Saturday, February 13, 2010

WINGY MANONE


Jazz trumpeter,composer, singer and bandleader Joseph Matthews Mannone, aka, Wingy Manone, was born on February,13, 1900 in New Orleans, Louisiana. He lost an arm in a streetcar accident, which resulted in his nickname of "Wingy". He used a prosthesis, handling it so naturally and unnoticeably that his disability was not apparent to the public.


After playing trumpet and cornet professionally with various bands in his home town, he began to travel across America in the 1920s, working in Chicago,New York City, Texas, Mobile, Alabama, California, St.Louis, Missouri and other locations; he continued to travel widely throughout the United States and Canada for decades.


Manone was an esteemed musician who was frequently recruited for recording sessions. He plays on some early Benny Goodman records, for example, and fronted various pickup groups under pseudonyms like "The Cellar Boys." His style was similar to that of fellow New Orleans trumpeter Louis Prima: hot jazz with trumpet leads, punctuated by good-natured spoken patter in a pleasantly gravelly voice.


His hit records included "Tar Paper Stomp" (an original riff composition of 1929 that was later used as the basis for Glenn Miller's "In The Mood"), and a hot 1934 version of a sweet ballad of the time "The Isle of Capri", which was said to have annoyed the songwriters despite the royalties revenue it earned them.


Manone's group, like other bands, often recorded alternate versions of songs during the same sessions; Manone's vocals would be used for the American, Canadian, and British releases, and strictly instrumental versions would be intended for the international, non-English-speaking markets. Thus there is more than one version of many Wingy Manone hits. Among his better records are "San Antonio Stomp" (1934), "Send Me" (1936), and the novelty hit "The Broken Record" (1936).


In 1943 he recorded several tunes as "Wingy Manone and His Cats"; that same year he performed in Soundies movie musicals. One of his Soundies reprised his recent hit "Rhythm on the River."


From the 1950s he was based mostly in California and Las Vegas, although he also toured through the United States, Canada, and parts of Europe to appear at jazz festivals.


Wingy Manone's compositions include "Tar Paper Stomp" (1930), "There'll Come a Time (Wait and See)" with Miff Mole, "Tailgate Ramble" with Johnny Mercer, "Stop the War (The Cats are Killin' Themselves)" (1941) on Bluebird, "Trying to Stop My Crying", "Downright Disgusted Blues" with Bud Freeman, "Swing Out" with Ben Pollack, "Send Me", "Nickel in the Slot" with Irving Mills, "Jumpy Nerves", "Mannone Blues", "Easy Like", "Strange Blues", "Swingin' at the Hickory House", "No Calling Card", "Where's the Waiter", "Walkin' the Streets (Till My Baby Comes Home)", and "Fare Thee Well".

His autobiography ""Trumpet on The Wing", was published in 1948.



In 2008, his composition "There'll Come a Time (Wait and See)" with Miff Mole was used in the soundtrack to the Academy Award-nominated movie "The Curious Case of Benjamin Button", based on the short story by F. Scott Fitzgerald from the book "Tales of the Jazz Age". The movie was nominated for thirteen Oscars in 2009.



Wingy passed away on July,1982.



Listen to Wingy playing with his Orchestra, "Ochi Chornya"
http://www.youtube.com/watch?v=Xi1LtsfdrNI



Reference - AAJ

BUCK HILL, THE JAZZMAN FROM WASHINGTON D.C.



Jazz saxophonist Buck Hill, born on February 13,1927, is a living legend, who has been dazzling audiences for over forty years.


Buck Hill started playing saxophone at the age of 13. By the mid-fifties, he was married with three children and supporting them by driving a cab and delivering mail. Despite the family demands, he continued to practice and perform. He was discovered by Charlie Byrd and became a regular on the local jazz circuit, appearing with Dizzy Gillespie, Miles Davis, and Shirley Horn. In 1957, he appeared on his first recording with Charlie Byrd and later appeared on numerous recordings with Shirley Horn on the Verve label.


As a result of the dominance of rock music in the sixties, Buck went back to work for the post office. He continued to perform and devoted himself to teaching. Many years later, one of his most successful students, renowned drummer Billy Hart, arranged for Buck to begin his solo recording career with Danish company Steeplechase. “This Is Buck Hill” and “Scope” saw the collaboration of Buck with jazz greats Kenny Barron and Ray Brown.



His performances and recordings received great critical success through the Village Voice and the New York Post. Yet throughout all of his success, he refused to give up his day job as a postman, thus leading to the moniker, the ‘Wailin’ Mailman.’ And that’s where you’ll find Buck in the annals of jazz history.



In the fall of 2000, Buck released “Uh Huh! Live at Montpelier” on the JazzMont label. Buck has been a staple of the local jazz scene at the Montpelier Arts Center since 1985. Eric Brace of the Washington Post said this record contained “…eight original compositions that are so melodically complete and so structurally satisfying that I wonder if they might become standards someday.” Since then Buck has performed at the Kennedy Center and the East Coast Jazz Festival. He still gigs regularly at the famous "One Step Down" jazz club in D.C. If you haven’t seen him play, you really should. How often do you get to see a legend? Let alone, one that delivered your mail.

Buck Hill - "Tenor Madness"
http://www.youtube.com/watch?v=p_fmhlqcx8o


Recommended CD.

His latest album "Relax" is Hill's first recording since 2000's "Uh-Huh! Buck Hill Live at Montpelier", and the octogenarian shows that he still has the full tone and poise that made his previous recordings so valuable for those in the know. As one might expect, Hill lacks the speed and endurance of earlier years, but he still has enough chops and imagination to put some young bucks to shame.
His treatment of "Old Folks is superb balladry on par with later period Dexter Gordon. Especially enjoyable for me is when he revisits his composition "Little Bossa, a song that first appeared on his Steeplechase release Scope. Hill handles the descending chord progressions with aplomb and solos with passion.


Track listing: RH Blues; Relax; Old Folks; Little Bossa; Flamenco Sketches; Pfrancing; Milestones; Sad Ones.


Personnel: Buck Hill: tenor saxophone; John Ozment: Hammond A100; Paul Pieper: guitar; Jerry Jones: drums.
Reference - AAJ

KELLY HARLAND, SINGS JEROME KERN


Uma das grandes pedidas, na minha modesta opinião, principalmente para àqueles ex-foliões que, como eu, ficam na periferia dos embalados e coloridos acontecimentos do tríduo momesco, é a audição do CD "Long Ago and Far Away", o mais recente disco da veterana e musicalmente bem resolvida cantora de jazz Kelly Harland. Neste trabalho, com sua voz e fraseado inconfundível, Kelly adiciona brilho maior as eternas canções do compositor Jerome Kern. A participação especial do pianista Bill Mays é um capítulo a parte.
Faixas
1 - I'm Old-Fashioned 2 - Look for the Silver Lining 3 - The Folks Who Live8 - - - on the Hill • 4 - Yesterdays • 5 - Long Ago (And Far Away) 6 - Don't Ever Leave Me 7 - The Song Is You 8 - Can I Forget You / Smoke Gets in your Eyes 9 - Make Believe 10 - All the Things You Are




