work sporadically, completing his last album two weeks before his death.
Michael Brecker died from complications of leukemia at a hospital in New York City on January 13, 2007.


Singer Steve March Tormé was born on March 29, 1958, in New York City to the multi-talented Mel Tormé and the former model, Candy Tockstein. They were divorced when Steve was two and a half years old. Shortly thereafter, Candy married the actor/comedian Hal March, who was the host of NBC-TV’s The $64,000 Question Show and subsequently starred in Neil Simon’s Come Blow Your Horn on Broadway.

An avid baseball player and fan growing up in Westchester County, N.Y., Steve dreamed of playing for the Yankees. While listening to games on the radio in the basement of their home, he discovered his love for music almost by accident. Following every game, he’d switch to the Top 40 music stations and find himself singing along with such artists as The Four Seasons, Nat King Cole, The Temptations, Ricky Nelson and Gene Pitney. With his natural ear for harmonies, his favorites quickly became and remain The Beatles. By the age of 12, he knew that he wanted to be a performer and at 13, he earned his first paycheck, fronting his own band.

After his family moved to Beverly Hills, he formed friendships with other second generation “show biz kids” like Desi Arnaz Jr., Dean Martin Jr., Miguel Ferrer, Carrie Fisher and Liza Minnelli while attending high school. During this time, he continued to develop as a musician and his influences grew to include Joni Mitchell, James Taylor, Todd Rundgren and Steely Dan.

Following the early death of his stepfather, Steve rekindled his relationship with his father Mel, and soon realized they had a great deal in common besides a love for performing and various types of music. They also shared an avid interest in vintage planes, trains and automobiles.
In the late 1970’s, Steve recorded his first LP, "Lucky", for United Artists Records, supporting it with a well received 20 city, national concert tour. Upon returning to California, he produced and sang on Liza Minnelli’s Columbia Records release "Tropical Nights", which became a favorite of the New York dance clubs.

On the recommendation of Quincy Jones, Steve was tapped to be one of the three featured singers for the vocal group Full Swing, which had its debut release on Planet Records. After successful tours of the United States, Brazil and Japan, Steve left the group to focus on his solo career.

The first project that came to fruition was his CD "Swingin’ at the Blue Moon Bar & Grille", recorded in large part with a crackerjack, L.A. based big band. One of the highlights is a live duet between Steve and his dad Mel on "Straighten Up and Fly Right", which showcases a very cool, improvised “scat” lesson between student and pupil. That disc was followed up by "The Night I Fell For You", featuring an alluring arrangement of the Lerner & Loewe classic "On the Street Where You Live" and a number of Steve’s original tunes, many penned with longtime collaborator Steve Rawlins. In reviews of both CDs, critics singled out a number of these new songs as “contemporary yet timeless, combining a wry sense of humor and a natural feel for romance, with classic melodies.”

Those two releases were followed up by "The Essence of Love", which contains some of the most romantic, well crafted standards ever written, including Blue Skies, Stardust, Every Time We Say Goodbye and a playful duet with jazz icon Diane Schuur on The One I Love Belongs To Somebody Else. His current jazz CD, So Far (available through and Steve’s website), combines the most popular material from his first three CDs into one “best of” recording.

Steve has wooed audiences in every venue from intimate jazz clubs to Performing Arts Centers to festivals worldwide (Australia, England, Japan, Canada to name a few). A natural interest exists in hearing Steve sing the songs his dad was known for and because of this, in 2007 he did a 28 city, U.S. cross-country tour for Columbia Artists Mgt. Inc. (CAMI) entitled Tormé Sings Tormé. Steve is proud to have had the opportunity to pay tribute to his father. The show features a ten-piece band (dektette), extraordinary arrangements penned by Marty Paich exclusively for the Velvet Fog, and a multimedia presentation of never before seen photos and video clips of Steve and Mel singing together.

From Bernstein To The Beatles, Mercer to Mel his symphony show, an eclectic, exciting evening that includes music from Rogers & Hammerstein, Stevie Wonder, Harold Arlen, Leonard Bernstein, the Gershwins and The Beatles to name a few.
He also performs his own show, which includes classic standards, original songs and personal stories from his never boring life.

Steve’s latest CD was just released at the end of 2009 and it’s entitled "Inside/Out". It’s a set of twelve brand new, original tunes written entirely by Steve and is the first CD he’s recorded on which he not only sings but plays keyboards and guitar as well. “Inside/out” was written and recorded more in the “pop” vein that Steve was weaned on as a teenager and young adult.

With a full, rich voice that’s been described as “seductive*” and “effortless*” and a natural ability to connect with audiences, Steve March Tormé is putting his own stamp on the world of music in a field where most of his contemporaries are septuagenarians, Steve March Tormé is making a name for himself in the tradition of jazz singing.

As the offspring of the legendary Mel Tormé, it's not surprising that he's found his calling at the mic as well. The young Tormé is forging his own style of jazz singing and songwriting, has the power of torch songs, and sings in the shadow of the Velvet Fog.

Steve March Tormé sings a song composed by his father Mel.

