JAZZ

[sunrah]

artisti romani . . . get-beget?

eu una nu stiam, ceva detalii, nume, piese . . .

[Butchifer]

AZI LA MUZEUL SATULUI DIN TIMISOARA CONCERT "BLAZZAJ" !!!!!!!

[Ioannes]

azi a fost decernarea premiilor jazz pe anul 2005 ji n-am avut bani ji nici timp sa ma duc ( ma rog ...daca a fost cineva sa bage ceva poze asu ceva ...ma rog
pace

[Deena]

Festivalul International de Jazz Bucuresti 2005, editia a VII-a, isi va deschide portile in 16 octombrie la Sala Arcub din Bucuresti.

PROGRAMConcerte

S??mbata 15 oct. , ora 19,
Sala ArCuB
Mr. Blues A.G.Weimberger ?®n deschiderea festivalului

Duminica 16 oct. , ora 19,
Institutul Francez
Swing Paris (Franta)

Sala ArCuB, ora 19
Sorin Romanescu Trio (Rom??nia)
Liviu Marculescu Trio Contemporan +1(Rom??nia)
Jaroslaw Smietana Quartet (Polonia)

Luni 17 oct. ora 19
Sala ArCuB Stefan Lovin solo pian (Rom??nia)
Marius Popp & Peter Wertheimer Duo (Rom??nia, Israel)

Romeo Cosma Electricombo (Rom??nia)

Marti 18 oct. ora 19
Sala Radio Johnny Raducanu & Harry Tavitian Duo (Rom??nia)
Badileiras Jazz Samba do Mar Negro Quartet (Rom??nia, Germania, Brazilia)
Budapesta Ragtime Band (Ungaria)

Miercuri 19 oct. ora 19
Sala ArCuB Face the music Septet (Germania)

Balkadje (Franta)
Teodora Enache & Theodosii Spassov Quintet
(Rom??nia, Bulgaria, Macedonia)

Green Hours , ora 21,
Nicolas Simion & Paris - Transylvania Express (Rom??nia, Franta)

Joi 20 oct. ora 19
Sala Radio
Jancsy Korossy & Ramona Horvath Duo (USA, Rom??nia)
Big Band Radio dirijor Christian Anker Groen
invitat Nicolas Simion (Rom??nia, Olanda, Austria)
Benny Golson Quartet (USA, Franta)

Vineri 21 oct. ora 19
Sala ArCuB
Christof Lauer & Jens Thomas Duo (Germania)
Lydia Filipovic - Mediterraneo
(Bulgaria, Muntenegru, Grecia, Franta)
Alex Harding & Blutopia
invitat Cristian Soleanu (USA, Rom??nia)

S??mbata 22 oct. ora 19
Sala ArCuB
Marius Vernescu Trio (Rom??nia)
Craig Bailey Quintet tribute to Cannonball Adderley
(USA, Franta, Serbia, Grecia)
East Village & Marta Hristea (Rom??nia, Olanda)

Duminica 23 oct. ora 19
Sala Radio
Big Band Radio feat. Stjepko Gut & Craig Bailey
(Rom??nia, Serbia, USA, Olanda)
Anca Parghel (Rom??nia, Belgia, Olanda)
Tania Maria Orchestra (Brazilia)

Luni 24 oct. ora 19
Sala ArCuB
Florin Raducanu solo pian ??€� Back to Bach (Rom??nia)

Zum Live (Rom??nia, Republica Moldova, Venezuela)
Mircea Tiberian Quartet (Rom??nia, Germania, USA, Finlanda)

Marti 25 oct. ora 19
Sala ArCuB
Trigon (Republica Moldova)
Liviu Butoi Quartet (Rom??nia, Franta)

Eggnoise (Cehia) Jamsessions
S??mbata 15 octombrie, ora 22
ART JAZZ CLUB
Jaroslaw Smietana Quartet (Polonia)
_____________________________________________________________
si..tot saptamana aia:

Duminica 16 octombrie, ora 22
ART JAZZ CLUB
Swing de Paris (Franta)

Luni, 17 octombrie, ora 22
ART JAZZ CLUB
Marius Popp & Peter Wertheimer Duo
(Rom??nia, Israel)

