Oscar Peterson - Meets Roy Hargrove and Ralph Moore

Ne-o-clas-si-cism: A revival of classical aesthetics and forms, especially, characterized by a regard for the classical ideals of reason, form, and restraint, by order, symmetry, and simplicity of style. Neo-classicism and Roy Hargrove have become synonymous in jazz circles. His style and focus are now completely his own. Roy possesses a hard driving spirit to excel. Volumes have been written about the virtuosity of Oscar Peterson, his competitive spirit and drive. Together you have the makings of an exciting jam session that's well worth the price of admission. In this case the cost of the CD, that finds these two jazz poets working with a strong cast of players including Peterson's long time associate, Neils-Henning Orsted Pedersen on bass.In 1993, Oscar Peterson suffered a stroke that limited the use of his left hand, though there is little evidence to prove that poses a problem on this recording. The CD includes seven original compositions written by Oscar Peterson. "Rob Roy" written for Roy Hargove and "She Has Gone" written in memory of Ella Fitzgerald are captivating. I especially enjoy "Ecstasy," where an introspective emotional reading is heard from Peterson, Hargrove and Moore. This quintet setting gives all the players ample room to stretch and have fun. This CD is highly recommended listening pleasure. - by Jeff Duperon, All About Jazz.com

Artist: Oscar Peterson
Album: Oscar Peterson Meets Roy Hargrove and Ralph Moore
Year: 1996
Label: Telarc Jazz (20-bit digital)
Runtime: 61:34

Tracks:
1.  Tin Tin Deo (Walter Fuller) 5:48
2.  Rob Roy (Oscar Peterson) 6:46
3.  Blues For Stephane (Oscar Peterson) 4:58
4.  My Foolish Heart (Ned Washington/Victor Young) 7:40
5.  Cool Walk (Oscar Peterson) 7:21
6.  Ecstasy (Oscar Peterson) 6:35
7.  Just Friends (Samuel M. Lewis) 5:52
8.  Truffles (Oscar Peterson) 6:30
9.  She Has Gone (Oscar Peterson) 5:36
10.  North York (Oscar Peterson) 4:28

Personnel:
Oscar Peterson (Piano)
Niels Henning Oersted-Pedersen (Double Bass)
Lewis Nash (Drums)
Roy Hargrove (Trumpet)
Ralph Moore (Tenor Saxophone)

Stan Getz & Bob Brookmeyer - Recorded Fall 1961

In spite of its rather bland album title, Recorded Fall 1961 is an overlooked masterpiece within the extensive discography of Stan Getz, not only because of his playing, but especially that of valve trombonist Bob Brookmeyer, along with Brookmeyer's excellent charts, which have stood the test of time very well. Rounding out the quintet is pianist Steve Kuhn, bassist John Neves and drummer Roy Haynes. The trombonist contributed three originals to the sessions, highlighted by the loping waltz "Minuet Circa '61," an extended piece with a catchy theme and superb solos. The humorous interpretation of "Nice Work If You Can Get It" avoids the typical banal approaches. Getz and Brookmeyer blend well together and excel in their use of counterpoint, while the rhythm section is superb. Long unavailable, this highly recommended recording was finally reissued as a CD in 2002. - by Ken Dryden, AMG

Artist: Stan Getz & Bob Brookmeyer
Album: Recorded Fall 1961
Year: 1961
Label: Verve (Master Edition, 24-bit digital transfer, 2002)
Runtime: 43:03

Tracks:
1.  Minuet Circa '61 (Bob Brookmeyer) 10:38
2.  Who Could Care (Bob Brookmeyer) 4:46
3.  Nice Work If You Can Get It (George Gershwin/Ira Gershwin) 5:58
4.  Thump, Thump, Thump (Bob Brookmeyer) 6:52
5.  A Nightingale Sang In Berkeley Square (Manning Sherwin/Eric Mashwitz) 6:59
6.  Love Jumped Out (Buck Clayton) 7:46

Personnel:
Stan Getz (Tenor Saxophone)
Bob Brookmeyer (Trombone)
Steve Kuhn (Piano)
John Neves (Double Bass)
Roy Haynes (Drums)

Billy Hart and The Sax Summit

A few more clips here today of Master Drummer Billy Hart with The Sax Summit from a European concert performance:

The Calgary Scene - Jeff McGregor

Alto Saxophonist Jeff McGregor is a very talented and dedicated young Jazz artist in the Calgary Jazz community. I've had the pleasure of playing with Jeff quite a bit since my return to Calgary two years ago and he is a constant fixture at many of the city's regular jam sessions including those at the Beatniq and Broken City (more about my take on jam sessions later....) Jeff is also a devout follower of Charlie Parker and I really appreciate his attention and dedication to the bebop language of Jazz improvisation and repertoire in an age where many young people are inclined to ignore that particular portion of Jazz history and important language of improvisation.

Here's Jeff's response to my questions:

1) Can you tell us about your musical background? How did you learn to play Jazz?

Aside from some rather unsuccessful piano lessons in elementary school, my musical training began in Grade 7 when I took up the clarinet and took lessons with my father, who is great clarinet and saxophone player. I became interested in jazz music around that time and played in the school’s jazz band, but it wasn’t until Grade 10 that I started taking jazz lessons. After high school, I went to the University of Calgary and continued taking lessons, but it was a classical program, which left me leading a double life as a bad classical saxophonist by day and a only slightly better jazz saxophonist by night. It was a great experience though and I learned a lot while I was there. After I finished my degree I took a year off to practice and I started the year by spending a few months in Montreal, which was a real wake up call and the catalyst to a whole series of changes that were not so much directly about what I was playing, but rather how I approached music and what it meant for me to be a musician.

2) Who are your musical influences and why?

Charlie Parker and John Coltrane are my two absolute favorite musicians and their music has been my main point of reference since I first began listening to their recordings in high school. Both of them embody everything that I value musically and they are still the centre of my musical universe and probably always will be. Beyond that, Miles Davis’ bands and all the musicians who played on his recordings continue to have an important influence on me. Classical music has also been a significant part of my musical life. Composers like Beethoven, Brahms, Bach, Stravinsky, performers like Glenn Gould, Emmanuel Pahud, Evgeny Kissin, and orchestras like the Berlin Philharmonic have been a major source of inspiration and, above all, enjoyment for me. Even though I think that the process of being a jazz musician and that of a classical musician are fundamentally very different, I still learn a great deal from that whole tradition of composition and performance. All that said, I listen and learn from everything from The Beatles, Bob Dylan, and Radiohead to Mos Def, The Roots, and K'naan. I’ll check out anything that spontaneously catches me, no matter what it is. There are some truly embarrassing songs on my iPod, but I think that if there is something in a piece of a music that I react to, then there is something there worth getting at and thinking about, even if overall it is not the most amazing piece of music or played by the greatest musicians. The fact that a song gains mass popularity means that something is there that people react to and that is worth thinking about, regardless of whatever other limitations the music might have.     
 
3) Name your favorite albums and how they have influenced you.

Charlie Parker’s “The Washington Concerts” is my favorite Parker recording and has some of the most unbelievable saxophone playing and overall music I have ever heard.

Kenny Garrett’s album “Triology” was an early favorite of mine and I still listen to it all the time. He is a master at structuring solos so that they you get a real sense of logical and cohesive development and progression. That and it has Brian Blade, so what more can you ask for?

John Coltrane’s “Live at Birdland” is one of my absolute favorite albums. One of the interesting changes from Coltrane’s early style to the middle style is that he began playing far less than in his early recordings and I think that “Live at Birdland” is a great example of how Coltrane found a way to say more with less.

Miles Davis’ “Milestones” is my all-time favorite album. Everything about it floors me. Miles, Coltrane, and Cannonball play some of the most amazing solos I’ve ever heard, but the real thing about that album that I can never get over is the time feel and the overall sound that the group produces. That album is really unique and I don’t think that there are any other recordings in any of those musician’s discographies that are like it.  In high school, I bought a copy of Milestones, because my school band was playing an arrangement of the title track. Over the years, I have probably listened to that album a few hundred times and I have gone through periods where I was waking up early every day to listen to the whole thing top to bottom. It’s the one!

4) What sort of things are you practicing or developing musically these days?

A lot of the work I’m doing centers on strengthening those fundamental things like sound and time. Everything always seems to come back to those things, so it is really an ongoing and endless project. I’ve been trying to keep one Parker transcription and one Coltrane transcription on the go, so I’ve been spending a lot of time just working on engraining those solos and trying to get it as close to the recording as I can. Easier said than done! Also, I’ve recently started trying to play a bit of drums and I am trying to focus more consistently on developing my piano playing. I’m not sure how deep one can get into rhythm, time, and harmony without some sort of grounding in those instruments. Very much a work in progress!

5) What interesting projects do you have on the go at the moment? (gigs, recordings, etc.)

