HUMBERTO AMORIM - JAZZ IS TIMELESS

"ALL THAT JAZZ" PRESTA HOMENAGEM AOS SAXOFONISTAS.

2010-11-06T18:46:00.003-04:00

(Junior Leal saxofonista tenor da banda "All That Jazz")

A banda amazonense "All That Jazz", retorna, após dois meses de ausência, ao palco do gastropub "O Chefão" em Manaus, para apresentar show totalmente dedicado à cidade de Manaus que completou 341 anos no ultimo mês de Outubro, e a todos os saxofonistas do planeta, pela passagem do Dia do Saxofone, celebrado hoje.

Diferentemente do que ocorreu na maioria dos instrumentos musicais que conhecemos hoje em dia, o saxofone não foi simplesmente um fruto da evolução de outro instrumento mais arcaico. Pelo contrário, o mesmo foi totalmente criado em 1840.
O inventor do saxofone foi o belga Adolph Sax, um criativo criador de instrumentos. Sax estudou na Royal School of Singing, em Bruxelas, onde teve a sua formação musical. O belga trabalhava junto com seu pai, Charles, que ganhava a vida fabricando instrumentos musicais.
Contudo, Sax focava seu trabalho na criação de novos instrumentos. Seus estudos de flauta e clarinete lhe permitiram fazer um significativo aperfeiçoamento do clarinete-baixo, em 1834. Acredita-se que foi a partir daí que Sax teve a idéia do saxofone: adaptar uma boquilha semelhante à do clarinete.
O saxofone foi exibido pela primeira vez em 1844, na "Paris Industrial Exibicion", em Paris, o que chamou a atenção de todos pela sua “estranha” e bela sonoridade. O instrumento foi patenteado em 1846. Até hoje, o mesmo permanece muito semelhante ao modelo criado por Adolph Sax.

A história do sax alto como instrumento de destaque dentro do jazz começa com alguns músicos que tocaram nas orquestras de swing a partir dos anos 30: Johnnny Hodges (da orquestra de Duke Ellington} Benny Carter (ele mesmo também bandleader) e Willie Smith. Nos anos 40 a história do sax alto (e talvez até mesmo do próprio jazz) se precipita sobre Charlie Parker. A sua sonoridade agressiva, seu fraseado imprevisível, sua capacidade inesgotável de improvisação, o lugar que ocupa dentro da estética do jazz como pai do bebop, até mesmo a sua biografia trágica, tudo isso o transforma numa figura de dimensões míticas. É difícil contabilizar o imenso número de saxaltistas e mesmo saxtenoristas que foram influenciados por Bird - isso não apenas nos anos 40, mas também décadas depois.

Somente com o advento do cool jazz surgiria um estilo de tocar o alto completamente diferente do de Parker: o de Lee Konitz (ligado à escola de Lennie Tristano). Também merece destaque um dos mais populares sucessores de Konitz: Paul Desmond, que integrou por longos anos o quarteto cult de dave Brubeck e possuía um som leve e um fraseado fluido.

No cenário hardbop e posterior, temos Sonny Stitt (inicialmente influenciado por Charlie Parker, mas que, tocando também o tenor, veio a desenvolver ali um estilo mais pessoal), Julian “Cannonball” Adderley (que tocou no notável sexteto de Miles Davis na segunda metade dos anos 50), Ornette Coleman (o pai do free jazz) e Anthony Braxton (cujo disco "For Alto" foi um marco na evolução do sax alto contemporâneo).

Esta será a ponta do fio da meada que nós, integrantes da banda ATJ, utilizaremos para desfiar o repertório jazzistico para homenagear a cidade, aos saxofonistas gigantes do jazz e principalmente àqueles quee em Manaus e em outras partes do Brasil escreveram com seu instrumento várias paginas da nossa cultura musical popular com virtuosismo e musicalidade incomum como Teixeira de Manaus, Carioca, Claudio Abrantes, Leo Gandelman, Victor Assis Brasil e o mestre Paulo Moura, entre outros.

Viva os saxofonistas, o saxofone, a música jazz e All That Jazz..

Humberto Amorim, Junior Leal, Leonardo Pimentel, Roger Vargas e Cezar Serafim

Coleman Hawkins plays Body and Soul.

http://www.youtube.com/watch?v=0Q7J4PgrRsY

Tacacá com Jazz..

2010-08-16T19:22:00.001-04:00

2010-08-03T17:23:00.001-04:00

ALBERT "TOOTIE" HEATH

2010-06-20T21:06:00.004-04:00

Jazz hard bop drummer Albert "Tootie" Heath, was born on May 31, 1935, the brother of tenor saxophonist Jimmy Heath and double-bassist Percy Heath.
He first recorded in 1957 with John Coltrane. From 1958 to 1974 he worked with, among others, J/.J. JOhnson, Wes Montgomery, Art Farmer and Benny Golson's's Jazztet, Cedar Walton, Bobby Timmons, Kenny Drew, Dexter Gordon, JOhnny Griffin, Herbie Hancock and Yusef Lateef.

In 1975, he, Jimmy and Percy formed the Heath Brothers. He remained with the group until 1978, then left to freelance. He has recorded extensively throughout his career.
Among his many workshop and classroom teaching assignments, Tootie Heath is a regular instructor at the Stanford Jazz Workshop.

Tootie Heath is now the producer and leader of The Whole Drum Truth, a jazz drum ensemble featuring Ben Riley, Ed Thigpen, Jackie Williams, Billy Hart, Charlie Persip, Leroy Williams and Louis Hayes.

The Heath Brothers.

http://www.youtube.com/watch?v=SZS9uveaX3g

Recommended CDs ( as leader)

1969: Kawaida - with Ed Blackwell, Herbie Hancock, Buster Williams
1974: Kwanza (The First) (Muse Records) - with Percy Heath,Jimmy Heath, Kenny Baron, Ted Dunbar, Curtis Fuller

As sideman

With John Coltrane

Coltrane (1957)
Lush Life (1960)
With Nina Simone

Little Girl Blue (1958)

Nina Simone and Her Friends (1959)
With The Young Lions
The Young Lions (1960) Vee Jay Records
With Wes Montgomery

The Incredible Jazz Guitar of Wes Montgomery (1960)
With George Rusell

George Russell Sextet at Beethoven Hall (1965)
With Herbie Hancock

The Prisoner (1969)

Reference - Wikipedia

DAVE McKENNA

2010-06-20T20:05:00.003-04:00

Jazz pianist Dave McKenna, was born on May 30, 1930 in Woonsocket, Rhode Island, into a musical family. His father William McKenna, a postman, played the drums part-time, and two sisters are singers. His mother, Catherine Reilly McKenna, was Dave's first piano teacher. In additions to being a good piano player, she was a fine violinist as a young woman. He also took lessons from Preston "Sandy" Sandiford in Boston, a fine piano teacher Dave liked very much. He explained that he developed his trademark left-handed bass style because "I wanted to hear something like what I heard on the records."

Dave began his career with Boots Mussulli Band, then left home to play with the Charlie Ventura band, followed by a stint with Woody Herman. After two years in the army, he returned to Charlie Ventura's band, then worked with Gene Krupa, Stan Getz, and Zoot Sims and Al Cohn. He often worked with Bobby Hackett, including some gigs at Eddie Condon's in Manhattan, playing what Hackett called "Whiskeyland Jazz." Among Dave's biggest influences was Nat King Cole. He was known for his "three-handed swing" and was a leading proponent of solo piano style.

He worked with a variety of top swing and Dixieland musicians including Gene Krupa, Stan Getz, Zoot Sims, Al Cohn, Bob Wilbur, Eddie Condon, and Bobby Hackett but became primarily a soloist after 1967, especially in the Northeast United States. McKenna performed with Louis Armstrong at the 1970 Newport Jazz Festival.

He started to be recognized in his own right during the 1970s, but chose to play in his local area rather than travel extensively. He preferred playing in clubs and hotels to getting center stage in major venues. He could be found playing in hotel piano bars in Massachusetts, including a decade-long run at the Copley Plaza in Boston, until his retirement around the turn of the millennium. A loyal Boston Red Sox fan, he was known to listen to games on his transistor radio while performing.

McKenna was also known as a wonderful accompanist, recording with such singers as Rosemary Clooney, Teddi King and Donna Byrne and recording a PBS special with Tony Bennett.
McKenna died in 2008 from lung cancer.

His musical presentation relies on two key elements relating to his choices of tunes and set selection, and the method of playing that has come to be known as "three-handed swing".
McKenna liked to make thematic medleys, usually based around a key word that appears in the titles, such as teach, love, women's names, dreams, night or day, street names, etc. There may be ballads and up-tempo songs blended together with standards, pop tunes, blues, and even TV themes or folk material. McKenna's renditions usually began with a spare, open statement of the melody, or, on ballads, a freely played, richly harmonized one. He often stated the theme a second time, gradually bringing more harmony or a stronger pulse into play.

The improvistion then began in earnest on three levels simultaneously, namely a walking bass line, midrange chords and an improvised melody. The bass line, for which McKenna frequently employes the rarely-used lowest regions of the piano, is naturally being played in the left hand, often non-legato, to simulate an actual double bassist's phrasing, the melody in the right. The chords are interspersed using the thumb and forefinger of the right hand or of both hands combined, if the bass is not too low to make the stretch unfeasible. Sometimes he also adds a guide-tone line consisting of thirds and sevenths on top of the bass, played by the thumb of the left hand.

His famous four-to-the-bar "strum" is achieved by the left hand alone, playing a bass note (root/fifth/other interval) plus third and seventh, leading to frequent left-hand stretches of a tenth, which is why these voicings frequently appear arpeggiated, with the top two notes being played on the beat, the bass note slightly before. These voicings are often subtly altered every two beats, for variety. This playing style is frequently mistaken for a stride piano, which it is clearly not, as it is of a four-beat nature, as opposed to the two-beat "oom-pah" of true stride piano, as exemplified by Fats Waller, James P. Johnson, and the like. McKenna usually reserves all-out stride for sections where a bassist would play half notes, i.e. ballads and Dixieland-tinged material. The result is the sound of a three piece band under one person's creative control.
McKenna can weave a spontaneous melodic line, usually with lots of chromaticism and blues licks, over the bass line. The bass can be anything from single notes to repeated chords like a rhythm guitar to a full-blown stride piano, the latter often reserved for the height of a song's development.

The characteristic that perhaps most distinguishes McKenna's playing is his sense of time. One of the most commonly cited difficulties of solo jazz piano is the need to provide a compelling time feel, in part by emulating the rhythmic landscape normally provided by three or four players in a small group. By conceiving of multiple "parts" and playing them with distinct volume levels and time feels (often with right hand chords ahead of the beat and the melody behind the beat), McKenna showed a unique ability to reproduce the small group sound on the piano.
His recordings on the Concord record label attest to both the excitement and tenderness of his playing. His contribution to the development of jazz piano as a solo voice will not be forgotten by musicians or the history books. Art Tatum, often considered the greatest soloist in jazz piano history, praised McKenna as someone he considered a complete musician.

McKenna had an extensive recording career from 1958 to 2002, and recorded for ABC- Paramount (1956), Epic (1958), Bethlehem (1960) and Realm (1963). McKenna made several recordings for Chiaroscuro Records in the 1970s, including his comeback album "Solo Piano". McKenna debuted with Concord in 1979, where the majority of his catalogue rests, including one volume of Concord's 42-disc series recorded live inside Maybeck Recital Hall. McKenna's last recording, "An Intimate Evening With Dave McKenna" was released on Arbors Records in 2002.

Recommended Cds

Giant Strides, 1979, Concord Records
Bill Evans: A Tribute, 1982, palo Alto Records

Dave passed away on October, 2008.

Dave McKenna plays.

http://www.youtube.com/watch?v=AZKKIlUOi1Y

Reference - Wikipedia

GLADYS KNIGHT, THE EMPRESS OF SOUL

2010-06-20T19:26:00.003-04:00

American R&B and soul singer song-writer, actress, businesswoman, humanitarian and author, Gladys Maria Knight, was born on May 28, 1944, in Atlanta, Georgia, the daughter of Elizabeth (née Woods) and Merald Knight Sr, a postal worker.

She first achieved minor fame by winning Ted Mack's Original Amateur Hour TV Show contest at the age of 7 in 1952. The following year, she, her brother Merald, sister Brenda, and cousins Williams and Eleonor Guest formed a musical group called The Pips (named after another cousin, James "Pip" Woods).Known as the "Empress of Soul", she is best known for the hits she recorded during the 1960s and 1970s, for both the Motown and Buddah Records labels, with her group Gladys Knight and the Pips, the most famous incarnation of which also included her brother Merald "Bubba"Knight and her cousins Edward Patten and William Guest.

Knight discovered she was pregnant in 1960, and married her high school sweetheart James Newman. After a miscarriage, Knight returned to performing with the Pips. In 1961, Bobby Robinson produced the single "Every Beat of My Heart" for the group, which became a #1 R&B and #6 pop hit when released on Vee Jay Records. In 1962, Langston George left the group, which at that time renamed itself Gladys Knight & the Pips and continued as a quartet.
In 1962, after scoring a second hit, "Letter Full of Tears", Knight became pregnant again and gave birth to a son, Jimmy III, that year. She retired from the road to raise her child while "The Pips" toured on their own. After giving birth in 1963 to a daughter, Kenya, Knight returned to recording with the Pips in order to support her family.

Knight and the Pips perform aboard the aircraft carrier USS Ranger on November 1, 1981.
Gladys Knight & the Pips joined the Motown roster in 1966, and, although regarded as a second-string act, scored several hit singles, including "I Heard it Through the Grapevine," (recorded later by Marvin Gaye), "Friendship Train" (1969), "If I Were Your Woman" (1970), "I Don't Want To Do Wrong" (1971), the Grammy Award winning "Neither One of Us ( Wants to be the First toi Say Good Bye)" (1972), and "Daddy Could Swear (I Declare)" (1973). In their early Motown career Gladys Knight and the Pips toured as the opening act for Diana Ross and The Supremes. Gladys Knight stated in her memoirs that Miss Ross kicked her off the tour because the audience's reception to Knight's soulful performance overshadowed her. Berry Gordy later told Gladys that she was giving his act a hard time.

The act left Motown for a better deal with Buddah Records in 1973, and achieved full-fledged success that year with hits such as the Grammy-winning "Midnight Train to Georgia" (#1 on the pop and R&B chart), "I've Got to Use My Imagination," and "You're the Best Thing That Ever Happened to Me." In the summer of 1974, Knight and the Pips recorded the soundtrack to the successful film Claudine with producer Curtis Mayfield.

The act was particularly successful in Europe, and especially the United Kingdom. However, the Buddah hits all followed a number of years after their success in the U.S.. For example "Midnight Train to Georgia" hit the UK pop charts Top 5 in the summer of 1976, a full three years after its success in the U.S..
During this period of greater recognition, Knight made her motion picture acting debut in the film Pipe Dreams, a romantic drama set in Alaska. The film failed at the box-office, but Knight did receive a Golden Globe Best New Actress nomination.

Knight and the Pips continued to have hits until the late 1970s, when they were forced to record separately due to legal issues, resulting in Knight's first solo LP recordings--Miss Gladys Knight (1978) on Buddah and Gladys Knight (1979) on Columbia Records.

In the early 1980s, Johnny Mathis invited Gladys to record two duets – "When A Child Is Born" (previously a hit for Mathis) and "The Lord's Prayer".

In 1987, Knight decided to pursue a solo career, and she and the Pips recorded their final LP together, All Our Love (1987), for MCA Records. Its lead single, "Love Overboard", was a successful hit and won a third Grammy for the act as well. After a successful 1988 tour, the Pips retired and Knight began her solo career. Gladys Knight & the Pips were inducted into the Georgia Music Hall of Fame in 1989 and into the Rock and Roll Hall of Fame in 1996. Her solo LP, "Just for You", went gold and was nominated for the 1995 Grammy Award for Best R&B Album.

In 2006 she realeased her CD "Before Me" where she revisits the great songs of the Great American Songbook,

In 2008, a duet between Knight and Johnny Mathis was released on Mathis' album "A Night to Remember". Knight is ranked number eighteen on VH1 network's list of the 100 Greatest Women of Rock.

In the spring of 2008, Knight appeared alongside Chaka Khan, Patti Labelle and Diana Ross at the 'Divas with Heart' concert in aid of cardiac research, at New York's Radio City Hall.

In 2008 Gladys, Jack Black, Robert Downey Jr. and Ben Stiller performed on American Idol to raise money for charity. In March 2010, Randy Jackson mentioned on a new episode of the same show that he is back in the studio with Gladys Knight working on a new album.

In 2009 Knight sang "His Eye Is On The Sparrow" and "The Lord's Prayer" at the funeral service for Michael Jackson.

Gladys sings "Neither One of Us"
http://www.youtube.com/watch?v=Sp5f8dEnmHY

Reference - Wikipedia

RAMSEY LEWIS, THE GREAT PERFORMER

2010-06-20T18:32:00.004-04:00

Jazz composer, pianist and radio personality Ramsey Emmanuel Lewis, Jr. , was born on May 27, 1935 in Chicago, Illinois to Ramsey'Lewis Sr. and Pauline Lewis. Lewis began taking piano lessons at the age of four. At 15 he joined his first jazz band, "The Cleffs". The seven-piece group provided Lewis first involvement with jazz; he would later join Cleffs drummer Isaac "Redd" Holt and bassist Eldee Young to form the Ramsey Lewis Trio.

He has been referred to as "the great performer", a title reflecting his performance style and musical selections which display his early gospel playing and classical training (Bach,Beethoven,Brahms, etc.) along with his love of jazz and other musical forms. Ramsey Lewis has recorded over 80 albums and has received five gold records and three Grammy Awards so far in his career.

The trio started as primarily a jazz unit and released their first album, Ramsey Lewis And The Gentlemen of Swing, in 1956. Following their 1965 hit "The In Crowd" (the single reached #5 on the pop charts, and the album #2) they concentrated more on pop material. Young and Holt left in 1966 to form the Young-Holt Trio and were replaced by Cleveland Eaton and Maurice White. White was replaced by Maurice Jennings in 1970. Later, Franky Donaldson and Bill Dickens replaced Jennings and Eaton; Felton Crews also appeared on many 1980's releases.

By 1966, Lewis was one of the nation’s most successful jazz pianists, topping the charts with "The in Crowd", "Hang On Snoopy", and "Wade in the Water". All three singles each sold over one million copies, and were awarded gold discs. Many of his recordings attracted a large non-jazz audience. In the 1970s, Lewis often played electric piano, although by later in the decade he was sticking to acoustic and using an additional keyboardist in his groups.

In addition to recording and performing, Lewis hosted a morning show on Chicago "smooth jazz" radio station WNUA (95.5 FM) until May 22, 2009. His weekly syndicated radio program Legends of Jazz, created in 1990, features recordings from artists such as David Sanborn,George Duke, Herbie Hancock,Charlie Parker,Dizzy Gillespie, Kurt Elling, Al Jarreau and Miles Davis. The show can be heard in 60 U.S. cities and overseas.

On December 4, 2006, the Ramsey Lewis Morning Show became part of Broadcast Architecture's Smooth Jazz Network, simulcasting on other Smooth Jazz stations across the country for the first time. However, the show was still based in Chicago until it was cancelled when WNUA switched over to a Spanish format.

In 2006, a well-received 13-episode Legends of Jazz television series hosted by Lewis was broadcast on public TV nationwide and featured live performances by a variety of jazz artists including Larry Gray,Lonnie Smith, Joey Defrancesco, Dave Brubeck, Chick Corea, Kurt Elling, Benny Golson, Pat Metheny and Tony Bennett.

Lewis is artistic director of Jazz at Ravinia (an annual feature at the Ravinia Festival in Highland Park, Illinois) and helped organize Ravinia's Jazz Mentor Program. Ramsey also serves on the Board of Trustees for the Merit School of Music, a Chicago inner-city music program and The Cgicago High School for the Arts, the new public arts high school in Chicago. Early in 2005, the Ramsey Lewis Foundation was created to help connect at-risk children to the world of music. As an offshoot of that foundation, Lewis plans to form a Youth Choir and Youth Orchestra. In January 2007, the Dave Brubeck Institute invited Lewis to join its Honorary Board of Friends at the University of the Pacific in Stockton, California.

Lewis still lives in Chicago, Illinois, the city of his musical roots. He has seven children, fourteen grandchildren, and one great-grandchild.

Ramsey Lewis and his Trio play "The In Crowd"

http://www.youtube.com/watch?v=Slv0j5USBa4

Recommended CDs

Ramsey Lewis's Finest Hour-2000
Urban Knights IV-2001
Meant To Be (with Nancy Wilson)-2002
20th Century Masters - The Millennium Collection: The Best of Ramsey Lewis-2002
Urban Knights V-2003
Simple Pleasures-2003
Time Flies-2004
Urban Knights VI-2005
With One Voice-2005
The Best of Urban Knights-2005
The Very Best of Ramsey Lewis-2006
Mother Nature's Son-2007
Songs from the Heart: Ramsey Plays Ramsey-2009

Reference - Wikipedia

HUMBERTO AMORIM, VOCALISTA DE JAZZ

2010-06-19T19:14:00.005-04:00

O radialista e vocalista brasileiro de jazz Humberto Amorim, nasceu no 26 de maio de 1951 em Pôrto Velho, Rondônia . Filho do empreendedor, radialista e representante das gravadoras Phillips e RCA Victor em Rondônia Humberto Amorim, que despertou a musicalidade do filho através das gravações em discos acetatos, 58 rotações e "long playing" dos grandes cantores e cantoras da inesquecível "Era de Ouro" do rádio brasileiro.

Humberto que na infancia era chamado de Beto, recebeu as primeiras noções de musica, canto e piano, levado por sua mãe Arlete Botelho Amorim, da irmã salesiana Maria Luiza ( Irmã Lulu) do Colégio N.S. Auxiliadora em Pôrto Velho, com a qual estudou por quatro anos.

Mudou-se com a familia para Manaus em Outubro de 1962 e completou seus estudos primário e colegial no Colégio Dom Bosco. Aos 16 anos, em dezembro de 1969 (mesmo ano do Woodstock Festival) foi para os Estados Unidos estudar e morar na cidade de Tarrytown em Westchester County, Upstate New York. Vizinha a cidade de Tarrytown se encontra a cidade de Irvington-on-the-Hudson, foi lá que travou amizade no High School, com David Getz, filho do famoso saxofonista de jazz Stan Getz. Convidado por David a conhecer seu pai, que na época desfrutava da fama e dos lucros à ele propocionados pelo sucesso obtido com a divulgação da nova musica brasileira, a bossa nova. Na casa de Stan em Shadowbrook Lane em Irvington, durante os ensaios, Humberto conheceu o baterista Tony Williams, João Gilberto, Astrud Gilberto, Airto Moreira, Flora Purim, Sivuca, Chick Corea, Victor Young, Dizzy Gillespie, Freddie Hubbard, Keely Smith, Sheila Jordan entre outros, sem saber então, exatamente, quem eram aqueles musicos e a importancia de cada um. Isso só veio a acontecer anos depois. O resto é muita história pra contar...