Marti, 18 octombrie, ora 22
ART JAZZ CLUB
Nicolas Simion & Paris ??€� Transylvania Express (Rom??nia, Franta)

Miercuri 19 octombrie, ora 22
ART JAZZ CLUB
Balkadje (Franta)

Joi 20 octombrie, ora 22
ART JAZZ CLUB
Lydia Filipovic -Mediterraneo
(Bulgaria, Muntenegru, Grecia, Franta)

EVENT CLUB, ora 22
Teodora Enache & Theodosii Spassov Quintet
(Rom??nia, Bulgaria, Macedonia)

GREEN HOURS, ora 22
Alex Harding & Blutopia
invitat Cristian Soleanu (USA, Rom??nia)

Vineri 21 octombrie
ART JAZZ CLUB, ora 22
Mircea Tiberian Quartet (Rom??nia, Germania, USA, Finlanda)

EVENT CLUB, ora 22
Lydia Filipovic - Mediterraneo (Bulgaria, Muntenegru, Grecia, Franta)

Monaco Lounge Cafe, ora 22
Alex Harding & Blutopia
invitat Cristian Soleanu (USA, Rom??nia)

S??mbata 22 octombrie, ora 22
ART JAZZ CLUB
Craig Bailey Quintet tribute to Cannonball Adderley
(USA, Franta, Serbia, Grecia)

EVENT CLUB, ora 22
Alex Harding & Blutopia
invitat Cristian Soleanu (USA, Rom??nia)

Duminica 23 octombrie, ora 22
ART JAZZ CLUB
Alex Harding & Blutopia
invitat Cristian Soleanu (USA, Rom??nia)

Luni 24 octombrie
ART JAZZ CLUB, ora 22
Anca Parghel (Rom??nia, Belgia, Olanda)

Marti 25 octombrie
ART JAZZ CLUB, ora 22
Liviu Butoi Quartet (Rom??nia, Franta)


P.S. Pt. Ioannes Trebuia sa ajung, dar m'am "pierdut" pe drum...am ajuns in alta parte! incerc sa fac rost de poze si poate le pun si pe forum! Take care!

[arigo]

Pret bilete:

Sala Arcub

elevi, studenti, pensionari: 157.500 lei/15,75 RON

intreg: 304.500 lei/30,45 RON



Sala Radio

elevi, studenti, pensionari: 210.000lei/21 RON

intreg: 420.000 lei/42 RON



Concertul "Tania Maria", Sala Radio, 23 octombrie

elevi, studenti, pensionari: 210.000 lei/21 RON

intreg: 525.000 lei 52,5 RON

o mare muie organizatorilor pt preturile astea. daca anul trecut am reusit sa merg de vreo 4 ori, anul asta imi voi permite sa merg o singura data. cel mai probabil la marius popp...

iar line-up-ul e mai slab fata de cel de anul trecut.

[Deena]

Bio: Cab Calloway


Although the world knew him as "The Hi-De-Ho Man" from his hit "Minnie The Moocher," vocalist and bandleader Cabell "Cab" Calloway was an incubator of jazz talent and a timeless example of the swing era's appeal.
Born in Rochester, N.Y., on Christmas day in 1907, Calloway started as a singer in Baltimore. In 1927 he joined the revue Plantation Days and relocated to Chicago. Two years later, he became the leader of the Alabamians. By 1930, Calloway became a star in New York at the famed Savoy Ballroom and at the Cotton Club. At this time, Calloway's jive talking, hipster act was supported by top flight musicians that included trumpeter Doc Cheatham, bassist Milt Hinton and saxophonist Chu Berry. Dizzy Gillespie was in Calloway's trumpet section, but left after a celebrated "spitball incident" in 1941 (in which the two got into a fight in Hartford, Conn., after Calloway accused a young Gillespie of throwing spitballs at him ... Gillespie stabbed Calloway in the brawl). Afro-Cuban trumpeter Mario Bauza was also a member of that trumpet section.


Calloway's other important recordings included "Pickin' The Cabbage" and "Sunday In Savannah," which he sang in the 1943 motion picture Stormy Weather. He also appeared in the films St. Louis Blues and A Man Called Adam. In the '90s, Calloway's timeless appeal got him a cameo in a Janet Jackson video that introduced a new generation to his crowd-pleasing genius. He died on Nov. 18, 1994, in Cokebury Village, Del.