Right now I’m preparing for a quintet show that is playing mostly my own originals and I am hoping to keep this as an ongoing project, but unfortunately half the band doesn’t live it Calgary, so we’ll see! I would also very much like to start a trio with bass and drums. There have been a number of really excellent trio recordings over the last decade and I would like to try and get into some of those tunes, plus do some writing. In a slightly different vain, I have been working on a sax/drum duo that plays original tunes of mine and is far freer than a lot of the other music I play, which is something that I’m trying to get more comfortable with.

6) Your personal study of the harmonic and melodic language of bebop is both impressive and admirable. Why do you think it is important for students these days to study this technical and stylistic approach to Jazz improvisation?

The reason why bebop is important for students to study if that everything needed to play it is what is required to play any type of Jazz music. I think that younger players sometimes get the impression that bebop is an outdated style and that studying it is more of a tribute to the past rather than a path to playing more contemporary music. I think what this idea misses is that the music of today really still is bebop in many ways. For example, take Chris Potter, Kurt Rosenwinkel, and Brad Mehldau, three of the most cutting edge musicians on the current scene. If you take a look at their improvising, I don’t see many fundamental differences between what they are doing and what Charlie Parker was doing and there is a whole lot that is same. The biggest differences are in the harmonic and rhythmic contexts that these musicians improvise over, but the basic approach to rhythm, harmony, and melody is fundamentally the same. What all this means is that to learn to play modern jazz is to learn to play bebop, because bebop is modern music.

7) Favorite place to eat in Calgary?

Shawarma King on Kensington Road never fails me and they’re open until 4:00 AM and they deliver. Tough to argue with that!

-------------------------------------------

Make sure to catch Jeff's band appearing in a few weeks:

The Jeff McGregor Quintet

Appearing at the Beat Niq Jazz & Social Club

Saturday, August 6th 9:00 pm

Jeff McGregor-Saxophone
Brent Mah-Saxophone
Steve Fletcher-Piao
Kodi Hutchinson-Bass
Andrew Dyrda-Drums

James Black Radio Documentary

Special thanks to Chad Anderson of cymbalholic.com fame who brought this documentary to my attention:















James Black is important drummer from New Orleans that drummers should be aware of and who had a profound influence on many of the Crescent City's Jazz and funk drummers.

Sadao Watanabe - Sadao 2000

Making this new recording with Richard Bona, at the beginning of the year 2000, has been a blessing. It is my 61st album since 1961 and I have never before been so impressed with an artist's ease and natural ability creating music, as I've been witnessing Bona's work in this session. I have been searching for this kind of universal sound and rhythm since I first visited Africa in 1972. Bona is someone who we can truly call GIFTED. Thank you, Bona. - by Sadao Watanabe

Richard Bona and Sadao Watanabe make a great musical team. This is the first of two recorded collaborations (so far). Watanabe is a very melodic improviser with the song always first and foremost. Bona is an outstanding bassist, singer, and writer in his own right. However, many of the songs on this effort fail to really catch fire. Both the playing and production is a little "safe" and close to smooth jazz for my taste. That being said, the faster tempoed songs that utilize Bona's singing and afro-jazz bass playing come across very well. They expanded on this approach for the utterly outstanding "Wheel of Life" CD. That one is essential for fans of Sadao Watanabe and/or Richard Bona. - by It's Me, Really, Amzon.com

Artist: Sadao Watanabe
Album: Sadao 2000
Year: 2000
Label: Verve
Runtime: 46:54

Tracks:
1.  Matahari Terbenam (Sunrise) (Sadao Watanabe) 2:15
2.  Te Misseya (Richard Bona) 5:08
3.  Sa So Ngando (Step in and Dance) (Sadao Watanabe) 6:18
4.  I Thought of You (Sadao Watanabe) 6:25
5.  Nostalgia (Sadao Watanabe) 5:04
6.  Hana no Shima (Richard Bona) 3:29
7.  Life is All Like That (For Snoopy & His Friends) (Sadao Watanabe) 5:09
8.  Back Yard Suite (Sadao Watanabe) 5:19
9.  One in the Same (Sadao Watanabe/Richard Bona) 4:44
10.  Por Toda a Minha Vida (Antonio Carlos Jobim/Vinicius De Moraes) 2:59

Personnel:
Sadao Watanabe (Alto, Sopranino Saxophone)
Richard Bona (Bass Guitar, Percussion, Vocals, Acoustic Guitar) - 1-9
George Whitty (Piano, Keyboards)
Jonathan Joseph (Drums) - 1-9
Mike Stern (Guitar) - 7
Café (Surdo) - 9

Rufus Reid with Mulgrew Miller and Lewis Nash

Some killing piano trio footage today featuring Lewis Nash with Mulgrew Miller and Rufus Reid with the performancesw taken from Reid's excellent bass instructional video "The Evolving Bassist":

Joe Ascione

Take a deep breath and check out this guy's left hand !



Joe Ascione is a good friend and I had the opportunity to take a few lessons with him in 2004 while I was spending some time in New York City. At the time Joe was teaching out of the basement of the Ed Sullivan Theatre (home of David Letterman and the Late Show!) in a drum practice space that was shared by a who's who of famous drummers. Joe is a fantastic musician and heavily influenced by the likes of Buddy Rich and Gene Krupa.

Here's a little bio about Joe, a drummer whom I think should be more recognized for his talents and accomplishments:

"Joe Ascione, a first-class drummer in New York City, began playing drums at age two and began playing professionally by age twelve. As a teenager, serving as a roadie for Buddy Rich, Joe soon fell under the influence of the leading jazz drummers of the day, most notably Gene Krupa and Buddy Rich. Joe has played on concert stages around the globe with well known artists such as Cab Calloway, Jay McShann, Al Hirt, Noel Redding (former bassist to Jimi Hendrix), Donald Fagen (of Steely Dan) Eric Schenkman (Spin Doctors), Billy Mitchell, Kenny Davern, Joey Defrancesco and many other jazz, pop and rock musicians. A fixture at jazz festivals since the early ‘80’s, Joe has appeared on over 100 recordings. Joe’s debut recording, My Buddy, is a tribute to Buddy Rich. His latest CD recording, entitled Movin’ Up on the Arbors label, is the disc of which he is most proud. Most recently, Joe has toured as the rhythm half of the “Frank & Joe Show,” a rousing celebration of swing and Gypsy jazz with master jazz guitarist Frank Vignola."

John McLaughlin - Time Remembered

John McLaughlin has always been a huge fan of the late jazz pianist Bill Evans. He tells fondly of attending a show with Dave Liebman in which Evans went beyond brilliant. He also sadly relates the story that Evans had invited him to his house to play, but the pianist died before it could happen. Evans brought a classical touch to the keys. He created a sound that was pure and strong, but delicate as well. Although he went on to work in solo and trio formats, he remains best known for his collaborations with Miles Davis. He co-wrote, although this is often in dispute, the classic "Blue in Green" from Davis’ classic quintet recording Kind of Blue. But he also composed, without dispute, two of the most beautiful melodies ever written, “Very Early” and “Waltz for Debby”. Evans remains one of the most influential jazz piano players of the last 50 years. (Be sure to check out pianist Mitchel Forman’s Then and Now: A Tribute to Bill Evans for a pianist’s take on the master's music.)
John McLaughlin recorded this tribute to Bill Evans in 1993, with his acoustic guitar backed by the acoustic guitars of the Aighetta Quartet and the acoustic bass of Yan Maresz. McLaughlin plays the head arrangements of Evans’ tunes, adding his own improvisational approach during solos. He wrote out the pieces for the Quartet and Marasz, and the highly reverberant results sound more like a European classical lullaby than jazz. But, as always, it's impossible to box McLaughlin’s music in with an oversimplification. No ordinary lullabies can contain the energy of some of these guitar runs. But the overall effect of the music is gentle and soothing, no matter how intricate or powerful it may be at times. Time Remembered is by far McLaughlin’s most romantic record. Many critics did not like McLaughlin's choice to honor Evans in this way. They expressed dissatisfaction with the high reverb he used on the recording. On another front, some were disappointed simply with his style of playing. There was the question of whether the guitar was an appropriate instrument with which to honor Evans. Others believed McLaughlin had strayed too far from the jazz world in interpreting Bill Evans, an unorthodox jazz player who fashioned a style that contained a somewhat fragile classicism. But as we all know, the critics sometimes miss the point. A bit of time spent reading the liner notes might have helped out. McLaughlin did see Evans' compositions as classical. He approached them in that manner and had every intention of making a truly romantic album. McLaughlin has always defied labels. He does fit most comfortably in the jazz idiom, but that placement is only out of convenience. You would think by now that most people would understand that he plays what he wants to play, when he wants to play it. Time Remembered is a beautiful and fully realized tribute. The sound is full and rich, and the playing is strong and forthright all around. McLaughlin’s soloing is fluid, occasionally too dense, but never misdirected. All of the pieces are worthwhile, but two tunes are especially memorable. “Very Early,” also covered by McLaughlin using overdubs on Belo Horizonte , is simply timeless. I do favor the Time Remembered version. The most outstanding performance on the album is “Waltz for Debby,” which deserves repeated play. It is a wondrous composition, and McLaughlin and crew squeeze every little bit of emotion from it. This performance belongs in a very expensive music box. (Yes, I know. You can't put McLaughlin's music in a box.) So what if your mother or girlfriend likes this album. That doesn’t diminish the complexity of the music or the skill of the musicians interpreting it. It was a challenge and a great risk for McLaughlin to tackle Evans' music in this way. In the process, he created a testament that will stand the test of time and changing fancies. This same group is slated to appear on McLaughlin's next release, which is being recorded as I speak. I assume that once again the group will do justice to jazz standards. Sometimes beauty just for beauty’s sake is all that's needed to sate the appetite. - by Walter Kolosky, Allaboutjazz.com

