Panama Jazz Project
Proyecto del Jazz en Panama
Panama Jazz Project

Santi Debriano

Santi Debriano

From Wikipedia, the free encyclopedia

Santi Wilson Debriano (b. 1955 in Panama) is a jazz bassist.

Debriano was raised in Brooklyn, having moved there with his family at age four. He studied composition at Union College in New York, then attended the New England Conservatory of Music and Wesleyan University. He worked with Archie Shepp in the late 70's and early 80's, then moved to Paris and played with Sam Rivers for three years. He returned to New York City and has since worked with Don Pullen, Pharoah Sanders, Sonny Fortune, Billy Hart, Larry Coryell, Chucho Valdés, Hank Jones, Cecil Taylor, Randy Weston, Freddie Hubbard, Kirk Lightsey, and Attila Zoller.

Debriano has led several of his own units, including small groups in the late 1980s and Circlechant, a world music-influenced ensemble which has had among its members Helio Alves, Will Calhoun, and Abraham Burton.

Debriano was also the music director for arts at Dwight Morrow High School in Englewood, New Jersey, and was given an award for jazz education by New York University in 2001.

From Allmusic

The son of a renowned Panamanian composer, Santi Debriano is one of the busiest jazz bassists in the New York area. In addition to leading his own bands, including the multi-ethnic jazz ensemble Circlechant, Debriano has been a member of the Don Pullen Trio, the Pharoah Sanders Group, the Sonny Fortune Group, the Billy Hart Band, the Louis Hayes Quintet, the Larry Coryell Group, and the Archie Shepp Quartet. As a sideman, Debriano has performed with Chucho Valdés, Hank Jones, Cecil Taylor, Randy Weston, and Freddie Hubbard.

Raised in the United States from the age of four, Debriano played guitar and bass by the age of nine. After studying composition at Union College in New York and bass violin at the New England Conservatory of Music in Boston, he continued his studies at Wesleyan University, where he earned a master's degree in music, with an emphasis on ethnomusicology and world music. A member of the Archie Shepp Quartet in the late '70s, he was featured on four albums and appeared in the documentary film Imagine the Sound. Moving to Paris, Debriano spent three years with the Sam Rivers Trio. Upon his return to the United States, he quickly made his presence felt on the jazz scene in New York.

As a bandleader, Debriano has presented his music in a variety of contexts. He led a two-bass quintet and a trio during the late '80s and played Latin music as a member of the Panamaniacs. He leads Circlechant, a culturally diverse group that includes Brazilian pianist Helio Alves, former Living Colour and Mos Def drummer Will Calhoun, and tenor saxophonist Abraham Burton.

Debriano has been equally influential as a music teacher. As the music director for the performing arts program at Dwight Morrow High School in Englewood, NJ, he placed an emphasis on African, Afro-Caribbean, Latin American, and African-American music. He received a jazz educator award from New York University in 2001.

Discography

 As leader

 As sideman

References

Posted by el doctor at 11/21/2010 8:08 PM | View Comments (50) | Add Comment

Alex Blake

Alex Blake

When looking at his list of accomplishments.
It is surprising that the creative bass stylings of Alex Blake
have not reached the status of "household word".

The range of Alex Blake's talent is bordering on phenomenal,
as a plethora of musicians in virtually every style call upon him
for truly unique bass playing.
 

 
Alex Blake - Pressphoto - Photo credit @ Agostino Mela

 

His recording and touring dates read like a
"who's who" of all the "who's" that have ever played jazz.

 

 
Dizzy Gillespie, Sonny Rollins, Sun Ra, Art Blakey, Freddie Hubbard, Stan Getz, McCoy Tyner The Last Poets, Max Roach, Art Blakey, Billy Cobham, The Manhattan Transfer, Astrud Gilberto, Pharaoh Sanders and Randy Weston,  to name a few....  > more <

 

 
They have all chosen Alex as a source of versatility, strength, and originality.  This has been happening since he was a child, and with his background and experience, it is no wonder that many have called him
a prodigy.
 
 

 

Alex Blake was born in Panama where, as a child, he enjoyed the infusion of cultures common in Central America. Acting as a bridge between North and South America, Panama captures a little bit of each culture passing through. It only follows that as one of the building blocks to his character, this environmental influence would later be echoed in his uncanny ability to play every style of music. Alex moved with his family to the United States when he was seven years old, and continued to be influenced by his environment, which this time round was Brooklyn, New York.
 

Alex Blake - Photo credit @ Agostino Mela

 

Alex's first instrument was the trumpet, for which he developed a real flourish. His father, also a musician, experienced a very strong premonition through a dream a few years later. His dream told him that his son's future would be with the bass, and that it would take him all over the world.
With that, Alex's father became his first bass teacher. Between his fathers' instruction and his own natural and incredible reach for expression, Alex started his reputation for blowing people away with his talent.
 

 

 

Alex began playing professionally by the time he was twelve.
Alex's education did not end with success on the bandstand however.
He continued to study privately with some of the great teachers of stringed instruments, composition, theory, as well as arranging. Reggie Workman and Harry Constant at The New Muse in Brooklyn, Melonie Punter and Akua Dixon at the String Reunion and composer / recording artist Richard Davis all helped to hone Alex's already accomplished and individual style.
 

Alex Blake - photo credit @ Agostino Mela

 

Alex began to collaborate creatively on the inception of some of the more recognized Afro-Cuban, Puerto Rican, and Latino Jazz artists including Mongo Santamaria. Machito (Maria Bauza), and Celia Cruz to name a few.

By the time he was sixteen, Alex had reached the epitome of "outside" success by touring and recording with Sun Ra. From there, at the ripe old age of seventeen, Alex had moved on to play with Dizzy Gillespie, which catapulted the demand for his presence to an international basis.
The calls poured in from Freddie Hubbard, McCoy Tyner, Randy Weston, Pharoah Sanders and many others who desired his inventive interpretations on the bass.
 

  Alex Blake and Pharoah Sanders
 

 

After becoming one of the major players of the fusion movement in the late 70's (as evidenced in his writing and performances with Lenny White and Billy Cobham), Alex established himself as a drummer's bassist.
His range and ability to flow between melodic, and extremely rhythmic playing, enabled all-star drummers to express themselves without having to worry about keeping somebody else's time.

Many who work with Alex consider him an entire rhythm section on his own. With his evocation of rhythm guitar and steady drumming, along with lyrical bass lines emanating from his own two hands.
If one counts the occasional scat singing over some of his solos, one might be inclined to call him the whole band and give him the horn chair as well!
 

 

 

A perfect example would be of Alex's work with Randy Weston, who has changed the parameters of Afro-centric jazz with Alex's unlimited style by freeing up the rhythm section to work with only a hand percussionist.
The band moves between complex polyrhythm and swing in a flawless manner, never losing the groove.
In essence, by it's sound; the band's music explains the infusion of African influences that, throughout America, became jazz.
The swing of it is firmly in the hands of the bass that walks right into flamenco riffs: global consciousness in a chorus.
 

Alex Blake and Randy Weston - Photo credit: @ Jos L. Knaepen

 

As a sideman without comparison,

Alex continues to tour with Pharoah Sanders and Randy Weston.

 

As a leader and composer,

Alex Blake is doing what he always has done,
create incredible music that infuses a myriad of cultures and
experiences that almost define the world of music as being one.

     

 

 
 

 
 
the individuality
 
the completeness
 
the expression
 
it is all original
 
it  is  all
 
ALEX  BLAKE
Alex Blake - Photo credit @ Agostino Mela

 

 

Alex Blake's solo
www.youtube.com
European jazz Expò 2007 - - Cagliari, italy

Alex Blake Biography

From Wikipedia, the free encyclopedia

Alex Blake

Alex Blake performing with Randy Weston, Billy Harper and Neil Clarke at the Jazz Standard, March 2007
Background information
Genres post bop jazz
Occupations Musician
Instruments Double bass
Labels Bubble Core Records, Verve Records, Image Records, Sunnyside Records, Random Chance, Muse Records, Atlantic Records, WEA International, Rhino Records, CTI Records, Black Saint, Koch Records, Columbia Records, Tomato Records, Charly Records, Elektra Records, Raven Records, MCA Records, Blues Alliance, Waterlily Acoustics, Warner Bros. Records, Arista Records, Monad Records, A&M Records, In & Out Records, CIMP Records, Tum Records, Big Ox Records, Mercury Records, Hip-O Records, Arabesque Records, McKenzie Entertainment, Ubiquity Records, Red Ink Records, Downtown Records, Eagle Eye Media, J-Room Jazz, YOU Entertainment, Pho Records
Associated acts Sun Ra, Arkestra