[Deena]

Bio: Benny Goodman

Clarinetist Benny Goodman was the only jazz musician in history to exert a direct and decisive influence so powerful that it would literally change the course of American music and stamp an era with his name. Though Goodman was the product of many influences, both as a soloist and band leader, it was he who would put jazz squarely at the center of American popular music for a decade and clear the path that would lead nearly all the great names of the swing era to fame.
Perhaps the most remarkable thing about Goodman was that even as a media pop idol at a level matched only by Sinatra, Elvis Presley, the Beatles and two or three others, he still managed to enrich the core of classic jazz with fundamental innovations in both small group and big band music. His bands introduced the likes of Lionel Hampton, Teddy Wilson, Harry James, Charlie Christian, Eddie Sauter, Mel Powell and many others.


Born May 9, 1909, in Chicago, Goodman began serious study of the clarinet when he was 10. He was something of a child prodigy, and at 14, his tone and attack left seasoned pros astonished. He joined Ben Pollack in 1926 and promptly departed Chicago for New York, where he was in wide demand as a sideman. Encouraged by John Hammond, who arranged a number of jazz record dates for him starting in 1933 (one featuring Billie Holiday in her record debut), Goodman began to think seriously about forming a band of his own in 1934. His first model was Glen Gray, whose Casa Loma band had carved a jazz-oriented niche for itself among young college audiences. On the basis of that, Willard Alexander of the MCA Agency persuaded his bosses that MCA should have a band to compete for that market and that Goodman's was the one to go with.

Much of Goodman's professional life in New York was spent working under leaders who functioned more as personalities or managers, with little if any musical knowledge. Part of Goodman's ambition to form a band rested on his conviction that orchestras should be built by musicians, not entertainers.

But not even Goodman's brilliance as a soloist led him to a clear understanding of what his band should sound like. What he needed most was the guiding hand of master architect to bring style, identity and context to the soloists. That architect would be Fletcher Henderson, who had led one of the trail-blazing black bands of the '20s and early '30s and whose arrangements would soon become the cornerstone of Goodman's early band and the entire swing era. Henderson joined Goodman during his run on the NBC "Let's Dance" program in January 1935. In addition to reworking famous charts from his own book ("King Porter Stomp," "Down South Camp Meeting"), Henderson would also lend his touch to fresh pop tunes of the day ("What A Little Moonlight Can Do") and even occasional classical adaptations (Ravel's "Bolero"). Although certain formulas developed, there were singular masterpieces as well. His arrangement of "Sometimes I'm Happy" brings a placid and relaxed swing to a slow ballad without jacking up the tempo.

As the first Goodman band reached its peak in 1937 and '38, Goodman used its commercial success to subsidize a series of small group-sides with Teddy Wilson and Gene Krupa, and after 1936, with Lionel Hampton. In 1939 he expanded the quartet to a sextet with the discovery of Charlie Christian, the first great electric guitar master.

In the early '40s, Goodman continued to reform and innovate. Eddie Sauter brought fresh perspectives to the band with originals such as "Benny Rides Again" and "Superman," both of which still sound startlingly undated. As Hampton moved out of the sextet, Goodman restructured it around Cootie Williams' versatile trumpet, producing a totally different small-group concept.

After the war Goodman experimented with bebop. The new harmonies interested him more than the rhythmic shapes, however. Realizing he had to take both together or nothing at all, he finally left bebop to its own masters and returned to the music of which the world considered him the master.

In 1950 Columbia Records issued recordings of his 1938 Carnegie Hall concert. The set became a runaway best-seller. A collection of brilliant broadcast performances from the late '30s followed in 1952; then a movie biography, The Benny Goodman Story, in 1956 and a tour of the Soviet Union six years later. After 1963 Goodman recorded less and less, preferring the simplicity of occasional concerts that let him play where and when he chose. And much of what he chose to play was Weber and Debussey. His classical performances, which began with the Mozart Quintet in 1938 and would include several important commissions, continued as a subtext throughout his career. Into the '80s neither the Goodman legend nor the Goodman clarinet technique faded significantly. He died in his sleep on June 13, 1986 after rehearsing for a Mozart performance at Lincoln Center.

