JAZZ

[Deena]

Bio: James P. Johnson

Pianist James P. Johnson was a jazz trailblazer, known not only as a piano stylist but as a composer for jazz, Broadway and of large-scale works. He put the style of stride piano on the map, combining the ragtime of Scott Joplin with jazz, blues and the popular song.
Johnson's piano style had a major impact on pupil/friend Fats Waller, Duke Ellington, Count Basie, Art Tatum and Teddy Wilson, as well as on more modern players like Erroll Garner, Jaki Byard and Thelonious Monk.


Born in New Brunswick, N.J., on Feb. 1, 1894, his first musical experiences were with his mother, singing at the piano. Later, he took lessons with Eubie Blake, who taught him to take an orchestral approach to the piano. Having moved to New York in 1908, Johnson was working in New York's Hell's Kitchen section by 1913, and by 1917 had written his first of some 200 songs. The 1920s saw his career take off, with compositions (e.g., "Carolina Shout," "The Harlem Strut"), solo performances, playing with Bessie Smith and Ethel Waters, writing for Broadway (e.g., Runnin' Wild, 1923), composing large-scale works that incorporated elements of jazz based loosely on classical models (Yamekraw, 1927) and much work with Waller in a variety of settings (including with Yamekraw, and the revue "Keep Shufflin'" in 1928). The '30s found Johnson writing more large-scale works (Harlem Symphony, 1932) and performing again in clubs into the '40s. Johnson died in New York on Nov. 17, 1955.
In 1992, Johnson was elected by the Critics into the D.B. Hall of Fame.

[Deena]

Continuarea dictionarului de termeni inceput la pag 6

C:

Chorus= refren; unitate de lungime a unui solo improvizatoric, egala cu lungimea temei(12, 16 sau 32 masuri); expresia "a luat unul sau mai multe chorusuri" inseamna a improviza pe durata unuia sau mai multor refrene;

Clarinet= instrument de suflat din lemn cu ancie simpla; instrument clasic(in si bemol), apreciat in mod deosebit de creoli, a fost intrebuintat la inceputul jazz'ului in New Orleans, atat in fanfare cat si in formatiile de jazz;

Combo= formatie orchestrala de mici dimensiuni, avand intre 3 si 8 membri;

Come back= expresie care semnifica recastigarea aprecierii publicului de catre un artist, uitat, la un moment dat, din diverse motive;

Comercial= calificativ preponderent peiorativ ptr. productiile su lucrarile de jazz in care se fac unele concesii, ptr a castiga adeziunea unui public larg, neinitiat;

contrabas= instrumentul din familia corzilor, cu cel mai grav sunet; a inlocuit prin 1927 tuba din orchestrele de jazz;

contratimp= timpii slabi ai masurilor binare(2/4 si 4/4 after beat sau off beat); baterisul marcheaza contratimpul pe toba mica, pe fus-cinel sau prin batai din palme;

cool= stil aparut in 1948 ca o reactie la be bop; se caracterizeaza prin sobrietate in expresie, decontractare maxima, ritm relaxant si sonoritati calme, rafinate, catifelate;

cornet= varietate a trompetei, cu sonoritate mai putin stralucitoare, intrebuintat in jazzul New Orleans & Chicago;

corzi= grupa instrumentelor cu corzi si arcus(viori, viole, violoncele, contrabasi); improprii in obtinerea dinamismului si swing'ului executiilor de jazz, ele sunt utilizate adesea ptr acompanierea unor solisti, mai ales vocali, cu scopul de a face mai accesibila marelui public o productie ce se situeaza intre jazz si muzica pop(in engl. strings);


D:

Dixie, Dixieland= denumire populara a statelor din zona sudica a SUA; stil de jazz nascut in jurul anului 1900, in statele Dixi; nume dat manierei de interpretare de catre albi a stilului New Orleans;

drive= maniera de executie ce se caracterizeaza prin elan stimulator, vigoare, forta impulsiva;


F:

(jazz) feeling= calitate emotionala a unei executii, deosebit de sensibile, autentic jazzistice; termenul se foloseste si in alte contexte;

flaut= instrument imprumutat din orchestra simfonica, intrebuintat prima oara in jazz de Wayman Carwer din orchestra lui Bennr Carter in 1933;


G:

Glissando= procedeu de executie, constand in alunecarea continua a inaltimii sunetului, in cuprinsul unui interval, folosit initial de trombonistii stilului New Orleans(tailgate);

gospel songs= varianta moderna a cantecelor religioase negro spirituals, de la sfarsitul anilor '30;

growl= efect de sonoritate ragusita, obtinuta la instrumentele de alama cu surdina printr'o perturbare controlata a emisiei sunetului ;


H:

herd= denumire data diferitelor orchestre ale lui Woody Herman;

honky-tonk= localurile din Storyville, teverne, tripouri, unde se canta blues, ragtime si boogie-woogie si unde s'a nascut jazz'ul;

hot= mod de executie propriu jazzului anilor 1926-1930, caracterizat printr'o expresie vibranta, de mare tensiune si exuberanta, care foloseste intonatii caracteristice, accente si atacuri puternice, glissando si vibrato foarte pronuntate

[Deena]

Bio: Art Blakey

Art Blakey is recalled as one of the finest musicians and bandleaders in the history of jazz. Along with Max Roach, he established the drums as a front-line instrument, wielding his sticks with astonishing skill to propel the hard-bop of his acclaimed Jazz Messengers combo for 36 years. Blakey on drums was no less than a polyrhythmic force of nature, always alert to interactions with piano and the horns, and always filling his music with jubilation. His acclaimed press rolls were seemingly preternatural and his touch on cymbals impeccable. Blakey also excelled as a bandleader/instructor who nurtured three generations of youngtalent, allowing them to find their own creative wings before embarking on solo careers.

Born Oct. 11, 1919, in Pittsburgh, Blakey was originally a pianist. He went to New York with Mary Lou Williams' combo as a drummer around 1939 and did yeoman service with Fletcher Henderson's band before joining Charlie Parker, Sarah Vaughan and other budding stars in Billy Eckstine's embryonic bebop band. Following his stay with popular singer Eckstine, he began working New York clubs and contributing to recording sessions by the likes of Miles Davis and Thelonious Monk. In 1954, Blakey directed his firepower into a combo founded with pianist Horace Silver that had Kenny Dorham on trumpet and Hank Mobley on tenor saxophone (hear their Blue Note LP At The Cafe Bohemia). With Silver departing, Blakey and company rolled on, the ranks most always filled with superlative young players. Among those under his tutelage at one time or another in the '50s were trumpeters Bill Hardman and Lee Morgan, saxophonists Jackie McLean and Benny Golson (who provided the band with durable tunes "Moanin'," "Blues March" and "Along Comes Betty") and pianist Bobby Timmons.

Tenor player Wayne Shorter, trumpeter Freddie Hubbard and trombonist Curtis Fuller were Jazz Messengers for part of the '60s, touring and cutting Blue Note gems like Mosaic (1961) and Free For All (1964). Although jazz suffered a commercial slump in the late '60s and '70s, Blakey carried on with other fine student musicians including Woody Shaw, George Cables, Bobby Watson and Chuck Mangione. But it was the arrival of the 19-year-old trumpet wizard Wynton Marsalis in 1979 that gave rise to widespread interest in Blakey's cooperative quintets, sextets and septets. Not even Marsalis' decision to go solo could impede the Jazz Messengers' momentum; Blakey remained a tireless dynamo of creativity and prize students like Terence Blanchard, Donald Harrison, Robin Eubanks, Benny Green, Kenny Garrett and Geoff Keezer improvised with creativity and emotional commitment.
Only Blakey's death on Oct. 16, 1990, could silence the world-acclaimed Jazz Messengers.

