Hades Forum

Bio: Oscar Peterson

If Art Tatum was the "God" of the jazz piano, then his protege, Oscar Peterson, is his only-begotten son. Since his emergence in the early '40s, Peterson's classically trained and blues-hued brilliance has set the standard for jazz piano excellence.


Peterson was born to Jamaican immigrant parents in Montreal on Aug. 15, 1925. His classical studies started when he was six, and eight years later he won a local talent competition. He went on to appear regularly on a Montreal radio station with the Johnny Holmes Orchestra. When Norman Granz heard Peterson, the young pianist had amalgamated the styles of Tatum, Errol Garner and Nat "King" Cole. Impressed by his talent, Granz featured him in Carnegie Hall in his Jazz At The Philharmonic concerts and he signed him to his Verve record label. With an instrumentation that featured bass, guitar and piano, Peterson formed a popular trio with Ray Brown and Herb Ellis in the 1950s. Later, drummer Ed Thigpen would be added and the combo worked steadily for the next two decades. His tribute to his homeland, The Canadian Suite was nominated for a Grammy in 1965, and his nod to Cole, With Respect To Nat, is one of his best loved recordings. He also recorded with Ella Fitzgerald, Dizzy Gillespie and Count Basie, among numerous collaborations.

In addition to the trio, Peterson has performed and recorded in a number of configurations from solo piano to orchestral, always setting the keyboard standard. Although a recent stroke has limited his left-hand work, Peterson continues to perform to this day.

In 1984, Peterson was elected into the D.B. Hall of Fame.

Bio: Monty Alexander


When Jelly Roll Morton declared that "the Spanish tinge" was a requirement of good jazz, he meant the music of Cuba. Had he heard what the island of Jamaica had to offer the jazz world in the person of pianist Monty Alexander, he might of revised the recipe.


Alexander was born in Kingston, Jamaica, on June 6, 1944. He began piano studies at age 4. Hearing Louis Armstrong in concert led him away from his traditional etudes to jazz. He emigrated to the United States in '61, at first settling in Miami, where he performed in local clubs. His recording debut came in '63 for Pacific Jazz, who signed him to replace Les McCann in the label's funky/soul jazz line up. Alexander's two releases for that label were followed by recordings for RCA and MGM. Alexander settled in New York City in '67, playing clubs including Minton's Playhouse, with drummer Jimmy Cobb, where he was heard by Ray Brown and Milt Jackson. For the next five summers, he worked with the pair individually and in combination, touring and recording. In '74 he formed his own trio which popular on the festival circuit, particularly in Europe. Alexander returned to Jamaica to record Razz , featuring the island's legendary guitarist Ernest Ranglin.

Mainstream pianists such as Art Tatum, Erroll Garner and Oscar Peterson have been major influences in his music but Alexander has also gone as far afield as recording the music of Bob Marley. He also claims fighter Muhammad Ali as one of his musical influences. As he told, "In the ring when he is working he uses rhythms, dynamics and reflexes and I can easily relate these elements to the way I envision playing."


Recomandare:Monty Alexander- No woman no cry here's the link
http://s52.yousendit.com/d.aspx?id=3KSZ ... ZHVH89DQ9Z

Enjoy!

Bio: Serart

When musical worlds collide, a new sphere of rich sound is born. Such is the case of SERART, a collaboration between Arto Tuncboyaciyan (tunk-boy-a-jian) and Serj Tankian, who have found common ground in shared Armenian backgrounds and a passion for sonic explorations.

Born in a small town near Constantinople, Turkey, multi-instrumentalist avant-garde folk artist Arto Tuncboyaciyan had appeared on more than 200 records in Europe before arriving in the United States, where he went to work with numerous jazz legends including Chet Baker, Al DiMeola, and Joe Zawinul, as well as a semi-regular stint with Paul Winter and the Earth Band. Arto also fronts his own group called the Armenian Navy Band.



Rock fans know Serj Tankian as the front man for the ground breaking Los Angeles band System Of A Down. System Of A Down's 2001 Breakout Album, Toxicity (on which Serj is also credited for his role as a co-producer), was named SPIN Magazine's album of the year -- among many other critical accolades -- and sold 5 million copies worldwide. Serj has also been prominent as an activist for social justice, working for positive political change through Axis of Justice, the organization he founded with Audioslave guitarist Tom Morello.