Alex Blake is a post bop jazz double-bassist who began his career with Sun Ra in his band Arkestra. A live performance compilation was released by Bubble Core Records in 2000 titled Now Is the Time: Live at the Knitting Factory. The album featured his own quintet that included Pharoah Sanders, Victor Jones, John Hicks and Neil Clark.[1]

Contents

[hide]

Discography

 As leader

Alex Blake
Album Year Label
Now Is the Time: Live at the Knitting Factory 2000 Bubble Core

 As sideman

Randy Weston Album Year Label
Spirits of Our Ancestors 1991 Verve Records
Saga 1995 Verve Records
Khepara 1998 Verve Records
Live in St. Lucia 2003 Image Records
Spirit! The Power of Music 2003 Sunnyside Records
Zep Tepi, The Randy Weston African Rhythms Trio 2006 Random Chance
Carlos Garnett Album Year Label
Black Love 1974 Muse Records
Billy Cobham Album Year Label
Shabazz 1974 Atlantic Records
Total Eclipse 1974 Atlantic Records
Funky Side of Things 1975 Atlantic Records
Introducing Billy Cobham 2006 WEA International
Rudiments: The Billy Cobham Anthology 2001 Rhino Records
Airto Album Year Label
Virgin Land 1974 CTI Records
Don Pullen Album Year Label
Capricorn Rising 1975 Black Saint
Tomorrow's Promises 1977 Koch Records
Frank Lowe Album Year Label
The Flam 1975 Black Saint
Arif Mardin Album Year Label
Journey 1975 Atlantic Records
Sonny Rollins Album Year Label
The Way I Feel 1976 Milestone Records/OJC
Yusef Lateef Album Year Label
Autophysiopsychic 1977 CTI Records
Lenny White Album Year Label
Big City 1977 Nemperor Records
The Adventures of Astral Pirates 1978 Elektra Records
The Last Poets Album Year Label
Delights in the Garden 1977 Charly Records
Pharoah Sanders Album Year Label
Love Will Find a Way 1977 Arista Records
Beyond a Dream 1978 Arista Records
Save Our Children 1999 Verve Records
Ryo Kawasaki Album Year Label
Nature's Revenge 1978 MPS Records
Cory Daye Album Year Label
Cory and Me 1979 New York
Dizzy Gillespie Album Year Label
Endlessly 1987 MCA Records
Gabrielle Roth Album Year Label
Totem 1982 Raven Records
The Manhattan Transfer Album Year Label
Bodies and Souls 1983 Atlantic Records
Bop Doo-Wopp 1984 Atlantic Records
Man-Tora!: Live in Tokyo 1984 Rhino Records
Vocalese 1985 Atlantic Records
Manhattan Transfer Live: 1987 1987 Atlantic Records
The Offbeat of Avenues 1991 Columbia Records
Anthology: Down in Birdland 1992 Rhino Records
Janis Siegel Album Year Label
At Home 1987 Atlantic Records
Jimmy Buffett Album Year Label
Hot Water 1988 MCA Records
Joey DeFrancesco Album Year Label
All of Me 1989 Columbia Records
Brownie McGhee Album Year Label
Rainy Day 1989 Tomato Records
Blues Is Truth 1996 Blues Alliance
Earl Klugh Album Year Label
Whispers and Promises 1989 Warner Bros. Records
Dom Um Romao Album Year Label
Saudades 1993 Waterlily Acoustics
Norman Hedman Album Year Label
Flight of the Spirit 1994 Monad Records
Vertical Hold Album Year Label
Head First 1995 A&M Records
Chico Freeman Album Year Label
Sweet Explosion 1990 In & Out Records
Ahmed Abdullah Album Year Label
Dedication 1997 CIMP Records
Tara's Song 2005 Tum Records
Greg Bandy Album Year Label
Lightning in a Bottle 1997 Big Ox Records
Sun Ra & His Intergalactic Research Arkestra Album Year Label
Black Myth/Out in Space 1970 Mercury Records
Phyllis Hyman Album Year Label
One on One 1998 Hip-O Records
Andrienne Wilson Album Year Label
She's Dangerous 1998 Arabesque Records
Mac Gollehon Album Year Label
Smokin' Live 1999 McKenzie Entertainment
Babatunde Lea Album Year Label
March of the Jazz Guerillas 2000 Ubiquity Records
Stan Getz Album Year Label
The Final Concert Recording 2001 Red Ink
Roman Kunsman Album Year Label
Heavy Skies 1997 Downtown Records
Carmen McRae Album Year Label
Live in Tokyo/Vocalese Live, Vol. 1 2004 Eagle Eye Media
Kazumi Watanabe Album Year Label
Village In Bubbles 2004 J-Room Jazz
Cafe Soul All-Stars Album Year Label
Love Pages 2005 YOU Entertainment

 Compilations

Album Year Label
Wildflowers: The New York Loft Jazz Sessions (Complete) 1976 Knitting Factory
Atlantic Jazz: Best of the '70s 1994 Rhino/Atlantic
Latin Jazz Experience 1996 Pho Records
Viva Cubop!, Vol. 2: Dance the Afro-Cuban Way 2000 Cubop Records

References

  1. ^ Taylor, Ken. "Alex Blake Biography". Allmusic. http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:hjfqxqukldje. Retrieved 2007-06-25.

      2.  Alex Solo video http://www.youtube.com/watch?v=6y4Zllk7oeM

Posted by el doctor at 11/21/2010 7:49 PM | View Comments (53) | Add Comment

Jorge Sylvester

JORGE SYLVESTER, alto saxophone: Bio



JORGE SYLVESTER Alto Saxophonist, Composer, Arranger, Producer, Teacher

Born in Colon, Panama attended the Panama Conservatory of Music and the University of Panama. He received a Bachelor of Science in Music from the State University of New York College at New Paltz in 1981. A unique innovator in the idiom of creative music, Sylvester’s sound is reminiscent of another time in jazz history when artists like Dolphy and Ornette were exploding on the scene and experimenting with concepts that would ultimately revolutionize music at large. A throwback to the future, Mr. Sylvester has been on the cutting edge of that scene since 1980 when he first came to New York City. His blend of African-Caribbean Rhythms with new music is what gives Sylvester his distinguished voice. An impressive composer and arranger, his music moves, entices and stirs the imagination, as visual as it is physical, his ability to transform colors into sounds and sounds into textures place him in the company of the great expressionist painters.

Beginning his professional career at age 14, Jorge was leading his own Caribbean dance band, and writing his own arrangements and compositions. He studied privately with renowned Panamanian jazz saxophonist, Euclides Hall, who took him along on gigs to observe from the bandstand in the “old school style”. When Jorge’s professor at the conservatory, Efrain Castro, sent him to sub for him in a band led by the great Panamanian pianist Victor Boa, Jorge was taken on as a regular.

Heading for Europe in his early twenties,  Sylvester spent ten years touring and recording with his ensembles and freelancing throughout Europe. In 1979 he studied advanced Harmony with Argentinian Pianist, Composer Luis Vecchio in Las Palmas Canarias, Spain. It was during this period that Mr. Sylvester began to explore free jazz by playing and recording with the Luis Vecchio Quartet.

Upon his arrival to New York in 1980, he studied with Dave Holland, Oliver Lake, Steve Lacy, Ramsey Ameen, Marion Brown and many others at vibraphonist Karl Berger’s Creative Music Studio in Woodstock. Since that time, Sylvester has performed with: Stefon Harris, Rodney  Kendrick, Karl Berger, David Murray Big Band, poet Sekou Sundiata, the Black Rock Coalition Orchestra, Oliver Lake Big Band, Kuumba Frank Lacy’s Vibe Tribe, the Next Legacy Orchestra, Joe Bowie’s Defunkt Big Band and  Nora McCarthy who is a member of his group The ACE (Afro-Caribbean Experimental) Collective and with whom he co-leads several groups, namely:

The ConceptualMotion Orchestra and A Small Dream In Red (voice and saxophone duet) a CD by the same name was released on the Sundown label in March, 2003.  The ConceptualMotion Orchestra, conducted and orchestrated by Sylvester, is a 20-piece all original music orchestra with compositions contributed by both he and McCarthy, opened the renowned avant garde VISION FESTIVAL X in New York City, June, 2005.

In the Spring of 2006, Jorge Sylvester toured Europe and Israel with the World Saxophone Quartet filling the chair formerly occupied by its founding father Julius Hemphill, and later by Arthur Blythe, James Spaulding, Eric Person, John Purcell and Bruce Williams. Mr. Sylvester performed alongside luminaries David Murray, Oliver Lake and Hammiet Bluiett.

In January, 2007, Mr. Sylvester returned to his native Panama as a member of the Panamanian All-Stars led and directed by Danilo Perez at the fourth annual Panama Jazz Festival performing with Carlos Garnett, Santi Debriano, Billy Cobham and Renato Thoms.

