I always wonder what $10,000 trikey would look like..

My trikey is better than yours!  if you are Sacha White’s daughter that is.  She’s looking pretty fly in her $10,000 custom built Vanilla Trike.  Check out the Brooks leather saddles and the front hub and rears wheels by Phil Woods details.  Visit Vanilla Bicycles site if you are in need of dropping some serious cash on that next bike.

via Likecool

Oliver Nelson & His Orchestra: The Kennedy Dream (Impulse! Originals 0602527069999)
In the original liner notes Oliver Nelson remembers where he was when he heard that John F Kennedy had been shot. He was in the studio working on an album with many of the musicians who would, three and a bit years later, work with him on this recording dedicated to the man who, until recently, had been the most charismatic and inspiring US president in the lifetimes of those still living today.

Nelson uses clips of speeches by Kennedy as introductions to some of the tracks, which have names like Let The World Go Forth and The Rights Of All and The Artists’ Rightful Place. (I can’t imagine that last named being inspired of George Dubya – can you?) There is even a track dedicated to Jackie – or Jacqueline as she is called here.

There is a lot of cheer in a lot of these tracks, which capture the buoyant vibes of the times. But, of course, there is the death of the dream here, too, and the brief (3 minute 39 second) Day In Dallas is a masterful evocation in an orchestral jazz arrangement of the despair of that day.

The album ends on a more poignantly uplifting note with Phil Woods playing a liltingly optimistic solo over the orchestra in the John Kennedy Memory Waltz.

The music has always been better when there has been a Democrat in the White House. And ‘Retha at the inauguration was a fine start to the current brave new era. The Kennedy Dream acts as a salutary reminder not only of previous sunnier times but also of the dangers lurking in the shadows.

Thema: “Wippi, widi wippi wippi wippi etc.”

Anwesende und Anwesendinnen: Doris, die gute Fee & Thomas

Ja, diese Biene, die ich meine, die heisst: Hey Hey Wickie, trallali, trallala, tralla hoppsassa, die macht was ihr gefällt….. Machen wir auch.

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La Musica: Quincy Jones, The Bad Plus, Tete Montoliu, Phil Woods & Red Garland, Art Blakey & Thelonious Monk, Sun Ra, Rev. D. C. Rice and his sanctified congregation, Willie Bobo

What are these instruments?

In late September we made a visit to Phil’s house in Eastern Pennsylvania with a van load of 82ZU saxophones (23 of them to be exact).  Phil spent the majority of the day testing, testing and testing to determine which of the instruments would be part of this promotion.  The challenge wasn’t which horns would be good enough for Phil, but which instruments weren’t quite up to his professional standards.  Let’s face it, he can be picky if he wants to! Of the 23 we started with, a total of 16 YAS-82ZU saxophones were ultimately hand selected by Phil.

Some great photos from the day selecting saxophones are on the YamahaWinds facebook page or on the YamahaWinds Flickr page.

Although these instruments are unlacquered, they do start out as shiny gold saxophones.  All the unlacquered instruments go through the same buffing process as the lacquered instruments, but are then removed from the production and head directly to the final assembly process.  Ultimately after a period of time the instrument will look like a dirty, old, tarnished, saxophone.  (Just like Phil’s, right?)

What else do these saxophones come with?

The base model is a YAS-82ZU (the U stands for unlacquered).  Phil Woods plays Vandoren reeds, so the guys over at Vandoren were kind enough to include a coupon for a free box of Vandoren reeds.  Additionally we’ll throw in a Yamaha Monster Sax Swab, an AirCell neckstrap, a TD-20 tuner, a ME-D1 metronome and an iTunes gift card so you can download some of Phil’s music.  Retail value of all these freebies, about $400!  Inside the horn will be a sealed envelope with instructions for how to receive the package of free accessories.

How are the instruments marked?

Right above the serial number is an oval badge denoting that Phil personally selected the particular instrument along with the lot number (#1 of 16 etc).  Each instrument will ship with a certificate of authenticity showing the serial number, lot number (#1 of 16 etc) along with the artists signature.

Where can I purchase one of these instruments?

Below is the list of dealers (to date) that have purchased these limited edition instruments:

PM Music Center – Aurora, IL 630-978-9927

Best Music Company – Oakland, CA 800-821-3557

Washington Music Center – Wheaton, MD 301-946-8808 (SOLD)

Atlas Music – Rochester, NY 585-671-2020

U-Crest Music – Cheektowaga, NY 800-666-1268 (SOLD)

ProWinds Music – Bloomington, IN 800-789-8509

Anaheim Band Instruments – Anaheim, CA 800-540-4224

The Music Man – West Palm Beach, FL 800-785-5367

Volkwein’s Music – Pittsburgh, PA 800-553-8742

Phil Woods History with Yamaha

It’s an interesting story of how and where Phil actually tried the first Yamaha saxophones.  In 2001 while preparing for the launch of the 82Z saxophones, word reached our AR staff that Phil Woods was interested in trying some clarinets.  Of course our staff were pretty interested to show Phil the clarinets, but also this new sax that we were working on.  So a couple of our guys went out to his place in Pennsylvania.  Apparently Phil fell in love immediately with the prototype YAS-82Z, and literally refused to give it back.  (we were OK with leaving it with him of course….) A couple of funny things have happened along the way with Phil.  A year or so after Phil switching to the Yamaha, our design staff wanted to check out a few other ideas.  While Jim Murphy (our artist development manager at the time) was talking with Phil, Hiroshi (one of our technicians) was changing out some keys on Phil’s main horn.  Phil got a bit concerned that we were switching out some keys on his MAIN HORN, and strongly encouraged Hiroshi to return the instrument to it’s original state.  Hiroshi spent the next 30-minutes in a cold sweat putting back together Phil’s horn – and once all was again back to normal Phil calmly responded “OK…he can stay” and had a good laughed about it.

For the launch of the 82Z saxophones, we put together an event at the big music industry trade show, the NAMM show.  Phil was to be the main headliner for the all-star saxophone cast, and he certainly didn’t disappoint.   Some of the videos from that event are on the YamahaWinds Facebook page.  Phil also made it clear at that event that they would not be performing any of the original supersax charts in any other style than was intended.  For those of us at the rehearsal the evening before the event, that was a memorable moment!

Kate Langenburg/A&E Groove

Well, first thing’s first….I’m back! After a long month away from a computer, I have finally re-emerged from the darkness and have seen the light of the wonderful internet. (Funny how we rely so much on technology to live our lives, huh?)

Anyway, I will get right into the next post. This past weekend, I had the pleasure of attending the Delaware Water Gap’s 32nd annual COTA Festival, or Jazzfest, as known by the locals. Each year, surrounding local musicians get together and put on a three day festival in the heart of the Poconos, right next to the beautiful Delaware River.

