Artist Bio Submission Thread
Printed From: JazzMusicArchives.com
Category: Site News, Newbies, Help and Improvements
Forum Name: Report errors & omissions here
Forum Description: Seen a mistake in a band bio etc then please tell us
URL: http://www.JazzMusicArchives.com/forum/forum_posts.asp?TID=825
Printed Date: 31 Aug 2024 at 7:15pm Software Version: Web Wiz Forums 10.16 - http://www.webwizforums.com
Topic: Artist Bio Submission Thread
Posted By: andyman1125
Subject: Artist Bio Submission Thread
Date Posted: 18 Jul 2011 at 5:42pm
I'm not collaborator here, but I'm sure the collabs wouldn't mind some members doing some work for them. I've noticed a rather nasty trend about JMA. Countless artists have no bio! So, I made this thread so people who can't edit artists and add bios themselves to post bios so collabs can add them. ![Smile Smile](smileys/smiley1.gif) I'll start with a few favorites of mine:
http://www.jazzmusicarchives.com/panzerballett.aspx" rel="nofollow - PANZERBALLETT PANZERBALLETT is a Munich quintet led by guitarist, composer and arranger Jan Zehrfeld whose music style is best described as jazz-metal. After several years of searching, classically trained guitarist Jan Zehrfeld joined several musicians together with the idea of a jazz metal band. His idea was based around his idea that he was always angry at something, and that this music was a way to channel his agression. In 2005, Panzerballett released a self titled debut and entered into the the German progressive rock scene with rave reviews. In the coming months the band played a series of concerts, mostly in the Munich region, but also at the 15th National Youth Jazz Festival in Leipzig and the renowned Burg Herzberg Festival. A DVD then released, Live at Backstage Munich 2006. After several line-up changes in 2007, the jazz label ACT contracted the band and in February 2008 released their second album, Starke Stücke. A small tour of Germany began after the release of this album, and the album reached 26 on the German Jazz charts. In 2008, multiple concerts and cameo appearances were made, including the Zappanale, the Leverkusen Jazz Festival opening for John McLaughlin and Chick Corea, the Baltic Prog Fest and the self-organized Metal Jazz Festival in Munich. Short television appearances were also made. In August 2009, Panzerballett released their third album, Hart Genossen - from Abba to Zappa'. In September 2009, the album jumped to # 25 on the jazz charts and appeared in the drum magazine Drums and Percussion as the January 2010 "Record of the Month". The band then played multiple shows and cameo appearances throughout Germany (including as a guest of the Arte Lounge and in on3 Radio).
http://www.jazzmusicarchives.com/exivious.aspx" rel="nofollow - EXIVIOUS (From the Netherlands) Hailing from the historic city of Utrecht in The Netherlands, EXIVIOUS were first formed in 1997 by guitarist/vocalist Tymon Kruidenier, of CYNIC fame. After the release of a self-titled, two-song demo in 2001, the band was put on hold until 2006, when they made their comeback with a new lineup. “Exivious”, their full-length debut, was released in the summer of 2009, in a limited supply of 1,000 copies. The band is made up of guitarist Kruidenier, bassist Robin Zeilhorst, who appeared along with Kruidenier on Cynic's 2008 EP "Re-Traced," as well as guitarist Michel Nienhuis and drummer Stef Broks, both from the Dutch progressive metal outfit TEXTURES.
-------------
|
Replies:
Posted By: js
Date Posted: 18 Jul 2011 at 6:29pm
Thanks, I am very busy tonight, but these will be put up when I can, or someone else will get them.Now lets talk about your 'nasty trends'. ![Wink Wink](smileys/smiley2.gif)
|
Posted By: andyman1125
Date Posted: 18 Jul 2011 at 6:35pm
I don't think any artist should be added without a bio ![Tongue Tongue](smileys/smiley17.gif)
-------------
|
Posted By: js
Date Posted: 18 Jul 2011 at 6:38pm
Sorry, artists will be added, bios or not, bios can be added later. We never know if musicbrainz, or musicnobrainz, as I like to call them, is going to add a bio or not until we add the artist.
|
Posted By: andyman1125
Date Posted: 18 Jul 2011 at 6:41pm
That's true. I wasn't a collab on MMA when musicbrainz imported all the artists, so MMA may have had the same problem. I just thought this could be an outlet to lift a bit of the burden off the collabs' shoulders.
-------------
|
Posted By: js
Date Posted: 18 Jul 2011 at 9:28pm
Your help is greatly appreciated, drop off as many good quality bios as you want.I'd have those up right now but I am in the middle of an unbelievably lengthy online training session, it is pure hell. ![Dead Dead](smileys/smiley11.gif)
|
Posted By: js
Date Posted: 19 Jul 2011 at 1:07am
Posted By: andyman1125
Date Posted: 19 Jul 2011 at 12:52pm
-------------
|
Posted By: darkshade
Date Posted: 19 Jul 2011 at 2:13pm
So I guess just post the bio in this thread to get it approved?
------------- http://www.last.fm/user/MysticBoogy" rel="nofollow - My Last.fm
|
Posted By: js
Date Posted: 19 Jul 2011 at 2:38pm
Posted By: idlero
Date Posted: 20 Jul 2011 at 1:23pm
sources for bio should be mentioned?
------------- I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again ... Ken Burns
|
Posted By: idlero
Date Posted: 24 Jul 2011 at 5:20am
Marian Petrescu
Marian Petrescu was born in Bucharest in 1970, and comes from a large
family of musicians. He began to play the piano at the age of four, and
studied in the classical and jazz conservatory in Sweden, followed by
the Sibelius Academy of Helsinki. With his background of solid classical
training, dazzling technique and dynamic interpretation, Marian
Petrescu then got passionately interested in jazz, and the adventurous
world of improvisation. He made his debut at the Pori Jazz festival at
the young age of 15.
Since then his career has been characterized by international success;
in
the Martial Solal Jazz piano competition (2nd prize in 1989) and
Bucharest jazz festival (1st prize in 1992). Appearances include the
Montreux, Paris, The Hague and Copenhagen, jazz festivals in Finland
such Pori, April Jazz, Baltic Jazz etc. Marian played with many of the
stars; Arturo Sandoval, Toots Thielemans, Al Jarreau, Didier Lockwood,
Jon Larsen, Richie Beirach, Tony Williams, Ulf Wakenius, Ray Charles
band, Lars Danielsson, Riccardo Del Fra, Ron McClure, Hot Club de
Norvège, etc.
Today Marian has his own music school which provides both classical and
jazz training and he is teaching at the conservatory. Marian’s style is
eclectic, and he enjoys all styles of jazz, from ragtime to modern jazz.
Marian loves the piano. He treats the piano as a friend, a sparring
partner and mistress. His mentor in Paris, Martial Solal, call Marian
"the Horowitz of Jazz Piano", and his touch is distinct and clear as
glass, obviously inspired by Oscar Peterson
------------- I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again ... Ken Burns
|
Posted By: js
Date Posted: 24 Jul 2011 at 7:06am
Yes, always list sources. Thanks for the bio, I will wait until he is imported before I add it. Sometimes a bio is supplied with the importation.
|
Posted By: snobb
Date Posted: 24 Jul 2011 at 10:15am
Just want to inform there some changes on MusicBrainz (source where from we're importing initial info on all added artists) are made and we need to re-tune our import process - it takes some time so it's possible some delay on import of newly added artists for nearest time. Hope we'll solve it soon.
|
Posted By: idlero
Date Posted: 25 Jul 2011 at 12:50am
Myriam Alter Myriam Alter received classical music training starting from the age of 8. Being very involved with her studies (graduating from high school, then getting a licence for psychology at the University of Brussels), she stopped practising her instrument at the age of 15. After her studies first she worked in an advertising agency for seven years. Then, without really being aware of it, she returned to the search of music by opening a dancing school which she managed for another seven years. At 36 she picked up her instrument again and soon discovered her skills as a brilliant composer with an individual approach to romantic moods. (...) Coming from a Judeo-Spanishfamily (Sephardic Jews), Myriam Alter was raised with all kinds of musics such as Latin, Italian, Oriental, Spanish, South American and classical. As a piano player she was trained in classical music, but later found her way into jazz. Myriam Alter first formed a quartet, then a quintet together with Belgian musicians. After gaining some practical experience, she began to write her own music.When she started to feel comfortable with her music and got recognition for it, she decided to record a first album with Ben Sluys (B) on saxophone, Gino Lattuca (B) on trumpet, Michel Benita (F) on bass, Jan de Haes (B) on drums and herself on piano. As this album was successful, it was followed by another one with the same musicians except Stefan Lievestro (H) playing bass instead of Michel Benita. The second album also got very good reviews. The press emphazised especially Myriam's ability for composing. So the idea of making an international album occurred. "Alter Ego" was recorded in New York in 1997 with Billy Drewes (USA) on sax and clarinet, Ron Miles (USA) on trumpet, Kenny Werner (USA) on piano, Marc Johnson (USA) on bass and Joey Baron (USA) on drums. While Myriam left the piano seat to Kenny Werner, the quintet only played Myriam's compositions. Then came the time to write music that would really express "who she was". The resulting album was called "If" (2002), a worldwide success, with Dino Saluzzi (bandoneon), John Ruocco (clarinet), Kenny Werner (piano), Greg Cohen (bass) and Joey Baron (drums). In 2007, come the release of "Where is There" with Jaques Morelenbaum (cello), John Ruocco (clarinet), Pierre Vaiana (soprano sax,), Salvatore Bonafede (piano), Greg Cohen (bass) and Joey Baron (drums).
Bio taken from her site http://www.myriamalter.com/
------------- I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again ... Ken Burns
|
Posted By: js
Date Posted: 25 Jul 2011 at 5:13am
Posted By: idlero
Date Posted: 25 Jul 2011 at 5:55am
Monty Alexander
In a career spanning five decades, pianist Monty Alexander has built a
reputation exploring and bridging the worlds of American jazz, popular
song, and the music of his native Jamaica, finding in each a sincere
spirit of musical expression. In the process, he has performed and
recorded with artists from every corner of the musical universe and
entertainment world: Frank Sinatra, Tony Bennett, Ray Brown, Dizzy
Gillespie, Sonny Rollins, Clark Terry, Quincy Jones, Ernest Ranglin,
Barbara Hendricks, Bill Cosby, Bobby McFerrin, Sly Dunbar, and Robbie
Shakespeare, among others.
Born on D-Day (June 6, 1944) and raised in Kingston,
Jamaica, he took his first piano lessons at age six, although he is
largely self-taught. As a teenager, he witnessed concerts by Louis
Armstrong and Nat “King” Cole at Kingston’s Carib Theater. These
artists had a profound effect on Alexander’s aspirations. He formed
Monty and the Cyclones in the late 1950s and also recorded on sessions
with the musicians who would catapult Jamaican music to international
recognition as The Skatalites (Bob Marley’s first backing band).
Alexander and his family came to the United States at
the end of 1961. Less than two years later, while playing in Las Vegas
with Art Mooney’s orchestra, he caught the eye of New York City club
owner Jilly Rizzo and his friend, Frank Sinatra. Rizzo hired the young
pianist to work in his club, Jilly’s, where he accompanied Sinatra and
others. There he met Modern Jazz Quartet vibraphonist Milt Jackson, who
hired him and eventually introduced him to former Charlie Parker
collaborator and legendary bassist Ray Brown. Alexander recorded and
performed with the two jazz giants on many occasions. Jazz’s greatest
luminaries welcomed Alexander to their “musical fraternity” in the
mid-1960s. Among these earliest enthusiasts for his playing were none
other than Duke Ellington, Count Basie, and Miles Davis.
To this day, Alexander maintains an active touring
schedule, from intimate jazz clubs to concert halls and jazz festivals
around the globe. His collaborations span multiple genres, styles, and
generations. His projects have been as varied as assisting Natalie
Cole in her tribute album to her father, Nat “King” Cole in 1991 (the
resulting album, Unforgettable, won seven Grammy awards),
performing George Gershwin’s “Rhapsody in Blue” under the direction of
Bobby McFerrin at the Verbier Festival in Switzerland, and recording
the piano track for the film score of Clint Eastwood’s Bird, a movie about the life of jazz titan Charlie Parker.
In August 2000, the Jamaican government awarded Monty
Alexander the title of Commander in the Order of Distinction for
outstanding services to Jamaica as a worldwide music ambassador. In
Hal Leonard’s 2005 book The Fifty Greatest Jazz Piano Players of All Time, Alexander was listed among the top five Jazz pianists of all time.
With the invitation and encouragement of Wynton Marsalis, Alexander conceived and directed the acclaimed program Lords of the West Indies at
Jazz at Lincoln Center in 2008, broadcast nationally on BETJ.
Alexander returns to Jazz at Lincoln Center in the Fall 2009 with a new
program Harlem Kingston Express.
As a leader, Monty Alexander has recorded over 60 albums
to date. His 1976 Montreux (Switzerland) Jazz Festival performance
with drummer Jeff Hamilton and bassist John Clayton has become one of
the most celebrated live recordings in contemporary jazz. His most
recent albums on the Telarc label include trio sessions, such as Impressions in Blue, and the live concert recording Goin’ Yard.
In the late summer of 2005, Alexander traveled to Bob Marley’s Tuff
Gong Studio in Kingston, Jamaica, and teamed up with top Jamaican
session players to record Concrete Jungle, a set of twelve Bob
Marley compositions reinterpreted through Alexander’s jazz
piano-centered arrangements. The resulting union of musical
perspectives digs deep into the Marley legend and brings together the
two worlds that Alexander most treasures, building the musical bridges
that are the very essence of his craft. As a testament to his
versatility, The Good Life, on Chesky Records is a collection
of songs written and popularized by one of his all time favorite
artists and good friends, Tony Bennett. His current release on Chesky
is Calypso Blues, a tribute to his hero Nat Cole.