[sadclown]

eu sunt o mare iubitoare de bossa nova asa ca ........
WHAT IS BOSSA-NOVA

Created in Brazil in the late 1950s during a period of political change and economical growth, bossa nova has been often described as the music of the Brazilian middle and upper classes. This music style originated in the wealthy neighborhoods that sprouted along the beaches of the city of Rio de Janeiro and both its music and lyrics were composed by middle and upper-class musicians and marketed to the same economic group. For this reason, bossa nova was criticized by some for emphasizing a carefree way of living that little resembled the life of most Brazilians, the great majority of which belonged to the working class.

Indeed, bossa nova compositions often spoke of love, the beach, and beautiful women and seemed to be a depiction of the author’s bohemian life rather than a tale of Brazilians’ daily struggles as usually happened with samba, a music genre popular among the working class. “The Girl from Ipanema,” which became popular outside of Brazil both in its original Portuguese form and in translation, is a perfect example of the uncommitted quality of bossa nova songs. “The Girl from Ipanema” is nothing more than the composer’s description of a woman walking down towards the beach, the sweet way in which she moves and how beautiful she is, culminating with the author’s statement that she’s the most beautiful thing he’s ever seen go by. The music that accompanied the first wave of bossa nova lyrics, while unique, used the same altered chords found in jazz music combined with the drum beat characteristic of samba.

Perhaps ironically, bossa nova, the music style associated with complacence, is also considered responsible for the birth of the protest music of the 1960s that denounced the political uproar Brazil found itself in that led to the military coup of 1964. Critical of the insipid character of bossa nova lyrics and influenced by the precarious political and economic situation of Brazil, artists started using music to voice their opinions and as a vehicle to teach the largely uneducated Brazilian population about their country’s current social, political and economic status.

Following the coup of 1964, a new generation of bossa nova musicians emerged. The music they composed was radically different from that created by the first generation of bossa nova musicians and depicted the plight of the Brazilian population and denounced the country’s newly installed military government. In addition, this new type of bossa nova music had a nationalistic character that its predecessor lacked. This new wave of bossa nova musicians not only sang about the hardships of Brazilians, especially about the life in the drought-stricken northeastern region of the country; the music they composed to accompany their lyrics also made use of traditional Brazilian instruments and borrowed from other genres of Brazilian music like the type of samba heard in the urban slums. But in spite of the differences that distinguish them from one another, both styles of bossa nova were intrinsically linked to Brazil’s history and reflected the historic period in which they were created, one born during a time of growth and the other created in a time of struggle.

ANTONIO CARLOS JOBIM a.k.a. TOM JOBIM


Born: Jan 25, 1927 in Rio de Janeiro, Brazil.
Died: Dec 8, 1994 in New York, NY.
Genres: Latin.
Styles: Brazilian Jazz, Latin Continuum, Brazil, Latin Folk, Latin Jazz, Bossa Nova, World Fusion.
Instruments: Vocals, Composer, Piano, Guitar.

It has been said that Antonio Carlos Brasileiro de Almeida Jobim was the George Gershwin of Brazil — and there is a solid ring of truth in that, for both contributed large bodies of songs to the jazz repertoire, both expanded their reach into the concert hall, and both tend to symbolize their countries in the eyes of the rest of the world. With their gracefully urbane, sensuously aching melodies and harmonies, Jobim's songs gave jazz musicians in the 1960s a quiet, strikingly original alternative to their traditional Tin Pan Alley source.

Jobim's roots were always planted firmly in jazz; the records of Gerry Mulligan, Chet Baker, Barney Kessel and other West Coast jazz musicians made an enormous impact upon him in the 1950s. But he also claimed that the French impressionist composer Claude Debussy had a decisive influence upon his harmonies, and the Brazilian samba gave his music a uniquely exotic rhythmic underpinning. As a pianist, he usually kept things simple and melodically to the point with a touch that reminds some of Claude Thornhill, but some of his records show that he could also stretch out when given room. His guitar was limited mostly to gentle strumming of the syncopated rhythms, and he sang in a modest, slightly hoarse yet often hauntingly emotional manner.

Born in the Tijuca neighborhood of Rio, Jobim originally was headed for a career as an architect. Yet by the time he turned 20, the lure of music was too powerful, and so he started playing piano in nightclubs and working in recording studios. He made his first record in 1954 backing singer Bill Farr as the leader of "Tom and His Band" (Tom was Jobim's lifelong nickname), and he first found fame in 1956 when he teamed up with poet Vinicius de Moraes to provide part of the score for a play called Orfeo do Carnaval (later made into the famous film Black Orpheus). In 1958, the then-unknown Brazilian singer Joao Gilberto recorded some of Jobim's songs, which had the effect of launching the phenomenon known as bossa nova. Jobim's breakthrough outside Brazil occured in 1962 when Stan Getz and Charlie Byrd scored a surprise hit with his tune "Desafinado" — and later that year, he and several other Brazilian musicians were invited to participate in a Carnegie Hall showcase. Fueled by Jobim's songs, the bossa nova became an international fad, and jazz musicians jumped on the bandwagon recording album after album of bossa novas until the trend ran out of commercial steam in the late '60s.

Jobim himself preferred the recording studios to touring, making several lovely albums of his music as a pianist, guitarist and singer for Verve, Warner Bros., Discovery, A&M, CTI and MCA in the '60s and '70s, and Verve again in the last decade of his life. Early on, he started collaborating with arranger/conductor Claus Ogerman, whose subtle, caressing, occasionally moody charts gave his records a haunting ambience. When Brazilian music was in its American eclipse after the '60s, a victim of overexposure and the burgeoning rock revolution, Jobim retreated more into the background, concentrating much energy upon film and TV scores in Brazil. But by 1985, as the idea of world music and a second Brazilian wave gathered steam, Jobim started touring again with a group containing his second wife Ana Lontra, his son Paulo, daughter Elizabeth and various musician friends. At the time of his final concerts in Brazil in September 1993 and at Carnegie Hall in April 1994 (both available on Verve), Jobim at last was receiving the universal recognition he deserved, and a plethora of tribute albums and concerts followed in the wake of his sudden death in New York City of heart failure. Jobim's reputation as one of the great songwriters of the century is now secure, nowhere more so than on the jazz scene where every other set seems to contain at least one bossa nova.

JOAO GILBERTO


Born: Jun 1931 in Salvador, Bahia, Brazil.
Genres: Latin.
Styles: Brazilian Jazz, Latin Continuum, Brazil, Bossa Nova, Tropicalia.
Instruments: Vocals, Guitar

When talking about bossa nova, perhaps the signature pop music sound of Brazil, frequently the first name to come to one's lips is that of Antonio Carlos (Tom) Jobim. With songs like "The Girls From Ipanema" and "Desafindo," Jobim pretty much set the standard for the creation of the bossa nova in the mid-50s. However, as is often the case, others come along and take the genre in a new direction, reinventing through radical reinterpretation be it lyrically, rhythmically, or in live performance, making the music theirs. And if Jobim gets credit for laying the foundation of bossa nova, than the genre was brilliantly reimagined (and, arguably, defined) by the singer/songwriter and guitarist Joao Gilberto. In his native country he is called O Mito (The Legend), a deserving nickname, for since he began recording in late 1950s Gilberto, with his signature soft, near-whispering, croon, has set a standard few have equaled.

Born in 1931 in Juazeiro in the northeastern section of Brazil known as Bahia, Gilberto seemed obsessed with music almost from the moment he emerged from the womb. His grandfather bought him his first guitar at age 14 (much to the dismay of Joao's father). Within a year, the result of near constant practicing, he was the leader of a band made up of school friends. During this time Gilberto was absorbing the rhythmic subtlety of the Brazilian pop songs of the day, while also taking in the rich sounds of swing jazz (Duke Ellington and Tommy Dorsey), as well as the light opera singing of Jeanette MacDonald. At 18, Gilberto gave up on his small town life and headed to Bahia's largest city, Salvador, to get a foothold in the music industry performing on live radio shows. Although he was given the opportunity to sing, instant stardom was not in the offing, but his brief appearances on the radio brought him to the attention of Antonio Maria who wanted Gilberto to become the lead singer for the popular radio band Garotos da Lua (Boys From the Moon) and moved to Rio de Janiero.

