O saxofonista e compositor de jazz Steve Lacy nasceu em Nova York no 23 de julho de 1934, com o nome Steven Lackritz Norman..
Steve Lacy acompanhou principalmente Sidney bechet e John Coltrane. Iniciou sua carreira com o jazz tradicional, Dixieland, antes de se iniciar no "free jazz" com Cecil Taylor, que o apresentou a Thelonious Monk que estabeleceu uma enorme influência em sua carreira e com quem ele gravou o album "Reflections" onde constam apenas as composições de Monk, e tocou na sua banda e big band. Viveu muito tempo na Europa, tendo como base Paris.

Lacy retornou para os Estados Unidos em 2002 e passou a ensinar musica no New England Conservatory of Music em Boston.

Uma de suas últimas apresentações publicas, deu-se diante de uma platéia de 25,000 mil pessoas, no final de uma passeata pela paz em 2003, depois da invasão do Iraque pelos Estados Unidos.

Steve Lacy permaneceu lecionando e tocando até poucas semanas antes de sua morte, aos 69 anos em Boston, em 2004.

Discografia Recomendada
Evidence,1961.
Wordless - 1971.
Scrups,1974.
Sands, 1998 .
Sempre Amore avec Mal Waldron.

Click aqui para ve-lo atuando com o seu sax soprano em Praga.

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

Steve Lacy, born Steven Norman Lackritz in New York, on July 23,1934, was a jazz soprano saxophonist.
Lacy began his career at sixteen playing Dixilieland music with much older musicians such as Henry "Red" Allen, Pee Wee Russell, George "Pops" Foster and Zutty Singleton and then with Kansas City jazz players likeBuck Clayton,Dicky Wells and Jimmy Rushing. He then became involved with theavant-garde, performing onJazz Advance (1956), the debut album ofCecil Taylor, and appearing with Taylor's groundbreaking quartet at the 1957 Newport Jazz Festival; he also made a notable appearance on an early Gil Evans album. His most enduring relationship, however, was with the music of Thelonious Monk: he recorded the first album to feature only Monk compositions "Reflections", Prestige, 1958) and briefly played in Monk's band in 1960 and later on Monk's Big Band/Quartet album (Columbia, 1963).

Monk tunes became a permanent part of his repertoire, making an appearance in virtually every concert appearance and on albums, and Lacy often collaborated with trombonist Roswell Rudd in presenting interpretations of Monk's compositions.

Beyond Monk, he performed the work of jazz composers such as Charles Mingus, Duke Ellington and Herbie Nichols; unlike many jazz musicians he rarely played standard popular or show tunes. Lacy also became a highly distinctive composer with a signature simplicity of style: a Lacy composition is often built out of little more than a single questioning phrase, repeated several times. In the 1960s he continued to work with other players involved in the American free-jazz avant-garde and, in the 1970s, the European free improvisation scene, and free improvisation remained an important element in his work thereafter.
Lacy's first visit to Europe came in 1965, with a visit to Copenhagen in the company ofKenny Drew; he went to Italy and formed a quartet with Italian trumpeter Enrico Rava and the South African musicians Johnny Dyani and Louis Moholo (their visit to Buenos Aires is documented on the album "The Forest and the Zoo", ESP, 1967). After a brief return in New York, he returned to Italy, then in 1970 moved to Paris, where he lived until the last two years of his life. He became a widely respected figure on the European jazz scene, though he remained less well-known in the U.S.
Lacy returned to the United States in 2002, where he began teaching at the New England Conservatory of Music in Boston. One of his last public performances was in front of 25,000 people at the close of a peace rally on Boston Common in March 2003, shortly before the

US-led invasion of Iraq.
Lacy was diagnosed with cancer in August 2003, he continued playing and teaching until weeks before his death at the age of 69.

Reference - Wikipédia

Tradução- Humberto Amorim

O guitarrista Al Di Meola nasceu no 22 de julho de 1954, em Jersey City, Nova Jersey, numa familia de imigrantes italianos. Al ganhou fama da noite para o dia ao ingressar no "Return to Forever" com apenas 19 anos. O trio com John McLaughlin e Paco de Lucia também tornou-se lendário.

Ele foi um dos mais velozes guitarristas do jazz fusion, mas depois passou a se dedicar também à world music, alternando a guitarra com o violão, que toca com a mesma destreza. Desde criança, já freqüentava clubes de salsa, até descobrir o jazz com Chick Corea e Larry Coryell.

Em 74, o próprio Corea o convidou a entrar para o Return to Forever. Os solos velozes e enérgicos de Meola atraíram o público roqueiro, proporcionando ao grupo suas melhores vendagens, em discos como "Where Have I Known You Before" e "Romantic Warrior". Dois anos depois, ele iniciou carreira solo com "Land of the Midnight Sun". Este e os subsequentes "Elegant Gypsy", "Casino" e "Splendido Hotel" já traziam elementos de world music.

Em 80, Meola gravou com John McLaughlin e Paco de Lucia "Friday Night in San Francisco", que vendeu mais de dois milhões de cópias. A partir dos anos 90, ele gravou com mais freqüência world music acústica, como "World Sinfonia" e "Di Meola Plays Piazzolla". Em 96, formou o trio The Rite of Strings, com o violinista Jean-Luc Ponty e o baixista Stanley Clarke (outro ex-Return to Forever). O CD, "Diabolic Inventions and Seduction for Solo Guitar, Volume I", foi lançado em outubro de 2007 e agradou a critica especializada e a toda sua vasta legião de fãs.

Clic para ve-lo com Paco de Lucia e John McLaughlin.

http://www.youtube.com/watch?v=9cadbYIzhqQ

New York City-based vocalist and songwriter Sarah Lynch was born July 22,1973 and brings much more to the microphone than just a great set of pipes. She and music have been friends since she started studying piano at age five. Her playing led to singing, which led to composing, and with a Masters degree in piano performance from UCLA, this vocalist and songwriter knows her way around a piece of music.

"Haunted Heart", her debut CD, was released in November 2006, and has had airplay on KKJZ in Los Angeles and WWOZ in New Orleans. The disc includes five originals, and seven not-so-standard standards from the '20s and the '40s. Some of Sarah's most salient influences include Jo Stafford, Dinah Washington, Rickie Lee Jones, Joni Mitchell, Anita O'Day, Sarah Vaughan, Peggy Lee, and Dianne Reeves.

In addition to her jazz gigs in New York, she has performed with Bronx Opera and the New York Choral Artists. Sarah currently sings in the professional ensemble at St. James' Church on the Upper East Side and maintains a private piano studio. The first time Phil Springer (composer, "Santa Baby") heard Sarah Lynch sing in New York, he likened the quality of her voice to a trombone; Springer was the first to call Sarah Lynch a "young Peggy Lee."

A cantora e pianista de jazz Helen Merrill nasceu com o nome Jelena Ana Milcetic no 21 de julho de 1930, em Nova York, numa familia de imigrantes da Croácia. Tornou-se figura de renome internacional. Começou cantando em clubes de jazz no bairro Bronx, com a idade de 14 anos. Com 16 anos ocupava a maior parte de seu tempo com música. Fez a estréia musical gravando “A Cigarrette for Company” com a banda de Earl Hines no disco “Xanadu”. A cantora Etta Jones também fez sua estréia neste disco. A carreira de Helen se estendeu por seis décadas.

