Podcast appearances and mentions of gene bertoncini

This episode of The Other Side of the Bell, featuring trumpeter, educator and recording artist Clay Jenkins, is brought to you by Bob Reeves Brass.  About Clay Jenkins:  Clay Jenkins is a renowned jazz trumpeter and educator whose dynamic career spans decades of performance and teaching. He launched his performing journey with the Stan Kenton Orchestra before moving to Los Angeles, where he toured and recorded with the big bands of Buddy Rich and the Count Basie Orchestra. A charter member of the Clayton Hamilton Jazz Orchestra, Clay has amassed over 100 recording credits, released seven solo albums, and recorded as a co-leader with many other notable names. Since joining the Eastman School of Music faculty, in Rochester, NY, in 2000, Clay has continued to perform worldwide, while mentoring the next generation of jazz musicians. Inspired by his close friendship with the late trumpet legend Eugene "Snooky" Young, he established the Snooky Young Endowed Scholarship at Eastman, and is currently writing a biography of Young's life.  Clay is wonderfully warm, down-to-earth and humble. If you listened to our last episode featuring Emile Martinez, you'll know that Clay was instrumental in guiding Emile on his artistic journey, and so how appropriate it is that we can follow up on that interview with this one today. And he's a lifelong practicer. Clay is always trying to improve, and it's inspiring to hear someone at his level still talking about what they go through every day, trying to better themselves.  Episode Links: "Hope Beats" - YouTube series with Clay Jenkins (trumpet), John Clayton (bass), Larry Koonse (guitar), Gene Bertoncini (guitar), Joe La Barbera (drums) Quasimodo, by Charlie Parker Grizzly, by John Clayton Podcast Credits: “A Room with a View“ – composed and performed by Howie Shear Audio Engineer – Ted Cragg Cover Art – Phil Jordan Podcast Host – John Snell

The week of March 5 guitarist Peter Bernstein brings a quartet to the Village Vanguard in New York City that includes pianist Sullivan Fortner, bassist Doug Weiss, and the iconic drummer Al Foster. In this episode of LINER NOTES Peter expresses a genuine gratitude for being able to play music. He also offers insights on how he personally approaches this music as a guitarist, sharing valuable lessons learned from his legendary teachers Gene Bertoncini, Ted Dunbar, and Jim Hall.

Tom Washatka is a mainstay in the northeast Wisconsin music scene and the impact he's had in the area is huge. He is an outstanding jazz saxophonist with several critically acclaimed albums he's released under his own name and as part of various combos. He has arranged music for all types of groups, he's written numerous pieces, and he's worked with some pretty big names in jazz like pianist John Harmon, guitarist Gene Bertoncini, and his wife, vocalist Janet Planet. On top of that, he's an impeccable producer and engineer recording many excellent jazz artists at his Steel Moon Studio and releasing those recordings on his and Janet's Stellar Sound Productions label. We invite you to meet the dynamo known as Tom Washatka."Easy To Love" performed by The Tom Washatka Quartetwritten by Cole Porter, arranged by Tom Washatka℗ 1999 Stellar Sound Productions. Used with permission of Tom Washatka."You Don't Know What Love Is" performed by Tom Washatka & Scott Derckswritten by Don Rae & Gene de Paul, arranged by Tom Washatka and Scott Dercks℗ 2020 Stellar Sound Productions. Used with permission of Tom Washatka."Firewater" performed by Tom Washatka, Noah Harmon, & Zach Harmonwritten by Buster Williams, arranged by Tom Washatka℗ 2021 Stellar Sound Productions. Used with permission of Tom Washatka."Family" performed by DADDIOwritten and arranged by Tom Washatka℗ 2023 Stellar Sound Productions. Used with permission of Tom Washatka.Support the showSupport the show: https://www.buymeacoffee.com/intothemusic E-mail us at intothemusic@newprojectx.com YouTube Facebook Instagram INTO THE MUSIC is a production of Project X Productions, Appleton, WI.Producer: Rob MarnochaRecording, engineering, and post production: Rob MarnochaOpening theme: "Aerostar" by Los Straitjackets* (℗2013 Yep Roc Records)Closing theme: "Close to Champaign" by Los Straitjackets* (℗1999 Yep Roc Records)*Used with permission of Eddie AngelThis podcast copyright ©2024 by Project X Productions. All rights reserved.

Modern Jazz Quartet, Julie London, Teddy Wilson, Erroll Garner, Nina Simone, Nellie Lutcher, Lalo Schifrin, Paul Horn, Gene Bertoncini w. Michael Moore, Jim McHarg w. Lonnie Johnson. Those are records I dug from my storage locker: great albums I played for myself this week.. And I found at least one track from each I wanted…Continue reading Episode 254: More From my LP Collection

"Matt, you've forgotten more about the guitar than I'll ever know. Then how come I sound better with 2 notes than you do with 200?" Those words of wisdom from Gene Bertoncini still ring in my ears every time I solo. In today's episode, we discuss the hard lesson I learned about developing melodic ideas from my masterclass performance with Gene.  Next, we break down ways that you can add development to your solos as you improvise like a composer over jazz standards.  Enjoy these exercises, have fun improvising in this style, and for all your jazz guitar needs, go to www.mwgcourses.com. 

This week on Comes A Time Oteil and Mike talk with jazz drummer Joe Corsello. Joe tells the guys what it was like to play with Benny Goodman, watch Miles Davis and Bill Evans play from a few feet away (for $2 dollars), and perform a high-pressure audition for Sonny Rollins. You'll also hear Joe detail his experience climbing the ladder of musicianship, talk about how the music business has changed since the pandemic, and recall a life-altering Dave Brubeck concert that he saw when he was 11 years old. Without even hearing him play, Joe's wisdom makes it clear why he was chosen to lead the rhythm section of so many great bands.Joe Corsello is a drummer born and raised in Stamford, Connecticut. Joe has made a lifetime commitment to playing drums and continually striving to reach new highs in the drumming world. He studied under the watchful eye of drum legend Alan Dawson at Berklee College of Music, and later enlisted in the U.S. Army band. He would go on to tour with the Glenn Miller Orchestra, and form the jazz/rock band, New York Mary (Arista Records). The band recorded two successful records and toured with the B52′s, Patti Smith, Stevie Wonder and Tony Williams Lifetime band. Joe can be heard on recordings with Sonny Rollins, Marian McPartland, Benny Goodman, Steve Marcus, Ralph Lalama, Mike Moore, Sal Salvadore, Gene Bertoncini, Mike Mainari and many more legendary artists.-----------*DISCLAIMER: This podcast does NOT provide medical advice. The information contained in this podcast is for informational and entertainment purposes only. No material in this podcast is intended to be a substitute for professional medical advice, diagnosis or treatment. Always seek the advice of your physician or other qualified healthcare provider with any questions you may have regarding a medical condition or treatment and before undertaking a new health care regimen*-----------This podcast is available on Apple Podcasts, Spotify, or wherever you get your podcasts. Please leave us a rating or review on iTunes!Comes A Time is brought to you by Osiris Media. Hosted and Produced by Oteil Burbridge and Mike Finoia. Executive Producers are Christina Collins and RJ Bee. Production, Editing and Mixing by Eric Limarenko and Matt Dwyer. Theme music by Oteil Burbridge. Production assistance by Matt Bavuso. To discover more podcasts that connect you more deeply to the music you love, check out osirispod.com-------Visit SunsetlakeCBD.com and use the promo code TIME for 20% off premium CBD products See acast.com/privacy for privacy and opt-out information.