De volta ao Brasil foi viver no Rio de Janeiro onde começou a militar, devido a fluência no inglês, no turismo carioca pela empresa americana Brazil Safaris & Tours. Cantou em inglês, pela primeira vez, no karaoke da boite do Hotel Sheraton, inaugurado em meados do ano de 1976 e gostou. Em 1977, retornou definitivamente para Manaus onde assumiu a gerência de operações da empresa Luciatour Turismo, a convite do empresário Dahilton Pontes Cabral.

Em 1979, foi convidado pelo então governador José Lindoso para assumir a diretoria de turismo da Empresa Amazonense de Turismo (1979/1983), nos fins-de-semana, costumava frequentar o Mandy's Bar, situado no lobby do antológico Hotel Amazonas da familia Vasquez, o mais famoso clube noturno de Manaus, onde dava "canjas" com o maestro e pianista Jerê.

Com a fundação em 1985, pelo casal Socorro e Francisco de Assis Mourão do clube noturno "Clave de Sol" em plena Avenida Djalma Batista, passou a cantar nas sextas feiras por volta da meia-noite, os clássicos do Great American Book, tendo Assis Mourão ao piano e Carlos Malta na bateria, para uma seleta platéia de amantes da boa música. Infelizmente, depois de muitas idas e vindas o "Clave de Sol" acabou fechando as portas em 2000, definitivamente.

Humberto, sem ter onde cantar em Manaus, passou a dar as suas "canjas" nos bares e clubes que visitava quando viajava pelo Brasil e exterior. Um dos momentos memoráveis dessas viagens aconteceu em um pequeno clube na montanha, com vista para o Monte Branco na Suiça, quando, acompanhado ao piano pelo saudoso colunista social do jornal A Critica em Manaus, Gilberto Barbosa, (Gil) cantou os clássicos do jazz, enquanto nevava lá fora, para a platéia de turistas e parceiros de viagem que degustavam alegremente as iguarias e os excelente vinhos suiços. Foi ai e então que nasceu a sua paixão por vinhos. Outro episodio interessante aconteceu em Madrid (2004) quando atendendo convite dos musicos americanos e espanhois da banda de jazz da casa, que se apresentava sem vocalista, cantou durante uma hora. Ao término da apresentação, o dono do local se aproximou do Humberto e perguntou: "Eres legal? Puedes trabajar?" Foi muito divertido. A última vez que se apresentou no exterior foi em Atlanta,Georgia (2009) onde cantou em inglês, numa fria noite do inverno sulista, com vários graus abaixo de zero, as inesqueciveis canções de Tom Jobim e Vinicius.

No dia 7 de abril de 1995, dia do aniversário de nascimento de Billie Holiday, Humberto colocou no ar em Manaus, através da Radio Amazonas Fm 101,5 o programa "Momentos de Jazz" com o proposito de iniciar a promoção do jazz no Estado do Amazonas. Com muito sucesso, o programa completou no último mês de abril, 15 anos de transmissão ininterrupta sempre aos domingos ao meio dia e muitas conquistas, entre estas, o fato de ser apresentado pelo mesmo locutor, na mesma cidade, na mesma estação e horário, por tanto tempo.

Hoje, Manaus é considerada, principalmente por Humberto Amorim e muitos apreciadores do estilo jazz, como a Capital Brasileira do Jazz. Após o evento do programa radiofonico de jazz, o governo do Estado criou o Festival de Jazz ( 2005) e a banda Amazonas Band.

Humberto não parou por ai. Em 2006 iniciou este blog "Jazz is Timeless", que até o presente momento, foi lido por mais de 27.000 leitores em 5.950 cidades de 119 paises.

Mas, o grande feito, pelo qual Humberto tem o maior orgulho, foi a criação da banda "All That Jazz"' no dia 17 de junho de 2006. A formação inicial da banda teve os seguintes componentes: Humberto Amorim - vocal , Robson Silva - Piano, Roger Vargas - baixo-acústico e Leonardo Pimentel - bateria. A formação atual tem Cezar Serafim ao piano em substituição de Robson Silva e Junior Leal no saxofone.

A banda "All That Jazz" iniciou as apresentações no Café e Bar Adrianópolis e Sax Bar e Restaurante, respectivamente. Nestes últimos anos se apresentou em clubes, casamentos, um deles na cidade natal do Humberto, festas e eventos particulares, uma vez em praça pública e evoluiu para atualmente se apresentar sob contrato no primeiro sábado de cada mês, no gastropub "O Chefão", um dos lugares noturnos mais requintados e bem frequentados da cidade de Manaus.

Hoje, constam do repertório em inglês do vocalista Humberto Amorim, exatamente, 94 canções do Great American Songbook.

Os próximos passos estão no forno e darão forma aos projetos: "Tocando com a Juventude", livro sobre o jazz em Manaus e um programa televisivo de jazz.

O melhor ainda está por vir e a esperança da continuidade musical da familia agora aponta para a graciosa Sofia Amorim Nelson, neta do Humberto e muito parecida com ele em muitos aspectos, inclusive o musical.

Nicholas Artanis, filho do Humberto, aprecia musica, apoia e tem orgulho do talento musical de seu pai.

Referencia - Humberto Amorim

MILES DAVIS

2010-06-19T18:54:00.004-04:00

O trompetista, compositor e bandleader de jazz Miles Dewey Davis Jr, mais conhecido como Miles Davis, nasceu no 26 de maio de 1926, em Alton, Illinois. Miles é considerado um dos mais influentes músicos do século XX, e esteve na vanguarda de quase todos os desenvolvimentos do jazz desde a Seginda Guerra Mundial até a década de 1990.

Ele participou de várias gravações do "bebop" e das primeiras gravações do "cool jazz". Foi parte do desenvolvimento do jazz modal, e também do jazz fusion que originou-se do trabalho dele com outros músicos no final da década de 1960 e no começo da década de 1970.

Miles Davis pertenceu a uma classe tradicional de trompetistas de jazz, que começou com Buddy Bolden e desenvolveu-se com Joe "King"Oliver, Louis Armstrong, Roy Eldridge e Dizzy Gillespie. Ao contrário desses músicos ele nunca foi considerado com um alto nível de habilidade técnica. Seu grande êxito como músico, entretanto, foi ir mais além do que ser influente e distinto em seu instrumento, e moldar estilos inteiros e maneiras de fazer música através dos seus trabalhos.

Muitos dos mais importantes músicos de jazz fizeram seu nome na segunda metade do século XX nos grupos de Miles Davis, incluindo: Joe Zawinul, Chick Corea e Herbie Hancock, os saxofonistas John Coltrane, Wayne Shorter, George Coleman e Kenny Garrett, o baterista Tony Williams e o guitarrista John McLaughlin.

Como trompetista Davis tinha um som puro e claro, mas também uma incomum liberdade de articulação e altura. Ele ficou conhecido por ter um registro baixo e minimalista de tocar, mas também era capaz de conseguir alta complexidade e técnica com seu trompete.

Em 13 de março de 2006, Davis foi postumamente incluído no Rock and Roll Hall of Fame. Ele foi também incluído no St. Louis Walk of Fame, Big Band and Jazz Hall of Fame, e no Down Beat's's Jazz Hall of Fame.

Miles faleceu em setembro de 1991 em Santa Monica, California.

Miles and John Coltrane do "So What"?

http://www.youtube.com/watch?v=P4TbrgIdm0E

Referencia - Wikipedia

EDDIE ROSNER,THE WHITE LOUIS ARMSTRONG

2010-06-19T18:01:00.002-04:00

Polish and soviet jazz musician and trumpeter Adolph Ignatievich Rosner, best known as Eddie Rosner, was born on May 26, 1910 in Berlin, Germany. He as called "The White Louis Armstrong" or "Polish Louis Armstrong" in different sources. This is in part because of his rendition of the St. Louis Blues. He also served as a prisoner in the Gulag Prison camp in the former Soviet Union under Joseph Stalin.

In 1916, a child of six, he was taken to stern's musical conservatory in Berlin. He initially studied classical music, but became drawn to jazz by the age of fifteen. In 1920 he completed the conservatory as a violinist with excellent marks and passed to the High School of Music in Berlin, on the Kantstrasse, near the Opera. During the 1920s he caught the jazz bug and switched to trumpet. At that time he changed his name to "Eddy" and played with other Polish musicians in Marek Weber's orchestra.

Eddie Rosner made a creative fusion of his classical music education with the newest beat of jazz. After playing with several bands in Berlin, he joined "The Syncopators", led by Stephan Weintraub, and toured around Western Europe. In the 1930s Eddie Rosner and "The Syncopators" By 1934 he had gained acclaim for his trumpet playing and ability to play two trumpets at once. In his tour of Europe in the 1930s the French celebrated his work and he was featured on many magazines.

During the 1930s Eddie Rosner worked with "The Syncopators" at the "New York" transatlantic steamer. There Eddie Rosner entertained the passengers cruising between Hamburg and various American seaports. By that time, Rosner had made several recordings of his trumpet playing with the band, and planned on starting a new career in America. For that matter he was involved in a correspondence with the famous American bandleader and drummer Gene Krupa. At that time, Eddie Rosner was considered the best jazz trumpeter in Europe and was compared to the American trumpeter Louis Armstrong.

"In 1939, it didn't help being a Jew playing Negro music, even if your name is Adolf," joked Eddie Rosner. He left Nazi Germany for Poland. In 1939, in Warsaw, he married Ruth Kaminska, the daughter of Polish actress Ida Kaminska. His career and life could have been in jeopardy after the invasion of Poland by the Nazi Germans on September 1, 1939, but he soon fled occupied Poland and escaped from the Nazis on the outbreak of the Second World War. In September 1939, Eddie Rosner and a group of musicians from his band crossed the newly established German-Soviet border and came to the city of Bialystok in what was then the western part of Belarus, which became part of the Soviet Union. Eddie Rosner was initially welcomed by the Soviet authorities and was allowed to perform in the Soviet Union which at that time embraced the music of jazz.

In 1939 Eddie Rosner settled in Belostok and formed the "Belostok Jazz", a big band, which soon became the State Jazz of the Belorussian Republic of the USSR. During the following two years, Rosner and his jazz band toured all over Belarus, and also toured around the Soviet Union, having several performances in Moscow ans other big cities.

Eddie Rosner initially achieved an equally glowing reception in the USSR as he had in Europe. Before and during the Nazi occupation of the USSR in the Second World War Rosner's performances were often broadcast over the national radio of the Soviet Union, and several records were released and distributed across the USSR. Joseph Stalin even called Rosner to say he enjoyed his performance for him. This led to Rosner being made the leader of the Soviet State Jazz Orchestra for a time. He and his band recorded such hits as "Caravan" and "St.Louis Blues" among many other popular themes.

After the war everything changed. By 1946 Stalin became increasingly hostile to Jewish people and also foreigners. In that year the Soviet censorship had all foreign art and music banned, even the leading Russian musicians, like Sergey Prokofiev and Dmitry Shostakovich were censored, and Rosner fell into disfavor and planned to emigrate from the Soviet Union. He was arrested by the Soviet KGB in the city of Lvov in the Ukraine, and then he was sent to a Gulag prison camp in Siberia on false charges of "anti-Soviet" treason with a ten-year sentence. For the next eight years Rosner continued to perform in the Gulag camp near Magadan, and was allowed to use music, or be used, to lift the spirits of other prisoners of the Soviet Gulag. He was released in May 1954, more than a year after Stalin's death.

In the mid 1950s, Eddie Rosner founded and led the one of most famous Russian big bands. His band was touring about the Soviet Union and made several recordings from 1954 until 1971. In 1956 Rosner and his jazz band were filmed in the popular Soviet comedy The Carnival Night, gaining further popularity among the movie fans. However, the Soviet official press and critics were instructed to avoid mentioning Eddie Rosner in publications and critical works, authorities also restricted him from performances in major concert halls of the former Soviet Union. During the 1960s Rosner and his jazz band were gradually pushed into obscurity, albeit the intellectuals and advanced public were aware of Rosner's musicianship and artistry, and he remained popular among jazz fans for a while.

By the early 1970s Rosner suffered from poor health. Sensing that the end is near, he applied to the Soviet authorities for permission to immigrate to his birthplace, and was allowed to return to his native Berlin in 1973. He did not earn any royalties in the Soviet Union, and died in poverty three years later. Although during the war he had gained widespread popularity with many of the Allied troops, not just the Soviets, he has since fallen into near obscurity in the West. However, in 1999, a documentary on him was released, leading to something of a revival of interest.

Eddie passed away in August, 1976 in West Berlin.

Eddie Rosner does "Caravan"

http://www.youtube.com/watch?v=ZoD04BKuGP4

Reference - Wikipedia

JIMMY HAMILTON

2010-06-19T17:39:00.003-04:00

American jazz clarinetist,tenor saxophonist, arranger, composer and music educator Jimmy Hamilton, was born on May 25, 1917 in Dillon, South Carolina, and grew up in Philadelphia. Having originally learned to play the piano and brass instruments, in the 1930s he started playing the latter in colacl bands, before switching to clarinet and saxophone.

In 1939 he played with Lucky Millinder, Jimmy Mundy, and Bill Doggett, going to join the Teddy Wilson sextet in 1940. After two years with Wilson, he played with Eddie Heywood and Yank Porter.

In 1943 he replaced Barney Bigard in the Duke Ellington orchestra, and stayed with Ellington until 1968. His style was very different on his two instruments: on tenor saxophone he had an R&B sound, while on clarinet he was much more precise and correct, though fluent. He wrote some of his own material in his time with Ellington.

After he left the Ellington orchestra, Hamilton played and arranged on a freelance basis, before spending the 1970s and 1980s in the Virgin Islands teaching music (though he occasionally returned to the U.S. for performances with John Carter's Clarinet Summit). On his retirement from teaching he continued to perform with his own groups from 1989 to 1990.

Hamilton died in St.Croix, Virgin Islands at the age of seventy-seven, in September,1994.

Jimmy plays.

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

Reference - Wikipedia

NAILOR AZEVEDO, O PROVETA

2010-06-19T17:04:00.005-04:00

O clarinetista, saxofonista, compositor e arranjador brasileiro Nailor Azevedo, o Proveta, nasceu no 25 de maio de 1961 na cidade de Leme em São Paulo. Antes de aprender a ler as letras do nosso alfabeto, Proveta já lia as notas musicais.

Aos 6 anos de idade, tocava clarinete na banda da sua cidade natal. Também muito cedo, iniciou sua carreira profissional tocando em bailes no conjunto liderado por seu pai o acordeonista e tecladista Geraldo Azevedo.

Estudou saxofone e passou a integrar outras formações musicais da região dentre as quais a Banda do Brejo, da cidade de Valinhos-Sp. Mudou-se para São Paulo e, apenas com dezesseis anos de idade, já era integrante da orquestra do Maestro Sylvio Mazzucca, famosa em todo o Brasil. Em seguida, participou da banda do 150 Night Club no Hotel Maksoud Plaza, badalada casa noturna de São Paulo que apresentava regularmente grandes atrações internacionais.

Proveta teve então oportunidades de dividir o palco com renomados artistas, entre os quais Anita O’Day, Joe Williams, Paquito D’Rivera, Benny Carter, Natalie Cole. Fez diversas turnês pelo Brasil tocando na orquestra de Ray Conniff.

Freqüentou cursos de aperfeiçoamento musical e formou os grupos – Banda Aquarius, Sambop Brass e, por último, a Banda Mantiqueira – liderando essas formações e escrevendo a maioria dos arranjos. Já no seu primeiro CD “Aldeia”, a Banda Mantiqueira foi nominada ao Prêmio Grammy, em 1998, na categoria Melhor Performance de Jazz Latino.

É um dos músicos mais requisitados pelos estúdios de gravação e figura numa centena de álbuns dos mais consagrados artistas da música popular brasileira, não só como instrumentista mas, também, como arranjador.

Apresenta-se com muita freqüência no exterior com César Camargo Mariano, Joyce, Mônica Salmaso e outros.É também freqüentemente convidado para ministrar workshops nos principais festivais de música que ocorrem no Brasil. Pode-se dizer, sem medo de errar, que Proveta ocupa lugar de destaque na galeria dos principais músicos do Brasil de todos os tempos.

CDS Recomendado:

"Brasileiro Saxofone" – Acari Records – Saxofonista, arranjador e líder da Banda Mantiqueira, Nailor ‘Proveta’ Azevedo lançou este belo CD onde interpreta temas diversos que comprovam a versatilidade do instrumento, de choros a peças jazzísticas. Entre eles Quem é Você (Pixinguinha), Ternura (K-Ximbinho), Inclemência (Guerra-Peixe), Stanats (Moacir Santos), Implorando (Anacleto de Medeiros) e Choro de Uma Valsa (Proveta).

Na lista de músicos convidados estão o pianista Cristóvão Bastos, o violonista Maurício Carrilho, o flautista Toninho Carrasqueira, o baixista Sizão Machado, a cavaquinista Luciana Rabello e o Quarteto Maogani de Violões.

Banda Mantiqueira - CD "Terra Amantiqueira"
Formada em 1991, por iniciativa do clarinetista, saxofonista, compositor e arranjador – Nailor Azevedo, o Proveta – e integrada por outros músicos que sempre estiveram muito próximos a ele e que também ansiavam por uma linguagem que expressasse a brasilidade na forma de interpretar nossa música.

Do universo dos compositores de música popular brasileira, selecionou peças de alguns dos mais notáveis – Pixinguinha, Tom Jobim, Jacob do Bandolim, Cartola, Nelson Cavaquinho, Ernesto Nazareth, João Bosco, Guinga, Luiz Gonzaga, Dorival Caymmi, Joyce, Léa Freire, entre outros. Juntou a esse repertório composições suas e de Edson Alves e, brilhantemente, arranjou-as para a formação de big-band. Embora conte com excelentes solistas, valorizou mais o conjunto do que a individualidade.

A banda já tocou no Festival de Jazz de San Francisco, Califórnia e na Northwestern University, em Evanston, Illinois, e fez por merecer elogiosas críticas publicadas no The Los Angeles Times e no Chicago Tribune.Como convidada do Maestro Yeruhan Scharovsky, apresentou-se, em junho de 2003, em concerto com a Orquestra Sinfônica Brasileira, no Teatro Municipal do Rio de Janeiro.

Gravou 3 CDs: Aldeia (1996) e Bixiga (2000) ambos pelo selo Pau Brasil e com a OSESP o concerto apresentado na Sala São Paulo, em dezembro de 2000.

Proveta toca os clássicos.

http://www.youtube.com/watch?v=0bybo0EVgdA

Referencia - Núcleo Contemporâneo

FRANCESCO CAFISO

2010-06-19T12:43:00.003-04:00

Italian jazz musician who plays alto saxophone Francesco Cafiso was born on May 24, 1989 in Vittoria, Sicily. He began playing at age nine and premiered in 2001. In 2005, at age sixteen, he won Italy's version of the Golden Django.

Cafiso is one of the most precocious talents in the history of jazz. When he was barely nine years old Francesco took his first steps, working with internationally famous musicians.

First of all, veteran jazz critic Ira Gitler was blown away by the young man's incredible set with veteran pianist Franco D'Andrea at the 2002 Pescara Jazz Festival, most of which was issued on the Philology CD Standing Ovation and was described in detail by Gitler in an article written for the Jazz Journalist Association newsletter. Meeting Wynton Marsalis at a laterfestival was a decisive moment for Francesco’s career. Amazed by Francesco’s qualities, Marsalis took him along with his septet on his 2003 European tour, where Francesco performed in prestigious theatres in the largest cities in Europe.

From that moment on, Francesco went through a series of important experiences both in Italy and abroad. He attended the 2004 International Association of Jazz Education in New York City, amazing audiences in his nightly jazz sessions with veterans James Williams (piano), Ray Drummond (bass) and Ben Riley (drums). Phil Woods, who obviously knows the difference between musicianship and press hype, commented to one writer in jest, “I'd like to break his arm!”

He won various important prizes: the Massimo Urbani National Award to Urbisaglia, the EuroJazz Award to Lecco, the International Jazz Festivals Organization Award to New York, the World Saxophone Competition to London, the Django d’Or to Rome and many others.
In order to improve his English, but most of all, in order to experience new musical styles and genres, Francesco went to New Orleans where he played with Ellis Marsalis, Jason Marsalis, Thadeus Richard, Bob Franch, Maurice Brown and many others important local musicians while taking special lessons from Alvin Batiste.

In 2005 the Swing Journal, the authoritative Japanese jazz music magazine, confers him the New Stars Award, prize reserved to the emergent foreign talents. Immediately later, the affirmation in the Top Jazz, referendum of the Italian Music Jazz magazine, that recognizes him as the best new talent of the year.

Francesco performed with a number of great musicians: Hank Jones, Cedar Walton, Mulgrew Miller, Ronnie Matthews, Jimmy Cobb, Ben Riley, Ray Drummond, Reggie Johnson, Doug Sides Lewis Nash, James Williams, Joe Lovano, George Mraz, Joe Locke, Enrico Rava, Gianni Basso, Dado Moroni, Franco D’Andrea and many other Italian and American musicians.
In February 2006 Francesco has achieved the Diploma in Transverse Flute at the Musical Institute V. Bellini in Catania with the Elena Favaron guide and he studies piano jazz.

On 19 January 2009 he played in Washington DC during the festivities in honor of President Barack Obama and Martin Luther King Jr. day.

Francesco Cafiso toca "She Loves Me'

http://www.youtube.com/watch?v=2CZhhx8OlYA

Reference - AAJ

SIMONE GUIDUCCI

2010-06-19T11:37:00.004-04:00

O guitarrista e compositor italiano de música jazz Simone Guiducci, nasceu no 24 de maio de 1962, em Turim.

Colaborou nos anos noventa com vários músicos de peso, entre eles, Mauro Negri e Paolo Fresu e, a partir do fim da mesma década, realizou com seu projeto de jazz acústico Gramelot, quatro lançamentos pela gravadora World Felmay na companhia de Ralph Alessi, Don Byron, Erik Friedlander e Chris Speed.

Em 1993, motivado por Enrico Rava, partiu para o seu primeiro trabalho como lider no CD "New Flamenco Sketches" com a participação de um quinteto que contou com o talento do próprio Rava no trompete, o clarinetista Mauro Negri, o baterista Riccardo Biancoli e do contrabaixista Furio di Castri.

O CD "Chorale" foi incluido numa lista de melhores CDs do ano pelo blog americano "All About Jazz", em 2002.

Simone Guiducci ao vivo na Bibiena.
http://www.youtube.com/watch?v=y_biRTPx_nk

Il chitarrista e compositore italiano di musica jazz Simone Guiducci, nato nel Maio 24, 1962 a Torino.