Produced by Serj and Arto, SERART is the first release on Serj's own Serjical Strike Records, a label seeking to offer a home for bold, new original music. An eclectic array of textured tracks, SERART mixes Middle Eastern melodies with Pan-African rhythms while shifting from classical motifs to bursts of percussion. "What I enjoyed most about the experience was the fact that everything was so present. It was immediate," Serj says. "There was no thinking about it."

SERART finds these two, seemingly disparate, creative artists joining for a new vision. The two met following Arto's performance at the 2000 Armenian Music Awards. A friendship grew when Arto appeared on Toxicity (he performed on an outro track) and later blossomed into a musical partnership and the desire to expand their respective musical vocabularies, blending cultures and defying genres.

Sessions for the album took a spontaneous approach in a free form atmosphere akin to expressionistic painting on a sonic canvas. The cross-pollination of rhythms and alternating tones and scales in the album present a diversity that reflects our own globe. "For me, it was seeing that love has no nationality because to be a human being is more important. It includes everybody," Arto says. "Nationality and religion is just seasoning of the human taste."

In the vibrant opening track, "Cinema," drum and bass beats get comfortable with scat vocals and jazzy interludes. "Love is the Peace" mixes the sounds of war (guns and bombs) with Arto's haunting voice. The melancholy ballad, "Leave Melody Counting Fear" which mixes acoustic guitar with a Chinese string instrument called a guchin, is a haunting centerpiece of tragic beauty. You'll find a dance club swirl on "Save the Blonde" and Serj's signature socially conscious spoken word over a tropical rain forest feeling track on "Claustrophobia." Another highlight track on the album is "Narina" which features the vocals of singer Jenna Ross.



Nothing is predictable as a sense of discovery pervades every element of the album. "Music is the sound of my life. I don't pretend to lead anyone. I leave it up to one's imagination," Arto says. "What I try to express is love, respect and the truth."

Brian Culbertson

There is a well-known and anticipated moment during every Brian Culbertson concert when the keyboardist discreetly asks the members of his band to turn their backs to the crowd. The leader then bows his head at the electric piano and plays a seductive theme. He offers the audience this intimate moment to kindle romance, hoping to send them home in a state of blissful anticipation with the thought, ??€?Baby, it's on tonight.??€?



Culbertson has turned that fleeting concert highlight into a 12-song seduction suite that marks his eighth album and GRP Records debut, It's On Tonight . Dripping in sensuality, the album consists of all-original material, including three vocal pieces: the flirtatious title track (f/ Will Downing ), the spirited ??€?Love Will Never Let You Down??€? (f/ Patti Austin ) and the bold ??€?Wear it Out??€? (f/ Marc Nelson , lyricist of three numbers on the CD and a member of Babyface's prot?©g?© vocal group, Az Yet ). Culbertson also hand-picked three of smooth jazz's most sensitive horn players to lend their singular auras to the vibe at hand: saxophonists Boney James and Kirk Whalum , and trumpeter Chris Botti . As always, Culbertson produced the album, collaborating on seven of the songs with his frequent creative partner Stephen Lu .

??€?I like conceptual albums,??€? Culbertson begins. ??€?My last album, Come On Up , was primarily an up-tempo party record. But I've always done one or two slow jams on my albums and everyone seems to be taken by those songs. They'll tell me, ??€?My wife and I (fill in the blank) to that song.' So I decided to do a whole album about just that - grooves designed to accompany every stage of romance. It's the reason most people buy instrumental music, really - to chill out, relax and do what they need to do.??€?

What Culbertson has crafted is the ultimate make-out CD for 2005 and beyond. ??€?The idea is to not interrupt anything that's going on,??€? he says confidently. ??€?Put it this way: hitting the skip button will not be required. And here's a little disclaimer: anyone popping this CD in with the express intent of doing somethin' can just start the disc at track 3.??€? In another bold move, Brian recorded only original songs, opting not to include any covers of bedroom classics.

