Saturday, 21 May 2011

Willie Nelson & Wynton Marsalis - Here We Go Again

How to fill the seats at the Lincoln Center? Well, you Wynton Marsalis and his group connect once more with the icon eternal Willie Nelson (their collaboration in 2008 was widely acclaimed blues), add pop singer Norah Jones as a guest singer and gather all of the program by the catalogue of another Mining Legend: the end of Ray Charles.

Marsalis and company did exactly hit the viewfinder each time on this recording of the event. And what is more apparent, unfortunately, is that the vocal shortcomings of Nelson grow more evident every year. Some will say that his altered voice has gained in character that he has lost in the resistance and the beach, but my ears tell me otherwise. Nelson retains his recklessness and his rhythmic sense infallible, but his restitution feeble of I Love you so have difficulty is probably the lowest track here. And his partially a cappella Duet with Jones in time cryin' ' is in disrepair, not in a good way.

The blues and R & B numbers as Hallelujah I Just Love Her So, dusty My Heart and hand searches of Nelson to lose in and provides some welcome swagger; but it is also significant that the anonymous soul singer is called to provide the muscular support on shouters such as Busted and Hit the Road Jack. And while Jones is impeccable, as always and manages the jazz (Come Rain or Come Shine, Makin ' Whoopie) and country (here We Go Again) with style and panache, blues and soul are not really its strength, and she sits most of the R & B numbers in the program. His contribution on the ridiculous final had I Say is discrete to a fault, and it only reinforces the overall absence of the kind of vocal gross provided by Charles (and the Raelettes) on the original versions.

On the plu side, the Marsalis band offsets very adequately occasional dull song, navigate through the various corners and crannies of eclectic songbook of Charles with just the right mix of jazz and pop smarts. Some of these old generally were no doubt played half to death, but the band manages to breathe life to almost all the with arrangements ingenious and spirited play. Marsalis himself has never sounded better, and the Nelson Mickey Raphael long-time harmonica player also provides that a few accompanying perfectly integrated and fine solo work, where the listener might think, that he was a regular group. Thanks in large part to the instrumental work, there is an amount satisfactory to the value of entertainment on this release - even if major revelations are not coming.

Chris Barber - memories of my trip.

For more than 60 years, Chris Barber was one of the giants of the British jazz scene. Without compromising its high music or the accuracy of his trombone playing standards, it has displayed the ability to adapt to the seismic changes in jazz music, winning admiration well beyond these shores. His group has adopted traditional jazz, blues, R & B, skiffle, and gospel, and they are all represented here on this glorious two-CD set.

The title song tells us much about the spirit of this man and his music. It was written by the singer of blues American Brownie McGhee, whose Barber put more America to Europe, at its own expense so that his group can learn more about interpreting the blues musicians rooted in tradition. Upon his return, McGhee wrote this loving song listing the places where they have played, and people they met, so that the United Kingdom and in Europe. As Barber recalled in the book, some names are a problem for writers to Smithsonian Folkways: "they tried to write exactly what he would have sung…." Ottilie (Paterson) was transformed into blues singer, r. b. Patterson! ?

Several tracks here are very rare, compilers often avoiding commercial recordings from the Barber of more distinctive performances. Muddy Waters sings that the Leiber, Stoller Kansas City recorded at the Festival de Jazz de Capital of 1979; and Trummy Young, a legendary trombonist of the Orchestra of Earl Hines of 33-37, leads to the coast of the Georgia on My Mind, recorded during a German tour in 1978. More local singer resident of band Ottilie Patterson performing St. Louis Blues as if it were a wake, adding rough, the atmosphere of recording and Lonnie Donegan, of his choice with My Diggine potatoes. Ottilie is mesmeric again on Lonesome Road, at a session of BBC Jazz Club in 1962.

Other treasures include Joe Darensbourg clarinet for the ballad sweet Rose Room, innovative guitar playing of Rory Gallagher on can't be satisfied, anthem of Jeff Healey Satchmo in Goin 'Up the River, and refreshing Ken Colyer composition Goin' Home with Van Morrison in the song. It is one of the few artists relatively more contemporary, including Andy Fairweather-Low, Eric Clapton, Paul Jones and a supremely relaxed, Mark Knopfler, in a duo with Barber. Each poster fine versatility and easily transmitted their pleasure in playing with this legendary figure.

Brad Mehldau - live in Marciac

As a jazz pianist Brad Mehldau has always been at his best in two formats: as a solo player and classical piano-bass-drums trio. Later in 2011, Nonesuch reissue plans its grand Art of the Trio recordings as a six disc box. During this time, the Live in Marciac, Brad Mehldau is heard playing alone before an enthusiastic audience at the 2006 August festival of Jazz in Marciac - his first solo album since the 2004 Tokyo Live.

Live in Marciac consists of two CDs and a DVD, in total more than 100 minutes of music. Remarkably, the length of virtuosity and excitement levels dip never. After repeated auditions, music seems to be as fresh as ever. Typically for Brad Mehldau, the directory is a mixture of original compositions and an eclectic selection of songs.

Alongside standards by Cole Porter and Rodgers and Hammerstein are songs by Brad Mehldau favorite Radiohead, Nick Drake and the Beatles. More astonishing is the inclusion of lilac wine James Shelton - popularized by Jeff Buckley - and Lithium of Nirvana. Although classically trained, Brad Mehldau clearly listens widely and is a pie for a catchy melody.

Despite this diversity, the album is a general feeling of unity. Without excessive length, Brad Mehldau explores each legally, maliciously room playing a melody, and sometimes investigate side aisles. As is his habit, he revisits the pieces, which he has explored before; for example, it is the third version of the music of Radiohead (for a Film) output. Brad Mehldau is constantly playing, never again, with both hands around the whole keyboard. His music is so rich that it is sometimes possible to believe that two players are at work.

The DVD is the first ever of Brad Mehldau in concert. He is seen performing all but keeps track of the album. Be able to watch hands of Brad Mehldau, fingers, facial expressions, concentration, effort and sweat improves the listening experience, providing a same intimacy denied to members of the audience. The DVD also offers the opportunity to see a transcript of resignation scrolling while Brad Mehldau plays, which makes the cherry on top of an already excellent album.

Julian Siegel Quartet - urban theme park

Reedsman British promotes its reputation for mixing tradition with experimentation. Martin Longley 2011-04-18

In the last ten years reedsman, Julian Siegel was able to strike a balance between its output between the electrified supporters combo and his own acoustic quartet. He did this in terms of artistic quality, frequency, and a general accumulation of reputation on tour. Working out of London, Siegel himself has established as one of the main actors on the UK jazz scene, hung on the edge between tradition and experimentation.

Control a large part of the saxophone and clarinet family, Siegel carries the assurance that his works will always have a captivating tonal spread. The most recent line-up of this drop-down list box features pianist Liam Noble, Oli Hayhurst bassman and Gene Calderazzo drummer. There are several years of cross-pollination in play here, with relationships which have forged a unique musical link.

The onslaught of the opening of Six four is a bold statement, tensed and directly targeted. Siegel trims away all potential flourishes and excavations in a tenor saxophone this, riff-contorted, run, primarily mainline post-bop with traces of a backdrop of funk. There is barely a break for inhalation before one for J.T. takes off its positively exuberant speckled themes. Calderazzo offers sharp accents on the cymbals and Noble jabs ostensibly. Siegel playing is between abstraction which flows and tangential investigation of his own themes. In other words, there is less than a division usually between solo and sections of heads.

We are already exhausted, and is therefore the band. so heart song marks a pause for reflection of the ballad, with a precise luminously pairing between the clarinet and piano. Hayhurst cannot complain about the absence of low focus on opportunities, he gets to solo highlighted during the keys to the city and the card game. This last piece is a mini-suite that reaches a rocket ride as it reached its peak in about 13 minutes.

There is not one but two odd tracks out, both featuring the Noble acoustic on his piano, armed with a nest of modulation of effects pedals. The sounds of the chute during the buoy rescue, but Siegel rest lyrical along its spine central, creation of cards supported the tonal spray. Melody named Interlude is actually seven minutes long, opening with a statement of gutturale bass clarinet, and then become a caper breezy. The second odd - is the Drone Job closure, revealing a completely alternative direction that this disk has been consisting of impressions after the mode of Weather Report or early 1970s, Miles Davis. Perhaps this is a harbinger of diverting next stylistics Siegel.

Courtney Pine - Europa

Insured acoustic jazz, lush ballads to tumultuous post-bop, an All-Star Game Group. Daniel Spicer 2011-03-04

Since Courtney Pine burst into the public consciousness in its infancy, the journey to the inner urge, in 1986, he lived a number of overlapping personae: neo-con hard-bop, lion young to the broadcaster's respected and EPC. For a British jazz musician, he has had unparalleled success and a high profile along the "national treasure" status.

In the 1990s, albums, as the stories of Jazz modern day diversion much energy trying to tap into contemporary urban sounds of hip hop and jungle, with various success. Thus, purists will welcome return of this jazz album. Apart from a few (thankfully brief) dated Drum bursts of ' low rhythmic, this is ensured acoustic jazz, ranging from lush to tumultuous post-bop ballads, played by a band All - Star Game, including drummer Mark Mondesir, pianist Zoe Rahman and the rise of the clarinetist Shabaka Hutchins. However, there is an element of innovation, it comes from the first recordings of pine which agrees completely saxophone and plays only the bass clarinet: extracting its stamps Woody, rich, exaggerated harmonic investigations and spinning frequently in longsolo tumbling which need more John Coltrane diamond-hard intensity than engineering through proselytiser of the bass clarinet, Eric Dolphy.

There is an element of exoticism on his choice of Horn for compositions of the album, which much confused affects Middle Eastern music and Celtic reels with klezmer and jazz, creating a hybrid of trotters who recalls experiences of Lloyd Miller ethno-jazz. All this is done in the service of the overall concept of the album - an attempt to examine Africa the influence on the origins and development of the continent of Europe. And that is to say, this is fail main project, with sleeves long but notes sloppy struggling to hold the whole a confusing history of ancient Egyptian priests, conquerors Moors and Pygmies Viking. Of course, we cannot forget the mistakes of spelling and grammar of the sixth-form but then pine States flatly Dream Report that Darwin is "a bid to prove that the concept of Darwin on evolution was premature and incorrect" - without qualification or explanation - one cannot help raising an eyebrow. Enough with the conferences already, Courtney.