Mantovano di Castiglione delle Stiviere, anche se nato a Torino, dopo aver collaborato all'inizio degli anni novanta con Mauro Negri, Gianni Coscia,Enrico Rava e Paolo Fresu, a partire dalla fine degli anni novanta ha realizzato con il suo progetto di jazz acustico Gramelot quattro uscite discografiche per l'etichetta World Felmay, collaborando con Ralph Alessi, Don Byron, Erik Friedlander, Chris Speed.

Nel 1993 entra in contatto con Enrico Rava, il quale lo incoraggia a realizzare il suo primo lavoro da leader, dal titolo "New Flamenco Sketches", di un quintetto composto dallo stesso Rava alla tromba, dal clarinettista Mauro Negri, dal batterista Riccardo Biancoli e dal contrabbassista Furio Di Castri.

Il disco Chorale, del 2002, è stato inserito fra i migliori dischi dell'anno dal portale statunitense All About Jazz.

Jazz guitarist and composer Simone Guiducci, was born on May 24, 1962 in Turin, Italy. Guiducci has been hailed as one of the most talented musicians on the Italian jazz scene since the early '90s, going on to make several internationally acclaimed recordings as leader.

Four releases by Simone Guiducci Gramelot produced by Felmay: the debut album "Cantador" (2000), Chorale" (with Ralph Alessi, Chris Speed, Erik Friedlander) "Dancin' Roots" (2004), featuring Ralph Alessi and Don Byron as guests, and the new release "Storie di Fiume" (October 2006)

With a focus on a creative dialogue between folklore themes and jazz improvisation, Guiducci has forged strong ties with the recording and concert worlds, working with Enrico Rava, Gianni Coscia, Paolo Fresu, Gianluigi Trovesi and other leading international artists including Ralph Alessi, Chris Speed, Erik Friedlander, Don Byron and Andy Milne.

Simone Guiducci has performed at major festivals in Italy. In 2005 and 2006 Simone toured the world playing in Buenos Aires and Cordoba (Argentina), Ankara (Turkey), Lima (Peru), Stochkolm (Sweden), Helsinky (Finland), Amsterdam (Holland),Quito and Guayaquil (Ecuador), Caracas (Venezuela), Mexico City (Mexico), Dublin (Ireland), Guatemala City and Antigua (Guatemala), Lyon and Nantes (France) and more.

As one well known critic puts it, Gramelot's folk-jazz is “fluid and free, rippling between jazz, classical and popular music, between regional and global, between the ancient and modern world. It is a language of jazz improvisation interwoven with popular melodies, spoken with an ease and grace. It is many 'languages', spoken as musical expressions or idioms, which come together in a world where the imagination shapes them into new and old forms that are always intriguing”.
Guiducci has received acclaim both from Italian critics, who voted him second in Top Jazz's classification of emerging talents in Italy, and from abroad, with reviews in leading specialist magazines including Jazzman (France), All About Jazz (USA), Cadense (USA), Jazzmagazine (France) and Jazzlive (Austria).
CD "Chorale" came in at number six in the 2002 best jazz record top ten, voted by the panel of critics judging in the Topjazz classification of the specialist monthly magazine Musica Jazz. The recording was also “Pick of the Week “ on the prestigious US portal All About Jazz.com (February 2003) and hit no. 2 (July 2003) in the JazzCharts of the KSZU radio station (Stanford University).

Recommended CDs

2000 - Cantador, Felmay (come Gramelot Ensemble)
2001 - Django's Jungle, Splasch

2002 - Chorale, Felmay (come Gramelot Ensemble)

2003 - Slang, Abeat

2004 - Dancin' Roots, Felmay (come Gramelot Ensemble)

2006 - Storie di Fiume, Felmay (come Gramelot Ensemble)

Tradução - Humberto Amorim

Referencia - AAJ

SILVIO CALDAS, O SERESTEIRO DO BRASIL

2010-06-18T18:52:00.004-04:00

O compositor e cantor brasileiro Sílvio Antônio Narciso de Figueiredo Caldas, famoso no mundo artistico como Silvio Caldas, nasceu no 23 de maio de 1908 no Rio de Janeiro. Carioca do bairro de São Cristóvão, teve contato com a música desde a infância, pois o pai era dono de uma loja de instrumentos musicais e atuava amadoramente como compositor de valsas, foxes, sambas e schottischs.

Aos 5 anos o pequeno Silvio já se apresentava em teatros como cantor. Também era destaque do bloco de carnaval de que sua família participava. Aos 16 anos foi para São Paulo trabalhar como mecânico de automóveis. Três anos depois voltou ao Rio, e por meio de contatos foi levado para a Rádio Mayrink Veiga pelo cantor Antônio Santos, o Milonguita. A primeira gravação foi em 1930, e desde o início notabilizou-se interpretando sambas. Silvio Caldas se transformaria, ao lado de Orlando Silva, Francisco Alves e Carlos Galhardo, um dos cantores de maior sucesso da chamada época de ouro da MPB. Foi levado por Ary Barroso para o Teatro Recreio, onde lançou seu primeiro sucesso, "Faceira" do proprio Ary.

A partir de 1934, por meio da parceria com Orestes Barbosa, demonstra seu talento para a seresta, gênero que o promoveria por todo o Brasil. Em 1937 lançou dois de seus grandes sucessos, "Chão de Estrelas" (c/ O. Barbosa) e "Meu Limão Meu Limoeiro" (tema popular com arranjo de José Carlos Burle), em dueto com Gidinho. No ano seguinte foi eleito Cidadão Samba ao cantar a música "Pastorinhas", de Noel Rosa e João de Barro. Outras canções que viraram sucesso na voz de Silvio Caldas foram "Minha Palhoça" (J. Cascata), "Um Caboclo Abandonado" (B. Lacerda/ H. Martins), "Arranha-céu" (c/ O. Barbosa), "Da Cor do Pecado" (Bororó), "Mulher" (C. Mesquita/ S. Cabral), "Serenata" (outra parceria com Orestes), "Chuva Miúda" (com Frazão), "Foi Ela" (Ary Barroso), "Até Amanhã" (Noel Rosa), "Jangada" (Hervê Cordovil/ Vicente Leporace), "A Jardineira" (Benedito Lacerda/ Humberto Porto), "Faceira" (Ary Barroso).

No final da década de 60 Silvio Caldas se afastou da vida pública, recolheu-se a um sítio em Atibaia (SP) e diminuiu seu ritmo de apresentações, o que lhe valeu o apelido de "cantor das despedidas", de tantas vezes que anunciou seu retiro artístico. Em 1995 participou do CD "Songbook Ary Barroso", cantando "Quando Eu Penso na Bahia" em dueto com Aurora Miranda
Seu primeiro sucesso foi o samba de Ari Barroso intitulado Faceira (1931). Desde então, consagrou-se como um dos maiores cantores brasileiros. Chão de estrelas (1937, em parceria com Orestes Barbosa, foi um de seus maiores êxitos.

Dono de timbre inconfundível, que lhe valeu a fama de grande seresteiro, é conhecido também por alcunhas carinhosas, como Caboclinho querido, A voz morena da cidade ou Titio.

Silvio Caldas faleceu em Fevereiro de 1998.

Silvio canta "Chão de Estrelas"

http://www.youtube.com/watch?v=wvSsOpA7jm4

Nota do Blogger - Esta postagem, além de representar minha homenagem ao grande cantor, também é uma reverência à memória de meu pai Humberto Amorim, fã incondicional de Silvio Caldas. Foi através dele que conheci ainda na minha infancia, a musica dos grandes cantores da Época de Ouro do radio brasileiro. Meu irmão mais novo, Silvio Roberto Amorim, carrega no nome a prova inconteste da admiração de meu pai por Silvio Caldas.

Referencia - Wikipédia

ARTIE SHAW , THE "DIFFICULT" BANDLEADER

2010-06-18T18:16:00.006-04:00

O compositor, clarinetista de jazz e bandleader Arnold Jacob Arshawsky, conhecido como Artie Shaw, nasceu no 23 de maio de 1910 em Nova York e tornou-se muito famoso mundialmente por clássicos como "Stardust", "Begin the Beguine" e "Oh, Lady Be Good", entre tantos outros.

Em 1940, Shaw participou do filme Second Corus, estrelado por Fred Astaire e Paulette Goddard, no papel dele mesmo, e recebeu duas indicações ao Oscar pela Melhor Trilha Sonora e Melhor Canção (Love of My Life).

Sua autobiografia "The Trouble With Cinderella: An Outline of Identity" foi publicada em 1952 e, mais tarde, republicada em 1992 e em 2001.

Artie Shaw faleceu em dezembro de 2004.

Artie Shaw e sua big band levam "Begin the Beguine" de Cole Porter.
http://www.youtube.com/watch?v=zNcPnEc99UE

American jazz clarinetist, composer and bandleader Arthur Jacob Arshawsky, better known as Artie Shaw, was born on May 30, 1910 in New York City. He is also the author of both fiction and non-fiction writings.

Shaw grew up in New Haven,Connecticut, where, according to his autobiography his natural introversion was deepened by local antisemitism. Shaw began learning the saxophone when he was 13 years old, and by the age of 16, he switched to the clarinet and left home to tour with a band. Returning to New York, he became a session musician through the early 1930s.

From 1925 until 1936, Shaw performed with many bands and orchestras, including those of Johnny Caverello and Austin Wylie. In 1929 and 1930 he played with Irving Aaronson's Commanders, where he was exposed to symphonic music, which he would later incorporate in his arrangements.

Shaw first gained critical acclaim with his "Interlude in B-flat" at a swing concert at the Imperial Theater in New York in 1935. During the swing era, Shaw's big band was popular with hits like "Begin the Beguine" (1938), "Stardust" (with a trumpet solo by "Billy Butterfield), "Back Bay Shuffle", "Moonglow", "Rosalie" and "Frenesi." He was an innovator in the big band idiom, using unusual instrumentation; "Interlude in B-flat", where he was backed with only a rhythm section and a string quartet, was one of the earliest examples of what would be later dubbed third stream.

In addition to hiring drummer Buddy Rich, he signed Billie Holiday as his band's vocalist in 1938, becoming the first white bandleader to hire a full-time black female singer to tour the segregated Southern US. However, after recording "Any Old Time" she left the band due to hostility from audiences in the South, as well as from music company executives who wanted a more "mainstream" singer.

His band became enormously successful, and his playing was eventually recognized as equal to that of Benny Goodman. Longtime Duke Ellington clarinetist Barney Bigard cited Shaw as his favorite clarinet player. In response to Goodman's nickname, the "King of Swing", Shaw's fans dubbed him the "King of the Clarinet." Shaw, however, felt the titles were reversed. "Benny Goodman played clarinet. I played music," he said.

The long series of musical groups Shaw formed included such talents as vocalists Billie Holiday, Helen Forrest and, Mel Tormé; drummers Buddy Rich and Dave Tough, guitarists Barney Kessel, Jimmy Raney, and Tal Farlow and trombonist-arranger Ray Conniff, among countless others.

He composed the morose "Nightmare", with its Hassidic nuances, for his personal theme, rather than more approachable songs. In a televised interview of the 1970s, Shaw derided the often "asinine" songs that bands were compelled to play night after night. In 1994, he told Frank Prial (The New York Times), "I thought that because I was Artie Shaw I could do what I wanted, but all they wanted was 'Begin the Beguine.' "

In 1991, Artie Shaw's band library and manuscript collection was donated to the University of Arizona. In 2004, he was presented with a Grammy Lifetime Achievement Award.

A self-proclaimed "very difficult man," Shaw was married eight times: Jane Cairns (1932–33); Margaret Allen (1934–37); actress Lana Turner (1940); Betty Kern (1942–43), the daughter of songwriter Jerome Kern; actress Ava Gardner (1945–46); Forever Amber author Kathleen Winsor (1946–48); actress Doris Doeling (1952–56); and actress Evelyn Keyes (1957–85).

Artie Shaw passed away in December, 2004

Reference - Wikipedia

SUN RA

2010-06-18T17:54:00.004-04:00

Prolific jazz composer, bandleader, piano and synthesizer player, poet and philosopher Herman Poole Blount, best know for the legal name Le Sony'r Ra, was born on May 22, 1914 in Birmingham, Alabama. Sun Ra was also know for his "cosmic philosophy," musical compositions and performances.

Of all the jazz musicians, Sun Ra was probably the most controversial," critic Scott Yanow said, due to Sun Ra's eclectic music and unorthodox lifestyle. Claiming that he was of the "Angel Race" and not from Earth, but from Saturn, Sun Ra developed a complex persona of "cosmic" philosophies and lyrical poetry that made him a pioneer of afrofuturism as he preached awareness and peace above all.

He abandoned his birth name and took on the name and persona of Sun Ra (Ra being the ancient Egyptian god of the sun), and used several other names throughout his career, including Le Sonra and Sonny Lee. Sun Ra denied any connection with his birth name, saying "That's an imaginary person, never existed … Any name that I use other than Ra is a pseudonym."

From the mid-1950s to his death, Sun Ra led "The Arkestra" (a deliberate re-spelling of "orchestra"), an ensemble with an ever-changing lineup and name (it was also called "The Solar Myth Arkestra", "His Cosmo Discipline Arkestra", the "Blue Universe Arkestra", "The Jet Set Omniverse Arkestra", and many other permutations; Sun Ra asserted that the ever-changing name of his ensemble reflected the ever-changing nature of his music.)

His mainstream success was limited, but Sun Ra was a prolific recording artist and frequent live performer, Sun Ra's music ranged from keyboard solos to big bands of over 30 musicians; his music touched on virtually the entire history of jazz, from ragtime to music swing, from bebop to free jazz; he was also a pioneer of electronic music,space music and free improvisation, and was one of the first musicians, regardless of genre, to make extensive use of electronik keyboards.

Sun Ra passed away on May,1993.

Sun Ra's music

http://www.youtube.com/watch?v=qw3Trh10Jr8

Reference - Wikipedia

FATS WALLER, HE MADE THE PIANO SING

2010-06-13T23:28:00.005-04:00

O pianista de jazz, organista, compositor e comediante Thomas Wright Waller, mais conhecido como Fats Waller, nasceu no 21 de Maio de 1904, no Harlem, em Nova York, filho do pastor Edward Martin Waller da Igreja Batista.

Waller foi um dos mais populares artistas de sua época, com sucesso comercial e de crítica, em seu país e na Europa. Foi também fértil compositor, com várias composições ainda tocadas para modernas audiências, como "Honeysuckle Rose", "Ain't Misbehavin'" e "Squeeze Me". Gravou pela primeira vez com 18 anos de idade.

Começou estudando piano clássico e órgão na igreja. Jovem ainda teve lições regulares com um conhecido pianista do Harlem, James P. Johnson, que o ensinou jazz. Também foi influenciado por Willie "The Lion" Smith, músico que tocava um tipo de música chamada stride.

Fats faleceu em dezembro de 1943 em Kansas City.

Fats sola lindamente e canta uma de suas famosas composições "I'm gonna sit right down and write myself a letter".
http://www.youtube.com/watch?v=8ZZRAU3DeOo

Jazz pianist,organist, composer and comedic entertainer Thomas Wright Waller, best known as Fats Waller, was born on May 21,1904 in New Yor City. He was the youngest of four children born to Adaline Locket Waller, wife of the Reverend Edward Martin Waller from the Harlem Baptist Church.

Fats Waller started playing the piano when he was six and graduated to the organ of his father's church four years later. At the age of fourteen he was playing the organ at Harlem's Lincoln Theater and within twelve months he had composed his first rag. Waller's first piano solos (Muscle Shoals Blues and Birmingham Blues) were recorded in October 1922 when he was just 18 years old.

He was a skilled pianist, and master of stride piano, having been the prize pupil and later friend and colleague of the greatest of the stride pianists, James P. Johnson. Waller was one of the most popular performers of his era, finding critical and commercial success in his homeland and in Europe.

He was also a prolific songwriter, and many songs he wrote or co-wrote are still popular, such as "Honeysuckle Rose", "Ain't Misbehaving" and "Squeeze Me". Fellow pianist and composer Oscar Levant dubbed Waller " the black Horowitz".

Waller composed many novelty swing tunes in the 1920s and 30s, and sold them for relatively small sums. When the compositions became hits, other songwriters claimed them as their own. Many standards are alternatively and sometimes controversially attributed to Waller.
The anonymous sleeve notes on the 1960 RCA (UK) album 'Handfull of Keys' state that Waller copyrighted over 400 new tunes, many of which co-written with his closest collaborator Andy Razaf.

After Waller's death in 1943, Razaf described his partner as 'the soul of melody....a man who made the piano sing...both big in body and in mind...known for his generosity...a bubbling bundle of joy'.

Gene Sedric, a clarinettist who played with Waller on some of his 1930's recordings, is quoted in these same sleeve notes recalling Waller's recording technique with considerable admiration. 'Fats was the most relaxed man I ever saw in a studio', he said, 'and so he made everybody else relaxed. After a balance had been taken, we'd just need one take to make a side, unless it was a kind of difficult number.

His playing once put him at risk of injury. Waller was kidnapped in Chicago leaving a performance in 1926. Four men bundled him into a car and took him to the Hawthorne Inn, owned by gangster Al Capone. Fats was ordered inside the building, and found a party in full swing. Gun to his back, he was pushed towards a piano, and told to play. A terrified Waller realized he was the "surprise guest" at Al Capone's birthday party, and took comfort that the gangsters didn't intend to kill him. According to rumor, Waller played for three days. When he left the Hawthorne Inn, he was very drunk, extremely tired, and had earned thousands of dollars in cash from Capone and other party-goers as tips.

Fats Waller passed away December,1943 in Kansas City.

Reference - Wikipédia

SYLVIA BENNETT

2010-06-13T22:51:00.004-04:00

The Italian born and American raised, smooth jazz and pop vocalist Sylvia Bennett, was born on May 21, 1956 . About her, jazz master Lionel Hampton once declared : "Man, the lady can sing! Her magic gets to the ears and the hearts of the audience.” In fact, Sylvia is a singer's singer, having sung on TV, in community theater, club dates, conventions and even the inauguration of Presidents Ronald Reagan and George Bush. Walkingt in the footsteps of her idols as Barbra Streisand, Ella Fitzgerald, Barry Manilow and Bette Midler, Sylvia has oipened for artists diverse as Bob Hope, Phyllis Diller, jackie Mason,Dizzy Gillespie,Barry Gibb and David Brenner.

Her big break came in the 1980’s, when legendary vibraphonist (and National Arts Award Winner) Lionel Hampton took Sylvia under his wing and made her the first female singer to record with him in thirty years. She recounts, “Lionel validated me as a performer and inspired me to be the best singer I can be. He made me realize that the audience was the most important thing and that all I needed to do was to sing from the heart and be honest.” Sylvia worked with Hampton for ten years, touring and recording two albums together. The first, Sentimental Journey, was nominated for a Grammy Award in 1987. The second project, There Will Never Be Another You, was a CD/DVD tribute to “Hamp” from Sylvia, and she furthered the honor to her mentor with the show, “The Lady and the Legend,” premiering in Miami in 2007.

Cole Porter once asked, “What Is This Thing Called Love,” and it’s a question that many of our greatest artists have grappled with ever since” creating some of America’s most enduring and timeless music in the process. Now, it’s Sylvia Bennett’s turn. On her new album, "Songs From The Heart" featuring the Three Tenors - Boots Randolph, Ed Calle and Kirk Whalum, the smooth jazz and pop vocalist sings of the vicissitudes of love with a warmth, clarity and spirit that is enveloping and tender, showcasing the depth of her skill, talent and experience.

"Songs From The Heart" featuring the Three Tenors emerged in the wake of Sylvia’s tribute to Hampton, when her producer, two-time Grammy nominee and two-time ASCAP Award winner, Hal Batt, suggested that she record timeless love songs and standards, backed by a small band to convey the desired intimacy. Sylvia was enamored of the idea immediately. “I’m a hopeless romantic,” she says unhesitatingly, “I think that love is what life is all about” wanting it, having it, losing it and having it again.” The songs, classics from the great American songbook, were chosen for how they related to the experience of love, making it a concept album, akin in spirit to Frank Sinatra’s great concept albums of the mid-1950’s.

Sylvia is immensely proud of "Songs From The Heart" because she knows she touched on something. Sylvia concludes, “We live in such a technological world today that I think we forget about touching people. I think we all need a hug, we need to be embraced” we’re living in a troubled world. There’s nothing better than romance and being with someone who can shelter you from those storms.”

Sylvia sings and tells on her CD "Songs from the Heart"
http://www.youtube.com/watch?v=ZO6av0US58I

Reference - AAJ

VICTOR LEWIS

2010-06-13T22:32:00.004-04:00

Internationally acclaimed drummer and composer Victor Lewis was born on May 20, 1950 in Omaha, Nebraska. His father, Richard Lewis, who played saxophone and mother, Camille, a pianist-vocalist were both classically trained musicians who performed with many of the "territory bands" that toured the midwest in the forties.

Victor grew up hearing jazz along with popular and European classical music at home, and would go to the local theater with his father to hear the big bands when they passed through Omaha. The first people he remembers seeing were Duke Ellington, Count Basie and Woody Herman. He started studying music when he was ten and a half years old. He began on the cello because he was too small for the acoustic bass, but switched to the drums a year and a half later after watching the local drum corps marching on the Fourth of July and other holidays.

He also studied classical piano which is when he learned how to read music.Lewis began playing drums professionally on the local scene at the age of 15. Because few of the older drummers in Omaha could read music, the young percussionist was called up for a variety of commercial jobs, including jingles, the Bob Hope Show, even the circus.

At first Victor's style reflected his attraction to the big band drummers he had seen with his father and heard on records, but after hearing a record of Miles Davis' Quintet with Tony Williams things changed. He began exploring Williams' sound and the styles of other great small group drummers like Art Blakey, Kenny Clarke, Max Roach and Philly Joe Jones. Soon afterwards he started his own small group to play around town.

His first job with a nationally known jazz musician was accompanying Hank Crawford in Omaha.On Victor's first gig in Manhattan, a night at Boomer's with bassist Buster Williams' group, he met trumpeter Woody Shaw. Lewis joined the trumpeter's band and a few months later, he made his recording debut on Shaw's classic, The Moontrane. The drummer also began making his mark on the burgeoning fusion and pop jazz scenes, providing the beat on records by Joe Farrell, Earl Klugh, Hubert Laws, Carla Bley and David Sanborn. It was on Sanborn's lps that Victor's compositional skills were first exposed to the public. They recorded Victor's "Seventh Avenue" and "Sophisticated Squaw" (a/k/a "Agaya") on their first outing together and Sanborn would call on Lewis' writing talents again in the future when he recorded "The Legend of the Cheops."

In 1980, Victor left Shaw's group to join another tenor giant, Stan Getz, beginning an association that would last up until the saxophonist's death in 1991. Lewis made many recordings with Getz including videos of the group's performances at the Paul Masson Vineyards and the Robert Mondavi Vineyards. It was Getz who first recorded his composition, "I Wanted To Say."