Morou por um tempo na Itália, onde fez mais sucesso do que no seu proprio país. Gravou um disco por lá e apresentou-se em concertos com os monstros sagrados Chet Baker, Romano Mussolini e Stan Getz. Em 1967 fixou-se no Japão onde constituiu uma legião de fãs, que perdura até os nossos dias.

Em 1972 voltou para os Estados Unidos e desde então grava e se apresenta esporadicamente. Incursionou por outros gêneros. Gravou um disco de bossa nova, outro de canções natalinas e tributo a dupla de compositores Richard Rogers & Hammerstein.

Clic para ve-la cantando "I'm a Fool to Want You" de Frank Sinatra

http://www.youtube.com/watch?v=B5Z0tWMwSdA

Jazz singer Helen Merrilll was born Jelena Ana Milcetic on July 21,1930 to Croatian immigrants parents in New York City, is internationally known. She began singing in jazz clubs in the Bronx at the age of fourteen. By the time she was sixteen, Merrill had taken up music full time. In 1952, Merrill made her recording debut when she was asked to sing "A Cigarette For Company" with the Earl Hines band; the song was released on their Xanadu album. Etta Jones made her debut on the same album.
Merrill’s recording career has spanned six decades and she is popular with fans of jazz in Japan and Italy (where she lived for many years and enjoyed more commercial success than she had in the United States)) as well as in her native United States.
In 1954, Merrill recorded her first (and to date most acclaimed)LP, an eponymous record featuring legendary jazz trumpeter Clifford Brown and bassist/cellist Oscar Pettiford among others. It was to be one of Brown's last recordings, as he was killed in a car accident just two years later. The album was produced and arranged by Quincy Jones who was then just twenty-one years old. The success of Helen Merrill prompted Mercury to sign her for an additional four-album contract.
Merrill's follow-up to Helen Merrill was the 1956 LP, Dream of You, which was produced and arranged by bebop arranger and pianist Gil Evans. Evans' work on Dream of You was his first in many years. His arrangements on Merrill's laid the musical foundations for his work in following years with Miles Davis.
She settled for a time in Italia recording an album there, and doing live concerts with jazz notables Chet Baker, Romano Mussolini, and Stan Getz. Merrill returned to the U.S. in the 1960s, but moved to Japan in 1967 after touring there. Merrill developed a following in Japan that remains strong to this day.
Merrill returned to the US in 1972 and has continued recording and regular touring since then. Her later career has seen her experiment in different music genres. She has recorded a bossa nova album, a Christmas album and a record's worth of Rodgers and Hammerstein, among many others.
One of Merrill's millennium released recordings draws from her Croatian heritage as well as her American upbringing. Jelena Ana Milcetic, also known as Helen Merrill (2000), combines jazz, pop and blues songs with several traditional Croatian songs sung in Croatian.

Click to watch her singing "I'm a Fool to Want You"

http://www.youtube.com/watch?v=B5Z0tWMwSdA

Reference - Wikipédia

Tradução - Humberto Amorim

Kay Starr was born Katherine LaVerne Starks in Dougherty, Oklahoma, on July 21, 1922. Her father Harry was a full-blooded Iroquois Indian, and her mother Annie was Irish. When Kay was three the family moved from Dougherty, a town of around four hundred, to Dallas where her father found work installing sprinkler systems in buildings.
Because finances were tight during the depression years, Mrs. Starks began raising chickens in a hen house behind their home, and it was here that Kay first began singing at the age of nine.

Each day when she returned home from school she would give concerts to the chickens as they sat in their roosts. While her parents found this amusing, Kay’s Aunt Nora recognized the possibilities of her talent and suggested her mother enter her in local radio station WWR-Dallas’ weekly talent contest.

After a winning appearance at Dallas’ Melba Theatre singing “Now’s The Time To Fall In Love,” she returned each week winning until the station retired her by giving Kay her own thrice weekly fifteen minute radio program. Earning three dollars a night, and a bundle of fan mail, Kay sang pop tunes and “hillbilly music” until her family moved again to Memphis three months later. Soon after Kay landed her own show, Starr Time, on WREC in Memphis, along with being a featured singer on the stations popular Saturday Night Jamboree program. Know as “The Kid,” the program took requests and whenever a popular song was requested the management would say, “Aw, let the kid to it!” It was also at this time that Katherine Starks changed her name to Kay Starr in the wake of constant misspellings in fan letters.

Kay’s first big break came in 1937 when bandleader/violinist Joe Venuti came to Memphis to play the Peabody Hotel. Venuti’s contract specifically required him to have a girl singer with his band – which he did not have. After Venuti’s road manager heard Kay on the radio, both he and Venuti went to her home to discuss hiring her with her parents. So impressed was Venuti, that following their three week engagement at the Peabody Kay went on to sing with the band each summer for the next two years when school let out. Because she was only fifteen at the time Kay’s mother traveled along with her and the band as Kay received a crash course in showmanship and stage presence.

In July 1939 Kay joined up with the Glenn Miller Orchestra to replace an ailing Marion Hutton. During her two week stint with the legendary Miller Orchestra, Kay made several remote radio broadcasts from the famous Glen Island Casino, and made her first recordings on the Bluebird label singing “Love With A Capitol YOU” and “Baby Me.” Though Kay remains proud of the recordings, the arrangements for the numbers were in Marion Hutton’s key, which was out of her range. Kay has never read music, and at the time did not know what a musical range was.

Unfortunately, Kay’s association with the Barnet Orchestra ended abruptly in 1945 when she caught pneumonia and collapsed during an Army camp show. Upon recovering she realized she had lost her voice, and rather than risk a surgical operation which may have altered her entire singing style, she treated her vocal cords and refrained from speaking – let alone singing – for six months.

Following Kay’s professional hiatus, she returned with a deeper and huskier voice that has since become her trademark. Settling in Los Angeles, Kay began her career as a solo performer and had no trouble finding work with the reputation she garnered from her time with Charlie Barnet’s Orchestra. After making a name for herself at Hollywood’s Streets Of Paris and other nightclubs, Kay was invited by Dave Dexter of Capitol Records to sing two songs as part of the labels all-star Volumes of Jazz series in March of 1945. Soon after she went on to make several singles of jazz classics in 1946 for small independent labels like Lamplighter, Standard and Jewell.

Following the success of Kay’s work as part of the Volumes of Jazz series, Capitol Records signed her to a contract in 1947. At the time the label was not hurting for female talent, and Kay struggled to find good material that didn’t overlap with others on Capitol’s roster of stars; which at the time included big name talent the likes of Peggy Lee, Ella Mae Morse, Jo Stafford and Margaret Whiting. Still, her first recording for the label, “I’m The Lonesomest Gal In Town,” enjoyed success on the west coast regional Top Thirty Chart, and her cover of Russ Morgan’s “So Tired” became her first top ten hit in January of 1949.
Kay’s next success came with her cover of Perry Como’s polka “Hoop-Dee-Doo,” which reached number two on the charts in the spring of 1950. Then while on a hometown visit back in Dougherty, Kay first heard Pee Wee King’s fiddle tune “Bonaparte’s Retreat” and instantly fell in love with the simple melody. After having words written to the tune, Capitol released Kay’s single in April of 1950 and it immediately shot up the charts becoming a near million seller, and Kay’s first major hit.


