I was in the local coffee shop today and heard the following song, which made me think of all the lonely women in my blogosphere.  Heh.  Enjoy!

So for all of us lookin’, waitin’, hopin’, expectin’, lotsa love, here’s my favorite version of Your Song.  I love Elton John, but Al Jarreau’s version makes me weak in the knees.  So I’m singin’ this to everyone reading this post who wants to know if somebody loves them.  I may not know ya, but somebody does, and somebody is gonna sing this to ya.  Take it from me and Al today darlins.

Fonte: “lasicilia.it“

Giuseppe Attardi
Quanto è lunga la strada che da Catania porta ai vertici delle classifiche di mezzo mondo? Lunga, lunghissima. Lo sa bene Mario Ranno, in arte Biondi, in omaggio al nome d’arte del padre Stefano, anche lui cantante. «Mi ha trasmesso la passione per il blues e il soul degli anni Sessanta – ricorda – Vinse il festival della canzone siciliana, un suo pezzo è diventato la canzone ufficiale di Catania. Anche mia nonna cantava, alla Eiar. Mi imboccava con pappe e canzoni anni Cinquanta: Benny Goodman, Fred Buscaglione». Poi la gavetta nei pianobar, come apripista al “Tout Va” di Taormina per Fred Bongusto o Ray Charles: «E’ stata una grande fatica fisica, ogni sera scaricavamo gli strumenti e l’amplificazione, facevamo tutto dall’inizio alla fine. E ancora oggi, ai miei concerti, mi presento molto prima di tutti, seguo il montaggio, attacco le spie… Al “Tout Va” ho imparato il reale valore delle cose, anche quelle considerate marginali. Quell’esperienza mi ha insegnato tanto: avevo 17 anni, l’età in cui assorbi tutto come una spugna».

Mario Biondi ascoltava Al Jarreau, Isaac Hayes, Lou Rawls, Bill Withers, Michael McDonald, e modellava una voce alla Barry White, già da allora, molto prima che un dj della Bbc trasmettesse This is what you are trasformandolo in un tormentone jazz e che il cd Handful of soul e il successivo Live raccogliessero tre dischi di platino con oltre 300.000 copie vendute in tutto il mondo. Adesso, a cinque anni dall’esordio discografico, torna con un nuovo album, If, e 15 brani, 11 inediti e 4 cover, che partono da una già considerevole base di partenza di 70.000 copie vendute in prevendita, equivalente a un primo disco di platino. «Che è importante per uno che non è diventato miliardario come Michael Bublè, ma che rischia di rimetterci tutto», tiene a sottolineare. Già, perché la voce nera di Sicilia ha voluto salvaguardare la sua indipendenza, non ha ceduto al richiamo delle Major ed ha accettato l’invito di Renato Zero di far parte della nuova etichetta “Tattica”. «Dopo il successo, c’era la fila di produttori, arrangiatori, manager alla mia porta. Mi cassiarai – ride – Entrai in confusione. Renato Zero mi ha convinto a contare solo sul mio istinto. Così ho chiamato i musicisti con cui volevo suonare, da Jacqués Morelenbaum al violoncello a Michael Baker, batterista di Whitney Houston, e poi Sonny Thompson, bassista di Prince, e Giovanni Baglioni. Ho scelto io gli arrangiatori, le canzoni, tutto».
Il risultato è davvero eccellente: una festa di suoni, mood, swing, dinamica, fiati, orchestrazioni. Un respiro sonoro internazionale, che spazia dal nu-soul al jazz, dalle ballads al r’n'b, dal funk a Bacharach (autore di Something that was beautiful) ai ritmi sudamericani, fino ai richiami africani e a una versione scanzonata ed esotica di E se domani di Carlo Alberto Rossi, tradotta in I know it’s over: «Prima di registrarla – racconta – ho ascoltato tutte le versioni esistenti di questa canzone, ed erano tutte lente, strappalacrime, io ho voluto mettere un po’ di allegria con un po’ di Caraibi e di rock-steady, come fece il musicista hawaiano Israel Kamakawiwo con Over the rainbow».
In inglese tutte le canzoni, fatta eccezione per la conclusiva Bon de doer, in portoghese. Eppure Biondi non disdegna l’italiano, come accaduto nei duetti con Amalia Grè, Ornella Vanoni e Zero (sarà, invece, in inglese il cammeo registrato per il nuovo disco di Claudio Baglioni). «No, nessun tipo di preclusione, sono orgoglioso di essere italiano – precisa – Non ho alcuna remora a cantare in italiano, ma questo disco è la continuazione del discorso cominciato con Handful of Soul». In inglese sarà anche il cammeo registrato per il nuovo disco di Claudio Baglioni, mentre all’orizzonte si profila un duetto con Chaka Khan «che per me è un mito». Nel cassetto, però, l’artista conserva anche tanti brani in italiano «e non è detto che prima o poi non li tiri fuori, magari per darli a qualche giovane promessa del nostro Paese».
Biondi non nasconde l’obiettivo di mirare al mercato internazionale, dove è ormai molto popolare: «In Giappone, a parte il fatto d’incontrare catanesi di Tokio, è stato sorprendente sentire il pubblico fare il verso “sha-la-la-la” a This is what you are. In America sono molto incuriositi da un bianco italiano che fa musica nera. Anche in Europa le risposte sono ottime: in Francia la gente mi fermava, stupita per questo genere poco italiano, e mi diceva: “Ma come, non eravate il Paese della Pausini e di Ramazzotti? Adesso vi siete messi a fare i raffinati?”».
Una soddisfazione per Mario Biondi, 38 anni, sei figli, autodidatta. Come l’e-mail che gli arriva mentre parliamo al telefono. Il mittente è Bacharach, ha appena ascoltato il disco: «Mi dice che non vede l’ora di farlo conoscere ad alcuni suoi amici importanti, perché ci fa una “bella comparsa”», traduce in siciliano Mario Biondi. If esce domani in Italia, tour tra marzo e aprile.