In the Spring of 2007 he perform a series of workshops and concerts in Podgorica, Montenegro with A Small Dream in Red for Jazz Appreciation Month and appeared on the television show, Good Morning Montenegro.

Currently Mr. Sylvester performs regularly in and around the New York area with The ACE Collective, A Small Dream In Red, The Nora McCarthy Qu'ART'et, The Asymmetry Quartet, and most recently with Karl Berger's  Creative Music Studio Orchestra.

DISCOGRAPHY: 

New Double CD just released on Sylvester’s label Lizoka Music,  Following The Line/ Live in New York City is the documentation of his 1999 quartet featuring Monte Croft, vibraphone; Jeff Carney, bass; Terreon Gully, drums; and, a special appearance by pianist James Hurt on the Bud Powell composition Willow Grove.

2008 release entitled Waldron Ricks with trumpeter, composer Waldron Ricks, Danny Grissett, Jaleel Shaw, Nashiet Waits and Vicente Archer, featuring Jorge's Quintet version of his composition "Playground."

As co-leader of the quartet Asymmetry with pianist, Lucian Ban, Sylvester recorded a CD for Jazzaway Records released in December, 2005 entitled Playground – which is also the name of the title track a composition written by Sylvester.

In The Ear of the Beholder, 2001 (Billboard’s Spotlight, Feb. 2001) Jazz Magnet Records, features: Donald Nicks, electric bass; and, Bobby Sanabria, drums, is Sylvester’s second release as a leader. 

Critically acclaimed MusiCollage (Postcards, 1996, re-released on Arkadia Records) features: Claudio Roditi, trumpet; Marvin Sewell, guitar; Monte Croft, vibraphone; Gene Jackson, drums; Santi Debriano, acoustic bass; and, Bobby Sanabria, percussion. It received a **** rating from Downbeat Magazine and won a Billboard Critics’ Choice award. 

In 1999, Jorge Sylvester appeared on BET Jazz “Live From the Knitting Factory" with his group, The ACE Trio.

 

ADDITIONAL DISCOGRAPHY: 

Magic Night (Jazz Stop Records, Madrid Spain, 1989) with the Chastang/Sylvester Sextet;  Viriato Blue ( Jazz Stop Records, Madrid Spain, 1983 );  The Mass (Palmetto Records, 2000) with the Collective Identity Saxophone Quartet featuring Sam Newsom, Aaron Stewart and Alex Harding; Another Side (CIMP Records, 2000) with tenor saxophone Ken Simon Quartet featuring drummer Barry Altschul;  The Blue Oneness of Dreams (Mouth Almighty Records, 1997) with Sekou Sundiata; The Essence Allstars featuring Doug Carn, Idris Muhammed and Josh Roseman (Hip Hop Records, 1997).

Two new recordings coming out in 2010. " Toward The Hill Of Joy"  with trombonist, composer George Brandon's Septet and a live recording with legendary avant garde multi-instrumentalist and founder of Birth Records, Gunter Hampel and his European Trio recorded on October 5, 2009 in NYC.

 

UPCOMING NEWS:

* Jorge Sylvester will perform as a featured guest artist with The Nora McCarthy Qu'ART'et at the Marlborough Jazz Festival in Wiltshire,  England followed by a two week tour of the UK in July, 2010.

*In December of 2010 Mr. Sylvester's ACE Collective will perform in Austria culminating in a CD to be released in 2011.

 

"Jorge Sylvester's distinctive alto saxophone sound is imbued with the volatility of Caribbean basin's complex mosaic, transformed and focused by the probing musical linguistics pioneered by the great saxophonists of modern jazz. Jorge's composer's imagination is the matchless structural coherence of his improvisational work".

 Violinist, Composer Ramsey Ameen, 12/2005 Tribes Magazine

Sylvester website : www.jorgesylvester.com

Posted by el doctor at 11/21/2010 6:06 PM | View Comments (82) | Add Comment

Carlos Garnett

Carlos Garnett

From Wikipedia, the free encyclopedia



Carlos Garnett (born December 1, 1938) is a Panamanian-American jazz saxophonist, composer, arranger, and jazz group leader.[1][2][3][4][5] Mr. Garnett was born in Red Tank Canal Zone in 1938, and at the age of 7, his parents moved to community of Paraiso where he grew into manhood. He first started playing the alto saxophone at the age of 16 years while in High School.

Contents

Biography

 Early career

He grew up in Panama, and started playing tenor saxophone in 1957. Early on, he performed calypso and Latin music. In 1962, Garnett moved to New York, working with rock groups and struggling a bit, but listening closely to free jazz saxophonists. He gained some recognition for his work with Freddie Hubbard (1968–1969), Art Blakey's Jazz Messengers (1969–1970), and Charles Mingus, and had an important stint with Miles Davis in 1972. Garnett also worked with Jack McDuff, Andrew Hill, Gary Bartz, and Norman Connors during the era and recorded five albums of his own for Muse during 1974-1977 that ranged from exploratory music to modest attempts at commercialism.

Carlos Garnett was musically inactive during much of the 1980s, and largely seemed to disappear from jazz, but started a comeback in 1991. In 1996, he made one of his finest albums (Fuego en Mi Alma, for the HighNote label) in a style little changed since the '70s. Some of his most notable appearances include playing tenor saxophone and soprano sax with Norman Connors, Herbie Hancock, and DeeDee Bridgewater on the 1974 recording "Love From The Sun" where his improvisations were consistently incisive and daring. His also appeared on his own recording called "Black Love" again playing tenor sax and soprano sax. Another notable appearance is as the only soloist with a hard driving Latin group on tenor sax, showing his Coltrane influences, on the recording called "Early Trane-The John Coltrane Songbook" playing an outstanding version of "Giant Steps". Other outstanding Garnett recordings are "Let This Melody Ring On", "Under Nubian Skies", and "Moon Shadow". He sometimes works in Panama on that particular jazz scene, appearing in clubs and at jazz festivals..

Not too long after that he formed a band while in high school, and was soon playing around town with various groups. He worked many years with the then famous group, the Gay Crooners, The Carlos Garnett/Vincent Ford quartet, Chachi Macias Ritmo Tropical orchestra, The Victor Boa quartet. He recorded many hits and worked with Black Majesty and the Mighty Bamboo band until he migrated to the United States in 1962.

Carlos arrived in the USA on one cold evening, on February 1, 1962. A few months later he landed a gig at the Baby Grand club in Brooklyn. He was playing jazz every Monday night at this club. Later he landed a job playing rock & roll with Rockin Wee Willy and his band on the weekends. Soon thereafter, he joined Paul Mondays’ organ jazz quartet in upstate Poughkeepsie and in Newburg, NY.

The later part of the same year, he was hired to play with Leo Price band, and was the band director. This group played at the then famous Celebrity Club in Freeport, Long Island. This group performed behind the likes of Gladys Knight and the Pips, Wilson Pickett, Jimmy Reed, Jackie Wilson, The Supremes, Bobby Blue Bland, Rufus ‘Do the dog’ Thomas and his daughter Irma Thomas, and many more. This was one of the ‘Chittlin Circuits’ that catered to the top Afro-American acts. Remember, this was in the early to mid 60’s before the riots and the ‘Black Power movements’.

He joined the Freddie Hubbard quintet in the early part of 1978. This group featured Freddie on trumpet, Carlos on tenor and soprano saxes, Kenny Barron on piano, Juny Booth on bass, and Louis Hayes on drums. He was on Freddie’s “Soul Experiment” album. He later was called for the gig with Art Blakely and the Jazz Messengers. Woody shaw on trumpet, Carlos on saxes, George Cables on piano, Juny Booth on bass and Art Blakely on drums. He recorded 2 albums with the Jazz Messengers. “Art Blakely Live in Japan JVC,” and “Mellow Blues” live in Newark New Jersey.

During the mid year of 1970, he also was featured with the Charles Mingus sextet. Tommy Turrentine on trumpet, Charles McPherson on also sax, Carlos on tenor, Jackie Byard on piano and Billie Higgins on drums and Mingus on bass. Carlos formed his 2nd group at this time. The Universal Black Force. This group played at most of the black colleges and universities on the East coast. Carlos was featured on Pharaoh Sanders “Black Unity” album, recorded live at the East Jazz jazz emporium.

He joined the Norman Conners group in the early part of 1971. This group consisted of Dee Dee Bridgewater and then Jean Carne on vocals. Carlos recorded 4 albums with Norman Conners. “Dance of Magic,” “Dark of Light,” “Slew Foot,” During this same period, Carlos recorded his first album for Muse records. “Black Love.” Later he did “Journey to Enlightenment,” Let This Melody Ring On,” Cosmos Nucleus Big Band,” and “The New Love.”