The great thing about this festival is that there is so much talent in it. The local jazz musicians in the Poconos are not just any musicians — many of them are known worldwide for their great musicianship and virtuosity. Take, for example, Phil Woods, famous saxophonist who has played with many known musicians. He is also the co-founder of the COTA Festival.

Or what about Bob Dorough? You may not know his name, but you’ll know his music…conjuction, junction, what’s your function? That’s right. He wrote all the music for Schoolhouse Rock. And what a great performer he is!

Dave Leibman hits a high note at the COTA Festival. Photo by Kate Langenburg.

And I also want to mention Dave Leibman, a very talented, often obscure jazz saxophonist who played with many performers throughout the festival.

Perhaps two of the most interesting performances came from a local drummer named Bill Goodwin and a well-known singer named Nellie McKay. Bill Goodwin and his group performed several interesting Thelonius Monk songs, while Nellie McKay danced and dazzled her audience with her cute singing and daydreamy lyrics.

While all that music was happening, local artists gathered their best works and put them on display in tents just outside the stage area. There were photos from previous years at the festival, beautiful pieces of handmade jewelry, and even lamps made out of antique instruments. If you got tired of sitting on the hillside, you could just wander down the street to the artisans and check out their goodies.

And the food — oh! The falafel sandwiches, ice cream, and black beans with chicken and rice. Mmmm.

All in all, this year’s festival was a musical success. It may be slowly losing money, but jazz lovers in the Pocono Mountains will never let this festival die. Thanks to all the contributors throughout all three days!

Anwesende: Thomas, Wolfi (Wählt mich!)

Thema: “Ach, bin ich sensibel! / Zahnarzt – Humor”

JazzWorkshop, die sensibelste Radiosendung der Welt, untersucht heute den “Michael – Jackson – Skandal” – Jetzt ist er tot, und kommt trotzdem nicht nach Wien! Ein Horror für sensible Gemüter. Sowie: Ein lustiger Zahnarzt – Humor (Hörspiel)

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Musik von: Lynyrd Skynyrd, Michael Jackson Tribute, Bonsai Garden Orchester, Oscar Peterson, John Coltrane, Hampton Hawes, Phil Woods & Red Garland, Oliver Nelson, Fats Domino, George Lewis

Bis in 14 Tagen…. wenn wieder alles funktioniert!

Someone reminded me of this question a few weeks ago, and turns out we have the answer to this question on video.  Phil discussed this at the Yamaha Day of Saxophones event in 2004, and his response is on the Yamaha Winds Facebook page.  (You don’t need to join Facebook to watch the video)

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Al via la quarta edizione dell’Ortaccio Jazz Festival. Come ogni anno a Vasanello dal 9 al 12 luglio a Piazza Ortaccio i più importanti nomi del panorama jazz italiano.

di Adolfo Benedetti

La quarta edizione dell’Ortaccio Jazz Festival, organizzato dall’Associazione Culturale “Messico e Nuvole” si annuncia molto ricca e interessante e riconferma la sua vocazione a proseguire nell’ambito del jazz italiano. Questo, oggi più che mai, gode di eccezionale vitalità e creatività dovute alla sua speciale sensibilità che coniuga la tradizione jazzistica con le radici culturali, colte e popolari, dell’Italia. Sul palco del festival si esibiranno gli artisti più illustri e autorevoli di questo filone della musica jazz.
Come ogni anno la manifestazione sarà ad ingresso gratuito e tutte le sere offrirà la possibilità di degustazioni enogastronomiche in piazzetta in attesa dei concerti.
Insomma un’occasione unica per trascorrere una serata all’insegna della buona musica e del divertimento.
Dal 9 al 12 Luglio a Piazza Ortaccio, dalle ore 22,00, saranno in scena i più bei nomi del jazz italiano.
Giovedì 9 apre la rassegna Gabriele Mirabassi che presenta “Canto d’ebano” un omaggio al clarinetto, al suo legno d’ebano ed agli artigiani italiani che l’hanno costruito.

Un disco che si potrebbe definire “alla Mirabassi” con composizioni originali che prendono ispirazione dalla musica tradizionale alternate a brani della musica brasiliana per la quale Mirabassi ha sempre avuto un’attenzione particolare. Il corposo suono del contrabbasso di Salvatore Maiore e le delicate, suggestive sonorità della chitarra di Peo Alfonsi aiutano la buona riuscita di un lavoro la cui accuratezza lo impone come uno dei dischi italiani più interessanti della stagione.
Venerdì 10 Luglio salirà sul palco la cantante Ada Montellanico. Cantante mediterranea capace di una vocalità intensa e ricca di sfumature. Un’artista di grande personalità, feeling e senso poetico che privilegia in genere un rapporto molto intimo con la musica capace di esaltare le pieghe più nascoste della composizione. Interprete originale sostenitrice di una via tutta italiana del canto jazz si è ritagliata un suo proprio, importante spazio nel panorama vocale per aver reso la nostra lingua suono e improvvisazione jazzistica e per essere interprete capace come poche di far aderire il suo intimo mondo emotivo alle esigenze della narrazione Ha collaborato con Enrico Pieranunzi, Enrico Rava, Massimo Urbani, Roberto Gatto, Mario Raja, Fabio Zeppetella, Jimmy Cobb, Lee Konitz, Walter Booker, Nat Adderley, Ben Sidran, Gary Bartz, George Cables, Albert Heath. Ad accompagnarla sul palco ci saranno Giovanni Ceccarelli al pianoforte, Lorenzo Tucci alla batteria e Pietro Ciancaglini al contrabbasso.
La novità di quest’anno, in programma sabato 11 Luglio, è la chitarra di Fabio Mariani. Sul palco dell’ OJ Festival questo strumento non si era mai esibito e dopo quattro anni sarà uno degli interpreti più conosciuti a livello internazionale a portarcelo accompagnato da Giorgio Rosciglione al contrabbasso, da Ettore Gentile al pianoforte e da Stefano Marazzi alla batteria. Musicista di grande esperienza, molto attento alla didattica dello strumento, il suo “TRATTATO DI CHITARRA JAZZ” è un best seller della didattica moderna, Fabio Mariani predilige la contaminazione musicale, attraversando i generi con la sicurezza un po’ folle del ricercatore che sa che la fusion, o qualsiasi altro termine che definisca la contaminazione, è l’unico territorio di confronto per poter produrre una musica inedita e capace di regalare ancora nuove suggestioni e buone sensazioni. Ha collaborato con Pino Daniele, Claudio Baglioni, Teresa De Sio, Mimmo Locasciulli, Ivan Graziani, Bruno Martino, Gigi Proietti, Danny Gottlieb, Roberto Gatto, Stefano Di Battista, Rosario Giuliani, Danilo Rea, Maurizio Giammarco, Enzo Pietropaoli, Nicki Nicolai, ecc…!
La serata conclusiva, domenica 12 Luglio, è davvero una di quelle che non si può perdere. Un trio All Star composto da Danilo Rea, Enzo Pietropaoli e Roberto Gatto chiuderà la manifestazione di Piazza Ortaccio. Il Trio di Roma ricompostosi per incidere un disco di prossima uscita, che, tra l’altro, sarà presentato anche sul palco dell’OJ, nasce nel 1975 ed è stato il gruppo d’esordio per i tre musicisti che, ci tengono a dire, insieme non arrivavano a 55 anni. Come trio di Roma, verso la fine degli anni 70, collaborarono con: Lee Konitz, Steve Grossman, Bob Berg, Curtis Fuller e molti altri. La vita del Trio, come gruppo stabile, è stata piuttosto breve ma la collaborazione fra i tre amici non si è mai interrotta proseguendo attraverso molte altre importanti collaborazioni comuni. I tre musicisti hanno una grande esperienza alle spalle che li ha portati ad incontrare quasi tutti i più bei nomi del panorama musicale contemporaneo. Si va da Chet Baker, Lee Konitz, Steve Grossman, Bob Berg, Phil Woods, Michael Brecker, Art Farmer, Billy Cobham, Aldo Romano, Tony Oxley, Dave Liebman, Bobby Hutcherson, Gato Barbieri, Joe Lovano, Curtis Fuller, Kenny Wheeler, John Scofield, Randy Brecker a quelli del panorama pop nostrano come Mina, Domenico Modugno, Pino Daniele, Claudio Baglioni, Gianni Morandi, Fiorella Mannoia, Renato Zero, Lucio Dalla, Gino Paoli, Ivano Fossati, Gianni Morandi, Riccardo Cocciante, Ornella Vanoni.
La rassegna, come ogni anno, avrà il patrocinio della Regione Lazio, della Provincia di Viterbo e del Comune di Vasanello.
L’Ortaccio Jazz Festival partecipa, come parte autonoma, al progetto Tuscia in Jazz.