Fonte: “puglialive.net“

Rassegna dedicata alla musica contemporanea per pianoforte. Apre il grande Wim Mertens.

Lecce – Un festival interamente dedicato alla musica contemporanea per pianoforte composta ed eseguita da quattro prestigiosi musicisti di fama internazionale. E’ SoloPiano, festival in quattro serate del Teatro Politeama Greco di Lecce.

Ad aprire la rassegna sarà il grande Wim Mertens, nome internazionale di grande prestigio per la prima volta a Lecce. Il suo concerto si terrà il 23 novembre. Compositore, pianista, chitarrista musicologo e controtenore fiammingo e legato alle correnti meno sperimentali del minimalismo ed al cross-over, in Italia raggiunge la popolarità nella seconda metà degli anni ‘80 quando una sua composizione, Struggle for Pleasure, venne utilizzata come colonna sonora di una pubblicità. La stessa opera fu utilizzata per lo stesso scopo anche in altri paesi del mondo.

Il 14 dicembre sarà la volta di Danilo Rea, pianista jazz che vanta innumerevoli collaborazioni. In Italia sono numerose le sue performance nell’ambito del pop, come pianista di fiducia di artisti quali Mina, Claudio Baglioni e Pino Daniele e come collaboratore, tra gli altri, di Domenico Modugno, Fiorella Mannoia, Riccardo Cocciante, Renato Zero, Gianni Morandi e Adriano Celentano. Nel 2006 prende parte al Concerto per l’Europa, sull’isola di Ventotene, che lo vede protagonista assieme a Baglioni, Nicola Piovani e Luis Bacalov Nella stagione 2007-2008 partecipa allo spettacolo Uomini in frac (insieme ad altri musicisti come Peppe Servillo, Fausto Mesolella e Mimì Ciaramella degli Avion Travel, Fabrizio Bosso, Furio Di Castri, Javier Girotto, Gianluca Petrella e Cristiano Calcagnile) in cui il gruppo esegue alcune canzoni di Domenico Modugno; lo spettacolo è stato allestito per festeggiare i cinquant’anni di Nel blu dipinto di blu.

Le sue improvvisazioni, che spaziano su qualsiasi repertorio, sono apprezzate durante i concerti che tiene nelle tourneè in giro per il mondo e durante i principali festival jazz.

Il 27 dicembre toccherà invece a Cesare Picco cavalcare il palco del Politeama di Lecce. Anche per lui eccellenti collaborazioni oltre ad aver scritto numerose musiche di scena per il teatro, collaborando con artisti quali Gioele Dix, Sergio Fantoni, Ottavia Piccolo. In gruppo o come pianista solista ha aperto i concerti di Michael Bublè, Terence Blanchard, Al Jarreau, Simply Red. Diversi suoi dischi sono distribuiti in tutto il mondo e hanno raccolto un buon successo di di critica e vendite (nel 2005 My Room in classifica in Giappone; nel 2007 Light Line e Bach to me).

Concluderà la rassegna Enrico Pieranunzi che si esibirà il 3 gennaio 2010. Inizia la sua carriera jazzistica verso la metà degli anni ‘70. Come pianista jazz ha registrato oltre 60 CD, spaziando dal pianoforte solo alle varie formazioni jazzistiche con pianoforte. Ha suonato e registrato con i molti jazzisti di livello mondiale, tra i quali, Chet Baker, Art Farmer, Irio De Paula, Lee Konitz, Marc Johnson, Joey Baron, Paul Motian, Charlie Haden, e ha partecipato ai più importanti festival jazzistici italiani (Umbria Jazz, Ravenna, Milano Ciak) e internazionali (Montreal, Copenhagen, Berlino, Madrid). Nel 2004 ha compiuto una tournée in Giappone suonando con il bassista Marc Johnson e il batterista Joey Baron.

Nell’annuale referendum indetto dalla rivista “Musica Jazz” è stato votato miglior musicista italiano del 1989, mentre nel 1993 l’ “Academie du jazz” francese lo ha segnalato fra i primi tre musicisti jazz europei.
Come compositore jazz ha composto oltre 200 pezzi, alcuni dei quali sono diventati dei veri e propri standard e sono stati inclusi nella celebre raccolta “The New Real Book”.
Suo fratello è il violinista Gabriele Pieranunzi, solista di rango e 1° violino di spalla per chiara fama al Teatro S.Carlo di Napoli.

Le prevendite per tutti i concerti della rassegna sono aperte presso il botteghino del Politeama a Lecce e presso la Clinica Dell’Accendino. E’ possibile acquistare i biglietti anche on-line attraverso il sito www.vivaticket.it

Cover art for Vinyl Shuffle mixtape 10/09/09

Recorded on a Friday night after a nice Sushi date at our favorite Sushi restaurant in all of SoCal (9 Style Sushi in San Clemente).