This week on Comes A Time Oteil and Mike talk with jazz drummer Joe Corsello. Joe tells the guys what it was like to play with Benny Goodman, watch Miles Davis and Bill Evans play from a few feet away (for $2 dollars), and perform a high-pressure audition for Sonny Rollins. You'll also hear Joe detail his experience climbing the ladder of musicianship, talk about how the music business has changed since the pandemic, and recall a life-altering Dave Brubeck concert that he saw when he was 11 years old. Without even hearing him play, Joe's wisdom makes it clear why he was chosen to lead the rhythm section of so many great bands. Joe Corsello is a drummer born and raised in Stamford, Connecticut. Joe has made a lifetime commitment to playing drums and continually striving to reach new highs in the drumming world. He studied under the watchful eye of drum legend Alan Dawson at Berklee College of Music, and later enlisted in the U.S. Army band. He would go on to tour with the Glenn Miller Orchestra, and form the jazz/rock band, New York Mary (Arista Records). The band recorded two successful records and toured with the B52′s, Patti Smith, Stevie Wonder and Tony Williams Lifetime band. Joe can be heard on recordings with Sonny Rollins, Marian McPartland, Benny Goodman, Steve Marcus, Ralph Lalama, Mike Moore, Sal Salvadore, Gene Bertoncini, Mike Mainari and many more legendary artists. ----------- *DISCLAIMER: This podcast does NOT provide medical advice. The information contained in this podcast is for informational and entertainment purposes only. No material in this podcast is intended to be a substitute for professional medical advice, diagnosis or treatment. Always seek the advice of your physician or other qualified healthcare provider with any questions you may have regarding a medical condition or treatment and before undertaking a new health care regimen* ----------- Visit SunsetlakeCBD.com and use the promo code TIME for 20% off premium CBD products Learn more about your ad choices. Visit megaphone.fm/adchoices

Ike Sturm is a bassist, composer and bandleader in New York City. He is the Music Director for the Jazz Ministry at Saint Peter's Church in Manhattan. He has performed with Alarm Will Sound, the International Contemporary Ensemble, Gene Bertoncini, Ingrid Jensen, Donny McCaslin, Bobby McFerrin, Ben Monder, Maria Schneider and Kenny Wheeler. His large-scale Jazz Mass album received a 4 1/2 star rating from DOWNBEAT magazine and was named among the “Best CDs of the Year.” Ike joins The Playful Musician to discuss his educational ensemble at Saint Peter's Church, Jazz 4 All. We talk about how jazz music is a good fit for churches and Ike shares what it was like growing up with a music icon as a father. We chat how he found his way to the bass, his mentors and musical influences, and how the outdoors influence his music. Ike shares how his playing and writing go hand in hand and how the pandemic has changed his writing process.

Dennis Winge is a professional guitarist living in Ithaca, NY who is actively involved in teaching and performing in a variety of musical settings throughout the Finger Lakes. For live musical entertainment at parties, weddings, cocktail hours, and events of all kinds, Dennis brings decades of musical experience, a genuine desire to create a win/win situation for venues, patrons, and musicians, a wide versatility of styles/bands/musicians so that he can customize the perfect musical setting for each event/venue, the know-how to create those situations, a free consultation or potentially a free trial performance at your venue. Dennis is involved in multiple different bands including The Way Rock Cover Band and Blue Train Blues Band. Dennis Winge has performed at Carnegie Hall, the L.A. F.A.M.E. Awards, Grassroots Festival, and many other prestigious venues over his 30+ years as a freelance guitarist. Having started to learn guitar at age 7 and bass at age 12, Dennis has studied with some of NYC's finest jazz and rock guitarists including Ron Parmentier and Jack Wilkins. Winge played his first bar gig when he was 16, and has been a bandleader since his early 20s, when he headed the main campus function band “The Institutionalized” while attending Manhattan College. Later, he became the musical director for Ikonographics Videos, Inc. Some of the names he has played with in the rock world are Jon Cobert (who played with John Lennon, Bruce Springsteen); Cheetah Chrome (who played with the Dead Boys); Clifford Carter (who played with Paul Simon, James Taylor, Dolly Parton). In jazz he has worked with Bill Crow (who played with Stan Getz, Gerry Mulligan); Gene Bertoncini (who played with Buddy Rich, Tony Bennett); Shunzo Ohno (who played with Wayne Shorter, Herbie Hancock); Bob Meyer (who played with Joe Lovano, John Abercrombie); David Budway (who played with Jeff ‘Tain' Watts, Regina Carter). As for off-Broadway productions, Dennis has played in the pit on Les Misérables, All Shook Up, Footloose, 13, Smokey Joe's Café, as well as portions of Rock of Ages, Wicked, Aida, All That Jazz, Jekyll & Hyde, and In the Heights. We hear Dennis' song, Monkey Cage. Hear more of his music on his website and follow him on Facebook and Instagram. Be sure to like, subscribe and give the More Than Music Podcast a review wherever you listen to the podcast and share us with a friend! We release shows every Wednesday and look out for a bonus episode every now and then. Find me, Kara Conrad on Facebook and the podcast on Instagram at More Than Music Pod. If you want to talk to me or suggest a guest just send me a message on Instagram or email me at karaaconrad@gmail.com. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/morethanmusicpod/support

#536 - Frank Vignola Frank Vignola is a special guest on The Paul Leslie Hour! Frank Vignola is one of the great American-born jazz guitarists out there. He has gained significant acclaim as a recording artist and performer, but also as a teacher. He's worked with so many of the giants of jazz: Bucky Pizzarelli, Eddy Davis, Gene Bertoncini, Ken Peplowski, Wynton Marsalis and Howard Alden. Vignola's mastery has also lead him to work with everyone from Ringo Starr to Madonna, Donald Fagen and Leon Redbone. This interview with Frank Vignola is short and sweet. Talking with Vignola is like having coffee with an old pal. He shares what he learned Les Paul, making a samba record with Eddy Davis and how jazz artists can create performances that appeal to a wide variety of people. I hope this is not the last time Frank Vignola drops in on The Paul Leslie Hour! The Paul Leslie Hour is a talk show dedicated to “Helping People Tell Their Stories.” Some of the most iconic people of all time drop in to chat. Frequent topics include Arts, Entertainment and Culture.

