Podcast appearances and mentions of Scott Yanow

STANDARS SEMANAL.-918.April in Paris.-VINILOS MITICOS DEL JAZZ.-.johnny griffin.-1957 - the congregation.-JAZZACTUALIDADJESUS NUÑEZ-INTRODUCING The Congregation es un álbum del saxofonista tenor estadounidense Johnny Griffin grabado el 23 de octubre de 1957 y lanzado en Blue Note al año siguiente, su última grabación para el sello.La portada fue diseñada por Reid Miles e ilustrada por Andy Warhol La reseña de AllMusic de Scott Yanow afirma: "El gran saxofonista tenor Johnny Griffin se escucha en su mejor forma en este cuarteto casi clásico... Se recomienda para coleccionistas de bop".

Aclamado como uno de los grandes saxofonistas de la historia, David Sanborn es un artista cuya música ha inspirado a músicos de todos los estilos posibles, desde el rock hasta el jazz pasando por el pop y el R&B. Es además uno de los saxos más influyentes dentro del universo de la fusión de estilos hasta el punto que de él se dice con frecuencia que es al músico que volvió a introducir el saxo en el rock & roll. También fue descrito por el crítico Scott Yanow como "el saxofonista que mas ha interesado a los músicos de pop, R&B y crossover de los últimos años”. El saxofonista alto Hank Crawford, miembro de la banda de Ray Charles cuando Sanborn era aún un adolescente fue su primera influencia. Sanborn nos dejó el pasado 12 de mayo y desde ese mismo momento los gatos decidimos que le debíamos un programa que queremos dedicar a nuestro amigo y seguidor Juan Manuel Alonso, un gran admirador de la música de nuestro invitado en el Música para Gatos de hoy. Hoy vamos a escuchar mucha música de David Sanborn con lo cual tenemos un largo programa por delante. TRACKS 1-It Took a long Time de Randy Brecker -Taking Off (1975) 2-Way Cross Georgia de Coleridge Taylor Perkinson - Taking Off (1975) 3-I Do It for Love de Paul Simon y David Sanborn (1976) 4-Morning Salsa de Herb Bushler/Rosalinda de Leon - Promise me the Moon (1977) 5-We Fool Ourselves de Sanborn de Hiram Bullock - Promise me the Moon (1977) 6-Benjamin de James Taylor - Promise me the Moon (1977) 7-Short Visit de John Simon - Heart to Heart (1978) 8-If you Would be Mine de Michael Colina - Hideaway (1980) 9-Carly’s Song de David Sanborn - Hideaway (1980) 10-Run For Cover de Marcus Miller - Voyeur (1980) 11-One in a Million de David Sanborn - Voyeur (1980) 12-Rain on Christmas de David Sanborn - As We Speak (1982) 13-As We Speak de David Sanborn y Michael Sembello - As We Speak (1982) 14-A Tear for Crystal de Sanborn y Miller - Backstreet (1983) 15-When you Smile at Me de Sanborn - Backstreet (1983) 16-Hideaway de Sanborn - Straight to the Heart (1984) 17-Straight to the Heart de Miller - Straight to the Heart (1984) 18-Imogene de Miller - A Change of Heart (1987) 19-Since I Fell for You de Woodrow Wilson - Double Vision (1986) 20-Another Hand de Marcus Miller - Another Hand (1991) 21-Benny de Marcus Miller - Upfront (1992) 22The Long Goodbye de Sanborn y Miller - Hearsay (1994) 23-Missing You de Sanborn y Ricky Peterson -Songs from the Night Before (1996) 24-Little Flower de Sanborn - Timeagain (2003) 25-Don’t let me be lonely Tonight de James Taylor- Closer (2005) 26-Please Send me Someone to Love de Percy Mayfield - Here & Gone (2008) 27-You have Changed de Carey y Fisher - Only Everything (2010) 28-Allellujah I Love Her So de Ray Charles - Only Everything (2010) 29-Drift de David Sanburn - Time and the River (2015)

Greig Stewart “Chubby” Jackson was a swinging sensation in his day. A child of vaudevillians, he was raised in an enclave of actors, musicians, and performers in Freeport, Long Island against the backdrop of Prohibition and a burgeoning club scene. Exposed to music at an early age, he jumped from high school to playing bass in swing bands in New York City and on the road, most notably with bandleader Woody Herman. On today's episode we trace the life of the man with three very special guests: Freeport Village historian Regina Feeney, jazz historian Scott Yanow, and Chubby's daughter Jaijai Jackson. And thanks to Monk Rowe and the Fillius Jazz Archive at Hamilton College, we can add in the voice of Chubby himself. Chubby was a colleague to Louis Armstrong, Dizzy Gillespie and other jazz greats (you'll see him near the top of the steps in A Great Day in Harlem). His career spans the height of the swing era and the rise of bop with a side trip into headlining several kiddie TV shows in Chicago and New York. Through it all the constants in his life remained the love of family, of performing, and of Freeport. Further Research Chubby Jackson oral history (Fillius Jazz Archive at Hamilton College) Freeport History Encyclopedia (Freeport Public Library) Jazz Network Worldwide Not Just Jazz Network Scott Yanow, journalist and historian Music credits from Freesound.org Jazz Bass B 1.OGG by gregstermatic. License: Creative Commons 0 Double bass Jazz loop by elzozo. License: Creative Commons 0 Jazz loop.wav by FrankyBoomer. License: Creative Commons 0

Swedish musical sensation Gunhild Carling is an internationally acclaimed superstar whose show is a can't-miss event! Whether she's singing favorite swinging jazz standards, playing one of many 11 instruments (trumpet, trombone, harmonica, oboe, harp, flute, recorder, or jazz bagpipe!) or juggling and tap dancing, Gunhild is not only the consummate show-woman, in Jazz terms she's definitely “The real deal.”    She performed with her 'Carling Big Band' at the Royal Palace in Stockholm in the celebration for King Carl XVI Gustaf's Ruby Jubilee, and has performed at the iconic Birdland in New York multiple times, the most recent being January of 2024.   Noted Jazz journalist Scott Yanow said, “Gunhild Carling has always been quite a character. Her musical abilities are simply brilliant (whether playing trombone, trumpet, flute or even bagpipes); she is a joyous singer who can put across a heartbreaking ballad or a joyous romp. She seems to have limitless energy, and her performances are always quite great fun with her foundation being New Orleans jazz and swing.”   We couldn't think of a better way to kick off 2024 than with “The Party” that is Gunhild Carling! 

Harvey Brownstone conducts an in-depth interview with Scotty Barnhart, Director, The Count Basie Orchestra About Harvey's guest: Today's special guest, Scotty Barnhart, is an internationally acclaimed music artist, especially in the world of jazz.   He's an iconic trumpet player, composer, arranger, educator and author.  For over 30 years, he's been a featured trumpet soloist with the legendary Count Basie Orchestra, AND for the past 10 years, he's been the Orchestra's Director.    He's a 2-time Grammy Award winner, and he's worked with some of the greatest music artists in the world, including Tony Bennett, Lena Horne, Frank Sinatra, Ray Charles, Aretha Franklin, Barbra Streisand, Tito Puente, Wynton Marsalis, Herbie Hancock, Quincy Jones, The Duke Ellington Orchestra, Diana Krall and dozens more.  In 2009, he released his highly acclaimed first solo album, entitled, “Say It Plain”, which reached #3 on the Jazz Charts.   Our guest is widely considered to be THE leading authority on the history of Jazz trumpet.   In 2005 he published his groundbreaking book, “The World of Jazz Trumpet – A Comprehensive History and Practical Philosophy”, which is THE definitive text on the subject.  He's a Professor at Florida State University, and he gives keynote lectures and seminars around the world.  He's also  profiled in Scott Yanow's groundbreaking book “Trumpet Kings:  The Players Who Shaped the Sound of Jazz”, which places him right up there with the most important Jazz trumpeters in history, from Louis Armstrong to Miles Davis and others.   AND NOW, he's here to discuss his monumental brand new album entitled, “The Count Basie Orchestra Swings the Blues”.   This is an exceptional and unprecedented collection of collaborations with some of the greatest living blues and jazz artists, including George Benson, Shemekia Copeland, Robert Cray, Buddy Guy, Bettye LaVette, Bobby Rush and many more.  The album features spectacular versions of blues classics like “Stormy Monday,” “The Midnight Hour”, “Look What You've Done”, “Just for a Thrill” and “I'm A Woman” along side new instant classics like Mr. Sipp's “Let's Have A Good Time”, and our guest's inspired fusion of Charley Patton meets Count Basie, in “The Patton Basie Shuffle.”   The new album celebrates the deep-rooted connection between jazz and blues, and illuminates shared roots and reciprocal influence, reminding us that the boundaries between these genres are fluid and heartfelt.  The fabulous Count Basie Orchestra continues to carry on the rich musical legacy of Count Basie through their dynamic performances and dedication to the swing jazz tradition.  Our guest, as the orchestra's musical director, preserves Count Basie's unmistakable style, and ensures that his pioneering contributions to jazz, continue to be celebrated and enjoyed by audiences worldwide. For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/ To see more about Scotty Barnhart, go to:http://www.scottybarnhart.com/https://www.facebook.com/scotty.barnhart/https://www.instagram.com/scottybarnhart/ https://twitter.com/ScottyBarnharthttps://www.youtube.com/scottybarnharthttps://www.thecountbasieorchestra.com/ #ScottyBarnhart   #TheCountBasieOrchestra   #harveybrownstoneinterviews