Gilberto stayed in the band only a year. He was fired after the rest of the group could take no more of his lackadaisical attitude. Gilberto was frequently late for rehearsals and performances, and in a move reminiscent of American pop star Sly Stone, would occasionally not show up at all. After his dismissal from the group Gilberto lived a semi-nomadic life. For years he had no fixed address drifting drifted from friend to friend and acquaintance to acquaintance living off their kindness rarely if ever contributing to the household expenses. Evidently Gilberto was such charming company that his emotional carelessness and fiscal apathy was never an issue — that and he had extremely patient and generous friends. It was during this underachieving bohemian period that Gilberto kept an extremely low profile. Instead of using his time with Garotos da Luna as a springboard for other recording and performing possibilities, he became apathetic, constantly smoking large quantities of marijuana, playing the odd club gig, and refusing work he considered beneath him (this included gigs at clubs where people talked during the performance). Although gifted with considerable talent as a singer and guitar player, it seemed as though Gilberto would fail to attain the success and notoriety he deserved if only due to apathy that verged on lethargy.

After nearly a decade of aimlessness Gilberto joined forces with singer Luis Telles who encouraged Gilberto to leave Rio for a semi-bucolic life in the city of Porto Alegre. Telles, who functioned as a combination public relations guru and sugar daddy, made sure the demanding Gilberto wanted for nothing and would concentrate on his music. It turned out to be a successful, if expensive strategy. Within a few months Gilberto (who at this point had given up his prodigious hemp consumption and was now partaking in nothing stronger than fruit juice) was the toast of Porto Alegre, the musician everyone wanted to see. It was also during this extended apprenticeship that Gilberto perfected his unique vocal style and guitar playing. So breathy and nasally it is almost defies description, in many ways he uses all the things one is taught not to do as a singer and has made them into an instantly recognizable style. Not even established crooners such as Bing Crosby and Perry Como sang more quietly or with less vibrato. This, along with his rhythmically idiosyncratic approach to playing the guitar — an intensely syncopated plucking of the strings that flowed with his singing — made for some exhilarating music and by the time of his first record, Chega de Saudade (1959), Gilberto became widely known as the man who made bossa nova what it is.

True to form, however, Gilberto took the road less traveled by and after the success of his debut record and the two follow-up releases, Amor, o Sorriso e a Flor (1960) and Joao Gilberto (1961) he left Brazil to settle in the United States where he lived until 1980. During this period he recorded some amazing records working with saxophonist Stan Getz and recording music by older Brazilian songwriters such as Dorival Caymmi and Ary Barroso. He returned to Brazil in the early 80s and since then has worked with virtually every big name in Brazilian pop including Gilberto Gil, Caetano Veloso, Maria Bethania, Gal Costa, and Chico Buarque. He has never seen record sales like the aforementioned performers, but all of them regard him as a profound influence on their work. True to his image as enigmatic and eccentric, Gilberto lives a semi-reclusive lifestyle secure in the knowledge that, almost 40 years ago, he changed the course of Brazilian culture by making the bossa nova his music, as well as the music of Brazil.

STAN GETZ


Real name: Stanley Getz
Born: Feb 2, 1927 in Philadelphia, PA
Died: Jun 6, 1991 in Malibu, CA
Genres: Jazz
Styles: West Coast Jazz, Hard Bop, Post-Bop, Bossa Nova, Cool
Instruments: Sax (Tenor)

One of the all-time great tenor saxophonists, Stan Getz was known as "The Sound" because he had one of the most beautiful tones ever heard. Getz, whose main early influence was Lester Young, grew to be a major influence himself and to his credit he never stopped evolving.

Stan Getz had the opportunity to play in a variety of major swing big bands while a teenager due to the World War II draft. He was with Jack Teagarden (1943) when he was just 16 and this was followed by stints with Stan Kenton (1944-45), Jimmy Dorsey (1945) and Benny Goodman (1945-46); he soloed on a few records with BG. Getz, who had his recording debut as a leader in July 1946 with four titles, became famous during his period with Woody Herman's Second Herd (1947-49), soloing (along with Zoot Sims, Herbie Steward and Serge Chaloff) on the original version of "Four Brothers" and having his sound well-featured on the ballad "Early Autumn." After leaving Herman, Getz was (with the exception of some tours with Jazz at the Philharmonic) a leader for the rest of his life.

During the early '50s Getz broke away from the Lester Young style to form his own musical identity and he was soon among the most popular of all jazzmen. He discovered Horace Silver in 1950 and used him in his quartet for several months. After touring Sweden in 1951 he formed an exciting quintet that co-featured guitarist Jimmy Raney; their interplay on uptempo tunes and tonal blend on ballads was quite memorable. Getz's playing helped Johnny Smith have a hit in "Moonlight in Vermont," during 1953-54 Bob Brookmeyer made his group a quintet and, despite some drug problems during the decade, Getz was a constant pollwinner. After spending 1958-60 in Europe, the tenorman returned to the U.S. and recorded his personal favorite album, Focus, with arranger Eddie Sauter's Orchestra. Then in Feb. 1962 Getz helped usher in the bossa nova era by recording Jazz Samba with Charlie Byrd; their rendition of "Desafinado" was a big hit. During the next year Getz made bossa nova flavored albums with Gary McFarland's big band, Luiz Bonfa and Laurindo Almeida, but it was Getz/Gilberto (a collaboration with Antonio Carlos Jobim and Joao Gilberto) that was his biggest seller, thanks in large part to "The Girl from Ipanema" (featuring the vocals of Astrud and Joao Gilberto).

Stan Getz could have spent the next decade sticking to bossa nova but instead he de-emphasized the music and chose to play more challenging jazz. His regular group during this era was a pianoless quartet with vibraphonist Gary Burton, he recorded with Bill Evans (1964), played throughout the 1965 Eddie Sauter soundtrack for Mickey One and made the classic album Sweet Rain (1967) with Chick Corea. Although not all of Getz's recordings from the 1966-80 period are essential, he proved that he was not shy to take chances. Dynasty with organist Eddie Louiss (1971), Captain Marvel with Chick Corea (1972) and The Peacocks with Jimmy Rowles (1975) are highpoints. After utilizing pianist Joanne Brackeen in his 1977 quartet, Getz explored some aspects of fusion with his next unit which featured keyboardist Andy Laverne. Getz even used an echoplex on a couple of songs but, despite some misfires, most of his dates with this unit are worthwhile. However purists were relieved when he signed with Concord in 1981 and started using a purely acoustic backup trio on most dates. Getz's sidemen in later years included pianists Lou Levy, Mitchell Forman, Jim McNeely and Kenny Barron. His final recording, 1991's People Time, (despite some shortness in the tenor's breath) is a brilliant duet set with Barron.

Throughout his career Stan Getz recorded as a leader for Savoy, Spotlite, Prestige, Roost, Verve, MGM, Victor, Columbia, SteepleChase, Concord, Sonet, Black Hawk, A&M and EmArcy among other labels (not to mention sessions with Lionel Hampton, Dizzy Gillespie and Gerry Mulligan) and there are dozens of worthy records by the tenor currently available on CD.

CAETANO VELOSO


Caetano Veloso is one of the most important figures in contemporary Brazilian music. His works, poetic and polemic, are considered true masterpieces. As Caetano says, "I make my records as a painter would paint his canvas". In fact, he makes every melody he sings sound luminous and newly discovered.

Caetano Veloso was born in a small town in the northern state of Bahia in 1942. Soon after his family moved to Salvador, where he spent his youth and studied at the University of Arts.