Beyond the Frets is your chance to hear in-depth conversations with legendary guitarists, educators and composers about their process, struggles, accomplishments and thoughts on the modern music industry.  This week's episode features the amazing Cecil Alexander, a guitarist, composer and educator that has made a name for himself for the past few years– most recently being a finalist in the Herbie Hancock International Jazz Competition (formerly the Monk competition).  After attending Berklee College of Music (B.M. Jazz Composition) and William Patterson University (M.M. Jazz Performance), Cecil now is an adjunct faculty member at UCLA, releases his own educational materials online through his website and is set to release a debut album later in 2021. Our conversation took us through his background, influences, important lessons from his musical mentors like Gene Bertoncini, and he gives us a glimpse into what he's cooking up musically in 2021. I hope you enjoy this episode as much as I did! Sit Down. Grab an Axe. Get Abducted. If you like Beyond the Frets and want to support us, please SHARE, subscribe, and leave a rating on Apple Podcasts or wherever you may be listening. Visit the podcast at beyondthefrets.com and drop us a message at beyondthefretspodcast@gmail.com! 

Two-Headed Freep, The Playboy Club, CTI, Hubert Laws, Slugs, Pat Martino, Tyrone Brow The Jake Feinberg Show --- Support this podcast: https://anchor.fm/jake-feinberg/support

Peter Mazza discusses his harmonic jazz guitar lessons available on TrueFire, performs, and answers questions. To learn more and watch the video from this live session, please visit truefire.com/live.About Peter: Peter Mazza is an exciting jazz guitarist recognized for his creative and virtuoso interpretations of jazz standards as well as his passionate and thoughtful compositions. Blending clean and fluent lines with colorful chord voicings and driving pulse, he creates imaginative ensemble arrangements as well as lush solo guitar pieces.Born and raised in New York City, he attended La Guardia High School of Music and the Arts, then went on to obtain a Bachelor of Music from the Manhattan School of Music and a Masters from The Juilliard School (his Masters on a full scholarship). He studied under guitarists- Allen Hanlon, Fred Fried, Jack Wilkins, Rodney Jones, Dennis Koster.His performing career began while still in school when he earned the leader’s role at a four-night-a week jam session at Augie's Jazz Bar, now called Smoke. He played there with Brad Mehldau, Roy Hargrove, Joel Frahm, Chris Potter, Donny McCaslin, Uri Cane, Christian McBride, Larry Grenadier, Dwayne Burno, Greg Hutchinson, Jeff Ballard and many others.Peter went on to gain acceptance to the prestigious Thelonius Monk Jazz Competition, where he was ranked semifinalist.He has performed guitar duos in NYC with Jonathan Kreisberg, Mike Moreno, Freddie Bryant, Pete Bernstein, Paul Bollenback, Kurt Rosenwinkel, Jack Wilkins, Gene Bertoncini, Barry Greene and many more.His groups have been featured at jazz venues such as Dizzy’s Club, Birdland, The Knitting Factory and the Cornelia Street Café and as part of special events held at the United Nations, Rainbow Room, Rialto Room, The Allen Room, The River Club, The Yacht Club, Tribeca Grill, Le Bernadin, Brigewater's, Saks Fifth Avenue, Bloomingdale's.12 years ago, Peter began a Sunday night trio residency at The Bar Next Door at La Lanterna that is still vital today. His trio has featured Hendrik Meurkens, Will Vinson, John Ellis, Donny McCaslin, Jon Irabagon, Patrick Cornelius, Jacam Manricks, Etienne Charles, Itai Kriss, Matt Penman, Matt Clohesy, Hans Glawischnig, Marco Panascia, Ben Williams, Haggai Cohen-Milo, Brian Charette, Ari Hoenig, Bruce Cox and many more.Over the course of his steady-Sunday-night, Peter has favored the use of 2 different instrumentations that have complimented intimate size of the BND and the club’s exclusive trio format. Those trios boldly explore texture and rhythm without the presence of drums. They include a guitar with bass and horn group, then a guitar with keys and bass group. His current trio with Misha Tsiganov on piano and Thomson Kneeland on Bass just recorded a debut release called “Circles and Lines" on Peter’s own Urban Flower Records.After successfully launching his residency-gig, early on Peter helped implement a 7-night-a-week schedule of jazz music at the Bar Next Door at La Lanterna that has featured an outstanding and diverse array of guitar and saxophone-led trios, from some of New York’s most seasoned musicians, to some of its most exciting new talent. In an effort to continue to expand the club’s offerings as its Musical Director, 3 years ago he designed and implemented an Emerging Artist Series that has featured the best college-aged musicians playing early sets that occur on 4 nights of every week.Peter has been invited to perform and guest speak at New York University, The Manhattan School of Music and at the Peabody Institute. In his presentations he discusses how he initiated jazz nights at various restaurants and bars throughout the city and how that effort culminated in the conversion of the BND from a restaurant with jazz into a notable full-on listening venue. He advises students on creative and professional ways to assimilate into the New York Jazz Club scene, particularly into the Emerging Artist Series.Peter has taught jazz guitar for over 20 years. He held long affiliations with The American Institute of Guitar/International Studio of Music, The National Guitar Workshop and The New School while retaining his active private studio. He has been featured in the pages of Just Jazz Guitar and Jazz Inside magazines where he has discussed his approach to arranging, writing and practicing.His solo guitar video of “Somewhere Over the Rainbow" on You Tube posses over 120,000 views.His first CD was in 2007, called Through My Eyes on the Japanese label Late Set Records. The disc presented 8 original compositions and 2 original arrangements. While the pieces drew from jazz, classical, rock, funk and ambient music, the evocative and personal nature of the music fused them. The release was supported with 2 tours of Japan.Peter’s most current CD - “Circles and Lines" is scheduled for release in October of 2014. He has a solo guitar recording “Blues for the Ineffable" is scheduled for release in 2015.Though Peter is well seasoned with his own clear and distinctive style, he remains one of the jazz guitar world’s best-kept secrets.

