Bobby Carcasses Brings His Afrojazz to The Jazz Gallery, NYC

Bobby Carcasses Brings His Afrojazz to The Jazz Gallery, NYC

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Jazzofonik in Jazz Times: A Selection

A selection of my reviews and features for the US magazine, Jazz Times, Big up to former editor Chris Porter, who set it all in motion

Jazz Reviews: RocksteadyMonty Alexander/Ernest Ranglin — By ...

JazzTimes. Monty_alexander-rocksteady_span3 ... Michael Edwards; The Jim Seeley/Arturo O'Farrill Quintet The Jim Seeley/Arturo O'Farrill Quintet ... Michael Edwards; Another Kind of Blue: The Latin Side of Miles Davis Conrad Herwig ...
jazztimes.com/.../14838-rocksteady-monty-alexander-ernest-ranglin - Cached -

Jazz Reviews: The PassageAndy Narell and Calypsociation — By ...
Michael Edwards; The Jim Seeley/Arturo O'Farrill Quintet ...
jazztimes.com/articles/14755-the-passage-andy-narell-and-calypsociation

Jazz Articles: Ethiopiques Series: Nubian Sunrise — By Michael ...
Michael Edwards; The Jim Seeley/Arturo O'Farrill Quintet ...
jazztimes.com/articles/14818-ethiopiques-series-nubian-sunrise

Michael A. Edwards @ All About Jazz
Michael A. Edwards Joined AAJ in 2004. Contact Me. A Jamaican features writer, reviewer and passionate jazz advocate. Although jazz was always part of my ...
www.allaboutjazz.com/php/contrib.php?id=1929 - Cached -


go to www.jazztimes.com for more

BERKLEE GOES 'GLOBAL'

Braintree —
Berklee College of Music has announced that a Braintree student, Paulo Stagnaro, was chosen as an inaugural member for the Berklee Global Jazz Institute (BGJI), a unique center at the college designed to foster creativity and musicianship through various musical disciplines. World-renowned pianist Danilo Perez serves as its artistic director.

Students may pursue a performance degree, diploma, or two-year certificate through the BGJI.

Stagnaro is a percussionist and composer who has performed with Paquito D'Rivera, Gloria Estefan, Greg Hopkins, Israel “Cachao” Lopez, Marcus Miller, Danilo Perez, Mark Turner, Diego Urcola, and others.

In 2008, Stagnaro’s band La Timbistica won the DownBeat Student Music Award.

Stagnaro has played at prominent festivals and venues across the globe, including the Newport Jazz Festival, the BeanTown Jazz Festival, IAJE, the Lincoln Center, the Kennedy Center, Dizzy’s Club Coca-Cola, the Kimmel Center, and the Blue Note Jazz Club.

BGJI has three main goals: to provide an interdisciplinary music program where students may explore their creativity to the highest level; explore the social power of music as a tool for the betterment of society; and connect musical creative thinking with the restoration of nature.

The 14 BGJI students were chosen in mid-November and details of the program were officially announced on Jan. 13 at the Panama Jazz Festival’s Gala Night.

Roney, Moran and More @ the Iridium

If you're i nthe Big Apple this weekend, or the rest of this month, a good bet for live jazz.


IRIDIUM JAZZ CLUB
1650 BROADWAY (CORNER OF 51ST)
NEW YORK, NY 10023
RESERVATIONS: 212-582-2121
HTTP://WWW.IRIDIUMJAZZCLUB.COM/
SETS AT 8:30 & 10:30PM (UNLESS OTHERWISE INDICATED)
LES PAUL TRIO SETS REMAIN AT 8:00 & 10:00PM


THE IRIDIUM JAZZ CLUB WILL CONTINUE TO CELEBRATE LES PAUL THE MAN, HIS MUSIC AND HIS LEGACY EVERY MONDAY NIGHT WITH

THE LES PAUL TRIO AND SPECIAL GUESTS
LOU PALLO – GUITAR, JOHN COLIANNI – PIANO, NICKI PARROTT – BASS

WITH SPECIAL GUESTS

FEB. 8 VERNON REID (Living Color, Masque)
FEB. 15 John Jorgenson's Gypsy Jazz and Friends (Desert Rose Band, Elton John)
FEB. 22 JEFF ‘SKUNK’ BAXTER (Steely Dan, Doobie Bros.)
MAR. 1 STANLEY JORDAN (Gold-selling Grammy Nominated Guitar Innovator)
MAR. 22 MARTIN TAYLOR (Stephane Grappelli, Chet Atkins, Bill Wyman, George Harrison)

Opening for the Trio Each Week – TW DOYLE - Long time engineer and guitarist for Les Paul
show time starting at 7:45