Per informazioni e prenotazioni cell. 3313119911
Associazione Culturale “Messico e Nuvole“ – VASANELLO (VT)
mail: info@ojfestival.it – web: www.ojfestival.it

http://www.trombone-usa.com/

Jiggs Whigham is a lifetime member and general advisor to the International Trombone Association, British Trombone Society and the German Trombone Society. He is a lifetime member of the International Trombone  Association.

Recorded in 1997, Nice ‘n’ Easy finds Carl Fontana joining forces with another veteran trombonist: Jiggs Whigham. Together, Fontana and Whigham form a two-trombone front line, and they have a solid rhythm section that consists of pianist Stefan Karlsson, bassist Tom Warrington, and drummer Ed Soph. These days, two-trombone attacks are a rarity, and anyone who has a high opinion of the sessions that trombonists J.J. Johnson and Kai Winding co-led in the ’60s knows how regrettable that is. So, when two skilled trombone veterans like Fontana and Whigham get together, it is a happy event!

(Jiggs and Carl are for me the most all-round trombonists ever!, webmaster Rene Laanen) http://www.trombone-usa.com/

JIGGS BOOKS AND CD’S AVAILABLE @ MUSICPARTS UK/WRIGHT GREAVES MUSIC 23, STAMFORD PARK ROAD,ALTRINCHAM WA15 9EL 0161 929 6949

AS A SPECIAL SERVICE TO OUR CUSTOMERS,WE CAN ARRANGE FOR YOU TO HAVE YOUR COPY OF JIGGS BOOK OR CD “SIGNED” BY THE MAN HIMSELF.

OWN THE  King 2102L Jiggs Whigham Trombone hand chosen by Jiggs with a signed certificate:

KEEP YOUR EYES ON THIS BLOG–COMING SOON–”JIGGS AND JOHN KEMBER “CLINIC AND GIG @ THE CINNAMON CLUB BOWDON       http://www.thecinnamonclub.net/

No, not that Grace Kelly.

I’m torn to define saxophonist, singer, songwriter, composer, and arranger Grace Kelly as “emerging”, considering what she has already accomplished. But as Grace celebrates her 17th birthday next Friday (that’s right, she is just 16), one must assume that there is plenty of opportunity in years to come for this young lady to become a household name in jazz.

On his radio program Jazz After Hours this morning, host Jim Wilke suggested that “young” and “talented” can often go hand in hand, and that no one would argue that both can easily be applied to Grace Kelly. After hearing her wonderful recording of Comes Love, it was easy to agree. And, as her website boasts, I am far from the only person to agree.

Kelly, at age 16, has already performed or recorded with Wynton Marsalis, Dave Brubeck, Harry Connick, Jr., Diane Reeves, Phil Woods, Hank Jones, Kenny Barron, Russell Malone, Cedar Walton, Peter Bernstein, and Marian McPartland. That is the very short list. She has also performed at Carnegie Hall, Birdland, and Scullers (another short list), as well as a variety of jazz festivals. She has won numerous young musician and student musician awards, and was named Best Jazz Act in Boston in 2008 by the FNX/Phoenix Best Music Poll. Oh, and she began her first term at Berklee College of Music last fall, on a full ride, again at age 16.

When you hear Grace Kelly play, or listen to one of her arrangements or compositions, you realize that this isn’t one of those situations where a musician will get cut slack simply based on the fact that they are young. Kelly needs no slack to be cut for her, and the attention that she has received and will continue to receive is more than worthy. Her performances and compositions are frighteningly mature and well designed. In fact, the only way you are even aware that the player is a 16 year old is if you are told that.

What is more surprising is that Grace isn’t someone who had a sax shoved in her hands at age two. She, like many of us, took piano lessons as a young kid. She also followed the typical chronological time line that most kids do in school, not really playing the sax until she was ten. Two years later, she was impressing the likes of Ann Hampton Callaway and Victor Lewis.

I am not someone who throws around the word “prodigy”, but there is not much way to avoid associating that word with Grace Kelly. To imagine what she has accomplished in six years is hard enough to believe. To actually hear it is even more unbelievable.

Grace Kelly’s fifth album is now available, titled Mood Changes. Watch Grace play Setting The Bar with Russell Malone below.

The highlight of the entire concert was of course, Phil Woods. Since Phil was the development player for the YAS-82Z (alto sax), it made sense that the concert should center around him.  Unfortunately Jeff Coffin (Bela Fleck, Dave Mathews Band) who helped develop the YTS-82Z (tenor sax), already had a commitment and couldn’t be at the event.  I can only imagine what a the duo of Jeff & Phil would have sounded like.  Phil was in rare form all night and didn’t disappoint the audience.  One of the highlights was the ‘fusion’ based rhythm section of Russ Ferrante (Piano), Russ Miller (Drums) and Tom Kennedy (Bass) playing with a be-bop player like Phil Woods.  You can be the judge whether it worked or not.

