Showing posts with label Jazz World News. Show all posts
Showing posts with label Jazz World News. Show all posts

Monday, January 16, 2012

R.I.P. Sam Rivers

The great multi-instrumentalist, composer and bandleader Sam Rivers died Monday, December 26 at the age of 88. Rivers' death makes for the third important jazz figure to pass in the final months of 2011, along with drummer Paul Motian and trombonist/composer Bob Brookmeyer.

To celebrate Rivers' legacy, we are featuring him on the AccuJazz Saxophone channel. Along with the usual lineup of hundreds of jazz saxophonists of every style and era, you'll hear an extra large dose of Rivers' playing. We've included his well-loved 1960s Blue Note output as well as his adventurous big band work and albums where Rivers appears as a sideman with artists like Miles Davis, Bobby Hutcherson and Dave Holland.

Whether playing swinging post-bop with organist Larry Young or grand-scale avant-garde jazz with his own Studio Rivbea Orchestra, Rivers always played the saxophone (or flute, or piano, or whatever else was in his hands) with strikingly clear articulation and sonic focus. His music reflected a rigorous and uncompromisingly unique vision, whether creating stirring improvisations seemingly out of thin air or constructing intricate soundscapes for other musicians to interpret. His idiosyncratic composition style, which fused complex written material with free improvisation, influenced generations of adventurous jazz musicians including Steve Coleman and Jason Moran.

For a musician often affixed with the "avant-garde" label, Rivers was quite versatile: he played with bebop pianist/composer Tadd Dameron early in his career, played briefly in Miles Davis' renowned 1960s quintet, and even toured in Dizzy Gillespie's band. There is also a broad stylistic palette among music recorded under his own name. Consider the gorgeous melodicism of 1964's "Beatrice" (Rivers' most famous composition) and the frenetic energy of "Capricorn Rising," a 1975 album co-led by Rivers and pianist Don Pullen.

While many octogenarian jazz musicians find their skills steadily waning, Rivers was arguably still playing at his peak up until his death. He spent the last two decades of his life in Orlando, where he led a version of his famed Rivbea Orchestra. This video of a 2010 performance by that group displays not only Rivers' vital sax playing, but his continued compositional ingenuity and playful rapport with his band. Isn't it just great to see an old guy so happy doing what he does?



Enjoy our Sam Rivers feature on the Saxophone channel and look below for further reading:

-Nate Chinen's obituary in the New York Times
-Peter Hum's blog post, with some great videos
-Hank Shteamer's post, with recommended listening

Here's the list of albums featuring Sam Rivers to listen for on the Saxophone channel:

As a leader

-Fuchsia Swing Song
-Countours
-Dimensions and Extensions
-Crystals
-Culmination
-Celebration
-Violet Violets

As a sideman

-Miles Davis: Miles in Tokyo
-Larry Young: Into Somethin'
-Bobby Hutcherson: Dialogue
-Tony Williams: Spring
-Dave Holland: Conference of the Birds
-Don Pullen: Capricorn Rising

Wednesday, July 27, 2011

R.I.P. Frank Foster

Frank Foster, a veteran saxophonist, composer, arranger and bandleader, died in his sleep Tuesday morning. He will primarily be remembered as a pillar of the Count Basie band during its celebrated "New Testament" period from 1953 to 1964, but Foster maintained a busy schedule of recording and touring as both a leader and sideman throughout his life. Besides his work with Basie, Foster worked with a who's who of jazz legends including Thelonious Monk, Elvin Jones, Ella Fitzgerald, Milt Jackson and Sarah Vaughan.

Foster's great contributions to the Count Basie Orchestra in the '50s and '60s led to his taking over as the band's leader after Basie's death two decades later. Foster also led his own ensemble called the Loud Minority Big Band which was something of a labor of love throughout his career. On his motivation for starting a big band, Foster said, "I have to make a statement with a big band, or there ain't going to be no statement."

A handful Foster's compositions, notably "Shiny Stockings," "Simone," and "Blues in Hoss Flat," have become well-loved and oft-played jazz standards, especially among high school and college big bands.