Brian Culbertson began his quest in music at the age of 8 on piano, adding drums at 9, trombone at 10 then bass at 12. He grew up loving genre-crossing jazz-pop artists such as Chicago , Blood Sweat & Tears , Tower of Power , the Brecker Brothers , David Sanborn , Yellowjackets and Chick Corea . So passionate and naturally gifted was Brian that his 7th grade piano recital consisted of all original music. He flourished in high school bands with his father, Jim Culbertson, as the school's award-winning jazz band director, then went on to compose commercial jingles for clients such as United Airlines, Oldsmobile, Sears and McDonald's in Chicago 's competitive advertising community.

In 1994 - at the ripe young age of 20 - Brian self-produced his debut album, Long Night Out , followed in short order by Modern Life (1995 - his first album to top R&R and Gavin 's Contemporary Jazz charts driven by the hit single ??€?Come To Me??€?) and After Hours (1996). With 1997's Secrets , the hits kept on comin' with ??€?So Good,??€? ??€?On My Mind??€? (the song on which he asks the band to turn their backs) and his exceedingly tender, piano-driven rendition of Marcus Miller 's ??€?Straight to the Heart??€? (a song first recorded by David Sanborn ). His 1999 follow-up Somethin' Bout Love also sat high among the CJ Top 20 for nearly a year with the two #1 singles ??€?Back in the Day??€? and ??€?Do You Really Love Me???€?

In 2001 Brian released Nice & Slow (f/ special guest trumpeter Herb Alpert and singer/songwriter Kenny Lattimore ), which spent six weeks at #1 on Billboard 's Contemporary Jazz Chart thanks to the #1 singles ??€?Get It On??€? and ??€?All About You.??€? Then came Come on Up (2003), highlighted by a blazing cover of Earth Wind & Fire 's ??€?Serpentine Fire,??€? plus the beautiful ??€?Our Love,??€? penned for he and his wife Michelle's first wedding dance.

Now with the release of It's On Tonight , Brian Culbertson is anxious to return to weekend warrior mode and witness his magic at work, embarking on festival and concert stops this year via his returning tour sponsor, AirTran Airways . His show promises to be hotter than ever with his father Jim still holding down the trumpet chair, plus an exciting new addition to his concert group, saxophonist Eric Darius (who released his debut album, Night on the Town , last year and can be heard on Brian's ??€?Let's Get Started??€?). ??€?With Eric in the show there's a whole new energy,??€? enthuses Brian, a man known for working every inch of a stage playing piano, trombone and conducting. ??€?He's 22, from Tampa , and has this soulful thing goin' on. He's my on-stage counterpoint now - a breath of fresh air. It will be a pleasure introducing him to a wider audience.??€?

"Each track on It's On Tonight leaves you in high anticipation of what's coming next. It's a sexy, soulful collection of modern writing and production from someone who has reached the top rung of the contemporary jazz genre??€? ,GRP's Bud Harner concludes.

Brian Culbertson-Hookin' up ->
http://s6.yousendit.com/d.aspx?id=205JA ... ISBR51JNV5

Ma uitam ieri dis-de-dimineata la televizor, eram coplesita de somn, eh! acesta s-a spulberat ca un puf de papadie in momentul in care am zarit-o pe Aura Urziceanu, care a revenit in Romania pentru un proiect cultural si un concert aniversar, care va avea loc la Sala Palatului, pe data de 11 decembrie. Pentru mine este ceva extraordinar, m-as bucura sa isi doreasca fiecare sa fie prezent la acest eveniment, sa o si faca, in caz contrar, garantez ca va avea multe de pierdut, exemplul il aveti "de fata", eu.

De exista persoane interesate, achizitionarea biletelor care vor oscila de la 500.000 la 2.500.000, este disponibila la Magazinul Muzica sau direct de la Sala Palatului unde alaturi de Aura vor concerta si cativa membrii ai familiei: George (fratele), Elia (fiul) si Ron Rully (sotul), si un surplus de peste 47 de instrumentisti ~Orchestra Big Band, dirijata de Ionel Tudor si Orchestra nationala Radio), Madalin Voicu, Flavius & Eurosound (Germania) si un invitat-surpriza din SUA vor contribui la aura fermecatoarei artiste. Este admirabil, veti putea savura genuri muzicale precum cea clasica, pop, funk, jazz, opera, folclor si chiar muzica usoara.