THIS WEEK AT IRIDIUM

FEB. 8 VERNON REID WITH THE LES PAUL TRIO
LOU PALLO – GUITAR, JOHN COLIANNI – PIANO, NICKI PARROTT – BASS

TUE. FEB. 9 Stacey Lynn Brass 8 & 10PM
Stacey Lynn Brass: Vocals, Barry Levitt: Piano, Morrie Louden: Bass, Brian Grice: Drums, Robbie Kirshoff: Guitar

FEB. 10 FEB. 10 NASHEET WAITS FEATURING JASON MORAN
Logan Richardson- Alto Sax, Jason Moran- Piano, Tarus Mateen- Bass, Nasheet Waits- Drums

FEB. 11-12 Wallace Roney Quintet
Antoine Roney-REEDS, Rashaan Carter-BASS, Kush Abadey-DRUMS, piano Aruan Ortiz

FEB. 13 & 14 ANDY BEY

Sat. Feb. 13 Bob Malone Midnight

FEB. 14 - LILLIAS WHITE MIDNIGHT


UPCOMING SHOWS

FEBRUARY SCHEDULE

FEB. 15 John Jorgenson's Gypsy Jazz and Friends With TheTHE LES PAUL TRIO
LOU PALLO – GUITAR, JOHN COLIANNI – PIANO, NICKI PARROTT – BASS

Feb. 16 Jonny Blu 8 & 10PM

FEB. 17 Ed Palermo Big Band

FEB. 18-21 BUSTER WILLIAMS BAND
PATRICE RUSHEN-PIANO, STEVE WILSON-SAXOPHONES, LENNY WHITE-DRUMS

Feb. 20 Paul Safy Jr. Midnight

FEB. 22 FEB. 22 JEFF ‘SKUNK’ BAXTER
WITH THE LES PAUL TRIO AND SPECIAL GUESTS
LOU PALLO – GUITAR, JOHN COLIANNI – PIANO, NICKI PARROTT – BASS

FEB. 23 Terese Genecco & Her Little Big Band 8 & 10PM
Barry Levitt on Piano
Sean Harkness on Guitar
Ray Marchica on Drums
Tom Hubbard on Bass
Emedin Rivera on Latin Percussion
Cliff Lyons on Tenor Sax
Mark Miller on Trombone
Kenny Lavender on Trumpet

FEB. 24 DAVE STRYKER ORGAN TRIO
DAVE STRYKER, GUITAR, JARED GOLD-ORGAN, STEVE WILLIAMS-DRUMS

FEB. 25-28 Steve Smith's Vital Information New York Edition
Steve Smith, Mark Soskin, Vinny Valentino, Baron Browne, Andy Fusco
Steve Smith's Vital Legacy
Playing the music of Vital Information and Jazz Legacy
Featuring:
Steve Smith (Steps Ahead/Journey) - drums
Andy Fusco (Buddy Rich/Mel Lewis) - alto sax
Mark Soskin (Sonny Rollins/Herbie Mann) - keyboards
Vinny Valentino (Jimmy McGriff/Bill Evans) - guitar
Baron Browne (Jean-Luc Ponty/Billy Cobham) – bass

FEB. 26 - YAACOV MAYMAN BORISLAV STRULEV NEW CHAMBER JAZZ MIDNIGHT

FEB. 27 Matt Geraghty Project MIDNIGHT

Starting March 1st Set Times Will Be 8 and 10 PM
MARCH SCHEDULE

MARCH 1 STANLEY JORDAN
WITH THE LES PAUL TRIO AND SPECIAL GUESTS
LOU PALLO – GUITAR, JOHN COLIANNI – PIANO, NICKI PARROTT – BASS

MARCH 2 Tony Middleton & The Barry Levitt Band 8 & 10PM

DOUBLE BILL
WED. MARCH 3 E.J. Strickland Quintet + Kendrick Scott Oracle 8 & 10PM

MARCH 4-7 DELFAYO MARSALIS

MARCH 5 Danny Fox Trio MIDNIGHT
Danny Fox-Piano, Chris van Voorst van Beest- Bass, Max Goldman-Drums

MARCH 6 Jake Hertzog MIDNIGHT
Jake Hertzog – Guitar, Harvie S – Bass, Victor Jones – Drums

MAR. 8 THE LES PAUL TRIO 8 & 10PM
LOU PALLO – GUITAR, JOHN COLIANNI – PIANO, NICKI PARROTT – BASS
WITH SPECIAL GUEST TBA

MARCH 9 Misha Piatigorsky Octet 8 & 10PM

DOUBLE BILL
March 10 Keyon Harrold Quintet + Tim Green Quintet 8 & 10PM

MARCH 11 PUCHO AND THE LATIN SOUL BROTHERS

MARCH 12-14 EDDIE PALMIERI/BRIAN LYNCH BAND

MARCH 13 Caleb Curtis Quintet MIDNIGHT

MAR. 15 THE LES PAUL TRIO 8 & 10PM
LOU PALLO – GUITAR, JOHN COLIANNI – PIANO, NICKI PARROTT – BASS
WITH SPECIAL GUEST TBA

