Friday, April 30, 2010

PERCY HEATH


Jazz musician famous for his position as double bass player for the Modern Jazz Quartet, Percy Heath, was born on April 30, 1923 in Wilmington, North Carolina to a musical family. He was the brother of tenor saxophonist Jimmy Heath and drummer Albert Heath, with whom he formed the Heath Brothers in 1975.



Heath also worked with Miles Davis, Dizzy Gillespie, Charlie Parker, Wes Montgomery and Thelonious Monk. At the age of 81, he released his first album as bandleader through the Daddy Jazz label. The album, titled "A Love Song", garnered rave reviews and served as a fitting coda for Heath's illustrious career.


Heath spent his childhood in Philadelphia, Pennsylvania. His father played the clarinet and his mother sang in the church choir. He started playing violin at age 8 and also sang locally. He was drafted into the Army in 1944, becoming a member of the Tuskegee Airmen, but saw no combat.
Deciding after the war to go into music, he bought a stand-up bass and enrolled in the Granoff School of Music in Philadelphia. Soon he was playing in the city's jazz clubs with leading artists.



In Chicago in 1948, he recorded with his brother on a Milt Jackson album as members of the Howard McGhee Sextet. After moving to New York in the late 1940s, Percy and Jimmy Heath found work with Dizzy Gillespie's groups. Around this time, he was also a member of Joe Morris's band, together with Johnny Griffin.


It transpired that other members of the Gillespie big band, pianist John Lewis, drummer Kenny Clarke, Milt Jackson, and bassist Ray Brown, decided to form a permanent group; they were already becoming known for their interludes during Gillespie band performances that, as AllMusic.com says, gave the rest of the band much-needed set breaks---that would eventually become known as the Modern Jazz Quartet. When Brown left the group to join his wife Ella Fitzgerald's band, Heath joined and the group was officially begun in 1952, with Connie Kay replacing Clarke soon afterward. The MJQ played regularly until it disbanded in 1974; it reformed in 1981 and last recorded in 1993.


He would sometimes play the cello instead of the bass in his later performances.


He died in April, 2005, after a second bout with bone cancer, two days short of his 82nd birthday in Southhampton, New York.

Percy Heath on the bandstand.
http://www.youtube.com/watch?v=-VnzLD1z978
Reference - Wikipédia

BEA WAIN, BIG BAND-ERA VOCALIST


American big band-era vocalist Bea Wain, who was voted 'Most Popular Female Vocalist of 1938,' was born on April 30, 1917 in New York City. She enjoyed great success with the Larry Clinton Orchestra, and collected hit records which include 'My Reverie,' 'Deep Purple' and 'You Go To My Head,' to name a few.



On a 1937 recording with Artie Shaw she was credited as Beatrice Wayne, which led some to assume that was her real name. On record labels her name was shortened (without her permission) to "Bea" by the record company, ostensibly for space considerations. As she explained, "They cut it to 'Bea' Wain. They cut the 'Beatrice' out to 'Bea.' I was just a little old girl singer, but that's the truth. So that's how my name became 'Bea Wain'."


She led the vocal group Bea and the Bachelors (with Al Rinker, Ken Lane, and John Smedberg), and the V8 (seven boys and a girl) on the Fred Waring show. In 1937, Wain joined former Tommy Dorsey arranger Larry Clinton and His Orchestra. She was featured with Clinton on a number of hit tunes, including "Martha" and "Heart and Soul". In 1939, she was voted the most popular female band vocalist in a Billboard, and that same year she began her solo career.


Wain had four #1 hits:"Cry, Baby. Cry," "Deep Purple", "Heart and Soul" and her signature song, "My Reverie." She is considered by many to be one of the best female vocalists of her era, possessing a natural feel for swing-music rhythms not often found among white singers of the day.



With regard to technique, she excelled in pitch and subtle utilization of dynamics. She also communicated a feminine sensuality and sang with conviction in an unforced manner.


On May 1, 1938, Bea Wain married radio announcer André Baruch. Their honeymoon in Bermuda was cut short when Fred Allen called Baruch asking him to return to New York to substitute for his ailing announcer, Harry von Zell. They were married for 53 years. Baruch died in 1991.



Bea sings "Heart and Soul" with Larry Clinton and His Orchestra.




Reference - Solid

Thursday, April 29, 2010

DUKE ELLINGTON, MONSTRO SAGRADO DO JAZZ


O compositor de jazz, pianista e bandleader Edward Kennedy "Duke" Ellington, nasceu no 29 de abril de 1899, em Washington D.C e ficou eternizado pelo apelido de "The Duke". Duke foi distinguido com a Presidential Medal of Freedom em 1969 e com a Legião de Honra (condecoração francesa) em 1973, sendo ambas as distinções as mais elevadas que um civil pode receber. Foi ainda o primeiro músico de jazz a entrar para a Academia Real de Música de Estocolmo, e foi "honoris causa" nas mais importantes universidades do mundo.


A música de Duke Ellington foi uma das maiores influências no jazz desde a década de 1920 até à de 1960. Ainda hoje suas obras têm influência apreciável e é, por isso, considerado o maior compositor de jazz americano de todos os tempos. Entre os seus muitos êxitos encontram-se "Take the A Train" (letra e música por Billy Strayhorn), "Satin Doll", "Rockin' in Rhythm", "Mood Indigo", "Caravan", "Sophisticated Lady", e "It Don't Mean a Thing (If It Ain't Got that Swing)". Durante os anos 20 e 30, Ellington partilhava frequentemente seus créditos de compositor com seu manager Irving Mills, até que no final dos anos 30 desentenderam-se. Billy Strayhorn passou a ser o colaborador de Ellington (nem sempre creditado como tal) desde 1940 até à sua morte nos anos 70.


Ellington tinha a preocupação de adaptar as suas composições de acordo com o talento dos músicos que compunham a sua orquestra, entre eles estiveram Johnny Hodges, Bubber Miley, Joe "Trick Sam"Nanton, Barney Bigard, Ben Webster, Harry Carney, Sonny Greer, Otto Hardwick e Wellman Braud. Muitos músicos permaneceram ao lado de Ellington durante décadas.


Duke Ellington, faleceu em Maio de 1974, em Nova York.
Duke Ellington, Willie "The Lion" Smith e Billy Taylor no David Frost Show.
Referencia - Wikipédia

TOOTS THIELEMANS


O jazzista famoso por tocar guitarra e gaita (harmônica de boca) e também por ser assoviador profissional Jean Baptiste Frederic Isidor "Toots" Thielemans, nasceu no 29 de abril de 1929, em Bruxelas, na Bélgica. Por ser um impecável assoviador profissional. é considerado por criticos e aficionados de jazz como um dos maiores gaitistas do século XX.



Thielemans começou sua carreira como guitarrista. Em 1949 entrou em uma jam session em Paris com Sidney Bechet, Charlie Parker, Miles Davis, Max Roach entre outros. Em 1951 participou de um tour com Bobbejaan Schoepen.


Mudou-se para os EUA em 1952, onde foi membro do Charlie Parker's All-Stars. Tocou e gravou com nomes com Ella Fitzgerald, The George Shearing Quintet, Quincu Jones, Bill Evans, Paul Simon, Billy Joel, Astrud Gilberto, Elis Regina, Sivuca e outros.


Seu maior sucesso é "Bluesette", em cuja gravação original, usou assovio e guitarra em uníssono. Bluesette foi um grande sucesso mundial no ano de 1962, tendo sido posteriormente regravada pelo próprio Thielemans e por muitos outros artistas de vários países. Sua harmônica peculiar pode ser ouvida também nas trilhas de diversos filmes como Midnight Cowboy,Bagdad Café e em programas de televisão de várias nações. Como assoviador profissional também gravou trilhas sonoras, principalmente para comerciais de TV, ao longo de sua carreira.


Nos anos 90 Toots embarcou em projectos temáticos sobre world music. Em 1998, lançou o álbum "Chez Toots", que incluía o tema Les Moulins De Mon Coeur, com a participação do cantor Johnny Mathis.


Ano passado esteve mais uma vez no Brasil, participando do Festival de Jazz de Guaramiranga no Nordeste. Seu mais recente CD "One More For The Road" (2006) conta com a participaçao de grandes nomes da musica e foi sucesso de venda e critica.


Toots e Stevie Wonder brilham na Suécia na presença do Rei Gustavo e da Rainha Sylvia (que estiveram mês passado em Manaus) na platéia.




Referencia - Wikipédia

CLAUS OGERMAN

O compositor e arranjador alemão Claus Ogerman ou Klaus Ogermann, nasceu no 29 de abril de 1930, em Ratibor, Prússia (na época um Estado alemão). Anos mais tarde ele adquiriu também a cidadania americana. É muito conhecido pelo trabalho realizado com o compositor brasileiro Antonio Carlos Jobim,



O nome Claus Ogerman ele adotou nos Estados Unidos. Ogerman começou a sua carreira como pianista. Ele é certamente um dos maiores arranjadores do século XX e tem estado presente nos principais sucessos do Rock, Pop, Jazz, R&B, Soul, Easy listening, Broadway e música clássica. O número exato de artistas que tiveram arranjos feitos por Ogerman durante sua carreira ainda não foi determinado.


Na década de 50, Ogerman trabalhou na Alemanha como arranjador e pianista com Kurt Edelhagen, Max Greger e Delle Haensch. Um fato interessante a mencionar desse período é que Claus (então Klaus) também participou algumas vezes como vocalista e gravou diversos EPs em 45 rpms sob o pseudônimo de "Tom Collins", fazendo dueto com Hannelore Cremer - e também gravou um vocal solo com o Delle Haensch Jump Combo.


Em outubro de 1959 emigrou para os Estados Unidos da América e se juntou ao produtor musical Creed Taylor da Verve Records. Conhece Quincy Jones, então chefe de A&R da Mercury Records, que o incumbe de vários arranjos, entre eles em 1963 o hit "It's my party", de Lesley Gore. Rapidamente faz um nome como arranjador trabalhando nos vinte anos seguintes com várias estrelas da música pop, desenvolvendo e consolidando o seu estilo próprio, usando elementos da música clássica.



Com a chegada da Bossa Nova, encontra Antonio Carlos Jobim, com o qual desenvolve um longo trabalho. Entre 1959 e 1979, trabalha com vários músicos, como arranjador e produtor, entre eles Stan Getz, Astrud Gilberto, João Gilberto, Bill Evans, Wes Montgomery, Carl Tjader, Oscar Peterson, Stanley Turrentine, George Benson, Frank Sinatra, Barbara Streisand, Sammy Davis Jr.