Artist: John McLaughlin & The Aighetta Quartet
Album: Time Remembered - John McLaughlin Plays Bill Evans
Year: 1993
Label: Verve
Runtime: 40:10

Tracks:
1.  Prologue 2:14 
2.  Very Early 4:20 
3.  Only Child 5:06 
4.  Waltz for Debby 4:55 
5.  Homage (John McLaughlin) 2:17
6.  My Bells 3:22 
7.  Time Remembered 3:59 
8.  Song for Helen 1:54 
9.  Turn Out the Stars 6:25 
10.  We Will Meet Again 4:20 
11.  Epilogue 1:13 
All composition written by Bill Evans, except 5th

Personnel:
John McLaughlin (Acoustic Guitar)
Francois Szonyi (Acoustic Guitar)
Pascal Rabatti (Acoustic Guitar)
Alexandre del Fa (Acoustic Guitar)
Philippe Loli (Acoustic Guitar)
Yan Maresz (Acoustic Bass Guitar)

Howard McGhee - Dusty Blue

I am not a musician and not technically literate when it comes to music, but I do know what kind of jazz I like and I like this CD a great deal. I sampled other McGhee CD's here on Amazon and oddly enough, I preferred "Dusty Blue." This was my first introduction to Howard McGhee. I had heard the title cut recently on a local jazz sation and liked it so much I pulled over until the song ended and I could make a note of who the musician was. This is one of my most played jazz CD's in my collection. The music is not obtrusive. It's is very listenable straight ahead jazz with may familiar standards played. I made a copy for the car and my office. Of course, everyone's musical taste is different. If your taste is total abstract Miles Davis, then this may not be your cup of tea. - by Daniel J. Filice, Amazon.com

The 1950s had largely been a waste for Howard McGhee, as drug addiction had taken its toll on his playing. But he is in good form for this 1961 studio session for Bethlehem, leading a septet with baritone saxophonist Pepper Adams, trombonist Bennie Green, and tenor saxophonist Roland Alexander, with a top-notch rhythm section of Tommy Flanagan, Ron Carter, and Walter Bolden an added bonus. His delicious muted horn is the centerpiece of the lightly swinging take of "The Sound of Music" and strolling rendition of the normally bittersweet "Cottage for Sale," while he's on open horn for a snappy take of Cole Porter's "I Concentrate on You." McGhee's explosive side comes out in bop favorites like "Groovin' High," yet he is just as powerful playing long notes in the lush ballad "With Malice Toward None." McGhee's originals are all enjoyable, though none caught on with other jazz musicians. - by Ken Dryden, AMG

Artist: Howard McGhee
Album: Dusty Blue
Year: 1961 (Bethlehem)
Label: Avenue Jazz (1999)
Runtime: 35:32

Tracks:
1.  Dusty Blue (Howard McGhee) 2:53
2.  Sound of Music (Richard Rodgers/Oscar Hammerstein) 3:22
3.  I Concentrate on You (Cole Porter) 4:06
4.  Sleep Talk (Howard McGhee) 2:55
5.  Park Avenue Petite (Benny Golson) 3:32
6.  Flyin' Colors (Howard McGhee) 5:52
7.  With Malice Towards None (Tom Macintosh) 4:02
8.  Groovin' High (Dizzy Gillespie) 4:19
9.  Cottage for Sale (Larry Conley/Willard Robison) 4:28

Personnel:
Howard McGhee (Trumpet)
Bennie Green (Trombone)
Pepper Adams (Baritone Saxophone)
Roland Alexander (Tenor Saxophone)
Tommy Flanagan (Piano)
Ron Carter (Double Bass)
Walter Bolden (Drums)

Blossom Dearie - Blossom Time at the Ronnie Scott's

"Blossom Time At Ronnie's is my favourite recording". - Blossom Dearie, June 1998

From the audience's reaction, Blossom Dearie held London in the palm of her hand during her stand at Ronnie Scott's. They clapped and shouted and, sometimes, to the surprised joy of Dearie herself, sang along. The ten-track set, recorded with Dearie on piano and vocals with drummer Johnny Butts and bassist Jeff Clyne, alternates between comic numbers and ballads, although it's clear which Dearie prefers. Although she has the capability of summoning melancholy and loss as readily as glee, she prefaces the somber "When the World Was Young" by deadpanning to a few audience guffaws, "I feel that I must warn you right now that...there's a very dramatic ending." She's simply bewitching in either mode, mastering the intimacy and confidence that allowed cabaret or jazz singers to hold an audience spellbound, but best when using her girlish voice and comic's timing to skewer romance ("Everything I've Got Belongs to You") or hipness ("I'm Hip"). Compared to her studio sides, her voice becomes yet warmer and more personable in person, with just a rub of vibrato at the end of her lines. Blossom Time at Ronnie Scott's is a splendid complement to her two or three best Verve LPs. - by John Bush, AMG

Artist: Blossom Dearie
Album: Blossom Time at the Ronnie Scott's
Year: 1966
Label: Redial/Universal (1998)
Runtime: 41:24

Tracks:
1.  On Broadway (Barry Mann/Cynthia Weil/Jerry Leiber/Mike Stoller) 3:55
2.  When The World Was Young (Philippe Gerard/Angele Vannier) 4:20
3.  When In Rome (Cy Coleman/Carolyn Leigh) 4:45
4.  The Shadow Of Your Smile (Johnny Mandel/Paul Francis Webster) 4:13
5.  Everything I've Got Belongs To You (Richard Rogers/Lorenz Hart) 4:29
6.  Once Upon A Summertime (Michel Legrand/Eddy Marnay/Eddie Barclay) 3:51
7.  I'm Hip (Dave Fishberg/Bob Dorough) 2:48
8.  Mad About The Boy (Noel Coward) 5:05
9.  The Shape Of Things (Sheldon Harnick) 2:42
10.  Satin Doll (Duke Ellington/Billy Strayhorn) 5:13

Personnel:
Blossom Dearie (Vocals, Piano)
Jeff Clyne (Double Bass)
Johnny Butts (Drums)

The Pace Report

Brian Pace over at the Pace Report has got a number of nice interviews with some of my favorite Jazz artists. Here's a few that caught my attention:

The Pace Report: "Mela's Cuban Groove" The Francisco Mela Interview from Brian Pace on Vimeo.

The Pace Report: "Work To Do" The Carl Allen and Rodney Whitaker Interview from Brian Pace on Vimeo.

The Pace Report: "For The Love of Vibes" The Gary Burton Interview part 1 from Brian Pace on Vimeo.

The Pace Report: "Cindy Blackman: Explorations" from Brian Pace on Vimeo.

The Pace Report: Jimmy Cobb Trio Tribute To Hank Jones from Brian Pace on Vimeo.

The Pace Report: "A Major Milestone" The Adam Cruz Interview from Brian Pace on Vimeo.

The Pace Report: "Dissecting Coltrane" The Saxophone Summit Interview (Liebman, Lovano, Coltrane) from Brian Pace on Vimeo.

The Pace Report: "Destinations" The Tamir Hendelman Interview from Brian Pace on Vimeo.

The Pace Report: "Live in New York: at The Jazz Standard" The Antonio Sanchez Interview from Brian Pace on Vimeo.

Well done Brian !