'Ik vind het belangrijk dat er een intentie in de woorden zit en een intentie in het verhaal' Ilse Huizinga is opgenomen in Scott Yanow's standaardwerk 'The Jazz Singers, the ultimate guide' als één van de beste jazz vocalisten ter wereld. Ze heeft meerdere veelgeprezen albums opgenomen, waarmee ze onder andere een Edison nominatie in de wacht sleepte en ze is regelmatig te zien en horen op tv en radio en podia over de hele wereld. Het overbrengen van de emotie en de intentie van het verhaal zijn voor haar steeds belangrijker geworden, met name sinds haar dochter 10 weken te vroeg geboren werd. Hoewel techniek nog steeds belangrijk is - in haar eigen woorden omschrijft ze zichzelf als een 'techniekfreak' - neemt ze nu als uitgangspunt de oprechtheid van een lied; het gevoel, de emoties overbrengen is veel belangrijker geworden. In de podcast komen de volgende onderwerpen langs: - Hoe haar liefde voor muziek begon met het binnen komen rollen van een piano - Niet direct naar het Conservatorium, maar eerst een andere richting gekozen - Een bijzonder compliment van haar zangdocent dat zorgde voor meer zelfvertrouwen - Een eigen jamsessie in Amsterdam in 'de Heeren van Aemstel' - De eerste cd in eigen beheer uitgebracht met waanzinnige recensies - De steeds grotere rol die het oprecht vertellen van het verhaal van een lied ging spelen nadat haar dochter 10 weken te vroeg werd geboren en de impact die dit had - Hoe het gedicht 'Caged bird' van Maya Angelou Ilse meteen raakte: A free bird leapson the back of the wind   and floats downstream   till the current endsand dips his wingin the orange sun raysand dares to claim the sky. But a bird that stalksdown his narrow cagecan seldom see throughhis bars of ragehis wings are clipped and   his feet are tiedso he opens his throat to sing. The caged bird sings   with a fearful trill   of things unknown   but longed for still   and his tune is heard   on the distant hill   for the caged bird   sings of freedom. - Het opnemen van het album 'Here's to Maya Angelou' - Tips voor zangers die jazz willen zingen: Luister naar de 3 'hogepriesteressen': Ella Fitzgerald ,Billy Holiday en Sarah Vaughn - Swing feel wat is het en hoe krijg je het? - Hoe ontwikkel je je als jazz zanger? - Hoe ga je om met zenuwen: zorg dat je voorbereid bent & krijg helder waar je precies bang voor bent - Hoe je de focus van jezelf kunt verleggen van 'bang zijn om te falen' naar 'ik kom hier om iets moois te delen' - Ilse's wens voor elke zanger Meer informatie over Ilse vind je op haar website: https://ilsehuizinga.com/ Op zangvakantie met Ilse? Kijk op www.zangvakanties.nl Op instagram kun je haar hier vinden: @ilsehuizinga

Montreal-based saxophonist and composer Christine Jensen has been described as, “an original voice on the international jazz scene… [and] one of Canada's most compelling composers,” by Mark Miller of the Globe and Mail. According to Greg Buium of Downbeat Magazine, “Jensen writes in three dimensions, with a quiet kind of authority that makes the many elements cohere. Wayne Shorter, Maria Schneider and Kenny Wheeler come to mind.” After a performance at the 2006 Montreal International Jazz Festival, Scott Yanow wrote, “She's rapidly developing into a major force … as a player and as a writer.”Jensen is equally at home performing in small and large ensemble settings. Her latest opus, Treelines - The Christine Jensen Jazz Orchestra on Justin-Time Records, won her the 2011 Juno Award for Contemporary Jazz Album of the Year, along with Quebec's Opus Award for jazz recording of the year. Downbeat magazine described it as“…a stunning orchestral debut… ****1/2 stars”. She recently performed at various jazz festivals across Canada as well as at Dizzy's Jazz Club-Lincoln Center in New York with this ensemble. “Jensen's formidable orchestra is the glistening sunlight, the tranquility and force of the ocean, and the majestic trees that her music imagines.”-Jazz TimesSupport the show

Harvey Brownstone conducts an in-depth interview with Angela Hagenbach, Acclaimed Jazz Vocalist About Harvey's guest: Today's guest, Angela Hagenbach, is one of America's most popular jazz singers, whose extraordinary 3-octave vocal range, unique phrasing and ebullient singing style make every song she sings truly her own – and very memorable.    With her sultry contralto voice, she sings everything from swinging, straightforward jazz and blues to sensual, rhythmic Latin Jazz with effortless agility.  She's recorded 6 albums entitled, “Come Fly With Me”, “Feel the Magic”, “Weaver of Dreams”, “Poetry of Love”, “Musa Nova”, and her latest album, “The Way They Make Me Feel”, beautifully produced by the brilliant George Klabin of Resonance Records, who selected some classic songs by Michel Legrand, Henry Mancini and Johnny Mandel.  It's been said by more than one music critic – and I agree – that when this woman sings, she has the uncanny ability to turn jazz into a spiritual experience.   In 2015 she finished as 1st runner-up at the Sarah Vaughan Jazz Vocal Competition.  That same year, she wrote the acclaimed “Jazz Alice: An Adventure in Wonderland”, a musical theatre production based on Lewis Carroll's classic book, set to the music of John Coltrane.   She performs regularly at jazz clubs and concert venues in her home town of Kansas City, as well as around the country, and internationally.   The renowned jazz historian Scott Yanow listed our guest as one of the greatest jazz singers of all time in his book, “The Great Jazz Singers: The Ultimate Guide”.   And if that weren't enough, our guest was TWICE chosen by the US State Department to represent the United States as a Cultural Jazz Ambassador in TWO world tours, starting at the Kennedy Center and performing in 17 countries. For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/https://angelahagenbach.co/https://www.facebook.com/angela.hagenbach.1https://www.instagram.com/angelahagenbach/https://angelahagenbach.bandcamp.com/album/the-way-they-make-me-feelhttps://music.apple.com/us/artist/angela-hagenbach/4582211https://resonancerecords.org/artists/angela-hagenbach/ #AngelaHagenbach   #harveybrownstoneinterviews

Scott Yanow is a premier jazz authority with a music collection of 20 thousand albums and 40 thousand CD's.  He has written countless reviews published by the LA Times, Downbeat, All Music Guide, All About Jazz and other publications. He's recognized as a Worldwide authority on Jazz and he's just released his 12th book which you can find on Amazon here:https://www.amazon.com/Life-Through-Eyes-Jazz-Journalist/dp/1958324027/CONTACT SCOTT DIRECTLY: scottyanowjazz@yahoo.com.