A Verve foi vendida para a MGM em 1963. Claus Ogerman, admite na publicação Jazzletter de Gene Lees, que arranjou cerca de 60 a 70 álbuns para a Verve sob a direção de Creed Taylor de 1963 a 1967. Em 1967 ele se junta a Creed Taylor na gravadora A&M/CTi.


Em 1979, retira-se do mercado comercial de música, dedicando-se à composição e ao arranjo de peças clássicas. Nesta época criativa, ele rejeita trabalhos de nomes importantes tais como Prince, Ella Fitzgerald, DeeDee Bridgewater, Wynton Marsalis e Tony Bennett.



Somente em 2001 ele volta ao mercado comercial, trabalhando para a pianista de jazz canadense Diana Krall em seu álbum "The Look of Love", e regeu a orquestra em seu DVD "Live in Paris".
Foi nomeado dezesseis vezes para o Grammy, ganhando o troféu por seu arranjo para o tema de George Benson "Soulful Strut".



As maiores influências de Ogerman como compositor são Max Rger e Alexander Scriabin. Ele constantemente declara que não está interessado no "modernismo" uma vez que seu objetivo é evocar uma resposta emocional nos ouvintes.

Ogerman fez os arranjos e regeu a orquestra em Francis Albert Sinatra & Antonio Carlos Jobim (1967), a primeira de duas gravações que Frank Sinatra fez com Jobim. Ogerman fez também os arranjos e regeu a orquestra em The Composer of Desafinado, Plays de Jobim (1963), A Certain Mr. Jobim (1965), Wave (1967), Jobim (1972), Urubu (1976) e Terra Brasilis (1980), no qual ele também tocou piano. Nos álbuns Jobim e Urubu, Ogerman foi também o produtor.

Diana Krall canta "S'Wonderful" com arranjo de Claus Oggerman.
http://www.youtube.com/watch?v=6mM2HkNE1nA

Referncia - Wikipédia

Wednesday, April 28, 2010

ITHAMARA KOORAX


A cantora brasileira de jazz e bossa nova Ithamara Koorax, nasceu no 28 de abril de 1965, em Niterói.


Foi considerada em 2002, pela revista DownBeat, a "bíblia" do jazz, como a quarta melhor cantora de jazz do mundo.



Ithamara também foi eleita entre as melhores cantoras da cena jazzística pela votação dos leitores da Down Beat nos anos de 2000, 2002, 2004, 2005 e 2006, recebendo similar aclamação em revistas da Inglaterra (Jazz Journal), França (Jazz Hot), Japão (Swing Journal), Korea (Jazz People) e Suíca (Jazz 'n' More), entre muitas outras.



No primeiro ano de sua carreira profissional recebeu no Brasil o prêmio de "cantora revelação" de 1990, concedido pela Associação Paulista de Críticos de Arte. Ao lançar seu primeiro disco, Ithamara Koorax Ao Vivo, recebeu o Prêmio Sharp de "cantora revelação de MPB" em 1994.



Ithamara no palco.
http://www.youtube.com/watch?v=GflTV_0dh_o

Referencia - Wikipédia

BLOSSOM DEARIE


A cantora de jazz Blossom Margrete Dearie, nasceu no 28 de abril de 1926, em East Durham, New York e representa a fatia mais doce do jazz . Ela jamais figuraria em alguma enquete musical entre as dez mais importantes cantoras de jazz de todos os tempos. Nem poderia. Piadista e descompromissada, Dearie, também pianista, nunca se preocupou em transmitir o perfil dramático geralmente aliado a cantoras mais reverenciadas, como Billie Holiday ou Sarah Vaughan. Não pegou pesado no álcool ou nas drogas como Anita O'Day ou foi politicamente engajada como Shirley Horn.

Blossom Dearie foi a cantora sensível, quase infantil, equipada com um timbre de voz adocicado, pouco potente, mas afinadíssimo. Traduziu com nitidez o quadro mais clichê da alienada cantora dos clubes esfumaçados, ansiosa para ser descoberta por caça-talentos de alguma grande gravadora.
Morou por um tempo na França onde fez muito sucesso com a versão para lingua francesa de Lullaby of Birdland"
Acompanhada por uma orquestra, Blossom gravou um álbum pela Capitol em 1964, novamente recheado de clássicos mundiais: "Something Happens To Me", "I'm In Love Again", "Quiet Nights (Corcovado)" e "I'm Old Fashioned".
Um de seus álbuns prediletos foi gravado ao vivo, no clube londrino Ronnie Scott, em 1966. Neste disco, é possível avaliar o traço comediante e descontraído. Destaque para "When The World Was Young", "Once Upon A Summertime, "The Shape of Things" e "Satin Doll", de Duke Ellington.
Nos anos 70, atenta ao panorama musical da época, trilhou um caminho mais pop, atravessando o folk hippie em voga com canções como "That's Just the Way I Want To Be", "Hey John" e "Both Sides Now", esta última composta por Joni Mitchell. Blossom até gravou especiais para crianças na televisão, interpretando a tabuado do oito em "Figure Eight".
Blossom manteve uma sólida carreide no periodo de 1952 a 2006 e gravou para as principais gravadoras de sua éopca, como a Verve e
Dearie faleceu em Fevereiro de 2009, em Greenwich Village em Manhattan.
Blossom Derie canta "Someone to Watch Over Me"
Referencia - Vinicius Mesquita (Uol)
American Jazz singer and pianist Blossom Dearie, was born on April 28, 1924 in East Durham, New York. She enjoyed performing in the bebop genre and was best known for her distinctive girlish voice.
Different sources state her given names variously as Blossom Margrete Dearie, Marguerite Blossom Dearie, or Margrethe Blossom Dearie. As a child she studied Western classical piano but switched to jazz in her teens. After high school Dearie moved to New York City to pursue a music career and began to sing in groups such as the Blue Flames (with the Woody Herman Orchestra) and the Blue Reys (with Alvino Rey's band) before starting her solo career.
She moved to Paris, France, in 1952 and formed a vocal group, the Blue Stars of Paris, which included Michel Legrand's sister, Christiane, and Bob Dorough. In 1954 the group had a hit in France with a French -language version of "Lullaby of Birdland". The Blue Stars would later evolve into the Swingle Singers. While in Paris she met her future husband, the Belgian flautist and saxophonist Bobby Jaspar. On her first solo album, released two years later, she plays the piano but does not sing. One of her most famous songs from that period is "The Riviera", which was written and composed by Cy Coleman and Joseph McCarthy Jr. in 1956.

After returning from France, Dearie made her first six American albums as a solo singer and pianist for Verve Records in the late 1950s and early 1960s, mostly in a small trio or quartet setting. Dave Garroway, host of The Today Show and an early fan of Dearie, featured her on several occasions, increasing her exposure with the popular audience. In 1962, she recorded a song for a radio commercial of Hires Root Beer. As it proved very popular, the LP Blossom Dearie Sings Rootin' Songs was released as a premium item that could be ordered for one dollar and a proof of purchase.
In 1964, she recorded the album May I Come In? (Capitol/EMI Records). It was recorded, atypically for her, with an orchestra. During this same period, Dearie performed frequently in New York supper clubs and in 1966 made her first appearance at Ronnie Scott's club in London. She recorded four albums in the United Kingdom during the 1960s which were released on the Fontana label.

After a period of inactivity, Dearie recorded the album That's Just the Way I Want to Be (containing the cult song "Dusty Springfield", an ode to the British pop star co-written by Dearie with Norma Tanega), which was released in 1970. In 1974, Dearie established her own label, Daffodil Records, which allowed her to have full control of the recording and distribution of her albums. Dearie appeared on television throughout her career, most notably giving her voice to the children's educational series Schoolhouse Rock!. Some of her pieces in this series were written by her good friend Bob Dorough, the jazz singer and composer. Her voice can be heard on "Mother Necessity", "Figure Eight" and "Unpack Your Adjectives".
Songwriter Johnny Mercer, with whom she collaborated for her 1975 song, I'm Shadowing You, gave one of his final compositions to Dearie for the title song of her 1976 Daffodil album, My New Celebrity is You.

Her distinctive voice and songs have been featured on the soundtracks of several films, including Kissing Jessica Stein, My Life Without Me, The Squid and the Whale and The Adventures of Felix. She also recorded songs with other singers, including Lyle Lovett.
Dearie continued to perform in clubs until 2006. One of the last remaining supper-club performers, she performed regular engagements in London and New York City over many years.
Dearie died on February 7, 2009, at her apartment in Greenwich Village, New York City.
Reference - Wikipédia

Tuesday, April 27, 2010

SAL MOSCA


Jazz pianist Sal Mosca, was born on April 27, 1927 in Mount Vernon , New York. Sal enjoyed a nearly seven decade career of improvisational jazz piano that touched the lives of many people.


Perhaps more so than his music, Sal's values for living affected everyone who knew him. Those who knew Sal only from appreciation of his music surely were able to glean the depth of his commitment to purity and the integrity he brought to everything he produced.
Sal was, and will remain, a teacher in every sense of the word.


The philosophy he articulated and lived was one of simple and complete dedication to the spirit of creation undiluted by external influence. Sal rejected commercialism, populism, consumerism, and the faddish. In their place, he maintained and nurtured the values of thrift, independence, freedom, self improvement and self exploration. Most of all, Sal believed in generosity. Sal gave everything away: his thoughts, his time, his values, his music.


While Sal may have been viewed by some as iconoclastic, in reality he was a rock of tradition that, by remaining true to quality, threatened the evolving status quo. By this, Sal demonstrated his courage in the face of enormous forces urging compromise and conformity.


Gratefully, Sal was able to record a body of incredible music during his lifetime that will live on as ethereal vibrations that will inspire, soothe, and amaze us for the years and generations to come.


Sal is survived by his three children and seven grandchildren. He is also survived by the thousands of souls whose lives he touched with his words and his music.

Life is fragile; art perseveres.

Sal passed away on July, 2007 in White Plains, Westchester County, New York.

Sal Mosca UN-SUNG
http://www.youtube.com/watch?v=ZFdE2a87DP0


Reference - Sal's Website

Monday, April 26, 2010

TEDDY EDWARDS


American jazz tenor saxophonist Theodore Marcus "Teddy" Edwards, was born on April 26, 1924, in Jackson, Mississippi. He learned to play at a very early age, first on alto saxophone and then clarinet. Some consider him to be one of the most influential jazz saxophonists.


Edwards' first professional job was with The Royal Mississippians with Doc Parmley.His uncle sent for him to come to Detroit to live because he felt opportunities were better. Due to illness in the family, he went back to Jackson and ventured to Alexandria, Louisiana. He was persuaded by Ernie Fields to join his band after going to Tampa, Florida. Teddy had planned to go to New York, but Ernie Fields convinced him he could get there by way of Washington D.C., if he worked with his band. Teddy ended up at the Club Alabamon Central Ave. in Los Angeles, which later became his city of residence.