Reference - Los Angeles Times

Monday, March 29, 2010


A divina cantora de jazz Sarah Lois Vaughan , conhecida no mundo musical como Sarah Vaughan ou Sassy, nasceu no 27 de março de 1924, em Newark, Nova Jersey. Ao lado de Billie Holiday e Ella Fitzgerald é considerada por muitos como uma das mais importantes e influentes vozes feminina do jazz.
Ela comecou a cantar no coral gospel da igreja que freqüentava com os pais, Ashbury e Ada Vaughan, ambos músicos. Seu pai era guitarrista e sua mão era lavadeira e tocava piano na mesma igreja. Aos treze anos, com o que sua mãe havia lhe ensinado, foi para trás do orgão, acompanhando o coro.

Sarah abandonou os estudos e passou a participar de concursos para músicos amadores, até que ganhou o primeiro prêmio na pioneira casa de espetáculos Apollo Theatre, o que lhe abriu muitas portas no meio musical e dentro de pouco tempo foi convidada a integrar a banda de Earl Hines a convite de seu cantor Billy Eckstine que ficou simplesmente estarrecido com a perfomance da garota.

Adquirida sua confiança ao trabalhar com nomes com o próprio Eckstine e Earl Hines, Sarah Vaughan decidiu tentar a carreira solo. Seus primeiros álbuns ao lado de Tadd Dameron eram um dos mais cults da época, fato que a levou a se unir com os músicos revolucionários do bepbop como Charlie Parker e Dizzy Gillespie, com quem havia trabalhado anos antes na banda de Earl Hines.
Em 1944, Sarah gravou o tema famoso de Dizzy Gillespie, "Night in Tunisia", então entitulada Interlude e gravou ainda, ao lado do pai do bebop, Lover Man, tornando a gravação um clássico.
Com sua contratação pela Columbia Records, Sarah Vaughan tornou-se uma estrela internacional, gravando discos mais comerciais e frequentemente acompanhada de cordas, embora tenha gravado com um octeto, 1950, que incluía o trompetista Miles Davis.

Depois de quase uma década sem gravar, Sarah voltou aos estúdios, em 1971, a convite do produtor Norman Granz, dono do selo Pablo. Com ele gravou dois songbooks de Duke Ellington. Gravou ainda com Count Basie e Oscar Peterson, aventurando-se também por rítmos africanos e latinos, gravando um álbum com Milton Nascimento.

Sarah Vaughan era dona de uma impressionante tecitura, tinha pleno domínio de seu instrumento, com o qual improvisava de maneira magistral (scat singing) e sua voz elegante parecia sair sem nenhum esforço.
Sarah faleceu em abril de 1990.
Sarah canta em São Paulo com Wilson Simonal.
Discografia completa.
1944 Sarah Vaughan and Her All-Stars 1949 Sarah Vaugh in Hi-Fi
1954 The Divene Sarah Sings
1954 Sarah Vaughan with Clifford Brown
1955 In the Land of Hi-Fi
1957 At Mister Kelly's
1957 Swingin'Easy
1957 Passing strangers, duet with Billy Eckstine
1957 Sarah Vaughan and Billy Eckstine: Irving Berlin songbook
1957 Sarah Vaughan Sings George Gershwin
1957 Sarah Vaughan Sings Broadway: Great Songs from Hit Shows
1958 No Count Sarah
1959 After Hours at the London House
1959 Vaughan and Violins
1960 Dreamy
1961 The Divine One
1961 The Explosive Side of Sarah Vaughan
1961 Count Basie/Sarah Vaughan
1961 After Hours
1962 You're Mine You
1962 Sarah + 2
1963 Sarah Sings Soulfully
1963 Snowbound
1963 Lonely Hours
1963 We Three (with Joe Williams and Dinah Washington)
1963 The World of Sarah Vaughan
1963 Sweet 'n' Sassy
1963 Star Eyes
1963 Sarah Slightly Classical
1963 Sassy Swings the Tivoli
1963 Vaughan With Voices
1964 Pop Artistry
1964 Sweet 'N' Sassy
1964 The Lonely Hours
1965 ¡Viva! Vaughan
1965 Sarah Vaughan Sings the Mancini Songbook
1966 The New Scene
1967 Sassy Swings Again
1967 It's A Man's World
1971 A Time in My Life
1972 With Michel Legrand
1972 Feelin' Good
1973 Live in Japan
1974 Send in the Clowns
1975 With The Jimmy Rowles Quintet
1977 I Love Brazil
1977 Ronnie Scott's Presents Sarah Vaughan Live
1978 How Long Has This Been Going On?
1979 The Duke Ellington Songbook, Vol. 1
1979 The Duke Ellinton Songbook, Vol 2
1979 Copacabana
1981 Songs of the Beatles (1977)
1981 Send in the Clowns
1982 Crazy and Mixed Up
1982 Gershwin Live!
1984 The Mystery Man (aka Let It Live, Sarah Vaughan Sings the Poetry of Pope John Paul II)
1986 South Pacific (A studio cast recording with Kiri Te Kanawa, Mandy Patinkin and José Carreras)
1987 Brazilian Romance
1989 Back on the Block
2009 Everything I Have Is Yours, back in print, featuring 1945-47 session recordings via Shout! Factory
Reference - AAJ