News of Foster's death comes a year after some good news for the Foster family: after nearly 5 decades of missing out on collecting royalties for "Shiny Stockings," his most famous composition, he won back the rights to the song. Now, Frank Foster's family will continue to benefit from his legacy by collecting royalties after his death.

The jazz press and blogosphere has already produced a number of worthy obits and tributes to Foster. Click on the links below:

-The New York Times
-NPR's A Blog Supreme
-Some great YouTube selections from Jim Macnie
-A personal remembrance from Doug Ramsey

Monday, November 29, 2010

Help Jazz! With HelpJazz.com

Big challenges require big action. That's why the young fellows at Search and Restore, a New York jazz community website and concert promotion operation, are trying to raise $75,000.

The big challenge, in this case, is expanding the audience for current, vital, creative jazz. The big action they're proposing is an epic video documentation of the jazz scene in New York and the expansion of their website as a hub of the jazz community.

If anyone is able to pull off something like this, it's the folks at Search and Restore. A small team of idealistic 20-somethings, they've staged countless cutting edge jazz concerts in New York and their website is the source for info on the NYC jazz scene. Their grand plan involves filming 4 concerts a week for an entire year(!) Read all about it on their fundraising website, HelpJazz.com. Or you could watch the founder's appeal right here:


I, along with hundreds of others, donated some money to their cause, but they're still a long way from their $75,000 goal, with only a week left. These Kickstarter fundraising campaigns are all-or-nothing affairs: if they don't reach their goal by next Monday, the 6th, then all the donors get their money back and the project is unfunded.

In another characteristically big move, Search and Restore is putting on a benefit concert tonight unlike any other. It will be a series of duets featuring such A-list musicians as Don Byron, Christian McBride, Ben Allison, Matt Wilson, Avishai Cohen, Theo Bleckmann, Henry Grimes and others. I'm sure they'll get a big turnout at the event, and I hope it results in some strong donations. If you're not in New York (and not at this gig in Chicago), then you can watch the all-star jazz duet madness via live streaming webcast at http://www.watchitoo.com/searchandrestore.

Donate! Now! at HelpJazz.com

Thursday, July 9, 2009

AccuJazz News: Roll-Out Continues With "Nothin' But the Blues"







This week's new channel is a unique one: the common element among its hundreds of songs is not a style, decade, region, instrument, age range (Emerging Voices), gender (Women of Jazz), or inclusion in a famous photo (A Great Day in Harlem), but a chord progression. Not just any chord progression, but the end-all-be-all of jazz chord progressions: the 12-bar blues.

Granted, not every "jazz" version of a blues song has the exact same chord progression, but the basic underlying structure is the same, and it's amazing how much variation there is to be heard in the hundreds of tunes playing on our channel. There's early New Orleans jazz (King Oliver's "West End Blues," for instance), fiery bebop (Bird's "Au Privave," "Bloomdido" or "Relaxin' at the Camarillo") and all sorts of post-bop blues compositions, like Wayne Shorter's enduring "Footprints," George Russell's "Stratusphunk," and any number of more modern and adventurous blues-based creations from musicians like Brad Mehldau, Anat Cohen, Conrad Herwig, Dave Holland, Jason Moran and John Scofield.

The aforementioned Stratusphunk is not actually playing on our channel (yet) but was introduced to me via Twitter by the extremely talented composer/band leader Darcy James Argue and I found a great video of the harmonically adventurous George Russell tune on youtube.

Please let me know what your favorite blues heads are, and I'll try to make sure we're playing them. Mine are: Blue 7 (Sonny Rollins), Turnaround (Ornette Coleman), Blues In Blueprint (Duke Ellington), Bolivar Blues (Thelonious Monk), Footprints (Wayne Shorter), All Blues (Miles Davis), Isotope (Joe Henderson), Misterioso (Monk, again) and Sandu (Clifford Brown). Check out the channel right now and listen for these and literally hundreds more.