At the end of 1966 he accompanied his sister Maria Bethania, who had been invited to play at a musical play, to Rio do Janeiro and he got his first hits when his sister recorded his first compositions. Soon he won several prizes and recorded his first album with Gal Costa "Domingo"

In 1968, with Gilberto Gil, he was one of the primary architects of Tropicalismo, a cultural movement whose aim was the reevaluation of traditional Brazilian music and the incorporation of non-Brazilian musical styles. He recorded his first individual album Caetano Veloso and his music crossed the borders with his controverted music E Proibido Proibir. He was awarded several prizes at several TV Festivals.

In 1969 he performed with Gilberto Gil at Castro Alves Theater in Salvador and the concert was recorded live. Barra 69 was the album. However in the same year Caetano and Gil were forced to leave the country by the military regime and went to live in London. There, they soaked up the era's psychedelic rock while sending songs back to Brazil to be recorded by singers like Gal Costa, Maria Bethania, Elis Regina, Roberto Carlos. He recorded his first album in English and performed in several European cities.

He returned to Brazil in 1972 and his audience continued to grow. Another album Transa was released and he performed in several cities and other album was recorded alive, this time with Chico Buarque: caetano e Chico Juntos a ao Vivo.

Several albums were released the following years: Araca Azul in 1974, Temporada de Verao in 1974, Joia and Qualquer Coisa in 1975.

In 1976 he teamed up with Gilberto Gil, Gal Costa and Maria Bethania toured Brazil under the name of Doces Barbaros, An album and a film were released.

Bicho was released in 1977 and the hot rhythm of the sweet melodies of this album had the influence of the contact he had with the Nigerian culture, where he had been months before. The same year Alegria, Alegria was published, a book which is a collection of articles and poems of the years 1965 to 1976.

During the 1970's and 80's his music reasserted its sinuous, harmonically sophisticated tunefulness after his flirtation with blunt rock-and-roll, while his lyrics grew more associative and imagistic, blending an embracing romanticism with glimpses of stark clarity. The albums released were: Muito in 1978, Maria Bethania & Caetano Veloso in 1978, Cinema Transcendental in 1979, Outras Palavras in 1981, Cores Nomes in l982, Uns in 1983, Velo in 1984, Totalmente Demais in 1986 and Caetano in 1987.

Estrangeiro released in 1989, is a natural follow up to what he had been doing all along in Brazil, mixing of old fashioned Brazilian and South American things with new rock and new Brazilian things mostly Bossa Nova.

Caetano Veloso, his first U S album released in 1987, was a selection of his songs from the two previous decades. Backed only by his own acoustic guitar, his voice, tender but sure had the sound of a poet ruminating over his past, examining it with affection and curiosity.

In 1991 a new album was released Circulado. The music which gave name to the album is a poem by a Brazilian concrete poet, Harol do Campos. The cover design was a creation of Caetano, Circulado Vivo, released in l992 is a master piece. Making a story of each song he sings, Michael Jackson's Black or White or Dylan's Jokerman with a practical feeling no one has ever listened, he shifts from bossa-nova to tango tailoring his interpretations with a skill of a genius. The Circulado tour was one of the most important and beautiful concerts he did and became a home-video.

In 1993 was released Tropicalia 2 with Gilberto Gil. A celebration of 25 years of Tropicalia and 30 years of friendship of both genius. A new record, a new book are some of the projects of Caetano this year.

[starsky]

Hey jazzers, am o rugaminte legata de materiale referitoare la Aura Urziceanu - in caz ca mai are cineva ceva ce nu a fost postat. Daca aveti ceva (macar o 'pista') spre texte legate de tehnica ei vocala, evolutia ei muzicala, influente, felul in care a fost descoperita de Duke Ellington si in care acesta si-a lasat amprenta asupra ei (mai pe scurt orice text analitico/descriptiv si nu strict informativ legat de diverse concerte), dati un mesaj privat. E partial in interes egoist dar partial pt o cauza nobila! Deci.. cine vrea sa dea o mana de ajutor... multumiri anticipate.

[Deena]

Bio: Artie Shaw

Bandleader, composer and arranger, Artie Shaw was a leading swing-era figure and a top-flight clarinetist who demonstrated a great jazz facility when playing either uptempo numbers or ballads. Along with rival Benny Goodman, Shaw was known for racially integrating his bands in the 1940s, utilizing the talents of Billie Holiday and Roy Eldridge, among others.
Born May 23, 1910, in New York, Shaw grew up in New Haven, Conn., where he got his start playing in dance bands during the '20s. The latter part of the '20s saw him playing in Cleveland, Chicago and New York, acting as a music director, arranging, jamming and discovering the music of Debussy and Stravinsky. It was in New York that he started working as a freelance studio musician, and in 1936 formed his first band, made up of a string quartet, three rhythm and clarinet. They performed a hit concert, playing Shaw's "Interlude In B Flat." Adding a trombone, sax, singer and two trumpets, Shaw signed a record deal with Brunswick. In 1937, Shaw formed a more conventional swing band, with whom he recorded his first big hit, Cole Porter's "Begin The Beguine," in 1938.



The following year, after making his breakthrough, Shaw left the music scene and moved to Hollywood in 1940, where he worked for films and recorded his next big hit, "Frenesi" (1940, RCA Victor). Later touring with his Gramercy Five band, Shaw made his way back to New York, where he worked until he enlisted in the Navy (1942). After his discharge he formed his best jazz-oriented band, with Eldridge, which featured the hit "Little Jazz" (1945, RCA Victor). He continued to play with his Gramercy Five band after the war, and in 1954, went into retirement. In 1983, he returned to playing with the group, which he continued to lead off and on.

[Deena]

Bio: Bud Powell

Earl "Bud" Powell helped to bring jazz piano into the modern age. A bebop innovator with an uncannily fluid style, his technical facility and creativity overshadowed his personal inconsistency and the difficulties he faced in dealing with some fellow musicians. One poignant story had Powell being teased one night by his friend, pianist Art Tatum, for not making enough use of his left hand. The next evening, Powell played brilliantly while seated atop his right hand and using only his left. Tatum was in the audience and had nothing but praise.


Born Sept. 27, 1924, in New York City, Powell began studying European classical forms as a child. The pianist, whose circle of friends included keyboardists Thelonious Monk, Elmo Hope and Herbie Nichols, among other jazz greats, played in the Cootie Williams band from 1943-'44. He became part of the bop scene shortly thereafter, working with saxophonist Charlie Parker and various others. His first major hospitalization occurred in 1945, reportedly the result of a brutal beating suffered at the hands of members of the Philadelphia police force. The remainder of his life was marred by numerous hospitalizations, bouts of depression, electro-shock therapy and the use of tranquilizers and alcohol.

But Powell made a series of marvelous recordings for the Blue Note, Roost and Verve labels. He spent 1959-'64 in Europe, taking up residence in Paris, then returning to the United States for a brief concert tour. He stayed in New York, disappeared in early 1965 and turned up dead July 31, 1966. The titles of Powell's compositions, which remain jazz standards, reflect his problems -- "Un Poco Loco," "Hallucinations" and "Glass Enclosure" among them.

Powell served as the basis for Dexter Gordon's character in the 1986 Bertrand Tavernier movie Round Midnight, although elements of the lives of Lester Young and Gordon also were woven into the role. The film's story line spelled out Powell's relationship with his chief French protector, Francis Paudras.
In 1966, Powell was elected by the Readers into the D.B. Hall of Fame.

[sunrah]

Stan Getz, Joao Gilberto, Astrud Gilberto: Getz | Gilbert Live at CH !

[sadclown]

HENRI SALVADOR

You could classify Salvador as the in-house funny guy who made us the whole of France laugh with "Zorro" and "Le Blues du dentiste". But behind the humour, there is the genius of a formidable creative artist who, among other things, invented the video clip. Close both to Boris Vian and to Ray Charles, he is the perfect example of what France does best in the culture fusion department.

