JAZZ

[Deena]

Bio: Poncho Sanchez

Those seeking music that blends the creative improvisation of jazz with strong Latin polyrhythms need look no further than the West Coast-based band of conga drummer/singer Poncho Sanchez, who gives much of the credit for his sound and success to his late mentor, Cal Tjader.
A native of Laredo, Texas, born Oct. 30, 1951, Sanchez was reared in Norwalk, Calif., the youngest of 11 children. He grew up listening to the family's record collection, which included, in addition to works by Tjader, albums by Eddie Palmieri, Mongo Santamaria, Machito, Willie Bobo and Tito Puente. Sanchez taught himself to play guitar at age 12, then went on to learn flute, drums and timbales, taking up congas at age 18.



Sanchez played in local bands while still a teen, then joined Tjader's combo in 1975, remaining until the leader died in May 1982. His association with Tjader led to his own recordings on the Concord label, which began later in 1982. Sanchez has continued to lead his own combo since that time, touring and recording. He has been nominated twice for Grammy awards. Representative albums include Chile Con Soul and Soul Sauce -- Memories Of Cal Tjader, both on Concord.

[sunrah]

Garana International Jazz Festival ??€� (Festivalul de Jazz de la Garana) July 11 - 16, 2006

Garana - 60 miles southeast of Timisoara. Daca tot va deplasati pana la Timisoara pentru hip hop summer fest, mai adecvat ar fi sa veniti la jazz, si trageti o fuga si pana la mine! E de neuitat, ca-n fiecare an! Pe ZALE, C.T.C. s.a.m.d. aveti sansa a-i vedea prestand de cateva ori/an. Eu plec azi, dar nu cred a prinde desfasurarea in plina amploare, asta e cu prioritatile astea. Astept a fi postate parerile, aprecierile celor prezenti. Music Makes The World Go Round *jazz liberatorz!
The village of Garana in the Semenic Mountains comes alive with people from Romania and neighboring countries wanting to bask in the summer sun while enjoying an array of jazz music from local and international bands. If three days of fine-tuned jazz music is not enough for you, there are other cultural events to enjoy as well: book releases, art exhibitions and circus performances. Mix that with Gigi??€�s famous goulash, fresh caught trout and Romanian mititei (grilled minced meat rolls) barbecued in an open-fire grill, and you will have a one-of-a-kind jazz concert experience. .............

The Jazz version of Stowe (VT) TangoFest.
Telephone: 0723.334.150
www.garana-jazz.ro
E-mail: [email protected]

[bboyspdy]

S-ar putea sa ma poarte pasii si pe acolo, pe o duminica daca e.

[sunrah]

Poarta-i tu pe ei, ai numarul meu. Pe munte cred ca ploua torential, aici chiar merge slangu' lu' Sinatra..
atat la propriu, cat si la figurat I think it's going to rain! Vant bun!

[Deena]

Bio: Machito

Singer/percussionist Machito, although a name little heard in recent Latin jazz discussion, must be considered one of the founding fathers of the movement, along with his brother-in-law, Mario Bauza, Tito Puente, Chico O'Farrill and a few others. Without them there might be no Poncho Sanchez, Ray Barretto or the Fort Apache Band.Born Frank Grillo, Feb. 16, 1912, in Havana, Cuba, Machito was the son of a cigar manufacturer and became a professional musician and singer in his teens. He emigrated to the United States in 1937 as a singer with La Estrella Habanera, then went on to various Latin bands and recordings with Xavier Cugat. Machito started his own band, the Afro-Cubans, in 1940, adding his Bauza as musical director the next year, a position that Bauza held for 35 years.



Bauza was the behind-the-scenes conceptualizer, while Machito played the role of frontman, singing, conducting and playing the maracas. The band and its crew of players and arrangers was among the first to blend Afro-Cuban rhythms and the improvisations of jazz.
Machito was featured with Stan Kenton on his "Peanut Vendor" recording and made crossover sessions of his own on Clef and Mercury. Over the years, the Machito band featured soloists such as Charlie Parker, Dizzy Gillespie, Howard McGhee, Harry Edison, Flip Phillips, Cannonball Adderley, Johnny Griffin and Curtis Fuller on its recordings. The band continued to work through the mambo and salsa crazes into the '80s. Machito died of a fatal stroke suffered at Ronnie Scott's club in London, April 15, 1984.
The efforts with Parker and Gillespie (Verve) represent his best recordings from a jazz standpoint.