MAR. 16 - LINA KOUTRAKIS 8PM & 10PM

DOUBLE BILL
March 17 J.D. Allen Trio + Marcus Strickland Trio 8 & 10PM

MARCH 18-21 Adam Rogers Quintet
Kevin Hays- Piano
Adam Rogers- Guitar
Chris Potter- Tenor Sax
Scott Colley- Bass
Clarence Penn- Drums

MAR. 19 - HAL WEARY QUINTET MIDNIGHT

MARCH 20 The Mike Rood Communion MIDNIGHT
Mike Rood – guitar, Mike Bjella – sax, TBA – bass, Colin Stranahan – drums

MAR. 22 MARTIN TAYLOR THE LES PAUL TRIO 8 & 10PM
LOU PALLO – GUITAR, JOHN COLIANNI – PIANO, NICKI PARROTT – BASS

MAR. 23 - GREGORIO URIBE BAND 8PM & 10PM


DOUBLE BILL
March 24 John Escreet Project + Logan Richardson 8 & 10PM

MARCH 25-28 FREDA PAYNE’S TRIBUTE TO ELLA FITZGERALD

MAR. 26 - JEB PATTON TRIO MIDNIGHT

MAR. 27 - GREG DIAMOND GROUP MIDNIGHT

MAR. 29 THE LES PAUL TRIO 8 & 10PM
LOU PALLO – GUITAR, JOHN COLIANNI – PIANO, NICKI PARROTT – BASS
WITH SPECIAL GUEST TBA

MAR. 30 - TERESE GENECCO & HER LITTLE BIG BAND 8PM & 10PM


SCHEDULE SUBJECT TO CHANGE

www.jazzpromoservices.com

Jazz Xprss: CD Reviews

Featured:

Roberto Magris & the Europlane Orchestra - Current Views (Soul Note);

As if we hadn't already run out of superlatives in relation to the imagination, warmth and sheer musical drive of pianist Roberto Magris, he again ups the ante with his latest, Current Views. This one features familiar and new cohorts from his Europlane Orchestra. Together they take the listener on an exhilarating ride through just over an hour's worth of originals, though clearly inspired by jazz heroes such as Ellington (Dukish Mood)and Coltrane (For Naima, not actually dedicated to the legend's first wife)The skillfully meandering opener, The StoryTeller and the propulsive "React" are standouts. Well worth the time.

Ray Gaskins - A Night In the Life (Expansion Records)
Ray Gaskins has lived a few lifetimes as jazz/r&b soul sideman and leader, between gigs with Roy Ayers, disco diva Jocelyn Brown and the late great Phyllis Hyman. The Baltimore native puts the mileage to great use on this convincing melange of styles, encompassing soul, funk, and even gospel in good measure. all are buoyed by Gaskins' driving sax wail, and an unavoidable sense of joy - as well as gratitude - for life lived and for the adventures to come.

Benjy Myaz - You've Got Me (MyWerks Music)
enjy Myaz is oneof the leading musical exponents out Jamaica, and though he made his commerical name with homegrown audiences on the strength of vocal ballads such as Intimate Relationship and Randi Crawford's Love You Higher, its Myaz the instrumentalist that comes to the fore here, and to mostly good effect. His covers of the Emotions Don't Ask My Neighbour and Marvin Gaye's What's Goin On are tasty, and Love You Higher gets the instrumental treatment just for good measure. The recording sounds a little top-heavy to these ears, but overall a good product.

Jackie Ryan - Doozy (Open Art)
An aptly named disc, the latest from Jackie Ryan is as easy on the eyes as the singer is, and just as easy on the ears. Ryan ranges with a calculating abandon through a diverse territory of standards and contemporary tunes in English, Spanish and Portuguese(the latter two with even greater intensity than the English), interesting given her own mixed ancestry. The sensuality on such come-ons as "Do Something" is inviting and breezy, without ever becoming cheap or frivolous. A first-class vocal exercise in a very attractive package.

Jazz & Blues 2010 opening nite

"GOOD AYERS" AND COVERS APLENTY ON JAZZFEST OPENER

The Gardens of the Pegasus are no strange ground for live music, improvised and otherwise, and the expanded format Jamaica Jazz and Blues festival turned to the tried and true for the staging of its kick-off for 2010. The fare was mostly tried and true as well with pop covers abounding.The band In2Nation opened at 7:20 with "so Amazing, the first in a medley that took in snips of 3rd World's "Reggae Ambassador" Steel Pulse's "Steppin Out" before Norma Brown-Bell took the stage with apologies for the late start.