Henri Gabriel Salvador was born in Cayenne, the capital of French Guyana, on July 18th 1917. His father, Clovis, of Spanish descent, and his mother, a Caribbean Indian, were both born in Guadaloupe.
When he was 7, Henri and his parents went to live in France. At around eleven years old, he discovered the music of Duke Ellington and Louis Armstrong and decided to become a musician. His parents bought him a guitar and he learned to play by listening to one of the masters of the period, Django Reinhardt. Throughout his career, jazz has been central to Henri Salvador's work.
In 1933, aged 16, he began to perform in the Parisian cabarets, where he became known very quickly, due his talent as a musician but also as a comedian. In 1935, he entertained the "Tout-Paris" at Jimmy's Bar, a famous cabaret of the period. After this, Django Reinhardt hired him as an accompanist.

Novelty musician
In 1936, he became the guitar accompanist of the American jazz violinist, Eddy South. When he was twenty he enlisted as a soldier. War broke out and he had to wait until 1941 before he could cross into the Free Zone. He joined Bernard Hilda's jazz orchestra in Cannes, where he was spotted by Ray Ventura who offered him a job as a novelty musician in his orchestra. Together they left on a long tour of South America where, thanks to Henri Salvador, their shows were an huge success.
In 1942, in Brazil, he was offered a contract to star in a show. He accepted and for several months, performing in English to houses packed with G.I.s., he outshone touring American stars.
Enriched by this experience he returned to Paris at the end of the war. Ray Ventura again asked him to join his orchestra but Henri declined, preferring, in 1946, to start his own orchestra. Once again, literary and artistic Paris came in droves to hear him.
Famous now, he proposed to the director of Bobino that he do a one-man show. It was a success.
In 1947, he co-starred with Ludmilla Tch?Šrina and Yves Montand in the operetta, Le Chevalier Bayard at the Alhambra.
In 1949, he was awarded the Grand Prix du Disque by the Acad?Šmie Charles Cros and performed at the temple of the Paris music halls, the ABC, in Mistnguett's revue, Paris s'amuse. It was at the ABC that he met Jacqueline, who became his wife and impresario. The same year, he released "Le loup, la biche et le chevalier", to become a Salvador standard under the title "Une chanson douce".
Henri Salvador gave more and more concerts, in France and abroad. In 1954, he performed to a full house at the Salle Pleyel. The following year, he did a six month season of recitals in Paris.
In October 1956, he left for the United States, where the famous television personality Ed Sullivan invited him to appear on his show twice. A natural stage performer and genuine "showman" in the American sense of the word, "Fire Ball" (as the Americans called him) had the New York critics eating out of his hand.
On his return to France, he met Boris Vian, with whom he was to compose more than 400 songs. The hallmark of the duo's repertoire is a certain acid wit and influences such as rock'n'roll, then hardly known in Europe. With Vian, Henri Salvador (under the pseudonym of Henri Cording) wrote blues numbers ("Blouse du dentiste"), rock songs ("Rock and roll mops") and French Caribbean biguines ("Faut rigoler"). In 1959, Boris Vian's sudden death was a terrible blow to Salvador but, as resourceful as ever, he continued singing and dancing nightly to full houses at the Alhambra.
In 1961, following a twelve week stint on Italian television which was a huge hit, he decided to devote himself entirely to TV appearances. In 1962, Henri and Jacqueline founded their own music publishing business and had their first hit with "Le Lion est mort ce soir.
In 1964, Salvador started his own record label, "Rigolo", on which he released numerous hits, the first of which was "Zorro est arriv?Š", followed, from 1965 to 1968, by "Syracuse", "Le travail c'est la sant?Š and "Juanita Banana".
In 1968, Henri Salvador made his television come back with the gala production, Salves d'Or. The show was such a success that, with his wife, they produced four others until the end of 1969.
In 1971, Walt Disney studios backed Henri Salvador for the promotion of his song, "Les Aristochats", inspired by the Disney feature cartoon released in 1968. Salvador, who had recorded the song on his own in a makeshift recording studio at home, was awarded the Academie Charles Cros prize for the song.
The following year, Jacqueline and Henri Salvador's company expanded further. The couple set up their own distribution network. In 1973, he made another triumphant return to television, presenting Dimanche Salvador, a Sunday lunchtime show. At the same time he was becoming increasingly popular with children. His rendition of La Fontaine's fables and his album, "SnowWhite and the Seven Dwarfs", were a huge success.
On Christmas Eve in 1975, he presented a gala TV show on the 2nd Channel. Two years later, he signed a contract with TF1, the 1st French channel, for a series of three shows, including one specially for children and sponsored by Walt Disney. The same year, he released a three disc box set of his greatest hits, "Le Monde Merveilleux d'Henri Salvador".
In 1978, he spent his time recording a new album, "Les Canotiers", and presenting a summer show on television, "C'est l'Et?Š". In 1979, he brought out an album in tribute to his friend Boris Vian, on the twentieth anniversary of his death. He performed the songs on television on the 2nd Channel in November in a special show directed by Jean-Christophe Averty.
In 1980, he released a new album, "Salvador en fête". In 1981, apart from a few new songs released as singles, he released 'best of' albums and albums for children. In November 1982, Henri Salvador made his stage come-back at the Grand Chapiteau, a huge circus tent, at the Porte de Pantin. For sixty consecutive nights he played to packed houses, accompanied by the biggest names of French jazz, including Maurice Vander and Eddy Louiss. The same year, he left RCA, his record label since 1977, and signed with DISC AZ with whom he brought out two live albums.
In 1985, he again changed record label, signing this time with EMI Path?Š Marconi, with whom he immediately brought out "Henri", his first album of new material since 1978. In October, he gave a series of concerts, jazzy in feeling, at the Palais des Congrès. Billed as his farewell performances, these recitals were released as a double live album in 1987.
After his wife Jacqueline's death, Henri Salvador married Sabine Elysabeth Marie-Chantal in May 1986.
In December 1987, the SACEM (The Society of Authors and Composers) awarded Henri Salvador the Grand Prix de l'Humour. A year later, in October, President Fran?§ois Mitterrand made him a knight of the Legion d'Honneur.
1988 ended with another Salvador television spectacular on TFI, with prestigious guest stars such as Al Jarreau and Tom Jones.
In 1989, he brought out the album, "Des Gouts et des couleurs" and in 1990 he signed with the Carrère Music label for the release of an eight CD compilation of his whole career, which came out in 1991. In 1992, Henri Salvador returned to his first love, jazz, and gave concerts in the Paris jazz clubs.
In 1994, Henri Salvador recorded his next album in New York, released on Sony Music's Tristar label. Backed by excellent American musicians, Salvador went back to his roots, the blues. The lyrics were by names like Boris Bergman, Jean-Claude Vannier, Gerard Presgurvic, but also by departed friends, Bernard Dimay and Boris Vian. He even did a cover version of Eric Clapton's "Layla".
He promoted the new album with a series of concerts at the Casino de Paris and brought out a book of memoirs, co-written by writer Jean Curtelin, and published by Lattès.