You can watch one of the tunes that Phil played that night on the Yamaha Wind Instrument Facebook page.  (NOTE: you do not need a Facebook account to view this video)

In the previous blog post I mentioned a ‘discussion’ that Phil and George Shelby had about how to play one of the Supersax charts.  George being the -let’s try anything- sort of guy had an idea to take the classic swing chart and make it a bit more contemporary.  About 8 bars into the chart during the rehearsal Phil made it clear that there would be no such ‘contemporary’ feel to this chart and they would be playing it as the arranger intended it to be played.  (I’m paraphrasing this by the way)  It all ended up being fine – and George and Phil were good friends by the end of the show.

Rumor has it that there is a recording of that rehearsal…..

The wonderful reed player Frank Roberscheuten, pianist Rossano Sportiello, and drummer Martin Breinschmid mad a CD — they call their trio THREE WISE MEN.  And they are!  Here’s what I had to say in Cadence (January-March 2008) about the disc:

Often, the most traditional Jazz trio format – a reed player, pianist, and drummer – leads well-intentioned players into tributes to Goodman. That is hardly a bad thing, and I’ve heard many stirring evocations, but there is more to say from the instrumentation and the format. This CD goes its own way in featuring a balanced international small group whose scope reaches from James P. Johnson and Bud Freeman to Horace Silver, Monk, and Miles, never compromising the material or forcing it into stylistic boxes. Roberschuten can purl through a lovely rubato verse and then shift into tempo to deliver swinging improvisations, concise yet musically expansive. He has learned a great deal from his instrumental ancestors but his approach is a creative synthesis. On tenor, he has a Getz-Cohn fluidity, which doesn’t stop him from doing a splendid version of Bud Freeman’s bubbles and flourishes on “The Eel.” His clarinet playing is nuanced, caressing, and free from cliché, whether he is playing a Thirties pop song or a Jim Hall waltz. And his charming alto sound blends Phil Woods and Hilton Jefferson to great effect. He loves to linger over the melody, as on “You’re Mine, You,” a rewarding song that hasn’t been overdone. And his original, “From the East,” suggests late-period Ellington and Strayhorn. Throughout, I was reminded of the marvelous cohesiveness of sound, rhythm, and conception that distinguished the early Fifties Vanguard sessions – in particular the trios of Ruby Braff or Paul Quinichette with Mel Powell and Bobby Donaldson. Pianist Sportiello remains a champion: hear his beautiful touch on “Detour Ahead,” and “You’re A Sweetheart,” his astonishing whirlwind on “Dearest,” and marvel at his pushing accompaniment throughout. He suggests Jimmy Rowles or Tommy Flanagan when he is being serene; Ralph Sutton, Donald Lambert, and Dave McKenna when he chooses to stomp. A loud, uneven, or passive-aggressive drummer can sink a trio, but there’s no danger here. Breinschmid has listened closely to Krupa, but isn’t hemmed in by that style: his work on “Dark Eyes” is both homage to the originals and his own improvement on them; his brushwork on “You’re A Sweetheart” is reminiscent of Jo Jones in his prime. I never yearned for the absent bass player or guitarist, and there’s no monotony on this disc. I would begin with “How Deep Is the Ocean?” which combines deep feeling and forward motion at the same time. (The session is beautifully recorded, too.) If Roberscheuten is an unfamiliar name, he has also been an integral part of the debut CD by “Three’s A Crowd,” which matches him with the fine singer Shaunette Hildabrand and pianist Bernd Lhozsky. And the witty, ambling liner notes by trombonist Dan Barrett are assurance of Jazz quality.

The good news is twofold.  First, you can order the CD from frank.roberscheuten@planet.nl for $18, including shipping.  And I recommend that you do so!

Even better: the trio recorded another excellent session last month, which they are calling GETTING TOGETHER.  It should be available for purchase in a few weeks.  I will point out, immodestly, that I wrote the notes for the CD — music that’s easy to praise.

FONTE

Sabato 21 marzo 2009, Cittaslow ospite Castelnovo Ne’ Monti (Reggio Emilia). Ultimo appuntamento dll’edizione 2009

Ultimo appuntamento, sabato 21 marzo presso “La Penisola” sul Lago di Corbara, per l’undicesima edizione di Cittaslow-Dinner Music, che conferma la formula vincente della scorsa edizione che ha visto il felice connubio tra la musica d’autore e i saperi e i sapori delle Cittaslow italiane.

Il programma di sabato 21 marzo presenta il concerto con  lo straordinario duo  composto  da  Fabrizio Bosso, uno dei migliori trombettisti della nuova generazione che incontra il chitarrista brasiliano Irio De Paula. Consolidato, timbricamente insolito, geograficamente una scommessa. Il duo formato da Irio De Paula, chitarra, e Fabrizio Bosso, tromba, colpisce per inventiva, logica strutturale, sentimento, lirismo, capacità di raccogliere tutto ciò che la storia e lo studio ha messo a loro disposizione.

I due si sono incontrati casualmente, dando vita ad un album, “Once I Loved” (Philology 2003) che restituisce la magia del jazz: prima non si conoscevano, dopo si sono amati.

“Un vero talento anche dal punto di vista umano”.

Irio De Paula adora Bosso. E dal vivo, ancor più che in studio, lo sostiene, armonicamente e ritmicamente, con quel piglio tutto brasiliano. Nell’alternarsi continuo tra cadenze popolari – di matrice brasiliana – ed approccio jazz, il duo sviluppa una ricerca musicale sofisticata, senza cadere nella trappola dell’eccesso di manierismo che sovente accompagna chi si prodiga al di fuori dei propri confini di genere. Il repertorio si risolve tra riletture obbligatoriamente originali di standard, musica popolare brasiliana di Antonio Carlos Jobim, Marcos Valle e molto spazio, naturalmente, all’improvvisazione e all’interpretazione istantanea. Irio e Fabrizio hanno registrato anche un altro disco, “Four For Jazz”, realizzato in quartetto con Moriconi e Manzi.

