Hades Forum

festivalul de jazz de la sibiu intre 8-14 mai.mai multe informatii pe
http://www.sibiujazzfestival.com/ro_program_2006.htm

Bio: Roy Hargrove

Trumpet prodigy Roy Hargrove is one of the most ferocious of the Young Lions bred in the bebop revival sparked by Wynton Marsalis. He possesses a big-toned, blues-tinged sound with a feel for romantic ballads.
Born in Waco, Texas, on Oct. 16, 1969, Hargrove grew up in Mart and Dallas, Texas. He started playing cornet at 9, studying with Dean Hill, who taught him to improvise while he was a student at Booker T. Washington High School for the Visual and Performing Arts. Lee Morgan and Clifford Brown were two of Hargrove's early trumpet inspirations; a school performance by David "Fathead" Newman spurred his desire to play jazz, as well.



When Wynton Marsalis did a workshop at Roy's high school, Marsalis invited Hargrove to sit in with him at the Caravan of Dreams Arts Center in Fort Worth. Hargrove was 17. Subsequently, Hargrove sat in at the club with Bobby Hutcherson, Dizzy Gillespie, Frank Morgan, Freddie Hubbard, Herbie Hancock and others, which led to a summer European tour with Morgan before Hargrove graduated from high school.

The trumpeter toured Europe again with Jack McDuff and Clifford Jordan and played Japan's Mt. Fuji Jazz Festival with Art Blakey, as well. A Down Beat scholarship to the Berklee College of Music brought Hargrove to Boston. After a year, he transferred to the New School, in New York, where he studied with Jimmy Cobb. He has lived there since 1990.

During this period, Hargrove was signed to RCA/Novus and released five albums for them in four years, becoming one the bona fide new stars in jazz. Hargrove played with Sonny Rollins at Carnegie Hall in 1991 and was commissioned by Jazz at Lincoln Center to compose The Love Suite: In Mahogany, which was performed in 1993.
In 1996, Cuban pianist Chucho Valdes invited Roy and his band to participate in the Havana Jazz Festival, an encounter that resulted in the formation of Crisol, an Afro-Cuban band that had a sensational album Habana (Verve).

Recommended recordings: Habana (Verve), With The Tenors Of Our Times (Verve).

Quasimode



The Japanese jazz scene is currently hotter than ever. With high profiled bands like Soil & Pimp Session and Sleepwalker enjoying great success all over the world we now introduce the next big Jazz band from Japan. Quasimode is a 4 piece Jazz band based in Tokyo, Japan and was formed in 2002. Their sound is based on authentic jazz rhythms from the 60s and 70s. With a mixed club and Latin feel they deliver all their music live and have gained a strong support in their native Japan.

On their recording debut Quasimode comes through with two amazing club Jazz bombs. First off is a killer cover version of UK Jazz hero Tubby Hayes and his hugely in demand ??€?Down In The Village??€? track from the mid 60s. On the b-side Quasimode deliver a self-written composition entitled ??€?Oneself ??€� LIKENESS??€? which is slightly deeper and spiritual but possibly even stronger.

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Un interviu chiar inainte de prezentarea ultimului material.
Si site'ul oficial Quasimode pentru mai multe amanunte.

This group & their tunes are sublime "Jazz as Dance Music" with a modern taste in the format of traditional Jazz. Looking forward to the album. - Yukihiro Fukutomi. Faceti acelasi lucru, promite sunrah ca merita!

ma bucur ca te-ai distrat vladishor ....

E cam smechera tipa!
Eu una n-am auzit sa fi fost in Romania pana acum.
Maed, imi poti face si mie rost de vreo filmare?



Yvonne S??nchez nu a vrut să devină solistă de jazz, ?®nsă destinul a dus-o pe această cale. Ea este prin excelenţă un muzician autodidact şi are un stil unic de interpretare. Călătoria unui muzician nu este niciodată plănuită, iar Yvonne nu face excepţie. A concertat ?®n Germania, Israel, Portugalia, Franţa, Cuba, Brazilia şi Statele Unite ale Americii. Aceste culturi diferite au acţionat asemenea unui catalizator al dezvoltării ei. Pe măsură ce se ?®ndepărtează de jazzul convenţional, ea ?®mbrăţişează muzica rădăcinilor ei latine, Bossa Nova şi Samba. Efectele acestor influenţe pot fi auzite la ?®nceputul albumului Invitation (2001), ?®nregistrat alături de renumitul Robert Balzar Trio. Anul următor, ??€??Invitation??€? a fost nominalizat la premiile Grammy din Cehia.