Bio taken from artist's site http://montyalexander.com/bio.shtml
------------- I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again ... Ken Burns
|
Posted By: js
Date Posted: 25 Jul 2011 at 6:07am
Posted By: idlero
Date Posted: 26 Jul 2011 at 2:25am
Avishai Cohen- trumpet
Avishai Cohen is a leading figure on the
international jazz scene and one of the most sought-after players of his
generation — “an assertive and accomplished trumpeter with a taste for
modernism,” according to Nate Chinen of The New York Times. Though
deeply rooted in the bebop and post-bop tradition, Avishai is taking
jazz in new directions, making waves as an improviser, composer and
bandleader. Originally from Tel Aviv, he began performing at age 10. He
toured the world with the Young Israeli Philharmonic Orchestra and went
on to become the trumpet player of choice for many leading jazz, rock,
pop, studio and television projects. He received a full scholarship to
attend the Berklee College of Music in Boston, and in 1997 he placed
third in the prestigious Thelonious Monk Jazz Trumpet Competition.
Avishai came of age as part of the fertile scene at Smalls, the storied
New York jazz club, where he developed his artistic vision alongside
such friends and colleagues as pianist Jason Lindner, bassist Omer
Avital and vocalist Claudia Acuña. Here the imperatives of jazz
tradition and innovation were not in conflict, but rather merged into
one powerful creative stream. Avishai flourished in an environment where
hard-driving swing, open-ended funk, Latin and Middle Eastern rhythms,
complex extended forms and free improvisation converged under one roof,
drawing enthusiastic audiences. All of Avishai’s diverse work, as a
leader, co-leader and sideman, is informed by this broad-minded legacy,
which has given jazz new vitality and relevance in the 21st century.
Avishai made his debut as a leader in 2003 with The Trumpet Player, a
burning straightahead session with bassist John Sullivan (Roy Haynes),
drummer Jeff Ballard (Chick Corea, Pat Metheny) and special guest Joel
Frahm on tenor. His second album, After The Big Rain, is the last part
of “The Big Rain Trilogy,” a series of recordings that is now nearing
completion. The trilogy also includes Before The Rain (part one), a
large-group outing, and Flood (part two), a trio encounter with Yonatan
Avishai on piano and Daniel Freedman on percussion. Avishai’s music is
alternately moody and joyous, richly atmospheric yet beat-driven and
grooving, suffused with compositional depth, inspired improvisation and a
profound world-music influence. Avishai plays open and muted trumpet
but also routes his horn through electronic effects that range from the
dreamy to the snarling and distorted. He’s been developing these sounds
over the course of the last decade. “When I play effects, I play a
different instrument,” he says. “The whole concept changes.”
Avishai’s other credits range from touring with the celebrated
French-American singer-songwriter Keren Ann, to sharing the stage with
the great Bobby Hutcherson in the all-star San Francisco Jazz
Collective. In addition, Avishai is the co-leader of Third World Love,
with Omer Avital, drummer Daniel Freedman and pianist Yonatan Avishai, a
group with four recordings to its credit. He also leads a funk-oriented
band with bassist Me’shell Ndegeocello and drummer Adam Deitch, and
continues to perform extensively with the 3 Cohens, which he formed with
his sister Anat and brother Yuval, both gifted reeds players. With his
incredible instrumental skill and world-spanning musical interests,
Avishai, in the words of critic Ben Ratliff, “has all the power and
tenacity he’s going to need.
bio taken from artist's site http://www.avishaicohenmusic.com/html/about.php
------------- I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again ... Ken Burns
|
Posted By: snobb
Date Posted: 26 Jul 2011 at 3:06am
Posted By: idlero
Date Posted: 26 Jul 2011 at 3:46am
Nik Bartsch
Keyboardist Nik Bärtsch (at times spelled "Baertsch") is a player,
composer, and improviser very much in the European classical-oriented
style of jazz, but has created a language that transcends these basic
categories. A native and resident of Zurich, Switzerland born in 1971,
he began his nine-year piano studies at age nine, and also briefly took
up clarinet. Listening to blues, jazz, and string quartets, Béla Bartók,
Igor Stravinsky, and ethnic musics from Japan, Greece, Romania, and
Sweden have all shaped his personalized music. Initially influenced by
Chick Corea, Bärtsch attended the Zurich Musikhochschule, then studied
philosophy, linguistics, and musicology at the University of Zurich. It
was then that he was listening to modern 20th century composers John
Cage, Morton Feldman, and Steve Reich, thus fusing the multiplicity of
disciplines. In 1980 he first met drummer Kaspar Rast, who is a rhythmic
fixture in his ensembles, Mobile and Ronin. He performed and toured
with the European guitarist Harald Haerter before performing and
recording solo and trio efforts, leading to his initial small ensembles
for the Swiss based Tonus label. When Mobile evolved into Ronin by 2001,
Bärtsch established his distinct and unique ritual groove music,
playing every Monday night at the night club Montags in Zurich, and
attracting attention and an audience for his spiritual, minimalist,
ethnic, rhythm & blues elevated music that has generally been termed
"Zen funk". Occasionally Mobile, featuring Rast and marimba player Mats
Eser, regroup to perform. As Bärtsch describes his sound, "to me, music
is an art of motion, and thus akin to dancing, an ecstatic groove and
an ascetic awareness of form and sound in composed music are not
mutually exclusive. They can form combinations that take our senses by
surprise." Over the years, Bärtsch has retained that regular early week
gig while touring greater Europe, reaching Canada and the U.S. in 2007.
ECM records owner Manfred Eicher recognized not only Bärtsch's original
approach, but its similarity to the music the label has championed since
the early '70s, and signed them, beginning with the revelatory CD Stoa.
Ronin expanded to a quintet, with stalwart Rast, percussionist Andi
Pupato, bassist Björn Meyer, and saxophonist/bass clarinetist Sha. "The
band," says Bärtsch, "has simply reached a much higher level of playing,
and as an organism is much further developed."
bio by Michael G. Nastos on www.allmusic.com
------------- I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again ... Ken Burns
|
Posted By: snobb
Date Posted: 26 Jul 2011 at 8:43am
Posted By: idlero
Date Posted: 27 Jul 2011 at 3:22am
Froy Aagre
Saxophonist and composer Frøy Aagre is a rising Norwegian jazz star.
Despite her young age she has developed a highly individual expression
and her compositions are both imaginative and original. Reviewers have
compared Aagre with saxophone legends such as Jan Garbarek, David
Liebman and Wayne Shorter. Frøy Aagres recent album Countryside has
received world-wide acclaim from critics and musicians alike. The album
was rated as one of the top ten albums in 2007 by the Norwegian
newspaper Dagsavisen.Born on June 8, 1977 in Tønsberg, Norway, Frøy Aagre began
playing saxophone at the age of twelve and later moved to England to
study saxophone at Birmingham Conservatoire. Her fascination of tango
music, resulted a semester as an exchange student at Conservatoiro
Nacional Lopez Bouchardo in Buenos Aires. After receiving Bachelor of
Music with Distinction at Birmingham Conservatoire, she moved to London
to pursue a Masters degree at Middlesex University. Back in Norway, she
studied Twentieth-Century Composition at Norwegian Academy of Music in
Oslo. In 2001, she studied with the world famous saxophonist David
Liebman in New York. Besides being leader for Offbeat, Frøy has
performed with such musicians as Pee Wee Ellis, Mike and Mark Mondesir,
Kris Davis, Jeff Davis, Annette Aguilar, Eivind Opsvik, Michael Bates,
Thomas Strønen and Bjørn Kjellemyr. Aagre has toured in Europe, USA and
Africa and played at festivals like Copenhagen Jazzfestival, Aarhus Jazz
Festival and Prague Jazz Open. She has received numerous prizes
and scholarships. In 1999 she received the annual jazz prize from the
Norwegian Association of Jazz and in 2005 she received the prestigous
1-year Composition Scholarship from the Norwegian Government.
Bio from http://www.allaboutjazz.com/php/musician.php?id=2268
------------- I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again ... Ken Burns
|
Posted By: snobb
Date Posted: 27 Jul 2011 at 3:43am
Posted By: idlero
Date Posted: 27 Jul 2011 at 4:48am
Verneri Pohjola
Verneri Pohjola has established a reputation
as one of Finland's leading -- and busiest -- jazz musicians, but music
is in his blood, as he's the son of Pekka Pohjola, one of the country's
most adventurous bass players who came of age in the prog rock era of
the 1970s. Born in Helsinki, Phojola grew up on movie soundtracks and
rock playing "a little bit of everything" before settling mostly on
trumpet in a school orchestra. His brother introduced him to jazz which
has become his main love. He does still play piano and drums "to fend
off boredom." He's active in five bands, Quintessence, the Don Johnson
Big Band, Silvio, Q-continuum and his main outlet, the Ilmielikki
Quartet, of which he's the leader. The last of these groups came
together in 2002 and released their first album, March of the Alpha
Males, which received a nomination for an Emma -- the Finnish Grammy --
as Best Jazz Album in 2003. The following year Pohjola was chosen Pori
Jazz Festival Young Artist, when he also won Musician of the Year and
Best Trumpet Player in a poll of Finnish jazz critics. The band has
released a second album, Take It With Me. With Silvio, Pohjola has
appeared on Amass All You Can and the EP Silvio, while Quintessence has
issued Talk Less, Listen More and AM. Under his own name he's released
Agatha , Michelin Star and Aurora. Bio by Chris Nickson, All Music Guide
------------- I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again ... Ken Burns
|
Posted By: snobb
Date Posted: 27 Jul 2011 at 5:18am
Posted By: andyman1125
Date Posted: 27 Jul 2011 at 5:48pm
http://www.jazzmusicarchives.com/asa-trio.aspx?ac=asa" rel="nofollow - ASA TRIO
ASA TRIO is an organ/guitar/drums trio based in Iceland. The band is Agnar Már Magnúson on organ, Andrés Thor on guitar and Scott McLemore on drums. The band released their first studio albums, aptly titled "Plays the Music of Thelonius Monk" (as the album is a collection of Monk covers) in 2011, while they also have to live albums, "Live at Domo" from 2008 and "A Love Supreme, Live at Cafe Cultura" from 2009. The band has a multitude of influences, ranging from Monk to Jimi Hendrix.
Official website: http://www.asa-trio.com/" rel="nofollow - http://www.asa-trio.com/
-------------
|
Posted By: snobb
Date Posted: 28 Jul 2011 at 12:40am
Posted By: idlero
Date Posted: 28 Jul 2011 at 2:18am
Ambrose Akinmusire
Trumpeter Ambrose Akinmusire is a forward-thinking musician with a bent
toward atmospheric post-bop. Born in Oakland, California, Akinmusire
showed early promise by his teens and gigged professionally while also
playing in the Berkeley High School Jazz Ensemble. Early encounters with
such luminaries as saxophonists Joe Henderson and Steve Coleman pushed
Akinmusire to focus a keen eye on his own development. He earned his
bachelor's degree from the Manhattan School of Music and later his
master's from the University of Southern California. Along the way,
Akinmusire studied with such trumpet luminaries as master teacher Laurie
Frink, Lew Soloff, and Terence Blanchard. Akinmusire has appeared as a
sideman on many albums, including works by saxophonist Coleman, pianists
Aaron Parks and Vijay Iyer, trombonist Josh Roseman, bassist Esperanza
Spalding, and others. In 2007 Akinmusire won the Carmine Caruso
International Jazz Trumpet Solo Competition and the Thelonious Monk
International Jazz Competition. A year later he released his debut solo
album, Prelude to Cora, on Fresh Sound New Talent. In 2011 Akinmusire
returned with his sophomore album, When the Heart Emerges Glistening, on
Blue Note Records. Bio by Matt Collar., Rovi, from www.starpulse.com
------------- I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again ... Ken Burns
|
Posted By: snobb
Date Posted: 28 Jul 2011 at 2:25am
Posted By: idlero
Date Posted: 28 Jul 2011 at 3:07am
Richie Beirach
Richard Beirach, 23 May 1947, New York City, New
York, USA. As a child, Beirach studied both classical and jazz piano
before attending the Berklee College Of Music and the Manhattan School
of Music. He graduated from the latter in 1972, promptly joining Stan
Getz. Shortly after this, he began a long-term and hugely productive
association with Dave Liebman. In order to fulfil the broad-based
musical demands of Liebman’s group, Lookout Farm, Beirach also began
playing keyboards. Nevertheless, his preferred instrument remained the
piano. Although this particular group of Liebman’s was soon disbanded,
Beirach later became a member of the saxophonist’s group, Quest. In the
meantime, he had formed his own group, Eon, and had worked with John
Abercrombie’s quartet. Beirach has played and sometimes recorded as
sideman with many other leaders, including Chet Baker, Freddie Hubbard,
Lee Konitz and John Scofield. Musicians with whom he has collaborated as
leader or co-leader include Abercrombie, George Coleman, Dave Holland,
Jack DeJohnette and Liebman.Throughout the 90s,
Beirach had a highly productive working relationship with the
French-born saxophonist Henrik Frisk. In his composing and playing,
Beirach’s twin musical influences make their presence heard. The
classical side is brought out in his compositions through intriguingly
mixed echoes of late nineteenth-century romanticism and
twentieth-century angularity. Beirach’s playing reflects an array of
pianistic influences, notably the dazzling yet diverse styles of Art
Tatum, Bud Powell and Bill Evans. Nevertheless, he achieves an
exceptionally individualistic sound, partly through a near-classical
pastoral impressionism, marking him out as a piano player of
consequence. Source: The Encyclopedia of Popular Music by Colin Larkin
------------- I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again ... Ken Burns
|
Posted By: snobb
Date Posted: 28 Jul 2011 at 3:47am
Posted By: idlero
Date Posted: 29 Jul 2011 at 7:44am
Hijaz
Hijaz is a sextet that combines elements of world music with
jazz. Hijaz is the name of an Arab musical motif, but the band’s name also holds a clear reference to jazz.The music of the group is based on the dialogue between Tunesian oud player Moufadhel Adhoum and pianist Niko Deman and started with the release of the record Rag Rag by
Tunesian singer Zohra Lajnef on which Hijaz also performed. The record
was released in 2004 in Tunesia only but laid the basis for further
collaboration.