Nailah Porter - ConJazzNess

The Hollywood-style handing that accompanied the first album of vocalist Nailah Porter is that, to focus on his music, that she walked away a brilliant career to fight the injustices as a lawyer and a lobbyist in Washington DC. Perhaps that explains the advice it provides, in the way of hands, stop worrying about the troubles in the world, "put in the hands of God and pray for peace." Maybe she had to have enough to try to make a difference.

In fact, this slightly fuzzy yet sincere spiritual desire permeates the whole of this first album. The title itself (pronounced "conscience") indicates an attempt to borrow some of the emotional sincerity of jazz and soul in the service of smooth ditties to wear. Obviously, it takes itself seriously - enough even if hazy lyrics (abstracts addressing, "negativity" and "spirit") are not deep enough that she would like. In the same way, the music here is superficially insured, but of a certain way lack substance or originality. Breathing is eyebrow folk-jazz Groove with acoustic guitar and flute, akin to (but far as movement as) what color is love of Terry Callier. While the birds & Lillies appears to be achieved for a basic Blues wisdom in the vein of Nina Simone but musters really only a travesty of pop ersatz. On the other hand, arrangements of pianist Deron Johnson arrives for a deep jazz atmosphere, but talented musicians are obviously very tightly reined. The truly research, yet all the soprano saxophone, too brief solo on the functions he talks much like a solo guitar - or indeed a rap - would be in any pop harmony: a time instrumental token fill a gap between the verses.

That is not to say wear can sing. Obviously, she listened and absorbed the techniques of contemporary singers like Cassandra Wilson and Norah Jones, and like the latter, undemanding pop-jazz brand is certainly intended to be the soundtrack of countless coffee dates for the years to come. It could even go far as to suggest that his voice is impeccable - so as to Billie Holiday never could manage. However, it is holiday, step of Porter, whose work will always be cherished 100 years.

Darius Jones & Matthew Shipp - Cosmic Lieder

The duo piano-sax visu Alchemy capital gains on this fine cooperation. Kevin son-in-law 2011-04-11

Of many saxophone-piano duos inevitably invite comparison with the singer-piano collaborations if the keyboard is used as a harmonic bed for reeds or voice. The piano underpins the melodic line of the Horn with strings and sometimes broke out with a solo. The Horn rarely plays a role of "compilation" support. Of course there are exceptions to the rule, and more recently a few duets adventurous by Jason Yarde and Andrew McCormack and Rudresh Mahanthappa, Vijay Iyer showed how successful a subversion of the usual model may well be.

This captivating union of pianist Matthew Shipp and alto saxophonist Darius Jones is an important addition to the foregoing and fascinates for its emotional and conceptual richness. Fifty years Shipp, a vital presence on the stage in New York for 30 years, who had long associations with saxophonist David Ware and bassist William Parker, is a visibly potent player. He often encourages chords resembling boulder, bassy sometimes contain so many notes that they become large, real sound Himalayas. These contrast dense low assaults of range effectively with the talented 32 years Jones fortissimos piercing, a player impresses women little ironically named, a band probe loaded noise thrash jazz. Therefore several pieces on this 13-track program to engage to their wide dynamic range, with keyboard disintegrated in territory of baritone, while the Horn explodes in the soprano.

But there is much more to this type of tonal bi-polarite collaboration. A gripping and majestic composition as Nix Utoan opens with stark Pharoah Sanders-like harmonic which then transparently wheel in a short bumpy ride, stab lines Shipp and Jones; and it is the tension paving between the different expressions of three or four notes, falling on and off one implied beat bites the ear. These rhythmic clashes marked the jazz for decades, but the impact is compounded by their clarity in this bare parameter, drummer-less and the bold lines of each man percussion. They have two locks in a set of convergence and divergence that succeeds for their energetic individuality and Alchemy not forced.

Kurt Elling - the door

The gate sees won a Grammy U.S. singer Kurt Elling in collaboration with rock producer Don was and showing respect for Earth, Wind & Fire, and Joe Jackson, as there already for the poetry of Rumi and Rilke.

As you can expect from Kurt Elling, the door is an impeccably stylish album which coaxes jazz from unusual sources. Prog rock group King Crimson Matte Kudasai is a beautiful opener featuring the bass lines simple by John Patitucci against the soaring vocals and poignant of Elling.

More engineering were dedicated to the song with Beatles Norwegian Wood, with its instrumental sections and vocal, tricky rhythms and time, and deformed exciting his solo of the song John McLean Elling fellow guitar. All this messing with the original may seem unnecessary, but it is for black humor it brings.

As a beat poet, Kurt half speaks, half sings through Nighttown, Lady Bright and he defines his own haunting ballad words Miles Davis blue to green, showing his immense vocal range and rich baritone. It affects notes incredibly high without effort and crafts each sound with such care that it is difficult to say if it is from his vocal cords or a bass or piano.

The door captures Kurt gospel sing, soul and jazz, and it takes even its first step towards the beat-boxing on Samurai Cowboy. Elling rework a solo by bassist Marc Johnson, accumulated layers of percussive vocals while Bob Mintzer accompanies him to the next room tenor saxophone.

They come from different backgrounds, but each of the songs from The Gate describes a unique experience or mood and Elling makes all the fizz with emotion. If life is just, it is certain to be another Grammy winner.

Corea, Clarke & White - Forever

When pianist Chick Corea, bassist Stanley Clarke and drummer Lenny White joined forces with guitarist Al Di Meola for a concert of the meeting of their behemoth merger of the mid-1970s Return to Forever a few years agothe results were rather progressive belief. All planned chops were there, but the vanguard has been largely absent. Cynics might cock a snook at this company which showcases the triumvirate of the Group - Corea, Clarke and white - but it would be unfair that fusionphobes rush to judgment.

To begin with, it is a two CD set which shows that, for all of their desire to wade through the choppy waters of jazz-rock electric, Corea et al. have been very well anchored in hard-swinging acoustic bebop, which is highlighted by live recorded titles on sites such as Yoshi in California. As expected, musicians with 50 - something years of experience of game flex their muscles quite happily on standards such as Bill Evans Waltz for Debby and Hackensack the monk, where isolation, interaction, and the instant moment in the rate of the exchange of ideas are masterful. However, things become perhaps more interesting when the trio twice no mystery of Corea, a registered originally acoustic piece right in the middle of the electric Saturnalia of the RTF. Music is just as powerful, regardless of the absence of a battery of synthesizers and wah wah pedals, mainly because Clarke has a huge tone, robust which lends as much backbone the sound together as would be the case were all guitars and keys involved.

Disk two consolidates the electro-acoustic continuum by increasing the trio with former student the RTF qualified, guitarist Bill Connors as Zappa ex-Frank violinist Jean-Luc Ponty. Improvisations lack any bite, but fair arrangements are too telegraphic sense, featuring a guest after another; the end result is much less engaging than the trio, perhaps because the core of Corea-Clarke-white is therefore coherent. Diva Soul Chaka Khan, who has recorded with the trio back in the 1980s made a welcome to a charming original Corea appearance High Wire - skiing and the evergreen of Gershwin, I love you Porgy.

John Surman - flash point: NDR Jazz Workshop - April ' 69

In 2005, Cuneiform shook jazz enthusiasts by releasing Way Back when, a lost October 1969 session led by heavyweight UK baritone and soprano saxophonist John Surman. This latest discovery is still more exciting, capturing six month performance recorded in a studio of Hamburg television earlier. Flashpoint looks beyond style of electric-Miles from Way Back when to reveal the hard-bop roots of the Surman.

For fans of 60s Brit-jazz, the band is an absolute dream team featuring the most dynamic players of the era: Alan Skidmore and Ronnie Scott on tenor, the late Mike Osborne, on alto saxophone, as well as the Canadian trumpeter Kenny WheelerSouth African bassist Harry Miller and drummer criminally underestimated Alan Jackson. They provide a big band heft that gives themes such as tinted Mayflower of the Surman of Western orchestral luxuriance.

Unsurprisingly, there is a sense of post-Coltrane in a large part of the session--not only in Surman scalding soprano solo, but also in arrangements: Once Upon a time eblouissant waltz and Mayflower modal lope owe much to the influential saxophonist mid-term work. For most of the time, although that - and despite a fairly eccentric of trombonist Malcolm Griffiths parp and whinny solo - Surman et al. avoid radical free-jazz tactics that Coltrane in his last years, and which were popular at the time of this sessiondeux years after his death. That said, the undeniable highlight here is the title song, an original Surman starts with a wall coruscating free-blowing (foreshadowing his more experimental work with the Trio) before settling quickly into a belter hard-bop maniacally up-tempo, providing a framework for contributions furious of Osborne and Skidmore fly day definitely.

The tire is the inclusion of a DVD, which presents the TV show German original from which cuts are taken. NET, clear images, in black and white brings vividly to life date, Surman a 24-year long hair flowing strongly in his solos. It offers a rare chance to attend the intensity of the eyes tight shut of Osborne and verdant mop - top Skidmore is very impressive too. As a snapshot of the 1960s deep jazz, British or otherwise, it is 100% gold.

Matthew Shipp - Art of the improviser

Once dismissed as an imitator of Cecil Taylor because its serrated attack, percussion, pianist Matthew Shipp went to distinguish itself as a true original, incorporating not only the history of jazz piano, but also the hypnotic repetition of minimalism. It is an "idea man", but not simply an intellectual music - music offers challenges fail any evidence of wit and passion.

This double disc of live recordings has a date of trio at The Arts Center of the capital region in Troy, New York and a program of solo piano at the fish red in the city of New York recital. On disc one, Shipp is joined by Whit Dickey on drums and bassist Michael Bisio, given generous solo space on several tracks. The new fact begins with a modal vamp shuddering reminiscent of McCoy Tyner, which develops into a nice display of improvisational virtuosity, synthesizing the harmonic language of Tyner and Taylor, and Herbie Hancock. Rights and pitch-perfect Bisio fleet ends the piece with a solo absolutely jaw dropping.