[Deena]

Bio: Charlie Parker

Alto saxophonist Charlie Parker revolutionized the harmonic possibilities and rhythmic syntax of jazz improvisation to the extent that a whole new language, or at the very least a fresh jazz dialect, emerged. His style has engaged successive generations of players ever since.Bebop was not so much a break with the past as it was a logical evolution from it. Parker continued to use chord-based changes of popular standards as the basis for improvisation. But equipped as he was with surpluses of conceptual and instrumental virtuosity, the challenges posed by traditional swing no longer absorbed his full capacities. So he went looking for fresh problems to solve within the same musical material by incorporating subtle and more extended harmonic content into his improvisations and adding to that faster, more complex rhythmic zigs and zags.



As improvisation became more challenging to the best young musicians, it also became more bewildering to audiences raised on big band jazz. The intricacies of Parker's music also had the effect of making jazz more of a closed musical culture as the large general audiences backed away from the new jazz to more simple forms. The cult of hipness became something of an article of faith among Parker's followers. But as the pressures of the popular market were lifted from jazz, the music thrived playing to smaller but far more permissive audiences who appreciated the new freedom as much as the players.

Parker was born Aug. 20, 1920, in Kansas City, Mo., and came to music while in junior high school. In the late '30s he jobbed around the city, honing his technique and tone. He first recorded with the Jay McShann orchestra in between 1940 and 1942. The early 1940 radio transcriptions and the later commercial sessions for Decca show Parker pushing at the edges of the swing parameters with an explosive gift for unexpected phrasing and twists.

His progress over the next two years was striking but largely undocumented, due to a recording ban imposed by the musicians union. By the time he resumed recording in 1944-'45, his dazzling improvisations at breakneck tempos ("Ko Ko," "Donna Lee," "Shaw Nuff") astonished young jazz players as profoundly as they threatened veteran ones, thus setting the new against the old and triggering the first major internecine musical controversy in jazz history.

But the battle deepened into a cultural as well as a musical war as Parker's penchant for hard drugs and hard living further defined bebop as an outlaw music with an implied lifestyle that many chose to follow.

The definitive recordings of Parker's career were made for Savoy between 1945 and '48 ("Now's the Time," "Thriving Of A Riff," "Billie's Bounce"), and for Dial from 1946-'47 ("Ornithology," "A Night In Tunsia," "Lover Man," "Scrapple From The Apple"). They sold poorly but were as profoundly influential to young post war players as Armstrong's Hot Sevens and early big band sides had been to musicians of the '30s. Even during his most innovating period Parker remained something of a mystery figure to the general public. His picture never even appeared on Down Beat's cover during his lifetime.

The third major chapter of Parker's work began in 1948, when Norman Granz began recording him in different contexts with a view toward taking his music to a wider audience. By now his major innovations were over and his repertoire had narrowed to small number of staples. But an album with string accompaniment produced a mother lode of brilliant new Parker solos that would be his last major work. He died in 1955 at the age of 35 of a combination of drug related medical problems.

[sunrah]

AG WEINBERGER, in deschiderea "Bucharest Jazz festival 2005"

AG WEINBERGER este singurul blues-man roman despre care B.B. KING - adevarata legenda vie a genului - a declarat: ,Un chitarist foarte bun, dinamic". Dupa 3 ani si jumatate de ,exil cultural", cum ii place lui sa spuna, AG s-a intors in Romania invingator, avand semnat un contract cu o casa de discuri din strainatate. Tot in aceasta perioada a inregistrat un album in Nashville, produs de unul dintre cei mai prestigiosi producatori muzicali de gen - Tom Hambridge. Acesta din urma a colaborat cu artisti de renume mondial cum ar fi Lynird Skynird, Johnny Winter, Bonnie Raitt, Buddy Guy, Susan Tedeschi si Delbert McClinton si are in palmares 2 nominalizari la GRAMMY, cea mai recenta in 2005. AG WEINBERGER, considerat principalul promotor al blues-ului in Romania, va sustine maine, 15 octombrie, incepand cu ora 19, un concert extraordinar in deschiderea ,Bucharest Jazz Festival 2005". Concertul va avea loc la sala ARCUB din strada Batistei nr. 14.