What a delight to introduce my guest today, GRAMMY Award-Nominated Composer, Arranger, Conductor and Educator, Richard DeRosa. Earlier in his career as a performer, DeRosa toured and recorded with Gerry Mulligan, Bob Brookmeyer, Susannah McCorkle, Jackie Cain & Roy Kral, Chuck Wayne, and Marlene VerPlanck. Other employers include Marian McPartland, Gene Bertoncini, Warren Vaché, Larry Elgart, Peter Nero, and vocalist Chris Connor. Since 2001 DeRosa has arranged and conducted music for Wynton Marsalis and the Jazz at Lincoln Center Orchestra to feature Toots Thielemans, Annie Ross, Willie Nelson, Norah Jones, Cassandra Wilson, Roberta Gambarini, and Renée Fleming among several other notable artists. In 2012 the WDR Big Band in Cologne, Germany, invited DeRosa to conduct and present his music in concert and subsequently he served as their chief conductor and musical arranger from 2014-2016. DeRosa received a GRAMMY nomination for Best Instrumental Composition in 2015 for his big band composition “Neil” which is dedicated to Neil Slater, the director of the One O'Clock Lab Band at the University of North Texas from 1981-2008. In October 2018, DeRosa was the featured conductor and arranger for the concert productions of Joey Alexander with Strings which premiered at Jazz at Lincoln Center. DeRosa is a full professor at the University of North Texas where he is the director of jazz composition and arranging. His former teaching positions were at William Paterson University, Manhattan School of Music, and The Juilliard School where he taught advanced jazz arranging for studio orchestra. He is the author of Concepts for Improvisation: A Comprehensive Guide for Performing and Teaching (Hal Leonard Publications) and Acoustic and MIDI Orchestration for the Contemporary Composer (Focal Press) co-authored with Dr. Andrea Pejrolo. ----- 2:12 When did you come to music? 3:06 Do you have absolute or perfect pitch? 5:00 What kinds of records did you grow up listening to? 6:41 Were drums the first instrument that you picked up? 7:52 Did your dad want you to be a great drummer or was more free and easy? 9:28 Was your father your first teacher? 9:53 Did you pick up the trumpet in school because the drum parts in school were too easy? 11:58 When did you start arranging? 15:19 Did you have any instruction in music theory in elementary school? 16:20 Did you look at big band scores to analyze them? 17:57 Is counterpoint a topic that's very important to you? 21:31 Talking about the horizontal aspect of writing music? 23:54 Can you give an example of a student who perhaps thinks to vertically and the piece suffers? 25:49 How do you think of theory when you are composing? 29:15 How do you narrow down your musical choices when composing? 32:15 If you were writing for yourself, what considerations do you take? Using “Neil” as an example. 33:12 Was Neil Slater a mentor to you? 35:35 Are you a fast writer? 37:12 What's the best way to develop orchestration? 40:09 How do you get to build that experience in orchestration? 44:01 How do you get better at composing or arranging? 46:36 What's the best way to learn counterpoint? 48:54 Top 3 Jazz drummers? 49:26 Top 3 Jazz Trumpeters? 49:46 Top 3 Jazz arrangers? 50:59 Favorites composers for Jazz 51:33 Top 3 classical composers? 51:57 What was the hardest piece of music to arrange? 54:20 What was the easiest piece to arrange? 55:13 What's your favorite instrument to write for? 55:30 Biggest regret in music? 57:06 Proudest musical moment? 58:04 If you could work with anyone in history that you haven't worked with, who would it be? 59:29 What albums should the audience check out to start with your music? 1:03:24 Talking about Dr. Joseph Curiale 1:05:01 How would you reform music education? 1:09:57 Wrapping Up

Peter Mazza is an exciting jazz guitarist recognized for his creative and virtuoso interpretations of jazz standards as well as his passionate and thoughtful compositions. Blending clean and fluent lines with colorful chord voicings and driving pulse, he creates imaginative ensemble arrangements as well as lush solo guitar pieces.Born and raised in New York City, he attended La Guardia High School of Music and the Arts, then went on to obtain a Bachelor of Music from the Manhattan School of Music and a Masters from The Juilliard School (his Masters on a full scholarship). He studied under guitarists- Allen Hanlon, Fred Fried, Jack Wilkins, Rodney Jones, Dennis Koster.His performing career began while still in school when he earned the leader’s role at a four-night-a week jam session at Augie's Jazz Bar, now called Smoke. He played there with Brad Mehldau, Roy Hargrove, Joel Frahm, Chris Potter, Donny McCaslin, Uri Cane, Christian McBride, Larry Grenadier, Dwayne Burno, Greg Hutchinson, Jeff Ballard and many others.Peter went on to gain acceptance to the prestigious Thelonius Monk Jazz Competition, where he was ranked semifinalist.He has performed guitar duos in NYC with Jonathan Kreisberg, Mike Moreno, Freddie Bryant, Pete Bernstein, Paul Bollenback, Kurt Rosenwinkel, Jack Wilkins, Gene Bertoncini, Barry Greene and many more.His groups have been featured at jazz venues such as Dizzy’s Club, Birdland, The Knitting Factory and the Cornelia Street Café and as part of special events held at the United Nations, Rainbow Room, Rialto Room, The Allen Room, The River Club, The Yacht Club, Tribeca Grill, Le Bernadin, Brigewater's, Saks Fifth Avenue, Bloomingdale's.12 years ago, Peter began a Sunday night trio residency at The Bar Next Door at La Lanterna that is still vital today. His trio has featured Hendrik Meurkens, Will Vinson, John Ellis, Donny McCaslin, Jon Irabagon, Patrick Cornelius, Jacam Manricks, Etienne Charles, Itai Kriss, Matt Penman, Matt Clohesy, Hans Glawischnig, Marco Panascia, Ben Williams, Haggai Cohen-Milo, Brian Charette, Ari Hoenig, Bruce Cox and many more.Over the course of his steady-Sunday-night, Peter has favored the use of 2 different instrumentations that have complimented intimate size of the BND and the club’s exclusive trio format. Those trios boldly explore texture and rhythm without the presence of drums. They include a guitar with bass and horn group, then a guitar with keys and bass group. His current trio with Misha Tsiganov on piano and Thomson Kneeland on Bass just recorded a debut release called “Circles and Lines" on Peter’s own Urban Flower Records.After successfully launching his residency-gig, early on Peter helped implement a 7-night-a-week schedule of jazz music at the Bar Next Door at La Lanterna that has featured an outstanding and diverse array of guitar and saxophone-led trios, from some of New York’s most seasoned musicians, to some of its most exciting new talent. In an effort to continue to expand the club’s offerings as its Musical Director, 3 years ago he designed and implemented an Emerging Artist Series that has featured the best college-aged musicians playing early sets that occur on 4 nights of every week.Peter has been invited to perform and guest speak at New York University, The Manhattan School of Music and at the Peabody Institute. In his presentations he discusses how he initiated jazz nights at various restaurants and bars throughout the city and how that effort culminated in the conversion of the BND from a restaurant with jazz into a notable full-on listening venue. He advises students on creative and professional ways to assimilate into the New York Jazz Club scene, particularly into the Emerging Artist Series.Peter has taught jazz guitar for over 20 years. He held long affiliations with The American Institute of Guitar/International Studio of Music, The National Guitar Workshop and The New School while retaining his active private studio. He has been featured in the pages of Just Jazz Guitar and Jazz Inside magazines where he has discussed his approach to arranging, writing and practicing.His solo guitar video of “Somewhere Over the Rainbow" on You Tube posses over 120,000 views.His first CD was in 2007, called Through My Eyes on the Japanese label Late Set Records. The disc presented 8 original compositions and 2 original arrangements. While the pieces drew from jazz, classical, rock, funk and ambient music, the evocative and personal nature of the music fused them. The release was supported with 2 tours of Japan.Peter’s most current CD - “Circles and Lines" is scheduled for release in October of 2014. He has a solo guitar recording “Blues for the Ineffable" is scheduled for release in 2015.Though Peter is well seasoned with his own clear and distinctive style, he remains one of the jazz guitar world’s best-kept secrets