More Good News:

On the heels of yesterday's good jazz news post, I came across another good news story happening right here in Chicago. A non-profit organization called Urban Aspirations has been putting on weekly jam sessions at a southside restaurant called Sikia, and they're presenting a fundraiser concert Wednesday to raise money for another year of sessions. The concert will feature young trumpet phenom Corey Wilkes [pictured] (whose Cries From tha Ghetto is currently spinning on many AccuJazz channels) and local legend, pianist Ken Chaney.

The more I read about these jam sessions, the more intrigued I am and the more I want them to keep going on. Read this blog post and this news report about the last session and you'll get an idea of how big an impact this sort of thing can have in local kids' lives. There really are zero opportunities for young south side musicians to go jam, so this place is offering an essential service that will could very well launch some potentially important careers. If you want to attend Wednesday's fundraiser, hurry up and buy tickets here now, because tickets are only on sale through tomorrow, July 10.


Wednesday, July 8, 2009

Jazz World News: Why Don't They Ever Tell Us About the Good News?







I don't do a whole lot of blogging that isn't directly related to AccuJazz programming development, but this morning I feel so buoyed by a couple of good news stories that I wanted to let you all know about it.

The first bit of good news hit very close to home for me and my colleagues in the AccuRadio office: my boss, AccuRadio CEO Kurt Hanson, helped broker a deal yesterday between webcasters and royalty distributor SoundExchange that has ended the death knells for Internet radio. Read Kurt's own analysis here, where he writes, "Finally, for the first time ever, Internet radio stations have a royalty deal that is reasonably viable and extends for a reasonably-long period of time." Also read the New York Times report here (which uses a picture of Pandora CEO Tim Westergren instead of Kurt, who was more integral to the deal -- I guess Westergren has more star power).

For the last couple of years, webcasters like AccuRadio (which, if you haven't inferred by now, is the daddy of AccuJazz) have been worried that the current royalty rates would simply drive them out of business, effectively putting an end to Internet radio as a medium. Read this 2007 interview with Westergren where he decries the old rates and expresses fears of Pandora's demise.

With the new royalty rates, every one agrees that Internet radio as a business will be much more viable. This is good news for me, you, and the musicians playing on Internet radio.

The second bit of good news that brightened my spirits today is another about-face of a prominent bad news story: George Wein's Newport Jazz Fest got a sponsor, and he'll even be able to stage a New York Jazz Festival next summer. In case you didn't know, electronics manufacturer JVC sponsored the Newport and New York jazz festivals for decades and pulled its sponsorship this year, resulting in a fest-less New York this summer. So, there still will be no major jazz fest in NY this summer, but Newport 2009 will be financially viable and the NY fest will rise like a Phoenix next summer, all thanks to a new medical products company called CareFusion, who announced that they will be sponsoring a number of jazz festivals in coming years. Read the AP Report here, NYT here, and check out a video newscast on the announcement by NY1 here.

What strikes me about this deal is how quickly and unexpectedly it occurred -- just a few days ago Wein was in retirement, content to lose dough at Newport and stay out of the major festival game for a while, and now he has some brand new company that doesn't even market to the general public, pouring millions into an "International Jazz Festival Series." I'm kind of baffled by this -- what does CareFusion stand to gain? Their clients are doctors and purchasers at well-funded hospitals. They also list this year's Chicago Jazz Festival as a CareFusion-sponsored event, but I can't find any more info on this. Last I knew, U.S. Cellular was still the charter sponsor. At any rate, if you're a doctor and in a position to purchase CareFusion products, I encourage you to do so.

While this strikes me as good news, there are some who will likely be disappointed that Wein is being handed back the reins. For my part, I'm happy to see jazz musicians getting work and large amounts of people enjoying it. While there is still plenty of bad news for jazz lovers (see here, here, here), hopefully these two stories will lift your spirits a bit, like they did mine.

P.S. For all things Good News, you could always check out the Good News Blog. I don't think they have anything up about the jazz fests or the royalty deal though.