The records on this track start with a rare Paul McCartney interview album, complete with random background noises.  He talks about musical influences, rambling into the Pepper years, and then gets confused by a memory of recording out of tune on Rubber Soul… Errr… Wait, Revolver.  Cut.  Next up is my favorite Madness song, “Michael Caine”.  You can’t go wrong with Michael Caine’s voice over a Madness song. Speaking of artists that begin with “M”, check out the Madonna “Give it 2 Me” remix on picture disk. How about more “M”s?  Like Mandrill’s  “Universal Rhythms” – not a song I’d put in a typical mix, but randomly, it’s a good separator between Madonna and Al Jarreau’s “We Got By”.  Well, that’s marks the end of the alliterative tribute to the letter “M” on this masterful mix.  Only a game such as Vinyl Shuffle could produce such an poetic beginning… I could say this mix falls apart from here… I mean… “Exile”?  After listening to this the next day, my thought is that it certainly does not.

Sad but totally-true day-after story: I left the last album of this mix, “Get Happy” by Elvis Costello, on the turntable last night.  And I left the dust cover off.  When I opened the blinds the next morning, the blinds fell and knocked down a wooden model ship (of the “Cutty Sark”) from the window sill. The Cutty Sark fell onto the record and cut a deep groove into the vinyl across four songs.  RUINED!  I raised my fists into the air, immediately thought of John Cusack, and blamed him!  Here’s why:

• John Cusack starred in “High Fidelity” in 2000.  A movie about an emo record collector and serial monogamist.
• The last song I played on this mix?  “High Fidelity”, by Elvis Costello.
• A different Elvis Costello song appeared on the soundtrack of “High Fidelity”… That song?  “Shipbuilding”
• What fell down and ruined my record?  The Cutty Sark.  A ship.

Well, maybe Elvis Costello is to blame just as much, but I’m pretty sure John Cusack had a hand it this.

Listen right now:

Or Download the MP3 here:
Vinyl Shuffle mixtape 10/09/09

Playlist:

• Paul McCartney. “Paul discusses Motown, Stax, The Beach Boys’ Pet Sounds, Sgt Pepper, Rubber Soul / Revolver” (The McCartney Interview); Columbia Records, 1980
• Madness. “Michael Caine” (Keep Moving); Stiff Records, 1984
• Madonna. “Give it 2 Me #2″ (12″ Single); Warner Bros, 2008
• Mandrill. “Universal Rhythms” (IS); Polydor, 1972
• Al Jarreau. “We Got By” (We Got By); Reprise / WB Records, 1975
• Chic. “Everybody Dance” (Les Plus Grands Succes De Chic); Atlantic Records, 1979
• Exile. “Kiss You All Over” (Mixed Emotions); WB / Curb Records, 1978
• Run DMC. “Walk This Way” (12″ Single); Profile Records, 1986
• Sverre Holm med Frank Cooks Orkester. “Vi Drar Hjem” (Music From Norway); Fiesta Record Company, Inc, 19??
• The Sugar Cubes. “motorcrash” (life’s too good); Elektra/Asylum, 1988
• Robyn Hitchcock ‘n’ the Egyptians. “Madonna of the Wasps” (12″ Single); A&M Records, 1989
• Con Funk Shun. “Not Ready” (Candy); Phonogram / Polygram / Mercury, 1979
• Peanut Butter Wolf w/ Planet Asia + Madlib. “definition of ill Remix Instrumental” (definition of ill); Stonesthrow, 1999
• Phyllis Hyman. “Beautiful Man of Mine” (Phyllis Hyman); Buddah Records, 1977
• The Brand New Heavies. “Dream Come True” (The Brand New Heavies); Delicious Vinyl, 1991
• Brand Nubian. “Don’t Let it go to your Head” (Foundation); Arista, 1998
• Leonard Cohen. “Hey, That’s No Way to Say Goodbye” (Songs of Leonard Cohen) Columbia, 1967
• Elvis Costello. “High Fidelity” (Get Happy); Columbia, 1980

By Don Heckman

Los Angeles

- Sept. 23. (Wed.) Mike Lang Trio. Lang has played piano on thousands of film scores, backed everyone from Aretha Franklin to John Lennon and written songs for Stan Getz, Herb Alpert and others. Here’s a chance to hear him doing his own thing with bassist Abraham Laboriel and drummer Walter Rodriguez. Catalina Bar & Grill.  (323) 466-2210.

- Sept. 23. (Wed.) Slavic Soul Party! Brooklyn’s best brass band, in the tradition of Eastern European brass band ensembles, applies a massive amount of energy to their blend of traditional music, jazz, funk and gospel. The Echo.  (213) 413-8200.

- Sept. 23. (Wed.) Jack Sheldon California Cool Quartet. California’s coolest trumpeter leads his own appropriately titled group, mixing his potent trumpet with atmospheric vocals and — depending o his mood — some of his uniquely sardonic humor. Charlie O’s.  (818) 994-3058

- Sept. 23. (Wed.) Alan Broadbent & Pat Senatore. Pianist/composer/arranger Broadbent brings compositional insights, a sensitive touch for tone and a rhythmic lift to everything he touches. Senatore’s bass adds a sturdy sound, a propulsive groove and an empathetic musical ear. Expect to hear music that is as thoughtful as it is swinging. Vibrato Grill Jazz… etc.  (310) 474-9400.

- Sept. 24. (Thurs.) The Yuval Ron Ensemble performs “Days of Awe” featuring vocalist Maya Haddi in a program of “Sacred music and stories for the Season of Renewal.” Electric Lodge, Venice.

- Sept. 24. (Thurs.) The Dave Brubeck Quartet. Fifty years after “Take Five” and more than sixty years after he started recording, Brubeck still has something fascinating to say, musically, wheneveer he sits down at the piano.The Cerritos Center.  (562) 916-8501.