Following the success of “Bonaparte’s Retreat,” Kay recorded several other songs in the country genre, including several successful duets with popular country singer “Tennessee” Ernie Ford. Then on January 17, 1952 Kay was awakened and called into Capitol’s Melrose studios late one night to record a rush release of a new song titled “Wheel Of Fortune.” Kay’s version was released along with two others on competing labels in February of 1952 and it immediately became a huge success. Ultimately becoming the song most associated with Kay Starr and her biggest hit, “Wheel Of Fortune” earned Kay her first gold record and went on to become the number two top selling single of 1952.


In the next two years Kay demonstrated her versatility by recording a number of different hits in varying genres. Be it jazz, country, pop, spirituals, Broadway tunes or R&B, she earned the title of “hit maker” recording over two dozen top forty successes between 1948 and 1954. Soon after signing with RCA, Kay again hit the American and British charts in January 1956 with her million selling gold record “The Rock And Roll Waltz.” The single went on to become the number two top selling single of 1956 in the U.S., and the number one single of the year on the U.K. charts. "The Rock And Roll Waltz" also gave Kay the distinction of being the first female vocalist with a top hit in the ‘Rock and Roll’ era. Though she would record several more successful albums and singles, Kay returned again to Capitol in 1959 after being released from her RCA contract.


Though often regarded as a "single" artist because most of her material was released on singles, when Kay returned to Capitol the era of the long playing "concept" album was in full force. The "concept" album was pioneered by Frank Sinatra in the mid-1950s, and consisted of an album of songs compiled and arranged around a certain theme, or "concept." During this period Kay would record several such albums starting with Movin’ (1959), an up-tempo jazz album. Considered by many to be the period of her best work, she would record several notable albums like Losers, Weepers…(1960) and I Cry By Night (1962) in the jazz/blues genre, as well as a country album aptly titled Just Plain County (1962).


Like many of the great pop vocalists of the 1940s and 1950s, Kay’s popularity began to wane in the 1960s as musical tastes changed with the advent of ‘Rock and Roll.’ After departing from Capitol Records for a second time in 1966, Kay continued touring concert venues in the U.S. and England, along with performing at the Riveria, Sands and Fremont Hotels in Las Vegas, and Harrah’s in Reno, Nevada. She also recorded several jazz and country albums on small independent labels, most notably her 1968 pair-up album with Count Basie, and Back To The Roots (1975) an underrated and overlooked collection of jazz classics.
-Matthew C. Foley


Click to watch Kay singing her signature song "Wheel of Fortune"
http://www.youtube.com/watch?v=X3Es-UJepFQ

O saxofonista de blues e jazz Plas Johnson nasceu no 21 de julho de 1931, em Donaldsonville, na Louisiana, bem perto de Nova Orleans. Os aficionados por jazz conhecem o seu nome, mas a maioria, que se expõe a sua musica, reconhece mesmo é o som manhoso de seu saxofone. É dele o solo de saxofone na famosa composição "Pink Panther" de Henri Mancini, tema do filme com o mesmo nome.

Em parceria com o trompetista Harry "Sweets" Edison assinou a composição de Neal Hefti que serviu como tema do show televisivo de muito sucesso na TV americana "The Odd Couple".

Plas acompanhou em gravações, nomes de destaque como Frank Sinatra, Peggy Lee, Ella Fitzgerald, Quincy Jones, Jay MacShann, Sarah Vaughn, Barbra Streisand, Ray Charles e Linda Ronstadt.

Plas Johnson saiu de Nova Orleans em 1951 para seguir estrada com o Charles Brown Blues Band. Desde então desenvolveu brilhante carreira e continua gravando com seus pares e se apresentando em shows e festivais nos Estados Unidos e mundo afora.

Gravou os albuns "Mood for the Blues" (foto) "Hot Blue and Saxy, "Evening Delight" "Christmas in Hollywood" e "Keep that Groove Going".

Click para ve-lo em ação.

http://www.youtube.com/watch?v=bnGhSzF3Tzw

Jazzman Plas Johnson was born July 21,1931 in Donaldsonville,Louisiana, not very far from New Orleans. Jazz aficionados know him by name, but almost anyone exposed to music is familiar with his playing. His is the purring sax solo on Henry Mancini's famous “Pink Panther” movie theme song. His is the saxophone counterpart to Harry “Sweets” Edison's trumpet on Neal Hefti's signature music for “The Odd Couple” TV series.

Plas is the featured soloist heard on countless albums, including those of such artists as Frank Sinatra, Peggy Lee, Nat King Cole, Barbra Streisand, Quincy Jones, Ray Charles, Ella Fitzgerald, Linda Ronstadt and Sarah Vaughan.

Plas left New Orleans in 1951 to go on the road with the Charles Brown Blues Band. The road, a stint in the Army and a permanent move to California followed. Plas attended the Westlake School of Music in Los Angeles for a year and a half, when his studies were derailed by an overloaded schedule of record dates. He was brought to the attention of Johnny Otis, who immediately added him to his blues aggregation. Johnny then introduced Plas to Dave Cavanaugh, who held an influential A&R position at Capitol Records, where he soon became a regular session sideman and soloist during Capitol's halcyon years.

He has kept busy ever since on a constant touring schedule and appearing on scores of sessions.
Plas' recent recordings include his own albums, “Hot, Blue & Saxy,” “Evening Delight,” “Christmas in Hollywood,” and “Keep That Groove Going!” on Milestone, with Red Holloway.

Reference - AAJ

Tradução - Humberto Amorim

O pianista de jazz hard bop Conrad Yeatis (Sonny ) Clark, nasceu no 21 de julho de 1931 em Hermine, Pennsylvania. Musico que não recebeu o devido reconhecimento em vida, se tornou mais famoso depois de morto. Sofreu forte influencia de Bud Powell, e ficou conhecido por seu toque singular, senso melódico, complexo e estilo hard-swinging.

Gravou como "sideman" de vários outros jazzistas como Kenny Burrell, Donald Byrd,Paul Chambers, John Coltrane, Dexter Gordon, Art Farmer, Grant Green, Philly Joe Jones e muitos outros.

Embora suas composições tenham sido raras, as que foram divulgadas, atingiram status de cult, principalmente entre jovens aficionados japoneses. Viciado em heroína, morreu prematuramente de uma overdose, em Nova York em 1963.

Os CDs "Dial S for Sonny" e "Cool Struttin" foram emblemáticos em sua carreira.

Clic para ouvir Sonny com seu quinteto executando "Blue Minor" do album da foto.

http://www.youtube.com/watch?v=M_-rPHcH6_g

American hard bop pianist Conrad Yeatis (Sonny) Clark was born July 21, 1931 in Herminie, Pennsylvania.
An underappreciated jazz artist during his time, Sonny Clark's works have become much more famous after his death. Strongly influenced by Bud Powell, Sonny Clark is known for his unique touch, sense of melody and complex, hard-swinging style.

A master comper, Sonny Clark was often requested as a sideman by his contemporary jazz musicians. He recorded frequently for Blue Note Records, on which he played as a sideman with several of the most important hard bop players, including: Kenny Burrell,Donald Byrd Paul Chambers John Coltrane Dexter Gordon Art Farmer Grant Green Philly Joe Jones and many others.
Although his compositions were relatively rare, the few that were recorded have achieved a cult following, most notably among Japanese jazz enthusiasts. A drug addict, he died of a heroin overdose.

Sonny passed away January, 1963 in New York City.