By the end of the eighties, Lewis was one of jazz's busiest freelancers. He toured and recorded with a wide array of the music's most respected leaders. The long list of artists including Kenny Barron, Art Farmer, J.J. Johnson, Mike Stern, John Stubblefield, Grover Washington Jr., The Manhattan Jazz Quintet, Bobby Hutcherson and Bobby Watson attest to his talent and versatility.When not driving a group with Bobby from the drum chair, Victor has been the main-stay in the Kenny Barron Quintet since its inception.

Among the many tunes he has contributed to this band, his much heralded "Big Girls" can be heard on the pianist's Quickstep disc on Enja, "Hey, It's Me You're Talkin' To" on the Polygram release Other Places.When he's home in New York, Victor can most often be found in the city's recording studios. In addition to the many jazz dates he's recorded with people like Gary Bartz, Eddie Henderson, Johnny Griffin, Janis Siegel, Larry Willis, John Hicks and Abbey Lincoln, he has recorded a jazz method record with educator-saxophonist Fred Lipsius.

An educated drummer, Lewis tries to pass on his knowledge, giving private instruction to students, participating as a freelance instructor with The New School University Jazz School-Mannes Music School Jazz Program in New York City and appearing in drum clinics around the world as often as his schedule allows it. He has participated in a symposium in Modern Drummer magazine and there have been several feature articles about him in publications such as Downbeat, The Wire, Jazz Times as well as Modern Drummer.In 2003 Victor joined the faculty of Rutgers University in New Brunswick, NJ where he teaches drummers and coaches jazz combos.Victor has recorded albums under his own name as well, featuring his own compositions and unique style of drumming.

The first, Family Portrait, on AudioQuest includes performances by John Stubblefield, Edward Simon, Cecil McBee, Don Alias, Jumma Santos and a six-voice chorus led by Pamela Watson. Even Victor gets an opportunity to participate on some of the vocal selections and on one track plays a little piano. The album features suite-like compositions dedicated to his whole family - "Family Portrait," his parents on "A Mis Padres," children "Bella y Cosima" and "Lil' Sis."

Victor's working quintet - featuring Seamus Blake (whom Victor discovered while teaching at Gunther Schuller's jazz camp in Sandpoint, Idaho), Terell Stafford, Stephen Scott and Ed Howard - has recorded the second band offering on Enja Records entitled Eeeyyess!. The record showcases six of Victor's original tunes including the title tune "Eeeyyess" & "Here's To . . . You Babe" with lyrics written & sung by Lewis. Know It Today, Know It Tomorrow on Red Records, the first quintet album's contributors include Eddie Henderson, Edward Simon, Christian McBride and introduced tenor player Seamus Blake. Six more of Victor's compositions can be heard on this project including "Hey, It's Me You're Talkin' To" and "The Loss of a Moment."The fourth release as a leader is Three Way Conversations on Red Records and features different trio combinations of Victor on drums and Ed Howard on bass with either Seamus Blake on tenor, or Steve Wilson on alto or Terell Stafford on trumpet.

Here again is a sampling of the compositional talents of the multi-talented drummer-composer-arranger with ten new original tunes."Lewis is a master of shading and color, and the kind of timekeeper that could teach a clock new ways to tick" says jazz writer Bill Kohlhasse. As his ever increasing talent becomes more and more obvious to the general public, it is clear that Victor Lewis is an important artist on the horizon.

Victor Lewis' drum solo.
http://www.youtube.com/watch?v=kTQqogpvXiw

Reference - Mason Gross - School of the Arts

KYLE EASTWOOD

2010-06-13T21:41:00.004-04:00

American jazz musician and stand-up bass player, Kyle Eastwood, was born on May 19, 1968 in Los Angeles, California and grew up in Carmel-by-the-Sea, California. He is the elder brother of actress and fashion designer Alison Eastwood. Eastwood is the son of actor-director Clint Eastwood and model Maggie Johnson. He has one daughter, Graylen (b. 1994), with ex-wife Laura Gomez.

He studied film at the University of Southern California for two years before embarking on a music career. After becoming a session player in the early '90s and leading his own quartet, he released his first solo album, "From There to Here", in 1998. His most recent album, "Metropolitain," was released on June 2009 by Rendezvous.

Eastwood plays acoustic and electric as well as double bass. He is the son of filmmaker and actor Clint Eastwood.

Eastwood comes from a musical family, as explained in an October 27, 2006, from The Independent:
“
When I told my father, film actor/director Clint Eastwood, I wanted to be a musician he was happy about it. Music has always been important to my family. My parents gave me my taste in music and my love of jazz from an early age. My father plays piano, my mother used to play, and my mother's mother was a music teacher at Northwestern University in Illinois.
”

It comes as little surprise, then, that music was a prominent fixture in the Eastwood home. According to his biography with Hopper Management, Eastwood grew up listening to records by jazz legends such as Miles Davis,Dave Brubec, Thelonious Monk, and the Stan Kenton Big Band with his parents, both jazz lovers. Eastwood attended the Monterrey Jazz Festival numerous times with his parents, as well. "One advantage of having a famous father was I got to go backstage", Eastwood explained in an interview conducted by stepmother Dina Ruiz Eastwood. "I met a lot of artists, greats like Dizy Gillespie and Sarah Vaughan. Looking back on that, I can see how much the musicians I met there influenced my career."

Eastwood began playing electric bass in high school, learning R&B, Motown, and reggae tunes by ear. After studying with French bassist Bunny Brunel, he began playing gigs around the New York and Los Angeles areas, eventually forming the Kyle Eastwood Quartet, who contributed to 1996's Eastwood After Hours: Live at Carnegie Hall, a concert saluting Clint Eastwood and his love of jazz.

Clint Eastwood has always been supportive of, and interested in, Kyle's work, as Eastwood told The Independent: "As far as my father is concerned, as long as I was serious about my music career, he was supportive of me."
Two years later, in 1998, Sony released his first CD, "From There to Here", a collection of both jazz standards and original compositions. After signing with the UK's Candid Records in 2004,

Eastwood moved to Dave Koz's's label, Rendezvous, which has released his last two albums: 2005's Paris Blue, and 2006's Now.

In addition to his solo albums, Eastwood has also contributed music to eight of his father's films: The Rookie (1990), Mystic River (2002), Million Dollar baby (2004), Flags of Our Fathers (2006), Letters from Iwo Jima (2006), Changeling (2008), Gran Torino (2008), and Invictus (2009).

He was nominated with partner Michael Stevens for a 2006 Chicago Film Critics Association Award for Original Score (Letters from Iwo Jima).

Kyle does "Paris Blue"

http://www.youtube.com/watch?v=l0xneCWt5Lg

Reference - Wikipedia

SYLVIA BROOKS

2010-06-13T20:54:00.003-04:00

Recording artist Sylvia Brooks was born on May 18, in Miami, Florida, no stranger to Jazz, Brooks grew up in a musical family. Her father, a well-known jazz pianist, arranged, composed and played for such luminaries as Peggy Lee, Stan Getz, Dizzie Gillespie, Sarah Vaughn and Harry James. Her mother sang at the Eden Roc and Fountain Bleu, and the Playboy Club Circuit opening for Jimmy Durante, Rodney Dangerfield and others. She went on to become artistic director of a major opera company, and produced many seasons of opera.

At a young age, Brooks was invited to study classical theatre at the prestigious American Conservatory Theatre (ACT) in San Francisco, which led to her invitation to join the Company, followed by a growing career of performances with numerous companies. Her experience as a serious actor can be found in her singing, bringing new insights into every song. “This music speaks to me,” she says. “It is timeless, yet it is so fresh and new there is always something to discover in it. The great singers of the past didn't just sing -- they took you on a journey. They embodied each song with passion and brought their lives to the music. Sadly, it has become a lost art form; I want to bring it back to life.”

As one critic said, “It's as if Brooks has lived this music; she and her musicians share an understanding of just what it is saying. I felt that I was actually hearing many of these songs for the first time. They take you on a journey, and bring something innovative and alive to the stage. Sylvia Brooks is definitely here; and that is a great thing.

Ms. Brooks released her her first and self produce CD "Dangerous Liaisons" last year.

Sylvia talks about her music and sings it.
http://www.youtube.com/watch?v=55ndi_TZnGU

Reference - AAJ

BETTY CARTER, BABY IT'S COLD OUTSIDE

2010-06-13T20:23:00.005-04:00

American jazz singer Lillie Mae Jones, best known as Betty Carter, was born on May 16, in Flint,Michigan and grew up in Detroit, where her father led a church choir. She studied piano at the Detroit Conservatory. She won a talent contest and became a regular on the local club circuit, singing and playing piano. When she was 16 she sang with Charlie Parker and she later performed with Dizzy Gillespie, Ray Charles and Miles Davis.

She became renowned for her improvisational technique and idiosyncratic vocal style. Her devotion to the jazz idiom was such that her fellow vocalist Carmen McRae once claimed that "there's really only one jazz singer - only one: Betty Carter."

Carter honed her scat singing ability while on tour with Lionel Hampton in the late 1940s. Hampton's wife Gladys gave her the nickname "Betty Bebop", a nickname she reportedly detested.

In the 1950s Carter made recordings with King Pleasure and the Ray Bryant Trio. Her first solo LP, "Out There with Betty Carter", was released on the Peacock label in 1958. Carter's career was eclipsed somewhat through the 1960s and 1970s, though a series of duets with Ray Charles in 1961, including the R&B-chart-topping "Baby, It's Cold Outside," brought her a measure of popular recognition. In 1963 she toured in "Japan with Sonny Rollins. She recorded for various labels during this period, including ABC-Paramount,Atco and United Artists, but was rarely satisfied with the resulting product.

In 1970, a record company A&R man tried to run off with a set of her master recordings; the incident led her to establish her own record label, Bet-Car. Some of her most famous recordings were originally issued on Bet-Car, including the double album The Audience withbetty Carter (1980). In 1980 she was the subject of a documentary film by Michelle Parkerson, But Then, She's Betty Carter.

In the last decade of her life, Carter finally began to receive wider acclaim and recognition. In 1987 she signed with Verve Records, who reissued most of her Bet-Car albums on CD for the first time and made them available to wider audiences. In 1988 she won a Grammy for her album Look What I Got! and sang in a guest appearance on The Cosby Show (episode "How Do You Get to Carnegie Hall?"). In 1994 she performed at the White House and was a headliner at Verve's 50th anniversary celebration in Carnegie Hall. In 1997 she was awarded a National Medal of Arets by Presidente Bill Clinton. Carter remained active in jazz until her death.

Like Art Blakey and Charles Mingus, Betty Carter recruited members of the younger generation of performers to bring her creations to life. She insisted that she "learned a lot from these young players, because they're raw and they come up with things that I would never think about doing." Her collaborators became a veritable musical school - what the New York Times called "jazz's best university: Betty Carter U."

In 1993 Carter helped launch the Jazz Ahead program for young musicians at the Kennedy Center. She also devoted much of her time and energy in her last few decades touring colleges and grade-schools across the country.

Betty passed away on September 1998, aged 69.

Betty does "All or Nothing at All"

http://www.youtube.com/watch?v=3cuuNlCP-ak

Reference - Wikipedia

WOODY HERMAN, THE HERD LEADER

2010-06-13T20:01:00.004-04:00

American jazz clarinetist,alto and sopranno saxophonist, singer and big band leader Woodrow Charles Herman , better known as Woody Herman, was born on May 16,1913 in Milwaukee,Wisconsin. As a child he worked as a singer in vaudeville, then became a professional saxophone player at age 15.

When Isham Jones's band, of which Herman had been a member, broke up in 1936, he formed his own band, the Woody Herman Orchestra, with some of his band mates. This band became known for its orchestrations of the blues and were sometimes billed as "The Band That Plays The Blues".

Chief among the more than 50 hits recorded by this band were "Woodchoppers' Ball," "Blue Flame," and "Blues in the Night."Reeds player Woody Herman (1913), who had formed his orchestra in 1936 and had already hit the charts with bluesy numbers composed by Joe Bishop, such as Woodchoppers' Ball (april 1939) and Blue Flame (march 1941), as well as with Harold Arlen's Blues in the Night (september 1941), arranged in a traditional manner a` la Duke Ellington or Count Basie, first showed his interest in the new trends when he hired Dizzy Gillespie, who composed Down Under (july 1942) for him.

In the following years Herman assembled an impressive set of talents, such as bassist Chubby Jackson (1942), drummer Dave Tough (1944), guitarist Billy Bauer (1944), trombonist Bill Harris (1944), pianist Ralph Burns (1944), trumpeter Neal Hefti (1944), vibraphonist Kenneth "Red Norvo" Norville (1945), trumpeter Sonny Berman (1945), trumpeter Shorty Rogers (1945) and formed the first Herd.

Burns and Hefti (and later Rogers) were also skilled composers and arrangers, who provided excellent material to top the energetic rhythm section. Hits such as Herman's own novelty Goosey Gander (march 1945), Burns' Bijou Rhumba A La Jazz (august 1945) Harris' Your Father's Mustache (september 1945) Herman's ebullient Apple Honey (february 1945), Louis Jordan's funny Caldonia (february 1945), Herman's Blowin' Up A Storm (november 1945) Burns' sprightly Northwest Passage (march 1945), Hefti's Good Earth (august 1945), Hefti's Wild Root (november 1945), made them the most popular band that was trying to assimilate the new language of bebop.

Herman's "second herd" of 1947 was characterized by the reed section, the so called "four brothers" whose style pioneered "cool jazz" before the term was invented: three tenor saxophones (enfant prodige Stan Getz, Zoot Sims, Al Cohn) and a baritone saxophone (Serge Chaloff). The reed section became dominant over the brass and the rhythm section, a fact that lent the Second Herd its "modern" quality. Burns was the real genius of the orchestra, as the ambitious multi-part suites Lady McGowan's Dream (september 1946) and especially the catchy four-movement Summer Sequence (september 1946) proved. The third part of the latter, Early Autumn, was the ballad that turned Getz into a star. But this herd had fewer hits: Jimmy Giuffre's Four Brothers (december 1947), Al Cohn's The Goof and I (december 1947), Burns' Keen And Peachy (december 1947).

He continued to perform into the 1980s, chiefly to pay back taxes caused by a band manager in the 1960s. When he became ill and was forced to give up the band, the Internal Revenue Service seized his assets, including his home. While still ill, he picked the leader of the reed section, Frank Tiberi, as his successor.

Woody Herman passed away in October,1987.

Woody Herman and his Big Band doing "After You've Gone"

http://www.youtube.com/watch?v=Jz6Eqm8WZPc

Reference - Woody's Biography

OSCAR CASTRO NEVES

2010-05-30T22:57:00.003-04:00

O cantor, instrumentista, arranjador, compositor, produtor musical brasileiro Oscar Castro Neves, nasceu no 15 de maio de 1940, na cidade do Rio de Janeiro. Como Antonio Carlos Jobim e João Gilberto, Oscar Castro-Neves surgiu no início dos anos 60 e é considerado por muitos uma das figuras que ajudaram a estabelecer o movimento da bossa nova no mercado internacional, principalmente nos Estados Unidos.

Nasceu gêmeo de mais dois irmãos e cresceu no Rio de Janeiro. O seu primeiro instrumento foi um cavaquinho, enquanto o seu primeiro grupo musical foi uma parceria com seus irmãos: o pianista, Mário; o baixista, Iko; e o baterista, Léo. Seu primeiro sucesso foi com "Chora Tua Tristeza," aos 16 anos de idade.

Em 1962, apresentou-se em um concerto internacional de bossa nova no Carnegie Hall em Nova York; em seguida iniciou uma turnê junto a Stan Getz e Sérgio Mendes. Ele continuou trabalhando com diversos músicos bem conceituados; entre eles: Yo-Yo Ma,Michael Jackson, N Barbra Streisand, Stevie Wonder, João Gilberto, Lee Ritenour, Airto Moreira, Toots Thielemans, e Diane Schurr, entre muitos outros.

Nos anos de 1970 e no início de 1980, participou do conjunto musical de Paul Winter. Por sete anos, Oscar dirigiu um programa de músicas brasileiras no Hollywood Bowl. Com uma audiência que superava 14 mil pessoas, o programa homenageava grandes nomes da fusão "Jazz-Bossa" e era televisionado globalmente.

Atualmente vive em Los Angeles, na California, aonde trabalha como orquestrador de trilha-sonora de longa-metragens, e inclui em seu curriculum filmes como Blame It on Rio e Sister Act 2: Back in the Habit (Mudança de Hábito 2, no Brasil).

Oscar toca e canta "Waters of March". Maravilha!!!!!!

http://www.youtube.com/watch?v=8g3-7M51Tns

Referencia - Wikipédia

BOBBY DARIN, MACK THE KNIFE

2010-05-30T22:04:00.007-04:00

O cantor e ator americano Walden Robert Perciville Cassotto, famoso com o nome Bobby Darin, nasceu no 14 de maio de 1936, no Bronx em Nova York. Viveu uma existência dramática, vindo do nada até atingir o estrelato. Bobby Darin, desde seu nascimento, enfrentou diversas dificuldades, a começar quando, ainda em sua infância, o médico após examiná-lo, constatou que ele sofria de problemas cardíacos e lhe estimou pouco tempo de vida, devido a tamanha gravidade da sua enfermidade. Por isso decidiu viver a sua vida de maneira muito intensa. Viveu como se todo dia fosse o último.

Bobby é um exemplo de superação de sensibilidade, que encontra forças em suas lembranças de infância, que ele nunca esqueceu, para enfrentar a vida com alegria e acima de tudo muito talento. Entretanto, foi um conquistador, um vencedor nato, pra começar venceu a infância extremamente difícil, porque além de ficar recluso por causa da doença, sem poder brincar como as outras crianças, não conheceu o pai que abandonou a sua mãe na infancia.

Bobby cresceu em um bairro pobre, e mesmo contra as recomendações do médico e da sua mãe de não fazer muitos esforços, tornou-se mais tarde umas das maiores estrelas da América.
Os seus maiores sucessos foram as canções "Dream lover" e "Splish splash". O papel de sua mãe Holly no desemvolvuimengto de sua carreira foi fundamental pois ao descobrir que o filho talvez não chegasse aos 15 anos o incentivou a aprender a tocar vários instrumentos.

Quando foi à Itália gravar "Quando Setembro Vier" conheceu no set aquela que seria sua esposa, a também atriz Sandra Dee. Fez de tudo para conquistá-la e acabou conseguindo, mas a mãe da atriz nunca aceitou o romance deles e tentou separá-los, mas não deu certo.

Bobby Darin casou-se com Sandra Dee em 1960, no dia seguinte ao término das gravações. Embora a amasse de verdade, Bobby começa a brilhar mais do que sua companheira no cinema, concorre ao Oscar, e seu brilho apaga o da sua mulher. Este talvez tenha sido o seu maior problema no relacionamento. A estrela de Darin ofuscava a da sua esposa. Em 1961, nasce seu único filho Dodd Mitchell Darin e ele se divorcia em 1967.

Lutando muito, dia após dia, percorreu um caminho que o levou dos duvidosos clubes noturnos até ao seu destino de sonho, o Copacabana, onde levou multidões ao delírio com as suas interpretações. Ele era o máximo, tanto quando cantava, quanto quando escrevia as canções ou quando tocava, apesar da doença que o perseguia desde a sua infância.

Isolado e confuso, foi obrigado a confiar nos seus amigos, na família e no seu extraordinário talento para acalmar os seus demônios e aceitar quem era e o que a sua vida significou.
Foi indicado a dois Oscars e ganhou um Grammy.

Por causa de Sandra (Sandy como costumava chamar), Bobby interrompeu a sua carreira para se dedicar mais a sua vida particular, e isso fez com que a sua fama fosse por água abaixo. Em tempos de guerra, tentando uma volta por cima, Bobby começa a apoiar o presidente Kennedy e escreve músicas sobre a guerra do Vietnã.

Sua esplendorosa volta ao palco aconteceu antes de sua morte. Só aí apresenta a sua verdadeira mãe, Nina, pois só naquela época descobre que a sua suposta irmã mais velha era na verdade sua mãe, que teve ele ainda jovem e não pode assumi-lo devido ao fato de ser mãe solteira e não saber quem era o pai de Darin, isso com certeza foi uma das maiores decepções de sua vida. Para não ser chamado de bastardo na época, sua mãe o deu para a sua avó, Holly, que era considerada por ele a sua verdadeira mãe.

Existe um filme contando a sua história, chama-se "Uma vida sem Limites".

Bobby faleceu em Los Angeles em dezembro de 1973.

Bobby Darin canta um de seus maiores sucessos "Mack The Knife"

http://www.youtube.com/watch?v=4Qrjtr_uFac

Two-time Grammy award winning singer, Oscar nominated actor and accomplished singer Walden Robert Perciville Cassotto, best known as Bobby Darin, was born on May 14, 1936 in The Bronx, New York City.

Darin performed widely in a range of music genres, including pop, rock, jazz, folk and country. Although unknown to his public, his health was dangerously fragile and strongly motivated him to succeed within the limited lifetime he feared he would, and ultimately did, have.

He was also an actor, singer/songwriter and music business entrepreneur. His wish for a legacy was "to be remembered as a human being and as a great performer." Among his many other contributions, he became a goodwill ambassador for the American Heart Bobby Darin was born to a poor, working-class family of mostly Italian descent in The Bronx. The person thought to be his father (who was actually his grandfather) died in jail a few months before he was born. It was the height of the Great Depression, and he once remarked that his crib was a cardboard box, then later a dresser drawer.

He was initially raised by his mother Polly and his sister Nina, subsisting on Home Relief until Nina later married and started a family with her new husband Charlie Maffia. It was not until Darin was an adult that he learned Nina, who was 17 years his senior, was in fact his birth mother, and that Polly, the woman he thought was his mother, was really his grandmother. He was never told the identity of his real father, other than being told that his birth father had no idea Nina was pregnant, and thus never knew that Bobby was even born. Polly mothered him well, despite her own medical history resulting in her addiction to morphine. It was Polly who took the young Bobby to what was left of the old vaudeville circuit in New York, places like the Bronx Opera House, and the RKO Jefferson in Manhattan, where he received his first showbiz inspiration, and where he saw performers like Sophie Tucker, whom he loved.

Darin was frail and sickly as an infant and, beginning at the age of 8, was stricken with multiple recurring bouts of rheumatic fever. The illness left him with a seriously weakened heart. Overhearing a doctor tell his mother he would be lucky to reach the age of 16, Darin lived with the constant knowledge that his life would be short, which further motivated him to use his talents. He was driven by his poverty and illness to make something of his life and, with his innate talent for music, by the time he was a teenager he could play several instruments, including piano,drums, and guitar. He later added harmonica and xylophone.

An outstanding student, Darin graduated from the prestigious Bronx High School of Science and went on to attend Hunter College on a scholarship. Wanting a career in the New York theater, he dropped out of college to play small nightclubs around the city with a musical combo. In the resort area of the Catskill Mountains, he was both a busboy and an entertainer. For the most part teenage Bobby was a comedy drummer and an ambitious but unpolished vocalist.