[sunrah]

Johnny Raducanu si Harry Tavitian se dueleaza in piane

Johnny Raducanu si Harry Tavitian se vor "duela" pianistic, in seara aceasta, la Sala Radio, ora 19.00, in cadrul Festivalului de jazz Bucuresti. Cei doi jazzmani vor canta la doua piane si pregatesc pentru acest concert un program inedit. Harry Tavitian, invitatul personal al lui Johnny Raducanu in recitalul de la Sala Radio, spune despre prietenul sau: "Johnny Raducanu este un simbol si un spirit al jazzului romanesc. El m-a invatat sa traiesc jazzul". Maestrul Raducanu afirma: "Harry Tavitian este un muzicant foarte bun, extrem de talentat. E un artist adevarat, care apartine elitei muzicienilor de jazz. Harry e fiul meu adoptiv". Cei doi mari pianisti au concertat in ultimii ani sub denumirea "Romanian Jazz Piano Summit": Johnny Raducanu si Harry Tavitian. Festivalul de la Garana, din Muntii Semenicului, concertul aniversar "Harry Tavitian - 30 de ani de jazz" de la Constanta, recitalul de la Budapesta, concertul de la Satu Mare de acum o luna, in fata a peste 1.000 de spectatori, sunt cateva evenimente care i-au reunit pe aceeasi scena pe maestrii pianului Johnny Raducanu si Harry Tavitian.

vin eu la anul acolo, nu-mi mai scapa astea gen

[arheu]

rusu si flore noaptea trecuta in art jazz in ton cu festivalu ,un aftarauars reusit si ...cu siguranta nu ultimu de aici!

[sunrah]

Merci pentru poze Robert ...



(Madlib's Unkle, for those who didn't knew.)
Jon Faddis is a complete and complex musician, conductor, composer and educator. As a trumpeter, Mr. Faddis possesses full command of his instrument; he consistently demonstrates an extraordinary range, one that is virtually unparalleled today. In one moment, Mr. Faddis -- of whom his friend and mentor John Birks "Dizzy" Gillespie said, "he??€�s the best ever, including me!" -- summons forth and sustains searing, stratospherically high notes, and in the next, masterfully captures enchantingly soft, achingly thoughtful melodies. He evokes the voices of Armstrong, Davis, Eldridge, and of course, Gillespie, all the while remaining true to his own. His training for such excellence began early and involved working closely with many of jazz??€�s greatest legends. Inspired by an appearance of Louis Armstrong on the Ed Sullivan Show, Mr. Faddis began playing trumpet in 1961, at age eight. Three years later, with the help of his trumpet teacher, Bill Catalano, Mr. Faddis tackled the music of Gillespie. At age fifteen ( ), Mr. Faddis impressed Gillespie at the Monterey Jazz Festival, earning an invitation to sit in with Gillespie at the famed Jazz Workshop in San Francisco; it was the beginning of a profound lifelong friendship.

Two years later, after graduating from high school in Oakland, California, Mr. Faddis moved to New York, first joining Lionel Hampton's band as a featured solist, and then the Thad Jones/Mel Lewis Big Band at the Village Vanguard. At eighteen, he made a debut at New York??€�s Philharmonic Hall with Charles Mingus. Such auspicious beginnings heralded great things to come. Two decades (and countless recordings, tours, and appearances in the United States and internationally) later, Mr. Faddis would once again make a New York debut, this time as the conductor and music director of the Carnegie Hall Jazz Band, a preeminent jazz orchestra recognized not only for its swinging sound, tight ensemble work, and original arrangements, but also for the camaraderie among the CHJB musicians, each of whom Mr. Faddis seeks to showcase individually. As conductor and music director of the CHJB, Mr. Faddis brings a multidimensional vision of jazz to the music ??€� one that encompasses a healthy respect for the history of jazz yet also fully embraces and advances its tradition of innovation and change, one that combines an intellectual playfulness and curiosity with the rigorous discipline necessary to create exceptional music, one that pairs some of the greatest of jazz??€�s elder statesmen with some of the best emerging talent in unique and unexpected ways. The depth of expertise shared by the musicians, their ability to listen to and to learn from one another in creating a concert, and Mr. Faddis??€� own virtuostic strength and humor ??€� all make it sound at times deceptively easy to play the most difficult and adventurous of arrangements.

