Vocal Jazz

Ella at Mr Kelly's

2007-09-11T15:37:00.001+02:00

On this mournful day, on which legendary jazz keyboard player Joe Zawinul passed away, there is finally word from the Verve Music Group about the 2-disc set "Ella Fitzgerald at Mr Kelly's"!
It seems probable that it will be released on September 18, 2007, and the above is a preview of its cover! Pretty neat, don't you think... although I would've preferred something painting-like, such as the Ella-returns-to-Berlin-cover. The picture on this cover seems to be of around 1962 (she's wearing a wig), and this concert dates from 1958 (in which she looked better in my opinion, without the wig).
Just imagine that within two weeks we can finally listen to these great recordings of Ella in her prime... but in all this joy, let's not forget Joe Zawinul.

Ella at Mr Kelly's

2007-06-02T16:38:00.001+02:00

Scheduled for release on June 6, 2007
- subject to change, and regrettably too late for some of us:

Ella Fitzgerald: Live at Mr Kelly's
Ella Fitzgerald (vc), Lou Levy (p), Max Bennett (b), Gus Johnson (d)
August 10, 1958

Disc 1
1. Your Red Wagon
2. Nice Work If You Can Get It
3. I'm Glad There Is You
4. How Long Has This Been Going On?
5. Across The Alley From The Alamo
6. Perdido
7. The Lady Is A Tramp
8. Bewitched
9. Summertime
10. In The Wee Small Hours Of The Morning
11. St. Louis Blues
12. Witchcraft
13. Love Me Or Leave Me
14. Joe Williams' Blues
15. Porgy And Bess Medley: I Loves You Porgy / Porgy, I's Your Woman (Bess, You Is My Woman Now)
16. How High The Moon

Disc 2
1. Introductions
2. Exactly Like You
3. Come Rain Or Come Shine
4. Stardust
5. 'S Wonderful
6. You Don't Know What Love Is
7. Witchcraft
8. Perdido
9. In The Wee Small Hours Of The Morning
10. My Funny Valentine
11. Anything Goes

This seems a 2CD-box, though it's advertised as a 1CD on most websites.
Even as a 2CD-set, some tracks of the actual concert have not made it to this upcoming release (Oop Bop Sha Bam, Too Close for Comfort et cetera), plus the track's order is different than expected, no doubt due to flaws in the master tapes, which have spent the past 50 years on a shelve.

And, it has happened before that on the day of the scheduled release, record company Verve withdrew from its promise and did not release anything at all. Let's keep our fingers crossed!

Nancy Wilson's 70th birthday party at NYC jazz festival

2007-04-19T16:10:00.001+02:00

"This year, you can count on two weeks of outstanding music featuring some of the best of traditional, straight-ahead, contemporary, Big Band, Second Line, R&B, Latin, world music and more"

A belated swinging 70th birthday party with an all-star guest list is planned for pop-jazz songstress Nancy Wilson at this year's JVC Jazz Festival.

Wilson, who turned 70 on Feb. 20, won her third Grammy earlier this year in the category of Best Jazz Vocal Album for 'Turned to Blue,' an album drawing on her experiences in a five-decade career as an entertainer.

At the June 29 Carnegie Hall concert, Wilson and her trio will be joined by special guests, including jazz vocalists Nnenna Freelon, Dianne Reeves and Kurt Elling; pianists Herbie Hancock and Ramsey Lewis; and violinist Regina Carter. Read more

Gladys Knight To Receive ELLA Award

2007-04-18T10:12:00.001+02:00

LOS ANGELES, Apr. 17, 2007

(AP)

(AP) Gladys Knight will receive the 16th annual ELLA Award from the Society of Singers. The honor, named after its first recipient, jazz legend Ella Fitzgerald, salutes entertainers for their musical successes and dedication to charitable and humanitarian causes.

"It is a truly awesome feeling to be receiving this honor. Ella was the sweetest and most beautiful person as a talent and as a human being," Knight said Tuesday.

Knight will receive the award Sept. 10. Past winners include Elton John, Frank Sinatra and Celine Dion.

"Gladys Knight has one of the greatest and most distinctive voices of our time," said Jerry F. Sharell, the Society of Singers' president and chief executive officer. (The Los Angeles-based nonprofit organization offers services to meet the emergency financial needs of professional singers worldwide.)

Knight, 62, has won seven Grammys in her career, with hits including "Midnight Train to Georgia" and "Neither One of Us (Wants to Be the First to Say Goodbye)."

Dianne Reeves at the Gem: Celebrating Her 'Good Luck'

2007-04-16T15:39:00.001+02:00

"I did one concert with Rosemary and a lot of other singers many, many years ago"

Dianne Reeves was already an established top-of-the-line jazz singer when another breakthrough came in 2005.

Her appearance in the film 'Good Night, and Good Luck' provided a career boost that's 'been pretty amazing,' she says. 'It just gave me a broader audience.

'A lot of people who were fans of George Clooney saw me in the film and started coming to my concerts' -- like the one she'll give Saturday at the Gem Theater, rounding out the Jammin' at the Gem season.

Reeves has been one of the strongest singers in jazz for quite a few years. Her music-making is driven by taste, intelligence and imagination. And she's strong enough to be more respectful of the words and melodies of songs than most of the others working today. Read more

3/21/07 - NY Daily News - Hank Jones & Abbey Lincoln (Both Hospitalized)

2007-04-15T11:25:00.001+02:00

Dr. Sandhya Balaram (standing far l.) and Dr. Daniel Swistel, both heart surgeons at St. Luke's Hospital, join their recovering patients Abbey Lincoln Moseka and Hank Jones.

3/21/07 - NY Daily News - Hank Jones & Abbey Lincoln (Both Hospitalized)

Subject: Hank Jones & Abbey Lincoln
Date: Fri, 23 Mar 2007 08:29:07 -0700
Finding harmony together
The unexpected reunion of two New York jazz legends
BY JULIAN KESNER / Daily News

Posted Monday, March 19th 2007, 12:26 AM

Dr. Sandhya Balaram (standing far l.) and Dr. Daniel Swistel, both heart surgeons at St. Luke's Hospital, join their recovering patients Abbey Lincoln Moseka and Hank Jones.

--------------------------------------------------------------------------------

The jazz pianist and jazz singer sat side by side talking softly and exchanging memories. It had been 10 years since they last saw each other, and 15 since they recorded a full-length album together. Occasionally, the singer would break into song, and the pianist would pick up the tune and sing along.

But there was no piano present, nor a recording studio. The only background music was the beeping of a heart monitor machine, and air moving through an artificial respirator down the hall. Their managers and producers were nowhere to be seen - only doctors and nurses, who from afar kept an eye on the pair and the reporter sitting beside them.

It was an unlikely reunion in the most unlikely of places for Hank Jones and Abbey Lincoln Moseka, two jazz legends whose paths crossed again last Tuesday at St. Luke's Hospital.

Jones, 88, has been playing the piano for over 60 years. He recorded with
Charlie Parker and Ella Fitzgerald, among others, and played for "The Ed
Sullivan Show" for many years.

The 77-year-old Lincoln Moseka grew up in Chicago as Anna Marie Wooldridge (a former manager gave her the stage name Abbey Lincoln). She came to New York in her 20s and sang at the Village Vanguard, later marrying jazz and bebop composer Max Roach (they divorced in the 1960s) and starring in several films.

Producer Jean-Philippe Allard jump-started Lincoln Moseka's career in the
early 1990s, culminating with the 1992 album "When There Is Love" - recorded with none other than jazz pianist Hank Jones over three or four days. The duo have also performed on tracks for other albums.

Jones came to New York City in February after a few months in Japan, where he performed "a few concerts in Kobe" and spent time relaxing. Two weeks after arriving here, the problems began.

"It felt like indigestion," he recalled last Tuesday, seated in Lincoln Moseka's hospital room at St. Luke's, wrapped in a thick bathrobe. "I didn't feel any pain."

In reality, Jones had suffered a massive heart attack. St. Luke's cardiothoracic surgeon Dr. Sandhya Balaram performed bypass surgery on Jones on Feb. 28, and he's recovering well.

"He said the only thing wrong with his room was there was no piano," said Balaram.

Lincoln Moseka was rushed to St. Luke's on March 3, not breathing and
suffering heart failure and pulmonary edema (during which the lungs fill
with fluid). St. Luke's cardiothoracic surgery chief, Dr. Daniel Swistel
performed aortic valve replacement and bypass surgery and Lincoln Moseka has been in the ICU since.

"Her recuperation will be a bit slower. She's got more to recover," said Swistel.

Jones and Lincoln Moseka had no idea they were in the same hospital at the same time, but while Googling their respective album histories, Balaram and Swistel realized their patients' connection and arranged for the reunion.

Jones is expected to be at St. Luke's a couple more weeks, continuing physical therapy after being discharged. Lincoln Moseka's recovery is more unsure; she may still be in the hospital when her new album, "Abbey Sings Abbey," is released later this year.

Regardless, within minutes of seeing each other again, Jones, Lincoln Moseka and their healing hearts seemed to relax.

"Old friends should never get separated. A lot of years have gone by," said
Jones, adding to Lincoln Moseka, "We should record together!"

"He always makes me feel special,"said Lincoln Moseka, visibly weak but
smiling nonetheless. "It's wonderful to see him."

Jazz Vocalist Dakota Staton, 76, Dies

2007-04-13T15:46:00.001+02:00

by Nate Guidry
Pittsburgh Post-Gazette, April 12, 2007

Dakota Staton, an iconic Pittsburgh jazz vocalist who achieved international fame, died Tuesday at Isabella Geriatric Center in New York after a lengthy illness. Ms. Staton was 76.

Sharynn Harper, a spokesperson for Ms. Staton's brother, Fred Staton, said Ms. Staton had been in declining health after suffering a triple aneurysm several years ago.

Ms. Staton's last major performance in Pittsburgh was in 1996 when she performed at the Hill House Auditorium as part of the Mellon Jazz Festival.

Born and raised in Homewood, Ms. Staton attended Westinghouse High School and was a member of the famed Kadets, a swing band that played music ranging from "String of Pearls" to Coleman Hawkins' "Body and Soul."

After cutting her teeth working with the Joe Westry Orchestra at several of the bigger nightclubs in the Hill District, Ms. Staton moved to Detroit in search of other musical opportunities.

In 1954, Ms. Staton recorded a single for Capitol Records and began a series of highly visible concerts on the East Coast. Two years later, she was named "the most promising jazz vocalist of the year" by the critics at Downbeat Magazine. When her first album, "Late Late Show," appeared the following year, it was hailed a classic.

In the mid 1960s, Ms. Staton moved to England.

"From England I ventured all around the world," Ms. Staton told the Post-Gazette in a 1996 interview. "Most of the venues I played there were for international audiences that spoke and understood English, like the Intercontinental hotel chains and other places I worked. Many of those people had never heard the blues, and I was an oasis for them. I imagine some of them have never heard it since."

Dave Brubeck in Durham, CT

2007-04-12T10:55:00.000+02:00

May 19, 2007 at Coginchaug Regional High School, Durham, CT, jazz legend Dave Brubeck celebrates the birth of a new children's charity - Jazz'd 4 Life, with hosts Dr. Mel from News Channel 8 and actor, author, producer, Chris Lemmon. Jazz'd4Life reaches children from our backyards in Connecticut's inner cities to our most impoverished neighbors around the world. This concert's proceeds supports Connecticut's AmeriCares, New Haven and Middlefield's Camp Farnam, as well as the B.E.M. School in Les Cayes, Haiti. Event festivities kick off Saturday evening with the Jazz'd4 Life Inaugural Fund-raising Concert with Mr. Dave Brubeck Following the concert, will be a VIP Reception including full dinner, drinks and a celebrity jam at the picturesque Lyman Homestead. This will be an evening of great food, fun and music in an intimate setting, with the performers and other special guests.

Dave Brubeck in Durham, CT

2007-04-12T10:53:00.001+02:00

May 19, 2007 at Coginchaug Regional High School, Durham, CT, jazz legend Dave Brubeck celebrates the birth of a new children's charity - Jazz'd 4 Life, with hosts Dr. Mel from News Channel 8 and actor, author, producer, Chris Lemmon. Jazz'd4Life reaches children from our backyards in Connecticut's inner cities to our most impoverished neighbors around the world. This concert's proceeds supports Connecticut's AmeriCares, New Haven and Middlefield's Camp Farnam, as well as the B.E.M. School in Les Cayes, Haiti.

Event festivities kick off Saturday evening with the Jazz'd4 Life Inaugural Fund-raising Concert with Mr. Dave Brubeck Following the concert, will be a VIP Reception including full dinner, drinks and a celebrity jam at the picturesque Lyman Homestead. This will be an evening of great food, fun and music in an intimate setting, with the performers and other special guests.

Annie Ross at the Metropolitan Room Tuesday, March 20th at 7:00 PM

2007-03-20T16:01:00.001+01:00

Jazz legend Annie Ross continues her run of Tuesday's at the
Metropolitan Room
At Gotham
New York's newest and best music room
34 West 22nd St. (between 5th & 6th Ave.)
New York City
Reservations (212)206-0440
http://www.metropolitanroom.com/

March 20th @ 7:00 PM
Continuing Every Tuesday in March and April

Tardo Hammer – Piano

Neal Miner – Bass
Jimmy Wormworth – Drums
Warren Vaché - Trumpet (when in town)

Read the Recent features about Annie Ross

The Voice of Experience, but a Frisky Approach By STEPHEN HOLDEN
http://www.nytimes.com/2007/03/16/arts/music/16ross.html?_r=1&oref=slogin

by Zan Stewart in the Newark Star Ledger

At 73, Annie Ross is still going strong
http://www.nj.com/starledger/stories/index.ssf?/base/entertainment-1/1170309407216780.xml&coll=1

And Will Friedwald
Life Is a Song for Annie Ross
http://www.nysun.com/article/49397

www.annieross.net

For Interviews, Photos and CDs Contact:
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jazzpromo@earthlink.net

The Very Best of the Rodgers and Hart Song Book

2007-03-20T10:45:00.001+01:00

Track Listings

1. Lover

2. My Funny Valentine

3. I Didn't Know What Time It Was

4. It Never Entered My Mind

5. Ten Cents A Dance

6. Lady Is A Tramp

7. Manhattan

8. Little Girl Blue

9. I Could Write A Book

10. Where Or When

11. This Can't Be Love

12. Bewitched Bothered And Bewildered

forgot these

2007-03-18T17:32:00.000+01:00

Ella recording Rhythm is My Business

2007-03-18T17:30:00.000+01:00

Back covers of the original 5LP of the Gershwin Songbook

2007-03-18T17:26:00.000+01:00

Ella and Nelson Riddle recording the Gershwin Songbook

2007-03-18T17:24:00.000+01:00

Ella, recording "Rhythm is My Business"

2007-03-18T17:22:00.000+01:00

Lafayette Harris Upcoming Appearance with Ernestine Anderson at Dizzy's Wed-Sun, Mar 28-Apr 1

2007-03-16T18:24:00.001+01:00

Pianist Lafayette Harris is pleased to announce his appearance with vocal legend Ernestine Anderson
Wed-Sun, Mar 28-Apr 1

"Sing Into Spring Festival"
Ernestine Anderson & Houston Person

Featuring Ernestine Anderson, vocals; Houston Person, tenor saxophone;
Lafayette Harris, piano; Chip Jackson, bass; Willie Jones III, drums.
at
Dizzy's Club Coca-Cola
Frederick P. Rose Hall
Jazz at Lincoln Center Broadway at 60th Street
5th Floor
Reservations
Call: 212 258-9595
http://www.jalc.org/

Lafayette is featured on Ernestine CD LOVE MAKES THE CHANGES on High Note.

Lafayette Harris Can Also Be Heard On His Latest CD

In The Middle Of The Night
AR 008
Street date May 1, 2007

IN THE MIDDLE OF THE NIGHT is Lafayette's first funk and Contemporary jazz disc.

A Baltimore native, LAFAYETTE HARRIS, JR. has performed with reedmen Donald Harrison, Chico Freeman, Hamiet Bluiett, vocalists Ernestine Anderson, Anita O'day, drummers Cindy Blackman and the master Max Roach.

The period with the legendary drummer prompted him to describe Harris as "a phenomenal new voice on the music scene."

The publicity for this will be handled by: Jim Eigo
Jazz Promo Services
269 S Route 94 Warwick, NY 10990
T: 845-986-1677 / F: 845-986-1699
E-Mail: jazzpromo@earthlink.net
Web Site: www.jazzpromoservices.com/

Neal Sapper will do the radio promotion

New World 'N Jazz Marketing, Promotion and Consulting
ph: 415 453-1558
fx: 415 453-1727
e-mail: newworldjz@aol.com
web: www.newworldnjazz.com

Artist Website: http://lafayetteharrisjr.com/
& http://myspace.com/lafayetteharrisjr For press photos (including CD cover scan) and Lafayette Harris bio:
http://lafayetteharrisjr.com/press
Distribution will be done by North Country. Cadence Building,
Redwood, New York, 13679. USA: Ph: 315-287-2852 // Fax: 315-287-2860

jazz scoops

2007-03-13T16:41:00.000+01:00

Last weekend, Dave Brubeck recorded a new solo piano album, which will probably be entitled "songs out of our time". Despite of suffering during the recording session from a sprained ankle, Brubeck considers the album 'his best solo recording so far.'

On March 9, Hank Jones has cancelled his March 10 performance at the John F. Kennedy Center for the Performing Arts "due to illness".
Let's hope he'll soon be appearing in public again.

Annie Ross at the Metropolitan Room Tuesday, March 6th at 7:00 PM

2007-03-06T06:58:00.001+01:00

Jazz legend Annie Ross continues her run of Tuesday's at the
Metropolitan Room
At Gotham
New York's newest and best music room
34 West 22nd St. (between 5th & 6th Ave.)
New York City
Reservations (212)206-0440
http://www.metropolitanroom.com/

Dates and times:

March 6 @ 7:00 PM
Continuing Every Tuesday in March and April

Tardo Hammer – Piano

Neal Miner – Bass
Jimmy Wormworth – Drums
Warren Vaché - Trumpet (when in town)

Read the Recent features about Annie Ross
by Zan Stewart in the Newark Star Ledger

At 73, Annie Ross is still going strong
http://www.nj.com/starledger/stories/index.ssf?/base/entertainment-1/1170309407216780.xml&coll=1

And Will Friedwald
Life Is a Song for Annie Ross
http://www.nysun.com/article/49397

www.annieross.net

For Interviews, Photos and CDs Contact:
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jazzpromo@earthlink.net

Claire has Ella sewn up in style

2007-03-06T06:38:00.001+01:00

By John Watson

Tribute To Ella Fitzgerald,

Symphony Hall

The magic of legendary jazz diva Ella Fitzgerald was recreated by one
of Britain's most accomplished singers, Claire Martin, with
spectacular orchestral accompaniment from the City of Birmigham
Symphony Orchestra (CBSO) under conductor John Wilson.

Claire was in magnificent voice for such Ella classics as Manhattan,
The Lady Is A Tramp and Ev'ry Time We Say Goodbye.

Highlights included a strongly swinging Cheek To Cheek, a sublime
ballad version of But Not For Me, and an emotionally charged How
About Me?

At times Claire seemed to lack confidence with the lyrics, glancing
anxiously at her music stand, but this was a huge amount of
repertoire to learn for a one-off performance.

Orchestral soloists deserve special credit, particularly alto
saxophonist Howard McGill for soulful work on This Time The Dream's
On Me, and trombonist Andrew Wood on Too Late Now. Guitarist Martin
Kershaw, a studio session veteran who once worked with Ella, swung
with ease.

Conductor Wilson writes superb transcriptions of Nelson Riddle's
arrangements. Few conductors can get such large orchestral forces to
swing, but Wilson succeeds admirably.

Very Best Of The Song Books: Golden Anniversary Edition (2 CD)

2007-02-25T15:02:00.000+01:00

In 1956, Ella Fitzgerald's career reached a new height with the release of Ella Fitzgerald Sings the Cole Porter Song Book; the first of eight Song Books produced by Verve founder Norman Granz. Because of the Song Book series, on which she interpreted the finest songs by America's master songwriters, Ella Fitzgerald became known as The First Lady of Song. This two-disc set features the very best of the Ella Fitzgerald Song Books in celebration of the fiftieth anniversary of their launch.

Disc 1
	1.	Night And Day
	2.	I Get A Kick Out Of You
	3.	Begin The Beguine
	4.	Love For Sale
	5.	My Funny Valentine
	6.	The Lady Is A Tramp
	7.	Where Or When
	8.	Take The "A" Train
	9.	I Got It Bad (And That Ain't Good)
	10.	It Don't Mean A Thing (If It Ain't Got That Swing)
	11.	Cheek To Cheek
Disc 2
	1.	Blue Skies
	2.	'S Wonderful
	3.	Embraceable You
	4.	I Got Rhythm
	5.	The Man I Love
	6.	Blues In The Night
	7.	Over The Rainbow
	8.	That Old Black Magic
	9.	All The Things You Are
	10.	Skylark
	11.	Too Marvelous For Words

Compilation
Selected and Sequenced by Richard Seilel
Supervised by Bryan Koniarz
Mastered by Bob Irwin and Jayme Pieruzzi at Sundazed Studios, Coxsackie, New York
Art Directed by Hollis King
Designed by Isabelle Wong/isthetic
Illustrations by Jim Salvati
Art Production by Olivia Smith
Project Assistance: Sarah Huo

EMI May Sell Recordings Online With No Anti-Copying Software

2007-02-10T08:40:00.001+01:00

By JEFF LEEDS

The EMI Group, the British music giant, has been considering a plan to offer a broad swath of its recordings for sale online without anti-copying software, executives involved in discussions with the company said.

EMI, which releases music by artists including Coldplay and the Beatles, has discussed various proposals to sell unprotected files through an array of digital retailers, including Apple, Microsoft, Real Networks and Yahoo, said the executives, who spoke on condition of anonymity.

EMI declined to comment.

It is far from clear that the company, which has tested the concept recently by selling a song from Norah Jones in unprotected form, will reach a deal.

But if it does, it would be the first of the four major music companies to distribute its catalog without software designed to limit copying. Because various online retailers use different forms of security software, known as digital-rights management, their services are not always compatible with all music-playing devices on the market.

The debate over the industry's handling of the issue heated up this week when Steven P. Jobs, chief executive of Apple, which leads the market with its iPod and iTunes service, suggested that the music companies offer their music without anti-copying software.

Mr. Jobs's stance drew catcalls from executives at several major labels — though some have experimented by selling a handful of songs in unprotected form, as EMI did with a single from Ms. Jones's new album.

Reports of the EMI plan surfaced in Europe this week when music executive speculated that EMI was close to a deal with several online music services that went beyond the relatively limited experiments with non-copy-protected music that it had conducted so far.

Future project on Mosaic

2007-02-05T07:08:00.000+01:00

Mosaic Selects Mosaic Select: Johnny Mercer

In this Mosaic Select, we present 78 Capitol tracks from the label’s birth in 1942 to 1947, that showcase the more jazz tinged efforts of Johnny Mercer. Singing many of his own tunes, Mercer is backed by bands led by Paul Whiteman with Jack Teagarden, Wingy Manone, Eddie Miller, Billy Butterfield, Bobby Sherwood, Benny Goodman, the King Cole Trio and Paul Weston’s studio orchestra that boasted the cream of L.A.’s jazz musicians. A number of unissued sides are included plus two Capitol transcription sessions that were made for radio use only. As a special addition to this set we’ve asked Margaret Whiting to share her thoughts and memories of working with Mercer.

Twofer CD by Si Zentner

2007-02-01T07:33:00.000+01:00

This is my new effort in transferring reel tapes to CD.
This twofer reel issued by Liberty, carries two great albums by the great Si Zentner, with major hits of the time, and evergreens.

If you want a CD copy just ask me (chico75pi@gmail.com)

Love from Ella!

2007-02-01T07:28:00.000+01:00

YUSUF AND ISLAM

2007-01-29T07:07:00.000+01:00

YUSUF AND ISLAM
A FACT SHEET
CHARITABLE WORK

Since converting to Islam and leaving the music business 28 years ago, Yusuf has channeled the royalties from his Cat Stevens records to charitable causes, including a string of Muslim schools he personally established in London. His pioneering work resulted in a landmark decision by the British government to certify and support Islamic education throughout the country.

His U.N. registered charity, Small Kindness, provides humanitarian relief to orphans and families in Bosnia, Kosovo, Iraq, and other regions. He is also one of the few individuals to finance women to attend university in Baghdad.

He donated the royalties from the Cat Stevens Box Set, released in October 2001, to charity – with half going to The September 11th Fund and the remainder to orphans and homeless families in underdeveloped countries.

CONTROVERSY – SALMAN RUSHDIE

Yusuf's celebrity has made him a media and government target. Over the years, his beliefs and actions have often been misunderstood and misrepresented. He accepts this as a reflection of how extremists on both sides have attempted to use Islam as a combatant in a global struggle.

Yusuf was not heard from in public for a decade until 1989, when it was erroneously reported that he supported the death sentence ordered by the Ayatollah Khomeini against novelist Salman Rushdie for writing "The Satanic Verses." It was what he calls a "monstrous myth":

Yusuf was speaking to students at a university in London about his journey to Islam when he was asked about the fatwa (Islamic legal pronouncement) calling for the death of Rushdie. “Of course, I was going to be a prime target for a question on this issue,” so he responded with a simple statement of what he understood at the time of Muslim law. “I was simply a new Muslim who had stated something which I considered quite plain and obvious. If you were to ask a Bible student what the Ten Commandments are, you would expect him to repeat them honestly, and you wouldn’t blame him for doing so…”

“What I said was that, like the Bible, the Koran defines blasphemy without repentance as being a capital offense. And that’s all I stated. I never supported the fatwa. It was very sad to see such irresponsibility from the 'free press' and I was totally abhorred. I released a statement the very next day after I read the headlines, completely contradicting what they’d said, but that never got the headlines. Of course, once the damage is done, everybody perceives you for what they’ve seen on the front page. It was a matter of me learning the hard way.”

CONTROVERSY – “NO-FLY” LIST

In September 2004, Yusuf was on a United Airlines flight from London to Washington when the plane was diverted to Maine because he had apparently been mistaken for someone on the post-9/11 "no fly" list. He was deported back to England the following day, and an international controversy was provoked. “It was like I was reading a script where I was the star, and I didn’t even know what the plot was and how it was going to end. Perhaps it was about the fact that my name happens to carry my religion with it.”

When The Sun and The Sunday Times in England published articles agreeing with the U.S.’s actions, Yusuf sued the newspapers for libel. He received a substantial settlement from both papers, along with published apologies and acknowledgements that he had never supported terrorism. He donated his settlement to help orphans of the Asian tsunami.