Jack McDuff - Screamin'

Great 'Duff quartet session circa '62 is anything but laid back. Opens with a great hot blowing session type blues in which the Captain launches out some of the slickest and most funky lines you'll ever hear on a B-3, backed by his trademark heavy swinging Basie'istic Basslines. - - Throughout the tune I'm impressed by the "coherence" and linearity of his lines... sharp as a knife, even as those slick changes blow by. Kenny Burrell is nice 'n bluesy... then Leo Wright, fresh from The Dizzy Gillespie Quintet comes at ya blowing with a virtuoistic Charlie Parker bebopistic calliber you don't necessarilly associated with the Blue Note sound of that era. Actually it takes a while to get used. Next comes SOULFUL DRUMS, a laid back Night Train-istic blues which gives Dukes and opportunity to show off and heat things up, followed by a sharp pianistic Shirley Scottish "take me down yonder, and bartender poor me another one while I go slow dance with my lady" type blues. SCREAM, the title track is hard to describe... a gospelly up tempo carribean boogaloo "Its Alright" type thing with some excellent work by Joe Dukes. After that, its time for a change of pace as Dukes gets out the brushes, Burell strums lighfully, and McDuff "Squabbles" A.K.A. the ol' time Leslie on fast 800008888 sound of Eroll and Jimmy Smith... Duff is tasty and soulful on this one, and hits some nice changes. - - and the final cut of the night is One O'Clock Jump, a fine 12 bar blues wrap up to a great screamin' session by the late Brother Jack's true idol, the original Captain... or should I say "Count", Mr. Basie himself. I love Brother Jack's comping and immaculate basslines behind Kenny Burell's slick soloing... and again, the Bird-istic Leo Wright has a purrrrrty good time on this one too featuring a really cute vamp section that really conjures up the Count!
Overall, this is a great, bluesy heavy swinging toe tapping McDuff session well worth digging - by Eddie Landsberg, amazon.com

Organist Jack McDuff teams up with his regular drummer Joe Dukes, altoist Leo Wright, and guitarist Kenny Burrell for a spirited blues-oriented set that has been reissued on CD via the OJC imprint. "Soulful Drums," featuring Dukes' drum breaks, was a minor hit. Other selections on this generally fine organ date include spirited versions of "He's a Real Gone Guy," "After Hours," and "One O'Clock Jump," even if the title cut does not quite live up to its name. - by Scott Yanow, AMG

Artist: "Brother" Jack McDuff
Album: Screamin'
Year: 1962
Label: OJC (1996)
Runtime: 31:15

Tracks:
1.  He's A Real Gone Guy (Nellie Lutcher) 6:04
2.  Soulful Drums (Jack McDuff/Joseph Thomas) 4:16
3.  After Hours (Erskine Hawkins/Avery Parrish) 4:31
4.  Screamin' (Jack McDuff) 7:23
5.  I Cover The Waterfront (Johnny Green/Edward Heyman) 3:13
6.  One O'Clock Jump (Count Basie) 5:48

Personnel:
Jack McDuff (Organ)
Kenny Burrell (Guitar)
Leo Wright (Alto Saxophone)
Joe Dukes (Drums)

Steve Smith Snare Drumming

A few fun clips today of drummer Steve Smith demonstrating some flashy old school snare drumming and brush techniques:

Márcio Faraco - Ciranda

Márcio Faraco is a welcome addition to the ranks of contemporary bossa nova performers with a smooth, pleasant singing voice and excellent guitar skills. It is striking that he has had to exile himself from his native Brazil and spend years of apprenticeship in France with Didier Sustrac (who contributes background vocals and takes a co-writing credit on "Nostalgia") before being able to make this, his debut album, still based thousands of miles away from home. Those apparent disadvantages notwithstanding, Ciranda manages to evoke bossa nova masters like Antonio Carlos Jobim and João Gilberto while being somewhat more accessible to North American ears, if only because his music is less introspective and the frequent horn arrangements (by Faraco) and string charts (by producer Wagner Tiso) give the tracks a broader appeal. Chico Buarque steps in as a guest duet partner on the album-opening title track, which is a stamp of approval from Faraco's predecessors for an approach seemingly intended to open Brazilian music out to the world. - by William Ruhlmann, AMG

Too often, the brilliance and popularity of bossa nova by its creators João Gilberto and Antonio Carlos Jobim have overshadowed contemporary developments in Brazilian music. This excellent CD by guitarist-vocalist-composer Márcio Faraco should bring listeners up to date on what's happening in that festive and folkloric country. Faraco, born in Algrete in southern Brazil and based in France, sings in the whispering canto faldo/spoken-song style of Gilberto, with the influences of Milton Nascimento and Caetano Veloso. In settings ranging from solo guitar and voice to ensembles with horns and strings coarranged by the underrated keyboardist-arranger Wagner Tiso, Faraco serves up a spicy sonic soup full of Brazil's Indian, European, and African flavors. The midtempo title track is an easygoing duet with Chico Buarque, and the haunting "Baile de Mascaras" features African percussionist Doudou N'Diaye Rose, while "Virtine Carioca" displays a zesty, Wes Montgomery-like jazz-guitar line. All told, Marcio Faraco's lovely CD shows us what the bossa nova will sound like in the 21st century. - Eugene Holley Jr., Amazon.com

Artist: Márcio Faraco
Album: Ciranda
Year: 1997-99
Label: EmArcy/Universal (2000)
Runtime: 45:36

Tracks:
1.  Ciranda (Márcio Faraco/Pedrin Gomes) 3:35
2.  Na casa o seu Humberto (Márcio Faraco) 4:43
3.  Flores pra lemanjá (Márcio Faraco) 3:48
4.  Meu juramento (Márcio Faraco) 4:13
5.  Aguas passadas (Márcio Faraco) 4:47
6.  Baile de máscaras (Márcio Faraco) 4:36
7.  A dor na escala Richter (Márcio Faraco) 3:30
8.  Nostalgia (Márcio Faraco/Didier Sustrac) 4:10
9.  Vitrine Carioca (Márcio Faraco/Ronaldo Lima) 3:45
10.  Nos braços do redentor (Márcio Faraco) 4:10
11.  Vida ou game (Márcio Faraco) 4:14

Personnel:
Márcio Faraco (Guitar and Vocals)
Carlos Werneck (Electric Bass) - 1,2,4,6,8-11
Wagner Tiso (Piano) - 1,2,7,8,10
Julio Goncalves (Percussion) - 1,2,4,8,10,11
Ney de Oliveira (Drums) - 1,4,6,8-11
David Chew (Cello) - 1,5,7,8
Claudio de Queiroz (Clarinet, Flute) - 2,4
Francis Varis (Accordion) - 3,11
Zé Luis Nascimento (Percussion) - 3,6
Nicolas Dautricourt (Violin) - 5,8
Didier Sustrack (Backing Vocals) - 6,8
Floriane Bonanni (Viola) - 5,8
Chico Buarque (Vocal) - 1
Dadá Viana (Percussion) - 1
Philippe Slominski (Trumpet and Flugelhorn) - 4
Jacques Bolognesi (Trombone) - 4
Tarcísio Gondim (Cavaquinho) - 4
Glaucus de Oliveira (Saxophone) - 6
Doudou N'diaye Rose Jr (Sabar) - 6
Vincent Aucante (Viola) - 8

Information On Trilastin-SR Stretch Mark Cream

Information On Trilastin-SR Stretch Mark Cream by Rachel Starks onJuly 21st, 2011 at6:13 pm

Trilastin-SR is a bat that is made to cover all sorts of stretch marks on people`s body. These are brought near by bodybuilding, pregnancy and weight increase. It has been tried and rated to act as publicized. The skin gains a better appearance after it is exploited for a short while.

Stretch marks are the effect of overstretching of skin. This generally occurs when the soul gains weight very rapidly. They are also caused by using creams with steroids content in them. The sizes of this marks are not regular. They are very unsightly to attend at.

Trilastin-SR has a mix of really strong properties that makes it go so effectively. These properties bring nourishment to the person`s skin and gain its strength. It is harmless and can be exploited by anyone irrespective of age or background. It has undergone some try and is pronounced safe with little side effects. Those with allergies should see through its contents before use.

It works by reducing the sizing of marks thereby making them less visible. The hardness of already present marks are greatly reduced. It increases the elastic power of skin. This makes the skin better able to manage pressure that comes from rapid weight gain. This results in the bar of stretch marks in the future.

It is exploited by applying to parts of the affected skin. This is generally the breast, thigh and abdomen. Hips, arm and shoulders are also others. The peel should be washed and dried so the cream should be applied at least two or 3 times a day.

It is contained in small a pipe which after two months of exercise is used up. After some 3 weeks, the bark becomes clearer even though this issue varies from individual to person. What can cause this conflict are the genes in the body.

Consult our complete Trilastin-SR review if you would wish to see more about this particular stretch mark solution. Visit our site to see how to get rid of stretch marks permanently.

Quick Information On Trilastin-SR Stretch Mark Cream

Quick Information On Trilastin-SR Stretch Mark Cream

Writer:Rachel Starks on Jul 21 2011.

Trilastin-SR is a bat that treats stretch marks of all kinds. These could be as a consequence of pregnancy, bodybuilding or anything that increases weight. A lot of test have been done to prove that it works as advertised. After being exploited for a while, the shin is greatly improved and looks better.