Dupa 45 de ani de activitate artistica, Aura, a creeat o fundatie culturala care ii si poarta numele, avand ca rol lansarea si promovarea tinerilor artisti pe scenele lumii, ea declarand: Am incredere si ii iubesc pe tinerii romani care preiau stafeta! Respect foarte mult acest sufet, fiindca detine acea incredere in romani, in artistii de astazi, pe care ii considera talentati, carora le da aceasta sansa de a-si expune/construi fiecare propriul lui stil care sa-l defineasca intrutotul, putini ca ea!

Sa nu uitati sa cumparati primul volum al CD-ului intitulat The best of Aura care va fi in scurt timp scos pe piata!

Un interviu scurt, dar consistent acordat editiei din 11 Noiembrie 2005 ziarului Adevarul

Fundatia culturala "Aura Urziceanu" vrea sa promoveze Romania

Canta de la 16 ani, iar de atunci cariera Aurei Urziceanu a urmarit mai multe directii: pop, folclor, muzica clasica si jazz. A sustinut spectacole alaturi de mari artisti ai scenei mondiale: Quincy Jones, Duke Ellington, Thad Jones, Ella Fitzgerald, Mel Lewis.

- Ati infiintat de curand o fundatie culturala care va poarta numele. Cum v-a venit aceasta idee?

- Acum cinci-sase ani, dupa un turneu foarte lung in Australia si Japonia, m-am reintors la New York, unde locuiesc partial. La un moment dat, pe la ora 4.00 dimineata, buimaca, m-am uitat la televizor si am vazut propaganda negativa despre Romania. Pe un post francez a inceput un documentar care nu a aratat absolut nimic bun din Romania, centrele noastre culturale, absolut nimic. Au aratat niste tineri care vorbeau intr-o limba, in nici un caz romana, si asta a fost tot. La vreo sase luni, eram la Toronto. Venisem tot dintr-un turneu. Pe la 4-5 dupa-amiaza, pe canalul englezilor, acelasi lucru. Nimic din adevarata Romanie cu care ma mandresc. M-am suparat foarte tare pentru ca, de la inceputul carierei mele din 1968 cand m-au primit americanii si canadienii cu bratele deschise datorita genului de muzica pe care eu l-am inventat ca tanara artista, am spus publicului de unde vin, am vorbit despre tara mea si de atunci continuu sa fac acest lucru si voi continua pana cand voi inchide ochii. Spun mereu unde sunt invitata: "Faceti-va timp si mergeti sa vedeti tara asta frumoasa!" La televizor, in emisiuni, am adus si aduc harta Europei. Le arat Europa de Est si uite aici este Romania, tara unde eu m-am nascut si cu care ma mandresc. De la inceput am insistat sa fiu prezentata ca artist roman, pentru ca asta sunt. Acum renegociez contractul meu de o viata, de 45 de ani de cariera in muzica, si, in comparatie cu ceea ce a fost pana acum vreo trei ani cu turnee si concerte in tara si in strainatate in fiecare zi, voi avea mai mult timp, pe care doresc sa il ofer acestei fundatii culturale.

- Ce isi propune fundatia?

- In primul rand, promovarea si prezentarea tarii si a romanilor in strainatate la cel mai inalt nivel, strict cultural. Punctul al doilea la care tin foarte mult: tinerii. Pentru ca am incredere in ei, ii iubesc si ne pregatim sa le predam stafeta, doresc sa le intind o mana de ajutor si sa le ofer posibilitatea de a se dezvolta in talentul si dragostea lor pentru muzica si arta, fie ca sunt instrumentisti sau cantareti, fie ca doresc sa devina actori.

- Primul eveniment va fi concertul aniversar pe care il veti sustine la Sala Palatului?

- Da. Va avea loc pe 11 decembrie la Sala Palatului. Spectacolul aniversar - 45 de ani de cariera va fi fantastic. Este dedicat fiecarui roman caruia ii va face placere sa vina sa ma asculte si sa sarbatorim impreuna darul muzicii.

- Ce cale credeti ca a luat muzica romaneasca de acum?