Nattily dressed in a white suit, Rico Suave belted the opening lines of Lou Rawls' "You're gonna Miss My Lovin" before stepping up to face the audience. He preceded his next tune Ben E King's "I WHo Have Nothing" witha hypothetical plea for the ladies to support those men who are low on funds in this time of recession.

Suave's "Covers Parade" earned its first noticeable 'forward' when he raised Michael Jackson's "Human Nature" and he exited on a higher plane than when he entered.

Noddy Virtue continued the covers trend, opening with Jimmy Cliff's "Trapped" (made famous by Bruce Springsteen) immediately setting the stage alight with his trademark intensity.
He next delivered "breakfast in Bed" and then an original "mistaken Identity"

Fellow Rising Stars alumnus Jodiann Pantry was waiting in the wings, and he called her on to do their hit collaboration, a cover (of course) of Bon Jovi's "Bed of Roses". Pantry was more than up to the task, her voice sounding even more powerful and capable (despite a bit of a Beyonce lilt that appears to have become prominent in her delivery) than during her Rising Stars stint.

Roslyn strated off funky, with Faith Evans' "Mesmerize"before going sultry with "Two Kisses Away". Gave props to Beres hammond ("one of our best male singers -bar none," she said) with "Love Means...." and even the obligatory Marley tune (in this case "Could You Be Loved") was given a high-energy kick by vocalists and band alike.

Sax man Tony Green reprised the earlier-performed "Human Nature" on his instrument
Fausto Papetti's evergreen "Jambalaya" preceded the entry of Harold Davis, who joined Green to deliver the Stylistics' "Stop-Look-Listen to Your Heart" from Green's appropriately titled forthcoming CD, "Covers" and he capped with "Little Red Shoes" the Parker standard that has become something of a signature for Green as well.

Bassist-gutiarist-vocalist Benji Myaz then entered to a cascade of bells, which eventually gave way to his trademark guitar sound and the opening of the hit "Love Will Find A Way" swirling with horn and key breaks, segueing seamlessly into Marvin Gaye's "What's Goin' On". Scatting through this tune was the first concession made to what was otherwise a full instrumental session.

It deepened with a suitably raucous dub exercise , before Myaz brought topical subject into the mix: Haiti. His "I Feel Your Pain" was written in the early hours of Monday morning and recorded Wednesday of that week. A suitably spare tune, it allowed Myaz to share his compassion and feeling for our neighbours to the east.

A lighter feel ensued with his fluid cover of Bobby Caldwell's "What You Won't Do (You'll Do For Love)" and then went into "My Father, My Friend". Of course, he could not perform in Jamaica without doing "love You Higher" ably supported by Nicholas Laraque on saxophone. The audience was ready to sing along even before he prompted them.

The opening act dressed in white, and veteran vibraphonist Roy Ayers(proudly declaring that he was 69 years old), the headliner, was a visual counterpoint, dressed in full black. He opened with "In Time We Will Be One" a mid-tempo smooth number, with good support from the entire band, but particularly saxophonist ray Gaskins and drummer ...

He followed with the funky "Don't Stop The Feelin'" (with more incendiary sax work from Gaskins) before dedicating his first major hit "Everybody Loves The Sunshine" to those "living in a sunshine environment".

The sultry "Baby You Got It" followed, with vocalist ... putting his superb falsetto to work.

After a brief "Happy Birthday" to one of the band members, Ayers did a couple of tunes from his early CD "Evolution"( including "Top of the world" "Runnin Away" and the title track. On the introspective yet expressive "The third Eye" Ayers expounded in spoken word. .... (popularized by rapper Busta Rhymes as "Put Your Hnds Where My Eyes Can See")saw Ayers taking command unleashing solo after intense solo.

Too intense for a considerable number of patrons, who departed intermittently throughout the set. Those who stayed were richly rewarded by a super performance form a band truly at the top of its funk-pop-r&b instrumental form.

The festival unfolds at various venues over the next several days.

Gerald Wilson & Orchestra

http://www.youtube.com/watch?v=-3vD3Vl_C6k

THE JAZZMOBILE THAT JACQUES BUILT

Jazz is a medium best enjoyed live, and for a jazz band performance to be enjoyable, the band has to function similar to the engine of a high-end sports car: not only do the components have to function well individually with repeated high demands, but the individuals must function perfectly in tune to the other parts, ready to roll with the split-second shift of gears and the subtlest changes in tone and direction.

With the intimate lawn of Grosvenor Galleries in Manor Park as his “course” saxophonist Jacques Schwarz-Bart took the audience for a welcome spin through contemporary jazz spiced with Caribbean rhythms and inflections. Arguably unknown to most prior to his performance, the artists, who has performed with the likes of modern soulster D’Angelo and trumpeter Roy Hargrove, made a powerful statement for celebrating music and life on Saturday night.