Teddy Edwards played with many jazz notables, including his personal friend Charlie Parker, Roy Milton, Wynonie Harris, Vince Guaraldi, Joe Castro and Ernie Andrews. A classic 1947 recording with Dexter Gordon, The Duel, helped set him up as a legend, a status he liked to maintain by challenging other worthy sax players to similar duels whenever possible, including a recording with Hounston Person. One such memorable duel took place in the 80s at London's 100 Club with British tenor Dick Morrissey.
In 1964, Edwards played with Benny Goodman at Disneyland, and at the 1964 New York World's Fair.


Edwards played live with and appeared on albums of Tom Waits. He toured with him on the Heart Attack and Vine tour and played to a packed Victoria Apollo in London with Tom and a bassist. (The drummer had apparently been left behind after some dispute). The 1991 album Mississippi Lad features two tracks with Waits, and Waits covers the Edwards-written ballad "Little Man" on his Orphans collection.


Teddy Edwards passed away on April 2003, in Los Angeles.

The legend of Teddy Edwards.
http://www.youtube.com/watch?v=8Bp3L9m4KXw
Reference - Wikipédia

JIMMY GIUFFRE


American jazz clarinet and saxophone player, composer and arrager James Peter Giuffre was born on April 26, 1921 in Dallas, Texas , of Italian ancestry, Giuffre (pronounced "Joo-fray") was a graduate of Dallas Technical High School and North Texas State Teachers College. He is notable for his development of forms of jazz which allowed for free interplay between the musicians, anticipating forms of free improvisation.


He first became known as an arranger for Woody Herman's big band, for which he wrote the celebrated "Four Brothers" (1947). He would continue to write creative, unusual arrangements throughout his career. He was a central figure in West Coast Jazz, cool jazz, and was a member of Shorty Roger's groups before going solo. Giuffre played clarinet, as well as tenor and baritone saxophones, but eventually focused on clarinet.


His first trio consisted of Giuffre, guitarist Jim Hall and double bassist Ralph Pena (later replaced by Jim Atlas). They had a minor hit in 1957 when Giuffre's "The Train and the River" was featured on the television special The Sound of Jazz. This trio explored what Giuffre dubbed "blues-based folk jazz". This same special matched Giuffre with fellow clarinetist Pee Wee Russell for a leisurely jam session simply titled "Blues".


When Atlas left the trio, Giuffre replaced him with valve trombonist Bob Brookmeyer. This unusual instrumentation was partly inspired by Aaron Copland. The group can be seen performing "The Train And The River" in the film Jazz on a Summer's Day filmed at the 1958 Newport Jazz Festival.


In 1961, Giuffre formed a new trio with piano player Paul Bley and double bassist Steve Swallow. This group received little attention while active, but were later cited by some fans and musicians as among the most important groups in jazz history. They explored free-jazz not in the loud, aggressive mode ofAlbert Ayler or Archie Shepp, but with a hushed, quiet focus more resembling chamber music. The trio's explorations of melody,harmony and rhythm are still as striking and radical as any in jazz. Thom Jurek has written that this trio's recordings are "one of the most essential documents regarding the other side of early-'60s jazz."


Giuffre, Bley and Swallow eventually explored wholly improvised music, several years ahead of the free improvisation boom in Europe. Jurek writes that Free Fall, their final record, "was such radical music, no one, literally no one, was ready for it and the group disbanded shortly thereafter on a night when they made only 35 cents apiece for a set."


In the early 1970s, Giuffre formed a new trio with bassist Kiyoshi Tokunaga and drummer Randy Kaye. Giuffre added instruments including bass flute and soprano saxophone to his arsenal. A later group included Pete Levin playing synthesizer and replaced Tokunaga with electric bassist Bob Nieske. This group recorded three albums for the Italian Soul Note label.
During the 1970s, Giuffre was hired by New York University to head its jazz ensemble, and to teach private lessons in saxophone and music composition.


Into the 1990s, Giuffre continued teaching and performing. He recorded with Joe McPhee, and revived the trio with Bley and Swallow (though Swallow had switched to bass guitar, giving the group a different sound). Through the mid 1990s Giuffre taught at the New England Conservatory of Music. He suffered from Parkinson's Disease and in his last years he no longer performed. Giuffre died of pneumonia in Pittsfield, Massachusetts, on April 24, 2008, two days short of his 87th birthday.

Jimmy plays.
http://www.youtube.com/watch?v=pfLsEH4csQ4
Reference - Wikipédia

TONY DeSARE


Singer, pianist, songwriter and jazz singer Tony DeSare, was born on April 26 in Glens Falls, New York to a musical family and begin singing professionally at 17. He has performed throughout the United States, as well as in Australia, Japan and Hong Kong. He continues to perform all over the world in theaters, jazz clubs and with symphonies.



His original songs have been featured in the 20th Century Fox film, The Tooth Fairy and the 2005 Indie hit, My Date With Drew. Tony DeSare was named a “Rising Star” Male Vocalist in the 2009 Downbeat Critics Poll. He has won critical and popular acclaim for his concert performances throughout the United States as well as in Australia, Japan and Hong Kong. In January, launched an international tour with three weeks at the Algonquin Hotel’s Oak Room in New York, two weeks in London, then continues on to cities such as Los Angeles, Boston, Washington DC, Seattle, St. Louis and Palm Beach.



“Let’s Just Stay In,” one of the CD’s original songs, will be featured in the upcoming 20th Century Fox film The Tooth Fairy, starring Dwayne “The Rock” Johnson, Ashley Judd, Billy Crystal and Julie Andrews.


“With his dark hair, bright brown eyes and toothpaste smile that rarely fades,” raved The New York Times, “DeSare is one of the most promising young male performers. He is a Sinatra acolyte in his early 30s who sings Prince as well as Johnny Mercer.”



According to USA Today, “DeSare belongs to a group of neo-traditional upstarts stretching from Harry Connick Jr, to Michael Bublé and Jamie Cullum. DeSare covers old and newer pop and jazz standards without smothering or over-thinking the material.”



Tony DeSare performs with infectious joy, wry playfulness, and robust musicality. His takes on classic standards and sophisticated original compositions have earned him a reputation as one of country’s hottest young singer/pianists. His sound is romantic, swinging and sensual, but what sets Tony apart is his ability to write original material that sounds fresh and at the same time blends seamlessly with the Great American Songbook.



Tony has the capability to glide from a standard by George Gershwin to a contemporary classic by Bob Dylan or Phil Collins to one of his inventive original songs with ease.With a sexy, distinctive sound, Tony’s 2007 recording, "Last First Kiss", spotlights a refreshingly contemporary combination of originals and standards, from Prince’s “Kiss” and Carole King’s “I Feel the Earth Move” to classics like “You’d Be So Nice To Come Home To” and Sammy Cahn/Jimmy Van Heusen’s under-recorded gem “Come On Strong.” The album also features the legendary guitarist Bucky Pizzarelli, a horn section, and Tony’s longtime sidemen Mike Lee on bass and Brian Czach on drums. The CD – which debuted at #5 on the Billboard chart and #3 on the Amazon.com ranking and also #2 on the iTunes jazz chart – was featured on NPR’s “Weekend Edition Saturday.”


"Want You", Tony’s debut CD, debuted at #16 on the Billboard chart when it was released in May 2005. The CD includes standards like “Two For The Road,” “Just In Time,” and “I Wish You Love,” as well as originals “Marry Me,” “How I Will Say I Love You,” and the title track. He performed selections from the CD on national broadcasts of the CBS Early Show, NBC Weekend Today and Fox News Channel.


Tony composed and performed the title theme to My Date With Drew, an independent documentary feature film about a guy who has 30 days and $1100 to get a date with Drew Barrymore. It has been featured on “The Tonight Show,” “The Today Show,” Playboy Magazine, Entertainment Weekly and Premiere. The film – awarded top honors at the New York Gen Arts Festival, the HBO Comedy Arts Festival and the Vail Film Festival – was released in theatres nationwide in 2005.



He was personally selected by Sam Arlen, son of Harold Arlen, the composer of classic songs like “Over The Rainbow,” “Get Happy,” and “Stormy Weather,” to perform with the Duke Ellington Orchestra at Birdland for the recent Harold Arlen Centennial. His new big band show was presented by “Saturday Night Live” alum Joe Piscopo in Las Vegas and Atlantic City.


DeSare’s noted versatility enables him to headline a variety of venues. He has performed at major jazz rooms like Birdland and the Blue Note with his quartet; posh nightclubs like the Café Carlyle and Feinstein’s at the Regency; with his big band in concert halls like Jazz at Lincoln Center; or with a 60-piece orchestra. For the 2009-2010 season, Tony will be headlining major symphonies around the country.
Tony DeSare sings and play.
Reference - IMG Artists

CHARLIE CHAPLIN, O GIGANTESTO


Diretor, ator, roteirista, comico, dançarino e músico britânico Sir Charles Spencer Chaplin Jr. nasceu no 26 de abril de 1889 em East Street Walworth em Londres e ficou conhecido mundialmente como Charlie Chaplin. Chaplin foi um dos atores mais famosos do período conhecido como Era de Ouro do cinema dos Estados Unidos.


Além de atuar, Chaplin dirigiu, escreveu, produziu e eventualmente compôs a trilha sonora de seus próprios filmes, tornando-se uma das personalidades mais criativas e influentes da era do cinema mudo. Chaplin foi fortemente influenciado por um antecessor, o comediante francês Max Linder, a quem ele dedicou um de seus filmes. Sua carreira no ramo do entretenimento durou mais de 75 anos, desde suas primeiras atuações quando ainda era criança nos teatros do Reino Unido durante a Era Vitoriana quase até sua morte aos 88 anos de idade.


Sua vida pública e privada abrangia adulação e controvérsia. Juntamente com Mary Pickford, Douglas Fairbanks e D.W. Griffith, Chaplin co-fundou a United Artists em 1919.
Em 2008, em uma resenha do livro Chaplin: A Life, Martin Sieff escreve: "Chaplin não foi apenas 'grande', ele foi gigantesco. Em 1915, ele estourou um mundo dilacerado pela guerra trazendo o dom da comédia, risos e alívio enquanto ele próprio estava se dividindo ao meio pela Primeira Guerra Mundiial. Durante os próximos 25 anos, através da Grande Depresão e da ascensão de Hitler, ele permaneceu no emprego. Ele foi maior do que qualquer um. É duvidoso que algum outro indivíduo tenha dado mais entretenimento, prazer e alívio para tantos seres humanos quando eles mais precisavam."