Reference - AAJ

Tradução - Humberto Amorim

O guitarrista e compositor mexicano Carlos Alberto Santana Barragán, mais conhecido como Santana nasceu em Autlán de Navarro, México, no 20 de julho de 1947. Tornou-se famoso na década de 1960 com a banda Santana Blues Band, conhecida posteriormente apenas como Santana - mais precisamente com a sua atuação no Festival de Woodstock em 1969, onde ganhou projeção mundial.
O pai de Carlos Santana era um violinista de mariachi, e o jovem Carlos inicialmente aprendeu o violino, porém mudou para a guitarra quando tinha 8 anos de idade. Depois que a família mudou-se para Tijuana, Santana começou a tocar em casas noturnas e bares. Ficou em Tijuana quando sua família decidiu mudar para São Francisco,nos Estados Unidos, porém logo se juntou a eles. Em 1966, ajudou a formar a Santana Blues Band, nome posteriormente encurtado para Santana.

A banda começou a tocar no Fillmore West Auditorium, onde muitas das grandes bandas de São Francisco começaram. A primeira gravação de Santana foi The Live Adventures of Mike Bloomfield and Al Kooper, com Al Kooper e Mike Bloomfield.

Depois de assinar com a Columbia Records, Santana lançou um álbum auto-intitulado Santana. O grupo consistia, na época em: Carlos Santana (guitarra), Gregg Rolie (teclado e vocais),David Brown (baixo),Michael Shieve (bateria),Jose Areas e Michael Carabello (percussão). Na turnê que fizeram para divulgar o álbum (que incluía os sucessos "Jingo" e "Evil Ways"), a banda tocou no Festival deWoodstock. A apresentação aumentou enormemente a popularidade do Santana. Santana se tornou um grande sucesso, tal como o álbum "Abraxas", de 1970 (destacando a música "Oye Come Va") e Santana III, de 1971. Em seguida, a formação original do Santana se desfez. Gregg Rolie se tornou um dos fundadores da banda "Journey".
Carlos Santana manteve o nome e utilizou diversos músicos diferentes para continuar a turnê pelo país, lançando vários álbuns. Durante este período, Carlos adotou o nome "Devadip", dado a ele pelo líder espiritual Sri Chinmoy. Vários álbuns foram lançados nas décadas de 70 e 80, incluindo colaborações com Willie Nelson,Herbie Hancock, Wayne Shorter, Ron Carter e The Fabulous Thunderbirds. Em 1991, Santana apareceu como convidado no álbum "Solo Para Ti", de Ottmar Liebert, nas músicas Reaching Out 2 U e numa versão de sua música Samba Pa Ti. Carlos Santana foi incluído no Hall da Fama do Rock and Roll em 1998.
Carlos Santana lançou em 1999 o álbum "Supernatural", que teve as participações deRob Thomas, Eric Clapton e Lauryn Hill, ganhando prêmios Grammy em nove categorias, no ano seguinte, igualando um record histórico que somente o recem falecido Michael Jackson detinha.

Santana costuma usar guitarras PRS de modelo próprio (Signature). Foi aclamado pela revista Rolling Stone como o 15º melhor guitarrista de todos os tempos.

Ouça um dos mais belos solos de guitarra dos ultimos tempo com Santana

http://www.youtube.com/watch?v=soHq5-nXaKY

Guitarist Carlos Santana,born July 20, 1947, in Autlán de Navarro, Mexico. His father, Jose, was an accomplished professional violinist, and Carlos learned to play the guitar at age 8. In 1955, the family moved from Autlán de Navarro to Tijuana, the border city between Mexico and California. As a teenager, Santana began performing in Tijuana strip clubs, inspired by the American rock & roll and blues music of artists like B. B. King, Ray Charles, and Little Richard. In the early 1960s, Santana moved again with his family, this time to San Francisco, where his father hoped to find work.

In San Francisco, the young guitarist got the chance to see his idols, most notably B.B. King, perform live. He was also introduced to a variety of new musical influences, including jazz and international folk music, and witnessed the growing hippie movement centered in San Francisco in the 1960s. After several years spent working as a dishwasher in a diner and playing for spare change on the streets, Santana decided to become a full-time musician; in 1966, he formed the Santana Blues Band, with fellow street musicians David Brown and Gregg Rolie (bassist and keyboard player, respectively).

With their highly original blend of Latin-infused rock, jazz, blues, salsa, and African rhythms, the band (which quickly became known simply as Santana) gained an immediate following on the San Francisco club scene. The band's early success, capped off by a memorable performance at Woodstock in 1969, led to a recording contract with Columbia Records, then run by Clive Davis. Their first album, Santana (1969), spurred by a Top 10 single, "Evil Ways," went triple platinum, selling over four million copies and remaining on the Billboard chart for over two years. Abraxas, released in 1970, went platinum, scoring two more hit singles, "Oye Como Va" and "Black Magic Woman." The band's next two albums, Santana III (1971) and Caravanserai (1972), were also critical and popular successes.

In addition to his work with his band, Santana recorded and performed with a number of other musicians, notably including the jazz drummer Buddy Miles, pianist Herbie Hancock, and guitarist John McLaughlin. Along with McLaughlin, Santana became a devoted follower of the spiritual guru Sri Chimnoy during the early 1970s. Disillusioned with the heady, drug-addled world of 1970s rock music, Santana turned to Chimnoy's teachings of meditation and to a new kind of spiritually-oriented music, marked by a popular jazz album he recorded with McLaughlin, Love, Devotion, Surrender, in 1973.

Throughout the 1970s and early 1980s, Santana and his band released a string of successful albums in their unique style. Notable albums of this time period included Amigos (1976) and Zebop (1981). During the 1980s, he continued to tour and record both solo and with the band, but his popularity began to decrease with the commercial audience's dwindling interest in the jazz/rock blend. Nevertheless, Santana earned critical acclaim throughout the decade, winning his first Grammy Award, for Best Instrumental Performance, for the 1987 solo album Blues for Salvador.

He toured extensively, playing in sold-out auditoriums and on tours like LiveAid (1985) and Amnesty International (1986).

Reference - Wikipédia

Desde seu primeiro sucesso,”That´s My Desire”, em 1947, Frankie Laine esteve consistentemente nas paradas de sucesso por duas décadas, frequentemente com toques “country”, como o tema cinematográfico que dá título ao CD.

Assim, à primeira vista, ele não parece uma boa inspiração para um projeto jazzístico liderado pelo saxofonista barítono Gary Smulyan com a colaboração do arranjador moderno Mark Masters. Os dois analisaram a obra de Laine para um programa de 10 canções, cinco das quais escritas só por ele , e utilizaram um noneto qualificado para realizar o álbum.Depois da abertura com “I´d Give My Life” com um toque suingado e moderno, o sucesso “High Noon” apresenta-se com o estilo de Gil Evans, com refração cubista em tempos que mudam e se estruturam em uma série de solos em um blueseiro mi bemol, notavelmente iniciada pelo clarinete baixo de Scott Robinson e finalizado pelo sax barítono do líder .

Há recomposições inspiradas sob um enfoque bop de Mark Masters nas faixas “When You´re In Love” e “That Lucky Old Sun”. As baladas são mais reconhecíveis melodicamente, mas não são arranjadas de forma menos imaginativa. "Torchin” tem solo de “french horn” e o sax barítono ,brevemente, soa como se estivesse fora da banda, e há solos simultâneos do barítono e sax alto. “Put Yourself In My Place, Baby” mistura em tempo dobrado a criação de Masters com a melodia original de Hoagy Carmichael e um coro de duplos metais adiciona picardia para a apresentação do barítono na balada “A Man Ain´t Supposed To Cry”.