In the year of 1973/74, Carlos joined the Miles Davis band and worked, recorded and toured with Miles for approximately 2 years. During this period, he recorded on “On the Corner”, “Big Fun,” “Get Up with It” and “Live at the Philharmonic.”

Carlos Garnett returned to the jazz scene in 1991, after 9 years hiatus. At this point in time, he formed a small group, the CARLOS GARNETT QUARTET. This group consisted of some of the finest and youngest jazz musician around New York. The first group consisted of Jeff Lawrence on piano, Brad Jones on bass, and Taru Alexander on drums, later on, Carlton Holmes (piano) and Shingo Okudaira (drums) joined the group. Carlos performed around New York City with his new group at such notable clubs as Birdland, The Blue Note, the Five Spot, The Village Vanguard, the Village Gate, Sweet Basil, the famous Lenox Lounge, the Knitting Factory and the Up Over Jazz Club in Brooklyn, NY. Just to mention a few.

He recorded his first CD “RESURGENCE” (on Muse Records) after many years in 1995 and released in 1996. Special guest artists on this new CD were Steve Neal on bass, Taru Alexander on drums and Neil Clarke on percussions. His working and recording group include Carlton Holmes on piano, Brad Jones on bass and Shingo Okudaira on drums. His other releases are: “FIRE IN MY SOUL/FUEGO EN MI ALMA” (1997). “UNDER NUBIAN SKIES” 1999. (on High Note Records) Russell Gunn on trumpet was the special guest artist. His latest “MOON SHADOW,” was released on the Savant label in the year 2000.

 Later career

Carlos also recorded a CD with the late great organist Charles Earland, “Slammin and Jammin” which was released on the Savant label Groove Series.

In May of the year 2000, Carlos relocated to Houston Texas, and lived in the suburb of Katy. He established himself there the tops saxophonist in the area. He has performed at such jazz clubs as The Red Cat Jazz Cafe, Cezannes, Ruggles, Iris Jazz Resort and others. Since relocating, he has performed at the Houston International Jazz festival, Kemah Boardwalk Jazz festival and the Texas International festival in Corpus Christi Texas, and Concerts at the University of Houston Downtown, and Rice University.

He has performed with the like of Joe Sample, George Thomas, Rick Porter, David Craig, David Marcellin, Erin Wright, Kyle Turner, Vernon Daniels, Paul English, Brennen Nase, Bob Henschen, Conrad Johnson, Marsha Frazier, Joe Carmouche, al Campbell, Phil Blackman, Carol Morgan, Carl Lott, Mark Townes, Sebastian Whitaker, Hamilton Loomis, Jerry Johnson, just to mention a few.

Carlos and percussion great, Will Cruz collaborated and formed a new group, the LATIN JAZZTET, the early part of the year 2002. The members of this awesome group are some of the best jazz and Latin jazz musicians in the Houston area. Eddie Lewis on trumpet, Jose Miguel Yamal on piano, Anthony McKinney on bass, Chris Axelrad on drums.

In the year 2003, Carlos moved back home to his native country, Panama, Republic of Panama. Since returning, he has formed a new quartet which features some of Panama’s best young jazz musicians. Juan Carlos DeLeon on piano, Mario Beccabunco on bass and Anibal DeLeon on drums.

Carlos was a frequent guest artist with the Carlos Ubarte’s group at the Casa Gongora upon his return to his country. Carlos Ubarte and his lovely wife Noris were instrumental in presenting Carlos to the jazz fans in Panama. The two saxophonists has worked together on many projects.

He has performed with his group at the Balboa Theater for the Carl Louis Russells Jazz concert, at the Atlapa theater and the Catedral Plaza in San Felipe for the Danilo Perez' Annual Panamanian Jazz Festival, also with the Fumio Karashima’s group from Japan at the balboa theater for the Centenario celebration

He has also been featured as a guest artist at the new Jazz club “TAKE FIVE JAZZ CLUB, ” with the Fidel Morales Trio. With the likes of Dino Nugent/Juan Carlos Deleon on piano Eusebi Dinza or Chispa on bass. He recently was featured at the new jazz club on Balboa avenue, The Fisch Jazz Grill.

Carlos and Guillermo Herrera also produced a new CD which features on of Panama’s musician, Mr. Victor Boa. This CD is called “LAS LEYENDAS DE TAMBO JAZZ,” (THE LEGENDS OF TAMBO JAZZ.)

Recently, Carlos Quartet performed at Danilo Perez 2nd Annual Panamanin Jazz Festival. Oterr jazz greats featured at this festival were Danilo perez, Jack DeJohnette, John Patitucci, Joe Lovano, Charles Hunter and Janis Seigel.

In 2007 Carlos also did play with Swedish saxophone star Jonas Kullhammar at the Sonny Rollins tribute when Sonny Rollins received the presigious Polar Music Prize in Stockholm.

Carlos still travels to New York to do gigs with the Carlos Garnett Quartet.

Carlos actually live and perform in Panamá.

Carlos is currently in the UK as he collaborated with Charley Anderson of The Selecter on their latest single Ghetto Child.

Discography

 As leader

 As sideman

With Andrew Hill

With Miles Davis

With Freddie Hubbard

References

  1. ^ "Carlos Garnett at All About Jazz". http://www.allaboutjazz.com/php/musician.php?id=6958. Retrieved 4 April 2010. 
  2. ^ Musto, Russ (6 July 2008). "Carlos Garnett". All About Jazz. http://www.allaboutjazz.com/php/article.php?id=29644. Retrieved 4 April 2010. 
  3. ^ Yanow, Scott. "Carlos Garnett Biography". Allmusic. http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:wiftxqt5ldae~T1. Retrieved 4 April 2010. 
  4. ^ "Carlos Garnett Biography". Oldies.com. http://www.oldies.com/artist-biography/Carlos-Garnett.html. Retrieved 4 April 2010. 
  5. ^ Carr, Ian; Fairweather, Digby; Priestley, Brian (2004). The Rough Guide to Jazz. Rough Guides. p. 283. ISBN 1843532565.

Posted by el doctor at 11/21/2010 5:36 PM | View Comments (37) | Add Comment

Billy Cobham

Billy Cobham

From Wikipedia, the free encyclopedia
 
Billy "No Meter" Cobham

Cobham performing at WOMAD, July, 2005
Background information
Birth name William E. Cobham
Born 16 May 1944 (1944-05-16) (age 66)
Panama
Genres Jazz, jazz fusion, bebop, funk, progressive rock, rock and roll, soul
Occupations Musician, songwriter, bandleader, instructor
Instruments Drums, percussion
Years active 1968 - Present
Labels Atlantic, Columbia, CTI, Elektra, GRP
Associated acts Miles Davis, Mahavishnu Orchestra, Jack Bruce, New York Jazz Quartet, Jazz Is Dead, Bobby and the Midnites
Website Official website













































































William C. Cobham (born May 16, 1944 in Panama), is a Panamanian American jazz drummer, composer and bandleader, who has called Switzerland home since the late 1970's. [1]

Coming to prominence in the late 1960s and early 1970s with trumpeter Miles Davis and then with Mahavishnu Orchestra, Cobham is, in the words of Steve Huey, "generally acclaimed as fusion's greatest drummer with an influential style that combines explosive power and exacting precision.[1]

Contents

[hide]

[edit] Biography

[edit] Early life and career

Born in Panama, Cobham's family moved to New York City during his early childhood. A drummer from his youth, Cobham attended New York's High School of Music and Art, graduating in 1962.[1]

He played in a U.S. Army Band from 1965 to 1968. Following his discharge, Cobham joined the group of pianist Horace Silver for about a year, also playing or recording with saxophonist Stanley Turrentine, organist Shirley Scott, and guitarist George Benson.[1]

[edit] Jazz fusion work

Cobham branched out to jazz fusion, which blended elements of jazz, rock and roll and funk, playing and recording with the Brecker Brothers (notably on their 1970-founded group Dreams), and guitarist John Abercrombie, before recording and touring extensively with trumpeter Miles Davis. Cobham's work with Davis appears on A Tribute to Jack Johnson, among other recordings. Cobham is also one of the first drummers to play open handed lead: a drummer that can lead (or ride) with either hand and begin or end a beat or fill with either hand (most drummers lead with 1 hand). He was also one of the first drummers to play with 3 or more snare and/or bass drums and multiple hi-hats[citation needed].

The preface to his work with the Mahavishnu Orchestra was his work on guitarist John McLaughlin's album My Goal's Beyond.[1]

In 1971, with fellow Davis alumnus McLaughlin, Cobham co-founded Mahavishnu Orchestra, a definitive jazz fusion ensemble. Cobham toured extensively from 1971 to 1973 with the Mahavishnu Orchestra, who released two studio albums and one live album. The original studio versions of tunes on the live album were later released as The Lost Trident Sessions in 1999.