We are delighted to share Dena DeRose, with you in this episode. Dena is a masterful  jazz singer and pianist, jazz educator and overall wise and very fun person! She’s performed in New York clubs since the early 90’s and played at festivals and concerts throughout the world. Dena has worked with Gene Bertoncini, Ray Brown, Jay Clayton, John Clayton, Bruce Forman, Benny Golson, Wycliffe Gordon, Jeff Hamilton, Billy Hart, Bill Henderson, Mark Murphy, Judy Niemack, Ken Peplowski, Houston Person, Alex Riel, Marvin Stamm, Clark Terry, and Steve Turre, and is the leader on 12 albums, three of which are Grammy nominated. She's recording a new album with Highnote Records in October which will be out in 2020.Dena is currently professor for Jazz Voice at The University of Music and Performing Arts, in Graz, Austria, where she currently resides. We hope you enjoy this episode chock full of Dena’s personal stories, musings, and wisdom, along with useful information, tips for music students, and so much more!Dena DeRoseJazz Institute of the University of Music and Performing Arts, Graz, Austria Stanford Jazz Vocal ProgramBirdland Jazz Club Bach Dining and Dancing SocietySheila JordanJustin Eggert, Tai Chi and Qigong Master 

The Jazz Session turns eight today! To celebrate, I've put together a look back at eight years of the show, featuring interviews and music by many past guests, including: John Abercrombie, Carl Allen, Jen Baker & Kyoko Kitamura, Gene Bertoncini, Terence Blanchard, Don Byron, Ron Carter, Jimmy Heath, Janel & Anthony, Darius Jones & Matthew Shipp, Steve Kuhn, Jo Lawry, Gene Ludwig, Marian McPartland, Nadje Noordhuis, Laurie Pepper, Sonny Rollins, Gerald Wilson, and more.

The Jazz Session turns eight today! To celebrate, I've put together a look back at eight years of the show, featuring interviews and music by many past guests, including: John Abercrombie, Carl Allen, Jen Baker & Kyoko Kitamura, Gene Bertoncini, Terence Blanchard, Don Byron, Ron Carter, Jimmy Heath, Janel & Anthony, Darius Jones & Matthew Shipp, Steve Kuhn, Jo Lawry, Gene Ludwig, Marian McPartland, Nadje Noordhuis, Laurie Pepper, Sonny Rollins, Gerald Wilson, and more.

The Jazz Session turns eight today! To celebrate, I’ve put together a look back at eight years of the show, featuring interviews and music by many past guests, including: John Abercrombie, Carl Allen, Jen Baker & Kyoko Kitamura, Gene Bertoncini, Terence Blanchard, Don Byron, Ron Carter, Jimmy Heath, Janel & Anthony, Darius Jones & Matthew … Continue reading "The Jazz Session #445: 8th Anniversary Retrospective!"

The legendary nylon string jazz guitarist talks about being in Johnny Carson's Tonight Show Band, playing with Burt Bacharach, Paul Desmond and  every other huge name in jazz, and getting hip surgery.  

Classical and jazz guitarist Gene Bertoncini discusses how both approaches influence his playing and continue to inspire his recording projects.

In this session I talked to the legendary teacher, Bruce Becker who is famously known for his work and studying under the late great Freddie Gruber.  Bruce has also perfumed around the world and/or done recording recording sessions with Ron Carter, John Abercrombie, Mike Stern, Gene Bertoncini, and Peter Bernstein.  Listen in as Bruce dives into […] The post 028 – Bruce Becker: Freddie Gruber Student Turned Master Teacher appeared first on Drummer's Resource: Conversations with the world's greatest drummers and music industry pros..