Masters faz uso criativo de cada sessão dos metais e palhetas em pertinentes aparições na linha de frente ou na retaguarda, frequentemente enfatizando a variedade com pequenos e intercambiáveis solos.

Um dueto de sax barítono e piano para a música “We´ll be Together Again” de Laine é um perfeito e gracioso final.Faixas :Baby, Baby All The Time;I'd Give My Life;Put Yourself In My Place;Baby And We'll Be Together Again;Baby, Baby All The Time;When You're In Love;Put Yourself In My Place, Baby;A Man Ain't Suppose To Cry;That Lucky Old Sun; We'll Be Together Again

Musicos : Gary Smulyan (saxofone barítono); Scott Robinson (clarinete baixo, saxofones soprano e tenor); Dick Oatts (saxofone alto); Joe Magnarelli (trompete); John Clark (french horn); John Fedchock (trombone); Pete Malinverni (piano); Andy McKee (baixo); Steve Johns (bateria).

Fonte: JazzTimes / George Kanzler

Click para ouvir Gary como solista da banda de Woody Herman em "Take the A Train"

http://www.youtube.com/watch?v=qm5Fe2DQsuY

MANAUS - CAPITAL BRASILEIRA DO JAZZ

Estamos desfrutando em Manaus, desde a ultima quinta feira, todos os acontecimentos decorrentes da realização da quarta edição do Festival Amazonas Jazz, que este ano, além das oficinas na cidade, traz como novidade, neste domingo uma apresentação da Amazonas Band no municipio de Presidente Figueiredo - A Terra das Cachoeiras e a apresentação de Leny Andrade no ultimo dia em praça publica.

No clima jazzistico reinante na capital brasileira do jazz, a produção do programa "Momentos de Jazz", que vai ao ar a partir do meio-dia deste domingo, nas ondas da Radio Amazonas FM 101,5 (www.amazonasfm.com.br) motivada pela presença confirmada da fabulosa cantora brasileira Leny Andrade, que será sem duvida, a maior estrela do festival, vamos ter um programa com repertório musical composto pelas maravilhosas mulheres que, também, tocam e cantam jazz.

Começaremos com Billie Holiday que cantava como uma deusa, sabia disso e nos deixou há 50 anos. Depois da musa do programa, teremos Shirley Horne, Patti Wicks, Kendra Shank ,Carmen MacRae, Diane Schurr,Ella Fitzgerald, Nina Simone, Jane Monhait, Cheryl Bentyne, Kim Nalley, Kitty Margolis, Pamela Luss, Jackie Ryan, Janis Siegel, Diana Krall, Madeleine Peyroux e Sarah Vaughn.

Você conseguirá perder um programa musical com um elenco deste?

Conto com tua valiosa audiência.

O melhor ainda está por vir.

Humberto Amorim

Jazzófilo

Produtor/Apresentador.

O musico do movimento free jazz alemão Buschi Niebergall nasceu no 18 de julho de 1938. Seu nome de nascimento era Hans-Helmut, mas seus amigos o chamavam de Johannes.

Buschi nasceu na cidade de Marburg em uma família de intelectuais (seu pai era professor de teologia e reitor temporário da Universidade de Marburg), Niebergall chegou a estudar medicina, mas o contato com outros músicos, o levou a desistir da vida acadêmica. Optou por tocar a sua guitarra acústica. Como baixista, Niebergall se tornou cofundador de varias formações do estilo free jazz na Alemanha, durante os anos 60. O quintetos de Günter Hampels “Heartplants”e “Voices” do Manfred Schoof, são dois bons exemplos do movimento independente Europeu do Free Jazz.

Buschi foi um dos fundadores da Orquestra Globe Unity em 1966 e colaborou com muitos músicos tocando de improviso tais como Peter Brotzmann, Don Cherry,Alfred Harth, Evan Parker e outros. No inicio dos anos 70 ele tocou com vários quartetos e quintetos de Albert Mangelsdorff. Nos anos 80 optou por levar a vida em isolamento em Frankfurt, se apresentando, esporadicamente, no projeto Jazz und Lyrik”.
Buschi faleceu em Janeiro de 1990.

Clic para ouvi-lo com o Quinteto de Manfred Schoof.
http://www.youtube.com/watch?v=_MHEbiBxCHw

Buschi Niebergall, born July 18,1938 was a German free jazz musician. His given name was Hans-Helmut, and late in life, his friends called him Johannes.
Born in the city of Marburg into a family of academics (his father was a professor of theology and temporarily rector of the University of Marburg, Niebergall enrolled in medical school. Playing acoustic guitar, he got in contact with other musicians and quit his studies. As double-bass player Niebergall became co-founder of several of the first and most influential Free Jazz formations of Germany during the mid 1960's. Gunter Hampels quintet "Heartplants" and "Voices" by the Manfred Schoof quintet are two excellent examples of this independent European free jazz development.
A founding member of theGlobe Unity Orchestra since 1966, Niebergall collaborated with many musicians playing freely improvised music, including Peter Brötzmann, Don Cherry, Alfred Harth, Evan Parker, Alexander von Schlippenbach, Irène Schweizer, John Tchicai. During the early 1970s he played in Albert Mangelsdorff's various quartets and quintets. After 1980 he chose a life in isolation in Frankfurt a M, with the exception of occasional stints within a "Jazz und Lyrik" project.
He passed away January 1990

Reference - Wikipédia

Tradução - Humberto Amorim

LADY DAY Hoje, há exatos 50 anos, em Nova York, saía de cena de forma extremamente trágica e precoce, a maior expressão vocal de todos os tempos do idioma jazz : Billie Holiday.

Na época em que ela se foi, eu era apenas um feliz garoto amazônida, filho de um empreendedor, radialista, cantor, boemio e de uma quituteira de mão cheia, que caminhava diariamente para as aulas no grupo escolar "Barão do Solimões" na poeirenta Porto Velho do final dos anos 50.
Mal poderia imaginar, que cinquenta anos depois, teria Billie Holiday como musa inspiradora de uma de minhas realizações mais apaixonantes e importantes de minha vida: o programa radiofonico "Momentos de Jazz" que levei ao ar pela primeira vez no mesmo dia de seu nascimento, 7 de abril, nos idos de 1995, pelas ondas da Radio Amazonas FM. Não me lembro de ter tido outra cantora favorita. Ouvi Billie e me apaixonei definitivamente por sua voz. Era acima de tudo uma estilista, foi a primeira cantora que eu tive.

Eleonora Fagan, declarou ter 21 anos aos policiais, apesar de ter completado 14 anos um mês antes, seu fisico precose não despertou suspeitas. Ela queria cantar e, pouco depois, estava se apresentando em pequenos cabarés e boites do Brooklyn e do Queens. Aos 14 anos, estava pronta para assumir o seu destino, tornar-se Billie Holiday, a Lady Day.