- Muzica romaneasca trece prin diferite etape, asa cum sunt si generatiile, si este foarte firesc. Tocmai de aceea, consider ca noi, generatiile mai mature, trebuie sa ii sustinem pe cei tineri, sa ii invatam, sa ii incurajam si intr-un fel sa participam la educatia lor. Ceea ce vine de peste hotare noi vedem la televizor mult mai tarziu, fiind in urma cu ceea ce se intampla acolo. Aceasta miscare muzicala cu alte generatii si noua fatada a Romaniei reprezinta doar o copie a unei idei. Tinerii, la varsta lor, fara experienta, sigur ca vad si zic hai sa facem si noi. Se copiaza ceea ce este afara. Si in muzica este rau, dar cu atat mai mult doresc sa organizez aceste concerte pentru ca ei sa se dezvolte si sa reprezinte cu adevarat fatada culturala a Romaniei. Sa-si construiasca o personalitate originala in a canta, in a concepe, in a orchestra etc.

Gandul -> Marti, 13 decembrie 2005 wrote:

"Băi, ce nu-mi plac mie spectacolele astea??€¦ Toată lumea are bilet. Ăştia se-nghesuie numai la punkişti, numai acolo vor să intre trei pe-un loc??€?. Bişniţarul are toate motivele să fie cătrănit: a cumpărat un snop de bilete, cu g??ndul să se căpătuiască d??ndu-le la suprapreţ. A rămas cu ele-n braţe. Duminică seară, la Sala Palatului n-a fost bătaie pe locuri. Era, ?®n schimb, să se lase cu bătaie la intrare: fiindcă accesul la concert a fost ?®nt??rziat, spectatorii s-au apucat să bată ?®n uşi cu chei şi pumni, ba chiar le-au promis plasatoarelor că le ciufulesc puţin, dacă-i mai lasă mult să aştepte ?®n frig. ??€??Chemaţi-o aici pe Aura, să rezolve ea situaţia??€?, s-a av??ntat o madamă ?®n haină de blană. ???ntr-un final, situaţia s-a rezolvat pe cale clasică, iar angajatele care rup bilete au scăpat nevătămate.

Show-ul a ?®nceput cu 25 de minute ?®nt??rziere. Probabil că organizatorii au tras nădejde că rom??nul, neserios, dar meloman cum ?®l ştim, nu va ajunge ?®n sală la ora stabilită. Dar va ajunge. Speranţa nu le-a fost confirmată. Sala Palatului a rămas, p??nă la sf??rşit, pe jumătate goală. ???nsă cei care au venit au primit un recital cum nu s-ar fi aşteptat nimeni. Alături de o parte din Orchestra Naţională Radio şi de Big Band-ul Radiodifuziunii, dirijat de Ionel Tudor, Aura Urziceanu, după 40 de ani de carieră internaţională, parcă a ?®ntinerit alături de publicul de-acasă.

A c??ntat ?®n rom??nă, engleză, franceză, italiană, spaniolă, portugheză şi ebraică. A jonglat cu jazz-ul, folclorul, romanţa, muzica clasică, a topit graniţele şi a născocit punţi noi ?®ntre genuri.

Artist care preţuieşte marii ?®naintaşi, Aura Urziceanu a adus un omagiu genialilor Dizzie Gillespie şi Duke Ellington (titanul care a descoperit-o şi i-a ?®ndrumat ?®nceputurile carierei internaţionale). ??€??Caravan??€?, uriaşul succes instrumental al lui Ellington, a căpătat strălucirea vocii Aurei, ?®ntr-o inedită variantă de duo: la tobe, solista a fost acompaniată de Ron Rully. Cel care ?®i este alături de mai bine de 38 de ani, de c??nd a cerut-o ?®n căsătorie la trei zile după ce s-au cunoscut. De altfel, pe scena Sălii Palatului au urcat şi alţi oameni dragi Aurei: fratele său, violonistul George Urziceanu, şi băiatul ei, Elia Rully. Să vezi cum o mare artistă, care a ridicat ?®n picioare săli de pe toate continentele, se mulţumeşte să facă backing vocals din dragos-te de mamă, e un lucru care nu ţi se ?®nt??mplă chiar ?®n fiecare zi.

