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“Jazz is not background music. You must concentrate upon it in order to get the most of it. You must absorb most of it. The harmonies within the music can relax, soothe, relax, and uplift the mind when you concentrate upon and absorb it. Jazz music stimulates the minds and uplifts the souls of those who play it was well as of those who listen to immerse themselves in it. As the mind is stimulated and the soul uplifted, this is eventually reflected in the body.” - Horace Silver
 
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Interview with Gretchen Parlato Print E-mail
Written by Joe Montague   
Tuesday, 24 July 2007
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Gretchen Parlato

Donning a blue wig, performing a whacky improvisation of a very senior citizen awaiting her boyfriend’s arrival, the absolutely comedic woman on the youtube video is obviously blessed with talent. "Miss MacKenzie’s" performance was repeated in part last Valentine’s Day as she delighted the patrons of New York City’s Cornelia Street Café. This time she had an accomplice in a jazz artist by the name of Dave Devoe. Miss MacKenzie is the alter ego of the very talented and equally beautiful jazz vocalist Gretchen Parlato, whose ethereal vocals have caused seasoned jazz musicians and singers to marvel at her seemingly endless musical gifts.

 

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The Robert Glasper Trio at the Vanguard, July 24th-29th Print E-mail
Written by Ronaldo Oregano   
Saturday, 21 July 2007
Robert Glasper
Robert Glasper
"There isn't a young musician with more buzz at the moment than Glasper... His trio deserves comparison with the best of the newer piano trios, those led by Jason Moran, Bill Charlap and Brad Mehldau... his group has its own crisp, skittering cooperation, with hip hop in its bounce." - The New York Times

A little over a year and a half since his Village Vanguard debut, Robert Glasper will return with his trio featuring Vicente Archer on bass, and Chris Dave on drums for a six night engagement from July 24th through Sunday, July 29th. As a pianist, Glasper possesses a mesmerizing melodic sense and an awe-inspiring technique, but also has the innate sense to know exactly which is needed at a given moment. He’s absorbed all the standard influences (Tyner, Hancock, Corea, Jarrett) and yet he exhibits a sound that’s undeniably Glasper, his delicate touch and harmonic sense as recognizable as any of the aforementioned masters. Having made a name for himself in both jazz & hip hop circles (working with everyone from Terence Blanchard, Wallace Roney & Roy Hargrove to DJ Val, Q-Tip & Mos Def), the 29-year old pianist Robert Glasper had his major label debut, CANVAS, which was released in 2005 on Blue Note Record.
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Harlem Speaks Series Features Pianist Onaje Allan Gumbs on July 26th Print E-mail
Written by Administrator   
Tuesday, 17 July 2007
ImageOnaje Allan Gumbs, one of the music industry's most respected and talented musical collaborators, will be honored by The National Jazz Museum in Harlem’s Harlem Speaks series on July 26th at 104 East 126th Street at 6:30 p.m. The Harlem-raised artist has worked for more than 30 years with an illustrious list of jazz, R&B and pop artists. In 1974, he created a special arrangement of "Stella By Starlight" for the New York Jazz Repertory Company as part of a concert honoring Miles Davis at Carnegie Hall. He followed that with performances on albums by such artists as Woody Shaw (Moontrane), Buster Williams (Pinnacle), Cecil McBee (Mutima) and Betty Carter’s eponymously titled recording. In 1975, Gumbs joined forces with trumpeter Nat Adderley and his quintet, contributing to the group's releases on Atlantic and Steeplechase Records.

Nils Winter of Steeplechase, upon hearing Onaje’s solo improvisations, invited the young pianist to record a solo piano album entitled Onaje (1976). In 1978, the Woody Shaw Group, which Onaje contributed as pianist and a composer, won the Down Beat Reader’s Poll for Jazz Group and for best jazz album, Rosewood. This album was later nominated for a Grammy. In 1985, Onaje lent his keyboard work and arrangement to "Lady in My Life" on guitarist Stanley Jordan’s enormously successful debut album, Magic Touch on Blue Note Records. This was the 1st jazz album in history to maintain the #1 spot atop Billboard Magazine’s jazz charts for more than 47 weeks.

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Betty Buckley and Kenny Werner Bring Cabaret to the Blue Note, July 17-22 Print E-mail
Written by Andrea Canter, Contributing Editor   
Monday, 16 July 2007
One of New York's best-kept piano secrets is Kenny Werner, a true innovator with a delicate touch and a vivid imagination....” (Jazziz)

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Kenny Werner © Andrea Canter
One of the idiom’s most lyrical interpreters and composers, pianist Kenny Werner will be on stage with “the voice of Broadway” Betty Buckley when the two long-time collaborators bring a touch of Cabaret to the Blue Note in Manhattan, July 17-22.

A child prodigy, Kenny Werner was born in Brooklyn and joined a children’s song and dance group at age four.At age 11, he recorded a single with a fifteen-piece orchestra and played stride piano on television. Still in high school, he studied at the Manhattan School of Music, later becoming a classical piano major. His interest in improvisation led him to the jazz program at the Berklee School of Music; he began recording in the late 1970s, appearing on Charles Mingus’ “Something Like a Bird.” In the 1980s, Werner toured with Archie Shepp and the Mel Lewis Orchestra, worked in duo formats with Rufus Reid, Ray Drummond, and Jaki Byard, and performed solo concerns in Europe and New York. Three National Endowment of the Arts grants helped further his career as a composer and enabled him to present his compositions at Symphony Space in New York. He also wrote compositions for the Mel Lewis Jazz Orchestra, which became the Vanguard Jazz Orchestra. With Ratzo Harris and Tom Rainey, Werner spent 14 years experimenting with trio formats, and in the 1990s, this format became his main focus. Bob Blumenthal (Boston Globe) noted that Werner’s ensemble “has provided an ever-evolving definition of the spontaneity that remains at the heart of jazz... unsurpassed as a working trio.”
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