Room With A View
Poet and humorist with an unmistakable laugh, Henri Salvador's trademark is his good-humoured brand of swing. At the "Victoires de la Musique" awards in 1996, at 79 years old, he yet again demonstrated his eternal professionalism and enthusiasm during a fabulous duo with American singer Ray Charles.
After disappearing from the forefront of the French music scene to indulge in several years' farniente and the occasional game of p?Štanque, Salvador made a welcome comeback in October 2000 with a hugely successful album entitled "Chambre avec vue" (Room With A View). Salvador's new album, which featured thirteen delicious tracks, all with a strong Brazilian influence, was the work of a talented new songwriting team which Salvador had discovered through his 'artistic' director, Marc Domenico. A number of rising young songwriting stars came to light on "Chambre avec vue" including Keren Ann, Art Mengo and Thomas Dutronc. Dutronc's mother, Fran?§oise Hardy, also got involved with Salvador's new album, writing material for the singer and even recording a duet with him.
Inspired by the general creative buzz going on around him, the 83-year-old singer also sat down and put pen to paper, writing new material for the first time in years. Released on October 17th 2000, "Chambre avec vue" won rave reviews from the critics and also scored a huge hit with French record-buyers, going gold within weeks of its release.
After more than six decades on the French music scene, Salvador was finally honoured by industry professionals at the "Victoires de la Musique" awards, held in Paris in February 2001, where he was voted 'Best Male Artist of the Year'. His album, "Chambre avec vue", also carried off the award for 'Best Vari?Št?Š Album of the Year'. On October 8th 2001, Henri Salvador received another prestigious award to add to his collection when President Jacques Chirac made him a "Commandeur de l'Ordre national du m?Šrite" at a special ceremony at the Elys?Še Palace.
Success story
2001, the year of his comeback on the front stage, was undoubtedly a memorable year for Salvador. He set off on tour around France with a stopover at the Olympia on April 24-27, following his performance at the Bourges Spring Festival. In July, he continued on this hectic pace, having hardly a minute to spare. Either at the Vieilles Charrues Festival in Brittany, at the Nyon Festival in Switzerland, or at the Jazz Festival in Nice, crowds of fans gathered to acclaim the dashing 80-year-old Chanson star. Delighted by this warm welcome back, Salvador was not to get off the stage and continued his touring around France in October. He settled down at the Theatre du Ch??telet in Paris for the Christmas holidays. On top form and beaming with his the renewal of his public success, Salvador got married to his partner Catherine Costa, the television producer, in November 2001.
Live
Monsieur Henri continued his tour throughout the spring of 2002, playing dates in Brest, Monaco and Toulouse in March and April of that year. In July he hit the festival circuit, performing at the "Francofolies" festivals in La Rochelle and Montreal. Taking things at a slightly slower pace now that he is in his eighties, Salvador nevertheless jetted off to a variety of international destinations after his festival appearances, performing in New York, Tokyo, Martinique and Guadeloupe. The singer also gave his very first live performance in his homeland, French Guyana.
In October 2002, Salvador put in an appearance on the Gipsy jazz guitarist Bireli Lagrène’s album "Gipsy Project & Friends." In mid-December of that year, the singer with the most infectious laugh in French showbiz history, arrived in the hall of fame at the Mus?Še Gr?Švin (the famous waxworks museum in Paris).
Salvador headed back to the studio in January 2003 to record a new album entitled "Ma chère et tendre" (a tribute to his ‘tender and dear one,’ Catherine Tosca). The talented singer-composer wrote twelve of the fourteen songs on the album himself, most of which were in the same jazzy/bossa/blues/pop vein as those on his previous album. Keren Ann and Benjamin Biolay, the two young songwriters who had so greatly contributed to the success of "Chambre avec vue," were only involved in writing lyrics for two songs on the new album (the title track "Ma chère et tendre" and "Ailleurs"). Salvador appealed to an older generation of songwriters instead, soliciting contributions from Guy B?Šart, Bernard Dimey, Michel Modo, Jean Drejac, Maurice Pon and Robert Nyel.
2004 turned out to be an award-packed year for Monsieur Henri. On 5 February, the UNAC (France’s National Union of Songwriters and Composers) presented the singer with a lifetime’s achievement award. And on 11 April, Salvador received even greater recognition, when he was awarded the ‘L?Šgion d'honneur.’
Meanwhile, the veteran French music star continues his world tour (with concerts scheduled through until 2007).

August 2004-source-radiofrance internationale
albumul LE LOUP LA BICHE ET LE CHEVALIER
http://www.megaupload.com/?d=MSW38558

[sadclown]

THE SWING ERA
ANDREWS SISTERS


Mostly remembered for their music, rich in sweetness and optimism, the Andrews Sisters were loved by the many troops they tirelessly entertained during World War II. During their career, the amazing trio recorded more than 1,800 songs and sold over 90 million records. Born in Minneapolis, Minnesota, the Andrews Sisters began their music careers when they were still in their teens. In 1932, they began singing accompanied by the Larry Rich Orchestra. Together, they toured the Midwest and performed in vaudevilles. Another group of sisters, the Boswell Sisters, of New Orleans, influenced the Andrews Sisters' Dixieland style. Soon, the Andrews trio broadened their style to include ballads of the swing era, South American dance songs, boogie woogie and other novelty sounds.

They had Patty as the lead soprano, Maxene as the second soprano and LaVerne completed the sound with a resonant contralto or bass. In 1937, they were discovered by Dave Kapp, who heard them over a taxi cab radio in 1937 during a live band remote, signed them to Decca Records. Levy who acted as their manager would later marry Maxene. The sisters' big break came in 1938 with Bei Mir Bist du Schoen, a Yiddish tune, which became the first million selling record for an all-female group. Between the late 1930s and the 1940s, the group was a frequent heard tune on the radio. Some of their songs included: Boogie Woogie Bugle Boy, Rum and Coca Cola and Don't Sit Under the Apple Tree. The sisters even performed with other popular artists such as Bing Crosby, Les Paul, Burl Ives, Danny Kaye, Carmen Miranda, Guy Lombardo, Ernest Tubbs, and the Glenn Miller Orchestra.


They also made 17 films such as In the Navy, Buck Privates and Follow the Boys, in which they usually portrayed themselves. Economic success followed the trio's popularity. In 1954, Patty left the group to try a solo career. A year later, Maxene followed her sister's steps. However, the separation did not last long. The sisters reunited in 1956 and made a pledge to stay together. In the following years, the trio's popularity kept strong as they continued to perform the old favorites and a few added new songs. In 1966, LaVerne had to retire due to poor health. She died of cancer the following year. Patty and Maxene continued to perform with Joyce de Young. Maxene became an instructor of drama and vice president of planning and development at Tahoe Paradise College. In 1970, Patty Andrews appeared in a stage musical, Victory Canteen, written by Milt Larsen and Bobby Lauher, with music by Richard and Robert Sherman. The success of the small Los Angeles show caught the attention of Kenneth Waissman and Maxine Fox, the producers of Grease.

They optioned the musical, but it was rejected as a Broadway show. After the success of Victory Canteen, the Sherman's teamed with Will Holt to write Over Here! a musical about the World War II homefront, staring Patty and Maxene Andrews. The musical was billed as The Andrews Sisters in Over Here! and opened March 6, 1974 at the Shubert Theater in New York, and closed on January 4, 1975, after 341 performances. The cast also included Marilu Henner, Treat Williams, Ann Reinking, and John Travolta. The Andrews Sisters were more than a music group. With their cheerful songs and optimistic mood, the three sisters gave hope to an entire country trying to survive the hardships of war. It was that devotion that made them "America's Wartime Sweethearts."

Apple Blossom Time ALBUM http://www.megaupload.com/?d=JEHUV4VU

more bossa nova shits

EYDIE GORME


Although most of her career was conducted during the rock era, traditional pop singer Eydie Gorm?Š carved out a place for herself in several areas of entertainment. For 20 years, from the mid-'50s to the mid-'70s, she consistently scored in the pop charts, with a parallel place in the Latin pop field from the 1960s on. She appeared on television and on the Broadway stage. And she was a major nightclub entertainer, headlining in Las Vegas showrooms and around the U.S. For most of her career, she worked both solo and in a duo with her husband, Steve Lawrence.