”It seems to be the easiest thing in the world these days to make scurrilous accusations against Muslims,” he said at the time. “In my case, it directly impacts my relief work and damages my reputation as an artist.”
“MAN FOR PEACE” AWARD

Acclaimed around the globe for his devotion to peace and charity, Yusuf has received a series of prestigious awards for his life's work. He was named as the 2004 “Man for Peace,” voted for by a committee of all Nobel peace laureates and presented by Mikhail Gorbachev
ISLAM AND PEACE

"It may come as news to some, but the word Islam itself derives from the word peace," Yusuf points out. "That is the heart and soul of the religion and is what I've always followed. Other horrendous events that have taken place mean that it's now necessary to educate people that this religion is based on spiritual love, unity, and tolerance. I think that I've made that journey, and perhaps I can help others to an understanding that the vast majority of Muslims simply want to live a good life and be at peace with the rest of the world. Today I am in a unique position as a looking glass through which Muslims can see the west and the west can see Islam, and it is important for me to be able to help bridge the cultural gaps others are sometimes frightened to cross.”
THE RETURN TO MUSIC

He has often been asked why he gave up music so completely and did not find a way to accommodate his faith and his career. “I gave an interview in 1980 to a Muslim magazine and they asked me about music and the future, and I said I'd suspended my musical activities for fear that it may divert me from the true path," he recalls. "But I also added that I couldn't be dogmatic and say I'll never make music again. There's nothing in the Koran that says music is forbidden; yet when I looked at the music business I realised it was definitely a negative infringement on what I wanted from my spiritual life. I didn't want to have to worry about it, so for me that meant giving away my guitars and getting down to the job of living, starting the charitable work I wanted to do, and having a family life."

Ultimately, he says, the reason for his return to pop music is simple. "The language of song is simply the best way to communicate the powerful winds of change which brought me to where I am today, and the love of peace still passing through my heart. I feel gifted to have that ability still within me. I never wanted to get involved in politics because that essentially separates people, whereas music has the power to unify, and is so much easier for me than to give a lecture."
BACKGROUND: HIS PATH TO ISLAM

Although Cat Stevens’s conversion to Islam and departure from making music 28 years ago took the world by surprise, it was actually the culmination of a decade-long spiritual quest. "To some people it may have seemed like an enormous jump," he says. "But for me it was a gradual dawning, and my songs had already primed me for it.”

In 1968, having already achieved pop stardom in his native UK, his career was suddenly derailed when he contracted tuberculosis. “Because I was close to death, I started to think more purposefully about the meaning of life and why we are here,” he says. “That was the beginning of my search for something beyond, that eventually led me on a long journey to find out."

Having spent a year in recovery, he returned to recording with a new introspection and sensitivity. Throughout his hugely successful career in the 1970s, “I was always seeking, and my songs reflect that very clearly," he says today. "I was looking beyond the surface of the material world and wanted to find some higher truth.”

A major turning point in his life came while he was swimming off the coast of Malibu, California. "I was in the ocean and suddenly I'd lost it, I had no power to swim any more," he remembers. "I was fighting the ocean and I had nobody with me. Yet I did have someone. I called out, 'God, if you save me I'll work for you.' A friendly wave swept me in to shore and from that arose within me a deep conviction and belief that there is a higher control over one's life."

In 1976 his brother gave him a copy of the Koran. "I began to read it and found a totally unique form of revelation in terms of the communication between God and man," he recalls. “Today what some people think about Islam is something completely different form what I discovered when I started reading the Koran. It was that final discovery of the Koran and the message it contained which brought me home and from that moment my thoughts and all the things I had been leading to made sense.”

great Ella!

2007-01-26T16:53:00.000+01:00

Jazz legend Annie Ross in New York!

2007-01-16T15:51:00.000+01:00

Jazz legend Annie Ross continues her run of Tuesday's at the Metropolitan RoomAt GothamNew York’s newest and best music room34 West 22nd St. (between 5th & 6th Ave.)New York CityReservations (212)206-0440

Dates and times:
Tuesday, January 16th @ 7:00 PM (Jon Weber-piano and Leroy Williams-drums)
Tuesday, January 23rd @ 7:00 PM (Live Recording)
Tuesday, January 30th @ 7:00 PM (Live Recording)
February 6th @ 7:00 PM (Live Recording)

Tardo Hammer – Piano
Neal Miner – Bass
Jimmy Wormworth – Drums
Warren Vaché - Trumpet (when in town)

http://www.annieross.net

Jamie Cullum: Mad About Music from ALLABOUTJAZZ

2007-01-16T07:21:00.000+01:00

Published: January 2, 2007
By Katrina-Kasey Wheeler

Jamie Cullum is an innovator and an artist whose music speaks to a new generation of music fans and jazz enthusiasts alike. The title track from Twentysomething (Verve Forecast, 2004) is much like an anthem for this new cohort of music fans. He is a consummate musician and his passion for his art is clear, repeatedly showcased by his skilled improvisation and the clever lyrics of his compositions which set him apart from any artist of his kind. There is such sincerity in his vocal interpretations that fans of various ages can relate to the topics discussed in his songs.
Cullum maintains a composition’s original structure, while breathing captivating new verve into timeless songs such as, “Singing In The Rain,” “I Get A Kick Out of You” and “I Could Have Danced All Night,” to name a few.
As a young artist who is well on his way to becoming a household name, he appreciates who the great storytellers were before him. His music is a product of his intense love for various genres fostered during his adolescence, among them an admiration for jazz.
Having played countless gigs as an adolescent, he was able to competently gain the experience that seasoned players obtain through years of extensive travel on the road.
He has an air of both veracity and professional integrity. Cullum has enjoyed much success since his debut release Pointless Nostalgic (Candid, 2002), and likewise his most recent release Catching Tales (Verve Forecast, 2005) has garnered much critical acclaim and success.
Although currently on tour, I was able to speak with him during one of his free moments.
All About Jazz: You come from a musical family, your father played the guitar and your mother played the piano.
Jamie Cullum: Well my father played very badly, he could only play three chords. I think the musical part of the family really comes from the fact that we had a piano in the house and my mother sang in church. My brother was always interested in music from day one, so that is the connection.

AAJ: When was the first time that you knew that you had the talent to make music your career?
JC: That was not until I was twenty-one. I had already made my first album and played many gigs. I never thought that it would be my career, even when I was playing clubs and pubs. I earned a degree in Film and English Literature and in the back of my mind I didn’t think that I had the talent or the drive, but it just happened.
One turning point I think was the night before my final. For one of my film exams, which was on Alfred Hitchcock, I went to the movies to watch Rear Window, and I went to Ronnie Scott’s after the show to see the Mingus big band and something really clicked that night. There were twenty-five people in the band and ten people in the audience. As I watched them play they looked so happy just to be playing. When I saw that, I thought, “I want to do that, I want to be that good and I want to play with that much passion.”
AAJ: Your brother was one of the major influences for you as you grew up. He showed you how to be very open-minded about different styles of music. Was there one particular artist that inspired you to become a pianist?
JC: There were so many really. I guess it would have to be Herbie Hancock, if I have to go back to a true source of inspiration. Another great source of inspiration was Harry Connick, Jr. and Ben Folds as well. I was listening to a lot of rock, disco, rave, electronica and hip-hop during the time when I started to listen to Herbie Hancock. My brother and I checked out albums like Head Hunters (Columbia/Legacy, 1973), Thrust (Columbia/Legacy, 1974) and albums like that.
The first Harry Connick, Jr. album I listened to was an album called, She (Columbia, 1994). Which was a big album for him, which kind of freaked everyone out because he did all this funky stuff. It is the first album of his that I heard and really fell in love with. I had the opportunity to hear him perform that album live and that blew me away, and it was around that time that I was really into Ben Folds Five and I went to see him. Those are the three people who made me want to play. After that it was Bill Evans, Thelonious Monk, and Keith Jarrett that inspired me as well.
AAJ: All extremely talented artists. You have been playing music longer than some may think. You have been playing in bands since you were a teenager. Did that help you become even more focused in knowing exactly what direction you wanted your music to take?

JC: Well, what really helped is all that kind of pre-production. It was really just the experience of playing onstage. When I made Twentysomething, Pointless Nostalgic and Catching Tales, in terms of what music I wanted to do I absolutely knew, but there was far more experimentation. I went into the studio—you know, these are the ideas, these are the songs, and these are the arrangements, but I wanted to play around with them, I wasn’t completely closed off and not open to other ideas.
The experiences I had really enabled me to take the chances I had and make the best of them. You know when Universal did sign me and I did my first showcase, I didn’t choke because I had played so many gigs, I knew how to play to audiences. I pulled it off and that was really important—having that experience because these days, you shove a new artist in front of a showcase audience and they freak out. I probably did five or six hundred gigs before my first showcase and that was pretty easy compared to playing a wedding gig.
AAJ: I think that it is great for an upcoming artist to have that level of experience. If you look at a show like American Idol so many of the artists do not really know what they are getting into.
“As I watched them play they looked so happy just to be playing. When I saw that, I thought, 'I want to do that, I want to be that good and I want to play with that much passion.'”
JC: That is true, but that is what a show like that is for. I am really fond of the two idols that the show has produced, Kelly Clarkson and Ruben Studdard. They are both really good, they are great singers they are true pop stars. I think the industry needs people like that to mold. One of my favorite songs of last year was “Since You’ve Been Gone,” by Kelly Clarkson, and a song like that can only come from the product of a really good song writer or a really good producer and then a really good singer. Sometimes something that good can only come about when every part is taken care of by the best in their field. I’m not too quick to criticize that kind of show because you have to know what you’re getting with them. You’re not going to get the next Brad Mehldau but you just might get the next Dionne Warwick, someone with a really great voice for their craft.

AAJ: There is a definite need for more forums to discover new talent. These reality shows can be great platforms in that respect.
JC: It is but it has also made getting discovered even that much harder in some ways because young kids are growing up thinking that that is the only way to get into the music industry. They need to know that they can get out there and play gigs and learn their craft.
AAJ: What do you think when people compare you to crooners of the golden age, and call you “Sinatra in sneakers”? Are you comfortable with that? Is that a validation for you or are you uncomfortable with such comparisons?
JC: When people do say that it is normally because they have seen a clip on television or they have heard about half a track. As soon as you have been to one of my shows or have heard an album all the way through, those common thoughts go out the window.
AAJ: Exactly. Anyone who is not entirely familiar with your music would jump to that conclusion.
JC: Right. They would make that assumption. There are moments of crooning in my shows and then moments of rocking-out, moments of electronica, moments of pop and moments of straight-ahead jazz. You know the crooning aspect is really a very small part of what I do. That includes the repertoire and the approach to singing.
AAJ: You have said before that your music has an intelligent bedrock and an intelligent edge that many people can enjoy, not exclusively jazz aficionados. Does it bother you at all if someone says that your music is not truly jazz? I would think that your very successful career would be a validation to keep doing what you do. You have many fans.
JC: It would bother me if I couldn’t do certain things. I have played opposite Coldplay and The White Stripes. I had the chance to play the Newport Jazz Festival opposite Dave Brubeck, Herbie Hancock, and Wayne Shorter. At most of those shows we managed to engage the audiences. We have engaged the rock and pop audiences. The Newport Jazz Festival is probably one of the most famous jazz festivals in the world and we managed to engage the main stage audience with no difficulty.
I am not out to impress the hardcore jazz fans as much as I am not out to impress the hardcore indie rockers. I am just making good music which has a bedrock in jazz, a bedrock in pop, and good song writing. I play with jazz musicians and we improvise and we change the set up, and we do change the way we play the songs. We are also not too proud to play a good groove and stick to it, play harmonies and have fun on stage. If we want to play a certain song then we will do it. That is what makes it special, different and interesting.
If a jazz purist doesn’t like it, that’s great. He can go back and sit in a dark room and listen to what he does, like I do on a night off. I’ll be sitting there listening to Sonny Rollins reissues with no problem, but sometimes, I want to go out there and wrap my head around Queens of The Stone Age. I am a music fan, not a music snob.

AAJ: That is a great distinction—a music fan versus a music snob. Your fans see you at your concerts performing material from George Gershwin and Pharrell Williams to your own compositions. You have to be connected and have a love for music to be able to do that.
JC: Absolutely, the jazz artists that I have always really admired apart from the obvious greats are really the ones who switch it around and don’t do what you expect. People like, Dave Douglas, Brad Mehldau, Patricia Barber, people that are not afraid to do what is outside of what jazz aficionados expect them to do. Jazz musicians are very open, but sometimes the audience thinks that for example, Brad Mehldau sits at home and listens to nothing but Bill Evans and Keith Jarrett and that’s just not true.
AAJ: In your opinion, what is the best jazz album of all time?
JC: That is an extremely difficult question to answer really. I don’t want to go straight to the clichés but, I think one of the first jazz albums I really connected with—you know, as a youngster before I knew anything about jazz, was In a Silent Way (Columbia/Legacy, 1969), by Miles Davis. I know it is not like his most outgoing record, it is very spacey and it is very single chord driven, but there is something about the way that music was put together, it spoke to me in a way that no other music had spoke to me before. I realized that the essence of jazz was in the way that I connected to it: the space, the inter-vibration, the conversation, the spontaneity, and the groove. It wasn’t swing and it wasn’t funk or fusion, it was just this music that seemed to come from the heart and the brain at the same time. This album—I couldn’t quite get my head around it but I knew I loved it, and for that reason I always think of that album as the birth of my real understanding of what jazz is.
AAJ: I think one of the great things about jazz is that you can take various influences and explore them and create something new, which is like what you do with your music.
JC: I see other artists who aren’t jazz artists but are doing similar things, like Bjork, Brad Mehldau, and all these artists who are creating their own sounds, and that is why jazz is so great, because it is so open to that. It is so malleable it is the widest path to take you wherever you want to go.
AAJ: You create new adaptations to songs that are already thought to be great in their own right, like songs from the Great American Songbook. Do you ever feel the pressure to make a cover song great in a new way, or do you feel that it is at all expected of you to make it completely your own?
JC: When I think of a song I want to do, it is because I have an idea for it. I don’t really pick songs and say to myself, “How can I make this different?” It is normally more about hearing a great song that I love and having a way to approach it. If I was just going to take a song and make it different, I don’t think that it would have the same kind of passion connected to it. For instance, when I did Jimi Hendrix’s “Wind Cries Mary,” apart from the fact that I loved it, I had this crazy dream about Dr. John and Hendrix having it out together. From that moment on the idea was born, and it comes in those types of impulses. I’m always thinking about ideas, lyrics, chords, and songs, so I’m never really short on ideas.
AAJ: Were you at all surprised by the success of your most recent release, Catching Tales?
JC: Well, I think it is always going to be difficult following up to an album as successful as Twentysomething. I didn’t expect one thing or the other I just made music that I believed in.
AAJ: Every artist hopes to leave their mark through their music, what do you hope yours to be?
JC: All I have ever really wanted to do is be a great musician. Long before I ever had a career, I just wanted to play well and play with good musicians. It sounds maybe over modest, but that is still really all I want to do—be a really good player. Careers don’t last very long these days, just having a career that lasts longer than ten years is a big enough deal in the industry today, so that would be a good start, at the end of all that, I would like to be regarded as someone who could really play, really sing, and really write. I don’t need to shift another ten million units I would just like to be regarded as a great musician.”

Selected Discography:
Geoff Gascoyne, Keep It to Yourself (Candid Records, 2006)
Jamie Cullum, Catching Tales (Verve Forecast, 2005)
Jamie Cullum, Twentysomething (Universal/Verve, 2004)
Jamie Cullum, Pointless Nostalgic (Candid Records, 2003)

Visit Jamie Cullum on the web.

Vocalist Suzanne Pittson Presents The Music Of Freddie Hubbard At Sweet Rhythm, Wednesday, January 24th Sets at 8 & 10PM

2007-01-16T06:41:00.001+01:00

VOCALIST SUZANNE PITTSON PRESENTS THE MUSIC OF FREDDIE HUBBARD AT SWEET RHYTHM, WEDNESDAY, JANUARY 24

The Suzanne Pittson Quartet will present the music of trumpeter Freddie Hubbard with original lyrics on
Wednesday, January 24 at Sweet Rhythm in New York City.

The Quartet includes:
Suzanne Pittson, vocals
Jeff Pittson, piano
Harvie S, bass
Anthony Pinciotti, drums

http://www.suzannepittson.com

Suzanne will perform such Freddie Hubbard compositions as "Birdlike," "Crisis," "Cunga Black," "Jodo," "Hub-tones" and "The Intrepid Fox" with original lyrics, as well as "Up Jumped Spring," with lyrics by Abbey Lincoln.

Sweet Rhythm is located at 88 Seventh Avenue South (between Grove and Bleecker), NYC. Sets at 8 & 10PM; $15 cover, $10 minimum.
for reservations call: 212.255.3626 http://www.sweetrhythmny.com/

'Suzanne Pittson is a gusty, informed scatter...she knows her chord changes. The singer is one to watch for."
Zan Stewart-Down Beat

"Suzanne Pittson is a true jazz singer...her scat work is breathtaking."
Jerome Wilson - Cadence

Suzanne Pittson lives in New York and is Assistant Professor of Jazz Vocal Studies at The City College of New York. Called a "true jazz singer" by Cadence magazine and a "true musician" by JazzTimes, she is rapidly gaining the respect of the jazz world because of her scatting and technical accuracy, her creativity and musicianship, and her broad improvisational vocabulary. All About Jazz says "Pittson is like an additional horn in the ensemble. Her 'scatting' drives the rhythm section and they respond to her urgings."

Suzanne's most recent CD, "Resolution: A Remembrance of John Coltrane" features unique vocal interpretations of the music of John Coltrane—including 2 movements of "A Love Supreme"—and is mentioned in Ashley Kahn's 2002 book A Love Supreme: The Story of John Coltrane's Signature Album (Viking). Her bold and adventurous improvisations, based on study of John Coltrane and the post-Coltrane saxophonists, push the development of the jazz singing language into new realms of expression.

Jazz World Mourns Michael Brecker and Alice Coltrane

2007-01-14T14:21:00.001+01:00

by Paul Cashmere - January 14 2007
http://undercover.com.au/News-Story.aspx?id=1288

It has been a sad weekend for the jazz world with the death of two
prominent musicians. Alice Coltrane and Michael Brecker both died this
weekend.

Born Alice McLeod in 1937, she met and married John Coltrane, credited
as the creator of avant-garde music. Alice played with John's band until
his death in 1967.

Her instruments of choice were piano, harp and Wurlitzer organ.

Alice's most recent albums were recorded for the Verve label.
(more about Alice Coltrane can be found here: ( http://members.aol.com/ishorst/love/alice.html)

Michael Brecker had been suffering from the pre-leukemic disease MDS. He
was diagnosed in 2005. In May 2006, he underwent an experimental stem
cell operation that did not go as well as hoped. Doctor's had been
searching for a suitable bone marrow match for Brecker over the past
year but were unable to find the right match.

Born in Philadelphia in 1949, Brecker recorded his own albums with his
bands Horace Silver and the Brecker Brothers (with brother Randy).

He was also a well-known session musican appearing on albums by Paul
Simon, James Taylor and Yoko Ono.

More about Michael Brecker: http://michaelbrecker.com/

New Oscar Peterson/Ray Brown/Milt Jackson release

2007-01-13T16:50:00.000+01:00

WHAT’S UP? FEATURES BRILLIANT TRIO WORK BY JAZZ LEGENDS OSCAR PETERSON, RAY BROWN AND MILT JACKSON

Telarc unearths unreleased tracks from famed 1998 Blue Note date by The Very Tall Band

When pianist Oscar Peterson, bassist Ray Brown and vibist Milt Jackson convened for a performance at the Blue Note in New York City on Thanksgiving weekend in 1998, the music that emerged was as brilliant as it was spontaneous. The performance itself – a landmark collaboration by three jazz giants – garnered critical praise from all corners, as did the resulting recording, The Very Tall Band (CD-83443), released on Telarc the following year.

But for as fine a recording as The Very Tall Band was, there was plenty of material from the three-night gig that didn’t make the final cut. Elaine Martone, Telarc’s executive vice president of production and producer of the original Very Tall Band release, has dug into the vaults and emerged with seven additional tracks recorded at the Blue Note date. The result is What’s Up?, nearly 60 minutes of unreleased material from this historic 1998 performance.

1. Squatty Roo
2. Salt Peanuts
3. Ad Lib Blues
4. If I Should Lose You
5. Limehouse Blues
6. Soft Winds
7. The More I See You

Oscar Peterson - piano
Ray Brown - bass
Milt Jackson -- vibes
Karriem Riggins -- drums

Rhythms del Mundo - CUBA

2007-01-09T21:13:00.000+01:00

• This unique compilation project brings together the legendary musicians of the Buena Vista Social Club,
some of today’s most popular music stars Chris Martin (Coldplay), Dido, Franz Ferdinand, Sting,
Bono, Radiohead among others, performing collaborations of some of their classic hits.

Tracklisting:
COLDPLAY Clocks
STING Fragilidad
JACK JOHNSON Better Together
ARCTIC MONKEYS Dancing Shoes
DIDO AND FAITHLESS One Step Too Far
IBRAHIM FERRER As Time Goes By
U2 WITH COCO FREEMAN
I Still Haven’t Found What I’m Looking For
FRANZ FERDINAND The Dark Of the Matinee
VANYA AND RHYTHMS DEL MUNDO Don’t Know Why
KAISER CHIEFS Modern Way
GORILLAZ Feel Good Inc.
OMARA PORTUONDO Killing Me Softly
AQUILA ROSE AND IDANIA VALDEZ Hotel Buena Vista
MAROON 5 She Will Be Loved
VANYA AND RDM FEATURING QUINCY JONES Ai No Corrida
LELE’ FEATURING RADIOHEAD High And Dry

Released on November 2006 Through Hip-O Records/Universal Music Enterprises Featuring collaborations from members of The Buena Vista Social Club and the hottest US/UK artists of the moment

Album proceeds will benefit disaster relief efforts and climate change awareness

FEATURES LAST EVER RECORDING BY IBRAHIM FERRER

ONLY COMPILATION ALBUM TO INCLUDE A TRACK BY THE ARCTIC MONKEYS

Hip-O Records/Universal Music Enterprises released Rhythms Del Mundo, an exciting collaborative album, which fuses the hot Afro-Cuban sounds of The Buena Vista Social Club with tracks from today's biggest artists such as U2, Coldplay, Sting, Jack Johnson and Maroon 5 as well as some of the buzziest bands, including The Arctic Monkeys, Franz Ferdinand, The Kaiser Chiefs and many others. It also features the amazing vocals from famed Cuban vocalists, Omara Portuonda, and the last ever recording of the much beloved Ibrahim Ferrer. The album is in aid of Artists Project Earth (APE), which lends support for natural disaster relief and climate change awareness. Universal Music Enterprises will donate a portion of its proceeds from sales of the album in the United States to the Music Rising campaign, an instrument replacement fund for musicians of the Gulf Coast.

Rhythms Del Mundo is an electrifying album that fuses music of different cultures and comes up with a melting pot of rare sounds. Arranged by Demitrio Muniz, the main recording sessions took place in Havana at Abdala Studios from April 2005 to June 2006. While the majority of the vocals remain the same, The Buena Vista Social Club took the original orchestration from each song and created something utterly unique casting their trademark mastery over each track. Their noted and exceptional musicianship seduced even the notoriously protective Arctic Monkeys into handing over their track. As a rule, the band has never licensed their music for compilation albums, but were so enamoured with the result that they were happy for it to be included on the album. As well as The Arctic Monkeys' track "Dancing Shoes", Rhythms Del Mundo includes reworked tracks such as "Clocks" by Coldplay, "Better Together" by Jack Johnson, "She Will be Loved" by Maroon 5, "High and Dry" by Radiohead and others.

Rhythms Del Mundo also includes music by famed Cuban singers Omara Portuondo and the last vocal recording of Afro-Cuban bolero singer, Ibrahim Ferrer, who died tragically in 2005. The other Cuban musicians from The Buena Vista Social Club who perform on this album are as follows: Barbarito Torres, Amandito Valdes, Virgilio Valdes, Angel Terri Domech, Manuel 'Guajiro' Mirabal, Orlando Lopez 'Cachaito' and Demetrio Muniz.

Kenny Young, producer and Founder/Trustee of APE, explains how the project emerged: "The project was sparked off by the devastating Tsunami of Xmas 2005. The idea came in to do a project with The Buena Vista Social Club to fuse their Latin sounds with Western artists and their familiar popular songs. The project evolved when more environmental disasters struck - the Asian Earthquakes and Hurricane Katrina. But the big picture was climate change. You can call these natural disasters but after all the research and scientific data, we know that we're at least partly to blame for some of these disasters. Global warming is now in the news daily. If we don't act in the time frame our experts give us, our grandchildren will curse us eternally.

The artists on this album fully support the record as a show of commitment to the music and to the cause that it endorses. Thom Yorke comments, 'We need a law, we need to have the Government put climate change in its place. If you leave industry to sort it out on a voluntary basis that's never going to happen. So everybody if they've got any concerns about climate change has to register that concern with their Government officials because it's the only way to go.'

The packaging for the album is carbon neutral.

Rhythms Del Mundo is released on November 14, 2006 through Hip-O Records/Universal Music Enterprises.

For more information on the charities that will benefit from this album go to www.Apeuk.org and to www.musicrising.org.

http://www.rhythmsdelmundo.com/

University of Northern Iowa Jazz Band One Releases New CD

2007-01-08T07:09:00.000+01:00

The University of Northern Iowa Jazz Band One has released their latest CD entitled Destination Unknown. It contains a wide mix of progressive new compositions and more traditional big band music. Some composers and arrangers whose work is featured on the album include Chris Merz, Jim McNeely, Kyle Novak, Jeff Holmes, Kim Richmond and Duke Ellington.The recipient of numerous awards and honors, UNI Jazz Band One, the School of Music's top jazz performing group, is one of the premier collegiate jazz ensembles in the Midwest. Formerly directed by Robert Washut, Jazz Band One appeared at festivals all over the country and in Europe. The band performed at the Montreux Jazz Festival in 1998, 1989, and 1995 and at the North Sea Jazz Festival in 1998 and 1989. Jazz Band One has received outstanding band recognition at the Notre Dame (Indiana), Wichita (Kansas), Kansas City (Missouri), Eau Claire (Wisconsin), and Elmhurst (Illinois) Jazz Festivals. It has twice been a featured band (by invitation) at both the Greeley (Colorado) and KU (Kansas) Jazz Festivals and has performed at IAJE Conferences in Long Beach, California (2002) and Chicago, Illinois (1981). The band has also been the recipient of three Outstanding Performance Awards (1999, 1995 and 1993) in the collegiate big band category of Downbeat magazine's Annual Student Music Awards. As of August 2002, Jazz Band One is under the direction of Chris Merz.Jazz Band One has been a pioneer in innovative programming and instrumentation. Maintaining a balance of classic Basie and Ellington works and contemporary original compositions, the ensemble's repertoire consistently display's depth and diversity of style. The repertoire also showcases the versatility and high level of musicianship of the players in the band. Several original compositions and arrangements have been commissioned by the band from composers such as Manny Albam, Jane Ira Bloom, Ed Sarath, Chris Merz, Paul McKee, and Rob Hudson.The band has recorded fifteen CDs. Prominent guest artists who have appeared with Jazz Band One include: Rich Perry, Maria Schneider, Cuong Vu, Peter Erskine, Ben Monder, Benny Golson, Tim Hagans, Ryan Kisor, Bob Berg, Jimmy Heath, Dick Oatts, Terell Stafford, Bobby Shew, Matt Wilson, Donald Harrison, Steve Turre, Jerry Bergonzi, Jane Ira Bloom, Carl Fontana, James Williams, Conrad Herwig, Jiggs Whigham, David Liebman, Sunny Wilkinson, and Hal Galper, among many others.

this mail to wish you HAPPY NEW YEAR!!!!!!