Mr. Faddis??€� prowess as a conductor is rooted in his early experiences as a solist and section musician with other great big bands and was honed in 1987, when Mr. Faddis played the primary role in organizing and rehearsing Gillespie??€�s big band, which celebrated the legendary be-bopper's 70th birthday on tour here and abroad. In 1989, Mr. Faddis assumed the same position as musical director of Gillespie??€�s United Nation Orchestra, another international all-star group. Since that time, Mr. Faddis has served as music director and/or conductor for various jazz bands, including the Carnegie Hall Centennial Big Band, the Lincoln Center Jazz Orchestra, the Fiftieth Anniversary Dizzy Gillespie Tribute Band, the Newport Jazz Festival Fortieth-Anniversary Tour, and the Tribute to King Oliver concert for the 1996 Olympics, and for the concert and video, Diana Ross Live: Stolen Moments. Mr. Faddis has also performed and recorded with the Duke Ellington Orchestra, the Count Basie Orchestra, the Gil Evans Big Band and the Mingus Big Band, among others; he has toured multiple times for the U.S. State Department and played for presidents at the White House and royalty abroad. Mr. Faddis also conducts the Jazz Millennium Big Band at the SUNY-Purchase Conservatory, where he is a distinguished professor and artist-in-residence, and the Dizzy Gillespie Alumni All-Stars at the Blue Note in New York and other venues nationally and internationally. Additionally, Mr. Faddis works in symphonic settings: in June 2000, he conducted the San Francisco Symphony Orchestra and Chorus in a concert of Duke Ellington??€�s Sacred Music, presented as part of the SFSO??€�s American Mavericks program. He is also featured with the London Philharmonic in Lalo Schifrin??€�s Jazz Meets the Symphony series, and other works such as Gillespiana and Latin Jazz Suite.

His compositions, from the scorching anthem "Into the Faddisphere" to the meditation "War and Peace" and ballads such as "The Best I??€�ve Found," evidence a strongly original voice, as does his work, Lulu Noire, a jazz opera created in collaboration with MacArthur recipient and librettist Lee Breur; Lulu Noire, adapted from the Wedekind Lulu plays, premiered at the Spol eto Festival (U.S.) in May 1997 and was performed at the American Music Theater Festival. Mr. Faddis??€� recordings, from amazing early duets (e.g., Oscar Peterson & Jon Faddis (Pablo/1975), when Mr. Faddis was merely twenty-two) to his most recent solo release, the Grammy-nominated Remembrances (Chesky/1998), demonstrate his remarkable versatility. Mr. Faddis??€� distinctive trumpet work is featured on numerous soundtracks, including The Wiz, The Cosby Show, A Winter in Lisbon and the Clint Eastwood films The Gauntlet and Bird, and on hundreds of recordings, including those of Eric Clapton, Aretha Franklin, Billy Joel, Quincy Jones and Tina Turner. Infused with the same spirit of mentoring that characterizes the best of the jazz tradition, Mr. Faddis has an enduring commitment to the education of young musicians. In addition to teaching at the Purchase Conservatory, Mr. Faddis frequently conducts clinics and master classes around the world. Mr. Faddis serves on the advisory counsel of the International Association of Jazz Educators and, as a board member of the International Trumpet Guild, co-hosted the 25th Anniversary conference in May 2000. He is a regular advisor to Jazz at Lincoln Center, including its and the "Essentially Ellington" competition and works with the Jazz Commission Project and the National Endowment for the Arts on various jazz projects. Mr. Faddis is the recipient of numerous accolades and awards, including the Milt Jackson Award for excellence and accessibility in jazz.