Por sua inigualável contribuição ao desenvolvimento da sétima arte, Chaplin é o mais homenageado cineasta de todos os tempos, sendo ainda em vida condecorado pelos governos britânico (Cavaleiro do Império Britânico) e francês (Légion d 'Honneur), pela Univresidade de Oxford (Doutor Honoris Causa) e pela Academia de Artes e Ciências Cinematográficas dos Estados Unidos (Oscar especial pelo conjunto da obra, em 1972).


Seu principal e mais conhecido personagem é conhecido como Charlot, na França e no mundo francófono, na Itália, Espanha,Portugal, Grécia, Romênia e Turquia, e como Carlitos ou também "O Vagabundo" (The Tramp) no Brasil, um andarilho pobretão que possui todas as maneiras refinadas e a dignidade de um cavalheiro (gentleman), usando um fraque preto esgarçado, calças e sapatos desgastados e mais largos que o seu número, um chapéu-coco ou cartola, uma bengala de bambu e - sua marca pessoal - um pequeno bigode-de-broxa.


Chaplin foi uma das personalidades mais criativas que atravessou a era do cinema mudo; atuou, dirigiu, escreveu, produziu e financiou seus próprios filmes e por cima compos "Smile". Foi também um talentoso jogador de xadrez e chegou a enfrentar o campeão estadunidense Samuel Reshevsky.


O gênio Charlie Chaplin, faleceu no 25 de dezembro de 1977, na Suiça.



Michael Jackson canta "Smile"




Referencia - Wikipédia

Sunday, April 25, 2010

ELLA FITZGERALD, A PRIMEIRA DAMA DA CANÇÃO


A maravilhosa primeira dama da canção e cantora de jazz Ella Jane Fitzgerald, também conhecida internacionalmente como Lady Ella, nasceu no 25 de abril de 1917, em Newport News, Virginia.



Mestra nas improvisações, a tímida Ella Fitzgerald cantava como um músico. Sempre dividiu opiniões sobre ser ou não a maior cantora do Jazz, com a não menos brilhante Billie Holiday.
Os pais de Ella nunca se casaram. O pai dela, William Fitzgerald, reconheceu a paternidade mas as deixou quando Ella fez 3 anos de idade. Então ela viveu com a mãe, Temperance (Temple), e o padrasto português, Joseph da Silva, que a maltratava.


Seus vizinhos riam quando ela dizia que um dia iriam vê-la nas manchetes dos jornais, que ela tinha certeza de que seria famosa. Ella sempre gostou de de cantar, ainda mais de dançar. Aos 13 anos ensaiava os passos e pedia às garotas mais velhas para ensinarem novos passos dos salões de dança do Harlem.


Foi na igreja que ela aprendeu os primeiros rudimentos musicais, da mesma forma que outros grandes cantores e cantoras norte-americanos do séc. XX. O rádio e o fonógrafo também foram veículos fundamentais para que ela pudesse desenvolver sua formação musical. Ella fez parte da primeira geração de crianças que, na década de 20, tiveram acesso livre à música por meio desses aparelhos sonoros. Sua mãe faleceu quando ela tinha somente 14 anos. Ela então largou a escola e foi mais tarde para um reformatório por vadiagem. Ficou pouco tempo até que fugiu e foi viver nas ruas de Nova York cantando e dançando para ganhar gorjetas.


Em novembro de 1934 participou de um show de calouros no Apollo Theatre, no Harlem, e apesar de maltrapilha e nervosa, ganhou o primeiro prêmio que era a permissão de se apresentar no teatro duas semanas, mas o gerente não aceitou por considerá-la muito feia.


Cantava gratuitamente até que Chick Webb a levou para um teste com o bandleader, mas que não quis ouví-la por também considerá-la muito feia, mas por insistência de Webb acabou ouvindo e contratando-a.



Em 1938 gravou o primeiro sucesso com Webb, “A-Tisket a-Tasket”. Aos dezenove anos já era considerada a primeira dama do jazz. Foi contratada pelo produtor e dono de gravadoras (Verve/Pablo) Norman Granz, integrando o grupo Jazz At The Philharmonic.


Fitzgerald gravou três discos clássicos ao lado de Louis Armstrong (Ella and Louis, Ella and Louis Again e Porgy and Bess).


Ella faleceu em Beverly Hills, na California, em Junho de 1996.

Lady Ella sings "Cry Me a River"
http://www.youtube.com/watch?v=jAoABuJS1MA
Referencia - Wikipédia



Nota do Blogger:


O escritor Truman Capote relatou sobre Marilyn Monroe em "Música para Camaleões" de 1980. O pequeno conto chama-se "Uma Criança Linda" e, nele, descobrimos uma Marilyn que perambula com Truman por Nova York, após o funeral de sua professora de teatro, Constance Collier, ambos atrás de algum champanhe. Os dois têm uma conversa sobre a nobreza inglesa e Marilyn mostra-se surpresa com o fato de a rainha da Inglaterra não poder tocar em dinheiro, uma dama de companhia caminha atrás, atendendo aos desejos da majestade. Marilyn era, segundo Capote, uma criança linda. Existe uma outra história sobre Ms. Monroe que reafirma o relato de Capote, de certa forma.

Quando Marilyn saiu de Los Angeles rumo a Nova York, cansada de papeis medíocres que lhe eram oferecidos, ela mergulhou na efervescencia cultural da grande maçã e acabou fã de Ella Fitzgerald, que vibrou uma corda no coração da estrela, como vibrou no de todos nós. Marilyn resolveu pedir pessoalmente a Charlie Morrison, dono da famosa boite Mocambo, o maior clube norturno da costa oeste, em meados dos anos 50, que contratasse Ella, suspendendo ,assim, a politica segregacionista da casa. Ms. Monroe, sabedora de sua imbatível popularidade, prometeu que ocuparia uma mesa de pista durante todas as apresentações e que a publicidade gerada pelo evento, por si só, justificaria a transgressão de Morrison. Ele concordou e o resto é história.

Eu devo muito a Marilyn, Ella Fitzgerald declarou mais tarde - Depois que cantei no Mocambo, nunca mais fui obrigada a cantar só onde me deixavam. Marilyn era uma mulher surpreendente, muito a frente de seu tempo, é claro. Mas ela nunca soube disso.

PAULO VANZOLINI, UM HOMEM DE MORAL


O zoólogo e compositor brasileiro Paulo Emílio Vanzolini , nasceu no 25 de abril de 1924, em São Paulo e é o autor de sucessos como "Ronda" (ele acha um absurdo como o povo gosta desta música que ele destesta), "Volta por Cima" e "Na Boca da Noite".


É também um dos idealizadores da Fundação de Amparo à Pesquisa do Estado de Sào Paulo (FAPESP) e ativo colaborador do Museu de Zoologia da Universidade de São Paulo, que com seu trabalho aumentou a coleção de répteis de cerca de 1,2 mil para 230 mil exemplares.



Criou a Teoria dos Refúgios a partir de estudos conjuntos com o geomorfologista Aziz Ab'Saber e com o americano Ernest Williams. Refúgio foi o nome dado ao fenômeno detectado nas expedições de Vanzolini pela Amazônia, quando o clima chega ao extremo de liquidar com uma formação vegetal, reduzindo-a a pequenas porções. Assim formam-se espaços vazios no meio da mata fechada. Vanzolini trabalhou no Instituto Nacional de Pesquisas Amazonicas - INPA em Manaus durante alguns anos na decada de 80, foi nesta época que tive o privilégio de entrevista-lo sobre zoologia. Timido, quase não fala de sua música.



Paulo Vanzolini foi agraciado com a Grã-Cruz da Ordem nacional do Mérito Científico. Em agosto de 2008, o cientista e compositor foi também premiado pela Fundação Guggenheim, em Nova York, em virtude de suas contribuições para o progresso da ciência. O mesmo prêmio foi dado a três outros cientistas brasileiros, em outras áreas além da biologia.


A grande novidade do momento acerca da Paulo Vanzolini é o lançamentoo que chega finalmente ao formato DVD do filme "Um Homem de Moral", de Ricardo Dias, sobre a música do zoólogo . O filme deveria ser, de fato, sobre répteis e congêneres, não fosse o seu protagonista o autor, entre outras, de “Ronda”, aquela que termina com o verso: “Cena de sangue num bar da Avenida São João”, ou ainda “Volta por Cima”, o magnífico samba que empresta um verso ao título do filme: “Um homem de moral não fica no chão...”.


Vanzolini é, ao lado de Adoniran Barbosa, o autor mais importante de uma São Paulo de outros tempos. Uma cidade já imensa, mas ainda gentil, com suas ruas, sua boemia e a sua gente séria e bem humorada. Suas canções são a cara e o coração das ruas e do povo paulistano. O filme, que amanhece e anoitece com a cidade em belíssimas imagens, tem o dom de esparramar para o espectador todo o talento, simpatia e até o lado ranzinza do autor. Um sujeito de extrema inteligência que não tem papas na língua e é capaz de versos geniais e melodias belas e elaboradas, apesar de não tocar nenhum instrumento musical.


As filmagens acontecem durante as gravações da caixa Acerto de Contas, onde vários intérpretes como Paulinho da Viola, Martinho da Vila, Chico Buarque, Márcia (que eternizou “Ronda” em sua gravação original e repete a dose no filme com maestria), Miúcha, Paulinho Nogueira, Virgínia Rosa, Inezita Barroso entre muitos outros mostram as composições de Vanzolini. As imagens se alternam entre os números musicais e histórias impagáveis do compositor. O cientista, já com mais de oitenta e jeito indisfarçável de menino, recita versos, conta causos, desvenda suas criações e elogia parceiros. Tudo nele é pura modéstia no que se refere à música. Diz todo o tempo que nunca teve tempo para se dedicar às suas composições e construir uma carreira. Segundo ele, tudo o que fez é pura intuição.


Para ele, bom mesmo é o Elton Medeiros, que pegou uma composição sua que ele não gostava e, sem alterar nem melodia nem letra, mas apenas a divisão, a transformou em algo bom. Diz essas e outras sem se dar conta que praticamente todo o seu cancioneiro foi feito sem parceiro algum. São obras primas da nossa canção, que à medida que corre o filme emocionam e surpreendem o espectador que descobre o compositor e sua simplicidade por trás da canção e do intérprete.No momento em que sobem os letreiros e ainda falta fôlego nas cadeiras, a anônima cantora Suely Klkuchi, solitária num karaokê do centro da cidade, entoa com voz firme e aguda os versos de “Ronda”, entre os transeuntes, neons e a garoa. Um Homem de Moral é, de fato, um grande filme sobre um grande artista

Veja chamada do DVD "Um Homem de Moral"
O saudoso Jamelão canta "Ronda"
Referencia - Wikipédia/ Revista Forum /Julinho Bittencourt (Coluna Toques Musicais)

EARL BOSTIC


American jazz and rhythm and blues alto saxophonist Earl Bostic was born on April 25, 1913 in Tulsa, Oklahoma. He was a pioneer of the post-war American Rhythm and Blues style. He had a number of popular hits such as "Flamingo", "Harlem Nocturne", "Temptation", "Sleep" and "Where or When", which showed off his characteristic growl on the horn.