Nici să asculţi ??€??Capriciul 24??€? al lui Paganini, ?®n tălmăcirea glasului ei, nu e tocmai rutină. Ori teme din Rapsodiile enesciene, ca un concert pentru voce şi orchestră, după care nu te dumireşti ce instrument m??nuieşte, de fapt, femeia aceea micuţă şi at??t de pasională. ???ncepe un c??ntec. Ţi se pare că-l ştii, doar e o temă clasică de jazz. Ţi se pare. Fiindcă improvizează la prima strofă ?®ntr-aşa un stil, ?®nc??t p??nă să te dumireşti cum a făcut termină şi refrenul.

De la ??€??Foaie verde dediţel??€? la ??€??New York, New York??€? şi de la ??€??The Look of Love??€? la ??€??Ionel, Ionelule??€?, trec??nd prin ??€??Besame mucho??€? şi ??€??Cine iubeşte şi lasă??€?, Aura Urziceanu a răsp??ndit prin sală sunete ca nişte confetti. Dacă n-ar fi fost ?®nconjurată de mii de perechi de ochi, ci singură, departe de oricine, jocul cu armoniile ar fi făcut-o la fel de fericită. Spunea că şi-a dorit dintotdeauna să c??nte, de dimineaţă p??nă seara. Alţii spun că numele noastre nu sunt ?®nt??mplătoare. Privind-o fascinat, vedeai cum ?®n jurul ei Bucuria muzicii ţese o aură.

A fost cineva prezent? In caz ca da, imi poate descrie si mie cineva eventul in cateva cuvinte? Multumesc anticipat.

Riccarda, n'am reusit sa ajung, dar a ajuns o prietena care mi'a spus in cateva cuvinte =>

a fost sublim. s-a intrat moka dupa 7.30 si s-a terminat la 11!

imi pare rau ca nu am anuntat mai din timp, dar sambata am aflat si eu.

....

Bio: Sara Lazarus

Over ten years after her winning participation in the Thelonious Monk International Jazz Competition, Sara Lazarus??€� immense talent has at last been unveiled to all.. Indeed, in 1994 Sara was awarded first prize in this prestigious contest. However, this honour did not have an immediate effect. Sara, who cared little for dazzling lights, first opted for the sweet life of motherhood.


Sara was born in Wilmington, a small town in Delaware not far from Philadelphia. At home she was bathed in the sounds of big bands, favoured by her New York mother. After learning the piano, she switched to the saxophone which she played in the high school??€�s big band. At the age of sixteen, with the American Youth Jazz Band, Sara appeared in the Montreux Jazz Festival on the second tenor sax and also as a singer. As she has always sung, she affirms. Following high school, Sara studied literature at Harvard University. She didn??€�t yet aspire to a jazz singing career, despite having taken a few lessons in the New England Conservatory with Dominique Eade, but leant more towards being a literature teacher. However her jazz experience in the university??€�s big band as well as encouragement given by Illinois Jacquet, the legendary saxophonist invited by the band, all furthered her decision ??€� to become a jazz singer.

Sara Lazarus Quartet
She arrived in Paris in 1984 where she again met Illinois Jacquet who hired her for a tour in the south of France. Gigs were not lacking as Sara elegantly sang the well-known standards. She obviously put to use her natural talent, but also employed all she had learnt from listening to her favourite singers. In particular the other Sarah ??€� Vaughan by name ??€� with Betty Carter and Shirley Horn also following as front-runners. However, Billie Holiday and Ella Fitzgerald remained present in her heart as a singer and pedagogue. The former through her spontaneity, expressing her message to perfection. The latter as she mastered the difficult art of scat and phrasing in the way of a great jazz soloist. Slowly but surely, she gained respect and admiration of musicians and music-lovers. The Thelonious Monk award did not go to her head. Neither did her nomination in the Victoires du Jazz. She was billed in the choice spots in France and also gave lessons and master classes in several large festivals (Jazz in Marciac). She participated in Patrice Caratini??€�s Cole Porter project and finally cut the album everyone was waiting for impatiently.