[Deena]

Bio: Eddie Palmieri

The leading Latin jazz pianist of his generation, Eddie Palmieri has proven able to artfully blend the straight-ahead jazz styles of Monk, Hancock and Tyner in a latin mix as well as create interesting fusions of jazz, salsa and rock.
Palmieri was born in New York City on Dec. 15, 1936. He began both classical piano studies and Latin drumming at age 8 with his older brother Charlie. His early professional engagements were with Johnny Sequi's orchestra in '55 and Tito Rodriguez's pop Latin band from '58 to '60. In '61 he formed La Perfecta; its flute and twin- and triple-trombone front line influenced such mainstream jazz musicians as Herbie Mann. In '66, Palmieri recorded El Sonido Nuevo with Cal Tjader.



After La Perfecta disbanded in '68, Palmieri played with the Fania All-Stars and Tico, and recorded with Cacaho, Alfredo "Chocolate" Armenteros, and Justa Betancourt as well as Latin boogaloo sessions. Beginning in the mid '60s, Palmieri began studying arranging and the influences of pianists such as Monk became more evident in his playing. During the '70s and '80s he tried to breakthrough to the broader American market with a blends of salsa, rock, jazz improvisation and Spanish vocals. But sessions he cut for Columbia and Capitol (featuring David Sanborn), while garnering critical acclaim and award nominations, failed to proved the needed hits.
More recently, with recordings like Palmas, he has returned to a more straight-ahead Latin jazz style.

[brain killer]

poate sa puna cineva daca vrea ceva despre Fela Anikulapo Kuti e super tare omul si nu ptr mine ca am multe cu el dar sa se mai documenteze lumea poate le place...stiu ca nu e tocmai jazz dar ar fi bine.. thanxxx

[Deena]

Bio: Fela Kuti


Fela Kuti was born in Abeokuta, Nigeria to a middle-class family. His mother, Funmilayo Ransome-Kuti, was a feminist active in the anti-colonial movement and his father, Reverend Israel Oludotun Ransome-Kuti, was the first president of the Nigerian Union Of Teachers. He relocated to London in 1958 with the intention of studying medicine, but he decided to study music instead at the Trinity College of Music. While there, he formed the band Koola Lobitos, playing a style of music Fela called Afrobeat. The style was a fusion of American jazz with West African highlife. In 1963 Fela moved back to Nigeria, re-formed Koola Lobitos and trained as a radio producer for Nigerian Broadcasting Corporation. In 1969 Fela took the band to the United States. While there, Fela discovered the black power movement through Sandra Izsadore--a friend of the Black Panther Party--which would heavily influence his music and political views and renamed the band "Nigeria 70".

Soon, the Immigration and Naturalization Service were tipped off by a promoter that Fela and his band were in the US without work permits. The band then performed a quick recording session in Los Angeles, which would later be released as "The '69 Los Angeles Sessions".



The musical style performed by Fela Kuti was called Afrobeat, which was essentially a fusion of jazz, funk and Traditional African Chant. It was characterized by having African style percussion, vocals, and musical structure, along with jazzy, funky horn sections. The "endless groove" was also used, in which a base rhythm of drums, muted guitar, and bass guitar are repeated throughout the song. This is a common technique in African and African-influenced musical styles, and can be seen in funk and hip-hop. Some elements often present in Fela's music are the call-and-response with the chorus and figurative but simple lyrics. Fela's songs were almost always over ten minutes in length, some reaching the twenty or even thirty minute marks. This was one of many reasons that his music never reached a substantial degree of popularity outside of Africa. His songs were mostly sung in Nigerian pidgin, although he did also perform a few songs in the Yoruba language. Fela's main instruments were the saxophone and the keyboards but he also played the trumpet, horn, guitar and made the occasional drum solo. Fela refused to perform songs again after he had already recorded them, which also hindered his popularity outside Africa. Fela was known for his showmanship, and his concerts were often quite outlandish and wild.

http://www.felaproject.net/

[Sera]

am un documentar elocvent despre Fela, pentru cine e interesat. aflu cum se numeste cand ajung acasa. se poate lua de la mine folosind dc-ul

[brain killer]

il poti uploada pls???