CD "Long Ago and Far Away, Kelly Harland Sing Jerome Kern" -

“What opens the eyes and ears is Harland’s clear delivery of . . . lovely heartfelt ballads, or jumping swingers. Each tune gets a brand-new gloss from this fine singer. The result is the undisputed pleasure of highly engaging vocal jazz.” All About. Jazz
Note from Kelly:
The new CD “Long Ago and Far Away: Songs of Jerome Kern” has been a dream come true in its creation. I'd been talking with Mr. Mays, my piano hero, for quite some time about the two of us doing a record. I wanted to salute one of the American Songbook composers, so I embarked on a search for the perfect one—and at last decided upon the magnificent and timeless music of Kern.
I was able to recruit my sweetly beloved, Chuack Deardorf,to produce the CD and play upright bass. Pianist Bill Mays came out to Seattle from the East Coast and we immediately shipped him up to a fabulous private studio in the San Juan Islands, known only as “a friend’s place.” (the friend is my wonderful longtime pal, Jim Bredouw, aka “Bunz.”).
In this spectacular, remote island setting we set up the band in Jim’s barn--a two-story Architectural Digest-worthy dream--as the morning sun shone through tall windows; we worked through the night as starlight fell upon the grand piano. Establishing an intimate groove, our little trio along with our engineers, Bunz and the incomparable Reed Ruddy of Studio X, had a fabulous time cutting simple, spontaneous arrangements.
Stay tuned to my site for news, and thanks to all of you for your interest in my music, my writings and my loves. You can also check out myspace.com/kellyharlandsings where you will see photos of some of my amazingly talented voice students. And don’t forget to time-travel to YouTube to view a vintage video of my eighties band Lazy Racer performing our single on A&M Records, written by yours truly and co-writer Craig Morley.Oh, and--this site was created by the world-class photographer and design wizard Dominic Arizona Bonuccelli, my favorite designer in the universe.
Till soon!
Kelly
1 - I'm Old-Fashioned 2 - Look for the Silver Lining 3 - The Folks Who Live on the Hill • 4 - Yesterdays • 5 - Long Ago (And Far Away) 6 - Don't Ever Leave Me 7 - The Song Is You 8 - Can I Forget You / 8 - - - Smoke Gets in your Eyes 9 - Make Believe 10 - All the Things You Are
Reference - Kelly's Homepage

Friday, February 12, 2010

DOMINGUINHOS, O SANFONEIRO-MOR DO BRASIL.



O sanfoneiro-mor do Brasil , compositor e forrozeiro José Domingos de Morais, famoso como Dominguinhos, nasceu no 12 de fevereiro de 1941, em Garanhuns, Pernambuco, e começou a carreira artística na infância, tocando no trio "Os Três Pingüins", com os irmãos.



Já então tocava sanfona de oito baixos, instrumento que sempre o acompanhou. Quando tinha 7 anos foi ouvido por Luiz Gonzaga, o "Rei do Baião", que achou que o menino tinha futuro e lhe deu seu endereço no Rio de Janeiro. Dominguinhos foi procurá-lo seis anos mais tarde, quando se mudou com a família para o Rio, e ganhou do mestre uma sanfona de presente.



Nos anos 50 e 60 ganhou a vida tocando boleros e sambas-canções em cassinos, gafieiras, dancing, churrascarias, boates e na Rádio Nacional, onde ingressou em 1967, ano em que gravou seu primeiro LP. Tornou-se famoso no meio musical e passou a ser convidado para gravações e turnês com Gilberto Gil, Caetano Veloso, Gal Costa, Maria Bethânia.



Como compositor também se destacou. Ao lado de Gil assina algumas composições, como "Lamento Sertanejo" e "Abri a Porta". Seus maiores sucessos foram "Tantas Palavras", com Chico Buarque, "De Volta para o Aconchego" (com Nando Cordel), gravada por Elba Ramalho e "Isso Aqui Ta Bom Demais".


Durante a sua bem sucedida carreira, gravou mais de 30 discos e compôs trilhas para cinema, firmando-se como compositor e sanfoneiro de prestígio. Dominguinhos é indicado ao 8º Grammy Latino como melhor álbum regional. Ele já foi vencedor do Grammy Latino em 2002 com o CD "Chegando de Mansinho". O trabalho de Dominguinhos é mais uma prova de que pouco importa os sotaques ou origens quando trata de fazer música. No universo dos sons e dos ritmos o que conta mesmo é a sensibilidade, responsável pela emoção e o talento, capazes de transformar idéias e conceitos em obras de arte.


Depois de cinco anos sem lançar um trabalho solo, Dominguinhos voltou a gravar pela Gravadora Eldorado em 2006 o CD “Conterrâneos”, e foi agraciado no Prêmio TIM (2007) na categoria "Melhor Cantor Regional", e com este mesmo CD, concorrreu em 2007, novamente, ao Grammy Latino na categoria Disco Regional..


Em 2008 Dominguinhos foi o grande homenageado na última edição do Prêmio Tim de Musica Brasileira. Já ganhou quatro prêmios Sharp.

Dominguinhos "Eu Só Quero Um Xodó"
http://www.youtube.com/watch?v=7eFnFWUWPeY

Fonte _

MEL POWELL


Jazz pianist and composer of classical music Melvin Epstein,aka, Mel Powell, was born on February 12, 1923 in the Bronx, New York City. Powell was born to Russian Jewish parents and began playing piano as a child, and performed jazz professionally in New York City as a teenager. In 1941-42 he played, composed, and arraged for Benny Goodman.



A member of Glenn Miller's Army Air Corps Band in 1943-45, he played with Django Reinhardt in Paris at war's end. Powell briefly returned to Goodman's band, then worked in Hollywood after World War II and married actress Martha Scott. In 1948 he played himself in the movie "A Song is Born" as the jazz pianist working with Benny Goodman. In this movie he worked along with many other famous jazz players including Louis Armstrong. After studying at Yale with Paul Hindemith in 1948-1952 he all but gave up jazz for classical composition.



He was a member of the composition faculty at Yale from 1958 to 1969, a founder of the Yale Electronic Music Studio and a founding editor of Perspectives of New Music. In 1969 he moved to California to serve as founding dean of the California Institute of the Arts in Valencia, CA. After serving as acting head of the Institute he was awarded the Roy O. Disney Professorship of music, and taught and composed at CalArts until his death. In 1990 he received the Pulitzer Prize in Music for his concerto for two pianos and orchestra, Duplicates.


In 1987 he returned to jazz to play a jazz festival on the cruise ship SS Norway with Benny Carter,Howard Alden,Milt Hinton and Louie Bellson. One performance has been documented on the CD release "The Return of Mel Powell" (Chiaroscuro records). This CD includes twenty minutes of Powell discussing his life and his reasons for leaving jazz.


His notable students include Justin Connolly, Brian Fennelly, Robert Fruehwald, Walter Hekster, Cesar Mateus, Lewis Spratlan, Sally Lamb and Steven Hoey.


Mel passed away on April, 1998
Mel w/ Benny and Norvo
Reference - Wikipédia

TEX BENEKE


Jazz saxophonist, singer and bandleader Gordon Lee Beneke,was born on February 12, 1914, in Fort Worth,Texas. He was professionally known as Tex Beneke.
Beneke started playing saxophone when he was nine, going from soprano to alto to tenor saxophones and staying with the latter. His first professional work was with bandleader Ben Young in 1935, but it was when he joined Miller three years later that his career hit its stride.
On August 1, 1939, Tex Beneke soloed on the recording the Glenn Miller band made of the Andy Razaf song, "In The Mood". Beneke appears with the Miller band in the films Sun Valley Serenade (1941) and Orchestra Wives (1942), both of which helped propel the singer/saxophonist to the top of the Metronome polls. Tex Beneke is listed in the personnel of the 1941 Metronome All-Star Band led by Benny Goodman.