O jazz master e saxofonista Ben Webster nasceu no 27 de março de 1900 em Kansas City, é considerado um dos três grandes saxofonistas do swing (os outros sendo Lester Young e Coleman Hawkins). Começou a tocar violino, depois piano, e acabou adotando o saxofone por volta de 1930 por sugestão de Budd Johnson. Fez sua estréia discográfica acompanhando a cantora Blanche Calloway.
Nos anos 30 tocou em diversas orquestras, incluindo as de Bennie Moten, Andy Kirk, Fletcher Henderson, Benny Carter, Willie Bryant, Cab Calloway. Em 1940, entrou em caráter permanente para a orquestra de Duke Ellington, na qual já havia feito participações ocasionais em 1935 e 1936. Foi o primeiro grande solista de sax tenor de Ellington, e participou de gravações famosas, como “Cottontail” e “All too soon”.
Embora tenha permanecido na orquestra apenas por três anos, tornou-se muito popular e passou a ser um paradigma para a maioria dos jovens saxofonistas, que procuravam imitá-lo.
Depois de deixar a orquestra de Ellington, tocou com grupos pequenos, tanto na função de líder como acompanhando músicos como Stuff Smith, Red Allen, Raymond Scott, John Kirby e Sidney Catlett.
Voltou a se juntar a Ellington por um breve período, em 1948-1949, e fez parte do projeto Jazz At The Philarmonic em diversas temporadas ao longo da década de 50. Gravou com Art Tatum em 1956. Fez diversas turnês à Europa, e acabou se estabelecendo na Dinamarca em 1964. Ali, desfrutando de grande popularidade, tocou e gravou à vontade, seja com músicos locais, seja com músicos americanos.
As principais características que chamam a atenção no som de Webster ao sax tenor são o seu vibrato e a grande quantidade de “ar” na emissão sonora, especialmente nos finais das notas. Mas isso não desgrada seus fãs, que apreciam tanto a agressividade exibida nos blues rápidos quanto o romantismo demonstrado nas baladas. Essas duas faces de sua música correspondiam, segundo os que lhe eram próximos, aos dois pólos que coexistiam em sua personalidade, ora cordial, ora irascível. As baladas lentas, executadas de forma lânguida e expressiva, foram o gênero que Ben passou a privilegiar com o passar dos anos, e pelo qual ficaria famoso.
Webster faleceu em Setembro de 1973, em Copenhagen.
Ben Webster "O Bruto", toca divinamente.
Jazz tenor saxophonist Ben Webster was born on March 27, 1909 in Kansas City and was considered one of the “big three” of swing tenors along with Coleman Hawkins (his main influence) and Lester Young. He had a tough, raspy, and brutal tone on stomps (with his own distinctive growls) yet on ballads he would turn into a pussy cat and play with warmth and sentiment.
After violin lessons as a child, Webster learned how to play rudimentary piano (his neighbor Pete Johnson taught him to play blues). But after Budd Johnson showed him some basics on the saxophone, Webster played sax in the Young Family Band (which at the time included Lester Young). He had stints with Jap Allen and Blanche Calloway (making his recording debut with the latter) before joining Bennie Moten's Orchestra in time to be one of the stars on a classic session in 1932. Webster spent time with quite a few orchestras in the 1930s (including Andy Kirk, Fletcher Henderson in 1934, Benny Carter, Willie Bryant, Cab Calloway, and the short-lived Teddy Wilson big band).
In 1940 (after short stints in 1935 and 1936), Ben Webster became Duke Ellington's first major tenor soloist. During the next three years he was on many famous recordings, including “Cotton Tail” (which in addition to his memorable solo had a saxophone ensemble arranged by Webster) and “All Too Soon.” After leaving Ellington in 1943 (he would return for a time in 1948-1949), Webster worked on 52nd Street; recorded frequently as both a leader and a sideman; had short periods with Raymond Scott, John Kirby, and Sid Catlett; and toured with Jazz at the Philharmonic during several seasons in the 1950s. Although his sound was considered out-of-style by that decade, Webster's work on ballads became quite popular and Norman Granz recorded him on many memorable sessions.
Webster recorded a classic set with Art Tatum and generally worked steadily, but in 1964 he moved permanently to Copenhagen where he played when he pleased during his last decade.
Although not all that flexible, Webster could swing with the best and his tone was a later influence on such diverse players as Archie Shepp, Lew Tabackin, Scott Hamilton, and Bennie Wallace.
Webster passed away on September, 1973, in Copenhagen.
Nota do Blogger -
Para os que lêem em Inglês o livro "Someone to Watch Over Me: The Life and Music of Ben Webster "e os CDs recomendados:
The Brute & The Beautiful
Centennial Celebration
Soho Nights Vol I
Dig Ben
Cotton Tail
Reference - AAJ


A cantora de jazz americana Stacey Kent, nasceu no 27 de março de 1968, em Orange County, New Jersey. Kent graduou-se em literatura comparada no Sarah Lawrence College em Nova York, e mudou-se para Inglaterra após sua graduação para estudar na Guildahall School of Music and Drama em Londres. Nesta cidade conheceu o saxofonista, Jim Tomlinson, com quem casou em agosto de 1991.