Wednesday, May 13, 2009

Jazz World News: Jazz in the White House







Not long after Barack Obama was elected president, jazz advocates were already writing open letters to him about bringing "America's Classical Music" back to the White House -- as Jimmy Carter had done. In 1978, Carter went so far as to say this to the group of jazz legends gathered on the White House lawn: "What you have given America is as important as the White House and the Capitol building." For a jazz fan, hearing those words from a president's mouth are every bit as exciting as the most exhilarating Coltrane solo.

Obama, seen here briefly mentioning his intentions to fill the White House with jazz music, among other things, wasted no time in fulfilling his promise. Wynton Marsalis, the face of jazz to many Americans, entertained Obama and guests on Inauguration night in the White House.

Jazz personalities Tony Bennett and Esperanza Spalding were part of a Stevie Wonder tribute held at the White House in February, and last night Esperanza made another appearance, at the White House's first Poetry Jam.

From the tiny snippet of footage here, it looks like she and pianist Eric Lewis performed some pretty complex, challenging wordless jazz, a far cry from the pop-oriented Wonder tribute at her last appearance.

The president has been really, really busy: trying to resuscitate the world economy, chart out new directions in two wars, and lay the groundwork for comprehensive reform in the areas of health care, education and energy, not to mention find a replacement for Supreme Court justice David Souter. But it's good to know that despite all this, he still took the time to open up his new home to a group of artists who deserve to be recognized.

Hopefully Obama and his event planners will soon learn about a few other jazzers besides Esperanza. Nothing against her (after all she is the postergirl for our new young artists channel, "Emerging Voices") but it seems a bit unfair that she gets TWO White House appearances when there are thousands of other talented jazz musicians, young and old, worthy of the same treatment. I'm not complaining, though. He'll get around to it, just like fixing the world economy and ending the war in Iraq.

Friday, December 5, 2008

2009 Jazz Grammy Noms are In


I might as well make a blog post about the recently announced jazz Grammy nominations... everyone else is doing it. A few comments from me, a not at all recognized authority on these types of things, but someone who has listened to a lot of jazz in the last year due to his job as an internet radio programming director:

A couple of noms that make me particularly happy (I like some others, too, but I don't have all day here):

Carla Bley - Appearing Nightly (Best Large Jazz Ensemble Album)

I was so happy when I heard about this release and got the high quality full-album download from the radio people at ECM. Carla Bley (pictured) is one of the great jazz composer-arrangers working today, and has one of the most distinctive points of view of any big-band composer in jazz history. This CD is full of her signature quirky arrangements and great performances by the members of her band. (I'm a particular fan of Billy Drummond's drumming behind Bley in the past few years).

Kate McGarry - If Less Is More... Nothing is Everything (Best Jazz Vocal Album)

McGarry's voice may take a little getting used to for folks who've only ever listened to Ella, Sarah, and Billie, but contains rich beauty for those willing to listen. Her nominated disc features a top-shelf backing band, with Gary Versace on organ and accordion, Clarence Penn on drums, Keith Ganz on guitar, Reuben Rogers on bass, and a special guest spot by tenor giant Donny McCaslin. What I really dig about this CD, and why I played it heavily on the main AccuJazz channel even when it wasn't making the best showing in the JazzWeek or CMJ jazz charts, was the inventive arrangements of contemporary songs. Her takes on Bob Dylan, The Cars and Crosby Stills and Nash are surprisingly tasteful and un-gimmicky. The playing by Versace and Penn is particularly sympathetic.

Nom that deserves a laugh:

Nominating two solos from the same live track? Terence Blanchard and James Moody are both nominated for their solos on the tune "BeBop" from the album Live at the 2007 Monterey Jazz Festival by the Monterey Jazz Festival 50th Anniversary All-Stars. I haven't heard the recording in question, but it just makes the voting members of the academy look lazy. I mean, really? Two out of the five BEST solos in all of 2008 are on the SAME SONG, from the SAME CONCERT?

Here they all are, copied and pasted in all their glory:

Best Contemporary Jazz Album
(For albums containing 51% or more playing time of INSTRUMENTAL tracks.)