TRANSFORMATIONSJazz guitarist Roni Ben-Hur has earned a sterling reputation as a musician and educator, renowned for his golden tone, improvisational brilliance, compositional lyricism and ability to charm peers, students and listeners alike. Eminent jazz critic Gary Giddins wrote in the Village Voice: "A limber and inventive guitarist, Ben-Hur keeps the modernist flame alive and pure, with a low flame burning in every note... [He's] a guitarist who knows the changes and his own mind." Ben-Hur - born in Israel in 1962 but a longtime American citizen, now based in New Jersey - has released nine albums as leader or co-leader, with Time Out New York calling him "a formidable and consummately lyrical guitarist." The Star-Ledger of New Jersey summed him up this way: "A deep musician, a storyteller, Ben-Hur works with a warm, glowing sound and has an alluring way of combining engaging notes with supple rhythm." Along with releasing acclaimed educational products - including the instructional DVD Chordability and method book Talk Jazz: Guitar - Ben-Hur has directed international jazz camps for nearly 15 years. Jazz guitar star Russell Malone got it right when he said: "Everything Roni does is beautiful. He has the magic touch."Ben-Hur's latest album is Our Thing (Motéma Music, 2012), a co-led trio project with Panamanian-born bassist Santi Debriano that also features Brazilian drummer Duduka Da Fonseca. Marked by soulful grooves, telepathic interplay and a rich, organic ensemble sound, Our Thing ranges from deeply swinging interpretations of Thelonious Monk's "Green Chimneys" and Irving Berlin's "Let's Face the Music and Dance" to a pair of poetic tunes by Antonio Carlos Jobim and several beautiful originals that channel the players' Middle Eastern, Latin and Brazilian heritages through a post-bop prism. One of Ben-Hur's compositions is a fresh rendition of a longtime favorite in his songbook: "Anna's Dance," written for one of his two daughters. DownBeat called Our Thing "mesmerizing," while New York City Jazz Record captured it colorfully: "Ben-Hur, Debriano and Da Fonseca sway with the grace of palm trees, exuding a laidback introspection." The Buffalo News encapsulated the album by describing it as "delectable jazz internationalism of near-Olympic variety. Ben-Hur and Debriano are players of first-rate fluency and taste."Ben-Hur's family relocated from Tunisia to Dimona, Israel, where he was born into large family - teaching him good ensemble values early on. The guitarist began playing in wedding bands and in Tel Aviv clubs as a teenager enraptured by the recordings of Wes Montgomery, Grant Green, Jim Hall and Kenny Burrell. The young musician also came to love the classical Spanish repertoire via Segovia, hearing a Moorish sound that resonated with his family's North African roots. Later, after moving to New York in 1985, he would fall for Brazilian music, particularly through the work of guitarist-composer Baden Powell. When Ben-Hur came onto the New York jazz scene, he was fortunate to be taken under the wing of veteran jazz pianist Barry Harris, a Monk disciple and Grammy Award-winner who led the influential Jazz Cultural Theater during the mid-'80s in Manhattan. The up-and-coming guitarist played in Harris's band, absorbing musical wisdom and life lessons.Teaching has become increasingly important to Ben-Hur over the years, as he has developed an international reach as an educator. As founder and director of the jazz program at the Lucy Moses School at the Kaufman Center in Manhattan since 1994, Ben-Hur has educated a multitude of jazz enthusiasts in ensemble playing, improvisation and jazz guitar. Along with his jazz camp with Santi Debriano in the South of France, Ben-Hur led camps for years in Patterson, N.Y. More recently, through his company Adventures in Jazz - which he operates with his wife, singer Amy London - Ben-Hur conducts jazz camps in Cabo Rojo, Puerto Rico, in Istanbul, Turkey, and in Schroon Lake, N.Y., teaching workshops in straight-ahead jazz, Latin jazz and Brazilian jazz with Debriano and other teachers. With Brazilian bassist Nilson Matta, Ben-Hur also co-leads Samba Meets Jazz camps in Paraty, Brazil, and in Bar Harbor, Maine.With his partner in the Samba Meets Jazz camps, bassist Nilson Matta, Ben-Hur released the album Mojave (Motéma, 2011), which also featured drummer Victor Lewis and percussionist Café. The album was the second in Motéma's Jazz Therapy series. The series was co-founded by Ben-Hur and the label to raise money and awareness for the Dizzy Gillespie Memorial Fund of New Jersey's Englewood Hospital and Medical Center Foundation, which provides care for uninsured jazz musicians. The first album in the series wasSmile, Ben-Hur's 2008 duo set with veteran guitarist Gene Bertoncini.Ben-Hur and Matta are each masters of a musical tradition, the guitarist with bebop and the bassist with samba. Mojave sees them meld the two worlds, in league with New York jazz drummer Victor Lewis and Brazilian percussionist Café. They range from pieces by such Brazilian icons as Jobim, Baden Powell and choro pioneer Pixinguinha to Burt Bacharach's "The Look of Love" and deftly rhythmic originals by all four players. One of Ben-Hur's contributions is the moody beauty "Eretz" (Hebrew for "land"), another of his signature tunes interpreted afresh. The Rochester City Newspaper offered a glowing review of the album: "Mojave is magical from start to finish... The combination of Matta's samba and Ben-Hur's swing is a marriage made in heaven.Acclaim for Smile, Ben-Hur's dual-guitar album with Gene Bertoncini, was equally wide-spread. The New York Times lauded the "sophisticated and lyrical" musicianship, and DownBeat simply called the album "stunning," as the players stretch from the Charlie Chaplin title track and the Arlen-Mercer standard "Out of This World" to an enterprising take on Roberta Flack's hit "Killing Me Softly" and two of Ben-Hur's personal standards - his "Anna's Dance," written for one daughter, and "Sofia's Butterfly," penned for the other. Jazz sage Nat Hentoff praised the "lyrically meditative dialogue" between the two guitarists in the Wall Street Journal, while the Washington Post was enamored by "the dazzling dexterity and tasteful elegance of these duets."Two other key albums in Ben-Hur's discography are Fortuna (Motéma, 2009) and Keepin' It Open (Motéma, 2007), both quintet sets with piano vet Ronnie Matthews and ultra-swinging drummer Lewis Nash, plus percussionist Steve Kroon. Keepin' It Open, which also includes bassist Santi Debriano and trumpeter Jeremy Pelt in the group, has a wide purview, from Monk's rollicking "Think of One" to a dark-hued old Sephardic melody, "Eshkolit." Tapping into his family's Sephardic Jewish roots and his love of the Spanish classical guitar repertoire, Ben-Hur recasts Granados' "Andaluza" as an ensemble piece. And the guitarist's originals include the finger-snapping "My Man, Harris," a tribute to his mentor Barry Harris. JazzTimes called the album "a delight from start to finish," while critic Scott Yanow singled out the guitarist on All Music, saying that Ben-Hur "can swing as hard as anyone."Fortuna, which has Rufus Reid on double-bass, sees Ben-Hur recast Albéniz's "Granada" with an ear for the early Israeli popular music influenced by the Moorish sound. Along with two Jobim numbers, the disc includes the Irving Berlin ballad "I Got Lost in his Arms" and Ben-Hur's funky original "Guess Who." Jazz scholar Dan Morgenstern listed Fortuna as one of his top 10 discs of 2009. JazzTimes described the album this way: "A keen story teller, Ben-Hur's dexterous, melodic and emotive playing is supported by a tight-knit cast of stellar musicians... his skill and warm tone underscoring the band's chemistry." All About Jazz said, "Fortuna is a sparkling ode to the brightness of life."Ben-Hur's album Signature (Reservoir, 2005) put the guitarist in the company of pianist John Hicks, bassist Rufus Reid and drummer Leroy Williams, again plus percussionist Steve Kroon. The tracks include the first appearance of Ben-Hur's gem "Eretz," plus two pieces by Villa-Lobos and tunes by Jobim and Cole Porter. DownBeat said: "Signature is a collection of consummately played music that matches the six-stringer's consistently creative melody reading, soloing and comping with the supportive work of superb sidemen. Ben-Hur's original compositions are similarly impressive, from opening burner 'Mama Bee,' which dazzles with a brilliantly constructed guitar solo, to 'Eretz,' a gorgeous ballad intended as a tribute to the guitarist's native Israel that feels like an instant standard."For Anna's Dance (Reservoir, 2001), Ben-Hur convened a combo of elders: Barry Harris on piano, Charles Davis on saxophone, Walter Booker on double-bass and Leroy Williams on drums. The highlights include the debut of Ben-Hur's title composition, as well as the Billy Strayhorn ballad "A Flower Is a Lovesome Thing." In the Village Voice, Gary Giddins said: "As eloquent as a cool breeze, this understated exercise in bebop equilibrium goes down so easy that you might underestimate the magic. Ben-Hur and Charles Davis, who trades in his Sun Ra baritone for suave tenor, speak Harris's lingo like natives." Ben-Hur's kick-started his discography with two bebop showcases.Sofia's Butterfly (TCB, 1998) saw the guitarist - with drummer Leroy Williams and bassist Lisle Atkinson in tow - offering much promise; there's the ultra-fluid virtuosity of his take on Monk's "Four in One," not to mention the first appearances of his original title tune and "Fortuna." Ben-Hur made his initial splash on record with Backyard (TCB, 1996), which presented him with the Barry Harris Trio.In addition to leading his own bands, Ben-Hur has shared the stage and the studio not only with the heroes and great peers mentioned above but with the likes of Cecil Payne, Etta Jones, Marcus Belgrave, Charles McPherson, Jimmy Heath, Clark Terry, Slide Hampton, Earl May, Teri Thornton and Bill Doggett. Ben-Hur regularly performs in the top jazz venues and in major festivals across the country and around the world. As an educator, he has established jazz programs in New York City high schools, along with presenting workshops for students of all ages in the U.S. and Europe. His instructional releases include the DVD Chordability (Motéma, 2011), which offers 20 lessons on chord voicings and jazz harmony for intermediate and advanced guitarists. He also translated "the Barry Harris method" to guitar with the publication Talk Jazz: Guitar (Mel Bay, 2003), which has appeared in English and Japanese editions.Ben-Hur’s latest album is Our Thing (Motéma Music, 2012), a co-led trio project with Panamanian-born bassist Santi Debriano that also features Brazilian drummer Duduka Da Fonseca. Marked by soulful grooves, telepathic interplay and a rich, organic ensemble sound, Our Thing ranges from deeply swinging interpretations of Thelonious Monk’s “Green Chimneys” and Irving Berlin’s “Let’s Face the Music and Dance” to a pair of poetic tunes by Antonio Carlos Jobim and several beautiful originals that channel the players’ Middle Eastern, Latin and Brazilian heritages through a post-bop prism. One of Ben-Hur’s compositions is a fresh rendition of a longtime favorite in his songbook: “Anna’s Dance,” written for one of his two daughters. DownBeat called Our Thing “mesmerizing,” while New York City Jazz Record captured it colorfully: “Ben-Hur, Debriano and Da Fonseca sway with the grace of palm trees, exuding a laidback introspection.” The Buffalo News encapsulated the album by describing it as “delectable jazz internationalism of near-Olympic variety. Ben-Hur and Debriano are players of first-rate fluency and taste.”To Visit Roni Ben-Hur's website CLICK HERE