He was a major influence on John Coltrane. He turned professional at age 18 when he joined Terence Holder's 'Twelve Clouds of Joy'. He made his first recording with Lionel Hampton in October 1939, with a.o. Charlie Christian, Clyde Hart and Big Sid Catlett. Before that he performed with Fate Marable on New Orleans riverboats.



Bostic graduated from Xavier University in New Orleans. He worked with territory bands as well as Arnett Cobb, Hot Lips Page, Rex Stewart, Don Byas, Charlie Christian, Thelonious Monk, Edgar Hayes, Cab Calloway, and other jazz luminaries. In 1938, and in 1944, Bostic led the house band at Small's Paradise.



During the early 1940s, he was a well respected regular at the famous jam sessions held at Minton's Playhouse. He formed his own band in 1945 and made the first recordings under his own name for the Majestic label.He turned to rhythm and blues in the late 1940s. His biggest hits were "Temptation," "Sleep," "Flamingo," "You Go to My Head" and "Cherokee." At various times his band included Jaki Byard, John Coltrane, Benny Golson, Blue Mitchell, Stanley Turrentine, Tommy Turrentine, Sir Charles Thompson, Teddy Edwards, Tony Scott, Benny Carter and other musicians who rose to prominence in jazz.


Bostic's King album titled "Jazz As I Feel It" featured Shelly Manne on drums, Joe Pass on guitar and Richard "Groove" Holmes on organ. Bostic recorded A New Sound about one month later again featuring Holmes and Pass. These recordings allowed Bostic to stretch out beyond the 3 minute limit imposed by the 45 RPM format. Bostic was pleased with the sessions which highlight his total mastery of the blues but they also foreshadowed musical advances that were later evident in the work of John Coltrane and Eric Dolphy.



His songwriting hits include "Let Me Off Uptown" performed by Anita O'Day and Roy Eldridge and "Brooklyn Boogie" which featured Louis Prima and members of the Brooklyn Dodgers.


Bostic's signature hit, "Flamingo" was recorded in 1951 and remains a favorite among followers of Carolina Beach Music in South Carolina, North Caroline and Virginia.


During the early 1950s Bostic lived with his wife in Addisleigh Park in St. Albans, Queens in New York City, where many other jazz stars made their home. After that he moved to Los Angeles where he concentrated on writing arrangements after suffering a heart attack. He opened his own R&B club in Los Angeles known as the Flying Fox.


Bostic passed away from a heart attack in Rochester, New York, while performing with his band on October 1965. He was buried in Los Angeles on November 2, 1965. Honorary pallbearers at the funeral included Slappy White and Louis Prima.
Earl plays his composition and signature hit "Flamingo"
Reference - Wikipédia

WILLIS "GATOR" JACKSON


Jazz tenor saxophonist Willis "Gatortail" Jackson, was born on April 25, 1932 in Miami, Florida. Jackson joined Duke Ellington alumnus Cootie William's band in 1949 as a teenager, after being discovered by Eddie Vinson.



During the fifties he participated in R&B and jazz recordings, primarily as a session musician, and also toured as leader of the backing band of singer Ruth Brown. Jackson joined Prestige Records in 1959 making a string of jazz albums which proved to an influence on the burgeoning soul jazz movement. During this era, Jack McDuff and Pat Martino became famous through association with Jackson. Jackson's main influences were Lester Young and Illinois Jacquet.


Gator passed away on October,1987.


Gator Jackson plays.

http://www.youtube.com/watch?v=-joBISjtQ3M
Reference - Wikipédia

SONNY ROLLINS, NOVO MEMBRO DA ACADEMIA AMERICANA DE ARTES E CIÊNCIA


O saxofonista de jazz Sonny Rollins está na ativa desde o fim da década de 1940, Sonny é tido pela crítica como o maior saxofonista de jazz vivo. Nova-iorquino, com 80 anos de idade, Sonny possui em sua longa lista de parcerias, músicos como Miles Davis, John Coltrane e Thelonious Monk. Suas inovações ajudaram a formatar estilos consagrados como o bebop e o hard-bop. Entre os veteranos, Sonny é um dos poucos a defender as fusões do jazz com o hip hop e com a música eletrônica.


O músico esteve no Brasil para uma turnê na qual tocou em São Paulo e no Rio. Os shows fizeram parte do Tim Festival 2008 e acabaram roubando toda a atenção – da mídia e do público que teve uma resposta muito boa à apresentação -, que em outras edições era voltada para as bandas jovens.


Sonny foi acompanhado por quatro músicos – Robert Broom Jr. na guitarra, Clifton Anderson no trombone, Kobie Watkins na bateria e Robert Cranshaw no baixo –, o velho Rollins, mostrou muita disposição em apresentações que duraram em média 2 horas. Para encerrar sua passagem pelo país tupiniquim, o jazzista tocou de graça e ao ar livre no parque Ibirapuera, mostrando como a velha guarda costumava e ainda costuma fazer boa música. Uma verdadeira lição para seus colegas iniciantes.

A grande novidade no momento, na carreira do grande músico de jazz, é que ele foi eleito membro da Academia Americana de Artes e Ciências. A Academia está celebrando 230 anos e elegeu 229 líderes em ciências, ciências humanas, artes, negócios e atividades públicas.


Os escolhidos receberão a honraria em cerimônia a ser realizada na sede da Academia em Cambridge no próximo 09 de outubro. A indicação de Sonny Rollins foi feita por Dr. Apostolos P. Georgopoulos, um neurocientista membro da Academia e saxofonista amador.

Também foram agraciados em 2010 o diretor de cinema Francis Ford Coppola, o ator Denzel Washington e o fundador e diretor artístico da Metropolitan Opera, Thomas Hampson, além de várias pessoas que receberam os prêmios Nobel, Pulitzer; membros da MacArthur e Guggenheim e vencedores do Grammy,Tony e Oscar.

Sonny em uma recente apresentação no Detroit Orchestra Hall,celebrando seus 80 anos.
http://www.youtube.com/watch?v=F9Ek40Et4mE

Fonte : JazzTimes / Aubrey Everett

Saturday, April 24, 2010

MANAUS,DOMINGO,MEIO DIA, JAZZ, ELLA FITZGERALD, JONI MITCHELL


Neste domingo a partir do meio dia em ponto, pelas ondas da Radio Amazonas FM 101.5 (http://www.amazonasfm.com.br/) em Manaus, iremos celebrar, durante duas horas, a passagem do aniversário de nascimento de Ella Fitzgerald, a primeira dama do jazz. Escolhi justamento o CD "The Birthday Concert" gravado em Roma no 25 de abril de 1958, quando Ella completava 40 anos de vida, para homenagearmos a inesquecível cantora de jazz. Impossivel não perceber, ao longo do registro musical, toda alegria e entusiasmo da grande cantora, ao celebrar o seu dia, com sua platéia. Im-per-di-vel!!!!



O pianista françês André Previn reuniu-se com dois outros monstros sagrados do jazz - Ray Brown e Mundell Lowe no famosos Teatro The Musikverein em Viena e o resultado, gravado no CD "André Previn - Jazz at the Musikverein" é uma jóia musical repleta de improvisos surprendentes que tornam a gravação antológica.



A canadense Joni Mitchell apoiada por uma grande orquestra com direito a cordas, faz leituras sublimes das canções do Great American Songbook e adiciona na voz, uma pitada de charme sensual que faz da audição prazer dos mais agradáveis. Tudo está inserido no CD "Both Sides Now" no qual as leituras marcantes de At Last, You're My Thrill e You've Changed, não deixam dúvidas quanto a grandeza da musicalidade e versatilidade desta incrivel cantora.



Diz a lenda que quando Jerry Lewis adentou no estudio de gravação, os músicos da big band que iriam acompanha-lo não paravam de rir, não era para menos, afinal de contas, o homem mais engraçado do momento ia cantar, mostrar uma outra faceta de seu enorme talento e ratificar a sua fama de Renaissance Man - ator, comediante, produtor, escritor, diretor e cantor. O CD "Jerry Lewis Just Sings" tornou-se, com o passar dos anos em peça rara e uma delicia de se ouvir.



Conto com tua preciosa audiência.


O melhor ainda está por vir.


Em 2010, quinze anos de jazz.



Na promoção do programa, caixa com 5 CDs de Jelly Roll Morton , considerado o Pai do Jazz. Participação pelo telefone 92-32165504.



Humberto Amorim

Produtor/Locutor
Clique para acompanhar Ella cantando "Mack The Knife" que ela assinou e eternizou.

JOE HENDERSON

O saxofonista tenor de jazz Joe Henderson nasceu no 24 de abril de 1937, em Lima ,Ohio e o seu estilo musical tem influências que vão desde o hard bop à bossa nova, soul, soul jazz ou jazz de fusão


Joe Henderson estudou música na escola Kentucky State College e na Universidade de Wayne, em Detroit. Entre 1960 e 1962, prestou o serviço militar. O seu nome começou a ser conhecido, depois de sair do exército, e foi tocar com o Trompetista Kenny Dorham em 1962 e 1963. Este consegue um contrato para Henderson com a gravadora de jazz Blue Note.


Entre 1964 e 1970, Henderson tocou no quinteto de Horace Silver, e com a banda de Herbie Hencock, na segunda metade dos anos 60. Na década de 70, Henderson foi morar em São Francisco na California e gravou por diversas vezes para o selo Milestone. Tocou uma temporada com o grupo Blood,Sweat & Tears em 1971. Na década seguinte, dedicou-se ao ensino de música e, como músico independente, voltou a gravar para a gravadora Blue Note. O seu reconhecimento surge quando é contratado pela Verve.

Em 1992, Henderson recebe o título de melhor músico de jazz pela Down Beat, e melhor saxofonista tenor. Um dos seus álbuns mais vendidos é "Lush Life: The Music of Billy Strayhorn", com mais de 450.000 cópias por todo o mundo (cerca de 100.000 nos States). O CD "So Near So Far: Musings for Miles" recebeu o Grammy para a melhor interpretação de jazz.

O seu último trabalho, foi o CD "Porgy and Bess", gravado em 1997

Joe Henderson faleceu em Junho de 2001, devido a uma parada cardíaca.