2006-12-31T16:14:00.001+01:00

this e-mail to wish you a Happy New Year!!!!!!!!

Miky

Vocalist Audrey Silver Appearing At Sweet Rhythm Tuesday, December 5th sets at 8pm and 9:30pm

2006-12-01T20:42:00.000+01:00

Vocalist Audrey Silver

Appearing At

Sweet Rhythm
  88   Seventh Ave. South
   (bet. Grove & Bleecker)
        212-255-3626
http://www.sweetrhythmny.com/

Tuesday, December 5th
sets at 8pm and 9:30pm

Jon Cowherd - Piano
John Hart - Guitar
Joe Fitzgerald - Bass
Anthony Pinciotti - Drums

link to website:
http://www.audreysilver.com

"... A sincere, multi-talented singer and an intelligent entertainer with class and vibrant originality. You will love her lyrical style... and luxurious voice. This woman is on her way to stardom."
New York Monthly Herald, May 2006

"Her voice rings true, with lovely tone and fine diction. She seems to pick the right tempo for each song she chooses. The ballads don't just die there— they move! And most of all, when there is a tempo, she swings!!! I dug it. You'll dig it too."
– Bob Dorough, Singer/Pianist

"Audrey Silver has that rare quality of light infectious swing that lights up her tall willowy persona."
– Mark Murphy, Vocalist

Acclaimed Tuba Player Don Butterfield Dies

2006-12-01T07:04:00.000+01:00

November 29, 2006

Don Butterfield, a tuba player who performed with such stars as Dizzy Gillespie and Frank Sinatra and whose work can be heard on the 'Godfather: Part II,' has died at age 83.

Butterfield died Monday of an illness related to a stroke he suffered about a year ago, his wife, Alice Butterfield, said Wednesday.

Born in Centralia, Wash., Butterfield wanted to play the trumpet for his high school band but was handed a tuba by the band's director because there were no more trumpets. He went on to study at the Juilliard School in New York.

During a five-decade career, Butterfield performed as a studio musician, recording with notable artists, and for television commercials and movie soundtracks.

Alice Butterfield said her husband played in just about every music club of note in New York. He was a member of the American Symphony and the Radio City Music Hall Orchestra, and toured the country.

'He just loved the tuba when he got it, that was his instrument,' said Alice Butterfield, who said her husband's stroke left him unable to play music. 'He just fell in love with it.'

David Demsey, a professor of music and coordinator of jazz studies at William Paterson University, said Butterfield 'brought back the tuba and took the oompa out and added a melodic tone.'

In a 2003 interview with The Record of Bergen County, Butterfield acknowledged that the tuba could be viewed as ungainly and unglamorous. He compared the instrument to 'an interstate truck driver.'

'We're not going to be racing in the Indianapolis 500,' he said. 'At the same time, we understand that we have a certain function in the orchestra.'

Wizard of Oz returns to cinemas

2006-12-01T07:00:00.000+01:00

Judy Garland (l) was 16 years old when she made the film

A digitally restored version of 1939 Hollywood classic The Wizard of Oz is to open in UK cinemas next month.

Working from the original three-strip Technicolor negatives, experts at the Warner Bros studio have removed dirt, dust, debris and scratches.

The result, according to the British Film Institute, boasts "amazing image clarity and breathtaking colour".

Based on L Frank Baum's 1900 novel, the film stars Judy Garland as a farm girl transported to a magical kingdom.

Winner of three Academy Awards, it opens in 40 cinemas across the country on 15 December.

Lavish costumes

The three-strip Technicolor process - which combined three strips of coloured film - yielded excellent colour quality but was expensive and difficult to handle.

That, combined with the lavish sets and costumes, swelled the budget to a then enormous $2.7m.

Judy Garland was 16 years old when she won the part of Dorothy - a role she won after MGM decided Shirley Temple's talents were not extensive enough to do it justice.

Wicked, a musical based on the witches in The Wizard of Oz, is currently running in London's West End.

Anita O'Day Memorial/Funeral Saturday Dec 2, 1pm Hollywood Forever Cemetery

2006-11-29T18:52:00.000+01:00

ANITA O'DAY MEMORIAL/FUNERAL
SATURDAY DEC 2, 1PM

HOLLYWOOD FOREVER CEMETERY
6000 SANTA MONICA BLVD.
HOLLYWOOD CALIFORNIA, 90038
323-469-1181

Anita O'Day Sings Tea For Two

2006-11-24T07:57:00.000+01:00

Anita O'Day - A Biography

2006-11-23T20:30:00.000+01:00

Born Anita Belle Colton in Chicago, Illinois on October 18, 1919, O’Day got her start as a teen. She eventually changed her name to O’Day and in the late 1930’s began singing in a jazz club called the Off- Beat, a popular hangout for musicians like band leader and drummer Gene Krupa. In 1941 she joined Krupa’s band, and a few weeks later Krupa hired trumpeter Roy Eldridge. O’Day and Eldridge had great chemistry on stage and their duet “Let Me Off Uptown” became a million-dollar-seller, boosting the popularity of the Krupa band. Also that year, “Down Beat” magazine named O’Day “New Star of the Year” and, in 1942, she was selected as one of the top five big band singers.
After her stint with, Krupa, O’Day joined Stan Kenton's band. She left the band after a year and returned to Krupa. Singer Jackie Cain remembers the first time she saw O’Day with the Krupa band. “I was really impressed,” she recalls, “She (O’Day) sang with a jazz feel, and that was kind of fresh and new at the time.” Later, O’Day joined Stan Kenton’s band with whom she cut an album that featured the hit tune “And Her Tears Flowed Like Wine”
In the late’40s, O’Day struck out on her own. She teamed up with drummer John Poole, with whom she played for the next 32 years. Her album “Anita”, which she recorded on producer Norman Granz’s new Verve label, elevated her career to new heights. She began performing in festivals and concerts with such illustrious musicians as Louis Armstrong, Dinah Washington, Georg Shearing and Thelonious Monk. O’Day also appeared in the documentary filmed at the Newport Jazz Festival in 1958 called “Jazz on a Summer Day”, which made her an international star.
Throughout the ‘60s Anita continued to tour and record while addicted to heroin and in 1969 she nearly died from an overdose. O’Day eventually beat her addiction and returned to work. In 1981 she published her autobiography “High Times, Hard Times” which, among other things, talked candidly about her drug addiction. More biographical information reprinted with permission from http://www.npr.org

Anita O'Day...no more

2006-11-23T20:21:00.000+01:00

October 18, 1919 - November 23, 2006

Jazz vocal legend Anita O'Day passed this morning November 23, 2006 at 6:17 AM in West Los Angeles. The cause of death was cardiac arrest according to her manager Robbie Cavalina.

Born Anita Belle Colton in Chicago, Illinois on October 18, 1919, O'Day got her start as a teen. She eventually changed her name to O'Day and in the late 1930's began singing in a jazz club called the Off- Beat, a popular hangout for musicians like band leader and drummer Gene Krupa. In 1941 she joined Krupa's band, and a few weeks later Krupa hired trumpeter Roy Eldridge. O'Day and Eldridge had great chemistry on stage and their duet "Let Me Off Uptown" became a million-dollar- seller, boosting the popularity of the Krupa band. Also that year, "Down Beat" magazine named O'Day "New Star of the Year" and, in 1942, she was selected as one of the top five big band singers.

After her stint with, Krupa, O'Day joined Stan Kenton's band. She left the band after a year and returned to Krupa. Singer Jackie Cain remembers the first time she saw O'Day with the Krupa band. "I was really impressed," she recalls, "She (O'Day) sang with a jazz feel, and that was kind of fresh and new at the time." Later, O'Day joined Stan Kenton's band with whom she cut an album that featured the hit tune "And Her Tears Flowed Like Wine"

In the late'40s, O'Day struck out on her own. She teamed up with drummer John Poole, with whom she played for the next 32 years. Her album "Anita", which she recorded on producer Norman Granz's new Verve label, elevated her career to new heights. She began performing in festivals and concerts with such illustrious musicians as Louis Armstrong, Dinah Washington, Georg Shearing and Thelonious Monk. O'Day also appeared in the documentary filmed at the Newport Jazz Festival in 1958 called "Jazz on a Summer Day", which made her an international star.

Throughout the '60s Anita continued to tour and record while addicted to heroin and in 1969 she nearly died from an overdose. O'Day eventually beat her addiction and returned to work. In 1981 she published her autobiography "High Times, Hard Times" which, among other things, talked candidly about her drug addiction.

Her final recording was "Indestructible Anita O'Day" and featured Eddie Locke, Chip Jackson, Roswell Rudd, Lafayette Harris, Tommy Morimoto and the great Joe Wider. A documentary, "ANITA O'DAY - THE LIFE OF A JAZZ SINGER" will be released in 2007.

For more info visit: http://www.anitaoday.com/

Patti Wicks Trio - Italian Sessions

2006-11-23T08:39:00.000+01:00

Patti Wicks Trio
Italian Sessions

Patti Wicks - piano/vocals
Giovanni Sanguineti - bass
Giovanni Gullino - drums

featuring:
Gianni Basso - tenor sax

Tracks:

-This Hotel
-I've Got the World on a String
-Where Do You Think You're Going?
-E Minor Waltz for Gavin (Wicks)
-A Beautiful Friendship
-I Keep Going Back to Joe's
-Laura
-It Might As Well Be Spring
-Here's To Romance (Wicks)
-Daydream
-Baby, Don't You Quit Now

Josephine Baker: A Jazz-Age Madonna

2006-11-23T07:00:00.000+01:00

See the original article here.

IT'S BEEN SAID that she could contort her body in shocking ways. That when she walked or even waddled onto a stage, audiences were captivated.

She was born Freda MacDonald in St. Louis to parents Carrie MacDonald and Eddie Carson. She was a civil rights activist and she served France during World War II. She was a dancer, a comedian, an actress, a mother of 12 adopted children of differing nationalities who she called her "Rainbow Tribe," and an international star. She was Josephine Baker.

And to observe the 100th anniversary of her birth, the National Portrait Gallery honors her life and achievements with " Josephine Baker: Image and Icon."

Opening Friday, this celebration of Baker's contributions to everyday American life visits our nation's capital from her hometown, where it was organized by the Sheldon Art Galleries. Consisting of nearly a hundred pieces chosen from numerous collections, "Image and Icon" explores Baker's desire to transform her public persona.

The young Freda's life was plagued by contradictions. After being abandoned by her parents, she was brought up by a grandmother and an aunt who took her in only because her light skin provided much-welcomed evidence of her Indian heritage. Born into poverty, she spent much of her youth cleaning and baby-sitting in the homes of wealthy white families. Soon, these mounting paradoxes proved too much, and at the age of 13 Freda ran away to join a traveling road show.

Around the same time, the teenager also took a job waiting tables, through which she met Willie Wells, who she was married to briefly. And while it was uncommon for a woman during her time, she remained financially independent and, thus, never hesitated to divorce and remarry again — which she did three more times. Her second marriage to Willie Baker, whose name she decided to keep, gave Freda and the world her alter ego.

This is when "Image and Icon" enters the story of Baker's life. She went on to become a somewhat
overnight success in Paris. A corridor filled mostly with posters, prints and sketches by French graphic artist Paul Colin — who helped cement Baker's image — anchors the exhibition halls on either side of it and seems a mini-tribute to Colin's artistic talents as much as to Baker.

From there, the exhibit takes you chronologically through Baker's modes with ephemera (music sheets and programs) and photographs — some blown up to ooh-and-aah sizes one could easily stare at for hours. The more candid photos document her wartime service and provide an honest and satiating glimpse of the woman who seemed to fear nothing except, of course, the usual.

National Portrait Gallery, 8th and G streets NW; through March 18; 202-633-1000. (Gallery Place-Chinatown)

Image courtesy National Portrait Gallery.

Talking with Tony Bennett, who has a new TV special next week

2006-11-21T09:13:00.000+01:00

By MARK BROWN
Scripps Howard News Service
15-NOV-06

Tony Bennett's new TV special, which airs at 8 p.m. EST Nov. 21 on NBC, calls him "An American Classic." What more can you say? The crooner recently released "Duets: An American Classic," in which he sings with Bono, Paul McCartney, Elton John and more, doing songs that range from standards to Green Day.

In the special he'll sing with Barbra Streisand, John Legend and others. He recently got on the phone with producer-director Rob Marshall ("Chicago") and reporters and spoke about his career at age 80.

Q: What impressed you about the artists you worked with on this disc and on the special?

A: Well, there are a lot of good artists. But I think my son really did a great choice of artists that are on the album. Every one of them is just magnificent. I had questions whether they were going to be prepared and professional. Everyone was and everyone had a great time. And you never know when the labor of love happens, but that's what happened to me on that special and with this album.

Q: What was the visual concept?

A: (From Rob Marshall): It really is in some ways like 10 small different films. We have 10 numbers and the look of it was really, I mean, I really took the whole idea of the special from Tony's career. So they begin, for instance, with a '40s jazz club where Tony was inspired to sing and we move to the Columbia artist recording studios of the '50s and we go to variety specials from the '60s and Vegas of the '60s.

Q: Frank Sinatra called you the best singer in the world. Who would you choose for that title these days?

A: Well, I like Michael Buble an awful lot. John Legend is going to be around. They're not going to be fading out in a year or five years from now. After finding out how professional they all were and how prepared they were when they came in, everybody is just a consummate artist already.

Q: You're known for your positivity despite hardships in your early life.

A: Well, I just think that only comes from someone that has a very strong passion and as far back as I could remember since I was a little boy I've always just loved (music). I just adore it. And I love to study it, and you know just get wrapped up in the creative zone of music and art. So when happy times come, which it's just something that happens to everybody in life, I've just learned to just, you know, realize that you have to be very flexible and go for it.

Q: How do you prepare for performing?

A: I just learned a long time ago learning from masters _ in fact, the late Buddy Rich. ... He said: "You know they usually say in show business you're only as good as your last show." But, he said that's not an accident. He says: "You're only as good as your next show. The last one is gone already." So you have to really strive every time you go in front of an audience. You have to make it like the first time you've ever done it and go for it.

Q: What's the secret of your ongoing popularity?

A: Well, I just try to be as consistent as possible, but I just can't believe that for 45 years I've been sold out everywhere in the world. I think because of that you want to just, you know, get, as Sting once mentioned on an interview, he said you get addicted to the audience. You know you hear the applause. It turns you on. You know you just can't wait for that next show in the next town.

Q: You're called an American classic. Does such praise ever embarrass you?

A: Not really. I mean, I've very flattered by it. My God, I can't believe _ where I came from, you know, from during the Depression and where I've landed, it's so fantastic. And I don't like to regress.

This Week At Cornelia Street Cafe

2006-11-20T17:29:00.000+01:00

This Week At Cornelia Street Cafe

Mon Nov 20
8:30PM WORLD MONDAYS: NATALIE MICHAN
(Natalie Michan, vocals; Yakir Ben-hur, piano; Assaf Hakimi, bass; Harvey Valdes, oud; EJ Fry, percussion; Luke Notary, percussion)
Natalie Michan performs a fusion of Latin-American and Middle-Eastern music, drawing on the traditions of Spain, Cuba Peru and the Orient. Her songs are poems and prayers that celebrate the spirit. And it is Natalie's pure and haunting voice that carries listeners on a journey through exotic traditions of the past arriving at a transcendent moment of the present.
Cover $10 http://www.nataliemichan.com
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Tue Nov 21
8:30PM EAST WEST QUINTET CD RELEASE
(Dylan Heaney, saxophones; Simon Kafka, guitar; Mike Cassedy, piano; Ben Campbell, bass; Jordan Perlson, drums)
The East West Quintet is fast emerging as a new voice in jazz music. With a strong repertoire of innovative and original music, the group showcases the individual talents of its five members while maintaining a tight, cohesive group sound. Since forming in 2003, the Quintet has been playing to packed houses of enthusiastic fans in New York City and throughout the West Coast. Described by one of their fans as "Jazz with the energy of a rock band," the Quintet always puts on an exciting show, attributing their fast growing popularity to their ability to connect with audiences of all types. The group is currently promoting its second CD, "The Brooklyn EP," which it released in June of 2006.

"The East West Quintet plays hard bop for the 21st century, combining solid swing with smart writing, assured improvisation and a tight band sound."
- Mark Meyers, All About Jazz

cover $6/cover + CD: $10
http://www.eastwestquintet.com
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Thu Nov 23
6:00PM HAPPY THANKSGIVING
Check out our fabulous Thanksgiving Day menu in another part of this forest--FOOD! Served from 2pm and almost certainly sold out . . .
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Fri Nov 24
9:00PM & 10:30PM ANAT FORT TRIO
(Anat Fort, piano, composer; Gary Wang, bass; Roland Schneider, drums)
“You’ll be hearing a lot more from Israeli-born pianist and composer Anat Fort shortly. Her astonishing compositions and gift for band-leading recently caught the attention of ECM records – a disc is being readied for next year. Here’s your chance to catch her on the way up."
– K. Leander Williams, Time Out New York
Cover $10 http://www.anatfort.com
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Sat Nov 25
9:00PM & 10:30PM JAMES CARNEY GROUP
(Jonathan Finlayson, trumpet; Chris Lightcap, bass; Ted Poor, drums; James Carney, rhodes, compositions)
"An intriguing pianist whose compositional sense almost overshadows his instrumental know-how, Carney sets up shop with the city’s most engaging young improvisers. His stuff is well sculpted, and you’ll hear its sophistication."
-Jim Macnie, The Village Voice

"Mr. Carney, a smart keyboardist and a broadly imaginative conceptualist and composer, leads a cadre of adventurous and versatile players."
-Nate Chinen, The New York Times

Keyboardist & composer James Carney received the 1999 Thelonious Monk International Composers Award, and he also received the "Best Jazz Artist" award from the LA Weekly in 2002. He has released three well-received albums: "Fables from the Aqueduct" (1994); "Offset Rhapsody" (1997); and "Thread" (2002). He will be recording a new album in June 2006 for the Songlines label.

Carney's music might be described as inclusive jazz; he favors assymetrical forms and complex harmonic models influenced as much by classical, rock, pop, world and the avant-garde as by the jazz tradition. He also composes long-form chamber music; recent commissions include a 10-minute brass quintet for the Extension Ensemble, and a 90- minute written/improvised score for Universal Pictures' 1925 silent film "His People", which Carney premiered live with his group at the 2006 Syracuse International Film Festival.
Cover $10 http://www.jamescarney.net
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Mon Nov 27
8:30PM 21 CENTURY SCHIZOID MUSIC PRESENTS: THE STRING MESSENGERS
(Mandola Joe York, mandolin; Jeff York, guitar; Ratzo B. York, bass; Frank York, fiddle)
(Photo credit: Heidi Ihrig/SculptureCenter)

November 27, 2006 is the 15th anniversary of the death of Harry Everett Smith, whose 6 LP Anthology of American Folk Music has an inspiration to generations of folkies, alt rockers, and ethnomusicologists. In fact, my listening to and transcribing tracks from the Harry Smith Anthology led to my interest in performing old timey music and forming The String Messengers with Mandola Joe and a rotating personnel over these past 15 years. Aside from his discographical arcana, Harry Smith was also an experimental film maker and devotee of string figures, a real schizoid. For this "schizoid music" tribute, The String Messengers will explore his musical legacy as well as share some string figures assisted by frequent Messenger collaborator and string figure maven Jim Murphy.
Cover $10
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Ruth Brown Passes at the Age of 78

2006-11-20T06:58:00.000+01:00

Ruth Brown, whose musical legacy was matched by her fight for royalty reform for herself and other R&B Artists, passed away on November 17, 2006 in a Las Vegas area hospital from complications following a stroke and heart attack. Howell Begle, longtime friend and legal representative, made the announcement for the family. Known as "The Girl with a Tear in her Voice", "The Original Queen of Rhythm & Blues", "Miss Rhythm & Blues", and the well-known moniker of "Miss Rhythm", the nickname given her by Mr. Rhythm, Frankie Lane, Ruth Brown was also credited as the first star made by Atlantic Records. Her regal hit-making reign from 1949 to the close of the '50s helped tremendously to establish the New York label's predominance in the R&B field, a track record for which the young label was referred to as "The House That Ruth Built."

Brown's two dozen hit records included the single "So Long", the signature song of Little Miss Cornshucks, and a favorite of Atlantic Records' Executive Herb Abramson's partner, Ahmet Ertegun, as well as "Teardrops From My Eyes" which brought out the more swaggering, aggressive side for which Ruth was rewarded with her first Number One R&B hit. For the duration of the Fifties, Brown dominated the R&B charts with such red-hot sides as "5-10-15 Hours" and "(Mama) He Treats Your Daughter Mean."

The relationship with Atlantic Records would last until 1961. With the onset of the turbulent '60s, musical styles changed and, like so many R&B Pioneers, Miss Brown was left behind. Ruth was thrust into the role of single parent raising two boys alone, forcing her to take jobs as a maid, driving a school bus, and as a Head Start teacher.

The story might have ended there, but Brown enjoyed a career renaissance in the mid-Seventies. She began recording blues and jazz for a variety of labels. She toured overseas in 1979 and 1980 and upon her return to the United States, she starred in Allen Toussaint's off-Broadway musical "Staggerlee" and made a spectacular splash in the film "Hairspray" as Motormouth Maybelle. Beginning in 1985, Ruth hosted the Harlem Hit Parade series on National Public Radio and in 1989 won a Tony Award for Best Actress in a Musical for the Broadway revue "Black And Blue."

In 1989 Ruth Brown received a Grammy Award for the album "Blues On Broadway." In 1993, she was inducted into The Rock and Roll Hall of Fame. Ruth was recognized in 1999 with a Lifetime Achievement Award from The Blues Foundation, in addition to receiving two W.C. Handy Awards from the organization. Her autobiography, "Miss Rhythm", received the Ralph Gleason Award for Music. Ruth was given a Pioneer Award from the Rhythm and Blues Foundation, an organization which was founded as a direct result of her efforts to foster wider recognition and provide financial assistance to Rhythm and Blues musicians of any stature.

The firstborn of seven children in a family with deep religious roots, Ruth Weston's father worked on the docks at the seaport in Portsmouth, VA and was choir director at Emmanuel AME Church. Ruth is survived by her two sons, Earl Swanson and Ron Jackson, and siblings: Leonard Weston, Delia Weston, Benjamin Weston and Alvin Weston.

The Rhythm and Blues Foundation will be planning a public memorial to honor Ruth Brown and celebrate her contribution to Rhythm and Blues in New York City, details to be announced at a later date.

Johnny Mathis - Gold: A 50th Anniversary Celebration

2006-11-20T06:57:00.000+01:00

By Big Geez

Gold: A 50th Anniversary Celebration, a soon to be released offering from Columbia/Legacy is part of a larger effort that's been put together to commemorate the long and notable career of Johnny Mathis. It joins the already released A 50th Anniversary Christmas Celebration, and both tie in with an upcoming PBS special.

The album is a compilation of recordings generated during the course of his long career, which means, of course, the Johnny Mathis of 2006 will inevitably be compared to his youthful self in terms of quality of voice. It's a valid approach since this is, after all, a 50 year commemorative album, and it gives fans a chance to revisit his sound in different eras.

Not surprisingly, among the songs on this album are some that also appeared on Johnny's Greatest Hits, which he released in 1958. In retrospect, that might have seemed a surprising step for so young an artist, but by then he had the hits to back it up. After being discovered and helped along by Mitch Miller (yes, the sing-along guy), who acted as producer for many of his early recordings, he had generated a number of best-sellers by that time. That 1958 album is said to have been the first "greatest hits" collection ever generated by any artist, and it remained on the Billboard charts for a record 490 weeks.

Among those early hits were "Chances Are," "It's Not For Me To Say," and "Wonderful, Wonderful." Those songs and others from that same era are part of this new 50th Anniversary album. These recordings from the late 1950s, in most cases backed by Ray Coniff and his orchestra (and in all cases sung by Johnny in his full, youthful, vibrant voice) will reacquaint you with many of those tunes and how he warbled them. His distinctive vibrato and styling are impossible to mistake for anyone else.

I found it a little surprising that the first dozen or so songs were all from the late 1950s, and then the rest are from 1986 or later - a gap of over 25 years. Mathis was active during that period, but was shifting genres and looking for new avenues. He also began doing a number of duets, including one that became a big hit, "Too Much, Too Little, Too Late," with Deniece Williams. None of that period is covered on this album. Instead, it picks up again with an older Mathis, starting with "True Love," where he's backed up by Henry Mancini, and continuing on through his collaboration with Sergio Mendes, "So Many Stars," both recorded in the late 1980s.

His voice is still very familiar and sounds pretty good, although a little more subdued than the younger version. That's followed by Ellington's "In A Sentimental Mood," recorded in 1990, and I had a difficult time evaluating the vocal on this, because I didn't listen to it for very long. Maybe that seems unfair, but this tune has always been one of my favorites as an instrumental and I just cringed when I heard him sing it. (Although according to Johnny's album notes, Ellington offered the song to him.)

The last two cuts on the album are something a little different. On "The Shadow Of Your Smile," recorded just this year, "smooth jazz" reigns supreme as Johnny is accompanied by Dave Koz on sax and Chris Botti on trumpet, and both have a number of long and extensive solos that cut back on Johnny's portion of the song. Still, though, it all works pretty well and is a pleasant listen.

The album closes with Johnny's duet with Ray Charles on "Over The Rainbow," and this one just didn't work in my opinion. I felt that the styles of the two singers are too different for them to mesh. It was recorded a couple of years back and, according to Johnny's album notes, they did actually sit side by and side and record this, so it wasn't one of those virtual things that are often put together. (And he sounded surprised that Ray was actually there, which I found curious.)

Overall, a lot of good listening to be found on this new release.