- Sept. 24 – 27. (Thurs. – Sun.) The John Patitucci Trio. Patitucci takes time out from his busy schedule as one of jazz’s A-list bassist to lead his own world class trio featuring tenor saxophonist George Garzone and up and coming drummer Marcus Gilmore (grand son of the ageless Roy Haynes). Catalina Bar & Grill.  (323) 466-2210.

Sept. 25. (Fri.) Sally Kellerman. Yes, of course you know her as the original Hot Lips in the film verson of M.A.S.H. But Kellerman’s always had at least one foot in the music world. And over the past decade she’s thoroughly established herself as an entertaining diva who easily finds the linkages between jazz, folk, country and pop. She performs with the Joel Scott Quartet. The Culver Club for Jazz. Radisson Hotel.  (310) 649-1776.

- Sept. 25.& 26 (Fri. & Sat.) Gladys Knight. Grammy-winning Knight has had a stellar career, with and without the Pips. Although she was named one of the “100 Greatest Women of Rock and Roll,” Knight’s singing transcends any single genre, reaching easily from jazz and soul to torch songs and beyond. The Cerritos Center.  (562) 916-8501.

- Sept. 25 & 26. (Fri. & Sat.) Ahmad Jamal Quartet. The one and only, the pianist whose sense of time had a profound effect upon Miles Davis, and who still comes up with ear opening musical ideas every time he performers. Nate Holden Performing Arts Center. (323) 964-9766. http://www.ebonyrep.org

- Sept. 25 & 26. (Fri. & Sat.) Wavefest. Smooth jazz and more smooth jazz, performed by some of its best known artists. Among the line-up: On Friday: Brian McKnight, Al Jarreau, David Benoit, James Torme. On Saturday: Kenny G, Vanessa Williams and Jesse Cook. The Greek Theatre.  (323) 665-3125.

- Sept. 26. (Sat.) Iliana Rose.  She’s not well known yet, but Rose’s extraordinary skills — as a singer, songwriter, composer and arranger, mark her as a soon-to-break-out, potential major talent. Here her now, before the cover charge goes up, and you can brag that you saw a new star in her ascendance.  The 322 Cafe.  (626) 836-5414.

- Sept. 26. (Sat.) Phil Norman Tentet. A 14th anniversary Party for the band that has kept alive the briskly swinging, compact and contrapuntal styles of ’50s West Coast jazz. Radisson Hotel. The Culver Club for Jazz.  (310) 649-1776.

- Sept. 26. (Sat.) Grant Geissman Quartet. There isn’t a guitar style that the versatile Geissman can’t handle with ease. But with the band he’s working with on this gig, expect some stirring, straight ahead jazz. With Brian Scanlon, alto saxophone, Emilio Palamo, piano, Trey Henry, bass and Ray Brinker, drums. Spazio.  (818) 728-8400.

- Sept. 27. (Sun.) Bill Cosby. The master, story-telling stand up comic, who drives his tales with the improvisational spontaneity of the jazz musician he’s always wanted to be. The Cerritos Center.  (562) 916-8501.

- Sept. 27. (Sun.) Louie Cruz Beltran. “Dancing on the Water” Beltran’s enthusiastic performances, ranging across r&b, salsa, reggae, Latin jazz, Brazilian bossa nova and rock should stimulate plenty of dancing during this cruise through Long Beach Harbor. On the Hornblower yacht, Endless Dreams, 5:30 p.m. boarding at Rainbow Harbor, Long Beach, cruising from 6 – 8 p.m.  (888) 467-6256.

San Francisco

Sept. 23. (Wed.) “India & Africa: A Birthday Tribute to John Coltrane” Another celebration of the iconic saxophonist’s birthday on Sept. 23. This one features percussionist/composer Anthony Brown’s Asian American Orchestra with special guests. Yoshi’s San Francisco.  (415) 655-5600.

- Sept. 25 – 27. (Fri. – Sun.) Stanley Jordan Trio. Jordan’s tap-on style continues to be one of the jazz world’s most unique styles. This time out, he enhances the setting with the backing of bassist Charnett Moffett and drummer Eddie Barattini. Yoshi’s Oakland. (510) 238-9200.

- Sept. 26 & 27. (Sat. & Sun.) Roberta Gambarini and James Moody. The gifted Italian jazz singer and the veteran tenor saxophonist perform together with irresistible musical affinity. Hopefully “Moody’ Mood For Love” will surface somewhere during one of the sets. Yoshi’s San Francisco. (415) 655-5600.

Albuquerque

Sept. 25 & 26. (Fri. & Sat.) Globalquerque! Fifth annual world music highlight of the Southwest. The far-ranging line-up of artists includes Roberto Mirabal, Doyle Lawson & Quicksilver, Novalima, Maria de Barros, Mamek Khadem, Blick Bassy, Vasen with Mike Marshall & Darol Anger, Lorin Sklamberg & Susan McKeown. Globalquerque! (505) 724-4771.

New York

- Sept. 22 – 25 and Sept. 27. (Wed. – Fri. and Sun.) Billy Hart Quartet. Drummer Hart has played in every imaginable style during his nearly five decade career. This time out he works with younger generation stalwarts — Ethan Iverson, piano, Mark Turner, tenor saxophone and Ben Street, bass. The Village Vanguard. h (212) 255-4037.