Joe toca "Dreamer" de Tom Jobim.
http://www.youtube.com/watch?v=gWpFR98oSOs
CDs recomendados:
Straight, No Chaser (Verve 1968)
Power to the People (Milestone 1969)
Joe Henderson in Japan (Milestone 1971)
The Elements (Milestone 1973)
Relaxin' at Camarillo, (Contemporary 1979)
The State of the Tenor Live at the Village Vanguard (Blue Note 1985)
Lush Life: The Music of Billy Strayhorn (Verve 1991)
So Near, So Far (Musings for Miles), (Verve 1992)
Double Rainbow: The Music of Antonio Carlos Jobim, (Verve 1994)



Referencia - Wikipédia

RUBE BLOOM, DAY IN, DAY OUT.


Jewish American composer of popular songs Rube Bloom was born on April 24, 1902, in New York City.


Rube Bloom was a multi-faceted entertainer, and in addition to being a songwriter, was a pianist, arrager, band leader, recording artist, and writer (he wrote several books on piano method). During his career, he worked with many well-known performers, including Bix Beiderbecke, Ruth Etting and Tommy and Jimmy Dorsey. He collaborated with a wide number of lyricists, including Johnny Mercer Mercer, Ted Koehler and Mitchell Parish.


During the 20s he wrote many novelty piano solos which are still well regarded today. He recorded for the Aeolian Company's Duo-Art reproducing piano system various titles including his "Spring Fever".



His first hit came in 1927 with "Soliloquy"; his last was "Here's to My Lady" in 1952, which he wrote with Johnny Mercer. Bloom formed and led a number of bands during his career, such as Rube Bloom and His Bayou Boys (which was used on 3 sessions in 1930; totally 6 of the hottest recordings made in the first days of the depression, an all-star studio group containing Benny Goodman, Adrian Rollini, Tommy Dorsey and Manny Klein). At other times, he played with other bands; an example of this side of his career can be found in his work with Bix Beiderbecke and Frankie Trumbauer in the Sioux City Six.

His song "I Can't Face the Music" was recorded by Ella Fitzgerald on her 1962 Verve release "Rhythm id My Business" in a fabulous swing/big band version with Bill Doggett.

According to some sources, his first name was pronounced like 'Ruby' by his friends.

Rebe Bloom passed away on March, 1976 in New York City.

Frank Sinatra sings "Day In, Day Out"
http://www.youtube.com/watch?v=MZ86t4hStxU
Songs Rube composed:



"Day In, Day Out" - lyrics by Johnny Mercer
"Don't Worry 'Bout Me" - lyrics by Ted Koehler
"Fools Rush In (Where Angles Fear to Tread)" - lyrics by Johnny Mercer
"Give Me the Simple Life" - with Harry Ruby
"Good-for-Nothin' Joe" - lyrics by Ted Koehler
I Can't Face the Music, with lyrics by Ted Koehler
"Out in the Cold Again"
"The Man from the South"
"Truckin'"
"What Goes Up Must Come Down"



References - Stanley Sadie, H. Wiley Hitchcock (Ed.): The New Grove Dictionary of American Music. Grove's Dictionaries of Music, New York, N.Y. 1986.
Barry Dean Kernfeld: The New Grove Dictionary of Jazz. Macmillan Press, London 1988.

JOHNNY GRIFFFIN, LITTLE GIANT


American bop and hard bop tenor saxophonist and bandleader John Arnold Griffin III, best known as Johnny Griffin (Little Giant), was born on April 24, 1928, in Chicago, Illinois.



Griffin studied music at DuSable High School under Walter Dyett, starting out on clarinet before moving on to oboe and then alto sax. While still at high school at age 15, Griffin was playing with T-Bone Walker in a band led by Walker's brother.



Alto sax was still his instrument of choice when he joined Lionel Hampton's big band three days after his high school graduation, but Hampton encouraged him to take up the tenor, playing alongside Arnett Cobb. He first appeared on a Los Angeles recording with Hampton's band in 1945 at the age of 17.


By mid-1947, Griffin and fellow Hampton band member Joe Morris had formed a sextet made up of local musicians, including George Freeman, where he remained for the next two years. His playing can be heard on various early Rhythm and Blues recordings for Atlantic Records.



By 1951 Griffin was playing baritone sax in an R&B sextet led by former bandmate Arnett Cobb.
After returning to Chicago from two years in the Army, Griffin began establishing a reputation as one of the premiere saxophonists in that city. Thelonious Monk enthusiastically encouraged Orrin Keepnews of Riverside Records to sign the young tenor, but before he could act Blue Note Records had signed Griffin.


He joined Art Blakey's Jazz Messengers in 1957, and his recordings from that time include a memorable album joining together the Messengers and Thelonious Monk. Griffin then succeeded John Coltrane as a member of Monk's Five Spot quartet; he can be heard on the albums "Thelonious in Action" and "Misterioso".


Griffin was leader on his first Blue Note album Introducing Johnny Griffin in 1956. Also featuring Wynton Kelly on piano, Curly Russell on bass and Max Roach on drums, the recording brought Griffin critical acclaim.

A 1957 Blue Note album "A Blowing Session" featured him with fellow tenor players John Coltrane and Hank Mobley. He played with Art Blakey's Jazz Messengers for a few months in 1957, and in the Thelonious Monk Sextet and Quartet (1958). During this period, he recorded a set with Clark Terry on Serenade To a Bus Seat featuring the rhythm trio of Wynton Kelly, Paul Chambers and Wynton Kelly, Paul Chambers, and Philly Joe Jones.



At this stage in his career, Griffin was known as the "fastest tenor in the west", for the ease with which he could execute fast note runs with excellent intonation.
Subsequent to his three albums for Blue Note, Griffin did not get along with the label's house engineer Rudy Van Gelder recorded for the Riverside label.
From 1960 to 1962 he and Eddie "Lockjaw" Davis led their own quintet, recording several albums together.


He went to live in France in 1963, moving to the Netherlands in 1978. Apart from appearing regularly under his own name at jazz clubs such as London's Ronnie Scott's, Griffin became the "first choice" sax player for visiting US musicians touring the continent during the 60s and 70s. He briefly rejoined Monk's groups (an Octet and Nonet) in 1967.


Griffin and Davis met up again in 1970 and recorded "Tough Tenors Again 'n' Again", and again with the Dizzy Gillespie Big 7 at the Montreaux Jazz Festival. In 1965 he recorded some albums with Wes Montgomery. From 1967 to 1969, he formed part of The Kenny Clarke-Francy Boland Big Band, and in the late 70s, recorded with Peter Herbolzheimer And His Big Band, which also included, among others, Nat Adderly, Derek Watkins, Art Farmer, Slide Hampton, Jiggs Whigham, Herb Geller, Wilton Gaynair, Stan Getz, Gerry Mulligan, Rit a Reys, Jean "Toots" Thielemans, Niles-Henning Orsted Pedersen, , Grady Tate, and Quincy Jones as arranger. He also recorded with the Nat Adderly Quintet in 1978, having previously recorded with Adderley in 1958.


On July 25, 2008, Johnny Griffin died of a heart attack at the age of 80 in Mauprévoir, near Avvailles-Limouzine, France, where he had lived there for the past 24 years. His last concert, July 21, 2008 was played in Hyères, France.

Johnny Griffin plays at the Village Vanguard.
http://www.youtube.com/watch?v=uUYUcLRud50


Reference - Wikipédia

SEVERINO ARAÚJO, O MAESTRO DA ORQUESTRA TABAJARA


O maestro e compositor Severino Araújo nasceu no 23 de abril de 1917, em Limoeiro, Pernambuco, numa familia de músicos. Foi seu pai, mestre de banda em Limoeiro , quem deu a ele as primeiras noções de música.O irmão mais velho, José Araújo de Oliveira, conhecido como Zé Bodega, notabilizou-se como saxofonista.



Ainda criança adotou a clarineta como instrumento favorito. Na década de 30 mudou-se para João Pessoa na Paraiba, onde tornou-se clarinetista da banda militar. No ano de 1936, escreveu o choro " Espinha de Bacalhau", uma de suas composições mais famosas composições.



Em 1937 assumiu a direção da Orquestra Tabajara que dirije até hoje. Severino Araújo não poderia seguir outro caminho. A Orquestra Tabajara (a mais antiga em atividade no Brasil), nasceu na Rádio Tabajara de João Pessoa onde atuava como regente da orquestra que originalmente era da radio. Quando o maestro mudou-se para o Rio, não demorou muito a convidar todos os músicos da Tabajara para a então capital do país.



A partir e 1945, a Orquestra Tabajara tornou-se uma das mais requisitadas do Rio, contratada pela Raio Tamoio, e animando bailes em cidades interioranas. O primeiro disco foi gravado naquele mesmo ano, pela Continental.



Embora distante de sua terra natal há tantas décadas, Severino Araújo nunca deixou de compor e tocar frevos principal diferencial de sua orquestra. Apenas em 1945, a Orquestra adotou oficialmente o Rio de Janeiro como sua sede.


Sempre inspirada nas “big bands” norte-americanas, a Orquestra anima bailes, festas e gafieiras desde os anos 40, até hoje, totalizando mais de 13 mil apresentações. A Orquestra Tabajara trabalhava em emissoras de rádio. Com grande popularidade gravou mais de 100 discos de 78 Rpm, batendo recordes de longevidade, além de alicerçar o trabalho de cantores como Jamelão, com quem gravou dois discos-tributos a Lupicínio Rodrigues.



Durante a existência do Circo Voador, no Rio de Janeiro, a Tabajara era a atração tradicional dos domingos, com a Domingueira Voadora. O repertório é composto tanto de clássicos do jazz e da canção norte-americana quanto de temas da música brasileira.



Severino Araújo, que foi aluno de Koellreuter, é autor de várias músicas executadas pela Orquestra, quando completou 80 anos comemorou a data ainda firme à frente do grupo. Agora, com 83, continua regendo e ensaiando. Ponto para o grande maestro brasileiro e para os seus inúmeros fãs.
O CD que gravou em homenagem à Frank Sinatra, merece audição dos aficionados pelo grande cantor.
Clique para ouvir "Espinha de Bacalhau" Beleza pura!!!!!
Referencia - Musicos do Brasil

Friday, April 23, 2010

KENDRA SHANK



Jazz, folk/pop singer and guitarist Kendra Shank was born on April 23, 1958 in Seattle, Washington. Her crystal-pure tone, powerful musicianship and elastic phrasing have won her rave critical notices and fans worldwide. Hailed by critics as “one of the most innovative of present-day jazz vocalists” (Drew Wheeler, CD Now) and “one of the top jazz singers around today” (Scott Yanow, L.A. Jazz Scene), she has headlined on the club and festival circuits internationally, captivating audiences with her genuine warmth, emotional depth and musical prowess.