Here's an interview I recorded in 2007 with guitarist Gene Bertoncini. This is what I said about him back then: Raised in the Bronx, Bertoncini began his musical education at an early age, encouraged by his parents. He studied architecture at Notre Dame before deciding on a life of music. That decision was a smart one -- Bertoncini has since performed with the Metropolitan Opera orchestra, the Benny Goodman Sextet, Tony Bennett, Buddy Rich, Wayne Shorter, Burt Bacharach, Michel LeGrand and many others. He's also on the faculty at the Tritone Jazz Camp (tritonejazz.com). All the selections in this show are taken from Bertoncini's recording Acoustic Romance (Sons of Sound, 2003), featuring drummer Akira Tana and bassist Rufus Reid.

Here’s an interview I recorded in 2007 with guitarist Gene Bertoncini. This is what I...

We’re concluding our interview with the multi-talented bassist Dave Anderson on this week’s episode of Contrabass Conversations. In addition to serving as Principal Bass of the Louisiana Philharmonic, Dave is a prolific composer, active teacher, and electric bassist. He serves as Principal Bass of the Britt Festival Orchestra in southern Oregon, and he plays in metropolitan New Orleans and beyond in a variety of bands. We began this interview on episode 75 of the podcast, and we also featured Dave’s music on Eclectic Bass episode 2. Dave’s compositions span the gamut from solo double bass to full symphony orchestra, and his Concerto for Double Bass was commissioned and premiered by Hal Robinson and the Philadelphia Orchestra. He is a former board member of the International Society of Bassists, and his Capriccio No. 2 served as the required solo competition piece at the 1997 ISB convention. Check out Dave online atwww.myspace.com/symphonyboy. Scores to Dave’s compositions have been recently re-released, and you can now purchase copies online. Visit the following link to check out many of these compositions: http://www.reallygoodmusic.com/rgm.jsp?page=composers2&compid=128028 Also, my co-host John Grillo has a recording of the complete Double Bass Duets by Dave with Pittsburgh Symphony bassist Peter Guild. You can check them out here (there are links to each individual duet through the following link): http://contrabassconversations.com/2007/02/12/john-grillo-recital-showcase/ Topics discussed: meeting and taking lessons with Jaco Pastorius Hurricane Katrina New Orleans after the disaster impact of Katrina on the Louisiana Philharmonic reassembling Dave’s music after the hurricane Dave’s compositions and performance activities About Dave: Dave Anderson is a professional double bassist, joined the Louisiana Philharmonic in New Orleans in September of 1996 after winning their Principal Bass audition. Prior to that appointment, he performed and recorded regularly with the Louisville Orchestra and the Atlanta Symphony Orchestra, among others. Since 1994, he has served as Principal Bassist in the Britt Festival Orchestra in Oregon. He has performed extensively with many diverse ensembles including, the Aspen Festival, Chautauqua (NY) Festival, Colorado Philharmonic (NRO), Colorado Music Festival, the LaSalle Quartet, and as a soloist with Richard Stoltzman, Gene Bertoncini, Nigel Kennedy, Bobby McFerrin, Doc Severinsen and many others. He has served as Bass Instructor for the Music School at Loyola University and also on the Board of Directors of the International Society of Bassists (ISB) as bassist/composer. Mr. Anderson began his pursuits in composition in 1984, recognizing that the solo repertoire for his instrument was limited. The influence of Frank Proto, one of his finest teachers, also led him to turn to involved composition. Since then, his published work has expanded to other solo instruments, as well as for chamber orchestras and small ensembles. He has published bass duets and quartets, including a bass quartet that was performed to acclaim at the Chamber Music Festival at Indiana University in 1993. Anderson won first prize in the 1995 Allen Ostrander International Trombone Composition Competition, sponsored by Ithaca college, for Elegy for Van, a work for solo bass trombone and brass choir, which he composed as a tribute to the late Lewis Van Haney, former trombonist with the New York Philharmonic. Several years ago, Anderson completed a concerto for Bass Trombone, commissioned by his father, Edwin Anderson, former bass trombonist with the Cleveland Orchestra. His Concerto for Double Bass, Strings & Harp, commissioned by Philadelphia Orchestra Principal Bassist Hal Robinson was premiered at the ISB Convention in June of 1997 and performed on the 1997-98 subscription series of the Philadelphia Orchestra season, Wolfgang Sawallisch conducting. His current work includes a second symphony, as well as several commissions. Also a prolific electric bassist, Anderson loves playing with pedal steel guitarist, David Easley. The group known as the Anderson/Easley Project perform original music of many genres including free jazz, funk, bop, minimalist and many wonderfully unique approaches to dynamics and expression. Anderson also plays with Algorhythm Method, and SOFA KING BIG SOUL, bands that fuse many different styles including hard rock, funk, blues, jazz, and New Orleans R & B. Anderson has jammed with The Radiators, Walter “Wolfman” Washington, Roy Pope, Darryl Brown, and many other great New Orleans musicians including a killer performance with guitarist Brian Stoltz of the Funky Meters as a main highlight of the French Quarter Festival 2002. In 1984-85, Anderson played for and took lessons with the legendary bassist Jaco Pastorius in New York, who firmly encouraged the idea of being able to cross over between classical and jazz. Here is some of what the Press has said in Anderson’s past: Review of Anderson’s Quintet for Oboe, Clarinet, Violin, Viola & Bass, Louisville Courier Journal music critic Andrew Adler wrote: “Anderson’s new work is splendidly fresh and provocative, ingenious in how it distributes material … the jazzy syncopations and ethnic flavorings reflect a diverse, expertly distilled inspiration. Thoroughly absorbed by yesterday’s performance, the piece offered sustained pleasure.” Reviews of Anderson’s Bass Concerto: Houston Chronicle music critic Charles Ward : “ … thoroughly appealing … his rich scoring of the orchestra and expansive solo melodies came from a composer exuberantly in love with music.” Lesley Valdes, Philadelphia Inquirer: “ … a melodious work, whose moods cohere… the thoughtful, the nostalgic, the provocative. Ideas are fertile and cohesive.” Thomas May, Washington Post: “Anderson shows a gift for fashioning readily accessible music from unusual combinations of timbres.” Featured Music: Blew Cheeze with Dave Anderson and Dave Easley  