- Sept. 23 – 26. (Wed. – Sat.) “Coltrane Revisited” A team of ultimate all-stars celebrate John Coltrane’s 83rd birthday with former Coltrane sideman Kuhn leading the way. Joe Lovano, tenor saxophone, Steve Kuhn, piano, Lonnie Plaxico, bass, Andrew Cyrille and Billy Drummond, drums. Birdland.  (212) 581-3080.

- Sept. 24. (Thurs.) “Jazz Guitars Meet Hendrix” With Sheryl Bailey and Vic Juris, guitars, Brian Charette, keyboards, George Gray, drums. The 55 should be rocking happily when Bailey and Juris take on high flying pleasures of the Hendrix songbook. 55 Bar.  (212) 929-9883.

- Sept. 24 – 27. (Thurs. – Sun.) Barry Harris Trio. The masterful bebop pianist spends a lot of his time teaching these days, so he should be heard at every opportunity. He performs with Ray Drummond, bass and Leroy Williams, drums. The Jazz Standard.  (212) 576-2232.

- Sept. 26. (Sat.) Barbra Streisand. The diva of all divas does a one-nighter to hype her new album.  Tickets were handed out long ago.  it will nevertheless undoubtedly cause some major paparazzi-induced traffic jams on Seventh Avenue. The Village Vanguard.  (212) 255-4037.

Chewbacca

I think ‘Star Wars’ needs to be re-evaluated in these Post-9/11 times. However you look at it, Emperor Palpatine was the democratically elected leader of the Senate.

Then along comes the Rebel Alliance. In what can only be described as a Jihad, they decide that they’re going to run the Galaxy and run around blowing up anything they can. The leaders of the Rebellion have so much blood on their hands, they make Al Queda look like Al Jarreau.

“Use the political process, Luke!”. That’s what Obi-Wan should’ve told him.

Hmmm. I appear to have gone off topic before I’ve even got onto it. Which must be some kind of record.

My “Dave of the Week” is Chewbacca. Everyone needs a friend like Chewbacca. He’d rip that Samwise Gamgee’s arms out of his sockets and beat him with the sticky ends for a start.

He helped Yoda escape in ‘Revenge of the Sith’. He rebuilt C3PO in ‘The Empire Strikes Back’ when nobody really wanted him to. He saved EVERYBODY’S arse in ‘The Return of the Jedi’. He thoroughly embodies the spirit of Dave.

Though, to be honest, I’ve never personally completed the Kessel Run in under 12 parsecs. I once drove from Milton Keynes pretty quickly, though.

But – more importantly – what’s wrong with this picture?:

Why hasn’t Chewbacca got a medal? He did as much work as Han Solo (which, when you think about it, wasn’t much at all) but he doesn’t get any praise.

And why? Because the Rebel Alliance is obviously Wookie-ist. Bastards.

You know that bit where he growls at the end of the award ceremony? That’s Kashyyyk for ”wankers”.

Lyssnar på Al Jarreaus sköna album Still in love with you. Det tar inte mer än två låtar innan jag måste söka efter Bill Withers originalversion av Lean on me. Jag vet inte vad det är med just den här låten, men den går inte att förneka på något plan. Trots det krystade sticket och den överdrivna smörigheten är det en enorm låt. Varje gång jag lyssnar till Lean on me infinner sig en slags andäktig stämning som vägrar lämna rummet. Från de första pianoackorden till det avslutande “…call me” är jag fast. Varje gång!

*****

Tänk att man kan gå en hel dag utan att uppmärksamma denna historiska tidpunkt. Hur kan jag ha missat detta? Just det, jag har ett liv.

Nouveau son ! 

J’ai trippé sur l’original de Love is real tout le week-end, Jay Graydon à la production, David Foster au Fender Rhodes et le grand AL JARREAU au micro.

Ce qui est terrible avec ce morceau, c’est qu’il y a tout ce que j’aime dedans: du Quincy, du Benson, du Jackson, les cuivres d’Earth Wind & Fire, du New-York…bref on y retrouve toutes les influences de la belle époque.

Déformation professionelle oblige, j’ai mis mon ptit grain de sel, histoire de faire partie du show.

Ca donne donc ceci, un anti-depresseur super funky à écouter et emporter ici:

Steph Seroussi vs Al Jarreau – Love is real 2009

George Benson

 
İki efsane bir araya geliyor; caz, R&B ve fusion türlerinin en saygın yorumcu ve gitaristlerinden George Benson, tüm zamanların en sevilen vokalistlerinden Nat “King” Cole’un eşsiz mirasıyla buluşuyor; üstelik altı kişilik vokal grubu ve ona eşlik eden Philharmonia İstanbul orkestrasıyla birlikte. Nat King Cole’un “Mona Lisa”, “Stardust”, “Route 66″, “Nature Boy”, “Unforgettable” gibi klasik hitlerine yeniden hayat veren Benson, “Give Me the Night”, “Breezin’”, “On Broadway” gibi en sevilen şarkılarını da seslendiriyor. Elli yılı aşkın süredir caz, R&B, soul ve hatta pop gibi farklı türlerde altmıştan fazla albümü yayımlanan George Benson, caz gitarında ustalığının yanında etkileyici vokal tekniğiyle de tanınıyor. Wes Montgomery, Ron Carter, Joshue Redman, Christian McBride, Al Jarreau ile ortak çalışmalar yapan Benson, on Grammy de dahil olmak üzere çok sayıda ödüle layık görüldü.
 