In 1942, Glenn Miller's orchestra won the first Gold Record for "Chattanooga Choo Choo", a song written by Harry Warren and Mack Gordon. The band first performed this song in the 1941 Twentieth Century Fox movie Sun Valley Serenade." Tex Beneke was the lead singer on this song with Paula Kelly and the Modernaires vocal group. "Chattanooga Choo Choo", catalogue number Bluebird 11230-B, was recorded by the Miller band at the Victor recording studios in Hollywood, California, May 7, 1941.
When Miller broke up the band in late 1942 to join the Army Air Force, Beneke played very briefly with Horace Heidt before joining the Navy himself, leading a Navy band in Oakahoma. While employed with Miller, Beneke was offered his own band, as Miller had done with colleagues and employees like Hal McIntyre, Claude Thornhill and Charlie Spivak. Beneke wanted to come back to Miller after the war and learn more about leading a band before being given his own band.
Beneke lead two bands in the navy and kept in touch with Glenn Miller while they were both serving in the military. By 1945, Beneke felt ready to lead his own orchestra.


Tex passed away on May, 2000.
Tex Beneke "The Woodchuck Son"

Thursday, February 11, 2010

SERGIO MENDES, É O BRAZIL SEMPRE.


O musico e compositor brasileiro Sérgio Santos Mendes, nasceu no 11 de fevereiro de 1941, em Niterói, no Estado do Rio de Janeiro.


Sérgio Mendes começou com o Sexteto Bossa Rio, gravando o disco "Dance Moderno" em 1961. Viajando pela Europa e Estados Unidos, gravou vários álbuns com Cannonball Adderley e Herbie Mann, chegando a tocar no Carnegie Hall. Mudou para os EUA em 1964 e produziu dois álbuns sob o nome de "Brasil '64", com a Capitol Records e a Atlantic Records.


Mas foi nos EUA que começou o grupo Sérgio Mendes & Brasil 66, alcançando sucesso ao lançar a canção "Mas Que Nada " de Jorge Ben Jor, em versão bossa nova.


Passou longo tempo no ostracismo, lançando discos que tiveram pouco sucesso comercial. Seu reencontro com o grande público se deu em 1984, com o lançamento do disco e sucesso "Never gonna let you go", chegando a quarto lugar nas paradas. Pouco depois lançou o álbum "Confetti", contendo entre outras músicas "Olympia", feita para as Olimpádas de 1984 em Los Angeles.


Nos anos 90, criou a banda Brasil 99, com a qual gravou o disco "Brasileiro", que, além de levá-lo de volta às paradas de sucesso, lhe rendeu o Grammy de 1993 na categoria World Music. Tem mais de trinta discos lançados, e o mais recente deles conta com participações especiais de, entre outros, Stevie Wonder e Black Eyed Peas.


Pouca gente sabe, mas durante a época de pobreza de Harrison Ford, o ator que participou de filmes de mais de 100 milhões de dólares de bilheteria foi carpinteiro de Sergio Mendes.


Sergio Mendes "Mas Que Nada"
http://www.youtube.com/watch?v=8m9JrBXi9ag




CDs recomendados


Sergio Mendes & Bossa Rio (1963)
Bossa Nova York. Sergio Mendes Trio (1964)
Cannonbal's bossa nova with Bossa Rio (1964)
In person at El Matador-Sergio Mendes & Brasil' 65 (1964)
Brasil' 65. Wanda de Sah featuring The Sergio Mendes Trio (1965)
Herp Albert presents Sergio Mendes & Brazil' 66 (1966)
The fool on the hill-Sergio Mendes & Brasil' 66 (1969)
Homecooking-Sergio Mendes & Brasil' 77 (1976)
Brasileiro (1992)
Timeless (2006)
Encanto (2008)


Fonte Wikipédia/Musica Brasil

MARTIN DREW, THE ENGLISH JAZZ DRUMMER


English jazz drummer Martin Drew, was born on February 11, 1944, in Northhampton. He is recognized as a dedicated, travelled, experienced and respected musician, having played with, been requested by, and constantly in demand to play with many of the world's great musicians. Martin has a wealth of experience, natural ability, a fine technique and the skill to adapt and fit into many different kinds of playing situations. He has been playing for over 50 years, won many awards, and has entries in various books and encyclopaedias all over the world. Martin's track record is one to be proud of, and says more about his career than he could ever say himself.
From 1974 until 2004, Martin toured and recorded in Canada, the USA, South America, Japan, Australia, Europe, and all over the world, with the legendary piano genius, Oscar Peterson, sharing the stage at various times with Joe Pass, Niels Pedersen, Ray Brown, Ulf Wakenius, Herb Ellis, Clark Terry, Ella Fitzgerald, and many legends of the jazz world.
In 2000, with Mornington Lockett he formed the Celebrating The Jazz Couriers quintet, playing the music of the original Jazz Couriers, a group led by Ronnie Scott and Tubby Hayes. This new band was completed by Nigel Hitchcock, tenor saxophone, Steve Melling, piano, and Andrew Cleydert, double bass.
His current projects include "The New Couriers", paying tribute to the music of Michael Brecker, Tubby Hayes, Ronnie Scott, Victor Feldman, Jimmy Deuchar, and Clark Terry, as well as continuing to work in various other groups, here and abroad.Also working on a device to transport drums up and down stairs!
The Orcar Peterson Trio (Martin Drew on drums)
Reference - Martin Drew's Homepage

DIDIER LOCKWOOD


French jazz violinist Didier Lockwood was born on February 11, 1956 in Calais and studied classical violin and composition at the Calais Conservatory. However, his brother Francis made him receptive to forms of music other than the classical and he quit his studies in 1972.



Didier was entranced by the improvisation of Jean-Luc Ponty on Frank Zappa's King Kong album and took up the amplified violin. He joined the progressive rock group Magma, touring and notable featured on their 1975 Live/Hhaï album. Lockwood was also influenced by Polish violinist Zbigniew and Stéphane Grapelli, whom he joined on tour.


He has also played with Québécois fusion group Uzeb on their Absolutely Live album.
He is famous for exploring new musical environments and for performing various sound imitations on his amplified violin, such as seagulls or trains.


On July 23, 1982, in Montreaux,Switzerland, he performed in concert with guitarist Allan Holdsworth, drummer Billy Cobham, bassist/vocalist Jack Bruce, and keyboardist David Sancious.


Didier Lockwood created a string instruments improvisation school, CMDL (Centre des Musiques Didier Lockwood), in 2001. He has also composed several film scores, like Les Elefants de la Pluie.


Throughout 2006 Didier toured with Martin Taylor the Jazz guitarist. In these performances it is noticeable to see that he is very involved in improvisation.

Didier Lockwood "Solo"
http://www.youtube.com/watch?v=Wo2EbkCdwUM

Reference - Wikipédia

Wednesday, February 10, 2010

JIMMY DURANTE, GOODNIGHT MRS.CALABASH



O cantor, pianista, comediante e ator James Francis Durante, mais conhecido como Jimmy Durante, nasceu no 10 de fevereiro de 1893, em Nova York e foi um dos mais populares artistas norte-americanos dos anos 20 até os anos 70.



Era famoso (também) por seu rariz avantajado, que lhe rendia muitas piadas, como nos filmes The Passionate Plumer e Speak Easily — ambos com Buster Keaton em 1923.


Em filmes musicais, fez par romântico com Alice Faye, em George White's Scandal - 1934 e Sally Irene and Mary em 1938. Atuou também com Shirley Temple (Little Miss Broadway, Bette Davis (The Man Who Came to Dinner)), Van JOhnson (Two Girls and a Sailor) June Allison e muitas outras.



CD Recomendado


A coletânea "As Time Goes By: The Best of Jimmy Durante" (Warner Archives)


Jimmy faleceu em janeiro de 1980.