As was common with first-generation Americans at the time, he changed his Italian surname to one that sounded less ethnic. He chose the name "Bobby" because he had been called that as a child. He allegedly chose Darin because he had seen a malfunctioning electrical sign at a Chinese restaurante reading "DARIN DUCK" rather than "MANDARIN DUCK", and he thought "Darin" looked good. Later, he said that the name was randomly picked out of the telephone book, either by himself or by his publicist. It has also been suggested that he amended the word "daring" to suit his ambitions. None of these stories has been verified.

What really moved things along for Darin was his songwriting partnership, formed in 1955, with fellow Bronx Science student Don Kirshner. In 1956 his agent negotiated a contract for him with Decca Records, where Bill Haley and His Comets had risen to fame. However, this was a time when rock and roll was still in its infancy and the number of capable record producers and arrangers in the field was extremely limited.

A member of the now famous Brill Building gang of once-struggling songwriters who later found success, Darin was introduced to then up-and-coming singer Copnnie Francis. Bobby's manager arranged for Darin to help write several songs for Connie in order to help jump-start her singing career. Initially the two artists couldn't see eye to eye on potential material, but after several weeks Bobby and Connie developed a romantic interest in one another. Purportedly, Connie had a very strict Italian father who would separate the couple whenever possible. When Connie's father learned that Bobby had suggested the two lovers elope after one of Connie's shows, he ran Darin out of the building while waving a gun telling Bobby to never see his daughter again.
Bobby saw Connie only twice more after this happened, once when the two were scheduled to sing together for a television show and again later when Connie was spotlighted on the TV series This is Your Life. Connie has said that not marrying Bobby was the biggest mistake of her life.She used the title words of the song "My First Real Love," (a Darin-Kirshner song she'd recorded and on which Darin had played drums), when she said, "Well, he was my first real love and I never stopped loving him all my life." Connie Francis said too that she and Darin would sometimes go to the Apollo Theater to see artists like James Brown and Ray Charles, 'we were the only white people in the audience', and when Darin did record first for Decca early in 1956 it was a piece of black music, pioneered by the Louisiana songster Leadbelly, Rock Island Line - though the immediate inspiration was Lonnie Donegan's skiffle version. He sang it on the Dorsey Brothers T.V Show, a big deal at the time, with the lyrics written on the palms of his hands in case he forgot them, which he did. But the songs recorded at Decca did very little business.

Darin left Decca to sign with Atlantic Records (ATCO), where he wrote and arranged music for himself and others. There, after three mediocre recordings, his career took off in 1958 when he wrote and recorded "Splish Splash." The song was an instant hit, selling more than a million copies. "Splish Splash" was written with radio DJ Murray "Murray the K" Kaufman, who bet Darin that he could not write a song that started out with the words "Splish Splash, I was takin' a bath", as suggested by Murray's mother. On a snow-bound night in early 1958, Darin went in the studio alone and recorded a demo of "Splish Splash." They eventually shared writing credits with her. This was followed by more hits recorded in the same style.

In 1959, Bobby Darin recorded "Dream Lover," a ballad that became a multi-million seller. Along came financial success and with it came the ability to demand more so-called creative control. Some at the label wanted a Fats Domino-ish album, but Darin's devoted publicist and advisor Harriet 'Hesh' Wasser wanted a 'great, swinging, standard album,' and, as she later told it, they were walking down 57th street when Darin told her "Hesh, don't worry, you'll get your album."

His next record, "Mack the Knife", was the classic standard from Kurt Weill's Threepenny Opera: Darin gave the tune a vamping jazz-pop interpretation, which he consciously modeled on the style of Frankie Lane. The song went to No. 1 on the charts for nine weeks, sold over a million copies, and won the Grammy Award for Record of the Year in 1960. Darin was also voted the Grammy Award for Best New Artist that year. "Mack The Knife" has since been honored with a Grammy Hall of Fame Award. He followed "Mack" with "Beyond the Sea", a jazzy English-language version of Charles Trenet's French hit song "La Mer."

Propelled by the success of "Mack the Knife" and "Beyond the Sea", Darin became a hot commodity. He set all-time attendance records at the famed Copacaban nightclub in New York City, where it was not unusual for fans to line up all the way around the block to get tickets when Darin performed there. The Copacabana sold so many seats for Darin's shows that they had to fill the dance floor, normally part of the performance area, with extra seating. Darin also headlined at the major casinos in Las Vegas.

Sammy Davis Jr., an exceptionally multi-talented and dynamic performer himself, was quoted as saying that Bobby Darin was "the only person I never wanted to follow" after seeing him perform in Las Vegas. However, Davis was among those who appeared on the 1959 telecast of This is Your Life, along with George Burns and relatives and friends, that surprised and honored Darin at NBC's Burbank, California studios.

Darin had a significant role in fostering new talent. Richard Pryor, Flip Wilson and Wayne Newton opened his nightclub performances when they were virtually unknown. Early on, at the Copacabana, he insisted that black comic George Kirby be his opening act. His request was grudgingly granted by Jules Podell, the manager of the Copacabana.

In the 1960s, Darin also owned and operated a highly successful music publishing and production company (TM Music/Trio) and signed Wayne Newton to TM, giving him a song that was originally sent to Darin to record. That record went on to become Newton's breakout hit, "Danke Schoen". He also was a mentor to Roger McGuinn, who worked for Darin at TM Music and played the 12 string guitar in Darin's nightclub band before going off to form The Byrds. Darin also produced football great Rosey Grier's 1964 LP, "Soul City," and "Made in the Shade" for Jimmy Boyd.

In 1962, Darin also began to write and sing country music, with hit songs including "Things" (U.S. #3) (1962), "You're the Reason I'm Living" (U.S. #3), and "18 Yellow Roses" (U.S. #10). The latter two were on Capitol Records, which he joined in 1962, before returning to Atlantic four years later.

The song "Things" was sung by Dean Martin in the 1967 TV special Movin'With Nancy, starring Nancy Sinatra which was released to home video in 2000. In 1972, he starred in his own TV varietry show on NBC, The Bobby Darin Amusement Company, which ran until his death in 1973. Darin married Andrea Yeager in June 1973. He made TV guest appearances and also remained a top draw at Las Vegas, where, owing to his poor health, he was often administered oxygen after his performances.

In 1973, Darin's ill health took a turn for the worse. After failing to take medication (prescribed to protect his heart) before a dental visit, he developed blood poisoning. This weakened his body and badly affected one of his heart valves. On December 11, Darin entered Cedars-Sinai Medical Center in Los Angeles for surgery to repair the two artificial heart valves he received in the previous 1971 operation. On December 19, the surgery began. A five-man surgical team worked for over six hours to repair his damaged heart.

However, although the surgery was initially successful, Darin died minutes afterward in the recovery room without regaining consciousness on December 20, 1973, at age 37.

reference - Wikipedia

MAXINE SULLIVAN

2010-05-30T21:43:00.003-04:00

American blues and jazz singer Marietta Williams, best known as Maxine Sullivan, was born on May 13, 1911 in Homestead, Pennsylvania. She married jazz musician John Kirby in 1938 (divorced 1941), and stride Pianist Cliff Jackson in 1956.

Maxine Sullivan had very little formal music training. She was discovered while singing at the Benjamin Harrison Literary Club in Pittsburg by Gladys Mosier. Mosier was, in the mid 1930's, working in Ina Rae Hutton’s big band and an acquaitance of fellow pianist Claude Thornhill. She soon introduced her new find to Thornhill and as his protege', Maxine Sullivan made her first records in June of 1937, accompanied by the pianist's all-star band.

The critics at Metronome magazine received Maxine's first records warmly, giving the discs good ratings and reviews. Around the same time Maxine became the vocalist at The Onyx Club in New York. It was here that she formed both a music and personal partnership with bass-man John Kirby who she soon married. Kirby had worked with Fletcher Henderson in the early 1930’s as well as Henry Red Allen. A busy man in 1937, the stellar bassist recorded with Teddy Wilson, Willie The Lion Smith, Frankie Newton, Midge Williams, Charlie Barnet, and Lionel Hampton all prior to the first records he made with Maxine on August 6th, 1937 which also saw accompaniment from Thornhill on piano. Sullivan and Kirby remained married until 1941.

It was this first session with Kirby that proved to be both a blessing and a curse for Maxine Sullivan. It produced a hit record, a swing version of a Scottish folk song called "Loch Lomond".

Unfortunately it "typed" her and she depended on similar folk style performances for many subsequent records, despite her ability to adapt to other forms of Pop and jazz songs equally well. Her cool, soft, tone and subtle and intimate style was equally swinging on records like Nice Work If You Can Get It, Blue Skies, St Louis Blues, and Stop Your Breaking My Heart. There were a bevy of records like Darling Nellie Gray, Annie Laurie, Molly Malone and others that began to sound all very similar.

In 1940 Sullivan and Kirby were featured on the radio program "Flow Gently Sweet Rhythm". They were the first black jazz stars to have their own weekly radio series. Sullivan and Kirby’s last shows together were in the fall of 1941 and were recorded by two different transcription companies, World and Associated.

In the mid 1940s she was recorded with the bands of Teddy Wilson, Benny Carter, and Jimmie Lunceford and can be heard singing mainly ballads with all three groups. Aside from sessions with Ellis Larkins and Bob Haggart, her recorded output was little until 1955 and 1956. Finally recorded singing better material in the company of musicians like Dick Hyman, and old cohorts Buster Bailey, Charlie Shavers, and Russell Procope; Sullivan produced a series of sides that were her most exciting since her 1937 sessions. In the late 50’s she branched out to new areas of study, in nursing and playing valve trombone, which she played at numerous concerts and festivals in 1958.

From 1958 to 1966 nursing took up her career. In ’66 she reemerged playing several festivals with her new husband pianist Cliff Jackson. From then until 1986 she continued to appear at festivals and can be heard with musicians from Doc Cheatham to Scott Hamilton. Her last recorded concert was at The Fujitsu-Concord Jazz festival held in Tokyo in September of 1986.

Maxine Sullivan appeared in the movies "St. Louis Blues" and "Going Places", the latter opposite of Louis Armstrong. On stage, she was seen in "Swingin’ The Dream" in 1939, and "Take A Giant Step" in 1953. She toured Great Britain in 1948 and again in 1954.

In her later concert appearances she traveled to France for several performances in 1984 and to Sweden many times beginning in 1975 and ending in 1984.

Maxine Sullivan died in April of 1987, in New York little more than one month short of her 76th birthday and just 8 months after her last recorded concert appearance. The last song she performed at the Fujitsu – Concord Jazz Festival and her last performance on record…was "Loch Lomond".

Maxine was inducted into the Big Band and Jazz Hall of Fame in 1998.

Maxine sings "A Hundred Years from Today"

http://www.youtube.com/watch?v=dsfLnY2cJlA

Reference - Wikipédia

BEBEL GILBERTO

2010-05-30T21:28:00.005-04:00

A cantora e compositora brasileira-americana Isabel Gilberto de Oliveira, conhecida no mundo artistico como Bebel Gilberto, nasceu no 12 de maio de 1966 em Nova York . É filha dos cantores brasileiros João Gilberto e Miúcha (irmã de Chico Burque) e começou a cantar cedo, participando de coros infantis em discos e musicais como Os Saltimbancos e Pirlimpimpim.

Estreou ao lado do pai, cantando "Chega de Saudade", no especial João Gilberto do Prado Pereira de Oliveira, em 1980. Trabalhou no filme "A Cor de seu Destino" de Jorge Durán. Era grande amiga de Cazuza e fez um dueto com o cantor na música "Preciso Dizer Que Te Amo" da qual era co-autora.

Bebel compôs em parceria com Cazuza e Dé Palmeira, além de Preciso Dizer que te Amo, as canções Amigos de Bar, Mais Feliz e Mulher sem Razão. Participou do projeto Peeping Tom de Mike Patton (ex-vocalista do Faith No More), cantando "Caipirinha".

Atualmente reside em Nova York, mas divide seu tempo entre os Estados Unidos e o Brasil, onde reside no Rio de Janeiro. Faz sucesso também na Europa, sendo uma das cantoras mais bem cotadas pelo leste europeu. Seu primeiro disco, "Tanto Tempo", foi um dos discos mais bem cotados por público e crítica, sendo eleito um dos 1.000 discos que devem ser ouvidos antes de morrer.

Bebel ainda lançou em 2004 seu segundo disco, "Bebel Gilberto", que, apesar de ter ganho muitos prêmios pelo mundo (sobre tudo pelos singles "Aganjú" e "Simplesmente"), é considerado como seu disco mais fraco.

Em 2007 lançou seu terceiro disco mundial, "Momento" que, mesmo não tendo atingido o mesmo sucesso de seu primeiro disco, foi um dos discos mais ouvidos do ano. Em 2009 lançou o CD "All in One", com regravações de canções como "Bim Bom" e "Chica Chica Boom Chic".

Bebel canta o "Samba da Benção"

http://www.youtube.com/watch?v=fl2WJdn3qOE

Fonte - Wikipédia

KING OLIVER, O REI DO JAZZ

2010-05-30T21:11:00.004-04:00

O cornetista de jazz Joseph Oliver, que tornou-se famoso como Joe King Oliver, nasceu no 11 de maio de 1885 em New Orleans, Louisiana e se tornou hábil na corneta, tocando nas principais brass bands da cidade no início do século: Eagle, Onward Brass Band, Olympia Band.

Ganhou o título de Rei por sua genialidade inventiva que incluía um sopro potente e uma afinação absoluta.Uma de suas maiores contribuições para o mundo do Jazz foi sua banda, formada inteiramente por negros, a "Creole Jazz Band", em 1923. Por ser uma banda de Jazz inteiramente afro-americana, eles fixaram sua luta e melodia não só na evolução do Jazz e suas ramificações, mas também na história da música negra ao redor do mundo. King Oliver introduziu Louis Armstrong à sua banda e fez dele um dos maiores nomes do Jazz, mundialmente falando.

Em 1915, fez parte do conjunto do trombonista Kid Ory e com o fechamento do famoso bairo de prostituição Storyville em New Orleanse, no ano de 1917, emigrou para Chicago. Em 1920, formou a "Creole Jazz Band", que atingiu o máximo de seu prestigio em 1923, quando gravou para a Paramount, a Okeh e a Gennet.

Em 1923 a sua banda, a "Creole Jazz Band", realizou em Chicago os primeiros discos de jazz no estilo puro de Nova Orleans. O conjunto das 39 gravações feitas para a Paramount, Okeh e Gennett constitui o primeiro acervo importante do jazz como modo de expressão musical, conforme uma estética definida e reconhecível. Nesse conjunto de gravações, estão as primeiras obras-primas do jazz.

Em 1924, Louis Armstrong (segunda corneta) deixou a banda de Oliver. que foi aos poucos, se desfazendo. Dois anos depois, "King" Oliver passou a liderar os Dixie Syncopators, que duraram até 1928, quando o pianista Louis Russell abandonou o conjunto junto com outros Syncopators, para organizar sua própria orquestra.

A improvisação coletiva tramada em torno da linha mestra exposta pelas cornetas, num enredo contrapontístico livre, em que o trombone respondia de forma ritmo-melódica as frases da (s) cometa (s), de um modo que ficou conhecido como tailgate style; o clarinete ornamentava o tema principal, tudo por sobre um ritmo binário bem sincopado fornecido pelo contrabaixo ou tuba, a guitarra ou o banjo, a bateria ou instrumentos rítmicos caseiros, como a washboard.

King Oliver faleceu em Savannah, Georgia em 1938, em plena depressão.

King Oliver e a Creole Jazz Band levam "Sobbin' Blues"

http://www.youtube.com/watch?v=ONDr4zau53c

Fonte - CDJ

FRED ASTAIRE, UM ARTISTA COMPLETO

2010-05-30T20:52:00.004-04:00

O cantor, ator, compositor e dançarino americano Fred Astaire, nasceu no 10 de maio de 1899 em Los Angeles, Califórnia. Durante a trajetória de sua brilhante carreira atuou em 40 filmes. No teatro, estreou em 15 musicais nas casas de Nova York e Londres.

Foi coreógrafo do compositor inglês Noel Coward, Gertrude Lawrence, Marilyn Miller, Ginger Rogers e Allen Kearns em espetáculos teatrais. Gravou mais de 18 álbuns entre Lps, Coleções e trilhas sonoras de filmes e televisão, além de compor 20 canções populares.

Impossivel resumir a exuberância, glamour e fama de uma lenda hollywoodiana, um ator completo como nenhum outro, que cantava, interpretava, dançava (como ninguém) e compunha. Ele deixou uma inconfundível marca na história do Cinema e foi um consagrado artista de musicais, shows e TV, cujo sucesso, pouco igualado, virou lenda no cenário artístico. Introduziu inovações coreográficas para câmera que criaram um novo e revolucionário conceito para a dança nos filmes, assim como seu estilo pessoal, um modelo de classe e elegância masculina.

Asteire começou sua carreira profissional em 1907 ao lado da irmã, Adele, aos sete anos de idade. Adele tinha oito. A primeira apresentação do casal foi em uma casa de shows de Nova Jersey. Logo seriam considerados a melhor dupla infantil do showbussines, e em 10 anos já haviam conquistado a Broadway, trabalhando em três números ao mesmo tempo.

Nos anos finais da década de 1930 Astaire começou a desenvolver seu próprio estilo de dança e afirmar sua independência da irmã Adele, coreografando seus próprios números. Adele, em 1932, casou-se com um nobre inglês e abandonou a carreira. No mesmo ano, Astaire começou no cinema, com "A Alegre Divorciada".Seu sucesso nos palcos contava pouco para Hollywood. Astaire teve que continuar com seu espírito humilde e muita perseverança para crescer na indústria.

Ao tentar entrar para o elenco da adaptação para o cinema do show "Cinderela em Paris", recebeu uma avaliação terrível, que hoje soa como piada: ''Não sabe cantar. Está ficando careca... dança um pouco''. No ano seguinte participaria de "Amor de Dançarina". Graças ao sucesso deste filme, veio a indicação para atuar em "Voando para o Rio", ao lado de Ginger Rogers, parceria que rendeu 10 filmes.Os dois não se davam bem fora das telas, mas juntos nela possuiam uma química perfeita. Katherine Hepburn comentou uma vez: ''Eles combinavam tão bem na tela porque Astaire deu a ela classe e Ginger deu a ele sexo''.

A carreira cinematográfica de Fred Astaire abrangeu cerca de 40 filmes, a grande maioria demusicais. A partir de 1957, começou a sua fase de ator ''puro'', quando atuou em "A Hora Final ", sobre a aniquilação da humanidade numa guerra nuclear.Entre outros trabalhos desta nova etapa destacam-se: "Inferno na Torre", pelo qual foi indicado ao Oscar de melhor ator coadjuvante.

Este ciclo como ator interpretativo encerrou-se, juntamente, com sua despedida do cinema, em "História de Fantasmas".Astaire também trabalhou muito em TV. Em 1955 apareceu no programa de Ed Sullivan parapromover ''Papai Pernilongo'' e, em 1957, participou da peça televisiva ''Imp on a Cobweb Leash'', no Grande Teatro General Electric.

Entrou para valer na TV a partir de 1958, com quatro especiais: ''An Evening with Fred Astaire'' (1958), ''Astaire Time'' (1960), ''Hollywood Palace'' (1966) e ''The Fred Astaire Show'' (1968). Só o primeiro ganhou nove Prêmios Emmy, incluindo um para Fred como melhor ator.

Fred Astaire faleceu de pneumonia em 1987.

Fred at his best.http://www.youtube.com/watch?v=j02k9t4rP50

Fonte - Hollywood Stars.

TANIA MARIA

2010-05-09T18:58:00.003-04:00

A advogada, cantora e pianista brasileira Tânia Maria nasceu no 9 de maio de 1948 em São Luiz do Maranhão. Uma artista entusiástica que tem uma noção perfeita de ritmo e balanço. Tania começou a tocar piano com 3 anos de idade e aos 13 já era lider de uma banda com músicos profissionais formada por seu pai que ao vencer num show de calouros passou a se apresentar em bailes e no radio.

Tânia Maria tornopu-se popular nos Estados Unidos desde que começou a gravar pelo selo Concord em 1980. Ela estudou música clássica, morou em Paris em 1974 e acabou se mudando para New York em 1981.

Uma espirituosa e improvisadora cantora aliada à uma pianista cheia de swing, Tania Maria começou gravando para a Barclay (1978) e Accord (1978-79), para nos Estados Unidos assinar com a Concord Jazz, Manhattan e a World.

Desde os anos 80 até 2004 Tania apresentou-se nos principais festivais de jazz do mundo e de certa forma, por não gravar a algum tempo, atravessa uma fase de ostracismo, ausente do radar onde se encontram os artistas que fazem sucesso.

Tania marca presença no palco.
http://www.youtube.com/watch?v=SCMFTx461wI

Brazilian vocalist, composer, bandleader and piano player, Tania Maria was born on May 9, 1948 in São Luiz, Maranhão, northern Brazil , she has a degree in law, and married early and had children. Tania began playing the piano at the age of 7, became a leader at the tender age of 13, when her band of professional musicians, organized by her father, won first prize in a local music contest and went on to play for dances, in clubs and on the radio.

Her music is mostly vocal, sometimes pop, often jazzy, and unmistakably Brazilian. Whether playing fiery samba, tranquil bossa nova, Afro-Latin, Pop and Jazz fusion, or any other style, she maintains a style that is uniquely her own. Her vibrant voice, brilliant piano work and outstanding performances have made an artist of increasing international popularity.

Her father, a metal worker and a gifted guitarist and singer, had encouraged her to study piano so that she could play in his weekend jam sessions, where she first absorbed the rhythms and melodies of samba, jazz, pop music and Brazilian chorinho. Since then, she has never worked in anyone else's group. Maria's first album Apresentamos was released in Brazil in 1969, followed by Olha Quem Chega in 1971, but it was a move to France in the late 1970s that exploded Tania onto the international scene. At a concert in Australia, her formidable musical precision and freewheeling spirit caught the attention of the late American guitarist, Charlie Byrd, who recommended her to the late Carl Jefferson, founder of Concord Records.

Tania has played virtually every important jazz festival in the world and has appeared on countless television and radio programmes. Tania has recorded more than 20 albums and in 1985 was nominated for a Grammy Award in the category "Best Jazz Vocal Performance, Female".

Tania performed at prestigious venues like The Blue Note and famous festivals like the Monterey Jazz Festival in '81, '83 and '89, Saratoga Jazz Festival, JVC Jazz Fest 1991, MOntreaux Jaz festival, New Orleans Heritage Festival and Puerto Rico Heineken Jazzfest 2001., Malta Jazz Festival 2003 at Maltese Islands, Novosadski Jazz Festival in 2004.