The five-man combo was something of a mini-United Nations, with two Serbians, a Brazilian, a Puerto Rican and the leader himself, born in Guadeloupe, raised mostly in Europe and now based in New York City (as are all the musicians). They demonstrated that combination of individual virtuosity and collective simpatico that is critical to making the music come alive.

And come alive it did. After a brief spoken word intro, in which eh urged the audience to spare a thought for the people of Iran (fighting to establish a ‘real’ democracy) he led the band into selections from his last two CDs, Sone Ka La and Abyss. Dominated by the infectious poly-rhythms of gwo-ka (an indigenous Guadeloupean form played largely with hand drums), the tunes had hips swaying, fingers snapping and hands clapping, as the celebratory mix and the obvious joy of the players seeped into the crowd.

By night’s end, with the band having played two sets, the party was well and truly on at the final number with patrons willingly abandoning their chairs and dancing in the soft lush grass.

Earlier in the evening, the focus (at least on the leader part anyway) shifted to strings. Maurice Gordon functioned as a kind of “special guest” along with a young trio that gave good support on numbers like “Oleo” “Irie Moods” and the opener, “All Blues”. Before Gordon, Benjy Myaz (whose new album drops very soon) led the audience on a journey through contemporary r&b, pop and reggae.

The entertainment began in the afternoon, with 16 acts who had pre-booked for the Open Mic segment showcasing their talents for the audience. The Fete De Musique is a global celebration co-ordinated by the offices of the Alliance-Frnacaise in each country. The event is also included in the roster of the Kingston on the Edge arts festival - steadily growing in both quality and quantity in its third year. Many more music and arts events remain over the next several days

But for now, Jamaicans can celebrate the building of some new bridges through music and the visual arts , which is what those things were intended to do in the first place.

Vol. 5 # 11: Anticipating Jazz month, Stanley Clarke goes unplugged & more

I

EDITOR'S NOTE: yes, the issue is late, andfor that I apologize. Its hard maintaining a reg schedule when you're also moving into a new home, moving a new relationship to another level, etc, TMI
Anyhow, better late than never. Enjoy and please let us have your comments

Mike Edwards

n this issue:

- June is Jazz month;

- What is Jazz?: A history and time line

- blogging jazz (the first 5 years);

- Stanley Clarke's Jazz in the Garden reviewed;

- Live review: Christopher's Jams

- lOok out for: Sunday Lyme


OCHO RIOS JAZZ '09: THE WHO

Following our previous news line cocnerning the provisional jazz programmes, here is a

http://www.jamaicaculture.org/jazz/artists.html

Festival Performers
Marie Claire (Dominican Singer)
Marje Whylie (Jamaica)

Wayne Batchelor (bass)
Harold Butler, Leslie Butler (Miami)
Andre Campbell (Jamaica – piano)
Foggy Mullings, Myrna Hague, Obeah Denton
Jon Williams
Peter Ashbourne
Ozou'ne
Courtney Sinclair
Kathy Brown; Byard Lancaster (Sax/Flute) Sonny Bradshaw
Desi Jones & Skool
Calvin Mitchell (Congas)
Ouida (Percussion)
BLUES MESSENGERS (Philly)
LISA CHAVOUS
MAX KLEZMER BAND (Poland)
Desi Jones Skool & Karen Smith (Mutabaruka Jazz)
Lisa Chavous & Byard Jazz (Philly)
Max Klezmer Band (Poland)
Keith Waithe Macusi Players (England)
Community & School Band Finalists
Fab 5 Inc - The Ska-Reggae Revival & Junior Soul
Jamaica Big Band


Leadingthe overseas charge are Byard Lancaster, with Lisa Chavous, Keith Waithe Macusi Players (UK) and the Max Klezmer Band (all the way from Poland)

A VEHICLE WITH NO TERMINAL”: FIVE YEARS OF BLOGGING JAZZ

It was back in 2004, shortly after the Air Jamaica Jazz & Blues Festival that year, that inveterate Web surfer and “incurable music aficionado” Michael Edwards, came across a link (“It might have been an ad on another site, I don’t remember now”) that would change his life.

That link, to Blogger.com, then an independent site (subsequently acquired by Google), offered the music journalist the opportunity to set up the equivalent of a web page on jazz at no cost, the major input being time and the sourcing and organization of content.

He jumped at it and the blog debuted in July 2004 as jazzofonik jamaica (“Jazzofonik” being a name he had already coined for himself), then changing about two years ago to Jazz First and now (since March of this year) evolving to Jazz Buss. “I added the extra “S” to convey the Jamaican sense of the music ‘getting a buss’ in terms of popularity, and also to align with the ‘double z’ in jazz” he explains.