Circular Temple, the longest piece in the program, begins with some thoughtful AVOIDING of Shipp and some nice low arco Bisio. Finally, Shipp focuses on another hypnotic vamp and accelerates in a prolonged impressive solo which demonstrates the total mastery of his instrument. This piece slides right into a standard here, take Billy Strayhorn on Train a - in the hands of Shipp, a tower of force unleashed, percussion. Once more, pianist did not adopt the practice of the abandonment of the melody after 30 seconds or - instead, he dissects, reviews, and rebuilt the melody to excellent effect.

The six solo piano tracks on the second disk also run in the other without respite, forming a single body of improvisation to Shipp transport patterns and dynamics of a room to another. A fun deconstruction and reconstruction of chestnut lounge-jazz old Fly Me to the Moon is the only non-original, which also provides illustration of magic Shipp improvisation. Unsurprisingly, it's a demanding program that trio and Shipp disk is not adverse to the occasional rhythmic groove, solo music is often closer to classic and modern jazz. Not that this is a bad thing, but be warned: you're not going to hear much blues standard amended or easily assimilable Broadway show tunes here.

Friday, 20 May 2011

Robert Johnson - King of the Delta Blues singers

Robert Johnson is a man wrapped in myth: until in 1973, no photo of him was known to exist; a legend persists that his extraordinary guitar style that looks like two men playing both was obtained when it Exchange technique for his eternal damnation to a crossroads lonely; There is a theory that he was fatally poisoned 27 years via the husband of a lover…

Yet while its production was limited to a small catalogue of records low sales, in the mid-1930s the esteem in the music of Johnson, which is held by a generation of musicians is built on something more than mystical. Eric Clapton, cream, Bob Dylan, Fleetwood Mac, the Rolling Stones and Led Zeppelin are some of the superstars to have covered the material of Johnson. Their common thread was the album, released in 1961 and containing about half of the work of Johnson. Therefore, its type of blues disturbed and disturbing helped rock in the shape of the 1960s, and everyone knows more Robert Johnson, that they think they are.

Listening to this collection of some of its "sides", many fans of the traditional artists he inspired will find their debt to astounding Johnson. This is not populist fare. It is old blues. Almost every first verse line is repeated, the 12 - bar structure is rigid, instrumentation is simply voice-guitar and the sound quality is hardly sparkling. Only the concentration gives the frills of lightning guitar work, your vocal inflection, sudden switches in tempo and humor sly that inspires devotion that Keith Richards is the proud possessor of a copy of the certificate of birth of the artist. This cutting well that two ways. A particular attention to the 32-20 Blues reveals it's a promise very accentuated nasty of family violence. Johnson seems to at least be recognizing its faults in his preoccupation with judgment in haunted songs like me and the devil Blues and Hellhound on My Trail. The refreshing Walkin' ' Blues and Preachine Blues, with guitar virtuoso work, are probably more immediately stopping tracks; but the rest, while only marginally differentiated, possess a hypnotic, dark class.

Although this album is that the reputation of Johnson, it lacks some of the compositions of Vol. II (1970) who became the songs of the signature through interpretations by others, such as love in Vain. One hundred years after the birth of Johnson, however, this is a historical record.

Magnus Öström - Thread of life

Judging by the coverage of the beginnings of the Ostrom solo CD - a drummer of his naked torso moody shot Swedish hooking a cymbal - it seems to fancy himself as a bit of a hard man. Thus, you would expect Thread of life as a muscle Monster. Strange, then, that it is to be something of a pussycat instead.

Ostrom is known for his role in the East for 15 years until the premature death of pianist Esbjorn Svensson in a crash dive in 2008. Here, he avoided trying to reproduce the trio for piano acoustic noise and focuses on an electric jazz airbrush, which owes much to the lush fusion - lite guitarist Pat Metheny (who made an appearance on ballade for E). That said, the music here is the same kind of relationship with jazz-rock electric as is Jazz acoustic piano: he is melodic, good taste and, frankly, a little bland.

For all the distorted solo guitar current, it did not escape that tracks as Longing have a suspicion more than table of coffee in their subject, any weight of death and between are stupefying musical sedative become it. It is a shame, because there some promising times peppered throughout the album. Piano song Break is built around a piano figure as Steve Reich, who, while not exactly a new idea is quite pleasant. Haunted thoughts and endless fall has more punch - and -four minutes is the shortest track of the album by a certain way. Yet, even here, Ostrom seems curiously sobre and rarely manages break a sweat. Final of the album, anthem (For the Past) part II, is 15 minutes of ice post-rock in the style of Sigur Ros, which clearly strives to build a top gravitas, but in fact feels heavy and too concerned with his own importance.

With their accessible melodies and blissful energy, is were unusual in their ability to crossover and appeal to an audience beyond the world of jazz. While some of these auditors will want to check the first statement of the Ostrom post-EST, it is difficult to imagine that this version will have him several new followers.

Kit Downes Trio - tranquil Tiger

Builds on the success of their first album and going on to explore new territories. John Eyles 2011-03-07

With their first album, Golden, Kit Downes Trio made a splash. He received the laudatory comments and was selected for the price of mercury 2010 - not bad for three musicians who formed the trio during his studies at the Royal Academy of music. Now comes the harder part - their second album, very important. Should they tinker a winning formula, or leave it alone?

Tranquil Tiger, all 11 compositions are by Downes, a reasonable decision held the success of his plays on Golden. The trio remains unchanged - Downes on piano, Calum Gourley, double bass and James Maddren battery - but only three of these tracks feature the only trio. The remaining eight, they are joined by guests James Allsopp on tenor saxophone and bass clarinet more Adrien Dennefeld on cello.

The three trio tracks are Golden and are effectively used to punctuate the quintet parts. Their purpose is largely on Downes, who is always ready to take off on a commonly, soaring solo piano. Frizzi Pazzi and Brixen are bright, energetic, compositions with a good sense of melody, designed to help solo flights. Gourley and Maddren provide solid support and are all also prepared their own solo flourishes. In contrast, Fonias is a dark and more deliberate, putting greater emphasis on mood and melody.

There is more experimentation and variety on the trails with Allsopp and Dennefeld. The reeds and cello are not just added to the trio as guest soloists, but they are woven into the fabric of the music to provide original and inventive soundscapes. Thus, on the logger broodingly atmospheric, boreal, the Allsopp bass clarinet plays in the rhythmic section, giving it a disturbing sense of otherness. On tambourine animated, fine features solo piano and bass, saxophone and cello are subtly upon which rests the drone instruments, in the same direction.

With quiet Tiger, Kit Downes Trio built on the success of their first album and to explore new territories. On this showing their future explorations will make fascinating listening.

Weather report - Live In Berlin 1975

Members of the "no more old jazz" lobby may find it difficult to raise a smile without speaking to lend ear to do something like that, but it would be their loss. A set of unpublished concert captures the pioneers of the merger in full tilt and deliciously will open that the debate on what is the line-up of the group led by former Miles Davis, keyboardist Joe Zawinul and saxophonist Wayne Shorter and has seen a string of brilliant young tyros come on and go fifteen years of volcanic activity.

Perhaps more controversial, it could be argued that bassist Alphonso Johnson was perhaps a more effective cog in the futuristic machine that the divinise Jaco Pastorious, the man who would replace him and become one of the key figures on the instrument in the ensuing years. Johnson is simply compelling here, develop robust and articulate tone and its phrasing and immediate with the character of roadhouse blues-rock type that fully suits big and noisy, bombast fueled by testosterone which is such an essential part of the aesthetic WR.

Freezing fire, which opens the game with mucho sturm und drang is an example. It is probably of the band to its more red raw, with Johnson low, battery Chester Thompson and Alex Acuna percussion creating a whirlpool of what is really heady swirl and hyperactive funk staccato. In addition, wild accelerations on the snare provide a captivating plan muddy jungle producers still born of the 1990s, a decade who feels already there throughout his life. But if we speak of past, present and future blend and blur to good effect, then Weather Report were masters of travel time sonic.

What truly makes this extraordinary performance, it is the way in which the colors of keyboard and the reasons for the Horn evoke ancestral atmosphere, nearly the dawn of time in a bar, and then a tone of TI-cam-in-external-space Sci - Fi the next, the essence of which is an absolutely amazing version of Scarlet woman. Other highlights a mysterious traveller robust, groove-heavy and plaintive a Badia/Boogie Woogie Waltz moody. Essential listening for the two faithful and faithless.

Along magnetic - Twistic

Trumpeter Rory Simmons is one of the less well-known members of the loop Collective, but as the leader of the Fringe magnetic, he adopts the role of the author. Several members of this large set are already known such as saxophonists or key actors in other combos. Loop itself must have sprung sideways to and developed in parallel, which is more or less similar f - IRE Collective. Today, the loop is becoming as important and active as F - IRE in his patronage of costs and probe on the stage of London jazz sounds.

Simmons composed and organizes all the pieces in a row-like a little on this second album Fringe magnetic. Its complex manoeuvres operate around a framework of jazz, but with copious elements that spring from the world of modern classical composition. There is not a saxophone in sight, but the clarinet of James Allsopp is capable of an equal amount of potential fodder. The presence of sudden Tori Freestone flute makes the first Horn quite atypical line. Simmons sometimes switches to bugle, and the basic line-up also includes violin, cello and drums. Ivo Neame (Temple of Fame Phronesis) contributed piano on three tracks, and there are has spots guest bassist Jasper Hoiby and clarinettist Robin Fincker.

A summary of the Simmons style would mean the reference to the composer of New York and crossovers while also classical jazz of drummer John Hollenbeck, with the more old-school English partnership of Mike and Kate Westbrook. This comparison of the latter is due to the massive presence of singers on about half of the exhibits hereto. He is a character of musical theatre, but without an applicable account apparently. When Elisabeth Nygaard and Andrew Plummer singing, the music is rooted in the essence of Brecht and Weill, although perhaps, as performed by David Bowie. The two singers Fringe magnetic write their own words. Nygaard is pure, mountain-stream while Plummer a gargle of beer depth.