Stretch marks happen when skin overstretches. It also happens when weight is rapidly gained. The exercise of creams containing steroid in them can also have this. The marks made upon the individual`s skin are unlike in sizes. They seem very unpleasant on the body.

Trilastin-SR has a mix of really strong properties that makes it go so effectively. These properties bring nourishment to the person`s skin and gain its strength. It is harmless and can be used by anyone irrespective of age or background. It has undergone some try and is pronounced safe with little side effects. Those with allergies should see through its contents before use.

What it does is to get the marks smaller in size thereby becoming less visible. The major marks on top of the struggle also melt away with time. This makes skin elasticity to get increased. It can then remove the force of the additional weight gain without difficulty. Stretch marks also see it hard to get back a 2nd time.

It is exploited by applying to parts of the affected skin. This is generally the breast, thigh and abdomen. Hips, arm and shoulders are also others. The peel should be washed and dried so the cream should be applied at least two or 3 times a day.

It is contained in small a pipe which after two months of exercise is used up. After some 3 weeks, the bark becomes clearer even though this issue varies from individual to person. What can cause this conflict are the genes in the body.

Read our entire Trilastin-SR review if you would wish to discover more concerning this particular stretch mark product. Visit our site to see how to get rid of stretch marks fast once and for all.

Short URL: http://www.news-fire.com/?p=92090

Hands on with Hutch

Gregory Hutchinson needs your help.
Hutchinson, one of the pre-eminent jazz drummers of our time, is currently raising money to produce a jazz drumming instructional dvd:



You can learn more about this exciting project here:

http://www.indiegogo.com/Hands-on-with-hutch

John Trout's Bluegrass World

WorldRural Rhythm3:0710:19 PMBill MonroeCan't You Hear Me Callin'Can't You See Me Callin'Columbia Legacy3:1610:22 PMBill EmersonRide It OutEclipseRural Rhythm2:1910:24 PMJohn LarmierHe Said YesHe Said YesJohn Larimer4;5110:31 PMRemington RydeWent Down a Begger, Came Up a MillionaireLet It ShineGreen Valley3:3210:35 PMShannon SlaughterI've Hit Everthing in My Life, but My KneesThe Sideman Steps OutElite Circuit3:3410:39 PMRidgeRunnersTake Just a Moment for HimTake Just a Moment for HimBlue Circle3:4510:42 PMKathy KallickThere's a Higher PowerBetween the Empty and the Hig RriseLive Oak3:4310:46 PMTriple L BandIt'll Be a Happy DayCD SingleTriple L3:4310:50 PMOriginal QuicksilverMy Eyes Shall Be on Canaan's LandIn a GrooveJB&B3:3810:53 PMVal StoreyLittle Mountain Church House CD SingleVal Storey2:5010:56 PMCrowe-Lawson-WilliamsPrayer Bells of HeavenOld Friends Get TogetherMountain Home2:2511:00 PMKenny BakerBig Sandy RiverPlays Bill MonroeCounty3:3011:02 PMDoyle LawsonGone At LastDrive TimeMountain Home2:5211:05 PMJunior SiskWorking Hard Ain't Hardly Working Any MoreHeartaches and DreamsRebel2:4911:08 PMNothin' FancySign of the TimesOnce Upon a RoadPinecastle4:4111:13 PMHeather Berry and TonyCan You Hear Me NowBefore BluegrassBlue Circle3:2411:19 PMLost & FoundThat's What Country Folks DoDown on Sawmill RoadRebel3:2011:22 PMNo One You KnowWest Virginia in My RearviewCalm Before the StormMountain Fever4:4711:27 PMBluegrass BrothersThe Old Crooked TrailThe Old Crooked TrailHay Holler3:2511:30 PMKenny BakerLonesome Moonlight WaltzPlays Bill MonroeCounty2:4311:37 PMRussell MooreIf Your Spirit Should Ever Roll This Way AgainCD SingleRural Rhythm2;5811:40 PMRarely HerdKeep on Walkin'What About HimPinecastle3:1911:43 PMTony HoltEach Memory Is a TreasureLost Highway & Treasured MemoriesOld Heritage3:1811:46 PMNu-BluEvery Shade of BlueThe Blu-DiscPincastle2:3711:51 PMNothin' FancyI Met My Sister in the Porta John LineThe Other Side of Nothin' FancyPinecastle2:1411:53 PMRussell MooreHard Rock Mountain PrisonRussell Moore & lllrd Tyme OutRural Rhythm2:3611:57 PMKenny Baker Ashland BreakdownPlays Bill MonroeCounty2:16

10:00 PMKenny BakerJerusalem Ridge (theme)Plays Bill MonroeCounty3:0010:03 PMRicky SkaggsComet RideMark Twain: Words and MusicMark Twain Museum2:5210:06 PMDoyle LawsonBetter Times a ComingMark Twain: Words and MusicMark Twain Museum2:3710:09 PMRhonda VincentRun MississippiMark Twain: Words and MusicMark Twain Museum2:5910:13 PMJerry SalleyThe Best Thing I Had goingComing of AgeJerry Salley3:0710:16 PMBlue Moon RisingHard Luck JoeStrange New

Don Thompson on Vibes

A couple nice ones today of one of my favorite vibraphonists, none other than Canadian Jazz icon Don Thompson with some all too brief footage of him performing at a recent Jazz workshop at the Victoria Conservatory:





Whether playing the piano, bass or the vibraphone Don exhibit's a masterful and original personality and approach on all three instruments. But for some reason his vibraphone playing really resonates with me the most (although I love his playing on any instrument!) His fluid lines and buoyant rhythmic feel combined with the forward momentum he gets from the instrument really do it for me and inspire me every time I hear him play.

Rufus "Speedy" Jones

Now here's a great big band drummer that everyone should take note of. I was recently reminded of this from reading an article in the current issue of Modern Drummer Magazine. Jones has the distinction of being one of the few drummers to have held the drum chair in both the big bands of Count Basie and Duke Ellington and from this footage of "Speedy" (featured here in a Duke Ellington piano trio) you can see why:



I really admire the collection of influences that come together in this fine drummer's playing ranging from Buddy Rich, Sam Woodyard, Sonny Payne and Louis Bellson.

Mixfreaks Podcast: DJ Deep - Deep Party Vol. 19

Heart
Kesha - Tik Tok
Stefan Raab - Wadde Hadde Dudde Da
Bloodhound Gang - The Bad Touch
Coolio - Ghetto Square Dance
Gigi Dagostino - The Riddle
Mark Medlock - Maria Maria
Ricky Martin - Maria
Texas - Summer Son

03. Chipmunk - Oospy Daisy
Rox - My Baby Left Me
Jason Derulo - Ridin Solo
The Tamperer feat. Maya - Feel It
Madison Avenue - Don't Call Me Baby
M.C. Sar and the Real - Another Night
Sophie B Hawkins - Right Beside You
Nek - Laura Non Ce

04. Lucky Twice - Lucky
Vadalism and Static Revenger - Vegas
David Guetta - Sexy Bitch
Laserkraft 3D - Nein Mann
Daft Punk - Technologic
Inna - Hot
Madonna - Hung Up
Erika - I Don't Know
Las Chicas feat. Loco - Lambada 2002

05. Phil Fuldner - Miami Pop
Dr. Alban - It's My Life
Deichkind - Arbeit Nervt
Eddy Grant - Gimme Hope Joanna
Liquido - Ordinary Life
Vengaboys - We Wish To Party
Duffy - Mercy
Lmfao - Party Rock Anthem
Fancy - Pretty Woman
Der Partynator - The Time of my Life
O-Zone - Dragostea Din Tei
Rashni - Baboushka
Sylver - Turn To Tide

06. Solid Base - This is How We Do It
Fun-Tc - Crazy
Hampton The Hamster - Hamsterdance
Alex C - Dancing is Like Heaven
Roxette - Stars
Leticia - Mamae Eu Quero
Dominoo - Run Run Away
Rimini Project feat. Sarah K - Wake Up
Interactive - Forever Young

07. Mr. President - Coco Jambo
Mary Mary - Shakles
Culcha Candela - Hamma
One T and Cool T - The Magic Key
Ini Kamoze - Here Comes The Hotstepper
Mn8 - Ive Got A Little Something For You
Charles and Eddie - Would I Lie To You
Dna feat. Suzanne Vega - Toms Diner
Anastacia - Sick and Tired
Nelly Furtado - All Good Things
Meja - All around the Money

08. Shifty - Slide Along Side
Five - Slam Dunk
Culcha Candela - Hamma
Solid Harmonie - I Wish You To Wish Me
Desree - Life
Crazy Town - Butterfly
Robbie Williams - Rock DJ
Los Del Rio - Macarena
Backstreet Boys - Everybody
Britney Spears - Stronger
N-Sync - I Desire You Back
Samantha Mumba - Gotta Tell You
No Angels - Like Ice In The Sunshine