Seu primeiro CD "Close Your Eyes", foi lançado em 1997. Lançou outros cinco álbuns desde então, e participou nos álbuns de Tomlinson, cujo The Lyric (2005), recebeu o prêmio de álbum do ano no BBC Jazz Awards, 2006. Stacey também recebeu o prêmio de melhor vocalista no British Jazz Award (2001) e BBC Jazz Award (2002).

Seu álbum "The Boy Next Door" foi disco de ouro na França em setembro de 2006. O álbum "Breakfast On The Morning Tram", (2007) conquistou o disco de ouro três meses após seu lançamento na França e foi indicado para o Grammy.

O mais recente trabalho de Stacey Kent o CD "Raconte-Moi" foi lançado no último dia 22 de março, é todo cantado em Françês. Um "must have" maravilhoso, mas só para quem tem bom gosto, é claro.

Stacey canta.

American jaz singer Stacey Kent was born on March 27, 1968 in Orange County, New Jersey, is a Grammy nominated. Kent attended Newark Academy in Livingston, New Jersey. She graduated from Sarah Lawrence College in New York and moved to England after her graduation. While studying at London's Guilhall School of Music and Drama, she met the tenor saxophonista, Jim Tomlinson, whom she married on August 9, 1991.
In the early 1990s, Kent began her professional career singing regularly in a popular nightspot, Café Boheme in London's Soho. After two or three years, Kent began opening for established jazz acts across the road at the Ronnie Scott's nightclub in London.

Her first CD, Close Your Eyes, was released in 1997. She has released seven CDs since then, as of 2010, and has also featured on Tomlinson's albums, most recently The Lyric (2005), which won "Album of the Year" at the 2006 BBC Jazz Awards.

Kent's music has been championed by critic and jazz trumpeter Humphrey Lyttleton, and she won the 2001 British Jazz Award and the 2002 BBC Jazz Award for Best Vocalist. She has also presented jazz programmes on BBC Radio 2 and 3.

Kent's album, "The Boy Next Door" achieved Gold album status in France in September, 2006. CD "Breakfast on the Morning Tram" (2007) achieved Platinum album status in France in November, 2007 and Gold album status in Germany in February, 2008 and was nominated for Best Jazz Vocal Album at the 2009 Grammy Awards.

Kent appeared in Ian McKellen'ss 1995 film version of Richard III, singing a jazz version of Christopher Marlowe's poem "The Passionate Shepherd to His Love". Booker Prize-winning novelist Kazuo Ishiguro wrote the liner notes to Kent's 2003 album, In Love Again. Ishiguro has co-written four of the songs on the fall 2007 Blue Note album Breakfast on the Morning Tram. One of the songs written by Ishiguro, "The Ice Hotel," with music composed by Tomlinson won first prize in the International Songwriring Competition in April 2008.

On March, 31, 2009 Kent received the National Order of Arts and Letters, (Ordre des Arts et des Lettres), a government decoration, in recognition of her contribution to the arts, from French Culture Minister Chistine Albanel.

Stacey's latest album, "Raconte-Moi" was released this past week on March 22, 2010, (Blue Note/EMI) is an all-French album.

Reference - Wikipédia

Tradução de Humberto Amorim


Jazz clarinetist Charles Ellsworth Russell, best known as Pee Wee Russell, was born on March 27, 1906 in Saint Louis, Missouri and began playing clarinet in Muskogee, Oklahoma, which is famous for giving has world pianist Jay McShann.

Pee Wee's career in jazz began in the early 1920 in Chicago with Bix Beiderbecke and Frank Trumbauer, cutting his first sides with Red Nichols and his Five Pennies in 1929. The band also featured Glenn Miller and Jack Teagarden on trombones, Bud Freeman on tenor sax and Eddie Condon on guitar.

Pee Wee is one of those unique players that comes along only once in a lifetime, squawking his way quite expressively in an unpredictable fashion, carving out his own distinctive voice.

By the early 1930's, Pee Wee moved to New York where he found a steady home in the bands of Eddie Condon and jamming with a roster of hot jazz players including Bobby Hackett, Red Allen, Edmond Hall, Hot Lips Page, Jack Bland, Buster Bailey and Vic Dickenson. Pee Wee played in the all-star band put together by Eddie Condon for Fats Waller's Carnegie Hall debut in 1942, which also included Bud Freeman and Gene Krupa.

Throughout most of the 1940's Pee Wee could be found playing at Nick's, the popular Greenwich Village restaurant/club that was a mainstay for hot musicians as the swing era evolved into bop. During this period Pee Wee was recording sides for Milt Gabler's Commodore label under his own name and as a sideman.