Johnny Mathis - Gold: A 50th Anniversary Celebration

1 Chances Are
2 Wonderful! Wonderful!
3 It's Not For Me To Say
4 The Twelfth Of Never
5 When Sunny Gets Blue
6 Wild Is The Wind
7 Misty
8 Small World (from "Gypsy")
9 A Certain Smile
10 Maria (from "West Side Story")
11 What'll I Do?
12 One God
13 Deep River
14 True Love
15 So Many Stars
16 In A Sentimental Mood
17 The Shadow Of Your Smile / Dave Koz & Chris Botti
18 Over The Rainbow / Ray Charles

Kim Nalley: The Heart of Lady Day

2006-11-20T06:55:00.000+01:00

Contributed by Jerry Karp
Sunday, 19 November 2006
Kim Nalley sings Billie Holiday Kim Nalley sings Billie Holiday Friday-Sunday, November 24-26 at Jazz at Pearl's. On the heals of her triumphant month-long performance as Billie Holiday in the theatrical production, Lady Day in Love, Kim Nalley brings the tender side of Holiday to life in this special weekend performance of her show, "The Heart of Lady Day" at Jazz at Pearl's in San Francisco. Nalley, in her own unique and heartfelt style, will interpret the songs made famous by Holiday. She'll be joined by sensitive, bluesy pianist Tammy Hall, swinging guitarist Josh Workman, cool-hand bassist Mike Zisman and steady-swinging drummer Kent Bryson. Of course, the marvelous Miss Nalley is no stranger to the songs and personna of the great Billie Holiday. Her fans have frequently enjoyed her performances channeling Holiday in her award winning show "Ladies Sing the Blues." That's in addition to Nalley's recent series of triumphant concert tributes to the great Nina Simone, and her many shows in San Francisco and around the world, treating audiences to her own sweet and sassy personna and astounding talents. "Ever have that feeling that you're sitting in on something special - a music, a singer, a style that makes you feel a certain wistful reminiscence for this same night to begin all over again, even though it's barely begun? That is the effect of a Kim Nalley performance." -Jean Bartlett, Pacifica Tribune Kim Nalley combines a lithe, beautiful sound and compelling sense of swing with just enough old-school charm to create an instant and genuine rapport with her audience. Nalley topped the success of her 2003 CD, Need My Sugar, with this year's astounding She Put a Spell on Me, her powerful, heartfelt and hugely entertaining tribute to the great Nina Simone. SFStation gave the CD 4 stars, saying, "Nalley shows off her soaring, sultry vocals as she powers through an appropriately eclectic set of jazz, blues, showtunes and folk . . . . Invariably, her bold voice and impressive range will inspire comparisons to the likes of Dinah Washington and Ella Fitzgerald, but it's a tribute to Nalley that she distinguishes herself as a unique talent. . . ." No secret to the music world at large, Kim Nalley has performed at most of the major Jazz festivals throughout the world, garnering rave reviews along the way, and performed with heavyweights from James Williams, Jimmy McGriff and Billy Higgins to Michael Tilson Thomas and the San Francisco Symphony. Buy or listen to Kim Nalley's singing Billie Holiday here! cdbaby.com/cd/kimnalley2 November 24-26 Times: Doors open 30 minutes prior to each show. 2 Shows: 8:00 pm & 10:00 pm Shows are 75 - 90 minutes each.

Artist gives lyrics to old tunes

2006-11-20T06:50:00.000+01:00

Instrumental jazz by Coltrane, Silver gets fresh take by singer

By Rebecca C. Howard
Deseret Morning News

Smooth, natural fit. Lyrics are intelligent and sound as if they could have been originally written for each tune. High marks for creative concepts, craftsmanship and fun listenability.

Randee St. Nichols

When Karrin Allyson comes to Salt Lake City, she'll be drawing from new album "Footprints."

Sometimes singers are described as "instrumental" in their style, but jazz vocalist Karrin Allyson takes that to a whole new level with her album, "Footprints."
"'Footprints' is a group of what are thought to be instrumental tunes that are pretty well-known just as instrumentals, and we put words to them," said Allyson. "I've always wanted to sing these tunes, but they never had any words that I knew of."
It started, she said, a couple of years ago when she got together with lyricist Chris Caswell to write some original songs together. She mentioned that she was interested in doing some classic instrumental jazz tunes with lyrics, and Caswell said, "Let me try them."
The result is a CD of such tunes as Dizzy Gillespie's "Con Alma," John Coltrane's "Lightning" and "Equinox," Horace Silver's "Strollin'," and several tunes by Cannonball Adderly. "Like anything, you just kind of try to make it your own and tell a story with it. Each one is its own challenge. Mostly, you're hoping that the lyrics fit the idea of the tune, and I guess that they do, so it's my job to sort of tell the story through the new lyrics and great melodies."
Allyson is joined by vocalists Jon Hendricks and Nancy King on the album. "I love Nancy, she's amazing," said Allyson. "She's been a great friend for several years, but really is my idol, and I think she does a beautiful job of sort of just being my horn player, as she says — harmonizing with me. And, obviously, she sings on her own on the album, too.
"And Jon Hendricks also, obviously, has many, many lyrics written to instrumental tunes. He's really a pioneer of that. I've just been a huge fan of his for years."

Randee St. Nichols

When Karrin Allyson comes to Salt Lake City, she'll be drawing from new album "Footprints."

Released earlier this year, "Footprints" quickly found itself at the top of the playlist for radio stations. "It was No. 1 on the jazz charts for eight or nine weeks, I think."
When Allyson comes to Salt Lake City, she'll be drawing from "Footprints," but she also plans to do a mix of material. "We have 10 CDs out with Concord records, and there's a lot of material that we've recorded — aside from stuff that we like to play, and maybe new stuff that we might be working on. So it's pretty eclectic, but I think a lot of it will be from 'Footprints."'
Allyson said she got started in music on the piano and majored in classical-piano performance in college. "I was pretty serious about it but also liked to sing on my own. I never really studied voice, per se, but then I discovered jazz in a college class.
"Before that I was doing some folk/pop tunes for my own enjoyment. I'd go out and get the sheet music to popular tunes that were playing on the radio those days, like Carly Simon songs or Joni Mitchell songs or James Taylor. We actually did an album of those kinds of songs right before Footprints — it's called 'Wild For You.' So we included that era of my life into our recording discography.
"Then jazz pretty much took over the repertoire that I was doing. I started to get involved in improvisation, and it pretty much took off from there."
She moved to Minneapolis for a few years and then to Kansas City, where she became a fixture in the jazz scene. It was in Kansas City that she met guitarist Rod Fleeman, bassist Bob Bowman and drummer Todd Strait, who will be joining her when she comes to Salt Lake City.
Allyson is now based in New York, although she travels frequently. At the time of the interview, she was in Washington, D.C., where she's doing a four-night run at Blues Alley.

CD review

Title: "Footprints"
Singer: Karrin Allyson
Label: Concord Jazz
Price: $18.98
***1/2.

If you go ...

What: Karrin Allyson
Where: Sheraton City Centre Ballroom, 150 W. 500 South
When: Monday, 7:30 p.m.
How much: $25
Phone: 278-0411
Also: Preconcert lecture, 6 p.m.

Ella at Lincoln Center October 23 1972

2006-11-17T09:04:00.000+01:00

Ella Fitzgerald & Others Live From Lincoln Center DVD

2006-11-17T07:04:00.000+01:00

Soon to be reissued, this DVD features so many jazz giants is nearly impossible to name all (Dave Brubeck, Paul Desmond, Benny Goodman, Joe Williams, Duke Ellington, Count Basie, Dizzy Gillespie and much much more!)

I have this on VHS, and I'm sure with this DVD edition we'll have a treasure forever!

To pre-order, just visit this link, or search for it on your favorite store!

Miky

Kurt Elling Signs With Concord Records

2006-11-16T07:24:00.000+01:00

Concord Records announced that Grammy-nominated singer Kurt Elling has signed an exclusive recording contract with the company. His Concord debut is scheduled to be released in early 2007. Elling has risen to international acclaim as a jazz artist and singer, in just 10 short years as professional. All of his six previous albums have been nominated for Grammy awards, including three nods for Best Jazz Vocal Album. Kurt has topped Downbeat Critic's and Jazz Times Readers polls every year since 2000. He's won the Jazz Journalists Association award for best male vocalist three times and earned the Prix Billie Holiday from the Academie du Jazz in Paris. One of Elling's major contributions is as a writer and performer of vocalese, the art of putting words to improvised solos of jazz artists.

Kurt is extremely excited about joining Concord Records. He states, "I'm so very happy to be part of the Concord family. I have the utmost respect for the label. They produce some amazing music and I am looking forward to releasing my Concord debut."

John Burk, Executive Vice President of A&R at Concord Music Group, commented, "We're honored that Kurt has teamed with Concord to continue his remarkable career. We believe there is no limit to his talent and potential and look forward to an incredibly rewarding relationship."

Tina Sinatra remembers her dad

2006-11-15T20:56:00.000+01:00

NEW YORK (AP) - Frank Sinatra was never happier, his daughter Tina says, than when he was working in Las Vegas. Those years are now captured in song by "Sinatra in Vegas," a box set of four concert CDs, and one DVD, ranging from the Rat Pack peak of the early 1960s to the late 1980s, just before his voice and memory began to give way.

As Tina Sinatra remembers it, you could pretty much tell how her dad was feeling on stage by the musicians he chose to sing with.

"If he was happy, he would use a larger swing band, a lot of brass," she said during a recent phone interview from Los Angeles. "If he was feeling melancholy, he might work with something a little more intimate, like the sextet he performed with in Paris in the '50s. He would stick closer to saloon songs."

Sinatra, who died in 1998 at age 82, didn't have a Vegas theme song, the way "New York, New York" and "My Kind of Town" (Chicago is) worked for other cities. But his real home in concert was the desert haven of gambling and other recreation that he as much as anybody made famous.

"Those were the magic years, his senior statesman years," Tina Sinatra says. "He was the sassy cat in Vegas."

Working with bands led by such favourites as Count Basie, and Sinatra's son, Frank Sinatra, Jr., he comes on sassy for most the Vegas tracks, camping "The Lady is the Tramp" to the point of obscenity; cracking up during the most sensitive of ballads, "I've Got a Crush on You," and warning "Hold on to your handbags" as the Basie band kicks into the break of "I've Got You Under My Skin." Even on a disc from 1987, when he's in his early 70s, he can open with "I've Got the World on a String" and never hint that he doesn't believe it.

Vegas was hardly the place for protest music, but the set does include a Sinatra interview in which he recalls his anger that the black musicians in his group were told to stay in a separate hotel.

"I did make some demand on some people and, said, 'If they all have to live on the other side of town, then you don't need me,'Â " he says. "I guess I was the biggest mouth in town."

Listening to the Vegas tracks brought back musical and nonmusical memories for Tina Sinatra, who explains how her dad loved the desert because it was good for his throat, and was bothered when all the hotels became air conditioned and he needed a humidifier to keep the rasp out of his voice.

Tina Sinatra has worked on numerous projects about her father, serving as executive producer of the 1992 miniseries, "Sinatra," and writing a memoir, "My Father's Daughter." She still listens to his music all the time - "he's always one of six CDs I have in the player in my car" - and remembers the calls she would receive at 6 o'clock every night, from Vegas or anywhere else.

"I miss his humour, his way of dealing with things. He had a way of saying, 'You're wasting your energy,'Â " she recalls. "I know he had that other side, but I remember him being soothing and wise. He gave me room to grow. He understood the meaning of seek and search."

Dee Dee Bridgewater performs with Jon Faddis and the Chicago Jazz Ensemble

2006-11-14T11:56:00.000+01:00

THE CHICAGO JAZZ ENSEMBLE, CONDUCTED BY JON FADDIS, PRESENTS DEE DEE BRIDGEWATER AT HARRIS THEATER DECEMBER 15, 8:00 P.M.

CHICAGO, November 14, 2006 – The Chicago Jazz Ensemble (CJE) and Artistic Director Jon Faddis continue the Eighth American Heritage Series at the Harris Theater on Friday, December 15, at 8:00 p.m. in concert with special guest vocalist Dee Dee Bridgewater. Tickets are $45, $35, $20 and $15 with a 10% discount to senior citizens and students and a 20% discount to groups of 10 or more. For tickets and information, visit www.harristheaterchicago.com or call (312) 334-7777.

An award-winning vocalist, actress and radio host, Bridgewater is known the world over as a vibrant storyteller and as the captivating host of National Public Radio's JazzSet©. Making her debut with the CJE, she first performed with Faddis in 1971 when they were members of the Thad Jones/Mel Lewis Big Band (now the Vanguard Jazz Orchestra). They also performed together at Chicago's Symphony Center in the fall of 2004. Featuring holiday favorites, jazz standards and original tunes, the evening is sure to be full of surprises when these two old friends get together.

Bridgewater ranks among an elite group of artists. Few entertainers have been rewarded with Broadway's coveted Tony Award (Best Featured Actress in a Musical for "The Wiz"); nominated for the London theater's West End equivalent, the Laurence Olivier Award (Best Actress in a Musical for "Lady Day"); won two Grammy® Awards (1998's Best Jazz Vocal Performance and Best Arrangement Accompanying a Vocal for "Cottontail" and "Dear Ella "); and France's 1998 top honor Victoire de la Musique (Best Jazz Vocal Album). She made her New York debut in 1970 as the lead vocalist with Jones and Lewis and later made her mark in concerts and on recordings with jazz giants including Sonny Rollins, Dizzy Gillespie, Dexter Gordon, Max Roach and Roland Kirk. She also gained rich experiences with Norman Connors, Stanley Clarke and Frank Foster's "Loud Minority." In 1974, she jumped at the chance to act and sing on Broadway where her voice, beauty and stage presence won her great success. This began a long line of awards and accolades as well as opportunities to work in Tokyo, Los Angeles, Paris and London. Taking over the reigns of JazzSet© from Branford Marsalis, Dee Dee continues to bring her message to listeners while presenting today's best jazz artists in performance on stages around the world.

The Chicago Jazz Ensemble is recognized internationally as one of America's leading jazz ensembles. Founded in 1965 by distinguished composer and conductor William Russo, and currently led by trumpeter Jon Faddis, the CJE remains dedicated to preserving the innovative tradition of American jazz music, performing and reinterpreting the classics of big-band repertoire, while promoting the continuing evolution of the art form by regularly performing and commissioning contemporary works. As a professional jazz ensemble in residence at Columbia College Chicago, the CJE is equally committed to education, building new audiences and fostering the next generation of American talent by training and mentoring young musicians.

The 2006/2007 season marks the CJE's 41st Anniversary and third year with Jon Faddis as Artistic Director. Faddis draws on more than 30 years experience in performing with superb big bands and leaders, including Thad Jones/Mel Lewis Orchestra (now the Vanguard Jazz Orchestra) and Gil Evans. Faddis served as music director for Dizzy Gillespie's GrammyTM-award winning United Nation Orchestra, for Dizzy Gillespie's 70th Birthday Big Band, and, after his mentor's passing, Faddis led the Dizzy Gillespie All-Stars Big Band. Renowned for his leadership of the Carnegie Hall Jazz Band, Faddis conducted more than 40 concerts in 10 years at Carnegie Hall, featuring over 135 musicians and 70 guest artists. Faddis is reaping great audience and critical acclaim with his new album, Teranga, which was released on Koch Records in June.

The American Heritage Series continues at the Harris Theater on February 16, at 8:00 p.m., with guest artist Ramsey Lewis; three concerts at The Black Orchid Supper Club, March 15, at 8:00 p.m., with "Women in Jazz" featuring saxophonist Ada Rovatti, pianist Helen Sung, plus vocalist Bobbi Wilsyn and SHE on April 12, at 8:00 p.m. and The Chicago Jazz Ensemble Cabaret Event on May 10, at 8:00 p.m.; and the CJE stars in an additional concert at the Hot House on December 16, at 3:00 p.m.

The Chicago Jazz EnsembleTM is: JON FADDIS, Artistic Director & trumpet; JOHN WOJCIECHOWSKI, alto saxophone; JARRED HARRIS, alto saxophone; PAT MALLINGER, tenor saxophone; ROB DENTY, tenor saxophone; TED HOGARTH, baritone saxophone; AUDREY MORRISON, trombone; TIM COFFMAN, trombone; TRACY KIRK, trombone; JOHN BLANE, bass trombone; MARK OLEN, trumpet; LARRY BOWEN, trumpet; SCOTT HALL, trumpet & Music Director; ART HOYLE, trumpet; PHAREZ WHITTED, trumpet; PETER SAXE, piano; FRANK DAWSON, guitar; DAN ANDERSON, bass; DANA HALL, drums; BOBBI WILSYN, vocals.

For more information on performances by the CJE, visit www.chijazz.com

Music Review: Benson & Jarreau together

2006-11-14T07:32:00.000+01:00

By CHARLES J. GANS
The Associated Press

(AP) — George Benson & Al Jarreau, "Givin' It Up" (Concord Records/Monster Music): Guitarist/vocalist George Benson and singer Al Jarreau both started out in straightahead jazz before crossing over into pop and R&B to enjoy Grammy-winning, chart-topping success. But surprisingly, "Givin' It Up" (Concord Records/Monster Music) is the first album they've recorded together.

The duo opens the disc by reinventing two of their biggest hits. Benson's "Breezin" is turned into a vocal number with lyrics penned by Jarreau, who mixes crisp vocal lines with some scat singing over Benson's guitar licks. On Jarreau's "Morning," Benson returns the favor by making it over as an instrumental with Jarreau sounding like a percussionist in his backup vocals.

The covers include Billie Holiday's "God Bless the Child," given a contemporary flavor by Benson and neo-soul singer Jill Scott, who trade lead vocals; Seals & Crofts' pop tune "Summer Breeze"; and John Legend's "Ordinary People," done as an instrumental with Benson's soulful guitar supported by Marion Meadows' smooth sax.

On Miles Davis' hardbop classic "Four," Benson and Jarreau engage in spirited vocal interplay in a mostly acoustic setting with a rare performance by Stanley Clarke on upright bass, while Davis' later electronic fusion period is represented by the funky blues "'Long Come Tutu" with composer Marcus Miller's bass lines underscoring Jarreau's lead vocal, and Herbie Hancock contributing a stirring acoustic piano solo.

Among the 13 tracks are several Jarreau originals, including the infectiously funk-jazz "Don't Start No Schtuff" with Benson's piercing guitar runs and Jarreau's scatting; and the moody romantic ballad "Let It Rain" featuring Jarreau, Patti Austin and Chris Botti's poignant muted background trumpet.

Unlike much of today's overproduced, formulaic smooth jazz, "Givin' It Up" is loose, spontaneous and full of surprises, particularly on the closer, Sam Cooke's "Bring It On Home to Me." Paul McCartney, who was recording in a nearby studio, makes an impromptu vocal cameo before the session ends in a spirited call-and-response gospel groove.

Lincoln Center Brings the Rhapsody Home

2006-11-14T07:09:00.000+01:00

by Will Friedwald
New York Sun, November 13, 2006

In December 1959, Frank Sinatra, introducing a special guest on his ABC television program, made the following speech: "You know, a couple of weeks ago when somebody told me there was a record album coming out that was going to sell for a hundred dollars, I figured he was a real ding-a-ling! But when I learned that it was really five albums, I thought well, that's closer to reality. Twenty clams apiece -- that's not bad. And then when I found out it was recorded by Ella Fitzgerald, with Nelson Riddle's arrangements, and that it was an autographed set of all Gershwin songs, well I ran right out and grabbed me a few!"

Sinatra, who almost never plugged one of his own recordings, was so jazzed by the idea of Ella Fitzgerald and Nelson Riddle doing a deluxe package of George and Ira Gershwin songs that he devoted more than 10 minutes of his prime-time special to promoting this new Fitzgerald album. Part of this was in deference to the magic of the name of George Gershwin, the most universally admired of all American composers.

That same magic has led Jazz at Lincoln Center to present two separate concerts, "Manhattan Rhapsody: A Celebration of George Gershwin" (tonight), and "Gershwin" (Thursday through Saturday), both of which star Wynton Marsalis and the Lincoln Center Orchestra as well as the American Composer's Orchestra, but with an entirely different array of guest stars. Tonight's concert is the annual JALC gala and, as such, presents a panoply of star singers: Patti Austin, Kitty Carlisle Hart, Angela Lansbury, Brian Stokes Mitchell, and spotlights the singer-pianist- scholar Michael Feinstein, one of the world's authorities on all matters Gershwin. The weekend program features the two orchestras, as well as pianist Marcus Roberts in a largely instrumental program with special emphasis on the orchestrations of Riddle, which were written for that 1959 album that Sinatra regarded so highly.

According to Mr. Feinstein, who worked for many years as Ira Gershwin's personal assistant, the 1959 "Ella Fitzgerald Sings the George and Ira Gershwin Songbook" was Ira's personal favorite album. It is almost inarguably the greatest collection of Gershwin music, not to mention a highlight of Fitzgerald's career.

In 1959, when the producer Norman Granz began planning what would be the fifth in the Fitzgerald songbook series, he knew it had to be something spectacular. Granz had to top the Gershwin songbook packages that had already been released by such big-selling competitors as Sarah Vaughan and Chris Connor. More important, he had to outdo Fitzgerald's previous Gershwin project from 1950, "Ella Sings Gershwin," which was a model of intimacy and economy on which Fitzgerald sang eight classic Gershwin songs accompanied only by the matchless pianist Ellis Larkins.

Granz, who had made a career out of helming large and lavish productions, knew it would be unwise to overdo it, so he brought in a musical director who could make the new project into an intimate spectacular.

Nelson Riddle was, on the strength of his orchestrations for Sinatra and Nat King Cole, recognized by 1959 as the classiest arranger in the business. Together, he and Granz both expanded and narrowed the focus of the new Gershwin songbook, making the project a five-album set, the biggest entry in the songbook series. But they excluded from it the songs that George Gershwin had written in the earliest part of his career, before he began collaborating with his lyricist brother Ira.

For his part, Ira Gershwin was delighted, not only that Granz gave him much-deserved title status with his late brother (who had died abruptly at 38 of a brain tumor in 1937), but that the producer sought his approval. After every night of recording, over the course of 10 sessions between January and July 1959, Granz stopped at Gershwin's house to play him an acetate of the day's work.

Sinatra's championing of the set is especially interesting because he did far fewer Gershwin songs than one might have expected. The brothers rarely wrote what Sinatra would have called "saloon songs" in the style of Cole Porter, Harold Arlen, or Lorenz Hart. "They Can't Take That Away From Me" was one of their most touching texts, but the song might never have broken anybody's heart had it been recorded by Sinatra. Gershwin himself later expressed surprise that his "I've Got a Crush On You," originally conceived as a peppy foxtrot, was slowed down by singers and musicians into a largo love song.

Sinatra specialized in the extremes of "sadness and elation," as he put it, whereas Fitzgerald was happiest in the middle, which is where most Gershwin songs are emotionally. Throughout the recording of the Gershwin Songboom, both Fitzgerald and Riddle underscored this sense of middle-ness by making the Gershwins' happy songs a little bit less happy and the sad songs significantly more upbeat. The most somber tune in the whole works is "Oh, Lady Be Good," which Fitzgerald had long treated as a swinger, but here repurposed, as the song's verse states, as "a tale of woe / terribly sad but true." "How Long Has This Been Going On," originally an upbeat air of romantic discovery, became a melancholy contemplation of the possibilities of love, the questioning nature of the lyric intensified by Fitzgerald's interplay with the trombonist Milt Bernhart.

Neither Riddle nor Fitzgerald ever distorted any of the original meanings of the 59 songs, but that doesn't mean they weren't playful: The 1924 "Half of It Dearie Blues" opens with Fitzgerald scatting a more authentic blues line and Riddle's orchestration includes some minor growling from trumpeter Pete Candoli and a very modern modulation. "He Loves And She Loves" opens with a sustained string line over a bass vamp that sounds downright modal, while "Just Another Rhumba" (which is hardly that) is decked out in polyrhythmic and polytonal splendor.

"Ira loved that album," Mr. Feinstein said. So does everyone else: The set was an immediate hit, especially for a five-album mega-box. Fitzgerald and Riddle reinvented Gershwin for the age of the LP and it's safe to say that more people in the modern era know the great Gershwin songs from this album than from any other source. In fact, it's likely where Mr. Marsalis and the members of the Jazz at Lincoln Center Orchestra were first introduced to the Gershwins.

Hollywood Pays Homage to Tony Bennett

2006-11-12T12:12:00.000+01:00

The Associated Press
By MICHAEL CIDONI
November 10, 2006

Tony Bennett left a little of his heart in Hollywood after an emotional 80th birthday bash thrown by movie and music stars spanning three generations _ from Paul Newman to Kelly Clarkson.

Other luminaries at the Thursday-night party at the Kodak Theatre included Quincy Jones, Bruce Willis, Stevie Wonder, George Clooney, Jennifer Lopez, Billy Crystal and Marc Anthony. The bash came a little late; Bennett's birthday was August 3.

The big names walked an appropriately elegant black carpet before entering the packed Hollywood Boulevard auditorium, home of the annual Academy Awards ceremony.

'Unforgettable, I'll never forget this night as long as I live,' Bennett told AP Television.

Bennett's nearly six decades of performing are filled with hits and standards, such as 'I Left My Heart in San Francisco' and 'Rags to Riches.' And the crooner is still going strong _ his current release, 'Duets,' recently reached No. 3 on Billboard's Top 200 album chart.

Bennett said there is no secret to his sustained success.

'I just kept performing and I've been sold out for 45 years around the world. I get commissioned to sing everywhere around the world,' he explained. 'I think the public has been so wonderful to me right through the years that it just kind of makes me feel so gratified and I just want to give them all that love back.'

Clooney walked the arrivals line with longtime friend Bruce Willis _ both big-time Bennett friends and fans.

'Everything else keeps changing and moving around,' observed Clooney, 'and (Bennett) continues to do the same stuff, which is the classic jazz, classic music that we all grew up loving.'

'He's like the last beatnik,' Willis added. 'He's the coolest person that I know, he's just swinging and he's always so calm and easy about things.'

Thursday night's celebration was a fund raiser for Newman's Hole in the Wall camps for children with chronic or life-threatening illnesses.

'It's a good cause and a good reason to come out and hang and get dressed up,' Willis said. 'Look, we are normally covered in blood ... .'

Newman introduced the event, thanking supporters of his charity, dubbing them 'the real coalition of the willing.'

Crystal served as show host, paying hilarious homage to the honoree with a rendition of the Bennett standard 'Put on a Happy Face,' as performed by Bob Dylan, Sammy Davis Jr., Yul Brynner and others.

Anthony, Clarkson and others sang Bennett songs, and Jones conducted the orchestra with Bennett performing 'Sing You Sinners.' Of course Bennett gave the audience what it really came for, closing his solo set with his 'San Francisco' signature.

Rerelease: Brubeck at Wilshire Ebell

2006-11-11T18:22:00.000+01:00

I know this is not a vocal-jazz person. However, I feel the need to share that the ultra-rare album "Dave Brubeck at Wilshire Ebell" has been released on the Spanish label "Fresh Sound Records", probably without Brubeck's consent. He has always maintained that it should not be reissued.

The original LP album,

looks like this on CD.

Side A:
I’ll Never Smile Again
Let’s Fall In Love
Stardust

Side B:
All The Things You Are
Why Do I Love You
Too Marvelous For Words

Paul Desmond (sax), Dave Brubeck (piano), Ron Crotty (bass), Lloyd Davis (drums).
Recorded 1953.

Vocalist Audrey Silver Appearing At Sweet Rhythm Tuesday, December 5th sets at 8pm and 9:30pm

2006-11-10T15:32:00.000+01:00

Norah Jones to Release New CD in January

2006-11-09T06:50:00.000+01:00

By NEKESA MUMBI MOODY
November 06, 2006

Fans of Norah Jones will get a little more insight into the Grammy-winning singer when she releases her new album, 'Not Too Late,' in January: For the first time, she has written or co-written all the songs.

'I think it reflects more sides of my personality than my first two records did. It has different sides to it, it has a lot more variety to it,' the 27-year-old singer said in a phone interview with The Associated Press on Friday.

Jones' first record, a mix of jazzy, folky tunes, 2002's 'Come Away With Me,' was a runaway success and sold more than 8 million records in the United States, fueled by the smoky tune 'Don't Know Why,' which she didn't write.

Her sophomore album, 'Feels Like Home,' featured more of Jones' songwriting talents. But 'Not Too Late,' due out Jan. 30, is the first time she has had a hand in all the songs.

'The main reason I didn't do it before is because I didn't have the songs!' Jones said with a laugh.

But she's been spending more time over the last few years working on songs.

'Songwriting was a newer thing for me in the past five, six years. I'm just excited that I have these songs. I'm really proud of them, I do feel they're a little different than the songs I wrote on my first two records,' she said.