09. Beach Bumpers United - Fieta De La Noche
Baby Alice - Pina Colada Boy
Mousse T with Roachford - Pop Muzak
Aquagen - Warum Seid Ihr So Leise?
Londonbeat - I've Been Thinking About You
Frankie Goes To Hollywood - Relax
Paola and Chiara - Vamox A Bailar
Leann Rimes - Cant Fight The Moonlight
Flo Rida feat. David Guetta - Club Can't Treat Me
Seeed - Ding

10. The curt NDW-part
Andreas Dorau und die Marinas - Fred vom Jupiter
Clowns and Helden - Ich liebe dich
Heinz Rudolf Kunze - Dein ist mein ganzes Herz
Fr

URL: http://www.breakfreak32.6x.to
Megamix by: DJ Deep (Bootleg by Breakfreak32)
Year: 2011


01. Intro (mixed by Breakfreak32)

02. Modern Talking - Brother Louie
Rihanna - Don't Block The Music
Taio Cruz feat. Ludacris - Break Your

Bebop Cowboy

The Calgary Stampede is quickly wrapping up here in town. I lost track of how many cowboy hats I saw during the past ten days and aside from one pancake breakfast I attended (where incidentally they ran out of maple syrup!) I purposely avoided the whole thing as it's not really my scene. However, I did have this classic recording playing in my car all last week to keep me at least somewhat in the cowboy spirit:



Yeeehaaawww!!!

Donald Byrd - Black Byrd

Purists howled with indignation when Donald Byrd released Black Byrd, a full-fledged foray into R&B that erupted into a popular phenomenon. Byrd was branded a sellout and a traitor to his hard bop credentials, especially after Black Byrd became the biggest-selling album in Blue Note history. What the elitists missed, though, was that Black Byrd was the moment when Byrd's brand of fusion finally stepped out from under the shadow of his chief influence, Miles Davis, and found a distinctive voice of its own. Never before had a jazz musician embraced the celebratory sound and style of contemporary funk as fully as Byrd did here -- not even Davis, whose dark, chaotic jungle-funk stood in sharp contrast to the bright, breezy, danceable music on Black Byrd. Byrd gives free rein to producer/arranger/composer Larry Mizell, who crafts a series of tightly focused, melodic pieces often indebted to the lengthier orchestrations of Isaac Hayes and Curtis Mayfield. They're built on the most straightforward funk rhythms Byrd had yet tackled, and if the structures aren't as loose or complex as his earlier fusion material, they make up for it with a funky sense of groove that's damn near irresistible. Byrd's solos are mostly melodic and in-the-pocket, but that allows the funk to take center stage. Sure, maybe the electric piano, sound effects, and Roger Glenn's ubiquitous flute date the music somewhat, but that's really part of its charm. Black Byrd was state-of-the-art for its time, and it set a new standard for all future jazz/R&B/funk fusions -- of which there were many. Byrd would continue to refine this sound on equally essential albums like Street Lady and the fantastic Places and Spaces, but Black Byrd stands as his groundbreaking signature statement. - by Steve Huey, AMG

When this recording was first introdused critics laughed and downplayed this album, Just to prove and show that some critics are sometime way OFF. This was the best selling album on "Blue Note" and is a NOW criticly aclaimed masterpiece. - by Michael Clarke, Amazon.com

Artist: Donald Byrd
Album: Black Byrd
Year: 1973
Label: Blue Note
Total time: 43:15

Tracks:
1.  Flight Time (Larry Mizell) 8:31
2.  Black Byrd (Larry Mizell) 7:21
3.  Love's So Far Away (Larry Mizell) 6:03
4.  Mr. Thomas (Warren Jordan/Larry Mizell) 5:04
5.  Sky High (Larry Mizell) 5:58
6.  Slop Jar Blues (Larry Mizell) 5:41
7.  Where Are We Going? (Edward Gordon/Larry Mizell) 4:37

Personnel:
Donald Byrd (Trumpet, Flugelhorn, Electric Trumpet and Vocals)
Fonce Mizell (Trumpet and Vocals)
Roger Glenn (Flutes and Saxophones)
Joe Sample (Piano and Electric Piano)
Fred Perren (Electric Piano, Synthesizers and Vocals)
Dean Parks (Guitar) - 1,4
Wilton Felder (Bass Guitar) - 1,4
Harvey Mason (Drums)
Bobby Porter Hall (Percussion) - 1,4
Larry Mizell (Vocals)
David T. Walker (Guitar) - 2,3,5-7
Chuck Rainey (Bass Guitar) - 2,3,5-7
Stephanie Spruill (Percussion) - 2,3,5-7

Didier Lockwood & Raghunath Manet - Omkara

 

In this live performance, French violinist Didier Lockwood teams up with Raghunath Manet, an Indian-born master of the veena (a sitar-like stringed instrument). Together with Murugan on Indian percussion, Lockwood and Manet make eclectic music somewhat similar to that of John McLaughlin's Shakti. In addition, listeners are told that Manet, when not playing veena, improvised dance movements to the music. Listeners can't see this, of course -- pity that the CD doesn't come with enhanced video. Soprano Caroline Casadesus sings on the title track, but this isn't the only vocal performance: Indian rhythmic chanting is heard on many of the tracks, although no one is credited for it. Presumably listeners are hearing Manet and Murugan at various junctures, giving the music a fervent, emotional quality. Lockwood, in addition to his mournful violin, plays a bit of flute and trumpet. - by David R. Adler, AMG

Artist: Didier Lockwood & Raghunath Manet
Album: Omkara
Year: 2001
Label: Dreyfus Jazz
Total playing: 53:49

Tracks:
1.  First Blow 2:34
2.  Di mi ta 2:03
3.  Burst of Spring 3:12
4.  Black Flute 4:57
5.  Barbizon Ragas 16:06
6.  An Indian in Dublin 4:42
7.  Golden Eagle Dance 7:09
8.  Omkara 4:28
9.  Hymn 0:49
10.  Last Wind 7:49
All compositions - by Didier Lockwood & Raghunath Manet

Personnel:
Didier Lockwood (Violin, Keyboards and Trumpet)
Raghunath Manet (Veena)
Caroline Casadeus (Vocal)
Murugan (Indian Percussion)

Whenever I Need Some Peace of Mind...

I listen to this:

Mark Knopfler

Minneapolis Guitar Lessons - Learn To Play Guitar By Ear

Learning to play guitar by ear is among the toughest things to learn. Nevertheless, it requires natural talent and cognition of medicine and sound. If you need to determine how to play guitar by ear, you`ll get to be patient and bear a smooth spot to practice.

Basic music information

If you want to take to play guitar by ear, it`s often far better to get a basic knowledge of music.

This does not mean you want to be capable to read sheet music or be a professional. It simply means you want to give had some basic experience with another instrument or general music knowledge.

Patience

Patience is surely the key when you see how to play guitar by ear. You want to be capable to replicate the same chords and riffs often times in place to complete the sound. This will be really repetitive and you should be prepared.

The use of CDs

The principal key when you get to take to play guitar by ear is to go through your CD collection and find CDs with an extended guitar section. A capital exercise is Carlos Santana or Mark Knopfler (lead guitarist for Dire Straits). This will let you to see some of the best guitarists in the earth and help you to try to imitate their sound.

No motive for sheet music

When you see how to play guitar by ear, there`s no motive for sheet music or for long lessons of chords and riffs. Listening to a guitar set and replicating it is a way of developing your natural talent and will also assist you in the foreseeable future if you take to get a member of a band. If you see how to play guitar by ear, you`ll be capable to handle any mistakes done by other guitarists and it will also assist you improvise on stage.

A rewarding experience

When you memorize to play guitar by ear, you will see your accomplishments more pleasurable as you are absolutely self taught with no aid from teachers or books. In the amusement industry, guitarists who study how to play guitar by ear are well respected and commonly called upon for their expertise and experience.

Surroundings

Making certain your surroundings are quiet is an indispensable factor when you see how to play guitar by ear. Silence is required so you can try every chord and flip on the CDs and so that you don`t omit a note. A still atmosphere will also assure you remain quiet and patient and can absorb everything you`ll need when you see how to play guitar by ear.

Do not forget practice is what makes the conflict betwixt a good guitarist and a great guitarist! So keep practicing and you will be rewarded with a wonderful talent!

If you need more info on Music Lessons, don`t say just rehashed articles online to avoid getting ripped off.

Go here: Minneapolis Guitar Lessons

Mark Knopfler - Brothers in Arms

A Lesson with Gene Krupa

A very rare and interesting insight into the drumming of Gene Krupa as the master himself explains some of his techniques and signature patterns to his "understudy" Sal Mineo:



Thanks to vibraphonist Arnold Faber who brought this one to my attention via the Facebook.