-İKSV-

Rodrigo Molina

É difícil quando a realidade vem na sua direção na forma de uma criança que vende doces no ônibus. Pior ainda é ouvir essa mesma criança se auto- intitular camelô. Se o garoto do primeiro ponto da Av. Presidente Antonio Carlos no centro dissesse “Trago para os senhores uma caixinha de Trident por um real”, pelo menos ele não estaria jogando na minha cara que ele já deixou de ser criança/estudante/alguém com um futuro ligeiramente mais promissor que o se um camelô. Mas não, ele faz questão de falar, com a voz empostada, que é um camelô. 

Sempre que passo por esse ponto da Av. Presidente Antonio Carlos torço para ele não entrar no meu ônibus. Algumas coisas me deixam triste. Nem sempre um mendigo na rua me atinge, mas esse menino me faz sentir uma impostora toda vez que o vejo. Acho que são seus olhos.

 Deve ter uns 10 anos. Cabelo castanho, pele bronzeada, olhos castanho claro. Fala com uma voz de quem tem experiência no que faz. Não sei há quanto tempo é camelô.  

Hoje alguém no ônibus começou a assobiar “We are the World” quando ele desceu. Não sei se a pessoa estava pensando o mesmo que eu ou se foi coincidência, mas tive que me segurar para não chorar. 

We are the world, we are the children

We are the ones who make a brighter day

So let’s start giving

P.S.: O fotágrafo que fez a foto deste post colocou essa legenda: Sua mãe vendia chicletes para os motoristas parados no confuso trânsito da hora do rush ao mesmo tempo em que cuidava da filha mais nova. Alheio às dificuldades do mundo real, ele brincava pela rua, ora correndo lépido e fagueiro pelas calçadas, ora pendurando-se nas grades que cada vez mais cercam os prédios do Rio de Janeiro…

Pelo menos ela continua sendo uma criança. É triste que o menino que descrevo no post tenha aberto mão de sua infância.

Dave Brubeck Quartet

George Benson – Take Five 1976 Montreux 1986

Al Jarreau 1976 -Take Five ( dauert ein wenig bis er zu  Take Five kommt)

Give Me the Night

Excerpt: 1980 is just so significant to me, musically anyway, when i go through my catalogue of 4000 5000 songs, that year of 1980 sticks out, it has the most recognisable songs. So being 15 and the music of that year is probably pinnacle to me, it connects me to that time… just like a photograph does, or even as far to say the feeling of hearing the news that John Lennon died. Snap……. a photo was taken…….for life … more

Number 978 - George Benson – 1980 – USA – Genre: Jazz - Play Song

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We = World!

Today is the day that Michael Jackson is officially laid to rest (despite the media’s insistence on resurrecting all things Michael), so I thought it would be quite appropriate to showcase one of the most poignant song of his career.  He, along with Lionel Richie, penned “We Are the World,”  a song that implored people to do their part to help the impoverished and starving countries of Africa. In 1985, Michael and Quincy Jones assembled an impressive and diverse group of singers to bring this song to life.  

I can still remember the morning I watched  the video of this song for the first time as it aired right before I was suppose to leave the house to go to my elementary school down the street.  I can honestly say that this song had a lot to do with why my musical tastes are so diverse. As a child, I was captivated by the different types of voices and styles and they were  fresh and new to me at the time.   As an adult, the message of this song has resonated now that I am old enough to understand suffering and my responsibility in helping to alleviate it.  As corny as this song is by today’s standards, it is still one that will go down in music history as one of Michael Jackson’s greatest works.

Watch the video below and listen to the message. 

For me, one of the blessings of being officially retired is the freedom to follow my bliss, as Joseph Campbell recommends. Today I’ll be following it away from my computer and out into my garden. The sky is brighter and bluer than it’s been in many a day. Across the lake, I hear the joyous shouts of children at the beach. Snyder’s Lake is fed by springs, and it’s probably still unseasonably cold, but I’ll check it out if it suits my fancy. Then in a few hours my husband and I will head over to Albany’s Empire State Plaza with our folding chairs, enjoy some greasy carnival food – funnel cake if I’m lucky – and some free entertainment topped off by the great jazz singer Al Jarreau. (His song “Morning” from a couple of decades ago is one of the most transcendently beautiful pop anthems, right up there with Brian Wilson’s “God Only Knows.” And then the fireworks – deafening and spectacular, synchronized to patriotic music, probably including Lee Greenwood’s “Proud to be an American.”

On this Independence Day, I’m grateful to live in a country that enables me to enjoy my freedom in so many ways, thanks in part to the largess of the Social Security system.

Is anyone out here reading this today? If so, stop. Turn off your computer, pour a libation of your choice, and drink a toast to your own freedom, and the liberty to follow your bliss.

Today I found out who wrote “Your Song”. It were nobody less than Elton John (music) and Bernie Taupin (lyrics).
First of all: John and Taupin wrote, in my opinion, the most incredible love song of the last century, if not of all times. It’s so simple and perfect. Wikipedia stated “[John doesn't] think [he has] written a love song as good since”. And he is right. As it always is, the best things come to you in a very short time: It took Elton John ten minutes to write the song and Taupin had written the lyrics over breakfast.
But I think John is not the best performer. I listened to a few of his own recordings and came to the conclusion that the version of Al Jarreau on the album “The Best of Al Jarreau” is way better. Can’t explain why, but I like it more. No, I like it the most.
If you’ve never heard it – either the song itself or the version performed by Al – do it right now and you’ll understand

Hmm… Actually I’m really wondering if they wrote the song for a girl or just to make money. ‘Cause I can’t think of anything better than this. It’s the Mount Everest of love songs… there is nothing above it. If you wrote this song for a woman you could die and say you made something outstanding (well, you shouldn’t because you wrote the song for a reason, but you could ).