My guest today is Scott Yanow—one of the best known and most prolific jazz reviewers.Writing about jazz is special, because of the dynamic and fluid nature of the music. There is a basic melody in jazz…but only to begin with. The musicians, in their solos, interpret that melody and its underlying harmonic structure.And always, and without exception, that interpretation is different every time a jazz soloist plays.Here's an analogy for jazz beginners.Classical music, for instance, is like a play. The lines are written for the actors, who must use their skill to bring out the drama in the lines. But it's always the same lines, the same words.Jazz is like scintillating conversation. You don't say the same thing twice—for the sake of your friends I hope you don't. And how interesting you are depends on how much you know, and how well you say it.So, you see what I mean when I say that writing jazz reviews merits its own skill.Speaking of skill, Scott Yanow has authored 12 books, written over 20,000 recording reviews and over 900 liner notes. (Liner notes are those descriptive passages that accompany an album.)He has also written artist biographies and press releases for record labels, public relations firms and individual artists. And most easily accessible, he has written hundreds of summaries for jazzonthetube.com.Scott doesn't tire easily. And simply listening to him describe a typical day is enough to make most of us pine for a vacation.As I said earlier, it's all about how much you know and how well you say it. Scott Yanow knows a lot and says it in an unpretentious, direct and honest writing style.And now he joins us from his home near Los Angeles.ABOUT SCOTT YANOWScott Yanow was born in New York and grew up near Los Angeles. He became the jazz editor for Record Review, a now-legendary music magazine. Yanow has written for Jazz Times, Cadence, Coda, The Mississippi Rag, Jazz Forum, Jazz News, The Jazz Report, Planet Jazz, Jazz Now, Jazz Improv and other significant jazz magazines. He contributors to seven magazines: Downbeat, Jazziz, the NYC Jazz Record, the Los Angeles Jazz Scene, Jazz Artistry Now, the Jazz Rag and Syncopated Times. Yanow has written 12 books on jazz: The Jazz Singers, The Great Jazz Guitarists, Jazz On Film  Duke Ellington, Swing, Bebop, Afro-Cuban Jazz, Classic Jazz, Trumpet Kings, Jazz: A Regional Exploration,  the massive Jazz On Record 1917-76 and most recently Jazz Through The Eyes Of A Jazz Journalist (My Jazz Memoirs).Jazz Through The Eyes Of A Jazz Journalist: https://amzn.to/3PLnx5SWHAT'S THAT WORD?! - JAZZCo-host Pranati "Pea" Madhav joins Ramjee Chandran in the segment "What's That Word?", where they discuss the origins of "jazz" and tell jazz jokes.WANT TO BE ON THE SHOW?Reach us by mail: theliterarycity@explocity.com or simply, tlc@explocity.com.

Hoy vamos a repasar un gran disco, el que grabaron en estudio Stan Getz y The Oscar Peterson Trío en 1.958. En el trío de Peterson militaban el guitarrista Herb Ellis y el bajista Ray Brown. El año anterior, en 1957, el productor Norman Granz estaba tratando de emparejar al legendario trió sin batería de Oscar Peterson con grandes figuras del jazz. El elegido fue Stan Getz porque pensó, con acierto, que de esta conjunción saldría algo bueno. Y ya lo creo que salió. La base rítmica que proporcionan la guitarra y el bajo, permite que el piano de Peterson desarrolle toda su técnica y que el saxo de Stan suene tan cálido como acostumbra. El disco empieza con una vibrante versión de I want to be happy, “Quiero ser feliz”, una partitura que Vincent Youmansy escribió para el musical de 1925 No, No, Nanette. Stanley Getz nació el 2 de febrero de 1927 en Filadelfia y ha sido catalogado por el crítico musical Scott Yanow como “uno de los grandes saxofonistas tenores de todos los tiempos”. Sus orígenes eran de lo más diverso. Su madre había nacido en Filadelfia, su padre en Londres, sus abuelos paternos eran originarios de Ucrania y habían tenido que salir huyendo para no caer en los pogromos anti-judios que se estaban produciendo en el imperio ruso. Durante la Gran Depresión la familia Getz se mudó a Nueva York y fue allí donde el jovencito Stand empezó a interesarse por los instrumentos musicales y tocó varios de ellos hasta que su padre le compró su primer saxofón a la edad de 13 años. Y con él, empezó a practicar nueve horas al día. Esta dedicación le permitió ser aceptado en la All City High School Orchestra de Nueva York. Con 16 años se unió a la orquesta de Jack Teagarden y empezó su carrera profesional. También tocó con Nat King Cole, Lionel Hampton, Jimmy Dorsey y Benny Goodman. Después de tocar con los mejores, decidió dar el paso y formar su propio grupo, pero, al mismo tiempo, empezó también su relación con la heroína. Getz se había casado cuando era prácticamente un adolescente y estaba bastante metido en las drogas. De hecho, fue detenido en 1954 por intentar robar una farmacia para conseguir morfina. Este primer matrimonio se deshizo y sus tres hijos fueron recogidos, con el tiempo, por la segunda esposa de Stan con la que tuvo dos hijos más. La nueva pareja se había trasladado a Copenhague, sobre todo para escapar del mundo de las drogas, tan asequible en aquellos días en Estados Unidos. A pesar de todo, Stan volvió a las drogas y su esposa le abandonó y se volvió a Suecia donde vivían sus padres. Para que volviera con él, Stan le envió una copia de lo que sería su siguiente trabajo Jazz Samba y le prometió que a partir de ese momento se mantendría sobrio. Su esposa volvió con él pero solo sería el inicio de un largo recorrido de encuentros y desencuentros que solo terminó cuando, en 1987 le diagnosticaron un cáncer terminal que acabó con su vida el 6 de junio de 1991. I’m glad there is you es una canción escrita por Yimmy Dorsey, que se publicó por primera vez en 1941 y que se ha convertido en un estándar del jazz. Por su parte, Oscar Peterson, la otra columna que sostiene esta estupenda obra, nació el 15 de agosto de 1925, en Montreal, y fue un virtuoso del piano, el “Maharaja del teclado”, como le llamaba Duke Ellington. Peterson, que se crió en un barrio predominantemente negro, se encontró pronto con la cultura del jazz. Sus primeras clases de piano las empezó a recibir a los siete años impartidas por su padre, músico aficionado, y su hermana. A los nueve años Peterson ya tocaba perfectamente y a los catorce ganó el concurso nacional de música organizado por la Canadian Broadcastin Corporation. Y, a partir de aquí, se convirtió en pianista profesional. Tenía por entonces un programa de radio semanal, tocaba en hoteles y salas de músico, orquestas, trios y es que, aunque su formación había sido clásica, sus tendencias gravitaron pronto hacia el boogie-woogie y el swing. Oscar Peterson había conseguido una reputación como un pianista técnicamente brillante y melódicamente creativo. Norman Granz, al que ya conocemos por su relación con nuestros dos invitados, se hizo cargo de su representación. Su primer contrato, presentación de Peterson en la ciudad de Nueva York en un concierto de Jazz en la Filarmónica en el Carnegie Hall. A partir de aquí, toco siempre con los mejores pero cabría destacar su colaboración con Stan Getz con el guitarrista Joe Pass. Fue en esta época, 1974, cuando ganó el Premio Grammy a la Mejor Interpretación de Jazz por un grupo. El álbum se llama The Trío. Vamos a escuchar ahora una mezcla de baladas, incluidas en este disco, en las que los cuatro músicos dejan de manifiesto su cualidades interpretativas. Ballad Medley Nuestro amigo no fue un derroche de salud que digamos. Peterson padecía de artritis desde su juventud, una enfermedad que para un pianista resulta letal. Siempre fue obeso, lo cual empeoraba la situación. Fumaba mucho y cada vez que intentaba abandonar al habito engordaba un poco más. Tuvo que ser operado de la cadera y ésto todavía empeoró su movilidad. Para terminar de arreglarlo, en 1993 sufrió un derrame cerebral que debilitó su lado izquierdo y le retiró de escena durante unos años. Aunque recuperó cierta habilidad en su mano izquierda, su destreza en la forma de tocar el piano se vio sensiblemente mermada. Su estilo pasó a basarse principalmente en su mano derecha. Volvió a escena en 1995 y aún recibió el Grammy Lifetime, por sus contribuciones creativas en el campo de la grabación. En 2007 su salud se vino abajo. Canceló sus planes de actuar en el Festival de Jazz de Toronto y en un concierto de estrellas del Carnegie Hall que se iba a dar en su honor. Peterson murió el 23 de diciembre de 2007 de insuficiencia renal en su casa en Mississauga, Ontario. Vamos a escuchar ahora Tour’s end, una canción compuesta por el propio Stan Getz. Es evidente que durante la grabación de este trabajo, los cuatro músicos se encontraban en estado de gracia. No hay un solo compás que desmerezca. Saxofón, piano, guitarra y bajo. No hace falta nada más. Bueno amigos, nos vamos a despedir de estos cuatro genios y del programa de hoy con otro número de su álbum: Three little words, en este caso compuesta por Oscar Peterson. Nos vemos y nos oímos dentro de quince días, hasta entonces… ¡¡¡Buenas Vibraciones!!!.