Reference - AAJ

MANAUS,DOMINGO,JAZZ, SALENA JONES,MATT MONRO

2010-05-09T09:27:00.004-04:00

(Minha mãe Arlete Botelho Amorim)

Neste domingo das mães a partir do meio dia no programa "Momentos de Jazz" pelas ondas da nossa Radio Amazonas Jazz Fm 101.5 (http://www.amazonasfm.com.br/) o destaque inicial é com a música brasileira composta por Tom Jobim e lida por Salena Jones que conseguiu reunir os Jobims no CD "Salena Jones sings Jobim with the Jobim's". Salena inicia o play list cantando com o próprio Tom " I was just one more for you" para em seguida cantar , desta vez com Paulo Jobim, "Somewhere on the hills". Maravilha.

Por muitos na Inglaterra, até os nossos dias , ele e considerado o "Sinatra britânico". Comparações a parte, Matt Monro foi sim um grande intérprete da musica romantica de seu país e do Great American Songbook. Para os mais jovens a lembrança mais acentuada do cantor fica por conta da musica "Born Free" da trilha musical do filme que conta a história de uma leoa chamada Elsa.

Vamos degustar o CD "Matt Monro Here's to my Lady" onde ele passeia livremente pelas eternas canções que marcaram os anos 60 e 70 como "Strangers in the NIght" "Sweet Lorraine", "I'm Glad There's You" e "The Good Life", entre outras.

O mundo musical perdeu na semana passada o grande bandleader,compositor e trombonista canadense Rob McConnell famoso pela sua formação de metais que chamou de "Boss Brass". McConnell tinha orgulho das suas bandas e dos seus músicos. A maioria dos seus discos tinha os comentários redigidos por ele mesmo nos quais exaltava as qualidades musicais de seus parceiros musicos. McConnell foi incluido no "Canadian Music Hall of Fame" em 1997 e recebeu a comenda "Order of Canada" em 1998. Sua estatura, talento e importância o colocou na galeria dos jazzistas canadenses do calibre do pianista Oscar Peterson. Ganhou três vezes o premio Grammy se constituindo em um verdadeiro inovador da musica jazz. Vamos degustar o CD Mel Thorme and the Rob McConnell and the Boss Brass"

Steve Lawrence e sua mulher Eydie Gormé além de amigos, foram os dois ultimos cantores a excursionar nos Estados Unidos com Sinatra entre 1991 e 1993 como parte de um projeto patrocinado pelo whisky Chivas Regal. Steve e Eydie, casados ha muitos anos, faziam o que chamamos de pré-show. Steve disse uma vez sobre o amigo Sinatra que ele "não tinha um papel na musica popular americana, Sinatra era a música popular americana". O tributo que presta ao Chairman-of-the-Board no CD "Steve Lawrence sings Sinatra", gravou com os mesmo arranjos, orquestração e o repertório que o grande mestre lia nas turnés. Leitura impecável de Steve Lawrence.

Conto com tua maravilhosa audiência.

O melhora ainda está por vir.

Em 2010, quinze anos de jazz.

Salena canta com Jobim, "Eu pra você fui mais um"

http://www.youtube.com/watch?v=kkNFh3xI8ns

Humberto Amorim

Produtor/Locutor

Telefone do estúdio para participação na promoção do programa - 92- 3216-5504

MARY LOU WILLIAM AT 100

2010-05-08T18:53:00.004-04:00

A arranjadora, compositora e pianista autodidata Mary Lou William, nasceu no 8 de maio de 1910, em Atlanta, Geórgia, numa família de onze irmãos, como Mary Elfrieda Scruggs e ficou conhecida mundialmente como a “primeira-dama do jazz”. Hoje, o mundo do jazz está celebrando o centenário de nascimento da cantora que foi considerada a maior instrumentista feminina da história do jazz e começou a tocar piano na metade dos anos 20 quando o boogie-woogie e o blues eram os estilos do momento.

Somados a seus dons, esses ritmos acabaram por transformá-la num verdadeiro padrão moderno do piano para o jazz com a gravação de mais de 100 discos ao longo de uma brilhante carreira musical.De 1931 a 1946 juntou-se a banda do “band leader” Andy Kirk. A partir desse período criou a sua própria banda para ganhar "uns trocados" e realizou trabalhos notáveis como “Roll” para Benny Goodman e “Trompet No End” para Duke Ellington em 1937, com quem inclusive tocou. Foi amiga, mentora e professora dos “monstros sagrados” Charlie Parker, Dizzy Gillespie e Thelonius MonkEm 1954 parou de se apresentar para se dedicar a sua fé católica, auxiliando músicos dependentes químicos a se recuperarem do vicio, e a composições sacras como “Black Christ of the Andes”, “Anima Christi” e “Praise the Lord” , conhecidas como Musica Negra Religiosa, para a Igreja Católica.

Em 1957, retomou a brilhante carreira musical, convencida por dois padres seus amigos e o trompetista Dizzy Gillespie no Newport Jazz Festival com a banda de Dizzy. Permaneceu na ativa até o final da década de 70.

Sua ultima performance foi registrada durante o Festival de Montreux em 1978 e se encontra no cd e dvd “Solo Recital” que, com o passar do tempo, passaram a ser considerados antológicos e peças de colecionadores.

Durante homenagem no final da vida declarou:”I did it, didn’t I? Through muck and mud.” Mary Lou Williams faleceu em paz em 28 de maio de 1981.

Clique abaixo para ouvir Mary Lou solando magistralmente "Hesitation Boogie"
http://www.youtube.com/watch?v=hrLVBFjvwcI

Fonte – Jazztimes

Tradução – Humberto Amorim

"She was one of the swingin'-est people I've ever played with. I mean, she would swing you into bad health." That's the good Dr. Billy Taylor on Mary Lou Williams, whom he met in New York in the 1940s. You know, around the time she was mentoring Bud Powell and Thelonious Monk, and arranging for Duke Ellington, and writing tunes for Dizzy Gillespie, and, oh, yes, premiering her own Zodiac Suite. Yea.

That's all in a radio profile of the great composer and pianist, who would have been 100 today. As you can hear, the preceding constituted only a small part of an incredible career. NPR is proud to present a glimpse into it here, through these new and archival features:

Mary Lou Williams captured in two live performances during the 1970s, this week on JazzSet.
Mary Lou Williams on the very first episode of Marian McPartland's Piano Jazz, from 1978
A downloadable feature on the "perpetually contemporary" Mary Lou Williams, from the Jazz Profiles archives.

A Take Five feature on female jazz trailblazers, including Mary Lou Williams.

Mary Lou Williams' 1927-1940 boogie-woogie-inflected work is featured as a part of NPR Music's archival Basic Jazz Record Library.

THE ELI YAMIN BLUES BAND EM MANAUS - IMPERDÍVEL

2010-05-08T11:53:00.005-04:00

No próximo dia 12 de maio, quarta feira, as 19h30, nas dependências do Instituto Cultural Brasil Estados Unidos - ICBEU em Manaus, vai acontecer o "cocktail" de apresentação dos integrantes da "Eli Yamin Blues Band", que se apresentará ao público manauara, gratuitamente, nas noites do dia 13 e 14 do corrente, respectivamente, a partir das 19h30. A vinda da banda à Manaus faz parte do programa de integração cultural gerenciado pela Embaixada Americana em Brasilia em conjunto com o Departamento de Estado, Bureau de Assuntos de Educação e Cultura dos Estados Unidos.

A Eli Yamin Blues Band não é exatamente uma autentica banda de blues, embora baseie no blues a sua turné pelo Brasil, que inclui quatro cidades, entre as quais Manaus. Na verdade, a banda viaja musicalmente desde os spirituals, passando pelos classicos, bebop, folk, jazz e blues. Entretanto, é evidente o vigor da influência do jazz ao longo de toda apresentação, já que justamente, é esse o sotaque que se sobrepõe em relação aos outros, até mesmo ao blues, principal proposta musical do conjunto.

Mais o que importa realmente é que a banda é competente e composta por músicos de peso liderados pelo jovem Eli Yamin, pianista, compositor e diretor artistico do Jazz Drama Program e Diretor do Jazz at Lincoln Center's Middle School Academy na Grande Maçã. Pra quem não sabe, Grande Maçã foi o apelido carinhoso que os músicos de jazz deram à Nova York e.....pegou!!!!

A vocalista Kate McGarry, que inicia a apresentação lendo em capela a canção gospel de domínio público (traditional spiritual ) "Trouble of the World", possui voz cativante, sua leitura é firme e sincera e envolve a audiência. Destaque à parte para o músico Bob Stewart (único negro do grupo) que traz de volta ao palco a tuba, instrumento completamente ausente das formações modernas e que na banda faz as vezes do baixo acústico. LaFrae Sci na bateria é uma curiosidade, levando-se em consideração ser muito raro às mulheres abraçarem este instrumento vigoroso, principalmente no universo do jazz e do blues.

A apresentação é finalizada com a leitura de "Healing Song" composição do próprio Eli Yamin e fez parte do elenco musical do musical jazzistico da Broadway "Message from Saturn".

Eli lançou na sua carreira até agora, três CDs, mas foi o CD "You Can't Buy Swing" lançado em 2008 que teve melhor repercussão junto ao público. Os músicos que o acompanham em Manaus não fizeram parte das gravações.

Taí um evento único, que deve ser prestigiado por todos os amantes da boa música.

Clique para ver e ouvir The Eli Yamin Blues Band no palco lendo "Healing Song".

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

Texto e Comentário em português do Blogger - Humberto Amorim

The Different Moods of the Blues ( The Eli Yamin Blues Band) welcomes audiences of all ages into the varied and rich world of America's primary musical art form, the blues. The band explores the range and healing power of the blues -- from spiritual to classical, from bebop to folk.

The performance begins with the traditional spiritual, Trouble of the World, sung a cappella by Kate McGarry, followed by a joyful rendition of Fishin' Blues inspired by Taj Mahal. Bob Stewart's virtuosity and expressive power on tuba comes into focus on Big Mama Thornton's Hound Dog and the quartet cuts loose with a dramatic up to date version of Louis Jordan's Caldonia.

Great classic blues hits are featured with After Hours and The Night Time is the Right Time. The program closes with Eli's own Healing Song, which has audiences singing along about the healing power of the blues.

In 2004-2005 the quartet performed over 50 concerts in the New York Metropolitan Area. Wide ranging venues included Lincoln Center For the Performing Arts, jazz clubs, universities and elementary and high schools.

In 2006-2007, performances include the WBGO children's concert series at "The New School of Social Research", the Viscardi School for Children With Severe Disabilities and concerts at Flushing Town Hall.

"I really loved your concert. I loved when we sang together. I was also surprised to see a woman playing the drums. I can't believe that a woman can play the drums. I learned that the blues music doesn't have to be unhappy, it can be about hope and love."~ Rhaydiris Santos, Gregorio Luperon High School

Reference - Eli Yamin Website

DAVID FRIESEN

2010-05-07T19:19:00.003-04:00

American jazz bassist David Friesen was born on May 6, 1942) in Tocoma,Washington. Friesen plays the double bass as well as the Oregon bass, which is an electrified acoustic bass.Friesen was an autodidact on bass, having picked it up while serving in the Army in Germany.

He played with John Handy and Marian McPartland and following this with Joe Henderson; in 1975, he toured in Europe with Billy Harper. His first record as a session leader appeared that same year. In 1976 he began collaborating with guitarist John Stonewell; the pair would work together often for many years. He appeared with Ted Curson at the Monterey Jazz Festival in 1977.

Following this he worked with Ricky Ford, Duke Jordan, Mal Waldron and Paul Horn. His 1989 effort "Other Times, Other Places" hit #11 on the U.S. Billboard Top Jazz Albums chart.

He has also played with Chick Corea, Michael Brecker, Stan Getz, Dexter Gordon, Kenny Garrett, Dizzy Gillespie and Mal Waldron. His sister is the actress Dyan Cannon.

David plays.

http://www.youtube.com/watch?v=6XMcYCgQXMQ

Reference - Wikipédia

DALVA DE OLIVEIRA, A ESTRELA DALVA

2010-05-05T18:41:00.004-04:00

A cantora brasileira Vicentina de Paula Oliveira, conhecida como Dalva de Oliveira, nasceu no 5 de maio de 1917, na cidade de Rio Claro em São Paulo, filha de um carpinteiro mulato, Mário de Oliveira, conhecido como Mário Carioca, e da portuguesa Alice do Espírito Santo Oliveira. Em 1935, no Cine Pátria, Dalva conheceu Herivelto Martins que formava ao lado de Francisco Sena o dueto Preto e Branco; foi terminado o dueto e nascia o Trio de Ouro. Iniciaram um namoro e, no ano seguinte, iniciaram uma convivência conjugal, oficializada em 1939 num ritual de Umbanda.

A união gerou dois filhos: o cantor Pery Ribeiro e Ubiratan de Oliveira Martins. A União durou até 1947, quando as constantes brigas e traições por parte de Herivelto deram fim ao casamento. Ela arranjou diversos namorados, pois já estava separada dele, não moravam juntos, só estavam casados no papel. Herivelto a flagrou com um homem na cama que eles dividiam, e ele achou um absurdo, mesmo separados, sua mulher ter outro que não fosse ele, e na cama onde dormiam e faziam amor! Isso o levou a tirar a guarda de seus filhos de Dalva, só que suas brigas constantes e estampadas em jornais fizeram o conselho tutelar os mandar para um internato, só podendo visitar os pais em datas festivas e fins de semana, e podendo sair de lá definitivamente com 18 anos. Dalva sofreu muito por isso.

Em 1949, oficializaram a separação. Em 1952, depois de se consagrar mais uma vez na música mundial e ganhar o título de Rainha do Rádio, Dalva de Oliveira resolve excursionar pela Argentina, para conhecer o país e cantar em Buenos Aires. Nessa ocasião conhece Tito Climent, que se torna primeiro seu amigo, depois seu empresário e mais tarde, seu segundo marido. Com ele teve uma filha chamada Dalva Lúcia de Oliveira Climent, a qual Dalva brigou na justiça pela guarda da menina, que fica com o marido, já que casada anos com ele, viviam brigando. Ela era explosiva e dona de si, Tito queria uma mulher submissa e dona de casa, como Herivelto queria e a maioria dos homens da época queriam e esperavam de uma mulher, mais ela não era assim e não iria se submeter a algo que a faria sofrer para agradar alguém. Em 1963, Dalva de Oliveira e Tito Climent se separaram oficialmente.

Dalva voltou ara o Brasil sozinha e triste, sendo que a filha vai visitá-la nas férias, como os filhos que estão no internato. Ela passa a ter alguns romances sérios e outros casuais e com todos esses homens viveu como casada, o que era um escândalo na época, a mulher namorar e manter relações conjugais com vários homens sem estar casada. Mais tarde, ela conhece Manuel Nuno Carpinteiro, homem muitos anos mais jovem, que se tornaria seu último marido.

Em 1951 retomou a carreira solo, lançando os sambas Tudo acabado (J. Piedade e Osvaldo Martins) e Olhos verdes (Vicente Paiva) e o samba-canção Ave Maria (Vicente Paiva e Jaime Redondo), sendo os dois últimos grandes sucessos da cantora. No ano seguinte foi eleita Rainha do Rádio, e excursionou pela Argentina, apresentando-se na Rádio El Mundo, de Buenos Aires, na qual conheceu Tito Clement, que se tornou seu empresário e depois marido, pai de sua filha, como mencionado anteriormente. Ainda em 1951, filmou Maria da praia, dirigido por Paulo Wanderley, e Milagre de amor, dirigido por Moacir Fenelon.

No dia 18 de agosto de 1965, sofreu um acidente automobilístico na cidade do Rio de Janeiro, que resultou na morte por atropelamento de três pessoas.Três dias antes de morrer, Dalva pressentiu o fim e, pela primeira vez, em sua longa agonia de quase três meses, falou da morte. Ela tinha um recado para sua amiga Dora Lopes, que a acompanhou no hospital: "Quero ser vestida e maquiada, como o povo se acostumou a me ver. Todos vão parar para me ver passando".

Dalva faleceu em agosto de 1972.

Nota - Em 2002 o teatrólogo mineiro Pedro Paulo Cava produziu e dirigiu o o espetáculo teatral "Estrela Dalva", cujo sucesso rendeu ao elenco de 16 atores viagens por diversas capitais brasileiras e cidades do interior de Minas Gerais após quase dois anos em cartaz na capital mineira. Dalva foi interpretada por Rose Brant; Herivelto Martins por Léo Mendonza e Nilo Chagas por Diógenes Carvalho.

O espetáculo foi baseado no livro de Renato Borghi e João Elísio Fonseca que foi adaptado por Pedro Paulo Cava. O elenco tinha ainda Diorcélio Antônio, Freddy Mozart, Rui Magalhães, Márcia Moreira, Leonardo Scarpelli, Felipe Vasconcelos, Libéria Neves, Jai Baptista, Ivana Fernandes, Patrícia Rodrigues, Meibe Rodrigues, Fabrizio Teixeira e Bianca Xavier.

A produção executiva foi de Cássia Cyrino e Luciana Tognolli. Todo o elenco passou por meses de preparação vocal e corporal dando vida e emoção sempre aplaudidos de pé pelo público que lotava as sessões.

Dalva canta "Que Será"
http://www.youtube.com/watch?v=T1oVcOKvCgw

Referencia - Wikipédia

MAYNARD FERGUSON

2010-05-05T18:27:00.003-04:00

O trompetista canadense Walter "Maynard" Ferguson, nasceu no 4 de maio de 1928 em Verdun no Canadá. Encorajado por seus pais músicos, Maynard começou a aprender música aos quatro anos de idade. Maynard começou sua carreira aos treze anos, como solista da Canadian Broadcasting Co. Orchestra.

Ferguson tocou com alguns dos maiores nomes do jazz, tais como Count Basie, Charlie Barnett, Jimmy Dorsey, Stan Kenton Duke Ellington e Dizzy Gillespie. Depois de formar a sua própria orquestra em 1945, lançou mais de sessenta discos. Ficou famoso pelos seus solos e pela habilidade em atingir notas altas.

Foi um dos maiores inovadores da técnica musical no estilo Big Band, sendo referência e modelo a varios outros grupos de sua propria época e atuais. Pelos seus solos muito ousados e extensão instrumental extrema, Maynard Ferguson é considerado um dos maiores bandleaders até hoje, e é também um dos nomes mais conhecidos no mundo do trompete popular.

Maynard faleceu em agosto de 2006.

Maynard e sua banda toca "Birdland"

http://www.youtube.com/watch?v=MQvRP50WWXg

Referencia - Wikipédia

RON CARTER

2010-05-05T18:02:00.004-04:00

O contrabaixista de jazz Ron Carter nasceu no 4 de maio de 1937 em Ferndale, Michigan e é conhecido pelo som original que torna a sua expressividade exclusiva, principalmenet para as gravações em estúdios. A sua participação em centenas de álbums fizeram dele um baixista com uma extensa lista de gravações na história do jazz, ao lado de Milt Hinton e George Duvivier.

Carter começou a tocar violoncelo com 10 anos de idade, mas quando sua família se mudou para Detroit, passou a ter dificuldades em virtude dos estereótipos raciais dos músicos eruditos, apesar disso, passou a tocar baixo. Carter frequentou a Cass Technical High School. Tocava na orquestra filarmônica da Eastman School of Music, tendo se graduado bacharel em 1959. Em 1961, obteve sua graduação como mestre em performance de contrabaixo, na Manhattan School of Music.

Seus primeiros trabalhos como músico de Jazz foram com Jaki Byard e Chico Hamilton. Suas primeiras gravações foram acompanhando Eric Dolphy (que também fora membro do grupo de Hamilton) e Don Ellis, em 1960. Carter também trabalhou nessa época com Randy Weston, Thelonious Monk, Wes Montgomery, Bobby Timmons, Cannonball Adderley e Art Farmer.

Além de contrabaixista, Carter é um violoncelsita aclamado. Já tocou violoncelo em diversas gravações, notavelmente em sua primeira aparição como leader: "Where?", com Dolphy e Mal Waldron e também em outra parceria com Eric Dolphy chamada "Out There", com Jaki Byard, George Duvivier, Roy Haynes e Carter no violoncelo.

Carter chegou à fama com o segundo grande quinteto de Miles davis. Formado no início da década de 60, o quinteto incluía ainda Herbie Hancock,Wayne Shorter e Tony Williams. Carter se juntou ao grupo em 1963, aparecendo no álbum Seven Steps to Heaven e no seguinte E.S.P.. Este último foi o primeiro a contar com o quinteto completo e continha três composições de Carter. Continuou o trabalho com Miles até 1968, quando foi substituido por Dave Holland. Ainda participou de algumas sessões de estúdio com Miles em 1969 e 1970. Embora na época tenha ocasioonalmente tocado baixo elétrico, posteriormente deixou por completo esse instrumento, passando a dedicar-se exclusivamente ao contrabaixo acústico.

Após deixar Miles Davis, Ron Carter foi por vários anos um mainstay da CTI Records, fazendo álbums próprios e aparecendo em diversas gravações do selo ao lado de uma ampla gama de músicos, como Wes Montgomery, Herbie Mann, Paul Desmond, George Benson, Jim Hall, Nat Adderly, Antonio Carlos Jobim, J.J. Johnson and Kai Winding, Eumir Deodato, Esther Phillips, Freddie Hubbard, Stanley Turrentine, Kenny Burrell, Chet Baker, e outros.

Carter também tocou com Billy Cobham, Stan Getz, Coleman Hawkins, Joe Henderson, Horace Silver, Shirley Scott, Helen Merrill, Houston Person, Red Garland e vários outros grandes nomes da música, além de ter gravado mais de 25 álbums como bandleader.

Foi designado Professor Emérito do departamento de música da City College of New York , tendo ensinado lá por vinte anos. Em 2004, recebeu um doutorado honoris causa da Berklee College of Music.

Ron Carter plays.

http://www.youtube.com/watch?v=C-_iBhgzQC0

Referencia - Wikipédia

ROB McCONNELL, IN MEMORIAN

2010-05-04T19:39:00.003-04:00

Faleceu aos 75 anos de idade no dia 1 de maio, o trombonista de válvula, compositor e lider de orquestra canadense Robert Murray Gordon McConnell, popularmente conhecido no mundo da música como Rob McConnell.

Estudou música com jazzistias incluindo Maynard Ferguson e Gordon McConnell. Rob tornou-se famoso como o lider da banda "Boss Brass" com a qual lançou vários discos e atuou em clubes de jazz, teatros e festivais em todo mundo.

A banda foi formada em 1968 e acompanhou vários artistas , como Mel Tormé, com quem gravou um CD antológico. Gravou também com renomados músicos canadenses como Ed Bickert, Don Thompson, Terry Clarke, Ian McDougall, Moe Koffman, Sam Noto, Guido Basso e Rick Wilkins.