Jones said her new songs are a bit more intimate, with a bit of humor, but still retain the laid-back feel of her previous records.

'It has more of a playfulness to it,' she said. 'There's different elements we haven't used in the past, like horns.'

She also has been experimenting with different styles of music; she's been spotted in a New York City club playing with a punk band, and Jones and her friends released an album comprised of mainly country covers such as The Little Willies earlier this year.

Jones' music hasn't been the only thing she's been working on lately. She also has a starring role in the upcoming film 'My Blueberry Nights,' with Jude Law, Natalie Portman and Rachel Weisz.

She said the movie was a welcome diversion: 'I've been playing music since I was a little kid ... it's fun to do something different.'

But while Jones said she'd love to do another film, she isn't planning to quit her day job.

'I'm not going to be making a bunch of movies,' she said. 'I don't consider myself a double threat or anything. It was a great opportunity ... something fun to try.'

Patti Austin to perform at Koger Center

2006-11-04T13:48:00.001+01:00

COLUMBIA — She made her debut at the Apollo Theater at age four and had a contract with RCA Records when she was only five. Quincy Jones and Dinah Washington have proclaimed themselves as her godparents.

By the late 1960s Patti Austin (pictured) was a prolific session musician and commercial jingle singer. By the 1980s she was signed to Jones’ Qwest Records and she began having hits. She charted 20 R&B songs between 1969 and 1991 and had success on the Hot Dance Music/Club Play chart, where she hit number one in 1981 with “Do You Love Me?’

The album containing that hit, “Every Home Should Have One,” also produced her biggest mainstream hit. “Baby, Come To Me,” a duet with James Ingram, peaked at number 73 on the Hot 100 in early 1982. After being featured as the love theme in a prominent storyline on the soap opera “General Hospital,” the song re-entered the pop chart in October and went to number one in early 1983.

In 1991, she recorded the duet “You Brought Me Love” with openly gay music legend Johnny Mathis, which was received with critical acclaim. That same year she was invited to be a guest on a Johnny Mathis television special that was broadcast across North America.

Coming up in November at the Koger Center, the jazz, R&B and dance music diva will undoubtedly take Columbia by storm.

Long a friend of the LGBT community, Austin was endeared to queer fans with a number of dance music classics that kept gays and lesbians hoping on dance floors throughout the ’80s.

Ella Fitzgerald's Christmas

2006-11-03T07:34:00.000+01:00

Ella Fitzgerald's Christmas
new twofer reissue from Capitol

TRACK LIST

1. O Holy Night Listen Listen
2. It Came Upon A Midnight Clear Listen Listen
3. Hark! The Herald Angels Sing Listen Listen
4. Away In The Manger Listen Listen
5. Joy To The World Listen Listen
6. The First Noel Listen Listen
7. Silent Night Listen Listen
8. O Come All Ye Faithful Listen Listen
9. Sleep, My Little Lord Jesus Listen Listen
10. Angels We Have Heard On Hight Listen Listen
11. Oh Little Town Of Bethlehem
12. We Three Kings Listen Listen
13. God Rest Ye Merry, Gentlemen Listen Listen
14. Abide With Me Listen Listen
15. Just A Closer Walk With Thee Listen Listen
16. The Old Rugged Cross Listen Listen
17. Brighten The Corner (Where You Are) Listen Listen
18. I Need Thee Every Hour Listen Listen
19. In The Garden Listen Listen
20. God Will Be With You Till We Meet Again Listen Listen
21. God Will Take Care Of You Listen Listen
22. The Church In The Wildwood Listen Listen
23. Throw Out The Lifeline Listen Listen
24. I Shall Not Be Moved Listen Listen
25. Let The Lower Lights Be Burning Listen Listen
26. What A Friend We Have In Jesus Listen Listen
27. Rock Of Ages, Cleft For Me Listen Listen

Essential O'Day: Basin Street West 1964: Music: Anita O\'Day

2006-11-02T07:20:00.000+01:00

Track Listings
1. Get Out of Town
2. S'Wonderful/They Can't Take That Away From Me
3. Just the Way You Look Tonight
4. Honeysuckle Rose
5. Four Brothers
6. Little Girl Blue
7. When the World Was Young
8. Quiet Nights
9. Street of Dreams
10. You'd Be So Easy to Love
11. You Can Depend On Me
12. You're Nobody `til Somebody Loves You
13. I Hear Music
14. Try Your Wings

More of Anita's music from her Emily label, October 28, 2006
Reviewer: Steve Emerine (Tucson, AZ United States) - See all my reviews
When Anita O'Day left Norman Granz and the Verve label, her next major recording stop was her own company, Emily, for which she recorded a number of swinging live LPs. This is the latest of them to be reissued on CD, and while the packaging and liner notes leave a little to be desired, the music itself is classic Anita. This live session from Basin Street West in 1964 includes a number of Anita's personal favorites from that era, including "Get Out of Town," "'S Wonderful," "Street of Dreams" and "Honeysuckle Rose," along with other tunes like the lesser known "Try Your Wings." The 14 tunes give you a 45-minute example of the jazz singer in her prime. She's still doing occasional appearances now that she's in her 80s, but -- unfortunately (and understandably) -- not singing as well as she did for the Verve and Emily labels.

Leopard Lounge Presents - The Reprise Years by Ella Fitzgerald

2006-11-01T18:19:00.000+01:00

Track List:
1 Get Ready
2 Hunter Gets Captured By The Game
3 Yellow Man
4 I'll Never Fall In Love Again
5 Got To Get You Into My Life
6 I Wonder Why
7 Ooo Baby Baby
8 Savoy Truffle
9 Open Your Window
10 Knock On Wood
11 Sunny
12 Mas Que Nada
13 Man And A Woman
14 Days Of Wine And Roses
15 Black Coffee
16 Tuxedo Junction
17 Heard It Through The Grapevine
18 Don't Dream Of Anyone But Me
19 Things Ain't What They Used To Be
20 Willow Weep For Me
21 Manteca

Mary Foster Conklin East Coast CD Release Event - Blues For Breakfast - Remembering Matt Dennis November 7th at Sweet Rhythm

2006-10-31T22:00:00.000+01:00

November 7 - 8pm and 9:30pmMary Foster ConklinEast Coast CD Release Event -

BLUES FOR BREAKFAST - REMEMBERING MATT DENNIS (Rhombus Records)
Sweet Rhythm88 Seventh Avenue SouthNYC$15 cover + 2 drink minimum

http://www.sweetrhythmny.com/

with: John di Martino-piano/Greg Ryan-bass/Ron Vincent-drums/Tony Romano-guitar/Joel Frahm-sa

This Week At Cornelia Street Cafe

2006-10-24T15:07:00.000+02:00

Mon Oct 23
8:30PM 21 CENTURY SCHIZOID MUSIC PRESENTS: JOEL HARRISON
(Joel Harrison, guitar; Liberty Ellman, guitar; Mark Feldman, violin; Chris Howes, violin; Jeremy Kittel, viola; Dana Leong, cello)
Joel Harrison's String Choir presents the music of Paul Motian
Paul Motian is well known as one of the living legends of jazz drumming. He is also a wonderful composer. His sense of harmony and melody are truly unique. Guitarist /composer Joel Harrison has arranged several of Motian's pieces for String quartet and two guitars. The group consists of some of the most original, gifted string improvisers anywhere.

2nd set: improvisations based on music from Paul Motian's legacy- Monk, Bill Evans, Free, etc.
Cover $10 http://www.joelharrison.com/

Tue Oct 24
8:30PM MURRAY WEINSTOCK: DOGTUNES
(Murray Weinstock, vocals, piano, compositions; Andy Stack, guitar, vocals; Elaine Caswell, vocals)
Andy Stack http://www.andystack.net/ will be playing guitar and singing back-up along with favored singer, Elaine Caswell, who has backed up Al Green, Bette Midler and Dolly Parton to just name a few.
Singing dogcatradio's most requested song "Dog Day Afternoon" and other songs from Tails of the City. There will be some new songs like "Tug-a-Pug" from More Tails of the City! Everyone can join in on that one.
http://www.dogtunes.com/

ROY ZIMMERMAN
(Roy Zimmerman, vocals, guitar, compositions, lyrics)
What's funny about war, poverty, ignorance, greed, lust and fear? Ask Roy Zimmerman.
“Faulty Intelligence” is ninety minutes of Zimmerman’s hilarious original songs. The title has as artful ambiguity but there’s no mistaking Zimmerman’s point of view. His engaging melodies and wickedly inventive rhymes take the Bush administration to task not only for the “faulty intelligence” which led us to war in Iraq, but for the greater lapses which have inflamed the Culture and Class Wars.
There’s a love song to the sexiest man alive, "Dick Cheney" and a lesson in “Creation Science 101.” There’s an anthem to same-sex marriage, “Defenders of Marriage,” a metaphor for the "Patriot Act" that's hard to get off your shoe, and the bawk- along “Chickenhawk,” already a Zimmerman classic.
Performing at New York City's Symphony Space during the 2004 Republican Convention, he drew this review from the New York Times' Stephen Holden: "Roy Zimmerman lifted the evening with his song 'Chickenhawk,' ridiculing the military policies of Bush administration officials who didn't serve in the armed forces. Zimmerman's squawking and clucking conveyed his scorn with contagious irreverence."

The Los Angeles Times says, "Zimmerman displays a lacerating wit and keen awareness of society's foibles that bring to mind a latter-day Tom Lehrer."

Tom Lehrer himself says, "I congratulate Roy Zimmerman on reintroducing literacy to comedy songs. And the rhymes actually rhyme, they don't just 'rhyne.'"

Joni Mitchell says, "Roy's lyrics move beyond poetry and achieve perfection."
www.royzimmerman.com

Wed Oct 25
8:30PM SOUL OF THE BLUES
(Angelo M; Mala Waldron)
This month's Soul of the Blues features Angelo M., Mala Waldron. SOUL OF THE BLUES, NYC's premiere *inexpensive* live blues and soul music series, happens the fourth Wednesday of every month at Cornelia Street Cafe.

for more information on the artists, please visit:

http://angelom.com/

http://malawaldron.com/

Jon Sobel, host. Cover $10 http://jonsobel.com/sotb.html

Thu Oct 26
8:30PM GNU VOX: MARIA NECKAM AND SUNNY KIM
(Maria Neckam, Voice; Franz von Chossy, Piano; Thomas Morgan, Bass; Dan Weiss, Drums; Sunny Kim, Vocals)
Maria Neckam can sound like Flora Purim to Franz von Chossy's Chick Corea, but she's working on many other levels, from Björk and Urszula Dudziak to Astrud Gilberto, Basia and any number of classically-trained vocalists. Her supple, reedy voice hits the notes clearly and has that wonderful quality of articulating syllables as notes rather than words, turning even standards into wordless vocals. Neckam, part of the Austrian-American Outreach Jazz Collective, writes impressively in English and her native tongue. Her album "Crossing and Blending" is an ambitious debut that ranges through the breadth of her stylistic tropes and suggests that she's going to be a special voice. (John Swenson, OFF BEAT Magazine)

Sunny Kim is a vocalist, pianist, composer, creator of multimedia shows, educator and improvisor. A native of South Korea, her vocal improvisation style and experiments with electronics gained her recognition in the recent years in the US as well as abroad. Since her arrival in the US in 1998, Kim's career has included work with Pheeroan akLaff, Ran Blake, Dave Fiuczynski, Michael Cain, Frank Carlberg, Carlos Alomar, Jason Hwang, Stomu Takeishi, and Min Xiao Fen to name a few. Kim received her BM at the University of Denver, and MM at the New England Conservatory, both in Jazz Studies, Voice Performance. Kim studied improvisation with Marguerite Juenemanne, Dominique Eade, Bob Moses, John McNeil, composition with Hankus Netsky and Michael Gandolfi, and wing chun with Sifu Stanley Jue.
David Devoe, curator. Cover $10 http://www.marianeckam.com/

Fri Oct 27
9:00PM & 10:30PM TONY MALABY AND MYTHOS QUARTET
(Tony Malaby, saxophone; Ron Horton, trumpet, flugelhorn; Mario Pavone, bass; Mike Sarin, drums)
We continue our Tony Malaby Quartets Series on the fourth friday of the month, this time with the Mythos Quartet.
The Mythos Quartet is a lean outfit built for dancing fast and scrimmaging hard ........ new compositions that negoiate continually shifting tonal and textural centers ..

" the bassist's music is threaded with vamps and hard-driving bass lines, his groups stocked with all the most interesting new players,connecting free improvisation with tonal harmony and swinging structure......... his work has never been less than compelling ."
- Ben Ratliff , new york times
Cover $10 http://www.tonymalaby.com/

Sat Oct 28
9:00PM & 10:30PM JEREMY STEIG QUARTET
(Jeremy Steig, flute; Vic Juris, guitar; Cameron Brown, bass; Anthony Pinciotti, drums)
Come and hear the HOTTEST jazz flutist playing in NY. Jeremy Steig has played with Bill Evans, Art Blakey, Jimi Hendrix, Johnny Winter and many others. He brings with him three legendary musician.
Cover $12 http://www.jeremysteig.info/

Sun Oct 29
8:30PM BR TRIO + ONE
(Hélio Alves, piano; Paulo Paulelli, bass; Rogerio Boccato, drums; special guest: Rodrigo Ursaia, saxophone)
An exciting and unique piano trio that combines the openness of modern jazz withBrazilian music, the BR Trio is a breath of fresh air in the world of contemporary music.Working within the traditional instrumentation of the classic jazz piano trio, the BR trio draws on their extensive knowledge of the Brazilian repertoire playing and reinventingstandards by composers like A.C. Jobim, João Donato, Johnny Alf and interpreting newermusic by the next generation of Brazilian composers such as Djavan, Ivan Lins, Rosa Passos and Guinga. This music, however, is presented with an openness and focus onimprovisation and group interaction not often heard in this idiom. It all starts with theamazing chemistry of these gifted musicians.
The BR Trio is Helio Alves on piano, Paulo Paulelli, on bass, and Rogerio Boccato on drums. Three Brazilian musicians who had always been involved with the music ofdifferent artists, are now following their own track, an improvisational adventure, searching for new sounds within the Brazilian musical universe.
http://www.rogerioboccato.com/

Mon Oct 30
8:30PM COMPOSER COLLABORATIVE BENEIFT

Spoken Word

Mon Oct 23
6:00PM SHAKESPEARE
Scenes, monologues, and poems from The Bard, performed by a high-energy troupe of youthful NYC actors.
Boil, Boil, Toil and trouble.... Come and see some of the more gruesome, magical and down right villianous pieces from the Canon! The Shakespeare Anyone players will bring you The Ghost from Hamlet, Macbeth and his witches, the fantastical Puck, the compulsory Gravediggers, and of course a surprise or two from the Netherworld!!!

Begin your Halloween festivities with some horror from the 16th century, be there or we'll find you Bwahahahah!!!!
Jonathan Escobio, host. Cover $6

Tue Oct 24
6:00PM GRAD POETS SERIES
(Melissa Fadul, Sarah Lawrence College; Rebecca Keith, Sarah Lawrence College; Emily Wolahan, Columbia University; Nicole Steinberg, The New School)
The Graduate Poetry Series (GPS) is held on the fourth Tuesday of every month. it was established to give poets in NYC area graduate writing programs an opportunity to present their poetry in a safe, intimate, and supportive environment.
If you would like to participate as a reader, please submit a cover letter with contact info, name of your school, and 5-7 pages of poetry to corneliastseries@gmail.com
Alissa Heyman & Sylvia Lee, hosts. Cover $6

Wed Oct 25
6:00PM RED HEN AUTHORS
Southern California comes to the west village. An evening highlighting Red Hen Press authors featuring: Leslie Heywood, Jeffrey Levine, Helene Cardona, Susan Thomas and Kim Burwick.
Kate Gale, host. Cover $6
Thu Oct 26
6:00PM RED HEADS
(Page Delano; Katt Lissard; Ellen Geist)
Our reds are left wingers, raven haired, and wonderful writers. The east is red, the west (village) is ready.
Cover $6
Fri Oct 27
6:00PM PINK PONY POETRY
Jackie Sheeler's open mic poetry series. Arrive before 6 pm to sign up. Featured poet, fresh after her role in the Howl festival, Larissa Shmailo.
Jackie Sheeler, host. Cover $6
Sat Oct 28
6:00PM POETICALLY INCORRECT - THE AMERICAN-CARIBBEAN WRITERS
The Human Experience
"Poetically Incorrect" who invites you to an evening of irreverence, language and soul.

open mic 6-6:45 ; features : Advocate of wordz, and Falu, 7 – 7:45 .

Paper, stages, mics and chastity belts, the Advocate of Wordz rips them all! This Bronx native's bold and diverse tongue has been touring Poetry and Hip-Hop venues in and out of the New York City area for 3 years, as well as hosting various poetry performance workshops all around New York City for the youth and adults. Wordz is a proud co-producer of the "21 Poetz Mixtape", and is currently in the process of finishing up projects with the "Whispered Words" poetry and music series, as well as his first 2 solo projects entitled "Advocate of Language" (spoken word CD) and "Advocate of Words" (book of self published poetry), both due out in '07

Wordz is the co-founder of "21 Poetz" and creator of "HipHopPoetry.com". He is also a member of "El Grito De Poetas" and "The Savants". Media credits include the Los Angeles Times, Chicago Tribune, Orlando Sentinel, New Orleans Times-Picayune, the Baltimore Sun and more. PBS list HipHopPoetry[dot]com as a resource for educators.

Falu : Current member of the 2006 Nuyorican Slam Team. Ranked 7th in the nation;Poet, teacher and performer. It's so much bigger than hip hop!
Johnny "Chance" Acevedo, host. Cover $8

Sun Oct 29
6:00PM GHOST OF A CHANCE, A POETRY ANTHOLOGY
Pre-Halloween parade we have our annual celebration of poets & poems, witches, graveyards, tall black hats, cats, ghosts, all things other worldly, frightening and fun.
Featured readers will include among others: • Joel Allegretti • Patricia Brody • Nicholas Johnson • Linda Lerner • Timothy Liu • Phil Miller • Rochelle Ratner • Willa Schneberg • Anita Velez-Mitchell • Gloria Vando * Sallly Bliumis-Dunn.
Gloria Vando & Phil Miller, hosts. Cover $6

Mon Oct 30
6:00PM WRITERS READ
(Myriam Chapman; Joel Hinman; Mary Lyon; Deb McAlister)

Gene Albertelli & Teresa Giordano, hosts. Cover $6

Barbara Fasano 'Come Rain or Come Shine' Free Jazz Download

2006-10-22T15:56:00.000+02:00

Free Jazz Download

Track
Come Rain or Come Shine
http://www.allaboutjazz.com/php/jazzdownload.php?id=1784

Artist/Band
Barbara Fasano

Duration
6:23

Album
Written in the Stars

“With this record, Barbara Fasano proves that she is not just a great Italian crooner, an heir to Sinatra for our time, but a jazz singer of the first rank.” -
-David Hajdu, music critic, The New Republic

Record Label
Human Child Records

Biography
Barbara Fasano is an actress and pop-jazz vocalist, and “one of the coolest singers in town... a singer of restrained but deeply felt emotion” (Time Out New York). “Spellbinding... A beauty to hear and behold” (Daily News), she is regarded as “one of our most astute interpreters of song... hypnotic, superb...” (Cabaret Scenes). Appearing at Jazz at Lincoln Center’s Allen Room in 2006, she was praised for her “smooth performances of 1940's ballads” (The New York Times). Her performances have taken her around the world, and she made her Carnegie Hall debut in 2005, as part of the Harold Arlen Centennial Concert.

Read Full Bio Here: http://www.allaboutjazz.com/php/musician.php?id=14131

Marilyn Maye at the Metropolitan Room on Thursday, October 19th for one show only at 10:30 pm.

2006-10-13T16:18:00.000+02:00

Singing Legend Marilyn Maye, recognized by the Smithsonian Institution as one of the great voices in American music, will appear at New York 's popular new Metropolitan Room on Thursday, October 19th for one show only at 10:30 pm. If you've never heard Marilyn, this is a rare opportunity to see and hear one of the finest singers in the business -- she was Johnny Carson's all-time favorite singer and appeared on "The Tonight Show" 76 times -- that's more appearances than any other musician or singer and a record that holds to this day. I first met Marilyn in Houston back in 1981 and we've worked together on-and-off ever since and it will be my great pleasure to be accompanying her on Thursday, along with the support of Steve Doyle on bass and Mike Berkowitz on the drums. You can make reservations by calling the Metropolitan Room at (212) 206-0440. I don't exaggerate when I say that Marilyn is one of the best singers EVER -- so you don't want to miss what promises to be fun and memorable night! I'll see you there!!

While in New York , Marilyn will also be appearing at the Mabel Mercer Cabaret Convention show at Jazz at Lincoln Center . Last year was her first time at the Convention and she tore the place apart! Needless to say, she was immediately invited back this year and will be closing Tuesday night's show.

Marilyn has headlined in New York many times since the mid-sixties, including engagements at the Copacabana, The Living Room, The Rainbow Grill and Michael's Pub. A Kansas City native, she was first "discovered" by Steve Allen and first came to national prominence through numerous appearances on his late night television show. These initial TV spots brought her to the attention of RCA Records, where she was signed to a contract that brought forth her first seven albums. She also was nominated for a Grammy Award as Best New Artist of 1966.

Marilyn has never slowed down in a career that has lasted over fifty years, and in 2005 she and jazz guitarist Pat Metheny were voted Jazz Legends by the Board of Directors of The American Jazz Museum in Kansas City. Among her many other achievements, Marilyn's recording of Lerner and Lane's "Too Late Now" was recognized by the Smithsonian Arts Council as the "Best of the Best -- the Best recording of one of the 100 Best Compositions by American Composers of the 20th Century."

MARLENE VERPLANCK IS WRITTEN UP IN THIS BOOK

2006-10-10T20:19:00.000+02:00

WE ARE PLEASED TO INFORM YOU THAT:
MARLENE VERPLANCK
IS WRITTEN UP IN THIS BOOK
Just Published...
The Book of the Year!

“Entertainment: Divas, Cabaret, Jazz Then and Now.”

The very first book ever written about American and European Cabaret, Jazz, Divas and the history of American music from the 17th century to the present. Available nationwide & worldwide and from 45,000 book sellers around the globe.

BY THE INTERNATIONAL BEST-SELLING AUTHOR MAXIMILLIEN de LAFAYETTE

Book Details: Paperback. Large Format Oversized: 8.25 inches x 11 inches. Over 4 pounds. Pages: 724. ISBN: 0-595-40857-5 Published: Sep-2006. On the cover: Marlene VerPlanck Grande Dame and Diva of American Standards and Jazz.

ORDER YOUR COPY NOW! YOU HAVE 4 OPTIONS
1-FASTEST WAY TO RECEIVE YOUR BOOK + a signed copy by the author. Make a check or a money order in the amount of $53.95 +$5.00 (Postage, Shipping and handling) Total: $58.95 payable to WJNA Inc. and mail it to Ilil Arbel, 300 First Avenue, #3H, NY, NY 10009, USA.

2-Buy it online at Barnes and Noble: Soon to be posted on their website.
3-Buy it online at Amazon.com: Already posted on their website.Click here Buy new:
4-Order the book online from 45,000 booksellers and bookstores around the world. Just give them the title and the ISBN.

Book Description: The first book of its kind, highly anticipated by stars, professionals and the public, it provides a wealth of information and tips not readily available elsewhere. In addition to the interviews with the stars and the divas, and the fascinating history from the 17th century to this day. It contains resources not found anywhere else, and CD reviews. You will be intrigued by stories, gossip, secrets, and close-up profiles of the most beautiful and exciting chanteuses and femmes fatales. It is the book of the risqué, the mystique and the hidden world of Cabaret, Jazz and Divas, a chronicle of the life, history and tales of legends, stars, singers, composers, entertainers, gigolos, acts, Broadway, Vaudeville, Paris, Berlin, shows, musicals, and human drama. You will meet the stars, but you will also discover magnificent and brilliantly talented artists you have never heard about—but should!

The author: Maximillien de Lafayette: The book is written by an international authority, who has first hand knowledge of the world of entertainment. He met personally most of the people he is writing about and interviewed them in depth. He is the author of over 100 books and numerous volumes on Divas, singers, cabaret, Jazz and entertainment. He is an historian, critic, noted note-liners and a syndicated columnist. In addition, he had written and directed musical scores, world premiere musicals and plays, performed at prestigious theatres including The John F. Kennedy Center for the Performing Arts. Mr. De Lafayette is the Editor-in-Chief of CabaretVille Magazine http://www.cabaretville.com Publisher of the New York Monthly Herald http://www.newyorkmonthlyherald.com and senior entertainment reviewer at Stars Illustrated http://www.starsillustrated.net

Peggy North, Publications Department, International News Agency (INA). newyorkgate1@aol.com

Ella sings "There'll Never Be Another You", London 1974

2006-10-05T18:13:00.000+02:00

Dee Dee Bridgewater at Estonian Christmas Jazz 2006

2006-10-04T08:35:00.000+02:00

11th International Festival Christmas Jazz 2006 will take place from November 29th to December 15th in Estonia, bringing together top jazz musicians from USA, Poland, Great Britain, Sweden, Finland and Estonia. Christmas Jazz 2006 main performer is Dee Dee Bridgewater. In Tallinn the singer will perform with the program from her latest CD "J'ai deux amours", inspired by delicate French chansons in jazz arrangements.

Anna Maria Jopek is the first name among Polish singers. She will perform with her sextet and sing a variety of her favorite tunes from the last years.

New programs will be presented by Estonian jazz singers Hedvig Hanson, Rebecca Kontus and Helin-Mari Arder. Arder has just released a CD with beautiful melodies by Michel Legrand. In collaboration with Black Nights Film Festival there will be screenings of the film "Cherbourg Umbrellas" during the Legrand-evenings in Tallinn, Pärnu and Jõhvi.

Christmas Jazz has always presented an a capella jazz concert. This time it will be Estonian group Mare Väljataga Vocal Quintet with talented singers Kaire Vilgats, Jelena Juzvik, Dagmar Oja and Jakko Maltis.

As a tradition a charity concert "Help to Bring Life" will focus on Estonian renowned composer´s Rene Eespere´s songs. The songs will be performed by Liisi Koikson, Chalice, Jürmo Eespere Group, Estonian Radio Children Choir conducted by Kadri Hunt.

One of the most beloved Christmas Jazz concert locations Niguliste Museum-Concert Hall will this time host one of the jazz greats of Sweden Anders Jormin with beautiful Nordic sounds.

Finnish club band RinneRadio has many fans in Estonia and this time they will surprise the listeners by playing in churches instead of clubs and bring famous Christmas tunes in new arrangements to the audience.

Christmas Jazz will be finished in party mood – Rock Café will host British club favorite The Bays, who enchants the listeners with their creative power. The concerts of Christmas Jazz are held in bigger towns of Estonia – Tallinn, Tartu, Pärnu, Rakvere and Jõhvi.

Ella Fitzgerald Show, 1968 - Lover Man

2006-10-04T08:31:00.000+02:00

Ella in UK 1961 lady be good and mack the knife

2006-09-23T18:21:00.000+02:00

Is Audrey Hepburn Being Used?