Liner note writer and author talks about keeping stories alive from the sessions he witnessed and critiqued.

In September of 2020, we had the distinct pleasure of speaking with pianist, arranger, producer and educator Antonio Adolfo (Season 1, Episode 22) At that time, Antonio had just released his album titled “BruMa.” Now, a little over a year later, we catch up with him about his newest release, “Jobim Forever,” a tribute to the music of Brazil's greatest maestro, composer Antonio Carlos Jobim. Another ATJ guest, acclaimed music critic Scott Yanow, said in L.A. Jazz Times, “Jobim Forever is an easy album to enjoy and it does full justice to the music of Antonio Carlos Jobim. Thus far, every recording of Antonio Adolfo that I have heard is recommended - and this one is certainly no exception.” We could not agree more. Explore with us the backstory of how Antonio Adolfo came to create this exquisite tribute to the icon of Brazilian music known as Bossa Nova.

Noted Jazz historian (and our regularly referenced critic!) Scott Yanow joins us on this episode to discuss the Jelly Roll Morton Jazz standard "King Porter Stomp". You'll hear us dissect versions by Benny Goodman, Fletcher Henderson, Louis Armstrong, Gil Evans, and new-to-us-but-not-to-Scott artist Octobop. Join us for some fun, and an education from a real Jazz scholar!

Today I play a few tracks from records that Scott Yanow, Downbeat Magazine, CBC, Stereogum, and Bandcamp say are among 2020’s best. The range of styles is pretty extreme! From the most basic New orleans style jazz to what youtube classifies as dance/electonic. The highlights for me are 12 minutes of a recently discovered Thelonious…Continue reading Episode 132: Best of 2020 Part 2

Sarah Lois Vaughan foi uma cantora estadunidense de jazz, descrita por Scott Yanow como "uma das vozes mais maravilhosas do século 20".Wikipédia

STANDARD SEMANAL.- “Nuages” (Django Reinhardt-Paul Desmond-Oscar Peterson y Stéphane Grappelli-James Carter )-JAZZ RECUERDO ANIVERSARIO.- Dicky Wells - Bones For The King (1958)-JAZZ ACTUALIDAD .- Esta semana tendremos a SERGIO DE LOPE-A NIGT IN UTRERA. PROG.Nº 667.- Dos horas para el análisis y repaso a la historia y actualidad que generan esta música americana . Todo en el tono que acostumbra este programa, en dos secciones JAZZ ANIVERSARIO y JAZZ ACTUALIDAD importantes novedades y diferentes canales de comunicación que se ofrecerán al oyente. STANDARD SEMANAL.- “Nuages” (Django Reinhardt-Paul Desmond-Oscar Peterson y Stéphane Grappelli-James Carter ) JAZZ RECUERDO ANIVERSARIO.- Dicky Wells - Bones For The King (1958) Bones for the King es un álbum del trombonista Dicky Wells que fue grabado en 1958 y lanzado en elsello Felsted . Scott Yanow de AllMusic afirma: "Hay buena música basada en el swing para escuchar en todo este álbum, pero no ocurre nada esencial" Todas las composiciones de Dicky Wells excepto donde se indique. 1. "Huesos para el Rey" - 6:36 2. "Dulce papá Spo-de-o" - 7:26 3. "Me tomaste el corazón" (Skip Hall) - 6:01 4. "Hola Smack!" (Buddy Tate) - 6:20 5. "Ven y tómalo" - 8:04 6. "Danza de Stan" (Buck Clayton) - 6:35 7. Dicky Wells - trombón 8. Buck Clayton - trompeta (pistas 4-6) 9. Vic Dickenson , George Matthews , Benny Morton - trombón (pistas 1-3) 10. Rudy Rutherford - clarinete , saxofón barítono (pistas 4-6) 11. Buddy Tate - saxo tenor , saxofón barítono (pistas 4-6) 12. Skip Hall - piano , órgano 13. Everett Barksdale - guitarra (pistas 4-6) 14. Major Holley - bajo 15. Jo Jones - batería Se cree que Dickie Wells nació el 10 de junio de 1907 en Centerville, Tennessee , Estados Unidos. [4] Su hermano era el trombonista Henry Wells . Se mudó a la ciudad de Nueva York en 1926 y se convirtió en miembro de la banda Lloyd Scott . [4] Jugó con el conde Basie entre 1938-1945 y 1947-1950. [4] También jugó con Cecil Scott , Spike Hughes , Fletcher Henderson , Benny Carter , Teddy Hill , Jimmy Rushing , Buck Clayton y Ray Charles . [4] A mediados de la década de 1960, Wells realizó giras y se desempeñó extensamente, y el inicio del alcoholismo le causó problemas personales que lo llevaron a su semi-retiro. La publicación de su autobiografía en 1973 ayudó a que Wells volviera a su profesión. [4] Dicky Wells (izquierda) y hermano Henry Wells en Eddie Condon's de la ciudad de Nueva York en enero de 1947 En sus últimos años, Wells sufrió una fuerte paliza durante un atraco que afectó su memoria, pero se recuperó y continuó actuando. [4] Tocó con frecuencia en el club de jazz West End en 116th y Broadway, más a menudo con una banda llamada The Countsmen, dirigida por el saxofonista Earle Warren , su colega de los días del Conde Basie. Una marca registrada fue el mute "pepper pepper" de Wells que él mismo hizo. Murió el 12 de noviembre de 1985 en la ciudad de Nueva York . [4] Poco después de su muerte, la familia de Wells donó su trombón a la Universidad de Rutgers . JAZZ ACTUALIDAD .- Esta semana tendremos a SERGIO DE LOPE-A NIGT IN UTRERA. Este disco pone en entre dicho la idea de “lo puro” en música y exalta el concepto que afirma que en la mezcla está el gusto. En él podemos encontrar las composi ciones más íntimas, fruto de las vivencias y experiencias más flamencas y jazzeras. Este trabajo escenifica que la música ni se crea ni se destruye, se transforma. Flamenco y Jazz son músicas de raíz, músicas del pueblo y como los humanos se relacionan entre sí de una manera natural. En “A nigth in Utrera” caminan de la mano los cantes clásicos con los acordes oscuros del jazz y como telón de fondo el flamenco instrumental, siendo un todo en armonía donde encontraremos miles de noches en un solo anochecer. La flauta “alante” de Sergio de Lope será el hilo conductor de un esp