Gorm?Š was born Edith Gormezano, the youngest of three children of Sephardic Jewish immigrant parents (her father was a tailor from Sicily, her mother was from Turkey), in the New York City borough of the Bronx on August 16, 1931. Spanish and English were spoken in her home, and she grew up fluent in both languages. She showed an interest in singing early and made her radio debut at the age of three. By the time she was in high-school, she was singing with a band led by a friend named Ken Greengrass. After graduating from high-school, she got a job as a Spanish interpreter with the Theatrical Supply Export Company and attended the City College of New York at night. Soon, however, she determined to try to become a professional singer, and Greengrass became her manager. In 1950, she was hired by bandleader Tommy Tucker and toured with his group for two months. She then spent a year with Tex Beneke's band before going solo. In 1952, she was signed to Coral Records, which released a series of singles, beginning with "That Night of Heaven." In September 1953, she became a regular on the late-night talk show Tonight!, hosted by Steve Allen, which at that time was only broadcast in New York. Already on the show was singer Steve Lawrence. On September 27, 1954, the program began broadcasting nationally on NBC. Around the same time, Lawrence and Gorm?Š released their first single as a duo, "Make Yourself Comfortable"/"I've Gotta Crow," the latter from the Broadway musical +Peter Pan.

Gorm?Š made her first appearance at the prestigious Copacabana club in New York in February 1956. The year before, she had switched from Coral Records to ABC-Paramount, and her second release for the new company, "Too Close for Comfort" (from the Broadway musical +Mr. Wonderful), marked her chart debut in April 1956 and became a Top 40 hit. Its follow-up, "Mama, Teach Me to Dance," also peaked in the Top 40. In 1957, she had three more chart singles, the most successful of them being the Top 40 hit "Love Me Forever," and she placed two LPs in the Top 20: Eydie Gorm?Š and Eydie Swings the Blues.

On December 29, 1957, Gorm?Š married Lawrence. Steve Allen, having left Tonight!, had launched a prime-time series, and Lawrence and Gorm?Š hosted its summer replacement, Steve Allen Presents the Steve Lawrence-Eydie Gorm?Š Show, in July and August 1958, running from eight p.m. to nine p.m. on Sunday nights. Meanwhile, Gorm?Š placed another three singles in the charts in 1958, the most successful of them being the Top 20 hit "You Need Hands," and she also scored another two Top 20 albums, Eydie Vamps the Roaring '20s and Eydie in Love .... Although she continued to record and do club dates, she was somewhat less active in the late 1950s as she and Lawrence started a family (their first son, David Lawrence, became a film composer) and he fulfilled his military commitment. They relaunched their career in 1960 with a series of joint club engagements and their first full-fledged duo album, We Got Us; the title song won them the Grammy Award for Best Performance by a Vocal Group.

Late in 1960, Gorm?Š switched label affiliations to United Artists Records, but she never scored any hits with the company, and by 1962 she had moved to Columbia Records. Her first single, a revival of "Yes My Darling Daughter," became a Top Ten hit in the U.K. in the summer of 1962, but in the U.S. she re-ignited her recording career in early 1963 with "Blame It on the Bossa Nova," written by the Brill Building songwriting team of Barry Mann and Cynthia Weil, which reached the Top Ten and earned her a Grammy nomination for Best Female Vocal Performance. During the rest of the year, she placed four more singles in the charts, two of them with her husband, billed simply as Steve Eydie. Those duo records, I Want to Stay Here and I Can't Stop Talking About You (both written by another Brill Building team, Carole King and Gerry Goffin), reached the Top 40, as did Gorm?Š's solo album Blame It on the Bossa Nova.

Like all traditional pop singers, Gorm?Š was thrown into the shade by the British Invasion of 1964. She did manage to get some attention, however, by teaming up with the Trio Los Panchos and recording a Spanish-language album, Amor, that spent 22 weeks in the charts. She and the trio followed with More Amor in 1965. Meanwhile, she was also delving into contemporary show tunes for her singles, cutting Richard Rodgers and Stephen Sondheim's "Do I Hear a Waltz?," Burton Lane and Alan Jay Lerner's "What Did I Have That I Don't Have?" (from +On a Clear Day You Can See Forever), and Jerry Herman's "If He Walked Into My Life" (from +Mame). The last of these gave her a Top Ten easy listening hit in 1966 and brought her her first solo Grammy Award for Best Female Vocal Performance. In the same year, her Don't Go to Strangers LP became a Top 40 hit and her Spanish-language holiday collection Navidad Means Christmas reached the Top Ten of the Christmas chart.

Gorm?Š continued to record and to chart in 1967, but with diminishing results. Her solo album, Softly, as I Leave You, reached the Top 100, which charted better than her duo album with Lawrence, Together on Broadway, did, and by the end of the year Columbia had issued Eydie Gorm?Š's Greatest Hits, a sign that the label felt her biggest success was behind her. Meanwhile, she and Lawrence had ambitious plans. They had arranged to co-star in a Broadway musical, +Golden Rainbow, an adaptation of the Arnold Schulman play +A Hole in the Head that had also served as the basis for the Frank Sinatra movie of that title, but with a new song score written by Walter Marks. In anticipation of the show's opening, the Columbia subsidiary released Gorm?Š's recording of "How Could I Be So Wrong," one of her songs from the show, and it reached the Easy Listening charts in December 1967. +Golden Rainbow opened on February 4, 1968, and was a success, playing 385 performances before closing on January 12, 1969. Meanwhile, Gorm?Š and Lawrence continued to record for Columbia and Calendar, but during 1968, they moved operations to RCA Victor Records. The new label initially scored with their duo LPs What It Was, Was Love (a concept album composed by Gordon Jenkins), and Real True Lovin' in 1969, but in the fall Gorm?Š's solo single "Tonight I'll Say a Prayer" got into the charts, followed by an LP of the same name released in February 1970.

By the early 1970s, traditional pop singers were having trouble maintaining their berths with the major labels. Gorm?Š and Lawrence continued to record for RCA Victor into 1971, scoring several Easy Listening chart entries, then switched to MGM Records, which tried to make a last stand for traditional pop with performers like them and Tony Bennett. There was a Gorm?Š solo album, It Was a Good Time, in 1971, and a duo album, The World of Steve Eydie, in 1972, that produced a final pop singles chart entry, "We Can Make It Together," featuring the Osmonds; this was followed by a few singles in 1973. After that, Gorm?Š was no longer a factor in the pop charts. Fortunately, she and Lawrence had built up a steady following for club and television appearances. In 1975, they had a TV special, Our Love Is Here to Stay, that was their tribute to George Gershwin. It spawned an LP and won an Emmy Award. Gorm?Š, meanwhile, turned to the Latin market. She was nominated for a 1976 Grammy for Best Latin Recording for her album La Gorm?Š on Gala Records, and again in 1977 for Muy Amigos Close Friends, an album she recorded with Danny Rivera. There were also occasional English-language recordings. In September 1976, she returned to the Easy Listening chart with her version of "What I Did for Love" from the Broadway musical +A Chorus Line on United Artists Records. The success of the Gershwin program led to other composer tribute albums, and the 1978 special Steve and Eydie Celebrate Irving Berlin won seven Emmys, including one for Outstanding Comedy-Variety or Music Program (Special or Series) that went to Gorm?Š and Lawrence as performers, along with the producers and executive producers.

Gorm?Š and Lawrence made only occasional ventures into recording in the late '70s and '80s. Recording as "Parker Penny," they placed a single, "Hallelujah," in the Adult Contemporary chart in 1979. In 1989, they launched their own GL Music label with the duo album Alone Together. (Eventually, GL began to reissue their old albums on CD, available at /www.steveandeydie.com.) But they did turn-away business in Las Vegas and such A-list venues as Carnegie Hall in New York and the Universal Amphitheater in Los Angeles. In 1990-91, they appeared with Frank Sinatra on his "Diamond Jubilee" tour commemorating his 75th birthday, and they were on Sinatra's Duets II album in 1994. The duo got in on the lounge craze of the mid-'90s, recording their version of Soundgarden's "Black Hole Sun" for the 1997 Hollywood Records collection Lounge-A-Palooza. They continued to appear in Las Vegas into the new century, closing the Circus Maximus showroom of Caesar's Palace in September 2000 to conclude ten years of performances there. They did not perform again in Las Vegas until the spring of 2004, when they opened in the Wayne Newton Theater of the Stardust Hotel on April 29. William Ruhlmann, All Music Guide
BLAME IT ON THE BOSSA NOVA album http://www.megaupload.com/?d=ZUFI1FX0
daca nu merge blame it on the bossa nova

[Deena]

Bio: Ahmad Jamal

While his crossover success might have buried his reputation in some jazz circles, pianist Ahmad Jamal's minimalism had a major impact on late '50s cool.