Jimmy Durante and Frank Sinatra




Comedian, composer, actor, singer and songwriter ("Inka Dinka Doo") Jimmy Durante, was born on February 10, 1893 in New York City. He began his career as a Coney Island pianist, and organized a five-piece band in 1916.



He opened the Club Durant with Eddie Jackson and Lou Clayton, with whom he later formed a comedy trio for vaudeville and on television. He appeared in the Broadway musicals "Show Girl", "The New Yorkers", "Strike Me Pink", "Jumbo", "Red Hot and Blue", and "Stars in Your Eyes". By 1936, he had appeared at the Palladium in London.



Later he had his own radio and television shows, and was a featured headliner in night clubs. Biographer Gene Fowler wrote his biography, "Schnozzola". Joining ASCAP in 1941, he collaborated musically with Jackie Barnett and Ben Ryan, and his other popular song compositions include "I'm Jimmy That Well-Dressed Man", "I Know Darn Well I Can Do Without Broadway", "I Ups to Him and He Ups to Me", "Daddy Your Mamma Is Lonesome For You", "Umbriago", "Any State In the Forty-Eight", "Chidabee Chidabee Chidabee", and "I'm Jimmy's Girl".


Trade Mark
Rumpled hat, patter songs ("Inka Dinka Doo") and, of course, his huge proboscis.
Trivia
Interred at Holy Cross Cemetery, Culver City, California, USA.


For years he signed off his radio and TV shows with "Goodnight Mrs. Calabash, wherever you are", but he would never divulge who she was. Some speculated it was a "code name" for a current or former lover, some doubted she ever existed. It was not until after his death in 1980 that it was revealed she was, indeed, a real person.
Reference - Jimmy Durante homepage

CHICK WEBB, HE GAVE US ELLA.


Jazz drummer and bandleader William Henry Webb, aka, Chick Webb, was born on February 10, 1909 and, represented the triumph of the human spirit in jazz and life. Hunchbacked, small in stature, almost a dwarf with a large face and broad shoulders, Webb fought off congenital tuberculosis of the spine in order to become one of the most competitive drummers and bandleaders of the big band era.



Perched high upon a platform, he used custom-made pedals, goose-neck cymbal holders, a 28-inch bass drum and a wide variety of other percussion instruments to create thundering solos of a complexity and energy that paved the way for Buddy Rich (who studied Webb intensely) and Louie Bellson.



Alas, Webb did not get a fair shake on records; Decca's primitive recording techniques could not adequately capture his spectacular technique and wide dynamic range. He could not read music, but that didn't stop him either, for he memorized each arrangement flawlessly. Although his band did not become as influential and revered in the long run as some of its contemporaries, it nevertheless was feared in its time for its battles of the bands in Harlem's Savoy Ballroom; a famous encounter with the high-flying Benny Goodman outfit at its peak (with Gene Krupa in the drummer's chair) left the latter band drained and defeated.


Chick Webb bought his first set of drums with his earnings as a newsboy, and he began playing in bands on pleasure boats. After moving to New York in 1925, he led bands in various clubs before settling in for long regular runs at the Savoy beginning in 1931. Although Benny Carter and Johnny Hodges played with the band early on, the Webb band was oddly short on major soloists during its heyday from the mid-'30s onward; the young alto sax player Louis Jordan made the biggest impression after leaving the band.



But the band made up for it with a crisp ensemble sound, Webb's disciplined, ferociously driving drum pyrotechnics, trumpeter Taft Jordan's impressions of Louis Armstrong, and most of all, a series of strong compositions and charts by Edgar Sampson ("Blue Lou" and "Stomping at the Savoy" among them).



In 1935, Webb hired the teenaged Ella Fitzgerald after she won a talent contest at the Apollo Theatre, became her legal guardian, and rebuilt his show around the singer, who provided him with his biggest hit record, "A Tisket-A-Tasket," in 1938. The band's fame continued to grow, fueled by its reputation as a giant-killer in the Savoy battles and a continuous string of Decca 78s that featured such irresistible numbers as "T'aint What You Do (It's the Way That You Do It)" and the B-side of "Tasket," "Liza."



But Webb's precarious health began to give way, and after a major operation in Johns Hopkins Hospital in Baltimore, he died (his last words reportedly were, "I'm sorry, I've got to go.").



After Webb's death, Fitzgerald fronted the the band until it finally broke up in 1942.

Chick Webb's Orchestra on the VOA.
http://www.youtube.com/watch?v=LqdWzrMRGMQ

Reference - Online Records

SIR ROLAND HANNA



Jazz pianist, cellist, composer, arranger, teacher, diplomat, and humanitarian Sir Roland Hanna, was born on February 10, 1932 in Detroit, Michigan. Hanna was one of the major figures in jazz and his diverse experience as a musician, made him a dynamic driving force in the development of the art form.


Hanna's first musical influence was the gospel and rythm and blues heard in his preacher father's church. This was coupled with formal training in classical piano from an early age. His musical evolution continued beyond graduation from Cass Technical High School and through a two year assignment in the United States Army Band. After the army, he studied at the Eastman School and then Julliard.



In 1958 he played with the Benny Goodman Orchestra, appearing at the Newport Jazz Festival and on a European tour ending at the Brussels World's Fair. In 1959, he played with Charles Mingus at the Half Note.


During the sixties, he traveled the world appearing with major orchestras, leading his own group, or performing as a soloist. In 1969, he embarked on a benefit tour in Africa for music students. In recognition of his humanitarian efforts for education in Africa, he was knighted by Liberian President William Tubman in 1970.


His amazingly varied career includes serving as Sarah Vaugh's musical director, anchoring the Rosengarden Orchestra on the Dick Cavett show, touring with a classical quartet performing his cello compostitions, forming the New York Jazz Quartet, while writing over 400 compositions and recording over 40 albums.

Sir Roland Hanna passed away on November, 2002.

Sir Roland Hanna "Time for the Dancers"
http://www.youtube.com/watch?v=esI7TmQZxOo
Reference - AAJ

Tuesday, February 09, 2010

CARMEN MIRANDA, A PEQUENA NOTÁVEL


A cantora e atriz luso-brasileira Maria do Carmo Miranda da Cunha, famosa mundialmente com o nome artistico de Carmen Miranda, nasceu no 9 de fevereiro de 1909 em Marco de Canaveses em Portugal. Sua carreira artística aconteceu no Brasil e nos Estados Unidos entre as décadas de 1930 a 1950. Trabalhou no rádio, no teatro de revista, no cinema e na televisão. Chegou a receber o maior salário até então pago a uma mulher nos Estados Unidos. Seu estilo eclético faz com que seja considerada precursora do tropicalismo, movimento cultural brasileiro surgido no final da década de 1960.


Carmen era a segunda filha do barbeiro José Maria Pinto Cunha, e de Maria Emília Miranda. Ganhou o apelido de Carmen, no Brasil, graças ao gosto que seu pai tinha por óperas. Pouco depois de seu nascimento, seu pai, emigrou para o Brasil, onde se instalou no Rio de Janeiro.


Em 1910, sua mãe, Maria Emília seguiu o marido, acompanhada da filha mais velha, Olinda, e de Carmen, que tinha menos de um ano de idade. Carmen nunca voltou à sua terra natal.
No Rio de Janeiro, seu pai abriu um salão de barbeiro na rua da Misericórdia, número 70, em sociedade com um conterrâneo. A família estabeleceu-se no sobrado acima do salão.