[Deena]

Bio: Antonio Carlos Jobim

Take the Afro-anthemic, processional pulsations of the samba, slow them down, add a dash of cool jazz melodic and rhythmic inflections. Sprinkle them with Euro-impressionistic harmonies laced with the lovely Portuguese language, and you've got the recipe that made Brazilian guitarist/pianist Antonio Carlos Jobim one of the most popular composers of the 20th century.

Jobim was born in Rio De Janeiro on Jan. 25, 1927. In the late '50s Jobim, poet Vinicius de Moraes and vocalists Joao Gilberto and Nara Ledo created a distilled form of the samba known as the bossa nova or "New Thing." Jobim's haunting score for the movie Black Orpheus garnered him worldwide fame and in 1962 he recorded Jazz Samba with guitarist Charlie Byrd and tenor saxophonist Stan Getz, which established the bossa nova's popularity in the United States. Jobim and Getz later collaborated with Joao Gilberto and his wife, Astrud, and his compositions, "Desafinado," "The One Samba" and "How Insensative" became jazz standards.


For the next three decades, Jobim would collaborate with many well-known jazz figures, including Ron Carter, and orchestrators such as Nelson Riddle on The Wonderful World Of Mr. Jobim and Claus Ogerman on The Composer Of Desafinado Plays .... He also worked with Frank Sinatra and, shortly before his death in December 1994 recorded with Sting on his last recording, Brasiliero.
Jobim's musical worldview moved beyond the boundaries of jazz and world music and became a category unto itself.

[Deena]

Bio: Cal Tjader

One of the foremost popularizers of Latin music during the '50s, vibraphonist Cal Tjader enjoyed substantial success in the Latin market, influenced Carlos Santana's melding of rock and Latin, and has even been part of the retro craze for lounge/cocktail music.

Tjader was born in St. Louis on July 16, 1925. His parents were veterans of vaudeville, and Tjader joined their act at age 4 with a solo tap routine. He studied music at San Francisco State University, where his fellow students included Paul Desmond and Jerome Richardson. After Tjader's graduation in 1949, Dave Brubeck hired him as his drummer. In 1951 he left Brubeck to form his own group while also working with Alvino Rey. In 1953 he joined George Shearing as percussionist, playing everything from bongos to vibraphone. Tjader credited his bandmate bassist Al McKibbon for turning him on to Latin music by taking him to he Palladium to hear Tito Puente, Machito et al after their own sets with Shearing.



"For the first time I saw the potential of what I have to call 'Latin Jazz'," Tjader explained to DB writer Harvey Siders. "Shearing also got the message then, and he began his intense interest in Latin, or Afro-Cuban."

After leaving Shearing in 1954, Tjader formed a group blending Afro-Cuban music and jazz that featured Willie Bobo and Mongo Santamaria. Later groups and recordings featured Tito Puente and Eddie Palmieri in jam settings. Tjader won a Grammy in 1979 for La Onda Va Bien.
He died in Manila on May 5, 1982.

[Deena]

Bio: Ray Barretto

Those bemoaning the lack a new direction within the jazz mainstream generally find freshness in its musical mixture with Latin rhythms. Conga drummer-percussionist Ray Barretto, who jammed with Charlie Parker, Max Roach and Art Blakey in the '40s and '50s, remains a vital force, leading his hard-driving New World Spirit sextet/septet.


The son of Puerto Rican parents, Barretto was born in Brooklyn on April 29, 1929, and grew up in the Bronx and Spanish Harlem. While he was reared with Afro-Latin music, he became involved with jazz in the late '40s by sitting in at various sessions. After a tour with the U.S. Army in Europe in the early '50s, he became a music professional in 1954. He first worked with Jose Curbelo for two years, then joined Tito Puente, replacing Mongo Santamaria. Following four years with Puente, he left to join Herbie Mann, then formed his own band after four months.

Barretto had also been working and recording as a first-call Latin percussionist with jazz players such as Red Garland, Gene Ammons, Lou Donaldson, Cannonball Adderley, Dizzy Gillespie, Freddie Hubbard and others. His leadership credentials were cemented by the 1963 crossover hit "El Watusi" and he has continued to lead groups since that time, with New World Spirit, which he formed in 1992, the most directly linked to his Latin-jazz roots. Two of New World Spirit's best recorded efforts are Ancestral Messages on Concord and Contact! on Blue Note.