The group consist of aforementioned musicians plus Moroccan
percussionist Azzedine Jazzouli, bass player Rui Salgado and
drummer/percussionist Chryster Aerts, both jazz musicians from Belgium.
This rhythm sections uses traditions from Morocco to India as influence
for its adventurous and solid basis. Above this, oud and piano interact
and create a mysterious athmosphere. Elements from the Maghreb, Middle
East and western jazz are very strong in the music and create a
European-Mediterranean sound. The band may have met in Belgium but their
music instantly transports you to the calm inner courtyard of some
shady house a stone's throw from the bustle of the market in some
North-African town.
In May 2008 Hijaz released the debut Cd Dunes which was very well received in the press (see press section). On it you can also hear renowned Armenian duduk player Vardan Hovanissian who has recently become the sixth member of Hijaz.
Bio taken from http://www.zephyrusvzw.be/database/index.php?q=artists/hijaz/biography
------------- I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again ... Ken Burns
|
Posted By: idlero
Date Posted: 29 Jul 2011 at 7:51am
Melody Gardot
The story of vocalist Melody Gardot is as remarkable as any who
perseveres against abject adversity. Born in New Jersey in 1985, she
took up piano and played as a youngster on the nightclub scene of
Philadelphia, influenced by jazz, folk, rock and pop musics. At age 19
she was a fashion student at the Community College of Philadelphia. But,
on a fateful day, while riding her bicycle, the driver of a Jeep made
an illegal turn, hurdling into Gardot and leaving her in the street for
dead. Hospitalized for months with multiple head injuries and pelvic
fractures, her love for music was the best therapy she could receive.
While in her hospital bed, she wrote and recorded songs that would
become the EP Some Lessons. Upon her eventual release from intensive
care, Gardot found the strength and determination to further her career
as an artist. Blessed with a beautiful voice and grand insight as a
songwriter, her cognitive powers slowly but surely became pronounced,
leading to the independent recording and release of her debut CD,
Worrisome Heart, which was reissued in 2007 by Verve records. Her music
could be described as a cross between Laura Nyro, Joni Mitchell, Eva
Cassidy, and Shania Twain, but goes deeper than mere pop convention.
Gardot is hypersensitive to light and noise, thus she wears dark
glasses, and uses a cane to walk. On-stage she requires a special
seating unit, and wears a Transcutaneous Electro-Nerve Stimulator, a
TENS device, to assist in alleviating her neuralgic muscle pain. As
amazing as her story is, what is more evident is that she possesses a
blue style and persona that reflects not only her afflictions, but
conversely the hope and joy of making personalized music that marks her
as an individual and original. Though touring is difficult, she has been
performing in major cities on the East Coast to support her recordings.
In 2009, working with producer Larry Klein and arranger Vince Mendoza
-- both known for their work with Joni Mitchell -- Gardot followed up
her Verve debut with My One and Only Thrill
Bio by Michael G. Nastos taken from www.starpulse.com
------------- I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again ... Ken Burns
|
Posted By: snobb
Date Posted: 29 Jul 2011 at 7:58am
Posted By: idlero
Date Posted: 30 Jul 2011 at 4:43am
Misha Alperin
Mikhail Alperin was born in the Ukraine in 1956 and grew
up in a rural area of Bessarabia, the eastern part of Moldavia. Until
1976 he studied classical piano at music schools and academies in the
Ukraine and Moldavia. Since 1977 he has worked as a free-lance arranger,
composer and practicing musician. In 1980, along with Simon Shirman,
Alperin founded the first Moldavian jazz quartet by developing his idea
of linking jazz and folk.
Like most of the world's musicians,
Alperin was obliged to earn his living with dance and party music. For
the young musician, however, this music embodied things old and past.
The future and freedom were to be found in music influenced by the West,
music like rock and jazz. It was not until he had played in Moscow jazz
circles for several years that he discovered the musical sounds of his
native country for his own work. In Moscow he found other musicians also
interested in integrating the musical traditions of their countries
into jazz as an element of equal value, and in drawing from the rich
tradition of the music of the peoples of the immense Soviet Union. It
was during this period that he made the acquaintance of the brilliant
hornist http://www.mymusicbase.ru/PPB/ppb22/Bio_2257.htm" rel="nofollow - Arkady Shilkloper , a member of the Moscow Philharmonic Orchestra who nevertheless also belonged to the circle of jazz musicians.
In
the CD production Prayer Alperin & Shilkloper have expanded their
jazz explorations eastward. They not only integrate a genuine singer of
traditional Russian music, Sergei Starostin, in their duo, but also risk
a spectacular encounter of two very different cultures: that of
Mongolia / Southern Siberia, with origins in Buddhism, represented by
vocalists from Kyzyl, the capital of small Siberian autonomy Tuva, and
the Russian choir tradition. The result is amazing. Our Eurocentric
perception is immediately transported into other remote times and
spaces. Thanks to Alperin's sense of composition, one cannot help but
feel that here jazz meets the Middle Ages.
Alperin's contribution
to contemporary music is not only the unbiased integration of the most
various peoples' musical traditions and the crossing of stylistic
boundaries: Free of care, he also fuses music of the past with
contemporary elements.
In 1989, in a duo with http://www.mymusicbase.ru/PPB/ppb22/Bio_2257.htm" rel="nofollow - Arkady Shilkloper ,
Alperin recorded the much-admired CD "Waves of Sorrow" for ECM; then
his new production "North Story", recorded with Tore Brumborg, Jon
Christensen, Terje Gevelt and http://www.mymusicbase.ru/PPB/ppb22/Bio_2257.htm" rel="nofollow - Arkady Shilkloper , appeared there in the spring of 1996. With these musicians Alperin has also recorded works of http://www.mymusicbase.ru/PPB/ppb14/Bio_1473.htm" rel="nofollow - Paul Hindemith and other composers of Classical Modernism.
In 1993 Alperin moved to Oslo in order to take on a position as professor of piano at the music academy there.
In
the late autumn of 1995, Mikhail Alperin had the musical direction of
an unusual project uniting two previously unacquainted musical cultures
in Sofia, Bulgaria: the women's choir Angelite with its quite uncommon
singing techniques and the four-man ensemble Huun Huur Tu from the
Southern Siberian region of Tuva, bordering on Mongolia. The latter
group, for its part, cultivates a form of overtone and undertone singing
which is also quite foreign for the Western ear. A third independent
vocal style is added to the production by the Russian singer Sergei
Starostin. Alperin, who has composed works for children's choirs,
chamber orchestras, and jazz ballet as well as a concert for flugelhorn,
piano and symphony orchestra, wrote the arrangements for all of the
pieces in this production.
from www.mymusicbase.ru
------------- I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again ... Ken Burns
|
Posted By: idlero
Date Posted: 30 Jul 2011 at 4:45am
Tin Hat Trio
Transplanted from New York to the Bay Area, the chamber jazz group http://www.allmusic.com/artist/tin-hat-trio-p365259" rel="nofollow - Tin Hat Trio consists of accordionist http://www.allmusic.com/artist/rob-burger-p321187" rel="nofollow - Rob Burger , guitarist http://www.allmusic.com/artist/mark-orton-p415960" rel="nofollow - Mark Orton , and violinist http://www.allmusic.com/artist/carla-kihlstedt-p250882" rel="nofollow - Carla Kihlstedt .
The group's unique blend of structure, improvisation, and contemporary
classical, folk, world, and jazz elements reflects each member's other
performing experiences. http://www.allmusic.com/artist/kihlstedt-p250882" rel="nofollow - Kihlstedt
majored in classical violin performance at the Oberlin Conservatory and
went on to become a prominent performer in both classical and
improvised music, playing with artists like http://www.allmusic.com/artist/john-zorn-p141121" rel="nofollow - John Zorn and http://www.allmusic.com/artist/roscoe-mitchell-p7143" rel="nofollow - Roscoe Mitchell , and recording with http://www.allmusic.com/artist/eugene-chadbourne-p3861" rel="nofollow - Eugene Chadbourne , http://www.allmusic.com/artist/the-grassy-knoll-p165070" rel="nofollow - the Grassy Knoll , and http://www.allmusic.com/artist/tom-waits-p5778" rel="nofollow - Tom Waits . She also appeared on http://www.allmusic.com/artist/philip-glass-p3001" rel="nofollow - Philip Glass ' series Music at the Anthology, sings and plays with another Bay Area band ( http://www.allmusic.com/artist/charming-hostess-p367945" rel="nofollow - Charming Hostess ), collaborates with choreographer Jo Kreiter, and is a graphic designer/illustrator as well.
http://www.allmusic.com/artist/orton-p415960" rel="nofollow - Orton
started playing guitar as a child and eventually studied composition at
the Peabody Conservatory and the Hart School of Music. Also a
professional recording and sound engineer, http://www.allmusic.com/artist/orton-p415960" rel="nofollow - Orton worked on sessions with http://www.allmusic.com/artist/bill-frisell-p76334" rel="nofollow - Bill Frisell , http://www.allmusic.com/artist/john-zorn-p141121" rel="nofollow - John Zorn , and http://www.allmusic.com/artist/the-lounge-lizards-p6997" rel="nofollow - the Lounge Lizards , and engineered the sound at the Knitting Factory for two years. http://www.allmusic.com/artist/orton-p415960" rel="nofollow - Orton plays banjo, lute, dobro, lap steel, and electric guitar with his other group, San Francisco's http://www.allmusic.com/artist/old-joe-clarks-p278481" rel="nofollow - Old Joe Clarks , and has composed scores for independent films like Beverly Wachtel's Just Noticeable Difference.
http://www.allmusic.com/artist/burger-p321187" rel="nofollow - Burger studied classical piano at Juilliard and explored different improvisational styles at the University of Massachusetts with http://www.allmusic.com/artist/max-roach-p7429" rel="nofollow - Max Roach , Archie Stepp, and http://www.allmusic.com/artist/yusef-lateef-p39968" rel="nofollow - Yusef Lateef .
He broadened his range to include Hammond organ and vintage keyboards
like the Optigan and Chamberlin, toy pianos and keyboards, and the
accordion. http://www.allmusic.com/artist/burger-p321187" rel="nofollow - Burger has toured with http://www.allmusic.com/artist/bill-frisell-p76334" rel="nofollow - Bill Frisell , http://www.allmusic.com/artist/don-byron-p6222" rel="nofollow - Don Byron , and http://www.allmusic.com/artist/joey-baron-p36829" rel="nofollow - Joey Baron , and appeared on http://www.allmusic.com/artist/frisell-p76334" rel="nofollow - Frisell 's Tales from the Far Side soundtrack. Since moving to the Bay Area, http://www.allmusic.com/artist/burger-p321187" rel="nofollow - Burger has worked with artists as diverse as http://www.allmusic.com/artist/tipsy-p202921" rel="nofollow - Tipsy and http://www.allmusic.com/artist/mix-master-mike-p155343" rel="nofollow - Mix Master Mike ; he is also a member of http://www.allmusic.com/artist/the-oranj-symphonette-p195061" rel="nofollow - the Oranj Symphonette , as well as his bandmate http://www.allmusic.com/artist/orton-p415960" rel="nofollow - Orton 's other project, http://www.allmusic.com/artist/old-joe-clarks-p278481" rel="nofollow - Old Joe Clarks . As http://www.allmusic.com/artist/the-tin-hat-trio-p365259" rel="nofollow - the Tin Hat Trio , they released their debut album, http://www.allmusic.com/album/memory-is-an-elephant-r396558" rel="nofollow - Memory Is an Elephant , on Angel Records in early 1999; http://www.allmusic.com/album/helium-r471347" rel="nofollow - Helium followed in spring 2000, boasting appearances from http://www.allmusic.com/artist/tom-waits-p5778" rel="nofollow - Tom Waits and an uncredited http://www.allmusic.com/artist/mike-patton-p112839" rel="nofollow - Mike Patton . Two years later, the ambitious http://www.allmusic.com/album/the-rodeo-eroded-r598946" rel="nofollow - The Rodeo Eroded showcased their own unique music as well as guest appearances from http://www.allmusic.com/artist/phish-p21630" rel="nofollow - Phish drummer http://www.allmusic.com/artist/jon-fishman-p76325" rel="nofollow - Jon Fishman and http://www.allmusic.com/artist/willie-nelson-p1743" rel="nofollow - Willie Nelson . 2004's http://www.allmusic.com/album/book-of-silk-r701061" rel="nofollow - Book of Silk went in a more abstract direction; that year, http://www.allmusic.com/artist/burger-p321187" rel="nofollow - Burger left the band, while frequent collaborators http://www.allmusic.com/artist/ara-anderson-p535759" rel="nofollow - Ara Anderson and clarinetist http://www.allmusic.com/artist/ben-goldberg-p80630" rel="nofollow - Ben Goldberg joined the fold. Reflecting their new status, the group rechristened themselves http://www.allmusic.com/artist/tin-hat-p365259" rel="nofollow - Tin Hat for 2007's http://www.allmusic.com/album/the-sad-machinery-of-spring-r947469" rel="nofollow - The Sad Machinery of Spring .
from www.allmusic.com
------------- I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again ... Ken Burns
|
Posted By: snobb
Date Posted: 30 Jul 2011 at 4:54am
Posted By: idlero
Date Posted: 01 Aug 2011 at 5:53am
Manu Katche
Emmanuel 'Manu' Katche was born in St Maur des Fossés, near Paris, in
1958, though his family roots go back to Africa's Ivory Coast. He
studied piano from the age of 5, switching to drums at 14 and studying
classical percussion at the Conservatoire National Supérieure de Musique
de Paris. He has often said that his drum style is essentially an
amalgam of African rhythm concepts and classical drumming, illuminated
by the in-the-moment interaction of jazz. “When I play jazz I get called
a 'rock drummer'. When I do rock projects, critics write about 'the
jazz drummer Manu Katché'. But I'm just being myself, trying to be
innovative as the music is played, and I guess that is more of a 'jazz'
attitude.” Music on ECM had been one of Katché's teenage
inspirations: “I heard my first ECM album when I was about fifteen, and I
remember I was amazed by the sound and by the way the music was played:
big and bold but with a lot of respect for silence and a real musical
balance between the instruments....” He was to arrive at the label by an
indirect route, however. By the mid-1980s his floating beat had become
one of the signature sounds of pop and rock, sup-porting singers from
Joni Mitchell to Peter Gabriel. Manfred Eicher heard Katché playing on
Robbie Robertson's untitled Geffen album and felt that his pulses and
patterns, simultaneously modern and tribal, could easily be adapted to
improvised contexts. Invited to participate in ECM's 20th
anniversary concerts in Paris in 1989, Katché played first in a trio
with Jan Garbarek and Indian violinist Shankar in a concert at La
Cigale. The encounter was to lead to Katché's membership of the Garbarek
Group and his presence on a series of albums: I Took Up The Runes,
Ragas and Sagas, Twelve Moons, Visible World, In Praise Of Dreams. Manu
recently rejoined Jan's band for several months of live work with
concerts which continue until the end of 2007 in Germany, Belgium, Ireland, the Netherlands, Turkey, Portugal and Switzerland.