On the piano is Alain Jean-Marie, a tremendous musician and ideal accomplice, esteemed by Sara for his great sensitivity, deep sonority and his knack of getting to the core of beauty on every occasion. On the bass is Gilles Naturel, a refined musician, on the mark and precise, who had developed both round and full sonority as well as an impeccable sense of tempo. On the drums Winard Harper, who Sara had met during her gigs, leaving an outstanding souvenir, and the faithful Andrea Michelutti both take turns. On a few tracks, we find the special guest Bir?©li Lagr?¨ne, a vertiginous guitarist and an astonishing accompanist, especially in Smile, where he??€�s found in a duo with Sara. This song, written by Charlie Chaplin, well represents the genre relished by the singer, often familiar tunes we are pleased to hear as they are not those sung by everyone. As is the case with It??€�s Crazy, a swinging and cheering love song, with Cole Porter??€�s Get out of Town, graced by Sara??€�s imperious swing, with her heartwarming style of He Was Too Good to Me, with Give Me the Simple Life and This Can??€�t Be Love, with their magnificent refreshed rhythm. As regards the better-known songs, we find Once Upon a Summertime, lyrics by the splendid Johnny Mercer, boasting marvellous articulation and feeling and a very unexpected Latino version of September Song. Another Latin number, but known to a lesser extent, is Clare Fisher??€�s Morning, which Sara presents here with irresistible charm and elegance.

REcomandare: Sara Lazarus- Morning=>
http://s42.yousendit.com/d.aspx?id=2Q38 ... 7HW3M2Q724

Bio: Praful


Being personal and global, natural and urban at the same time, Praful?‚?s music explores the most diverse styles and moods: from Jazz to Dance, from India to Brazil, from deep Silence to exploding Fireworks. Praful is a gifted multi-instrumentalist, composer, producer and charismatic performer from Amsterdam who, with his velvet sax sound and funky flute, is capable of both raising the roof and touching people?‚?s hearts and souls. His music is "fresh, yet traditional, inventive with sophisticated charm and appeal. It also rocks!" (a fan)

Following the success of 'One Day Deep', his latest album 'Pyramid in Your Backyard', was made with the same team as the last one: producers Adani & Wolf and Studio De Boot (floating somewhere in Amsterdam), and also released by Therapy Records.
He did not attempt to make a 'Two Days Deep'. This new album sounds richer and warmer. The red thread is still Praful?‚?s velvet, funky and instinctive sax and flute playing as well as the compositions and unique sound of the producers trio. Danceable tunes are again combined with chill tracks, more radio friendly tunes intercepted by stretched?‚­out experimental parts with electronic edge. The trio kept exploring deeper and spent 5 months in the studio. PiyB turned out more up-tempo than its predecessor. Percussionist and band member Afra Mussawisade was given an important role from the beginning. Where 'One Day Deep' drifted more on drum grooves and loops, this time percussion instruments from India, Brazil, Cuba, Turkey and Africa (Morocco, Senegal) form the rhythmic foundation. It is a true melting pot: 4 singers Sandhya Sanjana, Katia Moraes, Sudha and Praful), singing in English, Portuguese and Hindi, take you on a beautiful ride around planet earth.

Praful '....manages to come up with an even more consistent and versatile album, strengthened by excellent writing and a band of flawless musicians. His distinctive and luxurious 2-genre (jazz meets electronica) sound is elevated to new heights and Praful delivers a collection of songs that will astound both fans and critics.' (Monte LaRue)

Praful was born on January 1st, 1964 in D??sseldorf, Germany. Starting on electronic organ at the age of 7, he switched to saxophone at age 18. Besides being devoted to music he also passionately practiced the martial art Judo all through his childhood, attaining the 5th Kyu and fighting on national championships.

Before choosing the path of the musician (or music choosing him?), he traveled around the world for close to a year, searching to broaden his horizon. In '87 he moved to Holland to study Jazz sax and flute at the Amsterdam School of Arts (Conservatory) with Ferdinand Povel, Friderike Darius and Rob Madna. Experiments with Jazz Fusion during those years led to his first band ?’Good Move?‚?, with performances mainly in Holland and Germany.
He made his degree in '92, and, confronted with burnout and personal problems, he went in search for inner peace and his own lost voice. He spent 6 months in India in the Ashram of the enlightened teacher Osho, followed by 6 months in Brazil. Back in Amsterdam in '93, full of confidence and new inspiration, he started working with in Holland operating Latin, Brazilian, African and Indian musicians and groups and artists such as Treme Terra, Nippy Noya, Saoco and Gerardo Rosales as well as with his own project 'Praful & Alchemy'.