Jamal was born on July 2, 1930, in Pittsburgh. A professional musician since he was 11, Jamal joined trumpeter George Hudson's orchestra in the late '40s. The pianist formed his first trio, The Three Strings, in 1951. Like Nat King Cole's classic group, this trio consisted of piano, guitar and bass. Erroll Garner's melodic technique was also a key early influence. Jazz critic Scott Yanow implies that John Coltrane borrowed the melody for "Impressions" from Jamal's mid-'50s recording of "Pavanne." In 1958, his trio recorded Ahmad Jamal At The Pershing, which became a huge seller and yielded his notable take on "Poinciana." Miles Davis was outspoken in his admiration of Jamal's simplicity and sense of space. The trumpeter began including Jamal's tunes in his own performances and directed Red Garland to duplicate his sound.

Even though Jamal built his reputation on his trio recordings, he has continued to work with different lineups. In the 1970s, he began experimenting with electronic instruments and has also collaborated with orchestras. He continues to tour and record regularly in various settings.

Recommended recordings: At The Pershing (Chess); Ahmad's Blues (Chess).

[sunrah]

Jazz de primăvară la Bucureşti - Marti, 11 aprilie 2006




Anul acesta, primăvara se numără muzicienii de jazz. Cea dint??i ediţie a unui festival de profil este programată pentru perioada 14-16 aprilie, la Centrul de Proiecte Culturale al Primăriei (ArCuB) şi ?®n c??teva cluburi din Capitală. ??€??Jazzy Spring Festival??€? aduce ??€??colecţiile??€? sezon ale unor desingeri specializaţi ?®n ritm şi improvizaţie.
??€??Patriarhul??€? Johnny Răducanu, Marius Popp, Mircea Tiberian, Teodora Enache, Garbis Dedeian, Cristian Soleanu, Ion Baciu Jr., plus invitaţi de afară (Eldad Tarmu-Cengis Baysal, Interzone 2006 şi Nicholas Simion & The Wild Dogs) vor da ochii cu publicul, la sala ArCuB, unde biletele costă ?®ntre 10,5 şi 21 RON. Cei interesaţi de puţină teoretizare sunt aşteptaţi la work-shop-uri şi lansări de carte, la cluburile Art Jazz şi Prometheus, unde vor avea parte, ?®nsă, şi de niscaiva jam session-uri. ???n spaţiile de la Green Hours şi ArCuB ideile vor circula liber, ?®n cadrul a două dezbateri: ??€??Muzica ?®n contextul cultural rom??nesc actual??€? şi ??€??Este posibil un Jazz ?®n Rom??nia???€?, pe 15, respectiv 16 ale lunii.

Jazzy Spring Festival, parte al amplului proiect ??€??Primăvara Culturală Bucureşteană??€?, derulat de municipalitate, va fi inaugurat vineri de expoziţia foto ??€??Jazz sub Ceauşescu??€? (autor Emilian Săvescu) şi va fi urmat de Festivalul Internaţional Shakespeare şi Concursul Jeunnesses Musicale. (D.P.)

[Deena]

I :

improvizatie= crearea spontana, pe o tema si o structura armonica data, de variatii originale; initial, improvizatia de jazz consta in mici parafraze sau ornamentari, ulterior procedeul fiind inlocuit prin chorus sau variatia libera

J:

jam session/barbecue/clambake= executie improvizata in comun a unor muzicieni care desi canta de placere, in mod obisnuit, nu lucreaza impreuna; cu acest prilej se folosesc teme muzicale cunoscute si se stabilesc uneori pe loc riff'urile ptr. acompanierea unui solist

JATP=Jazz at the Philarmonic- numele turneelor organizate de Norman Granz in urma succesului obtinut la concertele de jazz de la Los Angeles Philarmonic Auditorium in 1944

jump= denumire folosita la inceputul anilor '40 ptr swing

jungle style= stil orchestral creat de Duke Ellington in 1925; se caracterizeaza prin utilizarea sonoritatilor growl ale instrumentelor de alama cu surdina(wa-wa)

L :

leader= conducator al unei orchestre sau al unei sectii instrumentale, de cele mai multe ori solist

LP(Long Playing)= disc microsantat de 25 si 30 cm diametru, ce asigura pe viteza de 33,1/3 rotatii/min., o durata lunga de reproducere; LP cu diametrul de 30 cm a fost generalizat in 1956

M :

mahogany=mahon; argotic pian

maturele= accesoriu al instrumentelor de percutie, format dintr'un manunchi de sarme de otel prinse intr'un maner servind la actionarea tobelor mici si a cinelelor

mellow sound/tone=sonoritate delicata, suava

mustiuc= partea extrema a instrumentelor de suflat din lemn cu ancie simpla si a instrumentelor de suflat de alama, care vine in contact cu buzule instrumentistului


N :

negro spirituals= cantece religioase, interpretare de negrii americani inca din primele timpuri ale scaviei


O :

off beat= contratimp

old timer= muzician din epoca primitiva si veche a jazzului

orga= instrument care in forma sa traditionala, nefiind deplasabil si neavand atacul necesar expresiei jazzistice, a fost rar folosita in orchestrele de jazz; din 1926, orga cu tuburi a fost intrebuintata ocazional de Fats Waller, apoi de Count Basie; la sfarsitul anilor 30 a aparut orga electrica(devenita apoi electronica) Hammond, care a cunoscut o larga raspandire


P :

piano-rolls= pian mecanic cu rulouri de carton perforat, ce reproducea executia, prealabil inregistrata, a unui pianist; folosit la inceputul secolului XX, a contribuit la generalizarea ragtime'ului

pick-up band= formatie intrunita ptr o singura ocazie; adesea orchestra de studio

pizzicatto= maniera de a canta la instrumentele cu corzi prin ciupire, fara a intrebuinta arcusul; folosita curent in jazz, la contrabas

plucking= maniera de executie in pizzicatto la contrabas; a urmat manierei slapping

plunger= surdina ce foloseste cupa amovibila, uneori ca o ventuza de cauciuc, folosita la trompete si tromboane

punch= maniera de executie viguroasa, dinamica, caracterizata prin atacuri puternice si efecte de soc

[dscros]

am shi eu o intrebare , cine'mi imprumutah shi mie 1 TB d hdd sah fac jazz discography ? ) .... stanley getz =p~ ... 1.5 GB

[Deena]

2006 JVC Jazz Festival ??€� New York Covers More Than Just The Waterfront
Daily News Headlines

Posted 4/26/2006

The complete lineup has just been released for this year??€�s JVC Jazz Festival ??€� New York, which will be held from June 12 through the 24. The event will feature more than 300 musicians performing at 100 events in more than 20 venues throughout the city. Every facet of jazz is embraced for the event, from ragtime and swing to Latin and free jazz.
??€?Jazz in itself is a celebration and this year we have plenty of great music as well as milestones, debuts, returns and reunions to commemorate,??€? said George Wein, CEO of Festival Productions and producer of the JVC Jazz Festival.

Concerts include Ornette Coleman at Carnegie Hall on June 16 and the Dave Brubeck Big Band at Carnegie on June 21. Roberta Gambarini will perform at the Kaye Playhouse at Hunter College on June 13, Andrew Hill will be at the Studio Museum in Harlem on June 15 and Stanley Clarke will join the George Duke Project at Avalon on June 13.

For more information on the 2006 JVC Jazz Festival ??€� New York go to festivalproductions.net.