No Brasil, nasceram os outros quatro filhos do casal: Amaro, Cecília, Aurora, e Oscar. Carmen estudou na escola de freiras Santa Teresa, na Lapa. Teve o seu primeiro emprego aos 14 anos numa loja de gravatas, e depois numa chapelaria. Contam que foi despedida por passar o tempo cantando, mas o seu biógrafo Ruy Castro diz que ela cantava por influência de sua irmã mais velha, Olinda, e que assim atraía clientes.

Em 1926, Carmen, que tentava ser artista, apareceu incógnita em uma fotografia na seção de cinema do jornalista Pedro Lima da revista Selecta. Em 1929, foi apresentada ao compositor Josué de Barros, que encantado com seu talento passou a promovê-la em editoras e teatros. No mesmo ano, gravou na editora alemã Brunswick, os primeiros discos com o samba "Não Vá Sim'bora" e o choro "Se O Samba é Moda". Pela gravadora Victor, gravou "Triste Jandaia" e "Dona Balbina" ou "Buenas Tardes muchachos".

O grande sucesso veio a partir de 1930, quando gravou a marcha "Pra Você Gostar de Mim" ("Taí") de Joubert de Carvalho. Antes do fim do ano, já era apontada pelo jornal O País como "a maior cantora brasileira".


Em 1933 ajudou a lançar a irmã Aurora na carreira artística. No mesmo ano, assinou um contrato de dois anos com a rádio Mayrink Veiga para ganhar dois contos de réis por mês. Foi a primeira cantora de rádio a merecer contrato, quando a praxe era o cachê por participação. Logo recebeu o apelido de "Cantora do It". Em 30 de outubro realizou sua primeira turnê internacional, apresentando-se em Buenos Aires. Voltou à Argentina no ano seguinte para uma temporada de um mês na Rádio Belgrano.

Em janeiro de 1936, estreou o filme "Alô,Alô, Carnaval" com a famosa cena em que ela e Aurora Miranda cantam "Cantoras do Rádio". No mesmo ano, as duas irmãs passaram a integrar o elenco do Cassino da Urca de propriedade de Joaquim Rolla. A partir de então as duas irmãs se dividiram entre o palco do cassino e excursões frequentes pelo Brasil e Argentina.
Depois de uma apresentação para o astro de Hollywood Tyrone Power em 1938, aventou-se a possibilidade de uma carreira nos Estados Unidos. Carmen recebia o fabuloso salário de 30 contos de réis mensais no Cassino da Urca e não se interessou pela idéia.


Em 1939, o empresário americano Lee Shubert e a atriz Sonja Henie assistiram ao espetáculo de Carmen no Cassino da Urca. Depois de um espetáculo no transatlântico Normandie, Carmen assinou contrato com o empresário. A execução do contrato não foi imediata, pois a cantora fazia questão de levar o grupo musical Bando da Lua para a acompanhar, mas o empresário estava apenas interessado em Carmen. Depois de voltar para os Estados Unidos, Shubert aceitou a vinda do Bando da Lua. Carmen partiu no navio Uruguai em maio de de 1939, às vésperas da Segunda Guerra Mundial.


Em maio de 1939, Carmen estreou no espetáculo musical "Streets of Paris", em Boston, com êxito estrondoso de público e crítica. As suas participações teatrais tornaram-se cada vez mais famosas. Em março de 1940, fez uma apresentação perante o presidente Franklin D. Roosevelt durante um banquete na Casa Branca.


Em julho de 1940 retornou ao Brasil, onde foi acolhida com enorme ovação pelo povo carioca. No entanto, em uma apresentação no Cassino da Urca com a presença de políticos importantes do Estado Novo, foi apupada pelos que a consideravam "americanizada". Entre os seus críticos havia muitos que eram simpatizantes de correntes políticas contrárias aos Estados Unidos.


Dois meses depois, no mesmo palco, Carmen foi aplaudida entusiasticamente por uma platéia comum. No mesmo mês gravou seus últimos discos no Brasil, onde respondeu com humor às acusações de ter esquecido o Brasil e ter-se "americanizado". Em outubro, voltou aos Estados Unidos e gravou a marca de seus sapatos e mãos na Calçada da Fama do Teatro Chinês de Los Angeles.


Entre 1942 e 1953 atuou em 13 filmes em Hollywood e nos mais importantes programas de rádio, televisão, casas noturnas, cassinos e teatros norte-americanos. A Política de Boa Vizinhança, implementada pelos Estados Unidos para buscar aliados na Segunda Guerra Mundial, incentivou a imigração de artistas latino-americanos. Apesar de ter chegado nos Estados Unidos antes da criação da Política de Boa Vizinhança, Carmen Miranda sempre foi identificada como a artista de maior sucesso do projeto.

Em 1946, Carmen era a artista mais bem paga de Hollywood e a mulher que mais pagava imposto de renda nos EUA. Em março de 1947 casou-se com o americano David Sebastian, nascido em Detroit. Antes, Carmen mantivera romances com vários astros de Hollywood e também com o músico brasileiro Aloysio de Oliveira, integrante do Bando da Lua.


Antes de partir para os Estados Unidos, Carmen namorou o jovem Mário Cunha e o bon vivant Carlos da Rocha Faria, filho de uma tradicional família do Rio de Janeiro. Já nos EUA, Carmen manteve casos com os atores John Wayne e Dana Andrews.


O casamento é apontado por todos os biógrafos e estudiosos de Carmen Miranda como o começo de sua decadência física. Seu marido, antes um simples empregado de produtora de cinema, tornou-se "empresário" de Carmen Miranda e conduzia mal seus negócios e contratos. Também era alcoólatra e pode ter estimulado Carmen Miranda a consumir bebidas alcoólicas, das quais ela logo se tornaria dependente. O casamento entrou em crise já nos primeiros meses, mas Carmen Miranda não aceitava o divórcio pois era uma católica convicta. Engravidou em 1948, mas sofreu aborto espontâneo depois de uma apresentação.


Desde o início de sua carreira americana, Carmen fez uso de barbitúricos para poder dar conta de uma agenda extenuante. Adquiria as drogas com receitas médicas pois, na época, elas eram receitadas pelos médicos sem muitas preocupações com efeitos colaterais. Nos Estados Unidos, tornou-se dependente de vários outros remédios, tanto estimulantes quanto calmantes. Por ser também usuária de tabaco e álcool, o efeito das drogas foi potencializado. Por conta do uso cada vez mais frequente, Carmen desenvolveu uma série de sintomas característicos do uso de drogas, mas não percebia os efeitos deletérios, que foram erroneamente diagnosticados como estafa por médicos americanos.

Em dezembro de 1954, Carmen retornou ao Brasil após uma ausência de 14 anos. Seu médico brasileiro constatou a dependência química e tentou desintoxicá-la. Ficou quatro meses internada em tratamento numa suíte do hotel Copacabana Palace. Carmen melhorou, embora não tenha abandonado completamente drogas, álcool e cigarro. Os exames realizados no Brasil não constataram alterações de frequência cardíaca.


Ligeiramente recuperada, retornou para os Estados Unidos em abril de 1955. Imediatamente começou com as apresentações. Fez uma turnê por Cuba e Las Vegas entre os meses de maio e agosto e voltou a usar barbitúricos.


No início de agosto, Carmen gravou uma participação especial no programa televisivo do comediante Jimmy Durante. Durante um número de dança, sofreu um ligeiro desmaio, desequilibrou-se e foi amparada por Durante. Recuperou-se e terminou o número. Logo depois, um colapso cardíaco fulminante a derrubou morta sobre o chão. Seu corpo foi encontrado pela empregada na mesma noite. Tinha 46 anos.