A banda "Boss Brass" foi indicada para vários Grammy e a três prêmios Juno. Rob McConnell também liderou o "Rob McConnell Tentet"chegando a gravar muitos discos.

McConnell tinha orgulho das suas bandas e dos seus músicos. A maioria dos seus discos tinham os comentários redigidos por ele mesmo nos quais exaltava as qualidades musicais de seus parceiros musicos.

McConnell foi incluido no "Canadian Music Hall of Fame" em 1997 e recebeu a comenda "Order of Canada" em 1998.

O radialista canadense Ross Porter, presidente da radio Jazz FM, disse que McConnell foi: “Um dos maiores talentos da música. Sua estatura, talento e importância o colocou na galeria dos jazzistas canadenses do calibre do pianista Oscar Peterson.

Rob foi três vezes vencedor do premio Grammy se constituindo em um verdadeiro inovador da musica jazz. Um trombonista, líder de orquestra, compositor, que atuou de forma diversa contribuindo com o corpo do seu trabalho e sua devoção pela música que amava.

Era um grande contador de histórias e para sempre será lembrado pelas gerações futuras.

Rob McDonnell, descanse em paz.

Tributo à Rob McConnell.

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

Referencia - Jazztimes / Lee Mergner

YANK LAWSON

2010-05-03T22:55:00.003-04:00

Jazz trumpeter known for his Dixieland and swing music John Rhea "Yank" Lawson, was born on May 3, 1911, Trenton,Misouri.

From 1933 to 1935 he worked in Ben Pollack's orchestra and after that became a founding member of the Bob Crosby Orchestra. He later worked with Benny Goodman and Tommy Dorsey, but also worked with Crosby again in 1941. Later in the 1940s he became a studio musician leading his own Dixieland sessions.

In the 1950s he and Bob Haggart created the Lawson-Haggart band and they worked together in 1968 to form the World's Greatest Jazz Band, a Dixieland group which performed for the next ten years.

He remained an important figure in Dixieland music until his death in February, 1995, aged 83. He was posthumously inducted into the Big Band and Jazz Hall of Fame in 1998.

Yank plays his horn.

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

Reference - Wikipédia

RICHARD "GROOVE" HOLMES

2010-05-02T19:43:00.004-04:00

American jazz organist Richard Arnold "Groove" Holmes was born on May 2, 1931 in Camden, New Jersey and performed in the hard bop and soul jazz genre. He is best known for his 1965 recording of "Misty", and is considered a precursor of acid jazz.

Holmes' first album, on Pacif Jazz with guest Ben Webster, was recorded in March 1961.
His sound was immediately recognizable in the upper register, but even more so because of his virtuosity in creating, undoubtedly, the most rapid, punctuating, and pulsating basslines of all the jazz organists.

Though he died at the age of 60, he established a recognition within the community of jazz organ giants of JImmy Smith (The Sermon!), Brother Jack McDuff (A Real Good 'Un), Jimmy McGriff (I've Got a Woman).
He recorded many albums for Pacifi Jazz,Trestige Records, Groove Merchant and Muse Records, many of which featured Houston Person.

Holmes died after a long struggle with prostate cancer, having performed his last concerts in a wheelchair. One of his last gigs was at the 1991 at the Chicago Blues Festival with his longtime friend, singer Jimmy Witherspoon. A year after his death, the Beastie Boys honoured Holmes by adding an organ-based instrumental track, Groove Holmes to their album "Check Your Head".

Holmes passed away on May,1991.

Richard "Groove" Holmes plays "Misty"

http://www.youtube.com/watch?v=c8Vsc3ws_6Q

Recommended CDs.

Misty (1965) (Prestige)
That Healin' Feelin' (1968)
The Groover! (1968)
Welcome Home (1969)
Workin' on a Groovy Thing (1969)
Come Together (1970) (with Ernie Watts)
Night Glider (1973) (Groove Merchant)
New Groove (1974) (Groove Merchant)
I'm in the Mood for Love (Flying Dutchman)
Broadway (1980)
Swedish Lullaby (1984)
Blues All Day Long (1988)
Groove's Groove (1991)

Reference - Wikipédia

MANAUS,DOMINGO,MEIO DIA, JAZZ, DUKE ELLINGTON, TOOTS THIELEMANS,FRANK SINATRA

2010-05-02T09:08:00.005-04:00

(Meu amigo Edson Costa que aniversariou ontem e festejou com familiares e amigos)

Neste domingo a partir do meio dia pela Radio Jazz Amazonas 101.5 http://www.amazonasfm.com.br)/ iniciar o programa "Momentos de Jazz" com o talento inconfundivel do gaitista belga Toots Thielemans, que esteve no Brasil mais uma vez este ano paryicipando do Festival de Guaramiranga em Fortaleza e nutre grande afinidade pela música brasileira, chegando a desenvolver na companhia de grandes musicos da MPB como Ivan Lins, Djavan, Edu Lobo, Milton Nascimento, João Bosco e Chico Buarque, o "The Brasil Project" I e II. Leituras maravlilhosas.

O bandleader Duke Ellington foi indubitavelmente um dos maiores revolucionários da musica jazz. Em parceria com o compositor Billy Strayhorn escreveu titulos que se tornaram clássicos eternos. "Take the A Train", "Satin Doll", "Cotton Tail", "Do Nothing Till You Hear from Me", fazem parte da galeria de grandes sucessos do maestro e a sua big band que foi integrada pelo mais talentoso elenco de jazzistas de sua época. Nossa audição será a reunião antológica de Duke com Stachmo no CD "Louis Armstrong & Duke Ellingtion" .

A cantora de jazz Ann Hampton Callaway, filha de Chicago e uma das mais brilhantes estrelas da musica jazz, resolveu homenagear a maravilhosa Ella Fitzgerald no CD "To Ella with Love" e não economizou talento. Na companhia do trompetista, Wynton Marsalis, do pianista Cyrus Chestnut, do baixista Christian McBride e do baterista Lewis Nash forjou um dos maiores encontros do jazz. A leitura de "Let's Fall in Love, "Do Nothing Till You Hear from Me" e"Embraceable You" é inesquecível.

No próximo dia 14 de maio iremos completar 12 anos sem "A Voz". Ele saiu de cena para sempre, mas o seu estilo inconfundível permanece vivo entre nós. Francis Albert Sinatra o cantor, senhor das canções, será homenageado pelo programa todos os domingos durante todo o mês, sempre no ultimo bloco. Neste domingo encerraremos a audição degustando as canções do CD "Sinatra 80 -Live in Concert".

Conto com tua audiência.

O melhor ainda está por vir.

Em 2010, quinze anos de jazz.

No antológico encontro Jobim/Sinatra, eles lêem "Garota de Ipanema"

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

Humberto Amorim

Produtor/Locutor

SHIRLEY HORN

2010-05-01T21:08:00.003-04:00

Jazz vocalist Shirley Horn, was born on May 1, 1934 in Washington D.C. and was a master pianist and vocalist who embarked on a career in jazz, despite her intention to become a classical musician—racism being the deciding factor.

Ms. Horn collaborated with many jazz greats including Miles Davis, Dizzy Gillespie, Toots Thielemans, Ron Cartes, Carmen MacRae, Winton Marsalis and others. She was most noted for her ability to accompany herself with nearly incomparable independence and ability on the piano while singing, something described by arranger Johnny Mandel as "like having two heads", and for her rich, lush voice, a smoky contralto, which was described by noted producer and arranger Quincy Jones as "like clothing, as she seduces you with her voice". Although she could swing as strongly as any straight-ahead jazz artist, Horn's reputation rode on her exquisite ballad work.
She tended to take love songs at a glacial tempo, expertly weaving her soft singing with her gorgeous Impressionist piano chordings and unique dynamic control.

Shirley excelled at her use of silence, phrasing, complex harmonies, syncopation, choice of song, and dynamics. She was a musician's musician, despite having only a two-octave vocal range.
Horn has also been cited by noted Canadian jazz singer and pianist Diana Krall as a major inspiration and influence.

Shirley Horn began playing piano at an early age, and had thoughts as a teenager of becoming a classical artist. She was offered a scholarship to Juilliard, but turned it down for financial reasons. She then became enamored with the famous U Street jazz area of Washington (largely destroyed in the 1968 riots), sneaking into jazz clubs before she was of legal age.

Horn first achieved fame in 1960, when Miles Davis "discovered" her. Davis' praise had particular resonance in two respects, one because he was so highly respected as a musician, and two because he rarely had anything positive to publicly offer about any musician at that time. Shirley had, though, recorded several songs with violinist Stuffa Smith in 1959 both as a pianist and a singer. After her discovery by Davis, she recorded albums on different small labels in the early 1960s, eventually landing contracts with larger labels Mercury Records and Impulse Records.

She was popular with jazz critics, but did not achieve significant popular success.
Quincy Jones attempted to make Horn into a pure vocalist in several recording sessions, something he later hinted may have been a mistake. Horn was also disturbed by the changes in popular music in the 1960s following the arrival of The Beatles, and stated "I will not stoop to conquer" in largely rejecting efforts to remake her into a popular singer. From the late-1960s, she concentrated on raising her daughter Rainy with her husband, Shepherd Deering (whom she had married in 1955) and largely limited her performances to her native Washington, D.C., while she often worked full-time as an office worker.

Once her family was grown, she began touring more widely from 1978 onwards. She is best known for her recordings with Verve Records since 1987. Horn was nominated for nine Grammy Awards during her career, winning in 199 for Jazz Vocal Album for I Remember Miles, a tribute to her friend and encourager.

Preferring to perform in small settings, as with her trio, she recorded with orchestra too, as on the 1992 album "Here's to Life", which is highly rated by her fans, the title song being generally considered as her signature song. Arranger JOhnny Mandel won the Grammy Award for Best Instrumental Arrangement Accompanying Vocal (s) for that album. A video documentary of Horn's life and music was released at the same time as "Here's To Life" and shared its title. At the time Mandel commented that Horn's piano skill was comparable to that of the noted jazz great Bill Evans. A follow-up was made in 2001, named "You're My Thrill".

In 2009 Barbra Streisand released her first entirely jazz flavoured album "Love is The Answer" produced by Diana Krall it reached #1 on the Bilborad 200 pop and #2 on the jazz section. Creator of an album that was highly inspired by Horn's Here's To Life, Streisand admits of being a fan of Horn.
Shirley Horn kept for twenty five years the same rhythm section: Charles Ables (bass) and Steve Williams (drums). Don Heckman wrote in the Los Angeles Times (February 2, 1995) about "the importance of bassist Charles Ables and drummer Steve Williams to the Horn's sound. Working with boundless subtlety, following her every spontaneous twist and turn, they were the ideal accompanists for a performer who clearly will tolerate nothing less than perfection".

She was officially recognized by the 109th Us Congress for "her many achievements and contributions to the world of jazz and American culture", and performed at The WEhite House for several U.S. presidents. Horn was awarded an honorary Doctor of Music degree from the Berklee College of Music in 2002.

She was awarded the National Endowment for the Arts Jazz Masters Award in 2005., (the highest honors that the United States bestows upon jazz musicians).

Due to health problems in the early 2000s, Horn had to cut back on her appearances. From 2002, a foot amputation (from complications of dianetes) forced her to leave the piano playing to pianist George Nestehazy. In late 2004, Horn felt able to play piano again, and recorded a live album for Verve live at Manhattan's Au Bar with trumpet player Roy Hargrove which did not satisfy her. It remains unreleased except for three tracks on But Beautiful - The Best of Shirley Horn.

She had been battling breast cancer and diabetes when she died from complications of a massive stroke, aged 71, in Washington, D.C.

Shirley sings and plays "A Time for Love"
http://www.youtube.com/watch?v=vSL5AHhpi6U

Reference - Wikipédia

PERCY HEATH

2010-04-30T19:15:00.005-04:00

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

2010-04-30T18:10:00.005-04:00

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.

http://www.youtube.com/watch?v=UupSeVIox-s

Reference - Solid

DUKE ELLINGTON, MONSTRO SAGRADO DO JAZZ

2010-04-29T23:03:00.005-04:00

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.

http://www.youtube.com/watch?v=TCug5HG9jLg

Referencia - Wikipédia

TOOTS THIELEMANS

2010-04-29T22:32:00.004-04:00

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.

http://www.youtube.com/watch?v=RtSJH8iVdJg

Referencia - Wikipédia

CLAUS OGERMAN

2010-04-29T22:00:00.005-04:00

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

ITHAMARA KOORAX

2010-04-28T20:19:00.004-04:00

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

2010-04-28T19:20:00.004-04:00

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"

http://www.youtube.com/watch?v=rSy8pnRorIQ

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

SAL MOSCA

2010-04-27T20:40:00.004-04:00

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

TEDDY EDWARDS

2010-04-26T20:18:00.004-04:00

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

2010-04-26T19:39:00.004-04:00

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

2010-04-26T19:14:00.005-04:00

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.

http://www.youtube.com/watch?v=hDeqp_1IHh0

Reference - IMG Artists

CHARLIE CHAPLIN, O GIGANTESTO

2010-04-26T18:35:00.004-04:00

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"

http://www.youtube.com/watch?v=iu-rLA4POkI

Referencia - Wikipédia

ELLA FITZGERALD, A PRIMEIRA DAMA DA CANÇÃO

2010-04-25T21:03:00.005-04:00

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

2010-04-25T20:18:00.004-04:00

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"

http://www.youtube.com/watch?v=8GQLpjf7GyA

O saudoso Jamelão canta "Ronda"

http://www.youtube.com/watch?v=LDmR-r-eVv8

Referencia - Wikipédia/ Revista Forum /Julinho Bittencourt (Coluna Toques Musicais)

EARL BOSTIC

2010-04-25T19:46:00.004-04:00

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"

http://www.youtube.com/watch?v=lcxBLiKpRm0

Reference - Wikipédia

WILLIS "GATOR" JACKSON

2010-04-25T19:27:00.004-04:00

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

2010-04-25T18:24:00.007-04:00

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

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

2010-04-24T19:25:00.003-04:00

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.

http://www.youtube.com/watch?v=hRyDB4RWJdw

JOE HENDERSON

2010-04-24T17:50:00.004-04:00

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.

2010-04-24T17:23:00.004-04:00

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

2010-04-24T16:48:00.004-04:00

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

2010-04-24T12:30:00.005-04:00

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!!!!!

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

Referencia - Musicos do Brasil

KENDRA SHANK

2010-04-23T18:18:00.003-04:00

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

CHARLES MINGUS, A JAZZ GIANT

2010-04-22T22:04:00.005-04:00

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"

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

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

GILSON PERANZZETTA

2010-04-21T20:55:00.005-04:00

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

2010-04-21T20:06:00.004-04:00

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.

http://www.youtube.com/watch?v=Lt5xN0xJVXs

Reference - AAJ

ALFRED LION, FUNDADOR DA BLUE NOTE RECORDS.

2010-04-21T11:17:00.006-04:00

(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."

PEE WEE ELLIS

2010-04-21T10:49:00.004-04:00

Saxophonist, composer and arranger Alfred "Pee Wee" Ellis was born on April 21, 1941, in Bradenton, Florida. His family moved to Lubbock, Texas in 1949, where he was given his nickname "Pee Wee". He gave his first public performance in 1954 at Dunbar Junior High School. In 1955 he moved with his family to Rochester, New York. While attending Madison High School he played professionally with jazz musicians like Ron Carter and Chuck Mangione. In 1967 he moved to New York City where he attended Manhattan School of Music and had regular lessons with Sonny Rollins. In 1960 he went back to Florida working as a bandleader, musical director and writer.

He was an important member of James Brown's band in the 1960s and appeared on many of Brown's most notable recordings. Ellis played with the James Brown Revue from 1965 to 1969. While with Brown he arranged and co-wrote hits like "Cold Sweat" and "Say it Loud - I'm Black and I'm Proud".

In 1969 he returned to New York City. He worked as an arranger and musical director for CTI Records' Kudu label, collaborating with artists like George Benson, Hank Crawford and Esther Phillips. In the late 1970s he moved to San Francisco and formed a band with former Miles Davis sideman David Liebman.

Between 1979 and 1986 he worked with Van Morrison's band as an arranger and musical director and then again from 1995 through 1999. He also gave occasional performances in 1988, 1989, 1991, 1992, 1993, 1994, 2000, 2002, 2005 and 2006 as guest appearances.

In the late 1980s Pee Wee regrouped with some musicians he worked with during his time with James Brown to form the JB Horns. With Fred Wesley and Maceo Parker he recorded a number of albums that defined a distinctive brand of jazz-funk. The group also toured in Europe.

Ellis's composition "The Chicken" was made famous by the electric bass player Jaco Pastorius, who recorded it on his album "The Birthday Concert", as well as "Invitation".

In 1995, showing the diversity of his musical interests and talents, Ellis played tenor sax and arranged the horns for the album Worotan, by Mali's Oumou Sangare, the so-called "Songbird of Wassoulou".

In 2009 Pee Wee toured a tribute to James Brown called "Still Black Still Proud". He performed this with special guests Mahotella Queens and Ghanaian born rapper Ty at the Frome Festival on July 12 2009, and again in a series of concerts in Europe during April and May 2010.

He is currently living in the town of Frome in the country of Somerset, in England.

An african tribute to James Brown,
http://www.youtube.com/watch?v=PBsjMQqZKCw

Reference - Wikipédia

LIONEL HAMPTOM, KING OF THE VIBES

2010-04-20T21:07:00.004-04:00

One of the all-time great jazz musicians, Lionel Hampton was born on April 21, 1909 in Louisville, Kentucky and first achieved fame as a member of Benny Goodman's orchestra in the 1930s. Though he also played drums and piano, Hampton is most celebrated for his innovative vibraphone work.

Red Norvo introduced the instrument to jazz audiences in the 1920s, but it was Hampton who popularized the sound of what had once been considered only a novelty instrument and turned it into a jazz staple.

After losing his father in WWI, he and his mother settled in Chicago, where Hampton began his professional career as a drummer for local bands. During that time he became friends with saxophonist Les Hite. Hite eventually moved to Los Angeles to form his own orchestra and sent for Hampton in 1927. Hampton moved to the West Coast but Hite was slow to organize, so Hampton began to work with local groups, including Paul Howard's Quality Serenaders, with whom he made his first recording in 1929.

In 1930 Hite finally got organized. Hite's orchestra often accompanied Louis Armstrong on recordings during the early 1930s, offering a great deal of exposure to the young Hampton. It was during this time that he switched to the vibraphone and began to make a name for himself.

In 1936 Hampton formed his own group and began an engagement at the Paradise Cafe in Los Angeles. Benny Goodman heard him perform and signed him on as a member of his quartet, breaking what had then been a color barrier in jazz music. Hampton later worked with Goodman's full orchestra. He became quite popular during his stay with Goodman, performing on many of Goodman's key recordings in the late 1930s.

In 1940 Hampton left Goodman to form his own successful orchestra. Band members at various times included Milt Buckner, Illinois Jacquet, Dexter Gordon, and Earl Bostic. Joe Williams and Dinah Washington were vocalists. The group recorded for the Victor, Decca, and Verve labels before disbanding in 1946, falling victim, like so many other orchestras, to the country's changing tastes and the collapse of the big band industry.

Hampton continued leading groups of various sizes, including a new orchestra, up through the 1990s, often playing for presidents and acting as goodwill ambassador for the United States. In 1978 he formed his own record label, Who's Who in Jazz.

During the 1980s Hampton worked with the University of Idaho's music program. The university named its jazz festival and music school after him. In 1997 sadness struck when a fire destroyed his New York apartment and much of his music memorabilia.

Lionel Hampton passed away in 2002.

Hamptom and Benny together. Wonderful!!!
http://www.youtube.com/watch?v=YtjzVThkiFs

Reference - Glossary.com

TITO PUENTE, EL REY DEL TIMBAL

2010-04-20T20:30:00.006-04:00

O lider de banda, compositor e arranjador, percusionista e mentor Anthony Puente, Jr., mais conhecido como Tito Puente, nasceu no 20 de abril de 1923 em Nova York, e recebeu reconhecimento internacional por sua enorme e significante contribuição à música Latina.

Os talentos artisticos de Puente perimeiramente se desenvolveram no campo da s dança. Trabalhou com opianista cubano e lider de banda José Curbelo em dezembro de 1939. Também tocou com Johnny Rodriguez, Anselmo Sacassas, o músicoque inpsirou seu estudo em piano.

Popularmente conhecido como "El rey del Timbal" e "Rei do Mambo", ele gravou mais de 100 albuns, publicou mais de 400 composições, e ganhou cinco Grammy Awards. Embora ele tenha tocado jazz e salsa, Puente é um dos poucos músicos que merecem o título de "lenda", principalmente por sua maestria no Mambo.

Enquanto Puente foi talvez melhor conhecido pelo seu álbum de mambo "Dance Mania" de 1958, seu som elétrico continuou à trasncender as os laços de culturas e gerações.

Em Junho de 1942, ele se juntou à Orquestra Machito. Machito se tornou o primeiro mentor de Puente. Nesse momento Tito deixou Machito para tocar percussão para os Jack Cole dancers. Logo depois ele foi alistado na Marinha e serviu na II Grande Guerra. Ele tocou saxofone e bateria com a banda no navio. Ele aprendeu como fazer arranjos com um piloto que tocava sax em orquestras de New York City, juntamente com a orquestra de Machito e Tito Rodriguez.

Mambo e cha-cha-cha eram a sensação do momento. A música com sua alta energia se tornou uma catalizadora para juntar pessoas de todas as raças e etnias. Puente dirigiu a onda da febre do mambo e se tornou um nome muito famoso.

Puente teve um tendência forte em direção ao jazz , o qual, ele "Latinizou". Puente depois liderou dois grupos; uma orquestra e um grupo de jazz. Ele continuou a gravar ambos Jazz Latino e músicas latinas com muitos diferentes artistas e suas próprias bandas.

Em 1979, ele ganhou seu primeiro de cinco Grammy Awards por seu álbum Homenaje a Beny, o qual, foi um tributo ao cantor Cubano Beny More. Outros Grammy Awards vieram em 1983 por On Broadway; 1985 por Mambo Diablo; 1990 por Gosa Mi Timbal; e em 2000 por Mambo Birdland.

Puente foi homenagiado com uma estrela na Hollywood Walk of Fame em 1990 e também em 1992 no film Os Reis do Mambo. Também foi dada à ele a Medalha Nacional de Arte pelo então Presidente Clinton em 1997 e foi homenageado pela Biblioteca do Congresso em Abril de 2000 como uma Lenda Viva. O The New York Times escolheu Dancemania de Puente como um dos 25 álbuns mais influentes do sécuilo 20. Seus outros prêmios e honrarias são muito numerosos para se listar.

Em sua vida, Puente gravou 120 álbuns, compôs mais de 450 músicas, e tem mais de 2000 arranjamentos em seu crédito. Ele fez mais de 10000 performances ao vivo no mundo todo. Pouco depois de sua morte, se completou seu trabalho com um álbum com Eddie Palmieri lançado em 18 de Julho de 2000.