Drum ' low impact skitterings are surmounted by cool horn statements and parts of the melancholic string. Spasticity is paramount. Brilliant precision is abundant. Simmons takes a few solos impressive itself. Another musical precursor could be Dutch ICP Orchestra. Agitated, convoluted themes come with engaging textures instrumental - tough and scaly one instant, silken and lush the next. If there is a military parade, there will be setbacks. Perhaps, by the point to halfway, there is a leaning too cumulatively academic, but there is always a sparkling depth to be admired. Terje Evensen alters mood Apochryful, coating with dark electronic atmospheres, and Jamie Cullum guests on the closing song, Duet with Nygaard on the strangely captivating play it once more.

Nostalgia 77 - sleepwalking society

Nostalgia 77 is the name of Benedic Lamdin, a prolific producer who has produced 11 albums in a variety of forms since 2004. His music encompasses everything from compositions based on the sample of collaborations with actual musicians, live from the caliber of Keith and Julie Tippett, among others. Sleepwalking, the fourth album nostalgia 77, very well fall into this last category, this time placing German singer small Josa centre stage.

Sleepwalking album opener says his case with emphatic rhythm, bluesy vocals, winds and organ roaring while Golden morning delights with its battery snare played softly, wood bass tones and the small hid yet heartfelt vocals. Characteristic Mockingbird lyrical sax falling like shimmering sunlight on a melancholy ode to solitude which disappears slowly in silence.

Strings introduce Cherry and then stops to reveal pinch of acoustic guitar and the lament of clear tones of the small pick up the melody and lead the song to its end. The tonal color of the whole album is a sepia cyan madtom: encompassing a reflective range of jazz and folk-inflected blues which explores the uncertainty of life and relations meal failed. Sleepwalking society ends with Hush, a Threne almost nine minutes ringing with nostalgia on a final following a stately pace.

Throughout the album, the production of the Lamdin offers a sense of clarity and minus confidence. Noise connects distantly to 4hero of work later in his exploration of found acoustic song-form development of a bottom of programmed beats. Married to it is clear emphasis on percussion and its priority in the mixture. Although actually released Tru Thoughts Records, society of sleepwalking may also have found a comfortable home on Compost Records the Germany alongside Clara Hill, Koop and Micatone.

Joe Lovano us five - bird songs

For 20 years, he has recorded for Blue Note, but it is important that records of that saxophonist Joe Lovano are now jointly credited to we five. Before setting up this exciting young band, Lovano was on a comfortable artistic plateau. The two-drum band, low and piano has received acclaimed and helped revitalize her music.

Their second album, songs of birds, explores the music of Charlie Parker, but it is a tribute album. Instead of recreating arrangements of his compositions Parker, parts are redesigned and interpreted in a fresh, imaginative way. The idea for the album started when the band introduced a special arrangement of composition of Parker Barbados with a sensation of Caribbean, Otis Brown III and Francisco Mela twin drummers, creating a more infectious than on the original rhythm.

Lovano repeatedly draws creative talents of its youth group. Not every piece involves all five musicians; many deploy Lovano plus two other. Thus, Ko Ko becomes a piece of free improvisation for saxophone more drum players, with Lovano break familiar melodic fragments theme on which he improvised while drummers will separate.

Collage of blues combines three of Parker blues compositions, played simultaneously by bass, alto saxophone and piano; Carvine the bird is played by Lovano, bird feathers by bassist Esperanza Spalding and Bloomdido by pianist James Weldman. The juxtaposition is also effective he is bold, Lovano has described as "a small fugue in the three of us."

Lovano plays his trademark eight tracks on tenor saxophone, more alto saxophone, soprano saxophone and its unique double-soprano horn, the aulochrome, a track each. It avoids to imitate the style of game by Parker, preferring to play his own path. Donna Lee and Moose Monica is played more slowly than the original versions, allowing the Lovano to radically change the way he plays the.

Real tests of an album of compositions of this type are, on the one hand, that it produces original, exciting music and, secondly, that he made a return to the original version to listen to their new. On the two counts, bird songs succeeds admirably.

Jazz and Blues Florida: where is will you be this week for the good music?

Where we'll be this week (WWWBTW)?
(These are just a few highlights of the upcoming week and a summary of the new things posted on our site;) (Please click on the menu lists Music tab to see our complete list).
Sunday, May 15:
Unitarian Universalist Congregation, Miami: Stacey Berkley, Ed Calle, Chuck Bergeron, Tim Devine, Mike Harvey.The Earl hideaway, Sebastian: Albert castigliabig easy, Hollywood: Bob Piano (1-5 pm Brunch)Blue Jean Blues, Fort Lauderdale: Barb Van & Mike Orta Jazz Jam (4-8 pm) Ms. Murphy Pub & Grubb, Fort Lauderdale: Danny Burger Jazz Band &Amp; special guests (6-10 pm) Abdo New River Room Broward Center for Performing ArtsFort Lauderdale : a swingin' ' evening of entertainment with Mark Fernicola perform with theft last off Big Band, featuring Terri Gonzalez and a myriad of talented artists.??????Monday, May 16:
Restaurant Taste, Orlando: Jazz Jam with Tracy Alexander & Joe YoungAce, Bradenton: the Damon Fowler with Lurrie Bell sugar shack (Florida May 2011 artist Edition features online Jazz & Blues) Tuesday, May 17:
Wednesday, may 18:
Port Saint Lucie Botanical Gardens, Port St Lucie: Fort Pierce Jazz & Blues Society Jam.Chief John of the new American Bistro & Bar Blues, Jupiter: Lurrie Bell, Florida May 2011 artist features to online edition of Jazz & Blues) airport Hangar Bar: 3730 SR e. 46, Sanford32771 FL (407) 322-5270 6-10 pm every Wed: Blues Jam night hosted by Willie Wall, Steve Pope, Rick Govreau & Levi Soto with 2 guitar amps, amplifiers, drums, mics, PA provided - Free Food, pool, darts & Wiiblue Jean Blues, Fort Lauderdale: danny burgermusicians showcase with Jesse Jones Jr. QuartetjeudiLe 19 may:
Piano - Bar & Cocktail Lounge, Melbourne Florida keys: John Ryan on Piano.French Quarter Bar and Grill, Pompano Beach: Bobby Nathanof Bourbon Street Jam.South Shores Tavern & Patio Bar, Lake Worth: Sista MarybethBlue Bodega, Vero Beach: JP Soars Solo (artist featured Jazz & Blues Florida May 2011 Winning Spin) Calder Casino & race coursJardins Miami : OrienteFriday, may 20:
Saturday, May 21:
Sunday, May 22:
Monday, May 23:
Tuesday, May 24:
New BLOG postings:
Dillard School of Fort Lauderdale of the Arts Jazz Band won the national competitionNational Jukebox - historical treasures on your desktopNot plea just another "VOTE FOR this". It works.Swinging night entertainment finishes the season run on noteBLUES high power Top 30 May 2011 * new registrations of the week:
Airport Hangar Bar: 3730 SR e. 46, Sanford, FL 32771 (407) 322-5270 6-10 pm, every Wed: night Blues Jam hosted by Willie Wall, Steve Pope, Rick Govreau & Levi Soto with 2 Amps of guitar, amplifier, battery, mics, PA provided - Free Food, pool, darts & WiiCoppertop kitchen: 1712 Beach Blvd., Jacksonville Beach, FL 32250 coppertopkitchen.com (904) 249-4776 May 21: Toots Lorraine & The TrafficSail Inn: 6107 Broad Street, Brooksville FL 34601 (352) 796-1877 mysailinn.com 3-7 pm, Sundays: jam Blues Open hosted by Blues & CompanyFlorida keys of Piano Bar & Cocktail Lounge: 901 E New Haven Ave, Melbourne FL 32901 (321) 674-9841 each game: John Ryan at the Piano; Every Fri & Sat: John Ryan & Restaurant PlayersTaste key: 717 W Smith Street, Orlando, FL 32804-5225 tastecp.com (407) 835-0646 9 am - 1 pm, each LUN: Jazz Jam with Tracy Alexander & Joe Young * new music of Florida: time will Tell, Larry Coryell & Kenny Drew jr DanielssonDualite Per be..
* Video Showcase: A year ago this week, live at The Orange Door: 2 Blues@The Orange door 5-22-10 people Get Ready.
* New pictures of the Club: Jazz Blues Florida road trips to Northside Tavern in Atlanta - Mudcat!, Bobby Nathan band to head John.
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BGI OJ: Miri may be haven jazz

Posted on May 16, 2011 Monday

MIRI: With its mix of cosmopolitan and multiracial society, Miri should be able to become a center of jazz music in this region.

Take advantage of the show: Abang Johari Gets a tag of wrist upon arrival at the festival.

Expressing optimism, Minister of tourism and heritage Datuk Amar Abang Johari Tun Openg said that he was inspired by the good response of performers and fans of jazz music to Borneo Jazz 2011 which concluded Sunday night.

"We have two international music festivals in the State, namely Kuching tropical music and Festival de Jazz de Borneo here in Miri." Rainforest Music Festival has become the icon of the traditional ethnic and folk music and songs internationally, "says.

Abang Johari, accompanied by his wife Datin Jumaani and the permanent Secretary for the Ministry of Social and urban development Datu Ik Pahon Joyik, among the public at the festival was held at ParkCity Everly Hotel here.

Abang Johari noted that the festival has attracted a growing after each year and more participation by places outside Asia such as America, the Canada and in Europe.

"Share which, Miri is also located near Brunei which is where we could draw international visitors and tourists, including expatriate communities coming as tourists to Miri", he added.

The presence of Miri born Victor Yong and The Electric Carnival Band also boosted his confidence.

Born in Miri and now living in the Canada, Victor marked his musical return Miri with Borneo Jazz with his Latin inspired Carnival group.

Well that grow with rock and roll, jazz Victor love he finally moved in a career as an international guitarist.

Victor is an incessant Explorer, discover new styles, techniques and directions that he combines with a foundation of Latin Jazz-rock fusion.

Victor debut compact disc reveals his experience collective of more than 25 years of writing and performing in rock and jazz genres.

The album, and concert band, proposed among the big names in the scene Canadian jazz, delicate exercise mix of composition and improvisation, always with attention to detail.