In 1951 after years of heavy drinking and not taking care of himself, Russell fell ill and so near death that a benefit concert was held in his honor. After weeks in the hospital, including several blood transfusions, Pee Wee returned to New York and played a well received set at the Newport Jazz Festival with Thelonious Monk thus proving his talent for all music whether traditional or bop.

Pee Wee was a consummate small group player. Although he was offered jobs with many of the top-name big bands of the day, Pee Wee preferred the small group swing that he had been playing all his life, and with the exception of a short stint with Bobby Hackett's Big Band played exclusively in small groups. Russell was a mainstay in traditional jazz bands along the east coast until his death in 1969.

Pee Wee plays.

Reference - Pee Wee's Biography


Plump jazz singer known for her small, high-pitched voice, Mildred Bailey was born on March 27,1907, in Tekoa ,Washington and was one of the most popular female vocalists of the 1930s. She began her career in Los Angeles during the 1920s singing on radio and in nightclubs.
With the help of her brother, Rhythm Boy Al Rinker, she was hired by Paul Whiteman in 1929, becoming the first featured female vocalist with a major national dance band. Her sweet and flexible voice, equally capable of singing both jazz and ballads, made her Whiteman's star attraction after Bing Crosby left for Hollywood in 1930.

In the early 1930s Bailey married Whiteman xylophonist Red Norvo. They eventually left the King of Jazz and formed their own band in 1936. Billed as ''Mr. and Mrs. Swing,'' the couple was featured on CBS radio and made many recordings together. Their group broke up in 1939, and they eventually divorced,* though they continued to work together on and off in the early 1940s. Bailey also recorded independently from time to time during their partnership.

Despite all of her success, superstardom eluded Bailey. She blamed her plumpness, but others claimed it was her temper and sharp tongue as well as the bitterness she carried with her towards better-looking female vocalists whom she thought less talented. She claimed her obesity was glandular, but many of her friends felt it had more to do with her great love of eating.

Bailey continued recording until the mid-1940s, when health problems forced her to retire. Plagued by a combination of diabetes, heart trouble and hardening of the arteries, she was near death and broke until she was rescued by composer Jimmy Van Heusen, who arranged to split her medical bills with Frank Sinatra and Bing Crosby.

She recovered well-enough to begin performing again, but her health problems eventually took their toll, and she died, penniless, on December 12, 1951, at age 44.
Mildred does her signature song "Rockin' Chair"
Reference - Americanjazz singers

Friday, March 26, 2010


O músico de jazz e multi-instrumentista James Moody nasceu no 26 de março de 1925, em Savannah,Georgia, mas cresceu em Newark, New Jersey. James começou tocando sax alto, que ganhou de presente de seus tio quando completou 16 anos. Trocou para o sax tenor depois de ser influenciado pela arte de Buddy Tate e Don Byas depois de ve-los tocando com a Orquestra de Count Basie em um teatro na Nova Jersey.

Moody está na ativa desde os anos quarenta, pilotando tenor, soprano, flauta e, vez ou outra, o sax alto.Indiscutível a sua qualidade musical. Ele é um dos que a gente pode ouvir sossegado, pois a possibilidade de o disco ser agradável é muito grande. E é o que acontece por exemplo com o CD " Moody plays Mancini", mesmo quando ele se arrisca na cantoria interpretando a bela "Moon River" e "I love you and don't you forget it".

James Moody leva "Body and Soul"

Born in Savannah, Georgia on March 26, 1925, and raised in Newark, New Jersey, James Moody took up the alto sax, a gift from his uncle, at the age of 16. Within a few years he fell under the spell of the deeper more full-bodied tenor saxophone after hearing Buddy Tate and Don Byas perform with the Count Basie Band at the Adams Theater in Newark, New Jersey.

In 1946, following service in the United States Air Force, Moody joined the seminal bebop big band of Dizzy Gillespie, beginning an association that - on stage and record, in orchestras and small combos - afforded a young Moody worldwide exposure and ample opportunity to shape his improvisational genius. Upon joining Gillespie, Moody was at first awed, he now admits, by the orchestra's incredible array of talent, which included Milt Jackson, Kenny Clark, Ray Brown, Thelonius Monk. The encouragement of the legendary trumpeter-leader, made his mark on the young saxophonist. His now legendary 16-bar solo on Gillespie's Emanon alerted jazz fans to an emerging world-class soloist.

During his initial stay with Gillespie, Moody also recorded with Milt Jackson for Dial Records in 1947. One year later he made his recording debut as a leader James Moody and His Bop Men for (Blue Note).

In 1949 Moody moved to Europe where in Sweden he recorded the masterpiece of improvisation for which he is renowned, Moody's Mood for Love.

Returning to the States in 1952 with a huge “hit” on his hands, Moody employed vocalist Eddie Jefferson. Also, working with him during that period were Dinah Washington and Brook Benton.
In 1963 he rejoined Gillespie and performed off and on in the trumpeter's quintet for the remainder of the decade.

Moody moved to Las Vegas in 1973 and had a seven year stint in the Las Vegas Hilton Orchestra, doing shows for Bill Cosby, Ann-Margaret, John Davidson, Glen Campbell, Liberace, Elvis Presley, The Osmonds, Milton Berle, Redd Foxx, Charlie Rich, and Lou Rawls to name a few.