Kendra Shank comes to performance naturally. Her father was a playwriter and her mother an actress. She was acting in plays at age 5, picked up the guitar at 13 and at 19 began her professional music career. Jazz, however, came later. During a residency in Paris, the influence of jazz artists grew, especially Billie Holiday.




Building on studies with jazz vocalist Jay Clayton in Seattle, Shank's jazz career blossomed quickly and in 1991 she was hired by Bob Dorough as vocalist/guitarist/percussionist for his west coast tour. She soon caught the attention of jazz legend Shirley Horn who co-produced Kendra's critically-acclaimed debut compact disc, “Afterglow” (Mapleshade, 1994), featuring pianist Larry Willis and saxophonist Gary Bartz, and invited Kendra to perform as her guest at the Village Vanguard in New York City. Ms. Shank relocated to New York in 1997 and went on to record two albums for Jazz Focus Records, “Wish” (1998) and “Reflections” (2000), both of which climbed the Gavin Jazz radio charts and garnered critical acclaim, as well as admiration from fellow artists like Abbey Lincoln who says, “Kendra Shank is an original.



Putting her own spin on a repertoire that embraces jazz originals, standards, and French tunes, Kendra Shank transcends musical genres and is indeed an original.



In addition to her recordings as a leader, Kendra Shank has been a sought-after musical guest, contributing her guitar work to Abbey Lincoln's CD “Over The Years” (Verve) and her vocalese lines to Peter Leitch's “Blues On the Corner” (Reservoir). She has been featured on the prestigious National Public Radio shows JazzSet with Dee Dee Bridgewater and Piano Jazz with Marian McPartland and was recognized among “Talent Deserving Wider Recognition” by the Down Beat International Critics Poll in 1999.



Her CD “Wish” was named a “Top Ten Album of 1999” in Jazziz and her “Reflections” CD made the Top Ten List of several publications, including Newsday and The Boston Globe.




“This vocalist makes lyrics believable, invents like an instrumentalist, and has an ear second to none for little-known and unknown tunes,” says the Globe's Bob Blumenthal.



Kendra sings "All of You"


http://www.youtube.com/watch?v=1Rw9vFlR_YY



Reference - AAJ

Thursday, April 22, 2010

CHARLES MINGUS, A JAZZ GIANT


Contrabaixista, compositor e ocasionalmente pianista de jazz Charles Mingus Jr., nasceu no 22 de abril de 1922, em uma base militar em Nogales no Arizona. Mingus também ficou conhecido pelo seu ativismo contra a injustiça racial, muito presente no seu país.


Charles Mingus é geralmente colocado entre os grandes nomes do jazz, gravando vários álbuns muito apreciados pelos amantes de jazz. As suas melodias, não são muitas vezes re-gravadas, devido á sua natureza pouco convencional, no entanto, Mingus foi também um influente e criativo músico, convidando para a sua banda artistas talentosos e, por vezes, menos conhecidos que ele achou que reuniam as características necessárias para a integrar.


Corria a boca pequena, no âmbito musical, que Mingus tinha muitas vezes um temível temperamento, o que originou a sua alcunha no mundo do Jazz, de "The Angry Man of Jazz" (O homem raivoso do jazz). Este comportamento negativo, acabou por comprometer a sua integridade musical, resultando em autênticas erupções de raiva em cima do palco, embora ele tenha conseguído moderar o seu comportamento.


É considerado, ao lado de Thelonius Monk e Duke Ellington, um dos três maiores compositores da história do Jazz.


Mingus faleceu em janeiro, de 1979.


Charles Mingus & Companhia em "Take the A Train"



Jazz musician (double bass player), composer, bandleader, and human rights activist Charles Mingus, Jr. , was born on April 22, 1922 in an Army Base in Nogales, Arizona.


Having released numerous records of high regard, Mingus is considered one of the most important composers and performers of jazz as well as a pioneer in bass technique. Dozens of musicians passed through his bands and later went on to impressive careers. Mingus was also influential and creative as a band leader, recruiting talented and sometimes little-known artists whom he assembled into unconventional and revealing configurations.


Nearly as well known as his ambitious music was Mingus' often fearsome temperament, which earned him the nickname "The Angry Man of Jazz." His refusal to compromise his musical integrity led to many on-stage eruptions, exhortations to musicians, and dismissals.
Most of Mingus's music retained the hot and soulful feel of hard bop and drew heavily from black gospel music while sometimes drawing on elements of Third Stream, free jazz, and even classical music.



Yet Mingus avoided categorization, forging his own brand of music that fused tradition with unique and unexplored realms of jazz. Mingus focused on collective improvisation, similar to the old New Orleans Jazz parades, paying particular attention to how each band member interacted with the group as a whole. In creating his bands, Mingus looked not only at the skills of the available musicians, but also their personalities. He strove to create unique music to be played by unique musicians.


Because of his brilliant writing for mid-size ensembles—and his catering to and emphasizing the strengths of the musicians in his groups—Mingus is often considered the heir apparent to Duke Ellinton, for whom he expressed unqualified admiration. Indeed, Dizy Gillespie had once claimed Mingus reminded him "of a young Duke", citing their shared "organizational genius."


Although Mingus' music was once believed to be too difficult to play without Mingus' leadership, many musicians play Mingus compositions today, from those who play with the repertory bands Mingus Big Band, Mingus Dynasty, and Mingus Orchestra, to the high school students who play the charts and compete in the Charles Mingus High School Competition.



In 1988, a grant from the National Endowment for the Arts made possible the cataloging of Mingus compositions, which were then donated to the Music Division of the New York Public Library for public use.



In 1993, The Library of Congress acquired Mingus's collected papers — including scores, sound recordings, correspondence and photos — in what they described as "the most important acquisition of a manuscript collection relating to jazz in the Library's history".


Mingus passed away in January, 1979.



Reference - Wikipédia

Wednesday, April 21, 2010

GILSON PERANZZETTA


O pianista, compositor, arranjador e maestro brasileiro Gilson José de Azere Peranzzetta, conhecido musicalmente como Gilson Peranzzetta, nasceu no 21 de abril de 1946, no Rio de Janeiro.



Conhecido por imprimir criatividade e delicadeza a sua performance como pianista e arranjador, Gilson nasceu em uma família de músicos. Aos nove anos de idade, começou a estudar acordeon, decidindo-se, um ano depois, pelo piano. Cursou a Escola Nacional de Música e o Conservatório Brasileiro de Música.


Iniciou sua carreira profissional em 1964, acompanhando diversos artistas como Elizeth Cardoso, Maria Creuza, Antonio Carlos e Jocafi, Gonzaguinha, Simone, Gal Costa, Joanna, Edu Lobo e Ivan Lins, com quem atuou também, durante 10 anos, como arranjador, diretor musical e produtor musical.


Citado pelo maestro e produtor Quincy Jones como um dos maiores arranjadores do mundo, Gilson Peranzzetta, ao longo de sua carreira recebeu inúmeros prêmios, entre eles três Prêmios Sharp de Música como melhor arranjador, melhor compositor e melhor intérprete. Contabiliza 33 CDs solo lançados nos últimos 20 anos, - os nove últimos saíram pelo selo Marari Discos, criado por Peranzzetta em 1999 - além de centenas de cds gravados para diversos artistas como pianista, produtor e arranjador. O CD "Manhã de Carnaval - Brazilian Standards", lançado em 2005, foi publicado simultaneamente no Brasil, na Argentina e na Espanha.


Compõe também trilhas sonoras para filmes e seriados de televisão. Sua música Setembro, em parceria com Ivan Lins foi incluída na trilha sonora da premiada série norte-americana Dallas e no filme Boys´n the Hood, Sorriso de Luz, na mini-série brasileira Labirinto e Ciúme, no filme Dom estrelado por Marcos Palmeira e Maria Fernanda Cândido.



Peranzzetta tem atualmente 150 músicas compostas muitas delas gravadas por artistas nacionais como Djavan, Ivan Lins, Leila Pinheiro,Leila Pinheiro, Dori Caymmi, e por artistas internacionais como George Benson, Sarah Vaughan, Quincy Jones, Dianne Schurr e Shirley Horn, entre outros. Apresenta-se anualmente no Japão, Estados Unidos e Espanha (onde morou por três anos).


A cada dois anos grava com a WDR Big Band, da cidade de Colônia - Alemanha e com ela excursiona pela Europa atuando como maestro, arranjador e intérprete. Para a música de concerto, Gilson compôs a suite "Miragem", para orquestra sinfônica e piano, executada em primeira audição pela Jazz Sinfônica de São Paulo, em 1997 e a suite “Metamorfose”, para piano e orquestra executada em primeira audição em 2002, pela Orquestra Sinfônica Brasileira, com Peranzzetta como solista ao piano.


Para a formação piano e orquestra de cordas compôs "Cantos da Vida" e "Valsa pra Lili". Gravou com o Rio Cello Ensemble o CD "Sorrir" e participou de dois discos do Quinteto Villa-Lobos como compositor e intérprete. Há dez anos desenvolve um trabalho que une o erudito ao popular ao lado de Mauro Senise (sax e flauta) e David Chew (violoncelo), registrado no CD " Extra de Vários" (2005).

Em janeiro de 2006 foi convidado pelo compositor Billy Blanco para orquestrar e reger a Sinfônica do Rio de Janeiro (Tom Jobim e Billy Blanco). Além da orquestração e da regência Peranzzetta compôs para a Sinfônica uma nova introdução e todas as ligações entre as canções. Ainda no primeiro semestre de 2006 Peranzzetta lançou, pelo selo Marari dois novos CDs: "Valsas e Canções" e "Bandeira do Divino".


Atualmente Gilson Peranzzetta realiza concertos solo, com seu trio popular (com as participações de Luiz Alves – baixo e João Cortez – bateria), em duo com Mauro Senise (o duo possui três cds lançados em 18 anos de parceria), com o trio erudito (em parceria com Mauro Senise – sax e flauta e David Chew – violoncelo) e concertos como solista convidado de orquestras, além de ministrar workshops de interpretação, arranjo e composição.

Gilson Peranzzetta no palco.
http://www.youtube.com/watch?v=RemfgJVyDOU

Referencia - Wikipédia

SLIDE HAMPTON

Jazz trombonist Locksley Wellington Hampton, best known as Slide Hampton, was born on April 21,1932, in Jeannette, Indiana. His distinguished career spans decades in the evolution of jazz and he was also a Grammy winner in 2005 for "Best Large Jazz Ensemble Album," The Way: Music of Slide Hampton, The Vanguard Jazz Orchestra", and received another nomination in 2006 for his arrangement of "Stardust" for the Dizzy Gillespie All-Star Big Band.

In 2005, the national Endowment for the Arts honored Slide Hampton with its highest honor in jazz, the NEA Jazz Masters Award. A master composer/arranger and uniquely gifted trombone player, Hampton's career is among the most distinguished in jazz.