From '97 on he was drawn to newer developments in music: trip hop, dance and drum&bass. He played with the experimental dance formation 'Project 2000', which in '99 won the prestigious Dutch Heineken Cross Over Music Award.

From '97 until '02 he was working as reed player and composer with 'Bayuba Cante', an international group mixing Afro Cuban Santeria-roots with flamenco, rumba, Indian music, funk and jazz. During those years he also started studying the Bansuri (Indian bamboo flute) with Indian Master Hariprasad Chaurasia, and he slowly integrated the instrument into his own music and returned regularly to both Brazil and India.


Over the years Praful has collaborated and performed with a number of renown Djs, such as Roog, Michel de Hey, Maestro, Lucien Foort, Olav Basoski and Bart Thimbles.
Another loose project Praful is involved with currently is Jazzjuice, led by ElectroCoco producers Alain Eskinasi and DJ Graham B. At first the duo just pepped up and remodeled old Blue Note and other jazz tracks and invited guest musicians such as Praful to improvise over them, but by now the group is producing their own tracks ?‚­ with first singles and underground successes in London..
A long partnership connects Praful with Deva Premal, a singer who recorded Praful's compositions of ancient Buddhist Mantras on her albums 'Love is Space', 'Embrace' and 'Dakshina', the latter one also being produced by Praful. Her albums have been leading the American and European New Age Charts for years.

In '99 Praful had his first independent solo release, 'Touched by Love'. A simple album with soft liquid music, intended to be used for bodywork/massage sessions and to create a relaxing vibe. 3 tracks of this album were used for the independent Hollywood movie 'Cages'.

The international success of his second album 'One Day Deep' made Praful a household name for Chill-, Jazz-, Dance- and Crossover-Fans. The album was conceived, composed, produced and recorded by Praful together with the producers duo Adani&Wolf, assisted by guest musicians Afra Mussawisade (percussion, Iran/Germany), Ted de Jong (tabla, Holland), Adrian Elissen (Spanish guitar, Malta), Jos?© Lopretti (bass, Uruguay) and Brazilian singer Lilian Vieira. Its music has been described as '...sexy like a mysteriously beautiful person walking down the street, true, untainted beauty that could never be replicated ... the freeform sound of life' (Neil Bufkin, KTXT, TX). Radio Station TheWave/LA made Praful Discovery Artist?‚? of the year 2003.

'San Francisco has just been hit by another Earthquake ?‚­ and he goes by the name of Praful'. (Steve Williams from KKSF/San Francisco)
"One Day Deep" became best selling Billboard album?‚? and reached Top 10 of the Billboard Contemporary Jazz Chart, #11 of Billboard Electronic Chart (Dance) and Top 10 of the CMJ College Chart. Such a widespread success between these different worlds was seen as a rare phenomenon. In '04 the album was released in Germany, Switzerland and Austria by Blue Flame.

Skalpel Music Discography
Polish Jazz shaped into 21st century Sculptures

Skalpel Polish Jazz 1958 Sculpture music Ninja Tune Virtual Cuts
Skalpel are Marcin Cichy and Igor Pudlo DJs/producers from Wroclaw, Poland. Being new recruits of Ninja Foreign Legion,
they are rather hesitant to speak about their past. Sufficient to say, they are talented DJs, whose 4 mixes wereaired on Solid Steel
in the past, two of which were released as "Virtual Cuts" - namely the best mixtape released in the history of electronic music in Poland.

The year 2000 was a landmark for them, as they traveled the country with DJ Vadim and his Russian Percussion, presenting an amazing 4-deck show.
Later that year they released demo CD-R titled "Polish Jazz", which not only received a lot of critical acclaim,
but also led Skalpel to signing a contract with Ninja Tune.



CD-R titled "Polish Jazz"........sa-l ascultati este surprinzator

Multumim pt infos!

cu mare placere....dak gasesti infos despre jazz din tari de genul let me see pls

ceva despre ella fitzgerald este pe aici nu am apucat sa vad ?

ceva despre ella fitzgerald este pe aici nu am apucat sa vad ?

este=> Vezi la pag2!

Bravo pt topic....