"Todas as cantoras deveriam se ajoelhar e agradecer a Deus por ter existido uma Billie Holiday"
(A cantora Annie Ross)

Clique e junte-se a mim, numa reverencia, pelos 50 anos de saudade da Lady Day, desfrutando a canção de Cole Porter "You're the Top".

http://www.youtube.com/watch?v=My7HaXp1Sq4

Lyrics to "You’re the Top!" (1934) by Cole Porter


At words poetic, I'm so pathetic
That I always have found it best
Instead of getting 'em off my chest,
To let 'em rest—unexpressed.
I hate parading my serenading,
As I'll probably miss a bar,
But if this ditty is not so pretty,
At least it'll tell you how great you are.
You're the top! You're the Coliseum.
You're the top! You're the Louvre Museum.
You're the melody from a symphony by Strauss.
You're a Bendel bonnet,
A Shakespeare sonnet,
You're Mickey Mouse!
You're the Nile! You're the Tow'r of Pisa.
You're the smile on the Mona Lisa.
I'm a worthless check, a total wreck, a flop!
But if baby I'm the bottom, you're the top!
You're the top! You're Mahatma Gandhi.
You're the top! You're Napoleon brandy.
You're the purple light of a summer night in Spain.
You're the National Gallery; you're Garbo's salary,
You're cellophane!
You're sublime; you're a turkey dinner.
You're the time of the Derby Winner.
I'm a toy balloon that is fated soon to pop;
But if baby I'm the bottom, you're the top!
You're the top! You're a Waldorf salad.
You're the top! You're a Berlin ballad.
You're the nimble tread of the feet of Fred Astaire.
You're an O'Neill drama; you're Whistler's mama; you're Camembert.

JIMMY SCOTT, THE GOLDEN VOICE OF JAZZ.

The life of Jimmy Scott is not one of meteoric stardom but a journey that has taken nearly seventy years to find its much deserved success.
One of ten children, James Victor Scott was born in Cleveland, Ohio on July 17, 1925 .
The f irst time Jimmy sang on a public stage was at school when the teacher had him sing the lead in a play “Ferdinand the Bull”, after that she always had him do the leads. He was only 12 years old when he became known as a singer around Cleveland .

While in his teens a Comedian saw the potential in Jimmy, he was Tim McCoy from Akron . Whenever Tim got a “gig” around Northeast Ohio , he would take Jimmy along with him on the bill. Jimmy would sing at different clubs, they would sneak him out before the cops arrived, because he was not only under age, but looked even younger than his actual years. Later Jimmy produced the Summer Festivals, a group of talented youngsters, like his friend jazz baritone singer Jimmy Reed and dancer Barbara Taylor,that would put on shows all around the area.

They also worked and put on shows at the Metropolitan Theater where the big bands would come in to play, Jimmy set up a concession to supply the Artists with soap, clean towels, and toiletries. He was hired by the dance troupe, “The Two Flashes”, Jimmy took the job to be close to show business, its players, and the stage. While in Meadville , PA. they were working with some of the greatest jazz musicians of the day, Lester Young, Slam Stewart, Ben Webster, Papa Jo Jones, Sir Charles, etc…The music was jumpin' and so was Jimmy, he asked the dancers to see if the band would let him do a couple of numbers, they said ok. Jimmy sang “The Talk of the Town” and “Don't Take Your Love Away”, the audience went crazy showing their love for Jimmy and the thunderous applause was deafening.

Every time the band ran into Jimmy, they'd ask him to come up on stage a do a couple numbers. Some of the early big bands Jimmy enjoyed were Count Basie's Band, Erskine Hawkins, and Father Earl Hines, but Lester Young was his favorite tenor sax player. He joined Lionel Hampton's Band in 1948, where he discovered the vibraphone and the strings, Jimmy said “it helped him to learn the beauty of the song and encouraged him to sing”. Lionel was a mentor to Jimmy and the one who tagged him with the stage name, “Little Jimmy Scott”, at the time he was 23, only 4'11”, thin, and very young looking. Jimmy said it was a gimmick for Lionel's show, but it wasn't too many years later that you started hearing more singers take their cue from Jimmy's stage name and call themselves Little So & So.

Jimmy met Estelle “Caldonia” Young in the early 1940's; she took Jimmy on her road show as the featured singer. Caldonia became almost a surrogate mother to Jimmy, having lost his own mother at age 13. “Caldonia's Revue” traveled the southern circuit to the east, they put up their own stages in the rural areas. There were featured male and female vocalists, tap dancers, comedians, an M.C. and Caldonia herself, she was an exotic shake dancer and contortionist. It was essentially like a touring vaudevillian tent show. Some of the others who worked with Caldonia at one time or another were Ruth Brown, Big Maybelle, Elie Adams, and Jack McDuff. Caldonia took Jimmy along with her to do a special performance at Gamby's in Baltimore in 1945, where he met up with his friend Redd Foxx who was appearing at Gamby's also. They went over to the Royal Theater to see Joe Louis. Redd and Joe told Jimmy he should be in New York performing instead of traveling around to those small towns.They convinced him he could make it on his own, the way he sang. So they talked to Ralph Cooper who called up Nipsy Russell, the M.C. at the Baby Grand in Harlem and arranged for Jimmy to get a one week booking. Jimmy sang that one week and they kept him on for 3 more months! Billie Holiday would show up nightly while in town to listen to Jimmy. Doc Pomus was in the audience during that first week and wanted to meet this amazing singer, Jimmy said “sure” and they became fast friends. Doc took Jimmy home to have dinner to meet his parents and little brother Raoul Felder, he also showed Jimmy how to get around on the N.Y. subway system.

Their friendship lasted over 45 years. Jimmy sang at Doc's funeral in 1991. It was there that record label owner Seymour Stein heard Jimmy sing and practically signed him on the spot, thus the beginning of Jimmy's re-emergence as a singer with his Grammy nominated comeback album “All The Way”. At age 67 he began to tour the world, where he was introduced to new appreciative audiences and legions of new young fans !! Now the press refers to him with reverence as the Golden Voice of Jazz, the Legendary Jimmy Scott.

Written by Jeanie Scott

Click to watch Jimmy singing "I Cried for You" with a big band. It's grand!!!!

http://www.youtube.com/watch?v=ZYG55t2JcIA

Singer and songwriter, born Phoebe Laub on July 17, 1952 in New York City, a.k.a Phoebe Snow borrowed her stage name from the Lackawanna Railroad's passenger train called Phoebe Snow which ran from Hoboken, NJ to Buffalo, NY. She recorded for Shelter, Columbia and Atlantic records prior to an eight year layoff which ended with the release of "Something Real" in 1989.

In June 1997, Phoebe said, "I feel better than I ever have in my life and ready to resume making music." She added, "I love a lot of what's happening in contemporary music today, and although radio formats seem to confound some people, I love where they're going. CHR in the New York-New Jersey area are a great mixed bag of alternative-urban-dance-folk music."

Phoebe is hard to categorize. She sings jazz, pop, rock, soul, gospel--she can do it all. She credits Aretha Franklin as an early influence. Phoebe said, "I've enjoyed performing over the years with such luminaries as Linda Ronstadt, Billy Joel, Dave Mason, Cheap Trick, Jewel, Buddy Miles, Al Green, Bonnie Raitt, Jackson Browne, and all the performers at the 1979 "No Nukes " Benefit at Madison Square Garden."

Click to hear her singing "Teach me Tonight".

http://www.youtube.com/watch?v=Q5foXmtw-I0

GARDÊNIA NO CABELO

Por Ruy Castro

Rio de Janeiro - Em 1948, o baiano Jorge Cravo, Cravinho, 21 anos, relapso estudante de administração em Nova York, não saía do cinema. Não pelos filmes, de que não queria nem saber, mas pelos minishows de palco que os cinemas apresentavam entre as sessões -cinco ou seis por dia, estrelando um grande cantor ou orquestra.
Com um único ingresso, Cravinho assistia ao primeiro show, via o filme uma vez, assistia ao segundo show, dormia na sessão seguinte, assistia ao terceiro show, ia namorar a garota da bombonière durante mais uma sessão e assim por diante. E quem se apresentava nos cinemas? Frank Sinatra, Duke Ellington, Billy Eckstine, Tommy Dorsey, Nat King Cole etc. Certo dia, foi a vez de Billie Holiday.