Blues in Chicago with Dave Katzman and an interview with vocalist Petra Van Nuis and guitarist Andy Brown.   About Andy Brown   Andy Brown is a guitarist based in Chicago. Born in New York in 1975, he has played professionally for over twenty five years. He has had a varied performing career that has included stints in Cincinnati and New York City. Since coming to Chicago in 2003, Andy has been fortunate to work at many of the area's finest jazz venues with his own bands, as well as playing his unique brand of solo jazz guitar. He has backed visiting jazz names at places including The Jazz Showcase, Ravinia and the Harris Theater. Currently he plays solo guitar every Thursday at The Green Mill, leads his quartet every Wednesday at Andy's Jazz Club and performs with his trio bi-weekly at Winter’s Jazz Club. As a sideman he has performed with internationally know jazz musicians including Scott Hamilton, Howard Alden, Harry Allen, Warren Vaché, Ken Peplowski, Hod O’Brien, Rebecca Kilgore, Judy Carmichael, John Pisano, Michael Feinstein, Anat Cohen, Kurt Elling and many others. He has also worked with many names on the Chicago jazz scene including Russ Phillips, Don Stiernberg, Chris Foreman, Eric Schneider, Bobby Lewis and Judy Roberts. His love of great tunes, as well as accompanying skills have made him a favorite with vocalists. Married to frequent partner vocalist Petra van Nuis, Andy has worked with many of Chicago's finest singers. Andy also had the good fortune to accompany Barbra Streisand when she appeared on the Oprah Winfrey Show in 2009. Andy has made many festival and club appearances around the world. Highlights include Dizzy’s Club at Jazz at Lincoln Center, the Chautauqua Jazz Party, the Chicago Jazz Festival, the Cleveland Classic Jazz Party, as well as festivals in Rio de Janeiro, the Netherlands, Germany and throughout the United States. Andy has provided the music for a wide variety of parties and private events. In 2012, his trio was invited by the Chicago Mayor's office to perform for the Nobel Peace Prize dinner in Chicago where invited guests included U.S. presidents Bill Clinton and Jimmy Carter, as well as the Dalai Lama and Mikhail Gorbachev. Also in 2012, Andy's trio was hired by the U.S. State Department to provide music for the opening night gala at the NATO summit held in Chicago. Andy enjoys being a member of several bands besides his own. He works often with vocalist Petra van Nuis, either in duo or larger groups, including Petra's Recession Seven. They have worked together all over Chicago and in venues throughout the country, as well as tours of Europe and Canada. Since 2009, Andy has co-led a two-guitar quartet with renowned guitarist Howard Alden. In 2013, Delmark Records released a CD of the group entitled "Heavy Artillery" which received four stars in Downbeat magazine and was featured in their annual Albums Of The Year issue. Andy plays regularly with jazz mandolinist Don Stiernberg's trio. They have worked at festivals in Germany and Brazil, as well as throughout the United States. He is also a member of trombonist Russ Phillips' group, both with Russ' Quartet and his Windy City All-Stars. Andy has been featured on a wide array of recordings. As a leader, his latest is the 2016 Delmark Records release “Direct Call” which received four stars in Downbeat magazine. His previous Delmark release “Soloist” was his first solo jazz guitar recording and received warm reviews from critics and fans alike. 2015 marked the release of organist Chris Foreman's debut recording "Now Is The Time” which featured Andy on several cuts. In 2016, mandolinist Don Stiernberg released a CD titled “Good Numbers” featuring Andy on acoustic archtop guitar. Andy has collaborated on four CDs with Petra van Nuis, the most recent being their 2017 duet release “Lessons Lyrical." Andy had the good fortune to learn directly from several guitar masters, including Cal Collins, Ted Greene, and Howard Alden. His most important mentor was the late Kenny Poole, who called Andy his protégé.   About Petra   Petra van Nuis (pronounced Pay-tra van Nouse) is a Chicago-based jazz vocalist who has been described in Downbeat Magazine as having "a light, gorgeous, and fairly delicate voice...a gift for melody and plenty of rhythmic confidence." A Chicagoan since 2003, Petra sings at all the finest jazz venues in town including the Jazz Showcase, the Green Mill, Andy's Jazz Club, Winter's, Fitzgerald's, the City Winery, and the Old Town School of Folk Music. Chicago's Department of Cultural Affairs has presented Petra's groups at the Chicago Cultural Center and Chicago Summer Dance. The Jazz Institute of Chicago has featured Petra's Recession Seven band at the Chicago Jazz Festival and Jazz City. Petra has been interviewed and her music featured on Chicago's WGN for Rick Kogan's "After Hours" show and on WBEZ's "Morning Shift" with Tony Sarabia. Outside of Chicago, Petra plays at jazz festivals such as the Cleveland Classic Jazz Party, the Roswell Jazz Festival and Joe Boughton's Chautauqua Jazz Party with such renowned musicians as Dan Barrett, Nicki Parrott, Ken Peplowski, John Di Martino, Dan Block, Scott Robinson, Frank Tate, Hal Smith, Rossano Sportiello, and Duke Heitger. Petra's latest project, Because We're Night People, is a live recording of night-themed standards which was awarded 4 stars by DownBeat Magazine and included in their "Top Rated Albums of 2019" listing. Revered Chicago pianist Dennis Luxion blends his signature impressionistic harmony with Petra's lush vocals. This CD was re-issued in Japan on the Japanese label Muzak in October 2018 and was used as in-flight music on All Nippon Airways (Japan's largest airline) in January/February 2019. Germany's Jazzpodium Magazine hails Petra's seventeen year musical collaboration with her husband, guitarist Andy Brown, as "a magical musical dialogue, which can only partially be described as blind understanding." Petra and Andy's romantic style has been enjoyed in intimate club settings around the country including Shanghai Jazz (Madison, NJ), the Kerrytown Concert House (Ann Arbor, MI), Night Town (Cleveland,OH), the Saugatuck Center for the Arts (Saugatuck, MI), and the Blue Wisp Jazz Club (Cincinnati, OH). Several European tours have brought the duo to Germany (Traditional Jazz Hall Stuttgart, Jazzhaus Heidelberg, Mampf Frankfurt, Le Pirate, Jazz Club Neustadt, Jazz Club 77, Musikhaus Birlkehof) to the Netherland's (Gorinchem Jazz Festival, Culuurschip Thor, Jazz Hall 72, Stichting Jazz Zevenbergen) and to Belgium (Jazz Cafe Hopper). With the re-release of the duo's 2017 CD Lessons Lyrical and their 2009 CD Far Away Places on Japan's Muzak label, Petra and Andy continue to spread their swinging sounds far and wide. Petra and Andy often augment their duo with bass and drums forming the Petra van Nuis/ Andy Brown Quartet. In addition to Chicago performances, the quartet frequently tours the Midwest having played for the West Michigan Jazz Society (Grand Rapids, MI), Polyrhytms (Davenport,IA), the Firefly Jazz Club (Ann Arbor, MI), the Wilson Center for the Arts (Milwaukee, WI), the Detroit Institute for the Arts (Detroit, MI), and headlined the 32nd Michelob Women In Jazz Festival (Dayton, OH). At the start of the Great Recession in September 2008, Petra's Recession Seven, a Chicago-style early swing/trad jazz band was born at Chicago's legendary Green Mill. This seven piece ensemble features an all-star line up of internationally known Chicago veterans including trombonist Russ Phillips, reed man Eric Schneider, and trumpeter Bob Ojeda. Festival appearances include the 32nd Elkhart Jazz Festival, 33rd annual Chicago Jazz Festival, the 34th, 35th, 37th, 40th and 42nd annual Cedar Basin Jazz Festival, Fitzgerald's 29th annual American Music Festival, the Juvae Jazz Society's 25th anniversary Festival, and the Illiana Club of Traditional Jazz's 40th anniversary Jazz Festival. The band regularly travels to regional jazz societies such as the Madison Jazz Society, the Starr-Gennett Foundation, the "Masters of Swing" series at Cincinnati's Xavier University, the Lafayette Jazz Club, and the Indianapolis Jazz Club. The American Rag, in a review of the band's 2011 on location recording Live In Chicago praises "a killer of a band that grabs your attention and doesn't give it back until they are finished playing." You may have heard selections from Petra's 2006 debut CD A Sweet Refrain on digital cable's Music Choice, where it regularly rotates on the "Singers & Swing" channel. In a review, Los Angeles Jazz Scene critic Scott Yanow notes "a sweet voice, a straightforward delivery....one hears touches of Billie Holiday, Blossom Dearie, and Mildred Bailey in her phrasing, but not in the sound of her voice which is distinctive." This CD is a throwback to the classic vocal recordings of the 50's with a blend of duo, quartet, quintet, and tight two-horn sextet arrangements by bassist/arranger Joe Policastro. In 2012, these arrangements were recreated with the teaming of Petra and Andy with four Canadian musicians at Edmonton's famed Yardbird Suite. In 2015, two songs from this CD were selected by famed Japanese jazz writer/historian/record producer Yasukuni Terashima to be included in the compilation CD For Jazz Vocal Fans Only on the Japanese label Disk Union. Petra continues to play with Chicago's finest instrumentalists including Bobby Lewis, Art Davis, Kim Cusack, Larry Harris, Greg Fishman, Chris White, Joe Adamik, Joe Policastro, Bob Rummage, Andy Schumm, Jeremy Kahn, Judy Roberts, Phil Gratteau, Don Stille, Dan Delorenzo, Tom Bartlett, Mike Schlick, Bill Overton, Bradley Williams, Ron Dewar, John Otto, Stewart Miller, and Don Stiernberg.