Moody returned to the East Coast and put together his own band again - much to the delight of his dedicated fans. In 1985, Moody received a Grammy Award Nomination for Best Jazz Instrumental Performance for his playing on Manhattan Transfer's Vocalese album thus setting the stage for his re-emergence as a major recording artist.

Moody's 1986 (RCA/NOVUS) debut Something Special ended a decade-long major label recording hiatus for the versatile reedman. His follow-up recording, Moving Forward showcased his hearty vocals on What Do You Do and his interpretive woodwind wizardry on such tunes as Giant Steps and Autumn Leaves.

Music is more than a livelihood to Moody, so much so that portions of Sweet and Lovely, dedicated to his wife, Linda, figured prominently in the saxophonist's wedding ceremony on April 3, 1989. As well as being on the album, Gillespie was best man at the wedding for his longtime friend. The bride and groom walked down the aisle to Gillespie's solo on Con Alma then everyone exited the church to the vamp on Melancholy Baby. As their first act of marriage Linda and James Moody took communion accompanied by the groom's recording of Sweet and Lovely.

In 1990, Moody and Gillespie received a Grammy Award Nomination for their rendition of Gillespie's Get the Booty, which showcases scatting at its best. Moody returns the soprano sax to his woodwind arsenal on Honey, his nickname for his wife, Linda, and Moody's last recording for (RCA/NOVUS).

On March 26th, 1995 Moody got the surprise of his life with a birthday party in New York. It was an evening of historical significance for Jazz with many guest stars and Bill Cosby as the emcee. It can be heard on Telarc's recording, Moody's Party-- James Moody's 70th, Birthday Celebration, Live at the Blue Note.

In 1995 Moody's (Warner Bros.) release of Young at Heart, was a tribute to songs that are associated with Frank Sinatra. With an orchestra and strings many people feel this is among the most beautiful of all James Moody recordings.
Moody's last recording for Warner Bros. is "Moody Plays Mancini" which showcases Moody on all of his horns and flute. A tribute to the American icon Henry Mancini.

Moody's 2004 release of Homage on the Savoy Label has been a great cause for celebration. His first new studio album in 6 years, the aptly named Homage is a tribute to Moody featuring new tunes specially written for him by the likes of Joe Zawinul, Chick Corea, Kenny Barron, Horace Silver, Herbie Hancock, David Hazeltine and Marc Copland. Bob Belden produced the project.

Whether Moody is playing the soprano, alto, tenor, or flute, he does so with deep resonance and wit. Moody has a healthy respect for tradition, but takes great delight in discovering new musical paths, which makes him one of the most consistently expressive and enduring figures in modern jazz today.

To quote Peter Watrous of the New York Times, “As a musical explorer, performer, collaborator and composer he has made an indelible contribution to the rise of American music as the dominant musical force of the twentieth century.”

Reference - AAJ


Tenor saxophonist Joseph Edward Filipelli, best known as Flip Phillips, was born on March 26, 1915 in Brookyn, New York City where he began his career as a professional musician playing clarinet ia a restaurant band as a teenager, beggining in 1934.

Flip was most closely associated with Norman Granz's famous Jazz at The Philharmonic touring productions. The hard hitting tenor saxophonist was a star of these jam session-style revues for almost a dozen years, matching his fierce, honking tenor in cutting sessions with other demonstrative saxophonists of the day, including Illinois Jacquet, Charlie Ventura and Ike Quebec.

Although the critics sometimes disdained the showy, crowd-pleasing approach which Granz fostered in these shows, they remained immensely popular with audiences all round the world, and launched many players on notable careers. Phillips was entirely at home in the hard blowing ambiance which they fostered, although he could also be a subtle player when he chose.

He joined Frankie Newton's band in 1940, and played with Benny Goodman, Wingy Manone and Red Norvo. He received his first significant break when he was invited to replace Vido Musso in Woody Herman's First Herd in 1944, although he was initially reluctant to give up the security of his job with bandleader Russ Morgan. Herman's persuasiveness finally prevailed, however, and he spent two years in the Herman band, where he was heavily featured as a soloist, both in the big band and in Herman's smaller recording group, The Woodchoppers, and contributed to the band's arrangements.

His exciting style made a powerful impact, and he established a major reputation as a player to watch. He began his association with Jazz at the Philharmonic in 1946, one which would last until 1957. His most famous feature was his version of Perdido, in which he regularly exhibited his full repertoire of honking and screaming devices (the 1947 JATP recording of that tune is the best known example). The enthusiasm for the showier side of his playing in this context tended to divert attention from the richness and expressive beauty of his ballad interpretations. Away from the competitive excitements of the JATP, Phillips was also well capable of delivering subtler performances, particularly in small group settings with musicians like trombonist Bill Harris (his closest musical associate), trumpeter Howard McGhee, and pianist Hank Jones.

He worked with Benny Goodman in 1959, then settled in Florida, where he managed an apartment building, and all but retired from active performing, emerging only occasionally to play at festivals and to record the odd album, although he did add bass clarinet to his customary tenor saxophone.