[Jon Faddis' discography includes the following albums as a leader under his own name: Hornucopia and Into the Faddisphere, both on Epic; Legacy (Concord Jazz); Youngblood (Pablo); and Good and Plenty (Buddha). He was co-billed with Oscar Peterson on Oscar Peterson & Jon Faddis (Pablo); with saxophonist Billy Harper on Jon & Billy and with Clark Terry on Take Double (Phonogram/Japan). He is a featured sideman and soloist on Charles Mingus & Friends (Columbia); Milt Jackson's Bebop (Atlantic); the Illinois Jacquet Big Band's Jacquet's Got It (Atlantic); and Dizzy Gillespie's Montreux (Pablo).]

[sunrah]

Samba Bossa nova ...is a style of Brazilian music invented in the late 1950s by a group of middle-class students and musicians living in the Copacabana and Ipanema beachside districts of Rio de Janeiro. The name could be translated as "the new beat" or "the new way". In Brazil, it became well known through the record "Chega de Saudade", performed by Jo??o Gilberto and composed by Antonio Carlos Jobim and Vinicius de Moraes. The record was released in 1958.

Origins and history: The music derives from the samba but is more complex harmonically and less percussive. The genre is highly influenced by jazz and became massively popular in Brazil and elsewhere in Latin America, though its international success was limited to brief periods of popularity such as after the release of the film Black Orpheus and with Stan Getz's releases in the 1960s. It is not consensus that bossa nova can be called a movement. However, it is recognized for its importance in Brazilian music history. It introduced complex harmonies, close relationship between lyrics and music, and a general concern for arrangement and musical form. It influenced later movements such as Tropic??liaMPB. Bossa nova repertoire consists predominantly of songs, while the instrumental music similar to it is generally called samba-jazz. and Perhaps the best known bossa nova song is Antonio Carlos Jobim's The Girl from Ipanema (A Garota de Ipanema), which is widely known in both its original Portuguese and in English translation.

Instruments: Bossa nova is most commonly performed on the nylon-string classical guitar, played fingerstyle (without a pick). Its purest form could be considered unaccompanied guitar with vocals, as exemplified by Jo??o Gilberto. Even in larger jazz-like arrangements for groups, there is almost always a guitar that plays the underlying beat. Though not as prominent as the guitar, the piano is another important instrument of bossa nova; Jobim wrote for the piano and performed on it for most of his own recordings. The piano has also served as a stylistic bridge between bossa nova and jazz, enabling a great deal of cross-pollination between the two. Drums and percussionare not considered essential bossa nova instruments (and in fact the creators sought to eliminate percussion), yet there is a distinctive bossa nova drumming style, characterized by continuous eighths on the high-hat (mimicking the samba tambourine) and tapping of the rim. Lush orchestral accompaniment is often associated with bossa nova's North American image as "elevator" or "lounge" music. While it is present, perhaps excessively, in much of Jobim's own recordings, it is rarely heard elsewhere.

Structure: Bossa nova is at its core a rhythm, and one based on the samba. Samba is in turn partially derived from European march music, and emphasis on the first beat carries through to bossa nova (to the degree that it is often notated in 2/4 time). When played on the guitar, the thumb plays the bass notes on 1 and 3, while the fingers pluck the chords in unison on 1 and 2, delayed on 3. Overall, the rhythm has a swaying rather than winging (as in jazz) feel. As bossa nova composer Carlos Lyra describes it in his song "Influ??ncia do Jazz", the samba rhythm moves "side to side" while jazz moves "front to back". Here is an example of a basic bossa nova rhythm as would be played on a guitar, using a C6/9 chord.
In terms of harmonic structure, bossa nova has a great deal in common with jazz, in its sophisticated use of seventh and extended chords. The first bossa nova song, "Chega de Saudade", borrowed some structural elements from choro, however, later compositions rarely followed this form. Jobim often used challenging, almost dissonant melody lines, the best-known being "Desafinado" or "Off-Key".

Origin of the term "bossa nova": Bossa Nova of course means "New Bossa", but according to Ruy Castro, author of Bossa Nova: The Story of the Brazilian Music That Seduced the World, the word "bossa" itself was "far from new" at the time of "Chega De Saudade," and had "been used by musicians since the days of yore to define someone who played or sang differently....In 1932, Noel Rosa used the word in a samba...which went O samba, a prontid??o e outras bossas/S??o nossas coisas, s??o coisas nossas (Samba, empty pockets and other bossas. Are our specialities." Castro writes that an editor in Brazil, Moys?©s Fuks, in 1958 wrote a program for a show featuring Roberto Menescal and other performers, and billed it as a "bossa nova evening." Castro writes, "The origin of the expression has never been completely clarified."