Seu corpo foi trazido para o Rio de Janeiro onde foi enterrada no Cemitério de São João Batista em Botafogo, em Agosto de 1955.

Carmen canta "Disseram que Voltei Americanizada"
http://www.youtube.com/watch?v=z8xIObDO_50
Fonte - Wikipédia

BILL EVANS, O INTELECTUAL DO JAZZ.



O pianista de jazz Bill Evans, nasceu no 8 de fevereiro de 1928, em New Jersey. Bill formou-se em piano em 1950 na Southeastern Louisiana University. Depois do serviço militar, foi para Nova Iorque em 1954. Ali tocou no quarteto de Tony Scott e conheceu o compositor George Russell. Em 1956, gravou seu primeiro disco, New Jazz Conceptions, já incluindo aquela que se tornaria a sua mais conhecida composição, “Waltz for Debbie”.


Em 1958, Evans tocou por oito meses no famoso quinteto de Miles Davis, participando inclusive do histórico disco "Kind of Blue". De 1959 a 1961 formou um importante trio com o contrabaixista Scott LaFaro e o baterista Paul Motian.



A morte prematura de LaFaro, aos 25 anos de idade, num acidente automobilístico, lançou Evans e Motian numa profunda crise, com uma interrupção no trabalho em trio, da qual começaram a sair com a chegada do contrabaixista Chuck Israels. Em 1963 gravou Conversations with Myself, um experimento em dubbing, com Evans tocando todos os três pianos. Tocou também com Jim Hall, Freddie Hubbard, Stan Getz, com orquestras dirigidas por Claus Ogerman, e até com Tony Bennett. Mas, principalmente, tocou sozinho e em trio, e é nesse contexto que foi produzida a melhor parte de sua obra.



Sua carreira foi encurtada devido a problemas com drogas, que minaram severamente sua saúde; não obstante, Evans conseguiu manter um padrão impecável de qualidade musical em sua discografia.


Uma característica importante de Evans é sempre ter dado, em seus trios, todo o espaço para os vôos de seus companheiros, estabelecendo com eles um verdadeiro diálogo. Por isso é justo mencionar os excelentes executantes que o acompanharam: no contrabaixo, LaFaro, depois Israels, Gary Peacock, Teddy Kotick, Monty Budwig, Eddie Gomez e Marc Johnson. Na bateria, Motian, depois Larry Bunker, Arnie Wise, Joe Hunt, Philly Joe Jones, Shelly Manne, Jack DeJohnette, John Dentz, Marty Morell, Eliot Zigmund e Joe LaBarbera.


Bill Evans é um pianista impressionista dentro do jazz. De acordo com Joachim E. Berendt, Evans foi o primeiro pianista moderno "modal". Seu fraseado elegante e suas harmonias sofisticadas indicam influências de Debussy, Ravel e, recuando um pouco no tempo, até mesmo Chopin. No entanto, longe de soar anacrônica, a música de Evans encerra as sementes do piano jazzístico mais avançado: inspirando-se no cool jazz, serve de inspiração para o free jazz.


Evans é um músico intelectualizado, um profundo estudioso da música, mas isso não significa que sua música careça de swing - muito ao contrário. Pode-se dizer com certeza que Evans é um dos pianistas mais influentes do jazz - influência essa que pode ser percebida, por exemplo, em Herbie Hancock, Chick Corea e Keith Jarrett.

Bill Evans "My Foolish Heart"
http://www.youtube.com/watch?v=a2LFVWBmoiw
Fonte - CV Bezerra

WALTER PAGE, THE BIG ONE


Jazz bassist Walter Sylvester Page, was born on February 8, 1900 on his family's farm in Gallatin, Missouri, to Edward and Blanche Page. By 1910 he and his mother moved to nearby Kansas City. At home, Walter was exposed to folksongs and spirituials which helped foster an early love of music. His aunt, Lillie Page, was a music teacher,but it is unclear what if any role she played in his musical development.


The walking bass is one of the defining sounds of jazz, and no one did more to establish this than “The Big One,” bassist Walter Page. When the Count Basie Orchestra stormed the national stage in 1936, it was Page's thumping, moving bass lines which buoyed the band's infectious sense of swing.

Page’s first performance experience came playing bass drum and tuba with a neighborhood band. He received his first formal musical training at Lincoln High School under Major N. Clark Smith, a retired military band leader. It was Smith who first directed Page to the string bass. As is often the case, the high school band was short a double bass player, so the Major encouraged the boy to pick up the instrument, and he did.


Page stated in interviews that most opportunities to perform on bass at this time called for either a bass horn or for a player who could play both string bass and tuba. A career as an upright bass player was not yet on the horizon.


It was around 1918 and 1923 that Walter Page heard his first great inspiration, Wellman Braud, whose powerful sound laid the foundation for Page's style. Braud, who later played with Duke Ellington and Louis Armstrong, was with a touring show out of Chicago when Page first heard that “oomp, oomp, oomp of bass," Page recalled in 1958. "Braud hit those notes like hammers and made the jump right out of that box.”

In 1923 Page left Bennie Moten’s band to join a group that toured the Theater Owners Booking Association (TOBA) circuit, a string of eighty theaters between Philadelphia and Texas. Page eventually settled in Oklahoma City, where he formed his first, and only, band, Walter Page and the Blue Devils in 1925.


The Blue Devils quickly became one of the hottest acts in the Midwest and Southwest. By 1928 Page had recruited such future greats as trumpeter Hot Lips Page (no relation), Eddie Durham, singer Jimmy “five by five” Rushing, and even his future boss William "Count" Basie on piano.
The Blue Devils had established a reputation as one of the best bands in the Southwest, perhaps second only to Moten’s group out of Kansas City. The Blue Devils only recorded once, a session for the Vocalion label on November 11th, 1929 at the studios of radio station WDAF in Kansas City.


Two sides of a 78 rpm disc were recorded that day, “Squabblin’” and “Blue Devil Blues” featuring Jimmy Rushing. The band did not survive much longer, as by 1931 many of the Blue Devils had migrated over to Moten's group. The Blue Devils folded later that year after a contractual dispute with a piano player led to Page being fined two hundred and fifty dollars.
Page was reunited with his former bandmates in 1932, when Moten made him a generous offer to join his band. Page made his first recording with Bennie Moten on December 13th, 1932. Among the tunes on this session was the now classic "Moten Swing"


If a listener compares "Moten Swing" to sides recorded just a year or two earlier, such as “New Moten Stomp” and “Ya Got Love,” it is easy to hear the immediate impact Page’s driving, powerful bass playing made on the band. By 1934, Count Basie had taken over the band, and by 1936 the core of the classic Basie band was nearly compete, with the addition of tenor saxophonist Lester Young, Carl “Tatti” Smith, and the yin to Page’s yang, drummer Jo Jones. Page, Jones and Basie transformed the sound of the rhythm section from a stiff and often clumsy pounding out of the beat to a smooth and flowing, yet driving accompaniment.


Prior to the “Basie sound,” the beat of a band was established by the bass drum and the pianist's left hand, with the bass player playing along with one or both. Page's ability to strongly define the beat freed Basie to provide accents at the piano, and Jones, too, was free to compliment and work around the pulse of the music on his cymbals, hi hat and snare, no longer needing to pound out every beat on the bass drum.


The earliest examples of this new sound come from a small group session cut on November 9th, 1936, credited to "Jones-Smith Inc.," since Basie was under contract with another label at the time. Two sides from this session, "Shoe Shine Boy' and "Lady Be Good" not only give the listener a taste of this innovative approach to rhythm but also feature Lester Young’s first recorded solos.