"We in collaboration with the Sarawak Tourism Board will evaluate and think about ways to prepare the future direction of the festival." This festival would be the Foundation to develop Miri as a center of jazz in this region, he added, saying that the music has evolved to become a large industry internationally.

Among the measures to be taken to develop the local jazz scene, he suggested holding small concerts and workshops for musicians and artists are.

"We must rope international experts of jazz music, including the musical instrument to create the awareness and interest among young people in music.".

"With this us be able to create and performers at the international level", he added.

He said that Miri should be proud as Zee Avi has created a storm in the international arena of jazz music.

The girl Miri positions currently herself as a singer and composer of jazz music in New York, America.

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Millikin Jazz Bash draws large crowd in Lock Stock & Barrel

DECATUR - like music, improvised Jazz Bash.

Featuring orchestras of jazz of the Millikin University, combos of jazz and vocal groups, Jazz Bash was scheduled for the second consecutive year as a great event in the open air in the lot behind Lock Stock & barrel, but a cool and rainy day conspired to take inside for the second time.

The event has made a smooth transition, and Lock, Stock & barrel was filled with crowds of fans of jazz forward an afternoon of entertainment.

Millikin Professor Perry Rask said that the event was a last struggle for the end of the semester.

"We have so good groups, but the performance to the blow by blow," said Rask. "We threw (the idea of a Jazz Bash) around for many more years that we have, and we have all wheels except for the problem of the weather."

New this year was an appearance by former Jazz Band, a group of graduates of Millikin who, in some cases, crossed the country to perform.

"People come from as far away as Texas on their own nut," said Rask. "The guys in the band really love the opportunity to come back with the people they know."

It is a good arrangement for Lock Stock & barrel, whose Director General, said Jake Supp. fills up every Saturday from October to may for jazz evenings.

"Millikin years has established a partnership with lock Stock to have jazz bands on Saturday afternoon," said Jake Supp, Director General of Lock Stock & barrel. "Each Saturday, we pack the House.". We hoped packaging and from the outside, but the weather did a not cooperate. ?

Millikin junior Andrew Evangelista, Jazz Bash this year, it was a reversal. Last year, he was a performer, vocal Co-Director of this year in one of the groups of the University, Blu Bop. Being behind the scenes of a group of 17 people has been a learning experience, he said.

"The show is a little hectic now because it's raining, but we're really very happy," said Evangelista. "There are many things attitude you choose on when you are not the Director."


DEGE Legg - folk songs of the American 2010 Longhair


This is the real deal. DEGE Legg (aka brother Dege), born Cajun and Louisiana raised.

Santeria frontman Dege Legg here presented as brother Dege, a force horrified guitar of nature whose songs could fill a room with their verve without effort, mostly-acoustic. Ranging from quietly desperate refit full tilt boogie, folk songs of the American Longhair is a testament to the idea that less can, in fact, be much more.

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RADIO/PODCAST: rockwired.com announces a new weekly Online Radio Show entitled "illusions and blue: profiles in Blues and Jazz" summer 2011

(May 11, 2011) With daily online radio show patterns of Radio Rockwired continues to shine a light on music indie all along the United States and abroad and the weekly show coverage of the indigenous sounds of contemporary aboriginal musicRockwired.com has been held to be occupied. Now, the online radio station will launch a new series entitled Jazzed and blue weekly online radio: profiles in Blues and Jazz. This new show is scheduled for June/July 2011, Sundays to exclusively to Rockwired.com.

The decision to bring this show to life has not made simply to do another show. The decision was inspired by friendship. "In 2005, when Rockwired.com is a nascent Web site, and I was a weekly broadcast of radio in Anaheim, California, I had all these ideas for the kind of music and the artists that I would like to feature.", explains Brian Lush Rockwired Media LLC "However"some of the first people who reach a Rockwired introduced me to jazz music and as a result, I consider still the first years of Rockwired my studies in jazz. The evolution of the Web sites of the magazine online at the online radio station and the direction that our two shows took, it was difficult to adapt the jazz music in our programming. With Jazzed and blue, we can emphasize once more the vibrant music and I have a chance to work again with dear old friends! ?

Rockwired.com is no stranger to covering jazz music. His wide musical report presented exclusive interviews with Dee Dee Bridgewater, The Bad Plus, Bethany Yarrow, Kellylee Evans, China Forbes of Pink Martini, Earl r. Johnson, Jr., Alyssa Graham, Luba Mason, Luciana Souza, Lisa Hilton, Margo Reymundo, Melody GardotMarilyn ScottKrebs Susan and Simone (daughter of Nina Simone).

"" In a way, jazz music got Rockwired type its beginning and I would love to continue the journey that this music has brought to us on. "said Lush." "" "I think that Jazzed and blue will be an exciting addition to Rockwired.com and we can continue our tradition of diversity in music".

Rockwired Media LLC will continually accept comments for Jazzed and blue. While the show promises to showcase established jazz or blues artists, it will also be a platform for new talent. No talent wishing to be considered for this future exposure can submit MP3 and WAV files and any additional promotional material at jazzedandblue@rockwired.com.

ROCKWIRED MEDIA LLC is the owner and publisher of ROCKWIRED.COM. The New-Mexico-company also produces radio broadcasts online ROCKWIRED profiles and indigenous sounds out of his studio ROCKWIRED SOUND RADIO. The firm was established in California under the name BRIAN lush PRODUCTIONS in 2004 until he had moved his base of operations to the New Mexico in 2009. ROCKWIRED MEDIA is an Indian American owned businesses.

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Thursday, 19 May 2011

Music review: various artists - everyone wants to be a cat: Disney Jazz, Vol. 1

Nothing is worse as a MOM than to buy music for my children that I can't stand to listen to me. Kids do not seem to mind endless mind-numbing repetition, however, so I know if I will choose the music for my children it was better to be something, that I am ready to listen to innumerable times as well.

Everyone wants to be a cat: Disney Jazz, Vol. 1 definitely belongs to this category. In fact, we can all appreciate the great music that accompanied the top of our children Disney movies. Many of these fabulous songs were chosen by various renowned jazz musicians such as Joshua Redman, Esperanza Spalding and Regina Carter. Each artist chose a song, or a group of songs, from the collection of Disney and produced something that seems new and absolutely delicious. The result is something that children and adults can enjoy together again and again.

I also appreciate the opportunity to provide a great entry point for my children to other music styles as pop and easy listening music they hear normally. I have not heard much jazz grew up so it took me more time to learn how to take advantage. I want my children to have a positive experience with jazz, even at a very young age. We hope so they can build and develop this experience as they grow up.

The highlights of the CD are "Chim-Chim-Cheree of Esperanza Spalding." The original song is pleasant as such, but this jazz version adds even more emotion and joy of life to make it an instant hit. Even more surprising that me are the songs that normally I have no preference in original version but have been transformed into some of my favourite on the CD moments. The Bad Plus performs restitution called "Gaston" that captures the ridiculous nature of the character and humour of its complacency. "You have a friend in me," also, takes a sense of completely different when performed by Joshua Redman.

This CD is soothing and relaxing, making it an excellent solution for bed or as a background for the kid and party music adults alike.

-photo by Eggybird

See original article on African

Ramp was until June Top music festivals

Next month, the summer season begins with a wide choice of festivals with a focus on Europe and North America. Music lovers will enjoy jazz in Washington DC and Montreal, Nashville country and electro to Barcelona, while rock fans will pay in Roskilde in Glastonbury, England Denmark, and Bonnaroo America for a host of the Summit of the acts.

7th DC Jazz Fest
June 1-13.
Washington, DC, USA

With 100 performances in dozens of sites throughout Washington, DC, since Kennedy at Lincoln Theater Center, the former Duke Ellington Jazz Festival presents jazz masters such as Dizzy Gillespie All Stars, Bobby McFerrin, Roy Hargrove and Eddie Palmieri. Events of the signature of Jazz in the ' hoods brings jazz artists to select sites around the DC area and Jazz on the National Mall offers free performances by such artists as jazz harmonicist urban Fr?d?ric YonnetChilean singer Claudia Acu?a and jazz fusion Afrobeat Toby Foyeh artist. Ticket prices vary according to the interpreter.

10th Festival Bonnaroo

Manchester, Tennessee, USA.
9 To 12 June

Four days of the Tennessee Bonnaroo Festival, now in its tenth year, offers nearly 90 000 people at great stage Park, a farm of 700 acres in Manchester, Tennessee. Stars rap Eminem and Lil Wayne and the Canadian rock band Arcade Fire are featured, joined by Buffalo Springfield (with Richie Furay, Stephen Stills, Neil Young, Rick Rosas, Joe Vitale), widespread panic, The Black Keys, Robert Plant & Band of JoyMumford & filsThe Strokes, The Decemberists, My Morning Jacket, Scissor Sisters and dozens of other acts. It is the festival of top Box-Office in North America, and Rolling Stone named as one of the 50 moments that changed the history of rock and roll. Bonnaroo tickets are priced from $249.50 (€171).

40th country Music Festival Fan Fair
9 To 12 June
Nashville, Tennessee, USA.

Taylor Swift, Keith Urban, Lady Antebellum, Brad Paisley, Reba McIntyre, Rascal Flatts and dozens more congratulate the 40th edition of CMA. With more than 40 hours of entertainment with an average of 52 000 participant at each concert, he is regarded as greatest country music festival of the world. The price of tickets vary select shows.

9th Festival of download
10 To 12 June
Park of Leicestershire in England.

The festival will take place at historic Donington Park, the site of the 2009 festival and the last holidays hard-rock Ozzfest and Monsters of Rock. The festival welcomes 110, 000, with organizers saying the festival will be the second most major of the year after the Glastonbury Festival sold-out in the UK. Stars include Def Leppard, Linkin Park, system of a Down, Danzig, and Alice Cooper. A weekend festival pass plus the five nights camping fee is the price of ?190 (€217) or without camping ?155 (€177).

18th Festival S?nar

16-18 June
Barcelona, Spain.