Această solistă de jazz polonezo-cubaneză, cu vocea ei dulce ca mierea, a vrăjit publicul din ?®ntreaga lume. După ce a fost percuţionistă pentru o scurtă perioadă de timp alături muzicieni de top din Polonia, inclusiv Jozef Skrezek, s-a mutat ?®n Germania şi a lăsat muzica ?®n urmă.

???n 1994 s-a mutat la Praga. ???n c??teva luni a devenit un punct central al scenei jazzistice pragheze şi a c??ntat cu cei mai buni muzicieni ai ţării inclusiv basistul Robert Balzar, pianistul Jan ??€??Najponk??€? Knop şi saxofonistul Karel Ruzicka Jr. Repertoriul ei cuprinde de la standarde de Duke Ellington, Richard Rodgers şi Lorenz Hart p??nă la temele de bossa nova ale lui Antonio Carlos Jobim.

Yvonne pregăteşte ?®n momentul de faţă al doilea album al său care va cuprinde ?®n mare parte jazz.

La fel de ??€??acasă??€? ?®n bebop, bossa nova şi blues, Yvonne combină eleganţa stilată a Ellei Fitzgerald, fraza lui Mel Torme şi ??€??condimentul??€? Ritei Moreno pentru a crea ceva rar: adevărată originalitate. Tematica abordată de ea se ?®ntinde de la Thelonious Monk şi Billy Strayhorn p??nă la Antonio Carlos Jobim, iar ea face ca fiecare melodie să sune ca şi cum aceştia au compus-o special pentru ea. Spre exemplu, orchestraţiile ei pentru Lover Man al lui Ellington sau pentru Well, You Needn??€â„?t al lui Monk sunt proaspete şi entuziaste.

www.yvonne-sanchez.com

Maed wrote:Anca Parghel Project din Romania/Belgia (prestatia Ancai Parghel din aceasta seara ma face sa cred ca totusi Aura Urziceanu nu e singurul superlativ vocal jazzistic romanesc....si se prea poate sa o intreaca

Adevar graiesti! Cat despre Aura si al ei Best Of, vezi pagina <9>!

Pe Aura am tot vazut-o, de la live'uri la materiale de ore-n sir. Mi-ar fi placut sa detin niste chestii si cu alti artisti interpretand in Romania inafara de cele pe care le am de la Garana. In cazul asta ii voi contacta pe organizatori, ar fi chiar culmea sa nu fi filmat. I-as bate! Multumesc, Maed!

Nu, nu, nu! De ce te-a socat nu stiu. La Garana se tine anual festivalul de Jazz, de aceasta data cred ca va avea loc prin august, cu toate ca organizatorii ar trebui sa se gandeasca si la turistii ce vin cu corturile, e destul de racoare avand in vedere ca e zona de munte iar acestia stau sub umbrele tari si impermeabile. Tinandu-se intr-o poiana, am avut noroc'ul de a vedea cateva persoane care au venit pentru a asculta live impletirea elementelor folclorice, restul prezentandu-se pentru simpla distractie, fiind antrenati de ritmurile vioaie, sincopate spre tot felul de orgii (in adevaratul sens al cuvantului). Dupa finalizarea dezmatului, aveai impresia ca esti pe front, doar ca soldatii in loc de arme aveau sticle de bere s.a.m.d. Ultimii doi ani am lipsit, n-am mai iesit mai niciunde fiind ocupata, anul asta voi facepe dracu in patru sa ajung! Probabil, asta se datoreaza faptului ca difera locatiile, as fi placut surprinsa sa-i vad pe unii odihnindu-se calmi pe-o muzica placuta!

Festivalul International de Jazz "Richard Oschanitzky" 18 - 20 mai la Sala Studio - TVR Iasi

ha...l-am vazut pe pescarushu in pozele de la autobuze... ....

pt mine jazzu e ceva facut de negri si atat....dar totusi e tare...

Ca in fiecare an Jazz a Vienne fest in Paris 29 iunie-13 iulie


programul http://www.jazzavienne.com/?r=programme2006&s=ta

Bio: Chucho Valdes

Massive pianist Jesus "Chucho" Valdes has stood as the overriding patriarch of Cuban jazz during the last 25 years of the 20th century. With a classical technique rivaling many of today's concert pianists, the speed and versatility to tackle bop with the veracity of Bud Powell, the willingness to cross over into the pop realm and roots deeply planted in the Afro-Cuban tradition, Valdes stands as one of today's most versatile musicians.