David Detweiler, Assistant Professor of Jazz Saxophone, joined the faculty at Florida State University in 2016 after serving as Director of Jazz Studies at Nazareth College (Rochester, NY). He has performed at many of New York City’s premier live-music venues such as The Blue Note, Birdland, The Knitting Factory and The Iridium. His first record as a leader, New York Stories, was recorded in Tallahassee with Leon Anderson, Clarence Seay, Chris Pattishall, and Rick Lollar, received a favorable review by Scott Yanow. His second record as a leader, The Dave Detweiler Trio featuring Fumi Tomita and Alex Patrick, was released in August 2015.Dr. Detweiler received the DMA degree from the Eastman School of Music in 2015 and the MM degree from Florida State University in 2010. He also studied at both the University of North Texas and William Paterson University, receiving the BM degree from William Paterson. His teachers include: Bill Dobbins, Charles Pillow, Ramon Ricker, Gary Smulyan, and Steve Wilson.

PROG.Nº 665.- Dos horas para el análisis y repaso a la historia y actualidad que generan esta música americana . Todo en el tono que acostumbra este programa, en dos secciones JAZZ ANIVERSARIO y JAZZ ACTUALIDAD importantes novedades y diferentes canales de comunicación que se ofrecerán al oyente. STANDARD SEMANAL.- “night train” (Jimmy Forrest; Buddy Morrow -eddie jefferson- ) Y como final de mes Ezequiel Campos nos trae su tema de jazz del Baúl de los Recuerdos (etta james 1 (blues) JAZZ RECUERDO ANIVERSARIO.- Jimmy Hamilton; -It's About Time Es un álbum del saxofonista Jimmy Hamilton que fue grabado en 1961 y lanzado en elsello Swingville . Scott Yanow, de Allmusic , afirma: "Hamilton se combina en un sexteto con el flagelero Clark Terry, el trombonista Britt Woodman, el pianista Tommy Flanagan, el bajista Wendell Marshall y el baterista Mel Lewis para un conjunto de blues en su mayoría. Terry y Woodman son bastante exuberantes en todo momento". [4] All About Jazz lo llamó "un álbum muy fuerte, y tiene un swing de jonrón". Todas las composiciones de Jimmy Hamilton. 1. "Dos por uno" - 5:48 2. "Mr. Good Blues" - 6:40 3. "Cabeza de maní" - 5:12 4. "Estúpido pero no loco" - 5:17 5. "Nits and Wits" - 9:44 6. "Ido con el blues" - 4:54 Personal [ editar ] • Jimmy Hamilton - clarinete , saxofón tenor • Clark Terry - trompeta , cuerno de flauta • Britt Woodman - trombón • Tommy Flanagan - piano • Wendell Marshall - bajo • Mel Lewis - batería Jimmy Hamilton (25 de mayo de 1917 - 20 de septiembre de 1994) fue un músico de jazz estadounidense, clarinetista, saxofonista tenor, compositor y maestro musical, conocido sobre todo por su trabajo con Duke Ellington. Hamilton nación en Dillon (Carolina del Sur) y creció en Filadelfia. Tras aprender a tocar el piano y otros instrumentos musicales en la década de 1930 comenzó a tocar en bandas locales antes de decantarse por el clarinete y el saxofón. En 1939 tocó con Lucky Millinder, Jimmy Mundy y Bill Doggett, uniéndose al sexteto de Teddy Wilson en 1940. Después de dos años con Wilson se unió a Eddie Heywood y Yank Porter. En 1943 sustituyó a Barney Bigard en la orquesta Duke Ellington, con la que permaneció hasta 1968. Su estilo era muy diferente como clarinetista y saxofón, siendo mucho más fluido y correcto con el clarinete. Escribió algunas obras propias durante su tiempo con Ellington. Después de dejar la orquesta Ellington tocó y compuso de forma independiente antes de viajar en la década de 1970 a las Islas Vírgenes de los Estados Unidos para dar clases de música, aunque regresó ocasionalmente a los Estados Unidos para participar en varios conciertos. Tras retirarse de la enseñanza continuó actuando con varios grupos en 1989-1990. Hamilton murió en Saint Croix en 1994. JAZZ ACTUALIDAD .- Esta semana tendremos a Chano Dominguez & Javier Colina - Chano & Colina. El contrabajista Javier Colina y el pianista Chano Domínguez son dos de los mejores músicos de jazz que se pueden escuchar hoy en Europa, y en última instancia poco tienen que envidiar a los norteamericanos. De la calidad de estos dos músicos da cuenta ‘Chano&Colina’, un disco grabado en directo el 19 de enero de 2017 en la Sala de Cámara del Auditorio Nacional de Música en Madrid. Javier Colina y Chano Domínguez se conocen tan bien, son tan cómplices, que no necesitan grandes esfuerzos para armar un concierto a una altura superior. No hay que olvidar que ambos trabajaron durante muchos años juntos, al inicio de sus carreras, por así decir, cuando eran miembros, junto con el baterista Guillermo McGill,el Chano Domínguez Trio. A lo largo de su trayectoria hay una evidencia que ha quedado muy acreditada: Javier Colina es, de largo, el contrabajista que mejor acompaña a los pianistas cuando se forma un dúo de contrabajo y piano. Sólo dos muestras de muy alto nivel; su disco con Tete Montoliu y el acompañamiento que realizó a Bebo Valdés en la Sala de Cámara del Kursaal en San Sebastián durante el 38 Jazzaldia. Los diez temas que interpretan son tanto temas propios como ajenos y su acercamiento varía desde el jazz tradicional, la jazz flamenco y en muchas ocasiones entreverado con los sonidos latinos, vía Cuba. Entre los primeros están ‘Luces de la Fragua’ el único tema de Colina que, además abre la sesión; por su parte Domínguez aporta, ‘Habanera de la Habanera’, uno de los grandes momentos del concierto y ‘Para Chick’, donde meten una buena morcilla de ‘Lágrimas negras’. Entre los segundos, se encuentran ‘Canción de amor’ y ‘Ziryab’, ambas firmadas por Paco de Lucía y que los dos músicos ya tocaron en ‘Diez de Paco’, un disco que llevaba la firma de Jorge Pardo; y después hay un buen número de estándares de jazz, tales como You the night ant the music (Schwartz & Dretz), My one and only love (Wood & Mellin), ‘We will meet again’ (Parker&Charles), ‘You must belive in spring’ (M. Legrand) y ‘Serpent’s tooth’ de Miles Davis,, con el que se cierra el disco. ‘Chano&Colina’ de Javier Colina & Chano Domínguez es una fiesta del jazz. Q.E.D.