2006-09-23T09:05:00.000+02:00

Is Audrey Being Used?

Audrey Hepburn has returned from the Other Side and is starring in an ad campaign for Gap.

by Robin Abcarian
Los Angeles Times, September 23, 2006

You just can't keep a good woman down. Audrey Hepburn has returned from the Other Side this month and is starring in an ad campaign for Gap, the struggling retailer that is pinning its hopes on the actress, who died of colon cancer in 1993.

She joins many dead colleagues -- Fred Astaire (Dirt Devil), John Wayne (Coors) and Humphrey Bogart (Diet Coke) -- in her posthumous marketing career.

The Gap spot is based on a clip from the 1957 romantic comedy "Funny Face." Hepburn plays a clerk in New York who is discovered by a fashion photographer (Astaire) and whisked off to Paris to take the fashion world by storm. (No stretch, really, given her real-life role as muse to the French designer Hubert de Givenchy.)

In the ad, Hepburn, in a black turtleneck and black pants, is shown leaping from her chair in a Paris nightclub, exclaiming, "I rather feel like expressing myself now. And I could certainly use the release." She starts a goofy Bohemian dance, then springs from the frame onto a white background as the AC/DC song "Back in Black" blares.

Some love the spot; some are appalled that a dead Hollywood icon is being used to sell skinny black pants. "The Gap should be ashamed of themselves," wrote one commenter on ThirdWay Advertising Blog. "It's a desperate attempt by a desperate company to align itself with someone classy."

"I wanted to like it," posted another, "but at the end was just too offended by the reincarnation of Audrey Hepburn as a pants salesman."

Gap, for its part, is happy just to be back on people's minds. For the last two years, the company has failed to excite customers who have fled elsewhere for inexpensive basics. Reviving a staple like the slim black pants, part of its new "Keep It Simple" campaign, could help revive Gap's sliding fortunes. "The worst thing a marketer can do is spend a lot of money and people are like, 'Oh well, another ad for Gap,'" said Kyle Andrew, Gap's vice president of marketing. "This is polarizing. Any time we can do anything that elicits passion is great."

Steven Levitt, who created Q scores, which measure name recognition and the likability of celebrities, said he thinks the choice of Hepburn is "excellent."

"If it's executed in good taste, her appeal will carry the advertising very well," said Levitt, president of Marketing Evaluations, Inc. Every two years, his firm conducts a survey to determine the Q ratings of 168 dead celebrities. In the most recent one, Hepburn ranked in popularity behind only two other women -- Lucille Ball and Katharine Hepburn. "If you started searching for a likable female with strong recognition to a current female audience," said Levitt, "Audrey Hepburn would be the first one you'd come to. Lucille Ball would represent comedy, and Katharine Hepburn would probably have a much older skew."

Audrey Hepburn's son, Sean Ferrer, approved the ad and worked with the company on the spot. "We ran everything by him, and he had lots of things to say," said Andrew.

With her wide eyes, graceful neck and boyish figure, Audrey Hepburn has been a fashion icon nearly since she was plucked from a crowd in 1951 by the novelist Colette to star in the Broadway adaptation of "Gigi."

As a teen, she suffered malnutrition while living in Nazi-occupied Holland, and was always reed slender. At 5 feet, 7 inches tall and 110 pounds, she could easily get away with skinny black pants.

But is anyone buying?

"We've seen a lot of positive signs," said Andrew. "We're very happy."

ANN HAMPTON CALLOWAY: "Blues in the Night"

2006-09-01T09:41:00.000+02:00

Few can own a song the way Calloway does on her first Telarc disc. Her Broadway-tested, cabaret-tempered and blues-infused voice is right at home just about anywhere it wants to be. Working at times with the all-female Diva Jazz Orchestra as well as a small group anchored by bassist Christian McBride and pianist Ted Rosenthal, Calloway has everything from Bessie Smith to Barbra Streisand covered. You'll never hear "Blue Moon," "Spring Can Really Hang You Up the Most" or the show-stopping "Blues in the Night" the same way again. Calloway's own positive-thinking style of songwriting rears its upbeat head on three tracks, with her humor saving them from the saccharine — barely. Still, to hear that alto turn into a positively burning soprano — there's nothing quite like it.

Maynard Ferguson Passed Away

2006-09-01T09:39:00.000+02:00

Maynard Ferguson: Trumpeter, flugelhornist, valve trombonist, bandleader, b. Verdun (part of Montreal) 4 May 1928.Maynard passed away late last night in California from kidney failure.After recently completing a new live recording and closing out his amazing performing career with a historic run at Birdland last month in NYC, Maynard Ferguson passed away peacefully in California Wednesday evening.As a child he studied piano and violin, and played the latter instrument in a Fox-Movietone short. Taking up the trumpet at nine, he was a member in his teens of dance bands led by Stan Wood (saxophonist), Roland David, and Johnny Holmes (his older brother Percy, a baritone saxophonist, also played for Holmes) and studied 1943-8 at the CMM with Bernard Baker. Ferguson was heard frequently on CBC radio and on one occasion played a “Serenade for Trumpet in Jazz” written for him by Morris Davis. While leading his own band in the Montreal area and in Toronto during the mid-1940s Ferguson came to the attention of US bandleaders. As Paul Bley recalled (Montreal Gazette, 28 Oct 1978), “Maynard would always open the show, and he played three octaves higher on trumpet than anyone else ... you ought to have seen the jaws drop on the visiting musicians.”Ferguson went to the USA in 1948 and worked in turn in the big bands of Boyd Raeburn, Jimmy Dorsey, and Charlie Barnet until 1950. It was during his term 1950-3 with Stan Kenton that he first received great public acclaim, winning the DownBeat readers' polls for trumpet in 1950, 1951, and 1952. He made his first records under his own name in 1950, for Capitol, leading the Kenton band of the day.After playing 1953-6 in Hollywood studio orchestras under contract to Paramount and recording with small groups (his own and others), he formed the Birdland Dreamland Band to perform at the New York jazz club Birdland. This was the first of several 'small' big bands (12 or 13 musicians) with which Ferguson toured until 1965, appearing at festivals and in clubs and concerts. He then turned briefly to a still smaller ensemble, although he performed and recorded at Expo 67 with a big band and a sextet, both comprising Montreal musicians.Ferguson spent a year in India studying meditation and lecturing on music, then moved in 1968 to England. It was with a 17-piece English band, which combined the orchestral conventions of jazz and the rhythmic vigour of rock, that he regained and even surpassed his former popularity. The band made its North American debut in 1971, and its recording of “MacArthur Park” was popular early in the decade. With New York as his home base after 1973, Ferguson gradually replaced the English musicians with young US players, reducing the band again to 13. His recording of “Gonna Fly Now,” the theme from the film Rocky, was a major hit single (by the standard for pop intrumentals) 1977-8; it was followed by a second lesser hit in 1978, the theme from the movie Battlestar Galactica. His album Conquistador exceeded 500,000 in US sales.In the mid-1980s, by which time Ferguson had moved to Ojai, Cal, he reduced his band still further and in 1987 introduced High Voltage, a fusion septet. By 1990, however, he was leading a more traditionallly-based nonet, the Big Bop Nouveau Band. Ferguson's extensive touring itinerary, which still found him on the road 8 months of every 12 in the early 1990s, has included many Canadian appearances. He performed on such CBC TV shows as 'Parade' and 'In the Mood' and, with his band, has played at the Stratford Festival (1958), in many concert halls (Massey Hall, PDA, etc), at Canadian Stage Band Festival (MusicFest Canada), regularly during the early 1980s at Ontario Place, and in 1982 and 1990 at the FIJM. He also played solo trumpet in the opening ceremonies of the 1976 Olympics in Montreal. Several Canadians have been members of his bands - eg, the singer Anne Marie Moss, the tenor saxophonist Georgie Auld, and the trombonists Rob McConnell and Phil Gray. Kenny Wheeler composed and arranged for Ferguson's English band.While Ferguson's dramatic virtuosity in the extreme upper registers of the trumpet (extending with ease to double-high 'C') and the bravado and invariably au courant style of his band have taken his popularity beyond the jazz world, they also have brought him a certain amount of critical disdain. Typically, the FIJM aside, the Ferguson band was rarely heard at the Canadian jazz festivals that flourished in the 1980s. His tendency towards exhibitionism - his grandstanding high notes and his use for many years of an aria from I Pagliacci as an encore - has led to his dismissal in some quarters as a mere showman. However, much of his work in the small-group context reveals a mature improviser whose high-note facility becomes a well-integrated aspect of an expressive and lyrical style. A natural leader, Ferguson has shown the ability to form and mould an ensemble of young musicians, and to infuse it with his own considerable energy and enthusiasm.

Harry Connick, Jr. - 'All These People '

2006-08-17T09:49:00.000+02:00

Columbia Records is set to release All These People by Harry Connick, Jr. on August 29. This song was written and composed by Connick and performed by the acclaimed singer/pianist in duet with gospel singer Kim Burrell, will benefit New Orleans Habitat Musicians' Village.The poignant lyrics, written after Hurricane Katrina had devastated New Orleans, were inspired by the suffering Connick witnessed when he visited his native city in the days immediately following the tragedy, and capture both the individual anguish of those left waiting for rescue and the bonds of brotherhood formed during the disaster. "The song is all about the people who were left stranded at the convention center, " Connick explains. "I wrote four verses, each describing what I saw as I was taken through by a kind fellow I had met on the street earlier that day named Darryl."Burrell, who Connick describes as "the perfect choice" for representing the brave people he met, shaped the final form of the song. "She, too, had been deeply affected by the hurricane, and was moved by the challenge of putting her feelings into song. After I read her the lyrics, she asked that her voice specifically represent 'the first two people we saw [who] left the way they came.' These were two dead bodies I saw when I first arrived at the convention center. Kim also asked that a final verse be added for her to sing, which I wrote in the studio. My favorite part of the performance is when Kim improvises the line 'come see about me, ' which was all those folks wanted that day, someone to come and see about them."
The single is being released on the one-year anniversary of Katrina on iTunes, and is the first single off Harry Connick, Jr.'s forthcoming New Orleans big band album, OH MY NOLA, set for release this fall. In addition to well-known songs associated with New Orleans, the new album will also feature several original songs by Connick that reflect on all aspects of this fabled and embattled cradle of American musical culture.All of Connick's royalties from this single will benefit the New Orleans Habitat Musicians' Village, a project conceived by Connick and his longtime friend and colleague Branford Marsalis. Connick and Marsalis serve as honorary chairs of Habitat for Humanity's hurricane relief program, Operation Home Delivery. Musicians' Village, which began dedicating completed houses on June 1 and is scheduled to dedicate 40 additional completed homes on August 19, will consist of single-family homes and elder-friendly duplexes. In addition, the Musicians' Village will contain the Ellis Marsalis Center for Music, named for the modern jazz pioneer and patriarch of the Marsalis clan who counts Connick among his legion of successful music students.

JULIE HARDY at Bar Next Door with Brad Shepik

2006-08-15T09:22:00.000+02:00

On Monday, August 21st at Bar Next Door, vocalist and composer Julie Hardy will perform with guitarist Brad Shepik and bassist Matt Clohesy.
Hardy is preparing to record her second CD with the recording label Fresh Sound New Talent out of Barcelona, Spain and is currently the only American singer on this label. This evening she will present new pieces including original music and covers of old standards and pop songs.This year Hardy has been acknowledged for her talent as a composer by receiving the 2006 ASCAP Young Jazz Composers Award for her composition "No Turning Back" which is featured on her recent Fresh Sound release.As the only American vocalist currently signed to Fresh Sound New Talent records, Julie Hardy is well on her way to becoming one of the most important voices of the modern jazz scene. Hardy's debut CD, "A Moment's Glance" was released in April 2005 to critical acclaim. This innovative record combines fresh interpretations of standards and pop classics with sophisticated original compositions, and showcases Hardy's diverse talents as an improviser and an interpreter of lyrics. She is joined by Rob Stillman, tenor saxophone and Randy Ingram, piano. Ben Street, bass, and Adam Cruz, drums (of the Danilo Perez trio) round out the ensemble.Last year Hardy released "A Moment's Glance" to a full house at the Jazz Standard in New York City. She was also selected to perform at the Diet Coke Women in Jazz Festival at Jazz at Lincoln Center.Hardy grew up in Fremont, New Hampshire and holds a Masters degree in Jazz Performance from the New England Conservatory of Music. In 2002 Hardy was one of two vocalists in the nation invited to participate in the Jazz Academy Snowmass in Aspen, CO directed by Christian McBride. The following year Hardy was chosen to attend the Betty carter Jazz ahead program where she performed her original composition at the Kennedy center in Washington, D.C.

Sergio Mendes and Brazil '66 - Crystal Illusions and Ye-Me-Le

2006-08-14T21:08:00.000+02:00

By 1969, Sergio Mendes and Brasil ’66 were proven hitmakers, with an effervescent signature sound that was instantly recognizable. Crystal Illusions kept that sound alive, and it also added some new elements to the mix — digging deeper into Mendes’s roots with dazzling new tunes by young Brazilian songwriters like Milton Nascimento and giving the band a chance to stretch out and experiment on the adventurous title track.

TRACK LIST:

1. (Sittin' On) The Dock of the Bay
2. Vila
3. Song of No Regrets
4. Salt Sea
5. Empty Faces
6. Pretty World
7. Dois Dias
8. You Stepped Out of a Dream
9. Crystal Illusions (Memorias de Marte Sare)

Ye-Me-Le

Exotic rhythms, catchy melodies, jazzy piano, sexy vocals — it was a unique mixture of all these elements and more that propelled Sergio Mendes and Brasil ’66 to the top of the charts in the mid-1960s, and by the end of the decade they were still going strong. The Brasil ’66 sound is as fresh and as irresistible as ever on this album, with everything from the Beatles (“Norwegian Wood”) to Burt Bacharach (“What the World Needs Now”) to Hair (“Easy to Be Hard”) getting a sparkling Mendes makeover.

TRACK LIST:

1. Wichita Lineman
2. Norwegian Wood
3. Some Time Ago
4. Moanin'
5. Look Who's Mine
7. Easy to Be Hard
8. Where Are You Coming From?
9. Masquerade
10. What The World Needs Now

Carmen Lundy at Ford Amphitheatre

2006-08-12T08:38:00.000+02:00

Get ready to enjoy a summit of jazz notables who've won acclaim far and wide — featuring Jazz vocalist Carmen Lundy, violinist Regina Carter, pianist Robert Glasper, trombonist Steve Turre and a dozen more artists — as they open an international tour spotlighting their own compositions. The concert, entitled, "Jazz And The New Songbook Artists, Starring Carmen Lundy, " will be performed on Sunday, September 10th at 7:00 PM at the Ford Amphitheatre in Los Angeles, California.This all-star event, nationally acclaimed jazz lineup for one night only, and the evening will present new, original and visionary jazz compositions performed by The New Songbook Artists.Joining Lundy onstage are: Robert Glasper, Anthony Wonsey – piano; Marvin "Smitty" Smith, Terri Lyne Carrington – drums; Mayra Casales – percussion; Curtis Lundy, Bob Hurst – bass; Sekou Bunch – electric bass; Steve Turre - trombone, shells; Bobby Watson – alto; Greg Diaz – trumpet; Regina Carter – violin; Lori Andrews – harp; Phil Upchurch – guitar; Krystal Davis Williams – background vocals.Her newest release, "Jazz and The New Songbook-Live at The Madrid, " is Lundy's first live recording and features 16 musicians including Robert Glasper, Nathan East, Phil Upchurch, Steve Turre, Bobby Watson, Curtis Lundy, Marvin "Smitty" Smith, Victor Lewis, Mayra Casales and Kenny Davis.Lundy has performed and recorded as a soloist with the Akron Symphony Orchestra and The Vallejo Symphony Orchestra. She has performed and recorded with such musicians as Walter Bishop Jr., Wynton Marsalis, Ray Barretto, Don Pullen, Kenny Barron, John Hicks, Ernie Watts, Mulgrew Miller, Billy Childs, Teri Lynn Carrington, Jimmy Scott, Kip Hanrahan, Courtney Pine, Marian McPartland, Regina Carter, and the late Kenny Kirkland.Her work has been critically acclaimed by The New York Times, The Village Voice, The Los Angeles Times, The Washington Post, as well as numerous foreign publications. Ms. Lundy is also a composer and songwriter whose catalogue numbers about forty published songs. Her compositions have been recorded by such artists as Kenny Barron ("Quiet Times"), Ernie Watts ("At The End Of My Rope"), and Straight Ahead ("Never Gonna Let You Go"), and can also be found on her own recordings Something To Believe In and This Is Carmen Lundy (both for Justin Time), Old Devil Moon (JVC), Self Portrait (JVC), Moment To Moment (Arabesque), Night And Day (CBS/SONY), and Good Morning Kiss (CLR/Justin Time).A native of Miami, Florida, Carmen Lundy's path to being one of today's most talented, respected and sophisticated jazz singers began at age six, with her first piano lessons. Deeply inspired by her mother, Oveida, who was then lead singer in the gospel group The Apostolic Singers, Carmen joined her church's junior choir.Armed with a devoted following and critical kudos, the uncompromising Ms. Lundy continues to make waves, not just in North America, but in Asia and throughout the UK and Europe.Carmen is featured on 3 popular CDs: Geri Allen's "Timeless Portraits and Dreams, " on "Hear Now! Jazz Vocalists, " a Hallmark Production, and on Mayra Casales' new release, "Woman on Fire."

For more information about Carmen Lundy, her music and tour dates, visit: www.carmenlundy.com or www.myspace.com/carmenlundy .

The intimate 1200-seat outdoor amphitheatre of the Ford lends itself to Lundy's artistry. The Ford, nestled in the Hollywood Hills, is just off the 101 (Hollywood Freeway) across from Hollywood Bowl and south of Universal Studios at 2580 Cahuenga Blvd. East. Picnickers welcome, food and beverage available on site. Grounds open two hours before show time for picnicking.This event is part of the Ford Amphitheatre 2006 Season, a multi-disciplinary arts series produced by the Los Angeles County Arts Commission in cooperation with Los Angeles County-based arts organizations.

Diana Krall - From This Moment On

2006-08-09T16:33:00.000+02:00

“This album coincides with a happier time in my life. I think it’s very obvious in the music. It reflects how I’m feeling now, the joy that I have in my marriage and family, and hopefully in the future.”

It had only been a few days since singer and pianist Diana Krall publicly announced that she and husband Elvis Costello were expecting their first child. Her remarks may have primarily focused on her upcoming album, but it was easy to discern the rosy glow as she discussed imminent arrivals, and how she came up with the name for one of them.

“I already knew before we went into the studio the title of the record. I definitely knew it was going to be From This Moment On.”

Cole Porter’s romantic ode to great expectations (with its hip, heartening couplet, “No more blue songs/Only whoop-dee-doo songs”) could not be more apt a title track for Krall’s tenth album. From This Moment On is an eleven-song collection that captures the Canadian-born sensation in full swing, in great company, and at the top of her game. It could also be called her strongest, most cohesive release to date.

Krall is the first to admit that the album’s marked, upbeat theme was not originally her intention (“I never try to link tunes together or find songs that work together as a whole. It happens organically in the recording process, or not at all.”) But she does assume credit for knowing the songs she would be recording when she, her quartet and the Clayton/Hamilton Jazz Orchestra assembled for two weeks in Los Angeles’s famed Capitol Studios this spring.

“I didn’t really sit down with anybody prior to recording it and say, ‘I think I want to do this.’ I knew exactly what I wanted from the get go. I started writing down song titles last summer, but a lot of these tunes I’ve had in my back pocket for years. I’ve been working on ‘How Insensitive’ for about ten years. ‘Day In, Day Out’ I started working on when I was about 24. I mean these are all tunes that finally have found their place.

“Every tune has to have some sort of personal connection. But I didn’t want it all to be too upbeat – like ‘Willow Weep For Me’, which for me is more of a social comment, adds a question mark to that positive feeling.”

In songs, mood and delivery, From This Moment On reveals Krall’s personal ardor for that golden era of song-making, when Frank Sinatra, Ella Fitzgerald and (especially) Nat “King” Cole were in their prime. It’s musical territory that Krall has often explored, but this album was certainly not a case of simply repeating past formulas: Krall’s A-team of support – producer Tommy LiPuma, engineer Al Schmitt and arranger/bandleader John Clayton – were on hand to ensure that inspiration was kept on an edge, unhindered by the studio environment.

“I’m not exactly working with people who are going to just say, ‘Oh it’s lovely, Diana.’ We never go an automatic pilot, you know? Sometimes I feel incredibly exposed during the recording process but fortunately I have the safety net of people whom I can listen to, and agree or disagree with. There’s nobody hanging over me and saying you have to do this or that. But that doesn’t mean that there aren’t surprises and it can be an extraordinarily intense environment. The emotions can run high since people care so passionately about the music and what we are doing.”

Krall – for the few still unknowing – is the 41-year old sensation whose cool, heavy-lidded vocals and strikingly sensitive piano-playing has helped her transcend barriers of genre to become a popular artist of the first order who has carved herself a permanent position at the top of the jazz charts.

The seeds of Krall’s crossover success are firmly rooted in her upbringing. Born in Nanaimo, Canada, to a musical family – her father is a stride-style pianist and serious record collector -- she grew up absorbing music that laid the foundation for her future growth. She attended Berklee College of Music in the early ‘80s, moved to Los Angeles where she continued her studies with the likes of bassist Ray Brown and pianist Jimmy Rowles, who convinced the young pianist to focus on her singing as well. By 1990, Krall relocated to New York City where she began performing on a regular basis with her trio. In 1993, she released her debut album on a small Canadian independent label.

Thirteen years later, she can look back over a stellar career path: in ’99, signed to Verve, her career exploded when When I Look in Your Eyes won a GRAMMY© for best jazz vocal and became the first jazz disc to be nominated for Album of the Year in twenty-five years. In 2002, The Look of Love was a #1 bestseller in the US and a seven-time platinum album in Canada. 2004’s The Girl in the Other Room, was her first to focus on her own songwriting – featuring six tunes co-written with her husband – and last year’s Christmas Songs proved one of the season’s best-sellers.

From This Moment On delivers Krall closer than ever to her musical aspirations and, in many ways, serves as a tribute to her heroes and mentors. One can detect her gratitude in a variety of musical moments.

“There’s a couple of pieces that I put Ray Brown into – like his introduction to Count Basie’s Little Darlin’ on ‘You Can Depend On Me’ -- and a lot of [vocalist/pianist] Shirley Horn was present in ‘Come Dance With Me.’ Our treatment of ‘From This Moment On’ came together after listening to [trumpeter/composer] Kenny Dorham’s version which I really love. I hear [arranger] Billy May especially in ‘Day In Day Out.’

“I have to mention Fred Astaire’s influence on ‘I Was Doing All Right’ – and in fact, all through the album. I listened to a lot of Fred with Oscar Peterson while preparing for this project, as well as watching a lot of his early movies, like Swing Time."

“Do you know that great album with Duke Ellington and Frank Sinatra, where he sings ‘Poor Butterfly’? ‘ Isn’t This A Lovely Day’ is very reminiscent of that. John [Clayton] wrote that arrangement at dinner the night before we recorded it. We were all sitting at a restaurant and he’s got a pad of paper. He was laughing and having the conversation and you see the wheels turning at the same time. And I loved playing piano on that. I think that’s my favorite piano work on the whole record – that, and ‘Exactly Like You.’”

Krall’s piano work and her arrangements – particularly on the album’s four quartet performances – are all standouts, as are a number of instrumental solos that she recalls with a marked fondness.

“That’s Gerald Clayton on piano on the title track -- he’s an amazing piano player and I think he played the hell out of that tune. I think Jeff Clayton’s alto sax solo on ‘Isn’t This A Lovely Day’ is a masterpiece -- definitely one of the highlights of the record. And Terrell Stafford played the perfect trumpet solo right after that! He walked in, nailed it in front of the whole band, and I said ‘Terrell, you sound like an old man.’ He’s only in his 30s! I meant it as the best compliment.

Krall is quick to point out that she is happy with everything on the album for different reasons, especially for the collaborative results. “I’m proud of tunes like ‘Exactly Like You’ specifically for every little note that [guitarist] Anthony [Wilson] plays, and simply for how the subtlety can work when we all play together, and how we all play what matters.”

“Playing what matters” could well be the subtitle to From This Moment On. There’s an economy and confidence that speak to the maturity of Krall as a performer, and a recording artist. “I really settled in with this record. I think I’ve let go of trying to prove something, and I wasn’t out to overplay solos. To just settle back into the bench and play those tough tempos and keep the solos simple and melodic and beautiful, and not have to pass a poll of some kind? That’s enough.”

From This Moment On is also a recording that cannot help but expose Krall’s feelings of being a wife and expectant mother. “It’s a reflection of who I am and where I am at this time. So I need to get that album out like now because that’s how I feel now. I don’t know how I’m going to feel six months down the road, so ‘Only whoop-dee-doo songs’? Yeah. Exactly.”

Nancy Wilson- Hollywood - My Way and Broadway My Way

2006-08-09T10:06:00.000+02:00

Nancy Wilson- Hollywood - My Way

Hollywood — My Way was Nancy Wilson’s seventh album for Capitol Records in the 1960s, and as the follow-up and companion to Broadway — My Way, was the second album of hers with a thematic program. This CD reissue also marks the first time that this album is released on CD in the U.S. and remastered directly from the original master tapes at the same legendary Capitol Studios in Hollywood, where the music was originally recorded.

These seventeen songs, written between 1936 and 1966, all emanate from the classic repertoire of the movies and feature the works of some of the idiom’s greatest composers and lyricists including Arlen, Mercer, Mancini, Kern, Van Heusen, Cahn, Porter, Bacharach, Mandel, and Legrand. The arrangements here, by Jimmy Jones (first twelve tracks), Billy May, Oliver Nelson, and others, perfectly support Nancy’s brilliant forays in exploring the sound of the cinema.

The bonus tracks (13–17) appear for the first time on CD in the U.S.

Track Listing

1 My Shining Hour
2 The Days of Wine and Roses
3 Moon River
4 Secret Love
5 Dearly Beloved
6 I'll Never Stop Loving You
7 When Did You Leave Heaven
8 Almost in Your Arms (Love song from 'Houseboat')
9 Wild is the Wind
10 The Second Time Around
11 Did I Remember
12 You'd Be So Nice To Come Home To
13 Alfie *
14 The Look of Love *
15 More (Theme from 'Mondo Cane') *
16 The Shadow of Your Smile (Love theme from 'The Sandpiper') *
17 Watch What Happens *

Nancy Wilson- Broadway - My Way

Broadway — My Way was Nancy Wilson’s sixth album for Capitol Records in the 1960s and was the first to feature a thematic program. This CD reissue also marks the first time that this album is released on CD in the U.S. and remastered directly from the original master tapes at the legendary Capitol Studios in Hollywood, where the music was originally recorded.

These seventeen songs, written between 1944 and 1965, all emanate from the classic repertoire of the Broadway stage and feature the works of some of the idiom’s greatest composers and lyricists, including Berlin, Bernstein, Sondheim, Rodgers & Hammerstein, Frank Loesser, and Lerner & Loewe. The arrangements here, by Jimmy Jones (first twelve tracks) and others, perfectly support Nancy’s brilliant forays in exploring the music of the Great White Way.