Fabrizio Bosso, consacrato come uno dei migliori trombettisti contemporanei, è un leader carismatico, dotato di una tecnica ineccepibile e di un linguaggio unico e personale. E’ stato protagonista sul palco del Festival di Sanremo 2008 con Sergio Cammariere, con cui stabilmente è in tour ed ha già inciso due CD’s, inoltre, con il suo gruppo gli High Five, Bosso ha inciso il brano di successo mondiale “This is what you are” con Mario Biondi, e collabora con tutti i più grandi artisti del panorama musicale, quali Claudio Baglioni, Stefano Di Battista, Gabriele Mirabassi, Tullio De Piscopo, Randy Brecker, Enrico Rava, Gianluca Petrella, Slide Hampton, Bob Mintzer, Gegè Telesforo e altri. Irio De Paula è un chitarrista straordinario dotato di una grande tecnica e capacità espressiva, un maestro della musica brasiliana, definito dalla critica “il più affascinante dei chitarristi brasiliani”, un vero virtuoso dello strumento, ed è inoltre, uno dei migliori suonatori al mondo di cavaquinho (piccola chitarra con quattro corde,strumento tipico brasiliano).De Paula ha suonato ed inciso con Armando Trovajoli, Ennio Morricone e Chico Barque ed è stato ospite nei principali programmi musicali della Rai e Mediaset ed inoltre come solista, ha suonato con l’Orchestra Sinfonica di San Remo e Modigliani di Toscana oltre a quelle di Lecce e Palermo, nonchè, ha suonato e cantato il brano “A criança” nella colonna sonora del film-cult “L’ultima neve di primavera” e a NY, si è esibito al “Birdland” sia da solo che come ospite del trombettista brasiliano Claudio Roditi e con David Sanchez, inoltre è richiestissimo anche nell’ambito jazz da artisti come Gato Barbieri, Toots Thielemans, Buster Williams, Phil Woods, Bobby Durham, Jimmy Cobb, Lee Konitz, Renato Sellani, Gianni Basso, Cidinho Teixeira, F.Cerri.

Fabrizio Bosso è un artista tecnicamente impeccabile, dotato di una grafia personale, in cui il colore e la dinamica del suono non sono mai scontati, il senso dello swing è spinto agli eccessi, la tensione creativa è costante anche nell’interpretazione di standard. Oltre ad aver svolto attività concertistica sotto la direzione di George Russell, Kenny Wheeler, Dave Liebman, Carla Bley e Steve Coleman, è stato ultimamente reclutato da Charlie Haden per alcune tappe del tour promozionale del nuovo album della Liberation Music Orchestra. Nel 1999 viene votato come “Miglior Nuovo Talento” del jazz italiano dal referendum della rivista “Musica Jazz”, e collabora stabilmente nei gruppi di Giovanni Mazzarino, Salvatore Bonafede ed Enrico Pieranunzi. Fonda, assieme a Scannapieco, gli High Five, suona in duo con Rossano Sportiello in un omaggio ad Armstrong, in trio con D’Andrea e Petrella, nel suo quartetto con Mannutza, Bulgarelli e Tucci, ed incide diversi progetti come leader e co-leader. Fortunata anche la collaborazione al fianco di artisti confinanti con l’estetica jazz come Sergio Cammariere, Mario Biondi e Nicola Conte.
www.fabriziobosso.com

Irio De Paula è nato a Rio De Janeiro ed è uno straordinario chitarrista, dotato di tecnica e feeling trascendenti che lo fanno ritenere un maestro, o meglio, ” il Maestro ” da parte di tutti i musicisti (non solo chitarristi) che “lavorano” nel genere brasiliano. Tutta la sua musica (stile strumentale, senso del ritmo, composizione) proviene dalle più pure ed autentiche origini brasiliane. Irio è uso venare di jazz la musica popolare del suo paese natale confrontandosi anche con altri patrimoni folcloristici in cui la tradizione afroamericana e quella sudamericana si incontrano e crescono insieme, infatti, letteralmente giganteggia nella bossa, nella samba, nelle ballads e nei brani di sua composizione toccando ogni brano con passione e con stile raffinato, rendendo particolari anche i brani più abusati come quelli di Jobim e Lobo, imprimendo il marchio della sua personalità, esprimendo nei tempi più mossi, con contagiosa efficacia, la sua irrefrenabile gioia di vivere e, in quelli lenti, il suo mondo introspettivo e malinconico. Irio si è avvicinato alla chitarra molto presto, legandosi a personaggi della musica popolare brasiliana come Paulo Moura, Baden Powell, Rauzinho, Eumir Deodato, Juarez ed esibendosi spesso al fianco di Astrud Gilberto e Chico Buarque con i quali ha esplorato la samba, la bossa nova e il folclore del suo paese. In ambito jazz vanta una cospicua discografia come leader ed ha partecipato ad incisioni di Sal Nistico, Steve Grossman, Dannie Richmond, Archie Shepp, Ray Mantilla e molti altri.
www.iriodepaula.com

La Cittàslow ospite è  CASTELNOVO NE’ MONTI (Re)Presidio Slow Food:  Parmigiano  Reggiano delle Vacche Rosse. Chef: Mirca PignedoliAntipasto:ANTIPASTO DI SALUMI E PECORINO A LATTE CRUDO. Primo:CANNELLONI DI VERDURA .Secondo:ARROSTO IN VENTAGLIO.Contorno:CONTORNO RUSTICO. Dolce:TORTA DI LIMONE TORTA DI AMARETTI.Vini bianchi e rossi di Orvieto Cantina Cardeto

Si ricorda inoltre che è aperta la Bottega del Gusto in P.zza S. Andrea di Orvieto, sabato e domenica dove si potranno acquistare i prodotti  presidiati Slow Food: Parmigiano  Reggiano delle Vacche Rosse.

Info e prenotazioni:

Tutte le cene sono con servizio al tavolo

con inizio puntuale alle ore 21.00

cui seguirà il concerto del gruppo previsto dalle

ore 22.15

La prenotazione è consigliata contattando

laPenisola SS 448 loc. Lago di Corbara

Baschi -TR- tel 0744 950521

www.albergolapenisola.it, info@albergolapenisola.it

www.cittaslowinfestival.it, info@cittaslowinfestival.it

I menù saranno costituiti da: antipasto, primo piatto, secondo piatto, contorno, dessert, caffè , vini ed acqua minerale.

Costo a persona cena e concerto  40 euro

Possibilità di soggiorno direttamente presso il country resort and restaurant laPenisola

Prezzo per persona in camera doppia: un concerto (comprensivo di cena) e un pernottamento

(con prima colazione) a partire da 80  euro.

Supplemento per camera doppia uso singola  20 euro.

Ogni giorno in più con sistemazione in mezza pensione, a partire da 58 euro.