Ao fim do último show de Billie, o emocionado Cravinho postou-se nos fundos do cinema e a viu sair, linda, de vestido justo e gardênia no cabelo. Seguiu-a até um botequim, entrou também e sentou-se ao balcão, a um ou dois banquinhos da deusa. Mas respeitou sua solidão e não a importunou.

Dois anos depois, de volta ao Brasil, Cravinho escreveu-lhe uma carta, aos cuidados da Decca, sua gravadora, convidando-a a cantar na Bahia. Para sua surpresa, Billie respondeu, autorizando-o a falar com um brasileiro amigo dela, chamado Guinle (Jorginho, claro), a respeito disso. Mas nada resultou, e a própria carta se perdeu.

Passaram-se séculos e, nos anos 80, Cravinho vendeu sua fabulosa coleção de LPs de cantores de jazz para um americano. E pode-se imaginar a surpresa deste ao abrir um LP de Billie Holiday e ver cair uma carta da cantora, dirigida a seu fã brasileiro, o qual só depois se lembrou de que a guardara dentro de um disco.

Nesta sexta-feira, são 50 anos da morte de Billie. Foi uma morte anunciada, mas Cravinho e o mundo até hoje não se refizeram.

Nota do Blog - Este artigo foi publicado por Ruy Castro no jornal "Folha de São Paulo" do dia 15 de julho 2009.

Cravinho, como é mencionado no artigo, é também o escritor, globetrotter, jazzólogo e jazzófilo, Jorge Cravo, e autor do livro "O Caçador das Bolachas Perdidas"(Edt. Record), apresentado por Ruy Castro, que trata das incriveis incursões de um brasileiro pelo front da música popular e do futebol nos anos 40 e 50, que na minha modesta opinião, todo aficionado por jazz e a história da música popular brasileira deveria ler.

Jazz pianist, composer, arranger, bandleader Nat Pierce, born July 16, 1925 in Somerville, Mass.

Perhaps the best way to describe Nat Pierce is to quote others who knew him, personally and professionally. Here are excerpts from the liner notes of the HEP Jazz reissue of the Nat Pierce Orchestra’s 1961 album, “The Ballad of Jazz Street.”

“It’s hard to separate the man from his music. His playing was a mirror of his personality ” warm and open. Nat’s chords provided a solid base from which anyone could feel free to go anywhere and still have a way back.” --Trumpeter Dick Collins

“Nat was one of my earliest and strongest musical influences. While a student at Harvard in 1949, I would cut classes and go to the Mardi Gras club in Boston, where Nat rehearsed. I listened carefully to his writing and the jazz playing of Charlie Mariano. After Nat left Boston to go on the road, I formed my first band in 1952 using some of his guys. My musical career would not have gone in the direction that it did without my relationship with Nat and the players in his early Boston band.” --Trumpeter, Bandleader, Educator Herb Pomeroy

“I miss my friend, Nat Pierce. He won’t be calling me anymore at 4 a.m. and start our conversation with “Eddie, My Man.” I won’t hear that wonderful piano again, the simple lines when he imitated his mentor/idol Count Basie, or when he played like himself, the wonderfully innovative pianist, Nat Pierce. There won’t be anymore swinging big band arrangements for Woody [Herman], Basie and others. We won’t be hanging out anymore, drinking and talking the night through. And we won’t hug again. I’m sure he said when it was time to go, ‘This is really deep, really deep, Eddie.’ I miss my old friend Nat Pierce.” --Bassist Eddie Jones

Pierce passad away June,1992

Click to watch him playing with Woody Herman.
http://www.youtube.com/watch?v=-qwiNO3wSLg




Nat Pierce by Wolfgang Oster

Cal Tjader nasceu em St.Louis, Missouri no 16 de julho de 1925 foi um músico de jazz latino, apesar de ser descendente de suecos. Após experimentar os ritmos cubanos, latino-americanos e caribenhos, jamais abandonou tais sonoridades até à sua morte.

Tocou vários instrumentos, entre os quais o vibrafone (inicialmente), a bateria, o bongo, a conga, o tímpano e o piano. Trabalhou com inúmeros músicos de diversas culturas, e está efectivamente ligado ao desenvolvimento dorock latino e do acid jazz, para além de percursor do latin jazz.

Venceu um Grammy em 1980 pelo seu álbum La Onda Va Bien, uma consagração de um grande percurso dedicado à música de mais de quarenta anos.

Carl faleceu em Maio de 1982.

Clique para ouvir a musica latina de Carl Tjader.

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

Callen Radcliffe Tjader, Jr. a.k.a. Cal Tjader born July 16,1925, was a Latin jazz musician, though he also explored various other jazz idioms. Unlike other American jazz musicians who experimented with the music from Cuba, the Caribbean, andLatin America, he never abandoned it, performing it until his death.

Tjader primarily played thevibraphone. He was also accomplished on thedrums,bongos,congas,timpani, and the piano. He worked with numerous musicians from several cultures. He is often linked to the development ofLatin Rock andacid jazz. Although fusing jazz with Latin music is often categorized as "Latin jazz" (or, earlier, "Afro-Cuban jazz"), Tjader's output swung freely between both styles.

He won a Grammy in 1980 for his album La Onda Va Bien, capping off a career that spanned over forty years.

Carl passed away in May,1982

A cantora popular carioca Elizeth Cardoso nasceu no 16 de julho de 1920 em São Francisco Xavier no Rio de Janeiro, perto do morro da Mangueira, filha de um seresteiro.

Considerada uma das principais intérpretes da música brasileira, é chamada de "A Divina". Começou a trabalhar aos 12 anos como balconista.

Depois se torna funcionária de uma fábrica de sabão e cabeleireira, até ser descoberta por Jacó do Bandolim, aos 15 anos, quando cantava numa festa de aniversário. Faz um teste na Rádio Guanabara e é contratada. Também atua em outras emissoras e como passista de uma companhia de teatro-revista, onde conhece Ari Valdez, com quem se casa.

Após o fim do casamento, passa a se exibir em circos e cabarés, muitas vezes em dupla com o comediante Grande Otelo. Trabalha como taxi-girl - moça que recebe por dança com clientes de boates - e crooner de várias orquestras.

Em 1947 lança o primeiro compacto, que é recolhido das lojas por apresentar defeitos técnicos. Grava pela segunda vez em 1949, alcançando êxito com as canções Canção de Amor e Complexo. Um de seus maiores sucessos é Barracão, de 1952.

Seu primeiro LP sai dois anos depois. Em 1958 faz Canção do Amor Demais, álbum que é considerado o marco inicial da bossa nova, com músicas de Antônio Carlos Jobim e Vinicius de Moraes. Na década de 60 comanda o programa Bossaudade, na TV Record paulista.

Elizeth morreu no Rio de Janeiro em Maiode 1990.

Clique para ver Elizeth com Nelson Cavaquinho em 1973.

http://www.youtube.com/watch?v=lFYDp0jhrhw

Nascido no Rio de Janeiro em 16 de julho de 1940, Arthur Moreira Lima é considerado uma das mais importantes personalidades da nossa cultura. Arthur Moreira Lima projetou-se internacionalmente no Concurso Chopin de Varsóvia.