To Elton John and Bernie Taupin: Thank you so much!

By Don Heckman

Los Angeles

- June 29. (Mon.) Tim Garland’s Lighthouse Trio. Saxophonist Garland’s remarkable accomplishments reach from orchestral works to choir music to commissions for an African dance company and pairings with Chick Corea. Hearing him with his Lighthouse Trio reveals the inner essence of his art. Catalina Bar & Grill. (323) 466-2210 .

- July 1 – 3. (Wed. – Fri.) Vital Information with Steve Smith. Drummer Smith’s interests in percussion reach around the globe and across musical genres. And Vital Information – with Smith, bassist Baron Browne, guitarist Vinny Valentino and keyboardist Tom Coster – cover most of those bases in their always-changing sets. Catalina Bar & Grill. (323) 466-2210

- July 2. (Thurs.) “Playing for Change.” The 25th Annual Twilight Dance Series at the Santa Monica Pier opens with the live band version of the startling “Playing for Change” phenomenon that has rapidly moved from the #1 rated YouTube video to a Top 10 release of their 2-disc CD/DVD. Santa Monica Pier Twilight Dance Series. And if you haven’t seen the YouTube video, with its marvelous revelation of the power of music, you should  Here it is: .

John Fogerty

- July 2 – 4. (Thurs. – Sat.) The Hollywood Bowl’s annual Fireworks Spectacular. Featuring John Fogerty with the Los Angeles Philharmonic conducted by John Morris Russell. Fogarty’s reportedly working on a new country album, but the Bowl audience no doubt will expect a large serving of such Creedence Clearwater Revival hits as “Susie Q” and “Proud Mary.” The fireworks, as always, will be spectacular. Hollywood Bowl. (323) 850-2000.

- July 3. (Fri.) Viver Brasil. “Feet on the Ground/Aiye.” A spectacular evening of sight and sound, with the invigorating songs of Katia Moraes and the high-spirited, roots rhythms and dancing of the amazing artist in the Viver Brasil company. Ford Amphitheatre. (323) 461-3673.

Highlight: July 3 (Fri.)

It’s a great night for jazz canaries in L.A., with three impressive ladies offering their very different, but utterly compelling views of the art of jazz vocalizing at locations across the Southland. (Ahh…for a personal helicopter).

Jackie Ryan. The ever-fascinating, multi-lingual Ryan has emerged, in the past few years as a singer with a stunning blend of creative imagination, musicality and captivating story-telling abilities. She arrives in town celebrating the upcoming release of her latest album, the 2-CD “Doozy” (Openart Records). (Full disclosure: I wrote the liner notes for the set.) She’s at the Culver Club at the Radisson. (310) 649-1776. To sample Jackie Ryan’s recordings, click here.

Carol Welsman. Across the county, Canadian singer/pianist Welsman applies her superb blend of voice and instrument to a repertoire that is as imaginative and far-reaching as any vocalist on the scene. (Maybe even more so.) Blessed with a whisper-in-your-ear warm sound and a rich harmonic sense, she uses them both to bring a compelling lyricism to her songs. Let’s hope she includes some of the engaging selections from her as yet unreleased tribute to Peggy Lee. Steamers. (714) 871-8800. To sample Carol Welsman’s recordings, click here.

Susan Krebs. Meanwhile, out in the Valley, Krebs brings to her songs her belief that “Being a jazz gardener is really about the art of becoming…whether working with plants or music or with oneself.” Her outdoors fascination reaches up to jazz-in-flight, as well, in her album, “Jazz Aviary,” which features such classics as “Baltimore Oriole,” “Skylark,” and, of course, “Ornithology,” She’s backed by pianist Theo Saunders, bassist Ryan McGillicuddy and drummer Sinclair Lott. Spazio. (818) 728-8400 To sample Susan Krebs’ recordings, click here.

- July 4. (Sat.) Shin Hae Chul and N.E.X.T. The South Korean pop star and his band make a rare American appearance. A liberal political icon as well as a musical headliner, often compared to John Lennon, he is one of the founders of the country’s contemporary Kpop genre. The Ford Amphitheatre. (323) 461-3673.

San Francisco

- July 2 – 5. (Thurs. – Sun.) Mose Allison & Bob Dorough. What a treat – two of the deans of hip jazz vocalizing, on the same stage. The Mississippi blues meet cool urban sophistication. Dorough also does a matinee on Sunday featuring selections from his “Schoolhouse Rock.” Yoshi’s Oakland. (510) 238-9200.

- July 2 – 5. (Thurs. – Sun.) Gerald Albright. The multiple Grammy-nominated saxophonist brings jazz authenticity to the too-often tepid waters of the smooth and contemporary jazz styles. Yoshi’s San Francisco. (415) 655-5600

New York City

Jack DeJohnette

- June 29. (Mon.) Ravi Coltrane & Jack DeJohnette with guests: “A Benefit for JazzReach.” Talk about an opportunity to make a contribution to something worthwhile, and experience some remarkable music in the process – here it is. Two of the jazz world’s most adventurous players, taking an exploratory road together. The Blue Note. (212) 475-8592.

- June 30. (Tues.) Terese Genecco & Her Little Big Band. Retro swing comes alive in the hands of the energy-packed Geneco and her irresistibly swinging seven piece band. Also on the bill, Scott Barbarino & the Bev-Naps re-imagine a combination of Dean Martin-revisited with a doo-wop, a capella vocal group.. The Iridium. (212) 582-2121. (Also the last Tuesday of every month.)