from www.allaboutjazz.com
------------- I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again ... Ken Burns
|
Posted By: idlero
Date Posted: 01 Aug 2011 at 5:58am
Roberto Fonseca
Roberto Alain Fonseca Cortés, 29 March 1975, Havana,
Cuba. Taking to music from an early age, Fonseca first emulated his
percussionist father by playing drums before turning to the piano. The
household was very musical, his mother being a professional singer and
two brothers, drummer Emilio Valdés and pianist Jesus ‘Chuchito’ Valdés
Jnr., became professional musicians. Fonseca studied at the Guillermo
Tomás School of Music in Havana and in 1991, when in his mid-teens, he
performed at the Havana Jazz Plaza International Festival and attracted
considerable attention. After graduation, through the mid-90s he
performed at other festivals and in concert and at clubs playing solo
and in various groups that included Agua Pura and Temperamento,
co-leading the latter with saxophonist Javier Zalba. In
addition to playing extensively in Cuba, Fonseca has also performed in
Colombia, Canada and Australia, and has visited Europe, receiving
acclaim in England, France (playing live in Paris for the July 2006
Agnès B fashion show), Germany, Spain and Italy, touring the latter
country with singer Augusto Enriquez, with whom he also recorded, Cuando
Yo Sea Grande. Among artists with whom he has shared stages and
sometimes recorded are George Benson, Michael Brecker, the Buena Vista
Social Club, José Luis ‘Chico’ Cortés, Angá Díaz, Ibrahim Ferrer (with
whom he appeared internationally as musical director of the singer’s
2005 Mi Sueño: A Bolero Songbook tour), Herbie Hancock, Roy Hargrove,
Frank Emilio, Rubén González, Giovanni Hidalgo, Papo Luca, Omara
Portuondo (with whom he played at 2002’s Tokyo Jazz Festival), Gonzalo
Rubalcaba, Wayne Shorter, Timbalada, Bebo Valdés and Chucho Valdés. In
addition to his performing schedule, Fonseca has taught at the Cuban
National School of Art. Fonseca has also composed music for films and
has produced albums for other artists, including Asa Feeston and
Obsesión.
------------- I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again ... Ken Burns
|
Posted By: snobb
Date Posted: 01 Aug 2011 at 6:17am
added both, what is the source/author of Fonseca's bio?
|
Posted By: idlero
Date Posted: 01 Aug 2011 at 6:44am
^ www.oldies.com
------------- I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again ... Ken Burns
|
Posted By: idlero
Date Posted: 02 Aug 2011 at 1:02am
Lucian Ban
Twice nominated in 2005 & 2006 for prestigious Hans Koller “Best European Jazz Musician Preis“Award, pianist, bandleader, composer & arranger LUCIAN BAN is originally from Cluj, Transylvania, Romania. He currently lives in New York City where is part of the next generation of performers & composers at the forefront of contemporary modern jazz. He leads several projects and writes innovative music that reinvents the idiom of jazz music. His compositions are performed & recorded by other musicians and ensembles. Mr. Ban leads the super group ELEVATION featuring world renowned tenor sax Abraham Burton, Nasheet Waits on drums and bassist John Hebert, the ASYMMETRY Quartet feat. Jorge Sylvester (alto sax), Brad Jones (bass) and Derrek Phillips or Gene Jackson (drums), and The TUBA PROJECT a group featuring the famous Bob Stewart on (tuba), Alex Harding (bari sax), Bruce Williams (alto sax) and Derrek Phillips (drums). He co-leads with soprano sax great Sam Newsome “The Romanian-American Jazz Suite” group, a project that presents Romanian Folk music from a jazz perspective. In 2008 their CD bearing the same name was released to critical acclaim to both US and European audiences, followed by successful tours on both sides of the Atlantic. He also co-leads with bari sax extraordinaire Alex Harding the LUMINATION Ensemble a group that performs since 2002 featuring special guests such as: Sam Newsome, Art Baron, Jorge Sylvester, Josh Roseman, Bruce Williams and many more. In 2003 the Lumination Ensemble featuring drum legend Barry Altschul was voted "One of the best shows of 2003 " by the All About Jazz Magazine NYC along with Cecil Taylor and Joe Lovano groups. Mr. Ban has released 7 critically acclaimed albums as a leader for US and European based labels. He performs and tours regularly with his projects and as a sideman in New York jazz clubs and Europe Festivals and between 2002 -2005 was a member of The BMI Composers Jazz Workshop. He also writes & arranges for Machito Orchestra and was commissioned by them to write a piece for their opening concert at Super Bowl 2002. Lucian Ban also wrote music for more than 20 theater productions, film and ballet and for NYC Symphony Orchestra and in June 2001 he composed original music for the Theater/Dance Company MINUS. His original music for the theatre play “Philosopher Fox” produced by East River Comedia was nominated twice for the prestigious IT Awards in NYC. His last theatre score was for Saviana’s Stanescu ‘Waxing West” production at La Mama Theater in NY. Lucian Ban has received his degree in Contemporary Jazz Composition and Arranging from New School University in NYC. He also holds a degree in Philosophy from Bucharest University
from bio at artist's site
------------- I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again ... Ken Burns
|
Posted By: idlero
Date Posted: 02 Aug 2011 at 1:06am
Aziza Mustafa Zadeh
Aziza Mustafa Zadeh was born in Baku, the Capital of
Azerbaijan, to musical parents. Her father, Vagif Mustafa Zadeh, a
pianist and composer, became famous by creating a fusion between jazz
and the traditional Azerbaijani music known as mugam. His wife, Eliza
Mustafa Zadeh, was a classically-trained singer from Georgia. As a young
child Aziza enjoyed all forms of art - dancing, painting, singing - and
at the age of 3 she appeared in public with her father, improvising
with voice. But it was her talent for the piano that eventually shone
through.
Having studied classical piano from an early age, and
despite her enthusiasm for the compositions of JS Bach and Frederic
Chopin, she soon began displaying a gift for improvisation. "I didn't
practise enough," she admits. "If I don't feel like playing then I don't
play." When her father died tragically on stage at the age of 39, it
was a shocking blow to the young Aziza, and a major turning point in her
life. Her mother's response to the crisis was to give up her own career
as a classical singer and dedicate herself to nurturing her daughter's
musical gifts. She now acts as her manager, and Aziza has come to rely
on her judgment when she's writing or recording new pieces. "I trust her
because she's extremely experienced as a classical musician and she had
jazz experience with my father," Aziza points out. "And she knows a lot
about music and history and literature."
When she was 17, she won the http://www.mymusicbase.ru/PPB/ppb1/Bio_137.htm" rel="nofollow - Thelonious Monk
piano competition in Washington DC, playing some of Monk's compositions
but in her own mugam-influenced style. Around the same time, she moved
to Germany with her mother, and concentrated on developing her own
distinctive musical direction.
In 1991, she released her debut
album, entitled simply Aziza Mustafa Zadeh. It was immediately clear
that this was an artist with an unusual and remarkable voice, able to
blend her ethnic roots with both classical and jazz inputs. Early
favourable impressions were reinforced by 1993's Always, which won Aziza
both the ECHO Award and the German Phono Association's Jazz Award. So
impressive were her talents that a prestigious squad of jazz musicians
chose to join her in the studio for 1995's Dance Of Fire. Many less
self-assured artists might have been overawed by a line up comprising
guitarist http://www.mymusicbase.ru/PPB/ppb4/Bio_440.htm" rel="nofollow - Al Di Meola , bassman http://www.mymusicbase.ru/PPB/ppb0/Bio_19.htm" rel="nofollow - Stanley Clarke , former http://www.mymusicbase.ru/PPB/ppb6/Bio_639.htm" rel="nofollow - Weather Report drummer http://www.mymusicbase.ru/PPB/ppb2/Bio_225.htm" rel="nofollow - Omar Hakim and saxophonist http://www.mymusicbase.ru/PPB/ppb0/Bio_46.htm" rel="nofollow - Bill Evans ,
but once again Aziza produced an album unmistakeably imbued with her
particular musical inclinations. 'Aziza is a genius, both as a composer
and as a performer. Her music has much more meaning for me than just
straight jazz because what I hear is her culture', said Di Meola. 'I
hear Azerbaijan.'
With audiences now packing out her live
concerts across Europe and beyond, from London and Paris to Istanbul and
Tel Aviv, she created a mild frisson of excitement by wearing little
more than long tendrils of hair on the sleeve of Seventh Truth (1996).
Perhaps this image was designed to mirror the music within, which was
mostly stripped down to solo piano and voice. The follow-up, Jazziza,
mixed up her own compositions with jazz standards including My Funny
Valentine and http://www.mymusicbase.ru/PPB/ppb2/Bio_271.htm" rel="nofollow - Dave Brubeck 's Take Five.
Now
there's Shamans, her first album under a new contract with Decca
Records. The disc, recorded at Abbey Road Studios in London, draws
together the varied strands of Aziza's music, brilliantly showcasing her
classically-influenced piano playing on Bach Zadeh or Portrait Of
Chopin, and giving full rein to her highly personalised vocal technique
on compositions such as Ladies Of Azerbaijan or Sweet Sadness. The title
piece is an unusual departure for Aziza, using only percussion, the
chirruping of a cricket, and multiple overdubs of her own voice to evoke
a mystical shadow-world. "For me, the spiritual part of life is the
most important," she explains. "Shamans are special people - they can
heal you."
from www.mymusicbase.ru
------------- I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again ... Ken Burns
|
Posted By: js
Date Posted: 02 Aug 2011 at 4:15am
Posted By: idlero
Date Posted: 03 Aug 2011 at 3:15am
Colin Stetson
Woodwind player http://www.artistdirect.com/nad/music/artist/card/0,,980832,00.html" rel="nofollow - Colin Stetson
can play powerfully while circularly breathing for long periods, can
draw multiphonics out of a sax with great skill, and can command an
audience's attention with his focus and melodic improvisations. http://www.artistdirect.com/nad/music/artist/card/0,,980832,00.html" rel="nofollow - Stetson
was born and raised in Ann Arbor, MI, where he became proficient on
assorted saxophones, clarinet, and flute. He earned a degree in music
from his hometown school the University of Michigan in 1997, studying
with http://www.artistdirect.com/nad/music/artist/card/0,,469009,00.html" rel="nofollow - Roscoe Mitchell , Donald Sinta, and Christopher Creviston; afterward, he went on to study with http://www.artistdirect.com/nad/music/artist/card/0,,395525,00.html" rel="nofollow - Steve Adams and http://www.artistdirect.com/nad/music/artist/card/0,,501682,00.html" rel="nofollow - Henry Threadgill as well. While still in college, he co-founded http://www.artistdirect.com/nad/music/artist/card/0,,1153636,00.html" rel="nofollow - Transmission (which later became http://www.artistdirect.com/nad/music/artist/card/0,,1153636,00.html" rel="nofollow - Transmission Trio ), and in 1998 he played with progressive Detroit-area jazz-rockers http://www.artistdirect.com/nad/music/artist/card/0,,680060,00.html" rel="nofollow - Larval on their Knitting Factory album http://www.artistdirect.com/nad/store/artist/album/0,,368101,00.html" rel="nofollow - Larval 2 . He moved to the San Francisco Bay Area that summer along with the rest of http://www.artistdirect.com/nad/music/artist/card/0,,1153636,00.html" rel="nofollow - Transmission , which released its first album in 1999. http://www.artistdirect.com/nad/music/artist/card/0,,980832,00.html" rel="nofollow - Stetson
also branched out to play with the People's Bizarre, a chamber jazz
group influenced by Eastern European folk, and Connector, which blended
acoustic and electronic instrumentation. In the meantime, he also played
live with the likes of http://www.artistdirect.com/nad/music/artist/card/0,,430625,00.html" rel="nofollow - Fred Frith , http://www.artistdirect.com/nad/music/artist/card/0,,454820,00.html" rel="nofollow - Peter Kowald , http://www.artistdirect.com/nad/music/artist/card/0,,487272,00.html" rel="nofollow - Ned Rothenberg , and http://www.artistdirect.com/nad/music/artist/card/0,,533642,00.html" rel="nofollow - Kenny Wollesen , and kept up his Detroit/Ann Arbor connections as well. Before moving west, he had played on his friend http://www.artistdirect.com/nad/music/artist/card/0,,661053,00.html" rel="nofollow - Recloose 's debut EP for Planet E, and their collaborations continued over the years, culminating in the DJ's acclaimed full-length http://www.artistdirect.com/nad/store/artist/album/0,,1635378,00.html" rel="nofollow - Cardiology in 2002. Also that year, http://www.artistdirect.com/nad/music/artist/card/0,,506628,00.html" rel="nofollow - Tom Waits tapped http://www.artistdirect.com/nad/music/artist/card/0,,980832,00.html" rel="nofollow - Stetson for reed work on his http://www.artistdirect.com/nad/store/artist/album/0,,1656845,00.html" rel="nofollow - Alice and http://www.artistdirect.com/nad/store/artist/album/0,,1656846,00.html" rel="nofollow - Blood Money albums, which led to significant exposure and a live performance on David Letterman. http://www.artistdirect.com/nad/music/artist/card/0,,980832,00.html" rel="nofollow - Stetson
had a limited edition 3" CD release of a 2002 performance at the
Artship in Oakland, and his full-length debut as a leader came in the
summer of 2003 with the quintet recording http://www.artistdirect.com/nad/store/artist/album/0,,2672187,00.html" rel="nofollow - Slow Descent . He also has his own website at www.colinstetson.com. ~ Steve Huey, All Music Guide
------------- I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again ... Ken Burns
|
Posted By: idlero
Date Posted: 03 Aug 2011 at 3:16am
Mathias Eick
Mathias Eick, is a Norwegian jazz musician born (26 June 1979) near the town of Eidsfoss in the county of Vestfold, Norway. His main instrument is trumpet, but he also plays double bass, vibraphone, piano and guitar. Mathias
Eick has performed with several well-known music groups and musicians,
Jaga Jazzist and “Trondheim Jazz Orchestra” together with Chick Corea
and Pat Metheny. Mathias Eick was awarded “The International Jazz
Award for New Talent 2007”.