John Patton - Boogaloo

Rare work by Hammond organ giant Big John Patton -- recorded in 1968, but never issued until 1995, and even then, only briefly! The record features Patton at his finest -- stretching out from his basic soul jazz roots, into a more searching use of the organ that's undoubtedly influenced by Larry Young's work at the same time. The record features great work by Harold Alexander on flute and tenor, plus trumpet by Vincent McEwan, drums by George Brown, and added conga by Richard Landrum. The groove is somewhere between 60s soul jazz and modal -- and the tracks are long, with that heavy Patton swing! Title sinclude "B&J", "Boogaloo Boogie", "Milk & Honey", "Shoutin But No Poutin", and "Spirit". - from DustyGrooveAmerica.com

The main reason to purchase this previously unissued set from the declining years of Blue Note is not for the trivial rhythmic themes (which use fairly basic chord sequences) or even the solos of organist John Patton (who never does escape entirely from the shadow of Jimmy Smith) but for the somewhat out-of-place avant-garde outbursts by Harold Alexander (on tenor and flute) who often takes improvisations that go completely outside; his squeals on "Boogaloo Boogie" are a real surprise and he may very well be the reason that this music was not put out at the time. Otherwise this is a routine and now-dated set of commercial late-'60s jazz/funk. - by Scott Yanow, AMG

Artist: John Patton
Album: Boogaloo
Year: 1968
Label: Blue Note (1995)
Total time: 41:39

Tracks:
1.  Boogaloo Boogie (John Patton) 5:25
2.  Milk & Honey (John Patton) 8:20
3.  Barefootin' (Robert Parker) 7:07
4.  Shoutin' But No Puotin' (John Patton) 7:43
5.  Spirit (John Patton) 5:52
6.  B&J (Two Sisters) (John Patton) 7:12

Personnel:
John Patton (Organ)
Vincent McEwan (Trumpet)
Harold Alexander (Flute and Tenor Saxophone)
George Edward Brown (Drums)
Richie Landrum (Conga)

King vs. Waits

You'd think with a title like that you'd be expecting a winner-takes-all boxing match between two heavyweights but this is a meeting of two heavyweights of a different sort. Here's drummers Dave King and Nasheet Waits engaging in a little "percussion discussion" from a recent outdoor performance in New York City:



I think we need more of this kind of thing these days. Maybe not so much competitive "drum battles" but drum set players coming together to make interesting and creative music together like this.

Kenny Clarke Quartet

This is truly a great find, some footage of drummer Kenny Clarke leading a quartet on a European festival date in 1962:



I could listen to that cymbal beat all day.

Klook truly is the man!

Radio Tarifa - Cruzando el Río

This, the third disc from Spain's leading roots ensemble, features a mixture of old and new. It continues to offer up the group's time-machine stew of delectable bits and pieces of Spanish musical history. It still uses an extraordinary collection of instruments, modern and medieval, Spanish and Moslem. What's new is the album's foray into Japanese music, "Gujo Bushi," and the occasional use of electric guitar. Though it's harder to pin down, the group seems to have dug deeper into music of the modern Spanish countryside. This new -- or newly deepened -- exploration of folk music results in two of the album's most intriguing tunes: First is "Ramo Verde," a Castillian folk song with great atmosphere, featuring a woman vocalist for the first time in the group's history. Second is the title track, which is a primitive tango and which most lamentably ends just when it's getting going. The brevity of the songs is a serious concern on "Cruzando el Rio": The 11 tracks total just 36 minutes, allowing too little time for development and no time for the epic grandeur of "Nu Alrest" off of the group's first album, Rumba Argelina. Still, this group never fails to be interesting. - by Kurt Keefner, AMG

Artist: Radio Tarifa
Album: Cruzando el Rio
Year: 2000
Label: Nonesuch
Runtime: 36:10

Tracks:
1.  Osu (Fain S. Duenas) 2:39
2.  Sin palabras (Fain S. Duenas) 4:32
3.  El viaje de Lea (Traditional) 4:03
4.  Ramo Verde (Traditional) 2:48
5.  La molinera (Traditional) 3:56
6.  Cruzando el Rio (Traditional) 2:15
7.  Patas negras (Fain S. Duenas) 4:03
8.  Gujo bushi (Traditional) 3:11
9.  Alab (Free intro)  2:08
10.  El quinto (Traditional) 3:55
11.  Si j 'ai perdu mon ami (Josquin Desprez) 2:35

Personnel:
Benjamin Escoriza (Vocals)
Vincent Molino (Wind Istruments, Keyboards)
Fain S. Duenas (Guitar, Strins, Bass and Percussion)
Guest muscians:
Merche Trujillo (Vocals, Gaita) - 2
Joaquin Ruiz (Tap Percussion) - 4
Caridad Alcazar Gutierrez (Backing Vocals) - 7
Juncal Fernandez (Vocals) - 10
Cristina Godoy (Backing Vocals) - 10
Gema Quesada (Backing Vocals) - 10

Buddy Rich meets Hugh Hefner

Some interesting and rare footage here today of Buddy Rich joking around with Hugh Hefner and a room full of Playboy bunnies:



This particular group is probably my favorite Buddy Rich small group that featured a young Mike Maineri on vibraphone and Sam Most on flute. John Riley hipped me to the album "Blues Caravan" awhile back that features this same group and has become one of my favorite Buddy Rich recordings outside of his more well-known big band work.

CARBOGEN AMCIS Names Mark C Griffiths Chief E - News, Search Jobs .

BUBENDORF, Switzerland (July 12, 2011)Switzerland-based CARBOGEN AMCIS AG, a pharmaceutical process development and Active Pharmaceutical Ingredient (API) manufacturing company, announced that Mark C. Griffiths has been named chief executive officer, effective today. In his new role, Griffiths will take responsibility for the CARBOGEN AMCIS Swiss business and will describe to Jay Vyas, managing director of Dishman Pharmaceuticals and Chemicals Ltd.

CARBOGEN AMCIS parent company.

Mark C. Griffiths has been associated with CARBOGEN AMCIS as manager of operations and chief executive officer for about ten years. Most recently, he has been running for the Dishman Group as operations advisor overseeing the figure and expression of the groups large-scale manufacturing facilities for commercial supply of Highly Potent APIs (HPAPIs) in Shanghai, China, and Ahmedabad, India.

We are delighted that Mark agreed to join CARBOGEN AMCIS as chief executive officer, commented Jay Vyas. Marks industrial expertise and proven track disk in the pharmaceutical industry make him the ideal executive to lead CARBOGEN AMCIS growth. We are positive in Marks ability to quicken the winner of our society and our customers by maintaining the stress on high performance.

Griffiths has over 28 days of relevant industrial experience delivering high added value technical and operational solutions within the pharmaceutical and fine chemical industry. Qualified as an engineer and having gained important experience in the direction of complex, multi-task, multi-input projects, he brings a cross-functional ability to call and optimize technical, operational and management issues. Griffiths has designed, built and managed facilities ranging in use from search and growing to manufacturing. Griffiths holds a Chief of Science in engineering from Bristol University, UK.

CARBOGEN AMCIS AG is a lead service provider, offering a portfolio of drug-development and commercialization services to the pharmaceutical and biopharmaceutical industry at all stages of drug development. The integrated services provide innovative chemistry solutions to support timely and safe drug development allowing customers to take the better use of available resources. CARBOGEN AMCIS AG is owned by Dishman Pharmaceuticals and Chemicals Ltd. Ahmedabad, India.

Dishman Group (www.dishmangroup.com) is a global outsourcing partner for the pharmaceutical industry, offering a portfolio of development, scale-up and commercial API manufacturing services. Dishman Group improves its customers businesses by providing a rate of growth and manufacturing solutions at locations in Europe, China and India.

The Calgary Scene - Jim Brenan

Today's "Calgary Scene" interview features our very own local tenor titan Jim Brenan. I've known Jim since I moved to Calgary in 2004 and have had the pleasure of playing drums in his band co-led with his twin brother trombonist Craig, The Brenan Brothers, with Jim's own groups and currently in a collective trio along with bassist Rubim DeToledo. Jim brings a wealth of experience, knowledge and a very high level of musicianship to the scene here in Calgary. Jim was nice enough to grace us with an insight into his musical mind and creative ethic.


1) Can you tell us about your musical background? How did you learn to play Jazz?

Growing up music was always present in my house. My father was a huge fan of Soul and R&B, (and later Rock) so we constantly had music like Ray Charles, Etta James and Sam Cooke on the record player. Apparently the only thing to get my brother and I to settle down was music and I recall listening to the Jungle Book a lot! I never aspired to play a musical instrument until grade 7 when the choice for electives was Drama, Art and Music, we had to choose two. Art was a definite as I had decided to become an artist when I grew older (drawing comic books). The first day of music class I started thinking about what instrument I might like to play, I chose the saxophone due largely in part to a concert band performance of "The Hustle" that I had heard the year before.