  • Randy In Brasil
    Randy Brecker
    [MAMA Records]

  • Floating Point
    John McLaughlin
    [Abstract Logix]

  • Cannon Re-Loaded: All-Star Celebration Of Cannonball Adderley
    (Various Artists)
    Gregg Field & Tom Scott, producers
    [Concord Jazz]

  • Miles From India
    (Various Artists)
    Bob Belden, producer
    [4Q/Times Square Records]

  • Lifecycle
    Yellowjackets Featuring Mike Stern
    [Heads Up International]

Category 46

Best Jazz Vocal Album
(For albums containing 51% or more playing time of VOCAL tracks.)

  • Imagina: Songs Of Brasil
    Karrin Allyson
    [Concord Jazz]

  • Breakfast On The Morning Tram
    Stacey Kent
    [Blue Note]

  • If Less Is More...Nothing Is Everything
    Kate McGarry
    [Palmetto Records]

  • Loverly
    Cassandra Wilson
    [Blue Note]

  • Distances
    Norma Winstone
    [ECM]

Category 47

Best Jazz Instrumental Solo
(For an instrumental jazz solo performance. Two equal performers on one recording may be eligible as one entry. If the soloist listed appears on a recording billed to another artist, the latter's name is in parenthesis for identification. Singles or Tracks only.)

  • Be-Bop
    Terence Blanchard, soloist
    Track from:
    Live At The 2007 Monterey Jazz Festival (Monterey Jazz Festival 50th Anniversary All-Stars)
    [Monterey Jazz Festival Records]

  • Seven Steps To Heaven
    Till Brönner, soloist
    Track from:
    The Standard (Take 6)
    [Heads Up International]

  • Waltz for Debby
    Gary Burton & Chick Corea, soloists
    Track from:
    The New Crystal Silence
    [Concord Records]

  • Son Of Thirteen
    Pat Metheny, soloist
    Track from:
    Day Trip
    [Nonesuch Records]

  • Be-Bop
    James Moody, soloist
    Track from:
    Live At The 2007 Monterey Jazz Festival (Monterey Jazz Festival 50th Anniversary All-Stars)
    [Monterey Jazz Festival Records]

Category 48

Best Jazz Instrumental Album, Individual or Group
(For albums containing 51% or more playing time of INSTRUMENTAL tracks.)

  • The New Crystal Silence
    Chick Corea & Gary Burton
    [Concord Records]

  • History, Mystery
    Bill Frisell
    [Nonesuch Records]

  • Brad Mehldau Trio: Live
    Brad Mehldau Trio
    [Nonesuch Records]

  • Day Trip
    Pat Metheny With Christian McBride & Antonio Sanchez
    [Nonesuch Records]

  • Standards
    Alan Pasqua, Dave Carpenter & Peter Erskine Trio
    [Fuzzy Music]

Category 49

Best Large Jazz Ensemble Album
(For large jazz ensembles, including big band sounds. Albums must contain 51% or more INSTRUMENTAL tracks.)

  • Appearing Nightly
    Carla Bley And Her Remarkable Big Band
    [WATT]

  • Act Your Age
    Gordon Goodwin's Big Phat Band
    [Immergent]

  • Symphonica
    Joe Lovano With WDR Big Band & Rundfunk Orchestra
    [Blue Note]

  • Blauklang
    Vince Mendoza
    [Act Music and Vision (AMV)]

  • Monday Night Live At The Village Vanguard
    The Vanguard Jazz Orchestra
    [Planet Arts Recordings]

Category 50

Best Latin Jazz Album
(Vocal or Instrumental.)

  • Afro Bop Alliance
    Caribbean Jazz Project
    [Heads Up International]

  • The Latin Side Of Wayne Shorter
    Conrad Herwig & The Latin Side Band
    [Half Note Records]

  • Song For Chico
    Arturo O'Farrill & The Afro-Latin Jazz Orchestra
    [Zoho]

  • Nouveau Latino
    Nestor Torres
    [Diamond Light Records]

  • Marooned/Aislado
    Papo Vázquez The Mighty Pirates
    [Picaro Records]