An annual event since 1994, the International Festival of S?nar attracts nearly 80 000 participants for three days and three nights of the events of music and art, with a focus on electronic music and multimedia art. "By day" events - concerts, art shows, fairs, and demos - take place at the Centre of Contemporary Culture of Barcelona and Museum of Contemporary Art. "" "". At night, "the festivities move to Gran V?a M2 Hall." Set perform this year are the underworld, Salem, A-Trak, atmosphere, Hype Williams and more. Tickets are €155.

41st Glastonbury Festival
24-26 June
Pilton, England.

The Glastonbury Festival is one of largest and best-loved music in the world, known for its stars queues and various arts. U2 will be starring the 2011 event, the other top acts include Coldplay and Beyonc?. Fleet Foxes, Friendly Fires, Elbow, CEE Lo Green, Big Boi, Kool & the Gang Muse with many additional hundreds of performers. The 2011 festival tickets are sold.

For an overview of the stage at Glastonbury, watch this short film: http://www.youtube.com/watch?v=btFHwhgjQGM&feature

32nd Festival International de Jazz de Montreal
June 25 to July 4
Montreal, Canada.

The 32nd edition of the largest in the world, "Jazz fest" jazz festival, expected to draw participants from two million sites across the city of Quebec. Pre-Festival concert June 24 stars Robert Plant & the Band of joy, and the legend of flamenco guitar Paco de Lucia opens the main event on June 25. Other acts include Madeleine Peyroux, Sade, Diana Krall, Kenny Garrett, and Time Capsule and many others, including a sweep of jazz goes-and-venus. Tickets prices vary by show.

41st Roskilde Festival

June 30 - July 3
Roskilde, Denmark

Among the major European music festivals, Roskilde attracts more than 80,000 spectators and more than 180 performing bands. Stars for 2011 are Arctic Monkeys, Iron Maiden, Kings of Leon, Mastodon, M.I.A., PJ Harvey and The Strokes. The festival of 2011 will be held from 30 June to 3 July, with campground to open warm-up events that run from 26 June to the beginning of the festival. Tickets are currently on sale. A ticket of €232 includes camping and access to events for the entire week. One day tickets are available for €117.
http://www.Roskilde - Festival www.NIC.UK/terms.html/uk

37th rock Werchter Festival
June 30 - July 3
Werchter, Belgium.

Rock Werchter is one of the biggest European festivals, it attracts more than 110,000 visitors per year (including 80,000 stay for every three days). 2011 top acts include Kings of Leon, Coldplay, Linkin Park, Bruno Mars, Arctic Monkeys, PJ Harvey, Portishead and others. The festival of 2011 will be held from 30 June to 3 July, with campground to open warm-up events that run from 26 June to the beginning of the festival. A four-day festival ticket is priced at €195. One day tickets are available for €76.

So much music, so little time: gathering of the route from Jazz @ Rochester for 2011 XRIJF begins

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So much music, so little time: Picking the Jazz@ Rochester itinerary for XRIJF 2011 begins - Jazz@RochesterJazz@Rochester About Jazz@Rochester

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May 15, 2011So much music, so little time: Picking the Jazz@ Rochester itinerary for XRIJF 2011 begins

XRIJF LogoSince less than a month lays between now and the Tenth Anniversary of the Xerox Rochester International Jazz Festival kicks into gear, I'd better start kicking into gear on this blog's XRIJF coverage as well. As I've done in the past, I'm going to do a series of posts over the next few weeks to set up my "itinerary" for each day of the XRIJF, going into more detail on my picks for each day and why I picked them. The posts make handy-dandy guide for each day of the (for me at least...the XRIJF's guides are pretty good, too). On my picks, I try to do a little digging in the Interwebs to get more of the skinny on the artists (in addition to that prepared for the XRIJF website) so you can decide for yourself whether you'd like to join me (figuratively, that is...) or seek your music elsewhere that night. I don't suffer from illusions that my choices are somehow "better" than yours... just perhaps different? My itinerary is at best rough sketch as I ALWAYS end up changing my mind on the fly after hearing word on the street, being too ambitious in making it from one venue to another, lines, or just deciding that I'd rather spend more time with friends who are hitting a particular artist who wasn't on my "list". ?

Jazz Street imageReading the posts here on the blog is not the only place to find our material about the Festival. You can also find it on Jazz@Rochester on Twitter and Facebook, where you will find additional links and other material (dare I say ?bonus?).?Speaking of Twitter, I've started building a Twitter List of artists who will be appearing at the 2011 XRIJF, so hope you check it out and follow that (please let me know if you know of any of the other artists who will be at XRIJF who are on Twitter). Of course, I can't be sure that they'll tweet or that it's actually them doing the tweeting....?I'll also be posting links about this year's XRIJF artists and retweeting things posted elsewhere about the festival on Twitter.?For those of you who are already on Twitter, I encourage you to get into the conversation about this year's festival by using the hashtag #XRIJF. Let's start a conversation about the festival and generate some buzz beforehand, eh? Those who aren't on Twitter, I hope to have a widget prepared to highlight the "tweets" about XRIJF so you can get a taste. On Facebook, we'll share some of the same links that are going to Twitter, but hope you use it to engage each other in a conversation about the festival, the artists, etc. with each other as well.

See you soon with the first post of "picks" for Day One, June 10th!?I encourage you to engage me on my picks and let me know in the comments what you think and what you've decided to do with that evening's possibilities (be nice, however...).?

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Winners of the 16th Annual essentially Ellington competition 2011

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Posted on May 15th, 2011 in Concerts


Competition Webcast Available Monday, May 16
1st Place:
Dillard Center for the Arts, Fort Lauderdale, FL

?2nd Place:
Roosevelt High School, Seattle, WA

?3rd Place:?
Mountlake Terrace High School, Seattle, WA???Honorable Mention:???New World School of the Arts, Miami, FL??

Honorable Mention:?
New World School of the Arts, Miami, FL

Three high school jazz bands took top honors tonight in Jazz at Lincoln Center’s 16th Annual Essentially Ellington High School Jazz Band Competition & Festival. ?Each band was chosen by a panel of judges composed of distinguished jazz musicians?and historians?- Jazz at Lincoln Center’s Artistic Director WYNTON MARSALIS; composer, conductor, and Ellington authority DAVID BERGER; composer and arranger RICH DEROSA; trombonist, educator, and Jazz at Lincoln Center Orchestra member VINCENT GARDNER, and drummer and big band leader JEFF HAMILTON- from among the 15 finalist bands that came to the Competition & Festival in New York City.? Competition performances of all the bands were streamed live and can be seen at jalc.org/essentiallyellington from Monday, May 16th through Saturday, May 21st.

??Essentially Ellington culminated at tonight’s concert, where the top placing bands performed with Wynton Marsalis as a soloist followed by a performance by the 15-piece Jazz at Lincoln Center Orchestra with Wynton Marsalis (JLCO) -all of whom served as mentors for each of the finalist bands during this weekend’s festival. ?The JLCO’s performance included pieces by Duke Ellington plus music composed by Dizzy Gillespie which will be distributed by Jazz at Lincoln Center for the 2011-12 Essentially Ellington High School Jazz Band Program.

?At the awards ceremony, Wynton Marsalis presented prizes and cash awards to each of the 15 finalist bands.? Christopher Dorsey, Director of the Dillard Center for the Arts Jazz Ensemble, accepted the 1st place trophy and an award of $5,000. ?Scott Brown, Director of Roosevelt Jazz Bandaccepted the 2nd place trophy and an award of $2,500.?Darin Faul, Director of Mountlake Terrace High School Jazz Ensemble I accepted the 3rd place trophy and an award of $1,000.? New World School of the Arts Jazz Ensemble was named honorable mention band and received an award of $750. The remaining 11 finalist bands and winning community ensemble were awarded certificates of merit and cash awards of $500.? All monetary awards go toward improving schools’ jazz programs.? Awards for outstanding soloists and sections were also presented (see listing below).?

Jazz at Lincoln Center’s 16th Annual Essentially Ellington High School Jazz Band Competition & Festival 2011 Awards

Dillard Center for the Arts?

Roosevelt High School?

Mountlake Terrace High School??

New World School of the Arts
American Music Program Pacific Crest Jazz Orchestra


?On Clarinet
Honorable Mention Clarinet:
Matt Choi, Agoura High School
Outstanding Clarinet:
Adam Harris, Hall High School
On Alto Saxophone
Honorable Mention Alto Saxophone:
Kama Bell, American Music Program
Harvey Xia, Wellesley High School
Kristjan Joseph, River East Collegiate
Jorge Roldan, New World School of the Arts
Dara Karbasioon, Agoura High School
Julia Brummel, Sun Prairie High School??

Outstanding Alto Saxophone:
Carlos Brown, East St. Louis High School
David Leon, New World School of the Arts
Ian Mengedoht, Roosevelt High School
Carlie Jansen, Agoura High School
Patrick Bartley, Dillard Center for the Arts??

On Tenor Saxophone
Outstanding Tenor Saxophone:
Aaron Reihs, American Music Program
Xavier Del Castillo, Roosevelt High School
Adrian Noteboom, Roosevelt High School
Rane Roatta, New World School of the Arts
Forest Jackson, Mountlake Terrace High School
Anthony Burrel, Dillard Center for the Arts
Outstanding Doubler – on Tenor and Clarinet
Matt Kampe, Hall High School
Jared Giunta, Valley High School
Outstanding Tripler – on Tenor, Alto, and Clarinet
Brendan Thomas, Foxboro High School
Jack Walters, Mountlake Terrace High School??

On Trumpet
Honorable Mention Trumpet:?Frankie Hanson, Sun Prairie High School
Dan Weinreb, Hall High School
Outstanding Trumpet:?
Colin Didier, St. Charles North High School
Clark Davis, Wellesley High School
Brady Lewis, East St. Louis High School
Nick Conkle, Roosevelt High School
Taylor Call, Mountlake Terrace High School
Skyler Floe, Mountlake Terrace High School
Max Boiko, Dillard Center for the Arts
Noah Conrad, American Music Program
Austin Casey, American Music Program
Benjamin Seacrest, American Music Program
On Trombone
Honorable Mention Trombone:
Reid Isaak, River East Collegiate
Kirby Fellis, Dillard Center for the Arts??