As a trumpeter, Eick is much in the tradition of such players as Kenny
Wheeler, Chet Baker, Miles Davis, and Enrico Rava. Eick released his
solo debut album, The Door, on ECM in 2008. That same year he was also
featured on guitarist Jacob Young's ECM release Sideways. In 2011, Eick
returned to his solo work with the more contemporary pop-oriented Skala. from Allaboutjazz and www.mog.com
------------- I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again ... Ken Burns
|
Posted By: snobb
Date Posted: 03 Aug 2011 at 3:43am
Posted By: andyman1125
Date Posted: 03 Aug 2011 at 8:45pm
http://www.jazzmusicarchives.com/100nka.aspx" rel="nofollow - 100NKA 100nka (read: stonka) is a trio from Cracow, Poland. Lineup consist of percussionist http://www.last.fm/music/Przemek+Borowiecki" rel="nofollow - Przemek Borowiecki , contrabassist http://www.last.fm/music/Adam+Stodolski" rel="nofollow - Adam Stodolski , and guitarist Tomasz Leś.
Debuted in 2004 with the ‘Zimna Plyta’ album, recorded in the Alchemia club in Cracow with guest appearance of saxophonist and clarinettist http://www.last.fm/music/Miko%C5%82aj+Trzaska" rel="nofollow - Mikołaj Trzaska .
Improvised music by 100nka, with strong groove and free-jazz elements inspired by http://www.last.fm/music/Miles+Davis" rel="nofollow - Miles Davis , http://www.last.fm/music/John+Coltrane" rel="nofollow - John Coltrane , http://www.last.fm/music/Ornette+Coleman" rel="nofollow - Ornette Coleman , http://www.last.fm/music/Jim+Black" rel="nofollow - Jim Black , http://www.last.fm/music/Ellery+Eskelin" rel="nofollow - Ellery Eskelin , http://www.last.fm/music/+noredirect/Medeski%2BMartin%2B%2526%2BWood" rel="nofollow - Medeski Martin & Wood , http://www.last.fm/music/Drew+Gress" rel="nofollow - Drew Gress , http://www.last.fm/music/DJ+Logic" rel="nofollow - DJ Logic , http://www.last.fm/music/Yuka+Honda" rel="nofollow - Yuka Honda , http://www.last.fm/music/Dave+Holland" rel="nofollow - Dave Holland , http://www.last.fm/music/Scorch+Trio" rel="nofollow - Scorch Trio , http://www.last.fm/music/Ken+Vandermark" rel="nofollow - Ken Vandermark , http://www.last.fm/music/Hamid+Drake" rel="nofollow - Hamid Drake , http://www.last.fm/music/Joey+Baron" rel="nofollow - Joey Baron , http://www.last.fm/music/Tim+Berne" rel="nofollow - Tim Berne , http://www.last.fm/music/Herb+Robertson" rel="nofollow - Herb Robertson , http://www.last.fm/music/Adam+Piero%C5%84czyk" rel="nofollow - Adam Pierończyk , http://www.last.fm/music/Antoni+Ziut+Gralak" rel="nofollow - Antoni Ziut Gralak , http://www.last.fm/music/Fisz" rel="nofollow - Fisz , http://www.last.fm/music/Dave+Douglas" rel="nofollow - Dave Douglas , http://www.last.fm/music/John+Zorn" rel="nofollow - John Zorn , http://www.last.fm/music/Marc+Ducret" rel="nofollow - Marc Ducret , http://www.last.fm/music/Hilmar+Jensson" rel="nofollow - Hilmar Jensson , http://www.last.fm/music/Chris+Speed" rel="nofollow - Chris Speed , http://www.last.fm/music/Ben+Perowsky" rel="nofollow - Ben Perowsky , http://www.last.fm/music/Matthew+Shipp" rel="nofollow - Matthew Shipp , http://www.last.fm/music/William+Parker" rel="nofollow - William Parker .
Music created with use of 90 years old double bass, drums which remember birth of Polish Jazz and an electric guitar together with a broad arsenal of effects merging novelty with wealth of improvised music.
(Source: Last.fm)
-------------
|
Posted By: js
Date Posted: 03 Aug 2011 at 9:17pm
Posted By: idlero
Date Posted: 10 Aug 2011 at 8:37am
Lars Danielsson
The bassist Lars Danielsson is reknown and admired in the
International Jazz world for his lyrical but groovy playing. Not least
his capability to improve the appearance of the melody has brought him
around the world in a number of various musical constellations. Lars
Danielsson was born in 1958 and was educated from the Music
Conservatory in Gothenburg. Both on double bass, electric bass and cello
- (his originally main instrument from the days at the conservatory) -
he is an extraordinary soloist and accompanist, who gives the music edge
and colourful temperament. “Lars Danielsson Quartet” with former
Miles Davis saxophonist David Liebman, pianist Bobo Stenson and
legendary ECM drummer Jon Christensen has been receiving loads of
recognition and awards during the 20 years in which the Quartet has
existed. This Quartet has been a playground for Danielssons work as a
composer and arranger, which he has extended to include both Symphony
Orchestra and Big Band music. - During the previous years in
co-operation with Danmarks Radios RUO Orchestra (a Symphony Orchestra)
as a composer, arranger and producer. He was the conductor and composer
of the Jazz Baltica Ensemble for two years. Extracts from Lars
Danielssons Discography: 8 solo-albums since 1980 both with “Lars
Danielssons Quartet” and guests such as Alex Acuna and John
Abercrombie,Bill Evans and Niels Lan Doky. Other notabilities whom Lars
Danielsson has worked with is Randy and Michael Brecker, John Scofield,
Jack DeJohnette, Mike Stern, Billy Hart, Charles Lloyd, Terri Lyne
Carrington,Joey Calderrazzo,Gino Vanelli and Dave Kikoski. Lars
Danielsson has also been a member of the “Trilok Gurtu Group” . As
a producer Lars Danielsson has been responsible for productions with
Cæcilie Norby and The Danish Radio RUO Orchestra among others.
from Allaboutjazz..com
------------- I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again ... Ken Burns
|
Posted By: snobb
Date Posted: 10 Aug 2011 at 8:57am
Posted By: idlero
Date Posted: 11 Aug 2011 at 2:10pm
Vassilis Tsabropoulos
Born in Athens Vassilis Tsabropoulos, who is considered
to be one of the greatest Greek pianists, started playing the piano from
a tender age. A prodigy, was winning music competitions from the age of
ten, and after graduating from the Athens National Conservatory,
continued his studies on an Aristotle Onassis Scholarship at the Paris
Conservatory, the Salzburg Academy and the Julliard School, with great
teachers including http://www.mymusicbase.ru/PPB/ppb16/Bio_1613.htm" rel="nofollow - Rudolf Serkin and Tatiana Nikolayeva.
Tsabropoulos
was an early achiever, winning the UNICEF competition when he was only
ten. His distinctions and awards are too many and many are his
collaborations with Orchestras in Greece and Europe, performing an
ever-expanding repertoire in both recitals and concertos. He has future
as soloist with Orchestras such as the Czech Philharmonic, the Yuta
Symphony Orchestra, the Budapest Chamber Orchestra, the Sofia
Philharmonic, the Italy Radio Orchestra, the Athens Camerata, the Athens
Radio Symphony Orchestra, the Color Orchestra, the Lyon Orchestra and
the Huston Philharmonic.
Tsabropoulos has participated in many
international festivals all over Europe and he has performed every
season in the musical centers of the world, presenting an ever growing
repertoire in recitals, concertos and chamber music. He has made the
works of Beethoven, Mozart, Chopin and Bach central references in his
performance repertoire but is also committed advocate of Russian music,
frequently playing the works of Rachmaninov, Prokoviev and Scriabin. His
playing combines intellectual probity with warm and musical feeling,
which is marked by sensitivity to tone color and delicacy of finger
work.
While Tsabropoulos began his career as a keyboard virtuoso
playing concerto and solo pieces, he has since broadened the range of
his activities quite considerably. He has reputation as a classical
pianist, an interpreter of 19th and 20th century music, and there is an
internationally growing recognition for both his composing and his very
special improvising piano playing.
Tsabropoulos has composed
works for Orchestra, string quartets, music for violin and cello and
many solo piano works include the preludes which he wrote especially for
http://www.mymusicbase.ru/PPB/ppb16/Bio_1603.htm" rel="nofollow - Vladimir Ashkenazy . Since 2000 he is an artist of ECM Records label, and since then he has toured in Europe playing with http://www.mymusicbase.ru/PPB/ppb12/Bio_1235.htm" rel="nofollow - Arild Andersen
and John Marshal as a piano trio, and in piano solos with concerts in
England, Germany, Italy, Austria, Norway, Denmark, France and Greece.
Alongside his tight schedules of concert activities, Tsabropoulos has
given master classes of compositions and piano and frequently he is a
member of piano competitions.
Vassilis Tsabropoulos is considered
as one of the most meticulous musicians of his generation. He lives
with his family in Athens.
from www.mymusicbase.ru
By the way, his name is wrongly spelled - it should be Vassilis and not Vasillis
------------- I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again ... Ken Burns
|
Posted By: snobb
Date Posted: 11 Aug 2011 at 3:28pm
Posted By: idlero
Date Posted: 12 Aug 2011 at 10:45am
Agusti Fernandez
Over
the course of his long and successful career, pianist Agustí Fernández
has built up an international reputation, not only as one of Spain’s
most outstanding performers, but as a reference in the world of
improvised music. Fernández was born in Palma de Mallorca, where he
studied piano, later continuing his studies in Barcelona, France and
Germany. A professional musician since the age of just thirteen, his
life changed completely when he discovered the work of Cecil Taylor and
Iannis Xenakis when studying with the latter in 1978. Fernández’s career
as a solo artist really began to take off at the II Biennial of Young
Creative Artists in Thessaloniki, Greece, in 1987, since when he has
performed at major festivals all over Spain and Europe, as well as
composing for dance, theatre, cinema and television.
Co-founder
and director of the Orquestra del Caos and director of the Big Ensemble
del Taller de Músics in Barcelona, Fernández also co-founded the IBA
(Improvisadors de Barcelona) Orchestra with Joan Saura and Liba
Villavecchia, directing the impro ensemble until 2001.
Agustí
Fernández collaborated regularly with fellow pianist Carles Santos, and
took part with him in a number of shows from 1982 to 1998. He has also
taken part in performances by the artist Jordi Benito, as well as
composing music for the Catalan designer Antonio Miró and collaborating
with the flamenco cantaor Miguel Poveda, puppeteer Joan Baixas and
draftsman Perico Pastor.
Over
the course of his career, moreover, he was worked with such outstanding
contemporary dance choreographers as Àngels Margarit, María Muñoz,
Ramon Oller, Tomás Aragay and Margarita Guergué, amongst others. He also
accompanied the Merce Cunningham Dance Company when this renowned dance
troupe presented Event in Barcelona in 2009.
In
1998, Fernández began a close artistic collaboration with choreographer
and dancer Andrés Corchero, with whom he has created a number of shows
over the years. In 1998, moreover, he formed the Trío Local with Joan
Saura and Liba Villavecchia.
In
2003, Fernández became the first Spanish musician to record for the
prestigious German label ECM, playing with the Evan Parker
Electro-Acoustic Ensemble (of which he has been a member since 2002) on
the CD Memory/Vision. Fernández also joined the Barry Guy New Orchestra
in 2002.
Three
years later, in 2005, he formed the Fernández/Guy/López trio. The new
ensemble made its debut at the Grec Festival of Barcelona to present the
CD Aurora, which won unanimous worldwide critical acclaim.
Fernández
was musical director of the TVE programme Glasnost in 1989-91, and
co-director (with Barbara Held) of the Metrònom International
Experimental Music Week in Barcelona in 1997-1999. From 2000 to 2006, he
directed the Nous Sons contemporary music festival, organised at
L’Auditori in Barcelona. Finally, he has curated the Music Nights season
at the Joan Miró Foundation in the Catalan capital since the year 2000.
Agustí Fernández has also taught impro at ESMUC, the Catalan college of music, since 2000.