PROG.Nº 664.- Dos horas para el análisis y repaso a la historia y actualidad que generan esta música americana . Todo en el tono que acostumbra este programa, en dos secciones JAZZ ANIVERSARIO y JAZZ ACTUALIDAD importantes novedades y diferentes canales de comunicación que se ofrecerán al oyente. STANDARD SEMANAL.- “NIGHT IN TUNISIA” (Sarah Vaughan-Dizzy Gillespie-Sonny Rollins) • JAZZ RECUERDO ANIVERSARIO.- Kai Winding - The Incredible Kai Winding Trombones (1960) • es un álbum del trombonista de jazz estadounidense Kai Winding que presenta actuaciones grabadas en 1960 para el Impulse! etiqueta. • La reseña de Allmusic de Scott Yanow le otorgó al álbum 4 estrellas y lo llamó "Buena música directa, obviamente, más disfrutada por los oyentes a quienes les gusta el sonido de los trombones". Track listing[edit] 1. "Speak Low" (Ogden Nash, Kurt Weill) — 4:08 2. "Lil Darlin'" (Neil Hefti) — 4:07 3. "Doodlin'" (Horace Silver) — 3:36 4. "Love Walked In" (George Gershwin, Ira Gershwin) — 2:56 5. "Mangos" (Dee Libby, Sid Wayne) — 3:46 6. "Impulse" (Kai Winding) — 3:14 7. "Black Coffee" (Sonny Burke, Paul Francis Webster) — 4:09 8. "Bye Bye Blackbird" (Mort Dixon, Ray Henderson) — 4:02 9. "Michie" (Slow) (Winding) — 3:05 10. "Michie" (Fast) (Winding) — 3:48 • Recorded at Rudy Van Gelder Studio in Englewood Cliffs, New Jersey on November 17, 1960 (tracks 6 & 9), November 21, 1960 (tracks 1, 4 & 5), November 23, 1960 (tracks 2 & 3) and December 13, 1960 (tracks 7, 8 & 10) Personnel[edit] • Kai Winding — trombone • Jimmy Knepper (tracks 7, 8 & 10), Johnny Messner (tracks 1-5), Ephie Resnick (tracks 6 & 9) — trombone • Paul Faulise, Dick Lieb (tracks 7, 8 & 10), Tony Studd (tracks 1-6 & 9) — bass trombone • Bill Evans (tracks 7, 8 & 10), Ross Tompkins (tracks 1-6 & 9) — piano • Ray Starling (tracks 1 & 2) — mellophone • Bob Cranshaw (tracks 1-6 & 9), Ron Carter (tracks 7, 8 & 10) — bass • Al Beldini (tracks 1-6 & 9), Sticks Evans (tracks 7, 8 & 10) — drums • Olatunji - congas (tracks 1 & 5) Kai Winding fue un trombonista estadounidense de jazz de origen danés. Nacido en Dinamarca, la familia de Kai Winding emigró a Estados Unidos en 1934, cuando el músico contaba sólo con 12 años. Tras su paso por las orquestas de Alvino Rey y Sonny Dunham, Winding ingresa en una banda militar y permanece allí durante tres años. En 1946 entra en la orquesta de Benny Goodman, pero su salto a la fama tiene lugar poco más tarde, cuando ingresa en la orquesta de Stan Kenton. Allí, su estilo y sonido son imitados por otros músicos de la orquesta, lo que eventualmente daría lugar a un cambio en el sonido de la orquesta misma. A finales de la década de 1940 Winding participa en sesiones con músicos bebop, toca con Tadd Cameron y toma parte en las grabaciones del noneto de Miles Davis que darían lugar al surgimiento del cool jazz. Tras ello, Winding trabaja con Charlie Ventura y Buddy Steart, y finalmente forma un quinteto con el gran trombonista J. J. Johnson que efectuaría diversas grabaciones para vario sellos discográficos de 1954 a 1956, período durante el cual el sonido de ambos trombonistas es indistinguible. La banda pasa a la historia del jazz por la calidad de su propuesta, pero tras 1956 las reuniones de Winding y Johnson tendrían lugar ya sólo esporádicamente.12 Desde finales de la década de 1950, Winding lidera intermitentemente un septeto con cuatro trombones, y ya en la década de 1960 se convierte en el director musical de los Playboy Clubs en Nueva York. En la década de 1970 forma parte de Giants of Jazz, una All-Stars Band que contaba con la participación de figuras de la talla de Dizzy Gillespie, Sonny Stitt, Thelonious Monk o Art Blakey; sus trabajos se van haciendo cada vez más esporádicos y el músico establece su segunda residencia en España. Kai Winding pasó los últimos años de su vida en Nueva York, retirado de la actividad musical.12 Una de las más grandes figuras de la era del bebop, la figura de Kai Winding siempre estuvo en cierta forma ensombrecida por la del gigante J. J. Johnson, con quien lideró uno de los grupos más populares de la década de 1950.1 Kai Winding ayudó a Johnson a establecer el fraseo bebop en su instrumento, con una claridad de sonido y una velocidad de ejecución impensables pocos años antes y la asociación de ambos hombres ha pasado a la historia como uno de los episodios más importantes de la historia reciente del instrumento.3 JAZZ ACTUALIDAD .- Esta semana tendremos a MICHEL OLIVERA-OASIS Michael Olivera es uno de los bateristas mas importantes de la escena musical cubana y española, desde su llegada a la ciudad europea de Madrid hace 6 años, ha tocado en los festivales de jazz mas importantes como Jazz a Vienne, Marciac, North Sea Jazz, Montroux Jazz Festival, Montreal Jazz Fest, Blue Note NY, junto a artistas de la talla de Alfredo Rodriguez ” Tocororo ” co-arreglista (Alfredo forma parte del ” Quincy Jones Artist ” ), Javier Colina, Sting, Esperanza Spalding, Tomatico, Perico Sambeat, Miryam Latrece y muchos otros. Después de una larga carrera como baterista y productor y participando en más de 40 discos, Michael Olivera decide en 2016 realizar su primer trabajo como bandleader, el cual está titulado ” Ashé “, y un año nos regala esta segunda producion “Oasis” una continuacion del primer album un viaje por Cuba-Brazil-Africa… los dejo con la presentacion del album por el propio Olivera, la placa esta disponible en todas las plataformas.