Outstanding Trombone:
Alex Stenzel, Valley High School
Andrew Karboski, Roosevelt High School
Ashton Summers, American Music Program
Ian Garner, American Music Program
Paul Atwood, Temple High School
Thomas Dover, New World School of the Arts
Kendall Irby, Mountlake Terrace High School
Christopher Dorsey II, Dillard Center for the Arts
Brandon Russel, Agoura High School?

?On French Horn
Outstanding French Horn:
Stewart Nadurak, River East Collegiate??

On Piano
Honorable Mention Piano:
Terrion Peete, East St. Louis High School
Sarah Nunes, Hall High School
Ian Williams, Downers Grove High School
Daryl Jones, Dillard Center for the Arts
Ajay Narayanan, Temple High School
Outstanding Piano:
Jon Nelson, Sun Prairie High School
Paul Buser, Wellesley High School
Kenneth Tham, River East Collegiate
Chris McCarthy, Roosevelt High School
Alex Olsen, Foxboro High School?

?On Bass
Honorable Mention Bass:
Cole Ridd, River East Collegiate
Andrada Pteanc, Downers Grove High School
Julia Woods, Downers Grove High School
Connor Schulz, Foxboro High School??

Outstanding Bass:
Russell Hall, Dillard Center for the Arts
On Drums
Outstanding Drums:
Nick Kula, River East Collegiate
On Vibraphone
Outstanding Vibraphone:
Matt Dibiase, Wellesley High School
On Vocals
Honorable Mention Vocalist:
Eric Reiman, Roosevelt High School
Outstanding Vocalist:
Katherine Stuber, Roosevelt High School

?On Guitar
Outstanding Guitar:
Harley Basadre, New World School of the Arts
Kevin Scollins, Foxboro High School
Outstanding Rhythm Guitar:
Armando Zamora, Dillard Center for the Arts
The Ella Fitzgerald Outstanding Soloist Award:
Tony Madruga, New World School of the Arts

Honorable Mention Reeds:
Agoura High School
Outstanding Reeds:
Roosevelt High School
Foxboro High School
Dillard Center for the Arts??

Outstanding Brass:
Hall High School??

Outstanding Trombones:
American Music Program
Wellesley High School
Temple High School
Valley High School
Roosevelt High School
Mountlake Terrace High School??

Outstanding Trumpets:
Sun Prairie High School
American Music Program
Roosevelt High School??
Rhythm Section
Honorable Mention

Rhythm Section:
River East Collegiate
Outstanding Rhythm Section:
Roosevelt High School
Foxboro High School
New World School of the Arts
Dillard Center for the Arts
Mountlake Terrace High School
Roosevelt High School (two complete sections)
In addition, Jazz at Lincoln Center recognized the winner of the tenth Essentially Ellington Writing Contest. The contest invited students from all participating high schools to submit a nonfiction personal essay or fictional short story based on interpretations of the stories jazz musicians tell with their music. ?Jazz at Lincoln Center received over 60 submissions from which Jazz at Lincoln Center staff and Robert G. O’Meally, Ph.D., Founding Director of the Center for Jazz Studies and Zora Neale Hurston Professor for English and Comparative Literature at Columbia University, chose the winners. ?As a member of Foxboro High School’s band, Brendan Thomas was in attendance at the Competition & Festival. ?His outstanding work was recognized at the Final Concert and Awards Ceremony. ?In addition, Thomas’ winning essay, was printed in the Festival playbill and a seat in Rose Theater will be engraved in his honor.
For more information on the annual Essentially Ellington Student Writing Contest and to read the winning essay visit: jalc.org/essentiallyellington
After a three-day Competition & Festival, May 12, 13, & 14, 2011 at Frederick P. Rose Hall, home of Jazz at Lincoln Center, honors were announced during the Final Concert & Awards Ceremony that took place May 14 at Avery Fisher Hall.
How:? ?A photo gallery of the entire Essentially Ellington Competition & Festival and recordings of the competition performances will be available in upcoming weeks on jalc.org/essentiallyellington.


The three-day festival began on Thursday, May 12 when the finalist bands arrived at Frederick P. Rose Hall for a “One-On-One With Wynton Marsalis,” workshops, rehearsals, a banquet dinner, and jam sessions with members of the JLCO.? On Friday, May 13, the winning community ensemble performed at 2:30pm followed by the first of three Competition parts, which were webcast live for the first time in the history of the program. The Competition, where each band’s performance of three Ellington and/or Basie works was judged by a panel of judges, continued on Saturday, May 14 at 10am and 1pm. ?At the May 14th, 7:30pm Concert and Awards Ceremony in Avery Fisher Hall, the three top-placing bands each performed pieces, one with Wynton Marsalis as a guest soloist, followed by a JLCO performance of Duke Ellington and Dizzy Gillespie repertoire.

The concert ended with the culminating awards ceremony honoring outstanding soloists and sections and the three top-placing bands.? In addition to repertoire by Ellington, the 2011-12 Essentially Ellington season is the first time in the history of the program that repertoire composed by Dizzy Gillespie will be included in the program.? Repertoire includes, Duke Ellington’s “Riding On a Blue Note,” “Sepia Panorama,” and from The Queen’s Suite, “Sunset and The Mocking Bird,” and Dizzy Gillespie’s, “Night in Tunisia,” “Oop Bop Sh’Bam,” and “Things To Come.”

Each year, Jazz at Lincoln Center selects and transcribes original transcriptions of Duke Ellington compositions and arrangements by other seminal big band arrangers and composers.? The six selections for 2010-11 included music composed for the Count Basie Orchestra, “Every Day I Have the Blues,” “Swingin’ The Blues,” and “Tippin’ on the Q.T.” and by Duke Ellington, “Harlem Speaks,” “Portrait of Mahalia Jackson” from the New Orleans Suite plus “Prelude to a Kiss” composed by Ellington and arranged by Billy Strayhorn.?
The music along with reference recordings and other resources were distributed to all high school jazz bands that joined the free program.
Throughout April, Jazz at Lincoln Center sent, free of charge, a professional musician to each of the 15 finalist schools and community ensemble winner to lead an intensive workshop of rehearsals, lessons, and master classes.
The free clinics are part of the rich 16-year history of this unique music education program, which has reached more than 300,000 students in more than 3,000 high schools across all 50 U.S. states, Canada, Australia and American schools abroad.? EE has produced and distributed more than 96,000 copies of 92 previously unavailable scores and 222 finalist bands have traveled to New York City to participate in the annual Competition & Festival. ?
‧ This year Jazz at Lincoln Center distributed more than 9,200 newly transcribed scores, reference recordings and additional educational materials.???
‧ 1,536 high schoolsin the United States, Canada, and American schools in Argentina, Australia, Bolivia, Brazil, France, Germany, Japan, Luxembourg, and Switzerland received Essentially Ellington materials.?
‧ 110 bands enteredthe competition by submitting a recorded performance of three compositions.?
‧ The entrieswere evaluated in a blind screening by jazz education experts RONALD CARTER, ANDREW HOMZY, LOREN SCHOENBERG, and TODD WILLIAMS.???
‧ 15 finalists and one community ensemble were selected.?
‧ The Competition was webcast live for the first time.? All sixteen performances can be viewed from Monday, May 16th until Saturday, May 21st at jalc.org/essentiallyellington

The 15 finalists for Essentially Ellington 2011 were:

Agoura High School, Agoura Hills, CA??
William H. Hall High School, West Hartford, CT??
Dillard Center for the Arts, Fort Lauderdale, FL??
New World School of the Arts, Miami, FL??
Valley High School, West Des Moines, IA??
Downers Grove South High School, Downers Grove, IL??
East St. Louis High School, East St. Louis, IL??
St. Charles North High School, St. Charles, IL??
Foxboro High School, Foxboro, MA??
Wellesley High School, Wellesley, MA???River East Collegiate, Winnipeg, MB??
Temple High School, Temple, TX??
Mountlake Terrace High School, Mountlake Terrace, WA??
Roosevelt High School, Seattle, WA??
Sun Prairie High School, Sun Prairie, WI
Winner of Community Band Category:
American Music Program Pacific Crest Jazz Orchestra, Portland, OR

Tags: Essentially Ellington, JALC, JLCO, New York

Back Door Slam - Coming Up For Air 2009


Back Door Slam is the name of the blues rock band started by Davy Beyonce on the Isle of Man in 2003-2004. The group takes its name from a song by Robert Cray with the same name.

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Telefilm: Capitalizing on the commendation: Disney brands "Seal Team 6".

Given that the Navy never publicly acknowledged the existence of the team, it would appear that the name is to win. Enter Disney for profits.

Two days after the SEAL team was down Osama bin Laden to his composed of Abbottabad, Disney saw dollar signs in their eyes. After the filing of a trademark for the name "seal Team 6", they will now benefit the very disputed elite Squadron merchandising awards.

Of course, seal team 6 is shaping up to be the next title coveted to adorn goods of all kinds. For example, cue the figurine: we envision that it is something as G.I. Joe meets Superman meets with Ken (maybe we should mark this idea!). But leave Disney to stomp on our pleasure. With the new brands, they control you rights of pretty many things that one could imagine that the words "seal Team 6" on it. Trade-the company purchased three marks are valid on "toys, games, toys," "clothing, footwear and headwear," and the very large scale "entertainment services, and education.".

Seal team 6 has proven its marketing potential, and Disney, wisely, was the first to jump on the opportunity to make a profit. Maybe the Navy will be stitched in imminent domain? Frankly, as long as we are exempt from the payment of royalties from Disney, each time that mention us "seal Team 6", we let this one slide with nothing more than an eye roll contrec?ur.

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Obituary: Goodbye Uncle Ted

Ted Snr Nash My uncle Ted died on Thursday, may 12. Who was my uncle Ted? Ted Nash (my namesake) was one of the greatest saxophone player appear on the scene during the era of swing band, solo star pillar in the Les Brown band at the end of the 1940s.

He loved playing and learning and in his early years always sought opportunities where the action was, playing serious was happening. After a concert with the "Milkshake band", as the Brown band called affectionately, he would head to the clubs where greats such as Bird, Lester Young, and Lionel Hampton were playing end sets and sit in. During this period, he became quite well known as a soloist, finishing 4th in the tenor saxophone Downbeat critics poll (behind Lester Young).