In May 1973, while still with the Mahavishnu Orchestra, Cobham recorded his first solo album Spectrum with keyboardist Jan Hammer, from the Mahavishnu Orchestra, guitarist Tommy Bolin, who later played with heavy rock band Deep Purple, and bassist Lee Sklar. Just before the Mahavishnu Orchestra's last touring leg, in late 1973, Cobham recorded and toured with guitarists Carlos Santana and John McLaughlin, in concerts which featured material from their album Love Devotion Surrender, and Cobham's own material. As band leader and composer, Cobham recorded a number of other ground-breaking fusion records during the 70's, Total Eclipse, Funky Thide of Sings, and Crosswinds. You can also hear his 70's playing well represented on George Duke & Billy Cobham European Tour Live. It was on this tour that Billy reported (in a Down Beat interview) experiencing astral projection during shows, wherein he found himself hovering above and in front of his drums, watching himself play ideas he'd never thought of or executed previously.

In the 1970s, Cobham recorded extensively for the fusion-oriented CTI Records, founded by producer Creed Taylor.

During the 1970s he was a member of the New York Jazz Quartet.

[edit] 1980s work and later

Baku Jazz Festival 2007

In 1980, he worked with Jack Bruce, in a band called Jack Bruce & Friends. In 1994, he joined an all-star cast at the Greek Theatre (in LA) and the results appeared on Stanley Clarke, Larry Carlton, Billy Cobham, Najee and Deron Johnson Live at the Greek. The concert was predominantly Clarke's music but all the musicians contributed material. In 1998, he joined up with Grateful Dead cover band Jazz Is Dead.

A number of solo albums followed (as of July 2005, Cobham has released over 30 recordings under his own name), and continues to record, perform and teach.

In 2006, Cobham released Drum n voice 2. This was a return to the 1970s jazz-funk sound, with guests including Jan Hammer, Buddy Miles, John Patitucci, Jeff Berlin, Dominic Miller, Mike Lindup, Airto Moreira, Frank Gambale, Brian Auger, Guy Barker and the band Novecento. The CD was produced and arranged by Pino and Lino Nicolosi for Nicolosi productions.[2][3]

Billy was announced as a patron and visiting artist of top London drum college Drumtech in June 2008[4].

Billy Cobham performing on Réunion in October 2006

In 2009, Cobham released Drum n voice 3. Guests included Chaka Khan, Gino Vannelli, George Duke, Alex Acuna, Bob Mintzer, Brian Auger, John Scofield and Novecento. The CD was produced and arranged by Pino and Lino Nicolosi for Nicolosi productions.

Billy Cobham performed with John McLaughlin at the 44th Montreux Jazz Festival, in Montreux, Switzerland, on Friday, July 2, 2010, for the first time since the band split up.

As of March 2010, Cobham had begun working on a new project with acclaimed Jordanian guitarist Kamal Musallam.[5]

[edit] Sampling

He has been sampled by Massive Attack in their tune "Safe from Harm", centered on the beat and bassline of Cobham's "Stratus", from his debut album Spectrum; by Souls of Mischief's "93 'til Infinity", based on the bassline and keyboards of "Heather", from 1974's Crosswinds, and by DJ Shadow on "Napalm Brain/Scatter Brain",[6] which uses elements of "A Funky Kind of Thing" from 1975's A Funky Thide of Sings. Cobham is also covered extensively by "hyperfunk" jam-band RAQ.

[edit] Discography

Main article: Billy Cobham discography

[edit] Filmography

[edit] References

  1. ^ a b c d e allmusic Billy Cobham Biography
  2. ^ Nicolosi Productions
  3. ^ http://www.nicolosiproductions.com/Billy-Cobham-tour.gif
  4. ^ Billy Cobham Becomes a Patron - Official Drumtech website
  5. ^ http://www.facebook.com/group.php?gid=309467554636 Billy Cobham, Kamal Musallam & Friends on Facebook
  6. ^ Search

[edit] External links

Wikimedia Commons has media related to: Billy Cobham

Posted by el doctor at 11/13/2010 8:50 PM | View Comments (28) | Add Comment

Luis Russell and Sonny White: 2 Panamanian JazzMen


Luis Russell (6 August 1902 - 11 December 1963) was a jazz pianist and bandleader.

Luis Carl Russell was born on Careening Cay, near Bocas del Toro, Panama, in a family of Afro-Caribbean ancestry. His father was a music teacher, and young Luis learned to play violin, guitar, trombone, and piano. He began playing professionally accompanying silent film by 1917 and later at a casino in Colón, Panama. In 1919 he won $3000 (USD) in a lottery, and used it to move to the United States with his mother and sister, settling in New Orleans, Louisiana. He began performing with New Orleans bands, and took lessons on New Orleans style jazz piano from Steve Lewis. He played with Albert Nicholas's band, then moved to Chicago, Illinois in 1924.

In Chicago he played with Doc Cook and King Oliver, in addition to occasional jobs under his own name and pick up bands in recording studios. With Oliver's band Russell moved to New York City in May of 1927. In October of that year he left Oliver to start his own band.

Russell's band became one of the top jazz groups in New York. It was borrowed for gigs and recording dates by such jazz notables as Red Allen, Jelly Roll Morton, and Louis Armstrong; Armstrong wound up taking over the band as front man in 1929 although Russell remained the music director.

The band returned to Russell's name while Armstrong played in California and Europe in the early 1930s; Russell and Armstrong were reunited in 1935. They again split paths in 1943 when Russell formed a new band under his own name, which played at the Savoy and Apollo in Manhattan as well as in Atlantic City, New Jersey.

Between 1926 and 1934, Russell recorded only 38 sides (mostly using his own name), plus those issued under Henry "Red" Allen (1929) and a handful where Louis Armstrong fronted his band. Of these, his 1929-1930 OKeh sides are considered jazz milestones. A 6 song session for ARC (Melotone, Perfect, Oriole, Banner, Romeo) in 1934 yielded 6 very precise modern recordings (3 featured Sonny Woods' novelty vocals, 1 featured the great, although obscure Palmer Brothers). The two instrumental sides, "Primitive" and "Hokus Pokus" are amazing examples of hot jazz precision.

In 1935 Louis Armstrong took it over the orchestra altogether and for the next eight years they functioned as back-up band for Armstrong with Russell acting as the musical director. Russell led a new band from 1943-48 that played at the Savoy and Apollo and made a few recordings.

In 1948 Russell retired from full time music and opened a notions shop, with irregular band gigs and teaching music on the side. In 1959 he visited Panama where he gave a piano recital of classical music.

Luis Russell died of cancer in New York City, aged 61.

Taken from WIKIPEDIA

.:::


Sonny White was a pianist was born Ellerton Oswald, in Panama on November 11, 1917, a name that surely doesn't sound as jazzy as the one he would later adopt when he began working in the mid-'30s in a combo led by Jesse Stone. He continued playing piano until his death in 1969, sticking religiously to one form of jazz or the other without ever compromising. Although not a big name in jazz, his stylistic range is broader than some other players who are much more famous, spreading from the early hot jazz sounds of master soprano chirper Sidney Bechet to the speeding-down-the-turnpike hard bop of tenor player Dexter Gordon's The Chase! projects. He played and recorded with Willie Bryant, Sidney Bechet, Teddy Hill, and Frankie Newton in the late '30s, but it was his recording sessions with jazz vocalist supreme Billie Holiday that form his most enduring legacy from this period. He can be heard accompanying two of the singer's favorite moods; dark and cynical on her classic "Strange Fruit" and groovy and upbeat on "Fine and Mellow." The bands on these sessions combine fitting and swinging rhythm sections with tremendous soloists, and being part of one of these groups was the jazz equivalent of having been sprinkled with fairy dust. That seems to have been the case with White, whose employment through the '40s was with major players, including popular bandleader Artie Shaw and brilliant reed man and arranger Benny Carter, the latter gig preempted by World War II and continued immediately thereafter. Listeners exploring the works of several other of the finest singers in jazz and R&B will come across White again even after leaving Holiday heaven. He appears on recordings by blues shouter Big Joe Turner, one of the guys who put the zip into rock & roll, as well as that classy disciple of Lady Day's, the wonderful Lena Horne. Between 1944 and 1946, he got in on Dexter Gordon sessions that helped establish the tenor player as a new Sir Galahad. The pianist needed strong chops in order to feed the horn players chords while they soloed at great length. These popular loose jams were released under titles such as the previously mentioned The Chase! as well as Blowin' the Blues Away, a title that, considering the zesty music it accompanies, ought to come with a money back guarantee. In 1947, he was sucked into the band of Hot Lips Page, a trumpeter whose hot jazz background echoed White's previous employment with Bechet. Trumpeter Harvey Davis is an obscure character who is no relation to another slightly more famous trumpeter with the same last name, but he did hold down an eight-year residency at the Cinderella Club in New York City, and for many musicians staying in one place is something of a dream. This group moved on to Jimmy Ryan's in 1954. White worked with Wilbur DeParis until the early '60s, then in several groups including a combo led by Eddie Barefield in 1968. His final employer was swing trumpeter Jonah Jones, with whom he was still gigging when he died in the early '70s. He died in New York, USA, on April 28, 1971. ~ Eugene Chadbourne, All Music Guide

Thanks to The Melting Pot Blog

Posted by el doctor at 11/7/2010 12:33 PM | View Comments (82) | Add Comment

John Coltrane

John Coltrane

 

John Coltrane

(Hamlet, ciudad en el condado de Richmond, en Carolina del Norte: 23 de septiembre de 1926 - Nueva York: 17 de julio de 1967), apodado Trane, fue un saxofonista (tenor y soprano) y compositor estadounidense de jazz. Aunque también muy controvertido, se trata de uno de los músicos más relevantes e influyentes de la historia del jazz, a la altura de otros artistas como Louis Armstrong, Duke Ellington, Charlie Parker y Miles Davis. Casado, en segundas nupcias, con la pianista de jazz Alice Coltrane (1937-2007).