By Don Heckman

Los Angeles

- Mar. 9. (Mon.)  Bill Holman Big Band.  Holman is arguably one of the great, innovative arranger’composers of his – or of any – generation.  With big band nights becoming difficult to maintain in the current economy, here’s a rare opportunity to hear Holman’s amazing charts up close and personal. Charlie O’s.  (818) 994-3058.  www.charlieos.com

- Mar. 11. (Wed.)  Keith Jarrett, Gary Peacock, Jack DeJohnette.  Twenty-five years together, and this trio of jazz veterans continues to find new wonders in the piano trio format.  UCLA Royce Hall. (310) 825-2101. www.uclalive.org.  Also Saturday, Mar. 14 at U.C. Berkeley’s Zellerbach Hall.

Denise Donatelli

- Mar. 12 (Thurs.)  Denise Donatelli.  A dark, enchanting voice, an intuitive ability to tell a musical story, and ineffable rhythmic drive.  All the qualities one looks for in a fine jazz vocalist.  Charlie O’s.  (818) 994-3058.  www.charlieos.com

- Mar. 12 – 15. (Thurs.- Sun.)  David Sanchez. Puerto Rican-born tenor saxophonist Sanchez is arguably one of his instrument’s top creative players.  Jazz Bakery. Jazz Bakery  (310) 271-9039.  www.jazzbakery.com.

- Mar. 13 – 14. (Fri. & Sat.)  Nnenna Freelon.  The six-time Grammy nominated Freelon sings with what the L.A. Times has described as “exquisite musicality and an unerring sense of swing.”  Pepperdine Center for the Arts, Smothers Theatre. (310) 506-4522  http://arts.pepperdine.edu.  .

- Mar. 13 – 14.  (Fri. & Sat.)  Patrice Rushen & Ndugu Chancler. Versatile pianist Rushen and drummer-for-all-seasons Chancler partner with tenor saxophonist Justo Almario and bassist Tony Dumas in an evening of jazz classics.  Spazio. (818) 728-8400.  www.spazio.la/jazz.php

SFJAZZ Collective

- Mar. 13 – 15. (Fri. – Sun.)  SFJAZZ Collective.  Joe Lovano, Dave Douglas, Stefon Harris, Miguel Zenon, Robin Eubanks, Renee Rosnes, Mat Penman, Eric Harland.  An impressive collection of all-stars – including alto saxophonist and MacArthur genius award winner Zenon – provide the best possible representation for the San Farnicsco Jazz Festival’s far-ranging programming.  Catalina Bar & Grill.  (323) 466-2210.  www.catalinajazzclub.com.

- Mar. 14. (Sat.)  Dave Mackay, Peter Erskine, John Giannelli.  Pianist Mackay’s resume reaches from Sonny Stitt and Bobby Hackett to Don Ellis and Chet Baker.  Working with bassist Giannelli and drummer Erskine opens the possibility for hard swinging post bop, tempered by lyrical balladry.  Giannelli Square.  (818) 772-1722.  www.giannellisquare.com..

Mike Melvoin

- Mar. 15. (Sun.)  Mike Melvoin Trio. In a week rich with piano trio gigs, don’t overlook Melvoin, working with bassist Tony Dumas and drummer Ralph Penland.  Melvoin’s skills, reaching from jazz and pop through classical music, are extraordinary.  But his most unique gift is an ability to bring creative authenticity to everything he plays.  Spazio. (818) 728-8400.  www.spazio.la/jazz.php

- Mar. 15 & 16. (Sun. & Mon.)  Rhiannon, Otmaro Ruiz, Abraham Laboriel, Alex Acuna.  Live Recording.  Bay area vocal artist is – like Bobby McFerrin – an ever-curious adventurer in every area of vocal expression.  Her appearances in L.A. are far too rare, making this two-night session of live recording a not-to-be-missed musical event.  L.A. Sound Gallery, Burbank. (310) 317-4292.  jazz@thevicforjazz.com.

San Francisco

- Mar. 10 & 11. (Tues. & Wed.)  David Sanchez.  Yoshi’s Oakland. Yoshi’s Oakland. . (510) 238-9200.  www.yoshis.com.  Also at the Jazz Bakery, Mar. 12 – 15. (See above)

John Zorn

- Mar. 10 – 15. (Tues. – Sun.)  John Zorn.  Saxophonist, composer and MacArthur fellow Zorn conducts a five night residency at Yoshi’s San Francisco.  Each night features different ensembles performing Zorn’s works.  Among the participants – the Masada String Trio, guitarist Marc Ribot, cellist Erik Friedlander, percussionist Cyro Baptista, drummer Joey Baron and others.  And there’s a Special Offer, too:  Buy tickets for any John Zorn show using the password: zorn and receive a gift certificat of equal value good for tickets at either Yoshi’s.   Yoshi’s San Francisco.  (415) 655-5600.  www.yoshis.com

Mar. 14 (Sat.)  Keith Jarrett, Gary Peacock and Jack DeJohnette.  U.C. Berkley Zellerbach Hall.    (510) 642-9988.  http://www.calperfs.berkeley.edu.

New York City

- Mar. 10 & 11. (Tues. & Wed.)  Denny Zeitlin Trio with Buster Williams, bass and Matt Wilson, drums.  Zeitlin’s career as a psychiatrist hasn’t minimized his five decades as a consistently envelope-stretching pianist, still seeking and finding new areas of expression within the piano trio format. Dizzy’s Club Coca Cola. (212) 258-9595. (www.jalc.org/dccc

- Mar. 11 – 14. (Wed. – Sat.).  Steve Kuhn, Eddie Gomez and Al Foster.  There’s not much in the world of jazz that hasn’t been seen, experienced or played by this trio of veteran jazz artists.  Kuhn’s piano playing has evolved over the years from youthful hard bop through avant-garde jazz, while always maintaining his own voice – a voice that has matured into strikingly imaginative musical mastery.  Birdland.  (212) 581-3080.  www.birdlandjazz.com.

Phil Woods

-  Mar. 12 – 15. (Thurs. – Sun.)  Phil Woods Quintet. Classic bebop still lives in the effervescent playing of alto saxophonist Woods.  He performs with the stellar companionship of Brian Lynch, trumpet; Bill Mays, piano; Steve Gilmore, bass; Bill Goodwin, drums. Dizzy’s Club Coca Cola  www.jalc.org/dccc

- Mar. 12 – 15. (Thurs. – Sun.)  The Odean Pope Saxophone Choir featuring James Carter.  Pope’s nine saxophone choir produces one of contemporary jazz’s most extraordinary sounds.  Add saxophone master Carter to the mix and the multi-reed banquet becomes even more delectable.  Blue Note.  (212) 475-8592. http://www.bluenote.net/newyork/index.shtml.