For a time, Edwards also ran the blog in tandem with ‘Jazz Notes’ a weekly column he initiated and wrote while at the Jamaica Observer. His work has also appeared in the US magazine, Jazz Times, as well as the premier website, allaboutjazz.com. Occasionally, at events like Jazz in the Gardens and Seh Supmn Poetry, he also spins music from his own collection (not limited to jazz) under the moniker DJ-E and the Unpopular Uprising.

Edwards, who styles himself as “an advocated for the music” is pleased to see the growth in support for live musical performances, and for a greater diversity of genres being presented under the banner of live music. As MC of the growing twice-weekly “Live Jammin’ @ Christopher’s (previously Live Music Nation) at the New Kingston nightspot, he’s seen some of those changes first-hand. Even though the series ventures way beyond jazz, its still, Edwards says, a heartening development.

Against that backdrop, his biggest disappointment - the negative disposition of the media and the electronic media in particular to jazz – is even further magnified. “With precious few exceptions, broadcast media in Jamaica has left jazz for dead. With 18 radio stations, it’s just a disgrace that the same country that produced the Skatalites, Ernie Ranglin, Monty Alexander, Harold Butler and so many more does not have a single station dedicated to improvised music.”

The genre, he adds is struggling even in the US, with radio stations either closing down or dropping jazz from their programming, and also long-established jazz venues closing their doors – and that was even before the current recession.

But one big bright spot has been the World Wide Web, where the genre has practically exploded. Sites like My Space, jazztimes.com and the aforementioned allaboutjazz.com as well as Web streaming and radio outfits like last.fm and jazzradio are helping to push the music to the four corners and –more importantly – bring aficionados from around the globe together in the virtual space.

For his own part, his involvement with jazz as a journalist and blogger have taken him to events and festivals in Atlanta, Miami, St Lucia and Barbados, as well as annually to the Ocho Rios Jamaica Jazz festival and the former Air Jamaica Jazz and Blues festival (now Jamaica Jazz & Blues), with Toronto, New York and possibly Italy beckoning this year.

Assessing the last five years, Edwards, who continues to write features freelance, as well as promote music events is “Its been a good run, considering that this is unpaid, unsponsored labour done almost totally on my own steam, but the first five years are really just the warm-up,” he says. “My advocacy for jazz is about to enter a whole new phase, a phase where we more fully exploit the connections the Web makes possible.”

Thus, the Jazz Buss, Edwards says, is a “a vehicle with no terminal. It will stop, but it never parks.”

568-5638/321-0402
liveplug22@gmail.com
www.jazzofonik1.blogspot.com

CD Review
Artist: Stanley Clarke Acoustic Trio
Title: Jazz in the Garden
Label: Heads Up

players: Stanley Clarke (bs); Hiromi(p) Lenny White(dr)

A stroll in the Park

Its somewhat hard to bleieve that Stanley Clarke never recorded an acoustic album asas leader before now. of course, he's well known for his varied exploits on electric bass (most recently in tandem with fellow virtuousos Marcus Miller and Victor Wooten, as SMV), but one somehow always assumed that Clarke had cut his teeth as an acoustic bassist (which he did), and therefore had already established his credentials on the instrument with a recording under his name.

As it turns out, there's little for Clarke to prove as a player, a question settled by any one of the tracks on this CD. He ropes in old friend Lenny White on drums in the Japanese 'whirlwind' Hiromi, he has drafted a young but rapidly maturing player who has already fulfilled the promise of her prodigious talents displayed on her opening albums (Another Mind, and Brain)

The three combine well, especially on Sakura, Sakura and on Global Tweak (the latter a piano-drum duet). But its the catalog songs - Ellington's "Take The Coltrane" Joe Henderson's "Isotope" and Miles Davis' "Solar" that are most engaging. Somewhat less so, but clealry well-intentioned, is a cover of the Red Hot Chilli Peppers' "Under the Bridge" which closes the CD. There, Hiromi shunes, but Clarke sounds like has picked upa an electric bass during the session.

Whether or not, its an enjoyable session from the maestro, and one hopes there'll be more "Garden " excursions for this group.


Recommended from the Web:www.jazzonthetube.com - classic jazz videos from all the greats
www.globaljazznetwork.ning.comThe Jazz Network Worldwide is now opening its doors to the artists that would like to submit one tune for compilation CD's that will be offered as an artistic collective in all genres of Jazz.

For those of you that are interested in being considered, please send the one song that you would like to submit to jaijai@womanofjazz.com and share what catagory of jazz it falls under along with your CD cover in jpg format and bio. Note in subject: JAZZ COMPILATION - STRAIGHT AHEAD (or whatever sub-set you fall under) so I can catagorize when received.

This process allows for us to virally market all the members in The Jazz Network, it allows for us to virally promote each other and the compilation set forth. TJWN has a promotion designed just for this effort as well.