 

John Coltrane

Información personal

Nacimiento

23 de septiembre de 1926

Origen

Richmond, Carolina del Norte

Muerte

17 de julio de 1967

Ocupación

Saxofonista

Información artística

Alias

Trane

Género(s)

Jazz

Instrumento(s)

Saxofón

Período de actividad

1952–1967

Su trayectoria musical, marcada por una constante creatividad y siempre dentro de la vanguardia, abarca los principales estilos del jazz posteriores al bop: hard bop, free jazz y jazz modal. La discografía de Coltrane es considerable: grabó alrededor de cincuenta discos como líder en doce años, y apareció en más de una docena de discos guiado por otros músicos.

La obra de Coltrane está conscientemente vinculada al contexto sociohistórico en que fue creada (en concreto, a la lucha por los derechos civiles de los negros) y, en muchas ocasiones, busca una suerte de trascendencia a través de determinadas implicaciones religiosas, como se puede advertir en la que es considerada por la crítica su obra maestra, A Love Supreme.

Una de las aportaciones más reseñables de Coltrane es la que se refiere a la extensión de los solos de jazz, al eliminar cualquier límite temporal a los mismos y dejar su extensión al arbitrio de las necesidades del intérprete (de ahí que muchos temas de Coltrane sobrepasen, por ejemplo, los treinta minutos).

Contenido

 

[*] Biografía

Nacido en un pueblo de Carolina del Norte, Coltrane fue hijo de John R. Coltrane, sastre e intérprete de varios instrumentos de cuerda, y de Alice (Blair) Coltrane, costurera y sirvienta, aunque con estudios superiores y con capacidad para cantar y tocar el piano. Sus abuelos eran sacerdotes metodistas, motivo por el cual John estuvo desde muy pequeño en contacto con los himnos y música de la iglesia.

Dos meses después de nacer, su abuelo materno, el reverendo William Blair, también líder político en su comunidad, fue nombrado regidor anciano de la A.M.E. Zion Church, por lo que la familia se trasladó a High Point, lugar donde crecería John.

Tras graduarse en 1939 en primaria, su padre, sus abuelos y su tío fallecieron, dejando diezmada la familia. Su madre hubo de trabajar como criada para sostener a la familia. El mismo año, John se unió a una orquesta de la comunidad en la que vivía en la que tocó el clarinete y el corno alto en Mi bemol; en su orquesta del instituto tocaría ya el saxofón. A comienzos de la Segunda Guerra Mundial, su familia se mudó a Nueva Jersey en busca de trabajo, dejando a John con unos amigos.

La casa de John Coltrane en Filadelfia.

Cuando en 1943 se graduó en el instituto, se trasladó en junio a Filadelfia donde la familia entera quedó reunida de forma provisional.

Fue reclutado por la Marina en 1945 y un año más tarde volvería a Estados Unidos. Coltrane trabajó en varios empleos durante los años cuarenta (siendo saxo alto) hasta que se unió a "Dizzy Gillespie's big band" en 1949. Permaneció con Gillespie hasta la separación de la banda en mayo de 1950 (ahora tocando saxo tenor) y luego se unió a un pequeño grupo de Gillespie hasta abril de 1951, cuando volvió a Filadelfia para asistir a la escuela.

A principios de 1952 se unió a la banda de Earl Bostic, y en 1953, después de algunos roces con Eddie Vinson, se unió a un pequeño grupo de Johnny Hodges (durante un tiempo libre de este saxofonista de la orquesta de Duke Ellington), quedándose hasta mediados de 1954.

Aunque existen grabaciones de Coltrane tan tempranas como del año 1946, sus pares en ese momento no reconocieron el genio de este joven músico. Su verdadera carrera se extiende desde 1955 a 1967, durante los cuales le dio nueva forma al jazz moderno e influenció a generaciones de nuevos músicos. Coltrane estaba libre en Filadelfia en el verano del 55 cuando recibió una llamada del trompetista Miles Davis. Davis, cuyo éxito a finales de los años 40 fue seguido por varios años de deficiente producción, quería comenzar de nuevo y formar un quinteto. Coltrane estuvo en la primera formación del grupo de Davis desde octubre de 1955 hasta abril de 1957. Un periodo en que se grabaron algunos de los discos más influyentes de Davis y fue cuando se evidenciaron las primeras señas del crecimiento de Coltrane. Este clásico primer quinteto, es mejor representado por dos sesiones de grabación maratonianas realizadas para Prestige en 1956. Se disolvió a mediados de abril.

Durante la última parte de 1957 Coltrane trabajó con Thelonious Monk en el "New York's Five Spot", la legendaria sala. Luego volvió a unirse a Miles en enero de 1958, donde permaneció hasta abril de 1960, tocando habitualmente junto al saxo-alto Cannonball Adderley y el baterista Philly Joe Jones como un sexteto. Durante este tiempo participó en memorables discos como "Milestones" y "Kind Of Blue" y además grabó sus más influyentes discos con su grupo, "Blue Train" y "Giant Steps". A finales de su estadía con Davis, Coltrane comenzó a tocar el saxo soprano.

Coltrane formó su primer grupo, un cuarteto, en 1960. Tras pasar por el mismo músicos como Steve Kuhn, Pete LaRoca y Billy Higgins, el grupo se estabilizó con el pianista McCoy Tyner, el bajista Steve Davis y el batería Elvin Jones.

Durante su estancia con Miles, Coltrane había firmado un contrato con Atlantic Records, para quien grabó el disco Giant Steps. Su primera grabación con su nuevo grupo fue My Favorite Things. El grupo exploraría la espiritualidad en trabajos como "A Love Supreme". "A Love Supreme" es una obra lírica de cuatro partes basado en un simple acorde de bajo.

Coltrane muere de cáncer de hígado en el Huntington Hospital en Long Island, Nueva York el 17 de julio de 1967.

Ravi Coltrane, hijo de John Coltrane siguió los pasos de su padre y se convirtió en saxofonista.

[*] Curiosidades

  • El actor escocés Robbie Coltrane (nombre de n. Anthony Robert McMillan) asumió su nombre artístico como un tributo a John.

[*] Discografía

Nota: La fecha indicada es la de grabación, no la de edición. Un buen número de ellos, especialmente los grabados en conciertos, se on después de su muerte

[*] Álbumes de John Coltrane como líder

  • 1957: Dakar - Original Jazz Classics
  • 1957: Coltrane - Original Jazz Classics
  • 1957: Lush Life - Original Jazz Classics
  • 1957: Traneing in - Original Jazz Classics
  • 1957: Blue Train - Blue Note
  • 1957: Cattin` With Coltrane And Quinichette - Original Jazz Classics
  • 1957: Wheelin And Dealin - Original Jazz Classics
  • 1957: The Beliver - Original Jazz Classics
  • 1957: The Last Trane - Original Jazz Classics
  • 1958: Soultrane - Original Jazz Classics
  • 1958: Settin` the Peace - Original Jazz Classics
  • 1958: Black Pearls - Original Jazz Classics
  • 1958: Standard Coltrane - Original Jazz Classics
  • 1958: The Stardust Session - Prestige
  • 1958: Bahia - Original Jazz Classics
  • 1958: Coltrane Time - Blue Note
  • 1958: Blue Trane: John Coltrane Plays The Blues - Prestige
  • 1958: Like Sonny - Roulette
  • 1959: Giant Steps - Atlantic
  • 1959: Coltrane Jazz - Atlantic
  • 1960: The Avant Garde - Atlantic
  • 1960: My Favorite Things - Atlantic
  • 1960: Coltrane`s Sound - Atlantic
  • 1960: Coltrane Plays The blues - Atlantic
  • 1961: Olé - Atlantic
  • 1961: The Best Of John Coltrane - Atlantic
  • 1961: The Heavyweight Champion - Rhino Records
  • 1961: Africa/Brass - Impulse!
  • 1961: The Complete Africa/Brass - Impulse!
  • 1961: Live At The Village Vanguard - Impulse!
  • 1961: Impressions - Impulse!
  • 1961: The Complete Paris Concerts - Magnetic
  • 1961: The Complete Copenhagen Concert - Magnetic
  • 1961: European Impressions - Bandstand
  • 1961: Live In Stockholm - Charly