A prolific musician, he has recorded more than 50 CDs to date.
from artist's site
------------- I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again ... Ken Burns
|
Posted By: snobb
Date Posted: 12 Aug 2011 at 10:57am
Posted By: idlero
Date Posted: 14 Aug 2011 at 1:29pm
Julia Hulsman
Jazz singer, songwriter, composer, and pianist http://www.allmusic.com/artist/julia-hlsmann-p833723" rel="nofollow - Julia Hülsmann
was born in Germany, and her intelligent, brilliant, and incisive brand
of poetic, artful vocal and piano jazz has brought her tremendous
critical respect in her native country but little exposure or attention
outside of it. Forming her own trio with bassist http://www.allmusic.com/artist/marc-muellbauer-p994813" rel="nofollow - Marc Muellbauer and drummer Rainer Winch (Winch was eventually replaced in the trio by http://www.allmusic.com/artist/heinrich-kbberling-p453106" rel="nofollow - Heinrich Köbberling on drums) in 1995, http://www.allmusic.com/artist/hlsmann-p833723" rel="nofollow - Hülsmann released http://www.allmusic.com/album/trio-r1226560" rel="nofollow - Trio on BIT Records in 2003 as well as http://www.allmusic.com/album/scattering-poems-r893945" rel="nofollow - Scattering Poems , featuring vocalist http://www.allmusic.com/artist/rebekka-bakken-p553867" rel="nofollow - Rebekka Bakken , on the German label ACT that same year. Although she is an accomplished songwriter, http://www.allmusic.com/artist/hlsmann-p833723" rel="nofollow - Hülsmann 's work has often tended toward interpretation, and she has done intriguing reconfigurations of the songs of http://www.allmusic.com/artist/randy-newman-p5021" rel="nofollow - Randy Newman , http://www.allmusic.com/artist/nick-drake-p1963" rel="nofollow - Nick Drake , and http://www.allmusic.com/artist/sting-p5536" rel="nofollow - Sting and has provided striking jazz soundscapes for the poems of http://www.allmusic.com/artist/ee-cummings-p237381" rel="nofollow - E.E. Cummings and http://www.allmusic.com/artist/emily-dickinson-p238935" rel="nofollow - Emily Dickinson . http://www.allmusic.com/album/come-closer-r893944" rel="nofollow - Come Closer , with vocalist http://www.allmusic.com/artist/anna-lauvergnac-p483630" rel="nofollow - Anna Lauvergnac , was released in 2004 by ACT, followed by http://www.allmusic.com/album/good-morning-midnight-r864159" rel="nofollow - Good Morning Midnight , featuring singer http://www.allmusic.com/artist/roger-cicero-p583227" rel="nofollow - Roger Cicero , in 2006. http://www.allmusic.com/artist/hlsmann-p833723" rel="nofollow - Hülsmann reverted to a straight trio for two ECM recordings, http://www.allmusic.com/album/the-end-of-a-summer-r1442266" rel="nofollow - The End of a Summer , which appeared on in 2008, and http://www.allmusic.com/album/imprint-r2114075" rel="nofollow - Imprint , which followed in 2011.
by Steve Leggett
------------- I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again ... Ken Burns
|
Posted By: js
Date Posted: 14 Aug 2011 at 3:01pm
Posted By: idlero
Date Posted: 16 Aug 2011 at 9:26am
Jan Garbarek
b. 4 March 1947, Norway. Inspired by hearing http://www.mymusicbase.ru/PPB/ppb0/Bio_27.htm" rel="nofollow - John Coltrane
on the radio in 1961, Garbarek taught himself to play tenor saxophone
(subsequently adding soprano and bass saxophone). In 1962 he won an
amateur competition, which resulted in his first professional work, and
he was soon leading a group with Jon Christensen, http://www.mymusicbase.ru/PPB/ppb9/Bio_977.htm" rel="nofollow - Terje Rypdal and http://www.mymusicbase.ru/PPB/ppb12/Bio_1235.htm" rel="nofollow - Arild Andersen .
In 1968 he was the Norwegian representative at the European
Broadcasting Union festival, and the recordings of this (notably an
impressive version of Coltrane's 'Naima') brought him to wider notice
when they were transmitted throughout Europe.
Subsequently his
style has become more severe, sometimes almost bleak, although there is a
restrained warmth to his sound. Garbarek's playing is representative of
the kind of music associated with Manfred Eicher's ECM Records and of a
characteristically Scandinavian strand of jazz, melodic and
atmospheric, which has little overt emotionalism but does not lack
intensity. His writing and playing display considerable concern with
tone and texture and appear to have exerted some influence on Tommy
Smith and post-sabbatical http://www.mymusicbase.ru/PPB/ppb7/Bio_728.htm" rel="nofollow - Charles Lloyd (with whom he has shared colleagues Christensen, http://www.mymusicbase.ru/PPB/ppb1/Bio_101.htm" rel="nofollow - Keith Jarrett and http://www.mymusicbase.ru/PPB/ppb17/Bio_1724.htm" rel="nofollow - Palle Danielsson )
as well as a variety of European players such as Joakim Milder and
Alberto Nacci. In the mid-70s he worked in Jarrett's 'Belonging' band
with Christensen and Danielsson, recording the much-praised Belonging
and My Song, and also played with http://www.mymusicbase.ru/PPB/ppb7/Bio_737.htm" rel="nofollow - Ralph Towner on Solstice and Sounds And Shadows. In the 80s his own groups have featured http://www.mymusicbase.ru/PPB/ppb9/Bio_903.htm" rel="nofollow - Eberhard Weber , http://www.mymusicbase.ru/PPB/ppb6/Bio_666.htm" rel="nofollow - Bill Frisell and http://www.mymusicbase.ru/PPB/ppb2/Bio_242.htm" rel="nofollow - John Abercrombie among others. His tours in the late 80s with a band including the remarkable percussionist http://www.mymusicbase.ru/PPB/ppb13/Bio_1319.htm" rel="nofollow - Nana Vasconcelos
were highly acclaimed and inspired many other musicians and bands to
essay the juxtaposition of glacially imposing saxophone lines with
exotic, tropical rhythm. Garbarek has also worked with http://www.mymusicbase.ru/PPB/ppb22/Bio_2200.htm" rel="nofollow - Don Cherry , http://www.mymusicbase.ru/PPB/ppb5/Bio_574.htm" rel="nofollow - Chick Corea , http://www.mymusicbase.ru/PPB/ppb9/Bio_924.htm" rel="nofollow - David Torn and with http://www.mymusicbase.ru/PPB/ppb25/Bio_2562.htm" rel="nofollow - George Russell
during Russell's residency in Scandinavia in the late 60s - an
association which resulted in a fine series of recordings that featured
the young Garbarek, notably Othello Ballet Suite, Trip To Prillarguri
and Electronic Sonata For Souls Loved By Nature (though none was
released until the 80s). Garbarek has also shown an increasing interest
in folk and ethnic musics that has not only coloured his own playing but
led to him recording with Ravi Shankar on the 1984 Song For Everyone
and producing an ECM album for the Norwegian folk singer Agnes Buen
Gurnas, 1991's Rosensfole. For Ragas & Sagas (1993), Garbarek
collaborated with the Pakistani classical singer, Usted Fateh Ali Khan
and trio of musicians playing tabla and sarangi, a 39-string violin.
Garbarek's melodic solos effectively complemented the traditional
Pakistani instrumental sounds. In the same year, Garbarek's Twelve Moons
concentrated once again on the Scandinavian-folk melodies he is
continually exploring. The album's emphatic rhythmic 'feel' was due in
no small part to the presence of drummer http://www.mymusicbase.ru/PPB/ppb5/Bio_558.htm" rel="nofollow - Manu Katche and bassist http://www.mymusicbase.ru/PPB/ppb9/Bio_903.htm" rel="nofollow - Eberhard Weber .
Rather surprisingly, given his avoidance of gallery-pleasing
pyrotechnics, Garbarek has steadily acquired a public following equal to
his huge critical reputation. Observers of the UK Top 75 album chart in
the spring of 1996 would not have been as shocked as would a jazz fan,
but horror upon horror, Garbarek's Visible World became a hit. The
highly accessible nature of the opening tracks such as 'Red Wind', 'The
Creek' and the folk inspired 'The Survivor' aided it's wider appeal.
World music followers would also have found a great rapport with the
12-minute mantra 'Evening Land', featuring some wonderful vocals from http://www.mymusicbase.ru/PPB/ppb8/Bio_877.htm" rel="nofollow - Mari Boine .
from mymusicbase.ru
------------- I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again ... Ken Burns
|
Posted By: snobb
Date Posted: 16 Aug 2011 at 9:29am
Posted By: idlero
Date Posted: 16 Aug 2011 at 9:46am
Eric Vloeimans
Eric Vloeimans (1963), born in the Netherlands, is regarded as one of
Europe’s best trumpet players. He shows an extraordinary talent for
playing original music with an outstanding quality. On his cd's
Vloeimans prefers to record original compositions. As a composer he does
not feel restricted to one particular style, but at the same time, he
has managed to create a language of his own. His writing is fresh and
creative, yet not without feel and respect for the tradition. The great
musical talent and the expressive power of the music of Eric Vloeimans
have been honoured by winning the Dutch Edison Award four times, the Boy
Edgar Award, the Elly Ameling oeuvre prize and the prestigious Bird
Award at the North Sea Jazz Festival. Eric Vloeimans has been
active in a wide variety of ensembles all over the years. The Eric
Vloeimans Quartet and his recent Gatecrash group have earned reputations
as being Holland's top bands. Vloeimans' performances with a multitude
of other formations has shown his versatility. His musical talent,
easy-going attitude and great sense of humour have brought him to play
with national and international artists. Eric Vloeimans has attained a
level that enables him to share the stage with many of the most
reputable and established musicians in the jazz scene and beyond. He
played with Marc Johnson, Pierre Courbois, The Rotterdam Philharmonic
Orchestra, Michiel Borstlap, Jeroen van Vliet, Nguyên Lê, Anton
Goudsmit, Spinvis, Jimmy Haslip, Lars Danielsson, Michael Moore, Joey
Baron, Mercer Ellington, John Taylor, Harmen Fraanje, Henny Vrienten and
many, many others. His musical cooperation’s have taken Eric
Vloeimans abroad many times. With diverse artists and ensembles he
played all over Europe, South Africa, Indonesia, Thailand, China and
Japan. The experiences from his travels influence his work constantly.
The music of Eric Vloeimans shows a ... http://www.allaboutjazz.com/php/musician.php?id=11092#" rel="nofollow - Expand to read entire bio > remarkable power to create bridges and reach the hearts of people all over the world.
from www.allaboutjazz.com
------------- I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again ... Ken Burns
|
Posted By: snobb
Date Posted: 16 Aug 2011 at 10:06am
Posted By: idlero
Date Posted: 25 Aug 2011 at 7:27am
Jacques Schwarz-Bart was born of
mixed races. His early experience as a man taught him that one can be a
harmonious receptacle for several cultures, as long as each one is given
its value and importance. After graduating from the French School of
Government (Sciences Po Paris), Jacques has been working for the French
Senate. While his first instrument is the Gwoka Drums from Guadeloupe –
his native country, he discovers the tenor saxophone at age 24, and
three years later, quits his career to go and study at the Berklee
College of music.
After playing alongside such luminaries as Roy
Hargrove, Danilo Perez, Ari Hoenig, Meshell n’Degeocello, D’angelo or
Chucho Valdes, Jacques finally decides to follow his own vision as a
band leader. He then leaves Roy Hargrove’s band in 2005 and finalizes
his Gwoka Jazz Project, gathering some faithful and talented musicians
such as Sonny Troupé, Olivier Juste or Milan Milanovic. Jacques and his
Gwoka Project record two albums for Universal, “Soné Ka La” and “Abyss”,
which have built his current career as an internationally acclaimed
jazz band leader.
In 2010, he releases “Rise Above”, which revives his
long lasting collaboration with singer - and spouse - Stephanie McKay.
As Bob Davis puts it: “This album sounds like what might have happened
if John Coltrane and Minnie Riperton were to make an album together”.
More recently, Jacques, whose fertile brain seems to
never rest, has launched three new projects, ranging from straight jazz
to Caribbean roots music. The first one is a free trio with guitar,
drums and saxophone. The absence of bass, while freeing the music from
the ground, provides an aerial –almost ethereal - quality to the music.
The wide open space becomes a formidable launching pad for the
multi-dimensional playing of Gilad Hekselman and Obed Calvaire.
During these last years, Jacques had the opportunity
to play with drummer Leon Parker, pianist Baptiste Trotignon and bassist
Thomas Bramerie. From these encounters, a Quartet came up. The music
takes off effortlessly. The players soar with unpredictable but
purposeful creativity, while showing an unbreakable sense of unity. All
the members of the band contribute in the writing and direction of the
music. A recording is in the works for the end of 2011 and should
display how special a symbiosis is achieved here.
Last but not least, Jacques has created a project
that synergizes modern jazz and ritual voodoo music from Haiti. It
features two Voodoo priests: the great singer Errol Josué, and
percussionist Gaston Bonga, as well as some of the finest Jazz
musicians: Etienne Charles, Obed Calvaire, Luqies Cutis, and Milan
Milanovic. While remaining a jazz project, the music is lifted by the
powerful spirituality of voodoo music. Band members and audience seem to
be sailing together on a sea of light. The music was just presented as
the headliner for the opening day of the famous Banlieues Bleues
festival on March 11th, 2011 in Paris. Jacques then begins to tour with
this project, including concerts in Morocco (Essaouira Festival),
Guadeloupe, and more to come.
from artist's site
------------- I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again ... Ken Burns
|
Posted By: js
Date Posted: 25 Aug 2011 at 9:34am
Posted By: andyman1125
Date Posted: 25 Aug 2011 at 10:04pm
http://www.jazzmusicarchives.com/aievea.aspx?ac=aie" rel="nofollow - AIEVEA Oozing with innovative charm, Aievea re-invents the meaning of acid-jazz. Step into a world of two innovative and multi-instrument players - VLAICU GOLCEA and ELECTRIC BROTHER, brimming with freshly brewed electronic sounds, the must-see-to-believe drummer TAVI SCURTU who juggles with his steady, creative rhythms, sometimes on the soft tip of jazz, sometimes heavy and raw like drum’n’bass.
Nothing seems to be missing. But there comes MARTA HRISTEA with mellow, delicate or harsh, powerful vocals, versatile lyrics and unforgettable melodic lines in a perfectly accurate intonation. Still, there is something more: imagine a story within a story, the eye complementing the ear, the visual cornucopia of CASA GONTZ that will haunt your memories days and nights after the performance. It is no surprise they have highlighted numerous club gigs, radio and TV programs and theaters since their debut in 2002, and seeing them live is always a feast for your ears and eyes. Since the release of their first album, SCARED OF JAZZ, Aievea performed at the Montreux Jazz Festival, in Budapest, Rome, Ost Klub in Vienna, International Film Festival Rotterdam, Brussels, Val de Reuil, New Jazz Festival Iasi, Timisoara, Gheorghieni, Warsaw, among others.