We’re featuring the multi-talented bassist Dave Anderson on this week’s episode of Contrabass Conversations. In addition to serving as Principal Bass of the Louisiana Philharmonic, Dave is a prolific composer, active teacher, and electric bassist. He serves as Principal Bass of the Britt Festival Orchestra in southern Oregon, and he plays in metropolitan New Orleans and beyond in a variety of bands. Dave’s compositions span the gamut from solo double bass to full symphony orchestra, and his Concerto for Double Bass was commissioned and premiered by Hal Robinson and the Philadelphia Orchestra. He is a former board member of the International Society of Bassists, and his Capriccio No. 2 served as the required solo competition piece at the 1997 ISB convention. Check out Dave online atwww.myspace.com/symphonyboy. Scores to Dave’s compositions have been recently re-released, and you can now purchase copies online. Visit the following link to check out many of these compositions: http://www.reallygoodmusic.com/rgm.jsp?page=composers2&compid=128028 Also, my co-host John Grillo has a recording of the complete Double Bass Duets by Dave with Pittsburgh Symphony bassist Peter Guild. You can check them out here (there are links to each individual duet through the following link): http://contrabassconversations.com/2007/02/12/john-grillo-recital-showcase/ Topics discussed: Dave’s early years studying with Frank Proto, Barry Green, Stuart Sankey, and Warren Benfield his compositional style and how he got into composing talking about composing with Maxim Shostakovich meeting and taking lessons with Jaco Pastorius About Dave: Dave Anderson is a professional double bassist, joined the Louisiana Philharmonic in New Orleans in September of 1996 after winning their Principal Bass audition. Prior to that appointment, he performed and recorded regularly with the Louisville Orchestra and the Atlanta Symphony Orchestra, among others. Since 1994, he has served as Principal Bassist in the Britt Festival Orchestra in Oregon. He has performed extensively with many diverse ensembles including, the Aspen Festival, Chautauqua (NY) Festival, Colorado Philharmonic (NRO), Colorado Music Festival, the LaSalle Quartet, and as a soloist with Richard Stoltzman, Gene Bertoncini, Nigel Kennedy, Bobby McFerrin, Doc Severinsen and many others. He has served as Bass Instructor for the Music School at Loyola University and also on the Board of Directors of the International Society of Bassists (ISB) as bassist/composer. Mr. Anderson began his pursuits in composition in 1984, recognizing that the solo repertoire for his instrument was limited. The influence of Frank Proto, one of his finest teachers, also led him to turn to involved composition. Since then, his published work has expanded to other solo instruments, as well as for chamber orchestras and small ensembles. He has published bass duets and quartets, including a bass quartet that was performed to acclaim at the Chamber Music Festival at Indiana University in 1993. Anderson won first prize in the 1995 Allen Ostrander International Trombone Composition Competition, sponsored by Ithaca college, for Elegy for Van, a work for solo bass trombone and brass choir, which he composed as a tribute to the late Lewis Van Haney, former trombonist with the New York Philharmonic. Several years ago, Anderson completed a concerto for Bass Trombone, commissioned by his father, Edwin Anderson, former bass trombonist with the Cleveland Orchestra. His Concerto for Double Bass, Strings & Harp, commissioned by Philadelphia Orchestra Principal Bassist Hal Robinson was premiered at the ISB Convention in June of 1997 and performed on the 1997-98 subscription series of the Philadelphia Orchestra season, Wolfgang Sawallisch conducting. His current work includes a second symphony, as well as several commissions. Also a prolific electric bassist, Anderson loves playing with pedal steel guitarist, David Easley. The group known as the Anderson/Easley Project perform original music of many genres including free jazz, funk, bop, minimalist and many wonderfully unique approaches to dynamics and expression. Anderson also plays with Algorhythm Method, and SOFA KING BIG SOUL, bands that fuse many different styles including hard rock, funk, blues, jazz, and New Orleans R & B. Anderson has jammed with The Radiators, Walter “Wolfman” Washington, Roy Pope, Darryl Brown, and many other great New Orleans musicians including a killer performance with guitarist Brian Stoltz of the Funky Meters as a main highlight of the French Quarter Festival 2002. In 1984-85, Anderson played for and took lessons with the legendary bassist Jaco Pastorius in New York, who firmly encouraged the idea of being able to cross over between classical and jazz. Here is some of what the Press has said in Anderson’s past: Review of Anderson’s Quintet for Oboe, Clarinet, Violin, Viola & Bass, Louisville Courier Journal music critic Andrew Adler wrote: “Anderson’s new work is splendidly fresh and provocative, ingenious in how it distributes material … the jazzy syncopations and ethnic flavorings reflect a diverse, expertly distilled inspiration. Thoroughly absorbed by yesterday’s performance, the piece offered sustained pleasure.” Reviews of Anderson’s Bass Concerto: Houston Chronicle music critic Charles Ward : “ … thoroughly appealing … his rich scoring of the orchestra and expansive solo melodies came from a composer exuberantly in love with music.” Lesley Valdes, Philadelphia Inquirer: “ … a melodious work, whose moods cohere… the thoughtful, the nostalgic, the provocative. Ideas are fertile and cohesive.” Thomas May, Washington Post: “Anderson shows a gift for fashioning readily accessible music from unusual combinations of timbres.” Featured Music: “Teen Town” by Jaco Pastorius Surf Ride from Yule Loggs for 4 basses Schweik Fahrt with Hal Robinson and Dave Anderson

Jason Crane interviews guitarist Gene Bertoncini. Raised in the Bronx, Bertoncini began his musical education at an early age, encouraged by his parents. He studied architecture at Notre Dame before deciding on a life of music. That decision was a smart one -- Bertoncini has since performed with the Metropolitan Opera orchestra, the Benny Goodman Sextet, Tony Bennett, Buddy Rich, Wayne Shorter, Burt Bacharach, Michel LeGrand and many others. He's also on the faculty at the Tritone Jazz Camp (tritonejazz.com). All the selections in this show are taken from Bertoncini's recording Acoustic Romance (Sons of Sound, 2003), featuring drummer Akira Tana and bassist Rufus Reid.

Jason Crane interviews guitarist Gene Bertoncini. Raised in the Bronx, Bertoncini began his musical education...