Walter Page brought a fresh, melodically original, and rhythmically driving approach to the bass that established a fundamental vocabulary for his instrument, which laid the foundation for the modern understanding of jazz. His playing provided the essential link between the days when the bass was considered an optional color in a band to an era where it was an absolute necessity.

Walter Page passed away on December,1957 in New York City.

Walter Page's sound.
http://www.youtube.com/watch?v=RPc1gjkJD4Y

Recommended CDs
The Real Kansas City Jazz (Columbia/Legacy CK64855)
Bennie Moten and his Kansas City Orchestra, Band Box Shuffle (Hep 1070-2)
The Essential Count Basie, Vol. 1 (Sony Jazz 4600612)
Count Basie, America's #1 Band: The Columbia Years (Sony, box set)
Lady Day & Pres 1937-41 (Frémeaux FA013)
Jimmy Rushing, Complete Goin' to Chicago and Listen to the Blues (Lonehill Jazz)


Reference: Sean Lorre

JOE MANERI


Italian-American jazz composer, saxophone and clarinet player Joseph Gabriel Esther "Joe" Maneri was born on February 9, 1927, in the Brooklyn, New York City.After decades of obscurity, Maneri's distinctive saxophone and clarinet works gained praise and relative fame in the 1990s. To conventional Western sensibilities, some of his passages may sound 'out-of-tune'- but there is a consistent, internal logic to his unorthodox playing; critic Charlie Wilmoth describes Maneri's playing as "a slippery, space-filled alien blues".


Maneri played clarinet and saxophone in various dance bands and on the Catskill circuit as a teenager, often performing traditional Greek,Turkish and Syrian music or Klezmer at weddings and other gatherings. He would later incorporate some elements of such music in his own compositions. He studied with Josef Schmid (not the tenor but a conductor and student of Alban Berg) for a decade before being commissioned by conductor Erich Leinsdorf to write a piano concerto for the Boston Symphony Orchestra, which was rehearsed but never performed in concert.


Maneri was impressed by the music of Arnold Schoenberg and organized a jazz ensemble that performed some twelve tone music. (His later music is, however, not in the twelve-tone technique.)


All his recording show a synthesis of Maneri's experience with vernacular musics of American immigrants and his understanding of twelve-tone composition along with a developed style of "free" improvisation, analogous to the contemporaneous innovations by Sun Ra and Ornette Coleman.



Joe continued his teaching, but performed and recorded rarely until the early 1990s, when his son Mat Maneri coaxed him into more public appearances. Maneri gained significant attention, and released a number of recordings, often on ECM Records. In 2003, 24 of Maneri's poems, written in his own language, were included in the anthology Asemia.
On May, 2009, three months before his death, Maneri was awarded an Honorary Doctorate from New England Conservatory.


He passed away August, 2009.
Joe Maneri plays and talks about his music.
Reference - Wikipédia

Monday, February 08, 2010

PONY POINDEXTER


O saxofonista de jazz Norwood "Pony" Poindexter, nasceu no 8 de Fevereiro de 1926, em Nova Orleans, Louisiana. Aprendeu primeiro a tocar a clarineta, mas depois, se desenvolveu para o saxofone alto e tenor.


Em 1940 foi aluno de Sidney Desvigne e em seguida frequentou o Conservatório de Candell em Oakland, onde fixou residencia. No período entre 1947 e 1950, tocou na banda de Billy Eckstine.


Em 1950 tocou num quarteto liderado por Vernon Alley, de 51 a 52 permaneceu com o vibrafonista Lionel Hampton e em 52 trabalhou na Orquestra de Stan Kenton. O compositor Neal Hefti escreveu "Little Pony" em sua homenagem e a música passou a ser executada pela Orquestra de Count Basie.


No final da década de 50, Poindexter tocou frequentemente, ora como lider ou acompanhante, nas sessões de gravação com Charlie Parker, Nat King Cole,T-Bone Walker e Jimmy Witherspoon.


De 51 a 64 fez "back up" para Lambert, Hendricks e Ross, que juntos, gravaram uma versão vocal de "Little Pony". Poindexter, foi um dos primeiros saxofonistas de bebop a utilizar o saxofone soprano no inicio dos anos 60, quando gravou com Eric Dolphy e Dexter Gordon.


Em 1962 foi morar em Paris e por lá gravou com Ross, Phil Woods e Lee Konitz. Depois mudou-se para a Espanha e em seguida para Alemanha onde também residiu por uns tempos. Em 1977 estava de volta à São Francisco e voltou a gravar.


Publicou a sua autobiografia "Pony Express", porém, na época de seu falecimento em Abril de 1988, encontrava-se em completo ostracismo, esquecido por todos.

Pony plays as sideman to Wes Montgomery's solo of "Summertime"
http://www.youtube.com/watch?v=6-nABElb72Y


Jazz saxophonist Norwood "Pony" Poindexter, was born on February, 8, 1926, in New Orleans,Louisiana. He began on clarinet and switched to playing alto and tenor sax growing up. In 1940 he studied under Sidney Desvigne, and following this attended Candell Conservatory in Oakland, where he based himself.



From 1947 to 1950 he played with Billy Eckstine. In 1950 he played in a quartet with Vernon Alley, from 1951 to 1952 he was with Lionel Hampton and in 1952 he played with Stan Kenton. Neal Hefti wrote the tune "Little Pony", named after Poindexter, for the Count Basie Orchestra.


Through the end of the 1950s Poindexter played extensively both as a leader and as a sideman, recording with Charlie Parker, nat King Cole, T-Bone Walker and Jimmy Witherspoon. From 1961 to 1964, he played backup for Lambert,Hendricks and Ross, who together also recorded a vocal version of "Little Pony".



He was one of the first bebop saxophonists to begin playing soprano saxophone early in the 1960s, and recorded with Eric Dolphy and Dexter Gordon on a session for Eric Records around 1962. In 1963 he moved to Paris; while there he recorded with Ross, Phil Woods, Lee Konitz and Leo Wright. He later moved to Spain and then to Mannheim,Germany; in 1977 he returned to San Francisco and recorded again.



He published an autobiography, Pony Express, in 1985, but had been largely forgotten by the time of his death on April, 1988.


Reference - Wikipédia

Tradução de Humberto Amorim

EDDIE LOCKE


Jazz drummer Eddie Locke, was born on February 8, 1930 in Detroit,Michigan. Locke was associated with the Detroit jazz scene in the 1940s and 1950s, playing from 1948 to 1953 with drummer Oliver Jackson in a variety show called Bop & Locke.


Eddie Locke, the famed critic Nat Hentoff once wrote in Jazz Times, "embodies the resiliense of the jazz life." Never a major star as a soloist, he led his own band only at the very end of his career. But that career spanned well over 50 years and intersected with much of the music's history since the swing era. Locke could play in many styles; he could take a stage and entertain almost any audience. Eddie Locke, in short, was one of those musicians who serve as crucial cogs in a vital scene, and he was an astute observer of the many great jazz figures with whom he worked.







He moved to New York City in 1954, at first he played in low-profile afternoon slots, but other musicians began to notice him soon enough. The musician who most influenced the young Locke in New York was drummer Jo Jones, with whom Locke served as a kind of apprentice. He moved Jones's drums from studio to studio for recording sessions, and he soaked up Jones's style. "He was the most creative drummer I ever saw," Locke was quoted as saying by Hentoff. "He could create things I never saw anybody else do. And I'd never seen anybody play brushes the way he could.... The Basie rhythm section was just like the wind. It was so smooth."