From Last.fm
-------------
|
Posted By: Kazuhiro
Date Posted: 25 Aug 2011 at 10:15pm
Thank you. I added it now. Please confirm it.
|
Posted By: andyman1125
Date Posted: 25 Aug 2011 at 10:21pm
It's there. Thanks ![Thumbs Up Thumbs Up](smileys/smiley20.gif)
-------------
|
Posted By: Sean Trane
Date Posted: 26 Aug 2011 at 3:45am
MMMMhhhh!!!....
I had no idea we could slap on other site's bio on here...
I thoughht it was like in PA, where yuou had to write your own... OK!! I'll try to submit a few ....
I'll probably even try to provide them in the submission thread from now on.
------------- my music collection increased tenfolds when I switched from drug-addicted musicians to crazy ones....
|
Posted By: andyman1125
Date Posted: 26 Aug 2011 at 9:18am
It's more the fact that artists are added without bios, so I thought it would be nice to try to fill out JMA's empty halls ![LOL LOL](smileys/smiley36.gif)
-------------
|
Posted By: tupan
Date Posted: 15 Sep 2011 at 9:42am
Anette Hanshaw has a bio in Wikipedia (is free for use, but we only must give credit to wikipedia, I think): http://en.wikipedia.org/wiki/Annette_Hanshaw" rel="nofollow - http://en.wikipedia.org/wiki/Annette_Hanshaw
|
Posted By: snobb
Date Posted: 15 Sep 2011 at 11:16am
Posted By: tupan
Date Posted: 25 Sep 2011 at 11:19pm
Bio of Doc Cheatham, again from wikipedia; http://en.wikipedia.org/wiki/Doc_Cheatham" rel="nofollow - http://en.wikipedia.org/wiki/Doc_Cheatham
|
Posted By: snobb
Date Posted: 26 Sep 2011 at 1:28am
Posted By: andyman1125
Date Posted: 11 Dec 2011 at 11:18am
Miguel Zenon: http://www.jazzmusicarchives.com/miguel-zenon.aspx?ac=miguel" rel="nofollow - http://www.jazzmusicarchives.com/miguel-zenon.aspx?ac=miguel Miguel Zenón was born in http://en.wikipedia.org/wiki/San_Juan,_Puerto_Rico" rel="nofollow - San Juan , http://en.wikipedia.org/wiki/Puerto_Rico" rel="nofollow - Puerto Rico . While studying at the Escuela Libre de Musica in http://en.wikipedia.org/wiki/San_Juan,_Puerto_Rico" rel="nofollow - San Juan , he won a scholarship to the “Berklee in Puerto Rico” program of the http://en.wikipedia.org/wiki/Berklee_College_of_Music" rel="nofollow - Berklee College of Music and a scholarship to attend Berklee College in http://en.wikipedia.org/wiki/Boston" rel="nofollow - Boston . While at Berklee, Zenón became immersed in http://en.wikipedia.org/wiki/Jazz" rel="nofollow - jazz and began performing with http://en.wikipedia.org/wiki/Drummer" rel="nofollow - drummer Bob Moses’ Mozamba and the http://en.wikipedia.org/wiki/Either/Orchestra" rel="nofollow - Either/Orchestra . After completing his undergraduate degree, Zenón moved to New York, where he was awarded a scholarship to the http://en.wikipedia.org/wiki/Manhattan_School_of_Music" rel="nofollow - Manhattan School of Music , graduating with a http://en.wikipedia.org/wiki/Masters_Degree" rel="nofollow - Masters Degree in 2001. After gaining initial attention as a http://en.wikipedia.org/wiki/Sideman" rel="nofollow - sideman in the ensembles of http://en.wikipedia.org/wiki/Ray_Barretto" rel="nofollow - Ray Barretto and http://en.wikipedia.org/wiki/David_S%C3%A1nchez" rel="nofollow - David Sánchez , Zenón organized his own band in 2001, featuring http://en.wikipedia.org/wiki/Pianist" rel="nofollow - pianist Luis Perdomo, http://en.wikipedia.org/wiki/Bassist" rel="nofollow - bassist Hans Glawischnig and http://en.wikipedia.org/wiki/Drummer" rel="nofollow - drummer http://en.wikipedia.org/wiki/Antonio_Sanchez_%28drummer%29" rel="nofollow - Antonio Sanchez (replaced in 2005 by Henry Cole). The quartet’s first recording, Looking Forward, was released by Spain’s Fresh Sounds/New Talent label in 2002. A year later, Zenón became one of the first artists signed by http://en.wikipedia.org/wiki/Saxophonist" rel="nofollow - saxophonist http://en.wikipedia.org/wiki/Branford_Marsalis" rel="nofollow - Branford Marsalis ’ new label http://en.wikipedia.org/wiki/Marsalis_Music" rel="nofollow - Marsalis Music , which has subsequently released Ceremonial in 2004; http://en.wikipedia.org/wiki/Jibaro" rel="nofollow - Jibaro , an homage to the rural http://en.wikipedia.org/wiki/Folk_music" rel="nofollow - folk music of http://en.wikipedia.org/wiki/Puerto_Rico" rel="nofollow - Puerto Rico composed with grant support from the New York State Council of the Arts, in 2005; and Awake, a collection of original compositions in which Zenón’s quartet is supplemented by a http://en.wikipedia.org/wiki/String_quartet" rel="nofollow - string quartet and horns, in 2008. In addition to his own quartet, Zenón has maintained affiliations with several other leading jazz groups, including the SFJazz Collective, of which he is a founding member; http://en.wikipedia.org/wiki/Charlie_Haden" rel="nofollow - Charlie Haden ’s http://en.wikipedia.org/wiki/Liberation_Music_Orchestra" rel="nofollow - Liberation Music Orchestra ; and http://en.wikipedia.org/wiki/Guillermo_Klein" rel="nofollow - Guillermo Klein ’s Los Gauchos. Zenón has also participated extensively in jazz education programs, including the http://en.wikipedia.org/wiki/New_School" rel="nofollow - New School in New York, Canada’s http://en.wikipedia.org/wiki/Banff_Centre" rel="nofollow - Banff Centre and the touring Marsalis Jams program. Among his many awards, Zenón was named a http://en.wikipedia.org/wiki/Kennedy_Center" rel="nofollow - Kennedy Center Jazz Ambassador and toured http://en.wikipedia.org/wiki/West_Africa" rel="nofollow - West Africa in 2003, won the Rising Star Alto Saxophone award in the http://en.wikipedia.org/wiki/Down_Beat" rel="nofollow - Down Beat Critics Poll in 2004-6 and 2008 and the Best New Artist award in the http://en.wikipedia.org/wiki/JazzTimes" rel="nofollow - JazzTimes Readers Poll in 2006, and received a http://en.wikipedia.org/wiki/Guggenheim_Fellowship" rel="nofollow - Guggenheim grant to compose an extended work on the subject of Puerto Rican http://en.wikipedia.org/wiki/Plena" rel="nofollow - plena music in April 2008. He was one of 25 recipients of a http://en.wikipedia.org/wiki/MacArthur_Foundation" rel="nofollow - MacArthur Foundation “genius grant” in September 2008. His 2009 release, Esta Plena was nominated for a Grammy as Best Latin Jazz Album. Miguel is signed to the Cambridge, MA based record label, http://en.wikipedia.org/wiki/Marsalis_Music" rel="nofollow - Marsalis Music .
Source: Wikipedia
-------------
|
Posted By: snobb
Date Posted: 11 Dec 2011 at 11:27am
Posted By: andyman1125
Date Posted: 11 Dec 2011 at 12:32pm
Angles: http://www.jazzmusicarchives.com/angles.aspx" rel="nofollow - http://www.jazzmusicarchives.com/angles.aspx
Angles is a Swedish jazz sextet made up of Johan Berthling (bass), Kjell Nordeson (drums), Magnus Broo (trumpet), Martin Küchen (alto saxophone), Mats Äleklint (trombone), Mattias Ståhl (vibraphone). The group just released their latest record, “Every Woman is a Tree” (Clean Feed, 2008). Described by Clean Feed: Angles “spans the artificial divisions imposed between the ‘new’ and the ‘old’ improvising schools. His radical extended techniques, such as in the sonic use of saliva, are fundamental for the abstract, textural constructions on his solo album ‘Homo Sacer. ’ Although these techniques address sound itself rather than music as conventionally considered, Küchen is first of all a free jazz player. Küchen the free jazz artist is in fact what we find on ‘Every Woman is a Tree.’ It is free jazz with a post-bop twist, profiting from contributions from some of the most interesting musicians on the Scandinavian scene.
Source: last.fm
-------------
|
Posted By: snobb
Date Posted: 11 Dec 2011 at 12:36pm
Posted By: andyman1125
Date Posted: 11 Dec 2011 at 12:56pm
Thanks. ![Smile Smile](smileys/smiley1.gif)
-------------
|
Posted By: andyman1125
Date Posted: 13 Dec 2011 at 9:56pm
Do you think the couple threads that I opened could be stickied? It would make them much easier to find, IMO.
-------------
|
Posted By: js
Date Posted: 14 Dec 2011 at 4:51am
Posted By: andyman1125
Date Posted: 14 Dec 2011 at 4:53pm
Posted By: tupan
Date Posted: 27 Jan 2012 at 11:23am
Esperanza Spalding (from the official website): If “esperanza” is the Spanish word for hope, then bassist, vocalist and
composer Esperanza Spalding could not have been given a more fitting name at
birth. Blessed with uncanny instrumental chops, a multi-lingual voice that is
part angel and part siren, and a natural beauty that borders on the hypnotic,
the prodigy-turned-pro might well be the hope for the future of jazz and
instrumental music.
Spalding was born and raised on what she calls “the other side of the tracks”
in a multi-lingual household and neighborhood in Portland, Oregon. Growing up in
a single-parent home amid economically adverse circumstances, she learned early
lessons in the meaning of perseverance and moral character from the role model
whom she holds in the highest regard to this day – her mother.
But even with a rock-solid role model, school did not come easy to Spalding,
although not for any lack of intellectual acumen. She was both blessed and
cursed with a highly intuitive learning style that often put her at odds with
the traditional education system. On top of that, she was shut in by a lengthy
illness as a child, and as a result, was home-schooled for a significant portion
of her elementary school years. In the end, she never quite adjusted to learning
by rote in the conventional school setting.
“It was just hard for me to fit into a setting where I was expected to sit in
a room and swallow everything that was being fed to me,” she recalls. “Once I
figured out what it was like to be home-schooled and basically self-taught, I
couldn’t fit back into the traditional environment.”
However, the one pursuit that made sense to Spalding from a very early age
was music. At age four, after watching classical cellist Yo Yo Ma perform on an
episode of Mister Rogers’ Neighborhood, the roadmap was suddenly very
clear. “That was when I realized that I wanted to do something musical,” she
says. “It was definitely the thing that hipped me to the whole idea of music as
a creative pursuit.”
Within a year, she had essentially taught herself to play the violin well
enough to land a spot in The Chamber Music Society of Oregon, a community
orchestra that was open to both children and adult musicians. She stayed with
the group for ten years, and by age 15, she had been elevated to a concertmaster
position.
But by then, she had also discovered the bass, and all of the non-classical
avenues that the instrument could open for her. Suddenly, playing classical
music in a community orchestra wasn’t enough for this young teenager anymore.
Before long she was playing blues, funk, hip-hop and a variety of other styles
on the local club circuit. “The funny thing was, I was the songwriter, but I had
never experienced love before. Being the lyricist and the lead singer, I was
making up songs about red wagons, toys and other childish interests. No one knew
what I was singing about, but they liked the sound of it and they just ate it
up.”
At 16, Spalding left high school for good. Armed with her GED and aided by a
generous scholarship, she enrolled in the music program at Portland State
University. “I was definitely the youngest bass player in the program,” she
says. “I was 16, and I had been playing the bass for about a year and a half.
Most of the cats in the program had already had at least eight years of training
under their belts, and I was trying to play in these orchestras and do these
Bach cello suites. It wasn’t really flying, but if nothing else, my teachers
were saying, ‘Okay, she does have talent.’”
Berklee College of Music was the place where the pieces all came together and
doors started opening. After a move to the opposite coast and three years of
accelerated study, she not only earned a B.M., but also signed on as an
instructor in 2005 at the age of 20 – an appointment that has made her the
youngest faculty member in the history of the college. She was the 2005
recipient of the prestigious Boston Jazz Society scholarship for outstanding
musicianship.
In addition to the studying and the teaching, the Berklee years also created
a host of networking opportunities with several notable artists, including
pianist Michel Camilo, vibraphonist Dave Samuels, bassist Stanley Clarke,
guitarist Pat Metheny, singer Patti Austin, and saxophonists Donald Harrison and
Joe Lovano. “Working with Joe was terrifying,” she recalls, “but he’s a really
generous person. I don’t know if I was ready for the gig or not, but he had a
lot of faith in me. It was an amazing learning experience.”
Spalding’s journey as a solo artist began with the May 2008 release of
Esperanza, her debut recording for Heads Up
International, a division of Concord Music Group, which went on to become the
best selling album by a new jazz artist internationally in 2008. The highly
acclaimed release was the first opportunity for a worldwide audience to witness
her mesmerizing talents as an instrumentalist, vocalist and composer. The
New York Times raved, “Esperanza has got a lot:
accomplished jazz improvisation, funk, scat singing, Brazilian vernacular rhythm
and vocals in English, Portuguese and Spanish. At its center is a female
bassist, singer and bandleader, one whose talent is beyond question.”
Soon after release, Esperanza went straight to the
top of Billboard’s Contemporary Jazz chart where it remained for over
70 weeks. Spalding was booked on the Late Show with David Letterman, Jimmy
Kimmel Live, the CBS Saturday Early Show, the Tavis Smiley Show, Austin City
Limits and National Public Radio. Other highlights included two appearances at
the White House, a Banana Republic ad campaign, the Jazz Journalists
Association’s 2009 Jazz Award for Up and Coming Artist of the Year, the 2009
JazzWeek Award for Record of the Year, and many high profile tour dates,
including Central Park SummerStage in New York and the Newport Jazz Festival.