He returned to full time playing in 1975, and began to record more regularly. Several disc captured him in familiar jam session settings on the festival and jazz party circuit, but his releases also included a disc with tenor saxophonist Scott Hamilton, "A Sound Investment", for Concord Jazz in 1987, and well-recieved album for Verve Records last year, "Swing Is the Thing", on which he held his own in the company of contemporary masters Joe Lovano and James Carter.

Flip Philips passed away on August, 2001.
Flip and his trio - Medley.
Reference - AAJ


The tenor saxophonist Milton Aubrey Moore, best known as Brew Moore, was born on March 26, 1924 in Indianola, Mississippi. He showed musical prowess at an early age. As a child of 7 he started playing popular tunes on a toy harmonica that he had received as a gift for his birthday. After a few years he played in his junior high school’s band and after graduating he entered Mississippi University to study music but left after only one semester to pursue a career as a tenor saxophonist.

He arrived in New Orleans nearly broke but was quickly hired by the Fred Ford’s Dixielanders. For the next six years he played with different local bands in both New Orleans and Memphis. In 1948 he moved north to New York and started his own quartet. Although this remained his favorite format through out his life, he also briefly played in Claude Thornhill’s orchestra in 1949.

In addition he played with different sextets around town led by Kai Winding, Machito and Howard McGee to name a few. His first appearance on record as a sideman was with Howard McGee entitled Howard McGhee's All Stars. For the next few years he continued to record as a sideman with the different groups and sat in on jam sessions with Charlie Parker in New York.

In 1953 Brew Moore moved to San Francisco. 
His firs record as a leader "The Brew Moore Quintet" was released in 1955. In 1959 due to alcoholism he fell seriously ill but recovered and in 1960 went on a tour of the Far East.

Shortly after that, in 1961, he permanently moved to Scandinavia and lived in both Sweden and Denmark. He remained there the rest of his life, except for a brief time spent in the Canaries, working regularly in local clubs, touring and recording; he led 9 recording session during his dozen years in Scandinavia.

After finishing playing at a Copenhagen club on March 19th 1973, a few days shy of his 49th birthday, Brew Moore fell down a flight of stairs. He died on his way to hospital.

No more Brew, Brew Moore is no more.

Reference - AAJ

Thursday, March 25, 2010


O pianista de jazz japonês Makoto Ozone nasceu no 25 de março de 1961, em Kobe. Começou a tocar orgão aos dois anos e aos sete já improvisava.

Apareceu na televisão japonesa com seu pai de 1968 a 1970. Aos doze anos mudou para o piano depois de ser afetado pela música de Oscar Peterson.

Em 1980 foi estudar na Berklee College of Music em Boston e mais tarde na carreira manteve colaboração musical com Gary Burton com quem gravou e se apresentou em shows e festivais de musica.

Ozone se associou com a vocalista japonesa Kimiko Itoh. Os dois se apresentaram juntos no Festival de Jazz de Montreux e ele também produziu um album com o qual ela ganhou o prêmio máximo do Swing Journal como vocalista.

Japanese jazz pianist Makoto Ozone (小曽根真), was born on March 25, 1961 in Kobe.

He began playing organ at two and by seven was an improviser. He appeared on Japanese television with his father from 1968 to 1970. At twelve he switched to piano after being impressed by albums by Oscar Peterson.
In 1980 he entered the Berklee College of Music and later worked with Gary Burton. He also had his debut in 1983 before returning to his native Japan.

Ozone has collaborated with vocalist Kimiko Itoh. They appeared as a duo at the Montreaux Jazz Festival, and he produced her album Kimiko, which won the 2000 Swing Journal jazz disk grand prix for Japanese vocalist.

Makoto Ozone plays "Milonga" with Gary Burton.

Reference - Wikipédia

Tradução de Humberto Amorim


Pianist and vocalist Sweet Emma Barrett was born on March 25, 1897, in New Orleans , who had sung in the bars, clubs and saltier venues of New Orleans since 1910, when she was 12.

'Sweet Emma' Barrett played constantly, and remained one of New Orleans' favorite entertainers all her life. She was one of the most unforgettable musicians who ever played New Orleans Jazz.

By 1923, pianist and singer Emma Barrett was playing with Papa Celestin and Bebe Ridgley's Original Tuxedo Orchestra. Emma remained with Ridgley until 1936, a period in which she also performed under such well-known leaders as John Robichaux, A.J. Piron, and Sidney Desvigne. In the '50s she worked with Percy Humphrey and Israel Gorman and also led her own band of New Orleans veterans, sometimes touring as Sweet Emma and the Bells.

In the '60s she was the pianist with the Preservation Hall Jazz Band. She suffered periods of ill-health but even a stroke did not stop her. She was known as the Bell Gal in her younger days because of her habit of wearing bells on her garters. For all her eccentricities, however, Barrett helped perpetuate the music of her home town with unending enthusiasm.