Locke appears in the photograph A Great Day in Harlem- first row standing, third from the left. (not including the leg sticking into the frame)



Eddie passed away on September 7, 2009, in Ramsey,New Jersey.



Eddie at the Arbors Jazz Party
http://www.youtube.com/watch?v=P2HpKdYgJsU

Recommended CDs





As leader





1977: Jivin' With the Refugees from Hastings Street (Chiaroescuro Records) with Tommy Flanagan, Major Holley,Oliver Jackson



1978: Eddie Locke and Friends (Storyville Records)





As sideman



With Roy Eldridge
Happy Time (1975)



Reference - Jazzlives

BUDDY MORROW


O trombonista de jazz e bandleader Buddy Morrow, também conhecido como Moe Zudekoff, nasceu no 8 de fevereiro de 1919, em New Haven, Connecticut. Ficou famoso pelo seu poder de alcance nas notas altas, evidenciado nos discos como "The Golden Trombone" e na execução de baladas.


Buddy estudou na famosa Juilliard School of Music, e integrou a orquestra do Tonight Show de Johnny Carson. Seus discos no inicio da década de 50 como "Rose, Rose, I Love You" e "Night Train" constaram da lista da Billboard nacional.


Em 1959/60 a Orquestra de Morrow gravou os albuns "Impact e "Double Impact", respectivamente,com as canções das séries de televisão.



Em 2009, recebeu o prêmio 'International Trombone Association's Lifetime Achievement", concedido à pessoas que fizeram a diferença com a arte de tocar o trombone mundo afora.

Buddy Morrow "We'll Get It"
http://www.youtube.com/watch?v=86DRPs24Txw


Trombonist and bandleader Buddy Morrow, aka Moe Zudekoff, was born on February 8,1919 in New Haven, Connecticut. He is known for his mastery of the upper range which is evident in records such as "The Golden Trombone," as well as his ballad playing. He also is an alumnus of the Juilliard School of Music.
Morrow was once a member of the Tonight Show orchestra. His early 1950s records such as "Rose, Rose, I Love You" and "Night Train" rode the Billboard's national charts. In 1959 and 1960 Morrow's Orchestra released two albums of American television theme songs Impact and Double Impact respectively.
In 2009, Morrow was awarded the "International Trombone Association's Lifetime Achievement Award", an award that is given to a person who has significantly changed trombone playing around the world.


Reference - Wikipédia
Tradução de Humberto Amorim

Sunday, February 07, 2010

CLEMENTINA DE JESUS

A cantora Clementina de Jesus dizia ter nascido no 7 de fevereiro de 1902, em Valença no Estado do Rio. Mas Clementina não era boa com as datas e sua certidão de nascimento nunca foi encontrada. Em outras ocasiões, ela afirmou que nascera em 1900. Na certidão de casamento com Albino Correa da Silva, ou Albino Pé Grande, a data de nascimento é 7 de fevereiro de 1907. Lena Frias encontrou a certidão de batismo de Clementina, em Valença, datada de 25 de agosto de 1901 e registrando a data de nascimento como o dia 7 de fevereiro daquele ano.

Em documentos diferentes, ela aparece como Clementina Laura de Jesus ou Clementina de Jesus dos Santos. Com o casamento, adotando o nome do marido, tornou-se Clementina de Jesus da Silva. Filha de um pedreiro, também carpinteiro, e de uma parteira e rezadeira, de escravos, por parte de mãe, Clementina cresceu ouvindo canções em línguas das nações africanas constitutivas da comunidade negra de Valença, de origens bantas (é o mais provável, aponta Lena Frias. A mãe, dona Amélia, lavadeira, cantava hinos de igreja e cantigas aprendidas com os pais e com outros negros mais velhos - "gente de um universo de jongo e caxambu, jogos sagrados da espiritualidade da terra", de acordo com a jornalista.


Declarava-se católica, mas, mesmo que não fosse ligada aos cultos de origem africana, ao cantar, chamava a si o lugar de porta-voz dessa cultura. "A descoberta de Clementina de Jesus (...) teve para a música popular brasileira uma importância que presume corresponder, na antropologia, a do achado de um elo perdido", escreve o historiador Ary Vasconcelos. Pois ela resumia, em seu canto, os séculos de história da cultura afro-brasileira, não apenas aquela apreendida na primeira infância.

A família foi para o Rio quando ela tinha coisa de 8 anos. Em Jacarepaguá, Clementina participava dos pastoris e ganhou do festeiro o apelido de Quelé. No folguedo natalino de origem portuguesa, cada figurante tinha um papel. Clementina era a peixeira, mas decorou e guardou os cantos de todos os personagens. Na casa de Mané Psado, macumbeiro de Osvaldo Cruz, área de samba e curima, participou de festas em honra dos orixás. Não que fosse crente, contava, mas gostava da oportunidade de cantar, da festa.

Clementina testemunhou o nascimento da Portela, fez-se amiga de Pixinguinha, Donga, João da Baiana, Paulo da Portela, foi ensaiadora de pastoras de Heitor dos Prazeres, conheceu tia Ciata, em cujo terreiro nasceu o samba carioca, e cantou em seus candomblés. Foi amiga de Zica, mais tarde mulher de Carlos Cachaça, e desfilou em corso com Noel Rosa, em 1930. Foi diretora da escola de samba Unidos do Riachuelo, amiga de Aniceto, que fundou o Império Serrano - mas não era artista. Era cozinheira, empregada doméstica, banqueteira, quituteira.

Virou mangueirense quando conheceu Albino Pé Grande. Hermínio Bello de Carvalho ouviu-a numa festa da Igreja de Nossa Senhora da Glória, em 1963; foi encontrá-la novamente no ano seguinte. No dia 7 de dezembro de 1964, dirigida por Hermínio, Clementina fez seu primeiro show oficial, no Teatro Jovem, ao lado do violonista clássico Turíbio Santos.

Em 1965, Clementina protagonizou o show Rosa de Ouro, no Rio e em São Paulo. Andrade Muricy, da Academia Brasileira de Música, saudou: "Ela tem insondáveis raízes de terror feiticista, ancestralidade turva que reponta em cada gesto: poreja música de todo o seu ser vibrátil e em perene transe paroxístico; exprime dança e mímica em cada movimento, numa prestigiosa escala de inflexões."

A carreira durou até 1987, quando Clementina, explorada por produtores inescrupulosos, fazia shows baratos em lugares de pouco prestígio. Sua discografia básica consta de 11 títulos. A Petrobras patrocinou, como brinde para seus clientes especiais, uma caixa, com nove dos títulos, os pertencentes à gravadora EMI. A gravadora comprometeu-se em fazer lançamento comercial dos discos, mas não cumpriu. Não existem discos de Clementina no mercado.

A mais importante voz negra da história da música brasileira está calada. Correntes, na Internet, mandam e-mails para a EMI, cobrando o cumprimento da promessa. A gravadora não se pronuncia a respeito.


"Dona Clementina, para mim, era de água, rocha e ouro. Todas as bênçãos brotavam de sua voz única, toda doçura habitava seu colo de mãe", escreveu sobre ela Maria Bethânia. Ouvindo-a cantar, José Ramos Tinhorão escreveu: "A pequena sala é um barco que vaga ao sabor de um ritmo que parecia perdido - mas que, agora sabemos, só estará perdido quando morrer no último barraco a última Clementina de Jesus."

Clementina de Jesus, faleceu em Fevereiro de 1987.


Clementina canta "Ensaboa"
http://www.youtube.com/watch?v=mTSXjgs0kYU


Fonte - Memorial da Fama