2009 was capped by an invitation from President Obama to perform at both the
Nobel Prize Ceremony in Oslo, Norway – where the Nobel Peace Prize is awarded –
and also at the Nobel Peace Prize Concert.
And as well as being on the road with her own band, Esperanza has toured with
Joe Lovano, and has also performed with pianist McCoy Tyner.
In early 2010, Spalding was the subject of an in-depth profile in The New
Yorker, she was also featured in the May 2010 Anniversary issue of O,
The Oprah Magazine’s “Women on the Rise” (in a fashion spread that features
portraits of 10 women who are making a difference in various careers), and she
was again nominated by the Jazz Journalists Association for their 2010 Jazz
Award for Up and Coming Artist of the Year.
If Esperanza marked a brilliant beginning for this
gifted young artist, then Spalding’s August 2010 release, Chamber
Music Society, sets her on an upward trajectory to prominence.
Inspired by the classical training of her younger years, Spalding has created a
modern chamber music group that combines the spontaneity and intrigue of
improvisation with sweet and angular string trio arrangements. The result is a
sound that weaves the innovative elements of jazz, folk and world music into the
enduring foundations of classical chamber music traditions. Co-produced by
Esperanza and Gil Goldstein (with string arrangements provided by both),
Chamber Music Society finds Esperanza with a diverse
assembly of musicians: pianist Leo Genovese, drummer Terri Lyne Carrington,
percussionist Quintino Cinalli, guitarist Ricardo Vogt, and vocalists Gretchen
Parlato and the legendary Milton Nascimento. The string trio is comprised of
violinist Entcho Todorov, violist Lois Martin and cellist David Eggar.
Esperanza has presented this album with a number of tours across the USA and
Europe, as well as travelling to Japan to play at the Blue Note club in Tokyo
and also down to the Cape Town Jazz Festival in South Africa. The album has
also been supported with TV appearances on the top American late night chat
shows, such as David Letterman and Jay Leno.
On Februrary 13th 2011 in Los Angeles, Esperanza received one of the music
industry’s most prestigious prizes, the Grammy for Best New Artist. As Esperanza
later said, she was surprised and also grateful to receive this award. It had
been a very special day, as earlier on Esperanza has cohosted the pre-telecast
with Bobby McFerrin and also performed with the Grammy Jazz Ensemble.
As well as a very busy spring and summer touring again in Europe and North
America, Esperanza has been working on her upcoming new album, Radio Music
Society. This new recording which she herself describes as funkier and more
update than its predecessor, is planned to be released in the Spring 2012.
|
Posted By: snobb
Date Posted: 27 Jan 2012 at 11:26am
Posted By: idlero
Date Posted: 30 Mar 2012 at 8:42am
Anat Fort -from her siteHaving grown up in Israel where she studied classical piano, listened to 80's pop and soaked up the diverse sounds of the Middle East, it is no wonder that this rich kaleidoscope of sounds and influences would eventually become her stylistic signature.
A natural improviser from a very young age, it was not until her late teens that she discovered the depth of jazz. The next step was coming to the United States to study with people who were part of shaping up this music like Harold Mabern, Rufus Reid and Norman Simmons. It was then that Anat started writing music, developing that aspect of her creative talent through the study of classical and jazz composition.
In 1999 Anat self-produced her first CD, Peel, that features an all-original program. The CD received excellent reviews, giving her the impetus to form a working band. But little did she know that the collaboration she would form with drummer Roland Schneider and bassist Gary Wang would continue to be her main vehicle of expression over a decade later. Having created a strong presence on the New York jazz scene, the Anat Fort Trio has traveled extensively in the US, Canada, Europe and Israel to play the most prestigious jazz venues and festivals such as the Montreal Jazz Festival, JVC Jazz Festival, The Opera House in Tel Aviv, NDR Rolf-Liebbermann studio in Hamburg, among many others.
Anat received two composition grants from the "Jerome Foundation" and one from "Meet the Composer". She has received commissions to compose pieces for orchestra and improvisational piano (Tzohar, 2000), chamber ensemble (Ketanot, 2002), choir and jazz trio (Mekayitz El Kayitz, 2007) and many more. She has played with many jazz greats such as Paul Motian, Ed Schuller and Perry Robinson with whom she recorded her second CD, A Long Story in 2004. This collaboration brought her to the attention of ECM Records producer Manfred Eicher who decided to produce the recording without their having initially been in the studio; a rare occurrence. The CD came out in 2007 and received outstanding reviews worldwide.
The success of her first ECM CD resulted in a long-awaited project, the first recording of the Anat Fort Trio: And If. This recording came out in 2010 and like its predecessors, features all Anat's original compositions. And If was selected by Slate Magazine as one of the Ten Best Jazz CD's of 2010, an honor she shares with one of her most influential jazz heroes, the legendary Keith Jarrett. The trio is currently touring in support of this new recording.
------------- I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again ... Ken Burns
|
Posted By: dreadpirateroberts
Date Posted: 30 Mar 2012 at 8:57am
^ added, thanks idlero!
------------- We are men of action. Lies do not become us. http://www.jazzmusicarchives.com/dreadpirateroberts%28member%29.aspx?reviews=all/" rel="nofollow - Reviews...
|
Posted By: darkshade
Date Posted: 04 Jul 2012 at 11:04am
OK, so Phish is on JMA, and needs a new pic, and I've also submitted a bio for them.
![](http://onmilwaukee.com/images/articles/ph/phishsummer2012/phishsummer2012_fullsize_story1.jpg)
To their fans, Phish are not just a band, they're a way of life.
Although the group's studio albums sell well enough, Phish are primarily
a live phenomenon: the living, breathing, noodling embodiment of the
term "jam band." Like Deadheads before them, Phish fans have followed
the group city to city, traded bootleg tapes with the band's blessings,
and feverishly debate the merits of past gigs (Phish never plays the
same set twice). By nurturing this grass-roots following, Phish bypassed
commercial radio and evolved over the course of a decade into one of—if
not the— hottest live attractions in America.
The band first came together in drummer John Fishman's dorm room at the
University of Vermont. Fellow students Trey Anastasio and Jeff
Holdsworth brought their guitars by to jam, and they were later joined
by bassist Mike Gordon, who answered a bulletin-board ad posted by
Anastasio. Fan Page McConnell, a student at Goddard College, joined as a
keyboardist in 1985, and Holdsworth left the following year. Early
performances around this time also featured percussionist Marc Daubert,
as well as occasional appearances by the enigmatic singer Dude of Life
(with whom the band would later record the album Crimes of the Mind.).
In 1988 Phish recorded its first album, Junta, which was sold as a cassette at gigs. By the time the band released its second album, Lawn Boy
(1990), on the independent label Absolute A-Go-Go, Phish's growing fan
base had begun to establish a presence on the fledgling Internet at
Phish.Net. Elektra signed the group a year later and released A Picture of Nectar in 1992, followed by reissues of Lawn Boy and Junta.
Beginning with 1993's Rift (Number 51), the band's popularity
began to translate into chart success. The following year's Hoist, which
spawned Phish's only video (for "Down With Disease"), went to Number
34, followed by 1995's double disc A Live One (Number 18), Billy Breathes (Number Seven, 1996), the live Slip, Stitch, & Pass (Number 17, 1997), The Story of the Ghost (Number Eight, 1998), the sprawling, six-disc Hampton Comes Alive (Number 120, 1999), and Farmhouse (Number 12, 2000). However the band's live performances, not its recorded output, defined it throughout the decade.
In addition to the band's trademark marathon improvisational jams
(drawing equally from jazz, rock, and country), fans could count on such
weird variables as Fishman's vacuum-cleaner solos and the band's
penchant for oddball covers; in 1994 Phish began a semiannual tradition
of performing an entire classic album live on Halloween as a "musical
costume" (ranging from the Beatles' White Album to the Who's Quadrophenia and Talking Heads' Remain in Light).
In 1997 the band's weekend festival, the Great Went, held in Limestone,
Maine, drew an audience of 62,000. The following year's Lemonwheel
Festival, also in Limestone, drew a comparable crowd. Phish ended the
Nineties playing for 75,000 fans at a two-night millennial concert at
Florida's Big Cypress Seminole Indian Reservation.
After touring in support of 2000's Farmhouse, Phish announced a hiatus. Fans were left with Elektra's official release of The Siket Disc, a collection of studio outtakes, and the feature-length documentary Bittersweet Motel. The group periodically updated its Web site about such band member side projects as Gordon's experimental film Outside Out and Trampled by Lambs & Pecked by Doves,
an album by Anastasio and Phish lyricist Tom Marshall. The band also
began releasing versions of shows dating back as far as 1989 as part of
the Live Phish series. Upon their return in 2002, Phish made shows available for instant download on the Live Phish Web site.
In 2004, shortly before the release of Undermind (Number 13),
Phish announced that they were breaking up after their summer tour,
culminating in one last festival on a farm in their native Vermont. The
festival took on an air of Woodstock as flooding and heavy traffic
prevented several fans from reaching the farm before they abandoned
their cars and trekked to the venue on foot.
Over the next four years, Anastasio embarked on a moderately successful
solo career first with a group informally known as Trey Anastasio Band,
which took on many incarnations over the years, and later as a member of
the supergroup Oysterhead, which also featured Primus' Les Claypool and
the Police's Stewart Copeland. Anastasio and Gordon toured together
briefly in 2006. In 2007, Anastasio faced felony drug possession charges
and spent the next year in a court-ordered drug program to avoid jail
time.
After months of rumors, Phish confirmed in 2008 that they would reunite
in 2009. The band played three shows in March of that year before
embarking on a summer tour. They released their fourteenth studio album,
Joy (Number 13) in September. From October 30 through November 1, Phish took on one of their most ambitious projects to date, Festival 8,
which found the band playing eight sets over three nights. Phish
finished the year by playing a four-night New Year's celebration in
Miami.
Phish has continued to tour in 2010, 2011, and 2012, performing some of their best shows in years. The band is due to enter the studio in 2012 to record the follow-up to Joy, with plans of getting together with no pre-existing material and completely write in the studio together.
------------- http://www.last.fm/user/MysticBoogy" rel="nofollow - My Last.fm
|
Posted By: snobb
Date Posted: 04 Jul 2012 at 12:47pm
Posted By: idlero
Date Posted: 15 Nov 2012 at 4:51pm
Tord Gustavsen
Tord Gustavsen (born 5 October 1970 in Oslo, Norway) is a major jazz pianist and composer. Before studying music, Gustavsen finished a degree in psychology. He studied jazz at the Conservatory of Music Trondheim and music theory at the University of Oslo. He tours extensively world-wide, and he has been a bandleader of a trio and a later ensemble both of which bore his name. The Tord Gustavsen Trio, with Harald Johnsen on double bass and Jarle Vespestad on drums, released three albums by April 2007 for ECM Records; Changing Places in 2003, The Ground (2004), and Being There (2007). He followed them with an album recorded by an ensemble he assembled in 2009, Restored, Returned - an album which was awarded with Spellemannsprisen (the Norwegian Grammy) in 2008. In addition, he has recorded as a session musician, and guested on friends' albums. Gustavsen's new Quartet with Tore Brunborg on saxophone, Mats Eilertsen on double bass, and Jarle Vespestad on drums, is highly praised for their album The Well (2012).
from http://www.bbc.co.uk/music/artists/6592df44-5b0c-4e39-9f8a-cea53288ac68
------------- I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again ... Ken Burns
|
Posted By: dreadpirateroberts
Date Posted: 15 Nov 2012 at 5:11pm
thanks! added
------------- We are men of action. Lies do not become us. http://www.jazzmusicarchives.com/dreadpirateroberts%28member%29.aspx?reviews=all/" rel="nofollow - Reviews...
|
Posted By: tupan
Date Posted: 18 Feb 2013 at 12:34pm
Bio for Areia e Grupo de Música Aberta (taken from their official website):
Areia is a member of the Mundo Livre S / A, (Founder of the Brazilian
musical movement called Manguebeat). Throughout his life as a composer,
has always been dedicated to instrumental music. It has partnerships
such as the Norwegian guitarist Steinar Aadnekvam; a trumpeter Dominic
Ntumous from Greece and Brazilian artists such as Alceu Valença, DJ
Dolores, Jacinto Silva and Maciel Salú, also played with Arto Lindsay,
Naná Vasconcelos and Tony Allen.
|
Posted By: snobb
Date Posted: 18 Feb 2013 at 12:49pm
Posted By: tupan
Date Posted: 08 May 2013 at 7:19am
http://www.jazzmusicarchives.com/bondesom.aspx?ac=Bondesom" rel="nofollow - Bondesom (the band sent to me):
Bondesom is a brazilian music group founded in Rio de Janeiro, since
2002. The sound of the sextet formed by Yuri Villar (soprano/tenor sax
and flute), Matias Zibecchi (percussion), Pedro Mann (bass), Antônio
Guerra (keyboards), Pedro Silveira (guitar) and Gabriel Guenther (drums)
is a mix of brazilian regional rhythms, latinjazz and afrogrooves.
Bondesom had already played at some of the best venues (Circo Voador,
Fundição Progresso) and city music festivals in Rio (Leblon Jazz
Festival, Viradão Carioca). The group has two recorded albums with its
own compositions: "Bondesom", 2007 and "Procurando Lola", 2011(this one
made after crowndfunding project). The third album is in pre-production
and will be released this year.
|
Posted By: snobb
Date Posted: 08 May 2013 at 7:34am
Posted By: tupan
Date Posted: 24 Sep 2013 at 7:26am
The band http://www.jazzmusicarchives.com/edo.aspx?ac=edoEdo" rel="nofollow - Edo has a biography in http://www.progarchives.com/artist.asp?id=8359" rel="nofollow - PA .
|
Posted By: snobb
Date Posted: 24 Sep 2013 at 7:27am
Posted By: tupan
Date Posted: 24 Sep 2013 at 7:46am
|