The bonus tracks (13–17) appear for the first time on CD in the U.S.

Track Listing

1 A Lot of Livin' to Do
2 You Can Have Him
3 Tonight
4 Make Someone Happy
5 I Believe in You
6 As Long As He Needs Me
7 Getting to Know You
8 My Ship
9 The Sweetest Sounds
10 Joey, Joey, Joey
11 Loads of Love
12 I'll Know
13 Hello, Young Lovers*
14 If Ever I Would Leave You *
15 I'm All Smiles *
16 Come Back to Me *
17 Don't Rain on My Parade *

DianaKrall.com - NEW ALBUM 'FROM THIS MOMENT ON' OUT SEPT 19TH

2006-08-02T09:48:00.000+02:00

NEW ALBUM 'FROM THIS MOMENT ON' OUT SEPT 19TH

“This album coincides with a happier time in my life. I think it’s very obvious in the music. It reflects how I’m feeling now, the joy that I have in my marriage and family, and hopefully in the future.”

It had only been a few days since singer and pianist Diana Krall publicly announced that she and husband Elvis Costello were expecting their first child. Her remarks may have primarily focused on her upcoming album, but it was easy to discern the rosy glow as she discussed imminent arrivals, and how she came up with the name for one of them.

“I already knew before we went into the studio the title of the record. I definitely knew it was going to be From This Moment On.”"

A collage of Ella

2006-07-29T15:13:00.000+02:00

Ella

2006-07-29T15:09:00.000+02:00

Ella sings Street of Dreams

2006-07-28T19:09:00.000+02:00

Alan Hewitt's 'METROPOLIS'

2006-07-27T18:55:00.000+02:00

• New Release! • New Release! • New Release! • New Release!
Alan Hewitt's 'METROPOLIS' Available Now!
On sale for $10 this week at www.215Music.com

(catalog #215-2033)
Alan Hewitt’s new offering Metropolis puts it all together, making it a must have for any contemporary jazz fan, or for that matter any music fan. Picking up where his 2004 classic Noche de Pasion’ left off, Metropolis features Hewitt's unmistakable way with a catchy hook and seductive groove, he brings an intensely urban, neo jazz flow into the mix, balancing the lush ballads with edgier tunes.
Hewitt generates sparks on the opening track 'JoyRide,' cutting loose on the piano with help from Gerald Spike's tenor sax. The great songs just keep coming, each one better than the last. Highlights include Alan's own version of Sly Stone's lengendary 'Hot Fun in the Summertime', 'Swingin' On Sunset' and title track 'Metropolis'.

Track Listing
1. Vibe (intro)
2. JoyRide
3. Velvet Kisses
4. Metropolis
5. Hot Fun in the Summertime
6. Swingin' On Sunset
7. Liquid Blue
8. So In Love (interlude)
9. So In Love
10. Lost In Emotion
11. Indigo
12. Soleil

SPECIAL OFFER!!!
Exclusive FREE Download of Alan Hewitt’s New Single “JOYRIDE”
Only at http://www.215music.com/
• Also on sale this week at www.215music.com: ULTRABLUE • "

Bonnie Bramlett - Roots, Blues & Jazz

2006-07-27T11:57:00.000+02:00

Bonnie Bramlett - Roots, Blues & Jazz
Zoho Roots ZM 200604
Bonnie Bramlett, lead & background vocals
Robbie Montgomery and Jessie Lucas (formerly with The Ikettes), background vocals
Bekka Bramlett, Chip Davis, Margie Gates, Steve Willets, Callaway, background vocals

Mr. Groove is:
Tim Smith bass, Roddy Smith guitar, Steve Willets piano, Mark Stallings Hammond organ

Tim Gordon saxes and flute, Donnie Marshall drums and percussion

Special guests: Bobby Ogdin keyboards, Dann Sherrill percussion

Rock and roll scholars depict the Bonnie Bramlett tale as an epic drama, and it most certainly is. But what the cognoscenti sometimes miss is the extent of this towering singer's contribution and her current role as one of America's greatest interpreters of the soul, R&B and jazz songbooks, bar none. In an era of safe singers, when massaging the public consciousness with smooth sounds is a sure way to commercial success, Bonnie Bramlett's joyous and soulfully hard-won vocals reflect a real life fully lived &amp;amp;#8722; bruises, beauties, and all. What will surprise anyone who has followed Bonnie's career is that not only does Roots, Blues &b Jazz find hre singing up a storm, but that her vocals are consistently stronger than most nu-soul stars half her age, and astonishingly, she is only getting better.

Between 1969 and 1972, when Bonnie Bramlett was a stage-storming, soul-stirring powerhouse with Delaney & Bonnie, she co-wrote such chart topping hits as "Soul Shake," "Only You Know & I Know," and "Never Ending Song Of Love." A member of rock's conquering elite, Bonnie Bramlett performed with legendary figures Eric Clapton, Leon Russell, George Harrison, Dave Mason, Gram Parsons, and John Lennon. She would go on to pen "Let It Rain" with Clapton, and one of the greatest songs of all time with Russell, "Superstar."
For decades, Bonnie has inspired respect, admiration and love from a wide range of stars. Even those who haven't worked with her, quickly understand her particular talent. "If I wasn't already married," says Keith Richards, "I would marry [her] voice. People have got to hear this, it is just beautiful."
For decades, Bonnie has inspired respect, admiration and love from a wide range of stars. Even those who haven't worked with her, quickly understand her particular talent. "If I wasn't already married," says Keith Richards, "I would marry [her] voice. People have got to hear this, it is just beautiful."

As a teenager, Bonnie Lynn O'Farrell performed in the dangerous dives of St. Louis with local legends Albert King and Little Milton. By 15, already a toughened musician with an amazing delivery, Bonnie became the first white girl to tour with Ike & Tina Turner as one of their Ikettes. Afterwards, she returned to St. Louis to continue her education vocalizing with jazz greats Stan Getz, Dexter Gordon, King Curtis, Miles Davis, and Wes Montgomery.
Fate called when in 1967 Bonnie moved to Los Angeles where she met and married Delaney Bramlett. Soon the supercharged southern duo were signed to Stax Records, their gospel inspired rhythm and blues landing them an opening slot with seminal supergroup Blind Faith. The duo's reputation rose like a comet when Eric Clapton left Blind Faith to join Delaney & Bonnie and their crack band on a European tour (heard on the classic Delaney & Bonnie & Friends On Tour). Bonnie had by then grown into a consummate songwriter, her songs eventually interpreted by The Staple Singers, The Everly Brothers, Lester Flatt, The Allman Brothers Band, and Hank Williams, Jr.
Going solo, Bonnie cut three albums for Capricorn Records in the 1970s, and also graced many important recordings as a backup or featured guest vocalist on classic albums by Little Feat, Delbert McClinton, Rita Coolidge, Carly Simon, Dave Mason, and Joe Cocker.
As the industry changed and the '70s became the '80s and the '90s, Bonnie turned her magnetic stage presence to acting, landing parts in Oliver Stone's The Doors and a recurring role in the #1 rated television show, Roseanne. (Bonnie is currently in production for the Kevin Costner thriller, Guardian, playing "the blues singing mama who owns the bar," Bonnie laughs).
After time off for reflection and repose, Bonnie made her way back to the music via Nashville. 2002's I'm Still The Same found Bonnie's trademark tenor howl rising from the grooves like a soaring bird. Blues, Jazz & Roots signals her full scale return to the soul sounds that forged her talent in the fires of St. Louis and Los Angeles, today wiser, smarter, and singing like a soul giant inspired.
So what was the goal for Blues, Roots & Jazz?
"I wanted to grow up into a jazz singer," Bramlett replies. "But I didn't know what that meant anymore. There is not really a Dinah Washington or Billie Holiday anymore is there? What happened to those soulful approaches to songs? That is the kind of singer I wanted to be when I grew up and if I ain't grown up by now I never will be! We rock out on this album too, but I am trying to burn more towards the jazz description of my expression."
Aiding in this expression is her band, Mr. Groove, a Nashville based ensemble who have worked together since the mid-1980s, and founded by the brothers Tim and Roddy Smith. Mr. Groove's cohesion is the bedrock on which Bonnie Bramlett is set free. Mr. Groove's contribution to Roots, Blues & Jazz is multi-faceted. They are expert interpreters of the soul-jazz and R&B idioms, and are also inspired arrangers who - far from replicating cover versions - can re-create familiar songs in a completely fresh and new light. The gospel-tinged "Love the One You're With" and the swinging intro to "No Particular Place to Go" are especially powerful examples.
Bonnie Bramlett, with her daughter Bekka who also contributed background vocals to the recording.
"You know how if you have a little bird in your hand and you throw it up in the air it just takes off?" Bonnie asks. "That is what this band does for me, it is a safety net one minute and it allows me to fly the next."
Blues, Roots & Jazz runs the gamut of Bonnie's history and fulfills her desire to "grow up into a jazz singer." Her joyous spirit fills Steven Still's "Love The One You're With," Chuck Berry's "No Particular Place to Go" and Joe Zawinul's "Mercy Mercy." Bonnie interprets classics like "A Change Is Gonna Come" and "Work Song" with a gritty depth that only comes from a life fully lived, scars worn as badges as of honor. But the true soul of Blues, Roots & Jazz is in Bonnie's original songs and select covers which reflect her soul-drenched heart.
Bonnie's readings of "I'm Confessin'" and "That Lucky Old Sun" are sublime, slow burners where she channels the ghosts of jazz greats long gone. "The blessing is that the minute [pianist] Steve Willets started playing those songs we started singing them," Bonnie recalls. "I was thinking of Louis Armstrong for both songs. I searched the archives of my heart and mind and soul.
"I was a child when I first heard those songs," she continues. "I remember the cotton fields, it being hot at night, and there is still so much work to do. But that lucky old sun he's got nothing to do. I like to slow down a song until it is almost like dialogue. Until I can tell the story and you know what I mean."

The album also contains the first recorded collaboration between Bonnie and two original members of the Ikettes, Robbie Montgomery and Jessie Lucas, on August 30, 2005 in Nashville - over 40 years after Bonnie's stint with the Ike & Tina Turner Revue! As expected, this reunion was both emotional and great fun. Equally impressive, the album documents the first recording of Bonnie with her daughter, Bekka Bramlett, whose own career as a singer included a memorable stint with Fleetwood Mac in the 1990's. Not surprisingly, Bekka has inspired Bonnie.
"Carefree," which floats effortlessly over drummer Donnie Marshall's simmering samba rhythm finds Bonnie expressing a simple love of life, and the loved ones in it. "That is me watching my daughter, Bekka, the butterfly. Where is she going? I don't know, maybe in the wind. I remember being like that, I was that butterfly, and now I am watching another one go. It is about that carefree-ness, the freedom that youth and old age brings."
From '70s superstardom to Hollywood glamour to Nashville skyline easy living, Bonnie Bramlett has done it all, seen it all, and lived to tell her tale. At the core of her experience is her incredible spirit-quickening voice, an instrument for the ages. "Every song is a story," Bonnie says. "I am using myself as a vehicle and I surrender to that piece of work. That is why I don't just sing any song. I won't do it for money. I would be a billionaire if I did that, but I just can't do that. I don't know what I have done to deserve these pipes but I sure do appreciate them. I have such a strong thick voice now. It blows my mind away, and I am proud of my work." Ken Micallef
Recorded at The Groovehouse, Nashville and GAT 3 Recording, Charlotte by Jimmy Dulin and Glenn Tabor, from January to September 2005. Additional recording at The Groovehouse, Nashville, Studioeast, Charlotte, and Saxworks, Charlotte by Tim Smith, Roddy Smith, Mark Stallings, Tim Gordon, and Jimmy Dulin. Mixed and mastered by Phil Magnotti at Silvermine Studio, Norwalk, CT, except "No Particular Place to Go" and "Gotcha" mixed by Kevin Ward at Kilowatt Productions, Murfreesboro, TN. Produced by Bonnie Bramlett and Tim Smith. Photography by Thorn Bresh. Package design by 3 and Co., New York. Executive producers: Tim Smith, Roger Davidson & Joachim Becker.
Projected street date is March 2006. "Given Bonnie's unique musical and personal history, we are expecting significant consumer, retailer, media and radio interest in this release : the tastes of many of Bonnie's fans from the 1970's have migrated from Rock to Jazz and Blues, as have Bonnie's", comments Joachim Becker from ZOHO. "Her incredible voice is more expressive than ever, her singing is powerful, instantly recognizable and unforgettable."
Advance publicity for Bonnie's ZOHO release already got a significant head start when TV talk show host Larry King briefly mentioned and displayed the CD cover of "Roots, Blues & Jazz" on CNN in a special "Roseanne" TV sitcom cast reunion show which featured Bonnie Bramlett as a special guest, on October 7, 2005, to a national audience!
Artist Website:www.bonniebramlett.com/ Label Website:www.zohomusic.com/

Personal Publicist to Bonnie Bramlett
Mike Hyland
President
Full Court Press Music Group
352 4th Avenue South # 2
Franklin, TN 37064
Tel: 615 599 9706
Fax :615595 4211
Cell: 615 495 0144
MikeHyland@comcast.net

ZOHO™is distributed by Allegro
Zoho Media contact:
Jim Eigo
Jazz Promo Services
269 S Route 94
Warwick, NY 10990
T: 845-986-1677 / F: 845-986-1699 / E-Mail: iazzpromo@earthlink.net
Web Site: www.iazzpromoservices.com

CAROL MENNIE - I'M NOT A SOMETIME THING

2006-07-26T15:50:00.000+02:00

I'M NOT A SOMETIME THING

Carol Mennie makes her maiden voyage as a leader on I'M NOT A SOMETIME THING, a
marvelous mixture of jazz and popular standards and originals with words and music by her producer and long time partner, guitarist/arranger/composer Dom Minasi. Mennie, who made her recording debut last year with a moving rendition of Thelonlous Monk's "Round Midnight" on Minasi's critically acclaimed Time Will Tell cd, here has her mature vocal stylings surrounded by the ggitanst's inventive arrangements which showcase her versatile voice in a variety of settings, accompanied by a superb band featuring Minasi, cellist Tomas Ulrich, pianist Michael Jefry Stevens, bassist Ken Filiano and drummer Jay Rosen, with special guests Patience Higglns on saxophones, Valery Portomarev on trumpet and flugel horn and Tom McGrath on percussion.

The opening Jazz, Jazz, Jazz is an appealing anthem written by Minasi specifically for Mennie in the early 9Q's, to supply the singer's songbook with a jazz waltz — the form which, as the lyrics note, had been missing from her repertoire. The introductory verse "I'm a singer of songs/I like to sing my songs whenever I can/It's even better when you have a great band" is a particularly appropriate beginning for the date, spelling out the singer's philosophy and approach to music. Higgins' soprano saxophone and Minasi's guitar jazz things up with nicely as Mennie sings brightly over the swinging rhythm section.

You Don't Know What Love Is, one

of jazz's most recorded standards, is given a unique treatment in this distinctive arrangement that begins with Mennie's intimate reading of the Gene De Paul/Don Ray lyric joined by Minasi's lone acoustic guitar, before moving into a second chorus accompanied by bass and bongo, recalling Peggy Lee's Fever. Higglns soprano saxophone obbligato brings the rhythm section in and the tempo up for a bluesy straight ahead section In which the singer has some fun with the seriousness of the song's words.
Rodgers and Hart's We Was Too Good For Me is a poignant duet by Mennie and Minasi. Mennie's deliberately torpid reading of her remorseful lines ignites a coo! flame of smoldering regret and unfulfilled desire making the burning fire of this archetypal torch song all too painful and real.

Mennie's passionate performance of Ann Ronnell's Willow Weep For Me Is set against the intensity of Minasi's artful string arrangement featuring his own guitar, Filano's bass and Ulrich's cello, driven by Jay Rosen's drums. Mennie's shrieking out chorus matches Minasi's own avant countrified solo in shaking loose the branches on this old chestnut.

Brown Eyes

is a beautiful ballad by Minasi with music composed by the guitarist in the mid eighties and words written a decade later. The song opens ominously with bowed bass and cello, emphasizing the subject's haunting quality, movingly expressed by Mennie's smoky recitation of the lyrics. Valery Ponomarev's muted trumpet solo and obbligati further enhance the tune's moody emotion.Minasi's I'm Not a Sometime Thing title track is a bluesy swinger that Mennie delivers with a finger snapping voice of experience that Is alternately swaggering and coy. Ponomarev is back on trumpet and Higgins switches to tenor to give the band a classic sound, reminiscent of the Jazz Messengers, which pushes the singer to deliver one of her most powerfully pleasing performances of the record.
Mertnie begins In The Wee Small Hours with a sensitive reading of the rarely heard verse of the Bob Hilliard/David Mann romantic ode to nocturnal longing, accompanied only by electric guitar, before launching into the stirring arrangement built around Ulrich's opulent cello and featuring another excellent solo by Mlnasi.
Who Needs YW is a novelty number by Mlnasi offering a bit of comic relief to the serious tone of much of the date's other selections. Starting with this silly samba's first hilarious line of "Who needs another bossa nova?" Mennie places her tongue firmly in her cheek and keeps it there throughout, singing lines like "Who needs another saxophone blowing (n my ear/ The sound of trumpets always there" only to be answered by Higgins' tenor and Ponomarev's ftugel horn on this paean to the partners jazz musicians.
Billy Barnes' sad show song Too Long At The Fair is one of those Broadway standards that has received surprisingly spare attention from jazz vocalists. Mennie's affecting performance, reminiscent of Sarah Vaughn's classic rendition of Send In The Clowns, mines the lyrics for all the distressing Ironies that are further enhanced by Minasi's occasionally satirical narrative arrangement.
Angela Is a serious bossa nova by Minasi, one with a melody written many years ago paired with a recently penned lyric. The composition's mysterious mood makes the music sound as If it might belong to a James Bond movie soundtrack, particularly when Mennie breathily intones the words "her smile, her lips are dangerous," Ulrich and Minasi both complement the singer's stirring performance with their own compelling solos.
Mennie pulls out all the stops for an exciting finale of Lover Man. This uptempo workout on the Ram Ramirez warhorse shows off the singer's swing In a fiery Minasi arrangement that also features fine solos by Higgins, Ponomarev, Stevens and the guitarist at his wildest.
I'M NOT A SOMETIME THING is an impressive debut by a seasoned singer with a distinctive style that is all of her own who isn't afraid to show it off. Hopefully, from now on hearing Carol Mennie sing should be something more of a regular thing.
Russ Musto
Media and Label Contact: Jim Eigo Jazz Promo Services
T: 845-986-1677 / F: 845-986-1699 E-Mail: iaj:zpjomo(g>earthlink.net
Distributed by: NorthCountry Distributors, Cadence Building, Redwood, NY 13679 P: 315-287-2852 F: 315-287-2860 northcountry@cadencebuildinQ.com

CARMEN LUNDY - Jazz and the New Songbook - Live at the Madrid Theatre L.A.

2006-07-26T14:35:00.000+02:00

Carmen Lundy - Jazz and the New Songbook: Live at the Madrid Theatre L.A.

Recorded February 18, 2005

Vocalist Carmen Lundy stands virtually alone today at the top of her profession as a jazz singer who throughout her illustrious thirty year career has composed a considerable portion of the words and music that make up her remarkable repertoire. On Jazz and the New Songbook the seasoned singer/songwriter showcases her vibrant voice and considerable compositional capabilities on a double cd (and live concert DVD recorded in HD) comprised completely of her own works. Recorded live in concert at Los Angeles' Madrid Theater, Lundy is joined by an all-star cast of musicians, many of whom have contributed to the success of her previous six studio sessions. The veteran vocalist's arrangements leave lots of room for the stellar players, Billy Childs, Robert Glasper, David Roitstein, Curtis Lundy, Kenny Davis, Nathan East, Victor Lewis, Man/in "Smitty" Smith, Mayra Casales, Bobby Watson, Mark Shim, Steve Turre, Phil Upchurch, Krystal Davis Williams, and the LA String Quartet, to share the spotlight with her distinctive vocals on this valuable documentation of a very special evening.
Lundy begins the concert with an upbeat version of "In Love Again," shining brightly on this optimistic ode to romance (the opener from her 2003 release Something To Bel/eve In), accompanied ably by pianist Billy Childs, bassist brother Curtis Lundy, drummer Victor Lewis, percussionist Mayra Casales, guitarist Phil Upchurch and the horn section of altoist/arranger Bobby Watson, tenor saxophonist Mark Shim and trombonist Steve Turre. Carmen shows off her range and rhythm, swinging hard, high and low, integrating her voice into an egalitarian group sound in a manner at times reminiscent of the late great Betty Carter.
"One More River To Cross," co-composed by Lundy and Deborah Ash, is dramatically introduced by Billy Childs' orchestral piano and Steve Turre's signature conch shell sounds. The rhythm section, augmented by Robert Glasper's keyboards and Kenny Davis' electric bass (with Man/in "Smitty" Smith replacing Victor Lewis) enters eerily, creating an exotic soulful atmosphere over which Lundy softly intones her words before interpolating Langston Hughes' powerful poem, "The Negro Speaks of Rivers", into the piece. First heard on her album This Is Carmen Lundy, this live rendition is a landmark in African-American concert music.
On the gospel-tinged "Something To Believe In" the rhythm section, featuring Glasper at the piano, Davis and Nathan East on electric basses and Lewis, Smith and Casales on drums and percussion, is joined by the LA String Quartet, providing a lush background to Lundy's emotional vocal. Carmen convincingly conveys the spirituality inherent in the soul stirring words to the song that served as the title track to her last cd.
"Better Days," originally heard on the leader's 1994 Self Portrait album, opens with Curtis Lundy laying down an alluring bass line, anchored by Victor Lewis' drums and nicely complemented by David Roitstein's keyboards, Upchurch's guitar and the string quartet. Carmen reaches high into her upper register to lend an almost childlike eagerness to her uplifting lyric, simply summed up by the lines "Everyday will be much sweeter than the day before/All you have to do is keep on holding on."
Carmen and Curtis Lundy co-composed "Where'd It Go," a swinging love song that first appeared on the bassist's Against All Odds album. The vocalist demonstrates the full range of her beautiful voice on this one, beginning with her full dark moaning bottom and slowing moving her way up the scale, finishing with some high powered upper register pyrotechnics. Glasper and Watson both have persuasive solos on this winning arrangement that recalls the potent lyricism of the altoist's group Horizon.
"Wild Child," written by Lundy, Julie Raynor and producer Elisabeth Oei is another selection originally from Something To Believe In. Carmen presents a passionate performance, her voice impeccably intertwining with Shim's soprano saxophone to tell her story, accompanied by a "double trio" featuring Robert Glasper. Billy Childs, Curtis Lundy, Nathan East, Victor Lewis and Marvin "Smitty" Smith working in perfect harmony.
The newly composed "Afrasia!" from which the release's label takes its name, is an exotically entrancing composition that opens with a Steve Turre conch shell solo. It combines African rhythms and a melodic chorus (featuring Krystal Davis Williams backed by
the string quartet) that hearkens to the Orient, while invoking the myriad names given to God in many different cultures. The refrain leads into Lundy's appealing lyric that speaks of "the language of love and the spirit of one." A truly unique piece in the jazz canon, "Afrasia!" demonstrates Lundy's individuality and strength as a composer and singer.
"Happy New Year" is Lundy's answer to the question "Why are there a million Christmas songs and only one for New Years?" A quietly festive anthem, it's delivered with a hushed delicacy not unlike Shirley Horn's classic "Here's To Life." Bobby Watson is featured with a moving melancholic alto solo, while Upchurch reinforces the mood with some gently supportive comping.
Disc One ends with another new piece, Lundy's "Long Journey Home," a simple soulful outing (from the Curtis Lundy cd Against All Odds) reminiscent of the sugar man Stanley Turrentine. It features a relaxed emotive Carmen vocal, deep bluesy sax solos by Shim and Watson and swinging surefingered backgrounds from Glasper and Upchurch. The enlightened lyric speaks of letting "love guide the way to a higher place."
Disc Two opens with Lundy's poignant lament, "You're Not In Love," a tortuously exquisite expression of the sad truth surrounding a fading love and the ensuing hurt of heartbreak that was a highlight of the singer's Old Devil Moon album. The moody masterpiece features Steve Turre's lyrical muted trombone nicely complementing Carmen's compelling vocal.
"All Day, All Night" is a sexy, celebratory rocking-good-time anthem from This Is Carmen Lundy. This updated rendition has the singer and the band really wailing - digging deep and rhythmically throwing down the kind of sound that says that they mean to get a raucous rollicking party started.
The cleverly titled "Walking Code Blue" is an ominous portrayal of life in the fast lane with a brutally honest, yet humorous cautionary lyric by Lundy in the tradition of the Crusaders' "Street Life." The spare spacious background provided by Childs' keyboards and Upchurch's guitar recalls early electric Miles, and the two solo with inspired abandon over the expansive rhythmic tapestry woven by Smitty and Mayra.
"Send Me Somebody To Love" (from This Is Carmen Lundy) is a lightheaded Latin-tinged line that Carmen swings lightly over the pulsating sound provided by Glasper's piano and Curtis Lundy's bass over Smitty and Mayra's percussion. The singer engages in a bit of humorous repartee with the audience that's good for more than a couple of laughs. ; i
The LA String Quartet and Upchurch are featured on "Old Friend," a bittersweet piece in a Kind Of Blue kind of mood, capably accompanied by Roitstein's piano, Lundy's bass and Smitty's drums, Carmen taking her time with the loving lyric that she debuted on her Self Portrait album.
"I Dream In Living Color" officially closes the program. The funky number from This Is Carmen Lundymwes straight ahead jazz, Latin, fusion and funk rhythms and features the high flying horn section and exciting drum breaks by Casales and Smitty before Lundy introduces the band and lets them take it out.
The disc is completed with a trio of "bonus tracks" -- excellently rendered "monitor mixes" of three popular Lundy pieces, "Firefly", "Vu Ja De" and "Good Morning Kiss", whose "official" 48-track concert recordings were lost due to a power surge. The live sound on stage of Lundy and her band offers a rare intimate opportunity to hear the artists as they hear themselves while performing.
Listening to Carmen Lundy live is indeed a joyous and moving experience. Seeing and hearing her here, on cd and DVD, performing eighteen of her own compositions in the company of compatible accompanists who help bring the music to life for an appreciative audience is surely the next best thing to being there. Certainly enough to convince any astute listener that amongst the growing number of female vocalists singing jazz today, Carmen Lundy stands out as a truly creative, multitalented artist in a class all her own.

Press Contact:
Jim Eigo Jazz Promo Services
269 S Route 94 Warwick, NY 10990
T: 845-986-1677 / F: 845-986-1699
E-Mail: jazzpromo@earthlink.net
Web Site: www.jazzpromoservices.com/

"Specializing in Media Campaigns for the music community, artists, labels, venues and events."