I can’t recall the first time I heard a recording of pianist Ray Bryant — perhaps because he was captured so often and so well during the Fifties and onward.  Was it with Miles or Sonny Rollins?  No, more probably it was as a member (along with brother Tommy) of the Jo Jones Trio.  Or as a sideman on any number of Prestige swing-to-bop sessions.  I even recall finding a used copy of his Columbia record THE MADISON TIME, which featured Buddy Tate and Benny Morton, among others.  Then he made some records for Norman Granz (a solo album, one with Zoot Sims, among others) but he didn’t have as high a profile as other pianists.  That struck me as odd, because Bryant’s approach to the piano was expertly orchestral, without any narrow definitions.  He struck me as a musician, a pianist rather than someone limited to a single approach. 

Thus it is a great pleasure to report that there is a new solo piano CD by Bryant and that it is even better than I thought it would be.  It’s called IN THE BACK ROOM and appears on the Evening Star label — a label known for its beautifully done CDs featuring Benny Carter, Joe Wilder, Phil Woods, Randy Sandke, among others.  Prodcer Ed Berger has a long association with the Institute of Jazz Studies at Rutgers University– he is one of the finest jazz scholars we have — and all of the twelve performances on this CD were recorded at the university in 2004 and 2008, some during a Fats Waller Centennial celebration.  Five tracks are Waller compositions, and one is IF I COULD BE WITH YOU, by his teacher James P. Johnson.  The other tracks include EASY TO LOVE and ST. LOUIS BLUES — and, most importantly, four Bryant compositions.   

Most pianists have the same difficulty considering Fats Waller’s music that trumpet players asked to pay tribute to Louis do, I assume: the musical personalities are so strong, their effect so definite, that the musician paying homage might be tempted to imitate the model.  This isn’t terrible in itself: if I knew someone who could play POTATO HEAD BLUES or AFRICAN RIPPLES at will, I would have them come to my apartment often.  But the wiser course might be to honor the durable melodies as improvisatory material and go from there.  With Waller, however, the risks are immense: what can a player bring to HONEYSUCKLE ROSE that is reasonably authentic and still new? 

No one need worry.  Bryant is a mature artist, wholly comfortable with his own identity so that he relaxes into his own style — which, one notes immediately, is not built on well-worn figures and pianistic cliches.  Rather, he seems to love the way the piano can be made to sound, full and rich, without straining for effect.  He is happy to play the melody, to ornament its harmony subtly.  His solos sing; his rhythm is relaxed yet consistent.  And he is a master of the small variations possible within medium tempo. 

Although Bryant is known for his deep immersion in the blues and his originals such as “Little Susie,” the most moving music on this CD comes when he plays his own compositions.  One of them, “The Impossible Rag,” is a tour-de-force that pianists might find it hard to reproduce, but Bryant’s virtuosity is more a matter of deep feeling.  It comes out most strongly in “Lullaby and” “Little Girl” (the latter dedicated to his wife Claude).  “Little Girl,” an almost grieving meditation, sounds cantorial in its minor harmonies: in it, we hear someone considering the possibilities of simple melodic motifs — eloquently and sorrowfully.  I didn’t think of jazz when I heard it; rather, of Dvorak.  ”Lullaby” also takes an apparently simple idea and explores it, gently and sweetly — with contrasting brief sections balancing against each other.  Both pieces stayed in my memory for a long time, which says a good deal about Bryant’s powers to evoke emotions.  Even if you think you know Bryant’s work, this CD is worth searching out.  And if the Evening Star label is new to you, delights await.  Visit http://www.bennycarter.com/common/eveningstar/

Dear President-Elect Obama:

The word on the street is that you like jazz, you really like jazz.

You became hip to the music, African-Americans’ great gift to the world’s arts culture, back in junior high school, when you still wanted to be called “Barry.”

In fact, once when you visited a record store with a friend from your Honolulu prep school, you stayed close to the jazz bins. “Barry was into things that other kids our age weren’t into. He went through the entire jazz section while we were there,” said your old pal Dean Ando, according to one newspaper feature.”That affects me to this day — he’s the one who introduced me to jazz.”

Did you dig real jazz, with genuine musical content, by creative players with an understanding of the tradition but with eyes on the future? Or were you keen on some variety of jazz lite? Who knows? But I’m willing to give you the benefit of the doubt.

Your iPod playlist, which may or may not have been assembled by your staff to appeal to the Baby Boomers whose support you needed during the general election (hence Bob Dylan, Bruce Springsteen, etc.), even includes tracks by jazz geniuses Miles Davis, John Coltrane and Charlie Parker.

Miles and Coltrane, too, lead the artists named under the category of “favorite music” on your Facebook page.

Yes, those are pretty obvious jazz picks, and they’re all dead. Still, listing those artists is far more impressive than, you know, listing Kenny G. or the Rippingtons or some other such wallpaper-jazz nonsense.

I’ve not heard whether you ever visited the Green Mill, Chicago’s jazz mecca, while you were based in the Windy City.

Still, there are other signs that you may well support jazz during your White House residency.

On NBC’s “Meet the Press,” you had this to say: “Thinking about the diversity of our culture and inviting jazz musicians, and classical musicians, and poetry readings in the White House so that once again we appreciate this incredible tapestry that’s America, you know, that, I think, is going to be incredibly important, particularly because we’re going through hard times.”

While, as far as I can tell, you’ve not recently given props to any important living jazz artists — not even trumpeter Wynton Marsalis or pianist Herbie Hancock? — many major figures in the jazz community have gone out of their way to support you.

Did you hear about the “Jazz for Obama” concert in New York on Oct. 1? Did you attend?

A long list of front-rank jazz artists, black and white, opted to wear their politics on their shirtsleeves for a night in the name of helping you win the election. The performers: Dee Dee Bridgewater, Dianne Reeves, Joe Lovano, Roy Haynes, Brad Mehldau, Roy Hargrove, Christian McBride, Stanley Jordan, Kurt Elling, Hank Jones, Charlie Hunter/Doug Wamble, Bilal/Robert Glasper, Stefon Harris, Jeff “Tain” Watts, Roberta Gambarini.

Thanks to a column by Ottawa Citizen music writer Peter Hum, I was reminded of the following examples of major jazz musicians’ overt support of you:

• Hancock lent his name and musical cred to the “Yes We Can” video supporting your candidacy
  
• Pianist Vijay Iyer and trumpeter Dave Douglas, at last year’s Chicago Jazz Festival, dedicated new works to you.
• Trumpeter Ingrid Jensen and many other prominent jazzers have displayed your face and message on t-shirts they’ve worn on stage.
• Hundreds, if not thousands, of jazz musicians, have used their Facebook and MySpace pages to demonstrate support for you.
  

Yes, all these jazzers were for you, and presumably still are. But are you really for jazz?

I’m asking, because of some rather disappointing news.

So far, the only notable musical artists reportedly invited to play your 10 official inaugural balls are, you know, big-name folks.