[Deena]

Bio: Grant Green

"People were always all over Grant," George Benson told Grant Green's biographer (and daughter-in-law) Sharony Green. "Guitar players were trying to learn what his secret was...Grant made the guitar come alive and sing."
A musician's musician who also managed to achieve a degree of popularity in the late 1960s and early 1970s, Grant Green was heralded by contemporaries for his pure sound and uncluttered, linear solo style, a blues-drenched combination of Charlie Christian and Charlie Parker. Green's melodic solos were often compared to those of a horn player.



Born June 6, 1931, in St. Louis, Green learned guitar from his father and began playing locally, beginning in 1944, with Jimmy Forrest and Harry Edison. Saxophonist Lou Donaldson encouraged Green to come to New York in 1960. There, he began recording prolifically for Blue Note, bringing out more albums than any other artist on that label between 1961 and 1965.

Green was a major player in popularizing the organ/guitar/drum trio, with such keyboardists as Brother Jack McDuff, Gloria Coleman, Larry Young and Big John Patton. He also worked as a sideman with Herbie Hancock and Lee Morgan. In 1968, Green spent a brief period in prison because of heroin addiction, but returned to the scene in 1969, recording funky, commercially-oriented albums for Blue Note. He also wrote a film score for the movie The Final Comedown.
Green died on Jan. 31, 1979, in New York.


Recommended recordings: Talkin' About (Blue Note), The Complete Blue Note With Sonny Clark (Mosaic); Born To Be Blue (Blue Note).

[sunrah]

un artist cu adevarat under.............

Născută pe 3 noiembrie 1967 la Huşi ?®n judeţul Vaslui.



Studii nonconformiste, dar serioase, de filologie, la Universitatea Alexandru Ioan Cuza din Iaşi şi la Universitatea din Bucureşti, secţia franceză - engleză.

Studii muzicale şi mai nonconformiste, ?®n schimb probate ?®n viaţa de zi cu zi: c?®ţiva ani de vioară cu tatăl ei, t?®rcoale fructuoase aplicate chitarei cu punere directă ?®n practică - intuitiv, talent cu carul - a unor capitole ale teoriei muzicale.

Profesiune de credinţă (?®n lipsă de alte argumente): c?®ntăreaţă de muzică şi vocalistă de jazz.

Primul album: 'Pe vale', ?®n formulă de trio, cu Vlaicu Golcea (contrabas) şi Sorin Romanescu (chitară) - editat de 'La Strada Music' ?®n 2002.

?Žn noiembrie 2002 lansează un album de colinde, ?®n aceeaşi formulă, produs tot de 'La Strada Music'.

Palmares: droaie de premii ?®n tinereţe, pe la tot felul de festivaluri naţionale; prezenţă autobiografică (oare c?®ţi dintre cei ce meşteresc ?®n / pe la / pe l?®ngă / pe sub etc. muzică pot afirma asta despre sine?) chiar dacă, aparent, sporadică şi aleatorie, ?®n cluburile din Bucureşti, mai rar ?®n sălile de concert sau ?®n circuitul festivalier de jazz actual, autohton.

'Reuşita cu care mă m?®ndresc cel mai mult este aceea de a nu exista, oficial vorbind, ?®n calitate de c?®ntăreaţă. Exist doar ?®n fapt, ?®n sensul că oamenii vin la c?®ntările mele, mă aplaudă, mă felicită, ?®mi spun că-i emoţionez.
Pasionată de muzică ?®n primul r?®nd, şi doar apoi de jazz şi de muzica popoarelor lumii. Ce-mi doresc? Ca necrologul meu să conţină aprecieri la vibranta mea inexistenţă. ?Žn sensul că e at?®t de str?®ns legat felul ?®n care trăim de felul ?®n care c?®ntăm. ?Žmi place mai mult să fiu persoană, dec?®t artist. Şi ?®n fond ce sunt, dacă nu o minunată voce ?®ntre două milenii ? Va să zică, mai nimic.'

tocmai plangeam.. pe vale.