Anat Cohen (photo by Tony Gieske)

- June 30 – July 5. (Tues. – Sun.) Anat Cohen. “Clarinet work: Benny Goodman and Beyond. “ It’s been a long time since the clarinet has had an advocate as convincing as the gifted Cohen. Although her work on tenor and soprano saxophones is always a joy to hear, her love for the clarinet, combined with the ability to bring its rich resources of sound to life, is one of the pleasures of the 21st century jazz scene. It’ll be intriguing to hear what she does with Goodman. The Village Vanguard. (212) 255-4037

- July 1 – 4. (Wed. – Sat.) Lew Tabackin & Toshiko Akiyoshi Quartet. The gifted couple – with Tabackin’s envelope-stretching saxophone work and Toshiko’s compositionally structured piano have long been – and continue to be – models of new vista jazz improvisation. Birdland. (212) 581-3080.

Montreal

Ornette Coleman

- June 30 – July 12. The Montreal Jazz Festival. There are those who fervently believe that the Montreal Fest is North America’s finest music event. And they may be right (although I’d have to place the Monterey Jazz Festival at a similar level). But with settings placed in and around a beautiful city, and a line up like this, it’s hard to go wrong: Ornette Coleman, Oliver Jones, Joe Cocker, Al Jarreau, Jeff Beck, Jackson Brown, Buddy Guy, Tony Bennett, Brian Setzer, Burning Spear, Melody Gardot, Charlie Haden, Jamie Cullum, Al Di Meola, Joshua Redman, Chris Botti, Esperanza Spalding, Dave Brubeck, Madeleine Peyroux and more. The Montreal Jazz Festival. (888) 525-0515

Rothbury, Michigan

- July 2 – 5. (Thurs. – Sun.) The Rothbury Festival. Rothbury describes its mission as a “commitment to harnessing the spirit of the music festival community into a durable social movement.” A lot of performers and fans agree, especially when the Festival is placed in an amiable outdoor setting, and the program includes The Dead, Bob Dylan, String Cheese Incident, Willie Nelson, the Black Crowes, Ani DiFranco, Matisyahu, Femi Kuti and more. The Rothbury Festival. At the Double JJ Ranch in Rothbury, Michigan.

Steve, I came back to read your MJ post again. This time I watched the videos. Big mistake. You had me at “We are the world”.

That sh-t is emotional yo!!!

Seeing Stevie, Al (Jarreau), Diana, Ray, Dionne, even Bruce and of course MJ was just childhood overload. Those cats, back then, were tight. Never to be repeated with today’s bunch of no talent losers. MJ was born from the Motown blood, sweat, and tears. Where heart and talent were everything.

But, Michael was more than just a singer.  MJ bridged the gap between R&B/Soul and Pop. He was a choreographer. In fact he is the reason I even know what that word means. He was the first to bring our attention to the dance/music art.  An true innovator. The moonwalk, anti-gravity move etc. How about the music video.  MJ pretty much invented that also. And his videos told a story. A real story. And a long story most of the time. The way it should be done. The way if it were done today they would matter again.   But more than the on stage wizardry MJ was all about HEART. When he spoke you knew he meant what he was saying with all his heart. Like he held the conscience of a country, no world, in his heart. Like a parent wishing only good for his/her children. MJ was everything good, virtuous and pure. And in a Johnny  Carson homogeneous society of the 80’s everyone stayed tune to his every move. MJ could also organize like no other prior nor since. Everyone wanted to be close to MJ. Maybe that’s why “We are the world” touched me so much. Who could put that together today with all those stars? No one! Or how about the video for “Remember the Time”? Who the HELL could assemble all that talent for one video today?

Some wanted Michael to “Do more” or “Speak out”. But not everyone is  a Jim Brown? Some have to do it their own way. And MJ did. He didn’t just knock on White America’s door and ask for permission to enter like others before him. Instead he kicked in the door, slapping them in the face while moon-walking across the living room and  demanding to be noticed. And they did. White America embraced MJ like none other.  This spoke volumes to millions of black kids….and one particular little black kid getting bused to a white racist school for a better education.  Maybe there was hope for this world after all he would think on the way up the hill to school. Young innocence I guess.  Either way it was MJ that opened the door wider than anyone before him.

Some say that door was open too wide. That Michael had crossed the line. Skin bleaching, nose jobs and all. And he did. But when the world was against him during the touchy-feely trial Black America had his back just like OJ before him. There is just no escaping it. Black America knew MJ wasn’t right. They knew somewhere along the line a cute little boy in the Jackson 5 had turned into a freak of plastic surgery and into a grown man that sleeps with children.  But it just wasn’t enough then and now to turn their backs on someone that was truly their advocate of virtue when they were young and maybe too innocent.

So when the sheriff cuffed you up, the money ran out, the bill collectors came ringing and White America turned their back on ya, you hit the road.  Dubai I hear. But who really knew? Wherever you went for some reason it didn’t feel like Gary, Indiana.  So, you came back.

But it was too late. Just too late.

Too late for a world famous Pop Star.

Too late for the embarrassment not to wear off.

Too late for the jokes not to sting.

Too late for the phone to ring.

What’s that? Say it louder. No one cared…anymore.

Sucks it had to go down like that. Must have hurt like very few will ever know.

So I say…Thanx for everything Michael. You can buy me a drink in HELL.