There will be further instructions as to how the CD's will be distributed and the necessary legal paperwork will be issued that states your involvement, compensation and distribution once your music has been selected.

10% of the proceeds of each compilation CD will go to jazz musicians in financial duress whether that be with physical ailments, or just plain everyday needs that one would struggle through. This portion of the revenue will be handled accordingly through a non-profit organization that we couple with that supports these types of situations. I believe we have to help and heal each other through our gifts, music, skill sets and most of all 'heart'.

WHAT IS JAZZ?


The music called Jazz was born sometime around 1895 in New Orleans. It combined elements of Ragtime, marching band music and Blues. What differentiated Jazz from these earlier styles was the widespread use of improvisation, often by more than one player at a time. Jazz represented a break from Western musical traditions, where the composer wrote a piece of music on paper and the musicians then tried their best to play exactly what was in the score. In a Jazz piece, the song is often just a starting point or frame of reference for the musicians to improvise around. The song might have been a popular ditty or blues that they didn't compose, but by the time they were finished with it they had composed a new piece that often bore little resemblance to the original song. Many of these virtuoso musicians were not good sight readers and some could not read music at all, nevertheless their playing thrilled audiences and the spontaneous music they created captured a joy and sense of adventure that was an exciting and radical departure from the music of that time. The first Jazz was played by African-American and Creole musicians in New Orleans. The cornet player, Buddy Bolden is generally considered to be the first real Jazz musician. Other early players included Freddie Keppard, Bunk Johnson and Clarence Williams. Although these musicians names are unknown to most people, then and now, their ideas are still being elaborated on to this day. Most of these men could not make a living with their music and were forced to work menial jobs to get by. The second wave of New Orleans Jazz musicians like Joe "King" Oliver, Kid Ory and Jelly Roll Morton formed small bands that took the music of these older men and increased the complexity and dynamic of their music, as well as gaining greater commercial success. This music became known as "Hot Jazz", because of the often breakneck speeds and amazing improvised polyphony that these bands produced. A young virtuoso cornet player named Louis Armstrong was discovered in New Orleans by King Oliver. Armstrong soon grew to become the greatest Jazz musician of his era and eventually one of the biggest stars in the world. The impact of Armstrong and other Jazz musicians altered the course of both popular and Classical music. African-American musical styles became the dominant force in 20th century music.

JAZZ TIMELINE

African Roots
Jazz is a mixture of many types of music. However, jazz's roots can easily be traced back to African origin. Unlike European music, the African music was based on simple melodies and complex cross-rhythms. Classic European music differed in that it was based on complex melodies and simple rhythms. The African music also featured a lot of slurs, vibrato, syncopated rhythms, and "blue notes". These blue notes were neither somewhere between the half steps. An example would be a note that was neither B nor B flat. Instead it was somewhere in between. Their music was mostly sung. The songs they sang were mostly spirituals or just tunes to ease the pain and boredom of hard labor. Jazz has been defined as the continual fusion of African and European music.

1890-1899
The term "Ragtime" was first used in 1883 by Fred Stone in the title of his song "My Ragtime Baby". By 1897 ragtime was the craze.

In 1899 Scott Joplin presents some of his own ragtime tunes to a publisher. Shortly after it was turned down by another publisher,

John Stark publishes "Maple Leaf Rag" for Joplin. In one year the song sells over a million copies.

1900-1909
The blues becomes a standard feature on honky-tonks and dance halls. Horn players begin to experiment with their sounds by imitating the human voice with growls and mutes.

At the end of the Spanish-American War there is an abundance of used military band instruments, especially in New Orleans. The New Orleans players play a mix of everything from blues, brass band music, and ragtime, to marches, pop songs, and dances.

At the same time, many people are migrating north to cities such as Chicago, Pittsburgh, and Detroit. The music travels with them.

Also during this time the phonograph is drastically improved. This allows the music to spread even easier as more and more people are buying phonographs and records.

In 1908, Columbia Records produces the first two-sided disc.

1910-1919
In 1910 the old Ragtime music is still popular, but sadly its popularity is on a decline. The dance craze starts. Dances like the Foxtrot become popular.

In 1914 W.C. Handy writes "St. Louis Blues". This becomes a tremendous hit as the Blues is also going full tilt.

Also between 1910 and 1920 , 12-bar form of the blues, based on the 1-4-5 chord progression becomes standard in order to make it easier to understand, notate, and play the Blues along with establishing a form and harmonies the players can work with.

In 1916 Daniel Louis Armstrong begins playing for $1.25 in bars in Storyville.

In 1918 he is hired by Kid Ory to replace Joe "King" Oliver on cornet.

1920-1929, The Jazz Age
Mamie Smith records the first ever recorded blues - "Crazy Blues". This signals the start of the Classic Blues craze of the 1920's.