Stevie Wonder, Barbra Streisand and Bruce “Super Bowl Half-Time Show” Springsteen are said to have been asked to appear at official inauguration events on Jan. 20, and the Jonas Brothers and Miley Cyrus are expected to headline an official kids-oriented show on Jan. 19.

Some of these are inspired choices; others, not so much.

Yes, your associates have coordinated a Jan. 20 event called ” ‘A Time For Hope’ 2009 Presidential Inaugural Jazz Gala.”

But the musicians selected for the event, despite being described as “global jazz artists,” are not well-known players. What’s up with that?

Since you self-identify as African-American, and since jazz is rooted in black culture, may I suggest that you use your great power to include MAJOR jazz musicians — black, white and Hispanic — in your inauguration festivities?

After you move into the White House, you ought to regularly invite jazzers over to your place, too.

Any of the above-mentioned artists, including Marsalis and Hancock, and pianist Hank Jones (part of that “Jazz for Obama” concert), a brilliant elder statesman of jazz, would make great choices.

So would veteran saxophonist Sonny Rollins, arguably the greatest living jazz performer, and now enjoying critical plaudits for his recent concerts and latest CDs, including last year’s Road Shows, Vol. 1. Or how about other great, still-thriving saxophonists, like Wayne Shorter, James Moody, or Phil Woods, to name just a few other older players of that instrument?

Why not Terence Blanchard? In addition to his superb work as a trumpeter and bandleader, he is a gifted composer of film scores, and he serves as artistic director of the college program at the Thelonious Monk Institute of Jazz, now based in his hometown, New Orleans. Hancock is the institute’s chairman.

This is a very short list of jazz artists who would make great assets to your forthcoming festivities. Choosing any of these musicians to play your inauguration concerts  would demonstrate that your support for jazz is more than just lip service.

For more good ideas, you can turn to the two polls — readers and critics — annually published in Down Beat magazine, or the awards annually bestowed by the Jazz Journalists Association (JJA).

So, President-Elect Obama, or, if I may, Barry: There’s still time to invite world-class jazz musicians to play your inauguration concerts.

Need help programming great jazz, or booking some of these artists? If you can’t rely on your own team, you know, give me a call.

Better yet, contact some of the great jazz musicians I’ve mentioned. Or make a connection with the editors of Down Beat or Jazz Times or Jazziz. Or consult the jazz writer Stanley Crouch, who made some similar points in a Dec. 21 column.

Yes, you can. Yes, you can make this happen – you’re the next leader of the free world.

What’s stopping you?

First, November 21 is Coleman Hawkins’s birthday — not a national holiday, yet.  But WKCR-FM, the jazz station of Columbia University, will play his music for twenty-four hours in his honor.  And if you’re not within reach of an FM radio, you can hear it online at http://www.wkcr.org.

The letter printed below originally came from the esteemed player and thinker Phil Woods, making its way to Jon-Erik Kellso, who sent me a copy of it.  I hope that no one minds my offering it here: I think it is an important document for reasons both musical and spiritual.

10/13/62 P.M.

My Dear Mr. Hawkins,

Your recent performance at the ‘Village Gate’ was magnificent!!  Quite aside from the fact that you have maintained a position of dominance and leadership in the highly competitive field of ‘Jazz’ for the time that you have there remains the more significant fact that such tested and tried musical achievement denoted and is subsidiary to personal character and integrity of being.

There have been many young men of high potential and demonstrated ability who have unfortunately not been ‘MEN’ in their personal and offstage practices and who soon found themselves devoid of the ability to create music.  Perhaps these chaps were unable to understand why their musical powers left them so suddenly.  Or perhaps they knew what actions were constructive as opposed to destructive but were too weak and not men enough to command the course of their lives.  But certain it is that character, knowledge and virtue are superior to ‘Music’ as such.  And that ’success’ is relative to the evolution of those qualities within us all.  That it has been positive and lasting for you Coleman is to the honor and credit of us, your colleagues, as well as to your credit.  For you have ‘lit the flame’ of aspiration within so many of us and you have epitomized the superiority of ‘excellence of endeavor’ and you stand today as a clear living picture and example for us to learn from.

It has always been a task to explain in words those things which in nature are the most profound and meaningful.  Now you have shown me why I thought so much of you for so long.  Godspeed in your travels and may I be fortunate enough to hear you play the tenor saxophone again in person.

Yours truly,

Sonny Rollins

The letter is deeply moving, its individuality emphasized by Sonny’s sincerity, his eighteenth-century prose flourishes.  Of course, it is a heartfelt expression of gratitude and admiration.  But what moves me is that Rollins isn’t praising Hawk’s musical inventiveness.  No, he pays tribute is to the maturity of character Hawkins showed; a moral tenacity displayed in his devotion to his art.

When Sonny praises Hawk for resisting the temptations that other, weaker players fell prey to, I suspect that he has Charlie Parker in mind and those players who fell under the spell of Bird’s music and his self-destructive persona.   “Character, knowledge and virtue” — rare qualities in themselves or in such a combination.

We praise Hawkins for making the tenor saxophone into a true jazz instrument, for helping to continue and expand the jazz ballad tradition.  He kept his own identity but he played alongside Mamie Smith in 1920 and with Monk, Coltrane, and Rollins forty years later, still immediately identifiable.  But I think we should also praise Rollins for his humility and his willingness to honor his ancestors.  Many of us might think some of the same thoughts about a person who has inspired us, but how many of us will write the letter?

Hawkins died in 1969, so he cannot hear our praise.  But we can still honor him by reminding others of the celebration on Friday, by listeining to it ourselves, and by keeping his music in our ears whenever we can.

Anwesende: Wolfi, Thomas

Thema: “Eichen sollst du buchen, Weichen sollst du suchen!”

Soviel Quatsch auf einmal…. oder besser gesagt: Zweimal! Weil heute gab es eine Doppelsendung! Das heißt für euch, liebe Hörer/innen, doppelter Genuß mit Philosophie, Kabarett und viiiiiel Jazz und so! Und: Ukulele!

Download hier:

http://www.4shared.com/file/71715040/8e9face6/2008-11-16_12-00-01_JazzWorkshop.html

http://www.4shared.com/file/71715450/908d357b/2008-11-16_13-00-00_JazzWorkshop.html

Musik mit: Art Farmer, Frances Langford, Don Ellis Orchestra, Rev. Gary Davis, Donald Byrd, Cliff Edwards, Sun Ra, Nathan Davis, Dizzy Gillespie & Roy Eldridge, the Bill Perkins Octet, Hippbacher Musikanten, Philly Joe Jones, Lyle Ritz, George Wallington, Phil Woods, Fats Waller

Bis in 3 (!) Wochen! (bis Dato: klickt auf “Jazzworkshop – Das Archiv!“)