Local Edmonton musician Murray Smith was my junior high school band teacher and he suggested the tenor saxophone. Fast forward to grade 10, Grady Tate was in town and visited our school, he suggested that if I liked playing in the Jazz band I should listen to the music, so a friend and I went to the Public library and took out 20 records (all with saxophones on the front cover), we came away with some real gems (some music that I don't really listen to anymore), and some music that I would eventually grow into. (Phil Woods/Ritchie Cole: side by side, Tom Scott, The Brecker Brothers: "Heavy Metal BeBop", Spyro Gyra, Grover Washington Jr., John Coltrane: "Sun Ship")



By the time I was in grade 12 I was definitely into jazz music. I knew what chord changes were and I had been told what "Licks" and "quotes" were but I never really put it all together, so I started to look around and discovered that there were some teachers that knew how to put all of this together. Enter Gordon Towell, the first teacher to start to fill in some gaps. Studying with Gord was mostly about language, and was an excellent introduction to playing. He pointed me in the right direction as far as listening and transcribing were concerned-I didn't always listen to what he said but looking back he said all the right things!



After High school I was accepted into both music and art programs but chose art, and began to fulfil my dream of drawing comic books, but somehow music kept entering the picture. In the summers I auditioned and played in a jazz band at Grant McEwan for four months on a minimum wage grant. I really liked it and eventually the director Ray Baril enrolled me in the music program. 

I studied with Ray Baril for saxophone and Rick Garn for improvisation and really enjoyed playing with like minded musicians.

I eventually moved on to St. Francis Xavier University and received a Bachelor of Music degree. I met a lot of great musicians and played as much as possible and even took some fantastic lessons with some great teachers but it wasn't until I started my masters degree with Ralph Bowen at Rutgers University that I started to feel like I was learning how to play. Ralph took a no fear approach with me. He was not hesitant to pile on the work, requesting I transcribe to memory a Coltrane solo each week eventually requesting I memorize two per week. On top of that he spent the time with me filling in the gaps. The work was demanding and his expectations were extremely high. He expected everything done correctly each week and I had nothing but time to sit in a little room and work it out.

 I ended up studying with Ralph for about 8 years. He is constantly evolving and had a ton of material to show me. Even now if I have any questions I call and we talk it over. Ralph is/was key in my musical development and I am happy to call him my most influential teacher and good friend!

My last teacher was the legendary Charlie Banacos. I studied with him through the mail for four cycles. His lessons were also great. I really enjoyed the process of being analyzed by someone who can only "hear" me and then being prescribed a series of exercises to help re-direct my approach. Charlie unfortunately passed away but I have plenty of material to continue focusing on and I hope to find a new teacher soon.




2) Who are your musical influences and why?

This is a tough one to answer as I have gone through so many phases of listening and transcribing. I would say that it would be easier to list the people I haven't been influenced by but I'll try to list the main influences. I think it's important to say that even though I am influenced by these musicians I don't feel like I sound like any of them. I always wished I would sound like Cannonball or Stitt but it just doesn't happen...here's the list in point form:



-Ralph Bowen: I love his control and expression and his command of harmony is second to none. Period. I've heard people say he is too controlled but I hear a certain beauty in that. His fluid playing reminds me of the simplicity and complexity of Stan Getz plus his is the first sound I was drawn too as a kid

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-Michael Brecker: When I first heard him on the ablum Heavy Metal Bebop I thought he was a guitar player! I really like Brecker's energy and I like the blend of pentatonics with everything he does and that he used the same language over his entire career and it never seemed stale to me, even though you knew it was coming.

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Joe Henderson: I have always been drawn to his recklessness. He seems to me to always be on the verge of collapsing but at the last minute makes it work out. I like that he is his own player and I'm sure he was influenced by Rollins and Trane but to me he has his own voice equally as important as the "Big Two".

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Eddie Harris: I hope to capture his effortless flow and relaxed tone. It doesn't always happen but I sure do love it. Plus he has a fantastic altissimo sound.

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Sonny Stitt: He's my favorite of the bop era guys. I love his time feel and his lines. They seem so obvious and always feel so great. I have spent many many hours transcribing him and every so often something comes out.



-John Coltrane: Of course, that sound and approach!



-Steve Grossman: I spent a lot of time listening to Steve (with the Stone Alliance!!!) and even transcribed the entire "Love is The Thing" album. I learned a lot doing that and love his Rollins/Coltrane approach to everything.

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Joel Frahm: I got to play in a blues band with Joel over a two year period! he can certainly play the blues and has one of the best time feels going plus he's a sweet heart!!



I definitely have checked out a lot of other fantastic musicians and transcribed some of their stuff as well: Jerry Bergonzi, Chris Potter, Phil Dwyer, Mike Murley, Donny McCaslin.....the list can go on and on.





3) Name your top 5 favorite albums and how they have influenced you.

Ok. This is tough. I am going to try and be legit. No box sets! I know as soon as I commit to five I'll think of five more. Hulk smash!!!



-John Coltrane: Lush Life

To me this is the most beautiful Trane record. Everything is perfect: his sound, melody, harmony, time, everything is perfect for me on this album. I used to spend hours playing along with this one. It definitely defines Tranes' sound for me. Purchased at Borders books, New Jersey.

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Michael Brecker: Two Blocks From The Edge

Something happened here. Brecker got a new younger band and his playing is re-energized for this album. There is new material here and it feels great! The writing seems more finished without being over done or too clever. Just a good swinging album. This record really feels buoyant to me. Purchased at Blackbyrd music - Edmonton, Alberta

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-Elvin Jones: Live at the Lighthouse

I bought these with Larry Gerow in Toronto at Sam the record man. Man!! I couldn't stop listening to these. I managed to transcribe a bit of Fancy free. I think these influenced me as a realization that something could come after Coltrane. These guys were really going for it and having fun doing it (at least it sounds fun to me). I love that type of energy and I love the 'four note' grouping style of playing

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Steve Grossman: Love is the Thing

I mentioned this one above. I learned all of the sax solos on this record and I think the language from this album is still present. I'd have to say I learned a lot from this one record. Bought for me in Miami by Kent Sangster

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-Sonny Stitt/Gene Ammons: Boss tenors

A great album. Every solo is like a work of art and the lines are fantastic! Purchased at South side sound Edmonton, Alberta.




4) What sort of things are you practicing or developing musically these days?

I definitely still practice everyday, well... nine out of ten days. I love playing and I spend a lot of time working on facility and learning new material. I don't know a million standards so I am always working on new tunes. I still keep a practice journal and have a specific warm-up that I follow. I make changes to it every now and again, but it is a constant. I just got a new mouth piece (an Aaron Drake "son of slant") so I have added long tones with a tuner back into my daily routine. I added an hour of clarinet to my routine for the summer and I have a few solos I am transcribing (first up Eddie Harris on "Yeah, Yeah, Yeah"). I am also reviewing some Charlie Banacos material. I am noticing that his material is just starting to become more prominent in my playing (finally). But my big project for the last six months has been to work my way through the slonimsky book in all keys. I have a goal tempo for each exercise. Some exercises take a bit longer than others to master but I love this type of work. I think it will take another few years to finish.




5) What interesting projects do you have on the go at the moment? (gigs, recordings, etc.)

I have a few projects happening. The first is my band with my brother: the Brenan Brothers and we are starting to write a new project for a recording in the winter. I have a quartet (with Chris Andrew Rubim de Toledo) and have invited drummer Dana Hall to come and record with us in November. If you are not aware of Dana check him out. I am getting ready now for the inevitable. And I also have a new trio project started (with Jon McCaslin and Rubim de Toledo). It's definitely in its infancy but it has started out as an opportunity to play Joe Henderson's music and has evolved into a power trio of sorts-its very fun!




6) As an educator you've had a diverse experience from teaching in such places as Fort McMurray, New Zealand and now Mount Royal University. 
What can you tell us about your philosophy towards teaching Jazz music to students?

I have had some excellent teachers and some poor teachers and I can definitely say I have learned a lot from both. To me the best teachers may not have had all of the answers but they knew how to point you in the right direction to find the answer. So I would say I try to approach teaching with a lack of ego. I also try and approach each student a little differently as far as motivation and/or style of learning while maintaining a set of reasonable expectations. I also try to use a lot of humour and try to create a relaxed environment while I definitely try to celebrate the music with each student.




7) Best burger in Calgary?

Currently the best burger in Calgary is 'Five guys' but (as you know) we have been on the hunt for something truly spectacular. I look forward to trying many more places and after burgers: Pizza
!