Over 40 well known jazz players move to Chicago from New Orleans. In New York, speak-easys become numerous and in turn offer numerous opportunities to jazz musicians.

In 1923, Jelly Roll Morten sits in with the New Orleans Rhythm Kings and helps to break down the color barrier.

By 1927, Coleman Hawkins loses his "slap tongue" style of playing tenor sax. He starts improving by using the notes of chords in the song instead of just basing the improv on melodies in the song (what had previously been done). This new style is not as coherent, but it is a big step leading to more modern forms of jazz.

1930-1939
In 1930 Armstrong swings harder than ever.

In 1931 he records "Stardust". The same year, the young Charlie Parker is given his first alto saxophone by his mother.

In 1932 Duke Ellington records the classic "It Don't Mean a Thing if it Ain't Got That Swing".

Also in the 1930's, jazz begins to develop its own spoken language. New terms and phrases are being used. Examples include hot, break it down, freak lips, my chops are beat, boogie man, and chill ya.

1940-1949
The 1940's bring even more new styles. Dizzy Gilepsie starts using major thirds over minor changes when he records "Pickin' the Cabbage" in May of 1940. Parker and Gilepsie occasionally start and end phrases on the 2nd and 4th beats while the standard beats to end and start on are the 1st and 3rd. It is called playing "offbeat". At this time Jazz is moving in two distinct, yet opposing directions. One is a New Orleans revival called Dixieland and the other is bebop (also known as rebop or bop) which is born in New York City. Also, rhythm changes are bigger. Fast songs become faster while slow songs become slower.

Another great acheivement of 1941 was when Roy Eldrige joined drum player Gene Krupa's band becoming the first black performer to be accepted into a white big band.

In 1942 a recording ban limits the recording of the young bop movement. However, the music is becoming better recognized as a new type of music. The strike ends in 1944.

In 1946 the first vinyl record is produced. By '45 the clarinet is nearly out of the picture when it comes to jazz. This is mostly due to the saxophone's influence in the band. Even brass players are forced to take notice as the sax becomes king.

Also by the 1940's, jazz has developed into many different styles of music. Bop, trad, swing, cool, and dixieland are all being played. Latin music is also influencing jazz.

1950-1959
March 4, 1955 - Charlie Parker performs in public one last time in Birdland. On the 12th he dies of heart seizure, hemorrhage, and general bad health. He dies watching the Tommy Dorsey band on television. His last comment is that Tommy Dorsey sounded great. Many of the old Bop greats are dead - many from drug use such as heroin.

Free jazz is ahead.

In 1959 Bill Evans, Miles Davis, and the rest of the Davis group record "Kind of Blue". This is the first song to ever feature truly modal Jazz. Modes brought back improv to the melody line. At the same time, Coltrane is exploring polytonality by playing a melody in one key above the chord sequences in a different key.

1960-1969
Free Jazz and black rights somehow become intertwined. At the same time, free jazz and modal jazz are pushing bop further and further away and out of view. Soul jazz is beginning.

In 1967 Gary Burton, Jeremy Steig, Larry Coryell, the group Soft Machine, and others toy with the idea of a kind of jazz-rock fusion.

1970-1979
In 1971 Louis "Satchmo" Armstrong dies. Then, in May 1974 Edward "Duke" Ellington dies.

The Disco dance craze is on the rise.

January 5th 1979 – bassist Charles Mingus passes away in Mexico at the age of 56. Supposedly, on the same day in Mexico 56 whales become beached on the shore.

Gil Scott Heron starts experimenting with a new type of music that – with the influence of Jamaican “toasting” or DeeJaying, will be called rap.




1980-1989
The SONY "Walkman" becomes popular and helps to change the publics attitude to listening to music in 1981.

Thelonius Monk dies in February 1982.

In 1983 the CD is introduced, sparking a huge nostalgia for many different types of music, including jazz. By 1987 they become very common place in record stores. The vinyl records are thought to become obsolete, but their revival is ahead.

1990-Present
1992 brings a new form of jazz called acid jazz, combining elements of R& B and funk with jazz.

In 1995 jazz is beginning to show up more throughout the media and popular culture – in advertising in movies and TV shows and in other references.
Today there are many bands out there keeping the tradition alive. Many are ghost bands like the Tommy Dorsey Orchestra. Others are young groups. Many of them play a Ska-Jazz mix. .



Look Out for:
Sunday Lyme
5-7 Roosevelt Avenue (now Herb McKenley Blvd), leading out from the Stadium entrance
From 6pm till about midnight.
starting June 28, 2009
FREE! NO COVER CHARGE - Refreshments on sale; recorded jazz as well as live performance by an eclectic mix of acts


Next issue online:June 16 - we wrap-up the Ocho Rios Jazz fest & more