Samba Bossa Nova - Various Artists

This eclectic compilation shows the syncopated and seductive evolution of the African-derived Brazilian samba and its offspring, the bossa nova. The CD features a new-wave series of moods and grooves tailor-made for the 21st century. There's angel-voiced Rosa Passos and her silky version of the Ary Barroso/Luiz Peixoto song "E Luxo So." Guitarist-vocalist M??rcio Faraco's remake of Noel Rosa's samba-can?§??o "Feiti?§o da Vila" is just as tasteful. The elegant, classically tinged Quarteto Jobim-Morelenbaum, led by cellist Jacques Morelenbaum, skillfully mixes Ravel-like harmonies with Afro-Brazilian beats on "Eu e o Meu Amor/Lamento No Morro" from the film Black Orpheus. The London-based group Da Lata swings the sacred syncopations of "Cores" in a club-friendly, secular rendition. And the talented Moreno Veloso, son of the great Caetano Veloso, turns in an intimate and atmospheric version of Olodum's "Deusa do Amor" (Goddess of Love). These tracks show that the bossa nova and the samba can still give us new musical surprises. --Eugene Holley Jr.

01. Eu e o Meu Amor/Lamento No Morro - Quarteto Jobim-Morelenbaum
02. Cores - Da Lata
03. Papo de Psicologo - Jairzinho Oliveira
04. La Vem a Baiana - Jussara Silveira
05. Deusa do Amor - Moreno Veloso
06. Preto, Cor Preta - Jorge Aragao
07. Meu Mundo e Hoje - Eliete Negreiros
08. Admiracao - Paulinho Moska
09. E Luxo So - Rosa Passos
10. Feitico Da Vila - Marcio Faraco
11. Banho Cheiroso - Rita Ribeiro

[sunrah]

R.I.P. Weldon Irvine <- click for details!

What does it take to love my fellow man
His troubles are the same as mine
Why is it so hard for us to understand
that love transcends all space and time





Did anybody pickup Madlib's dedication to Weldon?

-----

Duke Ellington meets Coleman Hawkins

Wessel Anderson - Warmdaddy in the garden of swing

John Coltrane - My favorite things

[Deena]

Bio: Donald Byrd


From hard bop to hip hop, trumpeter Dr. Donald Toussaint L' Overture Byrd has always find a way to put a jazz vibe into black popular music.Born on Dec. 9, 1932 in Detroit, Byrd studied trumpet and composition and attended Cass Tech High School and graduated from Wayne State University in 1954. After leading several bands during his stint in the military, Byrd studied with the classical teacher Nadia Boulanger.



He arrived in New York in 1955 and worked with Sonny Rollins, Max Roach and Thelonious Monk. He co-led a combo with alto saxophonist Gigi Gryce and recorded for the Delmark label. His big break was with Art Blakey's Jazz Messengers in the mid '50s, where he was the vital link from Clifford Brown to Lee Morgan. In 1959, after he left the Jazz Messengers, Byrd discovered Herbie Hancock in Chicago and recorded a number impressive dates for Bethlehem, Columbia and Blue Note in the '60s, including Free Form and New Perspectives, with the gospel-tinged hit, "Cristo Rendentor." He also discovered composer Duke Pearson during that period.

From 1973, Byrd helped launch the jazz/funk era with his seminal albums, Black Byrd, Street Lady and Places and Spaces. Byrd created and produced The Blackbyrds, a combo composed of musicians he taught at Howard University in the early '70s. Byrd also repeated that formula with N.C.C.U from North Carolina Central University. After several funk forays in the early '80s on Elektra records, Byrd suffered a stroke and rehabilitated himself to record a few straightahead projects for the Landmark label. Byrd was one of the first jazz artists to embrace rap music and he appeared on the release Jazzmatazz Vol. I featuring the rapper Guru of Gangstarr.A recipient of a Masters of Arts Degree from the Manhattan School of Music, Byrd started jazz programs at Oberlin and Queens College. Throughout his career, Byrd's musical motto has been: Have groove, will travel.