At the age of 12 he was already touring the Midwest with the Indianapolis-based Hampton Band, led by his father and comprising other members of his musical family. By 1952, at the age of 20, he was performing at Carnegie Hall with the Lionel Hampton Band. He then joined Maynard Ferguson's band, playing trombone and providing exciting charts on such popular tunes as “The Fugue,” “Three Little Foxes,” and “Slide's Derangement.”

As his reputation grew, he soon began working with bands led by Art Blakey, Dizzy Gillespie, Barry Harris, Thad Jones, Mel Lewis, and Max Roach, again contributing both original compositions and arrangements. In 1962, he formed the Slide Hampton Octet, which included stellar horn players Booker Little, Freddie Hubbard, and George Coleman. The band toured the U.S. and Europe and recorded on several labels.
From 1964 to 1967, he served as music director for various orchestras and artists. Then, following a 1968 tour with Woody Herman, he elected to stay in Europe, performing with other expatriates such as Benny Bailey, Kenny Clarke, Kenny Drew, Art Farmer, and Dexter Gordon. Upon returning to the U.S. in 1977, he began a series of master classes at Harvard, the University of Massachusetts at Amherst, De Paul University in Chicago, and Indiana University. During this period he formed the illustrious World of Trombones: an ensemble of nine trombones and a rhythm section.
Slide Hampton's countless collaborations with the most prominent musicians of jazz were acknowledged by the 1998 Grammy Award for Best Jazz Arrangement with a Vocalist.
The 1990's were spent doing an enormous volume of work. He continued to develop the Slide Hampton Quartet and Quintet, toured the world with the Dizzy Gillespie Alumni All-Stars, was a special advisor and arranger for the Carnegie Hall Jazz Band and arranged numerous recording projects around the world.
2006 saw the debut of Slide's own Big Band...”Slide Hampton(TM) Ultra Big Band”. The band recorded a CD of original compositions that set the standard of what Big Band is all about. Four of the songs included on the CD are; “Mandela”, “Oprah”, “Tiger” and “Venus & “Serena”. The CD is one of the best works that Slide has done to date. These four songs contain lyrics co-written by Slide and Tony Charles. Other honoress are: Thelonious Monk ('Round Midnight), Thad Jones (One for Thad, Eddie Harris (Freedom Jazz Dance) and Gil Evans (Gil).
A charismatic figure, master arranger, and formidable trombonist, Slide Hampton holds a place of distinction in the jazz tradition. Mr. Hampton was named a NEA Jazz Master in 2005.
Slide Hampton™ is the trade and business mark of Slide Hampton Musique Publishing.
Slide plays.
Reference - AAJ

ALFRED LION, FUNDADOR DA BLUE NOTE RECORDS.

(Foto - Alfred Lion com o saxofonista Dexter Gordon)
O judeu alemão, naturalizado americano, executivo e co-fundador da Gravadora Blue Note, Alfred Lion, nasceu no 21 de abril de 1909, em Berlim e foi o responsável direto pelas gravações realizadas com os gigantes do jazz nos anos 40,50 e 60.



Alfred tornou-se aficionado pelo jazz ainda adolescente aos 16 anos, quando esteve na platéia de um concerto de jazz da Orquestra de Sam Wooding, na sua cidade natal. Em 1929 ele migrou para os Estados Unidos, mas devido a um problema fisico, retornou para Alemanha em busca de tratamento hospitalar. Em 1933 estava na America do Sul onde trabalhava para empresas de exportação/importação e somente retornou para Nova York em 1938.



Ao assistir um dos concertos da série "From Spirituals to Swing" no Carnegie Hall, foi inspirado a criar a sua própria gravadora. Contando com o apoio financeiro do escritor comunista Max Margulis, Lion fundou a gravadora Blue Note em 1939. Para primeira sessão de gravações do novo empreendimento, Lion escalou dois músicos que o haviam impressionado: o pianista de boogie woogie Albert Ammos e Meade Lux Woods. Mas, o primeiro sucesso de público só veio com a gravação de "Summertime" pelo saxofonista Sidney Bechet, naquele mesmo ano.


Nesse meio tempo foi convocado para servir o exército e deixou no comando dos negócios o conterrâneo e amigo de infância Francis Wolff, que recebeu na sua ausência, o total apoio de Milt Gabler (tio do comediante Billy Crystal), proprietário em Nova York da então famosa loja de discos Commodore. Nesse periodo, Margulis deixou a sociedade.



Lion foi levado a se convencer pelo saxofonista Ike Quebec, a investir nas manifestações jazzisticas mais modernas. Ike apresentou-o ao fabuloso pianista Thelonious Monk e este veio a se tornar no primeiro jazzista da nova era do jazz, a gravar na Blue Note.



Três ingredientes tornavam destacadas as gravações da Blue Note: os trabalhos de gravação do engenheiro Rudy Van Gelder, as fotografias de Francis Wolff e a arte das capas dos discos, realizada por Reid Miles. Lion e Wolff eram muito respeitados pelos músicos de jazz, principalmente, por frequentarem sistematicamente, os ambientes onde o jazz florecia.


As gravações com músicos "avant-garde" como Andrew Hill (que ele lançou) e Cecil Taylor e o envolvimento no inicio de tudo com Thelonious Monk e Herbie Nichols, foram, segundo Lion, os grandes prazeres de sua carreira.


O estilo que ficou conhecido como "hard bop" foi predominante nos lançamentos da gravadora nos anos 50 e 60. O baterista Art Blakey e o pianista-compositor Horace Silver foram pioneiros deste estilo. Em meados dos anos 50 a gravadora enfrentou problemas financeiros causados pela mudança para o formato LP ( discos long playing), mas a gravadora foi salva pelo movimento orgão/soul jazz liderado pelo organista e jazz master Jimmy Smith.



"Existe um toque de ironia no fato de que a Gravadora Blue Note, sinônimo do jazz e da forma seminal da música americana, ter sido fundada por dois imigrantes alemães" ( Richard Cook no livro "The Biography of Blue Note Records")



Alfred Lion, faleceu em fevereiro de 1987 em San Diego, na Califórnia.


Tradução de Humberto Amorim

Translated by Humberto Amorim

Thelonious Monk toca "Blue Monk"
http://www.youtube.com/watch?v=SmhP1RgbrrY

Jewish-German born American record executive and co-founder of Blue Note Records in 1939, Alfred Lion, was born on April 21 1909 in Berlin, and recoprded many of the biggest names in jazz throughtout the 1940s,50,s and 60s.


Alfred Lion, began his lifelong fascination with jazz at the age of 16 when he saw a jazz concert given by Sam Wooding's Orchestra in his native town. In 1929 Alfred Lion migrated to the United States, but a physical attack necessitated hospital treatment, and he was forced to return to Germany. From 1933 Lion was based in South America, working for German import-export companies, only returning to New York in 1938. Lion's presence at one of the concerts given under the "From Spirituals to Swing" banner at Carnegie Hall inspired him to start his own record label.


In partnership with communist writer Max Margulis (he supplied the start-up capital) Lion founded Blue Note in 1939. In the label's first record session on January 6, Lion recorded two musicians who had impressed him at the earlier concert: the boogie-woogie pianists Albert Ammons and Meade Lux Lewis. The company's first hit, recorded in the same year, was Sidney Bechet's recording of "Summertime". It was notable for being issued on a 12" 78rpm record instead of the then standard 10" owing to its length.


By the time Lion was drafted into the army, his Berlin childhood friend Francis Wolff had joined him, and under the wing of Milt Gabler and his Commodore Music Store, Wolff sustained the business in Lion's absence. (Margulis had by now permanently dropped out of any involvement with Blue Note.)


At the persuading of Ike Quebec, Lion began to explore more modern developments in jazz, and Quebec introduced Lion to Thelonious Monk, the first 'modern' jazz musician Blue Note was to record. Blue Note's involvement with modern jazz was not total for several years, and Lion continued his label's association with Bechet and clarinetist George Lewis into the 1950s. Wolff himself would supervise few sessions himself until after Lion's retirement, concentrating on the company's business affairs.


What became known as the "hard bop" style would predominate in Blue Note's output during the 1950s and 1960's. Musicians like Art Blakey and Horace Silver among others epitomised this style. In the mid-fifties though, Blue Note was a struggling label, hit by the record industry's changeover to the 12" LP format, but the popularity of the organ/soul jazz craze, epitomized by the work of Jimmy Smith, ensured that the label survived.


Three significant elements make Blue Note releases stand out: the work of recording engineer Rudy Van Gelder, the photographs of Francis Wolff and the cover designs principally by Reid Miles. Lion and Wolff were also respected by musicians for their straight dealing and for 'hanging out' in the jazz scene.


Blue Note also recorded avant-garde musicians like Andrew Hill and Cecil Taylor. Indeed it was Lion's discovery of Hill, which he would later cite, along with his earlier involvement with Thelonious Monk and their fellow pianist Herbie Nichols, as having given him particular pleasure during his career.

Duke Pearson, who Lion appointed after Quebec's death in 1963, helped to ensure that the label's roster remained fresh as a whole. In fact the popularity that Horace Silver's "Song for my Fathar" and Lee Morgan's "The Sidewinder" resulted in Lion being pressurised by his distributors into producing more hits.


Having suffered from heart problems for some years, Lion retired in 1967 having sold the Blue Note label and catalogue to Liberty Records in 1965. Wolff stayed with the label until his death in 1971. Liberty Records in turn was acquired by United Artists, and the Blue Note imprint went dormant until it was revived by record executive Bruce Lundvall under the ownership of EMI.


Lion himself retired to Mexico with his second wife, the former Ruth Mason and dropped out of any direct connection with his former life, though he remained in contact with Horace Silver, who respected his privacy. Lion contacted the co-founder of Mosaic Records, Michael Cuscuna, around 1984 having noticed that label's early box-sets of Blue Note recordings. At the end of his life, Lion gained the recognition he had often been denied, including visiting several Blue Note festivals in Japan.


There has been an extensive reissue campaign under Lundvall's direction of Blue Note recordings, many of which have been spearheaded by Michael Cuscuna.

Alfred passed away in February, 1987 in San Diego, California..




References: Michael Cuscuna, Michel Ruppli: The Blue Note label. A discography. Greenwood Press, Westport, Connecticut 2001.
Donald Clarke (Ed.): The Penguin encyclopedia of popular music. Viking, London 1989.


"It's a bit of an irony that the Blue Note label — synonymous with jazz, the seminal American music form — was created by two German immigrants"

In Blue Note Records, The Biography, author Richard Cook tells the story of Alfred Lion and Francis Wolff, who formed the label in 1939."


.