E também fez participações em Os Simpson no episódio 2F20 "Quem matou Sr Burns?",7G10"Homer's "Hight Out.

Tito faleceu em Maio de 2000 aos 77 anos, em Nova York.

Tito com toda sua exuberância musical, no palco.

http://www.youtube.com/watch?v=4Aewq0ruLWI

Referencia - Wikipédia

DUDLEY MOORE

2010-04-19T19:23:00.004-04:00

O ator, comediante e pianista de jazz britânico Dudley Stuart John Moore, nasceu no 19 de abril de 1935, em Dagenham, Essex na Inglaterra e ficou famoso após estrelar os filmes "Mulher nota 10" e "Arthur, o milionário sedutor".

Moore era filho de operários e nasceu com uma deformidade nos pés. Passou a primeira infância sendo submetido a sucessivas cirurugias ortopédicas. Tornou-se membro do coro da igreja e estudou música, tornando-se um talentoso pianista e organista.

Estudou música e composi;áo na Universidade de Oxford. Durante o curso, começou a trabalhar como comediante, carreira que nunca mais abandonou e que conciliava com uma carreira de sucesso como músico de jazz. Após mudar-se para os Estados Unidos, participou de diversos filmes em Hollywood, e que o tornaram mundialmente famoso.

Em 1999 ele anunciou que sofria de uma doença degenerativa rara e sem tratamento conhecido, a paralisia supranuclear progressiva (PSP). Em 2001 recebeu a Ordem do Império Britânico. A doença já estava em estado adiantado e ele recebeu a honra em uma cadeira de rodas.

Morreu vitimado por uma pneumonia, decorrente de seu quadro neurológico em março de 2002.

Dudley plays jazz at Johnny Carson's "The Tonight Show.

http://www.youtube.com/watch?v=2owYuVBto2Q

Referencia - Wikipédia

LEO PARKER

2010-04-18T20:58:00.006-04:00

O saxofonista Leo Parker nasceu no 18 de abril de 1925, e é mais um daqueles músicos de jazz cuja vida errante daria um lacrimejante roteiro de cinema: músico negro genial, tocou de igual para igual com todos os monstros sagrados de sua época, entre eles Charlie Parker e Dizzy Gillespie.

Destemido e ingênuo como todo artista, mergulhou de cabeça tanto na piscina azul da música quanto no poço sem fundo das drogas. Resultado: aos 30 anos estava tão detonado pelo vício que mal conseguia soprar seu saxofone. Leo começou no sax alto e com esse instrumento chegou a realizar algumas gravações ao lado de Coleman Hawkins. Em 1944 passa para o barítono.

Durante alguns importantes anos atuou na famosa banda de Billy Eckstine, onde teve a oportunidade de tocar com Bird, Sonny Rollins, Gene Ammons, Sonny Stitt e outros tsunamis do saxofone. Aos 22 anos sua saúde já se encontrava seriamente abalada pelas drogas. Ainda assim, Leo conseguiu, sabe-se lá como, realizar algumas excelentes gravações pouco antes de morrer. Duas delas foram relançadas pelo selo Collectables.

A primeira é Back To Back Baritones, onde Leo é acompanhado pelo também sax barítono Sax Gill – o destaque fica por conta das battles que travam em algumas faixas, sobretudo na faixa Leo Leaps In – numa comovente homenagem a Lester Young. O outro relançamento da Collectables saiu originalmente em 1961 pela Blue Note: Let Me Tell You ‘Bout It, onde o som gutural, rascante e ágil de Mad Lad (esse era seu sugestivo apelido) mostra todo seu swing e habilidade ao lado de músicos um tanto obscuros, porém competentes: Dave Burns (t), Bill Swindell (ts), Johnny Acea (p), Stan Conover (b) e Purnell Rice (d).

Depois da gravação do álbum "Rollim’ With Leo", também da Blue Note, gravado um mês depois de "Let Me Tell", com os mesmos músicos, Leo – talvez o maior barítono do hard bop – morreria alguns meses depois aos 36 anos em 1962.

Leo sola no sax barítono "Smoke Gets in your Eyes"

http://www.youtube.com/watch?v=rsuFshUHD8M

Referencia - Mad Lad

TONY MOTTOLA

2010-04-18T20:46:00.004-04:00

Guitarist Tony Mottola was born on April 18, 1918, and had one of the most varied careers as a musician. His output ranged from small group jazz to large orchestra to children's records to radio and TV music. In the 1950's he wrote the music for the popular TV show Danger. The music was so popular with viewers that Mottola frequently received his own fan mail for the music.

Throughout the 1970's and 1980's Tony Mottola produced a large number of recordings that don't fit into the jazz genre, but were successful guitar recordings. The many recordings he made with Enoch Light probably fit better in the popular music area and did much to enhance the popularity of the guitar. At the same time it was not uncommon for Mottola to turn up on recordings with Barry Galbraith, Bucky Pizzarelli, George Barnes and others, on records that are more generally jazz oriented. He was one of the most sought after and respected studio musicians in the recording and general music industries. He was certainly one of the most respected guitar players to ever play the instrument.

Tony Mottola like many of his contemporaries started out learning to play the banjo and later took up the guitar. He got his first guitar lessons from his father and by the late 1930's he was playing in George Hall's orchestra in a rhythm section that included Johnnie Guarnieri and Nick Fatool.

In 1941 Tony took up a staff position at CBS. His guitar could be heard on several broadcast shows including those with Frank Sinatra and Perry Como. In the early 1950's Mottola composed his famous music for Danger.

For the jazz guitar history buff the early recordings of Tony Mottola were of more interest than his later recordings. Early in his career he had his own small jazz groups and he played with Johnnie Guarnieri, Al Duffy, Joe Biviano and Carl Kress. He backed singers like Pearl Bailey and Frank Sinatra. Many of his later recordings like Heart and Soul, Mr. Big and Two Guitars for Two In Love have held special interest for the guitar enthusiasts.

Tony passed away in 2004.

Tony Motolla plays "Brazilia"

http://www.youtube.com/watch?v=Mb3O_AJGbnc

Reference - Classic Jazz Guitar

FOGÃO - CAMPEÃO ESTADUAL DO RIO 2010

2010-04-18T18:57:00.007-04:00

Fim da hegemonia do Flamengo em Estaduais. Em um clássico cheio de alternativas, com direito a duas expulsões, gols de gringos e defesa de pênalti, o Botafogo conquistou a Taça Rio e, por conseguinte, o Campeonato Estadual ao vencer o Flamengo por 2 a 1, neste domingo, no Maracanã. Herrera e Loco Abreu, ambos em penalidades, marcaram para os alvinegros, que foram os vencedores também da Taça Guanabara, primeiro turno da competição. Vagner Love assinalou para os rubro-negros.

Um dos grandes destaques do Botafogo, o meio-campo Leandro Guerreiro celebrou a conquista, voltou no tempo e lembrou a goleada que o Alvinegro sofreu para o Vasco, por 6 a 0, no primeiro turno da competição: "Esse título tem um gosto especial pois vencemos os dois turnos e porque saímos do fundo do poço. Tivemos uma derrota e ninguém acreditava na gente, Mas foi a vitória da dedicação e do trabalho", disse.

O espírito de decisão estava no ar e jogadores de Flamengo e Botafogo disputavam cada lance com extrema intensidade. A equipe de General Severiano se mostrava mais tranquila, valorizava a posse de bola e implantava uma marcação bem forte. Já o Rubro-Negro, com 16 minutos, tinha três jogadores pendurados: Bruno, Toró e Maldonado. Vagner Love e Adriano estavam sumidos até então.

Em clássico disputado, as chances costumam ser escassas. A primeira delas aconteceu no pés de Renato Cajá que, aos 20, cobrou falta para Bruno mandar para escanteio. Na sequência, Ronaldo Angelim segurou Fábio Ferreira na área. Gutemberg de Paula marcou o pênalti e Herrera abriu o placar.

Com o revés no marcador, Andrade não demorou e promoveu a entrada de Vinicius Pacheco na vaga de Toró. A função do reserva era encostar na dupla de ataque Vagner Love e Adriano, que perdeu boa chance após um bonito voleio aos 34.

Embora tenha melhorado na partida, o Flamengo seguia sem assustar efetivamente o Botafogo. As laterais não tinham a eficiência de outras partidas e a marcação alvinegra se mostrava eficiente. Isso, porém, até aos 44. No ‘apagar das luzes’ Vagner Love aproveitou a única desatenção alvinegra para empatar.

As duas equipes voltaram sem qualquer alteração para a segunda etapa. Com menos de nove minutos, Vinicius Pacheco obrigou Jefferson a fazer duas defesas seguras.
De encontro a fama de retranqueiro, Joel Santana sacou o aplicado Túlio Souza e promoveu a entrada do talismã Caio. Do outro lado, Vagner Love e Adriano mostravam que queriam jogo.

A principal arma do Botafogo, a bola parada, não surtia efeito, pois os cruzamentos para Loco Abreu não eram bem feitos. Do outro lado, o Flamengo apostava na velocidade de Vinicius Pacheco em cima de Fahel e Fábio Ferreira, que impediu boa finalização de Love.

Apesar do clássico não ter sido caracterizado como um jogo violento, muitas faltas e cartões foram distribuídos. Em uma dessas situações, o Campeonato Estadual foi decidido. Aos 26, Maldonado segurou Herrera dentro da área e foi expulso. Loco Abreu bateu com ‘cavadinha’ e recolocou o Botafogo na frente.

Aos 32, pênalti para o Flamengo. Fahel se apoiou em Ronaldo Angelim. Herrera reclamou muito e tomou o amarelo. Persistiu e foi expulso. Porém, Adriano, apagado na segunda etapa, cobrou e Jefferson defendeu.

Aos 38, Caio desperdiçou grande chance sem goleiro. Aos 43, Jefferson fez milagre. Porém, o placar já estava consumado e a torcida do Botafogo poderia celebrar o fim da hegemonia do .

FLAMENGO 1 X 2 BOTAFOGO
Botafogo - Jefferson; Fahel, Antônio Carlos e Fábio Ferreira; Alessandro, Leandro Guerreiro, Túlio Souza (Caio), Renato Cajá (Edno) e Somália (Marcelo Cordeiro); Herrera e Loco Abreu Técnico: Joel Santana

Data: 18/04/2010 (domingo)

Local: Maracanã, no Rio de Janeiro (RJ)

Botafogo Campeão - Botafogo do meu coração - Ninguém cara este amor.

Viva o Glorioso!!!!!!!!!!!!!

Clique aqui para ouvir o hino do Botafogo com Zeca Pagodinho.

http://www.youtube.com/watch?v=7i_nn5A0hS8

Referencia - UOL Esportes

MANAUS, DOMINGO, MEIO DIA, JAZZ, ROSA PASSOS, DEAN MARTIN

2010-04-17T18:53:00.002-04:00

Neste domingo a partir do meio dia pelas ondas da Radio Jazz de Manaus Amazonas FM 101.5 (http://www.amazonasfm.com.br/) o swing do jazz estará solto durante toda transmissão do nosso programa "Momentos de Jazz".

O cantor, comediante e ator Dean Martin, o mais descontraido dos membros da Rat Pack que revirava de cabeça para baixo a Las Vegas dos anos 60, liderado pelo Frank Sinatra, quando cantava jazz diante de uma big band dava um recado de talento que todos entendiam muito bem. A coletânea "Forever Cool" publicada para homenagear o cantor, traz registros de alguns shows ao vivo em Las Vegas e leituras antológicas de canções que ele assinou como "Ain't That a Kick in the Head" e "You're Nobody Until Somebody Loves You", entre outras inesquecíveis.

A cantora brasileira natural da Bahia, Rosa Passos recebeu da Berklee School of Music o titulo de "Doutor em MPB". Aqui no Brasil poucos tomaram conhecimento deste fato marcante, da mesma forma que poucos conhecem o fato de que ele á uma das poucas artistas brasileiras que de fato faz sucesso no exterior. Sucesso este que inexplicavelmente, não se reflete no mercado brasileiro.

Vamos degustar as canções do CD "Amorosa" no qual ela se encontra impecável e mais Rosa Passos do que nunca. As leituras de "O Pato" , na qual ela conversa com o saxofone e "Besame Mucho" , são impagáveis.

O ator e produtor Clint Eastwood é um dos mais conhecidos amantes do jazz nos Estados Unidos. Uma de suas caracteristicas, na maioria dos filmes que produziu, é incluir a música jazz na trilha musical ( Bird, As Pontes do Rio Madison e Midnight Garden of Good and Evil). A trilha deste último, que ouviremos, traz grandes nomes do jazz como Kevin Mohagony, Diana Krall, Rosemary Clooney, K.D. Lang, Kevin Spacey e ele próprio cantando "That Old Black Magic" de Johnny Mercer. Se eu fosse você não perderia este programa.

Muito obrigado pela companhia.

O melhor ainda está por vir.

Em 2010, quinze anos de jazz!!!!

Humberto Amorim

Locutor/Produtor

BUSTER WILLIAMS

2010-04-17T12:15:00.004-04:00

Jazz bassist Charles Anthony Williams, best known as Buster Williams, was born on April 17, 1942 in Camden, New Jersey.
Williams has gained prestige among jazz musicians as a solid supportive player. Since the early 1960s, he has made subtle swing, a precise rhythm and superb technique the landmark of his playing.

He started his professional career in Philadelphia with Jimmy Heath, then played and recorded with the Gene Ammons/Sonny Stitt quintet (1960-61). After that, he played in Los Angeles for the vocalists Betty Carter, Sarah Vaughan and Nancy Wilson (until late '60's), recording with Vaughn and Wilson, and also with The Jazz Crusaders and the Bobby Hutcherson/Harold Land quintet while working with Miles Davis.

In 1969, Williams moved to New York City and joined the Herbie Hancock Mwandishi Sextet for the next three years, doubling in acoustic and electric basses, and also worked with Mary Lou Williams (1973-75) and Ron Carter's quartet (1977-78). Since the 1980s, Williams has appeared as a sideman in a significative number of session records with notable jazz instrumentalists and vocalists, although opportunities to lead his own sessions are rare.

Williams also has collaborated with Chet Baker,Kenny Baron, Sthima Bea Benjamin, Larry Corryell, Stanley Cowell, Gil Evans, Frank Foster, Dexter Gordon, Joe Farrell, Shirley Horne, Illionois Jacquet, Tahsaan Toland Kirk, Harold Mabern, Brandford Marsalis, Carmen McRae, Frank Morgan, Hilton Ruiz, Woody Shaw, Steve Turre, McCoy Tyner and the Mel Lewis Jazz Orchestra.

In 2008, Williams began releasing a series of live albums exclusively for download through his company, Buster Williams Productions.

Buster Williams plays.
http://www.youtube.com/watch?v=as7qmLaJ6Ow

Recommended CDs

Dreams Come True (1978)
Something More (1989)
Lost in a Memory (1999)
Houdini (2001)
Griot Liberte (2004)
Live Volume 1 (2008)

Reference - Wikipédia

HENRY MANCINI, THE DAYS OF WINE AND ROSES

2010-04-16T19:36:00.006-04:00

O compositor, pianista e arranjador americano Enrico Nicola Mancini, conhecido mundialmente como Henry Mancini, nasceu no 16 de abril de 1924, em Cleveland, Ohio numa familia ítalo-americana e cresceu em West Aliquippa na Pennsylvania.

Dono de um apuro estético muito sofisticado no arranjo de suas músicas e tendo sido um melodista excepcional, ele é melhor lembrado como sendo um dos mais conhecidos compositores de trilhas sonoras para televisão e cinema, ganhando um número considerável de prêmios Grammys (incluindo um em reconhecimento em 1995). O pai era exímio flautista, e o filho rapidamente começou a tocar flauta e piano. Henri Mancini começou a estudar arranjo e composição na na famosa Julliard School of Music, em Nova York (em 1942), e mais tarde fez especialização em Música para o Cinema com mestres do porte do compositor italiano Mario Castelnuovo-Tedesco.

Apesar de ter sido colocado no Exército durante a II Guerra Mundial, Mancini conseguiu trocar da infantaria para a banda, tornando-se o arranjador e pianista da Orquestra de Glenn Miller. Mais tarde, Mancini foi contratado por Tex Beneke, um saxofonista de Glenn Miller que anos depois da II Guerra Mundial, com o misterioso desaparecimento de Miller num ataque aos aviões das tropas aliadas no Canal da Mancha, praticamente continuou o legado do grande band leader, tornando-se então o líder da nova formação da The Glenn Miller Orchestra, em 1946.
Mancini conheceu sua futura esposa, Ginny O'Connor, numa audição para a banda de Tex Beneke, onde ele era o pianista, em Los Angeles. Com Ginny O'Connor, Mancini teve três filhos: Christopher e as gêmeas Felice e Monica.

Houve o período em que Mancini tocava à noite, em Los Angeles, antes de ser contratado por algum estúdio cinematográfico. Começou a compor para o Cinema, quando entrou para a Universal City Studios, na década de 50, em que arranjou e regeu música para filmes como "Creature from the Black Lagoon", e "The Glenn Miller Story" (mais conhecido no Brasil como "Música e Lágrimas"), que valeu uma indicação ao Oscar de Melhor Trilha Sonora para Mancini e os músicos comandados por Jope Gershenson, na Universal, em 1954.

O Henry Mancini Institute foi fundado em 1996, na Califórnia, dois anos depois de sua morte, para a manutenção do ensino da Música, com o qual o maestro e compositor sempre foi identificado, porém fechou as portas em 2000, por impossibilidade de continuar seus trabalhos.

Entre os inúmeros músicos que tocaram na Henry Mancini & His Orchestra figuraram o brasileiro Laurindo de Almeida (violão) e trompetistas como o americano Pete Candoli. Era a própria Ginny O'Connor quem fazia a contratação de cantores para o coro de vozes que acompanhava a Orquestra. A Orquestra de Henry Mancini, contratada da RCA Victor (depois BMG) gravou mais de 90 álbuns, muitos deles tiveram a produção fonográfica de Joe Reisman.
Mancini tinha o próprio programa semanal de variedades e música na TV americana, "The Mancini Generation", com seus 40 músicos, sendo que cada programa tinha duração de 30 minutos, entre os anos de 1972 e 1973.

Henry Mancini escreveu dois livros: a autobiografia "Did They mention the Music?" (escrito em 1989) com Gene Lees e o livro técnico "Sound and Scores", de 1962, sobre orquestração para música popular, em que Mancini desmonta a sua partitura do famoso tema de "Peter Gunn" para ensinar a arte da orquestração, composição e arranjo.
Mancini compôs trilha para mais de 80 filmes, ganhou 4 Oscars da Academia de Hollywood 2 Prêmios Emmy (O Oscar da TV americana) e 20 Grammys, o prêmio máximo da indústria fonográfica.

As composições pelas quais Henry Mancini é mais conhecido incluem Moon River (a canção tema do filme de 1961 dirigido por Blake Edwards Breakfast at Tiffany's/ Bonequinha de Luxo) e os temas dos filmes A Pantera Cor-de-Rosa (direção de Blake Edwards) e Charada de 1963 (direção de Stanley Donen), bem como o tema do famoso Pássaros Feridos, minissérie de 1983, exibida no Brasil pelo SBT desde 1985.

Alguns cineastas para quem Henry Mancini compôs trilhas: Paul Newman (Sometimes a Great Notion, The Glass Menagerie), Howard Hawks (Hatari), Vittorio de Sica (The Sunflower / Os Girrassóis da Rússia), Norman Jewison (Gaily,Gaily), Martin Ritt (The Molly Maguires /Ver-Te-Ei no Inferno), George Roy Hill (The Great Waldo Pepper) e muitos outros. Para Stanley Donen, Mancini compôs as trilhas de Charade/Charada, Arabesque Two for the Road / Uma Estrada para Dois.

A atriz Audrey Hepburn trabalhou em quatro filmes com trilha composta por Henry Mancini: Bonequinha de Luxo / Breakfast at Tiffany's, Charada / Charade, Uma Estrada para Dois / Two For the Road e Um Clarão nas Trevas / Wait Until Dark (este último dirigido por Terence Young).

É de Henry Mancini as aberturas de séries televisivas como Acredite se Quiser (Believe It or Not), Os Detetives/(NBC Mistery Movie) e Temington Steele ("Jogo Duplo", como foi batizado no Brasil), entre muitas outras.

Ele também é muitas vezes creditado pela composição de trilhas sonoras de filmes de Charlie Brown e sua Turma, em particular o tema "Linus and Lucy". Mas na verdade estas canções foram compostas e tocadas por outro pianista de jazz, Vince Guaraldi. Grande parte do trabalho de Mancini pode ser classificado no gênero easy listening.
Henry Mancini também o compositor da trilha para os desenhos animados de longa-metragem Tom & Jerry - O Filme, de 1993 (MGM) e O Ratinho Valente, dos Estúdios de Walt Disney, em 1986.

É de 1958 o início dos trabalhos (e da amizade) com o diretor e roteirista americano Blake Edwards, com quem Mancini estabeleceu uma parceria de mais de 30 anos, fazendo a trilha primeiramente para a TV (séries "Peter Gunn" e "Mr. Lucky") e depois para o Cinema ("Mr. Cory", "High Time", "Operation Petticoat", "Breakfast at Tiffany's"/Bonequinha de Luxo, "Days of Wine and Roses"/Vicio Maldito, "What Did You Do in the War, Daddy?", a série "The Pink Panther"/A Pantera Cor-de-Rosa" (sete filmes entre 1963 a 1993), "Victor/Victoria", "Draling Lili" e muitos outros.

Os quatro Oscars de Henry Mancini vieram com três filmes dirigidos por Edwards: Melhor Canção ("Moon River", letra de Johnny Mercer) para "Breakfast at Tiffany's (em 1961), Melhor Canção "Days of Wine and Roses", (em 1962) e dois para "Victor/Victoria", em 1982: Melhor Trilha Sonora e Melhor Partitura (com Leslie Bricusse nas letras das canções).
Mancini compôs "Moon River", de "Bonequinha de Luxo" para a voz de Audrey Hepburn, que ele tinha ouvido cantar no filme "Funny Face", dirigido por Stanley Donen. Neste filme, ela interpreta canções de George Gershwin. Desta forma, a extensão vocal da atriz foi levada ao piano por Mancini que então começou a dedilhar e facilmente encontrou a melodia da canção que lhe daria o Oscar em 1961.

Foi a própria Audrey quem pediu que Mancini não colocasse no LP da trilha sonora a faixa em que ela canta "Moon River" com sua própria voz, ao violão, ao que o compositor atendeu gentilmente. Mancini chegou a dizer que de todas as gravações de "Moon River", a mais bela de todas sempre foi a primeira, cantada por Audrey Hepburn no filme.

Henry Mancini morreu em Beverly Hill, Los Angeles em Junho de 1994.

Henry's "Moon River"

http://www.youtube.com/watch?v=X13IWZuc-pk

Referencia - Wikipédia