The son of famed pianist/composer Ramon "Bebo" Valdes, Chucho was born Oct. 9, 1941, in Quivican, Cuba, and grew up in a musical circle that included such legends of Cuban jazz as Chano Pozo, Benny More, Ernesto Lecuona and Chico O'Farrill. Like all young Cuban musicians, Valdes studied classical technique in school and learned and played jazz and traditional Cuban music in jam sessions. He worked in several big bands in the '60s, and formed his own jazz-oriented quartets and quintets inspired by the playing of Art Tatum, Thelonious Monk, Bud Powell, McCoy Tyner and Wynton Kelly. He formed Orquesta Cubana de Musica Moderna in 1967 and in 1973 put together the big band Irakere.

With members in the original band such as Paquito D'Rivera and Arturo Sandoval, Irakere blended traditional Cuban music with rock, jazz and funk. International tours, accolades, Grammys and fame followed, but tensions between the Castro regime in Cuba and the United States government prevented the band from getting the exposure and the gigs they deserved in the States. D'Rivera and Sandoval defected, but Valdes has stayed in Cuba and kept the band going to this day. In '98, he started weaning his work as the ensemble's musical director and training the band's artistic director, his son Francisco, to fill his shoes. The album The Best Of Irakere (Columbia) serves as a good representation of the band's work.

After signing with Blue Note records and releasing the albums Bele Bele En La Habana and Solo Piano, Valdes has turned his focus toward small ensemble and solo work. "I like playing solo," said Valdes in a March 1999 D.B. feature. "The piano is all mine. I can do whatever I want, no one is going to bother me and I don't have to follow anyone else. With the quartet, I can develop the piano more."

Bio: Tito Puente

Latin jazz icon Tito Puente was born in New York City in 1923 to a family of Puerto Rican descent, planning to become a dancer before an ankle injury channeled his creative energiesinto music. By the time he was 13, Puente was drumming for Ramon Olivero's band,later formally studying composition at the Julliard and New York Schools of Music. Combining traditional Latin-American music with North American jazz, Puente formed his own band in his mid-20s, the Picadilly Boys, which later evolved into a full orchestra. Over the next several decades the prolific Puente released scores of albums on the Tico and RCA Victor labels, popularizingLatin music among Anglo audiences during the 1950s.
A multi-talented musician, Puente freely switched between saxophone, conga drums, bongos and vibraphones, composing, arranging, conducting, and performing with his orchestra. The group freely switched between cha-cha, mambo, bossa nova, salsa, jazz and pop, demonstrating Puente's genius for cross-cultural and stylistic fusion.


Puente, known was "The King of the Mambo," continued performing and recordingthroughout the '60s, gaining new fans during the close of the decade thanks to Santana's cover of the Puente classic "Oye Como Va." His band continued to evolve during the 1970s, and in the early 1980s Puente moved to the more jazz-oriented Concord Picante label. He recorded his 100th album, The Mambo King, in 1991, marked by a massive tribute performance in Los Angeles. Puente continued to tour throughout the '90s, drawing thousands to his spirited concerts.

On June 1, 2000, Puente died of complications after heart surgery at the age of 77.

North Sea Jazz Festival 2006



North Sea Jazz 2006 will take place in Rotterdam. We??€�re moving, because we don??€�t want to endanger our well-tried festival concept. North Sea Jazz must be - and remain to be - what it has become in the past 30 years: a festival of both musical and organizational quality. A festival where, again and again, three generations of jazz lovers have been able to enjoy a varied program in a unique, intimate atmosphere.

We find ourselves at a crossroad. In The Hague a part of the well-known accommodation will be pulled down. An operation with immense consequences concerning the heart of our festival. Concert halls will disappear, the capacity will decrease, and as a result the festival would have become more crowded and therefore more chaotic. We are not willing to make any concessions regarding the formula of a festival that has succeeded in attracting thousands of loyal visitors over the years.

That??€�s why we??€�re moving to Rotterdam. Realizing that we are leaving behind a history in the royal residence, but also aware of the fact that this guarantees the continuity of North Sea Jazz in the near and far future. Our program is the basis of our success. And th??t quality will not be altered, that??€�s a promise. In fact, the new festival venue Ahoy presents new possibilities. We will be able to be more flexible in scheduling our musicians, we will offer more comfort and better sightlines in the many halls, with stages that will be constructed in the old familiar way. And everything will still feel very familiar, because we ??€� of course ??€� won??€�t be making any changes for the worse.

Most of the time changes are only inconvenient. In this case we will make a change for the better. Without denying our roots, we are looking forward to North Sea Jazz 2006 in Rotterdam. And that??€�s because we have the conviction that a wonderful tradition will be preserved for so many faithful visitors. So next time - in 2006 - we will meet in Rotterdam.

http://www.northseajazz.nl/index.en.asp

+ MARE bonus de la mine

Common @ NorthSeaJazz 2005 // 309.6 MB, 1h16m05sec

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