Barbara Sfraga & Center Search Quest

2006-07-26T14:12:00.000+02:00

Barbara Sfraga & Center Search Quest
Pre-CD Release for Timelessness Frozen in Time &
Book Release for Barbara Sfraga's: Book of Drawings The
Subway Series: A Book of Drawings Sprinkled With Words
Thursday, June 22nd at Makor NYC

Barbara Sfraga and Center Search Quest will be celebrating the upcoming release of their latest CD, Timelessness Frozen in Time (Street Date September 5, 2006), as well as Barbara Sfraga's book The Subway Series: A Book of Drawings Sprinkled With Words at Makor, 35 West 67th Street, 212-601-1000, Thursday, June 22nd, 7:30 PM, $15. cover.
With voicist Barbara Sfraga, bass artisan Christopher Dean Sullivan, soundrhythium Michael T.A. Thompson, pianist/vocalist/songwriter Mala Waldron, and saxophonist Erik Lawrence.
Described as consistently inventive (Billboard), a master of bold interpretation (Jazz Times), jazz singing at its cutting edge best (LA Times), Barbara Sfraga has been on a musical journey that evolved from church organist to rock keyboardist to jazz singer to voicist. Her creativity pours over into the visual arts as well, as evidenced by her work in the book also being celebrated on June 22nd.

In 1989, bass artisan Christopher Dean Sullivan met kindred spirit and soundrhythium Michael T.A. Thompson, and collaborated to form Center Search Quest. Barbara met Sullivan and Thompson in 2002 and has been performing with them ever since in many configurations, including voice/bass/drums, performing some of Barbara's originals as well as their unconventional arrangements of jazz and pop standards. During that time, T.A. made a comment to Barbara that what she needed to do next was an entirely original project. Although she had a few of her originals sprinkled on her previous two recordings (Oh, What a Thrill, Naxos Jazz and Under the Moon, A440 Music Group) she was more known for her unconventional twists on jazz and pop standards (pops-terdizing jazz andjazz-terdizing pop...}
The next year, T.A. and pianist/vocalist/songwriter Mala Waldron began a writing collaboration. Shortly thereafter, they surprised Barbara with material they had written expressly for her, with the invitation to write lyrics to any of the tunes she resonated with. That gift put this present journey into motion. Soon after, the unit began regularly writing together toward what would become the Timelessness project. Mala Waldron officially joined the unit in the summer of 2004, and saxophonist/flautist Alien Won came on board shortly after that. Mala and Alien also lead their own groups and each have releases as leaders; Waldron's Always There (2006) and Won's The Jewel in the Lotus (2004)
Collaborating with these stellar musicians, Sfraga and Center Search Quest are genre-bending their way to a whole new sound. With roots firmly planted in jazz and with the improvizational element always in place, Sfraga and CSQ are on a quest to leave no groove unturned. All five musicians lend their creative - and sometimes their physical -voices to this project in three part harmony, with a little spoken word thrown into the pot. It's music without borders! Sfraga and CSQ's newest recording will be celebrated June 22nd, featuring mostly their original material, as well as a few surprises.

Booking Contact:
Lorraine Tucci
New Sound Ideas
(01) 212-426-9518
newsoundideas@earthlink.net

Publicity:
Jim Eigo
Jazz Promo Services
269 Route 94 Warwick, NY 10990 T: 845-986-1677 / F: 845-986-1699

E-Mail: jazzpromo@earthlink.net
Web Site: www.jazzpromoservices.com

"Specializing in Media Campaigns for the music community, artists, labels, venues and events."

NEW ON CD-R - Jane Morgan "Jane in Spain"

2006-07-26T10:57:00.000+02:00

Hi this album is not available on CD. This CD-R was transferred and restored from the original reel-tape issue. The reel tape edition carries a bonus track also...so you'll get a special treat! Just email me for details on how to get it: chico75pi@gmail.com

NEW ON CD-R - Sergio Mendes & Brazil '66 "Stillness"

2006-07-26T10:51:00.000+02:00

NEW ON CD-R - Bud Shank & Chet Backer "Michelle"

2006-07-26T10:27:00.000+02:00

Hi
this album is not available on CD. This CD-R was transferred and restored from the original reel-tape issue. The reel tape edition carries a bonus track also...so you'll get a special treat!
Just email me for details on how to get it: chico75pi@gmail.com

Ella and Frank singing "Going Out of My Head"

2006-07-23T13:44:00.000+02:00

Jazz Spotlight featuring Benita Hill - I'll See You In My Song on Benita Hill @ jazzreview.com

2006-07-22T11:37:00.000+02:00

New Release Spotlight Featuring: Benita Hill

CD Title: I'll See You In My Song
Year: 2006
Record Label: Benita Hill
Style: Jazz Vocals

Musicians: Kevin Madil (piano), Jim Ferguson (bass), Bob Mater (drums). Kirk Whalum (saxophone), Michael Ripoll (guitar)

Tracks:
Love Came On Stealthy Fingers
Go Slow
Sausalito In The Summertime
I Knew Him In New York
I'll See You In My Song
Born To Be Blue
You've Ruined It For Me
I Go To Extremes
Besame Mucho
The London I Remember
Here's That Rainy Day
I Can Dream Can't I
That's For Me
I Don't Have A Care In The World

Listen to track(s): Go Slow / Sausalito In The Summertime / I'll See You In My Song

Purchase CD: At www.cdbaby.com or At www.itunes.com

Tune into the Helen Merrill Birthday Broadcast

2006-07-21T22:08:00.000+02:00

Tune into the Helen Merrill Birthday Broadcast

Tonight, July 21, 2006
Friday, 8p-midnight

Steve Schwartz
Jazz From Studio Four
Friday, 8p-midnight
WGBH, 89.7FM, Boston

Tune In On The Internet
http://www.wgbh.org/jazz/

A fine singer with a warm, expressive voice, Helen Merrill's infrequent recordings tend to be quite special with plenty of surprises and chance-taking. She started singing in public in 1944 and was with the Reggie Childs Orchestra during 1946-1947. Merrill, who was married for a period to clarinetist Aaron Sachs, had opportunities to sit in with some of the top modernists of the time, including Charlie Parker, Miles Davis, and Bud Powell. She was with Earl Hines in 1952 and started recording regularly for EmArcy in 1954. Her collaboration with Clifford Brown was her first classic. She made several notable EmArcy albums during 1954-1958 (including one in 1956 that helped bring Gil Evans out of retirement); all have been reissued in a large box. After recording for Atco and Metrojazz in 1959, she moved to Italy for the next four years, touring often in Europe and Japan. Back in the U.S., Merrill teamed with pianist/arranger Dick Katz for a pair of notable and unpredictable Milestone dates (1967-1968) and then moved to Japan where she was quite popular. Helen Merrill returned to the United States in the mid-'70s and has since recorded for Inner City, Owl, EmArcy (including a reunion date with Gil Evans) Antilles, and Verve, which released her 2000 album Jelena Ana Milcetic a.k.a. Helen Merrill. by Scott Yanow

For More Info About Helen Merrill Visit: http://www.helenmerrill.com/

CORNELIA STREET CAFÉ

2006-07-21T14:52:00.000+02:00

CORNELIA STREET CAFÉ
29 Cornelia Street, NYC, New York 212-989-9319
www.corneliastreetcafe.com
between West 4th and Bleecker Sts, Greenwich Village
1,9 Subway to Sheridan Square; A, C, E, B, D, F to West 4th St.

Contact: Jim Eigo, Jazz Promo Services, 845-986-1677, jazzpromo@earthlink.net

This Weekend At Cornelia Street Cafe

Fri Jul 21
THE SONGWRITER'S BEAT FESTIVAL

(Sal Casabianca; Anna Dagmar; KP Devlin; Bill Grady; Albert Del Rio)

The Songwriter's Beat Festival presents 25 of NY's best songwriters in 5 days, including a reunion of the original Songwriter's Exchange.

All proceeds to benefit The World Foundation for Music and Healing .

Now in its 6th year, The Songwriter's Beat is New York’s most popular acoustic songwriter’s series, where songwriters are encouraged to perform new material in a supportive and intimate atmosphere.

Curated / hosted by Valerie Ghent, The Songwriter’s Beat features top up-and-coming songwriters. Each month four songwriters of varying musical styles perform original songs and are encouraged to try out their newest material and arrangements.

Founded in 2000 by Valerie Ghent, The Songwriter's Beat has presented over 200 (hailing from all over the globe: from the US, UK, Australia, South Africa and Japan!) and keeps growing!

The Songwriter's Beat welcomes songwriters from around the world, so if you are planning your trip to New York, allow time for The Songwriter's Beat!
9:00PM Valerie Ghent, host. Cover $10 songwritersbeat.com

Sat Jul 22
THE SONGWRITER'S BEAT FESTIVAL
(Thea Hopkins; Kelli Sae; Mark Vodery; Robin Macatangay; Elizabeth Withers)

The Songwriter's Beat Festival presents 25 of NY's best songwriters in 5 days, including a reunion of the original Songwriter's Exchange.

All proceeds to benefit The World Foundation for Music and Healing.

Now in its 6th year, The Songwriter's Beat is New York’s most popular acoustic songwriter’s series, where songwriters are encouraged to perform new material in a supportive and intimate atmosphere.

Curated / hosted by Valerie Ghent, The Songwriter’s Beat features top up-and-coming songwriters. Each month four songwriters of varying musical styles perform original songs and are encouraged to try out their newest material and arrangements.

Founded in 2000 by Valerie Ghent, The Songwriter's Beat has presented over 200 (hailing from all over the globe: from the US, UK, Australia, South Africa and Japan!) and keeps growing!

The Songwriter's Beat welcomes songwriters from around the world, so if you are planning your trip to New York, allow time for The Songwriter's Beat!
9:00PM Valerie Ghent, host. Cover $10 songwritersbeat.com

Sun Jul 23
TRIOS DAVID HANEY FEATURING JULIAN PRIESTER
(David Haney, piano; Julian Priester, trombone; Adam Lane, bass)
Pianist David Haney with TROMBONE LEGEND JULIAN PRIESTER!!! ONLY 2006 NYC APPEARANCE

Two CDs released The Music-The David Haney Trio (C.I.M.P.) For Sale, Five Million Cash- David Haney and Julian Priester (Cadence Jazz Records)

Four composers, four instrumentalists, four conversationists. Four unique voices, one special date. The Legendary Julian Priester has been a driving force in creating the jazz landscape. For fifty years Julian has been at the forefront of music creativity and his contributions are many. He has worked with an vast array of artists from Ray Charles and Diana Washington to Max Roach, Dave Holland, Herbie Hancock, etc., etc. etc. In 1999 Julian began touring and recording with pianist David Haney. They have toured throughout the U.S. and Europe and have three new CDs together for Cadence Jazz Records and C.I.M.P. Come see what the excitement is all about!

"an amazing depth of sound and texture... of echoing notes and subtle haunting effects. At times, Haney's dexterity can sound like piano for four hands, or more accurately music for piano and percussion, though never in overwhelming fashion; he frequently takes momentary pauses like a saxophonist's breath connecting short runs of notes. This is modern music in the minimalist vein, rarely swinging but proving that swing-ing is certainly not as essential as the improvising element to be a qualifier for jazz." Laurence Donohue-Greene, All About Jazz, New York
8:30PM Cover $12 www.davidhaney.org
Mon Jul 24
VIBES: TOM BECKHAM GROUP
(Tom Beckham, vibraphone; Chris Cheek, saxophones; Bryn Roberts, piano; Gary Wang, bass; Diego Voglino, drums)

8:30PM www.tombeckham.net
Tue Jul 25
SOLO PERFORMANCE FESTIVAL

HONKY TONK PADRE
(Roger Fawcett)
ROGER FAWCETT has a long theatrical history. He made his debut as a teenager with the legendary William Bendix in The Gazebo and appeared in numerous other tours and productions from the 60's to the 80's on Broadway, Off Broadway and around the country. In mid-course, he entered a little seminary in Brooklyn and was ordained a priest in 1986. HONKY TONK PADRE is the story of an actor battling familiar and unfamiliar demons and his remarkable journey through alcohol, drugs, doubt and faith.
6:00PM Cover $6

SOUL OF THE BLUES FESTIVAL
(Roosevelt & Ira Lee; Julia Joseph; Oli Rockberger)
World-Class Summer Blues Festival to Return to Blues-Deprived Big Apple

Local promoter Bagel & Rat Entertainment is teaming with the Long Island-based Downstate New York Blues Association and Cornelia Street Cafe to stage New York City's second annual Soul of the Blues Festival this summer.

Julia Joseph (NYC) "balances delicate introspection with the raw energy of solid blues and soul." Traces of her heroes – Nina Simone, Phoebe Snow, Janis Joplin - inform a "voice that could awaken the dead and lull the living to sleep." Julia was named "Best Female Jazz Solo Artist" at the New York International Independent Music Festival in 2004.

Roosevelt and Ira Lee (Brooklyn) makes its debut tonight. This new project brings together the talents of legendary Williamsburg bluesman and poet Preacher Boy, Soul of the Blues veteran Will Scott, and Capitol Records/ Astralwerks recording artist Joe Magistro (aka Prophet Omega) on drums (currently in the studio with The Black Crowes). "The swampiest, nastiest, funkiest, thrumpiest blues trash out there..."

London-born jazz/gospel/R&B pianist, vocalist and songwriter Oli Rockberger brought down the house at Soul of the Blues back in February and we're delighted to have him and his band back. Oli combines astounding musicianship with soulful high spirits - truly a "scary talent."

From July 25-29, some of the most exciting and accomplished local, regional and even international blues and soul artists will tramp down the stairs to the legendary Cornelia Street Cafe stage. In that welcoming, intimate setting, New York audiences will get to experience the kind of great music the city's blues clubs used to present - before they almost all, in recent years, closed down or switched formats.

"We're really excited to be working with Downstate again on the Festival," says Bagel & Rat's Paul Cruz. "The [blues] scene on Long Island is hopping, but here in the city blues fans don't have much opportunity to experience this kind of live music any more... Downstate coming in with their great bands is just such a shot in the arm for the scene." Over one third of the bands at the Festival were booked through the Downstate NY Blues Association. This summer's festival will feature a broad range of talent, from the rhythmic country blues of Roosevelt & Ira Lee to the sweet soul sounds of Sam "Magic Man" Waymon (brother of the late Nina Simone); from New York's celebrated blues queen Pat Cisarano to the genre-smashing soul-jazz of British import Oli Rockberger; from the rough blues-rock of Andre & the Night Hounds and Sonny Hudson's wailing harmonica to the honeyed stylings of songstress Julia Joseph and the thumping Chicago blues of Breakaway. Altogether seventeen acts will perform over five days. (See http://souloftheblues.com for the full schedule.)
8:30PM Jon Sobel, host.
Wed Jul 26
SOLO PERFORMANCE FESTIVAL

OVID’S METAMORPHOSES
(Todd Conner, playwright/performer)
Todd Conner performs his new translation and solo adaptation of Ovid’s Metamorphoses.

Storytelling stripped to the bare essentials, Conner’s Metamorphoses returns audiences to the very well-springs of the Western storytelling tradition. Conceiving, translating and adapting from Ovid, Conner reaches even further back than his ancient Roman source material to explore the poetic/bardic tradition from which Ovid drew his inspiration. With only his voice, body, a few props, a minimum of light, and a harp (learned specifically for this piece, for which he also composed accompaniment), Conner’s performance is a reminder that in our age of relentless over-mediation and mass-entertainment, it is the individual human being who must remain the essential medium of artistic expression.

Todd Conner, in addition to being a performer, is an award-winning playwright and accomplished director.

$10 for adults, $6 for students.
6:00PM Cover $10 www.mayasphereproject.com

SOUL OF THE BLUES FESTIVAL
(Tony Gallo Group; Tommy Keys; My Friend Ben)
World-Class Summer Blues Festival to Return to Blues-Deprived Big Apple

Local promoter Bagel & Rat Entertainment is teaming with the Long Island-based Downstate New York Blues Association and Cornelia Street Cafe to stage New York City's second annual Soul of the Blues Festival this summer.

From July 25-29, some of the most exciting and accomplished local, regional and even international blues and soul artists will tramp down the stairs to the legendary Cornelia Street Cafe stage. In that welcoming, intimate setting, New York audiences will get to experience the kind of great music the city's blues clubs used to present - before they almost all, in recent years, closed down or switched formats.

"We're really excited to be working with Downstate again on the Festival," says Bagel & Rat's Paul Cruz. "The [blues] scene on Long Island is hopping, but here in the city blues fans don't have much opportunity to experience this kind of live music any more... Downstate coming in with their great bands is just such a shot in the arm for the scene." Over one third of the bands at the Festival were booked through the Downstate NY Blues Association. This summer's festival will feature a broad range of talent, from the rhythmic country blues of Roosevelt & Ira Lee to the sweet soul sounds of Sam "Magic Man" Waymon (brother of the late Nina Simone); from New York's celebrated blues queen Pat Cisarano to the genre-smashing soul-jazz of British import Oli Rockberger; from the rough blues-rock of Andre & the Night Hounds and Sonny Hudson's wailing harmonica to the honeyed stylings of songstress Julia Joseph and the thumping Chicago blues of Breakaway. Altogether seventeen acts will perform over five days. (See http://souloftheblues.com for the full schedule.)
8:30PM Jon Sobel, host.
Thu Jul 27
SOLO PERFORMANCE

CONFESS\CONFUSE

FOUR MICRO-MUSIC-THEATRE-WORKS
(Margaret Benczak, soprano; Mary Kay McGarvey, soprano; Raymond Sage, baritone; Natalia Paruz, musical saw; Mat Fieldes, string bass; Bruce Trinkley, piano)

Three solo operas (and a fourth for all three singers) music by BRUCE TRINKLEY, words by JASON CHARNESKY, directed by RICHARD EDELMAN

Three singers, four confessions, and the confusion of the heart's passions laid open. Margaret Benczak, last seen as Carmilla in La Mama's breakthrough production; Broadway's Raymond Sage; and Brooklyn Queens Conservatory of Music's Mary Kay McGarvey present four dramatic scenes of characters haunted by ghosts and baffled by passion. These performers present a musical, dramatic tour de force as they create an array of unforgettable characters: a chat-room stalker, a lonely farmer's wife, the richest woman in America, and two British tourists lost in Greece Think of a five act opera compressed to fifteen minutes of intense revelation, times four. Richard Edelman directs. "If Puccini had a night job in the jazz cabarets of Berlin he might have written pieces as funky and lyrical as Bruce Trinkley's micro-music-theatre works."
6:00PM

SOUL OF THE BLUES FESTIVAL
(The One 2 Many Band; Halley DeVestern; Joe Vicino and the Smokedaddys)
World-Class Summer Blues Festival to Return to Blues-Deprived Big Apple

Local promoter Bagel & Rat Entertainment is teaming with the Long Island-based Downstate New York Blues Association and Cornelia Street Cafe to stage New York City's second annual Soul of the Blues Festival this summer.

From July 25-29, some of the most exciting and accomplished local, regional and even international blues and soul artists will tramp down the stairs to the legendary Cornelia Street Cafe stage. In that welcoming, intimate setting, New York audiences will get to experience the kind of great music the city's blues clubs used to present - before they almost all, in recent years, closed down or switched formats.

"We're really excited to be working with Downstate again on the Festival," says Bagel & Rat's Paul Cruz. "The [blues] scene on Long Island is hopping, but here in the city blues fans don't have much opportunity to experience this kind of live music any more... Downstate coming in with their great bands is just such a shot in the arm for the scene." Over one third of the bands at the Festival were booked through the Downstate NY Blues Association. This summer's festival will feature a broad range of talent, from the rhythmic country blues of Roosevelt & Ira Lee to the sweet soul sounds of Sam "Magic Man" Waymon (brother of the late Nina Simone); from New York's celebrated blues queen Pat Cisarano to the genre-smashing soul-jazz of British import Oli Rockberger; from the rough blues-rock of Andre & the Night Hounds and Sonny Hudson's wailing harmonica to the honeyed stylings of songstress Julia Joseph and the thumping Chicago blues of Breakaway. Altogether seventeen acts will perform over five days. (See http://souloftheblues.com for the full schedule.)
8:30PM Jon Sobel, host.
Fri Jul 28
SOUL OF THE BLUES FESTIVAL
(Sam Magic Man Waymon and the; Sonny Hudson and the Essential; Pat Cisarano; Dare Ya Blues Band)
World-Class Summer Blues Festival to Return to Blues-Deprived Big Apple

Local promoter Bagel & Rat Entertainment is teaming with the Long Island-based Downstate New York Blues Association and Cornelia Street Cafe to stage New York City's second annual Soul of the Blues Festival this summer.

From July 25-29, some of the most exciting and accomplished local, regional and even international blues and soul artists will tramp down the stairs to the legendary Cornelia Street Cafe stage. In that welcoming, intimate setting, New York audiences will get to experience the kind of great music the city's blues clubs used to present - before they almost all, in recent years, closed down or switched formats.

"We're really excited to be working with Downstate again on the Festival," says Bagel & Rat's Paul Cruz. "The [blues] scene on Long Island is hopping, but here in the city blues fans don't have much opportunity to experience this kind of live music any more... Downstate coming in with their great bands is just such a shot in the arm for the scene." Over one third of the bands at the Festival were booked through the Downstate NY Blues Association. This summer's festival will feature a broad range of talent, from the rhythmic country blues of Roosevelt & Ira Lee to the sweet soul sounds of Sam "Magic Man" Waymon (brother of the late Nina Simone); from New York's celebrated blues queen Pat Cisarano to the genre-smashing soul-jazz of British import Oli Rockberger; from the rough blues-rock of Andre & the Night Hounds and Sonny Hudson's wailing harmonica to the honeyed stylings of songstress Julia Joseph and the thumping Chicago blues of Breakaway. Altogether seventeen acts will perform over five days. (See http://souloftheblues.com for the full schedule.)
9:00PM Jon Sobel, host.
Sat Jul 29
SOUL OF THE BLUES FESTIVAL
(Jon Short; Breakaway; Andre and the Night Hounds; Pam Betti and the Bluebloods)
World-Class Summer Blues Festival to Return to Blues-Deprived Big Apple

Local promoter Bagel & Rat Entertainment is teaming with the Long Island-based Downstate New York Blues Association and Cornelia Street Cafe to stage New York City's second annual Soul of the Blues Festival this summer.

From July 25-29, some of the most exciting and accomplished local, regional and even international blues and soul artists will tramp down the stairs to the legendary Cornelia Street Cafe stage. In that welcoming, intimate setting, New York audiences will get to experience the kind of great music the city's blues clubs used to present - before they almost all, in recent years, closed down or switched formats.

"We're really excited to be working with Downstate again on the Festival," says Bagel & Rat's Paul Cruz. "The [blues] scene on Long Island is hopping, but here in the city blues fans don't have much opportunity to experience this kind of live music any more... Downstate coming in with their great bands is just such a shot in the arm for the scene." Over one third of the bands at the Festival were booked through the Downstate NY Blues Association. This summer's festival will feature a broad range of talent, from the rhythmic country blues of Roosevelt & Ira Lee to the sweet soul sounds of Sam "Magic Man" Waymon (brother of the late Nina Simone); from New York's celebrated blues queen Pat Cisarano to the genre-smashing soul-jazz of British import Oli Rockberger; from the rough blues-rock of Andre & the Night Hounds and Sonny Hudson's wailing harmonica to the honeyed stylings of songstress Julia Joseph and the thumping Chicago blues of Breakaway. Altogether seventeen acts will perform over five days. (See http://souloftheblues.com for the full schedule.)
9:00PM Jon Sobel, host.
Sun Jul 30
ERICA VON KLEIST AND PROJECT E
(Donny McCaslin, tenor saxophone; Jesse Stacken, piano; Dan Loomis, bass; Jeremy Noller, drums; Erica von Kleist, alto & soprano saxophones, flute)
As a member of Jazz at Lincoln Center’s Afro-Latin Jazz Orchestra and the Chris Potter Tentet, Erica von Kleisthas begun to make her mark on New York’s jazz scene with her quintet, performing her funky original compositions and arrangements at jazz clubs throughout the area. Project E will be performing music from Erica’s new CD to be released in the summer of 2006, and is comprised of some of New York’s best talent.
6:00PM Cover $7 www.ericavonkleist.com

TRIOS: MICHAEL KANAN
(Michael Kanan, piano; Joseph Lepore, bass; Jeff Williams, drums)
Pianist Michael Kanan has been part of the New York Jazz Scene since 1991. He is widely known as a gifted vocal accompanist, having spent the last 10 years recording and performing with singers like Annie Ross, Jimmy Scott, and Jane Monheit (with whom he's been touring for the last 5 years). Through his work with vocalists, Kanan combines his deep appreciation for melody with rhythmic clarity, and harmonic freedom. In this rare trio appearance, Kanan will perform some seldom heard gems from the Great American Songbook, some compositions from Monk, Bud Powell, and Lennie Tristano, as well as some originals. He will be joined by legendary drummer Jeff Williams, and bassist Joseph Lepore.

Kanan does not dote on the styles of Tristano and Monk, electing to go his own way, and properly so. Simple lines and melodic musings are the hallmark of this fine player. His original tunes are methodically beautiful. His interpretation of the compositions of others may linger momentarily in appreciation of their legacy, but he wisely follows his own dictates and methods. The message is clear in performance..."Swing For The People" and this is done with clarity and overall excellence.
-- John Gilbert, Jazz Review.com
8:30PM Cover $8
Mon Jul 31
VIBES: TIM COLLINS
(Tim Collins, vibraphone; Erik Deutsch, keyboards; Matt Clohesy, bass; Simon Lott, drums)
Everything from hard-edged bass lines to haunting melodies are staples in vibraphonist Tim Collins' band. His original music draws upon hip-hop, electronica, jazz, and classical influences to create a driving, powerful sound.

“An exceptionally bright and brisk live jazz album featuring vivid jazz vibes, lighting up a full-spectrum sound. Incorporating influences from Funk, Rock and Latin styles with sassy backbeats and forthright piano punctuation, this east coast group is one that jazz connoisseurs will be talking about. With outstanding compositional integrity, this is truly a meeting of voices, a group performance with one, cohesive vision. Highly recommended.”
-- CDBaby review of Tim Collins Quartet - Live In Concert
8:30PM www.timcollinsmusic.com

JULY Spoken Word

Fri Jul 21
PINK PONY POETRY
Jackie Sheeler's open mic poetry series. Arrive before 6 pm to sign up. Tonight's featured reader is jaxx electronica.
6:00PM Jackie Sheeler. Cover $6
Fri Jul 28
PINK PONY POETRY
Jackie Sheeler's open mic poetry series. Arrive before 6 pm to sign up. Tonight's featured reader is Omaha Rising.
6:00PM Jackie Sheeler. Cover $6
Sat Jul 29
GUITAR & PEN
"Guitar & Pen" performance. Chris will be reading new fiction & playing new tunes
6:00PM Chris Belden, host. Cover $6

JULY User Added

Mon Jul 24
MINDY'S MONDAY
Over the years, Mindy has performed in professional regional theatre, on cruise ships and with several bands. She has produced and written three one woman shows. The current production is entitled, "Strong Enough for a Man, But Made for a Woman", which she performs at various venues throughout New York City. Mindy was featured in a high profile ASCAP Showcase at "The Sidewalk Cafe." Recently, she has brought music back to, The Two Boots "Den of Cin" with the successful premiere of Mindy's Mondays "The Kitchen Sink."
6:00PM Mindy Cassle, host. Cover $10
Mon Jul 31
SHAKESPEARE ANYONE?
Actors perform monologues scenes poems of The Bard.
6:00PM Jonathan Escobio, host. Cover $6

Ella and Ray in Paris

2006-07-20T18:36:00.000+02:00