Laureou-se também nos Concursos de Leeds (Inglaterra) e Tchaikovsky (Moscou). Desde então, Moreira Lima tem feito turnês em todos os continentes, lotando as principais salas de concertos do mundo. Entre as orquestras e os regentes famosos com quem já se apresentou, estão as Filarmônicas de Leningrado, Moscou, Varsóvia, Sinfônicas de Berlim, Viena, Praga, BBC de Londres, National da França, sob a direção de Kurt Sanderling, KiriIl Kondrashin, Mariss Jansons, Serge Baudo, Jesus Lopez-Cobos, Sir Charles Groves, Vladimir Fedosseyev, Rudolf Barshai.

A crítica mundial o considera extraordinário intérprete do grande repertório romântico e não tem poupado elogios à beleza da sua sonoridade e ao seu grande virtuosismo. A revista LA SUISSE chamou Moreira Lima "O Pelé do Piano", a crítica americana elegeu sua gravação dos Noturnos de Chopin "o mais importante registro pianístico do ano", e o famoso crítico londrino Dominic Gill do FINANCIAL TIMES escreveu "Moreira Lima sabe tudo sobre o piano romântico, fazendo seu instrumento falar". Começou a estudar piano aos seis anos, e já aos nove tocava um concerto de Mozart com a Orquestra Sinfônica Brasileira. Seus mestres foram Lúcia Branco (Rio de Janeiro), Marguerite Long (Paris) e Rudolf Kehrer (Conservatório Tchaikovsky de Moscou). Em seu trabalho de resgate e difusão das raízes culturais brasileiras, Arthur Moreira Lima foi solista da primeira audição do Concerto n. 1 de Villa-Lobos no Japão, Rússia, Áustria e Alemanha. Foi também o pianista que fez reviver a obra de Ernesto Nazareth.

Por seu trabalho discográfico no Brasil, recebeu por duas vezes consecutivas o Prêmio Sharp (1989 e 1990). Nos Estados Unidos, seu CD da obra de Ernesto Nazareth foi incluído na lista das melhores gravações do ano da Stereo Review Magazine. Um CD de Chopin Favourites lançado no Japão pela Nippon Columbia continua como um dos best-sellers da companhia. Lançado internacionalmente pelo selo Olympia em 1999, seu CD com músicas de Astor Piazzolla foi considerado na França como "Disco do Mês" pela revista Répertoire e pela revista Tipptopp da Rádio da Suiça alemã. Gramophone, na Inglaterra, escreveu que Moreira Lima "captou magicamente a fantasia e grandiosidade da música", e a BBC Music Magazine: "Moreira Lima é um marcante e eloquente campeão de Piazzolla. Este CD certamente irá converter os céticos".

Certa madrugada paulistana, alguém confundiu, no balcão de uma padaria da rua da Consolação, Arthur Moreira Lima com um mágico. Ele vinha de um concerto seguido de um jantar prolongadíssimo, e ainda vestia a casaca de músico, daí a confusão. Isso aconteceu no começo de 1971, numa das primeiras vezes em que Arthur vinha tocar no Brasil. Na época, ele morava em Viena, depois de uma longa temporada de consagração e muito estudo em Moscou. O inusitado da situação fica por conta do acerto involuntário: incapaz de qualquer truque de prestidigitador, Arthur Moreira Lima é, sem a menor dúvida, capaz da mais alta magia em seu ofício. O inusitado da localização: afinal, quantos pianistas eruditos bem sucedidos podem ser encontrados, num fim de noite, num balcão de padaria? Fica por conta de uma das mais marcantes características de Moreira Lima: sua irremediável vocação para a matreirice carioca, seu talento inquebrável para manter muito da irreverência juvenil, sua obstinada proximidade com o dia-a-dia do brasileiro. E esta é, possivelmente, a melhor maneira de descrever Arthur Moreira Lima: o mais brasileiro dos grandes pianistas de formação erudita da nossa história.

O lado travesso de Arthur acabou gerando uma série de situações peculiares, e ninguém além dele é capaz, hoje, de distinguir o que é real do que foi inventado, na onda de seu comportamento inesperado. Quando conheceu o embaixador Vasco Leitão da Cunha,deu-se um desses diálogos típicos de Arthur Moreira Lima, e que imediatamente foi incorporado ao seu anedotário pessoal. - Muito prazer, Vasco Leitão da Cunha apresentou-se o diplomata.- Prazer, Fluminense Moreira Lima rebateu o pianista irreverente.

Jazz drummer Philly Joe Jones was born on July 15,1923 with the name Joseph Rudolph Jones in the city of Philadelphia. His mother, a piano teacher taught him the basics in music. In his formative years he also studied the drums with drummers the likes of Cozy Cole and Charles Wilcoxon, receiving valuable advise from Art Blakey and a then younger Max Roach. He established himself as “Philly Joe” Jones, from the name of the city of his birth, to distinguish himself from the mainstay Count Basie’s drummer, Jo Jones.

But just as Jo Jones established the rhythm section standard in the 30’s and 40’s, Philly Joe would do the same in the 50’s.
He began playing with the rhythm and blues bands in the 40’s, establishing himself on the New York jazz scene. The first group that he recorded with was co-led by Johnny Griffin and Joe Morris, along with Matthew Gee on trombone and Elmo Hope on piano and Percy Heath. For a time they played standard Monk and pieces of Bud Powell, but reverted back to playing the blues for the sake of money. Philly, unhappy with the music, split with the group and joined the already established Ben Webster, Lee Konitz, Zoot Sims, Tony Scott, and Tadd Dameron. He worked in Philadelphia as the local drummer for stars such as Dexter Gordon and Fats Navarro. He was in the army for a short time and len left in 1945 taking a job up as a streetcar driver. He was supposedly fired from the job because he would stop the steetcar with people in it and go in to play a set at the jazz clubs on the way, sometimes forgetting about the people in the car.
Jones was on many Blue Note recordings and was virtually house drummer for the Blue Note, Riverside, and Prestige record labels. His style has been described as “too loud” or “like a machine gunner.” However one must listen carefully to appreciate his precision and energy. One excellent example of Jones’ playing can be heard of Coltrane’s album, Blue Train. Jones’ first album was in 1958, an LP for the Riverside record label. On his album were players that would become well known in the business: Nat Adderley, Julian Priester, Johnny Griffin and Tommy Flanagan. In his prime, Jones won great recognition. In Downbeat magazine polls he won the new star category on drums in 1957 and the main drum category in 1962. He was second place in 1961, second to Max Roach.
In 1962 there was a sharp decline in Jones’ career. He was ignored and almost forgotten. One reason was a drummer named Elvin Jones with John Coltrane’s quartet, who stole some of the limelight. Perhaps this the reason that Jones moved to England in 1968. There he made his mark as a teacher, tremendously improving the local talent. He eventually returned to the New York and west coast jazz scene, however lost from the forefront of it all. He did work regularly in his home town of Philadelphia. In 1977 he cut an LP for the Sonet label: Mean What You Say, an good example of latter-day bebop.
Jones, in the 80’s, formed Dameronia, a group dedicated to playing original recordings of Tadd Dameron’s music. This resulted in two Uptown label LPs in 82 and 84 which were well received by critics. However on August 30th, 1985, his electrifying solos would be no more as he passed away of a heart attack in his home in “Philly.”

Click to watch him letting it all hang out!

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

Reference - AAJ