He was also known for his use of the altissimo register (something rarely addressed at the time). In 1949, he wrote a book entitled high harmonic for the Saxophone, a book which is still available today. In fact, many people think that it is my book (wish I could take credit for it!). Even with his success as a jazz player, he had threw his vest on the Los Angeles studio scene thriving and settled there soon after its passage with the Brown. He had a remarkable career doing TV, films and recordings - he was almost all Henry Mancini soundtrack made since the 1950s in the 8Os. Frank Sinatra in an interview said Ted Nash has been his favorite saxophonist. In fact, Sinatra would hire him to set up a quartet play parties at his house, with guests such as Humphrey Bogart and Judy Garland, who eventually always sitting in the group.

In the 1980s, disappointed by the change in the quality of the stage of commercial music, my uncle retired very young (in his sixties) and appreciated his retirement playing tennis, spend time with his wife and walking on the beach front of his nice house in CarmelEn California.

Five years earlier, in the middle of writing a book, a memory of his trip music, he suffers an attack which seriously reduced its ability to complete the final chapters. I'm flying from New York several times to work with him on the book, now finished. It is an interesting, often humorous a life rich in musical and personal experiences. All we need is a Publisher...

Although his to settle in the studios largely withdrawn from the public scene, I always run in people asking to express how he inspired the. On my recent release, "The Mancini project," I pay tribute to Ted Uncle (and my father Dick Nash) in many respects, but particularly by playing his interpretation of the bridge on Dreamsville using the same increase, expression and phrasing. Of course, I did not seem to be him - which would be impossible - but he felt certain that good try!

I'll write a more in the article in depth on Ted Nash, who will appear here and in all the words of Jazz at the end of the month.

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TECHNOLOGY: How Google Chromebook will feel for music lovers

As it tends to be around this time of year, Google made waves this week with the Conference of developers to its Google of I/o in San Francisco, where he announced not only the innovative WebGL enabled clip we profiled Wednesday, but - what is most important for the future of computing - netbooks Chromebook series, which sit somewhere between the Tablet and laptop and are designed from the ground up for cloud computing.

Perhaps Larry Ellison was not wrong on "thin clients" - just 15 years too early to toggle when the storage of data and processing power would remove the personal computer to the network edge, migration back to big, centralized mainframes like the one pictured above.

Google contemplates schools and businesses snapping up to Chromebooks (at the start of the Acer and Samsung) rates in bulk for deployment through mobile sales forces or populations of students. But as happened with the personal computer, many "normal" people will certainly be buying these devices in the coming years, too, as their data and software continue to migrate to the cloud where they are accessible by multiple personal devices.

After all, if all of your music and apps are stored in line, why you transport around a laptop, with its expensive memory, operating system and other accouterments more adapted for downloading e-mail in 1996 than to listen to Spotify edit a Google Doc and plays of the angry birds web version?

Music fans to make the transition from music iTunes-style collection the cloud - on these Chromebooks recently announced, but also on smartphones, tablets and other devices like computers that are not computers - they are for some big changes :

The main attraction of the music of cloud is its elimination of inflated software client-side such as iTunes, which duplicates all music files in your hard disk, eat up RAM and requires threads to transfer music to the devices. Instead, your computing devices will function more as entry points to download songs, in bookmark on music services such as YouTube, their labelling as Favorites in a music service, by adding them to your personal collection or make playlists of them to find them more easily in a library large subscription.

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PROFILE/INTERVIEW/tribute: B.B. King is the most famous of the modern Bluesmen.

B.B. King Playing the Gibson Guitar, which he affectionately calls: Lucille, King of his trademark leads lyrical and left vibrato influenced many guitarists in rock, Eric Clapton and Mike Bloomfield, David Gilmour of Pink Floyd. A time of fifteen Grammy winner, King received virtually all the music, including the Grammy for his achievement in 1987.

Born Riley b. King on September 16, 1925, in Itta Bena, Mississippi, he chooses to cotton in his youth. In the 1940s, he played in the streets of Indianola before moving on to play professionally in Memphis around 1949. A young musician, he studied recordings of blues and jazz guitarists, including T-Bone Walker, Charlie Christian, and Django Reinhardt.

In the early fifty King was a disc jockey on black Memphis WDIA station, where he has been dubbed the "Beale Street Blues Boy". Finally, Blues Boy was shortened to B.B., and the nickname stuck. The radio show and the performances in Memphis with his friends Johnny Ace and Bobby "blue" Bland built King of the strong local reputation. One of his first recordings, "Three hours Blues" (number one R & B), for the RPM label, was a national success in 1951. During the 1950s, the King was a seller and consistent record concert attraction.

Live from the King at the Regal, 1965 is considered one of the definitive blues albums. The revival of the mid-1960s blues presented his white audience, and in 1966 he regularly appearing on rock concert circuits and receive airplay on progressive rock radio. He continues to have some hits in the classification of the soul ("Pay to be the boss," number ten R & B, 1968) and always maintained a solid black following. Live and was a remarkable album, featuring "why I Sing the Blues" (number 13 R & B, 1969) and only pop Top 20 of the single King, "the thrill is Gone" (number 15 pop, number three R & B, 1970).

In the King of the years seventy has also recorded albums with a longtime friend and one-time driver Bobby Bland: gold for the first time...Live (1974) and together once more...Live (1976). Stevie Wonder produced the King "To Know You is to Love You". In 1982, King recorded a live album with the Crusaders.

Guided tours of the King took him to the Russia (1979), South America (1980) and dozens of prisons. In 1981 there must be a better world somewhere won a Grammy Award; He won another in 1990 for Live at San Quentin. He was inducted into the Blues Foundation Hall of Fame in 1984 and the Rock and Roll Hall of Fame in 1987. In 1990, he received the Songwriters Hall of Fame Lifetime Achievement Award. In May 1991, B.B. King Blues Club opened in Memphis. (Second once open in New York in 2000).

In 1989, he sang and played with U2 on "When Love Comes to Town," their rattle and Hum. The box of four discs published the same year, King of the Blues, begins with King's career-starting single "Miss Martha King," published on the ball in 1949. Blues Summit, in 1993, King was joined by colleagues bluesmen such as John Lee Hooker, Lowell Fulson and Robert Cray.

King said he aspires to be an "Ambassador of the blues", and by the 1990s, it seemed to have reached iconic status only. In 1995, he received the Kennedy Center Honors. The following year saw the publication of his award-winning autobiography, Blues All Around Me (coecrit with David Ritz).

In 2000, the double platinum disc Riding With the King (with Eric Clapton) topped the Billboard Top Blues Albums. King continued to record, perform and win top honors in the first decade of the 2000s. George w. Bush received King the Presidential Medal of freedom in 2006. Two years later, he released one of the most acclaimed albums studio of his career, return to sources One Kind Favor, produced by T Bone Burnett and featuring King doing version lean Classic Clean blues as "See of Blind Lemon Jefferson that my grave is preserved."

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High School of music jazz rock

Julia Dollison sings a song in High School North Platte Tuesday theatre during the Nebraska Choral Director of the Festival of Jazz Vocal Association. The Telegraph North Platte the unique art form jazz American made a visit to North Platte Tuesday high school. Groups of the University of Nebraska-Omaha and Chadron State; three groups of North Platte High School. and Columbus Middle School and high school, took the stage. It is the second day of a two day festival. First day was in high school in Columbus. It is the eighth year of the festival sponsored by Nebraska Choral Directors Association. Fred Ritter began teaching music at North Platte in 1978, but is now Professor of music at Columbus high school. He obtained his master's degree in music education from the University of Nebraska-Lincoln. He said that vocal jazz makes it unique is the space for spontaneous music. Ritter called music on the fly. It is also marked by scat, a process of using neutral sounds and syllables to imitate the instruments with human voice sounds. Unlike other groups of the choir vocal jazz groups are smaller, and each person has a microphone. This means singers do not have to put as much into their songs, but individual votes are not supported as in a large choir. Small groups can also be easier for small schools. "He made everyone is responsible for their part, you can not hide your voice," Ritter said. Music is something that Ritter think is an important part of the education of students. "I like to say that music is math," said Ritter. It is because of the notes and student scales were know to be able to perform. He added that there were lots of music and reading. "Math and beautiful reading is music", said Ritter. Music also powers a soul of added students, he said that it is difficult to put a finger because she was so individual. True American art form Joel Schrueder, Director of vocal jazz Chadron State, called jazz a true form of American art. He said that it was important for students to know the musical roots of the country. He has taught music since the last 20 years and has a Masters degree in music education. Schrueder said the experience of working with high school students is good for college students, that he had brought with him. Most of them he explained are the majors of the teaching of music. "Some of them don't know if this is what they want to do or not," Schueder told the subject being a music education major. Jon Marquez, senior college, is one of his students. Mark wants to be a band director or high school choir. For music mark is emotional. "I feel like music is a vessel for emotions", said Marquez. "Use music as a crutch to get my rear soul." Marquez said students who participated in music have been more fortunate in his opinion. He added more fortunate students are more likely to succeed. While he loves music, his mother had his own concerns when he shared an interest in the trumpet as a fifth grader. "Don't kids who plays the trumpet caught in traps." Mark related to his mother asking. She has been a significant support for him over the years. In addition, mark reports never be stuck in a locker. Marquez said he fears cut backs in schools will mean students won't have access to music. "We would have Bob Dylan music if we had not departments of music," said Marquez. Some of these tips to Kerry Marsh and Julia Dollison students was to keep an open mind to different types of music and listening to music closely. Marsh said impressed by the groups, he saw play in North Platte. "It was wonderful to see what kind of vocal jazz happens in Nebraska," said Marsh. The music was a part of his life, since he began playing the piano, while he was six years old. He obtained a master's degree in jazz studies at the University of North Texas. Now, he travels around with his wife (Dollison) help the musicians to achieve better results. Marsh said jazz is not always easy for the listener to start to appreciate because of its complex variety of tones, notes, and agreements. However, it is rewarding when you understand, and a rich connection to the history of America. Click on this story at nptelegraph.com for your comments, or email chris.hoff@nptelegraph.com

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