   
  • 1961: Coltranology, vols.I & II - Affinity
  • 1961: John Coltrane Quartet With [[Eric Dolphy]] - Black Label
  • 1961: John Coltrane Meets Eric Dolphy - Moon
  • 1962: Coltrane - Impulse IMPD
  • 1962: Coltrane - Impulse MCAD
  • 1962: From The Original Master Tapes - Impulse!
  • 1962: Live At Birdland - Charly
  • 1962: The European Tour - Pablo
  • 1962: The Complete Graz Concert vol 1 - Magnetic
  • 1962: The Complete Graz Concert vol 2 - Magnetic
  • 1962: The 1962 Graz Concert. Complete Edition - Jazz Lips
  • 1962: The Complete Stockholm Concert vol 1 - Magnetic
  • 1962: The Complete Stockholm Concert vol 2 - Magnetic
  • 1962: Stockholm` 62 The Complete Second Concert vol 1 - Magnetic
  • 1962: Stockholm` 62 The Complete Second Concert vol 2 - Magnetic
  • 1962: Visit To Scandinavia - Jazz Door
  • 1962: On Stage 1962 - Accord
  • 1962: Promise - Moon
  • 1962: Bye Bye Blackbird - Original Jazz Classics
  • 1962: Ballads - Impulse!
  • 1962: Ev`ry Time We Say Goodbye - Natasha
  • 1962: Live At Birdland And The Half Note - Cool & Blue
  • 1963: Coltrane Live At Birdland - Impulse!
  • 1963: John Coltrane & Johnny Hartman - Impulse!
  • 1963: The Gentle Side Of John Coltrane - Impulse!
  • 1963: The Paris Concert - Original Jazz Classics
  • 1963: 63' The Complete Copenhagen concert vol 1 - Magnetic MRCD
  • 1963: 63' The Complete Copenhagen concert vol 2 - Magnetic MRCD
  • 1963: Live in Stockholm, 1963 - Charly
  • 1963: Afro Blue Impressions - Pablo Live

   
  • 1963: Newport 63' - Impulse!
  • 1964: Coast to Coast - Moon
  • 1964: Crescent - Impulse!
  • 1964: A Love Supreme - Impulse!
  • 1964: Dear Old Stockholm - Impulse!
  • 1965: The John Coltrane Quartet Plays - Impulse IMPD
  • 1965: The John Coltrane Quartet Plays - Impulse MCAD
  • 1965: The Major Works Of John Coltrane - Impulse!
  • 1965: Transition - Impulse!
  • 1965: New Thing At Newport - GRD 105
  • 1965: Live In Paris - Charly
  • 1965: Live In Antibes - French Radio Classic Concerts
  • 1965: Live In Antibes 1965 - LeJazz
  • 1965: Love In Paris - LeJazz
  • 1965: A Love Supreme: Live In Concert - Black Label
  • 1965: Live In Paris - Black Label
  • 1965: A Live Supreme - Moon
  • 1965: New York City 65' vol 1 - Magnetic MRCD
  • 1965: New York City 65' vol 2 - Magnetic MRCD
  • 1965: Live In Seatle - Impulse!
  • 1965: Om - Impulse!
  • 1965: First Meditations - Impulse!
  • 1965: Meditations - Impulse!
  • 1965: Sun Ship - Impulse!
  • 1966: Live At The Village Vanguard Again - Impulse!
  • 1966: Live In Japan - Impulse!
  • 1966: Interstellar Space - Impulse!
  • 1966: Stellar Regions - Impulse!
  • 1967: Expression - Impulse!
  • 1967: A John Coltrane Retrospective - Impulse!
  • 1967: One down, one up: Live at the Half Note - Impulse!
  • 1967: The Olatunji Concert: The Last Live Recording - Impulse!

[*] Álbumes con el grupo de Miles Davis

  • 1955: Miles - Original Jazz Classics
  • 1956: Cookin - Original Jazz Classics
  • 1956: Relaxin - Original Jazz Classics
  • 1956: Workin - Original Jazz Classics
  • 1956: Steamin - Original Jazz Classics
  • 1956: The Complete Prestige Recordings - Prestige!
  • 1956: Round About Midnight - Columbia
  • 1958: Milestones - Columbia
  • 1958: Miles And Coltrane - Columbia

   
  • 1958: '58 Sessions - Columbia
  • 1958: Compact Jazz/Miles Davis - Phillips
  • 1958: Mostly Miles - Phontastic
  • 1958: Live In New York - Bandstand
  • 1959: Kind Of Blue - Columbia
  • 1960: On Green Dolphin Street - Jazz Door
  • 1960: Live In Zurich - Jazz Unlimited
  • 1960: Miles Davis In Stockholm Complete - Dragon
  • 1961: Some Day My Prince Will Come - Columbia
  • 1961: Circle In The Round - Columbia

[*] Álbumes con el grupo de Thelonious Monk

  • 1957: Thelonious Himself - Original Jazz Classics
  • 1957: Thelonious Monk With John Coltrane - Original Jazz Classics
  • 1957: Monk`s Music - Original Jazz Classics
  • 1958: Live At The Five Spot Discovery - Blue Note
  • 1958: The Complete Riverside Recordings - Riverside
  • 1958: The Complete Blue Note Recordings, vol.2 - Riverside

[*] Álbumes junto a otros líderes

  • 1951: con Dizzy Gillespie: Dee Gee Days 1951-1952 - Savoy
  • 1954: con Johnny Hodges: Used To Be Duke - Verve
  • 1956: con Tadd Dameron: Mating Call - Original Jazz Classics
  • 1956: con Paul Chambers: Chambers Music - Blue Note
  • 1956: con Paul Chambers: High Step 1956-1957 - Blue Note Records
  • 1956: con Paul Chambers: Whims Of Chambers 1956-1957 - Blue Note Records
  • 1956: con Elmo Hope: The All Star Sessions - Milestone
  • 1956: con Elmo Hope: Two Tenors & Informal - Milestone Records|Prestige|Victor
  • 1956: con Sonny Rollins: Tenor Madness - Original Jazz Classics
  • 1956: con Prestige All Stars: Tenor Conclave - Original Jazz Classics
  • 1956: con Tadd Dameron Quartet: Matting Call - Prestige Records
  • 1957: con Prestige All Stars: Interplay for two trumpets and two tenors - Original Jazz Classics
  • 1957: con Prestige All Stars: The Cats - Original Jazz Classics
  • 1957: con Prestige All Stars: Dakar - Prestige Records
  • 1957: con Prestige All Stars: Wheelin' And Dealin' - Prestige Records
  • 1957: con Oscar Pettiford: Winners`s Circle - Bethlehem
  • 1957: con Art Blakey: Art Blakey`s Big Band - Bethlehem
  • 1957: con Sonny Clark: Sonny`s Crib - Blue Note
  • 1957: con Cecil Taylor: Hard Driving Jazz - Blue Note
  • 1957: con Johnny Griffin: A Blowing Session - Blue Note
  • 1957: con Mal Waldron: Mal 2 - Original Jazz Classics
  • 1957: con Mal Waldron: Interplay For Two Trumpets And Two Tenors - Prestige Records
  • 1957: con Mal Waldron: The Dealers - Prestige Records
  • 1957: con Red Garland: All Morning' Long - Original Jazz Classics
  • 1957: con Red Garland: Soul Junction - Original Jazz Classics
  • 1957: con Red Garland: High Pressure - Original Jazz Classics
  • 1957: con Red Garland: Dig It - Original Jazz Classics

   
  • 1957: con Tommy Flanagan: The Cats - Prestige Records
  • 1957: con Paul Quinichette: Cattin' With John Coltrane - Prestige Records
  • 1957: con Sonny Clark Sextet: Sonny's Crib - Blue Note
  • 1957: con Winners Circle: Winners Circle - Bethlehem
  • 1957: con Art Blakey: Art Blakey Big Band - Bethlehem
  • 1957: con Ray Draper: The Ray Draper Quintet featuring John Coltrane - Original Jazz Classics
  • 1958: con Ray Draper: A Tuba Jazz - Fresh Sound Records
  • 1958: con George Russell: New York, N.Y. - Decca
  • 1958: con Genne Ammons: The Big Sound - Original Jazz Classics
  • 1958: con Genne Ammons: Groove Blues - Original Jazz Classics
  • 1958: con Kenny Burrell: Kenny Burrel & John Coltrane - Original Jazz Classics
  • 1958: con Wilbur Harden: Jazz Way Out - Savoy
  • 1958: con Wilbur Harden: Tanganyika Strut - Savoy
  • 1958: con Wilbur Harden: Dial Africa - Savoy
  • 1958: con Wilbur Harden: Africa - The Savoy Sessions - Savoy
  • 1958: con Wilbur Harden: The Complete Savoy Sessions - Savoy
  • 1958: con Michel Legrand: Le Grand Jazz - Columbia
  • 1958: con Cecil Taylor: Coltrane Time - United Artists
  • 1958: con Julian 'Cannonball' Adderley: In Chicago - Mercury Record
  • 1959: con Cannonball Adderley: Cannonbal & John Coltrane - Impulse!
  • 1959: con Milt Jackson: Bags & Trane - Atlantic
  • 1962: con Duke Ellington: Duke Ellington & John Coltrane - Impulse!