Though there is an obscure live set from Mardi Gras in 1960, Sweet Emma did not record until her 1961 Riverside sessions, with the Preservation Hall Jazz Band. Barrett led other sessions for GHB (1963-‘64), Preservation Hall, Nobility, and a 1978 album for Smoky Mary.

She lived up to her reputation, belting out the one-liners, double entendres, and innuendo with gusto, then turning poignant or bemused when necessary.

Sweet Emma Barrett continued to be asked for long after her passing in 1983.

Sweet Emma sings "I Ain'r Gonna Give Nobody None of my Jellyroll"

Reference - AAJ

Wednesday, March 24, 2010


O pianista de jazz, compositor e líder de trio Steve Kuhn, nasceu no 24 de março de 1938 no Brooklyn em Nova York. Aos seis anos, começou a tocar piano com a professora e mãe do saxofonista barítono Serge Charloff que ensinou a ele o "modo Russo" de tocar piano.

Muito cedo improvisava com a música clássica. Na adolescencia costumava tocar nos clubes de jazz da cidade de Boston ao lado de Coleman Hawkins, Vic Dickerson, Chet Baker e Serge Charloff.

Formou-se pela Harvard e frequentou a famosa Lenox School of Music onde manteve amizade com os futuros grandes do jazz como Ornette Coleman, Don Cherry e Gary McFarland, sendo instruido por professores do naipe de George Russell, Gunther Schuller, os integrantes do The Modern Jazz Quartet e pianista Bill Evans.

Essas ciucunstancia permitiram a Kuhn tocar, estudar e criar na companhia de alguns dos grandes inovadores da improvisação e composição no jazz que foram culminadas pela sua associação ao grupo do trompetista Kenny Dorham por um certo tempo e também, rapidamente, ao quarteto de John Coltrane nas apresentações no Gallery Jazz Club em Nova York.

Também se apresentou com Stan Getz, Art Farmer, Oliver Nelson, a cantora Sheila Jordan, Billy Drummond, e Miroslav Vitous e outros. No período de 1967 a 1971, mudou-se para Suécia onde formou o seu próprio trio com o qual se apresentou por toda Europa.

Kuhn ficou reconhecido como um pianista "avant garde" e por um longo periodo, além de se apresentar em festivais como o Newport jazz Festival, trocou experiencias e gravou com muitos outros músicos.

Dentre seus CDs destaque para "The October Suite", "Promises Kept" (com suas composições) e "Looking Back"

Steve continua se apresentando em festivais e clubes de jazz en Nova York.

Steve Kuhn e Trio em plena performance.

American jazz pianist, composer and trio leader Steve Kuhn was born on March 24, 1938, in Brooklyn, New York City.

He began studying piano at the age of five and studied under Boston piano teacher Margaret Chaloff, mother of jazz baritone saxophonist Serge Charloff, who taught him the "Russian style" of piano playing.

At an early age he began improvising classical music. As a teenager he appeared in jazz clubs in the Boston area, gigging with the likes of Coleman Hawkins, Vic Dickerson, Chet Baker, and Serge Chaloff. He graduated from Harvard and attended the Lenox School of Music where he was associated with such other future jazz masters as Ornette Coleman, Don Cherry and Gary McFarland, with a supportive faculty that included George Russell, Gunther Schuller, the Modern Jazz Quartet members, and Bill Evans.

This allowed Kuhn to play, study, and create with some of the most forward-thinking innovators of jazz improvisation and composition, culminating with his joining trumpeter Kenny Dorham's group for an extended time and (briefly) John Coltrane's quartet at New York's Jazz Gallery club.

He also has appeared most with Stan Getz, Art Farmer, Oliver Nelson, Gary McFarland, Ron Carter, Scott LaFaro, Harvie Swartz, vocaluist Sheila Jordan, Billy Drummond, David Finck and Miroslav Vitous. From 1967 to 1971 Kuhn moved to Stockholm, Sweden where he worked with his own trio throughout Europe. In 1971 Kuhn moved back to New York and formed a quartet but continued doing European gigs, and appearing at the Newport Jazz Festival. In his early years, Kuhn was known as an 'avant-garde' pianist (but not "New Thing").

Kuhn was associated with bassist Steve Swallow and drummer Pete La Roca (Sims) during the 1960s for several notable recordings: "Three Waves" under Kuhn's leadership, Basra under La Roca's leadership which also featured Joe Henderson, and "Sing Me Softly Of The Blues" under the leadership of flugelhornist Art Farmer. Also notable was Kuhn's inclusion in the quartet on the landmark recording Sound Pieces led by saxophonist, composer, and arranger Oliver Nelson and including Ron Carter on bass and Grady tate on drums.

Among other notable recordings which were also critically acclaimed was "The October Suite" composed by Gary McFarland or Kuhn and an ensemble which included strings, woodwinds, and reeds.
A CD "Promises Kept" featuring Kuhn's compositions, piano, and strings. For decades, Steve Kuhn has led all-star trios that have included such players as bassists Ron Carter and David Finck, and drummers Al Foster, Jack Dejohnette and Joey Baron.

He has had several live recordings made in some of New York's leading jazz clubs.

Reference - AAJ

Tradução Humberto Amorim