PROG.Nº 663.- Dos horas para el análisis y repaso a la historia y actualidad que generan esta música americana . Todo en el tono que acostumbra este programa, en dos secciones JAZZ ANIVERSARIO y JAZZ ACTUALIDAD importantes novedades y diferentes canales de comunicación que se ofrecerán al oyente. STANDARD SEMANAL.- “Night And Day”( Django Reinhar-Teddy Wilson; Mary Lou Williams) • JAZZ RECUERDO ANIVERSARIO.- Gil Evans - Gil Evans & Ten • Gil Evans & Ten (también lanzado como Big Stuff y Gil Evans + Ten ) es el primer álbum del pianista, director, arreglista y compositor Gil Evans como líder, lanzado en elsello Prestige en 1957. Presenta los arreglos de cinco estándares de Evans. y una composición original interpretada por Evans, Steve Lacy , John Carisi , Jack Koven , Jimmy Cleveland , Bart Varsalona , Willie Ruff , Lee Konitz , Dave Kurtzer , Paul Chambers , Jo Jones , Louis Mucci yNick Stabulas . En 2003 se publicó una versión SACD , con el primer lanzamiento de las cintas estéreo originales.. La revisión de Allmusic por Scott Yanow le otorgó al álbum 5 estrellas diciendo "Tan buena introducción a su trabajo como cualquier otra, este programa incluye diversos trabajos que van desde Leadbelly hasta Leonard Bernstein, más el propio" Jambangle "de Evans. El inventivo uso de las voces por parte del arreglista. de sus acompañantes bastante inusuales hacen de este un conjunto memorable ". [2] La Penguin Guide to Jazz señaló "Es un disco algo eclipsado por las sesiones Impulse! Y Verve ... pero todavía hay mucho para escuchar y disfrutar". [3] • Gil Evans - piano • Steve Lacy - saxofón soprano • Jack Koven - trompeta • Jimmy Cleveland - trombón • Bart Varsalona - trombón bajo • Willie Ruff - trompa • Lee Konitz - saxofón alto • Dave Kurtzer - fagot • Paul Chambers - bajo • Jo Jones - batería (1) • John Carisi - trompeta (1) • Louis Mucci - trompeta (2–7) • Nick Stabulas - batería (2–7) JAZZ ACTUALIDAD .- Esta semana tendremos a ALEXEY LEON-CUBAN CONNECTION. Todas las composiciones escritas por Alexey León, excepto Silencio por Rafael Hernández, Ragabop por Prasanna, Herido de Sombras por Pedro Vega Francia. Todos los Arreglos hechos por Alexey León. "Este álbum es una colección de música que he escrito teniendo en mente un sonido muy especial basado en la tradición rítmica afro-cubana, la improvisación y el lenguaje del jazz contemporáneo. Ahora casi diez años después de reunir mi primer quinteto de latin jazz en Moscú, estoy feliz de presentar este álbum que refleja el trabajo y las experiencias que he tenido durante estos últimos años. Después de realizar nuestra última gira por el sur de España, hemos decidido grabar este proyecto en el que he tenido la suerte de reunir a los mejores representantes de este género junto con algunos músicos invitados de auténtico lujo. Tocar con ellos es como vivir una aventura excitante, la música tiene muchísima energía, cada melodía suena diferente cada vez, y no puedo esperar a ver dónde nos llevará la música el día que volvamos a tocar juntos! Mi vida hasta ahora ha sido un viaje emocionante, los lugares donde he vivido son increíblemente diferentes. Cada uno me dio algo único y me ayudó a llegar donde estoy ahora. Desde Manzanillo, una pequeña ciudad en Oriente, Cuba, donde nací hasta Moscú, Rusia donde estudié o Barcelona y Valencia en España donde vivo ahora. Cada composición está inspirada en una experiencia que me ha dejado marcado - personas, música, momentos o lugares. Estamos muy emocionados de presentarles este trabajo y espero que lo disfrutéis mucho!" Alexey León, 2017 Músicos: Alexey León - alto sax, tenor sax, flute, voice, percussion Carlos Sarduy - trumpet, flugelhorn, percussion Iván "Melón" Lewis - piano Dany Noel - electric bass Frank Durand - drums, percussion Invitados especiales: Perico Sambeat - alto & soprano saxophones (5) y (8) Iván Cebrián - electric guitar (2) y (6) Kumar Sublevao - voz (2) Matthew Baker - double bass (5) y (6) Ales Cesarini - double bass (6) Jorge Moragues - tuba (8) Temas 01-Cuba meets Russia 02-Intro: Despierto en Barcelona 03-Mi Changüí 04-La Rumba y un Trovador 05-Herido de Sombras 06-Ragabop 07-Silencio 08-Guarachando en Moscú

Scott Yanow is one of the most respected jazz journalists, reviewers and historians in the world of jazz. He has written more than 20,000 reviews, has 11 books currently in print and writes for six jazz publications including Downbeat, Jazziz and Syncopated Times.

What does Sacrifice, Focus, and Hope have in common? Well, if you ask Kelly Green she would say absolutely everything! On today's episode of The Working Artist Project Kelly and I discuss her debut album "Life Rearranged". She explained to me the impact these three words have had on her life and how she draws inspiration from them. Some of her melodies have been influenced by the #metoo movement whilst others have come out of her experience with lost love. If you like genuine music, people and experiences then this is the episode for you. Enjoy the show! Connect with Kelly Green Here: https://www.kellygreenpiano.com/ Bio Kelly Green - pianist, vocalist, composer, bandleader, educator - from Longwood, FL New York-based pianist, vocalist, composer, bandleader, and educator Kelly Green was born and raised in a musical family in Central Florida. She began singing as a toddler, studying piano at age five and found her passion for jazz at age eleven. She received her Bachelors in Jazz Studies - performance at the University of North Florida where she studied piano and voice. She received the outstanding musician's award every year at UNF. While in Jacksonville she performed weekly with her trio at many different venues and private events. In May 2011, she won the Generation Next Youth Talent Competition at the Jacksonville Jazz Festival. In September 2014 she received her Masters in Jazz Piano Performance from William Paterson University where she studied with pianists Harold Mabern, James Weidman, and Mulgrew Miller among many other note-worthy faculty members. She was the pianist in the WP Jazz Orchestra in which performed alongside NEA Jazz Master Jimmy Heath and legendary vibraphonist Steve Nelson. Kelly received the Outstanding Graduate Music Student Award for her class. In June 2014 Kelly was chosen as the pianist in the William Paterson Colombia Band, which toured three cities in Colombia, South America where she taught at two week-long clinics and performed at three large concert halls. Since moving up north, Kelly has performed at many notable clubs and venues in the area such as Blue Note, Dizzy's Club Coca-Cola, Apollo Theater, Minton's, Smalls Jazz Club, Mezzrow, Jazz at Lincoln Center, The Jazz Standard, Ginny's Supper Club, Gin Fizz, The Django, Zinc Bar, Fat Cat, B.B. Kings, Rockwood Music Hall, the 9th Note, Deerhead Inn, Trumpets Jazz Club, and Shanghai Jazz among many others. She performs most often with her trio, then her sextet. The Kelly Green Trio hosts weekly jam sessions at Cleopatra's Needle every Sunday. Kelly has performed in bands alongside established jazz musicians such as Christian McBride, Dee Dee Bridgewater, Jimmy Heath, Steve Nelson, Nat Reeves, Steve Williams, Bill Goodwin, Rich Perry, Winard Harper, Philip Harper, Steve Wilson, Stacy Dillard, Jonathan Barber, Josh Evans, Bruce Williams, Frank Lacy, James Zollar and Jovan Alexandre among others. In December 2016 she recorded her debut album "Life Rearranged” featuring wonderful musicians Christian McBride, Steve Nelson, Josh Evans, Kush Abadey, Jovan Alexandre, Matt Dwonszyk, Noam Israeli, Tamir Shmerling, and Mike Troy. Since it's release in October 2017, “Life Rearranged” has received notable reviews and radio play. It is featured as one of the Top 50 albums of 2017 in the LA Times by Scott Yanow. Yanow describes Green's piano playing as, “sophisticated and modern while also being connected to the tradition,” and “her vocals are subtle, quietly expressive and full of insight.” For more reviews information please visit www.kellygreenpiano.com! In addition to being an outstanding performer, Kelly is passionate about education. She has been giving lessons and teaching classes and workshops since high school. She has taught at the Jazz House Kids Summer Workshop and the William Paterson Summer Jazz Workshop for the past four years and is currently a Teaching Artist for Jazz House Kids year round. Support this podcast

John Birks “Dizzy” Gillespie (/ɡɨˈlɛspi/; October 21, 1917 – January 6, 1993) was an American jazz trumpeter, bandleader, composer and occasional singer.[1] AllMusic’s Scott Yanow wrote, “Dizzy Gillespie’s contributions to jazz were huge. One of the greatest jazz trumpeters of all time (some would say the best), Gillespie was such a complex player that his […]

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

Today I'll be chatting with jazz critic and writer Scott Yanow about his new book "Jazz Singers" http://www.scottyanow.com/

Today I'll be chatting with jazz critic and writer Scott Yanow about his new book "Jazz Singers" http://www.scottyanow.com/

Bud shares his knowledge and expansive music collection to uncover the life and music of Stan Getz. Stan Getz (born Stanley Gayetski; February 2, 1927 – June 6, 1991) was an American jazz saxophonist. Playing primarily the tenor saxophone, Getz was known as "The Sound" because of his warm, lyrical tone, his prime influence being the wispy, mellow timbre of his idol, Lester Young. Coming to prominence in the late 1940s with Woody Herman's big band, Getz is described by critic Scott Yanow as "one of the all-time great tenor saxophonists". Getz performed in bebop and cool jazz groups. Influenced by João Gilberto and Antônio Carlos Jobim, he popularized bossa nova in America with the hit single "The Girl from Ipanema" (1964).