[*] Recopilatorios junto con otros artistas

  • The Prestige Recordings 1956-1958 - Blue Note
  • The Art Of John Coltrane 1956-1958 - Blue Note
  • John Coltrane And The Jazz Giant 1956-1958 - Prestige
  • John Coltrane: The Bethlehem Years - Bethlehem
  • The Last Giant 1949-1960 - Rhino

[*] Fuentes

  • Simpkins, Cuthbert Ormond, John Coltrane, Ediciones Júcar, ©1975, 1985, ISBN 84-334-2702-4
  • Kahn, Ashley, A Love Supreme y John Coltrane, Alba Editorial, s.l.u., ©2002, 2004, ISBN 84-8428-202-3
  • Smith, Martin, John Coltrane. Jazz, racismo y resistencia, El Viejo Topo, s.l., ©2003, s.f. ISBN 978-84-95776-88-4

[*] Enlaces externos

 


De Wikipedia, la enciclopedia libre


Wikimedia Commons alberga contenido multimedia sobre John Coltrane.

Posted by el doctor at 11/4/2010 10:13 AM | View Comments (41) | Add Comment

Roque Cordero: el secreto musical panameño mejor guardado hasta ahora

 

Roque Cordero

Roque Cordero (August 16, 1917 – December 27, 2008) was a Panamanian-born American composer.[1]

Contents

Life

Born in Panama City, he studied composition under Ernst Krenek and conducting under Dimitri Mitropoulos, Stanley Chapple, and Leon Barzin before becoming director of the Institute of Music and Artistic Director and conductor of the National Symphony of his native country. Later he was assistant director of the Latin American Music Center (LAMúsiCa), professor of composition at Indiana University, and, from 1972, distinguished professor emeritus at Illinois State University.

His works have been widely performed in Latin America, the United States and Europe, receiving international awards for his First Symphony (Honorable Mention, Detroit, 1947), Rapsodia Campesina (First Prize, Panama, 1953), Second Symphony (Caro de Boesi Award, Caracas, Venezuela, 1957), Violin Concerto (1974 Koussevitzky International Recording Award), and Third String Quartet (Chamber Music Award, San José, Costa Rica, 1977). Several of his compositions have been recorded by the Detroit Symphony Orchestra, the Louisville Orchestra, the Chicago Sinfonietta (Eight Miniatures for Small Orchestra, Paul Freeman, conductor, Cedille Records) and various chamber music groups and soloists. He has appeared as guest conductor in Argentina, Brazil, Chile, Colombia, El Salvador, Guatemala, Panama, and in the United States. His "Sonata breve" for solo piano, composed in 1966, is published by C.F. Peters. His Second Symphony was performed by the Seattle Philharmonic in April 2008.

After retiring he spent the last eight years of his life living with his family in Dayton, Ohio, where he died at age 91 [2].

Music

Chamber Works

  • Dodecaconcerto
  • Dos Piezas Cortas
  • Adagio Tragico, String Orchestra
  • Elegy, String Orchestra
  • Mensaje Funebre
  • Movimiento Sinfonico, String Orchestra
  • Ocho Miniaturas, Chamber Orchestra
  • Paz, Paix, Peace, Harp and Ensemble
  • Permutaciones 7
  • Quinteto
  • Soliloquios No. 1
  • Soliloquios No. 2
  • Soliloquios No. 3
  • Sonata
  • Sonatina
  • String Quartet No. 1
  • String Quartet No. 2
  • Tres Mensajes Breves, Viola and Piano
  • Variations and Theme for Five, Woodwind Quintet

Orchestral Works

  • Capricho Interiorano: Panamanian Folk Ballet Suite
  • Cinco Mensajes Breves para Orquesta
  • Concerto for Violin
  • Momentum Jubilo
  • Obertura de Salutacion
  • Panamanian Overture No. 2
  • Six Mobiles for Orchestra
  • Symphony No. 1
  • Symphony No. 2
  • Symphony No. 3, With a Theme and Five Variations
  • Symphony No. 4

Choral Works

  • Cantata para la Paz
  • Dos Pequenas Piezas Corales

Songs

  • Musica Veinte, Vocal Soloists and Ensemble

Piano Works

  • Duo 1954, Two Pianos
  • Sonata Breve
  • Sonatina Ritmica

References

  1. ^ De Lerma, Dominique-Rene. "African Heritage Symphonic Series". Liner note essay. Cedille Records CDR061.
  2. ^ Moss, Khalid. (December 29, 2008). "Classical composer dies weeks before concert ." Dayton Daily News. Retrieved January 13, 2009.

External links

Posted by el doctor at 11/3/2010 9:35 AM | View Comments (23) | Add Comment

El Cholo BRILLA


    DANILO PEREZ, Panamá

It's not uncommon for musicians to lend their name and/or time to charitable causes. Sometimes these people even have a second life as a hands-on leader of the organization – Bob Geldof comes to mind here. Jazz musicians, on the other hand, tend to lean more toward a grass-roots kind of thing, such as starting schools (see the Ralph Alessi profile) or mentoring young musicians.

But in looking at Danilo Pérez, you wonder where he finds the energy: The Panamanian pianist's current résumé includes being artistic director of the brand-new Berklee Global Jazz Institute, founder and president of the Panama Jazz Festival, global ambassador for UNICEF and head of the Fundación Danilo Pérez. Never mind the fact that he's a working musician leading bands and playing with, among others, Wayne Shorter's landmark acoustic quartet. All these non-music activities are extremely valid, but one could accuse Pérez of being a little ADD.

"I do all the extra activities because I enjoy them," Pérez recently explained via e-mail. "Music has more than one dimension, and performing without living life to the fullest is like playing piano in front of a wall, the sound you make hits the wall then it goes back to you, and that's it, nowhere else."

Pérez concedes that he struggles to find time to do all the things he wants to do, but he benefits by the fact that he only needs about 4-6 hours a sleep per night. Moreover like other polymaths, he sees the desire for social change connected to his desire to play, regarding both music and social activism as things worth working toward achieving, even more so now that he has started a family.

This all goes a long way towards explaining the title of his 10th album as a leader, 'Providencia,' which is Spanish for "providence." The word means something akin to divine guidance or divine care, but when asked about the title, the pianist has his own definition: "It is an invitation to be prepared for the unknown. It is also inspired by the idea of the kind of world we will leave for future generations. I think about the children -- including my own -- and ask myself if we can do anything to leave them a better world."

Watch Danilo Pérez's 'Providencia' Preview Video

It's an inspirational message and fortunately the music on the album holds up its end of the bargain as well. Danilo Pérez has long been a master of blending his Latin folk music roots, his classical music training and his own passion for jazz. Sometimes his projects lean more one way – 'Across the Crystal Sea' and 'Panama Suite' are elegant orchestral jazz works – but the new one does an excellent job of balancing the three sides of this musical troika.

According to the 43-year-old composer, "I have been working on these three styles for more than 20 years and the result comes from a long process of conscious and unconscious trial and error that expresses today in a much more natural way than 20 years ago, when I thought the styles were separated entities. With time, I have come to realize there is only one style of music, and that is music itself."

Tomado de SPINNER.com

Posted by el doctor at 10/31/2010 10:46 AM | View Comments (70) | Add Comment

Noche de Jazz en Vivo!

Noche de Jazz & Soul este sabado 9 de octubre, 9 pm. Restaurante Barrafina de Calle Uruguay, con Spicy Latin Jazz Trio. (Arturo Villarreal, Ibrahim Merel y Luis Mitil).

Posted by el doctor at 10/9/2010 12:46 PM
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